{"title":"Superior Viaduct","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSuperior Viaduct is an archival label based out of San Francisco. With a focus on reissuing rare and overlooked gems from the past, they bring lost classics back to life for music lovers around the world.\u003c\/p\u003e\n\u003cp\u003eSince their founding, Superior Viaduct has become known for their meticulous attention to detail in every release. From sourcing the best available master tapes to creating high-quality vinyl pressings, they ensure that each album sounds as good as it did when it was first recorded.\u003c\/p\u003e\n\u003cp\u003eWith a diverse catalog spanning genres such as punk, post-punk, experimental, jazz, and more, Superior Viaduct offers something for every music enthusiast. Whether you're a seasoned collector or just starting your vinyl journey, you can trust Superior Viaduct to deliver exceptional releases that will enhance your listening experience.\u003c\/p\u003e","products":[{"product_id":"murder-by-guitar-1976-1980-the-complete-studio-recordings","title":"Murder By Guitar 1976 - 1980 - The Complete Studio Recordings","description":"\u003cp\u003eSan Francisco's first and only rock n' roll band, Crime loomed over the entire Mabuhay Gardens scene with their blistering 1976 single \u003ci\u003eHot Wire My Heart\u003c\/i\u003e. Crime's loose, damaged rock n' roll was as immediate as it was controversial. They were Punk by any definition, yet shunned the label with a guttersnipe sneer. Their meticulously cultivated aesthetic of S\u0026amp;M graphics and police uniforms produced some of the era's most indelible imagery. One of their finest moves was playing in the San Quentin prison yard. Formed by guitarists \/ vocalists Johnny Strike and Frankie Fix, Crime enlisted bassist Ron The Ripper and drummers Ricky 'Tractor' Williams (later of The Sleepers), Brittley Black, and Hank Rank. Joey D'Kaye later joined on keyboards and bass duties. For the first time, this LP release collects the sick energy of Crime's three singles along with nine previously unreleased studio recordings from 1976 to 1980. The visceral churn and unwieldy leads on tracks like \u003ci\u003eFrustration\u003c\/i\u003e and \u003ci\u003ePiss On Your Dog\u003c\/i\u003e make \u003ci\u003eMurder By Guitar\u003c\/i\u003e the definitive statement from this prescient American underground band.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"CD","offer_id":50383435104587,"sku":"379211","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50383435366731,"sku":"379055","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ed1bd434-eea2-4f8c-bf04-a7f2b8c62f19_thumbnail_4096.jpg?v=1726269968"},{"product_id":"31-vii-69-1026-1049-pm-23-viii-64-25045-311-am-the-volga-delta","title":"31 VII 69 10:26 - 10:49 PM \/ 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta","description":"\u003cp\u003eLa Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day. \u003c\/p\u003e\u003cp\u003e Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as \"The Black Record\" due to Zazeela's stunning cover design, complete with the composer's liner notes in elegant hand-lettered script.  \u003c\/p\u003e\u003cp\u003eSide one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath.  \u003c\/p\u003e\u003cp\u003eSide two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes explain that the live performance can be heard at 33 and 1\/3 RPM, but may also be played at any slower speed down to 8 and 1\/3 RPM for turntables with this capacity.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50383821275467,"sku":"2012834","price":37.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50383818260811,"sku":"2012833","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/SV198_web_1024x1024_fa51655a_thumbnail_4096.jpg?v=1726277369"},{"product_id":"the-sinking-of-the-titanic-2","title":"The Sinking of the Titanic","description":"\u003cp\u003eInaugural release on the seminal Obscure Records, Produced by Brian Eno in 1975. Featuring Derek Bailey, Michael Nyman and John White, First-time vinyl reissue. Gavin Bryars was born in Yorkshire, England in 1943. His first musical forays were as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley. Bryars later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno on his famed Obscure imprint. \u003ci\u003eThe Sinking of the Titanic\u003c\/i\u003e, Bryars' first major composition, was inspired by the tragic event of the British passenger liner's cross-Atlantic maiden voyage. Bryars eloquently reconstructs the passengers' experience – at once forlorn and eerily calming – through assemblages of understated strings and indeterminate elements. A core principle of the piece is that the ship's band continued to play as the vessel went down. One of the most sublime works in the modern classical canon, Titanic remains Bryars' magnum opus.\u003c\/p\u003e\u003cp\u003eJesus' Blood Never Failed Me Yet, the album's second sidelong track, is based on a tape loop of a London street singer captured in the early 1970s. Featuring Derek Bailey, Michael Nyman and John White, Bryars' composition gradually builds around the cripplingly poignant voice until its emotional force is almost too much to bare. It's no surprise that Jesus' Blood is known as Tom Waits' all-time favourite piece of music.\u003c\/p\u003e\u003cp\u003eProduced by Brian Eno in 1975 as the inaugural release on Obscure, \u003ci\u003eThe Sinking of the Titanic\u003c\/i\u003e draws the listener in to a majestic world. While these exquisite, hymn-like recordings have not changed in nearly 50 years, their deeply personal nature and the audience's attention to their subtlety have only strengthened over time.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50402620997963,"sku":"2000934","price":39.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50402620834123,"sku":"2000933","price":39.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Gavin_Bryars_The_Sinking_of_the_Titanic_CD_SLEEVE_ARTWORK_d6652158_thumbnail.jpg?v=1726552978"},{"product_id":"dream-house-7817","title":"Dream House 78’17”","description":"\u003cp\u003eOriginally released in 1974 on Shandar, \u003ci\u003eDream House 78’17”\u003c\/i\u003e is the second full-length album by La Monte Young and Marian Zazeela. This first-time US edition reproduces the original gatefold sleeve with beautiful calligraphy by Zazeela and liner notes by Young and French musicologist Daniel Caux. Side one was recorded at a private concert (on the date and time indicated by the title) and features Young and Zazeela’s voices against a sine wave drone with Jon Hassell on trumpet and Garrett List on trombone. This work is a section of the longer composition Map of 49’s Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young’s group The Theatre of Eternal Music). The piece evolves with the oscillator changing pitch and dictating an ornate pattern over the course of the performance. \u003c\/p\u003e\u003cp\u003eSide two is an example of one of the sets of frequencies sustained in the Dream House, the composite sound environments conceived by Young and Zazeela. The composer suggests listening while seated—to experience how the sound interacts with the room and other perceptions of its arrangement—as well as while walking. As Young states, “The frequency ratios are monitored continuously as lissajous patterns on the oscilloscopes and, in spite of the great stability of the oscillators, the phase relationships of the sine waves gradually drift which causes their amplitudes to add and subtract algebraically. Not only does the sound become a bit louder and softer, but at very loud levels, one actually begins to have a sensation that parts of the body are somehow locked in sync with the sine waves and slowly drifting with them in space and time.”