Melodipsych rockers A Shoreline Dream started piecing "neverChanger", (a song touching on the never ending & confusing reality of life repeating itself over and over) back in November 2007. Coincidentally soon before that they found out while on tour with Innaway (their psych peers) that Ulrich became a fan of theirs after purchasing "Avoiding the Consequences". He sent out an email to all his fans saying he was currently listening to the album. Swiftly Ryan Policky (vocalist, guitarist & songwriter of the track) got in touch with Ulrich to see if they could collaborate. A few short weeks after that "neverChanger" came back to life as a co-produced effort. Kramer (producer of Low, Dot Allison & Urge Overkill) finished off the mastering. Named one of URB Magazine’s NEXT 100 for 2008, A Shoreline Dream has been best described as a “melodipsych / post rock” band combining lush sampled textures, organic instrumentation, and vocals layered like a synth similar in vein to bands such as Ride, Slowdive and Sigur Rós. Originating in Barnum, Colorado they are steadily reaching out to an international fan base, which includes producers Ulrich Schnauss and Kramer (Ween / Butthole Surfers) currently working with them on upcoming material. When they formed in 2005 they all decided to take a stand against the restrictions of a normal label and formed their own (latenight weeknight records). In the Fall of 2006, a shoreline dream released their debut album “avoiding the consequences” with a full scale attack using Ryan’s house as collateral, garnering the band attention on several samplers for Landmark Theatres, Urban Outfitters, The Sundance Film Festival, Paste Magazine among others. Critics from Filter Magazine, Paste Magazine, XLR8R, Skyscraper, and Westword gave the band very high marks. The band released the EP “Coastal” in July of 2007, which has landed them spots on samplers for Vice Magazine, Paste Magazine, XLR8R, Landmark Theatres and Urban Outfitters. In September of 2007 the band toured with INNAWAY, and they are currently co-producing a track with Ulrich Schnauss and setting up a short tour with him, Soundpool and Experimental Aircraft for July of 2008 in Austin, Dallas & Denver.

EXCLUSIVE.  Sale price! Meet "About", legally registered as Rutger Hoedemaekers in the city of Amsterdam; he makes the pop musics. His debut album, "Bongo" is fucking great. Teen girls, gay men, kittens, puppies and architects will all adore it. Really. It's poppy as hell, but in the best way possible and you'll be tortured by how the songs stick in your head- TOURTURED! Yeah, he throws down some hardish beats and insanity in there too, but in a real pop way. Damn, motherfucker is so damn Pop he makes some old school Michael Jackson seem like he's faking it.

EXCLUSIVE.  Previously withdrawn/Re-solicitation. LTM is proud to announce a new studio album from Alessandra Celletti, the virtuoso Italian composer/pianist whose previous CDs include acclaimed interpretations of works by Glass, Satie and Gurdjieff. Way Out is Alessandra’s third album of original material, following Overground (1997) and Chi Mi Darà le Ali (2006). Recorded in Rome in 2007, Way Out marks an innovative exploration of several musical styles, including vocal tracks sung by Alessandra as well as a number of her exquisite solo piano compositions. She is joined on most of the tracks by drummer Fabio Ferri, while Renzo Pin provided English-language lyrics. Stand-out tracks include Dear To Me, Burning and Hundred Points, the latter a future pop classic complemented by a brilliant animated video clip made by Tony Sbarbaro. A unique set that defies classification, Way Out also features one bonus song, the beautiful title track from Alessandra’s previous artist album, Chi Mi Darà le Ali. The memorable cover image is the painting Pensando alla Guerra by artist Isobel Blank. Short biography: Alessandra Celletti studied piano at the Santa Cecilia Music Conservatory in Rome . After graduating she continued her studies with Vera Gobbi Belcredi, specializing in French piano works of the late 19th and early 20th Centuries. In 1994 she released Les sons et les parfums, an album of pieces by Debussy, Ravel and Satie. Since then she has followed an irregular artistic path, characterized by sudden departures from classical music. Her second album, Viaggio a Praga, an exploration of the work of Bohemian composers, saw Alessandra awarded a scholarship by the Czech Republic in 1997. On returning to Italy she began working with Kha Records. Her collection Esoterik Satie proved hugely popular in France , and Gnossienne #1 was used by Guy Ritchie in his 2005 movie Revolver. Alessandra is now preparing to release two new albums. The Golden Fly will appear in Italy in October 2007, and Way Out by LTM in January 2008.

The Australian sextet is back with their 3rd single from their critically lauded new album Places Like This. The band has been on a tear since the album’s release in fall of 2007, selling over 25,000 copies in the US in under a year. On top of that, they made their debut on the Billboard charts in the first week of release, peaked at #3 on the CMJ Top 200, and sold out several clubs nationwide on their fall 2007 tour. With the Like It or Not EP, the band finally records “One Heavy February” and “Beef in Box,” which are two long-time crowd favorites from their live shows, to accompany the single version of “Like It or Not”. To top it off there is a “Like It or Not” remix by one of 2008 biggest buzz bands, El Guincho.

The Echo From The Purple Dawn is a brand new full length from C.C.C.C. member Hiroshi Hasegawa's solo project Astro. Using a battery of oscillators, ring modulators and field recordings Hasegawa has created an engaging and versitile album that masterfully drifts between spaced out analog dream drone and a more extreme form of harsher droning. As Astro Hasegawa is able to combine some of the harsher influence of C.C.C.C. into the world of analog space music to create the signature sounds of Astro. Included is a live track recorded at a festival at the Tokyo Keizai niversity organized by Tetsuo Kogawa. Cover art designed by Important. ASTRO is Hiroshi Hasegawa’s solo project. He is a founding member of the Japanese noise group C.C.C.C. Born in 1963, Hasegawa began his improvisation with his voice and drums. In 1990, he made the group C.C.C.C. around the concept of improvised mass-noise with a very loud sound. Members included Mayuko Hino, Ryuichi Nagakubo, Fumio Kosakai. Hasegawa began his solo unit ASTRO with analog synthesizers in 1993 and continued playing in C.C.C.C. Though C.C.C.C. is no more, Hasegawa has continued with Astro and his numerous collaborations drifting between dreamy spaced out bliss and full on waterfalls of beautiful noise.

