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Sealed copy!

Lush and Sing-Sing co-founder Emma Anderson releases Spiralée: Pearlies Rearranged on October 18. It consists of new versions of all 10 tracks from last year’s debut solo album, Pearlies, reimagined by Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, Memorials, Concretism, Masal and original album producer James Chapman, aka Maps.

We aren’t calling it a remix album, because it is so much more than that – everything has been rearranged, from the tracks to the running order and the anagrammatic title (which led to Stuart Jones’ stunning Spirograph-meets-Saul Bass artwork) and the result is, essentially, a brand-new record. “It was a chance to get some really inventive people to take the tracks and turn them on their heads and that’s exactly what has happened,” explains Emma. “We selected an interesting array of artists and gave them the stems without any direction to see what they would come up with. The result is absolutely brilliant and is a record that stands alone without even knowing what the originals are like.”

180g Vinyl!A collection of songs pushed to maximum density, marked by dark shoegazer guitars, distorted organ stabs, rubbery basslines, motorik drumming and various shrouded voices whispering, screaming and singing along the way - this album contains Fly Pan Am's most intense sounds yet. While each side of the record is anchored by a long, non-linear piece juxtaposing the band against tape and electronic treatments, several tracks are as close as the group came to traditional rock/pop structures, with 'chorus' breaks, melodic 'hooks' and vocals. Of course, being Fly Pan Am, all of this is duly bracketed - there is nothing traditional about the results, and the various elements are pushed forward or pulled back in anything but conventional ways. These are careening, carnivalesque tunes that somehow wed the browns and pinks of their guitar noise with yeye pop, Boredoms-style noise incantations and hardcore punk. N'Ecoutez Pas features a long list of local guest vocalists to supplant the band's own oral action, as well as electronic interventions from fellow Montrealers Tim Hecker and Alexandre St-Onge.

Lush and Sing-Sing co-founder Emma Anderson releases Spiralée: Pearlies Rearranged on October 18. It consists of new versions of all 10 tracks from last year’s debut solo album, Pearlies, reimagined by Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, Memorials, Concretism, Masal and original album producer James Chapman, aka Maps.

We aren’t calling it a remix album, because it is so much more than that – everything has been rearranged, from the tracks to the running order and the anagrammatic title (which led to Stuart Jones’ stunning Spirograph-meets-Saul Bass artwork) and the result is, essentially, a brand-new record. “It was a chance to get some really inventive people to take the tracks and turn them on their heads and that’s exactly what has happened,” explains Emma. “We selected an interesting array of artists and gave them the stems without any direction to see what they would come up with. The result is absolutely brilliant and is a record that stands alone without even knowing what the originals are like.”

180g Vinyl!This 3-song EP of fractured, tape-infested experiments is an intransigent slab of self-referential auto-criticism. The band was sticking to its agenda of acutely self-conscious musical manipulations, re-working its own materials and assumptions to yield new compositions of uncompromising formalism. Side A is a medley of sorts, consisting of phrases and fragments reconfigured and replayed from their self-titled debut (Fly Pan Am). Various melodies are reassembled and played off of one another, creating an extended live remix with blissful passages of layered guitars, drones, sampled backing vocal lines, and the requisite incidental noise break in the middle of the piece. The result is something like a 'Stars On 45'-style musical encapsulation of the entire debut record. Side B contains a new piece of somnambulist clockwork repetition, with the band laying down a strict, static groove while various tape manipulations penetrate the mix to create polyrhythms, dissonances and additional textures. This is prime anti-funk, invoking early Talking Heads along with all things krautrock, and driving home the EP's subtitled intent: "stereo-stupefiant".

Light Blue Vinyl.

RSD Exclusive, Limitation: 4000

As part of RSD Black Friday, Pearl Jam will release a limited edition 12” 45 RPM black vinyl single featuring two live tracks recorded on the first leg of the band's 2024 Dark Matter World Tour. “Waiting For Stevie- Live” and “Wreckage- Live” are the second and third singles from Pearl Jam's critically acclaimed 12th studio album, Dark Matter. The live versions of these songs capture the energy and excitement the band is enjoying on the road this year.
“Waiting For Stevie -- Live” was recorded at Seattle’s Climate Pledge Arena and has been chosen as the RSD Song Of The Year for 2024. “Wreckage- Live” was captured in Las Vegas at the MGM Grand Garden Arena and provides an excellent example of the band’s powerful live performances.
Included in this exclusive RSD Black Friday package is a double-sided full-color poster of the band playing live in 2024.

