October / Macondo

Yep! Airhead's writing big ones now. Inspired by afterhours sessions in some of the world's best and worst nightclubs, HEK024 bangs with the best of them and enforces a new weight behind the producer's delicate production style.

The roughness debuted on this summer's 'Believe' EP for 1-800 Dinosaur (a label Rob 'Airhead' McAndrews co-runs with James Blake and friends) on which he soaked up plenty of influences from US and UK club tracks and effortlessly intertwined them with his measured songwriting and arrangement skills.

HEK024 is mastered at Metropolis by Stuart Hawkes, who's done a mighty fine job of getting ultra deep, warm bass tones without any needle wobble.

And let's face it, this is all about the bass: On side A get ready to ring the alarm! Catastrophic fanfares, snare rolls, those big 808s and a few words of rudebwoy warning quickly combine into a one-two bass / kick punch that will knock you off your feet. Proper soundsystem business

Seconds away round two; Flipside cut 'Macondo' shuffles around the ring in snake style formation, dazing the competition with voodoo flutes, heavy kicks and percussion. Funky, swinging bass house music from the land of off kilter for fans of Mr Scruff etc.

Aphrodite's Child

666 - Back To Black Edition

    '666 (The Apocalypse of John, 13/18)' is a double album by psychedelic / progressive art rock group Aphrodite's Child. It was released in 1972 on Mercury's prog rock subsiduary Vertigo, and was the primary album for the Vangelis-led project.

    It's an amazingly bombastic concept album about the Apocalypse of St. John seen as a rock spectacle. The album was created with an outside lyricist, Costas Ferris. The music combines psychedelic and progressive rock with ethnic instruments, choral chanting, recitations, and use of keyboards. Demis Roussos wails the lyrics in a frantically operatic falsetto, while the band pound fiercely through Vangelis' furiously complex music.

    Julian Cope says: "This was an ultimate freakout album in its time - a weird amalgam of group chants, Moog excursions, obligatory pop and narrations with Vangelis Papathanassiou on keyboards."

    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.

    Barclay James Harvest

    Everyone Is Everybody Else - Back To Black Edition

      One of the latest batch of Back To Black reissues celebrating classic progressive rock albums. Presented as exact reproductions of original LP artwork to retain authenticity, but now on 180 gram heavyweight vinyl.

      Barclay James Harvest

      Gone To Earth - Back To Black Edition

        One of the latest batch of Back To Black reissues celebrating classic progressive rock albums. Presented as exact reproductions of original LP artwork to retain authenticity, but now on 180 gram heavyweight vinyl.

        William Basinski

        The Disintegration Loops I (Remastered Reissue)

        To appease those who missed out on the now-legendary, highly sought-after (and highly sold-out) box sets, we are offering the four volumes of The Disintegration Loops suite as separate, individually packaged albums. The audio was remastered in 2012 from the original master tapes, and the artwork is packaged in deluxe old-style tip-on gatefold jackets. For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinski's The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming? and for good reason.

        From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. Not only lauded by The New York Times, The Wall Street Journal, Pitchfork, NPR and dozens more, The Disintegration Loops have become considered by many to be "one of the most pre-eminent American artistic statements of the 21st Century."

        William Basinski

        The Disintegration Loops II (Remastered Reissue)

        To appease those who missed out on the now-legendary, highly sought-after (and highly sold-out) box sets, we are offering the four volumes of The Disintegration Loops suite as separate, individually packaged albums. The audio was remastered in 2012 from the original master tapes, and the artwork is packaged in deluxe old-style tip-on gatefold jackets. For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinski's The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming? and for good reason.

        From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. Not only lauded by The New York Times, The Wall Street Journal, Pitchfork, NPR and dozens more, The Disintegration Loops have become considered by many to be "one of the most pre-eminent American artistic statements of the 21st Century."

        William Basinski

        The Disintegration Loops III (Remastered Reissue)

        To appease those who missed out on the now-legendary, highly sought-after (and highly sold-out) box sets, we are offering the four volumes of The Disintegration Loops suite as separate, individually packaged albums. The audio was remastered in 2012 from the original master tapes, and the artwork is packaged in deluxe old-style tip-on gatefold jackets. For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinski's The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming? and for good reason.

        From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. Not only lauded by The New York Times, The Wall Street Journal, Pitchfork, NPR and dozens more, The Disintegration Loops have become considered by many to be "one of the most pre-eminent American artistic statements of the 21st Century."

        William Basinski

        The Disintegration Loops IV (Remastered Reissue)

        To appease those who missed out on the now-legendary, highly sought-after (and highly sold-out) box sets, we are offering the four volumes of The Disintegration Loops suite as separate, individually packaged albums. The audio was remastered in 2012 from the original master tapes, and the artwork is packaged in deluxe old-style tip-on gatefold jackets. For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinski's The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming? and for good reason.

        From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. Not only lauded by The New York Times, The Wall Street Journal, Pitchfork, NPR and dozens more, The Disintegration Loops have become considered by many to be "one of the most pre-eminent American artistic statements of the 21st Century."

        The long awaited follow up to 2010’s Full English Beat Breakfast, 'Last Man On Earth' is Big Boss Man's 4th album. The British four piece return with a new set of songs and recordings that take a fresh approach to the BBM sound - their hip hybrid of Latin, Jazz, Soul, Psych and ’60s/’70s drenched R&B is now expanded with the added dimension of a brass section and guest vocalists adding to the further sonic and rhythmic explorations from the band; taking us on a one heck of a brand new trip!

        'Aardvark' a jazz dance floor filler, rush released fresh from the studio mix sessions as a free download in April 2014 was the first track to be taken from the new album, immediately receiving strong radio support from BBC 6 Music and BBC Radio 2, including multiple spins by Craig Charles on his Funk & Soul Show, who declared that "I've been a big fan of Big Boss Man for many years. Big Boss Man ‘Aardvark’. Double Groovy!" Additional radio plays came also from Gideon Coe, Tom Ravenscroft, Cerys Matthews, Chris Hawkins and Huey Morgan at the stations.

        Reference Points: The Bongolian, Soul, Funk, Latin Soul, Boogaloo, pop Hammond Grooves, Jazz, Beat, Mod Jazz.
        File Under: Rock/Pop, Funk, Dance, Boogaloo, Soul, Jazz, Mod.


        LP Info: 180 gram vinyl.

        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.

          'Dark Pool' is the new studio album from Black Rain, the project’s first in 18 years. Produced in New York City by Stuart Argabright, Black Rain’s founder and figurehead, 'Dark Pool' is a work of hard-edged sonic fiction rooted in cyberpunk's quintessential neo-noir cityscape / dataspace but projecting into a farther future of biotechnological advancement and alienation. Partly inspired by the writings of Philip K. Dick protégé K.W. Jeter (particularly 1996’s 'Edge Of Human', which picked up where Ridley Scott’s Blade Runner left off), and Paolo Bacigalupi’s 2009 novel The Windup Girl, a vision of 23rd century Thailand plagued by genetic and economic terrorism, 'Dark Pool’'s humid dystopia is also acutely Ballardian in its vision of manmade and natural worlds encroaching upon each other: a vivid psychogeography of half-submerged high-rises and hidden jungle laboratories.

          Stuart Argabright first landed in New York in 1978. By day, he worked as a landscape gardener for the upscale likes of Rock Hudson and Bob Dylan, while at night involving himself in all manner of subcultural activity. He co-founded seminal no wave minimalists Ike Yard (whose early 1980s work has been cited as an influence by the likes of Kode9, Young Echo and Silent Servant), collaborated with the late Rammellzee in futurist hip-hop outfit Death Comet Crew and as Dominatrix scored a bona fide club hit with the downtown electro classic ‘The Dominatrix Sleeps Tonight’ (1984).

          In 2013 Black Rain released an EP of live recordings, 'Protoplasm', on BEB. Three of the EP’s four tracks appear here on 'Dark Pool' in radically revised and expanded form: the stuttering ribofunk of ‘Endourban’ is now anchored by ominous string pads faintly redolent of Argabright’s labelmates Raime, while ‘Data River’ revisits the accelerated beat-stream of 'Black Rain'’s 1996 album Nanarchy, and the low-slung ‘Protoplasm’ has evolved into a sprawling, syncopated techno epic - the sound of red dawn rising on an illegal replicant rave. A further seven new productions feature. ‘Burst’, its title perhaps a nod to Sogo Ishii’s 1982 biker gang saga Burst City, harks back to the scrap-metal-banging brutalism of 'Black Rain' mk.1; ‘Xibalba Road Metamorph’, the album's angry, anguished centrepiece, externalises the sadness and self-loathing of Jeter’s oppressed post-human workforce. ‘Night In New Chiang Saen’ reimagines dub as the viral product of one of AgriGen’s morally suspect scientific initiatives in The Windup Girl, before ‘Who Will Save The Tiger?’ calls upon spidery, Metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century Ark. Vocals (on 'Profusion' and 'Profusion II') from Zoe Zanias (Keluar), and a brief spoken intervention from Sean Young (who of course played Rachel in Blade Runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album. For all its textual references, 'Dark Pool' is a visceral and straight-talking affair: its bodyhammer rhythms and brooding sound design require no explanation for their impact to be felt.

          After a trio of releases as potent as 'Misery Is A Butterfly', '23' and 'Penny Sparkle', it shouldn't come as a surprise that the new Blonde Redhead album, 'Barragán', sounds so confident.

          There is continuity in the presence of producer/mixer/engineer Drew Brown, who was a key member of the team during the making of 'Penny Sparkle', and who made a number of telling suggestions along the way this time around. It was Drew who persuaded the band to head out to Key Club Recording in Benton Harbour, Michigan, where they encountered an amazing trove of vintage synthesisers – it was, in Kazu's words, "analogue heaven."

          When Blonde Redhead formed back in 1993 – initially a quartet, but, from 1995 onwards, the indivisible trio of Italian / Canadian twin brothers Amedeo and Simone Pace and Japanese sometime art student Kazu Makino – their music was obscured by their associations with post-No Wave art noise. The name was taken from a song by Arto Lindsay's short-lived band DNA and back then, these references suggested a band just out of step with fashion, doomed innocents stumbling into an inhospitable post-grunge landscape.

          But they're still here. And after 21 years it's suddenly obvious that Blonde Redhead have never made records for fame, or for money, or to ape their teenage heroes, or to indulge any of the dumb, ephemeral impulses that clog up the blogosphere with dumb, ephemeral music. They're making music, simply, because they have to.

          From the opening title track of 'Barragán', where acoustic guitars sway lazily alongside the flute-like tones of a Chamberlin synthesizer, it’s obvious that these songs breathe. The melodies occasionally flirt with folk music; outdoor sounds, including a suite of field recordings that Drew made in London’s Kew Gardens, are woven gently into the mix; and there is the odd moment where the band lets down their guard and leave a charming imperfection in the finished article. “Maybe we should work on it a little bit more” murmurs Kazu, midway through the spare, slinky “Cat On Tin Roof.” Tracks like “Dripping,” “The One I Love,” and “Defeatist Anthem” have all the emotional punch of previous high water marks like “Elephant Woman” and “23” – they just feel slightly less calculated, more serendipitous. And “No More Honey” has as much soar and swagger as anything else in the Blonde Redhead catalogue.


          Darryl says: With subtle and brooding guitars and occasional hazy electronics, Blonde Redhead return as classy as ever.


          Ltd LP Info: Limited Edition vinyl package with accompanying "Peel and Reveal" sticker insert.


          Moonmadness - Back To Black Ediiton

            Following up an instrumental concept album ("The Snow Goose") Camel returned to a more song based release with their 1976 album "Moonmadness". Producer Rhett Davies gave them a punchier sound and the album was their biggest seller in America thus far.


