{"title":"Classic Rock \u0026 Folk","description":"","products":[{"product_id":"nick-drake-bryter-layter-1","title":"Nick Drake - Bryter Layter","description":"Island Records presents Nick Drake's second album 'Bryter Layter' in the Back To Black format. The album has been remastered at Abbey Road from master tapes by the album's original engineer John Wood. After crafting a debut album full of beauteous, somber chamber-folk, Nick Drake pulled something of an about-face with the follow-up, 'Bryter Layter'. With a bright, sparkling production and orchestrations that occasionally border on easy listening, the framework is light and airy where 'Five Leaves Left' was dark and foreboding. The key, however, is that Drake's artfully expressed inner turmoil peeks through at every turn in the lyrics and in his understated-but-heartfelt vocal delivery.","brand":"Universal","offers":[{"title":"Default Title","offer_id":20126274977865,"sku":"","price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/Nick_Drake_Bryter_Layter.jpg?v=1564243228"},{"product_id":"maxine-funke-felt","title":"Maxine Funke – Felt","description":"\u003cspan\u003eA joy to see these back in print and with it the opportunity to avoid the ridiculous second hand prices of the OG presses - I'd estimate some people are selling original copies for more than it cost Maxine Funke to make this music. And therein lies part of their charm. If lo-fi means anything at all anymore, then it's this. Effortless, unadorned acoustic laments that seem to naturally radiate from out of Funke. Like turning the eye to a rusty nail, a shiny pebble, a sheet caught in the wind, Funke's music serves as the gentle poetry of the everyday captured in the amber of simple song. But let's not confuse simplicity with the simple. These emotionally cavernous songs carry a true weight, partly because they whisper their truth so as to encourage you to lean in, partly because Funke is compellingly earnest in her delivery so as to make you disregard all else. It takes me back to the golden period of early avant folk of Diane Cluck, Entrance, White Magic, even the atonal psych of Six Organs of Admittance. The profound without the fuss. I'm not going to recommend one over another, because these are two parts of the same expression, and together an essential reflection of why Funke is a maverick outlier of rare esteem.\u003c\/span\u003e","brand":"Cargo","offers":[{"title":"Default Title","offer_id":20171679825993,"sku":"","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/Maxine_Funke_-_Felt.jpg?v=1565692305"},{"product_id":"maxine-funke-lace","title":"Maxine Funke – Lace","description":"\u003cspan\u003eA joy to see these back in print and with it the opportunity to avoid the ridiculous second hand prices of the OG presses - I'd estimate some people are selling original copies for more than it cost Maxine Funke to make this music. And therein lies part of their charm. If lo-fi means anything at all anymore, then it's this. Effortless, unadorned acoustic laments that seem to naturally radiate from out of Funke. Like turning the eye to a rusty nail, a shiny pebble, a sheet caught in the wind, Funke's music serves as the gentle poetry of the everyday captured in the amber of simple song. But let's not confuse simplicity with the simple. These emotionally cavernous songs carry a true weight, partly because they whisper their truth so as to encourage you to lean in, partly because Funke is compellingly earnest in her delivery so as to make you disregard all else. It takes me back to the golden period of early avant folk of Diane Cluck, Entrance, White Magic, even the atonal psych of Six Organs of Admittance. The profound without the fuss. I'm not going to recommend one over another, because these are two parts of the same expression, and together an essential reflection of why Funke is a maverick outlier of rare esteem.\u003c\/span\u003e","brand":"Cargo","offers":[{"title":"Default Title","offer_id":20171688509513,"sku":"","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/Maxine_Funke_-_Lace.jpg?v=1565693002"},{"product_id":"nick-drake-pink-moon","title":"Nick Drake - Pink Moon","description":"The results of Nick Drake's solo sessions were as harrowing and stark as anything by Robert Johnson or Charley Patton. enclosed in an inner world of psychological distress, Drake recorded 'Pink Moon's dispatches from a private hell that was simultaneously terrifying and beautiful. Both the lyrics and the melodic motifs are pared to the bone here, their simplicity making them all the more immediately striking. This was the end of the road for Nick Drake in more ways than one, but just the beginning for the scores of songwriters subsequently inspired by his bleak-but-beautiful visions.","brand":"Universal","offers":[{"title":"Default Title","offer_id":30101124415561,"sku":"","price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/Nick-Drake-Pink-Moon-Album-Cover-web-optimised-820.jpg?v=1568811946"},{"product_id":"mirry-s-t","title":"Mirry - s\/t","description":"The discovery and musical re-imagining of Mirabel Lomer – an artist’s unheard world which is emerging from the shadows into the light. Mirry is one of those rare projects where the story seems so absolutely magical, that it’s almost impossible to imagine such beauty being lost in the shadows for so long.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e30 years ago, Edinburgh based musician Tom Fraser was helping with the house clearance after his grandfather’s death and found an old scratched Transco record left out on the street. He took it home where it sat on a shelf for years until one day during lockdown, he gave it a play - and a whole world opened up to him - his Great Aunt Mirry had recorded a number of piano compositions which she had kept secret from her family. Since then, Tom has been re-working and re-mixing her compositions with his brother-in- law Simon Tong (The Verve, The Good the Bad and the Queen, and The Magnetic North) and together with project curator Kirsteen McNish they hope that this secret life will now reach beyond Mirry’s own four walls.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMirabel Lomer was born in 1906 to a military family and for the best part of her life stayed at home in Ireland looking after her elderly parents. In the early 1950s she became a paid companion to another elderly couple in Wiltshire, both of whom she nursed until they died. While most of her life was spent caring for others it also transpired that Mirry had written music (despite the fact that as a young woman, her father actively discouraged her playing music in the family home). In quiet rebellion and creative escape, she composed this piano music secretly and her nephew and confidant Geoffrey captured it on his tape recorder.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLike untold numbers of women whose creative lives didnt find an outlet, Mirry never received any accolades for her work but enjoyed the act of creating work for herself. She died in the 1980s but the story of Mirry’s music and secret life is still unfolding.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe resulting album Mirry by Fraser and Tong is a celebration of Mirry’s work and a call and response to her original recordings with her family members – almost as if she were still in a room with them.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSince then Tong has retrieved whatever else he could find in the family attic. Hundreds of Stereoscopic slides, super-8 films, photography, stories, poetry and further recordings were found, all recorded by her nephew, (now in his nineties) who believes Mirry would be delighted that her work would be heard many years down the line.