Pontiak is made up of three brothers from the Blue Ridge farm country of Virginia, Van (guitar, lead vocals), Lain (drums, vocals) and Jennings Carney (bass, organ, vocals). Their music is swaggering guitar rock that straddles the line between a power trio and something far more expansive in sound and scope. Their broad song structures allow ample room for three-part vocals, drums, organ and stellar slide and lead guitar to stretch and captivate. Songs roll along with an effortless synchronicity despite their extremely varied textures.
Long out of print, this is the first time the highly sought after album has been reissued, let alone made available digitally or on CD. Originally released in March 1980 on their own Y label through Rough Trade, For How Much Longer Do We Tolerate Mass Murder? spent 20 weeks in the Indie charts, peaking at #1. Produced and mixed by the band, For How Much Longer Do We Tolerate Mass Murder? represents the quintessential independent Pop Group album -untethered, entrenched and completely committed to challenging the political orthodoxy of the day and savagely denunciating its failings.
The Pop Group singer and lyricist, Mark Stewart says: “Context is crucial. At the time The Pop Group were playing multiple rallies and benefits across Europe from Scrap SUS to Aid for Cambodia to our final blow out at the 500,000 strong Campaign for Nuclear Disarmament rally in Trafalgar Square.” Declared a “revolutionary, anti-imperialist manifesto” by Mark Paytress (MOJO, Record Collector, Rolling Stone), the album has been celebrated by Uncut as one of the 50 Greatest Lost Albums.
Both formats include 8 original artwork prints on 4 double sided posters.
The Pop Group reissue their vital post-punk statement We Are All Prostitutes as a limited edition coloured 7” packaged in its original sleeve artwork. Flipside Amnesty International Report is a similarly audacious dispatch in which the torture of Irish prisoners by the British Army is directly quoted from Amnesty literature.
A timeless nerve-obliterating insurrection, We Are All Prostitutes was released in 1979 to a climate of political unrest. On hearing it for the first time Nick Cave commented, “It’s one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever.” It was “everything that I thought rock & roll should have…it was violent, paranoid music for a violent, paranoid time.”
A great demonstration of We Are All Prostitutes’ enduring relevance was its recent pick for The Washington Post’s ‘Week In A Song’ feature when bribery and corruption were hot topics of the week.
An artist whose music is at once timeless yet utterly of its time, Gregory Porter solidifies his standing as his generation’s most soulful jazz singer-songwriter with the release of ’Take Me To The Alley’, the much-anticipated follow-up to his million-selling Grammy-winning 2013 Blue Note debut ’Liquid Spirit’.
Portico are Duncan Bellamy, Milo Fitzpatrick and Jack Wyllie. Previously they were three-quarters of the highly successful and critically-acclaimed Portico Quartet. But Living Fields is no continuation under a shortened name. As far as the band are concerned this is a debut.
There are three remarkable singers on this record:Jono McCleery, Joe Newman (Alt-J) and Jamie Woon.
2CD = CD album + Ltd. Indies Exclusive Bonus CD LTD LP = LP + MP3 +Ltd. Indies Exclusive Bonus CD [While stocks last!]
Ace long awaited comeback, which sounds like nothing else on you’ve heard before, unless you live in the BBC Radiophonic Workshop in 1979. The 2LP version is a very nice gatefold sleeve which comes with a code to download the album as MP3s.
We all want the world to be beautiful. We want scribes and songbirds to tell us so - and sometimes they do and then it is. They point their pens and focus their lens where they will and surprise us to our soul. ‘On Your Own Love Again’ is a record that does it to us, with songs from a spine-thrilling new place and a gifted young singer with her own musical logic.