\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50417485971787,"sku":"2162707","price":47.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50417486102859,"sku":"2162708","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_47_7c53dd0e_thumbnail_4096.jpg?v=1726730923"},{"product_id":"featuring-pharoah-sanders-and-black-harold","title":"Featuring Pharoah Sanders and Black Harold","description":"\u003cp\u003e“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used. “The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold. “It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors. “We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.” —John Corbett (excerpt from the liner notes)\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Green LP","offer_id":50421078720843,"sku":"2188868","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/da122c12-fd31-4840-9ad0-86516cb17961_thumbnail_4096.jpg?v=1726755650"},{"product_id":"tonics-and-twisted-chasers","title":"Tonics And Twisted Chasers","description":"\u003cp\u003eOriginally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ \u003ci\u003eTonics And Twisted Chasers\u003c\/i\u003e has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of \u003ci\u003eBee Thousand, Alien Lanes, Under the Bushes, Under the Stars\u003c\/i\u003e and countless singles that crammed endless hooks in their grooves. In the intervening space, \u003ci\u003eTonics And Twisted Chasers\u003c\/i\u003e has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. \u003c\/p\u003e\u003cp\u003e This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something \u0026amp; 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Orange LP","offer_id":50426457653579,"sku":"2198227","price":34.99,"currency_code":"GBP","in_stock":false},{"title":"Black LP","offer_id":50426457817419,"sku":"2198229","price":34.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_2_11518fb2_thumbnail_4096.jpg?v=1726810457"},{"product_id":"the-ascension-1","title":"The Ascension","description":"\u003cp\u003eGlenn Branca's first full-length album \u003ci\u003eThe Ascension\u003c\/i\u003e is a colossal achievement. After touring much of 1980 with an all-star band featuring four guitarists (Branca, fellow composersNed Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo) along with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell's Kitchen to record five incendiary compositions. Originally released in the summer of 1981, The Ascension effectively tears down the genre-ghettos between 20th century avant-garde and ecstatic rock 'n' roll. On \"The Spectacular Commodity,\" chiming, shimmering tones unfold into sinister drone-territory à la Tony Conrad, while abrasive guitars and repetitive beats retain the raw primitivism of No Wave. The title track attains a densely packed, larger-than-life sound and (as author Marc Masters says best) \"never stops climbing skyward.\" With artist Robert Longo's stark front cover that depicts Branca battling an unidentified man, \u003ci\u003eThe Ascension\u003c\/i\u003e is a must-have record not only for fans of early Swans and Sonic Youth, but also of Steve Reich or Slint's Tweez.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP - Black","offer_id":53329528586571,"sku":"R0245-1495","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8dcd9013-c519-4bb0-aac7-517ee01c30da_thumbnail_4096.jpg?v=1726852320"},{"product_id":"in-concert-at-yale-university","title":"In Concert At Yale University","description":"\u003cp\u003eThe late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early ’60s as a part of New York’s vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC’s loft era - he is, simply put, free jazz royalty. In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, “This performance was something of a turning point for Graves. Until then he had been working in other people’s bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven.” Originally released on the artists’ own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and \u003ci\u003eNommo\u003c\/i\u003e. While rooted in African rhythms, Graves’ music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, “Time was always there, and the time I see is not the same as what man says time is. It works by impulsion.”\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP","offer_id":50434788032843,"sku":"2055779","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/image006_2386cddd_thumbnail_4096.png?v=1726894977"},{"product_id":"babi","title":"Babi","description":"\u003cp\u003eBy the early ’70s, Milford Graves had more or less stopped gigging. Having learned his lesson the hard way in multiple night runs like a legendary Slugs’ residency with Albert Ayler, he knew that the level of energy that he put out during a performance would be difficult to sustain over the long haul. A concert was a kind of absolute ritual for him, after which he would be totally spent, emotionally and physically. Graves rarely left anything on the table. Any musical performance was an opportunity to present an amalgamated version of all the things he had learned. He was an innovator and a teacher at his core, and the concert venue was one of his first classroom settings. In March 1976, Verna Gillis invited Graves to perform on WBAI’s Free Music Store radio show. For the date, he chose to present a trio lineup which he had been occasionally playing -  featuring two saxophonists who were dedicated to the drummer’s vision. Hugh Glover is almost exclusively known for his work with Graves, while Arthur Doyle would gain exposure later for an obscure record that he made two years later, Alabama Feeling, which would become a highly collectable item among free jazz enthusiasts. Originally released in 1977, \u003ci\u003eBabi\u003c\/i\u003e remains one of Graves’ most seminal recordings. The music played by the trio was ecstatic. Extreme energy music, buoyant and joyful. It relied on Graves’ new way of approaching the drum kit, in which he had opened up the bottoms of his skin-slackened toms and eliminated the snare. Graves’ art was always unblemished by commercial interests, and this album is its finest mission statement.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50434965897547,"sku":"2055780","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/image007_239af326_thumbnail_4096.png?v=1726897476"},{"product_id":"nommo","title":"Nommo","description":"\u003cp\u003eThe late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early ’60s as a part of New York’s vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC’s loft era - he is, simply put, free jazz royalty. In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, “This performance was something of a turning point for Graves. Until then he had been working in other people’s bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven.” Originally released on the artists’ own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves’ music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, “Time was always there, and the time I see is not the same as what man says time is. It works by impulsion.