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTong said “This project hopes to shine a light on carers, and how ones creative work can live on and continue to reverberate and evolve long after it’s original conception”\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Forte","offers":[{"title":"Default Title","offer_id":39284468285521,"sku":"","price":22.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/Screenshot2021-03-18at15.01.57.png?v=1616079813"},{"product_id":"alasdair-roberts-og-volvur-the-old-fabled-river","title":"Alasdair Roberts og Volvur - The Old Fabled River","description":"A meetings of minds and cultures well-suited to the Alasdair Roberts’ syncretic fervor: responding to the invitation of Norwegian fiddler Hans Kjorstad, he found a group of musicians well-versed in folk, jazz and free-playing. Their diverse musics deeply inform this collection of Roberts’ originals and Scottish and Norwegian traditional song.","brand":"Pias","offers":[{"title":"Default Title","offer_id":39444379402321,"sku":"","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/AlasdairRobertsogVolvur-TheOldFabledRiver.jpg?v=1626880987"},{"product_id":"kath-bloom-long-way-to-go-home-7","title":"Kath Bloom - Long Way To Go Home 7\"","description":"Kath Bloom's first releases, back in the 70s, arrived via Dagget, a tiny imprint outta New Haven that also provided a home for Loren Connors and their collaborations. It's fitting, then, that 40 years later Bloom should find herself issuing a record on C\/Site, another (newer) New Haven label with a familial feel. Not such a long way to go home, i suppose... On these new songs, Bloom is joined by David Shapiro, a guitarist who's appeared on numerous C\/Site-related projects. The connection is something near psychic, the pair dovetailing with an effortless poise, emotionally expressive as Bloom always is, and timeless, too - i guess we now call that 'classic'. Shapiro clearly understands what makes Bloom a miraculous writer and performer, and his role is sensitively realised, offering the light shading and shadowing around her melody. Just the three songs (although taken from a longer session that birthed a full length record released last year, if you want\/need more of this), but something more infinite and enduring, a sea of thoughts before and beyond them. Edition of 300.","brand":"Discreet","offers":[{"title":"Default Title","offer_id":39638077833297,"sku":"","price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/a2361725778_16.jpg?v=1638357241"},{"product_id":"angel-olsen-karen-dalton-something-on-your-mind","title":"Angel Olsen \/ Karen Dalton - Something On Your Mind","description":"Angel Olsen covers Something On Your Mind, while Karen Dalton’s version is found on the flip. The latest release in Light in the Attic’s 7\" Covers Series. Artwork by Los Angeles-based fine artist Robbie Simon.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAngel Olsen’s gorgeous cover of Karen Dalton’s moving interpretation of Something On Your Mind, is a song that enduringly underscores the unspoken thoughts, painful truths and buried emotions between people and within oneself. Thematically, the song is universal and resonates as much with listeners today emerging from a post-pandemic world as it did for Karen Dalton when she first recorded it in 1971 for her second and final studio album, In My Own Time. “‘Something On Your Mind’ for me is about letting yourself face something that keeps setting you back,” says Angel Olsen, who has come to the forefront of Karen Dalton appreciators around the world, both in her contribution of this new interpretation and as the voice of Dalton’s personal journals in the recent documentary, Karen Dalton: In My Own Time. As part of the latest installment of Light in the Attic’s long-running cover series, Angel’s cover is found on the a-side, while the flip includes Karen’s 1971 version.\u003cbr data-mce-fragment=\"1\"\u003e","brand":"SRD","offers":[{"title":"Default Title","offer_id":39806573510737,"sku":"","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/AngelOlsenKarenDalton-SomethingOnYourMind.jpg?v=1646841665"},{"product_id":"blod-leendet-fr-n-helvetet","title":"Blod - Leendet Från Helvetet","description":"\u003cp\u003eFor reasons that are beyond my comprehension, Aguirre's planned reissues of a few of the records from the Forlag For Fri Musik archive are arriving out of sync and with an unpredictable irregularity. This reissue of Blod's 2017 LP was due to land at the same time as the equally excellent Knutna Navar, though the benefit of them being separated does allow for due reflection of their individual merits. What Leendet Från Helvetet mostly reveals is the elastic and ever-shifting nature of the Blod universe. If the aforementioned Knutna Navar leaned into Swedish progg folk and Kiwi underground pop, and the most recent record, released earlier this year, was an exploration of Swedish Christian church song, then Leendet... is Gustaf Dicksson's wilful hybridisation of free jazz, field recordings, and as is a Blod staple by this stage, private press folk emissaries. Because it's not committed to one specific aesthetic, like say other Blod albums Pilgrimssånger or Livets Ord, Leendet... is perhaps the most explorative of Blod long players, moving around at odd whims and engaging disparate frequencies. It's at once freeform and then melodically linear, almost Faust-like in the uniting of avant and trad disciplines. As much as they move around, for the most part Blod, and especially so on this record, sound like professedly Swedish music, music designed to express various historical iterations of Swedish identity and culture and experience. What that ultimately means, i don't know, but it does make for a body of work that feels avowedly singular. Though there's a lot of Blod records at this point (and in such a short space of time), Leendet Fran Helvetet is another essential piece in a puzzle i've a feeling is some way off being complete.\u003c\/p\u003e","brand":"Cargo","offers":[{"title":"Default Title","offer_id":39944527183953,"sku":"","price":29.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/Blod-LeendetFranHelvetet.jpg?v=1654002224"},{"product_id":"enhet-f-r-fri-musik-dokument-1-improvisationer-och-bandmusik-f-r-vilt-dansande-sj-la","title":"Enhet För Fri Musik - Dokument 1: Improvisationer Och Bandmusik För Vilt Dansande Själa","description":"These recent Aguirre reissues have been arriving in dribs dabs, and of course the one i've been waiting on most excitedly comes last. What sins must i have indulged in a former life to deserve such a fate? Enhet För Fri Musik are essentially ground zero for the current Gothenburg set, and the appropriately titled Dokument 1 something close to being its first key text. Much of what's come since has leaned heavily into DIY\/avant folk abstraction, so it's interesting that on their first outing Enhet För Fri Musik were actually leaning in a slightly different direction. If anything, they were actually leaning backwards for inspiration, rather than into the future that in 2015 was still some way to come. A four piece then, consisting of the now familiar names of Sofie Herner (Neutral), Hugo Randulv (Amateur Hour), Dan Johansson (Sewer Election++) and Gustaf Dicksson (Blod), the sound they made on Dokument 1 seemed to speak more to the no wave\/industrial elements of pre-Discreet label Release the Bats, while also incorporating a pronounced free jazz influence that probably marked the first significant seachange in contemporary Gothenburg music. The atonal aspects of no wave and the boundaryless nature of free jazz make good bedfellows, though there's certainly nothing obvious or route here. There's a hard-to-guess-at DIY unpredictability on show, certainly lo-fi, but also explorative and convention-shredding. The music they were to make after this was probably more radical, though i have to say that given the volume of folk-indebted underground music around right now, it's actually really refreshing to hear something as abrasive as this. I dare say many people heard Dokument 1 on first release in 2015, though seven years on it makes a sterling second attempt at sounding out of sync and, as a consequence, ahead of everyone else. Evidence, i suppose, that if you wait long enough you get there in the end.","brand":"Cargo","offers":[{"title":"Default Title","offer_id":39944529510481,"sku":"","price":29.