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Updated September 4th 2017


Fifteen years ago, Charles Douglas wandered out of a Manhattan recording studio where he was putting the finishing touches on what was to become his final album, Statecraft. Featuring Joey Santiago of the Pixies on lead guitars, and recorded by Sonic Youth and Dinosaur Jr. producer Wharton Tiers, the album was intended as a huge step forward for this iconoclastic indie rocker, who had started his recording career when he was a teenager in Dayton, Ohio. His previous studio album, The Lives of Charles Douglas, had been a raw Ramones-meets-VU-meets-Jonathan Richman blast of energy, featuring Maureen Tucker on drums and production, recorded mostly live in the studio. Statecraft was meant as a much more fleshed-out affair, featuring offbeat horns and strings alongside the guitar assault of Douglas and Santiago's unmistakable signature sound. Upon its initial release, Statecraft would go on to gather praise from the likes of David Bowie (who sent a fan letter) and John Waters—as well as rave reviews in music magazines in the US and UK.

"David Bowie's letter arrived in a large white envelope that looked like some sort of bizarre wedding invitation. My girlfriend got it from the mailbox. To my surprise, when we opened it, there was a letter from Bowie inside saying that he loved Statecraft, and that I must keep up the good work, and make more music for him to enjoy." (from the Statecraft: Expanded sleeve notes)

Statecraft brims with skewed, gritty pop tunes like "Free at Last," "Blues for Catalina," "Ancient Mysteries" and "Splitting the Atom," and it suggests that Charles Douglas was at the culmination of his demented artistic powers. But unfortunately, Douglas didn't see it that way. Unhappy with the album's protracted recording process, and concerned about relapsing into the substance abuse which had left him briefly homeless a few years earlier, he left New York City and abandoned the sessions. When he walked out of the studio in 2002, he never returned. Instead, he sold and gave away all his instruments and moved to North Carolina and quit music forever, turning down a major label record deal in the process. Wharton Tiers ended up mixing and sequencing sixteen of the songs, and overseeing the initial release of Statecraft in 2004 on a subsidiary of Virgin Records. Despite the initial burst of acclaim, the album quickly drifted into obscurity. But luckily, the story doesn't end there…

After Broken Horse reissued The Lives of Charles Douglas in 2010, as well as a two-CD retrospective of Charles Douglas's late-90's home recordings called Not Your Kind of Music, we learned that Douglas had actually recorded over thirty-five songs in the studio for Statecraft, and initially planned to make a double album. Many of the songs that were recorded and discarded are hidden gems: from the buzzing Pavement-esque pop of "The Paradox" to the stripped-down rock of "Among the Boys & Girls" to the giddy weirdness of "One Day Old." Broken Horse's Statecraft: Expanded reissue now presents Charles Douglas's original vision by collecting all of the studio tracks from the sessions on two CDs—adding nineteen rare and unreleased songs to the sixteen original tracks.

The reissue also includes an extensive 28-page booklet of liner notes written by Charles Douglas himself, detailing his misadventures making Statecraft, which serve as a brilliant snapshot of life and music in NYC in the early 00's. According to Douglas, who has not recorded any music in the fifteen years since Statecraft, he is delighted to be "unknown but still alive." We hope to change the "unknown" part of that equation with Statecraft: Expanded, and introduce his genius to a brand new audience who missed out on him the first time around.

Updated April 30th 2014

Broken Horse is proud to announce the debut UK release by Chris Stroffolino.

Griffith Park will be an introduction for most people to a great new songwriting talent and a contender for 2014’s end of year polls. It’s a stripped down effort, featuring only Stroffolino’s voice and piano (with one exception), recorded with stunning clarity and intimacy by Feuerzeig. These remarkable recordings call attention to the way Stroffolino weds simple, infectious melodies, with highly emotional, yet carefully placed, lyrics that become more powerful with repeated listening. From the unrequited love of “Wherever it’s Gray” and “It’s Not A Matter Just Of Me,” to the giddy exuberance of the album’s most tightly constructed pop song, “Fire Side Of Me,” Griffith Park features some of the most compelling and poetic lyrics in recent years.

Jeff Feuerzeig takes up the story from here:

FEBRUARY 2013, LOS ANGELES: It’s 5pm on a lazy Sunday afternoon and I’m riding my bike home through Silver Lake Junction when I hear someone singing his heart out and playing piano. I think to myself, “This sounds eerily like Daniel Johnston from the early Stress cassettes.” The music fades as I pedal onward. “Hmm… is this as great as I think it is?” I spin my bike around and follow the music to see where it’s coming from. Lo and behold, I turn to my left and parked on the street in front of the 99¢ Only Store is a dilapidated 1980’s Ford Econoline van, the side door open revealing a very dapper, charismatic guy inside singing “49 Bye Byes” by Crosby, Stills, Nash & Young on a beaten-up upright piano.

The piano fits so perfectly within the van, it’s as if it were an accessory purchased from the dealer, its side cleverly painted with school-green chalkboard paint bearing the words “Tips Appreciated” punctuated by the upturned mouth of a smiley-face. I immediately start rolling Super 8mm on my iPhone 5. “Do you know any Daniel Johnston songs?” I ask. “No. I love the guy and I’ve actually been called ‘the Daniel Johnston of Piano’… in the van, but I do know a lot of Indie Rock. I played in a pretty famous Indie Rock band. You ever hear of Silver Jews?” I reply, “Yes. David Berman.” He then launches into an amazing heartfelt rendition of “We Are Real” from their landmark LP American Water and proudly tells me “I’m on this record.” I quickly learn that his name is Chris Stroffolino and he is not only a Silver Jew, but also a Ph.D. holding Shakespearean scholar and published author of no less than eight books of poetry. For reasons that are still fuzzy to me, he is disabled from a bicycle accident, walks with a cane, has recently fled San Francisco (and a relationship with a woman) and landed homeless on the streets of Los Angeles, living in this crazy van with a rescued piano that he’s ingeniously bolted to the chassis. As I listen to his patter and the music pouring out of the van it becomes clear that he is blessed and cursed with the same affliction as the subject of my documentary The Devil and Daniel Johnston.

Flash forward to a week of spontaneous piano-driven street karaoke outside his van door: “Mony Mony” by Tommy James, “Red Rubber Ball” by The Cyrcle, “Baby It’s You” by Burt Bacharach via The Shirelles, “Lisa Says” by The Velvet Underground - the Live 1969 long version with all the cool parts, Richard Hell’s “Time,” “Stand” and “Everybody’s A Star” by Sly and The Family Stone, The Animals, Metal Circus era Husker Du, obscure Lou Reed-style David Bowie on “Queen Bitch,” and Roxy Music. And my beloved early Kinks —killer Kinks covers! – all performed in the Vons Supermarket parking lot on Sunset (a fave spot of his for tips it seems). The proto-punk gem “I’m Not Like Everybody Else,” “Everybody’s Gonna Be Happy” and “Dead End Street,” the lyrics all delivered with a poignancy that Ray Davies could never have imagined.

Truly heart-breaking and optimistic at the same time. Another chilly night, Chris lights off an 80’s nostalgia bomb with a set of early Replacements tunes (he’s wearing a Let It Be T-shirt under his jacket and scarf) from their first Twin/Tone LP Sorry Ma, Forgot To Take Out The Trash. “Hangin’ Downtown” is reimagined as a rollicking honky-tonk ditty and the Paul Westerberg down-and-out classic “Here Comes a Regular” literally brings tears to my eyes. I had a friend with me and we agreed that singing along to these songs with Chris, while standing outside his magic van under the halogen lights, is about as much spontaneous fun as you can have in Los Angeles. I’ve always loved experiencing music outside of the traditional club venue and Chris’s street karaoke takes the performance intimacy quotient to a whole new level. I soon discover that Chris’s talent goes beyond covers.

Over the course of five evenings, I take Chris and his Piano Van up to the parking lot behind the old carousel in Griffith Park. It’s there, under the stars, in the cold, among the trees and the occasional car of teenagers looking for privacy, that I record (in the spirit of Alan Lomax’s field recordings) twelve of his original compositions (plus the cover of Hell’s Time) of unrequited love - songs I’ve come to adore and sing along with as much as the covers that he and I grew up listening to. “Break Up Make Up,” “Make It Rain, and “I’m Not Going Astray” sound like they’ve always been a part of my life and I credit that to our shared love of what Chris has chalked upon his van door – “Indie, Punk, Motown, Brill Building, and Velvets.”

Jeff Feuerzeig

Director, The Devil and Daniel Johnston & Producer, Griffith Park.