Live At Muryoku Muzen Temple is limited to 500 copies with the first 100 on color vinyl. This is the companion release to the Astro CD titled The Echo At The Purple Dawn being released at the same time on Important Records. Astro, of course, is the analog/space project of Hiroshi Hasegawa of the legendary Japanese group C.C.C.C. This limited vinyl only release was created using ring modulator and vocals which are rare these days in Astro recordings. Cover art designed by Important. ASTRO is Hiroshi Hasegawa’s solo project. He is a founding member of the Japanese noise group C.C.C. Born in 1963, Hasegawa began his improvisation with his voice and drums. In 1990, he made the group C.C.C.C. around the concept of improvised mass-noise with a very loud sound. Members included Mayuko Hino, Ryuichi Nagakubo, Fumio Kosakai. Hasegawa began his solo unit ASTRO with analog synthesizers in 1993 and continued playing in C.C.C.C. Though C.C.C.C. is no more, Hasegawa has continued with Astro and his numerous collaborations drifting between dreamy spaced out bliss and full on waterfalls of beautiful noise.

Molotov And Haze is packaged in a deluxe tip-on style heavy duty gatefold jacket with the cd slipped into a Japanese inner bag. Design by Carl Glover. Bass Communion is a project dedicated to Steven Wilson’s recordings in an ambient, drone, and/or electronic vein. Most of the pieces are experiments in texture made from processing recordings of real instruments and field recordings. The atmosphere of the music has tended towards the dark and melancholic, but expressed with an almost zen like beauty. More recently Wilson has also started working with a guitar and laptop configuration - the first material in this style is contained on this album.

Quite possibly the final BSE release after an illustrious career of nearly 25 years. It marks a return to the beloved semi-acoustic style of their first few releases, and also - due to public demand! - contains no vocals. It is a mixture of new readings of past tracks & new compositions. The new material offers a singular, dreamy vision of BSE’s potentially final works. The two title tracks, Across the Sea of Id and Eden Song, are reflective, yet hallucinatory explorations into Jesus Acedo’s unique compositional & melodic sensibility. While Angel de la Guardia has a refined yet explosive rock swagger, it is balanced by the meditation Perelandra & La Paz. The CD also contains a video of the band performing the signature BSE piece "Dove of the Desert".

EXCLUSIVE.  12 tracks. LTM is pleased to present an archive CD of recordings made in for the legendary Factory Records label by cult band Blurt, the unclassifiable punk-jazz trio led by Ted Milton. Formed in Stroud in 1979, Blurt consisted of Ted Milton (sax, vocals), brother Jake Milton (drums) and guitarist Pete Creese. Ted had already attracted the attention of Factory founder Tony Wilson as a puppeteer (!), and were invited to join the label. Blurt performed at several Factory showcase gigs in London between April and August 1980, and recorded one side of the double compilation album A Factory Quartet (FACT 24). Although their anarchic shows and music drew rave reviews, Blurt were frustrated by delays in releasing their Factory recording, and the last minute loss of a Factory tour of Europe in October. A live album, Live In Berlin, was recorded in December 1980 and scheduled for release as a 10” on Factory Benelux, but canceled after Blurt annoyed Wilson by comparing the Factory label to lifestyle boutique Habitat. The set was subsequently released as In Berlin on Armageddon, its memorable cover featuring a photograph of a pile of pink rubbish sacks. Digitally remastered, The Factory Recordings combines all tracks from A Factory Quartet and In Berlin, including Blurt favourites My Mother Was a Friend of an Enemy of the People, Ubu, Puppeteers of the World Unite and Cherry Blossom Polish. The booklet features archive images and detailed sleevenotes. Ted Milton and Blurt still perform regularly in both Britain and Europe , and remain an undervalued national treasure.

The Original Bud Shank Quartet : The Pacific Jazz YearsAlto sax star Bud Shank is one of the few surviving modern jazz musicians who truly justifies legendary status. One of the pioneers of 50s West Coast Jazz, California based Shanks career trajectory had him initially winning his spurs within the ranks of the big bands of Charlie Barnet and Stan Kentons historic Innovations Orchestra. With his buzz cut coiffeur, Hawaiian shirts, chinos and open top sports car, the ubiquitous Bud Shank epitomised West Coast cool. Aware of Charlie Parker, it was Lee Konitz, Paul Desmond, and to a lesser extent Benny Carter who caught Buds ear, and his tenure as lead alto sax in Stan Kenton s Orchestra, with Art Pepper on his left, kept Shanks permanently sharp. When The Lights Are Low / Ole Devil Moon / The Nearness Of You / How Long Has This Been Going On / Lullaby Of Birdland / Somebody Loves Me / Moonlight In Vermont / The King / Bags Of Blues / Nature Boy / All This And Heaven Too / Jubilation Cd 2 - Do Nothin Till You Hear From Me / Nocturne For Flute / Walkin / Carioca / A Night In Tunisia / Tertia / All Of You / Theme / Jive At Five / Softly As A Morning Sunrise / Polka Dots And Moonbeams / Pavane The Lamp Is Low

Limited edition of 300 copies in a heavy stock screen printed jacket. Numbered. A Zamuro is a dark South American vulture of great size. Zamuro is also a solo composition piece for portable synth and analog filter. Side A on this LP is a live realization of this piece recorded at the Compound in San Francisco in 2006 (Mastered by Lasse Marhaug). Carlos composed and performed this piece live on several tours in the US/Europe/Japan all trough out 2006 and 2007, if you saw him live in those two years this is the piece he performed. This was the most complete version of it that made it to tape. Side B is a studio piece recorded live on a much larger modular synth, based around the same theme, but with structural and tonal variations not in the original composition. .This is pure psychedelic electronic music.