            The Snow Goose - Back To Black Edition

              Camel's third album turned out to be their greatest success and is regarded as a classic progressive rock 'concept' album. Based on the Paul Gallico novella, "The Snow Goose" was issued in 1974 and is one of their most memorable and cohesive works, unified by the brilliant orchestral arrangements by David Bedford, this was symphonic prog at its best.


              In The Land Of Grey And Pink - Back To Black Edition

                Without doubt their finest hour, this is wonderful vintage prog-rock with superb playing, great songs and inspired studio production. Like all these Caravan reissues they have been remastered and feature extra bonus tracks.

                Wendy Carlos

                Tron - Original Motion Picture Soundtrack - Audio Fidelity Vinyl Edition

                  Disney's video game crossover movie TRON was a notable landmark in the synthesis of electronic and traditional orchestral music. Wendy Carlos created a brilliant orchestral recording with symphonic backgrounds by the London Philharmonic Orchestra and the UCLA Chorus which was later enhanced and upgraded with an electronic score. The result is an impressive soundscape that successfully and seamlessly fuses organic and electronic music.

                  The multi-Grammy award winning Wendy Carlos best-known for her popular “Switched on Bach,” series of albums also composed and performed on the soundtracks of two Stanley Kubrick cinema masterpieces, “A Clockwork Orange” and “The Shining.”

                  The distinctive gatefold jacket holds two 180g translucent blue vinyl records and includes colorful photos from the popular cult film as well as generous and informative liner notes written by the composer as well as music maven, Michael Fremer who, at the time, served as the film's soundtrack supervisor. Fremer also oversaw the Audio Fidelity mastering by Kevin Gray at Cohearent Audio.

                  The TRON soundtrack has two additional tracks ("Only Solutions” and the rock guitar-driven instrumental, "1990's Theme") provided by Journey, one of America's best selling and most beloved bands.

                  FORMAT INFORMATION

                  2xLtd LP Info: Double LP - two 180g translucent blue vinyl records.

                  From Toronto, Jennifer Castle writes folk songs about friendship, love and heartbreak.

                  ‘Pink City’ is a stirringly beautiful album every bit a step forward from 2011’s ‘Castlemusic’. Its barer arrangements - often just piano, guitar and voice with string arrangements from Owen Pallet - highlight just how good a songwriter Castle is. Her singing has an intuitive style, not always following the expected melody but soaring along on its own current.

                  Greil Marcus wrote in The Believer that Castle “reaches a pitch of mystical transport so gorgeously ethereal she seems to drift off into lands that don’t appear on any map.”

                  STAFF COMMENTS

                  Darryl says: Folky tales of friendship, love and heartbreak from Toronto's Jennifer Castle. Delicate and ethereal sparseness.

                  Wild Billy Chyldish & CTMF

                  Punk Rock Enough For Me / Zero Emission

                  Wild Billy Childish & CTMF are back with a new 7” with 2 exclusive tracks. 'Punk Rock Enough For Me' is the A-side, it's a classic Childish composition giving you a long list of things that are 'Punk Rock' enough for him. The B-side features Ju Ju on lead vocals and it's a proper 1977 punk romp, reminiscent of Alternative TV at their best. This is a limited edition pressing on Brown vinyl.

                  They are currently recording a few more tracks for their third album 'Acorn Man' which will be out on Damaged Goods later this year. Lookout for a more singles coming out around the world soon, Squoooge and Amphetamine Reptile for a start.

                  Closed Paradise

                  On The Nature Of Things

                  After the acclaimed debut release earlier this year by Belfast wonderboy Maricopa, the second release on fledgling imprint Fools & Fables (rumoured to be loosely affiliated to the Sleazy Beats crew) welcomes Closed Paradise to the manifest. The French producer offers up some of his finest work to date for FF02 with two lovely chilled out, Balearo-beatdown cuts to ease you into autumn. "Jungle Goddess" on the A ventures down to the centre of the earth with its sub-100 BPM tempo. This constant and steady builder weaves its way through deep, dark and seriously pitched-down house territory, being carried by off-kilter keys and seemingly random guitar notes throughout before a dreamy male vocal sparks up and takes things home. Flip over for "Get Your Bearings", where Closed Paradise brings things down with spaced out drums and soft pads amidst earthy tones that render the track perfect for those blissed-out sets that call for nothing more from an audience than sipping umbrella-boat drinks while watching an Adriatic sunset.

                  In 1994 the seminal electronic duo Cluster (Dieter Moebius & Hans-Joachim Roedelius) continued what they had begun in 1990 with 'Apropos Cluster', their comeback album. The more mature 'One Hour' condenses essential passages from two lengthy sessions into 60 minutes. We hear sprawling soundscapes, clear acoustic sketches, musical extravaganzas, in short: highly impressionistic electronica. Liner notes by Asmus Tietchens. Originally released 1994 on Prudence Records.

                  FORMAT INFORMATION

                  LP Info: Vinyl is 180g version.

                  "In Decay" provides a fascinating alternative roadmap for the idiosyncratic journeys of New Jersey producer Seth Haley - aka Com Truise - through the history of electronic music. A compilation of unreleased, early recordings, "In Decay" encompasses 13 tracks that have previously been either only available as demos online or are entirely unheard tracks dating from before Haley's official releases - his debut "Cyanide Sisters EP", its follow-up full-length "Galactic Melt", and 2013's "Fairlight EP".

                  While the 80s-influenced synth sounds, rubbery basslines and sci-fi flavours that inform Haley's later work are in full effect here, they're assembled in manners different enough to make this both a fine record in its own right, and also a fascinating insight into the development of the distinctive Com Truise sound. It also finds the producer exploring a number of facets of that sound, from 8-bit influenced experimentalism to distinctly danceable beats - often within the confines of the same track.

                  "Controlpop", for instance, announces itself with an intro that sounds like a Commodore 64 being hit with a hammer, but resolves into slow liquid synthfunk that recalls Galactic Melt highlights like "VHS Sex" and "Flightwave." Its slow-urning dance vibe is shared by several other tracks - "Colorvision" and "Yxes", amongst others - while elsewhere, Haley drops the tempo and channels the psychedelic cosmic meanderings of forebears like Tangerine Dream and Popol Vuh. "Dreambender" sounds like it should be soundtracking a voyage into uncharted digital innerspace, while "Video Arkade" cruises along on a woozy rising-and-falling synthline that's like drifting on some sort of virtual reality rollercoaster. Like all Haley's work, it's like stepping into a strange, digital parallel world - a place constructed out of sounds both immediately familiar and yet somehow rendered thoroughly fresh, and a place that's worth staying for quite some time.

                  Starting out in 2001 to tie up some loose ends from Kompakt's regulars, Speicher has since become a guarantee for vanguard dance sounds from all over the planet, allowing the label to invite and support electronic artists that comfortably inhabit both the delicate and the more deliberate ends of the electronic music spectrum.

                  For 'Speicher 80', Miami-based DJ / producer Danny Daze presents two powerful cuts where heady playfulness and dreamy ambience meet the raw energy of muscular basslines and bouncing beats. 'Freeze (Frozen Mix)' was synth washes, machine noise and muted horns riding a driving staccato industrial arpeggiated acid bassline and solid kick. Warm up this very much is NOT. Going deeper Daze hooks up with Translucent for the industrial-tinted tech banger 'Speaker Language', which features moody treated robot vox and a Plastikman ‎' Spastik' style snare rattle.

                  Delia Derbyshire's work at the BBC's Radiophonic Workshop in the 60's was recognised initially for her realisation of the now iconic Doctor Who Theme which was written for the show by Ron Grainer. More recently though, she has been celebrated for her own compositions and experiments at what was then the cutting edge of electronic music. Here on 7" vinyl for the first time are two of her pieces, one written for a TV documentary in 1967, 'Blue Veils and Golden Sands', in which she used her own voice and a handy green BBC lampshade:

                  "I analysed the sound into all of its partials and frequencies, and took the 12 strongest, and reconstructed the sound on the workshop's famous 12 oscillators to give a whooshing sound. So the camels rode off into the sunset with my voice in their hooves and a green lampshade on their backs."

                  On the A-side is 'The Delian Mode', which was used as incidental music during The Sky At Night in 1969, finding critical acclaim in Gramophone Magazine's review of the album BBC RADIOPHONIC MUSIC (often known as 'The Pink Album'), in September of the same year:

                  "Structures, Pot au Feu and Tomorrow's World are about equally good, yet 'Blue Veils' and 'Delian Mode' are probably the finest music here. It may be no accident that the latter is reminiscent of the beginning of Xenakis's OrientOccident for Delia Derbyshire follows the analytical approach of the more sustained electronic compositions. If her best pieces seem the most imaginative here - and they are - it is because she more fully explores the implications of her material."

                  'The Upper Hand & Other Grand Illusions' is a series of vignettes that tell a story of courtship and intimate interaction. It opens with a confrontation in “Forever Love Is Tainted,” focusing on the inner monologue of a man deceived. The song is a shot of reality, produced by Jelani Brooks to achieve a sound that is syncopated in melody, harmony, rhythm and texture. Each song thereafter documents a realization, “A Private Island” acting as commentary on the literal cost of getting to know someone. Drummer Terry Orlando Jones appears in great form here, and later on “Covered in Cloth,” an acknowledgement of the moment someone invites you to move in. “The Pinnacle (of Class and Taste)” is the only song presented here that is created solely by myself, though it’s outside influences are quite obvious. It documents the bliss of the high point in its words and also in the fleeting sounds of the supporting production. At the project’s halfway mark, the unaccompanied voice of Carminelitta starts “Our Love Was Brand New” and sets the tone for a session of reminiscence wrapped in synths at every frequency. “Secrets Seem Rehearsed,” complimented by Jelani Brooks’ saxophone arrangement, addresses the fate of it all with a tone that cannot necessarily be classified as optimistic or pessimistic. It just is. And that’s the nature of the struggle for the upper hand.

                  Senegalese griot Aby Ngana Diop was famous for her taasu, a form of oral poetry spoken to the rhythmic accompaniment of sabar and tama drums. Taasu is typically created and performed by griot women (a class of poets, storytellers / musicians), with a lead taasukat (practitioner of taasu) performing her distinct style of heightened, rhythmically declaimed speech in call-and-response with a small chorus of female vocalists. Throughout the 1980s and 1990s, Diop developed a reputation for being one of the most sought-after taasukats in Dakar, performing with her backup singers, dancers and drummers at parties, weddings and baptisms of the Dakar elite, including government officials and dignitaries. Aby Ngana Diop was undisputedly the best taasukat of her generation!

                  In 1994, the Dakar diva released her one and only studio cassette recording, 'Liital', to the Senegalese market. 'Liital' was groundbreaking in the history of Senegalese music because it was the first commercial recording to feature a traditional female taasukat performing to the modern accompaniment of mbalax, Senegal’s quintessential pop genre. The combination of Diop and her backup vocalists with their powerful taasu, along with the driving, complex rhythms of the sabar and tama drums, mixed with key elements of mbalax (such as the syncopated, polyphonic marimba sounds played on the Yamaha DX7 keyboard) was something the Senegalese public had never heard before. But it wasn’t only because of the fusion of taasu with mbalax; unlike in other mbalax tunes, the musical arrangements on this cassette are instead peculiarly minimalist and almost trance-like, with static harmonies and melodic figures playing more of an atmospheric role.

                  The cassette became a huge hit, propelling Diop to a new level of superstardom. It could be heard blasting from taxis and from loudspeakers at house parties, weddings and baptisms for years to come. 'Liital' bridged the gap between the more traditional taasu and the modern mbalax sound, thus appealing to all generations of the Senegalese public – and they simply couldn’t get enough of it! When Aby Ngana Diop died unexpectedly on July 4, 1997, the country mourned her passing, but continued to celebrate her music. Other artists such as Cheikh Lô, Thio Mbaye and Lamine Touré released recordings based on some of Diop’s taasu and accompanying drum phrases, paying further tribute to her musical legacy. Although this cassette has caught the attention of some African music aficianados who have stumbled upon it in recent years, it remains largely unknown to the wider world. Hopefully this re-release from Awesome Tapes From Africa will change that.