To order from the USA/Canada, please visit PIANOVAN.COM

Updated August 12th 2013


Shipping Now!

“These are brilliantly crafted tunes, all Jackson Browne piano, Brian May guitar and heavenly harmonies” UNCUT

“Outdoing his hero Morrissey for militant miserabilism” MOJO

“Consistently bold, droll and musically imaginative with warmth and tenderness billowing through it’s songwriting elegance” THE DAILY MIRROR (5/5)

“filled with sparkling tunes, bittersweet lyrics and pure, unbridled invention” THE SUN (4/5)

“Modern Standard is his second album in two years and it’s as beautifully melodic as his previous work” NME

“Modern Standard is further evidence of a scandalously ignored talent” THE SUNDAY TIMES

“Modern Standard is packed with indecently catchy tunes” SHINDIG

“Tihista’s voice is irresistible, like being zapped with cooling jets of sweet, distilled water that just so happen to land in patterns that spell out lyrics by turns acerbic and heartbreaking” ROCKSUCKER

“For those already converted to Kevin Tihista’s esoteric charms, this deliciously diverse album will undoubtedly keep the faithful going until his next eagerly-awaited instalment.” DELUSIONS OF ADEQUACY

It’s been just over a year since Kevin Tihista re-emerged after a seven year hiatus with the widely acclaimed ‘On This Dark Street’. At the time Kevin had put aside some of his more upbeat songs that he had written for a later date. An album called ‘Modern Standard’ had originally been planned (and much delayed) as the official follow up to the hugely acclaimed’ Wake Up Captain’ (2004) and the equally well received ‘Home Demons Vol 1’ that swiftly followed in 2005.

Broken Horse is extremely proud to announce the release of ‘Modern Standard’ which sees Kevin returning with his most optimistic and accessible set of songs since his 2001 debut ‘Don’t Breathe A Word’. Not that Kevin himself necessarily agrees with this assessment.

“I don't think I’d ever be accused of being too optimistic. Maybe less dire? There are a few songs on the new record that do have a glimpse of hope in them though. The City, Happy People Shut Your Mouths, and On My Way would be those few. For the most part, I don't let my songs get too sunny. I have Slayer and Morrissey to thank for that. I would agree that compared to On This Dark Street, Modern Standard has more pop elements to it. I'd say The City pretty much makes up for every doom and gloom song I've ever written. It gave me a cavity when I wrote it”.

No stranger to critical success, It’s puzzling that such a hugely acclaimed artist as Tihista remains practically ignored in his adopted hometown of Chicago.

“ I really don't feel any connection to the music scene in Chicago. It has chewed me up and shat me out. Even if I am lucky enough to get a show, no one will come out to see me. In the last 10 shows I've done, I've played to a total of maybe 15 people. I wish I could say I was joking. We play to the sound guy and our girlfriends. This town wants nothing to do with me. That’s what happens when you take 7 years off. People tend to forget just how kick ass you are!”

With ‘On This Dark Street’ under his belt, Kevin and his label Broken Horse planned a much more positive record that played to his strengths and reinforced his reputation as one of America’s finest songwriters. ‘Modern Standard’ is a stunning showcase of Tihista’s songwriting talents. It’s an embarrassment of riches, with one great song after another, and it’s not hard to imagine that each one could be a listener’s favourite.

“Well the idea was to make it as close to a greatest hits sounding record as possible. Sort of like the way "A Different Kind Of Tension" by Buzzcocks feels to me. Even "Meat Is Murder" has that feel to me. Just one great song after another. That was the idea. Whether or not that has been achieved remains to be seen. I really can’t take any credit for the song selection or sequencing. That’s all Alun at Broken Horse. I will say that this is by far my favorite record, and a lot of it is because he did such a great job putting it together. He has a knack for that sort of thing. Not one complaint from me.”

Work has already begun on the follow up to ‘Modern Standard’ (at the time of writing Broken Horse’s inbox is full of new Tihista songs) and tentative plans have been made for his first UK dates in several years.

August 8th 2012




"these 67 tracks document artistic suicide and mental collapse - but also a wild, burning talent; happy-sad gems of pop-punk and electronic soul that pre-date The Strokes, LCD Soundsystem and John Maus." MOJO ****

"His musical voice is not unique, but his way with a hook – and a cocked snook – is terrific, and for such an exhaustive set, the "too much of a good thing" effect takes a remarkably long while to kick in." THE GUARDIAN ****

"..timeless encapsulations of youthful frustration and depression, and the outer limits of a drug-warped imagination." THE QUIETUS

"Over two discs and 67 songs, this reissue of four of these subterranean missives is an addictive, goofy, charming and exhausting listen. Douglas’ insistent melodies are mostly bubblegum in the richest sense, while the rawness of the eight-track recordings keeps the songs free of fat." THE LIST ****

" Charles Douglas may not have made an impact during his time, but nowadays music is timeless, and the borders and boundaries don’t exist like they used to, generations ago." DROWNED IN SOUND 7/10

Charles Douglas was rescued from bargain-bin obscurity in 2010, when Broken Horse reissued his 1999 studio album The Lives of Charles Douglas. Produced by Maureen "Moe" Tucker of The Velvet Underground, who also played drums on it, the album was recorded against a gritty NYC backdrop of alcohol, drugs, and fast food—when Charles was twenty- one years old and recently released from a mental hospital.

Described by Mojo as "the best New York record you've never heard," The Lives of Charles Douglas won favourable comparisons to The Velvet Underground, Lou Reed, The Ramones, Luna, and The Strokes. It also earned him new fans in the shape of Marc Riley, Gideon Coe and Lauren Laverne (6 Music), as well as Andrew Weatherall, Robert Pollard, film director John Waters, and members of The Pastels, Cornershop, and The Jesus and Mary Chain. Always one step ahead, David Bowie was already a Charles Douglas fan.

Not Your Kind of Music: The Basement Tapes 1995-1999 continues the baffling and addictive musical journey of Charles Douglas. It compiles two previously released albums (The Burdens of Genius and Minor Wave) with two impossible-to-find cassette-only releases (The Spiders Are Getting Bigger and Haunting & Daunting) to create a 67 track (yes, you read that correctly) lo-fi odyssey. Had it not been for bad timing, mental illness, rampant drug abuse, and a penchant for burning bridges, Charles Douglas might be thought of today as a songwriter on par with Stephen Malkmus, Beck, Daniel Johnston, Robert Pollard, and other members of the indie-rock aristocracy.

Recorded by Charles in the basement of his parents' house in Allentown, Pennsylvania, this two-disc collection bookends the period that includes the recording of The Lives of Charles Douglas. Away from the bright lights of NYC, Charles wrote and recorded endlessly in the basement on a Tascam 8-track, under the watchful eye of his cat Milly and an army of spiders and roaches. Although Charles was signed to Elektra Records at the time, the label refused to release any of his albums because they were deemed too uncommercial. Caroline Records eventually stepped in and released them, but none of them sold more than a few thousand copies.

Playing all the instruments himself, and in the grips of drug addiction, Charles continued to pound out a series of peculiar, genre-defying records. His songs range from gleeful stoner anthems ("Super High," "Monkey Island") to deranged anti-folk ("The Rabbit Never Gets the Carrot"), to proto-LCD Soundsystem electro pop ("Thee Hipster") to rock 'n' roll ("Good Authority") and even rap ("Please Don't Hurt Them"). Many of the songs detail his obsessions with pop culture icons, including Dennis Wilson from the Beach Boys, Prince, Drew Barrymore, Grandmaster Flash, and Grimace from McDonalds. The epic 26-page booklet accompanying this collection describes the making of the albums in further detail.

After the release of these homemade albums, and The Lives of Charles Douglas, Charles recorded a final studio album in 2002 titled Statecraft—with Joey Santiago from The Pixies on guitars, and Sonic Youth's producer Wharton Tiers on drums—and then retired from making music at the age of 25. He currently lives in Los Angeles with his wife and his two- year-old daughter, and works as a novelist and screenwriter. He has been sober for over a decade.

Charles Douglas - Not Your Kind of Music - The Basement Tapes 1995-1999 (2 CD set plus 8 track CD-R EP in hand stamped card sleeve)

Select shipping destination: (eg UK, Europe, USA/ROW)

All orders will be shipped before the official release date on 30th July 2012.

April 30th 2012

Kevin Tihista's Red Terror 'On This Dark Street' with bonus 4 track CD-R EP (exclusive to broken horse pre-orders).

All orders will ship from March 13th onwards.

Shipping Now - just a small number left with bonus CD-R EP of demos - be quick!!

