KELLEY STOLTZ - 'THE STYLIST'

Formats

• AGIT061C - LP (COLOURED)

  5060446128930

• AGIT061CD - CD

  5060446128916

Details

BACK IN PRINT!! BLACK BLOB IN CLEAR VINYL!!  "The Stylist", Kelley Stoltz's 17th album finds him following up the Third Man Records reissue of his 2001 "Antique Glow", with a collection of 10 new songs. The album was recorded early in 2021, and has been languishing in the vinyl pressing log jam ever since - but luckily Stoltz writes timeless songs, the kind that might've appeared on the fringes of the late 60's or mid 80's. Acoustic guitars, synthesizers, drum machines and strong melodies abound. As with his other classic records "Below the Branches", "Double Exposure" and "Ah! (etc)" Stoltz plays most of the instruments himself and records in his home studio in San Francisco. Kelley says, "I chose the title 'the Stylist' because musically I guess that's what I am... because of the way I write, at my leisure over a period of months at home, I kinda flit around between styles. It's all in the pop-rock vein, but there's usually a wide range of sounds and inspiration from song to song. It sort of fits together in a mix tape kind of way, rather than an exploration of one particular mood. That's always been the case with my albums." The chorus-y guitar jangle of "Your Name Escapes Me" somehow name checks the New Bomb Turks, while reflecting on familiar if forgotten faces from Stoltz's past. On "My Island" insistent piano and saxophone solos take the listener on a tropical trip to the soft rock radio dial. Stoltz played rhythm guitar in Echo & the Bunnymen for a few years, and "We Grew So Far Apart" clangs like a lost Liverpool 80's classic. Stoltz says, "There's a touch more piano on this record... going back to my Sub Pop days, when I was writing more Beatle-y bits... Harry Nilsson... that kind of thing." Indeed, the piano led "It's a Cold World" plays like a holy union of Todd Rundgren and the Zombies where Stoltz declares, "it's a cold world at times, but I'm not ready to give up the fight." Thankfully, after 23 years the beat goes on... and no matter what style Stoltz chooses, "The Stylist" is another platter of tuneful delight in the impressive catalog of one of the great songwriters of our time. 

Tracks

Change
We Grew So Far Apart
You Had To Be There
My Wildest Dream
Its A Cold World
Is There Anything That's Better Than This , Babe?
Your Name Escapes Me
In The Night
Wrong Number
My Island

CD bonus tracks:
Steve & The Rats
Plants
Jacuzzi Blues

Press

Brooklyn Vegan, Mojo , Uncut and more...

Audio & Video

OSEES - 'A FOUL FORM'

Formats

• CF147CD - CD

  733102725723

• CF147GP - LP (COLOURED)

  733102725716

• CF147RED - LP (COLOURED)

  733102725716

• CF147US - LP (COLOURED)

  733102725716

Details

**UK INDIE EXCLUSIVE GREEN VINYL / COMES WITH 24x36 INCH POSTER** **ALSO FEW COPIES OF RED VINYL & ORANGE VINYL IN STOCK** "Osees don’t seem to mutate or morph so much as remain extraordinarily open to what moves them to do next and capable of getting music done that’s consistently good. What motivated the band to turn loose this hyperconcentrated slightly less than 22 minute burst of meteor density somewhat punkazoidal music? When it comes to the Osees, that’s at best a mediocre inquiry as they just do the next thing, genre, prevailing tastes or whatever influence might guide a lesser unit are not even a consideration. A Foul Form is a cool pivot from their 2020 studio efforts Metamorphosed, Panther Rotate and Protean Threat. A Foul Form vigorously shakes the Oseesetch a sketch clear so whatever comes next (which will probably be sooner than later) will likely be something completely different yet again. As far as a potential inspirational indicator, you might notice the final track on A Foul Form is a cover of Rudimentary Peni’s Sacrifice, which can be found on their Farce 7” released in 1982. A fitting way to blow out this rad slice. HENRYROLLIINS” Brain stem cracking scum-punk recorded tersely in the basement of my home. After a notoriously frustrating eon the knee-jerk song path was aggressive and hooky. This is an homage to the punk bands we grew up on. The weirdos and art freaks that piqued our interests and pointed us on the trail head to here/now. Bad times make for strong music is something I agree with. I would say that is evident by the past few years of output from the underground. Transmissions have been all over the map. scanning… searching… sweeping out in the darkness looking for a foot hold. A Foul From represents some of our most savage & primal instincts. Fight or flight. And the importance of a sense of humor in the darkest hour. Nothing wrong with keeping it snappy in the meantime. For fans of Rudimentary Peni, Crass, Bad Brains, Black Flag, Screamers, Abwarts, Stooges and all things aggressively tilted towards your face. You can lean back but don’t flinch…it’s a brief foray into the exhausting pogo pit so stiffen your back and jerk with your knees. Enjoy - JPD

