‘The latest wonderful album from Chester’s Carl M Knott, after a series of superb releases for labels such as Mortality Tables, Waxing Crescent Records, and Subexotic Records, including the marvellous Kullu from earlier this year.
‘Wonky acoustic guitar, broken electronics, and a warm, otherworldly space; at once strange and experimental, yet melodic and somehow comforting. Intimate and evocative, deeply personal; at once bucolic and bang-up-to-date, like Kraftwerk dreaming about sheep.’

“We enjoy spending time in the woods with our young children, creating stories about the ‘eye tree’. This tree, with thousands of eyes, watches over us and cares for us like family. We make fox medicine and cherish these blissful moments. The music reflects these times, seen through the colors of an old, fuzzy reel — orange, red, and yellow with blurred edges, like an old photo scorched by the sun.
“I feel a deep spiritual connection to the countryside; the hands of Arcadia cradle me when I feel sad. Some of the album was created during times of sadness when I felt death was close and the lines between worlds were blurred. This feeling — that anything can happen and that life is delicate and can be taken away in a flash — permeates the music.
“The song titles are stories and memories of my family, filled with hazy pinks, yellows, reds, and oranges.”

‘A reissue of the Neutral LP, subtitled ‘music for the first 127 intervals of the harmonic series. Recorded in 1983 at the Brooklyn Academy of Music, with Thurston Moore, Lee Ranaldo, Barbara Ess, Margaret DeWys, Michael Gira, Amanda Linn and co. Classic early Branca.’

Karuna Khayal runnings from 1975. ‘Orchestrated fuzz guitar, echo-drenched percussion, reverbed bass, zithers, assorted taped sounds and vocals that are simply inspired… a must for devotees of Faust and Can.’

Previously unreleased recordings made in the Chelsea Hotel in 1960 on 1/4” tape, transferred here for the first time; the basis of Confessions Of An Irish Rebel, published posthumously five years later.

Cut-ups of two decades of pirate radio broadcasts, starting in the late eighties: soundclash business, rubadub soul, jungle, Indian music, dub, dancehall; complete with ads, chatter, phone-ins…

Archivist David Goren dialling across raucous soca and kompas, Grenadian election news and Haitian funeral announcements, ads for Jamaican patty shops and spiritual healers, broadcasts in Turkish, Orthodox and Sephardic Jewish pirates… the rough and tumble of it all animated by the coronavirus pandemic, George Floyd, the US election, and general tumult and unease of these times.

Mono and stereo — with six from just before (the unreleased, jazzy My Love, a stripped-down She Is) and twelve with his still-earlier band The Bohemians. Sex, romance, mysticism… soul power. Exquisitely packaged.

Live in London, 1968.

Electrifying, raw, wild rockabilly, lathered in sex, alcohol, and general doowhutchalike.
From 1956, his first record is one of our favourite 45s ever: Red Headed Woman backed with We Wanna Boogie. ‘Here was total abandon: coarse, untutored singing; unintelligible lyrics; ragged drumming; distorted guitar, backed by a wildly bleating trumpet. It was punk before punk, thrash before thrash’ (Colin Escott).
And as for Ain’t Got A Thing… whoa oh oh… what a KILLER.