Select shipping destination: (eg UK, Europe, USA/ROW)


“Brilliantly droll and twisted album from San Francisco maverick” Uncut 8/10

“A gem of droll observation and gripping musical exploration” The Mirror ****

“Marry the dry caustic wit of Harry Nillson or John Grant to the beautiful misery of Elliott Smith’s music and you get close to the criminally underrated Tihista” Daily Express *****

"Packing mischief and mayhem into acoustic strums, the words may give you the odd terrible shiver but the tunes will soothe you back down" Daily Star 8/10

“If this doesn’t end up being on most savvy critics’ album-of-the-year shortlist, I’ll eat my spleen “ Shindig/Happening

“A beautiful, immediate collection of pop gems” Americana UK 8/10

“On This Dark Street should be admired as one of the finest releases from Kevin Tihista’s curious career so far… and indeed this year.” Delusions of Adequacy

“That contrast of dark and light makes the album so powerful, and makes us excited that he’s already written the follow up album. It reminds us that we hadn’t been aware of the Tihista-shaped hole in our lives until On This Dark Street jogged our memory.” Sounds XP

“it's a classy, witty and luxurious return from a songwriter with a rare and precious knack for successfully combining the humorous with the heartfelt” Rocksucker

“The most often and obvious comparison is with Elliott Smith, and so perhaps it’s a good thing that Tihista remains something of a special secret. “ Music OMH

“these are simple pop songs constructed and played in a way that’s resulted in a very fine album” The Line of Best Fit

"On This Dark Street" is an honest collection of soap-opera, screenplay and storylines that wouldn't look out of place in a Coen Brothers comedy with its engaging bitterness and charm that is thoroughly worth having in your life.” All Gigs UK


It’s been a while... 2005 in fact was the last time the world heard from Kevin Tihista with 'Home Demons Vol 1' (a collection of bedroom recordings and studio out-takes) that was almost as well received as the previous year’s 'Wake Up Captain'. Through those years Kevin never stopped writing and recording, endlessly adding to his epic song pile that he only began at the age of 30 but for a variety of reasons including financial hardship, parting with his US label Parasol, personal ups and downs, aborted studio recordings as well as a hefty dose of indecision - an album was not forthcoming.

This all changed in the summer of 2011 when Kevin sent his UK label Broken Horse a new song, 'In Dreams', and a plan was hatched to reunite him with his producer Ellis Clark who had produced his first three albums. With an embarrassment of riches of songs to record but only a finite and limited budget to play with, a plan was hatched to concentrate on the more sombre songs that he had written over the last few years. The pop songs he had up his other sleeve would largely have to wait their turn. Recorded quicky, over a 5-6 week period, in intense 2-3 day sessions in the studio, 'On This Dark Street' may prove to be Kevin’s finest work to date. Gloriously bleak, deliciously dark and with his trademark gallows humour firmly in place, it’s hard to imagine a more affecting album will be released in 2012. Kevin Tihista has probably heard of the likes of Bill Callahan and Mark Eitzel but I very much doubt he’s heard their music.'On This Dark Street' finds him camping on their lawn.

Kicking off with ‘Taking It To The Streets (Again)’, Tihista references heartbreak, murder, manslaughter, Bob Dylan, Jack Kerouac, The Beatles, drinking, drugging and falling off too many tables and more heartbreak, to devastating effect. Not until the closing 'Country Road' does he finally turn on the lights with a pop standard you would swear you’ve known all your life. The closing line of the album “Everything will be OK”, shining a light at the end of this particularly dark tunnel. A follow up to 'On This Dark Street' is already mostly written and partially recorded, according to the man himself, “The plan is to make it sound like a greatest hits, each song better than the last. I think I’ve got the songs and I’m writing like crazy, so let’s see.”

Kevin Tihista's Red Terror - Jack K

Kevin Tihista's Red Terror - Bats

December 5th 2011

Damon and Naomi: Live in the UK & Italy.

London, UK - December 11 - Viola Nights @ Whirled Cinema

Torino, IT - December 13 - Blah Blah

Padova, IT - December 14 - La Mela di Newton

Ravenna, IT - December 15 -Bronson w/ RICHARD YOUNGS

Firenze, IT - December 16 - Sala Vanni, w/ RICHARD YOUNGS

Cavriago, IT -December 17- Calamita, w/ RICHARD YOUNGS

Mogliano Veneto, IT - December 18 - Filanda Motta w/ RICHARD YOUNGS

August 23rd 2011

Broken Horse will release Patrick Cleandenim's third album Radio Heartbreak via ltd LP (300 only) and download on August 29th. We will begin shipping orders on August 25th. Prices include shipping to the destination of your choice.

We've tried to keep the prices as low as possible (unfortunately, the price of shipping 12" records has risen at lot in the last few years)


If you'd like to pay in US$, please send email info (at) brokenhorse.co.uk and we can send you a paypal invoice in US$.

NEWS: Patrick Cleandenim is pleased to announce that he will be supporting The Drums on the opening and closing dates of their U.S. tour this fall. He will be performing material from his new album Radio Heartbreak. Patrick will appear with a full backing band, at the following dates:










Radio Heartbreak proves to be yet another genre-bending release from Patrick Cleandenim, a recording artist who refuses to be pinned to one style. His strongest release to-date, Radio Heartbreak draws inspiration from "blue-eyed soul" (mid-70s Bowie, Todd Rundgren, Steely Dan), R&B, disco, glam, and 50s rock and roll. The singer skates through a decade-spanning set of musical influences. Nearly every song possesses a unique stylistic space. From the searing and electric raw energy of "Fish On The Sand" and "Guessing Game" to the tender intimacy of "Even I" and "Satellite", his songwriting is presented here at its best.

Financed by a sleepless work schedule, recording spanned nearly a year. Countless hours were spent tracking in between day shifts in a vintage clothing shop and night shifts in room service at a New York hotel. These experiences offered a rare, voyeuristic glimpse behind the public veil of celebrity culture, and consequentially had a strong impact on Patrick's creative process. The album was recorded in Manhattan and Brooklyn.

Radio Heartbreak embodies a truly "New York" sound. Fearless energy, dynamic moods and agile changes define the album, showcasing Patrick's unique narrative voice and skill as a songwriter and vocalist. It is an album that could have fit cleanly into ZE Records' late 70s catalogue, treating the more accessible pop trends with a taste of the avant-garde and underground fashion. There is no question that the unyielding energy of New York City has served and continues to serve as a powerful influence on this young artist and his cinematic, musical imagination.

Patrick has described Radio Heartbreak as the completion of a trilogy formed by his first three albums (rapidly released within a period of four years). Together they create a collective context, yet also function individually as compelling albums. The series is an exploration of musical genres, processed through a uniquely romantic vision. The trilogy is characterized by musical manifestations of popular tropes such as the spy-thriller, existential loneliness, the car chase, midnight haunts and lustful pursuits.


"Over the course of three albums, Patrick Cleandenim has proven to be a bit of a pop chameleon. The NYC by way of Lawrence, KS songwriter introduced himself in 2007 with his debut album, Baby Comes Home, bringing the influences of Bacharach, soul, lounge and Tin Pan Alley together into a wonderfully swinging, orchestrated confection. Two years later, he threw us a nice leftfield follow-up with Orange Moonbeam Floorshow, Cleandenim eschewing his 12-piece band and wrapping his classic pop influences in an electro sheen. It's not surprising that Radio Heartbreak is another unexpected twist in his growing discography, much of his new record playing out like one of those undiscovered gems from the '70s/early '80s that coulda, shoulda, woulda been AM/FM gold had it not been sitting forgotten in a record label vault. Back with a full band in tow, Cleandenim's musical palette is a time capsule of influences, from driving rockers like "Stone Cold Crazy Love" which coasts along funky stabs of Rhodes piano and fiery guitar riffs (to these ears coming across like a sister song to Christopher Cross' "Ride Like the Wind," and I mean that as a compliment), to the jazzy disco-romp of the title track, which eventually fades out in a light, Stereolab-esque transmission of buzzing synths and static. Throughout Radio Heartbreak, a lush latticework of rock instrumentation and strings perfectly frame Cleandenim's expressive croon, which falls somewhere between Rufus Wainwright and Shuggie Otis -- check the soulful Inspiration Information-esque ballad, "Even I." Nothing, however, prepares the listener for the devastatingly gorgeous ninth track, "Satellite," where Cleandenim taps into an almost Roy Orbison kind of sentimentality amidst a restrained backdrop of not much more than piano and brushed drums; the nostalgia is familiar yet all at once his own, delivered with a sincerity that only a handful a modern musicians are able to muster. Next time you hear someone bemoaning "they just don't write 'em like they used to," put on Radio Heartbreak. It's safe to say that Patrick Cleandenim's days of being a best-kept secret are very numbered."

