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BASIC - THIS IS BASIC

BASIC is a mind-meld between Chris Forsyth, his frequent running partner (and formidable 6-string thinker) Nick Millevoi, and Mikel Patrick Avery (Natural Information Society). "This Is BASIC", their debut album, is a complex and entrancing instrumental LP recasting forgotten scraps of guitar history into a moving mosaic of strings, skins and electronics. Taking inspiration (and their name) from the 1984 Robert Quine/Fred Maher album ("Basic"), Forsyth and Millevoi got together for a run of low-key jam sessions using an Alesis drum machine for rhythm tracks and forging a collaborative language from angular polyrhythms, pulsing baritone-guitar lines, and shimmering chorus-pedal washes (another stylistic nod, this time to the glistening post-punk of the Durutti Column and numerous 4AD bands). Avery was soon enlisted on drum kit_a setup that quickly morphed into a single drum, bell, and a bespoke electronics rig of his own creation. The trio quickly flowered into an improvisational swirl of disorienting electronics, hypnotic throb, and dense flanged-guitar harmonics: three unique voices spinning a complex conversation of textures and rhythms.

pre-order now06.09.2024

expected to be published on 06.09.2024

21,22
Various - Keb Darge Presents The Best Of Ace 60s Garage Punk LP

Nach dem Erfolg von Keb Darges 2023er Ace Rockabilly-Compilation (CHD 1637) kehrt die Legende mit einer weiteren Sammlung von Musik zurück, die ihm am Herzen liegt. - Auf 'Keb Darge Presents The Best Of Ace Sixties Garage Punk' öffnet der schottische DJ-Maestro und Producer seine Archive und enthüllt eine Auswahl von US-Garage-Stompern aus den 60er Jahren. Künstler wie The Hooterville Trolley, The Litter, The Music Machine, The Venturie "5", The Lyrics oder The Nightcrawlers werfen ein Licht auf britische Invasionsbands wie die Who, Kinks und Rolling Stones, heimische Garagenblumen und das dunkle Ende der psychedelischen Straße. Gespickt mit fuzziger Gitarre, Enthusiasmus, treibendem Beat und einer Einstellung, die Proto-Punk war, bleibt diese Musik frisch und wird bereits von einer neuen Generation angenommen. Mit Liner Notes von Keb Darge und Coverartwork von Robin Banks.

pre-order now06.09.2024

expected to be published on 06.09.2024

22,27
Frankie Stein and His Ghouls - Monster Melodies

After years of visiting graveyards, combing through haunted houses, and pursuing (heh heh) dead ends, we finally tracked down the rights to the legendary Frankie Stein and His Ghouls series! Why did we risk life, limb, and livelihood to find these records? Well, first of all, long-time Real Goners know we LOVE these campy ‘60s takes on horror rock—witness our previous macabre moves into the Zacherle, Munsters and Groovie Goolies franchises. But there’s something extra special about these Frankie Stein and His Ghouls records. You wouldn’t think that Halloween records released by a subsidiary (Power Records) of a children’s specialty label (Peter Pan Records) would be so…er…visceral, but these records are definitely the most out there of their kind. And there might be a reason for that…you see, it has been revealed that the Power label enlisted the aid of some very, very interesting musicians for some of its projects. For instance, the imprint’s 1966 album Batman and Robin by The Sensational Guitars of Dan and Dale was actually produced by Tom Wilson of Bob Dylan, Velvet Underground, and Mothers of Invention fame—and the band was made up free jazz legend Sun Ra and members of The Blues Project! Which has led to all sorts of speculation about who Frankie Stein and His Ghouls actually were; among the names bandied about are guitarist Duane Eddy, jazz saxophonist Max Greger, and, yes, Sun Ra and the Blues Project again. At any rate, prepare yourself for frenetic rock-and-twist workouts punctuated by deranged howls and shattering sound effects. And with a back story like this, it’s no wonder original copies of these albums sell for downright horrifying prices…here come the last two for a truly fiendish finale!

pre-order now06.09.2024

expected to be published on 06.09.2024

36,93
Ático Corp - Cybernetic Implant LP

UFC presents Cybernetic Implant, its seventh release, an EP where electro and cyberpunk go hand in hand with hardware equipment for a trip to an unpromising future. The Ep consists of six tracks, three originals mixes produced by Ático Corp. and three remixes by producers Hd Substance, 7053M4R14 and Robot City.

