The man who put the beat into afro-beat is back! Part of the Tony Allen reissue series on Kindred Spirits, featuring remastered versions and original restored artwork. A must for afro-beat fans around the globe.

Without question, one of the highpoints of his post-Fela catalogue was the in 1999 released record, 'Black Voices', which crosses over so many musical boundaries that it is impossible to name them all. A group effort in every sense of the word, Tony Allen found himself surrounded with some of the most innovative, talented, and energetic musicians on the planet, and the sounds and moods they created as a group represent the pinnacle of what can happen when such talent is properly focused. Each of the tracks on 'Black Voices' explodes with positive energy and irresistible grooves, yet there are also social criticisms and observations running underneath the stunning musical arrangements.

The latest addition to the Italo / disco reissue scene, Kasset, open their account in fine form with this beautifully remastered pressing of the rare as hen's teeth "Stress". Originally released in 79 on the cusp of the Belgian new wave explosion, this cosmic disco bomb from Andre Brasseur and the mysterious Leslie takes you on a journey to the other side of the galaxy with its ethereal vocals and stargazing synths. Driven along by a pulsing bassline and tumbling percussion, "Stress" manages to soar high through the atmosphere without getting lost in space. Despite the release finding its way into a black hole back in the day, it's since become a total unclassic, with the occasional copy going on Discogs for £150. Easily as good as classics from Cerrone and Space, this reissue will hopefully earn the track the credit it deserves.

The legacy of North Carolina’s Ashrae Fax seems destined to be appreciated in retrospect, in no small part given to the tremendous power of the group’s 2003 release Static Crash!, reissued twice from its initial CD-R run before appearing on Mexican Summer last year.

The Goth/ethereal duo of vocalist Renée Mendoza and producer/guitarist Alex Chesney had built a long, strange and mostly undocumented legacy prior to that release, and Never Really Been Into It extends the tale back even further: ten songs, sketched out in the late ‘90s, most of which were never completed and remained unheard until now.

Rescued from a shoebox of ephemera from the band’s earliest days, when Mendoza and guitarist Alex Chesney drifted out of high school and into the uncertainties of early adulthood, these songs were the product of a band whose members had nothing but time and ambition, influence and desire to transcend their humble beginnings. Pieced together and re-recorded in 2013 by Renée in her home studio, from mere stems and forgotten takes preserved on decades-old minidisc recordings, the songs reflect disquiet, uncertainty, absolute beauty, along teenage obsessions with The Cocteau Twins and The Cure, refracted through the lens of latter-day experience – pristine musicianship, gorgeous vocals, cryogenically frozen until now. Had these songs been properly released when initially conceived. First new record in over 10 years

For Fans of: Lush, This Mortal Coil, The Cure

Over the last decade and a half they've built a trove of eight full length albums, well over a dozen compilation appearances, digital-only rarity releases and multiple singles; a feat that many modern bands would certainly find daunting. They've impressively managed to grow this lengthy body of work whilst building a solid underground fanbase in the USA, aided by extensive touring with old psyche buddies: THE BRIAN JONESTOWN MASSACRE & THE LILYS whilst still remaining solidly underground, cult band.

The A4 sound is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic, "Krautrock", "Shoegaze", folk and even 70s "Cosmic" country rock and despite never shying away from wearing their influences squarely on their sleeves, it’s their longevity that has matured them to the point of originality rather than simply homage. It is that same longevity that has enabled them to do whatever they want, when they want, allowing them the freedom to experiment, which certainly makes up the foundation for anything truly "psychedelic".


Ltd LP Info: Limited coloured vinyl.

Basement Jaxx arrive back with a brand new album after a four year absence from the music scene (taking time off the "be human again" apparently). ‘Junto’ marks Felix and Simon’s seventh studio album and the title, which translates from Spanish as 'together', sums up the spirit of the record and the very essence of the duo’s desire to unify people with their music.

“With this album,” says Basement Jaxx’s Felix, “we wanted to do something that felt more at one with the world.”

This approach is reflected in the tracklisting - ‘Power To The People’, ‘We Are Not Alone’ and ‘Love Is At Your Side’, as well as the uplifting ‘Never Say Never’ and the throwback fun of ‘What’s The News’ and ‘Sneakin’ Toronto’. It's also reflected in the music, which takes on various global influences, from the tribal chants of the intro to the tropical steel drums on 'Power To The People' (complete with Festival-ready live-sounding chorus). Elsewhere we're treated to floor-friendly house, bump and grind bashment grooves and old skool breaks riddims.

While other artists might sound out of touch after such a long delay between albums, Basement Jaxx come back revitalised with another batch of their sing-along house anthems to slay the shiny, brittle, top-end EDM trance-pop beast. Thanks guys!

Basement Jaxx arrive back with a brand new album after a four year absence from the music scene (taking time off the "be human again" apparently). ‘Junto’ marks Felix and Simon’s seventh studio album and the title, which translates from Spanish as 'together', sums up the spirit of the record and the very essence of the duo’s desire to unify people with their music.

“With this album,” says Basement Jaxx’s Felix, “we wanted to do something that felt more at one with the world.”

This approach is reflected in the tracklisting - ‘Power To The People’, ‘We Are Not Alone’ and ‘Love Is At Your Side’, as well as the uplifting ‘Never Say Never’ and the throwback fun of ‘What’s The News’ and ‘Sneakin’ Toronto’. It's also reflected in the music, which takes on various global influences, from the tribal chants of the intro to the tropical steel drums on 'Power To The People' (complete with Festival-ready live-sounding chorus). Elsewhere we're treated to floor-friendly house, bump and grind bashment grooves and old skool breaks riddims.

While other artists might sound out of touch after such a long delay between albums, Basement Jaxx come back revitalised with another batch of their sing-along house anthems to slay the shiny, brittle, top-end EDM trance-pop beast. Thanks guys!

Chuck Berry

Rockin' At The Hops - LP+CD Edition

Chuck Berry’s fourth album lavishly presented with artwork by renowned rock & roll designer Sophie Lo and liner notes by author Max Decharne. This was the album that caught Keith Richards eye when it was in the possession of one Mick Jagger on Dartford station back in 1961! Remastered for today's optimum sound and pressed on red vinyl.


Satisfy - Inc. Brassica / John Talabot Remixes

Feel My Bicep Records are back with their third release, and this time the boys are handing the reins over to a couple of club contemporaries, who take the breakbeat fuelled smash "Satisfy" and remix it to within an inch of its life. First up, Nu EBM hero and former Dissident mainstay Brassica takes "Satisfy" for a midnight drive through an abandoned city, burying the spritely percussion of the original deep in the mix and pushing a menacing bassline to the fore. On the flip, Spain's foremost authority on synthetic house chug, John Talabot transforms the Belfast boys' tops off pumper into a deep and atmospheric analogue house builder. The resulting hypnotic groove glides out the speakers like an unholy marriage between John Carpenter and Border Community and sounds damn fine for it!


You Can Win / Let's Go

I challenge you not to move, groove and generally speaking lose your shit when those horns hit! Undisputedly one of the best, across the board crowd and DJ pleasing rare disco 45s ever cut to vinyl, this 7" from Bill Williams and his crew plays host to two sides of AAA grade party smashers. A-side cut "You Can Win" bounds out of the crossroads of "Move On Up", "Never Gonna Leave You" and "There's Something Better" grabs you by the hand and gets you dancing with the widest smile on your face! As far as feel good goes, it doesn't get any better than this, and without even a whiff of cheese. Flip the disc for the deep and soulful shuffle of "Let's Go", a midnight mover with plenty of funk in the trunk. Lowslung bass, rippling percussion, bursting brass and soul brother vocals combine perfectly for a bonafide unclassic! Cut as loud and deep as the tapes would allow, this fully licenced 45 won't be around long, so don't hang about, they ain't gonna be no repress.

Bitchin Bajas

Bitchin Bajas

    Bitchin Bajas have been around the world in five years, chasing sonics through space and time and coming up with a lot of conclusions along their discographical path. Always they push forward, recklessly consuming processes in order to realize their own works - but the sound and the music regularly emerges with tranquil essence, bringing them and their listeners into a shared experience.

    Bitchin Bajas’ output has been remarkably diverse in search of this singular goal, which makes for great listening across multiple albums. With the release of this new album they have mapped and traversed their own ecosystem as they journey in search of the aural epiphany, the true unknowing.

    Bitchin Bajas use their many methods to attain perfect flow throughout the 76 minutes of this self-titled album. Acoustic is the beginning. Eastern tonalities relocate Bitchin Bajas farther inside the source, finding the timeless time from long ago and slowly sliding via fader until then is now, until acoustic goes analogue.

    The space found on ‘Bitchin Bajas’ was located with organ, synthesizer, winds, xylophone and autoharp, employing a 1” 8-track tape machine to the fullest extent. Additional contributions from strings, keys, guitar and field recordings helped make ‘Bitchin Bajas’ everything that it is.


    2xCassette Info: The trip through ‘Bitchin Bajas’ took in all kinds of sonic terrain. When it was done, an additional mix was made, omitting the intense peaks of the album to create a ‘Relaxation Version’. This mix has been added to the cassette version only, making a double tape set.

    Almost 5 years after his previous album ‘Horror Disco’ Bottin is back with a stunning new full length opus. Entitled ‘Punica Fides’ the album was made during sessions in Venice, Rome, Berlin and Ibiza. This new album, his third in a career that dates back more than a decade, was made using a ton of synthesisers, guitars, FX machines and with the help of some standout vocal collaborators.

    According to the artist, “Punica Fides is a Roman expression that means "treachery". The concept behind the album (made clear in the song titles) is manipulation, falsehood, seduction, propaganda but also parody and satire. The album is not as soundtrack and nostalgic as 'Horror Disco' was, I think this is a musically diverse album which ranges from synth-house, dark electronica, neo-new-wave dystopian landscapes, space disco and Italo disco. I suppose it's more of a dance record, which reflect the past 5-6 year touring the world as a DJ, as well as the will of creating my own musical bubble.”

    The album opens in spiky fashion with the raw drums and serrated synths of ‘Lies’ coming over like a shimmering deep disco jam. Many styles are explored from there on in with ‘Flow Of Persuasion’ being a fast paced, melodically rich house cut that is stuff with analogue lines and oozes psychedelic charm.

    Next up is the fantastic ‘Poison’ with Steve Strange (lead singer of Visage and co-founder of the Blitz Club which set the New Romantic template for the music and style of the 80s) which cuts a fine form with its squelchy synthesized basslines, pop leaning vocals and brightly coloured keys. Mid way through the album comes the frazzled synths and steel drum charm of ‘Lust for Deception’, a raucous and ravey disco cut of sheer pleasure.

    ‘All For One’ is another dazzling jam shot through with laser synths, arpeggiated lines and robotic vocals that sound like Kraftwerk on acid. Every new track seems even more fun and colourful that the last and the album as a whole leaves you feeling hugely energised, happy and very much alive. The closer is a reprise of ‘Lies’ with vocals from Lavinia Claws that comes straight from some intergalactic disco party it’s so spangled and sugary.

    Fans of Todd Terje, Pachanga Boys and all Bottin’s previous work will no doubt fall madly in love with this beautifully crafted and sensuously shiny electronic album.

    Stephen Brown

    Micron / Swing Left

    Stephen Brown returns on his own imprint with two classy techno cuts, with massive support from big stadium smashers like Norman Nodge, Surgeon and Laurent Garnier, you know he means business! "Micron" is aggressive and tense, harsh hats and claps grating the cerebrum as dark, melancholic leads weave mystically between the gaps. Great for taking things down darker, tougher territories late on into the session. "Swing Left" has more serotonin-releasing elements, in particular the elastic band bassline and glistening techy stabs that sweep through the track. A proper swinger, impossible not to groove to, the sound palette screams of high end audio gear, full lighting rigs and a hi-tech aesthetic. Great stuff.

    2008's 'London Zoo' is where the Bug's Kevin Martin found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.

    Martin's latest offering, 'Angels & Devils', escapes the 'London Zoo' cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on 'London Zoo', completes a triptych cycle which started with his Bug debut 'Pressure', and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie / Eno classic 'Low', or Can's 'Tago Mago', the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) and Death Grips and make it seamless. 'Angels & Devils' stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path / vision.

    With the 'Angel' side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is "Void". Followed by contributions from ex-Hype Williams half copeland ("Fall"), the blissed out patois of touring partner Miss Red ("Mi Lost"), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on "Save Me". It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...

    'Devils' leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with "The One". Roll Deep's Manga steps up next with the instant Bug classic "Function", which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with "Fuck A Bitch". Flowdan & Justin Broadrick come back for the cinematic death crawl of "Fat Mac". Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for "Fuck You", and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts "dirty, fuck that murky...".

    The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.

    By The Sea are a modern pop outfit influenced by the classic British 1980s new wave and indie scene, where the jangle of Stone Roses meets the melodicism of ‘Ocean Rain’-era Echo & The Bunnymen.

    The emphasis here is on substance and structure. An album that equals more than the sum of its parts, this is a record you will want to get lost in.

    For fans of The Horrors, Toy, Echo & The Bunnymen, New Order, Felt, The Wake, Bill Ryder- Jones, The Coral.


    Ltd LP Info: Vinyl format limited to 300 copies.

    Treehouse 44 release the first known recordings by British folk guitar hero Michael Chapman. Previously unreleased, these are the earliest known recordings of this great British guitar hero, or as Michael Chapman calls it "The album I had no idea I had made!" This follows on the heels of Light in The Attic'c catalogue re-issue programme.

    The story of how Michael Chapman turned pro as a musician, walking into a Cornish pub and offering to play a gig in return for shelter from the rain outside is both well known and well told. These "lost" recordings catch up with our hero of the piece some eight months later as he played a show at Folk Cottage, Mitchell near Newquay in Cornwall on Good Friday, 24th March 1967.

    The Folk Cottage was established in 1963 and the former granite built farm workers building had secured it's reputation as a seminal venue on the circuit, with a host of talented local folk artists such as John The Fish and Brenda Wotton performing there as well as it proving to be a haven for the likes of Wizz Jones and Ralph McTell.

    At the time Chapman was being billed as "exciting new blues artist" and that is reflected in some of the material captured in these recordings ("Baby Please Don't Go", "Parchman Farm" and "Kansas City") but there is also the odd surprise in store for Chapman fans, including a cover of Buddy Holly's "That'll Be The Day" as well as three original instrumentals that highlight the emergence of Chapman's innovative and instantly recognisable guitar style that we know today.

    The original recordings are quite remarkable given the equipment and set up at their disposal. With the exception of editing out some re-tuning of guitars (sorry Michael!) we have preserved the performance in its entirety, providing a unique insight into the emergence of Michael as the artist we know today as well as a vivid soundtrack of a venue pivotal to the British folk and roots scene.