Gerald Hammill Other Music (New York)

Patrick Cleandenim - Fish On The Sand (Radio Heartbreak)

June 28th 2011

USA/Canada - Please order via damonandnaomi.com

Damon & Naomi - False Beats and True Hearts (CD)

"A quarter of a century ago, Damon Krukowski and Naomi Yang sold the world that pervasive slowcore guitar sound with Galaxie 500, then split to work as a duo with subtler methods. They have been peddling diaphanous acid folk-pop for two de...cades now, bowing their heads patiently as it billows in and out of fashion, and their ninth album is among their best. The quicksilver guitar of Michio Kurihara, from the Japanese psychedelic collective Ghost, drips magic dust over lightly jazzy drums, arrestingly inexact harmonies and cautious, languid melodies that uncoil like cats in the sun."




Monday, May 9 – Glasgow, Captain's Rest

Tuesday, May 10 – London, Rough Trade East (in-store, 7pm)

Wednesday, May 11 – London, Cafe Oto

Friday, May 13 – Cornwall, Miss Peapod's

Saturday, May 14 – Bristol, Cube Cinema

February 14th 2011

Broken Horse is thrilled to announce that we will be releasing the new Damon and Naomi album False Beats and True Hearts on May 9th. There will also be a 7" of Walking Backwards which will be out in April via the fantastic Great Pop Supplement label.

Damon and Naomi hope to return to the UK for live shows in May/June 2011. More info on pre-ordering/ordering/live shows etc when we have it.

Damon & Naomi celebrate their 25th year as performers together this year, and nothing displays that celebratory spirit more than False Beats and True Hearts, their first album of new recordings in four years, set for release May 8 on Broken Horse.

An album of lush possibility and depth, False Beats and True Hearts fuses the skill of music veterans with the fervor of artists continuing to create at the top of their craft. The intervening years following their darkly introspective Within These Walls has not been spent dawdling. With the reissue of the first Damon & Naomi record, More Sad Hits, a retrospective of their mid-career highlights (The Sub Pop Years), the chock-full 1001 Nights DVD which compiles documentary moments and live performances, and, perhaps most notably, re-releases of all three seminal Galaxie 500 albums, there's been a lot of looking back. It's therefore appropriate that the first song off FB&TH is "Walking Backwards," an ode to the joy of nostalgia and warmth of reflection. The song is cross stitched by Michio Kurihara's elegant guitar playing - a thick and resonating psych sound that has been a part of Damon & Naomi's music since their collaboration with the Japanese band Ghost (With Ghost from 2000) - and a Death Of A Ladies' Man-style backing chorus of female vox and horns.

Given the band's reputation for contemplative melancholy, Fasle Beats and True Hearts is unexpectedly upbeat and strident. While lyrics portray true introspection with a poetic and thoughtful view towards life, the melodies are ambitious and far-reaching. Naomi's new passion for piano playing circles the album like a starry night, capturing the immediacy found in the finest Plastic Ono Band recordings. Like their best material, it's the sincerity and necessity of their expression that is the most striking, and with False Beats and True Hearts, Damon & Naomi offer a vital document of what brings listeners to music in the first place - emotion, identification and beauty.

Damon and Naomi: Walking Backwards

The complete tracklist is:

1. Walking Backwards
2. How Do I Say Goodbye
3. Shadow Boxing
4. Ophelia
5. Nettles and Ivy
6. What She Brings
7. Embers
8. And You Are There
9. Helsinki
All songs are new originals by Damon & Naomi.

The players are:

Naomi Yang: bass, keyboards, piano, vocals
Damon Krukowski: acoustic guitar, drums, vocals
Michio Kurihara: electric guitar
Bhob Rainey: soprano sax
Greg Kelley: trumpet
Masaki Batoh: acoustic guitar


Cover photo by Bernard Faucon
Design & Layout: Naomi Yang

November 22nd 2010

Thanks to everyone who has bought Charles Douglas's The Lives of Charles Douglas, which was released officially on November 1st. The album has received some fantastic press so far including:


"Every bit the note-perfect Lou Reed/Ramones/Jonathan Richman tribute (presumably) intended. Drawled, fatigued vocals,rock n roll high school lyrics, - it's a fun flashback" UNCUT ***

"Almost every post Velvets New York band to spring out of New York come to mind:- The Feelies, Talking Heads, Ramones, Galaxie 500 and even The Strokes. Whilst listening you can read the brilliant sleeve notes which feature some brilliant anecdotes about the characters involved." Norman Records 4/5

"Most of the tracks were recorded live and it’s got a raw energy and drive that I haven’t heard in a long time, and Pixies style bass lines that are quite infectious. Ending with a tribute to none other than Biggie, he’s quite clearly mad, but I wish I’d had this album when I was 16 and listening to too much Ramones." 4/5 Is This Music

"And it’s the personality of the album that makes it so timeless – even though it was originally released thirteen years ago, it doesn’t sound dated in the slightest. If that’s not a testament to Charles Douglas’ talent, I don’t know what is." The Line of Best Fit

"But despite the lost decade, it never feels like a time capsule – turns out one of the most refreshing alt-rock records of 2010 was made in the nineties." The Skinny

"If there’s a more perfect essence of no-wave geek-rock cool than “The Lives Of Charles Douglas” by the Californian outpatient of the same name then I’ve yet to hear it. It’s like a mythical secret treasure in audio form that has been lost for over a decade & now is finally ready to reveal itself to anyone that should still be looking for it." Folk Radio

"A-f*cking-mazing: a record issued briefly in 1999 that is a classic New York album to stand with the Velvet Underground, Television, Ramones and Strokes." Sounds XP

August 30th 2010

Charles Douglas's The Lives of Charles Douglas is officially released on November 1st but you can order your copy now for immediate dispatch!

Charles Douglas’ The Lives of Charles Douglas was released briefly in the US at the end of the 1990’s and is possibly the last great New York rock record of the twentieth century, following a musical trail kick-started by the Velvet Underground and continued by the likes of Television, The Ramones, Galaxie 500, Luna and The Strokes.

You probably haven’t heard it—or indeed of it. Nor had Broken Horse until our interest was aroused by an interview with notorious Elektra A&R man and No. 6 records label boss Terry Tolkin, who named it as his favourite album of all those he had worked on. Given that Tolkin signed Luna, The Afghan Whigs, and Stereolab—and worked with The Flaming Lips, Butthole Surfers, Sonic Youth and Spiritualized—we thought this was a claim worth checking out.

Produced by Maureen “Moe” Tucker from The Velvet Underground, after Douglas struck up a fan/hero relationship with her, the album is a gutbucket kick of Lou Reed-inflected rock music about the glories (and dangers) of girls, drugs, and fast food. Moe also plays drums on the album—because Charles and his band showed up at the studio without a drummer.

Charles Douglas takes up the story from here:

“The studio where we recorded the album was owned by Kurt Ralske from Ultra Vivid Scene, and it was in a crumbling high rise overlooking Penn Station in NYC. Kurt was obsessed with Francoise Hardy and he’d hung giant pictures of her everywhere along with lots of tinfoil, like a speed addict. There was a giant hole in the brick wall of the bathroom, leading to an old airshaft—and the building had a rat problem. We put a sheet of metal over the hole, and at night I’d hear rats banging against the metal, trying to get inside.

It was the summer of 1997, and we all had drug problems—pretty much every single person involved with making the record, except Moe Tucker. One day in the studio, someone pulled a gun over an argument about an unpaid coke dealer. I was terrified, but this was just business as usual. Every night after recording we’d hit the bars on Elektra’s tab and get drunk and go and see bands play. We tried to keep most of this hidden from Moe, because she was about thirty years older than us, and I was afraid she’d quit if she knew how screwed-up we were.

We recorded from eleven AM to ten PM most days, without breaking for meals. Usually someone would run out to get us bagels or French fries. The studio would fill with so much cigarette and pot smoke, there was a perpetual haze in the air that made all of us feel sick. Moe wasn’t bothered by it, though. She just hammered away at her drums like a machine. I was determined to cut most of the tracks live, which meant everything ended up sounding pretty raw. The songs that got recorded were ones I’d chosen from over three hundred home demos. I was convinced we were making a masterpiece.