Grey Eyes, Grey Lynn is a record that could only come from inner-city Auckland and is an open window into Jim Nothing's world. Created during a time of isolation, Jim reflects on his immediate surroundings, finding beauty in the ordinary and noting the eccentricities of everyday life. Jim Nothing's songwriting has matured, showing a refined narrative which pulls from lived experience. Themes and scenes of local pubs, open roads, psychedelic summers and deep melancholia. This is antipodean life at the edge of the world. Written on walks through the neighborhood with a notebook and pen. Recorded between The Audio Foundation and Jim's own garage. The amalgamation of spaces further blurs the line between a “demo” and a final recording, as buried within the songs are the initial moments of weird magic and intimacy. This new album retains the crystalline nature of early recordings, offering a feel very much immediate and genuine. Sonic experimentation of acoustic instruments, layered guitar drone and catchy pop hooks create a palette both heady and new. Influences from New Zealand's past can undoubtedly be heard (The Clean, Snapper, Lbgp) but the world contained within Grey Eyes, Grey Lynn is a world of Jim's. Both a slice of life and a moment in time.

Allegra Krieger’s "Art of the Unseen Infinity Machine", her second full-length album with Double Double Whammy, is a collection of 12 songs that pick at the fragile membrane between life and death.

Krieger’s previous album, "I Keep My Feet on the Fragile Plane", hewed more closely to the domestic spaces of city and mind. Rolling Stone regarded the album as “ten songs of heady philosophical meanderings packed with emotional dynamite,” and likened her “finely phrased lyrics” to those of “Joni Mitchell, Leonard Cohen, [and] David Berman.” Krieger’s existential meditations remain on "Art of the Unseen Infinity Machine", however her meandering melodies have taken on a stronger sense of direction. She narrates candidly and assertively; the full-band arrangements never overpower, only offer a robust platform on which Krieger’s voice reaches new heights.

The full band brings a heightened sense of drama to the album’s arrangements, which contrasts the quieter approach of Krieger’s previous LP. There are noisy interludes, jazz-inflected discursions, impactful stops and starts, and occasional spaces for Krieger to stretch out her impressive vocal range (most prominently at the dazzling climax of album stand out “Came”). In "Art of the Unseen Infinity Machine", Krieger invites us to a place where transfiguration is not only possible but actively happening. From this place, the beautiful and the banal and the terrible are all laid out before us. And Krieger asks us not to look away. Instead, she invites us to stare down the beautiful and terrible in the world, and to realize that sometimes the only way out is through.

Have you ever been to Miyazaki? It’s a prefecture on Japan’s southern island of Kyushu, facing the Pacific. Palm trees. Humid subtropical climate. This is the home of Maple Fyshh, a musical artist whose late-80s/early-90s recordings have been collected and reissued here. Liberated by the advent of 4-track cassette home recording technology, inspired by a love of 60s pop oddball production mavens like Phil Spector and Joe Meek, as well as American hot rod and surf music, these Maple Fyssh songs glow with an outsider’s love of the transformative power of newly-available sound technology, allowing him to pull his inspirations across decades and oceans to his 1990s Miyazaki home studio. The tracks here are a d.i.y. dream-pop wonderland, compiling songs from his first LP “Mariko” and second LP “Dokitto Station!!”, both self-produced, both released in 1995. The A-side of this release features tracks from the concept album “Mariko”, a masterpiece of daydream pop introspection, recorded in 1994-95, inspired by a poem submitted to a manga magazine. The B-side features tracks from “Dokitto Station!!”, slightly earlier recordings that draw inspiration from a range of 60s pop including girl groups, surf music and acid folk. All the music here demonstrates Maple Fyshh’s deep understanding and appreciation 60s pop moves, and also his mastery of the limited technology at his disposal.

