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The Wirral feels like a strange island - a place connected by small towns that sprawl into big, billowing industrial towers on its outskirts. On a clear day you can see the yearning countryside of Wales. It was from this part of Merseyside that Outfit emerged from, before moving to Liverpool and living in one big house full of friends. If that phase of their early
existence was documented by last year's epic post-party plea 'Two Islands' then their debut EP 'Another Night's Dreams Reach Earth Again' marks the band's shotgun move to the gleaming lights of London

limited blue 10"

Public Image Ltd confirm their first new material in 20 years will begin with the EP 'One Drop' released for 'Record Store Day' on April 21st Followed by the album 'This Is PiL' on May 28th The new material will be released on the bands own label 'PiL Official' Public Image Ltd can confirm that a 4 track 'EP' entitled 'One Drop' is set to be released for 'Record Store Day' on April 21st, marking their first new material for 20 years. The 4 track 'EP' is taken from the forthcoming album 'This Is PiL' released on May 28th. Both the new EP and album is self-funded by PiL and will be released on PiL's own label 'PiL Official' via Cargo UK Distribution. All the new material was recorded in the UK last year at Steve Winwood's studio in the Cotswolds. PiL were recently confirmed as special guests at BBC Radio 6 birthday celebrations at Queen Elizabeth Hall, London March 16th where they will be performing live, including some new tracks. With their show at The Brighton Concorde on August 16th sold out, a second date has been added at the venue on August 15th. Lead track 'One Drop' from the EP of the same name was given an exclusive airing by Steve Lamacq on his BBC 6 show last week. John Lydon describes the track as- 'One Drop is a reflection of where I grew up in Finsbury Park , London . The area that shaped me, and influenced me culturally and musically, a place I will forever feel connected to. But within this I am also saying it doesn't matter where you come from, we all go through the same emotions especially the disenchanted youth of today, yesterday and the future. Bearing in mind the Olympics are in London this year and who knows what that could bring for London and our country....'

For Citizens! aesthetics in music is all-important - 'pop is not a dirty word' they proclaim.

"We had this vision of the songs we wanted to write, and it was all about making pop music that was imaginative, exciting and interesting - rather than simple, ugly and horrible,' explains lead singer Tom Burke.

And so after signing to French label Kitsuné they set about following their 'manifesto' and began recording their debut album in the wilds of Scotland, a process that proved to be a little unorthodox.

"We had a strict set of rules that we forced ourselves to abide by, One was we weren't allowed to do any studio trickery, so there's no autotune or correcting mistakes or anything on the record. And then there was the idea that no element of any given song was allowed to sound as if it came from the same place. So the main idea behind 'True Romance' was, 'Kanye West producing an Arcade Fire song'. Or maybe it's the other way round... But it's the thing of doing what people least expect but making it sound addictive and exciting."

The end of last year saw the band support The Rapture and more recently they played the Electric Ballroom in London as part of the NME's run of Award show gigs.

Claremont 56 are back for the new year with this awesome 12' from
Paqua. This new and authentically live outft are made up of Bing Ji Ling
(Phenomenal Handclap Band), Alex Searle and Paul 'Mudd' Murphy and
featuring Patrick Dawes (Groove Armada) on percussion.
On side-A's 'Dinosaur' they turn out a fuggy bass laden, driving, stoner
anthem with sweet vocals from Bing riding over a swirl of synths, wigged
out FX guitar and a chugging bottom end. This sounds like the seedy end of
Laurel Canyon; a beautiful, sluggish midtempo bomb.
Over on the fip-side the quality doesn't let up with 'The Visitor', a subtle
rolling groove that immediately puts you on a beach. Beautiful bass
fourishes give way to a laid back lead guitar, it all builds around another fne
vocal performance from Bing, who settles into the lazy groove and delivers
the positive vibes as the track rolls along into a blissfully languid ofering.
Summer 2012 is on the way, Paqua are by the waterside already...