                  Ned Doheny’s 'Hard Candy', originally released in 1976, is widely considered the finest blue-eyed soul album of all time. It has long been a source of great frustration then, that this perfectly-formed Southern California masterpiece has been unavailable on legit vinyl for almost 40 years. Previously bootlegged in derisory fashion, original copies are rarely found for less than $100. Be With Records, a new vinyl-only reissue label, continues apace by marking its third release with the first officially licensed reissue of Doheny’s nautical classic. Perhaps most famously, this impeccably smooth set features the timeless 'Get It Up For Love', a wonderful example of mid-70s mid-tempo white-(hot)-funk. Produced by the legendary Steve Cropper, it featured a veritable who’s-who of the Laurel Canyon soft-yacht sound (JD Souther, The Eagles, Linda Ronstadt, the entire horn section for Tower of Power!) yet bombed mysteriously. It’s been a cult record since. Pressed on audiophile 180gram vinyl and featuring the original artwork for both jacket and full colour inner sleeve, this very limited reissue of 500 copies is one not to be missed.

                  STAFF COMMENTS

                  David says: Ooh, been after a legitimate copy of this for ages. Seminal yacht rock. Anchors away!

                  Tashi Dorji

                  Tashi Dorji

                    First release on Ben Chasny's (Six Organs Of Admittance) label. Tashi Dorji grew up in Bhutan, on the eastern side of the Himalayas. Access to any music created outside the country is limited, as are most cultural options, given the geologically isolation of the country. How Dorji went from a life so remote to developing his innovative and revelatory guitar style is mind-boggling.

                    Yearning for access to the world outside, Dorji pursued and obtained a fully-paid scholarship to a liberal arts school in Asheville, NC, in his early twenties. He’s since settled in there (save a short stint in Maine), soaking up a vast array of music, most notably the works of Derek Bailey and John Zorn. Along the way, Dorji developed a playing style unbound by tradition, yet with a direct line to intuitive artistry. His recordings feature improvisations that spasmodically grow along tangential, surprising paths. All references break loose during a composition, as Dorji keys into his own inner world.

                    After a handful of cassettes on various labels, Dorji presents his first proper album on Hermit Hut, the label created by Ben Chasny (Six Organs of Admittance) and inspired by spreading word of Dorji’s talents. The six compositions here are hand-picked by Dorji and Chasny as the most representative and far-reaching of his recordings. Taken together, they announce a new guitar music unlike anything being made today.

                    E-Versions #3

                    The Shoe / I Don't Know What This Is

                    Ahhhh, we've been waiting for this one! After "E-Versions #2" blew up this month and found its way into all the DJ sets that matter, Mark E returns with another red hot release in his black label edit series. Going back to his roots, Mark weaves the same hypnotic magic he cast over Womack & Womack and Janet Jackson when he exploded onto the scene in the mid 2000s. For "The Shoe", Mark takes Jean Carne's mind blowing "Was That All It Was" and reshapes it into a groove heavy builder that drops you right in the peak time by the end of it. That funked up bassline gets looped, filtered and flipped for days as Mark gets right in the pocket, locking us in primed and ready for the explosive horns and emotional vocals. On the flip "I Don't Know What This Is" finds Mark in a dreamy mood, weaving his deep magic on an original which just escapes me. Ethereal pads, hazy vocals and a chugging beat carry us along on wave after wave of blissed out dancefloor euphoria. At times reminiscent of The Field, this looped up treat is certain to have you swaying, and that's before the psychedelic wig out at the end!

                    • The first Earth album to feature vocals since Kurt Cobain sang on their debut EP!

                    • Legendary vocalist Mark Lanegan (Queens Of The Stone Age, Screaming Trees) sings on two songs on the album.

                    • Sub Pop recording artists Rose Windows’ vocalist Rabia Shaheen Qazi delivers a incredible vocal performance on the song:“From The Zodiacal Light”

                    • Renowned guitarist: Brett Netson (Built to Spill) is the featured 2nd guitarist on the entire album.

                    EARTH's career, like its music, has always been a slow, deliberate progression. Each record slightly removed from the last, a constant refinement of a singular vision. Dylan Carlson has remained focused throughout on coaxing moments of strange beauty and reflection from "the riff". This elemental foundation of rock is refracted, in their earliest recordings, through the prism of sheer volume and feedbacking drone or via a sparse unravelling take on folk.

                    With Primitive And Deadly, EARTH's tenth studio collection, Carlson and long term cohort, drummer Adrienne Davies, manage to come full circle twenty-five years in the making, whilst exploring new directions in their music. For the first time in their diverse career, they allow themselves to be a rock band, freed of adornment and embellishment.

                    As much as Carlson's guitar has always been the focal point of EARTH's music, it's been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is the prominence of guest vocalists Mark Laneganand Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.

                    On "Rooks Across the Gates"Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. "From the Zodiacal Light," meanwhile, takes a late 60s San Franciscan/freaked-out jazz-rock transcendence and quickly re-appropriates that sound into a musky torch song for the witching hour.

                    This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert high lands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each tracks central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lions Skull and Hibernaculum sessions).

                    Thick, dense and overdriven, melodically rich and enveloping, Primitive And Deadly is EARTH reaffirming their position as a singular point in the history of rock.

                    STAFF COMMENTS

                    Darryl says: The seventh album from the mighty Earth brings forth huge monolithic slabs of drone noise, and for the first time since their debut EP sporadic guest vocals! Lung crushingly brilliant!!

                    FORMAT INFORMATION

                    2xLtd LP Info: Gatefold 2LP version contains one exclusive bonus track: “Badgers’ Bane", Black Vinyl European Exclusive.


                    The Polite Force - Back To Black Edition

                      Second album of fabulous progressive madness put out by Dave Stewart, Clive Brooks and Mont Campbell as Egg. Originally released in 1970, this is one for fans of Stewart's own Arzachel, Canterbury scene particularly early Caravan and Soft Machine.

                      T.G. Elias

                      Granny Takes Her Last Trip

                      "Plymothian troubador TG Elias, aka Tom Elias, has self-produced, written and recorded four solo albums of remarkable quality, with a forthcoming release on Liverpool label Viper Records. The larger than life songwriter brings a sublime blend of Blues, Folk, Country, Soul and Gospel to his unforgettable performances. Backed by blues legend Harmonica Pat and the soothing angelic harmonies of Lucy Ridges, Tom has been described as “something of a folk genius, combining intercontinental sounds with his own brand of homespun romance."


                      Faust - Back To Black Edition

                        'The impact of Faust cannot be overstated; their debut album was truly a revolutionary step forward in the progress of 'rock music'. It was pressed on clear vinyl, packaged in a clear sleeve, with a clear plastic lyric insert. The black X-ray of a fist on the cover graphically illustrates the hard core music contained in the grooves, an amalgamation of electronics, rock, tape edits, acoustic guitars, musique concrete, and industrial angst. The level of imagination is staggering, the concept is totally unique and it's fun to listen to as well.'

                        Fire Water Air (Ya Ho Wah 13 & Sky Saxon)

                        Golden Sunrise

                          In the mid 1970s, the former leader of The Seeds, Sky Saxon (then Arelich Sunlight Aquarian), joined forces with the musicians of the Brotherhood of the Source, Ya Ho Wha 13, to form Fire Water Air. They produced one lone set: the legendary “Golden Sunrise”.

                          Originally released in minute quantities on 8-track cartridge, it is presented here fully re-mastered for the first time.

                          Includes an insert specially written for this release by guitarist Djin Aquarian.

                          FORMAT INFORMATION

                          Ltd LP Info: Individually numbered limited edition of 500 copies on frosted clear vinyl with red and yellow flashes, housed in a beautiful spot-varnished cover.



                          The first single to be taken from the Flowers’ album Do What You Want To, It’s What You Should Do is “Joanna”, a song about someone suffering from a depression so deep that has become part of their identity. “Joanna” was the second song recorded in their sessions with producer Bernard Butler but the first where everything just clicked and the band knew they had a working creative relationship. “He made it sound full of vitality and excitement”, says Rachel, Flowers’ lead singer. “We were thrilled with the results and couldn’t wait to get back and record the rest of the album with him.”

                          Flowers are Sam Ayres (Guitar/Synths), Rachel Kenedy (Vocals/Bass/Synths) and Jordan Hockley (Drums), brought together by Sam’s advert for a singer to make music like "Madonna through a broken tape machine". Drawing a line between the joyous fuzzpop of The Pains Of Being Pure At Heart and the minimalist brilliance of Young Marble Giants, the reception at their live shows has been nothing less than rapturous, with audiences blown away by their intensity and compelled by their sparse beauty: Jordan a physical yet inventive presence behind the drum kit, Sam a constant blur of kinetic energy on guitar and Rachel utterly still. It is this dynamic that has been captured over the fourteen deceptively simple pop songs that comprise Flowers debut, Do What You Want To, It’s What You Should Do out September 8th via Fortuna Pop! (UK).

                          Most of the songs weigh in at less than three minutes, a deliberate strategy for a band that seeks strength in simplicity. “Our songs tend to be quite short - if there's something that doesn't need to be there, we take it out. Hoping for just the best bits,” explains Rachel. “We love all kinds of things, Ramones, Madonna, The Misfits, Iggy & The Stooges, Joy Division, all sorts! The album doesn't sound too much like any of those, but the songs are short and simple pop songs, and all those artists we love write songs like that.”

                          Indeed, Flowers’ genius is in their ability to convey a remarkable amount of emotion with minimal instrumentation. Rachel possesses one of those beautiful pop voices to die for, with echoes of Elizabeth Fraser (Cocteau Twins), Hope Sandoval (Mazzy Star) and Harriet Wheeler (The Sundays), whilst Sam’s guitars chime and churn with an incredible intensity and Jordan’s drums rip right through with urgency and precision, resulting in a beautiful album that conjures up a strange and entrancing sort of magic. Haunting, mesmerizing and intense, Do What You Want To, It's What You Should Do is an impressive calling card from a sensational new band.

                          FORMAT INFORMATION

                          Ltd 7" Info: Coloured vinyl 7” Ltd to 500 copies.

                          Roman Flugel

                          Happiness Is Happening

                            An album by Roman Flügel is always a sensation. That holds true for his countless monikers and collaborations as it does for his 2011 Dial debut 'Fatty Folders'. Being the first of its kind under his own name, the long over-due association of Hamburg's cerebral label and its group of off-centre house and techno individuals with Frankfurt's favourite electronic music producer for the thinking man and woman, proved to be a seminal one.

                            Now, that sort of Happiness Is Happening again. Roman Flügel's follow up on Dial takes off, where 'Fatty Folders' landed: on a runway that acknowledges the roots of house and techno as well as its fruits, but leads to a different location. Exempt from the burden that a concept album can lay on its author, Flügel seems not to be concerned with the current trends, retro fashion or a pre-conceived topic. Free-wheeling and with a freshness akin to morning dew, he rather takes us by the hand and through ten tracks that sometimes feel like songs without a voice.

                            Having said that, the strongest point of 'Happiness Is Happening' is that it has a voice. The voice of a maker who is not afraid to mix joy and pain, ambient textures with remnants dancefloor euphoria, quiet spaces and loud places. So you have an almost Depeche Mode-like ballad that the ”Friendship Song” is, next to the techno city ghost story of “Occult Levitation”. Slow-motion robot disco (“Wilkie”) appears as much at home here as the bulky “Stuffy” or the sudden impact in “We Have A Nice Life”. That list goes on and on. The most startling fact about Roman Flügel's tour de force is that its sum is as great as its parts. Nothing feels superfluous, ill-paced or forced here. Its the end result of a life that has been spent in techno, house and its various mutations and archetypes with a sensibility for pop music, a consciousness of indie culture and an affinity for the avant-garde as such.