The very best of Elvis Folk-Country 1966-1973. This special Record Store Day release includes masters from Elvis’ sessions at RCA Victor’s Studio B in Nashville in May 1971, a period in which several folk writers’ material surfaced spontaneously amid gospel and holiday recordings, plus others with similar provenance: from Dylan’s ’Tomorrow Is A Long Time’ in 1966, to then-contemporary pop-folk such as ’Good Time Charlie’s Got The Blues’ in 1973, this is Elvis in an introspective mood, masterfully creating definitive versions of iconic compositions that resonated with him for his friends in the studio - and for us. Limited to 5,000 copies.
f I Can Dream: Elvis Presley With The Royal Philharmonic Orchestra is a remarkable new album featuring classic Elvis vocal performances with brand-new orchestral accompaniment, along with a duet with Michael Bublé on Fever.
An exciting revisit of Elvis’ work, ‘If I Can Dream’ focuses on the iconic artist’s unmistakable voice, emphasising the pure power of The King of Rock and Roll. Recorded at Abbey Road Studios in London, the 14-track album features Elvis’ most dramatic original performances augmented with lush new arrangements by The Royal Philharmonic Orchestra. “This would be a dream come true for Elvis,” Priscilla Presley says of the project. “He would have loved to play with such a prestigious symphony orchestra. The music…the force that you feel with his voice and the orchestra is exactly what he would have done.”
In essence a raw psychedelic-blues duo that on the surface could be seen as kindred spirits to the likes of Wooden Shjips or Moon Duo, Pretty Lightning also appear to mirror a freak-folk sensibility found in the likes of Sunburned Hand of the Man and their Stateside compatriots. But they also reflect their closer geographic roots - echoing the communal, ritualistic krautrock of Amon Duul II or perhaps the primitivism of Sweden’s International Harvester (both Berghoff and Haas are also part of the Saarlouis-based Datashock collective).
It only takes Margo Price about twenty-eight seconds to convince you that you’re hearing the arrival of a singular new talent. “Hands of Time,” the opener on Midwest Farmer’s Daughter, is an invitation, a mission statement and a starkly poetic summary of the 32-year old singer’s life, all in one knockout, self-penned punch. Easing in over a groove of sidestick, bass and atmospheric guitar, Price sings, “When I rolled out of town on the unpaved road, I was fifty-seven dollars from bein’ broke . . .” It has the feel of the first line of a great novel or opening scene in a classic film. There’s an expectancy, a brewing excitement. And as the song builds, strings rising around her, Price recalls hardships and heartaches – the loss of her family’s farm, the death of her child, problems with men and the bottle. There is no self-pity or over-emoting. Her voice has that alluring mix of vulnerability and resilience that was once the province of Loretta and Dolly. It is a tour-de-force performance that is vivid, deeply moving and all true.
11th studio album, ‘Chaosmosis’, on the band’s own First International label through Ignition Records. Recorded in London, New York and Stockholm and written and produced by Bobby Gillespie and Andrew Innes, ‘Chaosmosis’ is the freshest sounding album the band have ever made.
The exhilarating first single, ‘Where The Light Gets In’ (produced by Bobby, Andrew and Bjorn Yttling), features a duet with Sky Ferreira.
Other guests on the album include Haim (good friends of the band since playing with them at Glastonbury two summers ago) on backing vocals and Rachel Zeffira from Cat’s Eyes.
1. Movin’ On Up 2. Slip Inside This House 3. Don’t Fight It, Feel It 4. Higher Than The Sun 5. Inner Flight 6. Come Together 7. Loaded 8. Damaged 9. I’m Comin’ Down 10. Higher Than The Sun (A Dub Symphony In Two Parts) 11. Shine Like Stars
A concept covers album, on which they revisit songs from semi-obscure bands from the 60s with women lead singers. From garage to psychedelia, with touches of soul and sunshine pop, multiple styles come together to form a special type of collection, revisited with all the love and affection and energy of The Primitives.
Says Claypool, "If I were to look at all of our records, it seems like this is reminiscent of the early stuff. Obviously, with Jay there’s a newness to it, but because he left the band right before we recorded our first record, his approach has an eerie harkening to the old Frizzle Fry days."