VARIOUS - 'JOBCENTRE REJECTS VOL:3 ULTRA RARE NWOBHM 78-83'

Formats

• OTD007 - LP

  7350107320147

• OTD007CD - CD

  7350107320154

Details

The first volume of Jobcentre Rejects was included on many lists over best reissues of last year. Tom Erlewine of All Music had it on his top three while Rough Trade had it ranked amongst the best compilations of 2019. Vol 2 followed hot in the heels and now the time is right for a third installment in the Jobcentre Rejects-series. Twelve tracks licensed from rare and hard to find New Wave Of British Heavy Metal-singles originally released in England 1978-1983. Kind of a Nuggets, Pebbles or Killed By Death-series for NWOBHM. Jobcentre Rejects vol 3 will appeal to metal fans, but also to punk fanatics, garagerock-maniacs, DIY-lovers and even to the powerpop afficionados. Jobcentre Rejects vol 3 is for everyone into rock music history and anyone interested in British music- and culture history. Iron Maiden, Def Leppard, Judas Priest and Saxon all got signed by majors and sold records galore, meanwhile bands in every village across England formed. Inspired by the energy and DIY attitude of the punk scene these acts recorded and released their records all on thieir own. The music heard on Jobcentre Rejects have so far been treasured only by NWOBHM connoisseurs. Jobcentre Rejects clearly shows that it is music far too good to be buried in the past. It’s music that deserve to be heard not only by the most die hard record collectors. Remastered and restored sound. Extensive liner notes by Kieron Tyler (Mojo Magazine). Richly illustrated with many rare photos

Tracks

1. Pali Gap ? Under The Sun
2. Raw Deal ? Out Of My Head
3. Track 4 - Freetime
4. Dragonfly ? Silent Nights
5. Post Toast?? ? Little Too Late
6. Snatch-Back ? Cryin? To The Night
Sid B
1. Terra Cotta ? Hard To Know
2. Survivor - Pastiche
3. Anniversary ? Give Me A Smile
4. Jameson Raid ? It?s A Crime
5. Clientelle ? Can?t Forget
6. Firebird ? Change

Press

A Nuggets, Pebbles or Killed By Death for the NWOBHM-genre

Audio & Video

VARIOUS - 'JOBCENTRE REJECTS VOL:4 FWOSHM'

Formats

• OTD008 - LP

  7350107320161

• OTD008CD - CD

  735010732017 8

Details

What springs to mind when pondering Swedish heavy metal? A Nordic mish-mash conjuring up a black-death-Viking metal wall of sound? Doom metallers Candlemass? Soft rockers Europe? Guitar titan Yngwie Malmsteen? The history and mythology fixated Amon Amarth? Maybe even the tempestuous jazzer Mats Gustafsson’s metal-informed attack? Unless you’re a Swedish collector or a very deep-digging non-Swede, whatever does come to mind is unlikely to be Greensleeves, Squetters or Trazer, three of the stars of Jobcentre Rejects Vol. 4: Ultra-Rare FWOSHM 1978–1983. The title’s acronym stands for the First Wave Of Swedish Heavy Metal. The previous Jobcentre Rejects volumes scrutinised The New Wave Of British Heavy Metal and its marginalia. Volume four is cut from the same cloth but puts Sweden under the musical microscope. As eye-opening as it is enjoyable, the vital story told here is one which has not been told before. In the UK, before the pervasive producer-driven dance-pop boom, ABBA came to define how Swedish music was seen in terms of mainstream success. Poppy. Hyper-poppy. Where the stylised Army Of Lovers and Roxette would do just fine, thank you. Standing apart, Robyn was and is a delightful Swedish export. Earlier, the edgy Leather Nun only got so far. In the Eighties, Sweden’s Sixties-informed garage band boom was never going to be as cool as California’s Paisley Underground. Of course these are generalisations and, however it was seen, Sweden was always on the ball musically. Rock ’n roll hit hard in the Fifties, The Shadows inspired hordes of instrumental bands and there were world-class beat, mod and psychedelic groups aplenty. Also, a rich seam of often wonderful schlager-pop thrived. In the period ABBA was on the rise, the progg scene confirmed Sweden was home to innumerable idiosyncratic, original and wonderful musicians. Punk arrived and, in 1978, Ebba Grön, New Bondage, The Rude Kids and Skabb issued their first singles. In parallel, other bands headed down the path signposted metal. This is what Jobcentre Rejects Vol. 4 celebrates. Also lauded is a form of regionalism. Highbrow were from Stockholm. Otherwise, only Malmö’s Silver Mountain were from a major conurbation. The bands here mostly came from beyond the orbit of the capitol city. The trends which ebbed and flowed in Sweden’s national hub were side-stepped – whether by accident or design. This is the sound of small-town Sweden. Finally – and belatedly – it is honoured. Kieron Tyler, Mojo Magazine, April 2020

Tracks

1. Mercy ? State Of Shock
2. Stitch ? Devil?s Deal
3. Greensleeves - Fire
4. Ironside ? The Ironside
5. Highbrow ? A Loser
6. Turbo ? Asfaltsrock
Sid B
1. Quix ? Speed
2. Trazer ? Street Fighter
3. Silver Mountain ? Axeman & The Virgin
4. Squetters ? Heavy Water
5. Paradize ? Caress Of Steel
6. Behemoth ? Deathwings

Press

The sound of small-town Sweden, finally, and belatedly, it is honoured.

