Clipping - Visions Of Bodies Being Burned - CASSETTES

- Limited edition 180-gram white vinyl LP- Newly mastered from Immediate Records tapes by Nick Robbins- Lacquers cut by Barry Grint at AIR STUDIOS- Fully illustrated card inner sleeve with full track details & exclusive notes by Mojo's Mark Paytress- Exclusive interviews with Ian McLagan (shortly before he died) & Kenney Jones - Archive interviews with Steve Marriott & Ronnie Lane - All sealed in a protective PVC sleeve wallet- Collectors limited edition Small Faces/Immediate Records/Air Studios obi-stripInchThis is The Small Faces as they should be heard.InchKENNEY JONESThe new edition of 'SMALL FACES' is a lavish recreation of the original Immediate mono LP originally released in June 1967 on Andrew Loog Oldham's Immediate Records.Recorded at IBC and Olympic Studios in London with Glyn Johns, this connoisseurs' favourite saw the group expand their sonic playground from pop and R&B to include acid-inspired psychedelia ('Green Circles'), music hall ('All Our Yesterdays'), waltz-time folk-rock ('Become Like You') to quintessential Small Faces pop at it's most taut and swinging ('Get Yourself Together') Paul Weller's all-time favourite Small Faces song.The new limited edition coloured vinyl is a lavish recreation of the original Immediate mono LP, adding an illustrated inner sleeve featuring sleeve notes, archive interviews with Steve Marriott & Ronnie Lane plus new and revealing interviews with Ian McLagan (shortly before he died) & Kenney Jones, photos, full band credits and recording details.The remastered CD version has been expanded to a 2-disc set containing the original mono and stereo LPs plus no less than 17 bonus tracks! These include three of the band's non-album classic hit singles, 'Itchycoo Park', 'Tin Soldier' and 'Here Come The Nice', b-sides and five alternative versions.

Clipping - Splendor & Misery [CASSETTES] date 09/09/2016

Because of their mix of hellified gangster S**t and progressive compositions, I once jokingly called Clipping InchDeathrow Tull.Inch Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the InchcyberInch) with the lo-fi, D.I.Y. underground (the InchpunkInch), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through it's Golden Era, then melted into further forms it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better.What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on.On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a dif