    Suzanne Ciani

    Liberator / Summer

    For all your discotheque, roller rink and amusement arcade needs Finders Keepers Records in collaboration with synth pioneer Suzanne Ciani bring you the full version edit of her intergalactic vocoder driven TV jingle for Atari’s classic 'Liberator' arcade game. Originally proposed for a possible promotional flexi-disc release this remastered feature length version includes a lost second verse and extra custom-made space age sound designs that hark back to her earlier work on Meco’s Star Wars Galactic Funk cash-in.

    Housed here in Atari style packaging and pressed on diamond white wax this 45 single comes complete with another Atari jingle 'Summer' taken from her groundbreaking original company portfolio cassettes which were recently, errr, liberated from her original studio archives. This limited release also marks a brand new campaign of further unearthed computer music / synth-funk artefacts from Finders Keepers latest trip into the Ciani Musica archive which will coincide with her first-ever Buchla fuelled tour of Europe penned for Autumn 2014.

    Chuck Cirino

    Chopping Mall (original Score)

      Waxwork Records proudly presents the fully remastered release of Chuck Cirino’s original score to the B-Movie horror classic, CHOPPING MALL, directed by Jim Wynorski and starring scream queens Barbara Crampton and Kelli Maroney.

      This release marks the first time vinyl release of Chopping Mall, featuring liner notes from composer Chuck Cirino and the film’s writer, Steve Mitchell.

      Full package artwork including a 12” x 12” inserted art print has been created by Australian artist duo We Buy Your Kids.


      Ltd LP Info: 180 gram fluorescent pink vinyl housed in a heavyweight tip on jacket with film laminate gloss finish.

      People Must Jam just keep on bringing the heat! New Zealand's finest export, (apart from Lamb of course) Inkswel makes his debut on the label with a five track set of rough and ready workouts. "Graffiti House" reflects the echoes of thirty odd years of Black US dance music held up with raw drum machine scaffolding. From smoked-out B-boy jams to lo-fi sample joints, all three tracks are loose and alive on the floor, ready to hold shit down. The title track is a low slung house groove decorated in spin backs and street chatter, while "Hold On" and "Linoleum Magnets" are the kind of boogie inspired house cuts Inskwel's made his own. On the flip Russia's beatdown master Lay Far stirs up some sonic trouble with a bottom-heavy rewire of the title track that'll have you winding like a snake, while Ugly Drums yam acid and get super deep with a mix that's heavy on immersive mood and vibe.

      Cold Specks, aka Al Spx, has returned, two years and a world map of tours after 2012’s ‘I Predict A Graceful Expulsion’.

      Hailed as a masterful and wholly original debut, the follow-up is radically expanded. The 26 year-old Canadian singer, under the sobriquet Al Spx, began work on Neuroplasticity while holed-up in a cottage in Wick, Somerset during the winter of 2012.

      The album was recorded at Montreal’s Hotel2Tango and Toronto’s Revolution Recordings studios and produced by Jim Anderson and mixed by Anderson and Ben Hillier (Blur, Depeche Mode).

      When Cold Specks wasn’t writing or touring she was pin-balling between asks from an enviable roll call of collaborators and award panels. Shortlisted for the Juno Award and Polaris Prize, Spx also worked on Moby’s album and was invited to play with Joni Mitchell at the singer’s 70th birthday last year, alongside the likes of Herbie Hancock.

      She also contributed to Ambrose Akinmusire’s new record for Blue Note and the latest Swans album ‘To Be Kind’. These last two partnerships have left a significant impression on ‘Neuroplasticity’. The indomitable Swans founder Michael Gira appears on ‘Exit Plan’ and Akinmusire joins him on the holocaust of a closer ‘A Season Of Doubt’, as well as permeating most of the record with trumpet lines of an anguished, cracking frailty.


      LP Info: Limited vinyl pressing includes art print.

      Cymbals Eat Guitars

      LOSE - Bonus Disc Edition


      “A cosmic, philosophical treatise disguised as an indie rock record.” – Pitchfork.

      “Wanna wake up wanting to listen to records / But those old feelings elude me / I raise a toast to the rock n' roll ghost,” sings Cymbals Eat Guitars frontman Joseph D’Agostino on the hyper-adrenalized “XR,” which sounds like a Tonight’s the Night outtake recorded at triple speed, with its braying harmonica and spitfire vocal delivery. It’s the track that perhaps best captures the spirit of the band’s third LP, LOSE, one of coping with abject loss and grief by rediscovering what you’ve always loved, as difficult as it may be—the redemptive power of music. For D’Agostino, this entailed coming to terms with his best friend and musical collaborator Benjamin High, who passed away suddenly seven years ago, just as Cymbals Eat Guitars began recording in earnest.

      “LOSE is a very apropos title because it refers not only to losing Ben, but also it's about a sort of nostalgia, a longing for a time when music meant everything to you and your friends, and it seemed like one great rock record could change everyone's life the way it changed yours,” says D’Agostino. “It's about being in mourning for your long-held belief that music could literally change the world. That's the contradiction at the heart of LOSE... You're disillusioned, but somehow you can do nothing else but rail against that feeling mightily and try, once again, to make a record that makes you and everyone else ‘wake up wanting to listen to records’.” And indeed, the band, rounded out by bassist Matthew Whipple, keyboardist Brian Hamilton, and drummer Andrew Dole, alongside producer John Agnello (Sonic Youth, Kurt Vile), do little wallowing.

      This is a raucous affair, an Irish Wake, ultimately rooted in nothing less than a celebration of just being alive. What’s perhaps most impressive about LOSE is the manner in which D’Agostino comes clean with his emotions, tackling seemingly ineffable mourning without equivocation. “There are no $5 words that you'll have to pull up for... some of the lyrics are directly confessional. Very open, no obfuscation,” he explains. “I lost my dear friend a while ago and I've sort of been addressing it in song for most of my career, though you probably couldn't really tell until now. It’s just a direct expression of grief. I figured if I confronted it head-on on record it'd make for some interesting music.”


      LP Info: Pink vinyl.

      Holger Czukay

      Der Osten Ist Rot_Rome Remains Rome

        Special double 10” triple gatefold album containing songs from legendary Holger Czukay records ‘Der Osten Ist Rot’ and ‘Rome Remains Rome’ alongside previously unreleased remix versions.

        Features Jaki Liebezeit on drums.

        For fans of Holger Czukay and Can.

        Brighton’s Dark Horses once again team up with the ever talented Richard Fearless (Death In Vegas) for their latest sonic offering, ‘Hail Lucid State’.

        The band have recently completed a summer national tour supporting The Dandy Warhols and extensive tours throughout 2014 as handpicked support for the likes of Beck, Sigur Ros, Tame Impala, Kasabian and Black Rebel Motorcycle Club.

        A pioneering blend of Siouxsie & The Banshees meets T-Rex. Urgent, catchy, and irresistible.

        “From the hearts and minds of people who believe that music must be more than background noise, that it must matter” - NME

        “A series of lullabies underpinned by synths and slow, droning bass-lines, befits the mythological symbolism and imagery that accompanies it” - Dazed & Confused

        “Dark Horses succeed in creating their own world. Not since The Horrors debuted have we seen so much attention to visual detail” - Mojo

        “The best band outta Brighton” - Nick Cave

        “A homage to power driven rock ‘n’ roll in its purest form” - The Line Of Best Fit

        Desmadrados Soldados De Ventura

        Dieter Dierks Jerks

          Live In Manchester. Recorded by Phil Todd. LTD TO 100 COPIES ONLY. includes beautiful silk screened artwork by Alex Humphreys.

          "Of course, guitars have long been middle-brow targets for commentators as somehow signifying everything that was cock-bound and self-aggrandising and technically impudent about rock music. But when it's played like this, with a blurring of technique that allows a bunch of northern punks access to the combined freak potential of more than a half century of electric six-string excess, it's a reminder of the electric guitar's uncanny ability to respond not just to where it's been, but to where it's at." David Keenan, The Wire.

          "I can't remember the last time I felt myself overcome by so many conflicting emotions - awe, excitement, envy, exasperation - and yet it all coalesced into a contented, feverish fervour. I cannot tell you how great a feeling that is - a near robotic state, the only movements being to get up and change the record... So if you are into your overtly intricate, caterwauling, explosive, experimental improvisational psych rock jams, this album is your ticket to Valhalla." Sonic Masala.

          DJ QU

          Party People Clap EP - Inc. Levon Vincent / Anthony Parasole & Fred P / Jus-Ed Remixes

          Deconstruct Music follow up their two, now highly sought-after, initial releases with this remix double pack of DJ QU's "Party People Clap". Latching onto the subtle sonic variations that occur on the humble handclap, DJ QU has produced a track of robotic textures and suave vocal hooks underpinned by melodies and grooves created purely by hand claps. Levon Vincent offers up the first remix - laying his trademark 'on the 1' 4/4 drums down over the vocal hook and manipulating the clap sounds into some squelchy, Green Velvet-esque wigged-out groove. Very weird, but certain to get kids scratching their heads proclaiming 'What the fuck is this?!' Anthony Parasole and Fred P take the track into Joey Beltram "Energy Flash" territory - just listen to that bassline; 1993 here we come! Final remix duties come from Jus-Ed who, in my opinion, transforms the track into something more epic and beautiful than any over the other versions. An emotive high string and warm pad combo give the groove a proper late night / early morning sheen with instrumentation familiar to some of Larry Heard's mini-epics. Gorgeous. Early Deconstruct releases now fetch serious money... go figure!


          Matt says: Freshly re-pressed for 2014; one of Dj Qu's finest moments and part of those first three Deconstruct records that set the new benchmark for deep house records.


          2x12" Info: Ultra-limited hand-stamped white label. *REPRESS*

          Produced by Charlie Hugall (Florence And The Machine, Ed Sheeran), Paul Savage (Mogwai, Franz Ferdinand) and Peter Miles (We Are The Ocean, Futures, The King Blues) and with arrangements and strings from Valgeir Sigurðsson (Sigur Ros, Bjork), the resulting 10-track album is bold, expansive, confident and cohesive - a genuine step-up in both diversity and volume from their critically acclaimed debut, Shallow Bed, which was released in March 2012.

          Continuing in the classic reggae tradition of the “one rhythm” LP, where multiple artists bring there own (vocal) flavor to a single instrumental, Dub Club presents the 'Meaning Of Dub' LP, produced by Dub Club LA mailman Tom Chasteen. UK legend Tippa Irie leads off with the title cut, name checking some dub warriors like Jah Shaka and Lee Scratch Perry in the process. Jamaican sound system veterans Trinity, Josey Wales, and Tippa Lee bring some rasta vibes on their respective turns, as the musical track is flipped a little different each time.

          Earthling Society

          England Have My Bones

            Earthling Society are a Kosmische quartet that in the main hail from of of the most un-Kosmische areas of North West England, Fleetwood. A town so bleak you literally can't drive through it; sticking out of the British Isles like a crippled dick into the the murkiest part of the Irish sea.

            Here, Earthling Society built there lo-fi studio in an old deserted glass factory and since 2004 have recorded a number of albums under the influence of mushrooms, cheap speed and cheaper beer. Hoping for a few minutes to transport themselves from the reality of were they really live.

            Along the way they have hitched rides with Julian Cope, Hawkwind, Damo Suzuki, Guru Guru and Blue Cheer.

            England Have My Bones is their latest album of fuzzy space rock offerings with a dedication to their Coltrane idols in a freaked out version of 'Journey in Satchidananda'.


            LP Info: Limited edition 500 only translucent green vinyl, packaged in a full colour and spined 350 gsm card sleeve.

            Tracking down El Frijolero (nee Michael Brown) for an interview to mark the release of this record proved harder than initially anticipated. Despite enjoying world-wide success throughout the late 90's and early 2000s - as well as a whole slew of critically acclaimed releases the US born producer has faded into relative obscurity after joining a religious cult in the secluded countryside of North Rhine-Westphalia, Germany.

            His last confirmed sighting was from a friend six years ago, who told us that Brown had left the cult after filing for insolvency. These previously unreleased remixes were found in a box of possessions in a friend's basement.

            They encapsulate the unrivaled talent and technical mastery of a man whose musical career and financial euphoria came to an abrupt end.

            Eno - Hyde

            High Life - Indies Vinyl Exclusive Print Edition

            The collaboration between Brian Eno and Karl Hyde, two of UK’s most highly respected and influential electronic musicians, continues with second full-length record, ‘High Life’.

            In the short amount of time since the release of their highly acclaimed debut album ‘Someday World’, which also included an incredible ‘Later ... With Jools Holland’ performance, a Live From Maida Vale Session and an augmented reality iOS app, the creation of ‘High Life’ was written and recorded over a series of sessions. None of the music on ‘High Life’ existed before ‘Someday World’ was complete.

            The experiment drew inspiration from the repetitive minimalism of composers like Steve Reich and Philip Glass and from the polyrhythmic music of Fela Kuti and funk, as well as continuing the work that Eno and Hyde have done separately.

            The resulting album - six expansive tracks over 45 minutes - reunites Eno and Hyde with 20 year old producer / multi instrumentalist Fred Gibson, guitarist Leo Abrahams and drummer Chris Vatalaro.

            “When ‘Someday World’ was finished I felt like we were still on a roll and I wasn’t ready to stop working and get into ‘promotional mode’ for that record. So I suggested we immediately start on another album, a different one, where we extended some of the ideas we’d started and attempted some of the ideas we hadn’t.” - Brian Eno

            “I wanted to work with a stripped down set of equipment... For this album I was very keen for Brian to live process my guitar playing so that we would be affecting one another’s performance, bouncing off each other, inspiring new combinations of polyrhythms.” - Karl Hyde


            2xLtd LP Info: Available exclusively to independent retailers as a 2LP in gatefold sleeve with printed inner sleeves, download code and deluxe art print.

            Pre-order the E&TC album "Closing Time" for a chance of winning an extremely limited (5 in the world) test pressing version of the album.

            When unassuming young Orkney music-maker Erland Cooper picked up his guitar and travelled the length of the country to play a show in London’s Notting Hill, little did he know that a chance encounter with musical veteran Simon Tong (The Verve, The Good The Bad & The Queen, and Gorillaz) would be the start of a unique songwriting friendship. Together they formed Erland & The Carnival and now, nearly a decade later, arrives Closing Time - the band’s third, most accomplished album yet.

            Opening a new chapter, Closing Time is an understated, inward looking collection of songs that feature stunning string arrangements and Erland’s impassioned vocals at centre stage. But rather than the modern folk adaptations of traditional songs, children’s poems, and ancient literature on the band’s earlier albums or the pair’s recent conceptual folklore project The Magnetic North, this time the band tell tales of a more personal nature. “Previously we didn’t know what we wanted to say or how to say it and would use stories and direct references to help us get to a place we could feel secure,” admits Simon. Erland adds; “in making this record we discarded an album’s worth of material that sounded like the first two albums. We wanted to make something different – doing another Jackson C Frank cover wasn’t an option.”

