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Singer \/ songwriter Arthur Lee's lyrics are increasingly fragmentary and paranoid, foreshadowing the band's eventual drug-fueled collapse. Yet these drop-dead hip tunes are set in arrangements featuring Herb Alpert-style mariachi horns, lush middle-of-the-road strings, and other tropes of the easy listening scene, creating a more unsettling sense of tension than if the songs were given the usual heavy rock instrumentation. Every single track is a stone classic, forever changes belongs high on any halfway serious list of the greatest pop albums of the '60s.\u003c\/span\u003e\u003c\/p\u003e","brand":"South Records Ltd","offers":[{"title":"LP","offer_id":701017149,"sku":null,"price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0342\/2497\/products\/love-forever-changes-south-records-ltd.jpg?v=1583879570"},{"product_id":"nirvana-unplugged-in-new-york-lp","title":"Nirvana - Unplugged In New York (Vinyl LP)","description":"\u003cp\u003e¬†\u003c\/p\u003e\n\u003cdiv class=\"st__content-block st__content-block--text\"\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eNirvana ‚Äì Unplugged in New York (Vinyl LP). Reissue.\u003c\/p\u003e\n\u003cp\u003eShot in New York City on November 18, 1993. The performance which became the most enduring image of indie rock's founding idol. Featuring unique acoustic renditions of their legendary hits as well as the captivating cover of Bowie's¬†\u003ci\u003eMan Who Sold The World\u003c\/i\u003e. It features an acoustic performance taped at Sony Music Studios in New York City on November 18, 1993 for the television series MTV Unplugged. The show was directed by Beth McCarthy and first aired on the cable television network MTV on December 14, 1993. As opposed to traditional practice on the television series, Nirvana played a setlist composed of mainly lesser-known material and cover versions of songs by The Vaselines, David Bowie, Meat Puppets (during which they were joined by two members of the group onstage), and Lead Belly.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"st__content-block st__content-block--text\"\u003e\n\u003cp\u003e180 gram vinyl with download.\u003c\/p\u003e\n\u003cp data-start=\"2311\" data-end=\"2408\"\u003e\u003cstrong data-start=\"2311\" data-end=\"2332\"\u003ePressing Details:\u003c\/strong\u003e\u003cbr data-start=\"2332\" data-end=\"2335\"\u003e‚Ä¢ 180g vinyl\u003cbr data-start=\"2347\" data-end=\"2350\"\u003e‚Ä¢ Original MTV session\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-start=\"2410\" data-end=\"2567\"\u003e\u003cstrong data-start=\"2410\" data-end=\"2424\"\u003eTechnical:\u003c\/strong\u003e\u003cbr data-start=\"2424\" data-end=\"2427\"\u003eFormat: Vinyl LP\u003cbr data-start=\"2443\" data-end=\"2446\"\u003eLabel: Geffen\u003cbr data-start=\"2459\" data-end=\"2462\"\u003eCatalogue Number: 0720642466722\u003cbr data-start=\"2493\" data-end=\"2496\"\u003eRelease Date: 1994\u003cbr data-start=\"2514\" data-end=\"2517\"\u003eReissue: 2013\u003cbr data-start=\"2530\" data-end=\"2533\"\u003eGenre: Grunge \/ Alternative Rock\u003c\/p\u003e\n\u003c\/div\u003e","brand":"South Records Ltd","offers":[{"title":"LP","offer_id":701024537,"sku":null,"price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0342\/2497\/products\/nirvana-unplugged-in-new-york-south-records-ltd.png?v=1603837585"},{"product_id":"weekend-the-81-demos-lp","title":"Weekend - The '81 Demos LP","description":"\u003cmeta charset=\"utf-8\"\u003e\r\r\u003cp\u003eBlackest Ever Black is pleased to present the first vinyl edition of the legendary demos recorded in 1981 by Weekend - the trio of Alison Statton, Spike Williams and Simon Booth. Alison Statton began her recording career with Philip and Stuart Moxham in Young Marble Giants, one of the most unique and important bands to come out of the UK post-punk \/ independent scene. YMG dissolved in 1981, at which point Statton began writing with Wrexham native Mark 'Spike' Williams, one of the brains behind Z Block Records and a member of the band Reptile Ranch. They joined forces with guitarist Simon Booth to form Weekend, and recorded the exquisite demo versions of 'Drumbeat' (later titled 'Drumbeat For Baby'), 'Red Planes', 'Nostalgia' and 'Summerdays' that are collected on this new 12\". At the heart of the record are two truly remarkable pieces: 'Red Planes' and 'Nostalgia'. The former is a dubwise dream-pop epic, Statton's dispassionate, Nico-esque vocal wafting over a clucking Boss DR 55 pulse and seismic bass detonations, while Williams' violin, in Alison's words, \"soars and dives and weaves through every possible mood with no inhibitions, creating an almost psychedelic feel, with a menacing undercurrent\". It's somehow both starker and more richly atmospheric than the version that appears on the band's debut album, 'La Varieté' (Rough Trade, 1982), not to mention significantly longer - nine minutes in total. Our only complaint is that it doesn't last for nineteen. 