MAGIC MIX

ALL GENRES

WEEK STARTING 26 Jan

After the success of the "Odd Movements" long player last year, Acid Test invite a diverse cast of remixes to offer their own interpretations of Iron Curtis and Edit Piafra's machinefunk opus. We begin our journey in Detroit, where 3 Charis member, hardware junkie and DJ extraordinaire Marcellus Pittman is toppling the "Holy Roman Empire" single handedly. Combining the tripped out sequences of the original with a rubbery bassline and unpredictable percussion Marcellus merges the psychedelic jack of Chicago's Muzic Box with the deepest Detroit grit to create a sonic mindbender of the highest order. Next up, Italy's Chevel brings his own brand of abstract techno to the title track to create a remix which shifts between tempos and time signatures at will, only held together by the industrial percussion and decaying frequencies. Things get very deep on the B1 as Convextion takes us on an eerie night drive through the gloom of a futuristic city scape. The metronomic pulse of the electro rhythm keeps time while those mournful pads drive us deeper into the shadows of the witching hour. Last but not least, Sued founder SW delivers a suitably trippy remix of "Konigstr", which balances dubbed out breakbeat pressure with malfunctioning machine noise, filtered ambience and tribal sonics.


Africa Express

Presents...Terry Riley's In C Mali

'Africa Express Presents... Terry Riley's In C Mali' follows the critically acclaimed 'Maison des Jeunes' compilation album and marks the 50th anniversary of the composition 'In C' by composer Terry Riley. A conceptual masterpiece, the insistent, kaleidoscopic rhythms of 'In C' inspired future classical and rock music. For this first African version of the piece, Africa Express unites a group of Malian musicians with Brian Eno and Damon Albarn, and led by classical conductor Andre de Ridder.

Terry Riley said "I am overwhelmed and delighted by this CD. I was not quite prepared for such an incredible journey, hearing the soul of Africa in joyous flight over those 53 patterns of ‘In C’. This ensemble feeds the piece with ancient threads of musical wisdom and humanity indicating to me that this work is a vessel ready to receive and be shaped by the spontaneous feelings and colours of the magician/musician. I could not ask for a greater gift for this daughter’s 50th birthday."


FORMAT INFORMATION

LP Info: Limited edition vinyl - 500 pressing

Laurel Aitken

Sexy Boogie / Hoochie Coochie Man - Inc. Soft Rocks Re-Edit

Emotional Rescue starts a series of reissues from the Carribean that will move minds and feet in equal measure. First up is the mento / ska star Laurel Aitken, here turning out 2 killer disco reggae jams with the crazily sought-after 'Sexy Boogie' and a re-edit of 'Hoochie Coochie Man'. Born in Cuba in 1927, growing up in Jamaica before moving to London in 1960, Laurel Aitken is rightly remembered for the breadth of his musical styles and career, from stand out calypso and mento to killer ska releases for the likes of Blue Beat and on to all forms of reggae. Tucked away in a cannon of literally hundreds of Aitken's recordings is this one off release, the 1978 disco inflicted 'Hoochie Choochie Man' 12", with the killer 'Sexy Boogie' on the flip. Long a word of mouth for both reggae and the more leftfield disco diggers, prices have seen recent copies go for well over 3 figure sums. All fully licensed and remastered for reissue, here 'Sexy Boogie' is moved to be the rightful main cut. Some 7 minutes of rolling, twisted disco reggae, with chop guitar, stabbed piano, an essential and relentless (wonky) groove, plus Laurel's trademark silk tones, here used as a mantra for the dancefloor. Now moved to the B-side, 'Hoochie Choochie Man' is handed over to Soft Rocks mainman Piers Harrison for his editing expertise. Scapel in hand, the intrusive (and oft annoying) vocals are cut to allow the flanged guitar, hammond keys and drum and bass rhythm to just swing and ride to distraction.

Erol Alkan

Sub Conscious - Tin Man / Kamera Remixes

'Sub Concious' was originally conceived as the exclusive track for Erol Alkan's 'FabricLive 77' mix, which was released to major critical acclaim back in August 2014. A highlight track within the mix, 'Sub Conscious' has now been remixed by Tin Man and new Phantasy signing Kamera.

Over the last decade Tin Man has explored an ever-evolving sound palette that touches on house, techno and ambient. His tracks have been laced with slow and subtly shifting patterns that are infused with a very real machine soul and captivating warmth. In his remix of ‘Sub Conscious’, Tin Man drapes Alkan's celestial strings and piano stabs over his own bassline to blissful, rousing effect.

Kamera’s rich sonic space was part born in rural Yorkshire and eventually came to fruition in the wintry Majorca sunshine, his soundinfluenced by artists such as Sunn o))), Fugazi, Autechre and Sabres of Paradise. Kamera takes the track’s acidic origins and threatens to overpower with layers of stunning feedback that drag the listener in further still. Stay tuned for an EP from Kamera on Phantasy in early 2015.


Aphex Twin

Computer Controlled Acoustic Instruments Pt 2 EP

After bursting back onto the scene last year with the suitably brilliant "Syro", Cornwall's favourite son is back with his second release in as many years, upping his release schedule by about 9000%. "Computer Controlled Acoustic Instruments Pt 2 EP" situates RDJ right at the centre of the mad scientist's lab, cooking up a baker's dozen of rhythmic breaks out of tuned percussion, detuned piano and unhinged doors. Situated somewhere between the faux hip hop of "I Care Because You Do", the disorienting moments of "Drukqs" and Pierre Schaeffer's "Musique concrète" this latest Aphex release matches the cryptic and accessible perfectly.


Arthur

Dreams And Images

    The pantheon of performers known by but one name is full of superstars. Arthur - the nom de plume of singer-songwriter Arthur Lee Harper - is not one of them, but this gentle singer-songwriter and his wan, string-drenched, loved-up, psych-folk was probably never likely to be suitable for mass consumption.

    Released on Lee Hazlewood's LHI label, the haunted Dreams And Images is the first of two albums from the Melbourne, Florida-born singer-songwriter. LHI was a broad church, taking in everything from soul to country, and Arthur found a home, a producer, and a champion in Hazlewood, who described him as "A man who will someday be a child again… A reason to cry and be unafraid… A bird with eighth-notes for wings."

    Though his lonely, intimate music, shy demeanor, and stutter might not have suggested a man of great ambition, Arthur moved to Hollywood chasing the music industry dream. He suffered hardships to do so, living hand-to-mouth in a YMCA hostel with two like-minded individuals: Mark Lindsey Buckingham and Stephen John Kalinich, whose A World Of Peace Must Come has been reissued by Light In The Attic. "Arthur was a peace person. He was all about peace, love, and harmony," remembers Kalinich in the brand new, extensive liner notes for Dreams And Images. "He was a person that believed you could change the world. We thought we would be some of the ones to usher in peace."

    While Kalinich and Buckingham were signed by the Beach Boys' Brother Records, Arthur allied with Hazlewood, having knocked on the door of the label's Sunset Boulevard HQ and auditioned on the spot. Entering the studio with Hazlewood, Donnie Owens, Tom Thacker, and arranger Don Randi, who brought baroque pop grandeur to the songs, Arthur let his music do the talking. "He stuttered and had a hard time getting his ideas out, so he would sing me the parts he had in mind,” remembers Randi.

    A mixture of things conspired to make sure few people heard Arthur, including a packed release schedule at LHI, followed by the withdrawal of their major label funding and a lack of foundation on which to market the album. After the 1970 follow-up album, Love Is The Revolution, Arthur bowed out of the business, immersing himself in Christianity, family, and a career working first as a rocket engineer and, latterly, a teacher. "I never stopped writing or recording," he later said. "I recorded in studios, friends’ houses, and live. I just recorded music with my friends or by myself when I felt inspired. For me, singing and songwriting is like breathing; I just do it."

    On January 10th, 2002, Arthur’s wife Lora died in a car crash. He tragically passed away of a heart attack the same night. Now, with this reissue of his great, lost album, Arthur's fragile heart can finally be enjoyed by all.

    * First ever LP reissue, first time on CD & Digital
    * Produced by Lee Hazlewood
    * Featuring three unreleased tracks
    * In-depth liner notes by LHI Archive Series co-producer Hunter Lea with unseen archive photos
    * All tracks newly remastered from the original tapes
    * LP housed in deluxe Stoughton “Tip-On” gatefold jacket.

    First in a series of vinyl samplers of forthcoming album "Follow The Beat" from Copenhagen’s renowned music maestro Kenneth Bager. Released on his own Music For Dreams label, these samplers will feature original tracks from the LP alongside specially commissioned remixes and exclusive versions. On this first 12”, we have a flawless remix of ‘Amazing’ from Mancunian cassette pervert Ruf Dug. Well-known for his excellent original productions, remixes and edits, this mix is no exception - lush keys, warm bassline, and the unmistakeable vocals of Storm Queen’s Damon C. Scott all underpinned with the drum programming we have come to love from Ruffy. The Beat Mix of "Premiere Classe" is an instrumental disco floor-filler with Nile-Rogers inspired guitars, dreamy marimbas, edited clarinets and a keyboard hook to die for - a modern and twisted tale of a Balearic soundscape evoking memories of Larry Levan’s remix of Central Line. Opening side B, "Biological Bread" again features the voice of Damon C. Scott here showing his African roots over Fela Kuti style guitars, funky marimbas and a dubbed out horn section in a trancey afro space track that works a treat on any openminded dance floor. Finally "Premiere Classe" Ambient does what is says on the tin... a beatless mix of the track. Top quality all the way.

    Mark Barrott

    Sketches From An Island (Winter)

    The many monikered head of International Feel is back under his own name after a well earned Christmas break with the continuation of his "Sketches From An Island Series". The first two 12"s and subsequent LP have fast become Balearic essentials, and this limited edition white vinyl 7" will surely go the same way. Conceived as a 'Winter Edition', the ambient mood of this release sees Barrott's compositional skill pushed right to the fore as he perfectly balances melody and counterpoint. A-side cut "Kitasaku" sees the producer exploring Japanese tonality over glacial sequences and subtle electronic percussion while over on the flipside "Departures" is a deeply meditative piano piece with hints of Michael Nyman and Keith Jarrett as his most horizontal. Is it me or are Barrott's sketches getting better every time?


    Marcia Bassett & Samara Lubelski

    110 Livingston

      Second album from this weighty pairing of two of America’s most audacious psychedelic drone proponents, following a stunning release on Graham Lambkin’s Kye label a couple of years back. The combination of Marcia Bassett’s pretty well processed guitar, squashing otherwise raging howls into densely packed tones of feedback wail, and Samara Lubelski’s long violin voyages into the drone zone is something wondrous to behold. One side-long trip and three shorter, but nevertheless expansive, explorations of black magic meditation. Don’t miss this one.

      Comes in an edition of just 250 on 140g vinyl with beautiful matt sleeve art.


      Beat Spacek is the latest project from UK vocalist / producer Steve Spacek, a man who should really need no introduction. With boundless abilities, his work transcends genre and style - instead focusing more on swing, melody, vibe and atmosphere. From his legendary output with the band Spacek - 'Curvatia' (2001), 'Vintage Hi-Tech' (2003); solo work on the cult Sound In Color imprint and collaborations with the late, great J.Dilla; to his under-the-radar Black Pocket project for dBridge's Exit Records and his most recent work with Mark Pritchard as one half of Africa HiTech, his fearless approach to creation has always been progressive and highly original.

      Beat Spacek sees him once again take the reigns as a solo artist creating a record that is as much a love letter to the future as it is an ode to the past. Created largely using iPhone and iPad apps, the album once again finds Steve liberated through new technologies, excited by the prospects of “the new” whilst expressing notions of the past. It’s a journey through the evolution of modern Britain from a futurist perspective.

      Framed against a particular period in the 1980s when Steve was growing up as a young man in New Cross, South East London, 'Modern Streets' is rooted in the duality of the past and the future. Flim-Flams was the club where he first experienced the clash of sounds and styles that characterised South London’s racial, ethnic and cultural melting pot. A spot where punks, soul heads, new romantics, dread locks and skinheads all converged brought together through a love of music and new sounds.

      From the paranoid, post-punk, sleng teng musings of "I Wanna Know" to the new wave pop-powered love song "Inflight Wave", 'Modern Streets' is a direct reflection of that experience, envisioned through the mind of a 21st Century rudeboy. Ghanaian highlife is re-imagined in digital form on "Tonight"; "Stand Firm" tips its hat to the dancehall with a futuristic rinse; whilst the sub-bass powered anthem "Alone in Da Sun" draws on the finest elements of dubstep’s sonic vocabulary and reworks them into a loose, new age club jam, brimming with soul and charisma.

      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.

      James Blackshaw

      Apologia

        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.

        The Body & Thou

        You, Whom I Have Always Hated

          The LP is pressed on virgin vinyl and packaged in a jacket with black flooded pocket, printed inner sleeve and free download card. Initial copies pressed on limited clear vinyl, remaining copies on black.

          The Body and Thou are bands with Southern roots that have been pushing the boundaries of heavy metal for over a decade. Both have maintained relentless touring schedules, a dedication to DIY ethics and aesthetics and a commitment to push their respective brands of extreme music into previously unexplored territories. ‘You, Whom I Have Always Hated’ is a new collaborative release that showcases both bands’ unique abilities to create music that is emotionally effecting and unrelenting.

          On ‘You, Whom I Have Always Hated’ each band’s distinctive elements shine through and combine to create something more visceral than the sum of their parts. While the groups have different approaches to live performance and stylistic nuances, they share general creative ideas and have a history subsumed in themes of alienation, melancholy and despair. They describe the new collaboration as “a twilight dungeon crawl exploring the winding, ruined halls of Mad King Duro’s Castle, best friends at your side, enemies crushed beneath your heels, mysteries solved, and treasures found.”

          Seth Manchester and Keith Souza (Battles, Lightning Bolt, Javelin, The Body) recorded the album at Machines With Magnets. · The Body and Thou toured together last summer (playing both collaborative and individual sets), headlining Gilead Media Festival. Both bands have an active tour schedule for 2015 including more touring together.

          In keeping with Thou’s tradition of 90s worship and The Body’s knack for ingenuity, the release includes versions of ‘Terrible Lie’ by Nine inch Nails and ‘Coward’ by Vic Chesnutt.

          The Body’s Thrill Jockey debut ‘Christs, Redeemers’ was praised by Pitchfork, The New York Times, Decibel, Noisey / Vice, The Fader and SPIN. The album also landed on Best Of Year lists with Pitchfork, The Quietus, All Music Guide and Cvlt Nation.

