April 17 street date. Shrimper Records has a long-standing tradition, going back to the early years of the label, of its artists collaborating with one another - from John Davis and Lou Barlow's Folk Implosion to Franklin Bruno and John Darnielle's Extra Glenns/Lens, with dozens of other examples in between. This split between WOODS and AMPS FRO CHRIST began as an idea for a 7-inch single, but grew into a full-length LP featuring four songs by each artist and an additional collaborative track.
While Woods and Amps for Christ explore a lot of the same land mass, each turns over different rocks and shards of glass. And even though the two work independently from one another, listeners will hear the sublime manner in which the LPs two sides complement one another both musically and lyrically.
April 17 street date. Shrimper Records has a long-standing tradition, going back to the early years of the label, of its artists collaborating with one another - from John Davis and Lou Barlow's Folk Implosion to Franklin Bruno and John Darnielle's Extra Glenns/Lens, with dozens of other examples in between. This split between WOODS and AMPS FRO CHRIST began as an idea for a 7-inch single, but grew into a full-length LP featuring four songs by each artist and an additional collaborative track.
While Woods and Amps for Christ explore a lot of the same land mass, each turns over different rocks and shards of glass. And even though the two work independently from one another, listeners will hear the sublime manner in which the LPs two sides complement one another both musically and lyrically.
August 5 street date. Back in the mid-Sixties, The Artwoods were one of the most vital, impressive R&B bands on the circuit, fronted by Art Wood (elder brother of future Faces/Rolling Stones guitarist Ronnie) and also boasting future Deep Purple organist Jon Lord, renowned drummer Keef Hartley, guitarist Derek Griffiths and bassist Malcolm Pool. Between 1964 and 1967, the band recorded seven singles, the ultra-rare EP Jazz In Jeans and a nearly as scarce LP, Art Gallery, mostly for Decca but also for Parlophone and Fontana (the last under the pseudonym St. Valentine’s Day Massacre). Their records have long been coveted by fans of 60s beat, R&B and Mod music. Keep Lookin’ is the most comprehensive anthology of The Artwoods’ recordings to date. Alongside all of the band’s A’s and B’s, this 3-CD boasts four previously unissued early acetate recordings by the Art Wood Combo, several BBC radio sessions with unique tracks and a long-lost live recording in Denmark from that tail-end of their career. The compilation benefits from the involvement of the band’s guitarist Derek Griffiths and basisst Malcolm Pool, plus legendary blues producer Mike Vernon. The sound quality of The Artwoods’ recordings has never sounded better, due to some exemplary remastering and resourcing of some of their rarer tracks. This vital addition to the collection of any discerning Sixties fan boasts a superbly designed and annotated bumper booklet.
Available now. Cernunnos Woods was created by Bard Algol in 1993 and is one of the earliest US acts creating primitive, dark atmospheric ritual "dungeon synth" music with a concept orientated towards druidic folklore. This release complies long out-of-print and rare tracks from the three early demos and compilation only tracks of this groundbreaking cult act. Feel yourself connect with the land once more, the rhythm of stream and wind in ancient Druidic rituals. Feel the green sun on your face once again. Shake off the metals of industry and embrace again that ancient, primal spirit. Embark on a journey through ancient, long forgotten lands. Discover what the world thought long lost, embroidered in the cold mists and forbidden fogs. For fans of: Mortiis (era 1), Summoning, Blood Axis, Sigillum S, Beherit, Cryo Chamber, Projekt and Cold Meat Industry releases.
Available now. Limited 12" EP !! For the third Marfa Myths release, we’re proud to present seven all-new songs written and recorded by Stockholm’s psychedelic masters Dungen and adventurous Brooklyn indie-folk pioneers Woods. In the case of Dungen and Woods, the two bands were tour mates in the summer of 2009, traversing America and bonding with one another in the process. The familiarity with one another’s music and personalities was already well in place, but the eight years that passed between the tour and the making of this record reveal that nothing was lost in the interim. That this is the most music assembled for a Marfa Myths release to date is telling of a rare and special connection between Dungen and Woods, reignited by the circumstances of the occasion. Myths 003 showcases a seamless merging of two bands following the same track to different locations throughout their career, as if they’d been playing together for decades, an exhilarating and buoyant example of how shared experiences can foster truly wonderful music.
November 26 street date. Hear The beautiful voices of The Fleetwoods! Rare Versions and unreleased including chatter amongst the trio and various takes of some of their great recordings. You can truly hear their beautiful harmonies in these rare versions and unreleased tracks. 26 tracks in STEREO. Featuring 2 Previously Unreleased tracks. 31 tracks in total. Over 75 minutes of Heavenly vocal magic.