                            'Happiness Is Happening' is like a concept album without a concept. A testament to the fact that the concept of an album that works within the realms and boundaries of “electronic (dance) music” can be so much more than a loose collection of 12"s or just an exercise in style: it can be, after all, a piece of art and at its best comparable to a successful singer-songwriter album without words. Especially, when the creator of all his seems to be truly comfortable with himself and at his best. Then, 'Happiness Is Happening', indeed.

                            Free Time

                            Esoteric Tizz

                            Free Time’s new 7” for Underwater Peoples pairs the saturnine “Guess Work” with the uptempo flip “Esoteric Tizz”. The double A-side presents a unique juxtaposition of form, a spaced-out pastoral take on the nature of love contrasted with a hectic pop exploration of what it can mean to live a double life. Free Time is Melbourne expat Dion Nania on guitar and vocals, Jonah Maurer on guitar, Mike Mimoun on drums, and Eric Harm on bass – though the 7” features original bassist Adrienne Humblet. Opener “Esoteric Tizz” is a bursting, fast-paced ride from the start. Recorded by Jarvis Taveniere, the track features a tumultuous melodic structure reminiscent of Felt at Lawrence’s most energized.

                            Alternatively, “Guess Work” is an atmospheric ballad highlighted by it's impressive tonal technique. Recorded by Real Estate’s Martin Courtney, the song offers a full palette of corrugated timbres and warmer, aqueous hues, drawing inspiration from Kevin Ayers and Leonard Cohen. These two slices of guitar gold are the newest work since Free Time’s 2013 self-titled debut (Underwater Peoples, UPLP023). Both releases feature striking artwork by Sylvia Jeffriess. “The New York-via-Melbourne quartet transcends mere contemporary indie rock pastiche by playing with pace and intensity…” Jamieson Cox, Pitchfork.

                            The appropriately named Italian Records return with a timely reissue of a cult Italo classic from Funky Family, "Funky Is On". Originally released on third label in 1984 by Nicola Nicolosi and vocalist Dora Carofiglio just before their massive pop hits with Novacento, the track is a simply massive space age stomper fitted with melodic boosters, bass weight thrusters and some classic Italo vocals.  While the A-side of this reissue houses the original mixes, the B side is all about modern remix action, with legendary Italian DJs Leo Mas and Fabrice dropping a rework perfect for the pitch black back rooms out there, while DJ Rocca powers up the original with his bass heavy 214 edit.


                            Where Were You Then?

                              Further was a decidedly west coast indie rock band formed in Los Angeles in 1991 by brothers Darren and Brent Rademaker, Josh Schwartz and Kevin Fitzgerald. The Rademaker brothers along with Josh went on to form Beachwood Sparks and The Tyde respectively, Kevin Fitzgerald became the drummer for the Circle Jerks and the west coast lo-fi California indie rock sound actually became a thing with the kids.

                              Overdosing on Weed, Surfing and Dinosaur Jr's "You're Living All Over Me" as well as flat out turning down major label offers, Further was fuelled by DIY spirit and their music tested the boundaries from the lowest of fidelity to the indie-est of rock...with releases on Bongload Records (home of Beck's Loser 12"), their own Christmas Records, Ball Product (Creation Records), Fierce Panda and many more.

                              Further received acclaim from the UK press including a 9 out of 10 review in the NME as well as Peel Session from long time fan John Peel. Further were a permanent fixtures on the LA indie scene where they shared bills with everyone from the likes of Pavement, Beck, Flaming Lips, Mercury Rev, Royal Trux, Urge Overkill, Archers of Loaf, Codiene...real indie-rock, you get the picture?

                              Friends of Lou Barlow from Dinosaur Jr, Further had a knack of exploding into Dinosaurs sonic territory. When Further went on tour with Sebadoh in the 90s, Lou was asked by the NME if he had anything to say to J Mascis...? Lou replied smugly..."ever heard FURTHER?"

                              This record compiles the best of the singles and EP tracks from 1991 to 1997 all re-mastered from the original vinyl.

                              FORMAT INFORMATION

                              Ltd LP Info: Includes fanzine.

                              The Gaggers

                              Sharp Lies / Hostage

                                It’s a 2 track 7″, the A-side is from their second album “Blame You’ , the B-side is a non-album exclusive track called ‘Hostage’ London rippers the GAGGERS burst on the scene a few years ago with a gaggle of 7” that went in and out of print in a heartbeat. Dead Beat Records released the debut fulllength LP 'Rip You Apart' that screeched through 12 loud, fast and grimy scuzz punk classics that use snarling bouncy riffs and lewd, crude lyrics to carve out supremely awesome, mangled, degenerate sounds. Earlier this year, the band much-anticipated second fulllength ‘Blame You’ was released in Europe on Wanda Records and will get the American treatment this Autumn courtesy of Modern Action Records. From the opening caustic, cocky, chord the GAGGERS stab yers ears with ten tunes that chase each other out of your speakers, one as charming as the next, with tales of love, lust, nihilism and other such dandy daydreams that only the GAGGERS can come up with. Channelling the same ragged, dysfunctional spit as the Pagans, early GG, the Heartbreakers, Weirdos and the Germs; the GAGGERS fully embrace their sloppy, shambolic ineptitude to puke out spastic, two-minute blasts of nihilistic three-chord brilliance. Gutter-chic at its absolute finest.

                                Gruppo D'Improvvisazione Nuova Consonanza

                                Gruppo D'Improvvisazione Nuova Consonanza

                                  Considered the first collective of experimental composers, Gruppo d’Improvvisazione Nuova Consonanza formed in 1964 in Rome to chase the expressive potential of live improvisation to its furthest reaches. Led by Franco Evangelisti, Gruppo also included Ennio Morricone before he found fame composing soundtracks. The ensemble advanced the innovations of 20th century avant-garde in laboratory-like studio settings where the intuitive interplay between members flourished.

                                  Before 1976’s benchmark release, Musica Su Schemi, Gruppo recorded this eponymous album in 1973. Whether the passages are jarring or soothing, clamorous or silken, the ensemble retains astounding organic coherence. An ultra-rare entry in Gruppo’s formidable discography, Gruppo d’Improvvisazione Nuova Consonanza is finally reissued for the first time ever.

                                  Announcing "Overjoyed", the first album in 13 years from legendary punk band Half Japanese. One of the most influential bands of all time, Jad Fair and Half Japanese spearheaded the DIY and Lo-Fi movements, influencing countless bands such as Sonic Youth, Neutral Milk Hotel, Daniel Johnston, and perhaps most notably, Kurt Cobain (who ranked Half Japanese amongst his top 50 favorites, had them open the "In Utero" tour, and was wearing their t-shirt when he died). Without exaggeration, Half Japanese is one of the most important bands in the history of music. "Overjoyed" was recorded and produced by John Dieterich of Deerhoof, and ranks amongst the best albums of the band's catalogue.

                                  STAFF COMMENTS

                                  Darryl says: After 13 years away, Half Japanese return to the scene with 'Overjoyed'. And they prove themselves to be as vital as ever, melodic indie-punk that keeps them ahead of the pack.

                                  FORMAT INFORMATION

                                  LP Info: Limited edition splatter vinyl.

                                  Peter Hammill

                                  The Silent Corner And The Empty Stage - Back To Black Edition

                                    With "The Silent Corner and the Empty Stage", released in 1974, Hammill had collected more instruments and FX boxes, and a single oscillator (unattached to any kind of synth, whilst getting to grips with electric guitar and arrangement. In his own words, Hammill 'The emergence of a real understanding of what bass could and should do, though, was crucial to my developing recordings.... Experimentation was clearly the way forward'.

                                    'Hallways' is Homeboy Sandman’s second full-length record on Stones Throw. The album is an ode to the space between where you are and where you are headed; a space in flux, and a space where Sandman himself thrives. True to form, it weaves witticism into even its most serious messages. Producers on 'Hallways' include Oh No, Knxwledge, Blu, DJ Spinna and Jonwayne, who produced the first single, "America, The Beautiful."

                                    Homeboy Sandman’s witty raps have garnered praise from both hip hop and mainstream music press, from, featured by media including NPR, Clash Magazine, the Evening Standard, BBC 6Music, and Pitchfork. Rolling Stone recently branded him an “Artist To Watch” and praised his “skill for wordplay that keeps you hooked,” while Pitchfork describes him as “hyper-intelligent” and “one of the best pure lyricists around.” The prolific and outspoken Queens MC has also had essays prominently published in Gawker and Huffington Post.

                                    Since signing with Stones Throw Records in 2011, Homeboy Sandman has released a full length, 'First Of A Living Breed', along with a series of five EPs, establishing himself as one of the most productive and creative lyricists of this generation.

                                    Inspiral Carpets


                                    The Inspiral Carpets – along with the Stone Roses and the Happy Mondays – made their name as part of the whole ‘Madchester’ scene, with a string of classic singles and a lucrative line in iconic T-shirts.

                                    Between 1989 and 1995, the band notched up 15 hits and four Top 20 albums. In 2003, they re-formed and have been playing ever since. In 2011, they reunited with original singer Stephen Holt.

                                    In September, the band unveil their first new album for two decades – simply entitled Inspiral Carpets.

                                    “Spitfire” is the first single to be released from their eponymous new LP. Already previewed at their sell-out show in Manchester at Band On The Wall, the song will be promoted by a video which has been shot at Gorton Monastery (another Mancunian institution!).

                                    Peter Jefferies


                                      Peter Jefferies (This Kind of Punishment) released his brilliant sophomore album Electricity in 1994. While his solo debut, 1990’s The Last Great Challenge in a Dull World, has drawn comparisons to classic singer-songwriters like Nick Drake and Townes Van Zandt, Electricity is a far more sparse and nocturnal affair. Jefferies’ earthy baritone weaves between piano, guitar, cello and analog tape machine noise, pulling in listeners to the deep pastoral life of his music.

                                      With guest appearances from heavyweights in the New Zealand music scene (Straitjacket Fits’ Shayne Carter, Plagal Grind’s Robbie Muir and the Dead C’s Bruce Russell), Electricity has garnered a cult following among fans, yet the songs possess a singular quality—every note, utterance and flourish reflect back to Jefferies alone. The simple arrangements, in particular on ballads such as “By Small Degrees,” convey fiercely intimate moments as well as Jefferies’ tremendous range and playfulness as a writer. This first-time vinyl reissue includes four bonus tracks from 1992’s Swerve EP and is highly recommended for fans of Flying Nun Records, John Cale and Jim Shepard. After 20 years, now is the time to revisit the groundbreaking work of this New Zealand legend.

                                      During his eight-year stint with Hi Records Syl Johnson was in the shadows of both Al Green and Ann Peebles, but with ‘Total Explosion’ he stepped into the spotlight. As this album’s predecessors had Johnson vacillating between being a romantic and a wretch, ‘Total Explosion’ explores his unrepentant side with good results.

                                      The album’s biggest single was Johnson’s slowed-down take on Green’s ‘Take Me To The River’. Although the religious / sexual imagery is lost in the translation, Johnson does a good job with it.

                                      The best track, the brilliantly arranged ‘Watch What You Do To Me’ has Johnson playing the role of cuckold and as he sings “I carry my piece, everywhere I go,” it certainly made him more of a menace than a romantic balladeer.

                                      Backed by the full Muscle Shoals studio band, including the Memphis Horns and Memphis Strings, ‘Total Explosion’ was Johnson’s most successful album at Hi Records and was one of the best in the label’s catalogue.