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50435113353547,"sku":"2055778","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/image005_5f5fb0f6_thumbnail_4096.jpg?v=1726899908"},{"product_id":"the-pavilion-of-dreams","title":"The Pavilion Of Dreams","description":"\u003cp\u003eOriginally released in 1978 on Obscure. Produced by Brian Eno. Featuring Marion Brown, Gavin Bryars and Michael Nyman.\u003c\/p\u003e\u003cp\u003eFor five decades, Harold Budd stood on the forefront of the West Coast avant-garde. Born in Los Angeles, he studied with Schoenberg-pupil Gerald Strang and began teaching at CalArts in 1970. While searching for his own voice, he was influenced as much by abstract expressionist painters as by John Cage and Morton Feldman. In his work, Budd brought delicate, slowing-moving melodies to the foreground – creating a new musical language based on “eternally pretty music” and smooth surfaces.\u003c\/p\u003e\u003cp\u003eIn the early ’70s, Budd started an extended cycle of compositions that would comprise \u003ci\u003eThe Pavilion Of Dreams\u003c\/i\u003e. For Budd, the album was a signpost for a new direction in thinking about music: “The Pavilion Of Dreams erased my past. I consider that to be the birth of myself as a serious artist. It was like my Magna Carta.”\u003c\/p\u003e\u003cp\u003eProduced by Brian Eno in 1978, \u003ci\u003eThe Pavilion Of Dreams \u003c\/i\u003estands toe-to-toe with another minimalist masterpiece also released that year, Steve Reich’s Music For 18 Musicians. Budd’s gorgeous pieces reveal a lightness of touch that draws the listener in, while sublime voices float in and out as if in a recurring dream. Featuring saxophonist Marion Brown and multi-instrumentalists Gavin Bryars and Michael Nyman, \u003ci\u003eThe Pavilion Of Dreams\u003c\/i\u003e remains a master class in exquisite timbre and shimmering texture.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eThe Pavilion Of Dreams\u003c\/i\u003e was both the final release on Eno’s Obscure imprint and a transition point towards his seminal ambient series. This first-time reissue is recommended for fans of Ryuichi Sakamoto, Jon Hassell and Mark Hollis.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP - Black","offer_id":50444852724043,"sku":"1143812","price":39.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50444855116107,"sku":"1143811","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ace66148-5755-4955-ab62-d83af8ce2f27_thumbnail_4096.jpg?v=1727030836"},{"product_id":"niandra-lades-and-usually-just-a-t-shirt-2","title":"Niandra LaDes and Usually Just A T-shirt","description":"\u003cp\u003e\u003ci\u003eNiandra LaDes And Usually Just A T-Shirt\u003c\/i\u003e is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the \u003ci\u003eBlood Sugar Sex Magik\u003c\/i\u003e sessions.\u003c\/p\u003e\u003cp\u003eOriginally released on Rick Rubin’s American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque. Frusciante’s rapidfire, angular playing shows how key he was in the Chili Peppers’ evolution away from their funk-rock roots. His cover of “Big Takeover” perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody. The album’s second part—thirteen untitled tracks that Frusciante defines as one complete piece, “Usually Just A T-Shirt”—contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu\/Harmonia’s Michael Rother or The Durutti Column’s Vini Reilly. \u003c\/p\u003e\u003cp\u003eOn the front cover, Frusciante appears in 1920s drag—a nod to Marcel Duchamp’s alter-ego Rrose Sélavy—which comes from Toni Oswald’s film Desert in the Shape. This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with old style tip-on gatefold jacket and printed inner sleeves.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LPx2","offer_id":50445367804235,"sku":"2200401","price":54.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Unknown_f7c9012c_thumbnail_4096.webp?v=1727037114"},{"product_id":"four-organs-phase-patterns-1","title":"Four Organs \/ Phase Patterns","description":"\u003cp\u003eSteve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid- 1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called \"Big Four\" of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich's influence can easily be seen today in both the classical world and contemporary pop music. \"Four Organs\" is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson's stoicallysteady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound - stretching the tones to create (in Reich's words) \"slow-motion music.\" Inspired by Reich's early training on drums, \"Phase Patterns\" treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs \/ Phase Patterns is one of most highly regarded avant-garde recordings in the past 45 years. This release features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50445833142603,"sku":"397967","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0855985006963_50a76864_thumbnail_4096.jpg?v=1727047131"},{"product_id":"buy","title":"Buy","description":"\u003cp\u003eSoon after their 1978 debut on the Brian Eno-produced No New York, a compilation that defined the No Wave scene, James Chance's group Contortions had already evolved – getting sharper, tighter and just plain faster. Despite the loss of keyboardist Adele Bertei and bassist Geoge Scott (who refused to sign a new contract demanded by Chance and his then partner, band manager Anya Phillips) Contortions were firing on all cylinders, and their first full-length album, 1979's Buy, is a marvel of hot-wired energy.\u003c\/p\u003e\u003cp\u003eLed by the brash yelps and free-sax squawks of Chance, Contortions spit out fiercely rhythmic tunes charged by the wiry guitar lines of Jody Harris and the dizzying slide guitar of Pat Place. With drummer Don Christensen slipping in pointillist beats and David Hofstra's infectious basslines, the songs on Buy crackle with both precision and abandon. Opener \"Designed to Kill\" shoots sparks of sound in all directions, while \"Contort Yourself\" is a nihilistic dance number wherein Chance instructs listeners to twist into knots, physically and mentally. \"It's better than pleasure, it hurts more than pain,\" he snarls, later imploring, \"You better try being stupid instead of smart.\"\u003c\/p\u003e\u003cp\u003eHeavily influenced by the showman funk of James Brown (whose \"I Can't Stand Myself\" the band had covered on No New York), Contortions coined a downtown dance-punk sound that had immediate influence on subsequent No Wave bands – including Place's Bush Tetras and Bronx trio ESG – as well as the burgeoning disco movement. On \u003ci\u003eBuy\u003c\/i\u003e, Contortions' self-invented template is imprinted so hard into the grooves that it sounds like they're about to break, capturing a combustible band in all its fiery fury.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP.","offer_id":50451478217035,"sku":"386167","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"Black | LP","offer_id":50451478643019,"sku":"1154919","price":32.