Ahead of a new album, The Marble Downs — recorded with Bonnie 'Prince' Billy — Glasgow's Trembling Bells returns with an eight-song vinyl-only EP. Entirely exclusive music, unique to this release, with a lovely silk-screened sleeve, the Duchess EP is effectively divided into two halves.

The first is comprised of four songs from The Marble Downs sessions, with Will Oldham duetting with Trembling Bells singer Lavinia Blackwall. Oldham first met Trembling Bells' principal songwriter Alex Neilson back in 2005, when the former produced Alasdair Roberts' No Earthly Man, and Neilson was drummer. Neilson went on to play drums with Oldham himself, before forming Trembling Bells in 2008.

Three of the EP's Oldham collaborations are original compositions: the infectious canter of Too Old To Die Young; a stately, parlour-room kiss-off entitled I'll Be Looking Out For Me; and the beautiful, unaccompanied folk lullaby Tincture Of Tears. Kicking off eponymously is a brooding, baroque-country reinvention of Scott Walker's Duchess.

Anyone listening to the songs that comprise the other side of the Duchess EP would be forgiven for thinking they were newly unearthed trad. arrs. In fact, their genesis dates back to Neilson's chance encounter with vocal quintet Muldoon's Picnic, at an open mic evening in Glasgow. Inspired by what he heard, Neilson 'very quickly' wrote a number of songs, including those performed here by Muldoon's Picnic, together with Alex and Lavinia. A shared love of The Watersons seems to pervade the dewy dawn incantations of (There's Nothing Nobler Than) Yorkshire In October and Dancing On The Breath Of God — whilst Bells Of Oxford and Tuning Fork Of The Earth further underscore Neilson's intuitive connection to the tradition of British folk song.






G] b3 | Tuning Fork Of The Earth

(handnumbered clear vinyl in a transparent sleeve with cardboard inlay limited to 100) Superlijm has recorded a brand new track especially for this RSD only release! both tracks are previously unreleased.

February 2006: Ian Clement, Sylvester Vanborm and Dries Hoof make their first live appearance as Wallace Vanborn, an eager and young three-piece rockband bringing a mixture of heavy stonerrock and sexy, danceable drumbeats. A magical formula that soon provided the band with a solid live reputation and the current nickname "Pletwallace" (Pletwals = the Dutch word for steamroller). The band released their critically acclaimed debut "Free Blank Shots" early 2010. The album hit the web, sprung airplay for the first singles and resulted in tours throughout Belgium, The Netherlands, Germany, Switzerland, Austria, France, the United Kingdom and along the USA Westcoast. Wallace Vanborn made a smashing impression on the Eurosonic Festival in Groningen (2011), performed at the Sziget Festival (2011) and played over 100 shows in 11 different countries.
The band now finished their second album "Lions, Liars, Guns & God", produced and mixed by triple Grammy-winner David Bottrill, who also worked with Tool, Muse, Placebo, Smashing Pumpkins and dEUS. In their own words, Wallace Vanborn eagerly bring their audience hard, rocking music which is edgy yet danceable, with some tasty hooks and catchy refrains thrown in for good measure. This band is a train on the loose, and it will take more than a slacking music industry to stop them!

Cougars is the first single of the forthcoming second album from Wallace Vanborn, called Lions, Liars, Guns and God. It is a shattering and upfront rock tune with shout out potential.
On the flip is a cover version of Golden Eye (yep, the James Bond theme song). This one was produced by Mario 'Triggerfinger' Goossens. Check it out. RSD-only, vinyl only!

