Various
Jesus Christ Superstar (The Original Motion Picture Sound Track Album)

BEAK> were formed in January 2009 by three Bristol musicians, Billy Fuller, Matt Williams and Geoff Barrow.The band have very strict guidelines governing the recording and writing process of their work. The music was recorded live in one room with no overdubs or repair, only using edits to create arrangements. All tracks were written over a twelve-day session in SOA Studio’s, Bristol. The album is released on Invada Records in the UK and Europe & on Ipecac in the United States.Sometimes a band can be no more than the sum of it’s parts, but BEAK> are an equation in which it’s impossible to define equivalents or totals. Instead the meeting of three talent’s form a foundation from which idea’s assimilate and propagate. Those talents are:Billy Fuller. Reared in Bristol, on an aural diet of anything and everything, facilitated later by his time working in the cities top independent record shop Replay Records, and also playing with handfuls of bands – including Invada’s first signing: Fuzz Against Junk, as well as Massive Attack, Robert Plant, and Malakai. Billy is BEAK>’S thoughtful pulse; his bass a forceful origin for their superlative narrative arcs.Matt Williams. Picked up a Yamaha keyboard aged three and never looked back, as Team Brick creates dissonance that immediately elucidates free forming thought, and impacts heavily on BEAK>’S rolling landscape. He enjoys playing air drums whilst cycling, singing lines from a favourite Latin prayer and doesn’t understand the music he makes himself.Geoff Barrow. Musician and producer born near Bristol. Best known for forming and producing popular music group Portishead and part owner of the independent record label Invada Records . Commenting on working in BEAK> "its really good to create music under different conditions than your used too.”"

FIVE SINGLE EP ( 50 copies) Rainier Lericolais

When asked about the inspiration for their new album, recorded in the hills of Topanga Canyon, the members of Denver-based Dragondeer, all describe a similarly surreal scene. Each mined solace from the bucolic, unfamiliar surroundings, which, according to bassist Casey Sidwell was, “somehow soothing and creepy all at once.” From the opening soul-dirge title track of If You Got the Blues, the debut full length album from Dragondeer, the effect of the atmosphere is prominent. This spacious, blues epic comes out of the gate with a whisper that has as much place on the Sandlot soundtrack as it does in an LA afterhours bar. “It's a love song,” says frontman Eric Halborg of the title track, “a song that I felt gut punched in such a good way each time we played it back during the sessions.” It has all the familiarity of a love song but is delivered with an earnestness and honesty that makes it, by virtue, singular. Blasting into the aptly titled “Amarillo Bump,” which starts like CCR’s “Run Through the Jungle”, the album begins to flex the diversity that it displays throughout its course. The integrity of the musicians, with a total lack of cynicism, makes the music heart wrenching and entirely believable. The confident restraint of the rhythm section, featuring Sidwell and Carl Sorensen (drums), slinks through the album with the virtuosity of old hands and remains committed to authentically interpreting the music that this album draws its inspiration from. String savant, Cole Rudy, provides the texture this record hangs its sonic hat on. Switching gears between sinister, ethereal, funky, and down home, evident in his work on songs like “Won’t Back Down” and “Same Train”. Out front, the chronically smooth voice of Eric Halborg ties the album together with occasional help from his blistering blues harp. The anthemic “Broadway Avenue” showcases his penchant for melding a beach attitude with the griminess of the blues. Listened to as a whole, the album plays like a blend of stoner ethos, Dr. Hook-esque country-funk, and psychonaut blues. So it stands to reason that the band would find the far-flung isolation of west LA County an appropriate muse. “I slept and woke up outdoors every morning to perfect weather overlooking the canyon,” recalls Rudy. “I would take runs above the house through the low clouds on the trails and it seemed like I was on another planet.” Perhaps the biggest influence on the album, however, was esteemed producer, Mark Howard, whose resume reads like a record nerd’s inventory list. Bob Dylan, Tom Waits, REM, Neil Young, Lucinda Williams are just a few among a bevy of legendary recording artists he has called clients. Halborg notes, succinctly, “Mark Howard is a master who has worked with masters.” His mastery is on obvious display across “If You’ve Got the Blues,” with a deft use of space, and a supreme talent for finding the performance. American music, with the blues in particular, has been interpreted, replicated, and regurgitated in almost every conceivable fashion, which makes it all the more compelling when a new unique incarnation comes along. Culled from the vestiges of some of the most important bands Colorado has ever produced, Dragondeer has conjured a singular and neoteric sound that both nods to the past and eschews fears of modern influence. They draw from all corners of the American sound including the vicious edges of Elmore James, the hypnotic repetition of Junior Kimbrough, the wailing harmonica of Sonny Boy Williamson, and the smooth psychedelia of Taj Mahal. Paired with pieces of Sly Stone, Captain Beefheart, the longform leanings of the hippie revolution a la The Grateful Dead, and the agony of American soul music, these influences have helped Dragondeer carve a niche at a crossroads of music that has remained largely unexplored. “If You’ve Got the Blues” is a testament to Dragondeer’s songwriting, musicianship, and purity. It’s also a personal manifesto for the band, whose belief in a shared human experience and desire to connect with everyone, gives the record an empathetic slant that’s almost entirely un-echoed in this self-serving, narcissistic modern landscape. “It's about sticking by your loved ones and being there for 'em when they need it; rising up your tribe,” says Halborg. “We try to do that for each other and those around us so it felt right to name the record in honor of that notion.” Every bit as compelling as it is contemplative, and frenetic as it is mollifying, this is a band, and an album, that explores the American experience with eyes to both ends of the spectrum of the human heart.