          Thou’s 2014 album ‘Heathen’ was praised by NPR, Decibel, Pitchfork, Metal Injection, Cvlt Nation and Steel for Brains. The album was on Best Of Year lists by Decibel (#6), Stereogum, Metal Sucks and Steel for Brains.

          The CD version is packaged in an old style tip-on gatefold package with insert. This format contains the brand new album ‘You, Whom I Have Always Hated’ in addition to the 2014 album ‘Released From Love’ (previously only released on vinyl and never available digitally or on CD).

          The Body and Thou are bands with Southern roots that have been pushing the boundaries of heavy metal for over a decade. Both have maintained relentless touring schedules, a dedication to DIY ethics and aesthetics and a commitment to push their respective brands of extreme music into previously unexplored territories. ‘You, Whom I Have Always Hated’ is a new collaborative release that showcases both bands’ unique abilities to create music that is emotionally effecting and unrelenting.

          On ‘You, Whom I Have Always Hated’ each band’s distinctive elements shine through and combine to create something more visceral than the sum of their parts. While the groups have different approaches to live performance and stylistic nuances, they share general creative ideas and have a history subsumed in themes of alienation, melancholy and despair. They describe the new collaboration as “a twilight dungeon crawl exploring the winding, ruined halls of Mad King Duro’s Castle, best friends at your side, enemies crushed beneath your heels, mysteries solved, and treasures found.”

          Seth Manchester and Keith Souza (Battles, Lightning Bolt, Javelin, The Body) recorded the album at Machines With Magnets.

          The Body and Thou toured together last summer (playing both collaborative and individual sets), headlining Gilead Media Festival. Both bands have an active tour schedule for 2015 including more touring together.

          In keeping with Thou’s tradition of 90s worship and The Body’s knack for ingenuity, the release includes versions of ‘Terrible Lie’ by Nine inch Nails and ‘Coward’ by Vic Chesnutt.

          The Body’s Thrill Jockey debut ‘Christs, Redeemers’ was praised by Pitchfork, The New York Times, Decibel, Noisey / Vice, The Fader and SPIN. The album also landed on Best Of Year lists with Pitchfork, The Quietus, All Music Guide and Cvlt Nation.

          Thou’s 2014 album ‘Heathen’ was praised by NPR, Decibel, Pitchfork, Metal Injection, Cvlt Nation and Steel for Brains. The album was on Best Of Year lists by Decibel (#6), Stereogum, Metal Sucks and Steel for Brains.

          Bonnie & Klein

          Singularity / Ergosphere

          After impressing with a string of sought after releases on Music For Dreams, Timewarp and Uber, rising stars Bonnie & Klein, aka George & Thanasis, make their debut on Leng with this solid two tracker. Taking a slight detour from their usual horizontal sounds, the Greek duo open the EP with the low BPM house bump of "Singularity". Weaving the tribal rattle of African percussion around chunky beats, B&K let this one build and build until the flute comes in at the drop building it up to a slamming finale. It's exactly the kind of Balearic house bomb they'd have gone nuts for at Shoom, and probabaly are right now at A Love From Outer Space. On the flip we turn on, tune in and drop out to the mellow sounds of "Ergosphere". Taking the circularities of minimalism as a template, the duo layer exotic tuned percussion and dreamy pads over a steady backbeat and vaguely lysergic bassline, before paying homage to the cinematic kosmische of Tangerine Dream with a heart wrenching synthline at the midpoint.


          Three cuts of Junior Brown / Phil Pratt's 'What A Disaster'. The rhythm was recorded in Jamaica by Sly and Robbie and was included on the 'Dial M for Murder' LP. The Junior Brown vocal was voiced in the UK and originally released on the Mystic label in the early 80s. As well as the vocal and dub versions, Pressure Sounds have added an extra mix by The Disciple for this 10" dubplate reissue. A killer release that comes in a hand stamped bag made out of re-cycled card.

          Candido

          Jingo / Thousand Finger Man

          Candido Cameron was a Cuban percussion maestro who had played with luminaries such as Dizzy Gillespie, Buddy Rich and Count Basie throughout his illustrious musical career which started in 1952. Fast forward to 1979 and Candido finds himself caught up in the disco boom that had engulfed his adopted New York City. Feeling he could add his trademark quick-fire conga and bongo playing to disco's straight 4x4 syncopated rhythm he cut some records with legendary NYC label Salsoul. The fruits of this partnership were two full length LPs and a handful of 12" singles that changed the face of disco. "Jingo" is an all-time classic disco record, sampled, edited, re-configured and coveted by too many names to mention! It's a killer funky disco version of master Nigerian drummer Olatunji's 1969 percussion suite of the same name, remade Salsoul style. Over on the flip we have one of the deepest disco records of all time; "Thousand Finger Man" a testament to Candido's percussion prowess and a spacey, beautiful voyage that has left more than an indelible mark on modern house music, cited as a huge influence by artists such as Masters At Work. Essential stuff basically, every collection should have a copy!


          "We’ve played a lot of shows and it’s senseless to document them all but every once in a while you get the feeling that something special is happening - and that it might only happen once. That’s what it felt like when in 2011 we assembled a group of friends - Four Tet, James Holden, Ahmed Gallab of Sinkane and the quartet of horn players who recorded on ‘Swim’: Kyle Brenders, Colin Fisher, Rob Piilonen and Steve Ward, and the four members of Caribou’s regular touring band - under the name of the Caribou Vibration Ensemble. And that’s why it felt like it would be a good idea to document it.

          We gathered for a small tour around ATP’s Nightmare Before Christmas festival in 2011 and the music collected here comprises recordings from two shows - one at Scala, London on Dec 7th, 2011 and one at Concertzaal Vooruit in Ghent, Belgium on Dec 8th, 2011.

          Opener ‘Bowls’ is reinvented by combining the album version from ‘Swim’ with elements from James’ Holden’s own remix. The next track ‘Ahmed, Colin, James, Kieran, Kyle, Rob and Steve’ is an improvised collaboration between all the members not in the regular Caribou touring band and features Ahmed’s drum kit triggering all the synthesizer sounds coming from James’ modular synthesizer. The release closes with an epic version of ‘Sun’.

          Sadly, in 2014, we lost a dear friend and our sound engineer for almost a decade, Julia Brightly. This release is dedicated to her memory with all proceeds going to genderedintelligence.co.uk.

          Thanks for listening",
          Dan Snaith, Caribou

          The Caribou Vibration Ensemble is:
          Kyle Brenders - soprano saxophone Colin Fisher - tenor saxophone Ahmed Gallab - drum kit, electronic drum triggers Kieran Hebden - electronics, synthesizer James Holden - modular synthesizer Rob Piilonen - flute John Schmersal - vocals, bass guitar Ryan Smith - electric guitar, synthesizer Dan Snaith - vocals, synthesizer, electric guitar Steve Ward - trombone Brad Weber - drum kit


          FORMAT INFORMATION

          LP Info: Comes in clear sleeve with a poster designed by Jason Evans and Matthew Cooper.

          CATFM is a new collaboration from Free Magic and Catamaran and the 7th release on Brooklyn based Discovery Recordings. Like Mister Saturday Night, the label and club night seem to be free from genre restraints and instead concentrate on grooves and frequencies to stimulate the floor, whatever style they may fall under the umbrella of. "Drumparti" is a lush, sensual affair, reminiscent of Recloose, Jazzanova and Amp Fiddlr with touches of broken beat alongside live instrumentation, sampled vox and dancefloor-centric grooves. "Niteanat" is more nocturnal, aligning itself with the latter half of the session as druggy nuances permeate throughout. Again, a living, organic sound palette offers a lovely respite from the millions of pre-programmed, VST-heavy house jams that clog up the genre. This jumps and fizzles off the wax, and should sound super warm in your favourite dancing establishment. Great stuff.

          Nick Cave & The Bad Seeds

          Murder Ballads (2011 Digital Remaster)

          ‘Murder Ballads’ is the ninth studio album by Nick Cave And The Bad Seeds, released in 1996. As the title suggests, the album consists of new and traditional murder ballads, a genre of songs that relays the details of crimes of passion.

          ‘Where The Wild Roses Grow’ was a hit single and received two ARIA Awards and guest musicians on the album include Kylie Minogue, PJ Harvey and Shane MacGowan.

          It was the band’s biggest commercial success to date, most likely helped by the unexpected repeated airplay of the ‘Where The Wild Roses Grow’ video on MTV, who even nominated Cave for their Best Male Artist award of that year, though this nomination was later withdrawn at Cave’s request.

          ‘Murder Ballads’ received almost unanimous critical praise with Rolling Stone awarding it 4 Stars and Entertainment Weekly rating the album very highly as well. Q magazine had this to say: “...Musically, The Bad Seeds touch on tinkling cabaret jazz, country-paced morbidity and every morose station between” while it ranked Number 7 in the NME's 1996 Critics’ Poll.




          FORMAT INFORMATION

          2xLtd LP Info: Heavyweight 180g double vinyl. (Side D is blank.)· Vinyl transfer approval overseen by Mick Harvey in Summer 2014 and cut at Abbey Road Studios.

          2xLtd CD/DVD Info: This CD and DVD version includes the original album in 5.1 surround sound, four bonus tracks and four videos, including ‘Where The Wild Roses Grow’.

          Nick Cave & The Bad Seeds

          Tender Prey (2010 Digital Remaster)

            ‘Tender Prey’ is the fifth studio album from Nick Cave And The Bad Seeds and was released in September 1988. The album was recorded during several sessions over the course of four months in West Berlin and London and was produced by Flood.

            The album opens with ‘The Mercy Seat’, which has been subsequently played at almost all of the band’s live performances since 1988 and was later covered by one of Cave’s biggest influences, Johnny Cash. ‘The Mercy Seat’ was released as a single in May 1988 as a precursor to the album and ‘Deanna’ was released shortly after the album hit the streets.

            Cave later admitted that the album “was made at a difficult time in my life when things were spiralling out of control in a lot of areas.”

            This CD and DVD version includes the original album in 5.1 surround sound, five bonus tracks and three videos.

            Nick Cave & The Bad Seeds

            The Firstborn Is Dead (2009 Digital Remaster)

              ‘The Firstborn Is Dead’, co-produced by Nick Cave, The Bad Seeds and Flood, is the second studio album released by Nick Cave And The Bad Seeds and was originally released on June 3rd 1985.

              Cave explores his fascination with the American South, with references ranging from Elvis Presley to ‘Blind’ Lemon Jefferson.

              Recorded in Berlin, Cave later said of this album: “Berlin gave us the freedom and encouragement to do whatever we wanted. We’d lived in London for three years and it seemed that if you stuck your head out of the box, people were pretty quick to knock it back in, particularly if you were Australian. When we came to Berlin it was the opposite. People saw us as some kind of force rather than a kind of wacky novelty act.”

              The album’s title is a reference to Jesse Garon Presley, the stillborn identical twin of Elvis Presley, and ‘Wanted Man’ was Cave’s own take on a song Bob Dylan wrote for Johnny Cash. Dylan gave his permission for the lyrics to be changed, with Cave’s interpretation referencing his friends.

              Also features the apocalyptic classic ‘Tupelo’.

              This CD and DVD version includes the original album in 5.1 surround sound, one bonus track and three bonus videos.

              Nick Cave & The Bad Seeds

              The Good Son (2010 Digital Remaster)

              ‘The Good Son’ is the sixth album by Nick Cave And The Bad Seeds, released in 1990.

              It was preceded by the release of ‘The Ship Song’.

              After the dark and intense ‘Tender Prey’, ‘The Good Son’ was initially seen as possibly too mellow and relaxed but is now seen as a classic within the catalogue.

              This CD and DVD version includes the original album in 5.1 surround sound, three bonus tracks and three videos.

              Nick Cave & The Bad Seeds

              Your Funeral... My Trial (2009 Digital Remaster)

                With ‘Your Funeral… My Trial’ The Bad Seeds expanded their personnel by adding Thomas Wydler on drums, enabling Mick Harvey to display his considerable multi-instrumental talents. This was the band’s fourth studio album and was released on November 3rd 1986 and was originally released as a double EP, with production duties handled by Flood and Tony Cohen.

                Cave later remarked: “That particular record, which is my favourite of the records we’ve done, is very special to me and a lot of amazing things happened, musically, in the studio. There are some songs on that record that as far as I’m concerned are just about perfect as we can get really - songs like ‘The Carny’, ‘Your Funeral My Trial’, and ‘Stranger Than Kindness’, I think are really quite brilliant.”

                Nick Cave & The Bad Seeds appeared in Wim Wenders’ 1987 movie ‘Wings Of Desire’ performing ‘The Carny’ and ‘From Her To Eternity’.

                This CD and DVD version includes the original album in 5.1 surround sound, a bonus track and a bonus video.

                Cerrone

                Brigade Mondaine - The Original Soundtracks Anthology (3xLP Box Set)

                  Numbered box set limited to 1,000 units worldwide. Includes a 4-page 30cm x 30cm poster-booklet with photos and biographic notes.

                  LP1: 'Vol 1. Brigade Mondaine' (1978) (International title: "Vice Squad")
                  LP2: 'Vol 2. Vaudou Aux Caraibes' (1980) (International title: "Super Witch of Love Island")
                  LP3: 'Vol 3. La Secte De Marrakesh' (1979) (International title: "Marrakesh Cult").

                  Three albums recorded to keep a promise to a friend. But three albums that, retrospectively, are amongst French producer Marc Cerrone's most cherished, especially abroad. Rumour has it that James Murphy, boss of the DFA label and heart of LCD Soundsystem, has a soft spot for some of the music on these three soundtracks. They were born in Saint-Tropez on a yacht. Cerrone used to spend his holidays there and he met with his friend Gérard de Villiers, who talked to him about the cinema adaptation of his Brigade Mondaine novels and asked him if he was interested in writing the music. Cerrone agreed, and, a man of his word, he didn't withdraw, even though he was not interested that much. He put a lot of himself into the job and a fair amount of creativity. Alone in the studio, he composed on the synthesizer, used pre-recorded vocal tapes, and played percussion on a record that would become the soundtrack of the first film of the series. Two others followed, recorded the same way, with a tropical flavor to the third to fit its atmosphere. Then Cerrone, feeling free of his moral contract with De Villiers after three records, declined to write the music for the SAS movie. Too bad - it might have prevented it from drowning.


