Bloody miracle! Arrived home last night to find that the signed edition of Dinosaur Jrs LP I ordered 3 months ago and gave up on had arrived 
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25th Anniversary Reprint
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My favourite album of all time. It’s the one I keep going back to, again and again.
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Finally got to watch Ex Machina today, and the song over the closing credits caught my attention:
They’re obviously channelling Siouxsie on this, which is no bad thing. Gave them a quick Spotify on the strength of it and liked what I found.
Their first album, Silence Yourself, is more of the same kind of stuff, but the second, Adore Life, is less derivative.
I like them, and can’t understand how I missed them until now, especially as both albums were Mercury prize nominated…
So I ordered both of them on vinyl 
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Got both of them on vinyl. Good recordings.
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Alison Moyet - Alf & Raindancing
Pre-release of new remasters on CD
LP
Bloody records, I’ll end up in Debtors Gaol
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LP
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Did anyone else buy the “Who Live At Leeds: Deluxe Edition - Half Speed Master Release Date 25 November 2016” from the Sound of vinyl and have you received it yet?
Release date now delayed until 23rd December I believe; mine is anyway 
Fuckety, thanks.
Weird, mine arrived today.
I got one of the bargain £12.99 ones on Amazon. Maybe not such a bargain after all !
Apparently, on its way 
After a short hiatus my trigger finger has just ran a St Vitus dance over buy now buttons in the last week & have bought the following albums.>>
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All the above were on offer from Slam Productions 2016 Winter Offer as detailed in my recent new thread.
The next four are all also from Slam Productions, the first three all being George Haslam albums. >>
Meltdown is a big band project under the directorship of Haslam. This album featuring a movement from Graham Collier’s excellent Winter Oranges Suite which is actually conducted/directed by the composer himself, who was one of the true luminaries of the Brit Jazz scene.
This last 'un was one that just really appealed to me, from the review it looks like I could be in fer a real treat. >
Penas Argentinas is Jorge Szajko’s second CD released on SLAM (following ‘Orquestra Salvaje’, SLAMCD 246). His first CD attracted some of the best critiques of any SLAM release “I’m sorry, Jorge, but I cannot afford a genius grant for you. I would if I could, but at least I can let the world know what I think of this astonishing disc” Fred Barrett, Beyond Coltrane. “Szajko clearly has a unique musical vision that stretches beyond words” Francois Couture All Music Guide. Jazz Views voted it in the top ten ‘non British’ CDs of 2002.
The title of this second CD is loosely interpreted as “Argentine Blues” and some of the music (the Milonga and the Zamba) reflect the problems of the country’s problems during the past 3 years – but life goes on with the irrepressible Chacarera and Carnavalito.
Penas Argentinas SLAM CD 509
Jorge Daniel Szaiko & Orquesta Salvaje
Jazz Review March 2005
Just another 21st century tango album? Well, Jorge D Szaiko sounds like an all-round master-musician (he plays most of the string, wind and keyboard instruments credited on this album), and is no mean composer and arranger to boot. So, far from the Piazzola resuscitation you might have been dreading, this album celebrates the 60th anniversary of the Buenos Aires equivalent of the Hampstead Garden Suburb, Lomas del Palomar (the district where, we’re told, this album was ‘conceived’) in unique style. I’m glad to say that there’s not one traditional tango-player’s bandoneon in earshot and, even better, Szajko explores a variety of those wonderfully intricate native Argentine rhythms like the chacarera, milonga and zamba in a cosmopolitan jazz context.
The best track for me is the joyous “La Caçada”, which explores a neighbouring Brazilian carnival rhythm with great drums and percussion to the fore in a refreshing mini-big-band ensemble of predominantly alto, tenor and baritone sax, with Szaiko’s own piano holding it all together in a secondary role. “Chacarita” is a favourite, too, because the ubiquitous Szajko (perhaps not the greatest exponent of it, but this time on Spanish guitar) honours one of the richest Argentine guitar rhythms, the chacarera, in a modern evocation which still allows you to imagine gauchos cantering across the Pampas on horseback while defying your anticipation of more traditional chord progressions.
Most impressive is when Szajko becomes an entire string orchestra all on his own in “No Es La Misma Milonga”, “Canoas”, the title-piece, “Penas Argentinas” and the jazz-soul little jewel, “El Cuchillo”, which, again, transports the traditional gaucho’s weapon (the knife) through time to an electric band context with the sax trio (particularly Bonetto’s wonderfully jazzy baritone sax) to the fore. Again, the base rhythm has you cantering across the Pampas until it fragments on Szaijko’s electric piano.
The title-track “Penas Argentinas” worried me because nobody laments like the Argentinians and don’t they have reason (recent history including military dictatorship, genocide and economic ruin), but this is a gutsy little sax-led blues piece ending on a note of hope. Not precious at all and one of the best tracts. The piano solos, “60 Aços” and “El Pianazo” (literally, ‘piano attack’) seem to betray Szaijko’s piano training in the modernist tradition, perhaps portraying the violence of Argentina’s social history and mechanical rush of its industrial heyday, about 60 years ago in the 1940s.
After a few listenings I was convinced that this is a must-buy for those who love the variety of traditional Argentine music in a modern jazz-fusion context. And the multi-talented Jorge Szajko, who seems to be a virtuoso pianist, is a bright new name to watch.
Jennifer Laurie
Jorge Daniel Szajko just might be the greatest multi-instrumentalist in the world: who else plays melodica, violin, piano, Spanish gutiar, oboe, moxeno, tenor sax, soprano sax, cello AND bass? He even plays all the instruments in the string section of Orquestra Savaje (overdubbed of course) on the tunes which feature a string section.
PENAS ARGENTINAS itself sides toward the post-1960 avant guard style, though not as “outside” as some jazz musicians have chosen. Surprisingly, two of nine compositions are solo piano pieces. All the tunes were composed by Szajko: all are instrumentals, and powerful jazz/folk arrangements.
http://www.worlddiscoveries.net/ October 2005
Couple of must have box sets to round things off, hopefully both arriving this week.
I already have the first two Murray sets & expect this latest, which has only just been released to also be very good.
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