MAGIC MIX

ALL GENRES

WEEK STARTING 20 Apr

AIAIAI

TMA-1 X Headphones

    The AIAIAI TMA-1 X are democratically designed, closed headphones for DJing, monitoring and mobile devices. They feature a dynamic and balanced sound, suitable for all types of music.

    Inspired by the award-winning design of the AIAIAI TMA-1, the TMA-1 X makes a lighter addition to the existing TMA-1 range. Intended for both professional and everyday use, the headphones have an all-rounded, articulate and balanced sound.

    Designed with comfort and portability in mind, they feature a minimalistic headband and a unique capsule design, which makes them an attractive and lower-cost alternative to the TMA-1 DJ or TMA-1 Studio.

    Easy to walk with and use everyday, the TMA-1 X are versatile headphones for producing, DJing - or just enjoying great music.

    Technical Specifications

    Transducer Principle: Dynamic, Closed
    Driver Unit Size: 40 Mm
    Impedance: 34±15% Ohms
    Frequency Response: 20 - 20.000 Hz
    Total Harmonic Distortion: <0.1%
    Sensitivity: 102 3dB
    Maximum Power: 70 mW
    Microphone Sensitivity: -42dB 4dB
    Microphone Directivity: Omni-Directional

    Robert Aiki, Aubery Lowe & Ariel Kalma

    FRKWYS Vol.12 - We Know Each Other Somehow

    'We Know Each Other Somehow' is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by Robert Aiki Aubrey Lowe and Ariel Kalma. In the four decades since Ariel Kalma’s debut album, the privately pressed 'Le Temps des Moissons', the French-born Kalma musician has circulated corners of culture now legend: intrepid excursions as a spiritual explorer through India and New York in the 1970s, a studio staff position at the Groupe de Researches Musicales (Pierre Henry’s famous music concrete laboratory at INA studios), and training with music / mind / meditation institute Arica. The genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowe’s first release under his own name, the widely regarded full length 'Timon Irnok Manta', released for Type in 2012. The album paired two strobing, drone-oriented pieces in an uncategorizable combine of ambient synthesizer-music and pulsing rhythms. Lowe also performs his vocal-based compositions as 'Lichens' and is a frequent collaborator with Om and Nurse With Wound. Chance travel landed Lowe and Kalma in San Francisco at the same time shortly after the collaboration idea was seeded. Upon meeting, Kalma was endeared by Lowe’s unique set-up, a portable modular synth unit housed in a vintage luggage case. Kalma recalled his own adventures when he traveled with just a Revox tape-delay machine and saxophone. Plans were soon settled to record in Kalma’s home studio in Main Arm, a remote community on the eastern Australian coast, around Lowe’s serendipitous tour dates with Om. The pastoral life that Kalma had settled into eons earlier vastly informed the character of the recording. Similarly mined by Ariel Kalma in his 1978 album 'Osmose', itself a collaboration with sculptor Richard Tinti, field recordings are embraced throughout 'We Know Each Other Somehow' as a key harmonic and timbral element with which to adorn. Described by Lowe in the liner notes as the “collective voice,” these birdsongs, creeks, tributaries and other ambient sonics of Main Arm appear throughout the album in processed and pure form. Wind instruments and signal sources are modulated, modified and sustained ad infinitum, cohering the choir of mother earth with the collaborators’ own. 'We Know Each Other Somehow' is accompanied by a feature length exploratory documentary based on the collaboration. Titled Sunshine Soup and directed by multitalented designers / artists Misha

    Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma. Following up his 2014 archival collection 'An Evolutionary Music (Original Recordings 1972 - 1979)', Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, 'We Know Each Other Somehow' shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.


    FORMAT INFORMATION

    2xLP Info: LP+DVD.

    Since the release of the Athens, Alabama group’s critically acclaimed 2012 album ‘Boys & Girls’ which has sold over a million copies worldwide, the band have been nominated for a Brit and Q Award, contributed music to the Oscar-winning films ‘Twelve Years A Slave’, ‘Dallas Buyers Club’ and ‘Silver Linings Playbook’, performed at The White House alongside Mavis Staples and Justin Timberlake for Barack and Michelle Obama, and become one of the most celebrated live acts in the world having delivered unforgettable performances everywhere from Jools Holland to the main stages of festivals including Glastonbury. They have also just been announced as the Friday night headliners of this year’s Great Escape Festival.

    ‘Sound & Color’ demonstrates the tremendous strides made by a group of twenty-something musicians who had only been playing together for a few months when they recorded their first album. From the gently swaying, chiming title song to the garage-rock freak-out on “The Greatest” to the psychedelic space jam “Gemini,” ‘Sound & Color’ builds on Alabama Shakes’ soulful blues-rock base and maps a surprising, innovative new direction. 

    “We took our time to write this record, and I’m really glad we did,” says lead singer/guitarist Brittany Howard. “We were able to sit down and think about what’s exciting to us. This record is full of genre-bending songs.”

    ‘Sound & Color’ was recorded at Nashville’s Sound Emporium studio. The band co-produced the album with Blake Mills—a young guitar wizard who has played alongside Lana Del Ray.

    FORMAT INFORMATION

    2xLtd LP Info: Limited edition clear vinyl, etched on side 4.

    Alabama Shakes

    Sound & Color - Limited Clear Vinyl & 7" Bundle

      Limited edition clear vinyl, etched on side 4, bundled with limited edition 7".