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/EnhetForFriMusik-Dokument1-ImprovisationerOchBandmusikForViltDansandeSjala.jpg?v=1654002379"},{"product_id":"all-in-one-s-t","title":"All in One - s\/t","description":"\u003cp\u003eLimited to 500 copies - with embossed sleeve and obi-strip.\u003c\/p\u003e\n\u003cp\u003eIn late 1968 or early 1969, a six-piece group walked into a Chicago recording studio to record an album. As they weren’t signed to a label, they had made the booking themselves. The group featured three singers, all female. One of whom also played acoustic guitar. There was also double-bass player and a drummer, both male. A female guitarist filled out the band. After the tapes had finished rolling, what was recorded was quickly pressed onto an album: a private pressing, organised and paid for by the band. Not many copies were made, perhaps 100, maybe 500. The albums were sold at live shows or given to friends and relatives. And that was it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe band was called All In One, and the outline of their story is similar to many do-it-yourself musicians from the Sixties and later who wanted to document their existence, what they sounded like. It’s good to have a physical object saying “here we are, this is what we do.” During the Seventies punk era, it’s what Buzzcocks did with their Spiral Scratch EP. Taking the DIY path had precedents.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt was an approach which meant there was no mediation. Control was in the hands of those being recorded. Naturally, these obscure and rare records can attract interest. Some Sixties examples, like All In One’s untitled album, are great and need to be heard more widely. This first-ever reissue reveals the band to have been mysteriously spectral, with an intensity which would have been reined in had they been on a mainstream label and given a regular production. The rough edges would have been smoothed off. From its opening moments, the album telegraphs that All In One were uncultivated: a band in the raw, and one with its own ideas of its identity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe recording took place at Boulevard Studios, on the edge of central Chicago (early on, the building housed the Chicago Historical Society: it was constructed in 1892. In the second half of the 1980s, it housed The Limelight Club). Boulevard itself was independent and on the edge of Chicago’s music business. Anyone could hire the facility and All In One were amongst the clients who walked through the door. Vee Jay Records used it in the 1950s, as did the blues-jazz-vocal label United. Rockabilly singer Sparkle Moore recorded there too. The Crestones’ 1964 garage rock classic She’s A Bad Motorcycle was made at Boulevard. The Chicago religious publisher F. E. L. Church Publications Ltd hired Boulevard in 1968 to make Sarah Hershberg’s Women Of The Old Testament album.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBoulevard had no tie-in pressing facility, so the band would have organised that themselves. The plain orange front cover of the original album suggests the budget was limited. Why orange? Why not put the photos of the band on the front rather than the back? Yet despite what can be gleaned about All In One and their world, they remain out of reach, ultimately unknowable, as enigmatic as the album’s cover. Presumably they were from Chicago. Maybe all five band members look back fondly on their album and time in the studio. Perhaps the reappearance of their affecting album will jog memories? It is feasible that All In One may, now, step out the shadows to become tangible.\u003c\/p\u003e","brand":"Bella Union","offers":[{"title":"Default Title","offer_id":40028509110353,"sku":"","price":31.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/AllinOne-st.jpg?v=1658411241"},{"product_id":"alison-cotton-the-portrait-you-painted-of-me","title":"Alison Cotton - The Portrait You Painted Of Me","description":"Alison Cotton with The Portrait You Painted of Me, a new 6-track album – her first for Rocket Recordings (released on Feeding Tube in the USA). Like Alison’s previous solo albums, the touchstones of her immersive sound are viola, harmonium and voice, merged together to create a rich suite of songs. ‘Mumurations Over the Moor’ is a wordless piece of layered vocals, drifting like fog towards a sunset over the green undulations of North East England (from where she hails). ‘The Last Wooden Ship’ evokes the shipyards of Sunderland using droning harmonium and viola lines, laced with piano and percussion events, while her voice calls out like one of Tim Buckley’s Sirens urging listeners to a rocky demise. ‘I Buried the Candlesticks’ has a haunted, traditional feel with its dolorously folky viola melody laid across a thick carpet harmonium, and small bursts of percussion that sound like cannonade heard through the thick cold walls of a castle in winter. ‘That Tunnel Underground Seemed Neverending’ is a musical vision of Northumberland’s mining culture at the dawn of the 20th Century - labyrinthine, subterranean, dimmer than night. ‘Violet May’, the only traditional “song” on the album, was inspired by a trip to Vita Sackville-West’s Sissinghurst Castle.","brand":"Pias","offers":[{"title":"Default Title","offer_id":40179209896017,"sku":"","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/AlisonCotton-ThePortraitYouPaintedOfMe.jpg?v=1664462103"},{"product_id":"genghis-cohn-in-the-flesh","title":"Genghis Cohn - In The Flesh","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eCassette\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe midnight hordes descend on this latest collection from Genghis Cohn, a mulch of lo-fi guitar-based murmurings and outsider weariness that feels a lot like the product of someone who's been awake to see the sun come up a good few times. The other Genghis Cohn output i've heard was mostly built from abstract noise murk, but In The Flesh is what you might passably classify as 'more song-based'. I understand that's a weird qualification in itself (and the context of WOE), though it's worth being clear there's singing and melody very much discernible here, even if the song structures drift in a first thought\/best thought diaristic manner. Surrealist lyrics, deadpan vocals and folk and\/or blues-derived guitar figures butt up against short passages of field recordings and tape hiss drone, kinda like Chris Knox demos heard transmitted from six feet under or through a Lovecraftian portal. Which i guess makes this half dead and alien. Right on. Highly perverse and infectious activity, of which we encourage a whole lot more of.