            Originally bonding over Jackson C Frank’s song ‘My Name is Carnival’ after his show all those years ago, Erland was first approached by Simon with a view to recording for his Butterfly folk label. The next day they were recording Frank’s song in the studio together and by the end of the session a band had formed. “It’s hard to find people who you instantly click with and Erland was one of those people,” tells Simon. “He’s very driven and will get out of bed in the morning which is half the battle sometimes.” Closing Time is the very first time the listener can truly hear the wholly collaborative process that is Erland & The Carnival. Lyrical and musical duties have always been shared, yet here the combined creativity of the pair’s working friendship is only solidified with Erland taking a more ‘hands on’ approach to production, and the strings, brought about by the album’s unashamed twisted and selfish love song ‘Quiet Love’, scored by Simon before being recorded by a quartet in his living room one afternoon.

            Recorded in Damon Albarn’s studio13 with previous Erland & The Carnival engineer Steve Sedgewick and mixed by London Grammar producer Tim Bran, despite creating more than 40 songs in the process of writing the album (“Some of the song melodies and ideas on this may have even been written when I was 21 to be honest. ‘Sometimes’ certainly was,” admits Erland), it was a brilliantly spontaneous and productive time taking just over 3 days to come to fruition. “We learnt to be incredibly disciplined” tells Simon. “It feels like pruning a tree – when you cut away the needless and weaker branches, what you get is something much fresher and stronger coming through.”

            Evelyn Jane Mason and Jeremiah Klein met in Vancouver in 2011 and connected via a shared love of bass music, R&B and pop. Though their work is collaborative, Jeremiah leans towards production, with Evelyn providing startling vocals and frank lyrics. The results are enthrallingly hazy.

            Popping up two years ago in February 2012 with a staggeringly brilliant 12" via Canadian creative collective and imprint King Deluxe, FACT compared Evy Jane's "frozen pop futurism" to the likes of Clams Casino and The Weeknd, whilst Pitchfork simply labelled it "stunning," giving it a Best New Track feature. Newly signed to Ninja Tune, Evy Jane's Closer EP neatly rounds up the duo’s sonic excursions since their explosive debut.

            Inherently DIY, Evelyn and Jeremiah draw upon Vancouver's mystical aura to create a world that mirrors and magnifies it. From self-directed videos to hypnotic songwriting, Evy Jane is inspired by the hooks and melodies of R&B as much as the sub low shudder of the UK’s shifting bass music spectrum and the ebb and swell of tidal synth washes and grainy atmospherics.

            Title track "Closer" draws the listener into its swirling electronic textures, catchy melodies and bass. The effect is to be caught helpless in its current, and the combination with the song’s lyrical plea for further closeness is heady. ‘Nothing So Great’ is a simply magical combination of synths rising gradually from heavy to urgent with commanding vocals describing the dark aftermath of sex. "Sosoft" is future R&B that charts the fear and wonder of romance via fathoms-deep bass and utterly beguiling vocals, dark veins spreading through lullaby softness. Final track "Worry Heart" ventures into dubbier territory, a recollected vision of failed reassurance seeing Evelyn’s vocals soar: "You are so damn fair. With your anchors gone, you are floating too free".

            The beautiful 'Closer EP' vinyl format features artwork by the amazing Leif Podhajsky.

            Leeds underground don Ford Foster inaugurates the fresh Just Left White imprint with four straight up bangers for those in the know. Picking up exactly where he left off on his releases for Opal Tapes and Bad Mums Club, the sect resident gets straight down to business and unleashes a tightly wound acid techno assault on the appropriately named "Hammer Curl". Powered by the twin influences of classic UK techno (check the resonance) and booty shaking ghetto house (check those drums g!) the intense opener makes the perfect introduction for the twisted tension of "Crows", which utilises a bleepy detuned organ riff to create full scale dancefloor panic. Foster introduces a touch of grit and spit to his extra strength product with the hissing and scuffed brutality of B-side opener "Steady Creep". The dark and moody post peaker builds and builds with those traintrack hats and falling synthlines, teasing you with the promise of a rapturous climax before simply dissipating into a cloud of steam. Foster closes the set with the relentless minimalism of "Running Round", pairing a circular bassline with a Twilight Zone bell that'll have you nodding way into the next day. More fire from the man described as the U.K.s answer to Delroy Edwards.

            Following a string of well received releases on a who's who of underground labels including Still Music, 50 Weapons, Musique Large and MCDE, France's legendary Laurent Garnier drops a couple of stunning techno cuts on UK imprint Hypercolour. "ENCHANTé" opens the set in emotive fashion, washing its soaring, pitch bent strings, rasping keys and filtered vocals in deep melancholy whilst a swinging drum pattern keeps things nice and tight. A big tune from Garnier here, sitting very snuggly with his classic, "The Man with the Red Face". On the flip, "Confused" goes straight for the jugular; a pumping techno workout with scattering and inter-galactic bleep-work, thunderous effects, and with a heady nod to the sounds of Detroit's minimalists Robert Hood and Jeff Mills. Battering 909 snares are offset with the warm and harmonic choir pads, a killer slice of techno from one of the scene's most switched on and in tune godfathers!

            With his first two singles for Phantasy, “Mouth” and “Giudecca”, Ghost Culture emerged from the shadows with a beautifully elusive sound - winning plaudits from the likes of Pitchfork, The Guardian and more, they marked out London's Ghost Culture as one to watch, a hype most definitely consolidated with new single “Arms.”

            “Arms” is its own breed of electronic songwriting: a low, malevolent thrum emanating from serpentine grooves and whispered vocals, it's a record that moves entirely at its own pace, creating an atmosphere heavy with tension and mystery. The flipside “Understand” is born from a dusty corner of the nightclub, relentlessly growing in intensity throughout, it surrounds the dancefloor in a beautiful techno sprawl. This single, along with the forthcoming debut album released later this autumn, was co-produced and mixed with Erol Alkan between studios in two quiet corners of the city. Ghost Culture's time is here.

            Harald Grosskopf is best known as drummer in the band Ashra and for Klaus Schulze and as an electronic musician. Following “Synthesist” (1980), “Oceanheart” was his second solo album. It may sound like a child of the 1980s, but in a compositional sense it is related to the Berliner Schule / Berlin School of the 70's
            Tired of the rock format and excited by the freedoms promised by electronic music, Harald Grosskopf quit Wallenstein, a conventional rock band, in the mid-seventies to turn his attention to electronica. Grosskopf thus became the first drummer to specialize in the electronic music field. He played drums on Klaus Schulze’s albums “Moondawn” and “Body Love” and on YOU’s “Electric Day”. When Manuel Göttsching from Ash Ra Tempel asked him if he would consider enrolling as the regular drummer in the group now rechristened Ashra, he did not need to think about it for long. Grosskopf changed course again in the eighties, this time in pursuit of commercial success: he played in the NDW (Neue Deutsche Welle) group Lilli Berlin and backed Joachim Witt on his best-selling “Silberblick” LP, which featured the hit “Goldener Reiter”.

            Sky, the record company, were more than a little disappointed with the performance of Grosskopf’s first solo effort “Synthesist”, so there was no great sense of urgency as far as its successor was concerned. “They even halved my advance!” Grosskopf recalls. “Oceanheart” was released some six years after “Synthesist”. “The album title reflects my love of transcendental meditation, of course it might be taken for watery esoterics.” (A similar vibe was evident in the cover art, hence fresh artwork has been created for the reissue.) Musical equipment for the production was limited by the label’s ongoing thrift programme. The first “Oceanheart” recordings took place “under the roof” in the Lilli Berlin Studio, Kreuzberg. They were completed at the Spandauer Studio by former Tangerine Dream member Christoph Franke. “We mixed everything down and recorded the drums there.” Harald Grosskopf again played everything himself, except for the tablas. In keeping with its predecessor, “Oceanheart” was no bestseller, but, like “Synthesist”, it attained cult status, rediscovered in recent years through the internet by a younger generation. Harald Grosskopf himself needed time to appreciate the work: “I only really discovered the musical quality of ‘Oceanheart’ years later. I finally realized that I had created something quite special.” - Christoph Dallach

            Harald Grosskopf

            Synthesist - Bureau B Edition

            "Synthesist” is the first solo album by Ashra drummer Harald Grosskopf. It is one of the classics of German electronic music, comprising eight instrumentals composed in the tradition of the so-called Berliner Schule / Berlin School (Klaus Schulze, Tangerine Dream).

            Harald Grosskopf was in his early twenties when LSD “blew [his] reality away”, as he recalls. Born in Hildesheim in 1949, he had previously drummed in fairly conventional rock bands, most recently for Wallenstein. Their label boss Rolf-Ulrich Kaiser was fond of facilitating jam sessions for musicians on his Ohr und Pilz label, often supplying his Kosmische Kuriere (Cosmic Couriers) with LSD (unbeknown to them, on occasion). In one such session, the drug inspired something of an epiphany in Grosskopf: “There I was playing the drums when, in the midst of my euphoria, I realized that I had been imitating others. A voice spoke to me: stop trying to sound like Billy Cobham or Ginger Baker. From that moment on I felt liberated, free to drum without having to shine in a particular role.”

            Having discovered his own musical identity, Harald Grosskopf understood that a standard rock combo was not the ideal conduit through which to express it. Grosskopf: “I was completely in thrall to electronic music and the total freedom that it offered. This was the music I wanted to create. I knew it would be a success, the energy levels were so high.”

            Grosskopf consequently left Wallenstein. “I fell into a hole at first, wondering what I was going to do. So I sold my prized drum kit and used the money to buy a guitar, amp and echo device.” A few days later, the doorbell rang. It was Manuel Göttsching, on his way back to Berlin from a tour of France. They knew each other from Berlin’s electronic scene and recording sessions for the likes of Ash Ra Tempel. Göttsching invited Grosskopf to sign up for his new project Ashra and the rest is history: Ashra (Grosskopf, Göttsching, Lutz Ulbrich alias Lüül) released a series of successful albums in the years that followed. It was not until the summer of 1979, however, that he finally felt ready to release a solo album. “Synthesist” comprises eight instrumentals, recorded largely by Grosskopf on his own. His melodies, carried along by synthesizers and drums, were reminiscent of works by Berlin electronic friends such as Klaus Schulze and Tangerine Dream, as well as those “cosmic” sessions of the early 1970s - yet each melody retains a unique timbre.

            “Synthesist” is thus regarded as a classic by electronic music enthusiasts all over the world, evoking a thrilling musical era of the past with equal capacity to excite today - Christoph Dallach

            The wonderful Black Ops sub label from the Sleazy Beats crew continues...

            For the sixth instalment of their highly collectable Black Ops series, the Sleazy Beats chaps welcome Andy Hart back to the fold. While Andy is certainly not new to the production game - the man has an impressive string of tracks on esteemed labels like Quintessential, Foto, Box Aus Holz and his own Melbourne Deepcast imprint under his belt - "The Love Technology EP" is in fact his first solo outing on wax!

            He couldn't have delivered a better debut if he tried.

            Title track "Love Technology" is a moody basement chugger that fuses the gentle and the raw effortlessly. Building on a basic groove with clever funk samples and sharp claps, Hart keeps subtly adding new elements and layers to proceedings. Intricate simplicity never sounded so good!

            On the B-side there's "Jasmine", a warm slice of deep house pie with sweet synth lines, classic piano melodies and the kind of rolling drums that made Hart & Graef's collabs so outstanding. Sharing the side is "Aquarius". Take one exceedingly infectious groove from an underground disco classic, add subtle percussion, some kick ass drums, Andy's masterful arrangement and the result is a classy Summer anthem that may just become one of the biggest party starters of 2014.

            As always, this is a limited, vinyl only release. It will not be repressed and will not be released digitally. Not now, not ever.

            Karl Hector & The Malcouns

            Unstraight Ahead

            German producer and guitarist JJ Whitefield, along with Thomas Myland and Zdenko Curlija, founded Karl Hector and The Malcouns in the early 2000s. Their debut, ‘Sahara Swing’, saw release on Now-Again in 2008. The album swung with influences from across the African diaspora and set the stage for a cult, but influential following. ‘Unstraight Ahead’ finds the band exploring territories even outside of the expansive scope of ‘Sahara Swing’. On this album, the West African sounds of Ghana and Mali meet the East African sounds of Mulatu Astatke’s Ethiopian jazz and are tied together with the groove heavy experimentalism of The Malcouns’ 70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss and Tomorrow’s Gift. “We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing,” Whitefield states. “We’re trying to combine the global experimentalism of Krautrock with the backbeat of funk.” This explains how songs in uneven meters - 5/4, 7/8 - always sound so accessible and natural on 'Unstraight Ahead'. It’s mainly an instrumental affair, but guest artists appear throughout, from across the African diaspora to those from the worldly Krautrock forebears of their German fatherland: it’s Marja, daughter of Embryo founder Christian Burchard, whose vocals open the album. It’s an album out of time, one that couldn’t have been made in the era its aural aesthetics reference, as its scope is so broad. But it’s an album focused by funk - and an ambition to expand funk’s reaches. The Malcouns - including Poets of Rhythm songwriter and vocalist Bo Baral - created their own instruments to fashion an album that stands alongside the great albums of its progenitors but charges ‘Unstraight Ahead’ into a curious musical future.

            Arve Henriksen

            The Nature Of Connections

            Arve Henriksen stumbled across the title of his latest album while reading a book about furniture-making. ‘The author mentioned the complexity of making a chair and all the people involved in the process,’ the Norwegian trumpet player says. ‘The high quality of the different fields and the wide range of professions that, after a long process, turns into a product which can easily be compared to the process of making this album.’ The Nature Of Connections finds Arve working in harness with some of Norway’s most distinguished and dynamic musician-craftsmen, drawn from the fields of folk, improvisation and jazz. Each one brought specialist components and skills honed over many years to Arve’s workshop, where the results were assembled and polished to a high gleam. The Nature Of Connections almost entirely features pieces composed by Arve’s collaborators. Recorded in the sparkling acoustic of Oslo’s legendary Rainbow Studio by Jan Erik Kongshaug, it’s an album with closer ties to Nordic folk and contemporary, minimalist chamber music than any of Arve’s previous releases. The trumpeter had planned to make an album with a string quartet for many years but never quite found the right formula. Finally, a special commissioned tour brought him together with violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson and double bassist Mats Eilertsen, all of whom now appear as the central planks in The Nature Of Connections. Another welcome guest is drummer Audun Kleive, veteran of Norwegian jazz ensembles including Masqualero, JøKleBa!, Generator X, Terje Rypdal and Jon Balke. ‘The brilliant thing about collaboration with others is that your collaborators very often have better ideas than yourself,’ says Arve, typically modest. ‘At the same time some naive and simple ideas from my head are sometimes enough to illustrate that moment and that special feeling of a story. I have gradually started to trust that feeling.’ His instincts are correct, leading to some of the warmest and most organic sounding music of his career. Highlights include the solemn chamber music of ‘Seclusive Song’, and the stately progress of ‘Hymn’ – composed by Arve’s keyboardist partner in the longrunning Norwegian improv ensemble Supersilent, Ståle Storløkken – which paces itself around Henryson’s repetitive, gently churning cello.

