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‘A Mind of Your Own’ is the debut release from The Bright Siders, the duo of acclaimed songwriter and musician Kristin Andreassen and NYC child psychiatrist Kari Groff, MD. Brimming with uplifting and empowering songs, the album invites its listeners to think deeply on feelings and emotions that come with growing up, while focusing on resilience and mindset.
Along with a slew of all-star guests including Ed Helms, The War and Treaty, Oh Pep!, The Hokes (a.k.a. Punch Brothers), Gaby Moreno, and more, The Bright Siders bring profound sensitivity and vivacity to songs about friendship, bullying, anger, acceptance of others, and coping with sadness and change.
This music is sure to spark meaningful conversations and bring families closer as they explore the beauty and complexity of their emotional lives together.

THE LAST EXIT is the fifth studio album from Still Corners. With the shimmering desert noir sound the band has become known for, THE LAST EXIT takes you on a hypnotic journey, one filled with dilapidated towns, mysterious shapes on the horizon, and long trips that blur the line between what's there and not there. Greg says, "We found something out there in the desert - something in the vast landscapes that went on forever." THE LAST EXIT consists of eleven beautifully crafted songs with organic instrumentation, clean-toned guitar, spacious drums and the smoky croon of Tessa Murray. Album highlights include "The Last Exit", "White Sands" and "Shifting Dunes" all of which evoke the vast space of the desert and rolling unconcerned skies.

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THE LAST EXIT is the fifth studio album from Still Corners. With the shimmering desert noir sound the band has become known for, THE LAST EXIT takes you on a hypnotic journey, one filled with dilapidated towns, mysterious shapes on the horizon, and long trips that blur the line between what's there and not there. Greg says, "We found something out there in the desert - something in the vast landscapes that went on forever." THE LAST EXIT consists of eleven beautifully crafted songs with organic instrumentation, clean-toned guitar, spacious drums and the smoky croon of Tessa Murray. Album highlights include "The Last Exit", "White Sands" and "Shifting Dunes" all of which evoke the vast space of the desert and rolling unconcerned skies.

“Instead of landscape sketches I wanted to go into more personal areas of my reality,” says Jim Ghedi of his third album In The Furrows Of Common Place. “To hold up certain aspects of society that were laying bare in front of me.”

Whilst Ghedi’s previous idiosyncratic take on folk has often been instrumental, exploring the natural world and his relationship to it through his music as seen on 2018's A Hymn For Ancient Land. His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions. “There were things I was seeing around me and being affected by in my daily life,” he says. “Socially and politically I saw defiance but also hopelessness. I wanted to be honest with the frustration and turmoil I was experiencing.”

The decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies.

As with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too. “I've been exploring contemporary issues and in that process discovering sources that correlate with similar issues in the past,” he says. “Which proves that these issues throughout history - environmental destruction, working class poverty etc - are ongoing.”

For all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental - and some of it still is here - it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. It’s another inimitable record from an artist that truly sounds like nobody else right now.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Creation Records founder Alan McGee named his label after the band, and named his band Biff Bang Pow after one of their songs. So perhaps it was no surprise when in 1995 he came up with the idea of The Creation recording a song called “Creation” to be released on the Creation label. In the wake of reunion shows at The Mean Fiddler in 1993 and 1995, the original line-up re-convened, and the recordings expanded into an album. “Power Surge” was released in 1996.
• The album is pressed on 140 gram clear vinyl.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• In January 1985, The Mark Four reformed for a one-off show in Cheshunt, and subsequently Eddie Phillips and original lead vocalist Kenny Pickett reunited to make some new Creation recordings. At the time, only two tracks – “Spirit Called Love” and a new version of “Making Time” – were issued as a single in 1987, before the record label went out of business. These two tracks plus the remainder of the recordings were finally issued as the album “Psychedelic Rose” in 2004.
• The album is pressed on 140 gram clear vinyl.






