2010s 401 Items

Heavyweight WHITE vinyl, Gatefold sleeve, black paper inner bag, 12’ x 24’ insert (folded in half), download card

Bear’s Den are back with their third studio album ‘So that you might hear me’, recorded across Seattle and set for release in April.

Midnight Embassy is a ping­pong project by songwriter Angela Aux and producer Sam Irl. During nightly sessions and on walks together, the two artists have created a palette of timeless tracks and futuristic sculptures from pop music flotsam. Like if two archive junkies had synchronized their sketch collections and notebooks so that the different genres and decades seem to effortlessly swirl through each other: Dub, Folk, Beatnik literature, Afrobeat & Electronica. Aux & Irl celebrate a gentle escapism, both cosmopolitan and aloof. This island mentality sparkles unobtrusively through all five tracks of the debut EP. No fireworks, no illuminated advertisements, no selfie thunderstorms: they come at dusk, set shimmering beacons and disappear on a reverberation trail behind the curtain of the night.

Limited Edition for Record Store Day 2019! Rogue Cat Sounds focus on purveyors of Wonk, with a Golden Pop pedigree, Soul Mekanik, AKA Danny Spencer and Kelvin Andrews. Folk whose musical CV takes in UK Acid House classic, Ride The Rhythm, Candy Flip, remixes for Lisa Stansfield, Mary J. Blige, and Aretha Franklin (to name just three of several hundred). Writing and producing for Robbie Williams. Complete with Maurice Fulton Remix & a beautifully designed sleeve.

Limited Edition for Record Store Day 2019! EP on marbled vinyl + CD. At a nailbiting media event in January 2019, Mooneye's 'Thinking About Leaving' was announced as the winner of Studio Brussel's De Nieuwe Lichting.

The debut album from Brooklyn's The Depreciation Guild sees its first repress since
2009. The 10th anniversary blue vinyl repress is a limited edition RECORD STORE DAY
release out on April 13, 2019 available at participating record stores.
Mixing a collage of guitars, drums, fuzzy electronics and heartfelt lyrics, In Her Gentle
Jaws has always been a surprisingly seemless mix of laptop pop and shoegaze. The
fuzzed-out, reverb-drenched melodies draw influences from shoegaze guitar walls, dreampop highs, and the rigidity of electronic rhythms with the use of an 8-bit Nintendo soundcard. The modified entertainment system is used to compose a crushing backdrop of
rhythmic, synthetic elements.
The Depreciation Guild was founded by Kurt Feldman, who has been active in the
Brooklyn music scene since 2007. As drummer and member of The Pains of Being Pure at
Heart, Feldman often pulled double duty while keeping up with and touring in two bands
simultaneously. When the heavy tour schedule subsided, Feldman turned his focus to
production having a hand in the mixing and engineering on several high profile indie
releases (DIIV, Chairlift, No Joy and Kristin Kontrol).

Powerhouse vocalist Alanna Royale and her band
bring some sides that burn like a piece of that
famous Nashville hot chicken. A-side 'Go' will light up
the output meters on many a DJ mixer, from the
opening hits to the sinewy bass line snaking around a
rhythm section that is bound to make a body move.
B-sides are ever so often the hidden gems, and on
this 45, 'I Know' is bound to have a big share in the
fans of this release. Foreshadowing the forthcoming
groove, the Motown-esque entrance drum fill opens
the door and then the horns step in and never leave
the room. Produced by Kelly Finnigan and mixed by
the team at Transistor Sound we are pleased to have
this release join a growing list of fine recordings from
the Transistor Sound label.

"Britain wasn’t on its own in having a thoroughly miserable 1973: O Lucky Man! and Badlands both found a great year to premiere, while Watergate brought America to a new low. But America didn’t still have back-to-backs and outside bogs. Tens of thousands of Britons remained housed in wartime pre-fabs and sub-standard dwellings. The bright new colours of the post-war Festival of Britain and Harold Wilson’s talk in the 60s of the “white heat of technology” now seemed very distant as strikes, inflation, and food and oil shortages laid Britain low. What had gone wrong? And what did pop music have to say about it?

With perfect timing this album soundtracks Britain on the brink of chaos. It includes lost masterpieces (Phil Cordell’s ‘Londonderry’), gritty singles by the new names of the early 70s (Mungo Jerry’s ‘Open Up’, David Essex’s ‘Stardust’) and forgotten gems by some of the biggest names of the previous decade, now struggling to make themselves heard (the Kinks’ ‘When Work Is Over’, the Troggs’ ‘I’m On Fire’).

Sometimes the approach was tongue-in-cheek (the Strawbs’ ‘Part Of The Union’), other times it was the sound of sheer frustration (Mike McGear’s ‘Kill’), and occasionally it was angry enough to incur the wrath of special branch (Hawkwind’s banned ‘Urban Guerilla’). Mostly the sound of these records evokes the feeling of nights in with only candles to light the house and TV closing down at 10pm: the empty spaces of Adam Faith’s ‘In Your Life’; the fuzz guitar minimalism of Ricky Wilde’s ‘Hertfordshire Rock’; Climax Chicago’s alternative lifestyle-musing ‘Mole On The Dole’.

Compiled by Bob Stanley and Pete Wiggs, “Three Day Week” follows on from their highly acclaimed “English Weather”, “Paris In The Spring” and “State Of The Union” compilations. It amplifies the noise of a country which was still unable to forget the war, even as it watched the progressive post-war consensus disintegrating. We hear shrugs and cynicism, laughter through gritted teeth, melancholy, and a real anger that would rise to the surface with punk a few years later.

This 180g clear vinyl LP with deluxe gatefold sleeve features two extra tracks."