'Nostalgia', meanwhile, is surely one of the most perfectly elegiac songs committed to tape in the post-punk era. More fleshed-out than the La Varieté version, the instrumentation here - notably Statton's yearning recorder part (\"Very Eno,\" as Spike astutely observes) - amplifies the emotional resonance of an already heart-stopping lyric. Written by Spike and Dave Hoddel, 'Nostalgia' is a poignant meditation on the attraction, and the danger, of dwelling on the past. Shorn of the jazzy flourishes that would define the subsequent studio version, 'Drumbeat' (later titled 'Drumbeat For Baby') has a brittle, choppier quality more in line with Young Marble Giants than Weekend; it remains one of Williams and Statton's most infectious compositions. The instrumental 'Summerdays', is a different beast entirely to the cut on La Varieté; it's primarily a showcase of Simon Booth's lyrical guitar-playing, at times reminiscent of the courtly psychedelia of early Felt or Vini Reilly, and reminding us of Weekend's role as godparents of the nascent indie-pop movement. Jazz became an increasingly prominent component of the Weekend sound, and by the time of 'La Varieté' - their sole studio LP - they had welcomed jazzmen Larry Stabbins (saxophone), Roy Dodds (drums) and Dawson Miller (percussion) into their line-up. But despite its idiosyncratic brilliance and long-lasting influence (Belle \u0026amp; Sebastian and Kalima are but two groups who owe it an enormous debt), nothing on 'La Varieté', or on the handful of singles and live recordings Weekend put their name to before disbanding in 1983, comes close to matching the raw, impressionistic power of the '81 demos. \u003cbr\u003e\u003cbr\u003eThe four demos were released as a stand-alone CD by Vinyl Japan in 1995, and included as bonus tracks on Cherry Red's most recent CD reissue of \u003cbr\u003eLa Varieté; however, until now they have never appeared on vinyl. Licensed from Cherry Red, 'The '81 Demos' (BLACKEST026) is a 12\" limited to 1000 pieces, mastered by by Matt Colton at Alchemy and housed in an LP sleeve printed on reverse board stock, with printed inner featuring liner notes by Spike Williams, Alison Statton and Simon Booth.\u003c\/p\u003e","brand":"South Records Ltd","offers":[{"title":"LP","offer_id":701061653,"sku":null,"price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0342\/2497\/products\/weekend-the-81-demos-lp-south-records-ltd.jpg?v=1571438618"},{"product_id":"wild-beasts-present-tense-lp","title":"Wild Beasts - Present Tense LP","description":"\u003cp\u003eWild Beasts - Present Tense vinyl LP on Domino\u003c\/p\u003e","brand":"South Records Ltd","offers":[{"title":"Default Title","offer_id":701098077,"sku":null,"price":18.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0342\/2497\/products\/wild-beasts-present-tense-lp-south-records-ltd.jpg?v=1571438618"},{"product_id":"vision-fortune-mas-fiestas-con-el-grupo-lp","title":"Vision Fortune - Mas Fiestas Con El Grupo LP","description":"\u003cp\u003eVision Fortune - Mas Fiestas Con El Grupo vinyl LP\u003c\/p\u003e","brand":"South Records Ltd","offers":[{"title":"Default Title","offer_id":701110909,"sku":null,"price":5.