Here comes another reissue of this soon-to-sell-out classic. Tortoise's third full-length was written and recorded over just under a one-year period back in 1997. They usually wrote much quicker but this extended session was done with the intention of crafting something more diverse and expansive. It lasts just over an hour and is a progression on their usual spare and instrumental framework. The permanent addition of guitarist Jeff Parker also added plenty of unique and noteworthy contributions that add to the band's core electronic and computer music experiments.

The South-London based musician TONE announces his debut album “So I Can See You”, due for release via Rhythm Section.With a mixtape already under his belt, one that he says was thrown together on a whim; this new body of work was created during the pregnancy and subsequent birth of his daughter. TONE, real name Basil Anthony Harewood, was compelled to capture this significant moment, recording mostly at night, with his new life and old life in mind. The album is less a departure of who he was but an embrace of the future and the new life that arrives with beginning a family.Across the 11 tracks, we hear tender guitar riffs and off-beat R&B elements press up against influences of dub and shoegaze leaving you with a woozy afterglow. TONE’s distinctive vocals are complemented by the familiar voices of Coby Sey on “So I Can See You”, Fran Lobo on “From the North” and Roxanne Tataei on “Make It Drop”. Having both Afro-Caribbean and Welsh heritage has informed the ways in which he sees things and the music he has been magnetized to, especially growing up in both a tiny village in the north of England in East Yorkshire as well as further afield in Europe.Time spent in St Kitts and Nevis as a child opened his eyes and ears to calypso, reggae and dub and while back home in the UK, he fell in love with ska, punk and skinhead culture none of which he ever outgrew and to this day still informs his music practice.Each track was recorded on a Tascam 38 tape machine in the studio he set up with Mica Levi and Coby Sey in Hither Green with the drums, played by Marc Pell (Good Bad Happy Sad) were recorded at Andy Ramsey’s studio (Stereolab).Alongside, Levi and Sey TONE is a CURL collective member and was half of the short-lived punk-duo, Farai.

Nice Coordinated Outfit is a journey through history to a time before the internet and social media and before inner city gentrification, when Fitzroy was the beating heart of Australia's avant-garde music and culture. Musically, it showcases the band's incredible range from deep minimal dub to bizarre electronica with elements of shoegaze and experimental noise.Back then, High Pass Filter were the kings of the Fitzroy underground. Dark, weird improvisers who aimed for something new each performance. Whilst electric guitars and rock n roll dominated Australian airwaves and stages, High Pass Filter were pioneering a sonic revolution in the shadows. The band's indefinable sound saw them sharing lineups with artists from hardcore and punk luminaries like Fugazi and The Boredoms and to dub heavyweights such as Lee Scratch Perry and The Mad Professor.