EXCLUSIVE.  16 songs! Three years in the making! Two people who can barely stand each other most of the time, who have endured emotional distress, heartbreak, a grueling, botched disaster cross-country tour that resulted in bankruptcy and homelessness, YET STILL summoned inhuman tenacity of spirit and came out swinging with a record that will be ripping you, not one, but TWO auxiliary assholes. Since forming their strange musical alliance in 2002, CARS CAN BE BLUE have strived to combat the inertia of indie music’s boring banalities with cheekily colorful aplomb. The twisted worm that had always wiggled beneath the surface of this cheerful boy/girl pop duo has gradually swelled up and begun devouring its human host. Behold, “DOUBLY UNBEATABLE!” A joyous paroxysm of negative energy culled from three years of uncertain circumstances and desperate living, Becky Brooks and Nate Mitchell have filtered their own distrust of humanity into a living document that is catchier and more compelling than the volume that preceded it (2005’s “All the Stuff We Do”). Yes, times have changed and the new CARS CAN BE BLUE attitude is sharper and thornier than ever before, all of which translates into GREAT NEWS for fans of real-deal rock-n-roll. This new batch of songs is faster, louder and meaner than its predecessor. All the choicest ingredients of the CCBB recipe are still here: manic tempos, huge pop hooks, killer vocal melodies, ultra-compact songwriting custom-made for even the shortest of attention spans, but with the following improvements: HEAR the sassy, vintage Vox amp guitar tone and explosive drum trashiness dialed in by production maestro Jeff "Flesh Hammer" Walls (he of Woggles/Hillbilly Frankenstein/Guadacanal Diary fame who has also twiddled knobs for sleaze-rock luminaries like Southern Culture on the Skids and Man? or Astroman?). LISTEN to snotty, spiteful, fuck-off lyrics spewed vindictively by chirpy musical elf Becky Brooks on tracks like "Hope You're Hurting", "Coat Tails" and "Just Because", as well as the pointed-if-misguided social commentary of "You're On Drugs". THRILL to the excitement of Cramps-homage zombie-rocker "Eyeballs", Buzzcocks/Vaselines hybrid “I Wish I”, the post-punkified Minutemen-on-crank rave-up "Ribbon" or the shuddering balls-out catharsis of Dwarves-via-Whitehouse explosion "So Cheap". EMBRACE the sensitive side of CCBB with songs like "Flipped Around", the playful mirth embedded in "Pretty Special" and "I Think It's A...", the Spectorian bombast of album-opener "Sun Blows Up", or the discomfiting Nick Cave-meets-Tom Waits dirge-de-force “Cycle of Violence”. Yes, experience all of the above and more! CCBB gives you a "total package" Lex Luger himself would be proud of. SELLING POINTS: Ecard & physical promotion via Crashing Through. 2 week pre-release tour just wrapped up for the East Coast. A three month fall tour is being booked now with shows at both Athens PopFest & CMJ.

They've become known & loved for their inimitable pop/improv/disco/rock–with–strings sound & a furiously rocking live show, complete w/ dance routines. It's the sound of the search for a heart of gold in a world gone cold. It deals w/ sex issues, depression & classic economics. It's all infectious, blistering pop music, but all the while something is deliciously wrong here, making for what is sure to be one of the most intriguing releases of 2008.

Colours launched onto the scene in 1968 with a stunningly glorious psychedelic masterpiece of L.A studio wizardry. A super group before the name was coined, Colours was the brainchild of Gary Montgomery & Jack Dalton, two hard-working, former Motown songwriters who also penned songs for The Turtles, Nino & April and The Moon. This magical mystery tour-de-force of psychedelic Beatlesque pop also features the talents of Derek & The Dominos bassist Carl Radle. This first-ever CD issue of their long-out-of-print albums (Colours and Atmosphere) is supplemented by long-lost 67 Dalton & Montgomery recordings cut just months before they formed Colours. 1969 s Atmosphere features former Beach Boy David Marks around the same time he was a member of The Moon another band with many connections to Colours. The 16-page colour booklet also includes rare, unpublished photos and comprehensive liner notes that feature the participation of original band members. Now Sounds, the new imprint from Cherry Red, was established by Steve Stanley, producer of over 50 Rev - Ola titles.

180g 12" vinyl limited to 300. As diverse as hip-hop has ever been, think My Bloody Valentine, Tool & early Wu Tang combined with Massive Attack. As with all Claire's Echo releases, this release is LIMITED to just 300 copies worldwide -- 200 copies on 180-gram black vinyl.

EXCLUSIVE.  Further exploring the collaborative powers of Illusion Of Safety mastermind Dan Burke and prolific sound crafter Thomas Dimuzio, Upcoming Events is an unending spur of equal parts gorgeous and uncomfortably perplexing sound spread of 15 tracks. Crackles of electronic fire, tremolo-infused waves of sustained guitar, broken music boxes and found sounds among all other sorts of unfounded wails of gargantuan melancholy drone, Burke and Dimuzio's collaboration is a forceful collection of early industrial sound ruination combined with classic Krautrock ambiance of the Tangerine Dream/Cluster ilk reassuringly composed into something wholly modern and powerful.

Between 2005 and 2007, former Hefner front man, Darren Hayman released four EPs detailing his British Holidays. Darren would take ukuleles, minidisks and casio keyboards to caravan parks, Butlins and B and Bs. The songs are sweet and tender, lo-fi vignettes about lost youth, faded photographs and half-understood Britishness. As well as painting a loving portrait of places we may have thought forgotten, the songs also reveal Haymans own fears of growing older and wanting to pull on the reigns of time. All the sold out EPs are featured here as well as 3 newly recorded cover versions of famous holiday songs; V.A.C.A.T.I.O.N. by Connie Francis, Holiday Road (the theme from National Lampoons Vacation) by Lyndsey Buckingham and Margate by Chas and Dave. The CD also comes with a DVD featuring 5 beautiful videos, shot by Darren himself and a documentary on the making of the album. Get your bucket and spade. Darren plays the Indietracks Festival on the 26th July.