      Since the release of the Athens, Alabama group’s critically acclaimed 2012 album ‘Boys & Girls’ which has sold over a million copies worldwide, the band have been nominated for a Brit and Q Award, contributed music to the Oscar-winning films ‘Twelve Years A Slave’, ‘Dallas Buyers Club’ and ‘Silver Linings Playbook’, performed at The White House alongside Mavis Staples and Justin Timberlake for Barack and Michelle Obama, and become one of the most celebrated live acts in the world having delivered unforgettable performances everywhere from Jools Holland to the main stages of festivals including Glastonbury. They have also just been announced as the Friday night headliners of this year’s Great Escape Festival.

      ‘Sound & Color’ demonstrates the tremendous strides made by a group of twenty-something musicians who had only been playing together for a few months when they recorded their first album. From the gently swaying, chiming title song to the garage-rock freak-out on “The Greatest” to the psychedelic space jam “Gemini,” ‘Sound & Color’ builds on Alabama Shakes’ soulful blues-rock base and maps a surprising, innovative new direction.

      “We took our time to write this record, and I’m really glad we did,” says lead singer/guitarist Brittany Howard. “We were able to sit down and think about what’s exciting to us. This record is full of genre-bending songs.”

      ‘Sound & Color’ was recorded at Nashville’s Sound Emporium studio. The band co-produced the album with Blake Mills—a young guitar wizard who has played alongside Lana Del Ray.


      This week we've got another batch of Armando magic lifted out of house music's back pages and freshened up for the modern dancefloor. Originally released in 1989, through lesser known Trax sub label Housetime, "Overload" was hampered by a frankly abysmal pressing full of pops and crackles which got in the way of the club energy somewhat! Now remastered and pressed on pristine wax, the full force of these minimal and jacking Chicago house cuts can be felt for the first time. Across its three variations, "Overload" hits us with a primitive and tribal drum machine rhythm while malfunctioning synths fizz and bleep under the influence of Muzic Box acid. "Maximum Overdrive" keeps the vibe going on the flip, rolling along through the lysergic sludge, while "Dance With Me" ramps up the tempo and romps through a little proto-filter house. Act quick or you might have to wait another twenty five years for the chance to grab a copy!


      Bad Company

      Bad Company (Deluxe 180 Gram Vinyl Edition)

        Bad Company has helped shaped the sound of an entire rock era with iconic powerhouse rock anthems and popular ballads. Having unearthed the original multi-track tapes and discovered previously unreleased tracks, takes, and mixes the band has remastered their first two albums to create new Deluxe Editions.

        Singer, songwriter and multi-instrumentalist Paul Rodgers, along with guitarist/songwriter Mick Ralphs, bassist Boz Burrell, and drummer Simon Kirke recorded the band’s eponymous debut in November 1973 using Ronnie Lane’s mobile studio at Headley Grange, the former poorhouse where Led Zeppelin recorded frequently. When Bad Company was released the following year, the album went to #1 in America during the band’s first U.S. tour and was eventually certified 5x platinum thanks to hits like “Can’t Get Enough,” “Bad Company,” “Ready for Love,” and “Movin’ On.”

        The second disc of the Deluxe Edition features 12 tracks, including eight previously unreleased recordings such as the demo for the ballad “The Way I Choose,” a take of “Bad Company” recorded right before the album version, and an unedited version of “Superstar Woman,” a song that Rodgers later recorded in 1983 for his solo album Cut Loose. Also featured is the single edit of “Can’t Get Enough,” and the B-sides “Little Miss Fortune” and “Easy On My Soul.”

        8 of the 12 bonus tracks are also on the second disc of the 2LP format.

        FORMAT INFORMATION

        2xLP Info: Double 180 gram vinyl.

        Bad Company

        Straight Shooter (Deluxe 180 Gram Vinyl Edition)

          Bad Company’s second album Straight Shooter was released in April 1975, 40 years to the month of the new deluxe edition. The album rose to #3 on the U.S. album chart and was certified 3x platinum behind the hit singles “Feel Like Makin’ Love” and “Good Lovin’ Gone Bad” as well as the rock radio staple “Shooting Star.”

          Of the 14 bonus tracks, all are previously unreleased except the B-side “Whiskey Bottle.” Among the standouts is a stripped-down version of “Shooting Star,” a remix of “Good Lovin’ Gone Bad” with alternative guitar and vocals tracks, as well as two lost gems, never released before: “See The Sunlight” and “All Night Long.”

          8 of the 14 bonus tracks are also on the second disc of the 2LP format.

          FORMAT INFORMATION

          2xLP Info: Double 180 gram vinyl.

          Frank Booker

          Down In The Basement Volume 1

          New Zealand's foremost crate digger Frank Booker launches his brand new label, Down In The Basement, in typical classy fashion with a superb inaugural offering. What you get is four top quality Booker jams that will grace any dance floor and which cross the boundaries of funk, disco, soul and house music. Never one to over complicated things, FB cuts straight to the essentials of each track and rides them in the mix, while dropping his trademark DJ friendly FX. On the A1, Frank delivers a dislocated bit of disco for the punk-funkers and NYC crowds, decorating a bare bones rhythm section with the occasional blast of echo drenched wah guitar and muffled vocals, while the A2 sees the pace drop to a syrup strut as the Kiwi producer works the filter well over a squelchy bit of slo mo funk. On the flip, things get deep and tribal with a well worked edit of Supermax's afro-cosmic classic "African Blood" before a full throttle psychedelic disco journey courtesy of Dogs Of War and "Space Conqueror".

