John Abercrombie

Cat 'n' Mouse

Add the considerable talents of violinist Mark Feldman to the sensitive guitar stylings of ECM stalwart John Abercrombie and you've got the makings of one of this brilliant artist's finest recordings for a number of years.

Jennie Abrahamson

Gemini Gemini

    Fourth album from Swedish Jennie Abrahamson. Includes collaborations with Johannes Berglund (The Knife, Owen Pallet).

    Johan Agebjörn releases a new solo album, ‘Notes’; a dreamy, melancholic and mostly instrumental collection of songs.

    The starting point for the album was the electric piano sound of the Casio MT-52, a cheap keyboard from the early 80s that was mostly used on an amateur level. It's used (together with other sounds) on almost every track on the album.

    Agebjörn says “There's some kind of unintended sadness, simplicity and authenticity in the Casio MT-52 sound. Most of the tracks are without drums. Lately I've felt that drums are mostly in the way, taking attention from details of the harmonies in the music, especially when there are a lot of notes (e.g. in arpeggios). Often I've had long drumless intros on my productions, for that reason, and since this is not at all intended to be dance music, I (in most cases) decided to let the harmonies stand for themselves. It sounds more naked and clear, though on some tracks I used some drums to obtain some more energy and motion.

    The album includes collaborations with Sally Shapiro, Loney Dear and Young Galaxy (as well as a remix for Brain Machine that fits to the album's style). Some songs sounded like instrumental versions of pop songs, so I decided to have vocals on them. It was of course natural to ask Sally on two tracks. Loney Dear and Young Galaxy are both making dreamy music with great expression, so I thought they would both be exciting collaborators on this album, and I'm honored they wanted to sing on my productions."


    2xCD Info: Includes bonus CD 'Music With Less Electricity'.

    JM Airis

    Wild Birds

      Below the hustle and bustle of New York City’s streets, lies ‘Terminal NY’, the bunker-come-recording studio of Wisconsin journeyman-songwriter JM Airis. It’s where Wild Birds was conceived - Airis’ striking new noir-folk album that’s all set to soar from the grit of the Brooklyn basement and circle the Empire State Building, bringing a moment of calm to the pulsing heartbeat of the big city.

      Airis covers a lot of territory with this album, from the swaggering to the solemn as he delves into the darker side of Americana music. Filled with heavy emotions and heart felt lyrics, Wild Birds pushes the prominence of airy spaces, synth notes, and the relegation of guitars to a supporting role pushing this recording to the edge of folk noir, if it’s even definable.
      From structure to sound, Airis is deliberate in his creation of making even the least audible punctuations perfect. Every single chime, raw rhythm, and acoustic string reverberation is exactly as Airis intended it to be, all while not being over produced.

      All together, Wild Birds is a bare-eyed view from above, a finished mirror of the simplicity distance provides and a back-to-the-land reminder that not everyone in the city is singing songs about the hustle.

      Whilst Airis’ previous offering Indian Summer was applauded for its traditional grass roots approach that couldn’t be further from his time as drummer in NYC outfit Dead Sparrows, Wild Birds brings everything bang up to date with the prominence of synths, airy spaces and the relegation of guitars to supporting role.

      Surrounded by old 50s and 60s tube schematics and internet forum kits that manifest as functional Microphones, EQs, Compressors and Preamps within the concrete and tin frame of the converted textile warehouse, what they lack in authenticity is more than made up for with their unique and honest sound. From the southern-gothic style of ‘False Birds’ that recalls the lo-fi nature of BRMC’s semi-acoustic album Howl, to ‘Infinite Sun’s neo-country slide guitar and the moody narco-blues of ‘Cant Hurry’, each song stokes the fire that is Airis’ creative process and is a further exploration into the darker psyche of Americana.

      Recorded almost entirely by Airis himself, leading the way on guitar and vocals, he also enlisted the skills of Young Magic’s Melati Malay who provides backing vocals to the blissed-out, reverb heavy ‘14 Shadows’, plus the technical expertise of Kloke records’ Kloke (high guitar), Ryan Olson (electric drums), and Solid Gold’s Adam Hurlburt (bass) with the “Wild Birds” live band consisting Graham Finn (synth/slide guitar/bass), Street Smells’ Evie Beach (keyboard/drums), and Alan O’Keeffe (guitar).


      2xLP Info: Double LP on black vinyl (please note no download code included).
      LP comes with a loose insert.

      This wonderful self-titled album by pianist, singer and composer, Johnny Alf, was first released on vinyl in 1966 by Rozenblit. Here the bossa nova pioneer sings beautiful songs, featuring the legendary musicians Hermeto Paschoal (flute) and Airto Moreira (drums).

      When Alf was 9, his mother's employers, picking up on his talent for music, offered him a deal: if he passed the entrance exams to a well-regarded local state school, they would pay for his piano lessons. Alf spent the next six years studying classical piano, Brazilian popular music and US jazz. Heavily influenced by composers such Ss Debussy and Bach, as well as jazz musicians such as Cole Porter and George Gershwin, Alf co-founded a Frank Sinatra fanclub in Rio in the late 1940s.

      His first major career break came when he was recruited to play in Hotel Plaza in the Copacabana neighbourhood, a meeting point for musicians that many see as the birthplace of bossa nova. Among the regulars were Carlos Lyra, Roberto Menescal and Antonio Carlos Jobim (Girl from Ipanema). Alf's reputation for pioneering a new sound earned him the nickname 'Senhor Modernidade' - Mr Modernity.

      Over the following decades, artists such as Simone, Alcione and Emilio Santiago recorded Alf's tracks. He produced only 20 records, yet he had a huge impact on his country's music.

      He died aged 80 in 2010. After his death, the lyrics to one of his best-known songs - Eu e a Brisa (Me and the Breeze) were read out in the Brazilian senate.

      JT Allen & Little Richard's Band

      Working Hard / Freeway Crowd

      Belting double sider from Atlanta, Georgia. 'Freeway Crowd' should please any raw funk aficionado, kicking things off with a cracking break for all the hip hop heads. Super rare, and fetching over £400 for an original copy Crowbar felt this gem of a record deserved to see the light of day again. The label were actually offered a large sum of money from a jealous collector who wanted to stop this incredible record being re-released. Sorry blubbs. Luckily money isn't everything to the Crowbar peeps and since the band originally cut the record to entertain, they thought they would be doing the band and of course you an injustice by not making this beauty available for release again nearly 30 years after it was originally recorded. So here it is fully licensed, remastered, and ready to go at a much more affordable price. "Don't you believe in magic? Slow down.... Lets enjoy the ride". 'Working Hard' on the other hand is one of those hard-edged funky mid-70s socio message dancefloor bombs that does it just right. Hugely in-demand on both soul and funk scenes. Very limited press.

      Get yours before they are gone.


      7" Info: Limited dinked 45.

      Jack Allett

      The Collapsing Middle

        Debut full length vinyl release from Jack Allett, formerly known as Spoono, who previously had a CDR on Blackest Rainbow followed by a split LP with Cam Deas, and a 7" on The Great Pop Supplement. Jack also plays with Ben Knight (Helhesten) in the duo Towering Breaker. This debut waxer is a fine introduction to one of the UK's most interesting solo guitarists. Jack blends sublime finger picking with swirling drones and psychedelic static to create a sound that is very much his own. A must for fans of acoustic guitar music from the past few years, Jack could well be one of the most interesting players there is at the moment.


        Ltd LP Info: Vinyl edition is housed in a full colour pro printed sleeve and is pressed on heavyweight black virgin vinyl and also comes with a CD copy.

        Johnny Amelio

        Jugue / Downbeats

        Super rare wild rocker from California on the Blue Moon label with one of the heaviest frantic rockabilly with killer guitar breaks ever and sexy sax to boot. Johnny Amelio is now a Pastor of a small Church in California, and a very nice guy. "Jugue" was written and recorded by Johnny Amelio 1958 with backing from Bill Paradis and his Downbeats, who get their eponymous "Downbeats" track on the flip.

        Jamie Anderson & Content (Jesse Rose)

        Body Jackin'

        This is the first release by Jesse Rose and Jamie Anderson on Gigolo Records. And what better way to debut for the label than with a new track based on four times Grammy nominee Steve 'Silk' Hurley's classic house hit "Jack Your Body". 20 years after the track originally scored US and UK number ones, Rose and Anderson pay respect to Silk with "Body Jackin'".

        Jason Anderson

        The Hopeful And The Unafraid

        With six officially released albums, two more in the can, four probably-never-to-see-the-light-of-day records in his closet, a few live albums on the shelf and a Myspace song-a-day project, the quietly prolific Jason Anderson returns to K with "The Hopeful And The Unafraid". While he also played guitar in Mount Eerie, has drummed with Tilly And The Wall, and played piano with David Dondero, you've probably heard little about him. "The Hopeful.." was made at Soma Studios in Chicago, on a two-day tour break in January of 2006. Recorded in a matter of hours-tracking the vocals, guitars, and drums simultaneously-Jason's goal was to make an organic documentation of songs he'd been playing every night for half a decade. Thusly, all the vocal parts are first takes. There were some indulgences, though, as some guys who used to play in Magnolia Electric Co. came by to put down pedal steel and guitar leads. The album takes a stab at capturing some of the energy Jason loves putting into every show he plays, whether there are five or fifty people present.

        Joey Anderson

        Earth Calls

        Arriving completely out of the blue and unexpectedly, Joey Anderson supplies the deep dark electronics on the latest Deconstruct release. Deconstruct records became hugely sought after the small runs causes nightclub devastation through tracks by Levon Vincent and DJ Qu. This is only the forth release since 2008! Joey Anderson is relatively unknown apart from a collaboration with DJ Qu and a solo EP on UntilMyHeartStops. The title track "Earth Calls" is one of those mind-bending electronic house trips synonymous with this and their parent label Underground Quality. The super extended arrangement (well over ten minutes) moves through an eerie collage of loose piano notes, gliding synth bass, darting leads and some really unique dub / echo artifacts; making for a brilliant atmosphere track, a mood setter of the highest order, and a great way to get your already-filling-up-quite-nicely dancefloor into a squashed-like-sardines-and-ready-to-dance-mosh-pit! "Hydrine" on the flip uses big synthesized tom toms and some metallic leads and washes to create a suspended trip through a mechanized futurescape. Soon enough you're lost deep within the nuclear core of the record, far from reach of any human interference. The track fizzes and crackles on regardless, its machine code rhythms relentless in their actions. Superb record! Act NOW!


        Ltd 12" Info: one copy found!