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/pqLlHBnvywA\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Gilgul","offers":[{"title":"Default Title","offer_id":40182763356241,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/a0070767487_16.jpg?v=1664634891"},{"product_id":"arthur-russell-corn-1","title":"Arthur Russell - Corn","description":"\u003cp\u003eReissue on Rough Trade\u003c\/p\u003e\n\u003cp\u003eThese reissues represent the latest in a series in partnership with Audika Records who since 2004 have compiled and published the exceptionally varied, long sought-after music of Arthur Russell, and who in the process have helped the beloved, late artist find the broader audience he always believed he would reach. A new generation of listeners and critics has come to appreciate Russell as a visionary and an influence upon a broad range of today’s most compelling musical artists. Arthur Russell’s acclaimed albums ‘Love Is Overtaking Me’ and ‘Corn’ will now both be made available on vinyl in the UK\/EU for the first time.\u003cbr\u003e \u003cbr\u003eCorn, originally released in 2015, features nine tracks Russell recorded in 1982 and 1983. In collaboration with Russell’s partner Tom Lee, Audika’s Steve Knutson compiled Corn from Arthur’s original, completed 1\/4” tape masters. Russell himself compiled this material on three separate test pressings—labelled El Dinosaur, Indian Ocean, and Untitled, respectively— in 1985. \u003cbr\u003e\u003cbr\u003eRussell fans know something of the Corn sound from Audika’s debut release, ‘Calling Out of Context’ (2004), which included four songs from these sessions: ‘The Deer In The Forest Part 1,’ ‘The Platform on the Ocean,’ ‘Calling Out Of Context,’ and ‘I Like You!’ \u003cbr\u003e\u003cbr\u003eThis new collection includes rhythmic alternate versions of ‘Lucky Cloud,’ ‘Keeping Up,’ ‘See My Brother, He’s Jumping Out (Let’s Go Swimming #2),’ ‘This Is How We Walk on the Moon,’ and ‘Hiding Your Present From You,’ along with ‘Corn,’ ‘Corn (Continued),’ ‘They and Their Friends,’ and the closing instrumental ‘Ocean Movie,’ one of the most beautiful and curious Russell tracks ever to see the light of day.\u003c\/p\u003e","brand":"Pias","offers":[{"title":"Default Title","offer_id":40237314768977,"sku":"","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/Corn_169ee36a.webp?v=1667410352"},{"product_id":"the-strange-girls-its-ok-to-be-happy","title":"The Strange Girls - It's OK To Be Happy","description":"Following the incredible \u003ca href=\"https:\/\/worldofechomusic.com\/products\/the-dress-s-t\" target=\"_blank\"\u003eDress\u003c\/a\u003e reissue a month or so ago, Fördämning Arkiv pull another lost treat from the NZ underground (how many times must i type that phrase? Endlessly, i hope) with this mostly previously unheard set of recordings from Clayton Noone (Claypipe, Armpit++), Kaaterama \"Motty\" Morehu and Jon Arcus's The Strange Girls project. Outta Dunedin and so with some heritage of peculiar guitar-based transgressions to draw on, it's perhaps fellow townfolk Dadamah with which they share most commonality, rather than the more typical aberrations of Flying Nun pop associated with the place. The Strange Girls make a pretty racket alright, slo-mo six string distortions buoyed by swaying and sometimes narcotised lullaby vocals, often building to cathartic release. There's definitely trace elements of Roy Montgomery's ecstatic playing present here (see Thug or Mood for prime example), and you might even think of them as a slightly more strident version of the Garbage and the Flowers, melodious and sprawling in equal measure. In fact, since at least a good few of these songs are live recordings, the comparison with tGatF's Stoned Rehearsal seems apt, free-rock improvisation with a soft-toned centre. Nothing i don't love here, but the title track is of particular note, Peter Jefferies Electricity closed out with a rock n roll nirvana coda. Downer and out down under. Oof. Inspiring stuff as ever.","brand":"Discreet","offers":[{"title":"Default Title","offer_id":44080882024762,"sku":"","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/TheStrangeGirls-It_sOKToBeHappy.jpg?v=1669655697"},{"product_id":"nancy-sinatra-lee-hazlewood-nancy-and-lee-again","title":"Nancy Sinatra \u0026 Lee Hazlewood - Nancy and Lee Again","description":"\u003cp\u003eWhite Vinyl, with 20 page booklet\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLight in the Attic Records present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy and Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, Nancy and Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.\u003cbr\u003e\u003cbr\u003eIncludes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”. Newly remastered from the original analog tapes by Grammy®-nominated engineer John Baldwin,\u003c\/p\u003e","brand":"SRD","offers":[{"title":"Default Title","offer_id":44857901547834,"sku":"","price":37.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/products\/NancySinatra_LeeHazlewood-NancyandLeeAgain.webp?v=1680622855"},{"product_id":"nancy-andrews-linda-smith-a-passing-cloud","title":"Nancy Andrews \u0026 Linda Smith - A Passing Cloud","description":"New collection of decade spanning tracks from DIY icon, Linda Smith, and former housemate \u0026amp; collaborator, Nancy Andrews. Their shared story runs back 40 years to 1983 when the pair lived together in a large house in Baltimore alongside a number of other creatives. What Smith did after this has now passed into semi-legend thanks to Sky Girl and various archival endeavours. Nancy Andrews' story isn't really documented in the same way having pursued a career as animator and filmmaker rather than musician. Regardless, what A Passing Cloud does most markedly is speak of enduring friendship, community and a shared vision. These twelve tracks originally stem from a set of Andrews' recordings from the early 90s that Smith re-discovered recently, thus setting off a chain events which saw the two collaborate remotely over time during the pandemic, re-writing and refining the originals using lyrics lifted from a range of unpublished pulp fiction by Andrews. There's a charming purity to the results, songs that very much sound transmitted from a lost era, a product of the 90s US underground and replete with its independent spirit and guile. Released then when they were first written, would they have been considered grunge-adjacent? Possibly, but then only if you see luminaries such as Mary Lou Lord, Tanya Donelly and the Deal sisters in the same way i guess. Which means we're talking strong female voices with a defined sense of self and tenacity to sidestep convention and expectation. 40 years in the game, Smith and Andrews still show themselves as torch bearers for that ideal.","brand":"Forte","offers":[{"title":"Default Title","offer_id":45023533990202,"sku":"","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/NancyAndrews_LindaSmith-APassingCloud.webp?v=1682517812"},{"product_id":"beverly-glenn-copeland-s-t","title":"Beverly Glenn Copeland - s\/t","description":"Long out of print Second 70's recording from Beverly Glenn Copeland and widely sought after by collectors classic album - remastered and re-cut for this release by Guy Davie, featuring \"Color of Anyhow\" and \"Erzili\".","brand":"Pias","offers":[{"title":"Default Title","offer_id":45540034609466,"sku":"","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/Beverly_Glenn-Copeland_04228605_thumbnail_2048.webp?v=1688478545"},{"product_id":"stepanida-borisova-pavel-fajt-algys","title":"Stepanida Borisova, Pavel Fajt – Algys","description":"200 copies, milk coloured vinyl with photo \/ sleevenote inner sleeve and obi.