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50451479265611,"sku":"386166","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/19288413-667c-47e0-b7a9-4fc09ded2085_thumbnail_4096.jpg?v=1727126906"},{"product_id":"cleveland-confidental","title":"Cleveland Confidental","description":"\u003cp\u003eReissue of seminal 78 USA punk compilation from Cleveland. Produced by Mike Hudson of Pagans fame. Jazz Destroyers features Dave E. of the Electric Eels singing. The Easter Monkeys have Jim Jones from Pere Ubu and Chris Yarmock from Kneecappers. Some stand out tracks from The Defnics, Menthol Wars, The Styrenes, The Dark, Red Decade and Pagans.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Orange | LP","offer_id":50456463540555,"sku":"1087236","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/11d665cf-d933-4d94-a9d4-e1d4c4983f43_thumbnail_4096.jpg?v=1727198675"},{"product_id":"la-coda-della-tigre","title":"La Coda Della Tigre","description":"\u003cp\u003ePrima Materia was a vocal improvisation ensemble, founded by Roberto Laneri in 1973. Composed entirely of vocalists with no academic training, the group developed various techniques—revolving mostly around the use of overtones—that would embody their unique sound. No instruments nor electronic manipulations were ever employed within the group’s physiognomy, which was realized purely through the human voice. \u003ci\u003eLa Coda Della Tigre\u003c\/i\u003e, the group’s sole album, was recorded in 1977 by Alvin Curran and released on Ananda, an artist-run label founded by Laneri, Curran and Giacinto Scelsi.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black | LP","offer_id":50456581964107,"sku":"1150721","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a5eeb3a6-1870-48ab-9d34-d7e71c0822b4_thumbnail_4096.jpg?v=1727199685"},{"product_id":"black-woman-5","title":"Black Woman","description":"\u003cp\u003eReissue of brilliant album originally released in 1969 on Vortex. \u003c\/p\u003e\u003cp\u003eSonny Sharrock's first album as a leader \u003ci\u003eBlack Woman\u003c\/i\u003e remains a classic of raw, unrestrained free jazz from one of the most innovative guitarists of all time.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50469205705035,"sku":"2025763","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/product_id._8831a9e7_thumbnail_4096.jpg?v=1727358251"},{"product_id":"its-not-up-to-us","title":"Its Not Up To Us","description":"\u003cp\u003eFirst time reissue of rare are and truly amazing debut album by sax \/ flute player Byard Lancaster on Atlantic's subsidiary label Vortex dedicated to avant-garde jazz. \u003c\/p\u003e\u003cp\u003eFeaturing Sonny Sharrock on guitar. Styles range from modal to spiritual and free jazz. Masterpiece!\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP","offer_id":50469206262091,"sku":"2025760","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/product_id._acadffee_thumbnail_4096.jpg?v=1727358275"},{"product_id":"sonanze","title":"Sonanze","description":"\u003cp\u003eRoberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR\/WDR in Germany, GRM\/IRCAM in France or BBC Radiophonic Workshop.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSonanze\u003c\/i\u003e (Sonatas) is Cacciapaglia's debut album, a monumental work that was recorded over a two-year period and released in 1975 via seminal German label Die Kosmischen Kuriere (Ohr). While a \"sonata\" is traditionally performed by easily distinguishable instrumentalists (often soloist and accompaniment) and with repeated structural themes, Cacciapaglia flips this hierarchical form on its head – blending harpsichord, strings, brass and analog synths to create ambient mini-soundtracks.\u003c\/p\u003e\u003cp\u003eAs the composer writes in the original sleeve notes, \"I am aware, unfortunately, that I am a few millennia late in how I would like music to be understood, which today I find diluted in its primary powers, in an era that is destructive of essential values. Precisely for this reason, I want to search for it in depth and not on the surface, perhaps alternating the knob of a synthesizer with a marranzano (mouth harp).\" Mixed in quadrophonic surround-sound under the auspices of Rolf-Ulrich Kaiser (celebrated producer of Tangerine Dream and Ash Ra Tempel), Sonanze remains on the fringe of Kosmische realms. Each movement explores hypnotic rhythms, intuitive arrangements, musique concrète techniques and a pure psychedelic awakening.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50470343442763,"sku":"2224266","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0857661008476_93bd5a95_thumbnail_4096.jpg?v=1727376016"},{"product_id":"sei-note-in-logica","title":"Sei Note In Logica","description":"\u003cp\u003eOriginally released in 1979, \u003ci\u003eSei Note In Logica\u003c\/i\u003e (Six Notes In Logic) is Cacciapaglia's second album. While his debut, \u003ci\u003eSonanze\u003c\/i\u003e, offers a series of ambient mini-soundtracks, \u003ci\u003eSei Note\u003c\/i\u003e presents a singular, sinuous piece. The composition is based on a finite set of musical notes, yet this limitation is the point of departure for a grand tour of possible combinations and enthralling timbres (marimbas, strings, reeds and human voice).\u003c\/p\u003e\u003cp\u003eLike Steve Reich's Music For 18 Musicians, the joyous experiment of Sei Note is grounded in constant variation. Often doubled by multiple instruments, non-repeating patterns are exquisitely layered, while electro-acoustic signals transform and further refract through visceral effects. Within this conceptual framework, Cacciapaglia does not so much juxtapose rigid dichotomies – acoustic vs. electronic, melodic vs. dissonant, simple vs. complex – as fuse them into an expansive whole.\u003c\/p\u003e\u003cp\u003eWhat started as an inspired study in Minimalism becomes a bold feat of 20th century music. Sei Note In Logica is deeply sincere and, at the same time, quite playful. With one foot firmly planted in the past and the other steeped in technology, Cacciapaglia's influence can be heard in the work of Jim O'Rourke, Fennesz and Ben Vida.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50471243088203,"sku":"2224308","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0857661008483_f835076d_thumbnail_4096.jpg?v=1727396807"},{"product_id":"slates","title":"Slates","description":"\u003cp\u003eIf The Fall truly is a cult band, then \u003ci\u003eSlates\u003c\/i\u003e both benefits from and reinforces such shrouded obsessions. In presenting these six particular songs as an EP, the inherent and attractive difficulty of The Fall's sound is made physical, framing the urgency of their singles from this period (notably \u003ci\u003eHow I Wrote 'Elastic Man\u003c\/i\u003e and \u003ci\u003eLie Dream of a Casino Soul\u003c\/i\u003e) alongside lengthy rumblings normally restricted to long players. The tumbling and phased \u003ci\u003eMiddle Mass \u003c\/i\u003ebegins on an incredible high note, segueing into the snake-charm hypnotism of \u003ci\u003eAn Older Lover Etc. Slates, Slags, Etc\u003c\/i\u003e is built on stretched VU-inspired riffing, complete with ace feedback bleed that doubtlessly went on long after fade-out. Ultimately, it's the piercing chimes of guitar and marching drum grind of \u003ci\u003eProle Art Threat \u003c\/i\u003ethat elevates \u003ci\u003eSlates \u003c\/i\u003ebeyond oddity. Truly one of Mark E. Smith's finest, busiest and most enigmatic performances, equally matched by a band at the peak of their powers. Superior Viaduct's edition is the first time that Slates has been available on vinyl in the States since its initial release in 1981. Liner notes by Brian Turner.