            Born in Norway and currently living in Sweden, Arve Henriksen is Scandinavia’s most distinctive trumpeter and improvisor. He played in various jazz ensembles in his youth before co-forming Supersilent in 1997, a prolific free music group with Helge Sten (Deathprod) and Ståle Storløkken, which is still ongoing. His trumpet, augmented with effects and electronics, has appeared with David Sylvian, Terje Rypdal, Nils Petter Molvær, Jon Balke, Terje Isungset and Iain Ballamy’s Food. With Supersilent he recently collaborated with former Led Zeppelin bassist John Paul Jones. In September he’ll be participating in an architectural installation/performance as part of Oslo’s Ultima Festival of contemporary music.Since 2001 he has created a series of exquisite solo recordings (on Rune Grammofon and ECM), which combine electronic textures, horns, woodwinds, ethnic instruments, percussion, keyboards and his mournful, yearning singing voice. Henriksen’s music reflects both the stunning beauty of virgin wilderness and the shifting, cosmopolitan environments experienced by the 21st century traveller. The Nature Of Connections is the latest link forged in an ever growing chain.

            Personnel Arve Henriksen – trumpet, piccolo trumpet, piano, Nils Økland – violin, Hardanger fiddle, viola d’amore, Svante Henryson – cello, Gjermund Larsen – violin, Hardanger fiddle, Mats Eilertsen – double bass, Audun Kleive – drums Tracks ‘Blå Veg’, ‘Hambopolskavalsen’, ‘Budbringeren’, ‘Seclusive Song’, ‘Hymn’, ‘Aceh’, ‘Keen’, ‘Arco Akropolis’, ‘Salm’

            Brighton-based producer Leo Marcus aka High Lucia presents his debut release on Lex Records with the majestic Wash EP. Formerly known as Pále, High Lucia presents a six-piece collection of sweeping, organic ambient statements, with ‘Dark Ages’ offering deep, lush bass lines and shimmering voices. In a breakaway from the usual instrumental configurations, final cut ‘Opal / Forever’ brings in vocalist Joshua Idehen in addition to Shanaz Dorsett who add their vocal touches to High Lucia’s rich ambient production.

            Predominantly instrumental, 'Wash' is a lush 6 track EP with sweeping ambient instrumentals underpinned by minimalistic bass lines alongside Joshua Idehen (Benin City) and Shanaz Dorsett's vocal contributions which pin point the London influence. His productions don’t just stir morose vibes, instead they engage in creating an abstract sense of beauty. His synths and vocal parts cling like fog to his crisp percussion. A young talent growing from strength to strength - for fans of Clams Casino, MBV, Benin City, Massive Attack, The XX / Jamie XX.

            Hinterhof / Play For Today

            Split 45

              This one’s a rare excursion into 7” territory for Deep Distance following a bunch of sold out 12s and full lengths from the likes of Umberto, NWW’s Colin Potter and Tim Gane’s new ‘Cavern of Anti-Matter’ project. A split 45, airing debuts from Berlin’s HINTERHOF and the shadowy world of Camberwell based synth dabblers PLAY FOR TODAY.

              Hinterhof don the white Lab coats for the icy sci-fi pop blast of “Molecular Love with a Molecular Sound”. All bubbling moogs and buzzing electronics topped with the cool vocals of Lollie Barr.

              If the reverse might be described as a kind of uptempo space age pop, Play for Today brings things down a few shades with the colder, more industrial synth tone and drone of “Golden Kids (What’s Going On?)”. Think darker Fad Gadget, early Cabs- a more angular, darker piece more in keeping with an early Mute 45 than it’s double A side here- yet it’s that dark and light aspect that makes the single such a winner.

              As ever with Deep Distance it arrives handsomely packaged, orange wax in cool company bags and inserts. A pressing of 500 expected to sell out pretty quickly….


              Ltd 7" Info: Orange vinyl pressing of 500 copies only.

              The History Of Apple Pie

              Out Of View

              ‘Out Of View’, recorded in London over the last few months, was self produced by guitarist Jerome Watson, mixed by Charles ‘Chicky’ Reeves and engineered by Joshua Third of The Horrors, who also adds his unique guitar sound to the albums closer ‘Before You Reach The End’. Released on Limited vinyl and CD the new album features 10 tracks including their critically acclaimed and sold out singles ‘Do It Wrong’, ‘Mallory’ and last years debut ‘You’re So Cool’.

              ‘Out Of View’ sees the band take expansive and very exciting leaps with the new recordings. The infectious fuzzy pop sound of those early singles has been crafted and developed and they have taken the guitar aesthetic of their heroes - Sonic Youth, Radiohead and Blur, into new and glorious terrorties. Expect more tales of medicated teenage heartache and the psychedelic rain of slacker-genius guitar chops from Jerome’s home made pedal board, but the band have really come of age and the result is a truly memorable and exhilarating guitar pop album.

              London based and formed just over eighteen months ago, The History Of Apple Pie line up is centered around the songwriting partnership of Stephanie Min (Vocals) and Jerome Watson (Guitar) together with Kelly Owens (Bass), James Thomas (Drums) and Aslam Ghauri (Guitar). A truly great and exciting live band, they quickly built up an ever growing fanbase of critics, punters and fellow musicians alike.

              They’ve already played over seventy shows both here and in Europe including numerous festival spots, a sold-out show for HMV’s Next Big Thing, ‘The Roundhouse Rising’, main support for both The Drums and Male Bonding and being hand picked by Graham Coxon to support him at his recent London show. As well as the aforementioned three sold out singles, they also recently released a split 12” with the similarly inclined talents of Gross Magic, Novella and Echo Lake.


              Surf Dude

              Not content with rocking the party on Omena and Puss, Stockholm's pre-eminent house head HNNY launches his new imprint, Yummy, with this transparent one track vinyl aimed directly at your local dancefloor! "Surf Dude" is the kind of easy going, sun-kissed house bomb that's been missing from your life since the days of Modjo, Stardust and perennial guilty pleasure "Groovejet". Working with a flanged guitar sample that could very easily have washed in with the surf, HNNY crafts a perfect filter house bomb that'll have 'em smiling at sunset all over the globe. Get stuck in, it is Yummy after all.


              12" Info: Clear vinyl pressing.

              Devonté Hynes

              Palo Alto: Original Motion Picture Score

              Devonté Hynes, aka Blood Orange, has created his first original score for the feature length film ‘Palo Alto’ from writer-director Gia Coppola. Based on several linked stories by James Franco, ‘Palo Alto’ is a teenage romance for the ages, made indelible through its ensemble cast (James Franco, Emma Roberts, Jack Kilmer, Nat Wolff, Zoe Levin).

              Hynes wrote and performed the entire score along with guest vocals by Samantha Urbani and additional instrumentation by Jason Arce. Not to be confused with 'Palo Alto (Music From The Motion Picture)', which Hynes' title theme, along with other artists' music.


              Ltd LP Info: Indies only mauve vinyl pressing.

              Japanese production genius Altz calls in his good buddies the Idjut Boys to grace his Altzmusica label with one of their deep and dubby Balearic-friendly disco creations. "World 1st Day" is an edit and dub treatment of (Third Idjut) Andy Hopkins tight guitar and bass work. As thick and muddy as it is dubby, the track is packed with lashings of psychedelic echo and delay, positive energy and healing vibrations. Tight ever since the Idjuts remixed "Yello" and "Tune In" back in 2005, it makes perfect sense for Altz to return the favour here on his B-side remix. The Japanese producer adds a tougher beat and turns the groove factor up for a rapturous dancefloor response.


              Position EP

              Ikonika is in straight up banger mode on this EP, possibly her finest release to date. Confident, energetic and tough, these tracks are made from solid tour experience and made for big room dancing. The EP is made with an almost 3D sense of contrast, and a brilliant ability to balance dusty old school sounds and shinier new ones and reshape them into something that sounds really fresh.

              ‘Position’ kicks things off with rough kicks and snares that sound like they've been created in a foundry, mixed into rolling kicks lifted from a crumbling drum machine and vocals sliced and diced into sharp hallucinatory rhythms. ‘Praxis’ sounds like a track that could have come from her groundbreaking ‘Contact, Want, Love, Have’ debut album, except the straightforward melodies with droning synths and steamy drums over growling bass give the track a confident upgrade. ‘Strawberry Underlay’ builds melody lines over a single basic, repeating riff in quick succession while a series of interchangeable, tight old school drum patterns stop and start underneath in quick succession. It's a brilliant exercise in dynamics and tension. ‘Wakeup Sequence’ sounds like freestyle pop driven into strange Atari game shapes, bubbling arpeggios, rough, funky melodies, ancient drum machines, and distorted guitar synth and weird squeaks.

              Invisible Familiars

              Clever Devil / Digger's Invitation

                ‘Clever Devil’ is the first single to be taken from ‘Disturbing Wildlife’, the forthcoming debut full length from Invisible Familiars, aka Jared Samuel, a New York City-based songwriter and multiinstrumentalist who has long made his living playing music, supporting a variety of NYC artists and now stepping out on his own.

                ‘Clever Devil’ was recorded with producer / musician Michael Leonhart (Yoko Ono, David Byrne, Steely Dan) and is all at once snaky and vivid, with Samuel’s acoustic guitar and mysterious, breathy melodies complemented by ear-candy flourishes of buzzing synths, electronics and a guest spot from Stuart Bogie (Antibalas) on saxophone.

                Non-album B-side ‘Digger’s Invitation’ shows the band’s more rocking side and was specially recorded for this single with Jared and Invisible Familiars core members Robbie Manga on guitar and Tim Kuhl on drums.

                The Faust Studio is situated in a spacious factory building right on the bank of the Danube river. Here, 2670km past of the river’s mouth at the Black Sea, the current seems relatively weak, however past accounts of severe flooding are enough to dispel any doubts of its power. One can spend hours staring out from the studio’s wood-panelled windows at the current, pondering the fact that you never observe the same water twice Jochen Irmler and Jaki Liebzeit met in the town of Scheer last July to prepare for an upcoming concert at the slaughterhouse in Sigmaringen as well as for a subsequent appearance in the Kammerspiele in Munich. However, they quickly decided to stop rehearsing and instead record FLUT - an album that regroups six improvisations between organ and percussion.

                FLUT adds another chapter to Irmler’s collaborations, which aim to explore, whenever possible, the hidden potential that lies dormant in the clash between prepared organ and drums. The series includes previously-published collaborations with Gudrun Gut (programmed beats), with FM Einheit’s percussive bass-string playing, and with Christian Wolfarth’s uncategorizable drumming, pushing the limits of harmony and tuning to ever more complex results. A special energy is released through the clash between Irmler, one of Krautrock’s main driving forces ever since his work with Faust, and his sparring partner Jaki Liebezeit, the living legend from Can, whose unrivalled hypnotic drumming has earned him a reputation as one of the most avant-garde percussionists, and as a human drum machine. Says Jochen Irmler: "I started jamming with Jaki as a means to play the organ very differently. On one hand he challenged me, on the other we shared an almost ESP-like non-verbal communication. A new horizon had opened up (before us)."

                One hears elements of this statement in the piece "Sempiternity" and in the subsequent "Washing Over Me", where organist and drummer create a synergy greater than its parts; a trio rather than a duo seem to be at work. The effect is partly conjured by Irmler’s touch; his distorted right-hand melodies often sound like electric guitar, while his left hand finds unusual ways to elicit organ-like chord structures. Irmler’s relentless sonic clusters crash spectacularly against Jaki Liebzeit’s drums. Always stoic at their core, Liebzeit’s rhythms are struck with playful outbursts of groove, especially on the cymbals. Here we see a minimalist with an extremely controlled love of collisions at work. Repetition and its minute refinements are transferred with great discipline in a stream of consciousness that both sets the stage and upstages his opponent. "We play without notes. In places where notation systems do not exist, the rhythm holds a much more dominant role in music, for example as is the case in Africa. Here people make music differently than those who think in terms of notes and bars. Musical bars are like prison bars. Playing without notes means that you must play repetitively, and repetition is rhythm. At the same time repetition does not really exist here, because you never (quite) play the same thing (twice)." (Jaki Liebzeit) Through three consecutive days of noon-to-night sessions in July 2013, Irmler and Liebzeit recorded a hypnotic maelstrom of an album. They contemplated the Danube between takes, and felt the sun sink daily over their endless improvisations. Always another stream, never the same river.

                After emerging in 2011 via a rapid-fire series of groundbreaking EPs, Brooklyn-based producer Ital (Daniel Martin-McCormick) surprised followers by releasing his debut album “Hive Mind” on Planet Mu in February 2012. The record immediately struck a chord with both critics and fans for its fascinating use of house rhythms to bolster fractured, alien landscapes with a surprisingly tender emotional power. Seemingly unconcerned with dance music orthodoxy and informed by years in the noise-punk underground, his compositions came out of left field, constructed on primitive software with bizarre, culture jamming samples. Dance music in New York was re-emerging after a period of stagnation, and Ital was among the first of a younger wave of producers to invigorate it with a dose of visceral vitality. Since then, he's remained at the forefront with a remarkable EP for esteemed label Workshop, a collaboration with Hieroglyphic Being and a pair of excellent EPs on his own Lovers Rock imprint. Now Ital has returned to Planet Mu for “Endgame“, his most singular and hypnotic work to date.

                Vertigo-inducing, nuanced and highly evocative, “Endgame” is a delirious pleasure to dive into. The album’s textures often explore inviting spaces, only to bring the listener “somewhere uncomfortable, perceiving constant chaos and collapse in the periphery of your vision,” as Daniel describes. This is especially evident on the haunting title track, its dizzying reverb lingering while the bottom drops out, leaving the listener suddenly on the edge of a cliff they weren't even aware of, and the glacial shift in “Beacon” from warm, bubbling chords to disconcerting stillness. Meanwhile, throttling techno tracks like "Whispers In The Dark" & "White II" burst with undeniably seductive dancefloor energy, each jagged edge and oozing melody uniquely formed.One of his goals from the start was “to keep things liquid. The music had to come from that natural, unforced space.“ Inspired by recent excursions into psychedelics, “apocalyptic“ strains of minimalist composition, and his sense of “eerily ubiquitous post-globalization culture-leveling,“ “Endgame“ is a techno album that teems with ideas. Recorded with a select arsenal of hardware, mixed with M Geddes Gengras at his LA studio and mastered by acclaimed engineer Rashad Becker, the final result is a shimmering blend of his swirling, effects-laden live sets with a deeper, more penetrating emotional and melodic clarity. “Endgame“ sees Ital unlocking his own sound and pushing himself to new depths sonically and technically, a figurehead for a strong international community as well as a truly visionary artist in his own right

                Jack J

                Looking Forward To You / Take It To The Edge / Something (On My Mind)

                Here it is one of the most sophisticated and sensual D.T.E.S. street soul 12"s of the summer. Misted with a certain kind of je ne sais quoi! This new recording from Mood Hut is sure to bring people closer all over the world. Some saxophone and live feel like they used to do! It certainly isn't to be missed now or later and won't be forgotten for many years! 100% C.R.C certification. C.L. Primo. Shouts 2 Libra Mix!