[f] B1. Making Time [new version]

The Gordons crashed upon the do-it-yourself scene of early 1980s Christchurch with torrential force, self-releasing two foundational planks of the vibrant New Zealand underground. Future Shock, a three-song 7-inch released in 1980, is a wild-eyed rampage, as staggering as any feedback-addled punk then being recorded at Southern Studios. The Gordons LP, which followed in 1981, matches the abandon with motorik churn and livewire dissonance, evoking New Zealand antecedents as divergent as This Kind Of Punishment and the Dead C. Brought together on this release, they’re a noise-rock landmark anticipating fans such as Sonic Youth.

Flying Nun Records, the storied Christchurch label and symbol of the island nation’s rich independent music scene, re-released The Gordons and Future Shock together in 1988 following the formation of Gordons outgrowth Bailter Space, which frontman Alister Parker founded with Clean drummer Hamish Kilgour. Bailter Space, which would also come to include founding Gordons members Brent McLachlan and John Halvorsen, settled on a droning shoegaze sound, drawing comparisons to Dinosaur Jr. and the Pixies. The Gordons and Future Shock, however, represent the trio’s unreformed id, as startling today as upon release.

Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot (“Terminal Case” and “I’m Screwed Up”) as well as smudged glam balladry (“Start Over” and “Weird”). Its release in 1977, on the group’s own Raw Edge label, with Borland’s cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom.

The Outsiders, featuring bassist Bob Lawrence and drummer Adrian “Jan” James, were punk in the moment before punk cut ties with solos and five minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock ’n’ roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery.

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

• The Love Affair was formed in 1967 (originally as the Soul Survivors) and burst onto the UK charts in January 1968 when ‘Everlasting Love’ reached # 1. Featuring lead singer Steve Ellis’ distinctive vocals, this was followed by four more Top 20 hits, three of which were Top 10, including ‘Rainbow Valley’ (# 5), ‘A Day Without Love’ (# 6) and ‘Bringing On Back The Good Times’ (# 9).
• Side One of this album features all five hits (including a re-mastered version of ‘Everlasting Love’) plus the single unreleased at the time, ‘Time Hasn’t Changed Us’, after which Steve Ellis left the band.
• Side Two features six highlights from Steve Ellis’ solo career, starting with two favourites by Ellis, the band he formed with Zoot Money, produced by Roger Daltrey. Next up are covers of Jimmy Webb’s ‘Evie’, and also ‘Rainy Night In Georgia’. Taken from Steve’s 2018 album, ‘Lonely No More’ and ‘Cry Me A River’ both feature Paul Weller as co-writer, performer and co producer.
• The inner sleeve features liner notes by Steve Ellis and photos and memorabilia from his own collection. The record is pressed on 180g gold vinyl.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Issued in 1967, “We Are Paintermen” was the only Creation LP released during their original 60s incarnation, and then only in Germany. With the exception of “Making Time” and “Try And Stop Me”, this release features the 2016 stereo mixes of Creation classics “Through My Eyes”, “Biff Bang Pow”, “Can I Join Your Band?” and “Painter Man” (as later covered with huge success by Boney M).
• Pressed on 140 gram clear vinyl, the inner sleeve features 60s photos of The Creation from the collection of designer Phil Smee.

‘The Fountain was supposed to be a full length album but as the songs took shape, I realized that there was something cohesive going on with a smaller batch.
They all focused on the theme of platonic love with a sense of gratitude. I think that traditionally, I had mostly written yearning, romantic odes and it was nice to focus on what was right in front of me,’ says Justin Sullivan, who records as Night Shop and also plays with Kevin Morby.
Fittingly, The Fountain is a family affair, with friends and collaborators bringing the songs to life. The E.P. features Katie Crutchfield (Waxahatchee) on backup vocals, Meg Duffy (Hand Habits) on guitar and bass, Sofia Arreguin (Wand) on piano, Jarvis Taveniere (Woods), engineering and playing a host of instruments, Anna St. Louis on backup vocals, Tiffanie Lanmon (Jess Williamson) on drums and Flat Worms bandmates Ivy and Hellman.