Audio & Video

COLORAMA - 'CHAOS WONDERLAND'

Formats

• B&L005LP - LP

  8435008870911

• B&L005CD - CD

Details

**Limited 300 LP** Listening to ‘Chaos Wonderland’ means above all the verification of Colorama being a safe bet. But also, it means that Carwyn is open to what he listens to, and the influence of those who surround him. It is impossible not to figure out details that recall Muscle Shoalsbased white soul, Miami’s Criteria Studios (‘Shawn Lee helped me make more soul material without being aware of it’, Carwyn says), even sweet soft-rock from the seventies. Classic pop, without any doubt, to which the Colorama trademark – with its expansive production, its open-mindness and its fake feeling of simplicity and fragility – ends up depriving of any trace of expiry date to turn it into timelessness.

Tracks

Side 1
1.AND
2. DUSTY ROAD
3. ME & SHE (FEATURING LAY LOW)
4. BLACK HOLE
5. CROSVILLE
Side 2
1. EXCEPT YOU
2. DAWN TUNE
3. CONCHITA
4. PLEASE TELL ME
5. RECONCILATION

Press

**** - Mojo

Audio & Video

PRANA CRAFTER - 'MORPHOMYSTIC'

Formats

• CFUL0175 - LP

Details

Prana Crafter is William Sol, a musical mystic who blends the raw energies of nature with guitars, synthesizers, singing bowls, and a dose of flow-consciousness. The resulting sonic nectar flows out from the amplifier, cascading in the mind of the listener, splashing mantras against the listener’s third ear. Some music is meant to entertain, to be consumed like flashing patterns on a TV screen. Not so with the music of Prana Crafter. This music is a sonic-tapestry of energies that are meant to envelop the listener and deliver a message that, as Sol puts it, cannot be known through symbol or through sign. Likened to artists across the psychedelic and folk spectrums—Popul Vuh, Agitation Free, Six Organs/Ben Chasny, —Sol’s self-professed mentors-in-spirit Jerry Garcia, Jimi Hendrix, and Manuel Göttsching are present as well in familiar and surprising ways. In review it has been said that Prana Crafter’s music is “an example of psych-folk at its finest” (Raven Sings the Blues), “like a long lost pressing from the early 70s, it’s a mist shrouded mysterious meditation” (Shindig Magazine), and even that, “few other musicians are making music as ambitious and genuine as Prana Crafter” (The Active Listener). Will has said he thinks of himself as a conduit when recording and with ‘MorphoMystic’ Prana Crafter are creating truly Cosmic Music, a synthesized mediation – think if you will of Terry Reilly and Sandy Bull blending their hypnotic energy flow together. ‘MorphoMystic’ is a 35 minute kosmische inspired acid opus that lets your mind venture in the slipstream, between the viaducts of your dream before gently flaoting you back down to earth. Presented in a lush Gloss Laminated Outer Sleeve with exquisite artwork design by John Nicol.

Tracks

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Audio & Video

ASTEROID NO.4 - 'NORTHERN SONGS'

Formats

• CFUL021 - LP (COLOURED)

Details

Cardinal Fuzz and Little Cloud Records are delighted to bring to you 'Northern Songs'. 'Northern Songs' is the band's tenth full length record, following up the 'Collide' LP in 2018. Here, the 12-string folk-rock jangle of the mid-60's Byrds is overlaid with the washed-out vocal harmonies of Ride and topped off with psychedelic drones familiar to Spacemen 3. This is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic. On this new album, they did all writing, playing, recording, mixing and mastering in their own studio. This is the first time they've gone fully DIY since their fourth album 'An Amazing Dream' (2006), where the band finally found their own trademark sound. "This is a first for us as we've always had at least guest musicians or someone else mix or master. It was an experiment on what we could do ourselves and testing our new studio in San Rafael, CA for the first time. Our sound is primarily rooted in the British indie music from the 80s and 90s. This is the music we grew up on, we still listen to today, and what happens as a natural result of our songwriting," says Scott Vitt. "Lyrically there's reference to what is happening both socially and politically in the world around us. We wanted to make an album that brought an air of calm or even nostalgia, to remind people that there was a time, not all that long ago, when things seemed way more normal compared to what we're experiencing today." Considered stalwarts of the modern 'psych' genre, they are known for their prolific discography of reverb-drenched recordings and liquid-projected live performances. With a sound all their own and neo-psychedelic / shoegaze learnings, they are often compared to acts like Spacemen 3 and Paisley Underground kingpins The Rain Parade. A dynamic live act, The Asteroid No.4 integrate multi-textured guitars and reverb-drenched vocal harmonies over an unwavering rhythm section. Their prolific output has earned them a dedicated fan base within the flourishing underground psychedelic scene, with over a dozen compilation appearances, digital-only rarity releases, and multiple sin-gles and EPs. Named after Vesta, the brightest asteroid in our solar system, their moniker is an obvious nod to Spacemen 3, one of the band's main influences. In fact, one of the group’s earliest recordings was a faithful cover of their 'Losing Touch with My Mind'. Released via UK label Rocket Girl’s tribute compilation to the 80’s legends, Pete 'Sonic Boom' Kember himself named the song as a stand-out track in an interview with Magnet Magazine.

Tracks

Press

Marble Colored Vinyl

Audio & Video