                                      Incredibly, after all his work as a founding member of both The Clean and The Mad Scene, Hamish Kilgour has never released a proper solo album of his own, until now. Fans of his work over the years will no doubt be pleased with this debut release. All of It and Nothing is an ode to the power of jangle, highlighting Kilgour’s innate ability to both gleam the melodic cube and let the choogle of a chord progression ride itself to greatness. Written and recorded in collaboration with Gary Olson, who captured the album at his Marlborough Farms studio and accompanies Kilgour on some songs, the album carries a distinct hushed intimacy, full of soft-spoken phrases and light guitar play that belie the power of the music it provides.

                                      • First-ever solo album from founding member of The Clean, The Great Unwashed and The Mad Scene.
                                      • An ode to the power of jangle sure to please fans of his other work
                                      • Recorded by Gary Olson of The Ladybug Transistor, who contributed to the songwriting

                                      STAFF COMMENTS

                                      Darryl says: Debut solo album from the Clean's Hamish Kilgour. Lo-fi jangley vibes and half spoken/half sung vocal delivery that brings to mind early Beat Happening. Cool and melodic indie gems.

                                      Kissing Spell

                                      Los Pajaros

                                        Without doubt this is one of the best 60's psychedelic albums period!

                                        Made back then in South America, along with Traffic Sound, Virgin, Laghonia and Aguaturbia Evol. This record contains beautiful melodic compositions, killer fuzz leads peppering the disc, a superb dreamy atmosphere and great drifty vocals (mostly in English).

                                        This record has been reissued in Europe several times before but sadly they were taken from old copies in mono, and both companies didn't notice that the original Background edition was in fact STEREO and first time it came out like that!

                                        When I originally made the deal for this reissue in the 90's with the owner of the Arena label, Camilo Fernandez, he passed me the original master tapes. When it was pressed, members of KISSING SPELL, Guillermo Olivares and Carlos Fernandez, couldn't believe their ears when it came out as the original vinyl issued in 1970 was only ever pressed in mono which due to a budget was never issued in Stereo.

                                        This stereo recording taken from the masters captures this LP perfectly with all the rich deep textures and stereo picture intact (missing from the mono versions).

                                        FORMAT INFORMATION

                                        Ltd LP Info: Pressed on 180 gram vinyl and printed on heavy board sleeves with polythene inner bag.

                                        Fela Kuti


                                        Fela Kuti's 1975 "Confusion" shows him and Africa 70 at the heights of instrumental prowess and ambiguous jibes (the stabs are about to get a bit more direct and heated with 1977's "Zombie"). "Confusion" begins with an unusual free jazz interplay between Fela on organ and drummer Tony Allen that has the presence of 2001: A Space Odyssey in its omnipresent drama. Then the group falls into a lengthily mid-tempo Afro-funk that plays with a sureness that only comes from skilled musicians and a dictator-like leader; here is the formula that had made Fela a genius: Once he has the listener (or the crowd - as all of his songs were originally meant to entertain and educate his audiences at the Shrine) entranced in his complex (and at the same time, deceptively simple) arrangements of danceable grooves, he hits them with what he wants to say. "Confusion" is a comment on the general condition of urban Nigeria (Lagos, in particular). Fela uses traffic jams, no fewer than three dialects, and a multitude of currencies that make trading difficult to complete the allusion to the general post-colonial confusion of a Nigeria lacking in infrastructure and proper leadership. "Confusion" is a highly recommended 25-minute Afro-beat epic.

                                        "Expensive Shit" is arguably one of Fel Kuti's best releases. In addition to its burbling percussive groove, infectious horn melodies, and Fela's inspired vocal performance, the anecdote behind the title cut is an amusing tale, and another that shows up the corruption of the Nigerian police. Seeking to frame Fela Kuti, the police tried to plant a joint of marijuana on him during a gathering at his home. Wise to their plan, he quickly swallowed the joint. However, the police threw him in jail to wait for the evidence to make its way through his system. With some wily plotting Fela escaped charges and subsequently produced this opus mocking the police for wasting resources on hassling him instead of furthering justice in Nigeria. Opening brass sounds give way to interplay between Fela’s narration about the episode and responses from his group of female singers.

                                        On the flipside we get the equally classic keyboard-and horn-dominated instrumental "Water No Get Enemy".

                                        It's hard to go wrong with Fela Kuti's work from the 1970s, and "LIVE!", which features the Afro-beat innovator backed by his powerhouse band Africa '70 and ex-Cream drummer Ginger Baker, is no exception. Like all of Fela's recordings from the era, "LIVE!" consists of just a few tracks, each of which approximates or exceeds the ten minute mark.

                                        Yet the arrangements are so dynamic on these tracks, the criss-crossing polyrhythms so absorbing, and Fela's incantatory vocals so entrancing that the long running times never seem a factor. Every cut crackles from beginning to end with its mixture of funk, jazz, and traditional Nigerian music, underscoring once again Fela's revolutionary, indelible contribution to world music. Fans of Ginger Baker will want to take note that the drummer is not showcased except on a bonus track, which pairs the drummer with Fela percussionist Tony Allen for a smokin' sixteen-plus minute drum solo.

                                        FORMAT INFORMATION

                                        Ltd CD Info: CD is presented in a deluxe digipack, with booklet including Fela’s biography and track-by-track commentary from Afro-beat historian Chris May.

                                        Fela Kuti

                                        Finding Fela OST

                                          The soundtrack to the documentary film ‘Finding Fela’ which tells the story of Fela Kuti’s life, his music and his social and political importance.

                                          This in-depth look at the man who created Afrobeat (the fusion of jazz, traditional West African rhythms, funk, Highlife and psychedelic rock) includes 17 of Fela’s classic tracks plus a never-before released live version of ‘Colonial Mentality’, recorded at the New Afrika Shrine in Fela’s hometown of Lagos and featuring Fela’s son Femi Kuti on saxophone.

                                          With his audacious music and much courage, Fela helped fight corruption and autocracy in freshly democratized Nigeria.

                                          'He Miss Road' combines the sound of James Brown-style 70s funk with a stripped down Afro-beat performance. Ginger Baker produced this ethereal, nearly psychedelic album with Tony Allen on drums, backed by Fela’s Africa 70 band. The title track refers to the ways in which people have lost their way - and the ensuing chaos it causes. Through call-and-response lyrics, Fela illustrates a few ways in which someone has “missed the road”, including a gorilla who runs out of the jungles and into Lagos, and a musician who sings only for the deaf. This last example is a caustic personal attack on a fellow Lagosian musician who had stolen one of Fela’s girlfriends - the attack extends even onto the original album cover, where this point is literally illustrated.

                                          "Sorrow Tears and Blood" book-ended the Nigerian army's deadly raid of the Kalakuta Republic, Fela Kuti's self-appointed independent state domicile, and Kuti's hostile feelings toward upper-class Nigeria are prominent on this session. The first recording released after the Kalakuta's capture, the album is fierce; the band's sound almost seeming to drip blood. Slower and more persistent, the ominous grooves here no longer bother with metaphor, crying out bluntly, 'some people lost some bread, someone just died...them leave sorrow, tears, and blood.' Alongside Woody Guthrie's "Struggle", this is as stirring as musical social protest gets. "Sorrow Tears and Blood" boils over with Fela's singing and the frantic call-response of horns and chorus; the scattering sounds of people fleeing a police-and-army attack. And "Colonial Mentality" calls for a united Africa to stand up against its widespread leftovers of imperialism. The entire collection is chock-full of Kuti's distinctive polyrhythmic orchestra-funk in top form.

                                          It makes sense that the new album from The Lemonheads sounds like a mix tape slipped to you by a music-obsessed friend anxious to turn you on to something new. In fact, the idea for the band's new covers record was inspired by Gibby Haynes, ringmaster of the Butthole Surfers, who for years has made mixes for his longtime friend Evan Dando. 'Making a good mix is an art, and Gibby has it down,' says Dando. 'I thought it would be fun to share these songs with other people like he shared them with me. So I picked the 'greatest hits' from his mixes and covered them, along with a few other songs I always wanted to play.'

                                          FORMAT INFORMATION

                                          Ltd LP Info: 180 Gram Yellow vinyl, includes download card.

                                          The Living Eyes

                                          Guilty Pleasures / Lowlife

                                          Limited edition new two tracker from one of Geetroit’s (that’s Geelong, Victoria to you pommy losers!) best! The Living Eyes deal in punk rock, as in pop, with a snarl and whipsmart edge. Australia has some killer stuff going on (as usual), and this new breed of Murder Punk Unknowns features the likes of the Living Eyes at the forefront.

                                          Snotty, snarly, and almost both tracks being pop hits (from the gutter), fans of the Hard Ons, Psycho Surgeons, Fun Things, and Ramones might want to check some of this action out!! A Split release with Agitated and Anti-Fade. 200 for UK only…


                                          Before The Dawn Heals Us

                                            "Before The Dawn Heals Us" is the follow up to "Dead Cities, Red Seas And Lost Ghosts", showing a more cohesive, developed and realised interpretation of M83's epic vision. The songs are more fully realised, the production superlative, and the album flows beautifully and ranges from full on sonic assault to lush introspective ballads. Fans of bands such as Mogwai, Spiritualized, MBV, or Hope Of The States, for example, will love this album, as will fans of more esoteric acts such as Ulrich Schnauss and Boom Bip, and the nascent growing 'nugazing' acts such as Engineers and Radio Dept.


                                            Dead Cities, Red Seas And Lost Ghosts

                                              In a style of Mogwai recreating Joy Division via My Bloody Valentine on analogue machines complete with the breaks of Plaid, M83 are far from yet 'another French electronic act'. M83's distinct sound emerged after just one album: both modern and melancholic.. In early 2001, their first album, bearing the same name as their group was released by the cutting-edge French Gooom label. Critics emphasised the album's graceful and nuanced melodies and the cinematographic quality of the dialogues, as well as the band's ability to make synthesizers sound like guitars. This, their second album, is more ambitious than its predecessor, complex yet accessible thanks to its melodic effectiveness, as heard in the super-powerful "America" and the dreamlike "Beauties Can Die", with its virtual chorale sounding an endless final note.



                                                Aptly titled M83, this album served as the French electropop outfit’s debut release in 2001 on Gooom. Recorded as a duo by founding members Anthony Gonzalez and Nicolas Fromageau, the album was described by Pitchfork as “how it feels to live inside a triumphal music box.” The track names can be read in order to describe a boy/girl meeting at a party. Taken in tow with the sampled movie dialogue throughout, the album serves as a poignant soundtrack for the simplest of scenarios.

                                                Four years on from the Grammy nominated, critically acclaimed release Hurry Up, We’re Dreaming (featuring platinum selling single “Midnight City”), French electronic act M83 re-issues their first three albums in addition to two digital EPs featuring remixes and B-sides from those albums. After several years of being out of print, M83 (2001), Dead Cities, Red Seas, and Lost Ghosts (2004), and Before the Dawn Heals Us (2005) will be released August 25th, 2014 on Naïve Records.

                                                M83 has become a household name amongst music lovers due to extensive success across many formats. Since Hurry Up, We’re Dreaming, not only has M83’s Anthony Gonzalez scored two films: Oblivion (featuring Tom Cruise) and You and the Night (directed by his brother Yann Gonzalez), but his music has been used across a plethora of movies, television shows and commercials, most recently in films The Fault In Our Stars, The Vampire Diaries, and 22 Jump Street. Huffington Post even reported, “few recent albums have had a bigger impact on movie music than M83’s Hurry Up, We’re Dreaming.” At radio, M83 reached #1 on the CMJ charts, #1 at Commercial Specialty, and #5 in Commercial Alternative Radio, while receiving rave reviews from publications across the world, including Pitchfork, Spin, Entertainment Weekly, XLR8R, Filter, and countless others.

                                                The Magic Numbers


                                                A full on 70s style disco groove topped with Magic Numbers distinctive sweet, melancholic vocals. I've not seen it but there's just got to be a glitterball in the video!



                                                  Originally released in 1970 killer driving UK progressive with keyboards superb guitars, and original UK copies goes for stupid money! Underrated cool album with lengthy tracks and well-crafted songs. Groovy psychedelic DJ's must look at this album!