Tape / Cassette
Spite Cathedral is an S+M regular but the music found on his releases speaks for an artist that is constantly challenging his own creative boundaries. With equal ease Spite Cathedral delves in micro sounds, multilayered noisescapes or more conventional yet daring musical form and structure. ‘The Human Touchʼ is not an exception of this creative modus operandi and certainly takes things further. Dan Mortazaviʼs teams up with his long term partner Karsten Svendsen on his latest album as Spite Cathedral which is a 13-track sonic shapeshifter that will take you all the way from the clinical minimalist sub-tech realms of opener ‘Wake Up Darling Iʼm Spitting Bloodʼ to the industrial- influenced and raw vocal-driven ‘In Godʼs Cornerʼ, the microscopic sound bits and muted angst of “Without a Soundʼ, to the freeform drifting ambiance of ‘Spellcasterʼ. While these pieces might be a guideline of sorts between them there definitely lies more. While it is indeed impressive that Spite Cathedral can speak to us through a plethora of electronic sub-genres itʼs more fascinating how all his different ways are not only not clashing but are always somehow working together in a hypnotizing unison.

The Nest is a 2020 thriller film written, directed, and produced by Sean Durkin. It tells the story of a family plunged into uncertainty upon relocation from America to England, as the tense isolation of their new home affects them differently. Its soundtrack was arranged by Richard Reed Parry, a Canadian multi-instrumentalist, composer, producer, best known as a core member of the Grammy Award-winning indie rock band Arcade Fire, where he plays a wide variety of instruments. The Nest is available as a limited edition of
500 individually numbered copies on crystal clear vinyl. The package includes an insert with pictures from the movie.

Danish indie rock duo The Raveonettes first met in Copenhagen in
2001, after which they quickly began recording their first EP Whip It On. Their first full album Chain Gang of Love followed in 2003, and it quickly gained recognition as lead single “That Great Love Sound” was featured on the soundtrack of FIFA 2004. Upon release, Pitchfork complimented the album for its high-quality production, tightly controlled melodies and called the album a glorious buzz. Mixing raw garage rock with catchy, sweet lyrics, Chain Gang of Love demonstrates The Raveonettes’ knack for crafting compelling songs.

Chain Gang of Love is available as a limited edition of 1500 individually numbered copies on translucent red vinyl.

The Begotten is the brainchild of Jürgen De Blonde (Köhn/de portables) and Brecht Ameel (Razen), who initially performed a number of shows and released a CS under the moniker 'Kohier' - gleefully referencing the absurdity of Belgian tax systems and institutions.

On their debut LP "Temidden Laaghangende Wolken" they are joined by percussionist and improv-veteran Dirk Wachtelaer (Pablo's Eye/Vanishing Pictures), who locked with De Blonde and Ameel's post-reality continuum during a recording session at Les Ateliers Claus in Brussels. In this new trio format, The Begotten weaves a stripped-down set of after-hours, trancey observations on keys, baritone guitar and drums. Neon-lit bars are named Le Kheops or 60 Moons, streets are soaked in sheets of rain, people are staring at tax sheets and comets pass by unnoticed. Dub with tears; "Temidden Laaghangende Wolken" is the perfect backdrop of a strongly medicated game of Manillen during a 'Derrick' rerun.

RCA Records release this anticipated 9 track EP (already available digitally). Part of a (potential)series of four releases across 2021. The band are experimenting with their sound and style across each of the 4 releases. The first release is full on aggressive/industrial/metal. Collaborators include Yungblood, Amy Lee (Evanescence) and Baby Metal. Includes the singles "Parasite Eve", "Heavy Metal" and stand out track "Teardrops".

Pressed here onto 180g black vinyl, this is the first Buffalo Springfield compilation released in 1969 after the band’s break-up in mid-1968. The collection features “For What It’s Worth” and other singles from the band’s three albums.

When Ajax Tow travels in his Pop Western landscapes, you can be sure there’s always a perfect 70’s road trip soundtrack. Italians cowboys meeting the legendary Miriam Makeba in Rennes suburbs... For his 3rd album The Soul Vegetable Orchestra, Ajax Tow is bringing us on a ten tracks sonic adventure, where many inspirations and references collide. The succession of tracks inspires many feels and moods from sipping a good old bourbon, dance in the kitchen, or gallops though the plains of Napoli.