Tracks

1. Funeral Solution
2. Frock Block
3. Too Late For Suicide
4. A Foul Form
5. A Burden Snared
6. Scum Show
7. Fucking Kill Me
8. Perm Act
9. Social Butt
10. Sacrific

Press

ONE OF THE ALBUMS OF 2022. NOW ON GREEN VINYL WITH A LIMITED POSTER!

Audio & Video

RICHARD GIBBS - 'NO USE TO GRIEVE'

Formats

• SMR002 - LP

  7350107320314

Details

Louisiana is a unique place. Only the backwoods of Mississippi, Alabama and South Texas can come close to the vibe that emanates from places like Alexandria, Crowley, Lake Charles and all the surrounding backwater towns. Dark back roads lined with run down bars and roadhouses where people work hard and drink harder. In Nashville they cried in their beer, in Richard Gibbs’ world it was blood that filled their shot glasses. Richard wrote of loneliness, booze and a need to escape a life of despair. Gibbs’ voice is half bayou/half barroom as he tells stories like “Drinkin’ Spree”, “Empty Glass”, “Too Busy Hurtin'” and “Ten Bottles Of Whiskey”. But it’s the title track that exposes the raw nerves of our storyteller’s psyche - as he treats his immortality like a plastic cup from “Nickel Beer Night”. Richard is a drunk, bruised, sad sack of a character who stumbles home after lamenting his love-life and losing at fisticuffs. I don’t know of any LP that captures the depths of emotion and feeling of gloom that “No Use To Grieve” exudes. Even amongst the hardest core Country collectors this LP is unknown. Now Sweden’s Sweet Mental Revenge Records have tracked Richard Gibbs and guitarist Belton Thibodeaux down for interviews and the extensive liner notes written by Luke Torn (Uncut Magazine) finally tells the story of one of country music’s holiest grail.

Tracks

1. No Use To Grieve
2. Drinkin? Spree
3. Bad Dreams
4. Hey Mr Lucky
5. It?s All Over Between Us
6. Lettin? My Emotions Go
Sid B
1. I Can?t Get You Off My Mind
2. Ten Bottles Of Whiskey
3. I?m So Glad We?re Back Together
4. Too Busy Hurtin?
5. Empty Glass
6. I Can Hear The Bells Ringing

Press

Ultra rare Louisiana country / hardcore honky-tonk/ private press masterpiece from 1970

Audio & Video

THE TREND - 'THE TREND IS IN'

Formats

• OWT002 - LP (COLOURED)

  7350107320338

Details

*YELLOW VINYL* The Trend is high explosive, hyperactive teenage powerpop. The Trend hailed from Kennett, Missouri and was formed back in 1979. Aged fifteen to sixteen at the time, and armed with guitars, striped t-shirts, skinny ties, tambourines and colorful drainpipe trousers. The Trend (Is In) was a full on powerpop and bubblegum-explosion. One self-released (and nowadays mega-rare) album in 1982 and a just-as-hard-to-find 7-inch single from the previous year was all that The Trend unleashed on record during their short lifespan. Since then, appearances on compilations like Yellow Pills and Numero’s Buttons have made sure The Trend is in high demand amongst powerpop aficionados all over the world. Trend’s debut 45 “She’s Hi-Fi” b/w “Lucky Day” is blistering class AAA powerpop that will most likely make anyone with the slightest interest in the genre strip off all clothes and do the helicopter. “The Girl At The Holiday In” shows that The Trend had moved on since the single. So much so that “The Girl I Used To Know” could have been recorded by one of the then contemporary Paisley Underground bands from Los Angeles. “Real Cheap Thrill” is raging Merseybeat-pop-mayhem bordering to killed by death-punk. “Two Plus Two” is suffused with the spirit of late 1960s Paul McCartney. Above all, The Trend is about direct, driving upbeat pop. “Go For Broke” could have clicked as a single, while “Southsiders (Waiting To Go Northside)” caught The Trend’s outlook in a nutshell: “power pop, bubblegum, punk rock, here we come.” Housed in a deluxe gatefold sleeve that comes with a printed inner sleeve richly illustrated with rare and previously unpublished photos. In the extensive liner notes The Trend’s main man and song writer John McMullan tells the full story to Kieron Tyler (Mojo Magazine). The Trend is finally in!!! File under: ”beyond essential to any serious rock’n’roll, powerpop-, garage- and punk-rock fan