In the three original tracks we find three different visions of electro where broken and sharp rhythms are mixed with bursts of synthesizers, atmospheres and samples that refer directly to less optimistic science fiction.


On the other side we have the three remixes where each artist contributes their particular vision by reimagining the tracks in their studios directly from their hardware gear. Synthesizers, drum machines and hardware effects are once again invited to the journey. Welcome this time not to a credible future, but to a dystopian future.

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12,19

Last In: 8 months ago
SANDRA DE SÁ / EQUIPE RADIO CIDADE - OLHOS COLORIDOS / BONS TEMPOS: SÃO PAULO (GOOD TIMES)

Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.

Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.

On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.

This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there.

Remastered with refreshed artwork.

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12,90

Last In: 7 months ago
Alliyah Enyo x Angel R - Selkie Reflections

Alliyah Enyo’s genius 2022 ‘Echo's Disintegration’ album infused William Basinski's "Disintegration Loops" with choral smoke, and she now returns with an even more immersive followup alongside ambient enigma and Kelela producer Florian T M Zeisig, making heady and translucent loop-finding vocal soundscapes.

In 2022, Enyo worked with the Edinburgh Sculpture Workshop on an epic two-hour composition made from tape loops inspired by selkies, mythical creatures in Celtic folklore. Contemplating memory, grief and time itself, Enyo devised a "sonorous myth" installation and performance that drowned her voice in the deep sea, using echo to help parallel the communication of humpback whales. It was powerful enough for her to net the award for Sonic Arts at the Scottish Awards for New Music last year, and it's this material that she revisits here, entering into a dialog with Berlin-based producer Florian T M Zeisig, here adopting a new avatar - Angel R.

On the A-side, Enyo distills two hours of the original composition into 11 haunted fragments that ooze in and out of each other like a dream. Reworked at Glasgow's Green Door studio, she sculpts her voice into weightless Radigue-style incantations, leaning into the tape loops' corroded inconsistencies. Enyo's voice becomes the selkie's song: wordless echoes that sound as if they're being dragged slowly towards the sea bed. There are remnants of folk forms in there; we hear traces of church music and Celtic ballads - but she obscures her influences with dubbed reverb, distortion and repetition. Phrases disappear and re-appear, time becomes a loop, best absorbed in a single sitting to properly perceive its graceful, sinking bliss. By the end of the side, Enyo’s vocals are completely waterlogged, dimmed against Robin Guthrie-like shimmers, all brassy, blurred incantations emanating from the depths of a floatation tank.

Florian T M Zeisig responds on the B-side with three flooded, longer-form pieces that will appeal to anyone who devoured his album of corroded Enya loops a couple of years ago. Enyo's voice is now reduced to a whisper, blistered and gauzy expressions that float over dense pads on 'Untitled I' before getting lost in the weeds completely on the muggy 'Untitled II'. On the closing 'Gates of Heaven', he sculpts Enyo's voice until it's just an illusory, hypnotic reflection, slow-fading into the aether.

pre-order now05.09.2024

expected to be published on 05.09.2024

27,52
Galliano - Halfway Somewhere LP 2x12"

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

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34,87
Purple Disco Machine Feat. Pink Flamingo Rhythm Revue - Money, Money

"MONEY, MONEY" feat. PINK FLAMINGO RHYTHM REVUE is a nu-disco club banger. YAM WHO's remix features a throbbing bassline alongside the catchy chorus. The two ROBERT PM remixes (vocal and instrumental) are much faster with a minimal techno feel. Custom die cuts with a sticker.