Aywhere began as a LA/SF collaborative project started by musicians Christian Eric Beaulieu and Cedric Bixler Zavala. Fresh off years of writing and touring as co-founder of Bay Area acid punk extremists Triclops!, Christian decided to immerse himself in the resonant universe of acoustic guitar and began performing solo under the moniker Liquid Indian. In early 2010 while in Los Angeles to perform at an art opening of mutual friend artist Sonny Kay, he befriended Cedric (singer of The Mars Volta) who was a DJ for the event. The two exchanged numbers and planned to record something acoustic rooted in the open tuning, eastern raga style Christian was delving into. Months later the pair met in Los Angeles, enlisted the mobile engineering talent of Toshi Kasai (Big Business) and tracked the new material in 2 days at The Melvins practice space in downtown Los Angeles. During that same visit Christian played live on "The Watt from Pedro Show" as the musical guest of Mike Watt (of The Stooges, fIREHOSE, Minutemen).
1. PYRAMID MIRRORS
2. ROSA RUGOSA
3. KHAMSIN
4. DEAD GOLDEN WEST
5. ANYWHERE
6. SHAMAN MANTRA
7. INFRARED MOSES

Early 1970's UK progressive mega rarity. Has all the right ingredients that made it

a killer underground UK sound from the time along with Writing On The Wall, Magic

Mixture and Arcadium and others from those days when they tried to discover a new sound and ways in music. And for that, so many people are interested in this period in

music (1968-1973). So here you can find elements of hard rock, psychedelia and progressive.

Monster heavy early 70's Icelandic unique hard rock progressive recorded in Denmark and originally pressed in England. Featuring killer guitar passing through leslie speakers and effected bass and also huge use of bow on the guitars creating

a perfect heavy guitar album. One of the best albums along with Hurdy Gurdy, Culpepper's Orchard and Svanfridur etc from the Nordic countries.

Remastered 180 gram vinyl shrink wrapped.

One of the all time favourite UK progressive albums from 1970.

This killer album has all the ingredients that make one of the best

progressive albums with flutes, organ, scorching guitar and beautiful harmonies.

Along with the second Marsupilami album "Arena" they rate in the top 50 best UK progressive albums from the late 60's and early 70's.

Remastered 180 gram vinyl with textured cover as the original, and shrink wrapped.

Originally released in 1970 killer driving UK progressive with keyboards,

superb guitars, and original UK copies goes for stupid money! Underrated

cool album with lengthy tracks and well-crafted songs. Groovy psychedelic DJ's must look at this album!

Remastered 180 gram vinyl shrink wrapped.

With the exception of The Beatles, few Liverpool singer/songwriters from the Merseybeat era went on to deliver a continuous body of work. Jimmy Campbell, a man of extraordinary sensitivity, was one of the few.
1) Michaelangelo - 1967 2) (Not) A Penny in my Pocket 1967 3) Dreaming 1967 4) Bless You - The Kirkbys 1965 5) Flowers are Flowering 1967 6) Don't you want me no more - The Kirkbys 1965 7) I'll be with you 1967 8) Another Vincent Van Gogh 1967 9) Mother's Boy 1967 10) You sing your own Song 1967 11) ( Not ) A Penny in my Pocket 1967 12) Michaelangelo - 1967 'Live' Studio Recordings 1971 13) In My Room 14) Closing down the Shop 15) Forever grateful 'Live' Acoustic 197716) Another Vincent Van Gogh 17) Missing Kissing You 18) Not Tonight 19) On the Corner of the Street 20) Green-Eyed American Actress 21) The Biggest Gossip in Tow 22) Don't Leave Me Now 23) When I Cross Your Path 24) I wouldn't let that happen to you 25) That's Right, That's me Circa 1989 Lpool Amazon Studio 26) When I cross your path Lpool Amadeus Studio 27) Blowin' all over the Road 28) If you believe

After the release of their third LP in March 1969, the Velvets (with Doug Yule now on bass) embarked on a nationwide tour, playing over 70 dates all around the US. One of these included a stint at the 'End Of Cole Avenue' club in Dallas—one of the Velvets few live performances where a professional sound engineer was actually on hand to record the sets.
Track list - SIDE A: 1. Intro To The Show 2. I'm Waiting For The Man 3. It's Just Too Much 4. I'll Be Your Mirror 5. Some Kinda Love 6. Femme Fatale 7. Beginning To See The Light 8. I'm Set Free SIDE B:1. One Of These Days 2. Pale Blue Eyes 3. Ocean 4. What Goes On 5. Heroin

Limited Vinyl LP pressing of 1980 Classic Album

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

Pepe Deluxé are the brainchild of Jari Salo aka James Spectrum and his white tuxedo'ed musical partner Paul Malmström, a prodigiously talented multi-instrumentalist residing in his penthouse apartment in Manhattan. and attempts to brew a cup of perfect coffee.