Tracks

Sid A 1. She?s Hi-Fi, 2. Girl At The Holiday In, 3. Real Cheap Thrill, 4. The Girl I Used To Know, 5. Mama Thought You Were A Nice Girl, 6. Two Plus Two,
7. (I Feel Like A) Dictionary.
Sid B 1. Lucky Day, 2. Go For Broke, 3. Girl On TV, 4. Feeling OK, 5. Billboard Road, 6. I Need Another Fix, 7. Southsiders (Wanting To Go Northside)

Press

Ultra rare U.S Powerpop album from 1982 reissued for the first time ever

Audio & Video

PETER BRODERICK - 'PIANO WORKS VOL: 1'

Formats

• ERATP154LE - LP (COLOURED)

  3700551784882

• ERATP154LP - LP

  3700551784707

• ERATP154CD - CD

  3700551784691

Details

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker’s Basement) — a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist’s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick’s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon—the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to ‘throw the recordings into the well’, for a more dynamic and conscious listening experience. “We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback,” explains Broderick. Now these recordings are set to be released on doublevinyl, double CD and all digital platforms.

Tracks

Press

Audio & Video

F**KWOLF - 'GOODBYE, ASSHOLE'

Formats

• SC50 - LP

  795154136490

Details

Goodbye, Asshole is the first studio album by San Francisco scuzz-wave merchants F**kwolf—its a rat’s nest of deep grooves, lost ’70s rock riff intentions and art punk damage. These conundrums of time inform Goodbye, Asshole, but they are hardly romanticized in its music. The band, Eric Park (bass, vocals), Simon Phillips (drums) and Tomo Yasuda (guitar) sound blazing and scuzzy, a tight low-fi energy blasted onto tape at renowned Bay Area indie studios summarizing the last twenty years of San Francisco’s wild artistic soul – one that is now hard to find much evidence of in the city itself, but impossible to miss in the band’s sound. Fans of OSEES, Pink Fairies, late ’70s NYC, Emotional Rescue-era Stones, trashy post-punk dub and solvent-huffing rejoice!

Tracks

1. Flamin? Hot Cheetos
2. King Cake Stakeout
3. White Claw
4. Beef Broth
5. My Life
6. Nu Shooz
7. SF?
8. Hi Skool
9. Bats
10. Rock Song #1

Press

For fans of OSEES, Pink Fairies, late ?70s
NYC, Emotional Rescue-era Stones, trashy
post-punk dub and solvent-huffing

Audio & Video

JACK HUES AND THE QUARTET - 'EPIGONAL QUARK'