One time Kim Fowley protégé, one time Spencer Davis guitar tech Dave Mason was a key and founder member of psych/pop/funk/soul/fusion legends Traffic. The writer of many of the band's early classics including the timeless and much-covered Feelin Alright? Mason was the first to leave due to the classic 'musical differences. Moving to the US, his first solo album was one of the many recordings to come out of the Leon Russell/Delaney & Bonnie axis in1969/1970. Alone Together contains excellent, tightly constructed pop songs, redolent of his singles for Traffic, albeit extended in the then new style, built on a fat bed of acoustic guitars with tasteful electric guitar accents. Mason's vocals are embellished with harmonies from Rita Coolidge, Claudia Lennear and Delaney & Bonnie. Besides the hit Only You Know and I Know , (also a hit for Delaney & Bonnie) highlights include the bouncy gospel-inflected Waitin' On You and the banjo-bejeweled Just a Song . Look at You Look at Me and the wonderfully wah-wahed Shouldn't Have Took More Than You Gave are reminiscent of Traffic, whose drummer, Jim Capaldi is among the all-star cast assembled here.

A deceptive one this! Originally planned as a Dave Mason solo album, it is certainly one of his finest and coupling him with Cass Elliot was an utter stroke of genius, as she goes from being "just" producer and backing vocalist to being the shining guest star of the album. Cass provides excellent background vocals on her non-lead songs alongside sister Leah Kunkel making up an impressive harmony stack. The album is propelled by Mason's superb songwriting talents and tracks such as On and On, Walk to the Point, and several others bear this out. His guitar playing is some of his finest recorded work, especially the epic Glittering Façade, where he layers acoustic and electric guitars to a scintillating effect. Elliot's Here We Go Again showcases her ability as an outstanding lead vocalist, showing just what a star we lost. Paul Harris provides some excellent keyboard and string arrangements providing a glimpse of fine work that was to follow in Stephen Stills' Manassas. The rest of the stellar backing crew outdo themselves. A highly underrated album but in the end, one of the finest of the 1970s and one with a shockingly modern sound - scape.

EXCLUSIVE.  Sale price! So way, way, way back in 1994 Dan Doormouse first starting making hardcore techno in Milwaukee Wisconsin, then one day he stumbled upon a Sun Ra record and thus, “Breakcore” in the United States of America was born. He began the legendary Addict and Distort record labels soon after, and began releasing the most fucked up high intensity music the world has ever seen. The nephew of Lemme from motorhead (really, no shit!), Dan soon started performing solo and with his band Meat around Milwaukee in the Midwest of the US, gaining a massive following of renegades, speed freaks and social workers. Somehow, Mike Paradinas (Mu-ziq) took notice, and “Broken” was Dan’s first major CD release in 2002 on the Planet Mu record label. But it comes as no surprise that the sorted and complex realities of Breakcore stardom (in this case of bottle of Jack Daniels, and some misplaced punches) made it difficult to continue with Planet Mu . Naturally, Dan finds a home here at Cock Rock Disco with “Stanley Yershonowski presents Xylophone Jism as The Ridiculator.”

Rewind to the early 90s - the heyday of the shoegaze scene. A little-known band from Sacramento called Graham Cracker Cyclone was all the hometown rage -- they were opening up for bands like Chapterhouse and Blur at the legendary Cattle Club. GCC featured Verna Brock (of California Oranges and Holiday Flyer Fame) along with Tim Jacobson and Ian Hernandez who went on to form Electro Group with Matt Hull. (Incidentally, Tim and Verna also played stints in Rocketship as well). Sometime toward the end of Graham Cracker Cyclone's days (1992-94), Electro Group was formed and the six songs featured here were written during that beautiful period. Four of these songs were released on hyper-limited demo cassettes from that period. The other two have never been released. After GCC split, they tried to find a new sound away from their Cure-influenced pop to a more distorted and dreamy sound. Also, going from a 4 piece to 3 meant they had to make a lot more noise. It's with great pleasure that we are able to resurrect these tracks and bring them to the masses. If there was ever material from Electro Group that was "most befitting" the Clairecords label umbrella, these 6 tracks are it! A definite "more-shoegazey" quality to them, these early tracks shine, especially having been polished over months of careful studio time after a decade and a half of languishing in obscurity. These recordings are the last EG tracks recorded while Ian still lived in Sacramento (he has since relocated to Seattle, but EG remains an active band, now more than ever). They are also the final EG tracks to be recorded on their analog machine (all future output are planned digital recordings). They are definitely different than the usual material EG fans have come to know, as they are a revisiting of 12-14 year old tracks, something the band has not approached before. Electro Group may have been relatively quiet on the recording front for the past decade or so, but they intend to release new material at least once a year from this point forward. With this EP hot on the heels of their 2nd album (Good Technology) released on Clairecords last year, this outlook seems accurate. As with all Claire's Echo releases, this release is LIMITED to just 300 copies worldwide -- 200 copies on 180-gram black vinyl.