                  Cerrone

                  Cerrone's Paradise - White Vinyl Edition

                  Cerrone's second long-player "Cerrone's Paradise" (1977) was recorded with Raymond Donnez, also known as Don Ray (of "Standing In The Rain" fame), after Cerrone parted company with previous producer Alec R. Costandinos. As with his previous outing, side one is taken up with the mega-long title track - all 16:30 minutes of it - a big sparkly disco epic. There's also a shorter radio edit on the flipside, along with "Take Me" and slowie "Time For Love".

                  Cerrone - disco drummer, composer, and one of the most influential disco producers of the 70s and 80s. He has sold over 30 million records worldwide, including over eight million copies of his classic album ‘Supernature’ and his legendary disco production has been sampled by countless artists including Modjo, Bob Sinclar, The Beastie Boys and Run DMC.

                  The three Cerrone LP reissues all feature original LP artwork, remastered audio from the original tapes, a 4 page poster booklet with biographic notes (in English) + a CD of the album.

                  FORMAT INFORMATION

                  LP Info: White vinyl pressing. Features the CD. Original LP artwork. Remastered from original tapes. Also includes a 4 pages 30 cm x30 cm poster-booklet with photos, biographic notes (in English) & reminder of all vinyl references available.

                  Limited numbered edition to 1000 units for the world. The first three Cerrone albums on coloured vinyl, all including CD versions as well. Original LP artwork. Remastered from original tapes. Boxset also includes a 4 page 30cm x30cm poster-booklet with photos, biographic notes (in English) and reminder of all vinyl references available. 'Cerrone 1 (Love In C Minor)' is on clear vinyl. 'Cerrone 2 (Cerrone’s Paradise )' is solid white vinyl and 'Cerrone 3 (Supernature)' is pale green vinyl.

                  Based in Paris, Cerrone recorded, composed, and performed his solo debut "Love In C Minor" in 1976, along with Alec R. Costandinos, who had produced his earlier work with the Kongas (of "Anikana-O" fame). Released on his own Malligator imprint the set includes orchestral disco epic title track "Love In C Minor" which takes up a whole side and clocks in at 16:24 minutes-long. The flip features a cover of Los Bravos "Black Is Black" and "Midnite Lady", both driving disco cuts.

                  "Supernature" also came out in 1977. A departure from the lush orchestration and live instrumentation of Cerrone's previous two LPs, "Supernature" moved into the electrodisco arena. The 10 minute-long title track (complete with lyrics penned by Lene Lovich of "Lucky Number" fame disco-fact fans) became a worldwide disco smash. Side one segues straight into "Sweet Drums", a three minute drum solo on the same backing track, and then again into the ambient cinematica of "In The Smoke". The flip moves back to live-played disco for "Give Me Love", "Love Is Here" and "Love Is The Answer".

                  Cerrone's second long-player "Cerrone's Paradise" (1977) was recorded with Raymond Donnez, also known as Don Ray (of "Standing In The Rain" fame), after Cerrone parted company with previous producer Alec R. Costandinos. As with his previous outing, side one is taken up with the mega-long title track - all 16:30 minutes of it - a big sparkly disco epic. There's also a shorter radio edit on the flipside, along with "Take Me" and slowie "Time For Love".

                  Cerrone

                  Love In C Minor - Clear Vinyl Edition

                  Based in Paris, Cerrone recorded, composed, and performed his solo debut "Love In C Minor" in 1976, along with Alec R. Costandinos, who had produced his earlier work with the Kongas (of "Anikana-O" fame). Released on his own Malligator imprint the set includes orchestral disco epic title track "Love In C Minor" which takes up a whole side and clocks in at 16:24 minutes-long. The flip features a cover of Los Bravos "Black Is Black" and "Midnite Lady", both driving disco cuts.

                  Cerrone - disco drummer, composer, and one of the most influential disco producers of the 70s and 80s. He has sold over 30 million records worldwide, including over eight million copies of his classic album ‘Supernature’ and his legendary disco production has been sampled by countless artists including Modjo, Bob Sinclar, The Beastie Boys and Run DMC.

                  The three Cerrone LP reissues all feature original LP artwork, remastered audio from the original tapes, a 4 page poster booklet with biographic notes (in English) + a CD of the album.

                  FORMAT INFORMATION

                  LP Info: Clear Vinyl. Features the CD. Original LP artwork. Remastered from original tapes. Also includes a 4 pages 30cmx30cm poster-booklet with photos, biographic notes (in English) & reminder of all vinyl references available.

                  Cerrone

                  Supernature - Green Vinyl Edition

                  "Cerrone 3", or "Supernature" also came out in 1977. A departure from the lush orchestration and live instrumentation of Cerrone's previous two LPs, "Supernature" moved into the electrodisco arena. The 10 minute-long title track (complete with lyrics penned by Lene Lovich of "Lucky Number" fame disco-fact fans) became a worldwide disco smash. Side one segues straight into "Sweet Drums", a three minute drum solo on the same backing track, and then again into the ambient cinematica of "In The Smoke". The flip moves back to live-played disco for "Give Me Love", "Love Is Here" and "Love Is The Answer".

                  Cerrone - disco drummer, composer, and one of the most influential disco producers of the 70s and 80s. He has sold over 30 million records worldwide, including over eight million copies of his classic album ‘Supernature’ and his legendary disco production has been sampled by countless artists including Modjo, Bob Sinclar, The Beastie Boys and Run DMC.

                  The three Cerrone LP reissues all feature original LP artwork, remastered audio from the original tapes, a 4 page poster booklet with biographic notes (in English) + a CD of the album.

                  FORMAT INFORMATION

                  LP Info: Pale green vinyl. Features the CD. Original LP artwork. Remastered from original tapes. Also includes a 4 pages 30cmx30cm poster-booklet with photos, biographic notes (in English) & reminder of all vinyl references available

                  Cerrone - disco drummer, composer, and one of the most influential disco producers of the 70s and 80s. He has sold over 30 million records worldwide, including over eight million copies of his classic album ‘Supernature’ and his legendary disco production has been sampled by countless artists including Modjo, Bob Sinclar, The Beastie Boys and Run DMC.

                  The fantastic new 2CD compilation “The Best Of Cerrone Productions” brings together all of Cerrone’s biggest and best tracks in one comprehensive collection, including smash hits ‘Supernature’ and ‘Love in C Minor’. Alongside these bonafide classics the album also covers Cerrone’s work with Don Ray, Kongas and Brigade Mondaine; as well as fantastic remixes from some of the world’s most exciting DJs and a brand new version of 'Supernature' by French electro band The Shoes and featuring vocals by the inimitable Beth Ditto from The Gossip!

                  Gene Chandler / Baby Huey

                  In My Body's House / Hard Times

                  With its rock-solid funky mid-tempo srums Baby Huey’s 'Hard Times' has been the sample source for many hip hop artists including A Tribe Called Quest, Ghostface, Diamond D to name but a few. For this Originals 45 'Hard Times' is paired with the original inspiration for Huey - Gene Chandler’s “In My Body’s House”. Penned by Curtis Mayfield, who released his own version in 1975, Chandler’s interpretation is up-beat and cinematic (in an epic, blaxploitation kinda way) - a total bomb. This 7" gives us both versoins back to back – grab yourself a copy before they’re gone!


                  The Charlatans

                  Modern Nature - Deluxe Edition With Bonus Disc

                  Ordering this version DOES NOT give you access to the signing session. If you want to attend the signing, please order the wristband bundle version here, and select the pick up instore option at checkout.

                  THE CHARLATANS – Tim Burgess, Mark Collins, Martin Blunt and Tony Rogers - release their twelfth album, MODERN NATURE on BMG Chrysalis on 26th January 2015.

                  MODERN NATURE features eleven new tracks, including the limited edition 7” singles and 6 Music A List records ‘Talking In Tones’ and ‘So Oh’, as well as the forthcoming single ‘Come Home Baby’ , also A listed at 6 and recently added to the Radio 2 playlist. The album was produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead). The album features a cacophony of contributors from their three temporary drummers - Pete Salisbury of The Verve, Stephen Morris of New Order and Gabriel Gurnsey of DFA's avant-disco group Factory Floor, to Kate Bushs’ backing singers Melanie Marshall and Sandra Marvin, strings by Sean O’ Hagan and brass courtesy of Dexys’ Big Jim Paterson.

                  Q have already described the album as “ one the finest of their career”, whilst the Guardian have called it “a triumph”

                  The album comes after a difficult year for the band following the death from brain cancer of their old friend and drummer Jon Brookes last year. Rogers says that they were determined to carry on to honour Brookes' memory.

                  FORMAT INFORMATION

                  2xLtd CD Info: Includes indie stores only remix CD EP featuring 4 remixes, while stocks last.

                  2xLtd LP Info: Deluxe coloured (gold) vinyl includes 12" featuring the 4 bonus tracks. Also includes indie stores only remix CD EP featuring 4 remixes, while stocks last.

                  The Charlatans

                  Modern Nature With Bonus Disc

                    MODERN NATURE features eleven new tracks, including the limited edition 7” singles and 6 Music A List records ‘Talking In Tones’ and ‘So Oh’, as well as the forthcoming single ‘Come Home Baby’ , also A listed at 6 and recently added to the Radio 2 playlist. The album was produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead). The album features a cacophony of contributors from their three temporary drummers - Pete Salisbury of The Verve, Stephen Morris of New Order and Gabriel Gurnsey of DFA's avant-disco group Factory Floor, to Kate Bushs’ backing singers Melanie Marshall and Sandra Marvin, strings by Sean O’ Hagan and brass courtesy of Dexys’ Big Jim Paterson.

                    Q have already described the album as “ one the finest of their career”, whilst the Guardian have called it “a triumph”

                    The album comes after a difficult year for the band following the death from brain cancer of their old friend and drummer Jon Brookes last year. Rogers says that they were determined to carry on to honour Brookes' memory.

                    FORMAT INFORMATION

                    LP Info: Includes indie stores only remix CD EP featuring 4 remixes, while stocks last.

                    The Chemistry Experiment

                    Gongs Played By Voice

                    Prog-influenced Nottingham quintet The Chemistry Experiment are set to release their second album, the intriguingly titled “Gongs Played By Voice”, through Fortuna POP! in January, some ten years after the release of their debut album “The Melancholy Death Of…”.

                    Housed in beautiful artwork by the Bulgarian artist Gyukov, a set designer in communist Bulgaria, the new album sees the band conclude the transition from their indie roots with nine beautifully arranged and recorded songs that encompass such influences as Will Oldham/Bonnie Prince Billy, Tindersticks, King Crimson and Soft Machine. Formed by songwriter Steven J. Kirk (vocals, guitar) and Paul Stone (bass) and completed by Emily Kawasaki (keyboards), Lee Tombs (flute, vocals) and Martin Craig (drums), two of the band have long since departed from their Nottingham origins with Kirk now resident in Bologna, Italy and Kawasaki living in Brighton where she plays in krautrock grrrlgruppe Slum Of Legs.

                    The release of “The Melancholy Death Of…” in 2005 saw critical if not financial success with the NME awarding the record 8/10 and describing it as “Strange, gargantuan rhythms, weird instrumentation and a singer who sounds like Kurt Wagner under ten feet of snow”. If the geographic dispersion of the band wasn’t challenging enough, in 2009 drummer Craig was diagnosed with MS. “It has made drumming somewhat tricky”, he says. “I still gnash my teeth to the rhythm of the music though, and I feel honoured to join the company of Ronnie Lane, Clive Burr, and Don van Vliet.” All of which may go some way to explaining the My Bloody Valentine-like gestation of their second album, although Tombs posits a more positive explanation, saying, “ ‘Difficult second albums’ are difficult because people spend 5-10 years gathering up what they need for the first, and then have to knock out the next one in a matter of months. We overcame that problem by taking ten years.”

                    Loosely based around the theme of seasons, elements and the sea, the album opens with the wondrous “Hung Lam”, followed by the track “Rainy Day”, on which Stone employed the little known technique of water percussion. “Martin and I started swirling water in saucepans and tapping the edge of the pan to make the woooo noise. I’d heard something similar on an Edith Piaf record”. The fantastically catchy “Leo & Magician” has an even more fantastical plot. “It’s about a scarecrow who runs away from his farm, leaving the farmer (Leo) without a way to protect his crops from the birds,” says Kirk. “Luckily Leo’s friend Magician comes along, and although he can’t help him with the scarecrow due to union rules, he turns Leo into a cat to scare away the birds, and that is why birds to this day are scared of cats. The scarecrow also abducts Leo’s wife but I didn’t want to go into that in the song.” Other songs include the beautiful “We Have Seasons”, “Jandek Bakery”, “The Event and the Experiment” (“It’s kinda the same story as Valis by Phillip K Dick”) and a cover of Leonard Cohen’s “Story of Isaac”, but perhaps the standout track on the album is “Channel Light Vessel” which Kirk describes as the best song he ever wrote and says, “This is about the sea, and sailors, and a boy I read about on BBC news who impaled himself on a fence trying to pick conkers.”

                    The album concludes with the nine minute long “A Good Wind”, describing a windy day on the coast of Australia and the classic battle between good and evil, nature and synthetic, human and vocoder. Like many things about The Chemistry Experiment it’s unique, slightly odd, and shouldn’t really work but somehow does. In the ten years since their last record a thousand faceless indie bands have made a thousand dreary records, while The Chemistry Experiment have ploughed their idiosyncratic furrow to produce “Gongs Played By Voices”, the perfect distillation of their strange and distinct vision.

                    Cluster

                    Japan Live

                      Cluster (Dieter Moebius, Hans-Joachim Roedelius) are considered pioneers of electronic music and key Krautrock protagonists. In the late 1960s, together with Konrad Schnitzler as the trio Kluster, they changed the world of music for ever with their radical improvisations. Having split from Schnitzler, Moebius and Roedelius continued as Cluster, releasing eight further milestones of electronic and ambient music up until 1981, two of them with Brian Eno. In 1990 they returned to the fray with their "Apropos" album. The tracks collected here are gleaned from live performances in Osaka and Tokyo in 1996. In technical terms, and all the more so musically, the recordings are on a par with meticulously prepared studio productions. The material thus provides an ideal opportunity to compare Cluster music of the past and the present (1996!).

                      This reissue is a new, reworked version. Originally released 1997 on Captain Trip Records. New artwork. Liner notes by Asmus Tietchens. First time on vinyl.