We finally got kicked out of the Gramercy Park Hotel where my band and I were staying, because I kept pulling the fire alarm. My guitarist, Manish Kalvakota, and I started sleeping on the floor of the studio. The building was filled with sketchy characters, and an apocalyptic feel hung over the whole place. No one had any money and the drugs were making everyone act weird and desperate. I’d stay up all night smoking pot and listening to Kurt’s collection of obscure Krautrock records. Manish eventually headed back to an ashram in the Pocono mountains to cool out, but I decided to stay at Kurt’s studio until the bitter end. The recording process had been pretty fast—twelve songs in ten days—but the mixing process turned into a hellish odyssey. Terry and his business partner Bobby got into some kind of disagreement about the record, and began fighting. Bobby said that Terry stole a bunch of money earmarked for the record. Then Elektra fired Terry, and he left town. So Bobby took the master tapes and hid them. Finally, we got everything back and Kurt started mixing with Moe. The budget just got more and more out of control. But Kurt was a perfectionist. It kind of worked out in the end, because he made the tracks sound crunchy instead of sloppy. Dean Wareham came in at one point to help, too.

After the record was mixed, I quit using drugs, left NYC and moved to Chapel Hill, North Carolina. I was told that the record would never be released. I’d just turned 22 and had spent years of my life writing it, recording it and mixing it. I was extremely depressed, and listening to lots of Nick Drake, naturally. About two years later, the record somehow got released through Caroline Records, which I was very happy about. However, they hadn’t bothered to pay for cover art, so the cover was an old press photo. The credits were all mixed-up inside too, and didn’t even mention Terry Tolkin’s name. There was minimal promotion and distribution, and after the initial pressing sold out, Caroline never bothered to manufacture any more copies.

Looking back on it now, it seems like a wonderful, terrifying fever dream: all the bars, clubs, drugs, girls, and Kurt’s rat-infested studio. The last show I played before leaving New York was a Valentine’s Day party for the label. Lou Reed and Laurie Anderson were there, supposedly. So was Evan Dando. The show was a mess because I was too loaded to play. I wandered out into the street and got a slice of pizza. I ended up sleeping on the floor of Penn Station for a few days before catching a train out of the city.”

2010 UK re-issue

CD: £8.99 (including postage within UK) £9.99 elsewhere

July 25th 2010

Next up on Broken Horse is a re-issue of Charles Douglas' The Lives of Charles Douglas. Produced by and featuring (on drums) Maureen "Moe" Tucker of The Velvet Underground, Lives is possibly THE great lost New York rock record of the 20th Century.

The album originally came out two years too late in 1999 on the No 6 label but was plagued by poor distribution and promotion. If you have a place in your heart for the likes of The Velvet Underground, The Ramones, Daniel Johnston, Violent Femmes or Beat Happening, we are sure you are going to love this record. The album will be repackaged with new artwork(see above) and the best sleeve notes you'll ever read. Here's the lead track Summertime.....

£8.99 (including postage within UK) £9.99 elsewhere

March 8th 2010

Patrick Cleandenim has posted 3 new tracks featuring his new band over at his myspace page.

He has also directed a new video for Brooklyn's Class Actress. Check out the Broken Horse blog for the links for these.

March 1st 2010

Broken Horse is taking a bit of a break for the next few months to re-charge our batteries, pay some bills etc.

Any orders will be dispatched within 1-2 working days as usual though.

Hopefully, the next Kevin Tihista record will be along before too long. Please check the blog for further updates.

In the meantime, Liam Hayes (Plush) can be seen supporting The Clientele and Field Music in Chicago at Lincoln Hall on March 17th.

September 10th 2009

Liam Hayes and Plush - Bright Penny - available now for immediate dispatch! (official release date is September 28th)

CD with 16 page booklet and cardboard outer cover.


Tuesday 13th Hare & Hounds, Birmingham

Wednesday 14th Dulcimer, Manchester

Thursday 15th 229 (small room), London

Friday 16th The King's Head, Crouch End, London

Almost a year to the day of the belated UK release of Plush’s Fed, one of the best reviewed albums of 2008, Broken Horse is thrilled to announce the release of its long awaited follow up, Bright Penny.

Although Bright Penny appears relatively quickly after the UK release of Fed (an album that lay unreleased outside of Japan for six years), its roots go as far back as the initial release and subsequent non-release of Fed. Whilst dealing with the frustrations that accompanied this situation, and dealing with profound personal loss, Hayes managed to maintain his love of music and his craft of songwriting that had been at the centre of his life since he was a child. As recording began and the album’s track listing began to take shape by selecting songs both old and new from his expanding songbook, a narrative of hope, loss and the love of music began to emerge as the record’s theme.

”Music has defined me and it has always been there with me. I have had a lifelong relationship with it. It pretty much saved me when nothing else could. It has also, at points, pushed me close to the edge. That’s the kind of friend it is.”

The idea of music being one’s greatest ally is explored in “ So Much Music”. Other songs such as “Take A Chance”, present a theme of self transformation, while “Look Up, Look Down” offers a picture of the struggle to survive “another day in paradise”. Bright Penny is an album; and beyond being a cohesive album, it is a collection of ten stand alone songs, songs which in the the radio era, could have easily been found playing across the dial.

Buoyed on by the success of the re-issue of Fed and the rapturous reception Hayes received at 2008 UK shows, Bright Penny was completed in mid 2009.

Cast list for Bright Penny

Bright Penny features contributions from such Chicagoans as, Morris Jennings (Chess Records stalwart and Curtis Mayfield’s “Superfly” drummer), Bernard Reed (Jackie Wilson’s bass player and member of Chicago’s legendary Pieces Of Peace), Tom Tom MMLXXXIV (Horn and string arranger for Earth, Wind and Fire, The Jacksons and Phil Collins), The Autumn Defense (Wilco’s John Stirratt and Pat Sansone), Jim Hines and Bob Lizek: Drummer and bassist for the Brian Wilson Band, Howard Levy (Harmonica virtuoso) Tom Lunt of Chicago’s Numero Group and many others.

£8.99 (postage within UK) £9.99 elsewhere

August 13th 2009

The first vinyl release on Broken Horse is a 7" by AC Newman. The single is limited to just 300 copies worldwide and is multi hand stamped and individually numbered. The Heartbreak Rides is one of the key tracks from this year's Get Guity. The B-side is You Have Got To Be Kidding Me, a unreleased Carl Newman original. Order now for immediate dispatch.

The Heartbreak Rides 7"

July 8th 2009

"Bright Penny" the incredible new album by Liam Hayes and Plush has now been completed (including mastering) and will be released on Broken Horse in September 2009, more news soon!

Check out the Blog for latest updates including a couple of great reviews of Andrew Morgan's Please Kid, Remember.

June 29th 2009

Released officially on August 23rd, Patrick Cleandenim's 2nd album "Orange Moonbeam Floorshow" is now available direct from Broken Horse for immediate dispatch. The CD is packaged in a superb outer card sleeve (left) with different artwork to the official cover image (right).

As a young teenager in Lawrence, Kansas, Patrick Cleandenim could be found scribbling song lyrics at the secluded bungalow of the late William S. Burroughs. While Burroughs had moved to Lawrence sixteen years before his death, Patrick Cleandenim was born there. By age 16, Patrick had parted ways with his dark-pop trio Clockwork in order to pursue his solo music. Shortly after self-releasing his up-tempo folk-pop EP "Three Love Songs," (as Patrick Clendenin) he was described as Lawrence's "golden boy" and a "pop-wunderkind." Before graduating from high school he had opened for The Decemberists, The Shins, The Anniversary and Mates of State.

At age 18 Cleandenim was accepted into New York's prestigious Cooper Union School of Art, and in 2003 he packed his bags and moved to the East Village, where he planned to pursue his studies and chase the ghosts of Burroughs, Warhol, Reed, Bowie, and the seemingly endless lineage of legendary New York artists and musicians. After two years of studying art at Cooper, he headed back to Lawrence, where, in the same studio that Burroughs and Kurt Cobain recorded their cult collaboration "The Priest They Called Him," Cleandenim cut ten tracks for his debut full-length "Baby Comes Home."

Just under two years since the release of "Baby Comes Home", a sweeping orchestral pop classic that received critical acclaim on both sides of the Atlantic via it's European release on Broken Horse (Plush, The Autumn Defense, A.C Newman) and Stateside on Ba Da Bing! (Beirut, Dead C), Cleandenim is set to release it's follow up "Orange Moonbeam Floorshow", an almost totaly complete departure from his debut. Shortly after graduating from Cooper Union, Cleandenim began work on ten songs that would form the anticipated follow-up to his 2007 debut. Together with classmates Oto Gillen, Eugene Wasserman and brother Stuart Perry (collectively known as Living Image), he recorded preliminary versions of each track. By August 2008, he had initiated a collaboration with Producer/Arranger Jay Israelson. Originally, Israelson had signed-on to create back-tracks for Cleandenim's planned live "floorshow". Yet the sessions were so successful that the pair completed the production of an entire LP and came to the decision to release the collaboration as "Orange Moonbeam Floorshow".