          Essential stuff as ever from The Man Called Booker.

          The Budos Band

          Magus Mountain / Vertigo

          'Magus Mountain' opens with the chords of an acid-soaked troubadour, the guitars wavering harmony summoning the band into position. Thunder strikes in the form of hammering drums, and the journey to 'Magus Mountai'n begins!

          The song rollicks along, and its clarion horn lines are the fanfare for this wild romp into a mix of 70s rock influences. The Budos Band delivers you to the peak of their creative forces on thus track, and the view from the summit of 'Magus Mountain' is a wonder to behold. On the flip fuzz combines with tremolo, brass and organ for a blazing cinematic psych-funk instro.


          For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 13th via City Slang, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

          Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burnsʼ brother John Burns lent a hand to some lyrics and songwriting, and the bandʼs keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.


          FORMAT INFORMATION

          2xLtd CD Info: 12 track CD plus 6 track bonus CD.

          2xLtd LP Info: 2x180g heavy vinyl: 12 track album (blue vinyl) & 6 track bonus (turquoise vinyl) with etched B-side.

          Cheena

          Cheena

            The five members of Cheena – Walker Behl, Margaret Chardiet, Keegan Dakkar, Logan Montana, and Eugene Terry--were all born and raised in New York City and have all cut their teeth in its musical underground. The band formed in 2014 out of their shared affinity for ’77 punk and a mutual respect for Mercer Arts-era NYC early glam and West Coast country punk. They were all friends playing the underground punk circuit, each with the desire to form a band outside of their own genre niches.

            Appropriately, then, Cheena finds all five of its members stretching out of their usual comfort zones. Behl’s historically shrieking vocals are replaced with a more harmonious call, Chardiet trades the PE table for a fire engine Gretcsh Special Jet Fender twin combo. Montana taught himself to play slide guitar, Jeffrey Lee style. Dakkar tries out a thundering post-punk bass and Terry, a multi-instrumentalist, settles on drums, forcing himself to play at least two measures slower than any of his previous projects. Spectacularly, the result is a sonically coherent group who sound as though they’ve been playing together for years.

            Citing wildly diverse influences-- Gary Glitter, Slade, uppers, cartoonish depression, Iggy Pop, 70’s iron on font, Sex Pistols, booze and Hawkwind-- their unifying theme is defiantly one of late ’70s proto-punk. Eschewing the genre boundaries in which their other projects are so deeply entrenched, the band manages to channel a pre-internet spirit painfully non-existent in this age of Tumblr fashion and Discogs record collectors.

            Manchester / High Peak based dream pop outfit come correct here with their debut album. "Spinnerets" is the result of two long years of tenacity, tantrums, tea and occasional tardiness. During the process the band lost two band members, one recording studio and countless hairs - but gained a sparkle pop gem of a debut album. Throughout its ten tracks a state of woozy reverie ensues. There's a hypnotic quality running through the album, from opener "No Day To Save"'s sumptuous strings and horns through to "Man-Made"'s soothing one note coda. Along the way, the band meticulously weave in threads of dynamic swoops and soars, such as the analogue breakdown of "Bound To Fail" and the guitar driven fuzz of "Yoruba", to ensure consciousness is never fully surrendered. Spinnerets was recorded and produced by the band themselves in various bedrooms, living rooms, bathrooms and in their former studio above a barber shop. An arsenal of vintage synths, rock 'n' roll guitars, children's toys, worn-out woodwind and old mahogany desks was deployed - anything that hit the musical target made the cut. Trumpet supreme Ben Dumville also adds blissful brass to "No Day To Save" and album centrepiece "Present Company". Coves & Caves have crafted a debut album of shimmering soundscapes, irresistible melodies and enigmatic lyrics. A steadily spinning web of a record that captures the heart and refused to let go.

            STAFF COMMENTS

            Martin says: Beautifully gracious, dreamy and full of varied instrumentation, this is the soft, gentle side to Manchester's snotty-nosed, hard-edged underbelly. Coves & Caves lift us aloft the dirty, rainy streets and into technicoloured bliss clouds of pop-like sensibility.

            Darkness Falls

            Dance And Cry

            Justly feted for their debut album ‘Alive in Us’, a string of exquisite live performances and the single ‘Hey!’ - the most played tune on Danish radio in 2011 - Copenhagen-based duo Darkness Falls return with ‘Dance And Cry’, an album of atmospheric pop noir that - even this early in the year - will surely stake a claim to be one of this year’s musical highlights.

            Defying convention, Josephine Philip and Ina Lindgreen effortlessly blend a host of rock and pop influences, the textures and structures of electronic dance music and the haunting atmospheres of arthouse cinema soundtracks to produce an album of deep longing and icy cool, all drawn together by impeccable vocals that embody a decidedly glamorous melancholy. It’s an album that will tick all the boxes for a diverse range of listeners; as they themselves put it: “In our music, there is something for the mind, something for the heart and something for the feet too.”