                Jamie XX

                All Under One Roof Raving

                After softening us up with the Freeez sampling outsider house of "Girl", Jamie XX returns for a single sided tribute to rave, 'ardcore and good old Blighty. Homesick on a particularly lengthy XX tour, Jamie took comfort in the sights and sounds which reminded him of home, particularly Turner Prize winner Mark Leckey's "Fiorucci Made Me Hardcore", and was inspired to make his own tribute to London's rave heritage. Rather than opt for the 'sampled vox and pianos' template Joy Orbison employed to devastating effect on "Ellipsis", Jamie delivers a shuffling and atmospheric walk down memory lane, decorated with snapshots of forgotten nights on too many drugs. The London producer utilises pizzicato (plucked mate) strings and a rippling marimba to lead us out of his deep soundscape and onwards to the lights up moment which awaits. *Comes complete with sportswear roll call outro!!!

                FORMAT INFORMATION

                12" Info: One sided 12" with etching on the B-side. Comes in die-cut sleeve.

                Brand new label from the legend that is Jonny Trunk. Superb and super-rare South African jazz LP featuring Hugh Masakela and Dollar Brand. 500 only pressed for the world.

                The Jazz Epistles were not only South Africa’s first bebop band, but were also, rumour has it, the first black South African group to release an album. Very few copies of that album “Jazz Epistle Verse 1” were made in 1960 (issued on the Continental Label), and even fewer survive today. At the time members of the band were very active in the burgeoning South African jazz scene and had also made several recordings for John Mehegan, a self-taught white American jazz pianist and tutor who toured South Africa that same year. Mehegan soon found himself in trouble with the South African authorities for fraternizing with black musicians.

                The Jazz Epistles broke up soon after the "Verse 1" recordings, with all members being offered work touring Europe with the hit African jazz musical “King Kong”, along with the Manhattan Brothers and vocalist Miriam Makeba.

                This tour came at a time when Sophiatown, the black suburb of white Johannesburg where the band lived and played, was about to be demolished. This, along with The Sharpeville Massacre marked the beginnings of forced segregation, violence, repression and a most turbulent time in their country – a time when African arts would not be tolerated.
                Thankfully, the touring members of the Jazz Epistles found freedom, enlightenment, appreciation and the guidance of European musicians to further their musical careers. So in some ways, South African jazz flourished for the next few decades, but only in other countries.

                Listening now to these recordings we hear that the band’s early mix of African and American jazz ideas, rhythms and swingin’ tempos make their sound both unique and prescient, and can now be appreciated as a cornerstone and most important landmark in South African sounds.

                This unique vinyl release brings together selections from the classic Verse 1 album as well as other rare cues by members of the band, recorded for Mehegan in those lively 1959 / 60 jazz sessions. Of particular note on this release is the sublime track Gafsa, summed up on its original release like so: “Another piano solo from Dollar Brand. It tells of a man who was madly in love with a wonderful woman. She dies, but her vision comes to him as he walks through the streets of Cape Town on a misty night.“

                Having hit big on the Twilight with the dance cut 'Come On Sock It To Me’ and socially conscious long player ‘Is It Because I’m Black?’, Syl Johnson then moved to Willie Mitchell's Hi Records in 1971. With Hi he recorded three albums which spawned a number of singles. Produced in Memphis with the Hi house band (Charles Hodges (organ), Leroy Hodges (bass), and Mabon "Teenie" Hodges (guitar), Howard Grimes (drums) and the Memphis Horns), these yielded the hits "We Did It", "Back for a Taste of Your Love", both included on this 1973 LP.

                Khun Narin

                Khun Narin's Electric Phin Band

                It all started over a year ago with the caption “Mindblowing psychedelia from Thailand” - the Youtube video that accompanied this headline on the Dangerous Minds website was exactly that. Here was a group of Thai musicians being filmed parading through a remote village hundreds of miles away from Bangkok playing some of the heaviest psych known to mankind out of a crazy homemade soundsystem.

                Six months after that first encounter with Khun Narin’s Electric Phin Band, a Los Angeles music producer named Josh Marcy used Facebook and interpreters at his local Thai restaurant to get in contact with the band and inquire whether they’d be interested in having him travel to their town to record their music for a global audience. At first the band was naturally suspicious, but through subsequent interactions the group’s leader and namesake Khun Narin (also known simply as “Rin”) warmed to the idea of having Marcy come visit.

                Khun Narin’s Electric Phin Band’s membership is always in rotation and spans several generations, from high school kids to men well into their 60s. A standard engagement has the band setting up at the hosting household during the morning rituals, playing several low-key sets from the comfort of plastic lawn chairs occasionally working in a cover version of a foreign classic while the beer and whiskey flow freely.

                Now Innovative Leisure bring us the debut release from Khun Narin's Electric Phin Band, whose music is described by Dangerous Minds as "indescribably beautiful psychedelia". This recording features the band playing a traditional three-stringed lute and using effects pedals, distortion and digital delay, with Fender pickups installed into the lutes' hardwood bodies. It combines heavy psychedelia with rock and electrically modified traditional instruments.

                Recommended for fans of William Onyeabor, Ravi Shankar, Os Mutantes, Jimi Hendrix, Mulatu Astatke, Buena Vista Social Club, Ry Cooder, Tinariwen etc. 

                Videos of Khun Narin's Electric Phin Band have been featured in The Wire, the blog of globally renowned experimental radio station WFMU, and the popular technology and culture website Boing Boing.

                FORMAT INFORMATION

                CD Info: CD comes in a digipack with a clear inner tray.

                Ltd LP Info: LP packaged with download card and 12 x 12 inch full cover sticker.

                Legendary Melvins front man Buzz Osborne releases solo, acoustic full-length.

                What started as a trio of kids making their own weird noise grew into the Melvins, a sludge-rock outfit that helped usher in the grunge era and influenced countless bands to come, including Mudhoney and Nirvana.

                For more than three decades, Buzz Osborne and bassist-drummer Dale Crover have been the only consistent members, experimenting with their music as well as their bandmates along the way: two drummers here, a standup bassist there, the return of a founding member who’s been gone for 29 years.

                King Buzzo: “My main goal was to not fall prey to what happens to most rock people who do this,” he said from his home in Los Angeles. “They often end up sounding like a half-assed version of Woody Guthrie or a half-assed version of James Taylor. That’s not what I wanted.”

                “You gotta understand, I wrote a lot of this stuff on acoustic guitar anyway,” he said. “I’ve certainly written a lot of songs [acoustically] that were then translated into the full band.

                FORMAT INFORMATION

                Ltd LP Info: Limited gatefold album.

                Underground electronic talisman Kutmah doesn’t often release new music. That’s an approach that runs counter to the paradigm; unedited, under considered, unfinished songs being constantly flung up onto blogs and Soundclouds - and that alone makes him stand out. More so though, the quality of his music does. Remember that first, visceral thrill you felt at hearing music made electronically? The sort of thing that came out Germany in the late ‘70s and early ‘80s, the weird, hypnotic, gripping meld of soul and machine? That’s the sort of shock of the new you hear in Kutmah.

                'Our Mannequin' conjures up the spirit of early electronic music in more ways than one. His funk-ridden drums and bass, synths that drench over the ear like waves, and filtered, robotic vocals hark back to German synth-wave and post-punk. The difference is the in the tempo, which clearly demarcates Kutmah's roots in the LA-via-London, leftfield beat scene.

                The first clubs Kutmah went to were goth industrial nights, where he heard "weird shit that you can dance to." That clearly shows on this latest EP. It’s easy to forget the funk you could hear in early industrial music; can still hear in the long-living pioneers like Richard H Kirk. "No one was chatting, they were just dancing" Kutmah says of clubs such as Kontrol Factory in Hollywood. If he loved the music, he was less keen on the scene.

                His early musical axis ran between Suicide and NWA, influences that go some way to representing the originality you hear in his music. It was after he was deported back to the UK from LA that he "locked himself in a room and made this dark record." He brought the EPs collaborators into the shadows with him. "Zackey Force Funk usually make’s thug dance music," Kutmah says, "and Seven Davis JR will never do a record like this again."

                The EP "represents the third member of a relationship," he says, cryptically. One thing is for certain, this is music of rare quality, and it entrances the ear from a first listen. Kutmah’s inspiration may have been darkness, but that locked room was vibrantly fruitful.

                Endless Flight get back down to business with this second single cut from KZA's recent "Dig & Edit 2" LP, enlisting a true space cadet to blast the track off to a distant galaxy. "Computerstimme" is the kind of zero gravity cosmic coaster you'd hear emanating from every open window in 1970s Cologne. Music box melodies, fragile chimes and uplifting strings all permeated and punctured by the writhing pulse of synthesized sequences. I'm stumped as to the original of this one, but KZA's extension will work wonders in the hands of the more adventurous jocks. If there's one man in the universe you'd trust to reshape a stargazing ode of this majesty then it'd have to be cosmic originator and veteran astronaut Daniele Baldelli. The Italian legend refits KZA's track with a chugging bassline, some tasty Yellow Magic Orchestral synthlines and a swirling lead which may well open a wormhole if you stick this on loud enough. The little hints of Kraftwerk's "Neon Lights" provide a necessary lightness as this one nods its way to the middle of the ALFOS floor. Closing the set in space age fashion is the lunar eclipse beauty of "One Hundred Fifth Wave", which shimmers through the night sky like a shooting star, driven by twinkling arps and a warm bassline. 

                Mark Lanegan Band

                No Bells On Sunday

                  Mark Lanegan Band release a new EP, ‘No Bells On Sunday’, followed by studio album ‘Phantom Radio’.

                  The album title stems from a lyric in ‘Smokestack Magic’, which features on this EP.

                  The ‘No Bells On Sunday’ EP is five songs written during the same period as ‘Phantom Radio’ but which were, in Mark’s judgment, “too goofy” to fit with the rest. “I’m less apt to throw away a song that might be a little weird nowadays. I can make it work with whatever I’ve got going.”

                  Leisure Birds


                    Third up for Augusts’ trio of new Deep Distance releases is the incredible new full length from Minneapolis based Leisure Birds, the mighty “Tetrahedron”. A shared release whereby Moon Glymph and Totally Gross National Product handle to rest of the world but where Deep Distance proudly helps out for the UK. The band sent the LP to the label here and we were so blown away by it that even at the 11th hour, we wanted to help out. The result is a micro edition of 100 copies for the UK so to move fast is most definitely advised. Here’s some press bumph:-

                    “While much of modern psych seems to be stalled in a bygone era, Minneapolis-based Leisure Birds look squarely at the future. Their synth-driven grooves may evoke hazy memories of Krautrock and 1970s experimentation, but their aesthetic shies from the predictable shuffle that consumes current Psychedelic music. Leisure Birds strip away the trappings that made an old genre tired.

                    As Weed Temple writes: “Leisure Birds brings back the hope in the existence and future of psychedelic rock.”

                    Following the releases of LPs Copper Scroll (Totally Gross National Product, 2010) and Globemaster (Moon Glyph, 2012), Leisure Birds continue their outward trajectory with the release of their third LP, Tetrahedron, a co-release by Moon Glyph, Totally Gross National Product and Deep Distance in the UK. Using simple melody, hypnotic rhythm and highly constructed analog synthesis, Tetrahedron constructs a world on the edge of fiction and reality”.

                    “too gorgeous of a sci-fi wonderfuck for you to be reading words about.” Decoder Magazine.

                    “What psychedelic music will sound like in ten years” Bong Magazine France

                    This truly is a wonderful album and although we here at DD can offer only a small amount of the pressing, we do urge you to move fast. 100 copies in gatefold sleeves, with the 100 copy Deep Distance edition featuring cover mounted sticker, hand numbered inserts and download code wrapped up in a cool gatefold sleeve. Get on it!

                    J Mascis’ Tied to a Star, the follow up to his acclaimed Sub Pop debut 'Several Shades of Why'. The album, led by the songs “Every Morning” and “Wide Awake,” was recorded and produced by Mascis and mixed by John Agnello at Bisquiteen in Amherst, MA.

                    'Tied to a Star' also features guest appearances from musicians Ken Maiuri (Young@Heart Chorus), Pall Jenkins (Black Heart Procession), Mark Mulcahy (Miracle Legion) and Chan Marshall (Cat Power).

                    FORMAT INFORMATION

                    Ltd LP Info: Exclusive pink vinyl available to independent

                    Jon McCallum

                    Surf Nazis Must Die (Original 1987 Motion Picture Soundtrack)

                      * First ever release of this classic 1987 soundtrack.
                      * Pressed on black vinyl and on ‘blood in the water’ vinyl (randomly inserted).
                      * Packaged in a deluxe old school gatefold tip-on gatefold jacket.
                      * Comes with extensive liner notes and original artwork by John McCallum himself.

                      Strange Disc Records is proud to announce their debut release, the soundtrack to Surf Nazis Must Die. The film itself was released in 1987 by Troma Entertainment, but the soundtrack has never seen the light of day until now.

                      Set in a post-apocalyptic future where Neo Nazi group, the Surf Nazis have taken control of the beaches and terrorize anyone who steps foot in their territory. Jon McCallum’s score suits the post-apocalyptic setting with heavy synth; fans of Tangerine Dream and John Carpenter’s scores will be at home on this record.

                      McCallum is the composer behind Miami Connection, Terror Eyes and Soul Taker. Aside from his composing work he worked on the special effects for Phantasm 2 and George Harrison’s “Got My Mind Set On You,” music video.

                      This limited edition LP is packaged in a deluxe gatefold tip on sleeve with extensive liner notes by Composer Jon McCallum, Director Peter George, and various crew members.

                      This will be a standard edition black vinyl with randomly inserted “Blood In The Water” colored vinyl. The artwork was created by Jon McCallum and it was mastered for vinyl by Josh Bonati.

                      First gaining notoriety with the LPs Children of Desire (2012), which Pitchfork hailed for its “glistening and emotive, ear-bleeding noise pop”, and then Totale Nite (2013), which NME likened to “a cultural jump-start” in their 9/10 review; Merchandise continue their ascent with the highly-anticipated new album, After The End.

                      Drawing from too many places to be classified punk, they’ve certainly been informed by its ethics, earning all they’ve achieved. Still self-recording and producing their music, this time over a six month period in the house they share in Tampa, After The End is a real achievement in showing what bands can achieve themselves. The only outside influence this time came when they enlisted mixing help from Gareth Jones, the man famed for his work on Depeche Mode’s Berlin Trilogy of Construction Time Again, Some Great Reward, and Black Celebration, and more recently Interpol, These New Puritans and Grizzly Bear.