We can found the influence of Danger Mouse paying hommage to the late Ennio Morricone (Roma, 2011), a cinematic side of Shawn Lee and Misha Panfilov, from music library à la Jean-Claude Vannier to the Band Voilaa, a little glimpse of pimped Ninja tune, a Reworked organic Mo’Wax vibe, all mixed up and spiced up with a Tricky style.

This album is also the result of a collaboration with Dan Voisin (Modul-Club, Eighty…) at the production and drums with Rennes city scene musicians who gives a hand on this album: Romain Baousson (Coupe Colonel, Bikini Machine…) on drums, Sax Machine and Racecar (Saxtoys Records) on horns and vocals, Dj Marrrtin (Funky Bijou, Lord Paramour) on beatmaking, Medline (My Bags) on Flûte.

As a special guest, the late and legendary Miriam Makeba appears on “Magic Miriam”. “Feel it” is definitely setting a west coast on the LP with a Jurassic 5 inspiration, accompanied by a spicy rhythm, MC Racecar (Sax Machine) flows and lyrics brings even more energy to the track. On “Movie” and “Silence”. Ajax Tow give us a nice taste of his favorite psychedelic blends, romantic and intimate at the same time, where we found back Fuzz guitar with 60’s Eric Clapton style (Cream era) and Pink Floyd synths Flavors. The cinematic style and first notes of “So What” reminds Air first EP and the beautiful bass of “Melody Nelson”. For the dessert, “Smallville” is a kind of wedding cake with 70’s loops sprinkling that brings us to Phillipe Sarde’s La Grande Bouffe soundtrack, but with a more contemporary feeling.

white vinyls

5 years after his last studio album, Wax Tailor is back with "The Shadow Of Their Suns" a darkly elegant "sound feature" accompanied by a new and prestigious cast.

Behind this allegorical title hides a long period of brainstorm. The luxury of time in a world where everything goes fast. Time to observe the light from the shadow, the "whirlwind of life", its excesses, its drifts and its symbolic violence. Time to think and translate into music as a privileged witness of our society.

Among the guests of this new album, the rock legend Mark Lanegan & his unique voice, Del the Funky Homosapien (Gorillaz, Hieroglyphics), D Smoke (Winner Netflix Rythm + Flow, the new west coast scene sensation), the late Gil Scott Heron, Rosemary Standley (Moriarty), Mr LIF (Thievery Corporation, Def Jux), Yugen Blakrok (noticed alongside Kendrick Lamar & Vince Staples on the Black Panther album), Adeline (Brooklyn’s Best Kept secret soul singer), Boog Brown (Detroit femcee).

Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastureswith an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith” reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.

The sought after track "THE UNDERTAKER" is next on BOO MOONMAN RECORDS. Originally released on RELIEF, the DAT recordings of "THE UNDERTAKER","LAST CALL", "KICKIN'" & "FEEL THE DRIVE" have been newly recorded! All feature BOO'S signature swing & uptempo vibes.