Formats

• DCRC031 - 2xLPs

  5024545979114

Details

Canterbury 2019 and Old Gods were stirring as the collective spirits of Led Bib and Syd Arthur, 80’s pop and untethered experimentation mingled and found expression. These things don’t go together. Genres divide but Music unites. Non-locality is our best guess. Mark Hollis had passed on in February, a merman he should turn to be, and we paid our respects. Fishes, the foam-crested brine, the smallest divisions of matter and time captured and brought to life once more. But where did it all begin? On a stage in an old ballroom, a dancing school then club, hangout in Orange Street, Canterbury where Syd Arthur and The Quartet were encouraged to perform as one. They played Stravinsky, Soft Machine and Beck’s “Nobody’s Fault But My Own” and it rocked and swung, two drummers, two bass players coming together, pulling apart. But how did it all begin? Miles, Indian ragas, David Crosby and Arthurian Romance, “Guinevere”, the female muse/goddess visited once again. Take a musical phrase and play it beautifully, then drift away until you play it again. A free place to improvise, no chord changes, no time limits, submerge yourself in the moment such that when the music stops you remember nothing about it. We recorded “Nobody’s Fault” in an old, converted garage in Harbledown near Canterbury. Miles and Teo Macero were the inspiration, splicing sections from takes where the tape kept rolling, recording everything. Rationalise it later. And lots of people got it, Prog-heads and Jazz-heads. But what did it all begin? Gigs, a tour! - Bristol, London and Canterbury where we played “Nobody’s Fault” and other tunes that felt like they belonged together in this new world where the Goddess could summon whoever she wanted to her table. Mark Holub, Liran Donin and Chris Williams from Led Bib; Josh and Joel Magill from Syd Arthur; Jack Hues from Wang Chung and Sam Bailey who will not be defined - coexisting, improvising, making it up as we went along - is that the definition of any truly creative process? And God knows a lot of what passes for creativity really isn’t. We played Radiohead, despite the fact that everybody plays Radiohead. Why wouldn’t you? It’s beautiful and it’s the form - 3 distinct parts, play what’s written, let’s get lost, then smash it home. Robert Wyatt. Why wouldn’t you want to sing that melody to those chords? Sing that lyric of moonlight and empty wine bottles. I thank the Unthank Sisters for their arrangement which I stole. Why wouldn’t you? And the way they differentiate the semitones in that melody, revealing something even Robert didn’t know about his own song. In the 80’s there was a game to play if you wanted to get noticed. There was always a game to play, now more than ever, but then you could subvert it. Mark Hollis played the game at some personal cost and then sailed into a different sea, a different ocean with different weird fishes to fry, the moon pulling the tides as she had always done. He inspired us all and I wanted to pay my respects as he had passed on so recently. Myrrhman - “Step right up, something’s happening here” - (“And you don’t know what it is, do you, Mr. Jones”). The tide ebbs and flows. Hugh Hopper, “Facelift”, 2001, Kubrick, Ornette, tribal pentatonic, 1970 quintessential Canterbury. Sam kicks this off, playing the organ in St. Pancras Old Church, London. Then we’re back in Canterbury. Long, long, long, but only as long as it needs to be, and I love how Liran plays like it’s East Jerusalem right there in your mind. “Non-Locality in a Sea of Electrons" the best description of reality that we have, according to some epigonal quark, or was it Richard Feynman, or the Mandela Effect. I don’t remember. The recipe is a constant tempo that carries you through 4 different states, musical states, contrasted textures of sound, emotion, anger, expectation, excitement, calm. One constant tempo. So how much of this album is improvised? It varies: “Nobody’s Fault” is 95% improvised. My guitar solo - I have no idea how I played it and I certainly couldn’t play it again the same way. Improvisation is reaction, reaction to what the band is playing, the atmosphere in the room, what you just played, what that suggests, the split-second reaction to the nuance of this note, that tone, you exist in that split second reacting to impulses beyond your rational mind - submerged in the moment-by-moment relationships of you, the one, to the whole. “Myrrhman” and “Sea Song” follow the song structures but expand them, push outwards, fall inwards. Improvisation is like The Big Bang - all those years of practicing, playing, sounding, learning, exploring, absorbing exist in an infinitely compressed moment that then releases, explodes, realises itself - on a good night. Jack Hues, Canterbury, Summer 2022

Tracks

Side A
Nobody?s Fault But My Own 21.58 (Original by Beck)

Side B
Non-Locality in a Sea of Electrons 09.16 (Original by Jack Hues)
Sea Song 05.19 (Original by Robert Wyatt)

Side C
Myrrhman 09.10 (Original by Talk Talk)
Weird Fishes/Arpeggi 06.35 (Original by Radiohead)

Side D
Facelift 14.34 (Original by Soft Machine)

Press

**** - MOJO, 7/10 UNCUT

Audio & Video

ELDER - 'INNATE PASSAGE'