                                                  FORMAT INFORMATION

                                                  LP Info: Remastered 180 gram vinyl.

                                                  Menace Beach

                                                  Tennis Court / Lowtalkin

                                                  Menace Beach are Ryan Needham (vocals, guitar), Liza Violet (vocals / guitar / synths), Nestor Matthews (drums), Matt Spalding (bass) and MJ (guitar) plus a revolving cast of friends and acquaintances.

                                                  Having served notice of their intent with the ‘Lowtalker’ EP earlier this year, Menace Beach release a double A-side ‘Tennis Court’ / ‘Lowtalkin’ on Memphis Industries.

                                                  After several untreated breakdowns and a subsequent rash decision to relocate to Leeds, Ryan and Liza shacked up with MJ (Hookworms) to re-imagine their crackly 8-track demos. Joining them on the session were friends Nestor Matthews (Sky Larkin), Matt Spalding and Robert Lee (Pulled Apart By Horses), who fought their way through Liza’s rats nest of cables and homemade synth modules to blast through the songs during another all-nighter, having so much fun in the process that they all decided to stick around.

                                                  Both tracks were recorded, produced and mixed in the Spring of this year with MJ at his Suburban Home studios in Leeds. Friend of band Lan Mcardle of Joanne Gruesome was on hand to lend her admirably shouty pipes to both tracks (the line “with nothing in it” in ‘Tennis Court’, and the “lowtalkin’” yell that propels the track of the same name).

                                                  Where ‘Tennis Court’ shows off Ryan and Liza’s inclination towards fuzzed out, psyched up melody, ‘Lowtalkin’ is a sub-two minute blast of exhilarating noise.

                                                  Stereogum had this to say: “It’s been a while since I’ve heard old-school indie-pop that sounded quite this vital, and I suggest that you listen to the song…”

                                                  Limited to 500 clear vinyl 7”s with download code.


                                                  Disco Dance - Inc Patrick Cowley / Tom Moulton Remixes

                                                  One of the all time classics from the West End vaults gets its turn in the reissue spotlight and it's well worth the attention. Produced by the legendary Tom Moulton, featuring the musical talent of Lafayette Afro Rock Band and voiced by the smooth, sultry and seductive sound of the one and only Chantal Curtis, this is a 100% stamped and certified bomb! Powered by a perfect percussive rattle and a bassline to die for, "Disco Dance" takes us on a tripped out journey through the heart of the peak time with its simmering church organs and Chantal's damn fine diva vocals. Listening to the original mix you'll think music doesn't get any better, but when you hear Patrick Cowley's wild synth odyssey on the flip, you'll think again! The Sylvester synth maestro sets the blueprint for his later remixes of Donna Summer's "I Feel Love" and Two Tons Of Fun "I Got The Feeling" with his first ever "Mega Mix" which blasts off into the stratosphere from the 6 minute point onwards. If you've not heard this mix before or do not have this in your collection now is the time.

                                                  Mind Fair

                                                  CEREMONY / Hiding From My Shadow

                                                  The first part of another Golf channel double header from the insanely prolific and scarily on form combination of Dean Meredith & Ben Shenton. A-side "CEREMONY" has been dubbed 'the barnyard stomp' by Split Secs' Travis Kirschbaum (aka TK Disco) and it's easy to see why! Clocking in at 11 minutes of bluesy peyote riot, this campfire classic features Derek Holt of 70's black country legends The Climax Blues Band and will fry your little brains with some of that chilli P yo! B-side "Hiding from my Shadow" is ripe with the funk too, but takes us away from the fertile stench of the psychedelic session in the barn and instead channels Minneapolis via Stafford as P-funk squiggles give way to Mr. Meredith's trademark chugging bass. This peak time post-disco / proto-house / new wave wig out makes neat use of fizzing synthlines, discordant guitars and Fairlight brass as the duo conjure up images of a drugged out collaboration between Trevor Horn and Yello. Golf Channel every time!

                                                  Mind Fair

                                                  Take Me To The Bridge / Let The Music Take Your Mind - Inc. Velvet Season & The Hearts Of Gold Remix

                                                  The second half of the Mind Fair double header features another two brand new tracks, neither of which will be on their hotly tipped and eagerly awaited eponymous LP due later this year on Golf Channel! "Take Me To The Bridge" is a smooth and psychedelic cover of Vera's disco classic featuring the vocals of Lauren Faulkner & Charmaine Bains. Dropping the camp synths of the Italo original, Mind Fair recast it as a Laurel Canyon groover, all organic percussion and sweet sweet rhodes like a chance studio session between CSN, Steely Dan and Fleetwood Mac. Perfect for hazy mornings, siestas, sunsets and firesides, this is gonan be a Balearic hit for sure. "Let the Music Take Your Mind" does just that, a languid groove that liquefies your brain and transports you slowly down the river, drifting on a lazy summer day with nothing to do except watch the trails. Propelled by syncopated drums, acoustic strums and a limber bassline, this jam melts like ice cream on a hot day. The package is rounded out by a remix from The Velvet Season and the Hearts of Gold which takes over where their own filthy bangers 'Camel Toe Central' and 'Wild Honeyz' left off. It literally booms out and just screams warehouse, dragging the ghost of 'Ma Foom Bey' kicking and screaming into saucer eyed 2014. Both twelves feature stunning full colour artwork by Thomas Bullock aka Tom of England of Rub N' Tug fame.

                                                  After the release of 2012’s Circles LP, Moon Duo’s Sanae Yamada and Ripley Johnson relocated the band for the second time since its 2009 formation in San Francisco, this time from Blue River, Colorado to Portland, Oregon. Though the band had been initially conceived as an experiment in maximal sonic possibilities with minimal personnel and they had always toured as a duo, before heading to Europe in the summer of 2013, Yamada and Johnson decided to change things up and for the first time ever, try adding a drummer. That drummer ended up being John Jeffrey, who was hired sight unseen after meeting Moon Duo’s manager in Berlin.

                                                  As it happened, Jeffrey joined the band just in time for a tour that “was defined by sweltering heat,” as described by Yamada. Despite shows every night during the most brutal stretch of summer, Yamada, Johnson and Jeffrey soon realized Moon Duo as a three-piece was gelling through the hot and hazy weather, and having a drummer in the mix added a dynamism and flexibility they had never experienced before on stage. They decided to document this new incarnation of the band and asked engineer Mattia Coletti to record the Italian leg of the tour.

                                                  Live in Ravenna is the result of one of those nights of recording. It does an incredible job of capturing the emerging sound of Moon Duo as a three-piece. “Ravenna was memorable for a number of reasons, the most prominent being the really very intense heat, and the setting — Hanabi has an outdoor stage on the beach, the Adriatic Sea only meters away,” Yamada explains. “The show that night, and the recording of it, sort of encapsulates everything that was happening at the time – the heat wave, the journey, and the shift in the energy and composition of the band.”

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: Limited to 500 copies.

                                                  Johnny Moore & His New Blazers / Ebonettes

                                                  Bull Frog / Wild Man Walk

                                                  'Bull Frog' is a wild, greasy instrumental romp from Johnny Moore And The Blazers centred around an insistent and totally infectious riff. The guitar twangs and scratches, the sax rasps and honks, the piano tinkles and the rhythm bumps and shakes - what more could you want from an instro?

                                                  On the flipside, a knockabout offering entitled 'Wild Man Walk' from the Ebonites, which comes complete with bongo and grunted interjections. Ugggh!

                                                  Here we go with another edition of Full Pupp's jaw breaking, tongue twisting, mouthful original nordioc language series. "gnagsar i hjernen, fjerde av den forste bolgen". I'm not sure what that means… but it does sound good! This time Oslo's highly talented Øyvind Morken leads the seminar in dancefloor linguistics with three bizarro examples of leftfield acid disco. Morken's weekly wednesday night residency “Untzdag” at Jaeger has become an institution in Oslo, drawing in a crowd of open-minded party freaks for nights of wild abandon. "Gnagsar I Hjernen" opens the set with the crackle of snares and ripple of undulating acid lines as Chicago is transplanted to the wide open spaces of Norway. Stargazing Fjord funk at it's finest, this one goes off like a shooting star after the drop. "Fjerde Av Den Forste Bolgen" follows along swiftly with snake hipped percussive rattle, disco lasers and sci fi lead lines as we're taken on a techy journey into the realms of basement funk. Morken closes the set strongly with the slo mo bleep of the chipset acid of "Dr Zoidberg" featuring a little help from the up and coming Chmmr. Already approved by Juan Atkins and Lovefingers, this one's gonna power through sets all over the globe.

                                                  Bruno Nicolai

                                                  All The Colours Of The Dark - Red Vinyl Edition

                                                  As part of a devoted series of releases focusing on Bruno Nicolai’s soundtrack music to the films of Edwige Fenech, Finders Keepers proudly unveil what is perhaps the crowning moment for both actress and composer with the film that inaugurated them (alongside director Sergio Martino) into the critical Giallo royal family in the early 1970s. Presented here with previously unpressed tracks as an alternative to the extremely rare 1973 Gemelli library edition, this Finders Keepers special release includes the recently uncovered 1972 hard-hitting left-field psychedelic pop themes that unified yet another unholy trinity comprising of sitar wielding Alessandro Alessandroni (in true Pawnshop Braens Machine mode) and Italian cinematic songbird Edda Dell’Orso to create (under Nicolai’s gaze) what is regarded by many unified euro horror video collectors and vinyl detectives as the cream of this well furrowed crop.

                                                  Recorded in January 1972 at Morricone’s Ortophonic studio in Rome (home of Goblin’s Roller and Alessandroni’s Sangue di sbirro amongst many others) Bruno Nicolai balances psychotic free jazz, aggressive bass driven beats, schizoid Eastern motifs and childlike lullabies – the latter exacerbating director Martino’s proud Rosemary’s Baby influences in this Giallo tale of a rehabilitated relationship plagued by recurring nightmares and vague memories of a religious cult that teeter on the edge of Fenech’s consciousness. To claim this score as Nicolais’ all time best is perhaps a little ambitious for a versatile composer of such acclaim and widespread appeal, but for fans of that unique window of unhinged musical opportunity which came with the Giallo boom of the early 1970’s you’ll be hard pushed to find a record that covers all bases from an alternative universe where Fabio Frizzi, Goblin and Walter Rizzati were (haunted) household names.

                                                  A shadowy collective of well known names from the world of contemporary clubbing get incognito and present the first in a fresh series of straight up, in-the-moment club killers of the highest calibre! Based on the Japanese folklore of the 'Night Parade of One Hundred Demons' each release in the series will take the name of a demon / monster from folklore and a graphic artist is asked to interpret / re-imagine it in their own style for the screen printed sleeves. Up first is Finland's gruesome and grotesque dragon lady Ajattar, who in this instance stands as a guardian of two full scale peak time thumpers. On the A-side "The Sun The Moon" is a slamming NYC / UK bass house work out fitted up with a spiritual soul sample and buzzing bassline, sure to cause all sorts of carnage on the floor. On the flip, "On The Edges" is a rising, building and banging filter house stormer that's gonna demolish terraces and clubs the world over! 

                                                  Fifty Fathoms Deep continue their win streak with a complete pearler from Tyneside's beatdown master NY*AK. The four tracks of soulful, funky and laid back house on this EP mark a natural progression for the label after Frederick's acclaimed LP in 2013. "Oddity" opens the EP in deep and dope fashion, working the subs with a thunderous bottom end as gritty drums rattle on with their head nodding flow. The snatches of soul vocals and jazzy flute provide the melodic counterpart to the heavyweight rhythm section as we get lost in the groove. On "Inside" NY*AK ups the tempo a little and introduces a stripped back boogie tinge to the aesthetic, propelling this hypnotic shuffler towards the peak time. On the flip, we head into the depths of Detroit with the sampledelic bump of "Thank". Gospel vocals, off kilter disco rhythms and deep and melancholic keys combine into a head turning swirl full of basement soul. NY*AK brings the set to a close with the classic deep house sound a "New Ways", a slow burning rumbler whose low slung bass is decorated with scattered vocal snippets and metallic DX7 vamps. Another superb release from the up and coming producer, and one that cements Fifty Fathoms Deep's reputation as the leading light in the world of beatdown house.