"Orange Moonbeam" is a cinematic exploration into the language of early 1980s commercial pop and dance music. Stylistically Cleandenim attempts to invoke the mechanical electronic production-value utilized by Kraftwerk and Madonna (specifically her 1982 self titled debut). Although simultaneously, he manages to retain a keen sense of lush orchestration and dynamic arrangements, which are brought to life by Israelson. The combination of these two elements makes for a truly genre-defying creation. Throughout his production Israelson scales the highest points of 80s, 90s, and contemporary pop and hip-hop production, laying the groundwork for Cleandenim's structure of lyrical and melodic cross-referencing. Cleandenim describes the album as "a voyeuristic glimpse upon an apocalyptic panorama, in which sinful youth traverse the streets of an ambiguous metropolitan cityscape." Assembling a bio-morphic collage of Gotham, Atlantis and Emerald City, Cleandenim paints a melancholic tableau of city life at the turn of the 21st century. With a vocal style influenced by Sinatra, Presley and Bowie, he tells a story of poetic horror, camp science-fiction and pop existentialism.

Having only recently turned 24, it would seem possible that Cleandenim has the potential to morph with the ease of the likes of Beck or Damon Albarn, changing skins and stretching the boundaries of genre and style. According to Cleandenim, "Orange Moonbeam" is influenced by the 2007 release, "Cheri B.B.," by French producer/recording artist Bertrand Burgalot. He calls the album an "haute-couture take on conventions of pop-production." Where album #3 will take him at this stage is anyone's guess. After completing Orange Moonbeam Floorshow in late summer 2008, Patrick set-off for Berlin, where he spent three months developing his live performance at venues around the city. Patrick focuses on the show's aesthetic values rather than any live instrumentation. Performing shows regularly in both Manhatten and Brooklyn which include a light-show, choreographed dancers and additional sound-collages, the show ushes the performance out of the realm of conventional live-music, and into Cleandenim's vision of electronic-dance theatre. On "Orange Moonbeam Floorshow"'s UK/European release Patrick intends to bring the show to Europe as soon as possible.

£8.99 (including worldwide shipping excluding Japan)


June 16th 2009

Next up on Broken Horse is the long awaited 2nd album by Andrew Morgan - Please Kid, Remember.

Officially released on July 20th, the album is available now direct from Broken Horse for immediate dispatch.

Initial copies of the album will also contain a bonus 8 track CD EP called Victory in Passing.

The last time you may have heard from Andrew Morgan was way back in 2004. Broken Horse released his debut album "Misadventures in Radiology" which had been recorded in part with free studio time donated by Elliott Smith in his Los Angeles New Monkey studio.

Misadventures was recorded with a host of musicians including, most notably, former Built to Spill cellist John McMahon. In an effort to channel the spirit behind Miles Davis' Kind of Blue, hundreds of song takes were improvised, with the most inspired renditions being selected for development. Orchestral overdubs were then painstakingly added in Lawrence, Kansas over the course of several months at the University of Kansas' Murphy Hall and Campanile Tower. Recording halted when Morgan lost his hearing for six weeks after nearly being killed when a tornado struck the apartment he was staying in. Upon its eventual completion and subsequent release, Misadventures in Radiology picked up great reviews on both sides of the Atlantic and even made it into Uncut's albums of the year list.

Though Morgan was ready to begin recording Please Kid, Remember as long ago as 2003, the album was waylaid by unforeseen circumstances time and again. Illness, poverty, debt, heartbreak, and the truly bizarre all plagued the album from start to finish. The near death run-in with a Kansas tornado forced Morgan to begin writing the album in a state of severely impaired hearing. Later, a toxic allergic reaction resulted in three months of vocal chord paralysis and confronted the songwriter with a risky surgical procedure. In between, Morgan lost one friend & mentor to suicide, another to institutionalization, and saw his own nerves utterly disintegrate. An early torso of the album, a madness-themed collection recorded under the title A Unified Theory of Everything, was abandoned.

The intitial sessions for Please Kid, Remember were held in a warehourse designed by Frank Lloyd Wright in Chicago's gritty Humboldt Park neighborhood -- one of the architect's last corporate projects in the days before his more celebrated independent career. The task of equaling the sonic fidelity lent to Morgan's debut Misadventures in Radiology by Elliott Smith's world class New Monkey studio was extremely difficult. Disappointing early results, both in Chicago and Kansas, left no choice other than to scrap all but a few string quartet passages and start again. Another year went by as Morgan returned to Boston to finish school, and then in summer 2007, everything came together. Thanks to the kindness and generosity of old friend Jason Mallet, Mixtape Soundlab owner Jerett Fulton, and sound engineer Jim Vollentine (Spoon), Morgan was able to work in a proper studio environment and finally realize his vision for the album.

Please Kid, Remember picks up where dreaming debut Misadventures in Radiology leaves off. The second installment in the Kansas City-born songwriter's "Exile Trilogy," "Andrew Morgan" evokes cornerstone chamber pop albums like The Zombies' Odessey & Oracle and Badly Drawn Boy's The Hour of the Bewilderbeast, yet bears a scope of arrangement and diversity of instrumentation all its own. A sense of wonder unifies the album's 17 tracks, which find a kindred spirit as much in mid-20th century Disney animated features as in the magical realism of Magritte, Jean-Pierre Jeunet, and The Clientele. Brought to life by a cast of 33 from October 1999 - May 2008 in 11 cities across 7 states and 2 countries, Please Kid, Remember is a collection that is at once familiar and thrillingly foreign-- a thread of pop classicism that, while schooled in tradition, celebrates imagination above all.

Compared to its predecessor, Please Kid, Remember is shorter, faster, and poppier. Waltzes still predominate, but are brisk & stately rather than swooning & syncopated. Tellingly, the album is 20 minutes shorter in running time despite possessing a tracklisting more lengthy and peppered with interstitial pieces. With the exception of one track, Misadventures in Radiology utilizes exclusively acoustic instruments: 12-string acoustic guitar, upright bass, grand piano, harpsichord, strings, sleighbells, French Horn, harp, timpani, glockenspiel, and Elliott Smith's beloved harmonium. Please Kid, Remember features many of these same instruments, but also introduces electric guitars and bass, mellotron, a girl's choir, and an assortment of tambourines, shakers, and handclaps.

At the time of writing, Andrew Morgan is currently living in Lawrence, Kansas, quite content to live the quiet life after having spent the past several years pinballing around the world. Work has already began on his next release - he is immersed in pre-production for new album Grey Light of the Season, and will hopefully return to the UK for shows this year.

Andrew Morgan - Please Kid, Remember 2 CD edition

DISC 1: Please Kid, Remember

01. Leaves
02. Please Kid, Remember
03. Snow
04. Turn Your Collar to the Cold
05. Victory in Passing
06. As Long As We're Together
07. Moscow
08. First Snow of the Year
09. Please Kid, Remember (II)
10. Five Paintings
11. Daybreak, Broad St.
12. A Gesture of Love
13. Mine and Mine Alone
14. For a Little While
15. Three Months in Cook County
16. Please Kid, Remember (III)
17. Leaves (II)

DISC 2: Victory in Passing

01. Victory in Passing
02. A Simple Plan
03. A Unified Theory
04. Biology
05. A Little Discipline
06. Somerset Place
07. We Almost Made It
08. First Light, Stoneback Drive

Available now for worldwide delivery (excluding Japan) for £8.99 (approx $15 US)

May 12th 2009

Ahead of the Broken Horse release of Patrick Cleandenim's Orange Moonbeam Floorshow album this summer, we have a very limited number of the Hotel Gansevoort/Stage Fright 7" on Patrick's Sphinx Groop label for sale.

These orange label 45's are limited to a one off pressing of 300 copies and are hand stamped in red ink by Patrick himself and were pressed in Nashville, TN.
The inserts were printed up in Lawrence, Kansas.
The copies available for UK distribution also carry the Broken Horse logo (again hand stamped).
The prices below include postage to your country of choice.

choose country


"Hotel gansevoort' and 'stage fright' by patrick cleandenim is a super limited edition of 300 copies. at the moment it's available from patrick at his shows and via few special shops. the single is on patrick's own sphinx label and each single is hand stamped. 'hotel gansevoort' is a delicious slice of 80's orchestral pop that sits somewhere between patrick wolf, japan and david bowie."