            From the plangent drama of ‘Liar’s Kiss’ to the electro-tinged instrumental of ‘Thunder Roads’ via the pop drama of single ‘Hazy’, simply everything is a highlight. Forthcoming single ‘Dance And Cry’ best captures the album’s emotional core, a scene from an urban life tinged with loneliness and heartbreak but also the empowerment that comes from living life to the full. As its title suggests, it’s not a question of either / or but rather both. ‘Dance And Cry’ is a dizzying whirlpool, drawing in a dazzling array of influences: The Jesus And Mary Chain, Cocteau Twins, Kate Bush, Nite Jewel, bedroom pop, widescreen expanses, basement rock, church choir ethereality; each listener will bring their own personal touchstones and inspirations to mind.

            ‘Darkness Falls’ was traditionally a phrase used in old plays, shorthand for indicating the ending of a scene: the moment where the drama is given over to you, to hold, to contemplate, to languorously enjoy. ‘Dance And Cry’ couldn’t be more fitting in these terms: an album of great richness in which you’ll want to immerse yourself.

            ‘Dance And Cry’ will be released on hfn music with the brilliant artwork of multi award winning Peter Funch, a Danish, New York-based photographer / artist, while all of the songs have been produced by the band with Adrian Aurelius (The Raveonettes) and Lasse Martinussen (Rosemary), except ‘Hazy’ which was produced with Anders Rhedin (Dinner, Choir Of Young Believers).

            Nervous dig up another NYC classic from their extensive vaults here, delivering the first ever vinyl repress of William Rosario's "My Love" originally released in 1992 under his The DAT Project alias. Getting straight down to the nitty gritty on the title track, Roasrio dishes out a skipping, bouncy NYC rhythm complete with organ vamps and mellow keys, then slowly introduces a wavering synthline and some spiritual vocals. "O'ww Baby" works with the same sound palette but takes a deeper and darker route into the post peak, looping a high pitched vocal into an ever present texture and working the M1 organ to perfection. Flip the disc for stone cold house killer "C'mon Sweat", the standout cut on a top notch EP. Rosario unites a superb bassline, scuttling percussion, tight keys and a belting little vocal sample to create a tailfeather shaker that perfectly treads the fine line between ballroom and basement. How better to cap off a quality release than with a little hit of new jack swing on the hip hop sampling magic of "Clap Your Hands"! NYC in the house!


            Etienne De Crecy

            Follow / Family

            In true 'Super Discount' tradition Etienne De Crecy's third volume in the record series now comes spread across an incredibly limited (300 of each) set of four 10" singles, each with different sleeves that, when put next to each other make up the 'Super Discount' logo. 

            On this fourth part of the 10" quartet we're treated to the slo-mo disco-house slinker 'Follow' featuring vocals by American singer Kilo Kash, which lifts off with an arpegiated, synthy mid-section - sweet. Flip it for 'Family', another filter disco-tinted number with grimy spoken vocal by Baxter Dury with an uplifting female vocal chorus as counterbalance.




            Etienne De Crecy

            Sunset / Smile

            In true 'Super Discount' tradition Etienne De Crecy's third volume in the record series now comes spread across an incredibly limited (300 of each) set of four 10" singles, each with different sleeves that, when put next to each other make up the 'Super Discount' logo. 

            This third 10" opens with 'Sunset', a sluggish, chugging electroid disco-house number featuring a vocal by Tom Burke of Citizens! fame. Flip for the more upbeat 'Smile' featuring longtime 'Super Discount' collaborator and fellow French touch innovator Alex Gopher. This is a typically breezy SD acid-tinted disco-house instrumental that is simplicity itself.

            Etienne De Crecy

            WTF / Hastag My Ass

            In true 'Super Discount' tradition Etienne De Crecy's third volume in the record series now comes spread across an incredibly limited (300 of each) set of four 10" singles, each with different sleeves that, when put next to each other make up the 'Super Discount' logo. 

            Number two in these tens opens with 'WTF', which takes its cues from the electro end of the French house spectrum (Daft Punk etc), laying down a funky cowbell-clanked groove, dropping a vocoder (Autotuned) vocal chorus and getting Pos & Dave from De La Soul to supply some rapping. The massive single 'Hashtag My Ass' follows on the flip in equally electroid fashion, with a robot rap and sassy, slurred shout of the song title. 




            Etienne De Crecy

            You / Cut The Crap

            In true 'Super Discount' tradition Etienne De Crecy's third volume in the record series now comes spread across an incredibly limited (300 of each) set of four 10" singles, each with different sleeves that, when put next to each other make up the 'Super Discount' logo. 

            First up on these 10" EPs is pop-house track 'You' featuring vocals by Cults frontwoman Madeline Follin, synth panpipes and a smooth but jerky electrodisco backing track reminiscent of 'Can't Get You Out Of My Head'. We're treated to 'Super Discount 3' album opener 'Night (Cut The Crap)' on the B-side, a mid-tempo synth-riffed electrohouse number complete with Eastenders doof-doof syndrums.

            Doldrums

            The Air Conditioned Nightmare

            ‘The Air Conditioned Nightmare’ is the new album by Doldrums. The title was spawned by Henry Miller upon his return to the US after ten years as an expatriate.