        John Andrews & The Yawns

        Bit By The Fang

          "Bit by the Fang is the first solo album from singer / songwriter John Andrews and his imaginary backup band The Yawns. Andrews began recording the album in 2013 while working at a Salvation Army in the Amish country of Lancaster, PA, his home at the time. As the new year rolled around, he followed a demanding schedule of writing, recording and touring with both Quilt (drums) and Woods (keys). It wasn’t until a well-earned break that he found the time and energy to complete the solo record he started months before. He recounts the difficulties involved: ‘Traveling so much caused my whole living scenario in PA to kind of fall apart,’ he tells, lamenting over the comfort only home can provide. As he moved back to his hometown of Yardville, NJ, he set up camp in his grandparents’ empty living room to record and perform everything entirely by himself once again.

          “Warm acoustic guitars, honky-tonk piano, lap steel, singing saw and fluttering violins all sing together on this well crafted, yet comfortingly sloppy, psych-country / R&B record. A self-taught piano player, Andrews maneuvers with the precision of a player well beyond his years. Lyrically and stylistically he tackles the subject of death with the lightheartedness of a Saturday morning cartoon in ‘”I’ll Go to Your Funeral (If You Go to Mine).’ It’s hard not to conjure comparisons to Michael Hurley, Daniel Johnston or Kevin Ayers. This album is a great introduction to the grandiose fables of characters at the mercy of Andrews’s oddball mind.” - Jeffrey Silverstein.


          Includes MP3 Download Code.

          John Arnold Feat. Ty

          Style And Pattern (Nuff Version) - Moonstarr Remix

          After dropping the ace "Rise Up" on the "Heavyweight" sampler, John Arnold returns with a storming club joint featuring Big Dada's Ty on vocals, who flexes his lyrical dexterity over frantic broken afro beats and a rude bassline. The resulting "Style And Pattern" (also the title track from Arnold's sophmore LP for Ubiquity - due Autumn 2005) is top drawer DJ ammunition and comes in original or more stripped-down Moonstarr reworks. Essential!!

          John Arnold

          We're Not

          "We're Not" is an electronic broken beats groover with treated vocal snippets. On the flip Ayro's mix is on more of a deep Basic Channel style electronic-dub-house tip. All that and a weird electronic squelcher "Fabric" too.

          James Arthur's Manhunt

          It's Working

          JAMES ARTHUR (former member of the NECESSARY EVILS and GOLDEN BOYS, to name but two) has been rattling ear drums with his newest combo, JA's MANHUNT) for several years now. On this latest single the band is channeling some serious Hawkwind vibes with one song stretched over both sides of the single. Dense, wild and excellent. Edition of 500.

          After more than two decades of behind the scenes collaboration Juan Atkins & Moritz Von Oswald present 'Borderland' - their first album together using their own names - on Tresor Records.

          The album - made up of eight tracks, which seamlessly blend the styles of both masters (although leaning further towards Von Oswald's dub-techno sound) - was recorded at the beginning of 2013 over various studio sessions in Berlin and is released as a series of three 12"s and a CD album.

          The CD opens with 'Electric Garden (Deep Jazz In The Garden Mix)', which features German trumpet player Sebastian Studnitzky, whose muted, treated notes work perfectly with the loping dub-techno grooves. "Footprints" was the second work to be produced in the 'Borderland' studio sessions. It's a robust house groove reminiscent of earlier collaboration between both men such as the anthemic “Starlight” released on Metroplex 18 years ago, or Moritz' 'M' series. 'Treehouse' revisits classic house adding the ample proportions characteristic of the duo’s sound. "Mars Garden" returns to the "Electric Garden" theme with a high dose of ultra deep gritty spiralling kosmische dub-funk of 'Mars Garden'. 'Digital Forest' feels like a dystopian soundtrack to a drive through old Detroit slowly transforms into colossal dancefloor jam.

          Tresor deliver the definitive Juan Atkins Detroit techno / electro record label Metroplex, featuring compositions by Atkins under various psuedonyms; Cybotron, Model 500, 3mb, Infiniti etc. Featured here are ground-breaking early works such as "Alleys Of Your Mind", "Clear", "No UFO's", "The Chase", "The Passage" and "Off To Battle" - electronic compositions that will always be counted as foundation blocks for a music style that endures to the present day. Inspired by the European computer music of Kraftwerk and Depeche Mode, and the US P-Funk of Parliament / Funkadelic, Juan Atkins delivered a new sound that changed the face of electronic music forever.

          Eagerly anticipated debut album from 20 year old New York native Jo-Vaughn Virginie Scott, better known as Joey Bada$$. Following on from the successful EP's "1999" and "Summer Knights", this debut album is a mix of East Coast hip-hop / rap across x17 tracks. Producers who contributed on this album include fellow Pro Era members, Kirk Knight and Chuck Strangers, as well as Statik Selektah, DJ Premier, Hit-Boy, J Dilla, Basquiat, Freddie Joachim, and Lee Bannon.

          Joan Baez

          In Concert Part 2

          "In Concert 2" captures Joan Baez at her best, stood before a receptive audience, with only a Gibson for company, perfoming an exquisite mix of traditional and contemporary folk tracks that have a timeless perfection about them.

          Bailey is a prolific songwriter, having published over 300 songs, many of them classic soul tracks co-written with Ken Williams. More recently the title track from this 1974 LP was recently featured on Gilles Peterson's "Gilles Digs America" compilation. The original productions on the album (many home made on a basic tape machine), were enhanced with strings, rhythmic overdubs and other instruments to create one of the best soul albums of all time. Everything about this album oozes quality from the great songs, the arrangements and JR's soulful vocals - pure magic! After seven years of trying, Soul Brother have finally been able to license and reissue this classic album, which has been heavily in demand for many years with original copies fetching up to £200.

          Jessica Bailiff

          At The Down-Turned Jagged Rim Of The Sky

          Kranky was a bit surprised earlier this year when Jessica Bailiff contacted them and asked they wanted to preview her new album for possible release. They had no idea she had even been working on an album, let alone had completed one, and they were rewarded with a listen to her most compelling album to date.

          After being in Europe for 5 weeks as a touring member of Boduf Songs, Jessica Bailiff spent much of 2011, writing and recording At the Down-Turned Jagged Rim of the Sky in her spartan home studio. Sequestering herself through the hot summer months until finished, she then passed the tracks on to her friend Odd Nosdam for final mixing.
          *Down-tuned, distorted bass guitar adds a new color to her palette, but familiar ones also come into play: fuzzed and delayed electric guitar, organ, piano, cello, and drums. Noisy pop-tinged love songs nestle slyly in a bed of off-kilter lullabies and dark, metallic waltzes.

          No need to recycle descriptives like “lo-fi” or “hushed vocals” - these are spurious words. This is another intimate collection of songs recorded entirely by Jessica at home, in a room next to where she sleeps. If you listen carefully, you might hear her dreaming.

          A brand new compilation of rare material by John Baker from the BBC Radiophonic Workshop!

          John Baker (who worked for the BBC alongside Delia Derbyshire) ranks as one of the world’s most influential electronic musicians. His talent as a jazz pianist and ability to manipulate tiny fragments of tape into new sound is legendary.

          Whilst working on ‘The John Baker Tapes’ compilation for Trunk Records, producer Alan Gubby unearthed several reels of music and sound effects from the 1960’s BBC TV series ‘Vendetta’ - a mafia themed cop thriller starring Italian actor StelioCanelli (Barbarella, Django, Planet Of The Vampires). The theme tune for the show was composed by John Barry whilst Baker produced all the incidental music. He created brilliant, tense, rhythmic and unhinged James Bond style themes for the show between 1966 & 1968, featuring radiophonic beats, twanging bass lines and screaming jazz solos.

          Available for the first time ever, Baker’s soundtrack for Vendetta displays his skill in fusing groovy tape loops, ambient drones and bass textures with real instruments. The music is thrilling, sleazy, deranged and very hip. Highlights from the score are presented on this compilation alongside other rare and previously unreleased Baker tracks, all digitally remastered by Mark Ayres from the Radiophonic Workshop archive.

          John Barry

          Diamonds Are Forever

            Following the forgettable OHMSS, featuring a truly awful George Lazenby in the role of Bond, United Artists lured Connery back to the spy franchise for a then record fee, aiming to recapture the glory of Goldfinger in their latest film, Diamonds Are Forever. As Bond charms, disarms and drinks his way through another battle with arch nemesis Ernst Blofeld, finally foiling his foe's city levelling plans, John Barry delights our ears with a flawless string of sumptuous instrumental pieces incorporating elements of the Main Title and recurring Bond theme. Boasting the classic, pop standard "Diamonds Are Forever", which finds Bassey in powerhouse form, this is a fine edition to any collection.


            Includes MP3 Download Code.

            John Barry

            From Russia With Love

              While later Bond films were launched with a chart topping pop theme, (we're ignoring Madge's attempt there) the second film in the evergreen spy series, kept things a little more subdued, though no less brilliant. Baton in hand, John Barry, with a little help from Lionel Bart and Monty Norman, perfectly captures the intrigue, suspense, sophistication and sex appeal of the big screen hit. Romantic ballads, eerie orchestral works and light hearted exotica slot together seamlessly as we live out our M16 fantasies.


              Includes MP3 Download Code.

              This 3CD set compiles the original soundtrack albums for Zulu and Four In The Morning, both composed and conducted by John Barry, together with other recordings he made for the Ember label.

              Barry was one of the best known composers of film music in the world. His early career found him working as in-house arranger for EMI, leader of hit instrumental combo the John Barry Seven, and composer, arranger and conductor on the first UK soundtrack album (the Adam Faith vehicle Beat Girl). After Barry’s involvement as arranger on the first James Bond film Dr No in 1962, he was appointed as primary composer for the film franchise.

              The BAFTA-nominated Zulu (1964) was directed by Cy Endfield. The film depicts the heroic defence of Rorke’s Drift mission station during the Anglo-Zulu War of 1879. Originally released in 1964, and here mastered from original stereo tapes, the album comprises soundtrack music (with two of the tracks incorporating narration by Richard Burton), followed by “A Selection of Zulu Stamps”, essentially southern African-influenced beat instrumentals, performed by the John Barry Seven.

              Originally released in 1965, the soundtrack album to Anthony Simmons’ Four In The Morning comprises John Barry’s original haunting score, plus four excerpts of dialogue featuring Judi Dench, Ann Lynn, Norman Rodway, Brian Phelan and Joe Melia. The dialogue only exists in mono, so we have presented the entire album in mono, followed by the music-only tracks in stereo, again mastered from original tapes.

              Both soundtrack albums were originally released on British independent label Ember, where John Barry was associate producer and head of A&R in the early sixties. A third disc spotlights other John Barry recordings for the label. These include two UK hit singles: the From Russia With Love theme (here also in an alternative version with organ) and the Barry-produced “Christine”, a satirical commentary on the Profumo affair, credited to the mysterious Miss X, as well as “Fancy Dance”, which served as the theme to the BBC’s twice-weekly soap The Newcomers from 1965 to 1967.