                                                    Described as 'progressive death indie' Oceansize were founded in Manchester in 1998 and from the beginning their compositions were uncompromising and daring. Their debut album "Effloresce" (2003) struck a cord with indie press and fans alike. Whilst the debut was very much in your face, the second album "Everyone Into Position" (2005) showed more epic and detailed compositions, that combined their intricate song structures with a modern sound in a perfect way. "Frames" picks up where the previous album left off. The compositions are more mature and the songs combine musical virtuosity with an emotional depth that rarely can be found in today's music.

                                                    FORMAT INFORMATION

                                                    2xLtd LP Info: 180g vinyl.

                                                    Another winner from the Chicago DJ posse's Hot Mix 5 label, this time bringing us back to back classics from Phortune, aka Nathaniel Pierre Jones, Victor Blackful, Roy Davis Jr and E. Smith Jr.

                                                    We're treated to four solid cuts, including two mixes of piano house classic 'String Free' and two of the heavier and darker 'Can You Feel The Bass'. 'String Free (Club LeRay Mix)' features that instant Chi-Town anthem creater of choppy pianos and piston-driven house beats. The 'String Free (Dash Riprock Mix)' chops the piano lines for extra urgency, adds some syncopated metronomic clicks and funks up the rhythm. 'Can You Feel The Bass (House Mix)' and 'Can You Feel The Bass (Can You Groove Me)' go for the other side of instant Chi-Town anthem creater coin, dropping gurgling acid and a moody slowed down vocal.

                                                    It’s a rare thrill nowadays, when listening to the opening few bars of a track, to hear a voice that slices its way through such a riot of colour and effortlessly holds your attention. The smoky jazz vocals from PHOX’s Monica Martin provide a heavy, sultry coating to the glittering pop background that slides into clarinet interludes.

                                                    PHOX were born in Baraboo, where six unlikely musicians kindled their creative streaks, almost as a family. It’s with the bare, strippedback harmonies and subtle melancholy of the lyrics that show PHOX have created something totally enchanting and unique, captivating from the first listen and bringing a live audience to a mesmerised standstill.

                                                    FORMAT INFORMATION

                                                    Ltd LP Info: LP is pressed on 140g coke bottle green clear vinyl and featuring a digital download card which also includes the two CD bonus tracks.

                                                    Pierced Arrows

                                                    This Is The Day / Zip My Lip

                                                    Back in April the Glasgow record shop Monorail Music in partnership with Glasgow International commissioned a limited 7" by the Pierced Arrows to coincide with their debut Glasgow show and the UK Priemier screening of "Unknown Passage: The Dead Moon Story"

                                                    In the end the Pierced Arrows' Fred Cole had to have emergency heart surgery and thus the band were forced to cancel their trip.

                                                    Thankfully Fred is now making a speedy recovery and the 7" is now released!

                                                    Limited to 500, each hand-numbered 7" comes with paper insert, 2 flyers and a gig ticket for the now mythological concert and hand-stamped inner.
                                                    2 classic tracks recorded live in Austin, Texas by SPOT.

                                                    Massive repress of an all time acid classic on Chicago's Hot Mix 5! The acid master himself Pierre was deep into his lysergic groove when this was originally released in '89 with a string of forward thinking club monsters on Trax and International House, and this mindbending four tracker changed plenty of lives back in the day. Writhing 303 lines and a jacking rhythm track play host to the yearning male and female vocal duet. If you're planning on setting a peak time floor alight, then "Mickey's Mix" is the one for you, while the hazy "Acid Dream Mix" represents for the deep cats. On the flip, the "Wet Dream Mix" provides acid madness, while the accapella is a tantalising tool for the real jocks out there. 

                                                    The Posies


                                                      The Posies’ 1988 debut is back and bigger than ever! Little did Jon Auer and Ken Stringfellow know when they dropped off their cassette to Scott McCaughey (R.E.M., The Minus 5), the clerk at their favourite record store (who happened to do A&R for the indie label PopLlama), that a power-pop dynasty would begin. Originally released by the band on cassette, then issued on LP (with one track removed), and later on CD, Failure set the independent music world on fire.

                                                      Omnivore Recordings is proud to reissue this landmark album, complete with eight bonus tracks, including one available for the first time. Housed in a digipak, Failure contains the original 12 songs + bonus material from the highly sought after and out of print 2000 box set At Least At Last, as well as tracks from the Spanish only 15th anniversary edition + one track recently located in The Posies’ extensive archives. The booklet contains press clippings and essays from 1988, as well as updated messages from McCaughey and the band.

                                                      The original 12-track playlist is restored and available on vinyl for the first time since its original issue (and cut by Kevin Gray). The LP (initial pressing on coloured vinyl) also includes a download card for the entire CD program. While Auer and Stringfellow have continued on—whether as members of the reunited Big Star, as The Posies and as solo artists—the journey began at Failure. Step back in time and hear the future.

                                                      FORMAT INFORMATION

                                                      Ltd LP Info: Coloured vinyl on initial pressing.

                                                      Leeds indie / rock band Pulled Apart By Horses release their new 12 track album, the follow up to 2012's "Tough Love".

                                                      STAFF COMMENTS

                                                      Darryl says: Impressive melodic rock noise from this Leeds four piece. Swaying somewhere between Queens Of The Stone Age and Nirvana, Pulled Apart By Horses (along with current darlings Royal Blood) prove there's plenty of fun still to be had in the rifftastic RAWK arena!!

                                                      FORMAT INFORMATION

                                                      Ltd LP Info: Limited edition Indies Exclusive pink vinyl.

                                                      Pyramid Vritra

                                                      Palace EP

                                                      The new one from Odd Future affiliate Hal Williams aka Pyramid Vritra. 'Palace' is 6 tracks, in the concept of the record as the palace, a corridor of music, with each track representing a different room. His main goal was to shift the attention from the beats and focus on the storytelling in the vocals. Following on only six months from the release of his album 'Vitra' album, these deep, moody, soulful cuts are another feather in Williams' cap.

                                                      Can I get a BOOOGGGGGIIEEEE!!! Possibly the finest boogie disco gem in the West End back catalogue gets a tasty remaster and reissue for modern club play. Smooth and sexy as you like, "Do It To The Music", rolls along perfectly with a rubbery bassline and an array of sweet synthlines as those saccharin vocals soothe any troubles out your mind. For me the genius here is in the detail and those sax licks and chime melodies do it to me everytime. If you like your dancefloor a little trippier, then feast your ears on the Idjuts approved 'Dub Mix' on the flip. This is an absolute must have so don't miss out!


                                                      Caldera / DRGN2

                                                      Recondite marks his return to Hotflush with the epic, potentially summer-defining 'Caldera' and a sequel to his 2012 hit 'DRGN'. The Bavarian artist has undergone a dazzling rise since that time, and one which is reflected in the increasing opulence of his music.

                                                      'Caldera', with its dramatic arpeggios and crescendos, is unabashed big-field decadence. Bearing all the hallmarks on which he's made his name - space, subtlety, build, attention to timbre - over the course of 9 minutes it raises the temperature to white heat. 'DRGN 2' picks up exactly where its 2012 namesake left off; that is, with an arching melody played out over droning tones of insidious intent. Dark, imposing and elegant - this is Recondite at his most wicked.

                                                      Another KMS essential in the remastered reissue series, which sees Kevin Saunderson squeezing five tracks on one 12" - that's the way they used to do it back in 1988!

                                                      The Detroit techno classic "Rock To The Beat" comes in three versions; there's the original, with its monotonous female vocal (once heard, much repeated) and dark synth chords - you can hear the influence of European electrodance all over this. Plus remixes by Derrick 'Mayday' May, which cleans up the original and gives it a speed injection - hey, even that repetitive and seriously hooky spoken vocal has been given a less sullen, more angelic makeover). Lastly Mike 'Hitman' Wilson creates a mainstream house remix with a proper pop vocal. We're also treated to 'You're Mine', which lifts Joe Strummer's vocals from "The Magnificent Seven" and shoehorns in Rockers Revenge and that Robin Wants Revenge keyboard line hook, and 'Grab The Beat', an acid banger if ever there was one!


                                                      MTV Unplugged 1991

                                                        Released as a mega limited 4 LP set for Record Store Day, these two classic MTV sessions now get re-released as two separate double album.

                                                        MTV Unplugged 1991 includes early R.E.M. favorites ‘Fall On Me,’ ‘Radio Song,’ and ‘It’s The End Of The World As We Know It (And I Feel Fine).


                                                        MTV Unplugged 2001

                                                          Released as a mega limited 4 LP set for Record Store Day, these two classic MTV sessions now get re-released as two separate double album.

                                                          MTV Unplugged 2001 features ‘The One I Love, ‘So Central Rain (I’m Sorry),’ and ‘Losing My Religion.’

                                                          Simoncino is back on L.I.E.S. with his old school sounds paying homage to the innovators of the past and keeping the vibe alive. Moody and percussive with brooding basslines and strong melodies, these four tracks take the listener back to a forgotten time when the sound and unstoppable energy of this music was emerging and taking the world by storm.

                                                          'Abele Dance' is all rinky dink 808 cowbells, urgent bass and synth swooshes. Extra homage points go to 'Beyond The Dance', named after the Rhythm Is Rhythm track presumably. It's a dark and brooding Detroit style driver. 'Spirit Of Transmat' (OK Simoncino, we get the picture now; you love Detroit. You can ease up on the big arrows and flashing lights!) does exactly what it says on the tin. 'io Rhythm' goes for the lush synth washes in with the driving tech beats. 


                                                          Mean Love - Bonus Mix CD Edition

                                                          With roots in the rich musical history of North America as well as Africa, Sinkane provide a new perspective on what soul music is, and what it can be. Sinkane’s 'Mean Love' rolls like an emotional, existential history of the artist. Ahmed Gallab has created an altogether unique compound of sound, stylistically nostalgic and ultramodern at the same time. From Gallab’s childhood in Sudan there is a Pan-African influence of popular Sudanese music and haqibah, as well as distinct horn and synth arrangements more common to East Africa. This background merges with the lessons learned from Ahmed‘s stints with obsessive craftsmen such as Caribou, Yeasayer and Of Montreal, and especially the monumental task he underwent as musical director of ‘ATOMIC BOMB! The Music of William Onyeabor.’ Gallab excavated and arranged a treasure trove of lost classics from the West African synth-pioneer to put together a now legendary series of performances. 'Mean Love' is an album with an open door invitation, and gets deeper with every listen. You hear it right away in the blistering opening track, “How We Be”. An instant classic, sounding like a lost gem of soul funk, a sweetness of voice alongside honey bass lines, the tune grips you and makes you wish for a dancefloor, while enticing you to stay for the whole journey of the album.

                                                          FORMAT INFORMATION

                                                          LP Info: Includes 23 track bonus compilation CD while stocks last.

                                                          CD Info: Includes 23 track bonus compilation CD while stocks last.


                                                          Trip To The Moon EP

                                                            Taking their inspiration from the flickering magical early movie by Georges Méliès of the same name, this is not a soundtrack but four snappy instrumentals that take the listener on a different kind of trip. The Spaceheads sound, of Andy Diagram’s looped and harmonized trumpets propelled by the dynamic drums of Richard Harrison, is augmented on the first track by their good friend, and longtime Manchester musical maverick, Paddy Steer on bass.