Formats

• PSYCHOBABBLE127LP - 2xLP (COLOURED)

  4046661754612

• PSYCHOBABBLE127CD - CD

  4046661754520

Details

lnnate Passage is the sixth Elder full-length. It finds the mostly-Berlin based band in the post-pandemic era as veterans at the forefront of a league of progressive and heavy groups working in large part under their influence; a stately presence as reliably forward-thinking as they are unpredictable in sound. They are among the most important acts of their mostly-still-emerging generation and genuine leaders in style and expressive intention. Innate Passage is further proof why. In Spring 2020, Elder released their fifth album, Omens, and with it established a claim on their most prog-leaning interpretation of sprawling heavy rock and roll. Two years later, Innate Passage builds on many similar concepts, but outdoes its predecessor on every level of performance, weight of its impact, interplay between founder Nick DiSalvo and Mike Risberg’s guitars and keys, the now-settled-in drumming of Georg Edert – who made his debut on Omens – and bassist Jack Donovan’s tonal warmth underscoring the shimmer of DiSalvo’s leads. “Catastasis” begins Innate Passage with a pointedly bright perspective and the most complex vocal harmonies that Elder have ever produced. Alongside DiSalvo, Innate Passage features a guest singer for the first time in Behrang Alavi (Samavayo), who adds his voice to what’s already a career performance for DiSalvo as a singer; his voice is more confident, has more presence, and more reach than ever before. That is but one way in which Innate Passage steps boldly deeper into this new era for Elder. Whether it’s a shredding lead in the culmination of “Endless Return” or the willfully patient, almost meandering, build into the crescendo and fade of “Merged in Dreams/Ne Plus Ultra,” Elder are poised as never before as they execute this material. In centerpiece “Coalescence,” they offer Opeth-worthy rhythmic intricacy and piano drama offset by crunching heavy guitar and twisting leads, and in “The Purpose,” they craft a wash of melody that is engrossing without sacrificing any clarity of the individual instruments that make it. As the album ends with soft guitar in an answer to the intro of “Catastasis,” the sense of wholeness that comes through is one more aspect arguing for Elder as singularly crucial. Innate Passage is a culmination of everything they’ve done before, and that’s reason to celebrate, but more, it is that after more than 15 years, they’re still pushing forward to places where neither they nor anyone they’ve influenced have yet gone.

Tracks

Press

Available on 180gr. white 2LP housed
in die-cut slipcase with reversible
cover art and CD.

Audio & Video

THE RUTS - 'IN A RUT SESSIONS'

Formats

• ITR213618 - 12"

  759718500219

Details

U.S BLACK FRIDAY RELEASE! It seems like years ago I contacted Mr. Segs and Mr. Ruffy and inquired if either Rut had possession of the In A Rut Session tape. The two song 7” with In A Rut and the prophetic H-Eyes had never been reissued since its original three pressing 1979 release. Rarely does anything in life work out easily so when both replied not only did they not have the tape in their possession, neither had any idea as to its location. I got to work. My pseudo-sleuth supposition was that the band had turned the tape over soon after the passing of Malcolm Owen to Virgin Records for the assemblage of the Grin And Bear It compilation album and it was likely still in the label’s grip. And this is where the hero of this story and the reason we’re able to bring you this record, a young man named Jason Repantis, comes into the story. Jason works for Universal Music as a senior researcher in the asset and archives management department. His job focuses mainly on finding the best source of audio or video for each project among the vast archive of tapes. It can be for a reissue on vinyl, a remixing session, a video restoration on 4K, a request for an instrumental for a movie or whatever else is required. Via email, Jason and I got to conversing as to where the tape could be. At one point, Jason told me he had located a tape that was dated 1980 with a Town House sticker on the front. The In A Rut Session happened in 1979 but Grin was a 1980 project so the tape could have very well been relabelled by an engineer. Jason gave the tape a closer look and confirmed it was the Fair Deal Studio reel with In A Rut, H-Eyes and an early version of Society. I asked Jason how he came upon the tape. Finding this tape involved a lot of research. Reading as much as possible online, contacting people out of the blue and of course browsing Ruts tapes from the archive. When I finally came across it, the first thing I saw on its box was that it contained the slower version of Society. I knew then that this was the right tape and the rest of the information matched as well. The tape had been found. We can report that this was the easy part! Prying it loose from Virgin was going to be a multi-month extraction operation single-handedly executed by the resourceful Jason. In order for the tape to be returned to the band, I had to present all the information to EMI's legal and business affairs department. After they reviewed the case as well as the agreement with the band they confirmed that this tape can be returned. After months, the tape was released and it is now safely archived with me. We provided a high quality transfer to the very capable Mikey Young for mastering and here you have it, all three songs from the session, cut from the master tape. Make no mistake: this is a complete victory. Justice! It could have been that the tape would have sat in the guts of Virgin for the rest of the century and there would be no reissue. The tape is back in control of the remaining Ruts and their great music is now yours to enjoy. --Henry Rollins