              John Barry


                “Thunderball” was the third James Bond score composed by John Barry, after “From Russia With Love” and “Goldfinger”. The original main title theme to Thunderball was titled “Mr. Kiss Kiss, Bang Bang”, which was written by John Barry and Leslie Bricusse. The title was taken from an Italian journalist who in 1962 dubbed agent 007 as "Mr. Kiss Kiss, Bang Bang". The song was originally recorded by Shirley Bassey but when there were problems with Bassey's performance, it was later rerecorded by Dionne Warwick and featured a longer instrumental opening designed so the lyrics would not be heard until after the title "Thunderball" appeared in Maurice Binder's title. The song was removed from the title credits after United Artists requested that the theme song contain the film's title in its lyrics and Barry teamed up with lyricist Don Black to write the new "Thunderball" in a rush. Tom Jones, who sang the new theme song, fainted in the recording booth after singing the song's final, high note. Adding to the delay issues, Barry had written large amounts of the score around the original theme and woven it throughout the score, along with the recurring underwater "Search For Vulcan" motif. After "Thunderball" was written, Barry wrote, orchestrated, and recorded several new pieces interpolating it. Barry's scores always included a track which gave the film's theme song a full statement in the form of a sensitive, slowed-down instrumental ballad, often played over a romantic moment or a scene set in a nightclub or casino and he re-arranged "Thunderball" as a lush, subtly jazzy orchestral piece in the easy listening style that was popular at the time. Though "Mr. Kiss Kiss Bang Bang" was dropped as the theme song, some of the pieces which included its melody remained part of the score, and it receives full statements twice: by full orchestra and jazz rhythm quartet with bass, drums, guitar, and vibraphone in the track "Café Martinique" (immediately followed by the "Vulcan" cue), and as a wild, bongo-laden cha-cha-cha in "Death of Fiona." The scene which includes the latter, it should also be noted, takes place at Club Kiss Kiss. Because Thunderball's score had, essentially, two main themes to work from, as well as the "Search For Vulcan" cue and the "James Bond Theme," it is arguably the richest of the early Bond scores.

                FORMAT INFORMATION

                Includes MP3 Download Code.

                John Barry

                You Only Live Twice OST

                It's 1967, the charts are in the grip of an exotica fever and the cultural trade routes from the Far East are beginning to kick into gear with the global success of Kyu Sakamoto's "Sukiyaki" and the rise of Eleki and Fluxus. The world's favourite spy meanwhile finds himself battling ninjas, piranha, double agents and SPECTRE all the way from Tokyo to Kobe, before landing at a secret volcano lair. Incorporating the sounds and textures of the Orient into the classic Bond sound design, Barry delivered one of the finest scores of his career, boasting the sublime Nancy Sinatra sung title theme, the melancholy beauty of "The Death Of Aki" and the oft used gravity of "Capsule In Space". Flawless from start to finish, this is an essential record for soundtrack fans, Bond fanatics or anyone with an interest in exotica. 

                Originally released in 1964, Zulu is among the most popular of John Barry’s early soundtracks, and the main theme is still frequently heard on radio, conjuring up images of the British army’s courageous defence of (and the Zulus’ equally fearless assault on) Rorke’s Drift during the Anglo-Zulu War of 1879, as depicted in Cy Endfield’s memorable film.

                John Barry (1933-2011) was one of the best known composers of film music in the world. His early career found him working as in-house arranger for EMI, leader of hit instrumental combo the John Barry Seven, and composer, arranger and conductor on the first UK soundtrack album (the Adam Faith vehicle Beat Girl). After Barry’s involvement as arranger on the first James Bond film Dr No in 1962, he was appointed as primary composer for the film franchise. In 2002 he received the GoldenEye award, courtesy of the Ian Fleming Foundation.

                The BAFTA-nominated Zulu (1964) was directed by Cy Endfield with a cast including Stanley Baker, Michael Caine and Jack Hawkins. Originally released in 1964 on the British indie label Ember, the LP comprises soundtrack music (with two of the tracks incorporating narration by Richard Burton), followed by “A Selection of Zulu Stamps”, which are essentially beat instrumentals flavoured with southern African influences, performed by the John Barry Seven.

                Ember initially pressed the album in mono, switching to stereo for a 1972 reissue (same catalogue number), although a stereo pressing had previously surfaced in the USA. Long unavailable on vinyl, Zulu is now reissued by Fantastic Voyage as a 180g pressing, mastered from original stereo tapes. The vinyl is housed in the original Ember sleeve artwork, and bears the label design prevalent at the time of the stereo pressing.

                John Barry

                Eternal Echoes

                Apart from 10 unrivalled James Bond scores, John Barry has written over sixty major film scores and won five Oscars. He's arguably the finest screen music composer alive today and this selection of eleven new compositions are very much in the mood and style of his cinematic works.

                It seems like a lifetime since Bristolian producer Julio Bashmore burst onto the scene with his bass heavy take on UK house, holding it down for the dancefloor with heavyweight cuts like "Um Bongo's Revenge", "Batty Knee Dance" and "Father Father". In fact, the young producer has only been around for five years, and his extensive discography stands as evidence of his prolific talent. The all conquering brilliance of 2012's "Au Seve" saw him propelled into the fringes of the mainstream, where he's remained up until now, effortlessly pleasing radio one playlisters, dancefloor militants and club veterans with his perfectly crafted productions.

                "Knockin' Boots" sees Bashmore on superlative form, weaving an assortment of expertly chosen samples and well crafted instrumentation into a dozen floor filling tracks which could each serve as a single. Titular opening cut "Knockin Boots" and "Holding On" are peaktime disco house rollers, while "She Ain't" cranks things up a notch to shake its ass at the fringe of the Dance Mania sound. "Let Me Be Your Weakness" and "Rhythm Of Auld" fuse synthetic soul with bass heavy house, harking back to Bashmore's earlier work on Futureboogie, while "For Your Love" featuring the excellent Seven Davis Jr on vocals sounds every bit as good as a dream collaboration between the two artists should. As we flip to the C-side we feel the force of a couple of heavyweight voguers, vamping around on the darker side of ballroom house before Bashmore teams up with Okmalumkoolkat to give us his own batshit take on hip-house! Imagine Ata Kak freestyling over a pitched up soundstream record and you're on the right track. The final side plays host to a trio of emotive terrace anthems, beginning with the glowing pads and warm bassline of "Simple Love". "Kong" slows the pace a touch, stitching together the history of UK house music into a R&B topped smoothy that should sit nicely next to the recent Jamie xx LP. Album closer "You & Me" brings us all together in the middle of the dancefloor, skin tingling with along with the ascending chord progression, arms aloft to the sound of the heartbroken vocals. A perfectly crafted and sequenced debut, "Knockin Boots" sees Bashmore journey through the full range of emotions without ever taking his eyes off the dancefloor. 

                Hot on the heels of Tenderlonious' "Thoughts Of You EP", Jeen Bassa's first solo offering is another strong release from London's most talked about musical collective, 22a. One of the three outrageously talented Deenmamode brothers (Mo Kolours & Reginald Omas Mamode IV), Jeen Bassa has remained the most elusive of the 22a collective until now. Raised in the west-country but currently residing in South-East London, Jeen Bassa's warm and woozy productions stand out in a world saturated with bland Dilla-esque pastiches. Reminding me a little of Al Dobson Jr's solo debut on Rhythm Section, and Manchester's Be, "The Seven Movements" from last year; it’s another one of those schizophrenic musical offerings which moves around an organic theme quickly and succinctly, keeping you hooked till the end through a series of dynamic tracks and infectious skits. Twenty-two minutes of 'future rare-groove'. This is some heavyweight business not to be missed! Personal favourites include the undulating, bass heavy grooves of "Herb & Rhythm", the twilight atmospheres of "My People (7 Seas)" and the street-ready sounds of "Body Talking". Although I'm sure "Latin Fingers" will go down a treat at the aforementioned Rhythm Section dance, while "Cocoa Lotion" will certainly tweak the deep house heads interest. There's something for everyone I can promise you! Thoroughly recommended - move quick!

                In his dynamic mixes, we've heard Vangelis to Shuggie, and Delia Derbyshire to Sergio Mendes. Now, we hear more of Jeen Bassa's universal and dextrous style in his third release for South London family, 22a; Time Waves is a straight-to-the-point, 10 track EP that mixes up slo-mo, mechanised funk with hues of neon soul and blue, jazz notes.

                A brilliant Latin-soul / boogaloo album from Joe Bataan, and the biggest selling Latin LP of 1968, so it obviously needs checking out. There are some real winners here, including "It's A Good Feeling (Riot)", "What Good is A Castle" and the classic "Ordinary Guy".

                FORMAT INFORMATION

                LP Info: US import reissue with authentic replica artwork.

                Joey Beltram

                Energy Flash - Remastered Edition

                Sit down and take your notebooks out, it's time for a history lesson kids. In 1990, when your parents were giddily necking smarties like they were, well, smarties, the soundscape was light, uplifting and harmonious. Still basking in the afterglow of the summer of love, the clubs were full of diva-sampling, piano vamping odes to togetherness, tenderness and other hippy nonesense. Then Joey Beltram unleashed this pitch black blast of pure evil into the clubbing consciousness and began the process which eventually spawned your beloved Berghain. In his mind, he was creating a harder and darker strain of house music, but to the Europeans, he'd opened the floodgates for a form of techno brutalism a million miles away from Detroit's Belleville Three. The New Yorker extracted unyielding tension from a tough 909 program, bolstered it with the most malevolent and menacing bassline and created a classic with the addition of eerie choral vox, skewed string samples and the guttural whisper of "Ecstacy". Don't fuck around, just make sure you own a copy.

                Joey Beltram


                  Official R&S reissue of the 1990 12" that launched a million copycat producers. But none could replicate the incredible bass signal that New York's Joey Beltram created on "Energy Flash". One of the first techno classics to come from outside of the Detroit-Chicago axis, such was the demand for "Energy Flash" that it was quickly licensed to Derrick May's Transmat imprint.

                  John Beltran continues his relationship with Delsin Records with the release of a new ambient album, 'Espais'. Beltran has long been a master of his art, turning out seminal LPs and EPs on labels like Peacefrog, Millions of Moments and Text Records. 'Espais' is an absorbing soundtrack featuring 17 pieces of immersive, sonically lush and rich music. As he has throughout his career, Beltran makes use of modern techniques and classical composition to craft a wide range of blissfully soul soothing moods and supple, subtle grooves.