            ‘The Air Conditioned Nightmare’ is the anticipated second album by Doldrums, the band led by 25 year old musician Airick Woodhead. On the follow up to his 2013 debut ‘Lesser Evil’ (which yielded tours with Unknown Mortal Orchestra, Crystal Castles, Grimes and Purity Ring and remixes for Peaking Lights, Grimes and Portishead), the DJ, producer and performer makes a sizeable leap from being darling of the Montreal warehouse creative explosion that gave the world the likes of Grimes, Majical Cloudz and Blue Hawaii to being a standalone artist and composer on the cusp of something quite special.

            Doldrums apply a punk rock ethos to electronic music, creating songs using samplers and DJ gear in place of guitars. Bold, anxious, dreamlike, uplifting, glacial, hypnotic, constricting, expansive, alien - this is an album that is ever-changing. “Conflict is at the heart of this album,” explains Airick. “There’s a lot of paranoid sentiment and dystopian imagery in there. The threat of a mundane reality ties it together, as does an obsession with plasticity. Songs come from specific feelings or images. Anxiety is my default state.”

            ‘The Air Conditioned Nightmare’ is an album of texture and taste, an extra-sensory overload. Weaving through the mix are Woodhead’s androgynous, tweaked vocals singing lyrics like voices down broken phone lines. This is music born of the 21st century.

            ‘The Air Conditioned Nightmare’ is an album that is punk rock in its DIY beginnings and militant commitment to originality. Ten snatched seconds is enough to pull you in. Ultimately, The ‘Air Conditioned Nightmare’ stands alone. Doldrums have created something special. You need to hear it.

            FORMAT INFORMATION

            LP Info: Comes with a limited edition 7" while stocks last!

            Eccentrics Edits

            System, New York, The Beginning, The End

            After lighting up the Peckham nightlife over the last three years Eccentrics take the step from throwing parties to putting out records. Saving up the profit from their sold out nights with the likes of Andi Hanley, Piers Soft Rocks, Phil Mison and Bill Brewster, Mark and Will teamed up with regular party goer Sanky to spread their musical message to a broader audience. Sleazy euro synth pop killer "System" kicks us off in fine fashion, proudly wearing its laissez- faire attitude in those Simmonds drums and quirky analogue keys. Sanky and Mark have added very slight additional production to extend and deliver a great version of this soon to be classic. Next up, "New York" takes us on a journey of melodious intrigue that wouldn’t sound out of place at an 'alleged' Dominic Strauss Kahn sex party. Cosmic chug at its finest, the stepping bassline will keep you bouncing while those far out leadlines work their magic. On the flip, the lightly psychedelic "The Beginning" delivers a warm balearock groove which drops into a dubbed out island breakdown before coming up for air at the last, prompting some sunkissed euphoria no doubt. Last but not least, "The End" is a downtempo-slap-bass-funk-rock-head-nodder that your university professor probably jumped around to in his teens. Don’t waste any time picking this up as it’s likely to be gone very quickly.

            In May 2014 Eels embarked on an ambitious 53 show world tour. Starting in Phoenix, Arizona and crossing The United States and Canada before rolling through mainland Europe and Great Britain, the band performed spine-tingling shows at New York’s Apollo, Chicago’s Vic Theater, Los Angeles’ Orpheum Theater, The Montreux Jazz Festival and The Amsterdam Concert Hall, among many others.

            On the night of June 30 Eels returned to London’s legendary Royal Albert Hall for the first time in nine years to play a stunning show that was filmed and recorded.

            FORMAT INFORMATION

            3xLtd LP Info: LP format features purple vinyl and includes DVD, poster
            and digital download.

            Hot on the heels of their scorching track “Young Ones”, unveiled at the end of 2014, comes a storming EP which will surely consolidate Formation’s place as one of the most vital and exciting new talents around today.

            A physical only white label release last summer first heralded the arrival of the South London twin brothers, a blinding mix of Dinosaur L, vintage ESG and early DFA that they are quite clearly now streamlining and honing to sleek, seamless perfection on this, their debut EP. Title track “Young Ones” is a belting clarion call to the dancefloor, a vigorous, percussive workout which conjures the ghosts of punk funk greats such as Liquid Liquid and The Rapture. The dreamy “Take it All Away” and hypnotic “No Great Change” however, mark a surprising change of pace, slowing down the tempo and weaving a gorgeous, melancholy spell over the listener.

            But it is with the closer “Back Then” that Formation flex the sheer diversity of their influences. An infectious, elastic track, it twins the rhythmic drive of the snare with warm organ tones, harking back to the pulsating roots of Northern Soul while also looking defiantly forward, transcending an array of genres while still maintaining their own very distinct identity. 


            Fu Manchu

            Daredevil (Remastered)

              Originally formed in 1985 as a Black Flag-influenced hardcore punk band called Virulence, Fu Manchu has since become one of hard rock’s most celebrated names. The band released its first single “Kept Between Trees” in 1990 and in the years following, helped give rise to a celebrated style of heavy music tagged “stoner rock” alongside peers such as Kyuss, Monster Magnet and Sleep.

              Since its inception, the quartet has built itself a fanatical army of loyal enthusiasts all drawn to the group’s ridiculously catchy, unpretentious music, guitar-driven sound and carefree lyrics centered on “old muscle cars, choppers, vans, skateboarding and science fiction” “Daredevil” was originally released on the now defunct Bongload label, followed up by a re-issue on Cargo’s own Sweet Nothing Records and now gets a digitally remastered re-issue on the bands own label At The Dojo. 