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

As Midnight Sister, multi-disciplinary LA artists Juliana Giraffe and Ari Balouzian make motion pictures. Yes, sometimes with moving images _ but most often only with the music they create together. Balouzian's serpentine, string compositions are movie scenes that allow Giraffe, a brilliant character actor, to cloak herself in a new roles and voices. A bit of Jon Brion's score work; some old Hollywood strings; a solid dose of glam and outsider disco from 70s independent cinema. Any perceived artifice is always matched by an indelible human fingerprint, something perfectly off. Giraffe and Balouzian's respective work in fashion, visual art, video and film scoring _ along with the gang of virtuosos with which they surround themselves _ all wonderfully coalesce as Midnight Sister. And if 2017's `Saturn Over Sunset' was their collection of short films about outcast life in The San Fernando Valley, then their new album `Paining the Roses' is the inventive, meta motion picture that cements them as auteurs. `Painting the Roses' is in many ways a fairy tale -- not so much the sweet-and-happyending kind as something richer, packed with imagination and rooted in the complex human messiness beneath a story's artifice. Frontwoman Giraffe describes it as "this tightrope of being real yet synthetic, organic yet staged, light yet dark, logical yet irrational, beautiful yet dilapidated. Joyful nonsense." Here, disguises like masks and paint are not meant to hide but to liberate, to "set a part of us free", and Midnight Sister often embody this themselves, appearing highly stylized, curious, warm and inviting but a little askew. `Painting the Roses' is a story told through the looking glass, one where we examine ourselves in a funhouse mirror but find clarity in its twists. Giraffe traveled to visit family in Argentina during the making of the album and reconnected greatly with that part of her family history, art and culture. Balouzian created the core album opener "Doctor Says" during a session in the desert outside of LA. The guitar, which reminded Giraffe of South America, has a slow, sweltering surf-tango to it, like Dick Dale doing Carlos Gardel. And even though the song was inspired by Giraffe's reconnection with Argentina, the song is about the fading of some close friendships during the making of the album. "Man, you have changed," Giraffe sings, unclear if tis directed to a friend or to herself. Later on the album, "Wednesday Baby" _ named after Giraffe's rescue dog _ is patient, subtly baroque pop. It follows Giraffe through one of those gloomy days spent in tunnelvision doldrums from which only a sunbathing turtle or your canine companion can pull you out. By the time collaborator Max Whipple's saw comes beaming down from heaven in the song's 3rd part, we're hypnotized by the song's charming ennui. The song lands someplace both familiar and aloof, a little slice of timelessness taken straight from The Cake of Perfect Songcraft.

DAUW present the release of What the Fog, the second album of David Allred & Peter Broderick. The album is a follow-up of their first full-length LP Find the Ways, which was released through Erased Tapes in 2017.

The music itself was originally composed as a soundtrack for an 11-hours slow motion journey in the Louvre museum in Paris. The title, #monalisa, can be interpreted as a new way of perceiving art through technology and social media such as Twitter or Instagram. The movie is directed by Jennifer Anderson and Vernon Lott and tries to make us more aware of the presence of technology in our lives as well as the way we experience an exhibition or art itself. The album is a 42-minutes extraction of the 11-hours journey they went through. Each track is built in a way that makes it possible for the listener to travel from one place to the other, as if you were walking in the museum yourself. In that way, the record can even be perceived as a music documentary.

Being completely instrumental, What the Fog distinguishes itself from their first album in which the voices of both artists held a central place. Nevertheless, in line with an earlier observation from Clash Magazine, the music still combines minimalism and serenity to construct intense pieces of music.

“It presents a moment of calm that uses sparsity to create something quietly intense.” (Clash Magazine on their debut album)

Born in Maine, raised in Oregon, Peter Broderick learned to play several instruments such as piano, banjo and violin. In 2007 he joined the Danish ensemble Efterklang on their tour and had numerous collaborations with artists such as Machinefabriek and Nils Frahm. His most recent release Blackberry was released this August through Erased Tapes. It marked his first vocal album in 5 years and once again showed the variety in his ever growing repertoire.

In a relatively short period of time, Portland-based musician and multi-instrumentalist David Allred showed his songwriting capabilities through several releases on Oscarson and Erased Tapes. Besides his own music, he played as a session musician for several artists and ensembles such as Heather Woods Broderick, Masayoshi Fujita and The Beacon Sound Choir. His most recent album Felt the Transition sees the light late December 2020 through Erased Tapes.

Southern Lord announce Crush The Machine, the debut EP from West Coast hardcore punk collective D.E.A (Dead End America), formed by the late, great Steve "Thee Slayer Hippy" Hanford of Poison Idea, with current and former members of Queens Of The Stone Age, Eyehategod, The Accüsed A.D, World Of Lies, Ape Machine, and more.

Captured before Hanford’s passing earlier this year, D.E.A's debut shall be released on 7" and digital EP on 30th October (Non-Returnable) Recording details, liner notes from Mark Lanegan and more info below.