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eStepanida Borisova is an outstanding singer from the republic of Sakha-Yakutia, Siberia, and its most reknowned exponent of folk theatre. As a singer, Stepanida performs in many different styles of traditional Sakha singing. She is mostly known as a performer of poems - tojuks, one of the genres of Sakha storytelling folklore. Tojuks, long with other genres of singing, form the core of the Sakha epic Olonkho, an anthology of supernatural and heroic legends and fables, an absolute essence of Sakha poetic and vocal expression.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHer signature style of singing is \"enelgen\", a disturbing and somewhat dark yet mesmerising, ecstatic, meditative and improvisational style, conveying a very intimate and personal feeling of love, loneliness or longing. \"Music puts restrictions on you. It puts you in the mould. But the real life is different. Without thinking about musicality and form, one must sing what one feels\" Stepanida Borisova comments on her art and performance.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDuring her long career, her desire to break out of the restrictions of tradition and to expand her sound, led her to perform with musicians from many different cultures - Europe, Middle East and Asia. But of all Stepanida's collaborations, the duo with the Czech drummer and composer Pavel Fajt is undoubtedly the most long standing and well documented project.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFajt, with his relentless desire for experimentation and musical challenge, is probably one of the most reknowned musicians on the Czech alternative rock\/jazz scene. With his musical career starting in the early 1980s, he was crucal in laying the foundations of the Czech folk\/rock movement, first with legendary rock band Dunaj, then moving on to work with the violin player and singer Iva Bittova, guitarist Fred Frith, Jim Meneses and many other musicians.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe soaring spiritual dialogue between the two free spirits in music began with a run of successful concerts and a TV debut in Prague in 1998 and still continues. Stepanida's stunning embodiment of the ecstatic female shaman, Pavel's vibrant and expressive drumming manner - combined with the theatrical background and performing experience of both - make an amazing spectacle of sound and vision, in which all the colours of Stepanida's unearthly and powerful voice are neatly dovetailed into Pavel's ornamentation of beats and rhythm.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe songs presented on this album were recorded in Brno in 2002 and are finally seeing their first vinyl release.","brand":"Japan Blues","offers":[{"title":"Default Title","offer_id":45729647755578,"sku":"","price":27.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/algyys.jpg?v=1689769021"},{"product_id":"elliott-smith-either-or","title":"Elliott Smith - Either \/ Or","description":"Hailed as a \"future folk hero\" by Alternative Press, Elliott Smith's Either \/ Or represents a stylistic and songwriting breakthrough, taking it to the \"next level,\" creatively speaking. This singer \/ songwriter can say more with a whisper than most folks can with a scream. The gently insinuating despair of Smith's work communicates volumes about the heartbreak and alienation that is the bane of 20th century boys with too much time on their hands.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn Either \/ Or, Smith observes a production ethic that retains a lo-fi looseness without sacrificing any sonic clarity. His songs of loss and loneliness have the broken-poet aura of Smog or Mark Eitzel, but he offsets the gloom with a hatful of damnably catchy melodies and progressions, turning suffering into pop and making it signify.","brand":"Little Amber","offers":[{"title":"Default Title","offer_id":45729804452154,"sku":"","price":32.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/eitheror.webp?v=1689770396"},{"product_id":"anthony-milton-more-small-songs","title":"Antony Milton - More Small Songs","description":"Vital Aotearoan\/NZ zine What Lies Beneath extends its label operations a length further with its maiden LP release, bringing to vinyl for the first time a short and sweetly compelling collection from Antony Milton, originally made available in 2021. If you follow NZ underground music only half as closely as readers of What Lies Beneath must, you'll likely know this to be significant news, as very rarely in Milton's decades long history of music making have his songs found a place outside of micro edition cassettes, CD-rs and lathes. Strange it should be this way, since Milton's music has wider appeal, an obvious extension of Xpressway and the fringe elements of Flying Nun, things we know to have very attentive audiences. On these five songs, Milton is in quiet, introverted form, his low hum of a voice accompanied by little more than the delicate strum of nylon strings and and the mournful drone of violin, and the sense that even he didn't think this music might one day make its way to a wider set of ears. There's the same off-hand intimacy as present on the early Maxine Funke recordings, albeit more tortured in a Kitchen Cynics kinda way, and you can feel the pulse of NZ underground mystique throughout, that same thread that runs through Peter Jefferies, Alistair Galbraith, Stefan Neville and right now up to William H. Meung (no surprise Meung and Milton have both separately provided for focus of compilation CDs issued by Slung). By anyone's estimation, that's gold standard company to be keeping. Milton's fully deserving of the associations and a lot more attention to be directed his way.","brand":"What Lies Beneath","offers":[{"title":"Default Title","offer_id":46531458433338,"sku":"","price":29.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/WLB6.jpg?v=1693327425"},{"product_id":"dopelganger-sainen-hildo","title":"Dopelganger - Sainen Hildo","description":"Dopelganger is the project in collaboration between classically trained accordion player and singer Garazi Navas (Usansolo, Bizkaia-Biscay, 1995) and Miguel A. Garcia (Vitoria-Gasteiz), an artist living in Bilbao with an extensive career in the fields of experimental music and sound art.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSainen Hildo is an album based on Miguel’s original compositions, recomposed and rearranged for accordion and voice by the two composers. Using the natural resonance and harmonics of these two instruments to influence their introspective interactions, resulting in evolving drones and tones and puzzling percussive outbursts. Unusual and at times unsettling, they manage to create a calibrated, deep and complex exploratory universe of ambience and drone where listening becomes a ritual. Highest recommendation for fans of Pauline Oliveros, Eliane Radigue or Phill Niblock.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGarazi Navas was classically trained at Musikene School of Music in San Sebastian with a masters in traditional music, Garazi, is a restless accordionist who, despite her young age, has taken part in a multitude of projects in theater, poetry, ballet, art installations and even playing with the Bilbao Symphony Orchestra. Her works are a personal interpretation of the close relationship which she feels exists between cutting-edge and traditional music.