Tracks

Press

Audio & Video

THE PANIK - 'IT WON'T SELL'

Formats

• ITR213617 - 12"

  759718500110

Details

U.S.BLACK FRIDAY RELEASE If you will please permit me. This is a fan story which has endured over decades. On one of the many trips I made to Yesterday And Today Records, located at 1327-J Rockville Pike in Rockville, Maryland, I saw the It Won’t Sell! EP, a three track 7” by the Manchester area England band the Panik. After seeing the record in the bin a few times, I bought it because the cover looked interesting and I thought the title was cool. I put the record on and was immediately amazed by the sounds on the instruments. What was happening on the drums? Great bass sound, tough songs, smart lyrics. The EP became one of my favorite 7” records and remains so to this day. Fast forward close to forty years. I was never able to find any information on the Panik but my curiosity never waned. To be clear, just because I couldn’t find any Panik facts, doesn’t mean they weren’t out there. I am at best, an enthusiastic (rank amateur) researcher. Had I been a better sleuth, I could have discovered that the EP was produced by the Panik and their manager, Rob Gretton, who would eventually manage some band called Joy Division. I would have perhaps been able to find out the label the EP was released on, Rainy City Records, was owned by Mr. Gretton, not to mention that Panik’s drummer Steve Brotherdale was for a time, the drummer in the pre-Joy Division band Warsaw and shows up on the 07-18-77 Warsaw Demo. Finally, in Jon Savage’s excellent book This Searing Light, The Sun And Everything Else: Joy Division: The Oral History, there was a mention of the Panik being part of the Manchester scene. Curiosity reignited, I was back on the hunt again for Panik information. I wanted to locate the members and find out anything I could. The songs were so good, there had to be more to know. It was around this time that top shelf collector/seller Jeff Gold had made contact with Rob Gretton’s partner Lesley Gilbert and bought some of his record collection from her. Through Jeff, I was able to contact Lesley. I asked if she was in possession of the Panik tape. Lesley, it turns out is extremely friendly and quite helpful. When she said she indeed had the tape, knowing that Rob was very on top of things, I wasn’t surprised but I must say, my excitement level spiked. At this point, source audio from this time period seems to have an almost magic ability to vanish without a trace. This piton secured into the mountain, I reached out to Ian MacKaye, who reached out to Punk know-a-lot and stand up guy John Robb, to see if he could track down any members of the Panik. John a poster boy for stamina, was able to find an email address for Panik guitarist/vocalist Ian Nance. Thanks to Jeff, I was able to establish a line of communication with Lesley, who not only connected me to Rob Gretton’s archivist Mat Bancroft, but Steve McGarry, who designed the covers and labels for the EP. Thanks to Ian MacKaye and John Robb, I was able to connect with Ian Nance. Things were coming together. I got to work. Objective: secure the Panik It Won’t Sell tape, transfer the tracks, master them and reissue the EP on 12” vinyl for the first time ever. In one stroke of luck after another, I got the green light from Ian Nance to allow the tape to travel. Word was relayed to Lesley and Mat. The tape was sent to In The Red Records and given to Brian Kehew, tape whisperer extraordinaire. After expertly making the transfer, Brian reported that not only were the tracks in pristine condition, there was a fourth (and unreleased) song on the tape. No way! I got the transfers back from Brian and listened on my trusty Yamaha NS10 reference monitors, spending several minutes comparing them to vinyl rips I had made years previously. Brian’s transfers were far superior and the extra track, Teenage Romance was completely cool. From there, the tracks went to Mikey Young for mastering. The results were more than we could have imagined possible. I contacted Ian Nance, told him of the sonic upgrade and asked if Larry Hardy, owner and operator of In The Red Records and I could release all four tracks as a 12”. Permission granted. Knowing that the original release was decades ago, a sturdy set of liner notes were in order. I petitioned Mr. Nance for some Panik facts and thanks to his powers of recall, we have intel from an unimpeachable source. Urged on by manager