                                                            Stupid Human / Space:Tricks

                                                            World Series One

                                                            Stupid Human returns to the vinyl world after a mind expanding journey to the furthest corners of the globe with his esoteric travelling companion Space:tricks. The duo come bearing gifts redolent with the sights, sounds and smells of four continents, gateways to another part of this earth. Stupid Human leads our tour with the bumping African boogie of "Zaire", a deep and rhythmic groove alive with round synth sounds and the glistening sounds of the kora. This bonafide classic in the making sees the producer back to his very best, and furthermore, is an original production, not an edit. Produced with a vintage outboard and analogue misdown process, the track has that warm and textured out the box sound circa 78. Mr Human then visits "Trinidad" for an playful and energetic off kilter meltdown of a track that references all the good stuff from the Caribbean. Sounding like Terje and Fela locked in a studio with a cabal of crazy percussionists "Trinidad" will have any crowd shaking like a Polaroid picture. Space:tricks transports us from the sand and sea of the Caribbean to the sun and swelter of India via a mystical tabla and bongo inspired psychedelic hustle, that'll lose you inside a haze of opium smoke. When he's got you nice and strung out, the producer floats you like a feather into the shisha dens and souk's of Istanbul's back streets with the languid beatdown of "Turkey". Exotic, melodic and vibrant, World Series is open for business.

                                                            Sun Machine

                                                            Tamaho Hitman

                                                            Fused over the summer of '13, the four piece made a rapid entry onto the London scene with their brash, bold and, as it reaches it’s giddy peak, strangely uplifting debut ‘Have You Seen It, It's Alive’. Evolving out of previous projects and collaborations the group combine a strong 60's pop-psych sensibility, inspired by the likes of Phil Spector and the tropical insanities of Os Mutantes, with wide sonic-jams and lush textures, articulating their vision with virtuoso and conviction. As their deranged and off-kilter new single ‘Tamaho Hitman’ makes quite apparent, this outfit are imbued with a life affirming and compassionate message; Sun Machine have arrived with every intention of shaking up the lethargy that swamps much of the current UK scene.

                                                            Tangerine Dream

                                                            Phaedra - Back To Black Edition

                                                              Originally released in 1974, "Phaedra" (a title which derives from Greek mythology) was Tangerine Dream’s first release for Virgin Records. The album peaked in the UK top 20 albums chart at number 15, remaining in the charts for 15 weeks. "Phaedra" has been credited as ‘one of the most important, artistic, and exciting works in the history of electronic music’ ( It was on this album that the Moog sequencer was used for the first time on a rock & pop record which is one of the many reasons why, since it’s initial release, "Phaedra" has also been described as having ‘passed into the lexicon of electronic music as a state-of-the-art showcase of embryonic music technology coupled with fearless innovation’ (Prendergast, 1984).


                                                              Terekke L.I.E.S Black Label EP

                                                              Quietly making his entrance into the club: Terekke once again delivering low key yet powerful, haze inducing productions. On this record he moves through various worlds, sometimes uplifting, sometimes nodding out - maybe even entering into the darker ambient side of the spectrum. Either way, these cuts are take you into the zone with no turning back.

                                                              Having hit the ground running with his recent debut on Delusions of Grandeur and a sell out string of quality releases on his own Shadeleaf imprint, thatmanmonkz brings his real and raw house sound to the essential Kolour LTD. The Sheffield producer serves up three immense cuts of deep, underground rhythms with that infamous "touch of soul" that is quickly becoming his own trademark. "Remember" kicks us off in jazzy fashion with subtle rhodes licks and smooth Glenn Underground-esque synths forming the perfect accompaniment for Pete Simpson's smokey vocals. "Stars" is the kind of playful shuffler that Gilles Peterson rightly goes wild for, richly textured with live sounding drums and warm bass tones. If you've been digging the Seven Davis Jr / Andrew Ashong / Al Dobson Jr / Reggie Mamode sound, then this one will jump right to the front of your record bag. The EP closes with "Lullaby", for me the standout track, combining subtle music box melodies with rough and gritty production, while a dubby bassline and off kilter rhythm get you swaying.  Glenn Astro rounds the set off with a restrained and organic rework of "Remember", which takes a detour from the dancefloor, instead heading to the blue lights of the inner city jazz club.

                                                              FORMAT INFORMATION

                                                              12" Info: Limited Electric blue wax

                                                              Irrepressible Portuguese producer Tiago loads up the hardware, software and kitchen sink as he lights the blue touch paper under this latest release on Interzona 13. This time round, the producer throws a couple of curve balls that'll have your head spinning like a Catherine Wheel as he explores the more experimental side of his diverse sound. Opting for Sem Titulo (Untitled in Portuguese) on three of the cuts here only adds to the mysterious nature of the sonic treats within and makes it a bugger to review! The A1 is a deep and immersive tech house cut which places you right in the midst of the hollow paranoia of a K-hole. A simple and steady beat measures time as you struggle to make out the faint and distant echoes of discordant tones and textures awash with reverb. From there we move on to the menacing rumble of peak time exertion as Tiago engages in a little sampler abuse packing his solid beat with bleeps, cheers and screams collected from a career behind the decks. The classic bassline drives the track ever onwards as we savour the sweet sweat of dancefloor hedonism. Flip the disc for the melodic and atmospheric "Toic", a mid tempo mover with a trippy techno vibe and an esoteric sound palette, perfect for powering out the speakers on any outdoor stage. The EP closes in off the wall fashion with the swirling and whirring madness of the B2. Latin melodies, scuzzy samples and a shuffling bassline all merge with queasy, uneasy brilliance. Present, as always are the deft rhythm sections and powerful arrangements, as subtle elements of Disco, Techno & New Wave provide the bedrock for his trademark off kilter melodies and soundscaping. The darker underbelly of club life may well be the inspiration, but the mood and execution are pure Tiago!


                                                              Picture You Staring - Bonus Disc Edition

                                                              Tops are a four-piece band from Montreal, equal parts girls and guys, delivering a raw punk take on AM studio pop. Their new record, 'Picture You Staring', is a lush array of timelessly crafted songs.

                                                              'Picture You Staring' gathers strength through intimacy. Self-written, recorded, produced, and the result of 12 months holed up in Arbutus Records' Montreal office-space turned studio, this album contains 12 impeccable examples of pop craftsmanship that will reward repeat listeners.

                                                              Singer Jane Penny gives a voice to the silent girl at the edge of the circle, disillusioned but honest and unpretentious, a tone complemented by David Carriere's seamless guitar playing and the measured drumming of Riley Fleck. TOPS' songs are delivered with a cool restraint that blend with the individuality and self-assured desire of their female lead.

                                                              David and Jane met in middle school, but didn't stay in touch until they reunited in Montreal where they've been collaborating since 2009. Unintentionally initiating a pop music scene in Montreal, their strange homemade recordings have gained an international following. In 2011 they joined Riley Fleck and started jamming at the loft space La Brique where they wrote and recorded their first record, Tender Opposites. TOPS continue to engineer and produce their own records and make their own videos in collaboration with fellow artists and filmmakers. In opposition to commercially driven pop music, TOPS pursuit lies in creating moving songs that succeed earnestly, disregarding trends and myth-making.

                                                              Jane, David and Riley have equal footing with their respective instruments and their sparring exceeds the imagination of any individual. For their new record TOPS have enlisted Madeline Glowicki to play bass. Like Jane and David, Madeline grew up in Edmonton, Alberta and went to the same elementary as Jane. A natural musician, and contributor to the Editorial magazine, the band are happy to have another prairie girl on board. LA based painter Jessica Dean Harrison created the artwork especially for the release. It is a conceptual interpretation of the record's title, continued in a large poster depicting a group scene, included with the purchase of a vinyl record. If you'd like to learn more about Riley, pre-order the album on iTunes and you will receive an informational PDF created by his bandmates that depicts his growth and development into a man.

                                                              STAFF COMMENTS

                                                              Darryl says: Soft focused and dreamy balearic indie-pop with breezy female vox and lush instrumentation. One for fans of Saint Etienne.

                                                              FORMAT INFORMATION

                                                              LP Info: Includes a three track bonus (CD) disc.

                                                              CD Info: Includes a three track bonus (CD) disc.

                                                              Finally, a new deep cut from Melbourne’s visceral post-punk band Total Control. Typical System, their second LP, was written, recorded, created over the past two years and is set for US/Worldwide release via Iron Lung Records
                                                              Total Control emerged from Australia’s dynamic punk scene in ’08, releasing a succession of 7”s that developed from an aggressive post-punk band sound to studio forays into electronic forms from minimal wave to house. Their debut LP, Henge Beat, was commended as one of the few records released in 2011 that evaded the ease of classification and competent tribute act status of most modern bands.

                                                              Subsequently, they have released three very different records: a split 12” with Thee Oh Sees, a 7” single on Sub Pop and a house remix 12”. Typical System develops on the incongruent demands of their debut LP and ensuing releases, a further development on their continually evolving sound.

                                                              Giegling mainstay Prince Of Denmark adopts his Traumprinz moniker once again for four cuts of atmospheric techno and melodic house. The EP opens with the understated and melancholic "Messed Up Jam", a rattling and rhythmic piece of electronica scattered with discordant keys. From there Traumprinz picks up the pace with the analogue house thump of the Fingers-esque "All The Things". A rock solid 4/4 hammers away while that circular bassline rolls on, laying the perfect foundations for the subtle keys and soulful vocal samples. This is a proper tune! Flip the disc for the mellow soundscape techno of "I Gave My Life" which sees the producer top a grainy shoegaze drone with gentle guitar and an emotional spoken word sample. The calm melodies and pulsing rhythm could keep you hooked for days. The EP finishes with a fine cerebral massage courtesy of the beatless "Let It Go", a sci fi lullaby which puts you into a deep and blissful sleep.

                                                              FORMAT INFORMATION

                                                              12" Info: 12" comes with printed outer sleeve covered in printed tracing paper wrap.

                                                              Tuk Tuk

                                                              Chambray Record Shopper Tote

                                                                Lovely new chambray (that's denim to you and me) tote bag from the good folk at TukTuk.

                                                                The main compartment is big enought to carry your 12" vinyl purchases, and there's also a 7" pocket on the front for those few cheeky sevens you've picked up too.

                                                                The main compartment has a magnetic stud fastening, and there is a phone pocket and zip pocket for all your other bit's and pieces, both in lovely check fabric (like the linings in their leather record boxes).

                                                                It has nice long handles, big enough to sling it over your shoulder, but not so long that you can't carry it in your hand.


                                                                The Up Tights

                                                                That's The Sound Of My Heart / That's What I Get

                                                                Previously unreleased KILLER northern soul dancers! From the long-forgotten archives of Alley Records from Arkansas, Soul7 have unearthed a batch of awesome raw 60s soul from Ike Noble and the Up Tights! The label have cooked up two killer 45s and a long player out of this incredible find, and first up is 'That's The Sound Of My Heart' - a raw and infectious, up-tempo feel good 60s Midwestern dancer with menacing horns and driving guitar rhythms. And if you like the A-side then then you'll love the flip! 'That's What I Get' has scorching vocals over positive, pounding 60s Northern instrumentation. What a find! When these are gone they're gone - floor packers today and collectors items tomorrow!

                                                                The Up Tights

                                                                There's Gonna Be A Better Day Coming / How Long Must I Wait For You

                                                                Previously unreleased KILLER northern soul dancers! From the long-forgotten archives of Alley Records from Arkansas, Soul7 have unearthed a batch of awesome raw 60s soul from Ike Noble and the Up Tights! The label have cooked up two killer 45s and a long player out of this incredible find, and second on their hit list is 'There's Gonna be a Better Day Coming' - the "NOW Sound" of priceless, supple 60s Northern soul first covered up and broken at Lifeline! Flip it for 'How Long Must I Wait For You' - dreamy and melodic, spine tingling sweet 60s soul number - Northern at its finest. On limted 45 or check out the LP - coming soon!'

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