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP - Black","offer_id":50479471952203,"sku":"1137655","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/03a43bc5-b5c5-402d-a4b3-414df39f2a84_thumbnail_4096.jpg?v=1727509808"},{"product_id":"love-canal","title":"Love Canal","description":"\u003cp\u003eRecord Store Day 2015 Release. Superior Viaduct reissue on coloured vinyl the 1981 single by Flipper that was originally released by Subterranean Records and Thermidor and then reissued a year later on Alternative Tentacles. Flipper formed in San Francisco in 1979 on the cusp of Ronald Reagan's presidency. It seems fitting that their debut single (originally released on Subterranean in 1981) turns environmental disaster into the band's modus operandi. Chorus-less and catchy-as-hell, 'Love Canal' features all that would become Flipper trademarks in four art-damaged minutes: knuckle-dragging tempo, ear-splitting feedback, basslines to crash your car to and a depraved frontman wailing about uncomfortable American matters. 'Ha Ha Ha' is even more direct in its intent, mocking suburbia with a flat, almost psychotic laugh.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"7\"","offer_id":50479671869771,"sku":"385731","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/af001feb-f01d-4b3c-8dd4-6a28d6836f0d_thumbnail_4096.jpg?v=1727511053"},{"product_id":"i-hate-the-rich","title":"I Hate the Rich","description":"\u003cp\u003eRecord Store Day 2015 Release. Superior Viaduct reissue on coloured vinyl the debut Dils single originally released on Los Angeles-based label What? Records (also home to The Germs, amongst others). The Dils formed in Carlsbad, California in late 1976, although they soon relocated to San Francisco (and later Los Angeles) to become one of the preeminent bands in early West Coast punk. Their debut 45 appeared on What Records?, the same label that released The Germs' 'Forming' single. While 'I Hate The Rich' combines catchy melodies with a perfectly punk politique, 'You're Not Blank (So Baby We're Through)' features brothers Chip and Tony Kinman's harmonizing vocals and the group's tight, breakneck rhythms.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"7\"","offer_id":50479675277643,"sku":"385729","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/bbe43ac3-6899-4932-b86e-f563e1224cf9_thumbnail_4096.jpg?v=1727511074"},{"product_id":"spin-age-blasters-bunnies","title":"Spin Age Blasters \/ Bunnies","description":"\u003cp\u003eFollowing their legendary punk-as-ever 'Agitated' single, electric eels released their second posthumous single, 'Spin Age Blasters \/ Bunnies', on Mustard Records in 1981. Recorded in 1975 and taking the band's free-form jazz and art rock alliances to dizzying extreme, the twin-guitar swirl of 'Spin Age Blasters' sounds like Trout Mask Replica on paint fumes, while 'Bunnies' features Dave E.'s relaxing Bob-Ross-like vocals and frantic clarinet bursts a la Roscoe Mitchell. This first-time vinyl reissue includes original cover artwork by eels' guitarist John Morton and is pressed in a limited edition of 1,000 copies.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"7\"","offer_id":50479690088779,"sku":"382302","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/5748f1e2-8880-4e99-a02d-f5a02ee06d05_thumbnail_4096.jpg?v=1727511161"},{"product_id":"screamers-demo-hollywood-1977","title":"Screamers Demo Hollywood 1977","description":"\u003cp\u003eThese songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto. \u003c\/p\u003e\u003cp\u003eThe Screamers concept was simple, yet audacious: take the spirit and the look of Punk – the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism – and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational – to evoke (as Tomata described in an early interview) a state of anxiety. \u003c\/p\u003e\u003cp\u003eForty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of \u003ci\u003e122 Hours of Fear\u003c\/i\u003e – perhaps their peak moment, recorded at Target Video in August 1978 – has now passed over 650,000 views online. This is the Screamers' time, and the time is now.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP - Black","offer_id":50481481154891,"sku":"1108756","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1f5bd040-c61e-46a8-873a-a5b4b0c883a4_thumbnail_4096.jpg?v=1727540176"},{"product_id":"reflex","title":"Reflex","description":"\u003cp\u003eFrancesco Messina is perhaps best known for his collaboration with fellow composer Raul Lovisoni on the album \u003ci\u003ePrati Bagnati Del Monte Analogo\u003c\/i\u003e, originally released on seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina would help reshape the world of modern composition with an organic rawness and haunting beauty.\u003cbr\u003e\u003cbr\u003eIn 1979, Messina was asked to perform at the Teatro Quartiere in Milan. As the composer writes in the liner notes, “Due to the limited availability of key technical features, it would have been too complicated to perform Prati Bagnati, and therefore I opted for these three pieces instead. We had never actually tried them all together, so I thought about renting a recording studio the previous afternoon. In that way, we could rehearse in a suitable place and use the opportunity to record the music on tape.”\u003cbr\u003e\u003cbr\u003eUnreleased for over thirty years, the recordings on\u003ci\u003e Reflex \u003c\/i\u003ehave an unadorned, almost improvisational feel. “Untitled” (featuring Lovisoni’s plaintive flute) and “I Nuovi Pescheti” are full of meditative piano passages that lend an aura of new age, while the title track is more insistent with unfurling chords layered in real time via a reel-to-reel tape machine, resembling Steve Reich’s mesmeric phase-shifting works of the ’60s.\u003cbr\u003e\u003cbr\u003eA central figure within the Italian avant-garde, Francesco Messina gracefully expands his country’s contribution to Minimalism. This first-time vinyl release is recommended for fans of Joanna Brouk, Luciano Cilio and Charlemagne Palestine\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black | 12\"","offer_id":50483471286603,"sku":"1147027","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2326c317-83e6-42d4-95d3-57b4a560837d_thumbnail_4096.jpg?v=1727568049"},{"product_id":"pop-surgery","title":"Pop Surgery","description":"\u003cp\u003eFollowing the release of lo-fi electronic masterpiece \u003ci\u003eI Don’t Remember Now \/ I Don’t Want To Talk About It\u003c\/i\u003e and his brilliant follow-up \u003ci\u003ePlaster Falling, \u003c\/i\u003eCincinnati-based artist John Bender began assembling his third and last album, \u003ci\u003ePop Surgery\u003c\/i\u003e, in late 1982. While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays - \u003ci\u003ePop Surgery\u003c\/i\u003e remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics. Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing \u003cbr\u003escrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style. This first-time standalone reissue is recommended for fans of Suicide, TG’s 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP","offer_id":50483593576779,"sku":"1041606","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/fbb7f591-899a-4a77-a443-5dad2790849c_thumbnail_4096.jpg?v=1727569981"},{"product_id":"all-corpses-smell-the-same","title":"All Corpses Smell the Same","description":"\u003cp\u003eEmerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. All Corpses Smell The Same, The Ex's first single, marks the beginning of this DIY odyssey – appearing in June 1980 on Hé Records, a precursor to the band's own stalwart Ex Records imprint. The core of The Ex's propulsive sound can be found in these tracks, as they show a band starting to push beyond the boundaries of punk. The exuberant jag and slash of Terrie Ex's guitar drive \u003ci\u003eHuman Car\u003c\/i\u003e and \u003ci\u003eRock 'N' Roll-Stoel\u003c\/i\u003e, while the rhythmic churn of \u003ci\u003eCells\u003c\/i\u003e and \u003ci\u003eApathy Disease\u003c\/i\u003e hints at the shape of Ex music to come – centering on vocalist G.W. Sok's incisive poetic invective. With only 500 copies pressed originally and gone in a flash, \u003ci\u003eAll Corpses Smell The Same\u003c\/i\u003e quickly became a legendary piece of the international punk puzzle, and The Ex would begin an inspiring career that continues to this day. These songs show that from the jump, The Ex were operating on punk's freest and most exploratory edges. In the words of The Mekons' Jon Langford, The Ex have \"always epitomized the boundless potential of punk's initial moment.\" This first-time reissue comes with original sleeve design and 8-page booklet.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Clear | 7\"","offer_id":50483704922443,"sku":"1087246","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ac8cc1e3-ad5e-45a0-be62-1b7cc79d84c5_thumbnail_4096.jpg?v=1727571740"},{"product_id":"hardcore-volume-two","title":"Hardcore Volume Two","description":"\u003cp\u003eVolume Two digs further into the band's cranial bunker with the caveman hit 'Be Stiff,' the space age surf-blues of 'Clockout' and even a demented take on bubblegum pop, 'Goo Goo Itch.\" This 2xLP set includes four previously unreleased tracks: 'Man from the Past,' 'Doghouse Doghouse,' 'Hubert House' and 'Shimmy Shake.' Superior Viaduct and Booji Boy Records are proud to present Devo's Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakha's stunning cover photography.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LPx2","offer_id":50485847261515,"sku":"361691","price":47.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/R-4569927-1436897835-7500_9edab7dd_thumbnail_4096.jpg?v=1727603769"},{"product_id":"optimo","title":"Optimo","description":"\u003cp\u003eLiquid Liquid continued toward dance-floor perfection with their third EP. 1983's 'Optimo' features the band's best-known songs and remains a high water mark for post-punk aficionados. The title track positively erupts when the bass enters, forcing even the stiffest person in the room to move. While it would be an understatement to say that 'Cavern' may sound familiar (due to its gross sampling in Grandmaster Melle Mel's 'White Lines'), Liquid Liquid were indeed the originators of this iconic New York riff.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black 12\"","offer_id":50486294806859,"sku":"2014908","price":18.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/f760d587-c755-4289-8ed3-887e5c9c187a_thumbnail_4096.jpg?v=1727608297"},{"product_id":"kill-from-the-heart","title":"Kill From The Heart","description":"\u003cp\u003eDicks' debut LP has been acknowledged as a foundational statement in Punk ever since its initial 1983 release. Following their first single, 1980's \"Dicks Hate The Police,\" and a live split with fellow Austinites the Big Boys, Kill From The Heart does not disappoint.\u003c\/p\u003e\u003cp\u003eOriginally released on SST, the album stands apart from the mass of generic thrash-hardcore contemporaries – fueled by the manic, but controlled power of singer Gary Floyd along with the original lineup of guitarist Glen Taylor, bassist Buxf Parrot and drummer Pat Deason.\u003c\/p\u003e\u003cp\u003eDicks were operating at an absolute peak at this point, alternating damaged workouts that suggest Flipper or No Trend on one end and highly charged tracks in the vein of Minutemen or Tales of Terror on the other. Straight out of the gate on \"Anti Klan,\" the band trades blues-grounded guitar with squealing feedback and intensely political lyrics. The raw emotional sincerity of Floyd, who was openly gay in Reagan-era Texas, provides unmistakeable urgency to songs such as \"No Nazi's Friend,\" \"Rich Daddy\" and the title track, which remains one of the stone-cold classic punk anthems.\u003c\/p\u003e\u003cp\u003eForty years on, \u003ci\u003eKill From The Heart\u003c\/i\u003e continues to smolder – an arresting testament to the possibilities embodied in creative rage. 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The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definitionas they headed further into uncharted territory. “The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. 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They were joined by various guests including This Heat guitarist Charles Bullen as well as long-term collaborators Martin Harrison and Rick Wilson. Using whatever instruments they had on hand (clarinet, piano, bells, etc.), Flaming Tunes create lo-fi melodies around simple arrangements, oblique rhythms and densely layered natural sounds. The results are a mesmeric collage of instrumental daydreams and sideways pop songs, floating into one another in a hazy confluence of late ’60s Canterbury psych-folk and early Residents experimentation. 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Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP. Originally released on Factory in 1982, the album put Ike Yard’s indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire’s \u003ci\u003eRed Mecca\u003c\/i\u003e or Front 242’s \u003ci\u003eGeography\u003c\/i\u003e, opening track \u003ci\u003eM. Kurtz \u003c\/i\u003emakes starkly clear that Ike Yard is a far heavier proposition. With a thick porridge of bass, ringing guitar and strangled \/ stunted layers of voice, these six pieces are densely packed and perversely danceable. \u003ci\u003eLoss \u003c\/i\u003esounds like a minimal techno track that could have been made last week, while \u003ci\u003eKino\u003c\/i\u003e combines Soviet-era imagery with sparse soundscapes à la African Head Charge’s \u003ci\u003eEnvironmental Studies\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eIke Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard’s first LP can be heard in many genres—from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.). The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release’s importance and Ike Yard’s timeless mystique.