Following three sold out releases on Important Records, Eleh present their fourth vinyl-only full-length, Homage to the Square Wave. Featuring two sidelong tracks each clocking-in at over 20 minutes, Homage is dedicated to the highly influential artist Josef Albers. Eleh return with their battery of vintage modular analog gear to produce a recording of pure tone, pure sound, pure volume and pure analog. Side A features “Black,” a slowly enveloping mass of intensely throbbing low end, activating the flight response. Time passes rapidly in a hallucinatory forest filled with suffocating bulbs of bass. “Blue & White” on the B-side provides the decompression of rocking on a calm ocean. Soft peaks of warm tone rise and fall over the surface of concentrated saline. Volume reveals detail. Homage was mastered by James Plotkin, cut direct to metal and pressed on 200g virgin vinyl in a hand-numbered edition of 500. The LP comes housed in a custom letterpressed jacket that was designed by John Brien of Important Records and printed by Studio on Fire in Minneapolis. The jackets were printed flat, die-cut, folded and glued resulting in a letterpressed jacket with a printed spine. Eleh was formed to pay tribute to the pioneers of audio minimalism such as La Monte Young, Terry Riley, Eliane Radigue, Pauline Oliveros and Charlemagne Palestine. The tidal rumblings of Eleh will appeal to fans of Sunn O))), Om, Oren Ambarchi, etc. This is drone with density.

EXCLUSIVE.  "A Little Mess is a jangly, bouncy celebration of the auditorily absurd. Harmonica, flute, howled lyrics and harmonized choruses crowd the album, which bears more in common with the lovelorn 1950s boy-girl group movement than their less accessible, cool as ice Svenska indie pop counterparts1. Indirectly addressing this disparity, their myspace banner announces, “We’re though being cool.” Lyrically, Elias and his beloved Wizzkids skew darker. When you’re not on stage hosting a geek-filled love fest...well, sometimes life kinda sucks. The album tracks the slow, determined progression into adulthood and everything that makes you lose sleep along the way. You turn 24, and wonder where your job, house, wife and kids are. Naturally, steps are taken to rectify the situation. "The job" finds Elias forced to answer the eternal burning question: What the hell are you supposed to say/when they ask you to describe yourself in just three words? In "The Mermaid," Elias works on the lack of wife problem. However, things don’t go as swimmingly as he’d hoped2. Despite being told there are many other fish in the sea, Elias moans, You were never a fish/no, you were a mermaid to me. Yeah, can’t help you there dude, I'm still wearing waterwings. The album ends, if not with the answers on how to avoid this inevitable angst-filled rite of passage (although "The Dance" does make a good case for frolicking away the blues), then at least a temporary respite from that whole growing up thing. Elias tucks himself in at night, Wizzkids accompaniment slowly fading into the distance, and sighs, When you’re lying in bed and not sleeping yet and you can still feel the fresh taste of toothpaste, isn’t it nice to turn out the lights and say goodnight? Yes. Yes it is. Just don't grow up too much before your next album, okay?" - Would-be-hipsters.com

EXCLUSIVE.  The Dance EP includes the single "The dance" and three exclusive tracks. "Elias & the Wizzkids' single "The Dance" starts out with Elias Åkesson singing about how much coffee and tea he's had to drink, which is pretty obvious from the song's jittery tempo, rushing strums, and caffeine-high piano. Only Maria Formgren's flute sounds like it's calm and collected, as if trying to keep this rowdy lot in line. "The Dance" might be called twee if it slowed down long enough; even the song's Decemberistic video features a footrace... that breaks into a soccer tournament... that breaks into a midfield dance party. Elias sings about trying to outrun some unnamed restlessness: he goes to a coffeehouse, he goes to a movie, he wanders around, he finally goes home and starts dancing his heart out. Even his neighbor's threats to call the police can't bring him down. Here's hoping he doesn't switch to decaf anytime soon." - Stephen M. Deusner, Pitchfork "The best music for me supersedes genre and classification: anything that'll evoke good memories and hope and truth in me is worth my time, no matter what the setting or backdrop. Elias & the Wizzkids (MySpace) is one such band. I don't even want to describe these Swedish chaps with constraining words like swing and folk and soul (all of which would be accurate though, I guess). They're just special and precious, and that should be enough. Hold on to Elias & the Wizzkids. The four-piece sings charming songs about charming things with charming similes and metaphors with charming harmonies and harmonicas and driving bass lines to accompany the whole production. An utterly charming and endearing band, to say the least. This stuff sounds like it's decades old, maybe a lost artifact from the singin' folksy 60s or something. The cover of Oasis' "Wonderwall" is spectacular. It's a refreshing update -- in a very old way -- of the rather bland song (sorry Gallagher fans). I can't get enough of "The Dance," and "Autumn Leaves" is just so, so sweet ... I just want to lay on my bed and curl up, listening to it for the whole day. Coming from me, such complimentary words are rare: I'm not one to be taken in by something as soft and pretty as Elias & the Wizzkids' music, but I've become a sucker for these guys." - Nik Mercer, Bibabidi.com

CD debut of this 1985 post-minimal landmark by Elodie Lauten. Lauten has been active in the downtown New York classical and punk scenes since moving from France in the 1970s. The Death of Don Juan is a breakthrough for its lyrical minimalism in combination with drama that actively engages a contemporary emotional experience. Originally self-produced and released as a small LP edition on her own label, it has been touted ever since by Kyle Gann, who adds notes to this edition, and was recently included on one of Alan Licht's Minimal Top Ten lists. Features performances by Arthur Russell and Peter Zummo.

EXCLUSIVE.  Filled with playfulness, without rose-eyed 80s nostalgia, Familjen feels very modern. He blends naive 80s melodies, 90s beats and 00s glitches into a cohesive whole. That combined with his squealing 303s and subtle guitars makes it all sound like it was recorded tomorrow. Huvudet i sanden is a remix album with remixes of various Familjen songs by 11 different dance floor geniuses including: 1. Familjen - Huvudet i sanden 2. Kasper Bjørke - The danish super star! 3. Krazy Fiesta - Party crew responsible for the amazing “Lip Gloss” remix 4. Adam Tensta - The savior for Swedish Hip Hop! 5. Mike Downey - This American prodigy living in Stockholm puts a German beat to it. So international. 6. Perfume Uniform - Acoustic guitars in electronic music? But of course! Excellent dreamy version. 7. The Field - Best selling debut album on Kompakt says it all. 2007 was The Fields year all over. 8. Pluxus - Familjen says this sounds like if you have smoked too much weed and just lie there vomiting your guts out. Nice one! 9. Boeoes Kaelstigen - Already a legendary remix on the dance floors. Straight from STHLM subway. More than one have pointed out these guys as the future of techno. 10. Tomi Kiiosk - Hässleholm - Finland. Well yeah? Why not! 11. DJ Wool - One half of NYC party machine The Glass. Glen Brady - king of the skate board, booze and hustle. 12. Kid in the Air - Admit you love euro dance.