                      Cluster

                      USA Live

                        Cluster (Dieter Moebius, Hans-Joachim Roedelius) are considered pioneers of electronic music and key Krautrock protagonists. In the late 1960s, together with Konrad Schnitzler as the trio Kluster, they changed the world of music for ever with their radical improvisat-ions. Having split from Schnitzler, Moebius and Roedelius continued as Cluster, releasing eight further milestones of elect-ronic and ambient music up until 1981, two of them with Brian Eno. In 1990 they returned to the fray with their "Apropos" album. Halfway through the decade they toured Japan ("Japan 1996 live") and the USA. The American episode saw Cluster frequently return to their roots. The duo's performances were less on the mellifluous side, rather more uncomfortable and rugged.
                        The recordings released in 1997 on Purple Pyramid as a double CD (entitled "First Encounter Tour") have been reworked and reselected in collaboration with the musicians.

                        On vinyl for the first time! New artwork.


                        The Contents Are

                        Through You

                          • Officially licensed by the group, who will receive royalties from sales of this album, its first American reissue.
                          • Limited one-time pressing includes exact reproductions of the group’s two non-album 45s!
                          • Sleeve notes by Jeremy Cargill (contributing editor, Ugly Things magazine).
                          • LP sleeved in a tip-on jacket, with a 4 page insert with never before seen photographs.

                          “Rumours of a limited demo LP pressing from this renowned Iowa garagey-folk rock band remained unconfirmed until a copy popped up at a 2005 Austin Record Show. Curiosity grew into excitement as the album turned out to feature 13 band originals in a terrific melodic Beatles '65-66 style with a sprinkling of Byrds on top. In other words, an ideal sound for a 'lost' 60s album, reminiscent of the Beauregard Ajax recordings from L.A. Drawing inspiration from the Beatles is usually an indication of both taste and cojones, and the Contents Are deliver a string of skillfully arranged 3-minute gems from the point where beat and folk rock turn into melodic psychedelia.” - Patrick Lundborg, The Acid Archives

                          THE CONTENTS ARE’s debut album was originally issued in 1967 in an edition of just 100 copies. Hailing from Quad City, Iowa, these four young men recorded one incredible song after another, their ambitions well beyond that of the typical group at the time.This record, more rumoured than heard, lives at a wild nexus in American culture, simultaneously expansive and reflective, searching for answers in society through music and art.
                          The great German label Shadoks first reissued this legendary set almost ten years ago, and we’re very happy to bring you a new deluxe edition of “Through You”, this time with the very special addition of the band’s two non-album 45s, originally released on the ROK label (these two singles are seeing their first ever reissue on vinyl; previously only available as CD bonus tracks, and well worth rediscovery). Let this record turn you on to new horizons.

                          FORMAT INFORMATION

                          Ltd LP Info: Includes bonus 2x7".

                          It’s been an extraordinary journey for Gaz Coombes, from flashily whiskered pop tearaway to Ivor Novello and BRIT award winning rock star. The mega-watt melodic genius responsible for ten Top 20 hits and six Top 20 albums - 'I Should Coco' was Parlophone’s fastest selling debut since the Beatles 'Please Please Me' - returns with his remarkable new album, entitled 'Matador'.

                          “There’s this disposable vibe around music at the moment which is odd, because it’s so obviously central to most people’s lives,” says Gaz. “Life is full of moments of fear, loss and longing, but it’s how you get through those things and triumph over them which define you. But there’s as much light as there is dark on this record; there’s beauty in both of those states and that has always intrigued me."

                          Dancer

                          Am A Dog / Boom Boom

                          Chaotic, acidic jack tracks are the order of the day here, as we get hit with a killer reissue of some essential dancefloor energy. Dancer aka Sidney Winters, dropped this obscure bomb on Trax in the peak year of 1987 and both sides are mixed by the late, great Frankie Knuckles and have all the trademarks of his touch; tough drum machines, Italo inspired melodies and thundering bass-lines. These monster tracks sound absolutely massive and will surely do damage when dropped today. "Am A Dog" is the A-side and is the more melodic of the two cuts, featuring triggered dog-like vocal stabs, epic, soaring synths and a repeated voice floating in and out of the mix, while on the B-side the descriptively titled "Boom Boom" does exactly that, a descending, aggressive acid line drives the track with some reverbed-out drums and a disjointed female voice repeating "Boom boom goes my heart", deep, dark and heavy! Both tracks have been re-mastered and re-pressed for the very first time since their original release in 1987 in conjunction with Trax Records, and have been made available again with original label artwork. Essential!


                          Brought to attention in DJ sets from the likes of Rustie, Jackmaster, and receiving radio support on BBC Radio 1 from Annie Mac, Zane Lowe, MistaJam plus more, "Minger" follows Darq’s previous productions for some of grime and rap’s most memorable characters, notably Tempa T’s "Next Hype" and Danny Brown’s "Blueberry". Underpinned by crisp 808 drums, a serrated synth riff and doom-laden horns, "Minger" has an incendiary energy, equally at home possessing an Atlanta strip club as it is blasting out of headphones on that nightmarish late night bus journey. “Yeah Yeah Yeah (Dun Know)” is a more hallucinatory affair, tailored to the twisted comedowns surely proceeding the mad rave of which “Minger” was the soundtrack. Swirling vox meeting shiny synth waves and a pummeling 808 subs keeping us from drifting too far out of focus. Excellent stuff, recommended.

                          STAFF COMMENTS

                          Matt says: pprrRRRESHHAAH for the dance! Darq E Freaker unleashes the rave gremlins for a full-throttle technoid assault.

                          FORMAT INFORMATION

                          12" Info: 12" + insert

                          Alexandre Desplat

                          The Imitation Game OST - Red Vinyl Edition

                          Starring Keira Knightley, Benedict Cumberbatch and Matthew Goode, The Imitation Game portrays the race against time by Alan Turing and his team of top-secret British code-breakers during the darkest days of World War II. The film spans the key periods of Turing’s life: his unhappy teenage years at boarding school; the triumph of his secret wartime work on the revolutionary electro-mechanical bombe that was capable of breaking 3,000 Enigma-generated naval codes a day; and the tragedy of his post-war decline following his conviction for gross indecency, a now-outdated criminal offence stemming from his admission of maintaining a homosexual relationship.

                          The soundtrack is composed by Golden Globe and Grammy Award winning French composer Alexandre Desplat, who burst onto the Hollywood scene in 2003 with his evocative score to Girl With The Pearl Earring. From this point on he contributed the soundtracks to a rich collection of highly successful movies such as Syriana, Golden Compass, The Curious Case Of Benjamin Button, Twilight Saga: New Moon, Harry Potter And The Deathly Hallows (Part 1&2) and The King’s Speech as well as Monuments Men.

                          FORMAT INFORMATION

                          LP Info: 180g audiophile vinyl with insert. First pressing of 750 numbered copies on red/white vinyl.

                          Disappears

                          Irreal

                            Irreal, the fifth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence - hazed dub landscapes give way to the groupʼs most experimental and open music yet.

                            If their last album Era confirmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity - it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. Itʼs a master class in texture, pace and control.

                            Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void.

                            French Touch survivor, edit master, and funk king DJ Vas makes his Razor N Tape debut with a wide-reaching quartet of dancefloor energy. Originally a member of pioneering French-touch group Kojak, Vas' seasoned production approach really shines through on this package, whether in the blistering groove of "Wizard Funk", the classic boogie of "The Moment", the dub reggae styles of "Alright", or the smooth-as-silk "Cream". Kicking the EP off with a little magic, Vas comes correct with "Wizard Funk", a proper floor burning cousin to Fatback's "Ninja Walk", powered up with extra female vox and P-funk squelch. Sleazy, sassy and sexy as they come, this one's a sureshot. For the A2, Vas drops the tempo right down low with the looped up soul of the super smooth "Cream", a bedroom jam par excellence which rivals Garth Be's most chilled moments. Head to the flip and get ready for a killer, dubbed out version excursion of Inner Life's Salsoul classic "Moment Of My Life", which sees Vas employing his production expertise to boeuf up the P&P groove for he modern floor. Last but not least, we get Vas's trap inspired hip hop rework of Keith Hudson & Family Man's "I'm Alright" off the 74 "Pick A Dub" LP. The sweet reggae vocals and dubwise effects remain, but are augmented with skitterish hi hats and tranqued out synth riffs. There's truly a bit of something for every party on this 12.

                            Mad Max is back with another selection of batshit jackers from his Dolo Percussion outfit. The Beautiful Swimmer loads up a cohort of drum machines, rhythm boxes and vocal samples and knocks out a four track of DJ tools for all you nasty jocks out there. "Dolo 5" is a rolling, rattling, stomping beast, all bumps and thumps at the bottom end and snarling snare rolls at the top with the ever present guttural vocal chant giving you something to flex to. Things get dubbier on "Dolo 6" as Max sinks his teeth into some new wave jungle blasts, pushing fragments of the amen break through hissing tape distortion for a true late night filther. "Dolo 7" keeps with the breakbeat theme but with an a totally technoid slant. The menacing pound of the drums forms the perfect counterpoint to the celestial tones of the synth bells at the top end, making for the perfect accompaniment to any dream house or hazy techno set. Like a seasoned showman, Max saves the best for last, sending us headfirst through the looking glass with the mind altering bleeps and beats of "Dolo 8". Melon twisters all round here folks!


                            Dr. Dog

                            Live At A Flamingo Hotel

                              Dr. Dog releases the first ever bottling of the band’s effervescent live shows via Anti-. Culled from the band’s 2014 North American tour, the songs here cover all of Dr. Dog’s seven studio albums, ranging over a decade of material. Says bassist/vocalist Toby Leaman, “We’re one thing on a record and a different thing live. We’ve always built our fans through the live show. Somebody goes to a Dr. Dog show and hopefully comes again and brings somebody with them. We see it build in a town by coming back several times. Our live show is vital to how we view ourselves as a band.”

                              The collection serves essentially as a Dr. Dog greatest hits, with a running time nearly equal to a live set - and longer than what will fit on a traditional CD, so the album will see only a digital and four-sided vinyl release. From hits like “Shadow People” and “Lonesome” to live staples like “County Line,” “The Rabbit, the Bat and the Reindeer,” and “Ain’t It Strange,” this is Dr. Dog as God intended.

                              Dub Store Records

                              Dread - Charcoal T-Shirt

                                Dubstore Records Original T-Shirt - Charcoal / Faded Black T shirt with White Print

                                Dub Store Records

                                Dread - Neutral T-Shirt

                                  Dubstore Records Original T-Shirt - Neutral / Off White T shirt with Black Print

                                  For the past 14 years, Elephant Micah's Joseph O'Connell has quietly self-released his music, sometimes collaborating with the psych-folk imprint Time-Lag Records or other very small labels. Despite the project's almost secretive status, Elephant Micah has repeatedly caught the attention of NPR, and has been championed by an impressive cohort of like-minded artists including Jason Molina, Hiss Golden Messenger, Dark Dark Dark, and Hurray for the Riff Raff.

                                  Where in Our Woods, the 12th Elephant Micah album and the first for Western Vinyl, is defined by its limited palette. The arrangements foreground nylon-string guitar and an antique portable pump organ. A stripped-down drum set, a baritone ukulele, a toy recorder, and harmony vocals (sung by Will Oldham, a friend of and key influence on O’Connell) round out the sound. This sparse ensemble leaves O’Connell’s voice room to breathe, while elevating and magnifying the poetry of his songs.

                                  The album follows an ensemble cast of human and animal characters as they negotiate the supernatural and the mundane: “Light Side” catalogues a friend’s search for sublime experience through a self-described “redneck mysticism” involving in drugs, sex, and travel. “Rare Beliefs” and “Demise of the Bible Birds” explore the world of a "Bible Bird Man" from Noblesville, Indiana, who trained exotic birds to perform stunning Christian-themed stunts. “Albino Animals” is a modern day journalistic ballad, summarizing three stories found in one edition of O'Connell's hometown newspaper: readers responding to the recent slaying of an albino deer, husband-and-wife meth cooks escape federal prosecution based on an error in legal process, and a rower with local roots attempts a transatlantic passage that ends in disaster. The album closes with “Slow Time Vultures,” which was inspired by the descent of hundreds of migrating vultures on O'Connell's parents’ farm in southern Indiana. At the time of this avian congress, state government was instituting the observance of daylight savings time for the first time in Indiana. As O’Connell explains, "Maybe it goes without saying that the unexplained appearance of a sky full of vultures might seem like a harbinger of doom. I wondered if it related to the time change. At its core, this song is in the tradition of American country songs that express indignation toward the idea of progress." Throughout the album, O'Connell deftly transforms the stuff of everyday American life into a series of entrancing meditations on culture, nature, religion, and modernity.

                                  “A beautiful slice of narcoleptic folk...” WIRE.
                                  “A stealthy album, which rewards your patience.” UNCUT.
                                  “Haunted Americana at its lo-fi best. Unendingly elegant.” DUSTED.

                                  Emmy The Great

                                  S

                                    Emmy’s latest creation. Recording was split between LA with Ludwig Goransson (Haim, Childish Gambino) and London with Dave McCracken (Oh Land, Beyonce). Mixed by MIA’s MD Neil Comber.

                                    Wild Beasts’ Tom Fleming joins Emmy for lead track ‘Swimming Pool’, a haunting siren-song that submerges us in an affluent montage, replete with rippling keys and dream-laden bass.

                                    12” is pressed on green vinyl (limited to 1000 copies for the world).

                                    Jake Xerxes Fussell

                                    Jake Xerxes Fussell

                                      Featured on 42nd Uncut playlist.Produced by and featuring Willliam Tyler on guitar with Chris Scruggs (steel guitaf, bass. mandolin Bonnie "Prince" Billy, Marty Stuart). Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle: Bill Monroe, Ray Charles). Jake Xexes Fussel's debut transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine laments. As a teenager Fussell began playing with elder musicians in the Chattahoochee Valley including Piedmont blues legend Precious Bryant, Alabama bluesman George Daniel, Jimmie Tarlton as well as accompanying Etta James in North Carolina. Now collaborating with guitar virtuoso William Tyler, Fussell has made a conscious decision to depart cloistered trad scenes and sonics, for broader, more oblique horizons, imbuing these songs with equal parts vaporish, percolating atmosphere and academic rigour.

                                      FORMAT INFORMATION

                                      LP Info: 150g vinyl with heavy duty reverse board jacket, plus download.

                                      Tony Starks returns to Staten Island after 9 years, like a man returning home from a war. He wants the company of old friends, to reunite with his girl, to live a quiet life. But New York has other plans for him… On his new release '36 Seasons' those powers have never been more in-focus, as he takes his listeners on a gut-wrenching journey of double-cross and revenge through the rough and rugged housing projects of New York’s Staten Island. On '36 Seasons' Ghostface once again delivers exactly what the hardcore Wu-fans crave: desperate tales from the dark side over soulful boom-bap tracks. The soundscape is provided The Revelations (Brooklyn’s acclaimed soul band / production team). Their hard-hitting tracks match the intensity of Ghost’s violent narrative. His co-stars on '36 Seasons' are legendary lyricists and storytellers in their own right, 3 of the greatest of all-time: AZ, Kool G Rap and Pharoahe Monch. The album also features vocal contributions from Blue Note Records’ rising star Kandace Springs and gritty soul singers Rell and Tre Williams.