Remastered in 2024, the sound of Miyazaki has been reborn for a new audience. Available on Vinyl LP and download, with a DL card, English/Japanese lyrics and entertaining and informative English/Japanese liner notes by the artist.

Debut single from French 3-piece electronic garage band, THE JIMI BEN BAND. Based in Lille, France, they came to Damaged Goods' attention having played with Thee Spivs. Damaged Goods strongly suggests you YouTube the video to experience the fullmajesty and psychedelic majesty of the band. Once upon a time, Jimi Ben found himself lost in the jungle. He had been wandering in South East Asia for years and could find no way out. One night he was cruising for dirt and love, he got struck by sexedelic visions emerging from the red lights of go-go bars. An inner baboon voice told him: "Jimi ! Bad is good for you. Why don't you set up a Rock'N'Roll band ?". That's exactlywhat he did. Back in his hometown (Stockton, Northern France), he was taught by long time friend Ricky Love how to play powe...

Former yonawo member Shota Aratani, Motomu Kawabe (from Mitsume), and Goemon Tsujimura (from Kicell) contributed songwriting and composition to yomm's debut EP, now being released on vinyl!

The debut EP by "yomm," the solo project of Korean model and singer-songwriter Choi Jung Yoon, is steadily gaining recognition in Japan. The EP includes songs written and composed by former yonawo member Shota Aratani, Mitsume's Motomu Kawabe, and YeYe. In addition to these tracks, it features "Hon de Yonda Dake" (written, composed, and arranged by Goemon Tsujimura from Kicell) and "Scramble - Tokyo," a song written and composed by Choi Jung Yoon herself. The EP, which contains a total of 6 tracks, is set to be released on vinyl!

Following the news that all three Lush albums are going to be reissued, Emma Anderson, the band’s co-founder, has announced her debut solo album, Pearlies, which will be released by Sonic Cathedral on October 20, 2023.One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life. It arrives fully formed with a burnished beauty (aided by the mastering skills of Heba Kadry) that belies its somewhat protracted creation, which began with Emma feeling disillusioned after Lush’s 2016 reunion came to an abrupt end. Left with songs and bits of music originally intended for the band, she began working with cellist and string arranger Audrey Riley and Robin Guthrie, formerly of the Cocteau Twins, both of whom encouraged her to sing her own songs. Covid put a temporary halt on proceedings, but the decision had been made. When Sonic Cathedral introduced her to James Chapman at the start of 2022, Pearlies quickly took shape and blossomed into a masterpiece, the perfect mix of Emma’s incredible, idiosyncratic songwriting and James’ electronic production nous. Plus, a little extra guitar magic on four tracks courtesy of Richard Oakes from Suede. The finished album has somehow written its own narrative. By her own admission, Emma tends to write words and “see what comes out”, but Pearlies seems to tell the story of her decision to go it alone, with opener ‘I Was Miles Away’ posing the question: “See if I make it on my own”. The rest of the album provides the answer as it takes in everything from the unexpectedly funky first single ‘Bend The Round’, to folky finger-picking and film theme references, via psych leaning electronic pop reminiscent of Goldfrapp or Melody’s Echo Chamber. It concludes with ‘Clusters’, a stunning, Stereolab-style groove which begins with the line “and now the party’s over, the music’s at the end”. Thankfully, that is not the case. This incredible album is just the start of Emma’s long-awaited solo journey.

This miracle piece was recorded and mixed by Bunsho Nishikawa, mastered and cut by Rashad Becker, and cover art by Tomoo Gokita. The memorable first LP by 'goat', an instrumental group led by Koshiro Hino, a.k.a 'ypy', is a reorganization of the best performances from their first and second albums, "New Games" and "Rhythm & Sound". They create music with noises, muted sounds, and pulsing sounds that are produced when the instruments are pronounced, and the nature of their expression inevitably makes performance a hellish ordeal for the performer by overworking the body and nervous system. The sound is imprinted with the urgency of a performer absorbed in their performance, and the vibrations of this tingling physiological state are clearly felt by the listener, and may even cause a sense of physical exhaustion, as well as mental fatigue.