A classic of West Coast psychpop. and a much sought after gem....after the breakup of San Francisco garage groups The Brogues ("Ain't no miracle worker"), most members went on to Quicksilver Messenger Service....Bassist Bill Whittington formed The Family Tree with Bob Segarini of The Ratz and the enigmatic Lee Michaels....the latter soon dropped out, and a couple of innovative singles for the mysterious LA based Mira label brought them to the attention of not only RCA, but Sunbury music's Dick Campbell and his friend and big hope, Harry Nilsson....with input from Harry (at this time being hailed as a genius by The Beatles and writing songs for everyone from The Monkees and The Turtles on down) the band embarked on the semi-conceptual album "Miss Butters"....an amazing semi-lost gem of West Coast psychpop genius on a par with Harry Nilsson's own records of the period....the evidence? Draw the comparisons to Nilsson's "Aerial Ballet": Miss Butters was recorded in Los Angeles in 1968, Same producer, Same arranger, Same album cover painter, Same studio, Nilsson co-wrote one of the tunes. Released the same week as "Aerial Ballet." (The "Aerial Ballet" RCA selection number was 3956. "Miss Butters" was 3955.) Gotta be good enough to whet the appetite of anyone, eh?....But the thing is...it's even BETTER than that!....And this deluxe first-time reissue also contains the great and amazingly rare non-LP singles...what are you waiting for! First EVER time on CD for this enigmatic and collectable group! Beautifully remastered from the original MONO mastertapes (the stereo mix was done by an assistant engineer alone and is a travesty according to the band members!) Amazing packaging including previously unpublished photos and in-depth liner notes with with the participation of the legendary Bob Segarini... Bob Segarini's first album release. Predated Roxy, The Wackers, and his solo power pop opus, "Gotta Have Pop." A must for all fans of West Coast psychpop and garage, Harry Nilsson....let's face it, if you were excited about The Merry Go Round...here's another slice of happiness for ya! The Family Tree MISS BUTTERS (RCA LPM-3955) MONO 1968.

Since their critically acclaimed album '8 track sound system', back in 2000, Fonda 500 have pre-empted musical styles and scenes, and released several influential yet highly individual albums. Their long-awaited forthcoming release, four long years in the making, is 'je m'appelle stereo' and takes the Fonda magic to a new level, this time gifting us with a true timeless classic, full of wonderment, love, humour and audacious twists and turns brimming with northern swagger. Free from gimmicks and trends, but like nothing before it 'je m'appelle stereo' will both electrify the body and warm the soul. Album is on worldwide release and the UK release will see features and reviews in the following papers – Guardian, Mojo, NME, Independent, GQ, Observer music monthly, Playmusic, The Times, Uncut, Time out. Radio : already started for download single 'electronique bee 101' and extensive national tour to follow, following recent touring with Athlete. Tracklisting is: 01. Music Should Always Be Played By The Hands Of The Animals 02. Je m'appelle Stereo 03. Electronique Bee 101 04. Jenny #1 05. Meet The Bear 06. Start Of The Song 07. I Heart Stereo 08. Everything Is Connected 09. Come Alight10. The Sound Sounds Warmer When The Sound Is Shared With You 11. Push Button Skillz 12. Silver Sounds 13. Super Dots & Lights 14. And Sleep...

Dutch brothers Don and Roel Funcken unveiled their first Funckarma EP in 1999 on D.U.B., since when they have unleashed a fury of releases on labels including Neo Ouija, n5MD, U-Cover, and Hymen, as well as their prodigious work under other guises such as Cane and Quench, and their collaborative hip hop project Shadow Huntaz. Their signature bass-driven precision sound compositions, encompassing influences from hip hop, jazz, reggae, dub, soul and all forms of electronic music, are carefully crafted and constructed into tight rhythmic forces with a keen ear for texture and structure. With the global dubstep virus now infecting all forms of electronic music, it was a natural evolution for the Funcken brothers to take strands of the meme and splice it to the DNA of their own productions, creating a mutant hybrid of lurching instrumental hip hop with floor shaking bass and super punchy intricate razor sharp rhythms. The five-track ‘Dubstoned EP 1’ is the first in a series of releases they have planned in this broad style, and will be promoted with two rare UK appearances, one at Plastic People in London and another at Bristol's The Cube Cinema, with support from Hyperdub's Ikonika and Highpoint Lowlife's Fisk Industries.

Like a lot of folk-pop performers who began their careers in the early- to-mid-'60s, by the end of the decade Gale Garnett seemed to have drifted into the rock and psychedelic scene, hooking up with the band The Gentle Reign to cut these two bizarre albums for CBS. Singer, journalist, actress (from cult 60s movie Mad Monster Party to My Big Fat Greek Wedding), star of Scopitones (check Youtube for some delights!), Gale Zoe Garnett is a marvel and a one-off. Listening to this album one has to wonder who is she taking on here? Bobby Gentry with her smoky voice and good looks, Grace Slick with her swooping rock stylings, or even Frank Zappa with the satirical tone and radio acting? Gale Garnett is a law unto herself. Rev-Ola is proud to bring you her two ndeservedly obscure late 60s albums with The Gentle Reign, a mere smidgen of the woman s immense and unique talent. ** Re-mastered in top Rev-Ola style by Norman Studio 3 Blake and with beautiful repackaging for a beautiful lady! ** Includes both amazing albums in their entirety! ** A must for all fans of out-there psych, sexy femme pop, avant-garde stylings and cult 60s artefacts!