                  Tracks like "Espais" are uplifting and heavenly with their sombre chords, "Přestávka" is angelic and crystal clear, where "Ruimten" is rather more meaning and forbidding. Its textures are frazzled and almost industrial. Elsewhere efforts like "Dream Tangle" blend synthetic machine made sounds with more organic strings and the results are truly moving throughout. Unfolding like a proper journey with a carefully threaded narrative, this album is yet another testament to Beltran’s ability to sculpt sound in intricate and compelling ways.

                  Jorge Ben

                  Ben è Samba Bom - LP + CD Edition

                  “Once in a while, an unexplained phenomena emerges in popular music. Other times, artists of real value are surprisingly swallowed by the abyss of anonymity. But what rarely happens is the emerging of a truly authentic talent - not only in popular preference - but also in selling records. In other words, someone with proven artistic ability to get beat in the music scene with full mainstream acceptance. This happened to Jorge Ben, he’s became one of the most prominent exponent of Brazilian music. This is his third legendary LP, and as usual features some of the best arrangers in the genre such as Meirelles. Nelson and Gaya”

                  Another fantastic compilation from Sunkissed featuring six incredible Afro Latin flavoured Balearic rarities from 70s / 80s Brazilian singer / songwriter Jorge Ben. A stunning selection of hard to find tracks that all found favour both on Italy’s Afro-funky Cosmic scene and on the dancefloors of Ibiza and beyond. Standouts include the floor friendly ‘Ponta De Lanca Africano (Umbabarauma)’ and ‘Energia Bom Bom’ as well as the brilliant ‘Falcao’ only ever available before as an in-demand limited 1983 seven inch but all the cuts are essential and a great way to collect some of the best work by such a wonderful artist. Top stuff!

                  Emotional Rescue is proud to present the first ever collection of works from Spanish song writer Javier Bergia. As a member of Finas Africae his name is finally coming to prominence. Now with this selection of his music from 1985 to today, the depths of his acoustic, folk and Balearic writing can be heard. Born in Madrid in 1958 to a family steeped in both classical and Spanish traditional music, Javier's unique mastery of guitar, percussion, voice, poetry and composition is drawn from both this grounding and upon his lifelong musical inquisitiveness. Since 1980 he has been an integral part of the ancient music group Atrium Musicae. In 1984 he founded, with Juan Alberto Arteche and Luis Delgado, the groundbreaking group Finis Africae as a sonic investigation into a fusion of diverse ethnic musical forms incorporating both indigenous instruments and electronic elements.

                  For "Eclipse" Emotional Rescue boss Chuggy and Balearic shepherd Moonboots took a stroll through Bergia's 25 year solo career, picking out their personal favourites amongst the embarrassment of riches. While the exotic flavours of "Ballenas" and "Himalayas" recall the finest moments of the Finis Africae project, sweet vocal cuts like "Midnight Round Mekines" display Bergia's mastery of the pop format, giving Fleetwood Mac a run for their money in the soft rock stakes. Beautifully packaged and expertly selected, "Eclipse" should warm the cockles right through til next winter.

                  FORMAT INFORMATION

                  CD Info: CD includes 5 bonus tracks.

                  Jac Berrocal, David Fenech, Vincent Epplay


                  'Antigravity' is a new trio album from legendary trumpeter Jac Berrocal and two fellow travellers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock & roll.

                  The Berrocal / Fenech / Epplay trio’s first album together, 'Antigravity' is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece ‘Rock 'n Roll Station’, which first appeared on his ’77 LP 'Paralleles' with chain-wielding, leather-clad wildman of British rock & roll, Vince Taylor, singing the lead, and Berrocal on mic’d up bicycle; here, the Frenchman takes the vocal reins. A barely recognisable interpretation of Talking Heads’ ‘The Overload’ pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum machine rhythms, humid electronics and jagged guitar phrasing, while ‘Where Flamingos Fly’ reroutes the Gil Evans Orchestra’s classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio’s reading of ‘Kinder Lieder’, the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker’s Climate of Hunter.

                  Originals include the agitated Iberian psychedelia of ‘Spain’, and ‘Panic In Bali’, which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered ‘Lonely Woman’ quotations. ‘Solaris’ is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal’s trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay - like 'Antigravity' at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humour pervading: see the anarchic cross-hatch of ‘Ife Layo’, or ‘L’essai des Suintes ou le bal des Futaies’, Berrocal’s poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow and the ReR axis will find much to chew on. Play, as we know, is a serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let’s go.

                  Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni.

                  Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish prog-rock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.

                  In 1982 Bibiloni set up his own label Blau in order to highlight the much overlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.

                  Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new sounds and technologies; fusing tape loops, drum computers and synthesizers.

                  Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, ‘El Sur’ sets out to highlight Joan Bibiloni’s unique ambient fusion and sun-drenched Mediterranean beach boogie.

                  Jherek Bischoff

                  Eyes / Young & Lovely


                    The latest signing to The Leaf Label is multi-talented Seattle-based composer/arranger/producer Jherek Bischoff

                    His first release for the label will be this strictly limited edition 7” single for RECORD STORE DAY

                    ‘Eyes’ is a collaboration with ex-Talking Head and international treasure David Byrne

                    There will be just 500 of these singles released in Europe by Leaf.

                    The two songs are a taster for Jherek's forthcoming album Composed, out in late May

                    ‘Young And Lovely’ features the talents of Parenthetical Girls’ Zac Pennington and acclaimed French vocalist Soko

                    The individually hand-numbered 7” is packaged in a full-colour die-cut sleeve

                    The songs will ONLY be available in this format until the release of the album

                    Jo Bisso was born and raised in Yaounde, the political capital Cameroon. He grew up being a fan of American soul music such as Otis Reading and Wilson picket. In 1971 he left Cameroun to pursue his musical career. Beginning an 8 year stint of Paris to New York jet trips the young ambitious man forged his musical career on his own terms; Staring off with the minor hit "Flying To The Land Of Soul" which he signed to Decca and moving on to produce, finance, write and create several albums released under his own name and other artsits such as Sookie and Venise.

                    In 1975 Jo created his genre blended debut album "Jo Tongo" on the Paris based Disques Esperance label. Sung in English and his native language it was way ahead of its time for the day, blending Jazz, Funk, Soul, afro rhythms and the sounds that were at the time being come to be known as Disco. The album was produced by Jo who plays a wide variety of the instruements and contributes his baritone "Barry White" tinged spoken vocals about life and love.

                    The album opens up with the title track "Dance To It", A slice of groovy lounge-funk. Part 1 is all about the driving catchy groove which is layered with a downtown funk saxophone lead line. Part 2 brings in Jo's spoken vocals in his native language and English, setting the tone of the album to come. "Disco Madonna" introduces a Latin flavour with Spanish vocals, a rumba groove and darting percussion. "Ramaya" melds a playful, summery, euro melody with Jo's throaty, fun-loving vocals and a nascent use of synthesizers.

                    "Let's Keep It Together" is a song in two parts. The first half builds the groove over washy guitar, and chords before breaking into a solid soul riff with bass, Rhodes and guitar. Over this Jo layers the catchy, soulful vocals, summer-breeze guitars and jazzy keys. A real treat. Flip over to the Vinyl B side for what is probably the albums most "getting down" moment. The driving funk of "Give It Up". Stabby brass, whirling organ and tight bass which is all wrapped up in a one tight arrangement. Add in doses of Jo's sulty vocal and that is a recipe for a real winner.

                    "Don't Fight The Feeling" again furthers into real deep funk territory. Jo opening up with a sermon on "love and sex". The album closes with the swinging soul of the pensive Jo and his thoughts on life, "Odwa". What is going down?

                    The Give It Up track was a highlight of the recent Africa Seven debut release "African Airways Volume 1: (Funk Connection 1972-1979). To Follow that up Africa Seven are proud to repress the debut Jo Bisso album in its full glory.

                    Jo moved back from the US in 1981. From 1981 to 1989 his lived in Cote D'Ivoire. He now lives in Paris and although he sometimes "finds it hard to listen to his albums", he does thinks it great that people love his music and his debut album is getting a re-release all these years later.

                    James Blackshaw & Lubomyr Melnyk

                    The Watchers

                    "I first met Lubomyr Melnyk at a festival called Hea Uus Heli in October 2008. We were both scheduled to play that day and I was very excited to see him perform. Before the show I bought several LPs from him and mentioned as much. Lubomyr (more than modest and courteous, as he always is) asked me what I was doing at the festival and I replied that I was also performing at the festival a little later, to which he responded "I'll come and watch you", before being ushered into the hall to play one of the most staggeringly sonorous and beautiful sets I've ever heard. It was overwhelming, full of pathos and I left the hall with those incredible overtones hanging in my ears for hours. A couple of hours later, I was onstage when I glanced up and saw Lubomyr, true to his word, stood in the audience watching me attentively. I felt incredibly nervous. It's not everyday you get to play for someone who has greatly inspired and influenced your own music.

                    After the show, I packed up my guitar and came out to meet the crowd. The first person who greeted me was Lubomyr: friendly. full of enthusiasm and keen to hear about my music, my processes, the way in which I made music. Yet again, I was overwhelmed - for very different reasons. "You have invented continuous music for guitar!" I don't know if that's true or not, but I can't think of an epitaph that would make me prouder. We also spoke about collaborating that night and via e-mail a while after, but it wasn't until January 2012, shortly after I'd moved back to Hastings, England from Ann Arbor, Michigan and Lubomyr played his first ever show in the UK at Cafe Oto that it came to fruition. John Chantler got in touch, said Lubomyr had a free day after his performance and could I come to London for a day, see what happens? He kindly agreed to record the whole thing.

                    We all met at the Vortex Jazz Cafe around midday. We set up, Lubomyr at the grand piano, me directly facing him with my 12-string guitar and began. I would retune at random between songs and together we would find interesting chord progressions, hints of melodies and ways in which to weave those immense overtones that Lubomyr is able to generate on the piano with those of my guitar. No more than two takes per song. Improvisation, spontaneous composition, whatever you want to call it. Either way, it truly felt as if the piano and guitar were as one - inseparable, parts of a bigger whole, a means by which for two people to make one sound. It never felt forced and never less than engaging. Lubomyr was always humble, jovial and open to ideas. The whole session lasted six hours. I'm not a great improviser. I always want to take that raw creative element that the form brings and work upon it, to distill and refine it further. I think Lubomyr feels the same. But there is something about these recordings that would be incredibly difficult to recapture. A small moment in time, feeling perfectly and wonderfully lost within that sound. I'm honoured." James Blackshaw, October 2012.

                    James Blackshaw


                      Apologia is the 'lost' first solo guitar recording by James from 2003, which self-released on CD-R in an edition of 30. Now released on vinyl in a limited edition of 500.

