Killer business. With a storming Tubbys.

‘Their ability to harmonize together is stunning, their reedy voices coming together and pulling apart amid delicate fingerstyle guitar and concertina deployed in just intonation, which imparts a deeply resonant, almost glowing harmonic presence. It’s all quite subtle, and if you only listen to the way the voices of Cater and Rasten blend you might even miss it—but the full sonic spectrum is what distinguishes and, in certain ways, connects it to traditional practice… Although the album is pure balladry, unfolding with exquisite patience, each song contains nifty little flourishes or instrumental elements that set them apart, such as the slide guitar and wheezy bass harmonica on For the Ear That is No More, or the slow peal of trumpet on Death and the Lady, courtesy of Rasten’s partner in Pip and Oker, Torstein Lavik Larsen. (Peter Margasak, Nowhere Street).
‘All done with such grace and elegance, without a note wasted or any required. Wonderful… faultless and deeply considered’ (Glenn Kimpton, KLOF).

Three high English and Scottish ballads, and three original settings of European folk tales.
Matt gatefold cover; gloss spot varnish.
Check it out!

Beautiful, stoned, outsider American folk, remastered from the original tapes (with superior sound quality to the super-rare original). From the eight years between First Songs LP in 1964 and Armchair Boogie.

Two spellbinding extended improvisations referring to meteorological and planetary phenomena: evocations of light, wind, clouds, and tidal cycles as shimmering, roaring, rubbing, coalescing and diverging environments of sound; consistent and yet in perpetual flux. The quartet’s signature, singular, honed minimalism subsumes flashes of chaos into winding paths of musical detail; hushed but suspenseful.

Quietly ravishing, stunning music from Norway, by trumpeter Torstein Lavik Larsen, double bassist Adrian Fiskum Myhr, guitarist Fredrik Rasten, and drummer Jan Martin Gismervik.
Gorgeously presented, in a tiny run.
Warmly recommended.
Something else.

‘Stunning, moody, spiritual jazz from Ireland, recorded in 1979; featuring original compositions such as the deep collectors’ cut Spon Song, subtle Latin flavours on Spacer’s Delight, and a beautiful modal arrangement of the traditional Irish air Castle of Dromore.
‘A legendary recording in Ireland, Ozone reflects Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely.’

Licensed from producer John D’Ardis. Remastered at Abbey Road using the master-tapes; cut at D&M; pressed at Pallas. Presented with previously unseen photographs of the band, and their commentary.
A deadly trump card from Outernational. Essential, startling stuff. Bim bim bim.

‘Rhino Reserve, cut from analog tape.’

One of the foundation stones of northern soul, courtesy of Sherlie Matthews and sisters Brenda and Patrice Holloway.

‘Hey, fellahs…The sisters are not going for that no more…’
Stone cold feminist funk classic from the Female Preacher. The JBs sound like they know there’s no turning back.

Stanley Bryan was a jack of all trades at Channel One in its heyday. As an engineer, he mixed the Eek-a-Mouse classic Wah Do Dem, for instance. If a drummer dropped out of a session, Stan was the man to step in. And into the night, Ranking Barnabas worked the mic for the Channel One Sound System, often toasting over rhythms that he had recorded himself in the studio. Though Barnabas mixed countless dubs during these years, The Cold Crusher is the only LP released solely under his name, as a limited edition in the US.
Very well presented by the Italian label Jamming, with new notes, and expert sound restoration at Dubplates & Mastering. The terrific cover photo is by Beth Lesser.
Dub fans, don’t dilly dally. This won’t stick around.