Latest release: 19 Jul 2024
<< back

JOE MCPHEE - 'BLACK MAGIC MAN'

Formats
  • SV185 - LP
    857661008858
Details

“Black Magic Man is arguably the pivotal Joe McPhee release. It bridged the span between the regional and the international, bypassing the national altogether. “Recorded in the same sessions that produced Nation Time, Black Magic Man consists of music not chosen for that LP. Like its much-feted sister, technically it falls under the domain of CjR, Craig Johnson’s herculean effort in support of McPhee. An erstwhile painter, Johnson became a self-taught audio engineer, acquiring equipment expressly to document McPhee’s music. In December 1970, five years after Johnson and McPhee had met, they recorded two days of activity —a concert followed by an additional day of recordings—at Vassar College where McPhee was teaching in the Black Studies department. About half of the material was used to make Nation Time. While they had planned to issue a follow-up, the money wasn’t there, so the tapes sat dormant. “Fast-forward five years—Werner X. Uehlinger, a Swiss businessman who worked for Sandoz Pharmaceuticals, contacted Johnson while on a trip to the US, and over dinner with McPhee, they discussed putting out some of the unused tracks from the Nation Time sessions. With this casual encounter in 1975, Hat Hut Records was inaugurated. The new label’s maiden release was Black Magic Man, dubbed Hat Hut A, the first in what would become Hat Hut’s letter series. Along the way, the series would feature seven Joe McPhee records, including the first four in a row.” —John Corbett (excerpt from the liner notes)

Tracks

Press

Audio & Video


JOE MCPHEE - 'THE WILLISAU CONCERT'

Formats
  • SV186 - LP
    857661008865
Details

“Joe McPhee’s first international release, Black Magic Man, was issued on the newly formed Hat Hut imprint in 1975. It was a watershed moment for the 35-year-old musician. Based in Poughkeepsie, New York, he was too far away from Manhattan to have participated extensively in the Loft Jazz happenings of the decade. European exposure, however, would give McPhee an alternative circuit, something of an escape route from the trappings of American cultural myopia. “In support of the new record for this Swiss label, McPhee invited John Snyder on a European tour in October 1975. Snyder was a synthesizer player with whom McPhee had made the duet LP Pieces Of Light, released a year earlier on CjR. The two musicians developed an extensive repertoire, playing diverse spaces in the Hudson Valley. Geographically close gigs were a plus, since it took extra energy to hoist Snyder’s ARP 2600. “McPhee and Snyder were invited to play at the Willisau Jazz Festival in Switzerland. If you compare this live record with Pieces Of Light, a studio effort, it’s considerably more open. South African drummer Makaya Ntshoko is rolling thunder on the choral ‘Voices,’ shuffling under Snyder’s bubbly beat on ‘Bahamian Folksong.’ It is quite a special combination, enough so that Hat Hut chose to release it as their next LP, Hat Hut B in their alphabetical series. The Willisau Concert represents the sound of Joe McPhee opening up, opening out, expanding his field of operations to include new figures, fresh experiences, new continents of sound.” —John Corbett (excerpt from the liner notes)

Tracks

Press

Audio & Video


JOE MCPHEE - 'TENOR'

Formats
  • SV187 - LP
    857661008872
Details

“There are lots of outstanding Joe McPhee LPs. Nation Time being chief among them, but there’s also Pieces Of Light, Oleo and Topology. The Poughkeepsie, New York-based multi-instrumentalist, by now an international star of free music, has amassed a daunting discography, no doubt. If you want to peer deeply into the soul of Joe McPhee, however, there’s no way around it, you need to spend some quality time with Tenor. “Tenor is McPhee’s first solo record. He did not set out to make it. It was an afterthought, quite literally, born of a gathering of friends at the Swiss farmhouse of cellist Michael Overhage. A beautiful meal, some drinks, warm conversation, and ... why not, an impromptu recital. Hat Hut producer Werner X. Uehlinger was there and a year later issued it as McPhee’s third LP for the label (Hat Hut C in their famed letter series). “The existential blues ‘Knox’ sets the stage, indicating that this will not just be a toss-off postprandial singalong. ‘Good-Bye Tom B.’ carries on with aching melancholy, through burred notes and hushed harmonics. The relatively jaunty ‘Sweet Dragon’ is also emotionally loaded with Ayler-esque vibrato, slurs, wipes, and blasts of tone. The side-long title track comes without a theme, as a kind of pure investigation of the horn, its potential, its limits, its expressive capacity. There have been few solo sessions as comprehensive and devastating as this spontaneous after-dinner diversion in rural Switzerland in 1976. We’re very lucky someone pressed record.” —John Corbett (excerpt from the liner notes)