September 18 street date. The Fleetwoods were one the few white vocal groups of the late ‘50s and early ‘60s to have success on both the pop and R&B charts. 4 original albums: 'Mr Blue'; 'Gretchen, Gary and Barbara'; 'Softly' and 'Deep in Dreams' wonderfully remastered with many stereo recordings. Includes the international hits, 'Mr. Blue', 'Come Softly to Me' and 'Tragedy'. The sound created by the two girls and a boy was highly original which gave The Fleetwoods no stylistic equals and their unique and subtle vocal harmonies entranced a generation in the late ‘50s.
April 3 street date. Time is absolute garbage . . . But here's the thing: given enough time, your friends are going to keep making records, you're going to keep listening to them, and if you're lucky, some of them are going to seep into the cracks of your day-to-day . . . Since its initial appearance as a private press double cassette in 2016, Annual Flowers in Color has been exactly this sort of talisman for me. More to the point, it's also the closest thing to a definitive statement in the twelve-year history of John Elliott 's Imaginary Softwoods and a no-brainer on the thinking head's shortlist of Elliott's most essential releases, alongside Outer Space 's Akashic Record (Events: 1986-1990) (SP019LP, 2012), Emeralds ' Solar Bridge (2008) and What Happened (EMEGO109LP, 2010), Mist 's House (SP004CD/LP, 2011), Lilypad 's Capacitor (2008), Colored Mushroom and the Medicine Rocks ' self-titled LP (2010), and Quiet Light Water Gap 's Live at the Delaware County VFW Hall (2010). While each of these projects draws from the same reservoir of glittering pinpoint riffcraft and homespun surrealism and each reflects in its own fashion the awareness that a certain undercurrent of lurid horror is essential to all authentically psychedelic music, Imaginary Softwoods has always been distinguished in its relationship to a particular decades-long chain of private press loner music, or chamber music for shut-ins. You wouldn't necessarily be wrong to call Annual Flowers in Color 'deeply personal,' but that almost misses the point . . . it's handmade, human-scale domestic ritual music the making of which is inseparable from the sense in which it's been 'lived in.' . . . Above all, Annual Flowers in Color is an absolutely gorgeous, perfectly weathered, subtly strange record.
December 7 street date. In 2008, a triple cassette oddity appeared out of nowhere adorned in washed-out nature collages and zero information. Turns out that John Elliot of Emeralds was behind the madness, and after further dissection of the sounds enclosed, it all began to make sense. Those three tapes (one yellow, one blue, one red) were the first taste of something that felt like a lost private-press object from the early European electronic experimentations of the '60s and '70s. Each vignette is its
own story, its own exploration. Synthesizers and other electronics are stripped to their bare bones, never drifting beyond a mere five minutes. Each piece is its own miniature mountain, traversed and left behind all in a matter of minutes. As you interact with the subtlety changing harmonics and tonal shifts, you begin to float away into synthetic dreams. If all bedroom albums were this great, I'd never leave the house. A true gem. It doesn't get much better than this. Completely remastered for vinyl by James Plotkin and cut in Berlin by D+M. The deluxe vinyl edition is presented in full-color gatefold jackets with all new art from John Elliot in conjunction with the inimitable Witchbeam. Strictly limited pressing.
June 17 street date. Solo project from John Elliot of EMERALDS & MIST. Archives Intérieures re-releases The Path of Spectrolite by John Elliott’s Imaginary Softwoods project. The Path of Spectrolite is a gorgeous, light-emitting exploration into dazzling musical colors. Starting with the opener ‘Entrance Through Selenite Pillars’ John Elliot takes the listener into a highly textural musical space. Synth melodies shift into drones, evoking shimmering rays of supernatural light. ‘Eye Color’ opens the spectrum even more, allowing a glimpse into a musical universe where past psychedelic traditions team up with a contemporary approach to composition. John Elliott treats his sounds with the utmost care and dedication. He allows plenty of openings for the listener to join in and to take the trip down the chosen path. Through their respective multicoloured lenses ‘Rainbow Obsidian Key’ and ‘Globe II’ are compositions which succeed in existing perfectly in the present moment. In the second phase of the album we arrive at ‘Black Water and Ice’, the first track which presents a vague hint of percussion. It slowly progresses into a lush, string-based texture. Finally ‘Crystal Pond’ leads us into the last part of the trip. Its swirling notes evoking a sense of elegant liberation, of final transcendence and arrival. Archives Inte´rieures decided to re-release The Path of Spectrolite because we feel it is an absolutely essential album. As a work of art it is almost confrontational in its honesty. Elliott’s approach to attain an absolutely clear and focused sense of natural beauty and spiritualism is breathtaking. As no other he knows how music and sound connect us to a wider perspective. Therefore we feel it is essential to give this album another push after its initial vinyl release on Amethyst Sunset in 2011.