Devotion, Kap Bambinoís fourth album, is based on a few simple rules: each song is ecorded as though played for the first time, and there was no second take; each live show is played as if it was the final one; each task is executed with a sense of urgency; each decision is made with excess; all the indicators are in the red. To derstand the duo you need to let go of moderation. Try to capture them: itís too late, heyíre already far away. Like a permanent crash in the sound barrier. Eternal youth with almost ten years behind them.

Doppelvinyl inkl. mp3 Voucher....,,Die Bosse von Mando Diao haben Langeweile. Und toben sich mit Elektro-Spielzeug aus."

+ Bonus-CD mit 40-seitigem Booklet

The Cranberries sind zurück. Die vierköpfige Band mit Frontfrau Dolores O'Riordan war über ein Jahrzehnt lang mit Klassikern wie ""Dreams" und "Zombie" Stammgast in den Charts und bringt nun ihr erstes neues Studioalbum seit mehr als zehn Jahren auf den Weg: Roses . Die Songs sind wie kleine Schätze, die tief aus dem Inneren der Bandseele kommen. Sie erinnern an den ursprünglichen und erfrischenden Sound ihrer ersten beiden Alben Everybody Else Is Doing It, So Why Cant We und No Need To Argue . Die Songs sind sehr unterschiedlich - vom leichten und sommerlichen "Fire and Soul" und dem Reggae-beeinflussten "Raining in my Heart", bis hin zu "Conduct Yourself", das regelrecht stürmisch klingt. In jedem Winkel präsent: der außergewöhnliche Klang von Dolores O´Riordans Stimme, das Markenzeichen der Band.

The Cranberries sind zurück. Die vierköpfige Band mit Frontfrau Dolores O'Riordan war über ein Jahrzehnt lang mit Klassikern wie ""Dreams" und "Zombie" Stammgast in den Charts und bringt nun ihr erstes neues Studioalbum seit mehr als zehn Jahren auf den Weg: Roses . Die Songs sind wie kleine Schätze, die tief aus dem Inneren der Bandseele kommen. Sie erinnern an den ursprünglichen und erfrischenden Sound ihrer ersten beiden Alben Everybody Else Is Doing It, So Why Cant We und No Need To Argue . Die Songs sind sehr unterschiedlich - vom leichten und sommerlichen "Fire and Soul" und dem Reggae-beeinflussten "Raining in my Heart", bis hin zu "Conduct Yourself", das regelrecht stürmisch klingt. In jedem Winkel präsent: der außergewöhnliche Klang von Dolores O´Riordans Stimme, das Markenzeichen der Band.

The Cranberries sind zurück. Die vierköpfige Band mit Frontfrau Dolores O'Riordan war über ein Jahrzehnt lang mit Klassikern wie ""Dreams" und "Zombie" Stammgast in den Charts und bringt nun ihr erstes neues Studioalbum seit mehr als zehn Jahren auf den Weg: Roses . Die Songs sind wie kleine Schätze, die tief aus dem Inneren der Bandseele kommen. Sie erinnern an den ursprünglichen und erfrischenden Sound ihrer ersten beiden Alben Everybody Else Is Doing It, So Why Cant We und No Need To Argue . Die Songs sind sehr unterschiedlich - vom leichten und sommerlichen "Fire and Soul" und dem Reggae-beeinflussten "Raining in my Heart", bis hin zu "Conduct Yourself", das regelrecht stürmisch klingt. In jedem Winkel präsent: der außergewöhnliche Klang von Dolores O´Riordans Stimme, das Markenzeichen der Band.