                      As the album’s title suggests, Merchandise are still evolving. With this record, they’ve expanded ranks with Carson Cox (vocals / guitar), David Vassalotti (guitar) and Patrick Brady (bass), now being joined by Chris Horn (guitar / keys / sax) and Elsner Nino (drums).

                      Speaking to the NME earlier this year, Carson said “Totale Nite was the end of the book. This is a whole new one. It's like we can start a new band with basically the same name. We've already exploded our reality – now we're going to re-make ourselves as a pop band, but it'll still be a twisted reality.” He’s kept to his word, the album is made up of ten tracks spread across a mean 45 minutes.

                      FORMAT INFORMATION

                      Ltd LP Info: Initial pressing on green vinyl.

                      Harry Agius has been making waves as Midland since 2010, releasing a series of increasingly impressive 12”s as a solo artist but also collaborating with the likes of Ramadanman (Pearson Sound), Breach and Pariah on labels such as Aus Music, Naked Naked, Works The Long Nights and his own Graded imprint. He is also a prolific remixer who has lent his talents to artists such as Lone, Guy Gerber, Julio Bashmore, Dusky and more. Here he returns to one of his original base camps, Phonica's White Label series for an excursion into deftly executed dancefloor technologies. "Before We Leave" pairs long, serene string sections with thunderous kick drum drops and big, reverb-soaked percussion. The string sections constantly invite the listener inwards, promoting introspection and exploration before the big, wall-shaking drum elements enforce strict exuberance and dancing on the floor. Clever but highly infectious and most importantly, FUN! Running Back’s Gerd Janson wisely decides to stick to the original track’s feel, letting the strings weave their magic, yet also brings the bassline and drums to the forefront. Delicately but expertly done. Midland rounds out the 12” with his barebones drums and percussion-only "Bonus Beats" version, perfect DJ tool material. We wish more records had these!

                      Nate Lacy spent the years since his teens exploring his inner world and his connection with the universe at large. These days, Lacy is focusing his gaze further outward, exploring what he calls “the infinite and the infinitesimal,” while also keeping lyrical watch on the crossroads where our digital future and our pastoral past bump up against each other. Few are the artists who are able to bring such thorny and thoughtful issues to bear in their music, but that is just one of the many reasons that ‘Eons’, the new album from Mimicking Birds, is so very special.

                      How this comes out through Lacy is in toothsome lyrics that are filled to bursting with imagery, philosophical questions, and deep personal concerns. That he finds ways to tie these concepts together without losing his way or our fascination with them is a testament to his songwriting prowess.

                      The rest of the band, Aaron Hanson and Adam Trachsel, remain connected, emphasizing fingerpicked acoustic guitars, the sturdy tones of a stand-up bass, and restrained drums, while pushing into the future as well.

                      ‘Eons’ feels as expansive as its title thanks to the help of producer Jeremy Sherrer (The Gossip, 1776), weaving gorgeous electronic textures into the songs - listen for the skittering programmed beat that helps carry ‘Owl Hoots’ forward, or the swells of keyboards that pull closing track ‘Movin’ On’ towards an 80s pop sunrise.

                      'Yawn Zen' is LA-based hip-hop producer Ringgo Ancheta’s debut album for Stones Throw. Mndsgn’s psychedelic beats have already won him fans such as Danny Brown, who snapped him up to produce a track the lead track for his Classic Drug Referencesrelease and BBC Radio 1’s Benji B. Dazed & Confused described him as “one of the west coast’s finest beat-smiths… each track is a patchwork of lush electronic samples blended together to create warm, sun-drenched little charmers.”

                      On 'Yawn Zen', his debut for Stones Throw, Mndsgn has carved himself an unusually calm-sounding place in the Los Angeles beat scene. The influence of labelmates Madlib and J Dilla on this on this collection of laid-back beats is never far off, but Yawn Zen has a psychedelic, jazzy flavour that equally recalls the likes of Flying Lotus, Gonjasufi and Samiyam.

                      It speaks volumes for how long we’ve been waiting for the debut Brainfeeder album from Mono/Poly that when Flying Lotus first got in touch with him about doing something for the label, it was via Myspace. The wait, though, has been worth it. Specializing in a kind of beat-driven cosmic soundscape which he describes as “electronic-classical-alchemy music,” Mono/Poly aka Charles Dickerson has drawn on the lessons he’s learned from collaborating on last year’s Thundercat album as well as the Flash Bang Grenada hip hop project with Busdriver and Nocando, and made a beautifully realized, endlessly expansive record.

                      From the first orchestral trills of “Winds of Change” you know you’re in for something special. As the track builds the listener notices not only the content but also the production chops – this is a record which sounds exactly as big, glossy and up front as its creator wants it to. Rebekah Raff adds scintillating harp work to “Transit to the Gold Planet,” but it’s the way Dickerson integrates it and builds on it which is really special. “Ra Rise” sounds like sunbathing in space, Niki Randa’s abstracted topline vocal warming you right through. Title track, “Golden Skies” uses a looping piano riff reminiscent of Bach, Thelonious Monk and Wu Tang on E, all at once, without sounding like any of them. Add sternum- thrumming bass to that and you know exactly what’s what. “Alpha & Omega” does something clever with slowed down D&B licks and tweaked vocal snips. “Empyrean” features Mendee Ichikawa (of the band Free Moral Agents), an ethereal, ghostly presence. “Night Garden” sounds like a drive through the dark streets of an alternate LA. “Euphoria” uses a simple, military-style snare and then twines keyboard lines over it until it’s lifted into the sky. Thundercat joins in on last track, “Gamma,” and adds some perfectly-judged low-end riffing to anchor Dickerson’s keyboard swirls.

                      Mono/Poly has been a name to watch since his debut, 'The George Machine', back in 2009. His 2011 EP release for Brainfeeder, Manifestations, was supported by artists as diverse as Radiohead and Erykah Badu and his work on Thundercat’s 'Apocalypse' established once and for all the quality of his productions. With 'Golden Skies' he has laid down a marker to any other “beat maker” out there. Because with a genuine producer with this much talent, everyone else needs to aim a little bit higher - up towards the golden skies.

                      Following a slew of Mood II Swing reissues split across different labels in the past 12 months, King Street Sounds set about doing the job properly with three samplers celebrating the duo's seminal original tracks and dubs. The NYC led the way in the early 90s deep house scene, packing their releases with funk and attitude whilst keeping things truly underground. It's fitting then that "Got To Have It" should open the EP, pairing a funked up bassline with M1 vamps, immersive pads and a skipping rhythm and delivering something for the mind and the body. The B-side opens with the stomping garage groove of "Holding On To Your Love", a slamming house workout which seemlessly transitions from the raw and stripped down opening into a full bodied vocal house bomb complete with a rubbery bassline and echoed stabs. The EP closes in tribal and techy fashion with the tough rhythm and incessent sequence of John Ciafone's dub of Kim Lovelace's "I Luv You More", a post peak redlight anthem if ever I've heard one.

                      Mozart’s Sister - the solo project of Montreal’s Caila Thompson-Hannant she started back in early 2011 - delights in making glittering, celebratory pop with an underlying strain of brittle, claustrophobic energy. By marrying the accessible with the decidedly off-kilter, she displays a similar vigor and charisma to female contemporaries Grimes and tUnE-yArDs, both of whom too learned their trade among the same fertile hometown scene as her.

                      Since attracting a ton of buzz for her entrancing live shows and for first EP ‘Hello’, Mozart’s Sister has been head-down in her bedroom writing her debut album. For anyone who’s been following her work - and for new listeners - ‘Being’ is Mozart’s Sister expressing macrocosmic ideas about life with panache and abundant hooks.

                      Inspired by ‘Discovery’-era Daft Punk, ‘Post’-era Bjork, and Betty Davis, Caila produced, recorded and wrote the album using a cheap soundcard and Ableton software, approaching it with a do-it-all-by-myself ideology.

                      Being is fundamentally a pop record. If you’re looking to catalogue her music more than that, you’re going to have a hard time; Caila describes Being as an intentionally fractured album. “It was far reaching. Things didn’t always connect, but that was part of the whole idea,” she says. Which is representative of the best music, and maybe the best of life: looking for order in chaos, not always finding it, and living with whatever happens next.

                      God Help The Girl is a musical feature film, written and directed by Stuart Murdoch, lead singer of the group Belle and Sebastian. It was produced by Barry Mendel and stars Emily Browning, Olly Alexander and Hannah Murray. The music takes centre stage and many songs resemble in their musical aspect the other work of Stuart Murdoch and Belle and Sebastian. The film was shot, edited, scored and mixed in Glasgow and is released theatrically by Amplify Releasing.

                      FORMAT INFORMATION

                      2xLP Info: 180gram Vinyl LP + Download Card. Double Gatefold Album.

                      Jordan Lee has spent the last few years bouncing around the indie underground. From Ohio, to Texas, to Boston and Brooklyn, running the wonderful Kassette Klub label, touring with his friends’ bands and leading an amorphous project called Mutual Benefit, a one-man-band or a sprawling collective, depending on where he is and who is around that day.

                      He released his debut album, ‘Love’s Crushing Diamond’, last year, a self-release on cassette that, on the strength of a Bandcamp posting, had blogs blowing up with praise for the record. It became clear that ‘Love’s Crushing Diamond’ needed a wider release. Other Music Recording Co. were thrilled to step in, not a moment too soon as the album became the first ever Bandcamp release to be named Pitchfork’s Best New Music, while still almost totally unavailable to a wider audience. Since its release proper in January, Mutual Benefit has been touring the world non-stop.

                      That brings us to The Cowboy's Prayer, the mini album that marginally preceded ‘Love’s Crushing Diamond’, now released for the first time in Europe, as well as the first time on vinyl and CD.

                      ‘The Cowboy’s Prayer’ was based loosely on a road trip Jordan Lee took with a friend to Ohio through upstate New York that happened to correspond with the aftermath of Hurricane Irene. They ended up getting stuck in a small town for a couple days, the roads blocked with debris and all around them were families grappling with the loss of all their worldly possessions. “One of the few things open in the whole town that first day was a generator-powered Waffle House.” says Jordan. “I had a bit of a hard time processing all the surreal imagery and, upon returning to Boston, was weirdly struck by a sappy Roy Roger’s clip where he recites ‘The Cowboy’s Prayer’. I adapted it to be somewhat of a personal mantra and it really informed the making of this record along with finally working up the courage to live nomadically for a while.”

                      ‘The Cowboy’s Prayer’ was the real introduction of the lush orchestral folk sound that many first heard on Mutual Benefit’s breakthrough ‘Love’s Crushing Diamond’. Listening to it, it’s hard not to adopt Jordan's mantra and get swept away by the beauty.

                      Brill Bruisers is the first new release in four years from the acclaimed supergroup, who have been called, “Virtually peerless in the world of power-pop and indie-rock” by NPR Music. Additionally, the New Yorker describes the band’s music as “Magnificent and clever” while Stereogum proclaims “In recent history, no group has featured so much formidable established talent, collaborating on a regular basis.”

                      Of the album, lead-singer and main songwriter AC Newman comments, “This is a celebration record. After periods of difficulty, I am at a place where nothing in my life is dragging me down and the music reflects that. I’m grateful.”

                      Produced by band-members John Collin (bass) with Newman, the 12-track album was recorded primarily at Little Blue in Woodstock, NY and at JC/DC Studios in Vancouver B.C. with additional recording in Austin, Brooklyn and Vermont.

                      FORMAT INFORMATION

                      Ltd LP Info: US import splatter vinyl with download code.

                      After the release of his ‘Best Of’ album ‘NOW Is The Time’ in June, Nightmares On Wax (George Evelyn) releases a special edition 12” with remixes from two of the best known names in contemporary electronica, Ricardo Villalobos and his frequent studio partner Max Loderbauer.

                      Berlin-based DJs Villalobos and Loderbauer have provided a slew of remixes for artists - most recently Wolfgang Haffner and Neneh Cherry - as well as releasing their own album ‘re: ECM’, offering their own interpretations of original recordings from the ECM jazz label.

                      On this "Aftermath" 12” the producers provide two reworks of the eponymous Nightmares On Wax single: a dub version that cuts up and renders the original beats into a minimal bass behemoth of a track that clocks in at almost twenty minutes, plus an electric jazz version that expands on where the first remix leaves us, providing a more a more experimental reversion.

                      ‘Aftermath’ is arguably the best known Nightmares On Wax cut that, when released in October 1990, became an integral part of Sheffield's bleep techno movement. The track crashed into the Top 40 on club play alone.

                      This latest release provides an extension to the ‘Deep Down’ box set edition of ‘NOW Is The Time’ that included remixes of classic Nightmares On Wax tracks from the likes of LFO, Morgan Geist, Special Request, Loco Dice, Mr Scruff and many more.

                      Karen Novotny X

                      3 Minutes Over Brussels

                        The second of Augusts‘ trio of new Deep Distance releases is most definitely a gift from the gods to yr record collecting fraternity. A playable picture postcard from East London’s favourite shady, mysterious synth heads’ KAREN NOVOTNY X.

                        Arriving a couple of years ago completely outta’ the blue with their previously discarded synth experiments recorded in East London between 1978 and ’79 (with debts of gratitude to Chris Carter and Suicide amongst others), the vinyl only collection sold out it’s run of 500 in the blink of an eye on Deep Distance’ parent label The Great Pop Supplement.

                        Airing here also for a first time is the wonderful “3 Minutes over Brussels”. A killer instrumental piece displayed to the world via a playable picture postcard featuring more of KN X’s acclaimed collage work in a sealed stickered pack with insert in a pressing of 500.

                        Sadly, given the nature of the format, the full audio experience is somewhat flawed but fans of the band are thankfully pointed to the bands’ bandcamp page to fully appreciate the piece.

                        Unsurprisingly given the shadowy nature of the groop, the band actually embrace the ultra lo-fi aspect and quirkiness of it’s playback quality which I guess should come as no surprise to fans….

                        Looks utterly gorgeous and will no doubt fly, but from a label’s point of view, do check out the bandcamp link- the track really is killer and amongst the best things they’ve done but the sound quality on the card itself isn‘t the best….

                        Detroit techno veterans Octave One flipped the script back in 2000 with the massive, seminal smash "Black Water" and now it's back, remastered and repressed in the original 430 West artwork. The bass heavy, rapid fire groove is laced with loose and limber machine funk from start to finish, as those classically Detroit strings duet with the jazzy riffs. On the A2 "Black Waters" strips that shit back and dubs it out for proper warehouse destruction. Flip the disc for a slice of history with the original, instrumental version of "Untold". The flawless combination of rippling sequences, buoyant bass and shimmering hats propelled this one into every set that mattered back in the day, matching and surpassing Rolando's "Knights Of The Jaguar" from the year before. If you don't own this record, then your time has come.