Though they came from radically different cultures and found their way into jazz via widely divergent routes, Gabor Szabo and Gary McFarland formed an all-too brief working relationship that produced a spectacular range of solo and collaborative works spanning jazz, bossa nova, psychedelia, Indian raga, Hungarian folk, orchestral and film music. Focusing on the mid-sixties years with Prestige, Verve and Impulse, this edition comprises highlights from Gypsy 66, Spellbinder, Jazz Raga, The Sorcerer, Simpatico, The In Sound, Scorpio and Other Signs and McFarland's score for Eye of the Devil and includes such impossible rarities as Gary's characteristically serene performances of Margo Guryan's Rivergirl and The Dreamer by Antonio Carlos Jobim.

EXCLUSIVE.  Restock. A joint release between Psychonavigation and Canadian label Upstairs Recordings. Seattle based producer Gel-Sol presents his new album entitled "IZ," and in his own words ‘Is an all-ambient adventure I wrote for my niece Izabella, who was born early last year’. Gel-Sol aka Andrew Reichel, whose dichotomous sound spans from ambient soundscapes to complex, rhythmic electronica, creating a dynamic psychedelic universe with heavy emphasis on improvisation. His influences range from 70s prog and kraut rock to electronic and psychedelic. The album’s music showcases Gel-sol’s trademark melodic edge combined with sweeping Synth pads reminiscent of 90’s ambient albums from the likes of Pete Namlook & Global Communication.
Reviews: Textura

EXCLUSIVE.  First Full length release from hair police since 2005, and their most masterful yet, combining signature piercing vocals with walls of guitars, precise heavy electronics and thundering drums. The fusion of metal, noise rock, free jazz, industrial, and harsh electronics that makes up The Certainty of Swarms is the rare kind of heterogeneous concoction that is carefully matured, but never lost in pedestrian calculation. A blistering onslaught of metallic-fused noise-murk, Swarms is considered by the band to be one of their most complete statements to date, an aptly blindsiding and developed work drawing from all quarters of their craft.

Reissue. A first time CD release for Havana 3a.m.'s self titled 1991 album. The band formed by ex Clash bass player Paul Simonon, described as 'the coolest man ever to strap on a bass guitar ' conjures up a blend of Latino flavouring built on the solid base of Rockabilly. Their sound evokes images of Spaghetti Westerns, 1950's America and the heyday of Cuba's capital Havana all with a contemporary twist. The CD features the 12 original tracks from the album including the single "Reach The Rock" and other band favourites "Joyride", "Hey Amigo", "The Hardest Game" and "Blue Gene Vincent".

In recent years Honeybus have outgrown the one hit wonder tag that plagued them for years and become one of the most treasured British bands of the late 60s. Sure, I Can t Let Maggie Go represents a high watermark of intelligent pop records reaching the top ten but there s so much else besides. The band cut three singles in 1967 and 68, written and fronted by Pete Dello who promptly quit after Maggie hit and embarked on a fascinating and complex solo career. Not to be outdone, the band re-grouped and cut three further singles and an album that almost never got released. The story goes that upon their split in early 1970, somebody at their label, Deram Records, heard the recordings and demanded that it be released. And hence it was, posthumously and to little fanfare in 1970. Blending the kind of pure, crystalline folk-tinged baroque pop that had characterised most of their singles with flashes of psychedelia, country and bubblegum, the twelve songs that make up Story are uniformly stunning creations, played with skill and confidence, arranged for strings and woodwind and blessed with a sympathetic, understated production. We’ve added all eleven non-album Deram single sides, restored the original album artwork and told the Honeybus story with input from the band themselves.

EXCLUSIVE.  Three girls! Three years! Three chords! Hotpants Romance debut album 'It's a Heatwave' is shouty, shambolic, garage pop that wears its heart on its sleeve. On the 14th February 2005 Hotpants Romance formed two hours before their first gig, with a vow to play once a year on Valentines Day, after a storming two and a half song set the audience wanted more. The original plan was dropped in favour of playing anywhere and everywhere that Anyone would have them. The rest of 2005 had their first tape ‘The Greatest Hits’ was released on Manchester DIY label Soft Presents and the 50 copies quickly sold out. Gigs were played all around the UK with many amazing bands, winning over audiences with energetic and shambolic live shows. 2006 had Hotpants Romance playing more shows and releasing their demo EP titled “Lucky 6”. In 2007 things started to really come together when the girls were able to tour with their post punk heroes the Nightingales, only to be followed by a support slot for the Ting Tings UK tour. In 2008 after a win on a horse called Purple Moon, Nightingale Robert Lloyd is able to release the first Hotpants Romance album on his Big Print label. ‘It’s a Heatwave’ crashed into the world, catching the attention of music press and radio stations to great critical acclaim. The girls booked a short US East Coast tour with Christie and Emily. They are currently working on songs for a 7” on Cherryade Records in the UK, and getting ready for a performance at this years’ Athens PopFest in Athens, Georgia, having their “It’s a Heatwave” released on Happy Happy Birthday to Me Records in the states, and a 2 week South East US tour with new label-mates Cars Can Be Blue.