March 23rd 2009

A.C Newman will tour the UK in May, supported on the London, Manchester and Glasgow shows by Broken Horse artist Andrew Morgan.

The Luminaire, Kilburn London - Tuesday 19th May

Retro Bar, Sackville St, Manchester - Wednesday 20th May

ABC2, Glasgow - Thursday 21st May

Dot To Dot Festival, Bristol - Saturday 23rd May

Dot To Dot Festival, Manchester - Sunday 24th May

Tickets available from usual outlets and wegottickets.com (London and Manchester).

Feb 2nd 2009

You can now A.C Newman's Get Guilty CD. Orders will be shipped right away so you will be able to get your hands on the album ahead of it's official UK release but at the same time as folks in the USA & Canada. The album is packaged in a superb three panel digipak sleeve and includes the lyrics to all the songs.

The price is £8.99 (UK) and £9.99 (Europe) including delivery.

UK or Europe

Praise for Get Guilty (so far)...

"Like all Newman records, it shows off his smarts and maintains a strong hook quotient..." Rolling Stone

"Newman is an unconstructed pop classicist fascinated by the warp and weft of pop creation" The Independent (album of the week)

"Get Guilty is another batch of complex, yet catchy orchestral art-pop tunes" Uncut

"Get Guilty bursts with dazzling tunes " Q ****

"Carl Newman's prolific output suggests he's got more melodies than he knows what to do with" The Independent (Saturday edition)

"7.5/10" Pitchfork

North American Tour Dates

* 2/20 Vancouver, BC The Biltmore* * 2/21 Seattle, WA Neumos* * 2/22 Portland, OR Doug Fir Lounge* * 2/24 Sacramento, CA Harlow's* * 2/25 San Diego, CA Casbah* * 2/26 Los Angeles, CA Troubadour* * 2/27 Santa Barbara, CA Club Mercy* * 2/28 San Francisco, CA The Independent* * 3/1 Eugene, OR John Henry's* * 3/10 Ithaca, NY Castaways* * 3/11 Toronto, ON Lee's Palace* * 3/12 Montreal, QC Il Motore* * 3/13 Providence, RI Club Hell* * 3/14 Boston, MA Paradise* * 3/15 New York, NY Bowery Ballroom* * 3/17 Philadelphia, PA Johnny Brenda's** * 3/18 Washington, DC Black Cat ** * 3/19 Chapel Hill, NC Cat's Cradle** * 3/20 Atlanta, GA The Earl** * 3/21 Nashville, TN Mercy Lounge** * 3/22 St. Louis, MO Blueberry Hill** * 3/24 Minneapolis, MN 400 Bar** * 3/25 Chicago, IL Logan Square Auditorium** * 3/26 Pontiac, MI The Pike Room at The Crofoot** * 3/27 Cleveland, OH Grog Shop** * 3/28 Pittsburgh, PA Andy Warhol Museum**

* with Dent May & His Magnificent Ukulele

** with The Broken West


Coming up on Broken Horse in 2009

Liam Hayes & Plush - Bright Penny

Patrick Cleandenim - Orange Moonbeam Floorshow

Andrew Morgan - Please Kid, Remember

November 17th 2008

Coming soon! AC Newman's Get Guilty.

more info here

August 11th 2008


Tue 2nd Sep 2008 The Railway Winchester

Wed 3rd Sep 2008 Luminaire London

Thu 4th Sep 2008 Cabaret Voltaire Edinburgh

Fri 5th Sep 2008 The Cluny Newcastle

Sun 7th Sep 2008 Clwb Ifor Bach Cardiff

Mon 8th Sep 2008 Brudenell Social Club Leeds

Tue 9th Sep 2008 Night & Day Manchester

Tickets available from regular outlets.

Many thanks to Sarah @ Fanatastic Artists Booking for putting the tour together.

August 10th 2008

Fed is available now for immediate dispatch for £10.00 (worldwide include shipping).

Ahead of it's release on August 25th, Plush's Fed has received a full page 5 star review in Uncut, a superb lead review in Plan B and 4 stars in both Mojo and Q. More to come soon we hope...

"Fed is beautifully excessive, ornamented with dazzling soul/pop arrangements. And the songs are glorious..." UNCUT *****

"Fed is a symphony of Burt Bacharach-inspired pop, blaxploitation-influenced soul and timeless balladeering, bound together by Liam Hayes' uncompromising vision." THE GUARDIAN *****

"Fed is something of a lost classic" MOJO ****

"It's a banquet of sonic gorgeousness" NME 8/10

"Fed can be finally heard as a testament to Hayes's widescreen obsessions" Q ****

"Perfect takes time" PLAN B

"Modern classic for fans of Wilson or Bacharach" RECORD COLLECTOR ****


Plush's Fed to be released on Broken Horse on August 25th 2008

Six years after its Japan-only release on the After Hours label, Broken Horse is thrilled to announce the first European release of the much-talked- about but seldom-heard Fed, the second album by Liam Hayes' Plush.

Since Plush's debut 7", Three Quarters Blind Eyes / Found A Little Baby was released to universal praise in 1994 on Drag City, the tale of Plush has been one mostly concerned with the promise of new recordings, scrapped sessions, rumour and speculation concerning Hayes' quest to match the songs in his head with the recordings in his hand. What has been vastly over-looked is the music.

It was four years before Drag City released Plush's debut album, More You Becomes You. Few albums can be described as being truly unique, but More You Becomes You is, without doubt, one of those albums that can actually put in a serious bid for that description. While a full-blown orchestral pop album was indeed planned, Hayes instead delivered a uniquely minimal set of intimate piano & vocal ballads, which somehow managed to present a unique, first-take feel despite the incredible attention to detail Hayes applied to the performances and recordings that had actually taken place.

Following the release of More You Becomes You, Hayes immediately went back to work on his original vision of the sound that Plush's debut 45 promised. Once an initial guide draft was completed (this would later surface on Drag City imprint Sea Note as Underfed), Hayes submerged himself in a quest for perfection, spending several years on the selection of musicians and studios, arrangements, conducting orchestral players, overdubbing, listening, re-listening and piecing together takes to bring the ultimate version of Fed to the table.

Although upon completion Hayes found himself without a label in either the US or Europe, the artistic success of the album could not be denied. Throughout its 14 tracks, from the roaring opening track "Whose Blues" to "the epic "No Education" to the pop-masterpiece "Born Together" to the closing lullaby "The Woods," Fed remains spectacularly melodic and inventive throughout. Upon its Japanese release, Uncut called the album "the dazzling symphonic album he always threatened to produce," whilst Rolling Stone called it a "soulful symphonic masterpiece" suggesting that its non-domestic release was further proof of the decline of American culture. After six years, Fed may only barely qualify as a re-issue, but it just might be the re-issue of the year. Fast-forward to the present. A news flash: Hayes has nearly completed the follow up to Fed, "Bright Penny" which will be released in early 2009. It promises to be his most accessible to date, an album that, according to Hayes, "reaches out to the listener, any listener," still challenging the pop status-quo, whilst bearing all the hallmarks of his unique songwriting and arranging talents.

We can't wait.

July 7th 2008

Silver Ray the acclaimed instrumental three piece from Melbourne, Australia release their fourth album "Homes For Everyone" on Broken Horse on July 14th. "Homes For Everyone" is the band first album since late 2004's critically acclaimed "Humans" which coincided with their first visit to European shores to support Nick Cave & The Bad Seeds on their Abattoir Blues/The Lyre of Orpheus tour. Since then the band kept a low profile, playing the occasional Melbourne show whilst band leader and guitarist Cam Butler kept busy with a clutch of solo albums (Go Slow, See (Symphony No 1) and Healing Feelings).

Returning to the studio on October 2006, the band began work on their fourth & most varied album to date "Homes For Everyone". For the first time, the album would feature writing contributions from all three members and the songs were deliberately kept shorter than on their first three albums. "Humans'" opening track "Winter is Behind us" had clocked in at nearly 15 minutes. Also the band turned it's back on it's usual recording live in the studio method. Moving in keyboard player Julitha Ryan's upright piano into the studio (yet another first), the band also allowed themselves the luxury of overdubs, whilst aiming to preserve their live sound as much as possible by recording the basic tracks live. In the end guitar loops, bells, tambourine, synth bass, gong, clarinet, cello and a string section (on Streets of Melbourne) amongst over tricks and touches were brought into play against the band's regular guitar, drums and keyboards foundations.