                        Ned Oldham

                        Further Gone

                          Two new songs and just the second solo release from Ned Oldham, who’s been recording music for more than two decades now, first with Palace, then as The Anomoanon, later as Old Calf.

                          Simple songs rooted in folk and bluegrass and presented in a swirl of psychedelia. Music forged in history, created in the present and timeless in sound.

                          Omar S returns after a slew of heavy-hitting double packs. 3 bangers in his inimitable style, Omar S lets the music do the talking on this hot new FXHE release. Side A is taken up by "Annoying Mumbling Alkaholik" - a rawkus hardware groove; tough, heavy hitting drums powering a low slung bassline and the odd 808 cowbell for good measure before tantalizing lead lines and velvety pads converge on the track. Nice and long this one, primed for slowly releasing energy into a tepid dancefloor. "Serving Cavi On 18 And Garfield" is next, a fluttering celestial jam from the higher galaxies. Beautiful electric piano riffs ascending and descending wildly as thick bass drones and wispy percussion occupy the mix; both unique and wonderful! "This Muthauk'ka" closes proceedings with a lo-fi acidic assault on the senses. Machine-fire 303s and a dusty kick-snare-tom pattern growing in intensity from the off and evolving into quite the beast through its course. By the end of the track you’ll be spiraling into the speaker stacks with your eyes closed make no mistake! Excellent stuff from our man Alex Smith - move quick!

                          Oto Gelb

                          When You're Hot - Inc. Daniel Wang Remix

                          That magical dancer Daniel Wang reboots his Oto Gelb series with this scorching three tracker of real disco delight. Once again we have our Danny doing his thang, alongside the debut of the mysterious Eugene Tambourine (possibly also Mr Wang), who takes the reins on the A1 and B2. Now, don't confuse these workouts with your regular common-or-garden disco edits, thin with the overcompressed sheen of an Ableton abused CPU, these are real- deal, old school disco edits packed thick with the depth and warmth you want on your turntable. Eugene gets right into it on the A-side, gently massaging Janice McClain's "Larry List" essential "Smack Dab In The Middle" into a looped up groove thang perfect for getting shoulders rolling out on the floor. The expertly selected loops go easy on the cheese and leave us free to savour more of that meaty beaty filling. On the flip, Danny takes us for a wild night of red hot hedonism at a little mirrored ballroom he knows. With the floor packed and jacked Danny reaches into his top pocket and pulls out his latest brand of club friendly 'room odouriser' "Love Comet", filling the room with the heady scent. Within seconds we're off and away to the camp brilliance of a cruiseship near you. Last but not least Eugene returns with the percussive, dubby and outrageously tropical "Unafraid", a neat extension of the Disconet mix of Culture Club's "I'm Afraid Of Me", which drops Boy George's dulcet tones in favour of echo, delay, reverb and rattle. Danny's done it again, with or without the help of his friends!

                          Don't bother Googling Patricia. Not only will your results turn up fruitless, but you'll also be missing the point of the Chicago-born producer's own brand of hardware techno. The now Brooklyn-based artist makes tracks that sound as if they can only exist in a physical place - whether they're spinning around on a dusty 12" or thumping against your chest in a crowded basement club, Patricia's rough-edged tunes are tailor made for tangible, real-life experiences. This much was made evident in the smoky dancefloor transmissions of 2013's 'Body Issues' release for lauded DIY label Opal Tapes (not to mention his various side projects with the likes of Jahiliyya Fields, Arp, and others), and Patricia takes that rugged reimagining of vintage Midwestern techno to new territories on his first EP for Spectral Sound, 'Side Piece'.

                          With three original productions and one hell of a jacking remix from Ghostly stalwart Tadd Mullinix's JTC moniker, 'Side Piece' is a monstrous 12" built from cinderblock kick drums, soot-covered modular synths, hissy tape recordings, and equal parts early Aphex Twin and Underground Resistance. Opener "Drip Dawn" drops its submerged drum-machine groove like a burlap sack full of sewer sludge and rubbery eyeballs. Keeping things fresh, Patricia follows the workmanlike production with "Hulderhusan", a cut of deep, percussive techno that runs its 808 rhythms way into the red, while synth pads that could have been sourced from Selected Ambient Works drift around in the periphery. "Foie Gras" closes out Patricia's run of original tracks by marrying the best parts of the record's first two songs with dank acid sequences and skittery rhythms that sound as classic as they do vital to the contemporary landscape. It's obvious after just one spin of 'Side Piece' that Patricia is a producer whose identity is merely an afterthought to the uncompromising music the artist makes.

                          The faceless PDL aka Perth Drug Legend emerges from the Clouds with a dark and murky 12" that's sure to rattle your bass bins and shake a few screws loose. Limited info all round as the mysterious producer opts for the obtuse by way of track titles, but what's crystal clear is this kid means business. "A" sets its stall out early with a pounding basement 4/4, before flipping and twisting into a swinging rattle of hissy hats, vocal chops and junglist backspins. Ruthlessly rhythmic, this one's not for your granny. "B" follows on naturally, bringing along its own particular strain of queasy, drugged out tribal techno. The track rolls along nice and steady packed with a ton of bass weight and more than a hint of wall crumbling menace. "C" shuts that shit down in deep and dope style as the Perth Drug Legend chalks out the kind of ricocheting bassline that helps the K-Hole masses remember their legs again. PDL lets this one rumble on with hypnotic meter before inducing true paranoia via a tripped out choral breakdown.

                          FORMAT INFORMATION

                          12" Info: Limited 300 hand-stamped and numbered.

                          Piccadilly Records

                          Logo T-Shirt - Heather Navy

                            The latest Piccadilly Records T-Shirt featuring our new logo, complete with snazzy 'PICCADILLYRECORDS.COM - MANCHESTER' sleeve print.

                            Printed on a Gildan Softstyle Adult Ringspun heather navy T-Shirt.

                            FORMAT INFORMATION

                            L Info: To fit chest size 42/44".

                            M Info: To fit chest size 38/40".

                            S Info: To fit chest size 34/36".

                            XL Info: To fit chest size 46/48".


                            These Are The Good Times / UI Remember

                            In the space of only a handful of releases Athens Of The North has pushed its way right to the top of the funk, soul and disco reissue tree. The Edinburgh label, run by renowned digger and DJ Fryer reaches its fourth release with a couple of breezy grooves from Popsicles, which bob along dressed sharp in smooth soulful cool. But that's enough from me, let's leave it to the man himself to give us the rundown...

                            "This killer 80s Soul 45 only popped up on ebay for the first time in 2012 was promptly tucked into a collection for just under a grand. Having missed a couple more copies I went in search of the band but nothing came up. Then whilst chating to a friend from Austin he mentioned he had tracked the band and had the licence and here we are. Popsicles sits great alongside some Prince, Haywoode or Debra Hurd. Credit goes to Jukka at Timmion Cutting Laboratory for fitting these longer tracks on to 45 and making them sound so strong." - Fryer, Athens Of The North


                            Dummy - Blue Vinyl Edition

                              Hip hop enthusiast and obsessive break hunter Geoff Barrow, jazz musician Adrian Utley and singer-songwriter Beth Gibbons created Portishead's genre defining 'trip hop' album "Dummy" in 1994. The set's combination of head-nod beats and cinematic atmospherics (including Theremin, Rhodes, and Hammond) both sampled and played live, was given an extra twist by Barrow, who pressed the recordings up on vinyl and scratch-mixed them together, passing the resulting tapes on to Gibbons to add lyrics and a tune to. And it's Gibbon's who lifts the album into Mercury Music prize-winning territory, adding a heart-rending melancholia with her fragile folk-soul vocals. Featuring the singles "Sour Times" and "Glory Box", "Dummy" is just one of those must-have albums.

                              Open your curtains and let the sunshine in! African Music Corporation offer us a sneaky peak ahead of their forthcoming compilation of late 70s/early 80s South African 7"s with this smooth and downright funky double header. Up on the A-side is the organ driven summertime funk of "Kiss Me Baby" by the Potch Birds, a track alive with rhythmic drive and melodic shimmer. On the flip The VIPs drop the pace a little for the sweltering funk brilliance of "Mambo Mambo", a sweet sizzler worthy of Steely Dan at their most "Peg"; Simply gorgeous.

                              Brian Reitzell

                              Watch_Dogs Original Game Soundtrack

                              Following on from the phenomenal success of their Record Store Day 2014 release of FAR CRY 3: BLOOD DRAGON’s Original Game Soundtrack, Invada Records are proud to partner with Ubisoft Music and dive once again into the world of video game soundtracks with the release of Brian Reitzell's musical score to the highly-anticipated open-world adventure game WATCH_DOGS. With people around the world taking the day off work on the game's release, to play what is sure to be contender for 2014's most popular gaming title, this is a huge accomplishment for Invada to land this album and a chance to introduce their high production values and love of vinyl to a far wider audience.

                              Full of infectious beats and atmospheric, retro-futuristic synths, the score is a further achievement from composer Reitzell, who has previously written music for the highly-rated U.S drama series HANNIBAL as well as working on multiple scores with acclaimed director Sofia Coppola, the latter of which has featured collaborations with French band AIR and Kevin Shields of famed alt-rock band MY BLOODY VALENTINE.

                              WATCH_DOGS presents a dark and dangerous journey through an alternate version of Chicago, where ultra-hacker Aiden Pearce seeks to redeem himself after causing the death of his niece. Using the concepts of artificial intelligence and information warfare, the game brings technological relevance to a Grand Theft Auto-style open world in the tradition of the revered science fiction of William Gibson and Philip K. Dick.

                              To represent the varied challenges of the game, Reitzell brings an eclectic feel to the score, with thumping beats and off-kilter melodies of the club scene juxtaposed with the more ethereal and atmospheric synth and guitar, evoking the music of Vangelis and Brian Eno - ideal for a post-noir cyberpunk game. There's also an introspective and emotional feel to the score as required by the game's story, which is reflected in the album's sequencing, providing a well-rounded narrative-driven musical experience.

                              FORMAT INFORMATION

                              LP Info: Limited Blue splatter coloured vinyl.

                              Encapsulating their ferocious, bluesy bass and drums groove, ‘Come On Over’ blisters with an immediate intensity that matches their recent breakthrough singles ‘Out of the Black’ and ‘Little Monster’.

                              The album is a mixture of anguished vocals, ferocious drumming and bass that provides intricate detail as well as a rumble of rhythm. Royal Blood are the result of a lineage that stretches from present day heroes Queens of the Stone Age to Led Zeppelin, and all the way back to early blues pioneers. Their ferocious attack is the result of just two men – vocalist/bassist Mike Kerr and drummer Ben Thatcher.

                              STAFF COMMENTS

                              Andy says: White Stripes meets Black Keys: result!

                              With his new album ‘Green Language’, Rustie takes a confident leap forward, straddling references to hip hop, grime, R&B and pop, whilst remaining grounded in his playful, bombastic style of electronic production.

                              The album includes contributions from Rustie’s friends and past collaborators. He teams up with Danny Brown, who he worked with on Brown’s 2013 album ‘Old’, for the hyper-brash ‘Attak’. The album also includes Rustie’s Numbers label mate Redinho on ‘Lost’, seeing the pair tackle and perfect the craft of the pop hook.

                              Rustie’s second album expands on ‘Glass Swords’ with more finely tuned and carefully constructed songs, like the smooth R&B melody of ‘Dream On’ featuring Musinah, rhymes from Face Vega (Gorgeous Children) in the downtempo hip hop jam ‘He Hate Me’ and the anthemic grime track ‘Up Down’ featuring D Double E.

                              ‘Green Language’ is named after the nickname for ‘the language of the birds’. For Rustie, it echoes his attitude towards music, too. “It’s a language that’s non-dualistic, that speaks directly to your emotions without the mind interfering with the message,” he explains. “And music is like that for me.”

                              For fans of Disclosure, SBTRKT, Childish Gambino, Lil Wayne, Tinashe, Jamie xx.

                              THE SEGALL HAS LANDED. And it’s fully loaded, with everything that Ty Segall (and you and me) are gonna need in the world to come. Heads up! It’s coming down fast. Sticking his hand deeper into the machines all around him, TY is reaching ever further to the outer limits of inner space orbited throughout 'Twins' and 'Sleeper'. And now more than ever, the chunks of the world that came before are like asteroids formed in his image . . . picking up speed . . . . Still fighting the power with all the energy that a determined mind-patriot can conjure, Ty’s a fighter who loves, a surfer, a spaceman, and yeah, a casualty — like you, he’ll never be free. But unlike you, he knows it — and when he goes down and his head cracks in two, out pour the multi-colored manias that make up 'Manipulator'. Sour-sweet declarations featuring freaks and creeps alike: 'The Singer', 'The Faker', 'Mister Main', 'Susie Thumb' the 'Connection Man' and 'The Crawler', to name but a mutant fistful.

                              To see these peeps, to realize their dreams and visions, TY kept working, kept writing, laying down more tracks than ever. New musical expressions pop and surprise relentlessly throughout all the knockout tunes of 'Manipulator' with many sounds in the mix — but most of all, SO many guitars! So many. And different kinds of strings — the strangled-neck solo of “The Singer,” recalling the good old days down by the river with Neil. Numbed-and-unplugged discursions spiraling away from the funk on “Mister Main.” Three-quarter quartets raising their din in a few key places. Waves of sparkling acoustics with ominous, Love-ly undertones — and then, torrents of filthy git-grunge, exploding into the chorus, washing everything away, fusing the blackness of Sabbath with the grime and grab-ass of the Stooges and the sweet swinging tones of the Stones. All in the name of getting higher on the music. Why have one guitar solo when you can have a few in the same space? There’s so little time, and a LOT to say. In order to ensure that he got it all out, TY called a few friends to fill in special parts on certain 'Manipulator' songs. He got great touches from Chris Woodhouse (piano, synth & percussion), Sean Paul Presley (vocals), Brit Lauren Manor (vocals), Steve Nutting (drums), Irene Salzer (violin), Jessica Ivry (cello), Matthias McEntire (viola) and the Ty Segall band (Mikal Cronin, Charles Mootheart, Emily Rose Epstein). Plus, Mikal arranged the strings — and everyone played awesomely. The clarion call / siren song of his guitar . . . . clouds of guitar billowing, blood rushing to the head, the temperature going from blue to red . . . . TY’s on a mission, working to change chemistry through music with the steam-lined pop and helium-cooled vocals of 'Manipulator'. These seventeen songs take many forms, as if TY is finally releasing all the thoughts that have been holding him down, that made him pick up the ax to begin with. By the end of 'Manipulator', you’ll feel that he must have chased all the demons — but it’s a big world, and 'Manipulator' has only begun to fight.

                              STAFF COMMENTS

                              Andy says: More music. More brilliance. Not many artists can be this prolific and this damn good. His star is rising.