EXCLUSIVE.  Joe Grimm (formerly known as The Wind-Up Bird) is a composer/ performer based in Providence, RI known with remarkable releases on Music Fellowship Label. The seed for this music was planted when I participated in one of Glenn Branca's 100-guitar symphonies. The sound was incredible: a deafening, electric choir incorporating so many voices that the each element was subsumed within the group sound. But I was struck even more by the unrealized potential in Branca's approach; the sound was separated into several identifiable voices, so that the impression given was of a conventional counterpoint-driven music. I wanted to make a particulate music that presented itself as a single mass of varying density, comprised of tens of thousands of individual events. Soon afterward, I began to immerse myself in the piano music of Charlemagne Palestine. I learned from him that when two notes share a particular frequency in their overtone series, that frequency can be made to sing out clearly -- a ghost tone, not played directly, but arising from the interactions among the directly played notes. I began to compose and improvise with this in mind -- I could sketch out desired pitches, and then arrange webs of lower pitches that coincided to produce those target pitches within their harmonic series. This music deals with overtones. I listen not so much to the direct-played notes; instead, I let my mind wander through the web of throbbing harmonics that arise as a result of their interaction. There are obvious sounds on the surface of the music, but eventually my ears penetrate beneath the surface to where harmonics overlap in countless reinforcements and cancellations. I love the glowing acoustic haze that seems to hover above the obvious notes, and the sustained ghost tones that emerge and recede within that cloudy texture. The Brain Cloud pieces are through-composed according to the principles of overtone confluence and particle density. There are no special electronics on these recordings -- the humming sounds are the result of the acoustical interaction of voices, violins, horns, and above all, piano (Brain Cloud III was recorded live with three pianos, each played by three people; 18-handed piano). The harpsichord interludes are solo improvisations for harpsichord, equalizer, and slight delay.
Reviews: Whiteline: Promoting Minimalism Internationally | De:Bug

Yep, it's John Berberian, Master of the Oud! Long before there was any such thing as "World Music", John was experimenting in his native New York City, both within the traditional Armenian music community, and with folk, rock and jazz musicians who admired his Oud artistry. And so this unknown gem, Middle Eastern Rock! Unsympathetically packaged as almost some kind of old-school belly-dance meets raga rock record, it is in fact a masterpiece of the highest order. Full of multi-percussive grooves on drums and dumbeg, searing solos from fuzz guitars and of course, John on the Oud. We cannot urge you more to experience this record!

EXCLUSIVE.  Pitchfork 10/10. "More than a year after issuing his debut EP, the mighty (and yes he's mighty already) Jonas Pettersson has finally released his debut full-length under the Juvelen moniker. Entitled "1", it is so, as his debut album, and also, one of the best flat-out pop albums I have heard in years. The strange thing about this album though, is that each of it's ten songs could be a hit single, yet it retains a cohesive feel that a singles collection does not. Every track is a stand-out, however, for the skeptic I'd recommend "Money don't talk", "Don't mess" and "Everytime" to win you over. His seductive, synthesizer heavy pop/r&b hybrid could—and should—elevate Juvelen to being a global household name. It's pure pop perfection will make you smile, and dance, and smile and dance." - Matt Giordano, It's a trap.com "Sweden is starting to frighten me. It wasn't enough for the Scandinavian nation to catch the garage-rock wave or usurp Glasgow's rightful place as a wellspring for wimpy indie-pop. No, the Swedes also had to show off their prowess at electro-pop, dreamy epic disco, and, with lesser success (so far), hip-hop. Stockholm's Juvelen plants the blue and yellow flag firmly in the terrain of funky, r&b-informed synth-pop. (His name is Swedish for "jewel," so just be thankful he didn't choose to annex 1990s folk-pop.) "Hanna", from Juvelen's recently released debut album, 1, is a good preview of Juvelen's Prince-ly falsetto and twitchy dancefloor hooks. Produced by Patrik Berger, who worked on Robyn's self-titled album, "Hanna" sounds a note of regret to one of Juvelen's own Billie Jeans, with an arrangement of taut guitars, smooth synths, and propulsive bass that keeps the track always moving-- just like the insatiable Swedish pop scene." - Marc Hogan, Pitchfork.

Wow! Something of a major discovery here we thinks. Californian actress/model/singer Kathe Green cut this hugely sought after but rare-as-hell long player for Deram in 1969 after having appeared in’the Party with Peter Sellers. Finding herself in London as guest and bosom buddy of Richard Harris, himself enjoying a spin-off career as a hugely successful pop star at the time, Kathe found herself singing Mark Lester s vocal parts on Where Is Love? for the soon-to-be-massive Oliver soundtrack. She was snapped up by Deram where she was teamed up with in-house whiz-kid producer Wayne Bickerton, arranger supreme John Cameron and the cream of London session players. Kathe wrote 10 of the album s 13 tracks, which recall all manner of contemporary female vocalists of the time, from Marianne Faithfull to Sandie Shaw to Dana Gillespie (with whom Kathe shared Bickerton s production savvy, not to mention a couple of his tunes). She also turns in a lump-to-the-throat reading of Cameron s perennial If I Thought You d Ever Change Your Mind. Housed in a striking sleeve which featured gushing notes by the likes of Peter Sellers, Rex Harrison and Simon Dee and named after a line of poetry bestowed on her by Richard Harris himself, Run the Length Of Your Wildness disappeared as quickly as it had come, only being picked up on through internet exposure over the last year or so. Produced in conjunction with Kathe herself, Rev-Ola is proud, nay humbled, to present the first ever reissue of this lost late 60s femme pop classic!

Keith scored a massive worldwide hit in 1967 with the record 98.6, which featured on our release Keith Ain't Gonna Lie (RPM 273), and is the subject of an entire column in this months Mojo Magazine. We are pleased to present Keith s 1969 self penned LP, The Adventures of Keith, which is reissued for the first time, and is also on CD for the first time. A striking set which tells the story of a boy, Charley Cinders, who is born [Waiting to Be]; he's blind [Alone On The Shore]; the trials and tribulations he has to deal with [Marstrand, China Clipper, The Problem, Elea-Elea, Trixon's Election] and ultimately his own demise [Charley Cinders]. In production the music speaks loudly of Keith's British pop influences and the arrangements twist and turn in such a way that they could only be from a songwriter enthralled with Sgt Pepper. All of which explains why The Adventures Of Keith fell through the cracks in mainstream 1969 America, only to become a highly sought-after soft rock collectable in recent years. Full story inside from a new interview with Keith (aka Barry Keefer).