                      "‘Apologia’ was written on a cheap Yamaha guitar with a ridiculously high action over the course a couple of months in 2002 and recorded in February 2003, a few months before I picked up a 12-string guitar for the first time and wrote and recorded my first release, ‘Celeste’. I’d just started fingerpicking and had gotten comfortable enough with some techniques to experiment with open tunings of my own devising and write my own compositions, which were at that time very inspired by the musicians I adored - John Fahey, Robbie Basho and lots of old country blues players like Mississippi John Hurt, Blind Blake and Reverend Gary Davis. I burned about 30 CD-Rs with homemade covers in jewel cases, gave most to friends and family and sold a few in the record shop I used to work in Soho. I felt for some time afterward like I was only just starting to find my own voice with ‘Apologia’ - the songs are shorter and more straightforward and the cyclical structures and appreciation of drones and overtones really came to the fore later on, as did my appreciation of adding other instrumentation and experimenting with sounds generally. Plus, I wasn’t entirely happy with the sound of the recording (some small EQ changes and reverb was added for this edition) and let’s just say the situation in the studio was far from ideal, but that’s another story. For that reason, I never chose to reissue ‘Apologia’. Now, almost 12 years later, I’m hearing them in a different way, realising the songs' charms rather than simply concentrating on the flaws. It doesn’t sound quite like anything I’ve ever done since and there’s a simplicity and raw energy about them that I’ve grown to appreciate. It’s an interesting snapshot of where I was then and how things have changed. It is an absolute pleasure for me to work with Bladud Flies! to release ‘Apologia’ as a limited edition LP now - something I would never have dreamed of back in 2003." - James Blackshaw.

                      In celebration of the centenary of Louis Feuillade’s Fantômas silent film series, James Blackshaw was invited by Yann Tiersen to perform a live score to the fifth and final film, Le Faux Magistrat, at the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013.Fantômas – a master of disguise and symbol of terror – is one of the most popular characters in French crime fiction, as well as a favourite with the avant-garde, particularly the surrealists.Tim Hecker, Amiina, Yann Tiersen and Loney Dear also performed during the event (which was broadcast live on the European ARTE channel) each bringing their own unique sonic perspective to the other installments in the series.Written during the course of a few months, Blackshaw drew influences from French impressionist composers, Brazillian guitar music, musique concrete and the works of other film composer such as David Shire and Pino Donaggio, to create a noirish score that is in turns sinister, quietly profound and thrilling.Personally invited by James Blackshaw, experimental musicians Duane Pitre and Simon Scott (also of Slowdive) contributed drums, electronics, synth, bowed guitar, bass and more to Blackshaw’s nylon string guitar and grand piano, with multi-instrumentalist Charlotte Glasson adding violin, vibraphone and several wind instruments to the 75 minute long work.

                      'Summoning Suns' is James Blackshaw's tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from 60's and 70's singer-songwriters, baroque/orchestral pop and folk music, while still sounding contemporary, 'Summoning Suns' is Blackshaw's foray into more traditional forms of songcraft. Blackshaw sings in a gentle but assured voice, occasionally reminiscent of Harry Nilsson, Jim O'Rourke and Elliott Smith, while his words combine his personal experiences, neuroses and fantasy through many layers of abstraction, poeticism and dark humour.

                      While the deft fingerpicking acoustic guitar style of Blackshaw's previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute and pedal steel guitar and features contributions from Simon Scott (Slowdive), Annie Nilsson and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom he duets in Japanese on one song).

                      The fourth release on 1-800-Dinosaur comes from label co-founder and resident DJ James Blake. Road tested at summer festivals and on the 1-800-Dinosaur BBC R1 residency show the "200 Press EP" consists of 3 off the wall soulful house tracks and a weird poem, split across a 12" and 7" vinyl doublepack. "200 Press" kicks us off in deep and subby fashion, as Blake combines neo soul with deep, bass-led house. Layering slowed down hip hop vocals with his own idiosyncratic vocals over a synth heavy melody and stumbling rhythm, the producer creates a wall of sound that could just as easily be four different tracks being dropped at once. On the flip "200 Pressure" is a dark and disturbed future dub incarnation, which finds the synth line of the original mangled and hung out between rattling beats and echo laden samples. Over on the 7", Blake shows off the poise which made him a star on the sweet and subtle "Building It Still". The producer achieves the perfect balance between the deep and metallic sub and his gently played piano and sampled vocals. I can see this being a secret weapon and collectors item for his fans over the years to come. On the flip, we're treated to a odd and uneasy poem, over the kind of melancholy and jazzy piano Keith Jarret made his own. The artwork has been carefully designed in photoshop by a designer before being printed onto individual labels by a machine and then stuck onto the vinyl. Each vinyl has been carefully placed into a black cardboard sleeve. This is the first ever release to be mastered by a pack of lions at the Addis Ababa Zoo in Ethiopia. For further enquiries please contact Jah.

                      The past couple of years have seen creative explosions and new generations coming through in both dancefloor electronics and heartfelt, introspective singer-songwriting, but self evidently they’ve remained mutually exclusive genre islands. Until now. With a uniquely emotional electronic production style every bit as deeply personal and impassioned as his voice or songwriting, James Blake is sketching out his own place in the musical universe.

                      When a teenage James first visited the pivotal London dubstep night FWD>> in 2007, he’d already been to drum ’n’ bass nights with schoolfriends, but the music and atmosphere there were unlike anything he’d experienced. This was what James had been waiting for – he just hadn’t realised. This midnight epiphany in Plastic People’s Shoreditch cellar led, in a few short years, to the James Blake of 2010, a surefooted 22-year-old composer whose extraordinary tracks are not so much breaking down existing musical barriers as leaping over them and creating an entirely new kind of pop that belies its author’s tender age.

                      Although loosely tethered to the cutting edge of contemporary electronics, James’s songs possess uncommon grace and soulfulness. Whether intended for the FWD>> dancefloor or, like new single "Limit to Your Love", destined to melt hearts and prick ears, his music is characterised by a playful and arresting honesty, a human touch that, despite his status as a hugely in-demand DJ, naturally aligns him with contemporary artists such as Bon Iver or Laura Marling or the xx.

                      Yet more than this, it is the shock of the new in James’s music that’s causing real commotion: the sounds, that voice, the silence, the rhythm (or lack of it), the waiting, the tension. You have to know the rules in order to break them with such conviction, and by daring to be different, James stands head and shoulders above his peers. No doubt, you’ll remember where you were when you heard tracks like "Limit to Your Love" or "I Never Learnt to Share" for the first time.

                      FORMAT INFORMATION

                      2xLP Info: LIMITED deluxe double 180g vinyl pressing in gatefold sleeve with full colour inner sleeves.

                      Two years after his self-titled debut album took UK bass culture down previously unimagined roads of introspection, James Blake returns with the epic ‘Overgrown’, an incredible album that sees James growing as a singer and songwriter while at the same time returning to the brain melting electronic perfection of his early releases on Hemlock and Hessle, moving way beyond any post-dubstep pigeonholes to include stunning reinterpretations of both hip-hop and house.

                      In retrospect ‘James Blake’ can now be viewed as another stepping stone on Blake’s musical evolutionary journey which started with ‘Air & Lack Thereof’ back in 2009. Always travelling a different path to his peers, James is as much a singer-songwriter as he is a bass music producer. On ‘Overgrown’ his latest transitional shift has been made, the layers stripped back to reveal a selection of stark, beautiful and emotive songs, all with James’ heart-wrenching vocals at their centre, set in a simple framework of subtle electronic sounds and beats.

                      Title track ‘Overgrown’ sets the scene, offering a Nick Drake style ballad reborn as a spiritually uplifting electronic soul masterpiece. ‘I Am Sold’ recalls the sparse beatbox melancholia of Portishead, while ‘Life Round Here’ also has a certain Bristolian downbeat feel, opening with almost baroque-like keyboard motifs and rimshots and slowly building with electronic noise. RZA adds a rap to ‘Take A Fall For Me’, a bold fusion of hip hop beats and folktronica. ‘Retrograde’ has been used as the album’s teaser track, and you can see why; an amazing song in the style of ‘Limit To Your Love’, with a dense cascade of pitch-shifting synths. Piano / vocal piece ‘DLM’ sees Blake dispensing with the electronic production altogether, an interlude before the dull heartbeat thud, scattering snares and rave airhorns of ‘Digital Lion’ (think Portishead’s ‘Machine Gun’). The differing opening dynamics of ‘Voyeur’ – part love song, part sub bass rumble - evolve into a proper dancefloor track with 4/4 beats, cowbells and synth drones. Set against a ticking rhythm and mechanical scrape, Blake’s vocal soars skyward on the beautiful ‘To The Last’, while the album closes with ‘Our Love Comes Back’, a devastatingly simple ending.

                      Garnering equally enthusiastic reviews across the blogosphere and print media alike, ‘Overgrown’ is a work of immense talent that will leave breathless with both its scope and simplicity, and have you already salivating at the thought of Blake’s future inventions.

                      Jahdan Blakkamoore is a Brooklyn local hero. Beloved for his charismatic stage presence, pointed lyrics, and powerful voice, Jahdan brings the perspective of Rasta sufferation to the streets of New York in the post-9/11 landscape. Born in Guyana, after crossing into the US alone and undocumented at the ripe age of 8, he quickly began to absorb the swirl of music that thumps out of car trunks and crackles across the pirate airwaves of the borough of Kings. Making his first impact with NYC's golden-era street rap legends Boot Camp Click, Jahdan has been bridging the gap between hip hop, dancehall and roots reggae ever since. This CD / EP finds Jahdan touching down on deep dub-inflected Cumbia beats from Buenos Aires by Chancha Vía Circuito, synthetic dancehall from Vienna's Stereotyp, plus three riddims from lifelong Manhattan boy Shadetek which both reflect and bend the UK dubstep sound. The set includes vocal and dub versions.

                      John Blum was born in New York City, April 15, 1968 and has been a mainstay of the free-jazz community there for over 15 years. While in Europe in 1992, he recorded with Clarinetist Tony Scott's Trio which included Antonio Grippi on Alto Sax. Upon returning to New York City, Blum became a member of the Improvisers Collective (1993-1995) and also initiated projects as a soloist and a group leader. By early 1998 he joined together with Antonio Grippi on Saxophone, William Parker on Bass, and Denis Charles on Drums to form The 'Astrogeny Quartet'. A CD of this group was released on Eremite records in 2005. In 2001 Blum recorded a solo piano CD for Drimala Records entitled "Naked Mirror", and was also featured on Butch Morris' "Conduction 117" released on JumpArts Records. In 2003, Blum recorded with Sabir Mateen on Tenor Sax in Sunny Murray's Trio and is featured on Murray's CD "Perles Noires Volume 2" on Eremite Records. He joined the Steve Swell Quintet in 2005 and a CD was released on NotTwo Records of their 2006 NYC Vision Festival performance. In addition to this Trio recorded in 2008, Blum also recorded a solo CD "Who Begat Eye" to be released on Konnex Records in 2009.