Crush The Machine sees the primary writers, drummer/vocalist Steve Hanford and guitarist Tony Avila (World of Lies, Why Won't You Die, Aborted Cop, Here's Your Warning) joined by lead guitarist Ian Watts (Ape Machine, Minmae) and bassist/vocalist Nick "Rex Everything" Oliveri (Mondo Generator, The Dwarves, ex-Kyuss, ex-Queens Of The Stone Age), with additional lyrics and vocals from Mike IX Williams (Eyehategod, Corrections House, Outlaw Order) and Blaine Cook (The Accüsed A.D, The Fartz, Toe Tag).

"A perfectly appropriate title for this 7 inch EP of jack-hammering, oldschool style hardcore tunes released by Southern Lord, written and played by a rogues gallery of real deal music lifers as a condemnation of the criminal Trump administration and republican party, in the same spirit of those by-gone days when Ronald Reagan or George Bush was the crooked, self-serving president of the crumbling United States empire. Never before has there been a more obvious target, as Donald Trump and his mafia family cabinet rape the country while Rome burns. D.E.A. is Tony Avila, Ian Watts, Nick Oliveri, Mike IX, Blaine Cook and the legendary and beloved, late producer and drummer of Poison Idea, Steve "Thee Slayer Hippy" Hanford. Dying shortly before the completion of this record, it stands as a final testament to his genius, one last hot-wired blast of his epic musical brilliance."

Mark Lanegan
Los Angeles
August, 2020

In 1990 Neil Hannon started recording and releasing under the name The Divine Comedy. Thirty years and twelve great albums later, Hannon is rightly adjudged one of the finest singer songwriters of his generation. To celebrate, Divine Comedy Records are updating and reissuing the band’s catalogue.

‘Foreverland’ - a record about “meeting your soulmate and living happily ever after... and then what comes after happily ever after” - was first released in 2016. Mojo described it as “Funny, learned and
poignant by turns,” while Uncut said it was “sumptuous, orchestral pop laced with lyrical absurdity.”

The album includes singles ‘Catherine The Great’ ‘How Can You Leave Me On My Own’ and ‘To The Rescue’.

The updated LP edition consists of the original album, packaged with a digital download code for the album plus bonus tracks of demos and alternate versions lovingly curated by Neil Hannon, much of which have never been heard before.

The LP is pressed on heavyweight black vinyl in a gatefold sleeve accompanied with photos, credits and extensive liner notes written by Neil, covering the context and inspiration behind the album and
its songs.

BLIXA SOUNDS is releasing a Special Edition of Miami, the classic 1982 album by punk rock legends The Gun Club.
This Special Edition not only features a remastered version of the original classic album, but also includes a 2nd disc featuring the Miami demos. The 2LP set features a 2nd LP of demos of the 12 songs on the album and the 2CD set features a 2nd CD of the complete 18 song demos.
This classic 1982 album has been digitally re-mastered and comes in beautiful gatefold packaging with extensive liner notes and archival photos and other collectable images.
The Gun Club recorded a few albums after Miami, but this one with the original band is the one that is considered their masterpiece!
Classic 2nd Gun Club album with a complete 2nd CD & LP of the Miami demos, never before released.
Digitally re-mastered from the original tapes.
2CD & 2LP collections come in high quality gatefold packaging that includes extensive liner notes and archival photos and images.

It was inside Jeff Tweedy’s second home, The Loft in Chicago, that Love Is The King was recorded in April of 2020. Surrounded by an assemblage of treasured instruments and loved ones in a world that felt more and more alien by the day.

Out on dBpm Records, Love Is The King, a “beautifully honest ode to love and hope,” is the follow-up to 2018’s WARM and 2019’s WARMER, and comes on the heels of Tweedy’s second book, How To Write One Song, out October 13th via Penguin Random House's Dutton. “At the beginning of the lockdown I started writing country songs to console myself. Folk and country type forms being the shapes that come most easily to me in a comforting way. 'Guess Again' is a good example of the success I was having at pushing the world away, counting my blessings — taking stock in my good fortune to have love in my life,” comments Tweedy. “A few weeks later things began to sound like 'Love Is The King' — a little more frayed around the edges with a lot more fear creeping in. Still hopeful but definitely discovering the limits of my own ability to self soothe." –Jeff Tweedy

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

An amazing session of spiritual soul jazz – and one of the rarest albums on Strata East! Shamek Farrah's soulful alto is matched with the free spiritual piano of Sonelius Smith, for a totally memorable session that virtually defines the essence of the Strata East sound! The music is free, but not too free; lyrical, but never indulgent; and always turning over with a fresh sense of imagination, and a soaring groove that's very much in the classic Strata East mode!