March 5 street date. "BRASS" is a collaborative album from experimental musician and poet Moor Mother and the rapper billy woods (1/2 of Armand Hammer). After working together on Armand Hammer's critically acclaimed 2020 LP "Shrines", Moor Mother and woods released the song "Furies" for the Adult Swim single series in July. A whirl of interweaving allegories spun over producer Willie Green's hypnotic flip of a Sons of Kemet sample, "Furies" was the burning arrow that both artists followed, the first crack of thunder in a blackening sky. "BRASS" sees both artists joined by an eclectic array of friends, family, and legends- in some cases all three. John Forte, ELUCID, Amirtha Kidambi, Franklin James Fisher (Algiers), Mach Hommy, Imani Robinson, Wolf Weston (Saint Mela), Navy Blue, and Fielded all lend their voices to the project. Production by The Alchemist, Preservation, Moor Mother, Olof Melander, Child Actor, Navy Blue, Messiah Muzik, Steel Tipped Dove, and WIllie Green.
March 5 street date. "BRASS" is a collaborative album from experimental musician and poet Moor Mother and the rapper billy woods (1/2 of Armand Hammer). After working together on Armand Hammer's critically acclaimed 2020 LP "Shrines", Moor Mother and woods released the song "Furies" for the Adult Swim single series in July. A whirl of interweaving allegories spun over producer Willie Green's hypnotic flip of a Sons of Kemet sample, "Furies" was the burning arrow that both artists followed, the first crack of thunder in a blackening sky. "BRASS" sees both artists joined by an eclectic array of friends, family, and legends- in some cases all three. John Forte, ELUCID, Amirtha Kidambi, Franklin James Fisher (Algiers), Mach Hommy, Imani Robinson, Wolf Weston (Saint Mela), Navy Blue, and Fielded all lend their voices to the project. Production by The Alchemist, Preservation, Moor Mother, Olof Melander, Child Actor, Navy Blue, Messiah Muzik, Steel Tipped Dove, and WIllie Green.
The first fruit of acidic folk merchant and Ash Ra Temple-dweller Voice Of The Seven Woods; a hybrid blend of progressive folk, baroque-jazz-rock and Eastern psychedelia. Five eventful summers have passed since the young Rick Tomlinson stumbled in to Manchester's vivid musical landscape as a vinyl hungry psyched-out sidekick to Andy Votel on his formative Twisted Nerve road show. The self-taught jack of all musical trades has since drawn influence from an oblique archive of obscure LPs and bizarre instruments and forged his own unique approach to making music. With an exhausting work schedule still chasing him into 2007 Rick has decided to unpack his suitcase and attempt to commit his very own hybrid blend of instrumental progressive folk to magnetic tape under the name Voice of the Seven Woods. With two critically acclaimed and extremely Twisted Nerve 45s (the first of which currently changes hands on internet auction sites for £150+) and a slew of handmade gig only CDs under his belt, for these eagerly awaited solo sessions he has enlisted the skills of a drummer in a quest to create the authentic sound typified by rhythmic influence of Turkish psychedelic bands first heard in the mid 70's. Drummer, Chris Walmsley, who has recorded with forward thinking groups like Broadcast and as part of Jane Weaver and the Meadows, and upright bass player Paul Blakesley are the perfect reactionary accompaniment to Rick’s sporadic flirtations with time and tempo. Support independent record labels - “breaking boundaries before breaking even”. WITH REVIEWS ALREADY CONFIRMED IN NME, UNCUT, PLAN B, Q AND MANY MORE TO COME AS WELL AS A HARDCORE FOLLOWING, THIS RELEASE WILL PUT TWISTED NERVE BACK ON THE MAP… US version- cheaper
September 4 street date. One of Kent's favourite Spring singles has always been ‘I’m The Other Half Of You’ by the supremely talented singer/songwriter and producer Ray Godfrey aka Raeford Gerald. When the label looked further at the multi-track master tapes of the session, they found a glorious female version, utilising the same backing track, by Maxine Weldon. It is so good it deserves the honour of a Deep Soul release. Many decades earlier, they had found a beautiful Val Simpson and Nick Ashford song by the then unknown Peggy Woods, again such a beautiful recording is deserving of a 45 pressing for collectors.
The Woods' 2005 debut, initially issued as a double-cassette on the Fuckittapes label, was recorded in two bedrooms with no
intention of being shared with the outside world. How To Survive In/In The Woods finds the Woods family at their most
stripped-down and primitive. 13 cuts of home-cooked measles and grout gingerly pulled out of the spleen of a tape deck are now reissued on the popular LP and CD formats. Check out their almost fully baked humble beginnings on this much sought-after reissue.
April 28 street date. The fourth full-length by Woods, 'Songs Of Shame', veers away from the lo-fi guerillas-in-the-mist sound of their previous Shrimper long-player, 'At Rear House', and presents both 90-second and ten-minute forays into skeletal psychedelia. The idiosyncratic songwriting style and vocalizing of Jeremy Earl is still present in spades on the album. Check out the straight-ahead pop of 'To Clean' or the 'Neil Jung' push/pull of 'Rain On'. Elsewhere, an expansive side of the band hinted at on their 'Woods Family Creeps' LP finds full flight on the subtle ten-minute stretch 'September With Pete' (that features Peter Nolan of Magik Markers guesting).
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