                      Jean-Marie Bolangassa

                      Brazzaville Percussions EP

                      Sofrito come correct again, delivering the latest in a long line of essential pan-global audio, this time courtest of Jean-Mari Bolangassa. "Brazzaville Percussions" sees the M'Bamina founder member wickedly fusing the rhythmic sounds of Congolese roots and swinging techno into three boom shots of raw, virtosic percussion threaded with complex drum-machine programming and sparse synths. "Disna Ngai" stretches across the whole of the A-side, treating us to a seven minute assault of tumbling conga, ringing cowbell and sharp bongo hits, only augmented with a slamming 909 beat and the occasional organ note or two. B-side opener "Rikikida" opens with the 'boiiing' of spring reverb and the rhythmic rap of the track title before evolving into the kind of deep, mid tempo afro percussion cut you'd expect to hear in an '82 Baldelli set or a deep session from Jan Schulte. "La Vie" rounds the package off with a ferocious 160BPM storm of TR-707 programming and african drums, perfect for the esoteric jungle cats on a Blackest Ever Black tip. As a handy bonus to fans of the recent Rhythm Section releases, might I suggest you play the A-Side at 33 for a deep organic rhythm track.

                      James Booth


                        Memory-taper James Booth trickled through his teen years in Manchester tracking melancholia house shadows and overcast bedroom bangers on a home-rigged dictaphone/Tascam arrangement, and though he's since upgraded his studio assemblage the essential agenda remains unchanged. "Reunion" is his debut, documenting ten of his choicest Northern isolation reveries, a Polaroid-hued tube-ride-turned-rhythm-odyssey through 150 shades of grey, from the nocturnal ice-house jazz of "End Tipsy" to the foggy, 5 AM club deja vu, "Seeing Voices." An alternately hushed and hypnotized journey to the end of the night, in search of pleasures known and unknown. Again, please.

                        FORMAT INFORMATION

                        Cassette Info: Pro-dubbed, hand-numbered tapes in new SILK label J-cards. Edition of 100.

                        Joe Boots & The Fabulous Winds With Floyd Syandifer Orch.

                        Rock And Roll Radio / That's Tough

                        Reissue of the original Celestial label release. "Rock And Roll Radio" is fab and tasteful strollin’ R&B mid-pacer from Seattle-based Joe Boots. Apparently Mr. Boot downed a full bottle of whiskey during the recording. Glug, glug, glug... On the flip we have the rollin' "That's Tough".

                        STAFF COMMENTS

                        Philippa says: Feelgood strollin’ R&B killers!

                        FORMAT INFORMATION

                        7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                        Jonathan Boulet

                        This Song Is Called Ragged / Trounce

                        Sydney upstart Jonathan Boulet gives you his new single, 'This Song Is Called Ragged', from the forthcoming album 'We Keep The Beat, Found The Sound, See The Need, Start The Heart'.

                        A swirling, percussive uprising of the most positive kind, 'This Song Is Called Ragged' is released as a double A-side 7” picture disc b/w 'Trounce' on Modular Recordings.

                        STAFF COMMENTS

                        Laura says: An uplifting, heady rush of calypso beats, tribal chants and pop hooks. If this doesn't will the sun to come out in our rainy city, nothing will! While ‘Trounce’ on the flip is a pummelling tribal beat that suddenly explodes into a thunderous collision of drums and guitars. Ace!

                        Jonathan Boulet

                        We Keep The Beat, Found The Sound, See The Need, Start The Heart

                        We Keep The Beat… is a soaring burst of melody and harmony, built on the blocks of primal, incessant rhythm. It features choruses of chanting choirs, speedball drum lines and junkyards of melodic percussion. It’s a dense, cathartic record of unbridled energy and heavy pop.

                        On another level it’s collective music. It’s a call to arms for those who are not just listening, but actually hearing it, and it’s best listened to in group situations - the more the merrier.

                        Jean-Paul Bourelly

                        Trance Atlantic (Boom Bop II)

                        Jean-Paul Bourelly is widely regarded as one of the most gifted electric guitarists in Europe today. On the evidence of "Trance Atlantic" it's easy to see why. Along with drummer Dennis Chambers and sax player Vincent Henry he rips into a set of high eneregy jazz fusion tracks that bite and never let go.

                        John Brenton aka Metrotone, Landshipping, Ojn, Tonfedd Oren & Southville Enraptured proudly releases a “best-of” collection comprising radio-friendly tracks from five related projects that Bristol-based John Brenton co wrote and developed as well as his solo work.This is a collection of lesser known tracks that have nevertheless been fiercely loved over the past twenty years, and supported loyally by a number of radio shows including John Peel and Steve Lamacq.Originally released on small labels, usually on vinyl with typical pressings of less than a thousand, sometimes with mail-order only distribution, the tracks are notable for the disproportionate amount of radio play garnered over the years.

                        This compilation makes many of these tracks available on CD and download for the first time.Highlights include Metrotone's “Kiss Me Awake”, which led to the well-received Peel Session in 1998, and Landshipping's “Penguin New Writing”, which was a collaboration with Isan. More recent work under the name Tonfedd Oren, got air-play on Jen Long’s Radio One show, as well as elicited praise from Welsh language media, Tonfedd Oren being Welsh for, ‘Orange wave length’.

                        Many DJs gave air-play to one or more of these tracks, but special thanks are due to: the Late and greatly missed John Peel, Steve Lamacq, and Jen & Ally on BBC Radio 1, Thierry Nollet on Contrast Internationale, Harald Are Lund on NRK Petre, Jalal on Popscene Radio Bremen, Duyster on Studio Brussel, Paul Baskerville on NDR4, Adam Walton on BBC Radio Wales, Planet Claire on Aligré FM, Huw Stephens on C2 BBC Radio Cymru, Cam O'r Tywyllwch on Radio Cardiff and Resonance FM, John Cavanagh on Radio Six International, Gideon Coe on 6music and BBC Radio Bristol Introducing.

                        No People Records collection would be complete without a contribution from the Godfather of Soul himself. "Escape-Ism" is 70s-era James Brown at his finest, supposedly written to kill time while he and The JBs waited for Bobby Byrd to arrive at their studio. A winding, two-part funk/soul epic, spanning both-sides of the single, the track reached #6 in the Billboard R&B charts, #25 in the pop charts, and would later be sampled by The Beastie Boys, Public Enemy, and Big Daddy Kane. It's now presented here for the first time in over 30 years, in its original 7" single format.

                        Jack Bruce

                        Fields Of Forever / Drone


                          TWO TRACK 7” RECORD STORE DAY ONLY SINGLE

                          LIMITED TO 500 COPIES WORLDWIDE.


                          ESOTERIC ANTENNA is pleased to announce the release of an official Record Store Day limited edition Seven-inch single by the legendary JACK BRUCE. A supremely talented instrumentalist and vocalist, eminently respected by his peers, Jack’s pioneering bass playing style has influenced successive generations of bassists, including such luminaries as Paul McCartney, Jaco Pastorius and Sting, alongside more contemporary musicians such as Flea of the Red Hot Chilli Peppers. He is also the possessor of one of the most powerful voices in modern music and a composer of some of the most original and influential music of the past forty-five years. As a songwriter he has written some of popular music’s enduring classics such as ‘Sunshine of Your Love’, ‘White Room’, ‘I Feel Free’ and ‘Theme from an Imaginary Western’.

                          ‘Fields of Forever’ and ‘Drone’ are taken from his stunning new album,“Silver Rails”, his first studio in ten years, recorded at the world famous Abbey Road studios.

                          This release is strictly limited to 500 units, has been newly re-mastered from the original master tapes and fully restores the original release artwork.

                          QTY FOR UK: 240

                          Jack Bruce Band

                          How's Tricks

                          "How's Tricks" was recorded in 1976 by the second incarnation of the Jack Bruce Band with Hughie Burns, Tony Hymas and Simon Phillips. The highlight of this remastered edition however, is the original line-up of Mick Taylor on guitar, Carla Bley and Ronnie Leahy on keyboards and drummer Bruce Gary performing "Without A Word" included as a bonus track and issued for the first time.

                          Jack Bruce

                          Jet Set Jewel

                          Recorded with the same band that recorded "How's Tricks" in 1976, "Jet Set Jewel" is, if anything, a stronger album. The band of Bruce, Simon Phillips, Hughie Burns, Tony Hymas and Dick Heckstall-Smith (on a couple of tracks) have a greater understanding and the songs are really strong. An irony then that "Jet Set Jewel" has remained unissued since its 1968 recording. This was partly due to Bruce and Robert Stigwood falling out and partly due to Polygram (who were buying Stigwood out) only being interested in punk -it was 78 after all. Such a shame as tracks like "The Best Is Still To Come", "She's Moving On" and the title track are amongst the best songs of his solo career.

                          Jack Bruce

                          Shadows In The Air

                          15 new tracks from ex-Cream bassist, Glasgow's finest Jack Bruce. He has Eric Clapton helping him out on "White Room" and "Sunshine Of Your Love" and Gary Moore plays some great guitar on another stand out track "Heart Quake"

                          Jeff Buckley / Sly & The Family Stone

                          Everyday People

                            Jeff Buckley's interpretation of Sly Stone's Classic Everyday People along with the original. Pressed on standard black vinyl.

                            FORMAT INFORMATION

                            Ltd 7" Info: Black Friday exclusive!

                            Jeff Buckley


                              Originally released in 1994, Jeff Buckley's solo debut "Grace" is now considered by many to be one of the best albums of the 90s. "Grace" displays a dazzling array of influences from an artist still developing his craft.

                              Jeff Buckley

                              Grace - 180g Vinyl Edition

                              "Grace" is the only complete studio album by Jeff Buckley, originally released on August 23, 1994. After the death of Jeff Buckley in 1997, the album grew to be one of the most important album's of the 90s. The album was produced by Andy Wallace who had mixed Nirvana's album "Nevermind".

                              In addition to seven original songs, the album included three covers: "Lilac Wine", based on the version by Nina Simone, "Corpus Christi Carol", from Benjamin Britten's A Boy Was Born and "Hallelujah" by Leonard Cohen. Jeff recorded the album with bassist Mick Grondahl, drummer Matt Johnson and guitarist Michael Tighe.

                              Originally released in 1994, Jeff Buckley's solo debut "Grace" is now considered by many to be one of the best albums of the 90s. "Grace" displays a dazzling array of influences from an artist still developing his craft. This 'Legacy Edition' includes a newly remastered version of the album as well as a second disc of recordings showcasing Jeff's expansive interest in various genres. In addition, this brilliant collection includes a bonus DVD featuring unseen footage and all the "Grace" videos. Also included is a deluxe 24 page booklet containing rare or unseen photos.