Tracks

Press

Audio & Video


LOS CAMPESINOS! - 'ALL HELL'

Formats
  • HS004LP - 2xLPs
    5061041820489
  • HS004LTD - 2xLP (COLOURED)
    5061041820472
  • HS004CD - CD
    5061041820496
  • HS004MC - MC
    5061041820557
Details

The UK’s first and only emo band Los Campesinos! return with their highly-anticipated seventh album, All Hell. It is perhaps their most ambitious and assured album yet, whilst simultaneously recalling everything we’ve come to love about LC! over their faultless discography. Recorded between October 2023 and February 2024, it is the first album to be wholly self-produced by band member Tom Bromley (having co-produced previous albums Sick Scenes and NO BLUES). The album is also self-released on the band’s own Heart Swells record label. In the band’s words All Hell is an album about… Drinking for fun and drinking for misery // adult acne // adult friendship // football // death and dying // love and sex // late-stage capitalism // Orpheus // day dreaming // night terrors // the heart as an organ and as a burden // suburban boredom // Tears of the Kingdom // the punks on the playlist // increments of time // climate apocalypse // the moon the moon the moon /// Los Campesinos! have become one of the most important and influential cult acts in the UK since they formed in the mid-2000s. Starting out in the Cardiff indie scene and soundtracking Budweiser adverts, the seven-piece’s musical evolution since then has been slow, steady and remarkable. From the frenzied chaos of debut album Hold On Now, Youngster… (2008) through 2010 breakthrough Romance is Boring and the self-mythologising of latter day highlights NO BLUES (2013) and Sick Scenes (2017), their discography is an interconnected web of niche references, big swings and unflinching honesty. Making self-professed sleeper hits for weeping dipshits, they’re as influenced by The Beautiful South as they are US emo, with emotional intensity and connection always at the core. Their lyrics are a treasure trove of football references, tales of romantic woe and painfully frank exorcisms, which have been tattooed across hundreds of fans’ bodies and served as comfort and insight during that break-up you had (there’s a reason the band’s tagline is “your ex-girlfriend’s favourite band”). Now with the release of All Hell, Los Camp! approach their third decade as a band more brilliant, more potent and more vital than ever.

Tracks

Tracklist: 1. The Coin-Op Guillotine / 2. Holy Smoke (2005) / 3. A Psychic Wound / 4. I. Spit; or, a Bite Mark In The Shape Of The Sunflower State / 5. Long Throes / 6. Feast Of Tongues / 7. The Order Of The Seasons / 8. II. Music For Aerial Toll House / 9. To Hell In a Handjob / 10. Clown Blood/Orpheus? Bobbing Head / 11. kms / 12. III. Surfing a Contrail / 13. Moonstruck / 14. 0898 HEARTACHE / 15. Adult Acne Stigmata

Press

Exclusive colourway for indie retail includes lyric sheet

Double LP pressed at 45pm for best audio quality

UK headline tour confirmed for September & the band will play 2000 Trees festival preceding the release.

LC! Sold out their biggest ever headline show at London?s Troxy earlier this year

Audio & Video


CHRIS COHEN - 'PAINT A ROOM'

Formats
  • HAR173 - LP
    098787317305
  • HARCD173 - CD
    098787317329
Details