              "A transcendent distillation of Seventies rock heaviness and Eighties punk aggression...what Black Sabbath would sound like with suntans and a fleet of dune buggies at their disposal…the ultimate desert-rock " - ROLLING STONE. 

              Brimming with creativity, “Fluff” is the debut album from singer-songwriter Andy Gabbard (Buffalo Killers). This is “Modern Grunge Fuzz Pop with 60’s aura”. On “Fluff” you can hear the deeply-solid effects of the grunge genre and mid-90’s ‘alternative music’ in a sonic gestalt. Exhibiting characteristics of fairly recent genres, as well as some classics that surrounded him during his youth, the album breaks barriers of seemingly comfortable, unthreatening music cultivating a physical embodiment of Nirvana, Dinosaur Jr, latter Beatles and even Brian Wilson! Buffalo Killers continue their successful run and now, it’s not running alone. “Fluff” is the start of something great. 

              Slaves to no-one but their own psychic co-ordinates. Gnod continue their fearless voyages down pathways unknown. Operating from their base camp of Islington Mill - a venue, art-space and liminal zone in Salford - the band have stubbornly pursued their own free-flowing aesthetic since their formation. ‘Infinity Machines’, their fifth release for Rocket Recordings, and the latest for this prolific outfit in a vibrant and diverse history, is no less than a pinnacle of achievement for a band who exist beyond all or any reductive genre pigeonholes, not to mention beyond the constraints of the everyday.

              A triple-album, it explores a unique vision informed by experimental élan and metaphysical intensity. In an era in which the word ‘psychedelic’ too often tends to signify a reductive and retrograde rag-bag of second-hand shapes, it was in Gnod’s nature to forge forth in search of new and expanded sonic terrain. At first, this led them to pursue a purely electronic sound in the live arena, yet as they knuckled down to chronicle this expansion and experimentation for posterity, it became clear that a mixture of live instrumentation and binary audial research would be the path that would prove most fruitful. Thus began the process that would ultimately produce these recordings, and a far-reaching mission which would result in uncanny crepuscular atmosphere locking horns with sinister electronic intensity.‘Infinity Machines’ traverses between and beyond a variety of different headspaces from the bleak to the beatific – yet whilst touching on nocturnal jazz, soothing yet unsettling ambience, menacing aggro-industrial battery and opiated bliss-out alike, it’s shot through with an undercurrent of fiery countercultural zeal and small-hours revelation, as if the hive-mind of their home collective had manifested itself on six sides of wax.

              Tracks were put together from an initial blank canvas, and as the band themselves emphasize, “We got pretty tactical in the approach. We have certainly noticed that the emphasis has shifted from full on ‘throw everything at it’ Gnod vibes to a more stripped spacious sound which was not fully intentional but more of a natural progression” Spoken word contributions, many from Islington Mill inhabitants and seers, vie for attention with gridlike and vicious beats, synapse-shifting modular synthesis, field recordings. and even the hitherto unheard appearance of saxophone and electric piano textures.

              As Gnod put it. “We really like the idea of a Rhodes and sax on a Gnod record, because to most people those instruments are pure cheese, but we think they are pure soul”

              This 110-minute opus, fearless in spirit and limitless in scope, documents the unstoppable motion of an iconoclastic force beyond the comprehension of the unenlightened. A transmission from a collective consciousness that touches on universal truths and dark powers alike, and a bold new chapter in this mercurial collective’s glorious passage into the unknown. Yet now as ever, In Gnod We Trust. 

              The Grateful Dead

              Three From The Vault

                * First time ever on vinyl
                * Newly re-mastered by Joe Gastwirt
                * Lacquers cut by Kevin Gray
                * 4xLPs housed in a gatefold Stoughton “tip-on” jacket

                Following on the heels of Light In The Attic’s vinyl LP release of One and Two From The Vault comes the final release in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick’s Picks series in that Dick’s Picks are “direct from the soundboard” recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down (decades) later for release.

                Recorded live at the Capitol Theatre (Port Chester, NY) in 1971, this is the worldwide vinyl debut release of this seminal show featuring the 5 piece line-up of Pigpen, Garcia, Weir, Lesh, and Kruetzmann (Mickey Hart had temporarily left the band at that point), freshly remastered in 2014 by Joe Gastwirt for your pleasure. 20 classic songs on 8 sides of wax, this show has previously only been available on CD; this is the first ever vinyl LP release!

                The band played six shows over the course of seven nights at the Capitol Theatre in February of 1971, and this was the second of that run, recorded on the 19th. Their previous two studio albums had been their landmark recordings of Workingman’s Dead and American Beauty, and while songs from those albums were certainly featured, the Dead debuted seven brand new songs on this night–all of which went on to become Dead “standards” including “Playing in the Band,” “Greatest Story Ever Told,” and two absolute classics: “Bird Song” and “Deal.” Essential Dead. 

                Grey Hairs

                Colossal Downer

                  “Colossal Downer” is the first long-player release from Nottingham quartet/self-help group Grey Hairs.

                  Featuring members of UK underground bands as diverse and respected as Lords, Fists, Cult Of Dom Keller, Fonda 500 and Kogumaza, Grey Hairs is a conscious attempt to return to the gut instinct impulses that got its 4 band members out of their bedrooms and onstage in the first place. With a reputation for carefree and chaotic live performances, the men and women of Grey Hairs have turned what started as an excuse to go to the pub on a weeknight into something truly special within the space of a couple of years.