The debut record by Fly Pan Am consists of five long songs clocking in at over an hour of music, spread across three sides of vinyl for the LP format. Chiming, deliberate instrumental rock propelled by insistent motorik drumming and interweaving guitar and bass lines that unfold with obstinate rigour. The band's ear for melody and approach to (de)construction reveal the twin influences of French pop and krautrock, resulting in a forward-looking experimentalism guided by an unshakeable faith in the unfulfilled possibilities of minimalism and musique concrete in punk-rock. Additional tape manipulations and field recordings by all the group members add drones, transitional accents, and abrupt interruptions to the collage. The music is sometimes willfully infuriating in its pursuit of a concept; "Dans Ses Cheveux Soixante Circuits" proceeds through a lovely series of harmonic changes before settling into a 10-minute repetition of a half-tone interval while the digitalia of guest electronic musician Alexandre St-Onge takes over. The band premiered this piece at Constellation's Musique Fragile concert series in 1998, and "L'espace au sol." is a re-recorded version of a piece that first appeared on a split seven-inch with Godspeed You! Black Emperor, put out by local fanzine aMAZEzine, also in 1998.

Still shrink wrapped but opened.
Includes original inner sleeves.

White vinyl

Clear flexi vinyl.

Synthwave. Darkwave. Silhouettes is a strong debut album that captures the shifting perspectives of its five-year writing period, and the emergence of Yama Uba’s uniquely crafted sound. With Akiko Sampson's charismatic vocals and rumbling bass combined with Winter Zora's sweeping guitar and saxophone soaring over velvet synthesizers and synthpop beats, Yama Uba makes several nods to their post-punk and darkwave predecessors while creating a sound entirely their own. Throughout each track, Yama Uba emerges as a songwriting unit able to capture the complexities of the human spirit, as fragile as it is powerful, as it experiences its own evolution. States Sampson, ‘‘As a whole, Silhouettes is about personal transformation and self-discovery, and is a reckoning with the power of time.”

"Yama Uba’s modern-yet-nostalgic sound plays beautifully into the emotional cadences of Silhouettes, reflecting on personal growth and transformation with the cutting insight of the hard-won wisdom that can only come with age. The band’s nods to earlier darkwave movements evoke past eras and distant memories, but Sampson’s powerful lyrics and no-holds-barred delivery remind us that some wounds don’t heal with time, even as they make us stronger."

Vinyl with a couple of light scuffs

Picture disc. Plastic cover with seam split

Still sealed. Tiny wear.

Still sealed with hype sticker.

Early Bird Ivory Rose Swirl Vinyl. Record is in excellent condition, close to NM !

Since 2012, New York City singer-songwriter Nate Amos (Water From Your Eyes, My Idea) has recorded and self-released hundreds of songs under the This Is Lorelei moniker, and perhaps surprisingly, after a decade plus, "Box for Buddy, Box for Star" marks the first attempt at a traditional, intentionally written full-length album. Amos describes the bulk of This Is Lorelei’s discography as “unedited diary entries,” written and recorded without much forethought, regard for genre or reverence for albums as thematic bodies of work, so oddly enough, "Box for Buddy, Box for Star" is both a fresh start and the culmination of years of diligent, interesting songwriting.

"Box for Buddy, Box for Star" embraces traditional pop songcraft and a confessional, carefully written brand of lyricism, dabbling in the kind of classic singer-songwriter cliches he never imagined toying with—but not without the counterbalancing force of shitpost-y irony, which listeners have come to expect from Amos. Inspired by the gritty romanticism of Shane MacGowan and the Jim Croce mimicry of Tim Heidecker’s "What the Brokenhearted Do…", the LP exudes both a grizzled charm and youthful intensity. Sonically, Amos adorns the record with quaint country gestures—a full-circle artistic choice for Amos whose father is a veteran bluegrass musician.