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14,92

Last In: 14 months ago
MARCOS VALLE - VONTADE DE REVER VOCE LP

Erste Vinyl-Neuauflage dieses fantastischen Albums von 1981 von Marcos Valle, eines der bedeutensten Künstler der brasilianischen Musik. In Brasilien aufgenommen, nachdem er Ende der 70er Jahre in den USA gelebt hat, brachte Valle sein angeborenes Talent für Arrangements und seine vielfältigen Einflüsse auf diesem unwiderstehlichen Album zusammen. Gäste sind u.a. Sivuca, Chicago's Peter Cetera, Robson Jorge und Joses Azymuth Roberto Bertrami. Valle ist einer der wenigen Künstler, die man sich nicht entgehen lassen sollte, wenn man auch nur das geringste Interesse an brasilianischer Musik hat. Ob Sie nun Bossa Jazz, Samba, Psych Folk oder Soul mögen, Valle hat mit Sicherheit ein großartiges Album für Sie aufgenommen. Ende der 60er Jahre hatte er bereits genug qualitativ hochwertige Platten veröffentlicht, um sich einen Platz unter den besten brasilianischen Songwritern aller Zeiten zu sichern, aber seine Karriere war glücklicherweise noch nicht zu Ende, und er veröffentlichte in den folgenden Jahrzehnten weiterhin erstaunliche Musik. Mitte der 70er Jahre ließ er sich in Los Angeles nieder, weil er es leid war, unter der brasilianischen Militärdiktatur zu leben, und begann, mit so talentierten Künstlern wie Leon Ware oder Chicago zusammenzuarbeiten. ,Vontade de rever você" (1981) ist sein erstes Album nach der Rückkehr nach Brasilien und zeigt all die musikalischen Einflüsse, die er während seiner Zeit in den USA erhalten hat, insbesondere Boogie, Soul und Funk, mit hervorragenden Mitwirkenden: Sivuca, Peter Cetera aus Chicago, Robson Jorge und sogar José Roberto Bertrami von Azymuth am Rhodes. Das Eröffnungsstück ,A Paraíba nao é Chicago" ist Marcos Valles eigene Interpretation von Leon Ware's ,Baby Don't Stop Me" und macht deutlich, dass das, was er in LA erreicht hat, nun auch in Brasilien ankommt. Dies ist ein unverzichtbares Album für Boogie-Liebhaber. Hören Sie sich den unwiderstehlichen Groove von ecados de amor, (Valles eigene Komposition, die allerdings zuvor von Cristina Camargo aufgenommen wurde) oder elhos surfistas querendo voar" an, und Sie werden schnell feststellen, dass dieses Album zu den solidesten Leistungen in seiner gesamten Diskografie gehört. Selbst wenn das Tempo im Midtempo gehalten wird, wie beim abschließenden Stück ao pode ser qualquer mulher", schaffen es Valles Songs, die Tanzfläche mit seiner sehr gut gelungenen Mischung aus brasilianischen Klängen und funkigen Rhythmen zu erschüttern.

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14,71

Last In: 20 months ago
ROB GLOTZBACH / JOOST BELINFANTE - HARDE SMART VOLUME 2 SAMPLER

Harde Smart is back again! With the new Harde Smart 7" Sampler, you get a taste of the upcoming Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's, the successor to the acclaimed original Harde Smart compilation that showcased the best of the Dutch-linguistic territory back in the '70s. Even in the decade that followed, a whole host of gems were made that were remarkably danceable, catchy and playful, as proven by the two tracks on this sampler. Joost Belinfante puts it nicely on the B-side: 'nothing to prove, nothing to claim, it is as it is.' Harde Smart never disappoints.

Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's

Harde Smart is on it with the sophomore compilation effort Flemish & Dutch grooves from the 1980's. Vinyl aficionado's No Sleep Richy and Micha Marva teamed up with Sjefke De Kok (one of Holland's illest to rack those crates!) to continue their journey. While raking deep in the dusty bins with Dutch and Flemish records, they once again discovered an exquisite selection of tracks. Too weird to play, too rare to throw away. From butt-shaking boogie to weird disco adventures on wax, this album is sounding like all the good stuff the eighties had to offer: both smooth and sexy as well as dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.

The Harde Smart 7" Sampler will be released on Friday 15 March 2024 via Sdban. Harde Smart volume 2: Flemish & Dutch Grooves From the 80's will be released soon via Sdban

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12,82

Last In: 20 months ago
COIL - MOON'S MILK (IN FOUR PHASES) LP 3x12"

Red in Clear Vinyl. First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future."The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice.The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.

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57,35

Last In: 9 months ago
Galliano - Halfway Somewhere LP 2x12"

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

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30,88

Last In: 17 months ago
Professor Supercool - If You Love Somebody

The notion of house music as a form of uptempo soul music is intrinsic evidence with a record like the one on hand. Professor Supercool’s If You Love Somebody is many things at once: an example of a special brand of British pop music, influenced by US-American soul more or less from the get-go, the Second Summer of Love, the conception of Balearic as a music genre, the cultural interchange of European dance floors and DJs from across the pond and underground music marketing through the vessel of special one-time pressings. The mysterious Professor Supercool is actually a moniker for Dr. Rob of The Blow Monkeys’s fame, who produced the song with a veteran and legendary DJ of the Northern Soul scene „The Real Hector“ – a resident at the famous Wag Club.

Originally a part of the band’s Album Spring Time For The World, it appeared first as a special For-Promotion-Only-12“ in 1989 with limited information as a trial ballon to „avoid preconceptions“. The fear was without reason. Like the band’s other big dance floor record and Balearic fave LA Passionara a year later, it got played and supported by the DJs of its time. Next to Graeme Park at the Hacienda or Paul Oakenfold, it also got picked up by Mastermixer Tony
Humphries and became a staple at his radio and club sets for KissFm respectively Club Zanzibar. While the vocal mix found its way on said album, the preferred 12“ instrumental version has never been released anywhere else up until now and made the record go for a substantial amount of Discogs dollars.
Expanded with an edit by the label’s in-house DJ Gerd Janson that is supposed to work as a dub alternative to the vocal mix, the 12-inch and bundle download contain the original plus a faithfully restored and remastered version of the instrumental in demand. If you love this record it is impossible to let it go.

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11,72

Last In: 17 months ago
The Lemonheads - It’s A Shame About Ray
 
2
also available

Album 2x12"[25,84 €]

White 2x12"[25,00 €]

Black Single Vinyl[26,68 €]


Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

pre-order now31.08.2024

expected to be published on 31.08.2024

13,40
Robert Stadlober - Wenn Wir Einmal Nicht Grausam Sind, Dann Glauben Wir Gleich, Wir Seien Gut

Wenn wir einmal nicht grausam sind, dann glauben wir gleich, wir seien gut by Robert Stadlober, released 30 August 2024, includes the following tracks: "Der Pfau", "Zuckerbrot & Peitsche", "Die blonde Frau singt", "Sie zu ihm" and more.

This version of Wenn wir einmal nicht grausam sind, dann glauben wir gleich, wir seien gut comes as a 1xLP.

The vinyl is pressed as a to be confirmed disc.

pre-order now30.08.2024

expected to be published on 30.08.2024

28,36
TRIXIE WHITLEY - FOURTH CORNER LP

Trixie Whitley

FOURTH CORNER LP

12inchUNDAY015LPXRE
UNDAY RECORDS
30.08.2024

2024 REPRESS

Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.

Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.

And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."

Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.

It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.

After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.