                                      FORMAT INFORMATION

                                      CD Info: To visually flesh out the album’s dark and twisted world, the CD's packaging includes 20 pages of striking images from a host of stellar comic artists, curated by the team that created Ghostface’s 2013 six-issue comic mini-series, 12 Reasons to Die.

                                      Philip Glass

                                      Candyman (Original 1992 Motion Picture Soundtrack)

                                        One Way Static Records is really proud to be bring you their latest release where we had the chance to work with two icons in their own respective fields! Today we present to you the Original Motion Picture Soundtrack to Clive Barker's 1992 'CANDYMAN' composed & performed by PHILIP GLASS.

                                        Clive Barker who wrote the story for Candyman is a multi talented artist, painter, director & producer. The extent of his work is endless. Spawning the likes of Nightbreed, Hellraiser, Lord Of Illusions and the Books Of Blood just to name a few. Philip Glass also needs no introduction. Considered one of the most influential composers of the last century his works are featured in a multitude of movies like Koyaanisqatsi, Hamburger Hill, The Truman Show, etc. Mr. Glass was nominated for and won several Golden Globes, Bafta & Academy Awards.

                                        For the first time on vinyl & cassette, packaged in deluxe old school tip-on gatefold covers with printed insert containing extensive & exclusive liner notes by PHILIP GLASS (Koyaanisqatsi, Hamburger Hill, The Truman Show), CLIVE BARKER (Hellraiser, Nightbreed), VIRGINIA MADSEN (Dune, The Haunting), TONY TODD (Final Destination, Night Of The Living Dead, Platoon), XANDER BERKELEY (Salem TV series, Kick-Ass, Terminator 2) & TED RAIMI (The Evil Dead, Shocker, Spiderman).

                                        Great Pagans

                                        Cupid In Error

                                          Forming in 2012 around the songwriting of front man Alex Painter, Great Pagans are part of the highly creative Anti-Ghost Moon Ray collective/label based in Brighton, United Kingdom. Anti-Ghost Moon Ray is concerned with cultivating a carefully curated release catalogue, and as a co-founding member (alongside fellow acts Gazelle Twin, Acquaintance, Bernholz) Alex and the band adhere to the central ethos of independence and artistic freedom.

                                          Drawing their name from a well-thumbed copy of Dante’s Inferno, Great Pagans’ music often echoes the limbo state of their Purgatorial namesakes - a state between joy and melancholy, a comforting sadness.

                                          Following their well-received eponymous EP last year, ‘Cupid In Error’ is the band’s debut album. It primarily documents the end of a long relationship and the ageless, echoing vibrations that come with it, an honest reflection of redefining oneself. The recording of the album reasserts their DIY philosophy, taking place in a variety of makeshift spaces, including churches and cluttered basements, being mixed between Brighton and Vancouver, Canada.

                                          Great Pagans draw from a love of 80’s underground indie, heard through a hazy dream, hinting at the experimental pop of Talking Heads and David Bowie. Painter’s wistful vocals conjure the yearning of The Smiths and The Sundays whilst the band’s restrained boisterous moments invoke the cathartic noise of The Pixies and Sonic Youth.

                                          Great Pagans have played alongside notable acts including Esben & The Witch, Traams, Younghusband and Wolf Alice. Having recorded a session with acclaimed music/entertainment website Daytrotter, Great Pagans project a powerful live force, an aspect they were keen to transport from the live stage to the recorded album.

                                          “Moonlit melancholy.” – The Line Of Best Fit
                                          “Shimmery sadness will soothe your soul.” – SPIN
                                          “Compelling.” – Q Magazine
                                          “8/10. A journey to the dark heart of indie.”- Uncut
                                          “Miserabalist masterpiece.” – BEAT
                                          “An inspired band. A great album, from start to finish.” – Glasswerk.


                                          Guided By Voices

                                          Bee Thousand - Vinyl Edition

                                            Little introduction should be required here. Let it suffice to say that Bee Thousand is arguably the best, or at least among the top Guided By Voices albums in a copious discography. Accordingly, the album has stacked up accolades over the years, including being voted #1 on Amazon.com’s “100 Greatest Indie Rock Albums of All Time.” It’s a staple such lists, and has also placed highly on those curated by Spin, Pitchfork, Mojo and Rolling Stone.

                                            This new LP pressing, the first since the late ’90s, honors the album’s 20th anniversary. It features new (and definitely improved) mastering from John Golden, a substantial gatefold jacket with a previously unpublished Robert Pollard collage, and high-quality virgin vinyl from RTI. Also includes a free download card.

                                            Guided By Voices

                                            King Shit & The Golden Boys - Vinyl Edition

                                              As a companion piece to the vinyl reissue of Bee Thousand, Scat Records presents a new edition of this finest compilation of Guided By Voices outtakes. Originally included with the multi-disc set Box, this issue marks the album’s first release as a standalone piece. The first side features highlights from two otherwise unreleased albums from the band’s early days (Learning to Hunt and Back to Saturn X), while the second side mops up the best cuts left off of Bee Thousand. All tracks are exclusive to this release.

                                              Packaged in a high-quality, heavy-duty tip-on jacket and pressed on virgin RTI vinyl, this LP is a must for even the casual GBV fan.

                                              Keiji Haino / Jim O'Rourke / Oren Ambarchi

                                              Tea Time For Those Determined To Completely Exhaust Every Bit Of This Body They've Been Given

                                                Incredible live document of the phenomenal power trio’s 2nd set from March 2013, beautifully recorded in Tokyo, at the legendary SuperDeluxe, their 6th release as a trio to date.

                                                - This is a companion release to the trio’s Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen CD/LP (BT011) which was a release of the 1st set the trio played that same night

                                                - A wide-ranging performance capturing the trio in truly peak form, reminiscent of some of Fushitsusha’s greatest moments, music made with the ingredients of rock that somehow manages to sidestep all of its forms and traditions while retaining and amplifying its fundamental power.

                                                - LP only release

                                                - Artwork design by Stephen O’Malley including a gorgeous live pic by Ujin Matsuo and a stunning cover image from noise legend Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin

                                                The Fire Records Half Japanese reissue series continues with the second volume, covering the three releases of ‘Music to Strip By’, ‘Charmed Life’ and ‘The Band That Would Be King’ released one a year from 1987 to 1989. Following the Record Store Day 2014 release, ‘Volume 1: 1981-1985’, the next three Half Japanese records come in their original release form, with the additional tracks that were later added to the CD releases over the years available via download code (see below for track lists). The LPs are wrapped together in a heavy wide spine outer sleeve with a specially designed paper cut image by Jad Fair, who also provides more illustrations throughout the booklet, with words by David Fair.

                                                As per ‘Volume 1’, all three records are combined together in a 3CD package. Be careful. You can’t unlearn information. I think that the best that you can hope for is a bad memory, but our brains are very remarkable and it is very difficult to actually unlearn something. I came upon this realization too late to help me with visual arts. I had already been taught about proportions and perspective. It’s very hard to draw someone in the background larger than their friend in the foreground. Anyone farther away would look smaller. That is how our eyes see them and my brain knows this. I cannot turn off this knowledge and draw it the other way around. I can choose to ignore it, but that is not the same. That is a strategy for dealing with the situation, but not as freeing as simple ignorance would be. It is a nagging strategy that whispers the rules and acknowledges your participation in their breaking. Luckily, with music, I do not carry the burden of knowledge. I was not educated in its terms and rules. I am not bound by its limits. I know that I have guitar skills. I have played around with one enough to know what feels right to me. If I were to turn it upside down and attempt to play it in a left handed manner, my ability would feel awkward and diminished. I am not unskilled, I am merely untrained. For me, this is the ideal situation. Others may prefer acquiring rules and limits. I prefer that my art be directed by my heart rather than my brain. I have played in bands for nearly 40 years. In all of that time I have only learned three chords. I have resisted acquiring more. If I continue at this rate I am at risk of knowing six chords forty years from now. Instead, I am consciously slowing down. Hopefully in four decades I will remember even less about music convention than I know today. Forty years is a long time to wait. In the meantime, here’s Half Japanese Vol 2. It might get better in the future, but Vol 2 is here already. David Fair.

                                                Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall is one of the rising stars of the UK jazz scene. His unique sound was brilliantly described as "Rain-streaked spiritual jazz from Manchester" by the Independent On Sunday and previous albums have found Halsall exploring the modal jazz of John and Alice Coltrane or paying heartfelt tribute to the hard bop of the late 50s and early 60s, but on 'Fletcher Moss Park' he offers his most personal statement yet.

                                                Written and recorded over the last couple of years, 'Fletcher Moss Park' is inspired by one of Manchester's most beautiful places. A rambling, multi-tiered park of walkways and dreamy gardens that offers the contemplative Halsall a place of peace and respite from the city, a meditative space to think and write in. The stillness and beauty of the surroundings have steeped into his beautiful compositions for this album. Elegant and sincere, Halsall's compositions draw on his love of spiritual jazz, modern dance music and even his work with the award-winning Brighouse & Rastrick Brass Band earlier this year. Halsall who has recently been exploring his music in a stripped-back, electronica influenced, trio (featuring Taz Modi and Luke Flowers who also appear here) as well as the 12 piece Gondwana Orchestra has always favoured an earthy honestly and direct communication over tricksy arrangements and it is this deceptively simple openness that gives his music such a unique flavour as the young composer and producer seeks to express his feelings and thoughts with his music.

                                                'Fletcher Moss Park' opens with three tracks featuring saxophonist Nat Birchall, harpist Rachael Gladwin and pianist Adam Fairhall alongside bassist Gavin Barras and drummer Gaz Hughes all long running members of Halsall's sextet. The beautiful 'Cherry Blossom' opens with a nod to Alice Coltrane before exploring it's own contemplative trajectory, the title track features a gorgeous opening from harpist Gladwin and one of Halsall's trademark slow but foot tappingly catchy grooves, Mary Emma Louise is an elegant tribute to someone special and features some beautifully wistful playing from the composer. 'Sailing Out To Sea' and 'Wee Lan' offer a change in mood, two short interludes for violin (Holly Simpson and Davinder Singh), cello (Adrianne Wininsky) and double bass (Barras), Halsall chose not to play here feeling that the brief musical sketches caught his intentions perfectly. Finally the album closes with the two most recent compositions, the reposeful 'Sun In September' which features fine work from flautist Lisa Mallett, alongside pianist Taz Modi and drummer Luke Flowers and the uplifting 'Finding My Way', which with its compelling groove and fine drumming from Flowers (best known for his work with Cinematic Orchestra) offers a nod towards Halsall's love of contemporary electronic music as well as a hint of future projects. But as with the writing here you can be sure that wherever Halsall's muse takes him his music will remain heartfelt and life affirming in its elegant directness as he explores his own unique musical terrain that stretches from the bucolic stillness of 'Fletcher Moss Park' to a world far beyond!

                                                Herbie Hancock

                                                Empyrean Isles - Remastered Vinyl Edition

                                                On 'Empyrean Isles', Hancock returns to hard bop, but the results are anything but conventional. Working with cornetist Freddie Hubbard, bassist Ron Carter, and drummer Tony Williams, Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock's four original concepts are loosely based on the myths of the Empyrean Isles, and they are designed to push the limits of the band and of hard bop. Even "Cantaloupe Island," well-known for its funky piano riff, takes chances and doesn't just ride the groove. "The Egg," with its minimal melody and extended solo improvisations, is the riskiest number on the record, but it works because each musician spins inventive, challenging solos that defy convention. In comparison, "One Finger Snap" and "Oliloqui Valley" adhere to hard bop conventions, but each song finds the quartet vigorously searching for new sonic territory with convincing fire. That passion informs all of Empyrean Isles, a record that officially established Hancock as a major artist in his own right.

                                                Blue Note President Don Was says, “Two years ago, we began remastering the jewels of the Blue Note catalogue in hi-def resolutions of 96k and 192k. In order to develop a guiding artistic philosophy for this delicate endeavor, we donned our lab coats, ran dozens of sonic experiments and carefully referenced every generation of our reissues. Ultimately, we decided that our goal would be to protect the original intentions of the artists, producers and engineers who made these records and that, in the case of pre-digital-era albums, these intentions were best represented by the sound and feel of their first-edition vinyl releases. Working with a team of dedicated and groovy engineers, we found a sound that both captured the feel of the original records while maintaining the depth and transparency of the master tapes... the new remasters are really cool!

                                                While these new versions will become available in digital hi-def, CD and Mastered for iTunes formats, the allure of vinyl records is WAY too potent to ignore. This year, Blue Note - along with our friends at Universal Music Enterprises - is launching a major 75th Anniversary vinyl Initiative that is dedicated to the proposition that our catalogue should be readily available, featuring high quality pressings and authentic reproductions of Blue Note's iconic packaging. Although this program begins in celebration of Blue Note's 75th Anniversary, our catalog runs so deep that we will faithfully be reissuing five albums a month for many years to come!”

                                                Hippies Vs Ghosts

                                                Wazo

                                                  Hippies Vs Ghosts are primarily Owain Ginsberg from Masters In France / We Are Animal and ‘Wazo’ will be the band’s debut 7”.

                                                  Since blasting on to the scene some 18 months ago, under this particular guise, Ginsberg has regularly blown listeners away with his kaleidoscopic, instrumental Morricone meets Krautrock sound, during which time he’s served up a number of quality EPs, one off tracks and a stunning debut album, ‘Mother Tongue’ (one of 2014’s finest).

                                                  In a parting gesture to a rather productive 2014, Hippies Vs Ghosts sign off with brand new 7″ single ‘Wazo’. ‘Wazo’ captures the very essence of Hippies Vs Ghosts; Krautrock indebted psychedelia of epic proportions. Propelled onward by a chugging bass and persistent percussives, it hurtles along at breakneck speed with menacing intent, bending and contorting through a sea of swirling noise and scorching riffs. Urgent, catchy, and oh so irresistible!

                                                  B-side companion ‘Hibou Calling’ is a much more tempered affair. A gentle acoustic strum, soft percussion and hushed repeated vocals fuse with some floaty sonic sounding atmospherics to soothe the soul and whisk one’s mind away to a lofty transcendental plain.

                                                  ‘Wazo’ is released as part of the Too Pure Singles Club.