                  Following 7”s on Gringo and Hello Thor (a Harry Nilsson covers single entitled Grey Hairs Schmey Hairs), Colossal Downer weighs in bigger, weirder, catchier and (most importantly) louder than its predecessors. It’s a convincing argument that the best way to deal with approaching middle-age and increasingly pointless employment is to simply buy more amplifiers. Never has the gradual disintegration of hearing been quite as gleeful, or therapeutic.

                  Conceived as 2 EPs (“Man Gulps” and “Little Fingers”) for your listening convenience (we’re all busy people), Colossal Downer recalls nothing less than the pre-goldrush, anything-goes era of Nirvana before everyone got so hung up on genre definition. Rapid-fire punk rock blasters nestle up to lumbering caveman grind. Echoey surf clang shares vinyl space with riff-heavy garage fuzz. It’s how records are meant to be: idiosyncratic and representative of the people who made them.

                  Being in a band in the 21st century is a curious thing. You learn the art of touring from the history books and you do it once or twice as a rite of passage before you get a “proper job”. It’s the domain of the financially secure.

                  Every week a new book or documentary comes out that redefines then-young-people’s instinctive and impulsive actions as acts of clear, intelligent design and those once-young-now-old-people reunite to play their accidental masterpiece albums to crowds of actually-young-people as though they designed it that way all along.

                  You know what? F*ck that.

                  Grey Hairs are financially insecure and worried, staring middle age in the face and backing down, afraid. The future is confusing and upsetting. The young distress them and they deal with modern technology like a dog being shown a card trick. Nottingham is heavy with music industry conferences these days but they can’t even mobilise themselves to get to the boozer let alone mobilise their social media gameplan.

                  Are they angry? Yes they are.

                  What are they going to do about it?

                  The same as they’ve always done: form a band and tour in a Transit while no one takes any notice whatsoever. It’s said it isn’t stupid people who make mistakes; it is stupid people who repeat them again and again.

                  I’m with stupid.

                  FORMAT INFORMATION

                  Ltd LP Info: Release is on heavy vinyl only (495 copies, orange vinyl, with download code).

                  Andi Hanley

                  Rong Promo Only #10

                  Body & Soul legend, deep digger and all round musical expert Andi Hanley helps Rong celebrate their 10th anniversary with the 10th and final edition of their groundbreaking "Promo Only" series. Now back in Manchester, Andi's been hard at work in the studio, turning out some exciting and eclectic edits which finally see the light of day courtesy of this killer silk screened double pack. The EP opens with the Balearic dancefloor in mind as Andi dubs out and pumps up Frankie's majestic "Welcome To The Pleasuredome" for some all out dancefloor ecstacy. Next up "Sylvia" takes us on a trip into a distant galaxy with all manner of rich space fx, a chugging bass sequence and the warm and airy sounds of the thumb piano, before "Dream" takes us down a proto-house wormhole with rubbery bass, swirling synths and sultry vocals. Slip on the second disc and step into your spacesuit! Andi out-cosmics Baldelli here, pairing a spacewalking bass sequence with synth asteroid belts and wild drum sounds. Get ready to get funky on the D with the badass boogie sound of "Burt", a spaced out stepper decorated with cascading keys, squirming sax and laid back vocals perfect for early hours in your local disco. "Yutaka" closes the set in sublime fashion, hitting us with the sweetest Japanese soul-jazz groove imaginable. The liquid bassline flows perfectly over the mellow instrumentation, while the exotic sounds of the Japanese flute leave you with goosebumps. Superb stuff from Mr Hanley, and the perfect end to a special series.


                  The illustrious Jasper James graces Leftroom with the superb "ZTRK1" single, complete with two vinyl-only Optimo remixes by JD Twitch! Jasper James is a 24 year old DJ & producer hailing from Glasgow who has from birth been immersed in Glasgow’s rich and vibrant music scene. Taught to DJ at just 13 by his father, Sub Club’s Harri, Jasper has grown up with access to an impeccable and wide ranging record collection of thousands from the day he was old enough to cue up a record.

Jasper has already featured on BBC Radio1’s world renowned Essential Mix radio show more than once. Not only has Skream played his productions in his mix, but Jasper took the reigns to provide his own Essential Mix in May 2014. In the same year, Jasper has made various appearances on Rinse FM with both guest slots and show takeovers. As a result, Rinse FM have now given Jasper a monthly residency.

His debut release ‘Sneaky E.P’ on Optimo’s Optimo Trax label went down a storm on dancefloors over the summer with backing from the likes of Bicep, Jackmaster, Eats Everything, Richy Ahmed, Skream and 2 Bears to name a few. "ZKRT1" is a fantastic slice on unadulterated techno; Jaspers original has been going a treat with crowd of late. Featured on this 12” only are these two brilliant remixes by JD Twitch, a mesmerizing Optimo mix and heavy head-spun Live Jam for those darker floors!

                  “Love U 4 Life” is the second installment of the Jeedeci series. It was debuted on the Dirt Tech Reck label profile on BBC with Benji B in October 2012. The internet has been going nuts since. "Love U4 Life Melody" is a strange, stuttered, fluttering dose of luminous lysergic prowess as pummeling drums bounce against a heavily manipulated vocal loop and mangled synth drones. Totally out of this world and future-proof, but retaining enough charm, radiance and head-turning beauty to not only get your younger brother / sister playing it to their mates on the bus to Loreto college, but should find favour in any DJ interested in showcasing the future sounds of the underground. The alternative version swaps some of the instrumentation but keeps the incessant rhythms and pummeling drums and also adds a few new elements into the mix. All in all a completely head-turning, great record.