Here is a brand new single from the Radikal Guru's 4th studio album 'Beyond The Borders'. 'Do The Right Thing' features italian vocalist Marina P mainly known for her previous works with Mungo's Hi Fi. Her soulful lyrics are touching on social struggles that we are facing today in our communities. On the musical side Radikal Guru comes with meditative basslines, melodic patterns and arrays of echo chambers and 808's. Backed by two roots style vinyl exclusive remixes made by the Guru himself.

Stevie Nicks’ solo catalog has sold over 103,000 albums in 2019, including 90,000 in physical alone.

The power of her classic legendary hits endures to this day—nearly 2.7 MILLION on demand streams per week, over 150 MILLION total in 2019, and continued radio presence— over 1,700 plays per week / over 8 MILLION audience per week and a staggering nearly 450 MILLION in audience for 2019!

Filmed and recorded in Indianapolis and Pittsburgh in 2017 during the 67 city sold out tour, 24K Gold Live in Concert features her solo hits “Stop Dragging My Heart Around, “Stand Back”, & “Edge Of Seventeen”, as well as Fleetwood Mac’s “Rhiannon” & “Gypsy”.

It also includes the first ever live recording of “Crying In The Night”, and other live rarities.

Stevie Nicks’ solo catalog has sold over 103,000 albums in 2019, including 90,000 in physical alone.

The power of her classic legendary hits endures to this day—nearly 2.7 MILLION on demand streams per week, over 150 MILLION total in 2019, and continued radio presence— over 1,700 plays per week / over 8 MILLION audience per week and a staggering nearly 450 MILLION in audience for 2019!

Filmed and recorded in Indianapolis and Pittsburgh in 2017 during the 67 city sold out tour, 24K Gold Live in Concert features her solo hits “Stop Dragging My Heart Around, “Stand Back”, & “Edge Of Seventeen”, as well as Fleetwood Mac’s “Rhiannon” & “Gypsy”.

It also includes the first ever live recording of “Crying In The Night”, and other live rarities.

After the tremendous success of the first two boxsets of Nuyorican goodies, Rocafort Records heads to Peru for our next instalment of Salsa & Boogaloo treats!

We have compiled six of the finest songs from Alfredito Linares' first two albums, both recorded for Manuel Guerrero's label 'MAG'. 'El Pito Y Otros Exitos' was released in 1968, followed by 'Yo Traigo Boogaloo' in 1969. Both albums are highly sought after and prized by collectors, DJs and music lovers. Not only do they showcase Linares' talents as a pianist, composer, and arranger, but they perfectly capture the infectious rhythms of the era 'con tremendo swing'.

Including liner notes by DJ Timber.

Repress

While our precious scene is going through high restrictions, Marco Bailey who fights for the techno scene since dot one of techno history, strikes back to MATERIA with his new EP "Fight For The Oppressed" featuring 4 high-octane modular analog productions. Currently limited for public expression but fueled with time, space and his usual never-ending motivation, MATERIA's main man keeps giving the one message we all should never stop sharing; techno is a way of life, techno never ends.

A never before issued recording of Horace Tapscott leading his legendary Pan Afrikan Peoples Arkestra, 'Live at Century City Playhouse 9/9/79' documents the entirety of a 2 hours performance, sprawling across glorious 3 LPs, that rises as one of the most beautiful, striking, and historically important records of the year. A joyous explosion of sound, seeded by social, political, and community-based action, at the juncture of spiritual and free jazz, this one's a 10 out of 10 and not to be missed.

'The original Motown album from the history-making March, featuring the “I Have A Dream” speech in crystal clear audio: a special release on 15th January, 2021, Dr. Martin Luther King, Jr.’s birthday, the Friday of MLK Day weekend.