                                                  Al Hudson & The Soul Partners

                                                  I'm About Loving You / When You're Gone

                                                  Al Hudson & The Soul Partners had an international smash hit with “You Can Do It” in 1979, becoming One Way in the process. The Detroit origin of the group was just four years earlier, their recordings for ATCO opening doors to worldwide success and becoming highly sought after 7” single. An original “I'm About Loving You” sold earlier this year for $200 and “When You’re Gone” has fetched close to that value. As a spin off from the ATCO Years CD, bringing these recordings together for the first time (6 never previously on CD), this double header shows the class, sophistication and quality of the recordings. The songs are still massive in northern and modern crossover soul circles.


                                                  London's finest post-disco outfit, the magnificent Imagination return over 30 years after their iconic "Night Dubbing" release with fresh mixes of their finest material from some of the biggest names in the game. In the boogie centric, house orientated club scene of the early 80s, Imagination carved out a profitable niche with a dubby, bass heavy electronic sound which combined disco, boogie and proto house into sleek dancefloor workouts. The irrepressible Aussie, Late Nite Tuff Guy kicks off the release, serving up a housed up mix of "Changes", which retains the cosmic synth work of the original, but adds extra loops and pads to fill the frequencies and the floor. Next up disco veteran John Morales delivers one of his trademark M+M Mixes, transforming the classic "Just An Illusion" into a midtempo proto house jam packed with emotional melodies. Calm pads underpin Leee John's delicate vocals, while the array of clipped synthlines offer countless counter rhythms to the steady beat. On the flip, Boston's favourite son, the one and only Kon takes on "Flashback", tweaking the beat and bassline until the track explodes into a bizarre and brilliant mix of P-Funk and cruise ship disco. Closing proceedings in lush fashion we have the evergreen Yam Who?, who collaborates with original Imagination drummer Errol Kennedy on a brand new version of the heartbreaking "In & Out Of Love" - not a dry eye in the house. With DJ support coming in from all over the place, you'd be wise to grab a copy before they vanish.


                                                  Inspiral Carpets & John Cooper Clarke

                                                  Let You Down

                                                    This exclusive single version is joined by a unique, previously unissued B-side, ‘It’s A Good Job Baby’.

                                                    Pressure Sounds first release in 2015 is a classic roots set by The Inturns (also known as an alias of The Viceroys - here as duo Wesley Tinglin & Neville Ingram). Produced by Phil Pratt and not re-pressed in its original format since the mid 1970s. Recorded at Channel One Studios with Bunny Tom Tom (aka Crucial Bunny) at the controls, and featuring the likes of Sly & Robbie (drums, bass), Ansell Collins (keyboards), Eric 'Bingy Bunny' Lamont (guitar), and percussion by Noel 'Skully' Simms.

                                                    The vocal harmony tradition runs deep through Jamaican reggae music. The Viceroys, who also recorded under the name The Inturns, are part of that tradition. The pivotal member of the group is Wesley Tinglin, who is the one consistent member and the driving force behind the band's longevity. Wesley Tinglin had learned harmony singing in Trenchtown from the great Joe Higgs. After forming the original Viceroys group with Daniel Bernard and Bunny Gayle, Wesley Tinglin did the rounds of the usual studios and producers in the Kingston recording scene. First stop was Duke Reid’s Treasure Isle. Next stop was Studio One. Later rocksteady recordings followed for producers Derrick Morgan and Lloyd 'Matador' Daley.

                                                    Before the name change to The Inturns in the mid 1970s, the group recorded the brilliant 'Babylon Deh Pon Fire' for Lee Perry at the Black Ark under the name of Truth Fact And Correct. Clearly frustrated at the lack of financial rewards coming their way as The Viceroys, The Inturns - now consisting of Wesley Tinglin and a neighbor Neville Ingram - began recording the album 'Consider Yourself' for Phil Pratt at Channel One Studios in Maxfield Avenue.

                                                    The recordings began around 1976 according to Phil Pratt. This seems about right, as by the sound of the album it seems to have been recorded by the time Channel One had perfected their 'rockers'-style drum sound. Engineered by Bunny Tom Tom (real name Anthony Graham), aka Crucial Bunny, the Channel One signature drum sound is clear to hear.

                                                    Neville Ingram was a revelation as a lead vocalist and it's his distinctive tones that identify the Viceroys from the mid 70s onwards. Tinglin's songs were also now concise and full of insightful references to Kingston life. It was a dynamic combination.The song ‘Nothing Is Impossible' had also been recorded by Winston Riley for his Techniques imprint, and was later re-recorded with the Roots Radics band for producer Linval Thompson. All three recording are excellent in their own way, but Phil Pratt's version is powerful and has more of a steppers feel than the other versions. Noel Donlan is credited as playing the drums, but it's also probable that Sly Dunbar played on some of the tracks. 'Ya Ho' was also re-recorded and renamed 'Ja Ho' for the 'Consider Yourself' set. This is perhaps Wesley Tinglin's most well known song and was inspired by Pirate tales in the the Caribbean Reader journal that were popular at that time in Jamaica.

                                                    The album is up there with some of Phil Pratt's best productions and The Inturns, although essentially operating as a duo rather than the usual three part vocal harmony, turned in an excellent set. Their work with Pratt as a duo as The Inturns has stood the test of time remarkably well. 'Consider Yourself' is now available again. It's a quality record and its re-release has been long over due.


                                                    The Inturns

                                                    Nothing Is Impossible / Detour (Extended Mixes)

                                                    Formed out of vocal harmony trio the Viceroys, the Inturns were Wesley Tinglin and Neville Ingram. They recorded recorded a single LP and several singles with Phil Pratt at Channel One before returning to the their original name The Viceroys. A companion piece to their Pressure Sounds reissue LP 'Consider Yourself', this 10" dubplate contains an excellent extended mix of 'Nothing is Impossible' by Phil Pratt, which was first released on a Chanan Jah 12" in the mid 70s. On the flip we get an extended mix of 'Detour', again produced by Phil Pratt. Comes in a hand stamped bag.


                                                    Invisible Familiars

                                                    Disturbing Wildlife

                                                    Invisible Familiars’ ‘Disturbing Wildlife’ is the work of Jared Samuel, alongside producer Michael Leonhart.

                                                    Guests include Yuka Honda and Miho Hatori of Cibo Matto, Nels Cline, Jolie Holland, Stuart Bogie of Antibalas and Superhuman Happiness, Scott Metzger, Ryan Sawyer, Alex Holden and Andrew Borger.

                                                    The band behind the album are also the backing band for Sean Lennon.

                                                    “Jared kinda sounds like Mark Bolan. I’ll just say it, cause you might think it. It’s science. When I asked him what record felt to him like how he wanted ‘Disturbing Wildlife’ to feel to me, he said ‘‘Cuckooland’ by Robert Wyatt’, promptly adding ‘and the first time I listened to ‘What’s Going On’ through headphones, stoned.’ He’s got a Small Faces song link for just about everything I say and he knew the Lifetones song I sent him yesterday, which may be my secret litmus test. When I listen to ‘Invisible Familiars’, I don’t hear just anything - I hear everything. It’s the cumulative result of being alive with the radio on. And I’m not talking about subliminal influences, because even the color of the sky can turn into a song. It’s that other transaction, where music accompanies your body - and your brain inside of it - and enables your understanding and definition of life. And then you go and make something: some food, a picture, your bed, a friend, a baby, a joke, a new song.” - Sara Padgett Heathcott, Hometapes

                                                    Each 10” contains 10 previously unreleased, untitled J Dilla beats. The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others. Yancey Media Group now proudly presents the J Dilla Batches series. Each 10” features 10 untitled and unreleased Dilla creations previously found only in the no longer available limited edition “The King of Beats’ Ma Dukes Collector’s Edition Box Set.” Like the deluxe box these vinyl offering are limited in nature. So act now while you can grab a piece of hip hop history.

                                                    Each 10” Contains Ten Previously Unreleased, Untitled J Dilla Beats The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others. Yancey Media Group now proudly presents the J Dilla Batches series. Each 10” features 10 untitled and unreleased Dilla creations previously found only in the no longer available limited edition “The King of Beats’ Ma Dukes Collector’s Edition Box Set.” Like the deluxe box these vinyl offering are limited in nature. So act now while you can grab a piece of hip hop history.

                                                    Each 10” Contains Ten Previously Unreleased, Untitled J Dilla Beats The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others. Yancey Media Group now proudly presents the J Dilla Batches series. Each 10” features 10 untitled and unreleased Dilla creations previously found only in the no longer available limited edition “The King of Beats’ Ma Dukes Collector’s Edition Box Set.” Like the deluxe box these vinyl offering are limited in nature. So act now while you can grab a piece of hip hop history.

                                                    Each 10” Contains Ten Previously Unreleased, Untitled J Dilla Beats The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others. Yancey Media Group now proudly presents the J Dilla Batches series. Each 10” features 10 untitled and unreleased Dilla creations previously found only in the no longer available limited edition “The King of Beats’ Ma Dukes Collector’s Edition Box Set.” Like the deluxe box these vinyl offering are limited in nature. So act now while you can grab a piece of hip hop history.

                                                    Jóhann Jóhannsson

                                                    The Theory Of Everything OST - Clear Vinyl Edition

                                                    The Theory of Everything is the extraordinary and uplifting story of one of the world’s greatest living minds, the renowned astrophysicist Stephen Hawking, and of two people defying the steepest of odds through love. The film, based on the memoir Travelling to Infinity: My Life with Stephen by Jane Hawking, is directed by Academy Award winner James Marsh (Man on Wire).

                                                    The score for The Theory of Everything is by Icelandic composer Jóhann Jóhannsson who has created music for many films including his recent work scoring director Denis Villeneuvue’s film Prisoners and Josh C. Waller’s McCanick. Jóhannsson’s intricate compositions provide a stunning backdrop to the romantic drama about Stephen and Jane Hawking, portrayed in the film by Eddie Redmayne (Les Misérables) and Felicity Jones (The Amazing Spider-Man 2).

                                                    Jóhann has released several solo albums on the labels 4AD and Touch and is equally at home writing commissioned works for contemporary ensembles such as Bang On A Can and Theatre of Voices as he is collaborating with artists like Barry Adamson; Finnish electro band Pan Sonic, Marc Almond, The Hafler Trio, the nom de musique of English avant garde composer Andrew M. McKenzie, CAN drummer Jaki Liebezeit and Stephen O’Malley of the drone metal band Sunn O))).

                                                    FORMAT INFORMATION

                                                    2xLP Info: 180g audiophile vinyl pressing in gatefold sleeve. First pressing of 1000 numbered copies on clear vinyl.

                                                    The KM Editions series, admirably helmed by the mysterious Keyboard Masher, has always been one of the more interesting re-edit / rework labels on the scene. Past installments have touched on krautrock, disco, Balearica, funk, Italo and what can only be described as "electronic oddities". This sixth volume offers up three more impressively remixed, overdubbed and re-edited gems. There's naturally much to admire, not least the OMD style woozy synth-pop of "Stolen Shapes (Stealing Rework)", which should tickle the fancy of anyone of a Balearic disposition. The same can be said about the immersive, sun-kissed, echo-drenched piano chords and chugging grooves of "Astral Playground". Lastly we get a delightful French pop-reggae number in the shape of "Le Cod" which features a sweet female vocal and cute rapping.

                                                    First album for Weird World / Domino by NYC based multi-media artist Jib Kidder.

                                                    Self described as ‘Acid Country Pop’, the record was inspired by an eclectic mix of Lindsey Buckingham, Meat Puppets, Gary Numan and Arthur Russell primarily, as well as Vietnamese slide guitar playing.

                                                    ‘Teaspoon To The Ocean’ features appearances from Zach Phillips on electric piano Julia Holter on vocals.

                                                    Will appeal to fans of Julia Holter, Deerhunter, Panda Bear, Real Estate.

                                                    FORMAT INFORMATION

                                                    LP Info: LP includes 10"x10" 24 page full colour lyric / art booklet.

                                                    Kitty, Daisy & Lewis return with their new album, three years on from their hugely acclaimed ‘Smoking In Heaven’.

                                                    Described as “a gift to those of us who still believe in magic” (The Observer), the band have used those three years wisely, building a new 16 track analogue studio in a derelict Indian restaurant in Camden Town, resulting in an album and a sound all of their own making. With new space and equipment, the band knew they could take their third album to another level, with the songwriting, instrumentation, styles, production and sound.

                                                    An early fan, Mick Jones of The Clash was keen to get involved as producer. He spent four months rehearsing in their home. “With Mick on board, it was the first time we have worked with a producer,” says Lewis. “Just having someone else in the room meant we could start bouncing ideas off other people and that was great.”

                                                    “Our song writing has definitely changed over the three years,” adds sister Kitty. “Through life experience and expanding our musical influences, we have now incorporated more of our musical loves into our music.”

                                                    Kitty, Daisy & Lewis’ ‘The Third’ was recorded and finished in the summer of 2014, setting them apart by embracing a spread of influences from blues to disco but always sounding unmistakably Kitty Daisy & Lewis.

                                                    The stories in this album resonate with moods and melodies that touch you in ways that are both uplifting and unnerving. With three different writers and multi-instrumentalists in the band, each track is a sparkling gem that reflects a different facet of experience.

                                                    Joining Kitty, Daisy & Lewis live on stage during their forthcoming tour will be their mum, former Raincoats drummer Ingrid Weiss on bass, the original Bombay Bad Boy Daddy Grazz on rhythm guitar and Jamaican trumpet legend Eddie ‘Tan Tan’ Thornton. At their packed shows they each take turns on vocals and jump from one instrument to another.

                                                    FORMAT INFORMATION

                                                    Ltd LP Info: White vinyl LP format exclusively available to independent retailers. Include bonus track ‘I Should Have Known’.

                                                    Amsterdam dancefloor experts Rush Hour get their co-op on with Detroit's own Kenny Larkin to reissue some of over looked, out of press greats from his back catalogue on remastered 12"s. For the first edition in this series, RH collate four tracks of Kenny's POD material, originally released way back in 92 on Belgian imprint Buzz, just in case we needed reminding what real techno sounds like. "Myopsis (Dark Comedy Mix)" opens proceedings with spacey chords and squelching sequences, locking us into the heads down heat of the dancefloor from the start, before the glacial melodies and astral tones of the almost Drexciyan "Vanguard" take us into a distant galaxy. On the flipside, we touch down on the dark side of an alien landscape as the electro rhythms and freaked out frequencies of "Life Forms" emerge from the gloom. But have no fear, the crystalline melodies of "Northern Light" are there to drive out the darkness and guide us home safely.