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMiguel A. García has performed extensively in Europe, America and Asia, both as a solo artist, improvising and in multiple ensembles. He has collaborated with dozens of artists (Al Karpenter, Jean Luc Guionnet, Sébastien Branche...) in studio and live, and appeared in more than a hundred albums. At the same time, he is organizer and curator of events, being founder of Club Le Larraskito, director of Zarata Fest, and part of the coordination of the cycle Hotsetan at Azkuna Zentroa itself.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAcrylic painting on heavyweight paper by Maite Mugerza Ronse. Limited edition of 300 black vinyl LP’s housed in a coloured matt laminated cover.","brand":"central bazaar","offers":[{"title":"Default Title","offer_id":47338463723834,"sku":"","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/Dopelganger-SainenHildo.jpg?v=1701964036"},{"product_id":"linda-smith-nothing-else-matters","title":"Linda Smith - Nothing Else Matters","description":"\u003cp\u003eSee also: \u003ca href=\"https:\/\/worldofechomusic.com\/products\/linda-smith-i-so-liked-spring\" target=\"_blank\" rel=\"noopener\"\u003eLinda Smith - I So Liked Spring\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eOlive Green vinyl\u003c\/p\u003e\n\u003cp\u003eCaptured Tracks continues its rework of the Linda Smith catalogue with these first time vinyl pressings of two crucial works from her mid 90s period. Smith has never really stopped, and equally, she's never really been anything other than charmingly great, but there's probably a reason why CT has turned to these two albums first. I So Liked Spring shares a title with what has become Smith's most celebrated song, first coming to wider attention having been featured on the much-loved Sky Girl compilation over half a decade ago. Surrounded by multiple highlights, that song nonetheless stood out as particularly special, a uniquely poetic rendering of loss and longing drawn along by a quietly affecting vocal and submerged recording quality that implied a half memory painfully recalled. It's an inviting introduction to both these records, though doesn't fully capture Smith's wider songwriting prowess, which is as whip smart, humourous and exploratory as it is emotionally affecting. Home recording is central to her sound, not simply for obvious reasons of fidelity\/intimacy, but more so as it allows for an off-the-clock exploration of ideas and impulses - things have a tendency to take unexpected turns when you're not so worried about time. Though recorded at her home in Baltimore, both Nothing Else Matters and I So Liked Spring (of which the lyrics for the latter are taken from the work of poet Charlotte Mew) sound like New York composites, variously folding in influences from the Velvets, east village folk, new wave and the proto-indie jangle of the Feelies and the Necessaries. And as melodic as these songs are, they're also unpredictable, flecked with mysterious and vaguely gothic undertones that float around the same darkened margins as someone like Peter Jefferies - in fact, there's more than a little shared spirit with her NZ contemporaries. A margin-dwelling, home recording pioneer channeling the energy of New York bohemia and the NZ underground? When you put it like that, it's hard to view these two records (and Smith herself for that matter) as anything other than borderline essential.\u003c\/p\u003e","brand":"Republic","offers":[{"title":"Default Title","offer_id":47497075622202,"sku":"","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/LindaSmith-NothingElseMatters.webp?v=1705060506"},{"product_id":"melanie-stoneground-words","title":"Melanie - Stoneground Words","description":"Woodstock and Glastonbury Fayre icon Melanie had been working with Easy Action on the deluxe vinyl and CD rerelease of one of the most legendary albums in her long catalogue prior to her very sad passing. In 1972, Melanie and her producer and husband Peter Schekeryk began work on what she intended to be her most ambitious album yet. Stoneground Words was to be a double album - the first such statement from any female rock artist. It would also be the first worldwide release on Neighborhood Records, the label she and Schekeryk established in 1971 - another first, as she entered territory into which only the Beatles, the Stones and the Moody Blues had previously stepped. Even more crucially, however, it was her personal response to the enormous success, earlier in the year, of the hit “Brand New Key” - “the bicycle song,” as so many people recall it. Stoneground Words returned to the drawing board. Ten songs were selected; the remainder were placed to one side; and the album was released to generally positive reviews which included Melody Maker’s assertion that it was “the most sophisticated she's made. The naiveté of [the past has] been replaced by deeper, more comprehensive methods of expression.” She is the first to admit that the new edition of Stoneground Words is not a true facsimile of the original. The paperwork for all three projects, after all, disappeared long ago, as did the tapes (“who knows where?”).","brand":"Pias","offers":[{"title":"Default Title","offer_id":48368115548474,"sku":"","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/Melanie-StonegroundWords.webp?v=1713888441"},{"product_id":"bill-mackay-locust-land","title":"Bill Mackay - Locust Land","description":"\u003cp\u003eLocust Land is the latest album by Bill Mackay, released by Drag City. This captivating collection of songs showcases Mackay's unique blend of folk, Americana, and experimental music. With intricate guitar work and emotive storytelling, Locust Land takes listeners on a journey through landscapes both familiar and otherworldly. Mackay's skillful musicianship shines through in each track, creating a sonic tapestry that is both soothing and thought-provoking.The album features a diverse range of musical influences, from traditional folk melodies to avant-garde soundscapes. Mackay's innovative approach to songwriting results in a sound that is at once timeless and contemporary. Listeners will find themselves drawn into the rich textures and evocative lyrics of Locust Land, exploring themes of nature, love, and the passage of time. Each song unfolds like a chapter in a novel, inviting deeper reflection with every listen.Overall, Locust Land is a masterful work that showcases Bill Mackay's talent as both a musician and a storyteller. With its haunting melodies and poetic lyrics, this album is sure to resonate with fans of indie folk and experimental music alike.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Pias","offers":[{"title":"Default Title","offer_id":48615729856826,"sku":"","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/BillMackay-LocustLand.webp?v=1716293963"},{"product_id":"the-troubled-times-the-latest-poll","title":"The Troubled Times - The Latest Poll","description":"\u003cp\u003e\u003cstrong\u003eCassette\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Latest Poll is also the debut release for the new Troubled Times Tapes imprint which will be releasing music by, and associated with, The Troubled Times.\u003cbr\u003eA rare session out of Antony's garage and into his lounge due to the frigid winter conditions. We also left our regular instruments behind and played mainly what was at hand there resulting in a completely different sound.\u003c\/p\u003e\n\u003cp\u003eDavid played Dave's cheap toy electronic drum kit. Dave played acoustic guitar, banjo and clarinet through his effect rig into a tiny amp and Antony played casio keyboard, banjo and contact miked nylon string guitar through his home stereo.\u003cbr\u003e\u003cbr\u003eThe result is a freakish free-folk psychedelic synth pop shambles that also somehow creates a comfy abode, a shelter from the stormy stormy night.