The resulting album Broken Horse believes is their strongest and most satisfying to date. Ten new tracks that manage to be both concise and cinematic, resulting in dramatic changes of mood throughout brought to you by a band at their height of their powers.


"And that mood can take you anywhere, as Silver Ray's music has real power and depth, with none of that sense of virtuosos showing off their chops that you can get with too many instrumental albums. Occasionally there are strange echoes: the guitar figure on the intro to "Piglet" recalls the Bee Gees "Massachusetts" and Cam Butler's lead playing on the title track has distinct echoes of David Gilmour circa "Wish You Were Here" (and, slightly more bizarrely, early Focus). In the main though their music is their own, and it has a sense of drama, a widescreen vista that puts them well up in the post-rock hierarchy." (Americana UK)

"They've broken their silence with their most cohesive music to date. Homes..is the first album to feature overdubs,adding bells, whistles, synths and gongs to the basic live recordings of drums, keyboard and guitar." (Q)

"Their loud-soft dynamics aren't as wrenching as Mogwai or Godspeed You! Black Emperor. I often equate them as a spaghetti-western stamp on Mogwai's more playful moments. (The Line of Best Fit)

"After a four year absence from the international music scene, Melbourne threesome Silver Ray are back, bringing with them a fourth and possibly definitive record. Cinematically dramatic, Homes For Everyone shows clear progression from the groups previous release Humans, such development achieved through the concise yet indulgent use of instrumental variety and experimentation" (subba-cultcha.com)

"The three piece of Cam Butler, Brett Poliness and Julitha Ryan create a sweet instrumental balance: looping guitars, a dolorous cello, piano, gong, clarinet and a whole string section on "Streets of Melbourne'. The effect is frequently cinematic and often pretty" (soundsxp.com)

"Less abrasive than Mogwai or Godspeed! You Black Emperor, darker and more demanding than Explosions In The Sky, Silver Ray's strengths lie in their intricacy, their versatility, and their restraint. With just a skeleton crew they carve vast soundscapes that soar and dive, by turns delicate and plaintive, driving and caustic." (musicomh.com 4/5)

"Silver Ray have more of an ensemble sound for the most part, taking up an expansive sound palette from the outset: 'You Know The Truth', 'Piglet' and 'Prove It, Don Quixote!' offer up lyrical, cinematic instrumental passages that might be branded post-rock but for their sensible evasion of genre structuring conventions (no quiet-loud, by-numbers songwriting here)." (Boomkat.com)

"Fourth album from this Australian group. Lush instrumental post rock whose defining characteristic is a sound that is more life-affirming than the more apocalyptic approach which is present in much of this genre. Highly cinematic stuff for fans of 90 Day Men or Explosions In The Sky." (www.jumborecords.co.uk)

Silver Ray's Homes For Everyone is available now for immediate dispatch for £7.99 (worldwide include shipping).

Silver Ray - Reunion (from Homes For Everyone) - filmed by Brett Poliness and Michelangelo Russo, edited by Michelangelo Russo.

February 22nd 2008

We are extremley proud to be releasing the self titled (& 3rd) album by The Autumn Defense which is John Stirratt & Pat Sansone of Wilco. They are joined on the album by Nels Cline, Brad Jones and Greg Wieczorek.

The artwork has been specially re-designed by Pat Sansone himself for the Broken Horse issue and if we say so ourselves, looks great. Its official release date is February 25th but is available directly from us now (for immediate dispatch).

The album has already picked up a handful of great reviews and more we hope are on the horizon. At the moment, we are hoping Pat & John will be over for a few select live dates in April (more info as we have it).

Also look out for "Winterlight" on the covermount CD accompanying the current issue of The Word.

"reference points include Nick Drake and CSN, Bread, Big Star and the essence of Love, Steely Dan and a dozen others" MOJO ****

"never less than utterly gorgeous" THE WORD

"wilco offshoot spins gorgeous soft rock" Q ****

"edifying and beautifully textured third out from Wilco men John Stirratt and Pat Sansone" DAILY MIRROR ****

"soft rock at it's most elegant." TIME OUT

Listen to The Autumn Defense (my space)

The Autumn Defense CD £8.99 inc postage (UK/Europe).

August 13th

Apologies for the lack of updates on this site, please check the Broken Horse blog for much more regular updates (reviews, news,playlists and general happenings).

Patrick Cleandenim's Baby Comes Home has now been released in the U.S on the mighty fine Ba Da Bing! label and momentum is gaterhing on a daily basis.

Here's the word on the street so far

"I honestly can't imagine how Patrick Cleandenim will ever be able to follow this work up, as debuts of this caliber are pretty rare. No use worrying about that now, however, as this album has far from overstayed its welcome in my CD player. Baby Come Home is one of those records that reveals itself a little more with each listen, and I'm still listening" Other Music (NYC)

"He enlisted a cast of old pals and some music students and this timeless, cracking album resulted....The collision of expansive arrangements, smart songwriting and slightly amateurish sound quality makes for something truly original" (The Times)

"Music that swings (remember that?), all sleighbells, vibraphone, and sophisticated brass and vocal parts, topped off by Cleandenim's rich delivery and lush strings, testament to his skills as a classic-pop arranger based on an encyclopedic knowledge of everything from Motown to movie soundtracks to gritty mid-60s R&B." (The Guardian)

"An unexpected gem of an album" (WORD magazine)

"This newcomer has created a songbook with class, Rat Pack sass and a self assuredness that will make the Scissor Sisters check their shadow"(The Stool Pigeon)

"Cleandenim has crafted a magnificent album" (Alternative Ulster)

"Like debuts by The Strokes, Oasis, and even The Beatles, Baby Comes Home is a wall-to-wall clinic in songwriting...It's an instant classic a page from pop's golden era brought to life in the 21st century" (Daytrotter)

"Patrick Cleandenim will remind you of The Association, David Axelrod, Marvin Gaye, Bobby Darin, Prefab Sprout, early Todd Rundgren, ELO with soul and any number of legendary Brill Building singers and songwriters. The connection between The Delfonics and Rufus Wainwright, Cleandenim's debut is big and sweeping and oh so Sixties. The stunning album is called Baby Comes Home "(Some Velvet Blog)

"it's certainly only a matter of time before Patrick Cleandenim's big tunes are big news." (Turn The Page)

"Baby Comes Home' is so utterly accomplished, it comes over like a master-class in songwriting, albeit a very enjoyable one." (Urban Junkies)

"For the second year in a row, it seems that the small Ba Da Bing! Records has a big time winner on its hands.. Who knows where he'll go from here, but this is one heck of a great start." (Almost Cool)

"To say Baby Comes Home is a promising solo debut is putting it lightly; this is a phenomenal debut of sheer (and somewhat already met) potential." (Audiversity)

"one of the most authentic pop albums in what feels like decades." (Rant Magazine)

"Like Scott Walker joining arms with Divine Comedy, 'Baby Comes Home' has a depth and eloquence above and beyond."(Flux)

"Patrick Cleandenim is an orchestral pop prodigy and Baby Comes Home should be your new best friend" (Swell)

April 16th

Patrick Cleandenim Baby Comes Home CD £8.99 inc postage (UK/Europe).

Patrick Cleandenim's Baby Comes Home has been picking up some rave reviews.

"A cracking,timeless album...something truly original" THE TIMES (4/5)

"An unexpected gem" WORD

"This newcomer has created a songbook with class, Rat Pack sass and a self-assuredness that'll make the Scissor Sisters check their shadow. " THE STOOL PIGEON

"A songwriter and performer who gives the impression he just doesn't know how to aim low" ALTERNATIVE ULSTER

"Baby Comes Home' boasts a youthful exuberance that makes you want to skip in the street or start kissing people" NEW NOISE.NET


Patrick Cleandenim (my space)

Broken Horse (my space)

We are also very happy to announce that Baby Comes Home will be released in the U.S on Ba Da Bing! records sometime in June.The label is best known for giving the world the terrific Beirut album "Gulag Orkesta" (the underground hit of 2006) as well as being responsible for releasing albums by Comets on Fire, Sons and Daughters, The Dead C and a host of others.

You can now buy/pre-order Baby Comes Home from the following online retailers:




March 14th 2007

Patrick Cleandenim's Baby Comes Home will be released on April 30th 2007. Word magazine have already given it a rave review (see blog for clipping) and described it as "an unexpected gem" of an album. The album will also be released in the U.S in the near future on a super hip/happening label of the moment (more info soon!)

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