"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.

pre-order now30.08.2024

expected to be published on 30.08.2024

22,65
Current 93 - The Light Is Leaving Us All LP

THE LIGHT IS LEAVING US ALL is one of the C93 albums that haunts me the most. I was OverMoon and Blessed to work on it with the Astonishing Aeonic Beautiful Talents of Reinier Van Houdt, Alasdair Roberts, Ossian Brown, Rita Knuistingh Neven, Andrew Liles, Aloma Ruiz Boada, Michael York, Davide Pepe, Ania Goszczyńska, and Giulio Di Mauro. Once again, the Voice in the Mask of one of my favourite authors, and longest colleagues, Thomas Ligotti, also joined C93.

The album’s title was given to me in a dream, in which I saw The Souls of humans pouring out of their eyes, and returning to God—The Light Had Left Them Quite!

On THE LIGHT IS LEAVING US ALL, I brought together my studies of specific Akkadian and Biblical Hebrew texts that I was translating with my friends and teachers Professor Martin Worthington, Ola Wikander, and Professor Seth Sanders, and also Channelled my fascinations with The Red Barn Murder of 1827 and “The Witchcraft Murders” of “Bella” in Hagley Wood in c.1941 and Charles Walton in Lower Quinton in 1945.

All this time, the birds were sweetly singing, the kettle was on, the milkmaid was singing, and the policeman was dead—all this while the birds were softly singing, and The Light Was Leaving Us All.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

pre-order now30.08.2024

expected to be published on 30.08.2024

27,31
Current 93 - Nature Unveiled

Current 93

Nature Unveiled

Pict-VinylDOARXVIII
Cashen`s Gap
30.08.2024

Current 93’s first and last album, NATURE UNVEILED dragged together my obsessions, as I had decided to make a pop album that dealt with my (then—as now!) primary fascinations: Christian apocalyptic and eschatological Christian texts.

In my Speed-Ridden Soul and Mind, I thought I was reinventing The Ronettes, and that the 2 long sides of NATURE UNVEILED were A- and B- Sides of a Wall Of Soundhogs HIT! But the reality is that I was sharing a squat in Vauxhall with Little Annie Anxiety, and hanging out with Youth in The BatCave, with chickens rescued by The Animal Liberation Front in our backyard. Or did that come soon after, soon later? The album was recorded at The Roundhouse Studios in London’s Chalk Farm, home of Bronze Records, the label of my heroes (then—as now!) Uriah Heep, and Motörhead too, for whom I had moved stage-gear on their tour promoting their debut single on Chiswick Records.

Anyway, anyway—I had not reinvented The Ronettes, though every time, every place, I listen to NATURE UNVEILED it Hits Me, And Feels Like A Judas Kiss. There has been NOTHING UNVEILED like NATURE UNVEILED, Before, Since, Or After.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

pre-order now30.08.2024

expected to be published on 30.08.2024

28,53
After 'Ours - Long Road LP 2x12"

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

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Last In: 18 months ago
Current 93 - Dogs Blood Rising

Current 93

Dogs Blood Rising

Pict-VinylDOARXVI
Cashen`s Gap
30.08.2024

Reeling In The Weeks—which felt like Years — after my first Current 93 album, I had started on the difficult second C93 album, DOGS BLOOD RISING.

Having been asked to appear on both Top Of The Pops AND The Old Grey Whistle Test 93 times in the same week after the release of NATURE UNVEILED, I realised that God was telling me that I had hit on a winning formula of Christian eschatology and Apocalyptic Christian texts over a SoundScape As Cool As Flies, but that I was missing the vital ingredient of a Simon & Garfunkel song. DOGS BLOOD RISING — which I described to myself in a VISION as an album which hoped, wished, and made bad trips sound like good trips — was essentially the Mirror Night of NATURE UNVEILED, although only half of it was recorded at Roundhouse Studios. Squats were calling, and 8-track studios were all I was able to afford. DOGS BLOOD RISING didn’t chart, except in my NightSweats. Listening to it now, it makes me as restless as I was then, staring beyond the windows there, watching and praying for something, someone, anything, anyone.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

pre-order now30.08.2024

expected to be published on 30.08.2024

28,53
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