And it wouldn’t be a Nate Amos release without a few curveballs, like “Dancing in the Club,” a bouncy auto-tuned pop song, which he likens to Bruce Hornsby-via-Blink-182, or “Perfect Hand,” an intimate piano-led track with vocal samples, alarm bell-like effects and skittering electronic beats. He also mischievously opens the album with a red herring of sorts, “Angel’s Eye,” a twangy sci-fi country duet about an angel who abducts a cowboy and unintentionally falls in love.

Still sealed. With OBI. Limited edition. 2017 reissue.

Six years ago, Oum Shatt released a critically acclaimed debut album that led to Song of the Year awards from Berlin Radio Eins ("Gold To Straw") and TAZ Popblog ("Power To The Women Of The Morning Shift"), as well as BBC and Arte features and appearances at Sxsw, Transmusicales in France and Electric Picnic in Ireland.

Now, the Berlin-based band, whose members are otherwise known from bands such as Kissogram, Fenster, Die Türen, Golden Showers and Peaches, consisting of singer and songwriter Jonas Poppe, founding member Chris Imler on drums, guitarist Richard Murphy, and Rémi Letournelle on bass and synthesizer – return with a second effort that even surpasses their debut. Building on the minimal-rock style of their debut album (Vogue Magazine), OUM Shatt weaves a mystic, at times psychedelic soundscape with meandering guitars, a wild percussive aesthetic, and Jonas Poppe’s evocative, mantra-like baritone. "Opt Out" also stands as a thematic concept album, delving into the individual's various forms of resistance against societal expectations. While drawing from obscure influences, the album remains unmistakably unique.

Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation’s ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. A series of performances, billed as “Night Events” were held at the Expo; the most radical of these was "Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles”, but its anti-establishment feel and general madness took the Expo organizers by surprise and it was cancelled after only one night, despite being scheduled for a longer run. An air of myth developed around the event, but a recording of the event has been discovered and this release is the result. This release comprises a CD, a 10-inch record with fold-out sleeve and large obi, plus fascinating notes in Japanese and English by Kenichi Yasuda, an expert on Japanese rock music, and Koji Kawasaki, a renowned researcher of Japanese electronic music, as well as rare photos. *Special Edition includes a Cd-r of a interview program with the producers of "Beam Penetration" in 1970. At the end of the program, the Flower Travellin' Band appeared with motorcycles and performed in the studio. Also includes insert with English translation of the interview.

Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation’s ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. A series of performances, billed as “Night Events” were held at the Expo; the most radical of these was "Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles”, but its anti-establishment feel and general madness took the Expo organizers by surprise and it was cancelled after only one night, despite being scheduled for a longer run. An air of myth developed around the event, but a recording of the event has been discovered and this release is the result. This release comprises a CD, a 10-inch record with fold-out sleeve and large obi, plus fascinating notes in Japanese and English by Kenichi Yasuda, an expert on Japanese rock music, and Koji Kawasaki, a renowned researcher of Japanese electronic music, as well as rare photos.

Six years ago, Oum Shatt released a critically acclaimed debut album that led to Song of the Year awards from Berlin Radio Eins ("Gold To Straw") and TAZ Popblog ("Power To The Women Of The Morning Shift"), as well as BBC and Arte features and appearances at Sxsw, Transmusicales in France and Electric Picnic in Ireland.

Now, the Berlin-based band, whose members are otherwise known from bands such as Kissogram, Fenster, Die Türen, Golden Showers and Peaches, consisting of singer and songwriter Jonas Poppe, founding member Chris Imler on drums, guitarist Richard Murphy, and Rémi Letournelle on bass and synthesizer – return with a second effort that even surpasses their debut. Building on the minimal-rock style of their debut album (Vogue Magazine), OUM Shatt weaves a mystic, at times psychedelic soundscape with meandering guitars, a wild percussive aesthetic, and Jonas Poppe’s evocative, mantra-like baritone. "Opt Out" also stands as a thematic concept album, delving into the individual's various forms of resistance against societal expectations. While drawing from obscure influences, the album remains unmistakably unique.

White Vinyl limited edition.

Copy close to VG+

EU reissue from 2019. tiny wear. Original inner sleeve. Vinyl is close to NM.

White vinyl. tiny wear. Record Store Day edition 2019 reissue.