Chris Cohen was always a quiet kid. In fact, this introversion was one reason he began playing music as a toddler—to communicate without speaking, to identify with others without the direct representation of words. It has worked, too, with Cohen’s terrific stint in the mighty Deerhoof and his own captivating art-rock act The Curtains, preceding production and session work for the likes of Weyes Blood, Kurt Vile, Le Ren, and Marina Allen. Somewhere along that long way, Cohen started writing lyrics. He found that, though it didn’t come naturally, the process offered a new sense of self-discovery and reckoning, a way to see himself and the world from unexpected angles. His three twilit albums of casually complicated pop during the last decade radiated these epiphanies: handling family strife, navigating advancing age, and understanding social woes. But Cohen has never had as much to sing so directly as he does on Paint a Room, his first album in five years and his debut for Hardly Art. If Cohen’s meanings have previously lurked inside the tessellated musical layers he built alone, they are newly clear and resonant here, animated and underscored for the first time by a band playing in real time. There is the endless miasma of state violence on the subversively melodious opener “Damage,” the existential exhaustion of modernity on the horn-traced jangle “Laughing”: this is Cohen communicating with friends not only through his deep understanding of groove, harmony, and hook but also with his listeners through songs that croon of our uneasy little era. On Paint a Room, Cohen’s music feels like a warm spring breeze, easy to love and gentle to feel. But it’s often carrying something heavy, as if blowing in from some unseen storm cloud. Paint a Room both reckons with reality and conjures an alternate one, where nighttime walks and a neighbor’s wind chimes offer endless escapes for the imagination, space for the mind to roam. Sublime and sun-lit, these 10 songs consider dreamy new ways out of old predicaments, clearly stating the problem and dancing and singing their way somewhere new. Paint a Room features Jeff Parker contributing the fluttering horn arrangement on “Damage,” and Parker collaborator Josh Johnson (who produced Meshell Ndegeocello’s Grammy-Award-winning album The Omnichord Real Book) supplying flute, sax, and clarinet arrangements throughout the record.

Tracks

Tracklist:
1. Damage 2. Paint A Room 3. Sunever 4. Cobb Estate 5. Laughing 6. Wishing Well 7. Dog?s Face 8. Night Or Day 9. Physical Address 10. Randy?s Chimes

Press

The Hardly Art debut by accomplished singer-songwriter and longtime Deerhoof member Chris.

Cohen is a gem of casually complicated pop.

Chris Cohen has also performed as a member of The Curtains, Natural Dreamers, and backing Cass McCombs, Danielson, Kurt Vile, and more.

He produced Weyes Blood?s 2016 album Front Row Seat to Earth, and work by Gun Outfit and Le Ren.

Audio & Video


COSMIC PSYCHOS - 'MOUNTAIN OF PISS'

Formats
  • SBWLP74 - LP
    4059251641681
Details

And for the first time as an EU+ pressing, their 2021 album "Mountain Of Piss" will be available in urine-coloured, clear-yellow vinyl!! For the Australians' anniversary European tour, the follow-up to the 2018 comback "Loudmouth Soup" from 2021, now for the first time in European pressing! Pure piss yellow vinyl, carefully coloured by Subway Records. In their 40-year career, Cosmic Psychos have recorded absolute anthems: 'Hooray Fuck', 'David Lee Roth', 'Down on the Farm', 'Go the Hack', 'Nice Day to Go to the Pub', 'Fuckwit City' and many more. And the 2021 album contains many songs that will be performed regularly at upcoming concerts. Formed in Melbourne in the early 80s, the Psychos are still going strong and, having been embraced by the punk community in Australia and abroad, are now reaching a new generation of fans. Like the Ramones, Motorhead and AC/DC, they have a formula that has worked for 40 years: songs about booze, girls and farming, played at a frenetic pace. Mountain of Piss is no exception, and that's what's so great about it! The highlights of Mountain of Piss are the title track, about conquering a mountain of piss for Australia, and Sin Bin, about moronic footballers, as well as the tracks Dickson and Munted. But the mid-tempo country track 'Too Old to Drink in Pubs' is the real gem of the album. The cover, inspired by Mount Rushmore, on which the Cosmic Psychos' faces are 'sculpted' into a mountainside using a pile of wooden objects, is genius too.

Tracks

01. ACCOUNTANT SONG 02. BEEP 03. BLEEDING KNUCKLES 04. DICKSON 05. DUNNY SEAT 06. MOUNTAIN OF PISS 07. MUNTED 08. RUDE MAN 09. SIN BIN 10. TOO OLD TO DRIN IN PUBS 11. UNREAL

Press

Audio & Video


LOVE FIEND - 'HANDLE WITH CARE'

Formats
  • ITR392LP - LP
    657628443414
  • ITR392CD - CD
    657628443421
Details