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black | LP","offer_id":50528014532939,"sku":"1095010","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/71df2005-05f5-4b17-aa09-e15c3e5b161d_thumbnail_4096.jpg?v=1728059809"},{"product_id":"grey-scale","title":"Grey Scale","description":"\u003cp\u003eDavid Cunningham was born in Ireland in 1954. His work ranges from pop music to gallery installations including several collaborations with visual artists. His first commercial success came with The Flying Lizards' single \"Money,\" an international hit in 1979. His first solo album \u003ci\u003eGrey Scale\u003c\/i\u003e was released in 1976 on Cunningham's own Piano label.\u003c\/p\u003e\u003cp\u003eOriginally released in 1976, Cunningham's first solo album \u003ci\u003eGrey Scale\u003c\/i\u003e has become a landmark statement of DIY minimalist composition – continuing in the vein of the wild explosion of arthouse experimentation from the early '70s. 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In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early ’80s to release any recordings. \u003ci\u003eNothin To Look At Just A Record\u003c\/i\u003e, a powerful\u003cbr\u003edebut with densely layered trombones, would be the first to unfurl his unique approach to sound. The second album and perhaps the most rare in Niblock’s vast catalogue, 1984’s \u003ci\u003eNiblock For Celli \/ Celli Plays Niblock\u003c\/i\u003e is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli’s oboe and English horn to create seamless, enchanting drones. Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing. This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP","offer_id":50530695053643,"sku":"1045236","price":32.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/9643946b-891f-40c6-b46c-686bdfb9f62a_thumbnail_4096.jpg?v=1728083009"},{"product_id":"clouddead","title":"cLOUDDEAD","description":"\u003cp\u003e\u003cstrong\u003ecLOUDDEAD's\u003c\/strong\u003e debut album, compiling six 10\" EPs that appeared between 2000-2001, is aurally dense and obscured. 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Cincinnati had a vital scene; home to Scribble Jam, an annual confluence of MCs, DJs, B-boys and graffiti artists.\u003c\/p\u003e\n\n\u003cp\u003eWhile the trio soon relocated to the Bay Area where they co-founded the Anticon collective, their Midwestern roots – in ramshackle basements of off-campus hovels, as the \"cerberus of Southern Ohio\" – would remain the atomic heart of their early recordings. As Chris Martins writes in the liner notes, \"The only reason we know their names today is because of how loudly and curiously they aired their insularity. They rewrote the entire world as they knew it through their own fucked perspective, and when those mysterious 10-inches started popping up in record shops, it wasn't just a puzzle to investigate: there seemed to be a whole cosmology hidden in those grooves.\"\u003c\/p\u003e\n\n\u003cp\u003eEach side of the album represents one of those elusive 10-inches, each embodying a universe unto itself. Opening salvo \"\u003cem\u003eApt. 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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)\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50531363193163,"sku":"2197778","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_84_09403c0d_thumbnail_4096.jpg?v=1728105673"},{"product_id":"the-willisau-concert","title":"The Willisau Concert","description":"\u003cp\u003e“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)\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50531581624651,"sku":"2197774","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_86_e296223f_thumbnail_4096.jpg?v=1728110037"},{"product_id":"tenor","title":"Tenor","description":"\u003cp\u003e“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. 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We’re very lucky someone pressed record.” —John Corbett (excerpt from the liner notes)\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50532284760395,"sku":"2197779","price":34.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/getImage_85_d5135661_thumbnail_4096.jpg?v=1728118698"},{"product_id":"suburban-lawns","title":"Suburban Lawns.","description":"\u003cp\u003eIf your brain has a shortlist of bands that instantly evoke New Wave, \u003cem\u003eSuburban Lawns\u003c\/em\u003e deserve a slot right next to the likes of Devo, Talking Heads, and the B-52's. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981.\u003c\/p\u003e\n\n\u003cp\u003eWhile the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece's only full-length statement. \u003cem\u003eSuburban Lawns\u003c\/em\u003e' asymmetrical aesthetic is personified by co-vocalist \u003cstrong\u003eSu Tissue\u003c\/strong\u003e, whose mesmerizing stage persona was at once childlike and terrifying.\u003c\/p\u003e\n\n\u003cp\u003eHer unique style embodies the awkward\/arty female singer of the Reagan era, while the group's male vocals – courtesy of \u003cstrong\u003eFrankie Ennui\u003c\/strong\u003e, \u003cstrong\u003eVex Billingsgate\u003c\/strong\u003e, and \u003cstrong\u003eJohn McBurney\u003c\/strong\u003e – maintain the satirical themes of Southern California's postwar mirage of limitless sprawl. \u003cem\u003eSuburban Lawns\u003c\/em\u003e' catchiness can be attributed to their drum-tight performance and taut songwriting.\u003c\/p\u003e\n\n\u003cp\u003eListen to the vocal trade-offs on \"\u003cem\u003eAnything\u003c\/em\u003e,\" which could have easily come out on any purely Punk label from LA at the time, while Tissue's deadpan delivery on \"\u003cem\u003eJanitor\u003c\/em\u003e\" glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured \"Boom, Boom, Boom, Boom.\"\u003c\/p\u003e\n\n\u003cp\u003eFrom a West Coast scene dominated by 7-inch singles and EPs, the \u003cem\u003eSuburban Lawns\u003c\/em\u003e' lone LP remains in a class with precious few. It's not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50532415897931,"sku":"1130179","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/22c5cb70-d48f-4538-9292-9f9dac1c2b44_thumbnail_4096.jpg?v=1728121578"},{"product_id":"hold-that-tiger","title":"Hold That Tiger","description":"\u003cp\u003eIn October 1987, four months after the release of their critically acclaimed \u003ci\u003eSister\u003c\/i\u003e LP, Sonic Youth showcased their latest work in a blistering set at Cabaret Metro, Chicago. The concert was introduced by Big Black’s Steve Albini (who at the time was banned from the venue) and subsequently released as a semi-official bootleg under the title \u003ci\u003eHold That Tiger\u003c\/i\u003e on writer\/provocateur Byron Coley’s impishly Geffen-baiting label Goofin’ (years later the band would use this nom de guerre for their own imprint).\u003c\/p\u003e\u003cp\u003e\u003ci\u003eHold That Tiger’s\u003c\/i\u003e sterling reputation among the Sonic Youth faithful is well deserved. In fact, it isn’t a stretch to suggest that the album is to the first handful of SY releases what It’s Alive is to the first three Ramones LPs—a feral and liberatory public snapshot of a band’s blossoming imperial phase. Indeed, HTT is the sound of a group at the peak of their powers, presenting new songs alongside a handful of older ones with the kind of wild, cathartic enthusiasm common to rock ’n’ roll’s most revered live albums.