                                                    Kenny Larkin Presents

                                                    Azimuth EP

                                                    The second in Rush Hour's Art of Dance re-issue series features a selection of Kenny Larkin tracks under his Azimuth guise for Warp records in 1994. The A-side sees the spacey stylings of the first EP in the series remain, but the gentle electro rhythms have been replaced by the headnodding thump of a driving 4/4. "Azimuth" pairs flanging pads and bleeping sequences with a machine funk bassline, smattering of jacking snare and killer organ solo. Immense! Next up it's "Q", which sees Kenny puncturing a wavering synth sequences with scratchy keys before hitting us with thunderous percussion and expansive pads for a stadium sized exercise in transcendental techno that'll fit very neatly next to your UR records. On the flip "Tedra" takes us out for the peace and calm of a zero G spacewalk as electro drums play home to the immersive chords and cool synthlines. "Track" on the B2 is an entirely different beast, combining solid drum programming and rapid fire arps at a break neck tempo for a clear transmission of solid, heads down techno.


                                                    The Kenny Larkin express gathers momentum as we reach the third release in the series, with Rush Hour, compiling the best of Kenny's metaphor material originally released on R&S in 1995. "Soulman" takes us deep into the post peak domain with crunchy rhythm artefacts scattered throughout the calm of the euphoric pads, while "Nocturnal" does exactly what it says on the tin, as Kenny marries deep and smooth bass tones with eerie keys and plush pads to soundtrack your midnight drive through the city. Ooof! Things get hot and sticky on the flip, with Kenny lighting the fuse and blowing your nearest sweatbox into tiny pieces thanks to the metronomic pulse of "Loop 2". If all that hypnotic techno magic has your heart beating a little too fast, then the starlit calm of "Sympathy" should provide all the respite you need.


                                                    Inspired by reggae, sound system culture and the myriad of musical styles influenced by Jamaican music old and new, The Lions’ sound is firmly placed in soul music.

                                                    “All the guys in The Lions grew up on classic Jamaican records so since we began we have wanted to give our records that same edge and roughness that we grew up hearing on LPs by The Upsetters, Soul Syndicate, The Rockers Band and Roots Radics. The rhythm section was all recorded to tape, the Hammond buzzed a little, fuses blew and good mistakes were left in. We basically made the dusty reggae soul LP WE have been wanting to hear for years.” – Dan Ubick (producer)

                                                    The band draws together a dozen or so of LA’s elite reggae and soul forerunners who loosely coalesced as The Lions in 2007. Members of the legendary ska band Hepcat, Deston Berry and Alex Désert, form half of the vocal team, and the latter also has a successful career on screen, including roles in the films Swingers and High Fidelity. The other half is the sweet falsetto of Malik Moore and DJ stylings of Black Shakespeare, the charismatic cousin of Robbie Shakespeare (of Sly & Robbie fame) and co-runner of the i&i Sound System, a customised ice cream van bringing bass to the streets of the west coast and featured on the cover of both Saul Williams’ self-titled album and an issue of XLR8R Magazine.

                                                    Other members include guitarist Dan Ubick, formerly of Breakestra, Macy Gray co-writer and collaborator Dave Wilder on bass, plus musicians who have played with the likes of De La Soul, Barrington Levy, Beck, Raphael Saadiq,

                                                    Al Lover

                                                    Cave Ritual

                                                      Al Lover is a producer from San Francisco, but there’s more layers to his wall of sound than meets the ear. Over the last few years he has gained much notoriety for his melding of contemporary and past garage and psychedelic rock into spaced out abrasive beats. Often compared to producers like Edan, J-dilla and Gaslamp Killer, Al gravitates towards a sound composed of crunchy drums, shaky percussion, chopped samples and layers of textured effects building on the psychedelic music of the past and present.

                                                      His first release through Stolen Body Records will come out on January 26th and is called Cave Ritual.


                                                      FORMAT INFORMATION

                                                      Ltd LP Info: COLORED PURPLE IN GREEN VINYL!

                                                      After a couple of mostly electronic compositions on Cornwall's cosmic leading Forgotten Corner imprint, Nick Mackrory launches his new offshoot Colona with the organic sounds of this debut EP. Turning back the clock about a dozen millenia, Mackrory turns his gaze from one peninsula to another on "Elle Dit" paying homage to the dreamy chansons of Brittany and beyond. The breezy little number sees Harry Collier's gorgeous French vocals perfectly placed atop the relaxed strum of the accoustic guitar, dreamy synth washes and the gentle percussion of tambourine, bongos and shakers which mimic the sea perfectly. For the flipside we swap the sea breeze of the French riviera for the spiritual sounds of the Mother Continent. "Zulu" sees Mackrory combining the astral tones of a cosmic sequence with tribal percussion and those exotic melodies perfected by Javier Bergia and Finis Africae. Last but not least, "Prime Meridian" delivers a hit of that authentic White Isle insanity thanks to a lilting rhythm, a wonky fairlight brass melody, body moving bass and twinkling keys. Instantly bringing that Ku promotional video from '85 to my mind, this one's magically got my hair in a dodgy ponytail.


                                                      Bob Marley & The Wailers

                                                      Catch A Fire - Back To Black Vinyl Edition

                                                      'Catch A Fire' was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose - these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty ("Concrete Jungle") and connects the present to past injustices ("Slave Driver"), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic "Stir It Up." Peter Tosh sings the lead vocal on two of his own compositions - his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but 'Catch a Fire' is one of the finest reggae albums ever. This album is essential for any music collection.

                                                      Marcus Marr

                                                      Brown Sauce / Peacemakers

                                                        DFA welcome London multi instrumentalist Marcus Marr back to the land of new releases with the long awaited follow up to 2013's "The Music / Pleasure Moon", an underground smash which opened fashion shows, soundtracked art house movies and score #3 in Spin Magazine's best dance tracks of that year. Despite such stiff competition, it looks like Marcus is gonna eclipse his previous release this time round with a pair of malevolent techno cuts primed for club destruction. A-side cut "Brown Sauce" sees the London producer merging moody new wave pads and chord progressions with fierce acid house basslines and rattling live drums resulting in a weapons grade banger that leaves Avery, Factory Floor and the rest reeling in its wake. "Peacemaker" sees Marcus in the same funked up form he brought to his Prince-covering collaboration with Felix Dickinson and Horse Meat Disco. This mid tempo monster struts onto the dancefloor propelled by some superfluid bass work and far out wah guitars, constantly shifting its focus between house, disco and funk, but keeping the crowd moving and grooving til dawn. He might not be the most prolific of producers, but when he puts something out, it's always a game changer.


                                                        John Martyn

                                                        Piece By Piece

                                                          This double vinyl edition of Piece by Piece includes seven alternate mixes, and seven previously unreleased live performances also recorded in Hamburg in 1986. Bob Dylan’s ‘Tight Connection To My Heart’ features among the new live recordings; it was a song Martyn rarely played on stage.

                                                          John Martyn

                                                          Sapphire

                                                            This double vinyl edition of Sapphire features alternate mixes by co-producer Andy Lyden, and five previously unreleased studio takes. Among these, the ‘Straight Choir’ version of ‘Fisherman’s Dream’, one of Martyn’s most popular songs, was omitted from the original album in favour of a gospel choir version. There are also three previously unreleased live performances recorded in Hamburg in 1986.

                                                            As featured in the Piccadilly Records End Of Year Review 2014 Top 20 Reissues / Collections, this comes with a free End Of Year CD sampler. Click HERE for more info.

                                                            The Italian’s ambient and minimal electronic compositions are the subject of forthcoming retrospective from the Amsterdam label.

                                                            The Music From Memory label was launched by Redlight Records founders Tako Reyenga, Abel Nagenast and Jamie Tiller earlier this year, sporting a proud mantra of “giving overlooked and unreleased music that we love a second chance”. Music From Memory’s debut release 'Liquid Diamonds' collated material from the 1980s private press output of Rhode Island resident Leon Lowman who had a penchant for detailing his romantic exploits over a backdrop of languid synth funk.

                                                            The focus of attention for Music Of Memory’s next release falls on the works of celebrated ambient composer Gigi Masin. Born in Venice, Masin’s work has been sampled by the likes of Bjork and To Rococco Rot and his albums attract feverish acclaim, with Wind, Masin’s privately pressed debut LP a desired rarity for the only the most well-heeled of second hand collectors. It’s from this album and a selection of Masin’s other released works that Music From Memory draw from for the forthcoming double LP retrospective 'Talk To The Sea', which also includes a healthy amount of unreleased material.

                                                            FORMAT INFORMATION

                                                            2xLP Info: Includes a free EOY 2014 CD sampler.

                                                            2xCD Info: Includes a free EOY 2014 CD sampler.

                                                            New year, new release and a new Local Talk member to introduce to you all, as Merrick makes his imperious LT debut.  This young wiz kid steps up to the plate with a sweaty and sticky three track release for Local Talk off shoot LTX. Developed deep inside his sound lab somewhere in Europe, using dark grooves and dusty chords as the foundation - this release leaves you in no doubt where his current position is - in the club. "Do That" kicks us off in deep and dense fashion as solid drum programming merges with expansive chords, sustained strings and choppy hip hop vocals before a glorious Murk-esque bassline drives us right through the peak time. On the flip, the sampledelic shuffle of "The Scene (Dub)" drives us past a small black church on the east side of Detroit until we reach the basements basements and bluelights beyond. If you dig on the deep and discofied Moodymann/Rick Wade sound, then this is gonna twist your melons for sure. Last but not least, the warm and textured "Devil's Dance" keeps you hypnotically locked from start to finish as Merrick signs off on his debut with style.

                                                            Minny Pops

                                                            Sparks In A Dark Room

                                                              Sparks In A Dark Room was the second studio album by Dutch electronic group Minny Pops, originally released by Factory Benelux in May 1982.

                                                              Formed in Amsterdam in 1978 by vocalist Wally Van Middendorp, Minny Pops took their name from the primitive Korg drum machine which propelled their austere, post-punk rhythms and provocative live performances. An early association with Factory Records in Manchester saw the band work with producer Martin Hannett, share stages with Joy Division and New Order, and become the first Dutch band to record a BBC radio session for John Peel.

                                                              Self-produced by the group, Sparks In A Dark Room was recorded without a guitarist and therefore sounded unusually polished and layered, its smooth sequencers and motorik rhythms often redolent of Moroder, Kraftwerk and Cabaret Voltaire. 

                                                              FBN has collaborated with Blowpipe Records (Wim Dekker) on a handsome double vinyl edition. Disc one contains the original Sparks... album (tracks 1 to 12 on CD disc 1), newly remastered for vinyl, while the second disc is the complete Melkweg live set from 2012. Available in a choice of black or blue/red vinyl. 500 copies only will be pressed.

                                                              Following his 'Yawn Zen' long player for Stones Throw, Ringgo Anchetta, aka Mndsgn is back with an album of outtakes, B-sides, and unreleased ideas. Previously a digital / cassette only offering the set now sees the light of day on vinyl. In keeping with other releases on Matthewdavid and Jesselissa Moretti's Leaving imprint, the cuts take ideas of hip hop and beats further into leftfield. 'Surface Outtakes' opens with a handful of downbeat, almost ambient tracks before firing up those wonkoid slip-sloppin' hip hop beats and spiritual jazz squiggles. Sleeve design by Jesselisa Morretti.

                                                              Mark Mothersbaugh

                                                              The LEGO Movie - Coloured Vinyl Edition

                                                              The LEGO Movie is a 2014 American-Australian-Danish computer animated adventure comedy film starring the voices of Chris Pratt, Will Ferrell, Elizabeth Banks, Will Arnett, Nick Offerman, Alison Brie, Charlie Day, Liam Neeson, and Morgan Freeman.

                                                              Based on the LEGO line of construction toys, the film tells the story of Emmet (Pratt), an ordinary LEGO minifigure prophesied to save the universe from the tyrannical Lord Business (Ferrell). Released theatrically on February 7, 2014, the movie was a critical and commercial success, with many critics highlighting its visual style, humour, voice acting, and heartwarming message.

                                                              The film's Original Score was composed by Mark Mothersbaugh, who had previously worked with producers Phil Lord and Christopher Miller on Cloudy With A Chance Of Meatballs and 21 Jump Street. The LEGO Movie soundtrack contains the score as the majority of its tracks.

                                                              Also included is the theme song "Everything Is Awesome!!!" by Tegan and Sara featuring The Lonely Island, which has been critically praised and has undergone some close analysis. International Business Times describes the song as a parody of fascism, saying that the song "seems little more than an infectiously catchy parody of watered-down radio pop, right down to the faux-dubstep breakdown. There's a lot more happening under the surface, however." In an interview with Fox News, composer and songwriter Mark Mothersbaugh says the song "was supposed to be like mind control early in the film. It's totally irritating, this kind of mindless mantra to get people up and working."


                                                              FORMAT INFORMATION

                                                              LP Info: 180g audiophile vinyl with insert + gatefold sleeve. 500 numbered copies on red vinyl. 500 numbered copies on yellow vinyl (delivered at random!!!). At The Movies release comes in PVC sleeve.

                                                              Oil Gang brings two of the most sought-after cats in grime together for a split EP. Murlo fires in following releases on Rinse, UTTU and Mixpak while JT The Goon brings his historical pedigree to the floor, being involved in this grime thing from the start, he's worked with Slew Dem and loads of pirate radio stations through the years. He kicks off proceedings with the orchestral half-step of "Garden Of Eden", complete with whiplash snares, weaving melodica lines and flumes of bass. Murlo and JT join forces for "Plume" a club-ready grime skeleton just ready for a killer MC to take it to the next level. This one's been getting plenty of rewind requests at the labels club night, Boxed. Murlo's solo contribution, "Cold Stroke" is an urgent garage-grime hybrid, loaded with pitched and skewed box and octave based melodies ripping through the mix. "Twin Warriors" sees JT and Murlo share production duties, deploying a thoroughly eastern inspired sound palette to the grime template; firing off panpipe riffs, staccato pentatonic scale motifs and a smattering of square bass. Massive! Support from Slackk, Mumdance, Logos, Blackdown, Spooky.

                                                              The New Basement Tapes

                                                              Lost On The River

                                                              'Lost On The River: The New Basement Tapes' is a music event 47 years in the making. It's an historic album project from five of music's finest artists - Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford (Mumford & Sons) - in unique collaboration with a 26-year-old Bob Dylan. Produced by project creator T Bone Burnett, the album was recorded in March, 2014 at Capitol Studios in Hollywood, where the artists and Burnett convened for two weeks to write and create music for a treasure trove of long-lost lyrics handwritten by Bob Dylan in 1967 during the period that generated the recording of the legendary 'Basement Tapes' sessions. The collective completed and recorded dozens of songs, the first 20 of which appear on this album.