                              For his proposed second album, Jeff Buckley recorded an album's worth of material with producer Tom Verlaine. Deciding that the sound wasn't quite right, the perfectionist Buckley, moved to Memphis to record the album all over again. But then disaster stuck, and Buckley died in a freak accident, disappearing under the waves of the Mississippi River, and the album was never finished. His mother and his record label decided to round up the existing tracks he had been working on, including the Verlaine sessions, and released them as this two CD set, "Sketches For My Sweetheart The Drunk". It is a poignant and fitting epitaph for an unfulfilled talent.

                              Recorded for Radio Broadcast in New York & Boston. Many music critics of the day were not only intrigued but enamoured by Jeff Buckley when his musical career began to take off in the early nineties. Jeff Buckley born in California in 1966 and as the name suggests, he was the son of legendary singer, composer and guitarist, Tim Buckley, hence the early fascination with his artistic potential. Appearing on the world stage in 1994 with the critically well received album, Grace Jeff Buckley was poised to become a successful artist through the nineties and into the new millennium. However this sadly never happened as he would die in the spring of 1997 before fully realising his potential and only a half finished second album which was subsequently released posthumously.

                              This double album of radio broadcasts contains a wide and eclectic range of songs and performances, including songs that would appear on Grace. Drawn from broadcasts both before and after Grace, these performances show another side to Jeff Buckley. The songs featured here include Hallelujah, a song now strongly identified with Jeff Buckley and many covers of songs by Bob Dylan, Van Morrison and Elton John. More importantly for the first time this release includes the full unedited performance from WMFU at Upsala College on the 11th October 1993.

                              • This package contains Rare Radio Broadcasts and performances from singer song writer Jeff Buckley
                              • Includes complete unedited Radio performance from October 1992
                              • Includes rarely heard songs and cover versions
                              • Rarely Seen Photographs
                              • Liner notes by Broadcaster/Author Jon Kirkman. 

                              Jeff Buckley

                              Live At Sin-e - Legacy Edition

                              Columbia finally get around to giving the EP (long only available on import) the deluxe 'Legacy Edition' treatment. Expanding the original four tracks over a boggling two discs, this album was actually taken from a number of performances over a few months. Embryonic "Grace" originals sit alongside an array of covers that run the gamut of musical eclecticism; Bob Dylan, Nina Simone, Nusrat Fateh Ali Khan, Led Zeppelin. One wonders how he managed to have such a wonderful voice, broad musical tastes and the ability to reinvent them so uniquely, AND to be able to do it all with just a voice and guitar. An essential testament to one of the most talented artists in the history of popular music.

                              The 19 year old singer songwriter from Nottingham releases his much anticipated debut album. He recently supported The Stone Roses in a secret London gig and Noel Gallagher personally requested Jake to join him and his High Flying Birds on tour in Europe and the US.

                              Jake Bugg is back with his brand new record 'Shangri La', following his debut “Jake Bugg” and coming just over a year since that record went straight to Number 1 and sending him into the record books as the youngest solo male to debut at the top of the charts with their first release. It’s fast-approaching sales of one million worldwide and cemented him as one of the most exciting new talents to emerge in recent years. Now hooked up with legendary producer Rubin, he is set to scale new heights. His new album is a much more fully-formed piece of work than its predecessor and is a stand out release of this or any year.

                              On top of the success of his debut, Jake has toured with Noel Gallagher and Snow Patrol in the US. He is currently nominated for two Q Awards (Best New Act, Best Solo Act) and the Barclaycard Mercury Prize. These nominations follow similar nods at this year’s Brit and NME Awards. He drew one of the biggest crowds of the weekend at Glastonbury, as well as at Reading/Leeds Festival, T In The Park and Summer Sonic in Japan. He returned to Nottingham to headline Splendour this summer, a triumphant homecoming show in front of 17,000 adoring fans.

                              Jake Bugg is back with his brand new record 'Shangri La', following his debut “Jake Bugg” and coming just over a year since that record went straight to Number 1 and sending him into the record books as the youngest solo male to debut at the top of the charts with their first release. It’s fast-approaching sales of one million worldwide and cemented him as one of the most exciting new talents to emerge in recent years. Now hooked up with legendary producer Rubin, he is set to scale new heights. His new album is a much more fully-formed piece of work than its predecessor and is a stand out release of this or any year.

                              On top of the success of his debut, Jake has toured with Noel Gallagher and Snow Patrol in the US. He is currently nominated for two Q Awards (Best New Act, Best Solo Act) and the Barclaycard Mercury Prize. These nominations follow similar nods at this year’s Brit and NME Awards. He drew one of the biggest crowds of the weekend at Glastonbury, as well as at Reading/Leeds Festival, T In The Park and Summer Sonic in Japan. He returned to Nottingham to headline Splendour this summer, a triumphant homecoming show in front of 17,000 adoring fans.

                              Jesse Butler With Freddie & The Continental Playboys

                              Dancing Fever / Tear Drops And Pennies

                              "Dancing Fever" is an obscure ‘unknown’ blues blastin’ twisting dance ditty with thrashing guitar. It comes backed with the pleading blues-soul smoocher "Tear Drops And Pennies".

                              FORMAT INFORMATION

                              7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                              'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

                              Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

                              This unique collaboration was originally released in 1971 and saw Cale (fresh from his ground-breaking work as a member of the Velvet Underground and now finding his feet as a solo artist) and Riley (noted for his highly influential works “In C” and “A Rainbow in Curved Air”) create a work of atmosphere and uniqueness. All instrumental, with the exception of the song “The Soul of Patrick Lee”, “Church of Anthrax” was the perfect melding of the experimental genius of two unique musicians. Hard to catagorise, the album was recorded a year prior to its release by Columbia in February 1971 and actually preceded Cale’s first solo album.

                              John Cale

                              Sun Blindness Music

                              These pieces derive their origin from reel to reel Recordings made in the 1960's on the Lower East Side in New York's bohemian artist communes. The 43 minute title track is heavily influenced by Terry Riley's solo organ improvisational minimalism (Cale and Riley would later collaborate on "Church of Anthrax"). The eleven minute "Summer Heat" is an opressive guitar track and the final track is pure electronic sound.

                              John Callaghan

                              It Might Never Happen

                              Ten years after his first single appeared on the legendary Warp Records, John Callaghan's long-awaited debut album is released by Uncharted Audio. Describing himself as an 'unusual songwriter/performer of thoughtful and spiky electronica from Birmingham', he created a stir with "I'm Not Comfortable Inside My Mind" and "You've Got Your Memories, I've Got My Dreams" – two super-collectable vinyl-only releases on Warp. His remarkable live show has graced many a stage across a variety of Europe's more open-minded venues. The album's themes include the human body, our relationship with it and with our clothing – not surprising since he counts nude modelling among his professions. John describes the album as 'my own soundtrack for my life' – the tracks span a period from 1994-2007. Musically it's unlike anything else: a riff played on a fork is pitch-shifted into a gorgeous melody, a buzzing fly is transformed into a throbbing bassline and all manner of vocal chopping and tomfoolery provide the perfect foil.

                              A master of romantic abstraction, Jefre Cantu–Ledesma is not new to the scene. In fact, he's been releasing a steady stream of music for nearly twenty years. With the brilliant album A Year With 13 Moons, however, the ever–prolific Ledesma appears to be hitting a new high. Or low, depending on how you like to see things.

                              Using a friend's reel to reel tape player, Cantu employed electric guitar, modular synthesizer, drum machine and concrète sounds from his surroundings at the Headlands, recorded while walking to the studio, cooking in the kitchen, talking with friends, the ocean, films he was watching, driving in a car. Everything was record stereo to tape.

                              The result is gorgeous, haunting and sprawling. A companion to his last full length LP, Love is A Stream, (Type, 2010), 13 Moons, is a dense, swirling mass.

                              Essex-born, Liverpool-based songwriter James Canty returns with a new five track EP.

                              EP title track 'Love' is packed with harpsichords, synthesisers and electronic flourishes, coming across like some amazing future-retro psych-folk experiment. The collection of tracks follows two years on the road across Europe for Canty, with the five songs written and recorded in the home studio of producer and Obscenic Records chief Joe Wills.

                              "This 6 song symphony of sound juxtaposed with chaos and long stills of almost nothing starts the only way I’d expect it to. The first track “Ballast” comes in with murderous hits, cracks, and drills. It’s hard to put into words exactly what you are listening to. And, that’s what I love about Mr. Cary’s tracks. But, somehow Jeff has forged a signature sound. I have been listening to noise for awhile now. I haven’t hear anything quite like it.

                              [3:30] as a full body of work is not just a digitally distorted camero with the gas pedal to the floor going through a time warp. It is dynamic and almost peaceful at times. With tracks like “Phosphor” and “Node” where you find yourself lost in an ambient sound scape of breathed gesters and things off in the distance. I admire Jeff’s way of knowing when to hold back or be minimal in his approach while yet still having some sort of rage you can’t quite pinpoint but you know it’s there and you can feel it and it’s about to burst and you like it.

                              I have seen Jeff live countless times. I got a chance to see him at one of his most recent performances at Club K where he performed a few of these new tracks live. Being a drummer for over 15 years I tend to latch onto the rhythm of any song I hear. Even in noise I somehow subconsciously makeup a beat I bop my head up and down to. I noticed that I didn’t have to magically make an esoteric drum section for Jeff’s performance. It was already there. Tracks like “1001″ make you feel as a drummer or drum machine is being forced through a grinder with a distortion pedal in the chain.

                              It’s a very purifying experience listening to Jeff Carey‘s works on [3:30]. It’s not for everyone.. But, it sure is hell for noise enthusiasts like me. But, hey.. If you’ve never listened to a “noise” artist before or haven’t gotten down with that scene. Try it out. You might just like this one." - Gutter Magazine.

                              Jean Carn

                              Don't Let It Go To Your Head / We Got Some Catchin’ Up To Do

                              Expansion Records and Philadelphia International Records (PIR) have got together for a series of souvenir 7” single releases to celebrate the 40th Anniversary of the iconic green label. Special PIR 40 logo and design will utilised for the label and 7” range sleeve for this collector’s series. There will be a limited 500 run of each release.

                              On side A we get Jean's super 2-step soul classic "Don't Let It Go To Your Head", which is backed by the smoother "We Got Some Catchin’ Up To Do".

                              John Carpenter

                              Escape From New York - Expanded Vinyl Edition

                              Originally released on CD in 2000, the expanded soundtrack edition of John Carpenter’s classic 1981 thriller included over 20 minutes of previously unreleased music plus music from scenes deleted from the final print.

                              The masters were remixed from the original multi-track session tapes by long-time John Carpenter associate Alan Howarth.