***ON GREEN / YELLOW VINYL!!! CD NOW INSTOCK “A glorious dirty little gem in Los Angeles finally rears its four heads again. Love Fiend have been slaying sine waves and bashing bongos boldly for a while now in the dusty dens of the unkempt underground. Good news for you, you can get an injection in your own home soon enough, you Fiend! Hooks for days, these young humans are now leaning fast forward into the reverse-future with Handle With Care out soon on OG In The Red Records. Perhaps they can join the upper echelons of Tik Tok barf famous good feelin’ peddlers like some of their label mates or perhaps they can just wear you out on the dance floor. One can dream anyhow. Either way this is gonna get stuck in your ear hole eyes, thank heavens. Deffo some neon drizzled ’80s synth punk highway tunes here. Just the right amount of this and just a bit of that in the roux to make you forget that we are teetering on the edge of………..for 30 minutes or so at least. Whew close one. Really all you need to get on. All hail the medicinal extra strength over these counter pop pills. For fans of Nick Lowe, The Cars, Gary Numan, Blondie, The Nerves. I could go on but why reveal everything in the trailer. Twist! Enjoy.” —John Peter Dwyer

Tracks

1. Just Like Eddie
2. Hard Feelings
3. Secret Cabals
4. Jimmy (Is An Agent)
5. Got Bad
6. Neu Testament
7. One Forever
8. C.K.I.L.
9. Tied Up
10. Vacant Love

Press

Audio & Video


MAHTI - 'KONSERTTI I'

Formats
  • VHF163 - 2xLPs
    783881016314
Details

Third album from Finnish group Mahti, a collaboration between three members of stalwart avant-rock legends Circle and Hannu Saha. Saha plays the Kantele, a traditional Finnish acoustic instrument which can have five, ten, fifteen, or thirty-six strings, and which is plucked like a zither or harp, producing a delicate string sound. Following their two very limited studio albums on UK label Riot Season, Konsertti I is an excellent recording of the group in live performance, capturing their understated and beautiful mix of ambient, electronic, and string music. Saha’s Kantele centers the music, sometimes plucking out melodic arpeggios, at others blending in with the burbling-but-subtle electronic and electric guitar backdrop. Doesn’t really sound like anything else, but recommended to fans of AR & Machines, Ash Ra Temple, Richter Band, Durutti Column, etc. “These ancient musicians played their ‘mahti’…and the sound they produced was called ‘musiikki’.”

Tracks

1. Pala 1
2. Pala 3
3. Pala 5
4. Pala 6
5. Pala 10
6. Pala 7

Press

Audio & Video


CUNEIFORM TABS - 'S/T'

Formats
  • W25-17 - LP
    857661008445
Details

Like an unsent love letter to a psychedelic London where everyone is trying to find their way to a secret Television Personalities gig, Cuneiform Tabs emerge with an astounding debut of lo-fi pop and DIY experimentation. A hazy collage of joyful heartaches, twisted children’s TV themes and sing-song melodies, the album echoes the sounds of ’60s AM radio from a dozen narrow alleyways to the North. Over 18 months, the Tabs’ Matt Bieyle and Sterling Mackinnon traded 4-track tapes between the Bay Area and the UK. While they previously played together in indie band Violent Change, the duo’s physical distance and their songwriting process of building, blurring and distorting across the Atlantic would create something no one saw coming. Grabbing any instruments at their disposal and splitting vocal duties, Bieyle and Mackinnon pushed their Tascam to its limit to make glittering, odd-shaped gems. There is an insular feel to Cuneiform Tabs, suited for late nights after the entire city has stumbled into dreamtime or lazy afternoons when you can’t quite recall where you need to be, but you know you won’t make it there on time. It’s like a pirate radio show where Bob Pollard alternates Swell Maps and Cleaners From Venus records while randomly unplugging various bits of gear and reading passages from a book on R.D. Laing. Originally released in a hyper-limited artist edition, W.25TH / Superior Viaduct is thrilled to bring this kaleidoscopic LP to a wider audience.