                                                              Vinyl version comes on gatefold, 180g double vinyl with download card.

                                                              Ninos Du Brasil

                                                              Aromobates NDB / Clelia Clelia

                                                                Allow me to introduce you to the latest signings to the legendary DFA roster, Nicolò Fortuni and Nico Vascellari, who come together as Ninos Du Brasil, an Italian percussion duo with a background in visual art. Through their aptitude with drumming, they are masters at fusing the seemingly disparate influences of punk, tribal techno, and batucada, emerging with a sound that is truly singular. The project takes its rhythmic backbone from Brazilian carnival music, and the duo inject each track both with the frothy attitude of punk and the shuffling dancefloor domination of techno. On the A-side, "Aromobates NDB" sees the duo dress their menacing drum rhythms with the granular distortion and analogue synthesis you'd find on some of the more musical L.I.E.S. output, or a heavy duty Border Community release. As the track progresses, the hints of the carnival appear, with chanted vocals emerging through the shufflebeat of the drum circle. B-side cut "Clelia Clelia" begins with the reverb drenched thunder of tribal percussion, before the warped and detuned synth wrap their snaky fingers round your throat and hold you hostage on the dancefloor. Three minute instrumental breaks? Thumping kicks? Evil synthlines? It sounds like an early Leftfield cut to me, and that's no bad thing. I'll leave the last word to Nico:  “These two songs are meant to be poisonous and malignant, As if somebody had the idea of inviting us to a party between the bushes of Queimada Grande (Snake Island, Brazil.)"

                                                                The Notwist

                                                                The Messier Objects

                                                                  When The Notwist returned with their acclaimed7th studio album 'Close To The Glass' (their debut for Sub Pop Records) in early 2014, many were enchanted by the epic instrumental 'Lineri'. It was the only instrumental track featured on the LP,but according to Notwist-singer Markus Acher, instrumental works have had an especially big impact on the album and its arrangements. Between 2008's 'The Devil, You & Me' and this year's 'Close To The Glass', The Notwist not only concentrated on various solo projects, but also worked for several theatre productions and radioplays. 'The Messier Objects' is a compilation of some of these works. The collection obviously brings to mind the ghosts of Library Music and 70s soundtracks, but can also be heard as a summary of the band's ever evolving musical cosmos: The seventeen featured pieces range from sample-based, electronic collages to the buoyant post-rock of 'Das Spiel ist aus'.

                                                                  Whether the band is experimenting with modular synthesizers, analogue percussion, or even horn sections ('Object 11'), you will always find musicin a constant flow of gentle grooves that make this light-footed and open-minded collection more than just a counterpiece to 'Close To The Glass'.


                                                                  FORMAT INFORMATION

                                                                  2xLtd LP Info: Vinyl is double vinyl with etching in a screenprinted cover.

                                                                  Fantastic Planet is the soaring, evocative new album from Noveller, the solo instrumental venture of Austin-based composer and filmmaker Sarah Lipstate. The LP is a journey through eclectic sonic terrain, blending rich waves of synth with soaring cinematic guitar lines, guiding the listener through Noveller's most diverse and compelling release to date. Originally self-defined as an electric guitar project, Lipstate began recording under the name Noveller (pronounced “know-veller”) in 2005 whilst living and studying in Texas. She uprooted to Brooklyn and subsequently made waves on New York’s live scene and internationally, sharing the stage with the likes of Six Organs of Admittance, St. Vincent, Xiu Xiu, the Jesus Lizard, U.S. Girls, Aidan Baker and Emeralds, whilst capturing the attention of NPR, The Village Voice, Time Out New York and The Wall Street Journal. Noveller’s prolific output has seen her release albums via No Fun Productions and her own imprint, Saffron Recordings, including the Desert Fires LP and the critically acclaimed Glacial Glow. She also released a split LP with unFact (David Wm. Sims of the Jesus Lizard) and has collaborated with several renowned musicians, including live improvised duo performances with Carla Bozulich (Evangelista, The Geraldine Fibbers), Lee Ranaldo (Sonic Youth), and JG Thirlwell (Foetus, Manorexia). She has previously performed as a member of Cold Cave, Parts & Labor, and One Umbrella. Upon returning to Texas, Lipstate developed her signature cinematic soundscapes further, and it was here she completed her spectacular new release Fantastic Planet. It is an album largely steeped in place, both real and fantastical, and influenced by Lipstate’s various interchanges and relocations, physical and emotional. Noveller takes the elements of rhythm and synth textures introduced in her previous album No Dreams and expands them to a new level of prominence through her guitar work on Fantastic Planet. From the dark beat propelling "Pulse Point" to the distorted synth on post-punk track "Rubicon", Lipstate pushes her sound in new directions that complement and elevate her intoxicating filmic soundscapes.

                                                                  “Some artists traverse boundaries. Sarah Lipstate’s work seems to come from a world where they never existed. Her color-rich visual art has a mournful literary quality to it; her short films trigger collisions of emotional crosscurrents; and her instrumental music, which she makes under the name Noveller (emphasis on the middle syllable), seems to call to attention all senses at once, to the point where even the word music seems somehow limiting.” – Time Out NY.

                                                                  “…simultaneously soothing and mind-wrecking noise, along with a compositional depth that most loud-for-the-hell-of-it guitar droners never reach.” – NY Press.

                                                                  “…hypnotic, rich-textured electric guitar works.” – New York Times.

                                                                  Doug Paisley Feat. Bonnie Prince Billy

                                                                  Until I Find You

                                                                    Only a handful of these and once they're gone, that's it.

                                                                    Two new songs from Doug Paisley. The A-side is a gorgeous duet with Bonnie “Prince” Billy recorded in Louisville and also featuring Emmett Kelly (of The Cairo Gang) on guitar. The B-side was recorded in Toronto and has the feel of an old spiritual.

                                                                    Limited to 700 copies worldwide. The artwork features watercolor paintings by Heather Goodchild.

                                                                    Paperclip People

                                                                    Country Boy Goes Dub - Inc. Marcel Dettmann Remix

                                                                    Carl Craig needs no introduction, he has been at the forefront of the international techno scene for over 20 years and has amassed a truly enviable back catalogue of releases utilising various pseudonyms and collaborating with many different artists during his stellar career. One of the Detroit native's most enduring and popular guises has been his Paperclip People project which has been active since 1991. "Country Boy Goes Dub" was originally released in 1996 on the seminal Paperclip People long-player "The Secret Tapes Of Dr.Eich". Its blend of samples, metallic drum machines, 808s, guitar loops and serious dubwise tendencies made it stand out instantly. As with a lot of Craig's legendary productions it had that otherworldly swing, an incessant groove and a melding of various styles, sounds and influences informing its spirit.

                                                                    It's these elements that Berghain resident and international techno taste maker Marcel Dettmann has distilled into something more stripped back and closer to the dub leanings of the original version with his remix. First heard on his Fabric mix CD and not available in any un-mixed format (until now) it has been causing quite a stir within the techno community. Sounding like a long lost cousin of Basic Channel, Dettmann's remix comes off like the perfect marriage between steppers reggae rhythms and techno; tight rim-shot drums, dubbed out synthesizer stabs and an ultra deep rolling bass-line all punctuated by Craig's original 808 drum machine programming.

                                                                    An essential release featuring both the original and remixed versions & the first release on Planet E for 2015. One for the true techno connoisseurs available on vinyl only for now. The first 500 come on red vinyl.


                                                                    FORMAT INFORMATION

                                                                    12" Info: Limited red vinyl pressing.

                                                                    Perfect Pussy

                                                                    I Have Lost All Desire For Feeling

                                                                    Very limited quantitites of this!

                                                                    Just over a year after playing their first show as a band, Perfect Pussy have quickly made a name for themselves as one of the most intense bands in the indie rock and hardcore punk communities, both live and on record. Their fast rise to success all stemmed from this 4 track demo EP, originally released as a cassette only. Simply title tracks such as “I” and “IV” garnered praise from everyone to Rolling Stone and Pitchfork, to NPR and the New York Times, landing them on countless year end lists.

                                                                    If you’ve followed The Phantom Band throughout their career to-date then you’ll know two things of the Glaswegian six-piece: feast often follows famine, and you should never accept them merely at face value. Just as two wildly singular, diverse albums in Checkmate Savage and The Wants sprung up one after another between 2009 and 2010, before a period of quiet (solo projects notwithstanding), so the group’s more direct third record released in June 2014 - Strange Friend – more art-rock than rock-art – comes followed by seven tracks cut largely from the same recording sessions at Chem 19 in Blantyre, in the form of Fears Trending.

                                                                    Lauded last spring pretty much across the board, Strange Friend’s instant hit to the senses was the sound of a band pulling a thread tight through their naturally wandering creative tendencies and affecting a sense of positivity, even amidst quiet doubts over living in a world simultaneously hyper-connected and disconnected through the internet. For those who saw through the likes of ‘Clapshot’s’ irrepressible anti-anthem swell, though, Fears Trending is a resounding confirmation that the band’s recent recording sessions also bore out something of a darker hue.

                                                                    “Maybe it's the evil twin of Strange Friend,” comments guitarist Duncan Marquiss. “They're stranger friends, oddball vestiges and hybrids.” Chief vocalist Rick Anthony agrees, pointing out that although Fears Trending merely came about as an anagram of their third record’s title, its connotations ring true, with a greater focus on themes of online isolation that they pawed at previously. “The reference is obviously there,” Marquiss explains. “Maybe it reflects our wariness of communications technology just now – which paradoxically seem to alienate people from themselves. We're all swamped with information so I question whether the band would necessarily want to add to the clickstream.”

                                                                    Certainly the tone of the record matches this apprehension; the opening ‘Tender Castle’ – one of just two tracks, alongside ‘Spectrelegs’, that date back before the Strange Friend sessions – runs on in, imbued with the band’s recently heard gusto, yet quickly swivels on a tumbling floor of murmuring electronics and cautious intonations, setting the scene for some of the band’s weightiest music yet. There are familiar tropes here; the aforementioned ‘Spectrelegs’ introduces itself by way of a wavering electronic organ, Iain Stewart’s drumming is never less than forthright and punchy, stomping through ‘Local Zero’ with accustomed vigour. But then there are songs like the ominous slow-build tumult of ‘Black Tape’, and the poignant final track ‘Golden Olden’, which sees the band in some-part return to the Scottish folk routes that partly informed their first record (cult Scottish folk favourite Alasdair Roberts also appears on opening track ‘Tender Castles’.) “If Thomas Pynchon was asked to write the screenplay for Young Guns 3 I hope this song would be the soundtrack,” Marquiss reflects.

                                                                    ‘Denise Hopper’ differs again, taking on a melodic structure whipped up as though on an Estesian gust across Turkey, Anthony’s vocal rising and falling in its oscillating breeze. Delivered with steeliness beyond the usual dry wit that’s occasionally hinted at within the group’s usual off-kilter meanderings, the track cracks and breaks amidst a storm of guitar detritus. “That melt down at end could be one of my favourite Phantom Band moments on record to date,” Marquiss comments.

                                                                    It’d be too broad to call Fears Trending the dark side to Strange Friends’ light. The playful intricacies and deviations of The Phantom Band remain and, after all, the album was recorded at the same time as its sister. “I think it's more about the atmosphere than the writing process that splits the two albums” Anthony reflects. “I guess there was a desire with Strange Friends to come back with no baggage attached and release a record that seemed really straight to the point. This record is straight to the point too but it's just that it's making a different point.” So it goes with The Phantom Band, a group forever changing, each new evolution more often than not a prescient for what’s to come.

                                                                    FORMAT INFORMATION

                                                                    Ltd LP Info: Very limited edition 180g heavyweight vinyl.

                                                                    Transatlantyk departs for the second time and her port of call is any open-minded dancefloor around the world. As with the first journey, the well acclaimed debut 12" by Naphta, it's all about original material, this time covering a wide array of sultry ambience, orchestral lushness and raw, track-style grittiness. In charge of this second voyage is The Phantom, one of the hardest working Polish producers well known for blending different genres with an ease. Aside from his solo career, he is also one half of a successful duo Ptaki. Fresh after releasing his debut album this spring, The Phantom comes to Transatlantyk with a three tracker filled with pulsating dance floor grooves and spacial cinematic ambience. 'Punkt' is the choice track here, combining piano house vibes with gritty housey patchworks. Expertly crafted rhythms make way for subtle pads along with a rolling piano and bass combo, satisfying all the dancers and trainspotters at the same time. Meanwhile 'Sopot' is a totally effortless and genuine jewel of balearic house music.  Just wait for those strings and vocals, the epitome of feel-good vibes mixed with just a right portion of melancholy in the form of bass and electric piano chords. On the flipside The Phantom takes us into a deep underwater trip. Accurately titled 'Ocean' & consisting of 12 minutes of cinematic pads, pianos and marimbas which could be a perfect soundtrack for one of Jean Jacques Costeau's adventures, or maybe just for your relaxed Sunday at the beach.

                                                                    Join us in our journey. 


                                                                    Pinkshinyultrablast

                                                                    Everything Else Matters

                                                                      Pinkshinyultrablast, a five-piece band from Saint-Petersburg in Russia, are set to release their debut album 'Everything Else Matters' in January. Hailing from a city more synonymous with the State Conservatory rather than a gang of shoegaze addicts, they've been compared to Lush. But this is no mere throwback tribute – due to their sharp, icy electronics and ability to subvert the genre, bringing something new to the table. They possess not only the spirit of late 80s/early 90s British bands like Ride, but also machine-made sounds of the same era from Sabres Of Paradise or Global Communication, not to mention wider vibrations like Cluster, Popul Vuh, Terry Riley and Philip Glass.

                                                                      This is an album brimming with playful melody and finely-crafted songwriting. Imagine the scope of a Caribou record, fronted by Elizabeth Fraser soundtracking a grizzly Raskolnikov crime. The band take their name from an Astrobrite album, an act who were, according to the band, instrumental in how they "researched spaces between ambient, heavy guitar and pop music" .The spaces are what stand out, the production creates a dream-like affair, while space to breathe and reflect on the beauty of the music is accommodated. There is a sparseness to the album that in turn gives spaciousness, even expansiveness.

                                                                      FORMAT INFORMATION

                                                                      Ltd LP Info: 180g vinyl in smokey black with glitter speckles ("starry night vinyl").


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