                              Simple Symmetry

                              King Solomon's Mines - Inc. Soft Rocks / Brennan Green Remixes

                              After a sell out debut record from Lipelis and Tars 3000, Moscow's Low Budget Family returns with an exotic, esoteric proto-house killer from Simple Symmetry, which comes backed by remixes from none other than Soft Rocks and Brennan Green. "King Solomon's Mines" is a deceptively simple workout that reminds me of mid 80s Boyd Jarvis jams, but shot through with 21st century twists and turns which amplify those tough drum machines, anthemic afro elements, chants and marimba riffing. Add a dynamic arrangement and you have a dancefloor dynamite! Soft Rocks set up a classic Euro flavoured Afro-trance workout, utilising the parts against an acidic, electronic and unrelenting backdrop, building to a sweaty, strobe-lit finale. Brennan Green may be less than prolific these days, but he's dependable as ever here. Working up a synth-soaked, Prelude style dub, whose classic elements will work the floor from here to Zanzibar...

                              This snazzy vinyl on the newly formed Magic Jams is only their debut, but Snacks are already killing it. These guys are going to be big! Imagine Bernard 'Pretty' Purdie, Dizzy Gillespie and Blaze got stuck in a studio and you get an idea what this Berlin based live duo sounds like. In complex arrangements they create funky state-of-the-art House music, in a class all its own. Title track 'Purdie' takes off with funky horns, percussion and live drums and evolves into a heavy hitting club-killer. The catchy vocal hook and mesmerising groove turns every dancefloor just upside down. In demand, and utterly individual Panorama bar resident DJ Prosumer's rough and rhythm based interpretation of 'Purdie' follows, which twists the cut-up slap bass and beats into a mad dancefloor stomper. Further reinforcing their individuality, 'Broken love' brings you a modern and fresh interpretation of the classic New York 90's deep house sound, full of character.

                              Tropical steel drum break included! Snacks' Magic Jams Version of Arsy's track 'Plateau' surprises with crazy vocals and swinging brass loops, perfectly made for maximum dancefloor hysteria. Watch out for Snacks stunning live performances too: These guys bring back a smile and sense of playfulness seen much too little in today's clubs. The Vinyl version comes along with a fantastic artwork by California's own Steven Harrison. 

                              With a discography of releases dating back to 1991, New York native Henry Maldonado credits his home city as inspiration and motivation for his art. As part of the House 2 House trio on Strictly Rhythm, Maldonado and crew would fire out a relentless assault of New York style sampled and deep house tracks coveted by New York mainstays Little Louie Vega, Kenny Dope Gonzalez, Tony Humphries, Roger Sanchez, Timmy Regisford to name but a few. Today Henry produces and DJs as Son Of Sound and continues to push the limits of the underground by taking his knowledge of the past, combining it with a deep love for the city he grew up in and a penchant for quality underground club culture. Henry's debut on Local Talk is nothing less than a proper power package. "Violent Mood Things" start things in a superb way with a catchy beat, before a clever string sample and several layers of synths lift the track to new heights. Robert Arnold aka Cuthead has impressed us with his releases on Uncanny Valley and Kunst:stoff Breakz and delivers a remix that has all the Cuthead trademarks. Stammering drumming, impeccable bass programming and dreamy samples. Flip over for True Indeed . How does it sound? Let's just say this : It's the perfect example that all you need is a beat, a few chords and a bass line to make a track that won't leave your head for quite a while. Not forgetting that spoken vocal for that little extra house magic. Lovers of house music take notice. .

                              Split Decision Band

                              Watchin' Out / Dazed

                              Holy Grail deep disco from Des Moines, Iowa. This 45 has remained at the top of rare disco, modern soul and deep funk collectors for years, never dipping below the $1000 mark.

                              On side A we have 'Watchin' Out', a slice of solid driving funky disco with a proper live band backing the soul-funk vocalist. Over on the flip we dip down low with a slice of stoner funk-rock track worthy of Funkadelic. Both sides feature killer backing tracks with the band (rock-solid drums, fluid space bass, wucka wucka rhythm guitar, red hot brass etc) on fire.

                              Look out for an unreleased LP soon on Eothen Alapatt's Nowagain Records later in the year.

                              Swamp Dogg

                              Cuffed, Collared & Tagged

                              One of the great characters in rock and soul music is Jerry Williams, better known as the eccentric, idiosyncratic and always entertaining Swamp Dogg.

                              A Virginia native, Williams invented his own legend by claiming that he had little proper schooling, only to wake up one day and find himself a musical genius (his words). Actually, Williams is very talented - an early association with Jerry Wexler and Phil Walden led to him working for a number of years as a producer, engineer and occasional songwriter with Atlantic in the 1960s.

                              Following his somewhat crazy funk albums 'Total Destruction to Your Mind' and 'Rat On!', Swamp Dogg came back down to earth with this 1972 selection for Cream Records. 'Cuffed, Collared & Tagged' features a mixture of soulthern soul and funky grooves, including the Mr Stone tribute 'If It Hadn't Been For Sly'.

                              Vince Taylor & The Playboys

                              Jet Black Machine 1958-1962 - LP+CD Edition

                              In May 1965, Vince Taylor aka the ‘Black Angel of Rock’ attended a party in London, hosted by Bob Dylan. And like the lyrics to his finest song ‘Brand New Cadillac’, Taylor was never coming back. At least his mind wasn’t. Having garnered considerable success in Paris but not financial equilibrium, Taylor had returned to London to collect some money to bail out his band, The Playboys, who were holed up in a French hotel, unable to pay the bill. Vince had promised a speedy return but got waylaid at Dylan’s soiree, where he tried LSD for the first time. Whilst the Isleworth born Taylor hadn’t exactly stormed the UK charts, his frenzied onstage moves lent him a certain cache. Although Vince’s chain wielding leather clad amalgam of Gene Vincent and Elvis Presley suggested sensual thuggery, Taylor was made of more sensitive material, a peacock with a dandelion quality, known for pulling gigs if he suspected his girlfriend was cheating on him. Listen to Taylor’s debut single ‘Right behind you Baby’ (released in November 1958) which could be construed as the first stalker tune. However, little in Vince’s early repertoire suggests his subsequent lysergic dissipation. Taylor’s oeuvre was polished high-energy bop, exemplified by covers of ‘Long Tall Sally’ & ‘Blue Jean Bop.’ Even ‘Jet Black Machine’ with its hint of smoulder never strays too far from the right hand path. But all that was to change in the course of an evening’s psychedelic revelries, when he spent the majority of The Playboy’s rescue fund on acid. ‘The Black Angel’ returned to Paris wild-eyed and unkempt, where after announcing himself to be ‘Mateus’ the son of Jesus Christ to his band mates, he burned the rest of the money. Vinyl Vince was no stranger to controversy, and had been deemed responsible for sparking a series of riots at his French shows so ardent where his performances. Still, a good night’s sleep before a gig at Le Locomotif appeared to have done the trick and Taylor emerged spruced up, back on an even keel and ready to rock once again. ‘Mateus’ was however merely waiting in the wings. At the show Taylor requested a large jug of water and commenced, in his capacity of the son of the son of God, to baptise the crowd, no doubt saving them from ‘The white hot fire from the fiery furnace’ of ‘Whatcha Gonna Do’ but no one could save Vince. Following a spell in a psychiatric institution he drifted back to London where in now a legendary encounter on Tottenham Court Road, he showed David Bowie a map of alien landing sites and became one of the key components of Ziggy Stardust, the Martian messiah; quite a leap from Taylor’s ‘Move Over Tiger’ to Bowie’s ‘Tigers In Vaseline’ on ‘Hang On To Yourself.’ The Clash would also laud Taylor, hailing him as a rock n’ roll trail-blazer and covering ‘Brand New Cadillac.’ For Vince however, the Stardust days were over. He died in Switzerland in 1991. At the time he was working either as an airport cleaner or mechanic depending on reports, but savour ‘Jet Black Machine’; for this is the corner stone of a compelling if tragic myth.

                              The Travelling Band

                              The Big Defreeze

                              Manchester’s finest folkrock superhumans, The Travelling Band, have won hearts and minds wherever they’ve found themselves, combining the strut of refried Southern country with the One Foot On The Monitor mayhem of the EStreet Band. With smatterings of McCartney (the beard years) and Crosby Still & Nash millionpart harmonies, TTB have become firm favourites for people with ears and good hearts.

                              Fans include 6 Music’s Marc Riley (who loves their “shimmering blend of cosmiccountrypop”) and Michael Eavis (who was taken back to his “musical roots” with “marvellous music to savour”), who have lapped up the band’s headynufolk. On the back of LPs like 2008’s ‘Under the Pavement’ and 2011’s ‘Screaming is Something’, it isn’t at all surprising. Whether they’re burrowing away in a recording den on the Isle of Mull, packing out rapturous shows, or kicking off impromptu jam sessions in the middle of a field, The Travelling Band aren’t messing around – music is what makes their blood move. Now, readying their latest offering, ‘The Big Defreeze’ – produced by Iestyn Polson (Patti Smith, David Bowie and more) at the world famous Church Studios in Crouch End, TTB find themselves with their paws firmly on their roots, but growing upwards and outwards too.

                              Never ones to sit still, 2014 could well be the year that sees The Travelling Band really cement their place as the true champions of blissful cosmicpop. Great on record and outstanding onstage, if you haven’t got down with The Travelling Band yet, now is the time, before they disappear on to much larger stages. Fans of Calexico, Iron & Wine, Creedence Clearwater Revival, Frightened Rabbit and Elbow should apply here, for The Travelling Band are the kings of North Country & Western music.

                              FORMAT INFORMATION

                              2xCD Info: Includes 6 track demo disc.

                              Ltd LP Info: Limited yellow vinyl.

                              µ-Ziq's new EP is a thing of joy and hazy childhood memories. The music of the future as it felt in the early eighties, filtered through the rhythmic shapes of more modern dance music innovations. From the twinkling breakbeat 'artcore' of opener 'Taxi Sadness' to the early '80s kids children theme via dubstep of 'Rimmy'. 'PRG' is beatless, full of gentle whispy coiling melodies through a distorted lens. 'Blem' mixes trappy snares and twilight atmosphere with big melodic brushstrokes that remind one of John Foxx. 'Smeester's gentle metallic melodies give way to a menacing hip hop style bass and drums, and chords that drift and decay.Closer 'Tambor' rolls slowly on metallic percussion, a sad melodic figure that repeats into despair, finishing the EP.

                              White Hills

                              Glitter Glamour Atrocity

                                'Glitter Glamour Atrocity' is a snapshot of the band in the midst of an incredible burst of creativity, and was recorded during the same sessions that produced 'Heads On Fire' and 'Abstractions & Mutations'. Sonically, it is radically different from anything else coming out of the New York underground at the time, and it set the template for the singular concoction of heavy psychedelic music, krautrock, and a worship of pure sound they have explored in different variations ever since.

                                Throughout the album the band explores themes of greed, misinformation, war, hypocrisy and their outcomes within the world’s political and economic systems, presenting these weighty topics with the same air of mystic understanding that underpins their music. Glitter Glamour Atrocity includes the song “Under Skin Or By Name,” the longest running staple in the band’s live set, which the band performed in the acclaimed film Only Lovers Left Alive at the request of director Jim Jarmusch. It is one of only two performances in the movie, which is enamored with the music making process and record collector culture.

                                Following the mood-setting intro track and the meditative bombast of “Under Skin or By Name,” WHITE HILLS settle into the sparse groove of “Spirit of Exile,” an expression of a desire to live apart from a culture that one does not fit into. These songs glow with the burning vitality and passion of free thinkers trapped in the waning years of the Bush administration. Those sentiments are perhaps most compellingly expressed on “Love Serve Remember,” a warped, surreal vision of life after 9/11 seen through the eyes of someone who witnessed the event first-hand, interspersed with a brilliantly edited speech by Bush himself in which he admits “I was a threat to the United States.”

                                Glitter Glamour Atrocity was recorded with the first iteration of the trio line-up with Dave W on vocals, guitar, synthesizers, and sound collage, Ego Sensation on bass and vocals, and Bob Bellomo on drums. It was recorded at Bellomo’s studio in Passaic, NJ, and produced by Dave W.

                                Wild Smiles

                                Never Wanted This

                                  Wild Smiles will release their brilliant debut album, ‘Always Tomorrow’, on Sunday Best Recordings.

                                  Ahead of this, the fast-rising trio, comprising brothers Chris and Joe Peden with drummer Ben Cook, release their new single ‘Never Wanted This’ in addition to touring throughout the summer.

                                  Single includes exclusive B-side ‘Round & Round’, mixed by Mike Pela (The Who, Electric Light Orchestra, Gang of Four).

                                  If "Movin' On" is Witch's "Rumours" then "Kuomboka" is their "Tusk". A remarkable follow-up to a timeless album that shows the band taking greater risks in songwriting and playfully experimenting with production techniques. This album is Witch's stunning swansong before the fast-changing music industry and political environment in Zambia took its toll on the group. Although once again inspired by American FM radio, from soft rock ballads to boogie, this album sees the group embrace their Zambian roots to a greater degree, resulting in fluid rhythms and sweet melodies. This time around Patrick Mwondela pushes his synth work and electronic production to a whole other level, especially on the bombastic "Erotic Delight" and low slung "More Sweat Than Sweet". "Kuomboka" is the unforgettable last voyage of this legendary band.

                                  Sargent House is excited to re-issue both of Chelsea Wolfe’s first two albums, The Grime and The Glow and Apokalypsis, on CD and LP for the first time.

                                  Chelsea Wolfe's sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk—a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. Her voice similarly haunts and soothes, with words that illuminate life's darker corners in order to reveal the unlikely truth and beauty hidden within. Originally hailing from Northern California, Wolfe's formative years were spent tinkering in her country musician father's home studio, however, she long lacked the confidence to share her work. Then, in 2009, an overseas excursion as part of a nomadic performance troupe ignited her passion for performing and initiated a renewed interest in writing and recording. After performing in cathedrals, basements and old nuclear plants to whoever would listen, she returned home with a new drive. She began toting around an 8-track and recording as the mood hit, eventually editing her findings into a breathtaking debut album, 2010's The Grime & the Glow. Marrying the gentle intimacy of folk, the atmospheric voodoo of death rock, and the bleak, sullen nihilism of black metal, Wolfe's sound effectively cast a genre all her own: a cavernous rumble, marked by stuttering drums, ethereal synths, and a wash of guitar, all very much in the service of one of the most hypnotic, celestial voices in modern music. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as a force on the rise.

                                  Inspired, Wolfe then relocated to Los Angeles and recorded her second album, 2011's Apokalypsis, which found her in an actual studio with her live band. The songs captured therein maintained the strikingly visceral elements of her debut, further showcase Wolfe’s unique songwriting ability, while adding a serious heaviness of sound that balanced eloquently with her transcendent voice. Its release was subsequently met with critical adoration, and rightly landed on numerous best of 2011 lists.

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