Rob Gretton, Ian formed the Panik in June 1977 (four months before his seventeenth birthday) in Prestwich, Manchester, England. Ian taught bassist Paul Hilton how to play. Add Steve Brotherdale on drums, you’ve got the Panik. To give you an idea of the geographical proximity of things, Prestwich is a little over three miles north of Manchester City Centre. The Fall’s Mark E. Smith lived there as well. Buzzcocks bass player Steve Garvey went to the same school as Ian. From one small town, members of three great bands emerge. Counting June of 1977, the Panik had an approximate twelve month lifespan, calling it quits in May of 1978. Ian went on to join the Manchester area band V2. In this short amount of time, the Panik played about fifteen shows, sharing stages with bands that included the Damned, the Vibrators, Warsaw/Joy Division and Reckless Eric, as well as being on the bill in October 1977 at the Electric Circus, some of the bands were recorded over the two nights and released on the Virgin Records 10” Short Circuit: Live at the Electric Circus. The Panik had about twenty songs in their set. Only the ones recorded for the EP survive. Now that we’re able to include Teenage Romance from the session, we have one more than we did before. I asked Ian if he had any memories of the recording session and working with Rob Gretton. This is information I haven’t seen anywhere. “The songs for the EP were written in about two days, and recorded one-takes and mixed in a four hour session. The studio we recorded at was out in the boondocks, and the engineers were Country & Western fans who thought we and our music was from Mars (you have to remember this was before the Sex Pistols really took off and punk was brand new). As I recall Rob Gretton was really pleased with the results, though being quite a laconic guy refused to show it. He was worried about going to the pressing plant to master the tracks, since some of the language on it was not for the drawing room, shall we say. Conversely, the cutting engineer wasn't the least bit fazed, he said he'd had the Wurzels in before us (a comedy/novelty act quite popular in the UK at that time), and their language was fifty times worse than ours. When we got the vinyl, Rob and the band stuffed it into the sleeves by hand, aided by copious amounts of Polish vodka, while we listened to the record over and over (at the time there were very few actual "punk" records in existence).” I asked Ian what he thought of the record when he first heard it. At his age and at the time, having a record you’re on must have been pretty cool. “I really liked the finished EP, though my only quibble was it seemed to have lost some bottom end at the mastering stage, but other than that, it was a goer...” When I compared the vinyl rips I had made to the tracks you now have, I see what he means and I believe that issue has been addressed. Please indulge me in allowing me to answer a question that I might be the only one asking: why reissue a decades old record by a band that existed only briefly and then all but disappeared? BECAUSE, and I think I can speak for Larry on this, we’ve been fans of this EP for decades and the chance to get it to you is more than an opportunity, it’s a mission. The tape sat deathly still for years in perfectly maintained obscurity with a fourth track to remain silent for all time. But then the baying of intrepid and persistent vinyl hounds grew louder and thanks to the access to information and human assets afforded by the internet, a microscopic point of light, all but lost in a universe of information and innumerable potential impediments to its targeted acquisition, the master tape was snatched from the mists. Between The Fall, Buzzcocks and Joy Division, it’s easy to see that something was definitely happening in the greater Manchester area. However, these brilliant bands are not nearly the entire story. At some point, when I was able to see this chapter of England’s contribution to music culture as part of a larger story, it bugged me that there was little to no mention of the Panik. Books have been written, records have been reissued but for some reason, the Panik were largely overlooked. It Won’t Sell, (the back cover photo taken by the now legendary Kevin Cummins) is one of my favorite 7” records of all time. The Panik were there and done before a lot of Punk bands had even started. -- Henry Rollins

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