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Pre-orders at Juno
This vinyl is available for pre-order at Juno, for shipping on the release date. You won’t be charged until the order is despatched.
We'll keep you informed of your order at every stage, and let you know if the release date changes.
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Cat: PSALM 23119D. Rel: 11 Apr 24
Review: Lux Interior and Poison Ivy, of Cramps fame, team up to deliver Leather Jackets and Diesel Smoke, a whopping 50-track compilation that documents their utmost personal favourite rock recordings, in the micro-veins of acid folk, rockabilly and psychobilly. We'll doff and eat our hats if both said punk legends' rising signs aren't Scorpio. With madcap performances from Donnie James with the Mighty Joe Houston Orchestra, Tall Tonio And The Mello-Dees, Chris Christian And The Chordaires, Elisabeth Waldo, Fred Katz and John Reedy and His Stone Mountain Trio among many more, this is a cavalcade of no-hit wonders, every last one of them a gem. Amounting to a contemporaneous account of the music that The Cramps heard and loved during their rise to notoriety, not to mention the lesser-known music that would've graced the halls of New York's CBGB club, of which they were favourite performers.
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Los Angeles (35th Anniversary Edition) (180 gram audiophile vinyl LP + insert)
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Review: Here's a Record Store Day 2020 special that all Pink Floyd fans will want to take a look at: an etched, single-sided seven-inch single featuring a previously unreleased version of Piper at the Gates of Dawn-era favourite 'Arnold Lane'. It was recorded at The Madcaps Last Laugh concert in 2007, a tribute to band co-founder Syd Barrett. It features three Floyd members - David Gilmour, Nick Mason and Rick Wright - alongside vocalist Jon Carin, whose singing is very similar to that of Barrett, and bassist Andy Bell. It's a fairly faithful rendition all told, and one with added weight given the travails of Barrett after he left Pink Floyd in the late 1960s.
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Review: Jessica Pratt's third solo album is a blessing from the start, with opener, "Opening Night", setting the album's tone as a sojourn through a fresh but solemn memory, like strolling through a mist swept pasture. With Pratt's unique vocal ranging tied up in a mix of space, crackle and forgotten reverie, her vocals at times sounding as if they're lost somewhere in a wireless ether. With softly played chords and delicate strumming sitting in tune with dreamy interludes and folky motifs, City Slang have arguably dropped their best record for 2019 first.
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Review: The skittering drums, sweet nihilistic croons and chiming melodies of Dublin three-piece Villagers make it six albums in eight years. It clearly remains, then, that they are sweethearts of the label, and they squeeze everyone's most trusted vital organ once more by romancing our chest plates with numbers like "Again" and "Fool". There are more experimental dream sequences to be heard in tracks like "Love Came With All That It Brings" though, but back on track you'll find the more feel good in "Real Go-Getter" and "Ada". But really it's about the gnarly synth jam that is this album's title track.
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Headed up by Phil Pearlman, of The Beat of The Earth and The Electronic Hole fame, RCR takes you on a peyote-laced trip into the Californian desert to explore more experimental, dream-like ends of 1960s folk rock 'n' roll. Vivid enough to ensure you can pretty much smell the hemp, it's crucial to note this isn't just another one of those stoned hippie albums. The quality of what's on this (originally privately released) record is so good it went on to inspire the likes of Wilco.
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Cat: 281216 3326. Rel: 04 Oct 22
Review: One of the greatest things to happen to the vinyl industry, the beloved Australian rock collective are a force to be reckoned with in terms of releases. For all their conceptual and experimental releases however, 'Omnium Gatherum' works exactly as prescribed - a latin phrase roughly translating to "just a bunch of stuff". The double LP is a collection of reworked unreleased material, as well as original music tacked on to boot - King Gizzard fans never have to worry about getting bang for their buck. Expect frenzied shredding, nu-metal cuts and the occasional synth-pop banger. The real highlight here is 'The Grim Reaper', a fusion of hip-hop and medieval instrumentation if you can believe it. Kenny-Smith's flow is no doubt influenced by the Beastie Boys era of hip-hop, a style being repopularised by the likes of Joey Valence & Brae. The album is a crazy patchwork of genres that feels not unlike watching your favourite movie in the form of a highlight reel.
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