\u003c\/p\u003e\u003cp\u003eTaking nothing away from \u003ci\u003eSister\u003c\/i\u003e—inarguably one of indie rock’s first true masterpieces—it is reasonable that many fans prefer the live versions heard on\u003ci\u003e Hold That Tiger\u003c\/i\u003e to their studio counterparts. On HTT, Sonic Youth is a spiky, pummeling and confident force, alternately mammoth and meditative. Sister and its predecessor \u003ci\u003eEVOL\u003c\/i\u003e notably added an airy, dreamlike reverie to the band’s turbulent doom-lurch, a stylistic evolution that seems to crystallize on HTT. Throughout, Kim Gordon’s sinewy, sumptuous bass and Steve Shelley’s propulsive, tom-heavy percussion provide the bedrock groove for Thurston Moore and Lee Ranaldo’s ferocious barrages of noise-guitar crunch.\u003c\/p\u003e\u003cp\u003eBy 1987, the band was confidently articulating their dual lexicon of punk-noir dissonance and supernal, psychedelic sonic calligraphy—bending their jagged, streetwise gnarl into balloon animals of dazzling and beautiful songs. This collision of splendor and chaos would become a hallmark of the group’s singular alchemy as well as provide a blueprint for the post-SST American underground they would help invent and ultimately nurture.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eHold That Tiger’s\u003c\/i\u003e encore—four songs by the band’s beloved Ramones, which Thurston would later astutely compare to “the perfect pudding after a hearty meal”—serves as a reminder that, like any true punks, Sonic Youth never could resist a good, rousing anthem to send the kids home with their ears ringing, their hearts hot-wired. This first-time reissue comes with gatefold jacket. Mastered by Bob Weston from the orginal tapes. Recorded by Aadam Jacobs. Audio repair\/editing by Aaron Mullan.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LPx2","offer_id":50881528136011,"sku":"2233870","price":42.99,"currency_code":"GBP","in_stock":true},{"title":"Blue LPx2","offer_id":50881528267083,"sku":"2233872","price":47.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50878365073739,"sku":"2233867","price":15.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8b1cfc51-1ac8-21d9-3988-1d70880ad983_6c2099d3_thumbnail_4096.jpg?v=1732312074"},{"product_id":"totales-turns-its-now-or-never","title":"Totale's Turns (It's Now  Or Never)","description":"\u003cp\u003eGiven The Fall’s penchant for iconoclasm, it’s no surprise that they decided to say goodbye to the ’70s with a series of gigs at Northern England’s gruffest halls. The band’s formidable live show was met with even more derision and disorder than customary during these late ’79 and early ’80 performances, and they skillfully amplified such sentiments back at the crowd. Totale’s Turns, The Fall’s first live album, was released on Rough Trade just prior to their pivotal third album, 1980’s Grotesque.“The difference between you and us is that we have brains,” shouts Mark E. Smith to open Totale’s Turns as the band breaks into the rollicking “Fiery Jack,” their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon’s splintering guitars, Steve Hanley’s thunderous bass and Smith’s combative sneer reverberate over “Rowche Rumble,” “Choc-Stock” and “Spectre Vs. Rector” more than any studio would ever allow. Totale’s Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"Black LP","offer_id":50884921131339,"sku":"2234007","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/49506-fall-totales-turns_9095888b_thumbnail_4096.jpg?v=1732476069"},{"product_id":"the-urinals","title":"The Urinals","description":"\u003cp\u003eLimited Coloured Vinyl repress on Superior Viaduct. Hailing from the late-'70s underground of Los Angeles, The Urinals were often called \"the American Wire\" for their graceful tension, wild energy and trademark brevity. Recorded with a sole microphone and guitar \/ bass running through a single amplifier, their debut 1978 EP defies its limitations while defining The Urinals' unique aesthetic. 'Dead Flowers,' 'Hologram' and 'Last Days of Man on Earth' are not simply classic songs, they are venerable punk haiku - raw and unrestrained.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"7\"","offer_id":50915890725195,"sku":"360581","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/348d4abe-9da7-42cc-a887-0f0d6b35541d_thumbnail_4096.jpg?v=1733022341"},{"product_id":"sex-go-away-girl","title":"Sex \/ Go Away Girl","description":"\u003cp\u003eLimited Coloured Vinyl repress on Superior Viaduct. The Urinals' third 7-inch, from 1980, demonstrates the group's increased technical proficiency and fuller production that the same members would later bring to their next project, 100 Flowers, under which moniker they produced an outstanding album (also available on Superior Viaduct). \"Sex\" and \"Go Away Girl\" (penned by David Nolte of The Last) are propulsive, lo-fi statements that lay waste to the A-side in under three minutes - classic Urinals form. Faithfully restored with test tones on the B-side to ensure your hi-fi is set properly for these sounds.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"7\"","offer_id":50915890921803,"sku":"360580","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/9f2aa8f6-2d48-4ea6-ab03-050afd9a6bd6_thumbnail_4096.jpg?v=1733022356"},{"product_id":"another-ep","title":"Another EP","description":"\u003cp\u003eLimited Coloured Vinyl repress on Superior Viaduct. Originally released in 1979 on the band's own Happy Squid Records, The Urinals' second 7-inch picks up where their first left off. Bookended by the slow-building pressure of \"Black Hole\" (covered by The Gun Club and Grass Widow, among others) and rapid-fire surge of 'Ack Ack Ack Ack' (famously covered by the Minutemen), Another EP shows what happens when dynamic songwriting meets condensed attitude. Essential recordings that are best appreciated in small doses, repeated over and over and over.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"7\"","offer_id":50915891773771,"sku":"360579","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/19fd31f3-3dfd-4c07-b112-37bc8940f03e_thumbnail_4096.jpg?v=1733022372"},{"product_id":"the-rough-trade-singles","title":"The Rough Trade Singles","description":"\u003cp\u003e\u003ci\u003eThe Rough Trade Singles\u003c\/i\u003e collects The Fall's four singles recorded for this influential label in 1980 and 1983 – How I Wrote 'Elastic Man' \/ City Hobgoblins, Totally Wired \/ Putta Block, The Man Whose Head Expanded \/ Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band's studio LPs. With 7-inches being the era's vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums.\u003c\/p\u003e\u003cp\u003e\"Totally Wired\" is often cited (and rightfully so) as The Fall's most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. \"How I Wrote 'Elastic Man'\" is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on \"The Man Whose Head Expanded\" almost suggests danceability, Mark E. Smith's idiosyncratic shriek on \"Kicker Conspiracy\" pierces through the twin drumming of Paul Hanley and Karl Burns and the group's unpredictable \/ unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release.\u003c\/p\u003e\u003cp\u003eSuperior Viaduct's edition is the first time that The Rough Trade Singles has been available on vinyl domestically. 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