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0342\/2497\/products\/vision-fortune-mas-fiestas-con-el-grupo-lp-south-records-ltd.jpg?v=1571438619"},{"product_id":"fuzz-fuzz-lp","title":"Fuzz - Fuzz","description":"\u003cp\u003eFuzz - Fuzz vinyl LP on In The Red\u003c\/p\u003e","brand":"South Records Ltd","offers":[{"title":"LP","offer_id":701112017,"sku":null,"price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0342\/2497\/products\/fuzz-fuzz-south-records-ltd.jpg?v=1571438619"},{"product_id":"thee-oh-sees-floating-coffin-lp","title":"Thee Oh Sees - Floating Coffin","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eWe all know the type: prolific bands that commit every loose thought, stray idea and 90-second song fragment to tape. Bands that pay no attention to little inconveniences like \"release cycles\" or \"self-editing,\" and instead decide that quantity equals quality, creating a discography more labyrinthine, imposing and-ultimately-exhausting than the cast of creatures in a sci-fi novel. Here is why none of that applies to THEE OH SEES. Because each of the dozen-plus albums they've released since 2004 possesses a distinct personality and represents a different point along the path of JOHN DWYER's slow transformation from auteur of woozy, bare-bones four-track psychedelia to goggle-eyed garage rock marauder backed at long last by a band that both shares and stokes his singular vision. Because drop a needle on any record and-to their great credit-it takes several songs before you're convinced it's Thee Oh Sees. The seasick hundred-bottles-of-rum shanty \"What the Driven Drink,\" from 2007's delirious Sucks Blood exists in a different galaxy than the rollercoastering \"Chem-Farmer\" from last year's Carrion Crawler \/ The Dream; the doomy doo-wop of \"Blood on the Deck\" hardly seems like the product of the same band that delivered the yelping \"Ruby Go Home\" in 2009. And the band that made last year's engrossing Putrifiers II seems like a distant cousin to the one delivering Floating Coffin-arguably the most varied and textured Oh Sees record to date. Chalk some of the group's cunning chameleonic ability to Dwyer's fifteen-year resume. The driving force behind such beloved and sonically disparate bands as Coachwhips and Pink and Brown, Dwyer's increased fidelity to Thee Oh Sees and only Thee Oh Sees is evidence of a newfound sense of purpose and focus. Where once Dwyer used to funnel his divergent artistic ideas through a host of different channels, lately he's been finding ways to make all of those impulses function within the framework of Thee Oh Sees-who have in turn grown closer and tighter and sharper with each eye-popping, jaw-dropping live show. That sense of unity is palpable throughout Floating Coffin, the next chapter in the story of Thee Oh Sees, the one where they fix their fury against the onrushing night. It's another blistering demonstration of Thee Oh Sees greatest trick: they're the only prolific band who doesn't put out records often enough. ? A gnarlier, heavier side of band with some juicy synth smoochie action joining the party ? Packaged with drawings by Matt Brinkman and cover photo by John Dwyer¬†\u003c\/span\u003e\u003c\/p\u003e","brand":"South Records Ltd","offers":[{"title":"LP","offer_id":701112889,"sku":null,"price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0342\/2497\/products\/thee-oh-sees-floating-coffin-lp-south-records-ltd.jpeg?v=1571438619"},{"product_id":"arctic-monkeys-am-lp","title":"Arctic Monkeys - AM","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eArctic Monkeys return with their triumphant fifth album. 'AM' was produced by James Ford and co-produced by Ross Orton. Josh Homme, Pete Thomas and Bill Ryder-Jones all make guest appearances on 'AM' - as do the words of John Cooper Clarke, on the track 'I Wanna Be Yours'. Stinging riffs, bottle-rocket solos and sharp melodies combine with an ear for a groove that just as readily manifests itself in a motown swing ('Snap Out of it') or glam strut ('I Want it all') as in the creeping G-funk of 'Why'd You Only Call Me When You're High?'. 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As \"15 Steps\" transitions from an electro beat to a full band number, the currents drag you deep into Radiohead‚Äôs idiosyncrasies, by the time \u003ci\u003eBodysnatchers\u003c\/i\u003e hits (and it doesn‚Äôt half hit) nothing else seems to matter but the burnt out kraut hook and Yorke‚Äôs pained whines.\u003c\/p\u003e\n\u003cp\u003e\"Weird Fishes\/ Arpeggi\" and \"Reckoner\" both appear to be the odd cousins of John Fruscianti‚Äôs California funk, in which both the drums are mixed high, giving your heart something to worry about. The solitary moments with Thom Yorke on the backwardly twisted \u003ci\u003eNude\u003c\/i\u003e, the serene \u003ci\u003eFaust Arp \u003c\/i\u003eand \u003ci\u003eVideotape\u003c\/i\u003e that dooms us all, turning the screw on our human psyche. 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