\u003c\/p\u003e","brand":"Antony Milton","offers":[{"title":"Default Title","offer_id":49094688440634,"sku":null,"price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/a0271979373_16.jpg?v=1721400423"},{"product_id":"stefan-christensen-in-time","title":"Stefan Christensen - In Time","description":"\u003cp\u003eWorld of Echo alumni Stefan Christensen is back with a three-years-in-the-making long player that makes good use of his hometown's current hotbed of talent by enlisting the help of all the members from both Headroom and Mountain Movers. Unsurprisingly, the results are noticeably less sparse than on previous record, Cheap Things, and on the two longest pieces here, 'Wishes For My Well' and the title track, verge on the ecstatic. New Haven has history for preaching the virtues of rock nirvana, and Christensen and his range of bandmates frequently sound in thrall of the concept, finding their own sweet spot between the rock n roll dissonance of Les Rallizes Denudes, Parson Sound's euphoric squall and the heavenly meeting point of Sonic Youth and Neil Young (and I don't just mean Arc \u0026amp; Weld, but I don't not mean it either). The aforementioned title track is a particular highlight and maybe Christensen's best song to date, all Thurston Moore-style doleful lamentation and reaching for the Eternal guitar heroics that show an expert hand in tension and release. A 14 minute stretch and coda could still go on longer if it dared. Or you can just pick up the needle and reload again, as I've done repeatedly this week.\u003c\/p\u003e\n\u003cp\u003eAlso in from C-Site this week is the latest powerpopping Thin Lizzy spirited, Modern Lovers channelling rocker from fellow New Haven-ers, \u003ca href=\"https:\/\/worldofechomusic.com\/products\/shirese-hardly-cricket\" target=\"_blank\" rel=\"noopener\"\u003eShirese\u003c\/a\u003e. If you're a it's 5 O'Clock somewhere kinda guy, this is your man.\u003c\/p\u003e","brand":"C Site Recordings","offers":[{"title":"Default Title","offer_id":49494288564538,"sku":"","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/InTimebyStefanChristensen.jpg?v=1725524937"},{"product_id":"nancy-sinatra-nancy-in-london","title":"Nancy Sinatra - Nancy In London","description":"\u003cp\u003eSummer Red vinyl\u003c\/p\u003e\n\u003cp\u003eRemastered reissue of Nancy's third album. “Strawberries, cherries, and an angel’s kiss in spring…” were the immortal words sung by a twenty-five-year-old Nancy Sinatra on a frigid spring day in a London recording studio during the sessions for her third LP in four months! The 1966 album was cut in three days at Pye Studios where The Kinks, Petula Clark, and David Bowie recorded their songs in the mid-1960s. By going directly to the source and choosing songs like “On Broadway,” “Wishin’ and Hopin’,” and “This Little Bird,” the album has an unequivocally British feel. The LP includes the timeless Nancy and Lee Hazlewood duet “Summer Wine.”\u003c\/p\u003e\n\u003cp\u003eIncludes four bonus tracks: The complete 1969 Mickie Most sessions with the previously unreleased “Colors Are Changing”.\u003c\/p\u003e","brand":"SRD","offers":[{"title":"Default Title","offer_id":49558273786170,"sku":"","price":37.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/NancySinatraNancyInLondon.webp?v=1725978493"},{"product_id":"milan-w-leave-another-day","title":"Milan W. - Leave Another Day","description":"\u003cp\u003e\u003cstrong\u003eLP (2026 Red Cover) or CD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStroom are at it again with another one of those hyped-to-death records that actually merits the fervour. And know that the fervour around this one has been quite marked, so much so that it's already being repressed just days after its release, copies of which will be due in around mid-November. Until then, make do with the assessment that this might be the most Stroom-like of all Stroom records, a past-alive-inside-the-present opus that presents a contemporary understanding of the unremembered European 80s aesthetic the label has been mapping out for a decade now. In short, Leave Another Day sounds a lot like an archive Stroom release that is in fact a frontline Stroom release. I'm not sure where exactly that sits in the pop-will-eat-itself dialectic, but it is at least an interesting scenario. If Milan Warmoeskerken is a new name to you, also be aware that there's a fairly substantial history of tapes, CD-rs and 7\"s under his own name and as Crumar Young that have led to this moment, a long-standing working away at the type of greyscale mystical European romanticism you might invariably associate with Factory Benelux, Les Disques Crepuscule, Exart et al. Warmoeskerken styles himself in the sage cafe crooner mould, a hybridised regen of Lee Hazelwood, Dean Blunt and Lawrence (Deebank-era Felt only) caught in the amniotic fuzz of heartbreak's eternal scree. Yes, this is morose business, but it's supremely stylish too, dripping in the elegance of the infinite weltschmerz. I'll probably take some heat for this, but it also reminds me a great deal of Mac DeMarco's debut EP, back when he wore eyeliner and before we knew he was a slob. Make of that comparison what you will, but it's also likely the reason Leave Another Day is catching the imagination as it is. European lovesick core has a new poster boy..\u003c\/p\u003e","brand":"Rush Hour","offers":[{"title":"LP","offer_id":56603842281849,"sku":null,"price":26.0,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":56603842314617,"sku":null,"price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/MilanW.LeaveAnotherDay.jpg?v=1728385494"},{"product_id":"vashti-bunyan-lookaftering-expanded-edition","title":"Vashti Bunyan - Lookaftering (Expanded Edition)","description":"\u003cp\u003eVashti Bunyan’s Lookaftering is 20 years old. To mark the occasion, and also Vashti’s 80th birthday, an expanded edition is released. As well as the original studio album itself, the second disc features demo versions, alternate takes, and live performances of all the original album tracks. This edition also comes with sleeve notes from Vashti, producer Max Richter, Devendra Banhart and a 16-page lyric booklet featuring a collection of paintings by Vashti's daughter Whyn Lewis – paintings that closely, and coincidentally, reflected the lyrics of the album. Vashti says “the beautiful photograph of Max in the studio playing wine glasses with his young daughter’s violin bow, brings it all back to me - how very fortunate I have been.”   Dating from 2001 to 2005, the demos were recorded at home by Vashti, accompanying herself on acoustic and electric guitar and experimenting with synths – from piano to strings, pipe organ, harmonium, recorders and accordion. The sound is, of course, stripped back compared to that of the finished album, but the live version of Lately recorded at an early “comeback” gig in L.A. in 2006, orchestrated as on the record, is absolutely pitch perfect.  \u003c\/p\u003e\n\u003cp\u003eListening to the demos and the final versions side-by-side while reading the sleeve notes is a wonderful experience, learning and hearing how the songs and the long-player evolved, with Vashti and Max Richter (who produced - and played on - the album), explaining how all of the artists involved (Devendra Banhart, Johanna Newson, Adem Ilhan, Robert Kirby and members of the band Vetiver), touched by Vashti’s original 1970 Just Another Diamond Day album, jumped at the opportunity to be there. 