                              This is the first time the expanded edition has appeared on vinyl in its complete form, including original dialogue highlights.

                              John Carpenter

                              Halloween - Original Motion Picture Soundtrack

                                In celebration of its 35th anniversay, MONDO is pleased to present the original soundtrack to John Carpenter's HALLOWEEN. This release features the most comprehensive version of the soundtrack, never before released on vinyl, cut at 45RPM for the best possible sound quality.

                                FORMAT INFORMATION

                                2xLtd LP Info: Was £31.99. 180 gram 2xLP in a deluxe gatefold sleeve. One-time pressing on black vinyl and randomly-inserted orange vinyl.

                                John Carpenter

                                Lost Themes

                                John Carpenter, the legendary director and composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ on Sacred Bones Records. 

                                John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

                                “Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

                                As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Singularly titled to inspire dread with such names as “Vortex,” “Dominion,” “Abyss,” and “Purgatory,” but all linked into a unified whole, Lost Themes has a mesmerizing power. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and the raging guitars and chiming percussion of Goblin’s Suspiria. “’Both classical music and rock and roll are part of my musical language, which is riff-driven,” Carpenter explains. “So if you listen carefully, I’m sure you can hear some echoes from my past. But I’m sure that’s true of any composer. You just bring your music along with you.”

                                FORMAT INFORMATION

                                Includes MP3 Download Code.

                                John Carpenter

                                The Fog - White / Silver Vinyl Edition

                                  John Carpenter’s 1980 follow-up film to his smash hit Halloween featured ghost sailors terrorizing a Californian coastal community as a dense fog descends on their homes.

                                  The multi-talented filmmaker’s atmospheric synthesiser score has long been a soundtrack favourite and this double album features a 20 track LP of the entire score, drawn from the original tapes, remastered by long-time Carpenter collaborator Alan Howarth on the A/B sides and the original album which featured 20 minutes of newly released music on the C/D sides.

                                  “I went back to Sound Arts Studio in central Los Angeles and quickly began composing and recording new tracks. Dan Wyman, my creative consultant on Assault On Precinct 13 and Halloween was at my side programming the synthesizers, keeping a critical eye on my multi-tracked performances and maintaining quality control over the long hours of recording and mixing. And, out of all this frenzy, re-working and re-structuring, I produced what I consider to be one of my best scores” - John Carpenter

                                  John Carpenter And Alan Howarth

                                  Halloween II - Clear Vinyl Edition

                                    Death Waltz Recording Co. present Halloween II Original Motion Picture Soundtrack by John Carpenter & Alan Howarth. Original art by Brandon Schaefer. Includes sleeve notes from Alan Howarth & Brandon Schaefer.

                                    Death Waltz Recording Company is proud to present the return of one of horror's scariest boogeymen, as well as one of the genre's most iconic theme tunes with John Carpenter and Alan Howarth's score to Halloween II. Set directly after the events of the first film, Rick Rosenthal's sequel sets itself up as the slasher equivalent of The Empire Strikes Back, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth's score is beefier and more intense than before, using layers of electronics to drive the audience to madness.

                                    As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. Halloween II is more overtly synth and is perhaps less focused than the original score, although that certainly means it's nastier and more schizophrenic. The score also brings back the evocative 'Laurie's Theme', incorporating into a score full of harrowing musical effect, its synthesised howls and wails piercing your ears so that by the time 'Mr. Sandman' comes around, you'll feel just like the final girl, delirious at having survived the aural ordeal. And that's just when The Shape wakes up.

                                    FORMAT INFORMATION

                                    Ltd LP Info: 180g frosted clear vinyl.

                                    John Carpenter And Alan Howarth

                                    Halloween III: Season Of The Witch - Clear Vinyl Expanded Edition

                                      Death Waltz Recording Co. present Halloween III Brand new remaster for 2014 taken from the original analog tape and including 11 never before released cues exclusive to this record. Original Motion Picture Soundtrack by John Carpenter & Alan Howarth. Original art by Jay Shaw.

                                      Deluxe reissue includes 400 gsm Gatefold sleeve and contains exclusive by Director Tommy Lee Wallace , Artist Jay Shaw and film expert Kim Newman also includes an interview with John Carpenter by Joseph Burnett.

                                      Death Waltz Recording Company is proud to return another previous release to its ranks a true classic of horror cinema scoring, with John Carpenter and Alan Howarth's score to Halloween III: Season Of The Witch. Bravely dumping the character of Michael Myers, the film instead looked at the concept of Halloween itself as a subject, with a mystery involving an Irish toymaker, three gruesome masks, and a chunk of Stonehenge. Eviscerated on release, it's now been re-evaluated as an underrated picture, not least because of Carpenter and Howarth's score.

                                      Whilst it left the original themes at home, Halloween III still has a plentiful array of musical delights to scare the living daylights out of you. The main title has a palpable sense of dread, with low droning synths providing a backdrop for high-pitched lines representing a television signal. Edged notes along with a foreboding rhythm provide high tension along with stabbing wild synths, while a certain piece of driving music gives a sense of fate dragging you to a very bloody and nasty death. And then there's the Silver Shamrock theme. 

                                      FORMAT INFORMATION

                                      Ltd LP Info: 180g orange vinyl.

                                      John Carpenter's

                                      Lost Themes: Remixes

                                        John Carpenter has inspired countless musicians since his earliest minimal, synth-based film scores. The themes to his features like Assault on Precinct 13, Halloween, and Escape from New York have remained instantly recognizable since he penned them nearly four decades ago. In February 2015, Sacred Bones released his first solo record of non-soundtrack music, Lost Themes, to overwhelming critical success. The Horror Master proved that not only could he perfectly score his own films - he could also score the movies in your mind.

                                        Eight pivotal contemporary electronic artists were moved to reshape the original songs on Lost Themes in tribute to one the genre's great pioneers. Several of the remixes were released as part of the digital deluxe edition of the album, but Lost Themes Remixed marks the first time any of the tracks have been on vinyl.

                                        FORMAT INFORMATION

                                        LP Info: Standard black vinyl edition.

                                        Deluxe LP Info: Ultra limited red and clear swirl coloured vinyl.

                                        John Carpenter

                                        Assault On Precinct 13 - Original Motion Picture Soundtrack

                                        Death Waltz Recording Company are very proud to be releasing one of the most seminal electronic scores in film history. Recorded in just one day, this minimal electro masterpiece by Director/Composer John Carpenter has been sampled by Afrika Bammbaataa, Tricky and covered countless times. This newly remastered version has been approved by director John Carpenter himself who has also supplied brand new and exclusive sleevenotes.

                                        FORMAT INFORMATION

                                        CD Info: CD comes in a three panel fold out sleeve with pop up CD mechanism and features sleevenotes by John Carpenter.

                                        Death Waltz Recording Co. present They Live

                                        Original Motion Picture Soundtrack by John Carpenter & Alan Howarth

                                        Original art by Gary Pullin

                                        Deluxe reissue includes an interview with John Carpenter by Luke Y.Thompson, sleeve notes from Alan Howarth & Gary Pullin & an article exploring the illuminati in They Live by Vigilant Citizen.

                                        FORMAT INFORMATION

                                        Ltd LP Info: 180g frosted clear vinyl.

                                        Written and recorded over the past year, the album features Casablancas and Voidz band members Jeramy Gritter and Amir Yaghmai (Salt & Pepper) – guitar, Jeff Kite – keyboards, Jake Bercovici – bass, Alex Carapetis – drums and was produced by Shawn Everett.

                                        The album incorporates world underground music from the 70s and 80s, hardcore/punk and modern harmony, using modern and analog recording and sampling techniques.

                                        Of the album's title Casablancas says, "Tyranny has come in many forms throughout history. Now, the good of business is put above anything else, as corporations have become the new ruling body. Most decisions seem to be made like ones of a medieval king: whatever makes profit while ignoring and repressing the truth about whatever suffering it may cause (like pop music, for that matter)."

                                        FORMAT INFORMATION

                                        Includes MP3 Download Code.

                                        Julian Casablancas + The Voidz

                                        Tyranny - USB Lighter Sleeve Edition

                                          USB lighter sleeve - Limited edition lighter sleeve containing the 12-track album as high quality MP3s on a built in USBflash drive. Features custom Julian Casablancas+The Voidz artwork.

                                          Written and recorded over the past year, the album features Casablancas and Voidz band members Jeramy Gritter and Amir Yaghmai (Salt & Pepper) – guitar, Jeff Kite – keyboards, Jake Bercovici – bass, Alex Carapetis – drums and was produced by Shawn Everett.

                                          The album incorporates world underground music from the 70s and 80s, hardcore/punk and modern harmony, using modern and analog recording and sampling techniques.

                                          Of the album's title Casablancas says, "Tyranny has come in many forms throughout history. Now, the good of business is put above anything else, as corporations have become the new ruling body. Most decisions seem to be made like ones of a medieval king: whatever makes profit while ignoring and repressing the truth about whatever suffering it may cause (like pop music, for that matter)."

                                          Johnny Cash

                                          Man Comes Around / Personal Jesus

                                            THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                            Two classic singles from his legendary American Recordings sessions.

                                            Johnny Cash

                                            Man In Black Live In Denmark 1971

                                              Unreleased 1971 concert from Denmark previously only available on DVD. Pressed on 120G opaque White (LP1) and Red (LP2) vinyl.

                                              Johnny Cash

                                              16 Biggest Hits

                                                'I Walk The Line', 'Ring Of Fire', 'A Boy Named Sue', '(Ghost) Riders In The Sky'... and 12 other big country hits from the Man in Black.

                                                Johnny Cash

                                                American III: Solitary Man

                                                The third, and to my mind the best of the American Recordings releases. I don't think there's a bad track on this at all, and some of the cover-versions are just awesome. Includes covers of Nick Cave's "Mercy Seat", Will Oldham's "I See A Darkness"(with vocals from Will Oldham), Neil Diamond's "Solitary Man" and "One" by U2.

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                                                RT @Tim_Burgess: Me and @antonnewcombe in the end of year top 20 in one of the best shops in the world @PiccadillyRecs #justsaying https:…
                                                Sun 29th - 12:18
                                                JUST IN: Robert Aiki Aubrey Lowe - Timon Irnok Manta / Type... |
                                                Sat 28th - 5:15
                                                NEW TO PRE-ORDER: Healing Force Project - Gravitational Len... |
                                                Sat 28th - 1:46
                                                And that's not all - spend over £50 instore and you'll receive one of our legendary Piccadilly Records mugs, for FREE!!!
                                                Sat 28th - 1:07
                                                And you get a Piccadilly Records Exclusive bonus disc with our no.1 album!! @JULIA_HOLTER @Dominorecordco
                                                Sat 28th - 1:06
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