Tracks

1. Healthy Reaction
2. Penitence My Lord
3. Gonged Fantasy
4. I Think I Need You Tonight
5. VCUKII
6. Might You Have Something To Eat
7. Space Crone
8. Yesterday Is Nexus
9. Planted Boy
10. Wet Look Raga
11. Not Another Priest

Press

Audio & Video


JOEP BEVING & MAARTEN VOS - 'VISION OF CONTENTMENT'

Formats
  • LTR043 - LP
    4066004674544
Details

Acclaimed pianist Joep Beving and cellist Maarten Vos share their first collaborative album, vision of contentment, via Nils Frahm’s LEITER label. It follows work together on 2019’s Henosis, Beving’s third album, which came about after the two musicians shared a bill in Amsterdam in 2018. Mixed by Frahm at LEITER studio in the German capital’s famed Funkhaus complex, the LP contains eight brand new compositions and is available on vinyl as well as via all digital platforms. While Beving’s never recorded an entire album with another artist before, Vos has regularly engaged in such activities, sharing credits with artists such as Julianna Barwick, Nicolas Godin (AIR) and Alex Smoke. For Beving, it was a natural step to take, and arguably overdue. “Doing an album from scratch as a joint project was something Maarten and I wanted to try for a while now,” he says. “When my deal came to an end, we saw an opportunity to start making music. I’m always trying to create small worlds for the listener to temporarily live in. Working with Maarten and Nils has helped immensely in achieving this. Maarten is a sculptor of sound and Nils is, well...the master of sound!” Most of vision of contentment was written and recorded during July, 2023, after Beving and Vos unpacked their gear – recording equipment, various synths, a cello – to join the upright piano awaiting them in de berenpan, a shed hidden away in the forest outside Bilthoven, a small village in the Dutch province of Utrecht. The friends had already spent time together in Beving’s Amsterdam studio as well as Vos’ Funkhaus setup, sessions from which two further album tracks are taken, but their week in the countryside would prove particularly fruitful, if for uncomfortably poignant reasons. Out of their sometimes-sombre work emerged a universal eulogy to what the pianist calls “Finding comfort in the acceptance of the inevitable,” but the album represents far more than this. It’s also an astonishing personal tribute to Mark Brounen, their friend and, in Beving’s case, manager. Vos considers the haunting sounds of vision of contentment “a sonic landscape that encourages imaginative exploration”, and the duo talk of Morten Feldman as a musical guide, and Ryuichi Sakamoto and Alva Noto as ‘mentors’. Beving, meanwhile, says he intends to leave listeners with a simple sense of love, adding that he hopes it will also enable “a search for harmony and understanding” that also delivers “a big fuck you to fascists and fear!” Transitions are a theme on vision of contentment, not least because, by the time Beving and Vos had settled down in the woods, their friend Brounen had been fighting cancer for three years. And yet, if his imminent ‘passing over’ cast a shadow upon proceedings, it’s wasn’t exclusively a cause for sadness. “The central theme here is the ‘Blue Hour’, the twilight,” Beving explains. “Transitioning from one state to the other, but also embracing the darkness. Mark had shown a remarkable way of dealing with his disease and impending end. He was at peace with his destiny.” As touching an achievement as The Durutti Column’s A Paean to Wilson, Vini Reilly’s salute to his own manager and Factory Records’ boss Anthony Wilson, vision of contentment may be stylistically very different, but it’s similarly cathartic, spiritually awakening and ultimately full of love.

Tracks

1. ON WHAT MUST BE 2. PENUMBRA 3. A NIGHT IN RENO 4. HADES 5. THE HERON 6. 02:07 7. VISION ON CONTENTMENT 8. THE BOAT

Press

Audio & Video


THE DEAD C - 'HARSH 70S REALITY'

Formats
  • SB1112 - 2xLPs
    655030011214
Details

BACK IN PRINT ON VINYL!!! Originally seeing the light of day in April of 1992, Harsh 70s Reality was not just a high water mark for that year, but for the ages. Technically this was the band’s fourth long-play outing, and as a double-album, it followed (and was ever so slightly informed by) two formidable juggernauts that preceeded it: Twin Infinitives and Lake. But it was Harsh 70s Reality that left the decade stronger and more resonant than it came in. People say that rock music died with the passing of Kurt Cobain. But The Dead C slaughtered it in its sleep with this tremendous set of grinding thud. It is in every sense the ultimate post-rock album. To hear it is to understand why one scribe back in the day referred to their sound as “a garbage truck backing over the abyss.” A legendary release from a legendary band on a legendary label.

Tracks

Press

Audio & Video


follow forte

Search for track, artist or label

contact

  • +44 1600 891589
  • info@fortedistribution.co.uk