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Hurley is backed up by ''The Fatboys'' - not the rotund hip hop crew from the film ''Disorderlies'' but rather a bunch of not so fat nice guys in Vermont who played mostly for the local dairy farmers (Later they were known as ''Sheriff Mocus and the Deranged Cowboys'').\u003c\/p\u003e","brand":"Cargo","offers":[{"title":"Default Title","offer_id":55202976366969,"sku":"","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/MichaelHurleyFatboySpring.webp?v=1747147614"},{"product_id":"rosanna-princess-of-kerry-old-news","title":"Rosanna, Princess of Kerry - Old News","description":"\u003cp\u003e7\"\u003c\/p\u003e\n\u003cp\u003eOld News is the first release from Rosanna, Princess of Kerry - South London-based artist and musician Rosanna Martin. Her music feels like stumbling across pages pulled from a diary - portraits of self and memory that have slipped off the lines of the page. 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There's another version of this world out there in the infinite expanse that positions this kind of sound as the pop apogee. Until we get there, we can but dream. And be sure, it's the true dreaming that brings something like Dans Le Camion De Marguerite Duras into being. \u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Nina Harker, Kou, Flaming Tunes, Hessell Veldman, Cybe\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Honest Jon's","offers":[{"title":"LP","offer_id":56060065448313,"sku":null,"price":24.0,"currency_code":"GBP","in_stock":false},{"title":"Cassette","offer_id":56060065481081,"sku":null,"price":11.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/DansLeCamionDeMargueriteDurasbyJean-MarieMercimek.jpg?v=1750159589"},{"product_id":"p-g-six-the-well-of-memory-2025-expanded-edition","title":"P.G. 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The LP includes six previously unreleased songs from 'The Well of Memory' sessions and a handful of live versions of songs from the album.\u003c\/p\u003e\n\u003cp\u003eContinuing many of the themes introduced on 'Parlor Tricks and Porch Favorites', PG Six's well-received first record, 'The Well Of Memory' made further nods towards 60's folk artists like Bert Jansch, Pentangle, Incredible String Band, and John Fahey, while also fitting in with contemporary musicians like New York psych folk poster-boy Devendra Banhardt, Anglo-folk traditionalist Alasdair Roberts, and West Coast psych guitarist Ben Chasny of Six Organs of Admittance. Pat's lyrics draw on narrative force, spinning mythology in abstract patterns that stretch moments of clarity between dreamlike sequences. 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I won't pretend to be any kind of aficionado of the music Dicksson and Jäverling are said to be channeling (note to self: must listen to Kjell Höglund and Ulf Dageby), though we have heard traces of this sound in a few of the 'song-based' Blod records of the past few years, which perhaps renders it a little more familiar than if approaching cold. What I do mostly detect, however, is a desire for the kind of sing-song absurdism that ran through the late 80s\/early 90s lo-fi underground, something akin to Jad Fair, Moe Tucker's solo output or even a more stripped back Tall Dwarfs, and the emotional freeness US private press outsider folk ala Simon Finn or Peter Grudzien. 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Layered vocals are used undramatically but effectively. Conversational asides seem to open outwards like leaves, and offhand remarks reveal themselves to be quiet realisations through subtle repetition. There is an intimate spaciousness within these songs too, with shuffling pages, creaking chairs, and distant whistling all entering the sonic sphere.\u003cbr\u003e\u003cbr\u003eThe spirit of folk song clairvoyants like Bridget St John, Anne Briggs and Maxine Funke may be sensed throughout, while Michael Hurley’s ‘Wildegeeses’ is given a faithful, though suitably idiosyncratic, re-reading. A tradition is being channeled here, though ultimately what you are hearing is the emergence of a distinct new voice. \u003cbr\u003e\u003cbr\u003eAs such, The Next From Field Commander moves with a meandering yet captivating immediacy, clear and self-assured, while remaining deeply receptive to the world and all the things in it - ‘still reaching out, still finding out’. 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The film, up on the BFI Player if you're inclined to investigate, is a psychological horror of the unknown, based around the visions of a young girl that no-one but her seems to be able to see. It's a classic device that explores the duality of fear - we're as haunted by what we imagine and how we respond to that invention as we are by what is actually there. It's primed ground for an exploration of England's hidden reverse sonics, these eight musicians drawing upon various elements of trad. folk, post-industrial gloom, chamber song, psych-prog inflections and Radiophonic Workshop electronics in ways that are appropriately psychoactive, dissociative and hauntological. Apparently an interpretative stage show has also been devised to coincide with the endeavour, which shows great commitment to the bit at the very least, though the music works in beguiling and compelling ways alone on its own terms. Interest in the arcane ephemera of paganism and the varying horrors of the countryside seems to be at at an all time high atm (sales of Weird Walk in tactical wear shops in Coals Drop Yard seem to provide evidence of that alone), but what Folklore have done here feels a level or two more elevated on from that. Despite the dark subject matter, this feels like a project built on genuine love! 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It was recorded during an autumn residency at Sternhagen Gut, the cultural refuge run by Gudrun Gut and Thomas Fehlmann, located deep in the Uckermark countryside halfway between Berlin and the Baltic coast. \u003cbr\u003e\u003cbr\u003eThe six tracks on 'Flowers' all take Pete Seeger’s ‘60s protest-folk song 'Where Have All The Flowers Gone' as their starting point. However, they veer off in different directions, from vocal loops and deconstructed lyrics, to instrumental drones and glitchy, manipulated rhythm tracks. Like many musicians, Davis has learnt composition by a process of disassembly, analyzing musical works piece by piece, and 'Flowers' began as one such forensic exercise. “But sometimes,” says Davis, “a source is so loaded up on meaning that the studies and experiments can become worthwhile and meaningful works in their own right.” 'Flowers' began to take on a life of its own, raising renewed questions about age-old themes such as war, authorship, translation and historical structures. \u003cbr\u003e\u003cbr\u003eDavis is no stranger to cover versions. From studying\u003cspan class=\"bcTruncateMore\"\u003e violin to playing in free jazz and punk bands, interpreting other artists’ works has long been a key part of her musical approach. And since her radio show 'Deep Puddle' recently drew to a close after seven years, her experiments with narration and sound collage have found their way into her musical work once again. For 'Flowers', she cut up the source material (with a nod to Gysin and Burroughs), and reassembled the lyrics, the musical notes, and recordings by different performers, to create uncanny new forms. \u003cbr\u003e\u003cbr\u003eBut perhaps the biggest influence on 'Flowers' was conversations about music, art and pop subcultures with Gut. These dialogues helped Davis find a balance between far-out sound design experiments and catchy melodies, combining a certain avant-garde element and modern day songcraft. 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