                  FORMAT INFORMATION

                  7" Info: Black vinyl with kraft sleeve

                  Ltd 7" Info: . 7.5 X 9.5 Original silkscreened print.
                  . 7-inch black vinyl in a protected polyvinyl sleeve.
                  . Hand numbered and signed.
                  . Certificate of Authenticity.
                  . Only 225 copies available worldwide.
                  . Digital download card.

                  This is the new FXHE release from John FM. A 21 year old artist that sings as well as produce house, techno and new age Detroit R&B. "Where My Roots Lie (A New Detroit Anthem)" certainly possesses much of the traits of its highly lauded title. Rampant hand claps, dreamy synthlines, twinkling melodies and epic key changes. The old Roland drum boxes hit overdrive as John FM moves through the track, all the time keeping that ethereal, space-age energy intact. "White Churches Be Like" is a direct hit of freebased narcosis, mainlined directly to your cortex. Jagged shards ricocheting against hot drums, dark piano chords and grainy rhythmic elements. Finally "Solace" concludes, displaying the slower, more delicate side to the producer as he croons over his own smudged and blurred beats. If this is new age Detroit R&B then I love it! Carrying along the same lines laid by K15's "Mist" and showing a new side to the city's electronic movement. Great stuff! Highly recommended.

                  Jordan GCZ beckons you into Rush Hour's No 'Label' lounge and invites you to partake in a toke from his lightly laced jazz rolly. The strain he's smoking is that "Lushlyfe" grass, a thick plumer guaranteed to sit you down and trip you out for the foreseeable future. Imagine lounge jazz made by space lizards in a distant galaxy and you'll be on the right trail as the A-side, as Jordan combines bubbling spaceways electronics and keys with a fat slap bass. Orbiting the same distant star as Vakula, Zanzibar Chanel and Young Marco, this has all the power cosmic you could ever want.  "Lushlyfe" itself is a DMT fueled journey through time and space, floating free on a bubbling carpet of sequenced bass and celestial pads. Last but not least, "Lushlyfe Birds" treads the line between experimental synth and soothing new age with bird song on top naturally. Yet more leftfield brilliance from Jordan and No 'Label'.


                  The wonderful Black Ops sub label from the Sleazybeats crew continues as Junktion joins the Black Ops special forces for a stunning new EP! This Dutch producer, co-owner of the celebrated Outplay label, has made quite a name for himself over the course of a handful of very well received releases but this might well be his best work to date. "The Great Unknown" deals in the kind of irresistible grooves that have ensured the Black Ops series has been a day-one sell-out around the globe. Familiar sample work blended with toughened up, mid-tempo house manoeuvers and superb additional synth candy conspire to fill out a very crisply produced and versatile 3 tracker that will work a variety of floors perfectly. Black Ops pull off another operation with 007 levels of charm and efficiency... Report to the dancefloor! As always, this is a limited, vinyl only release. It will not be repressed and will not be released digitally. Not now, not ever. 

                  You’ll find a Suicide Bridge in almost any big city you care to visit, but few are more impressive than the Colorado Street Bridge connecting Pasadena to Los Angeles, which earned its nickname by being the scene of suicides in triple figures. It’s also the scene of a photo shoot in which singer-songwriters Eric Caboor and David Kauffman posed on the deserted structure, capturing an image that would eventually inform the spare, detached mood–and title–of their majestic debut album, 1984’s Songs From Suicide Bridge. Indeed, there’s a fatalistic quality to this LP that has much to do with its origins.

                  Kauffman, from Madison, New Jersey, and Caboor, from Burbank, California, met in 1982 playing the coffee houses of Los Angeles. Each was painfully used to playing to half-empty venues, which is a situation only half of the partnership would have been at peace with. “Dave had come to California to have a career in music,” Caboor says. “I don’t think it was quite the same for me. I was always kind of reluctant to go all out.”

                  Every week, the pair met in a converted utility shed in the backyard of Caboor’s childhood home in Burbank to play each other the songs they wrote. They were never a duo in the conventional sense–rather, as Kauffman puts it, “two loners who happened to join forces.”

                  After two frustrating years of trying and failing to catch a break in a music industry that was focused on new wave, pop, AOR–anything but the folk-rock the duo were offering–the pair conceded defeat. One of them suggested, half joking, that they should put all their darkest and least viable works together on one record, if only to spite the industry that had rejected them.

                  The more they thought about it, the better an idea it seemed, and when they started to plot out a tracklist from their vast catalog of songs, something unique and special begun taking shape. The opening track, "Kiss Another Day Goodbye," in particular, set out the stall: “I don't know how much longer/ I can feel the way I feel/ And never cry/ I don't know how much longer/ I can kiss another day goodbye,” it says.

                  Home-recorded on a four-track, Songs From Suicide Bridge was released on the pair’s own Donkey Soul Music in 1984. If this were a movie, the album would have been a huge success. Instead, the 500 copies pressed found their way to few willing ears. Though real life encroached, Caboor and Kaufmann continued to work together, releasing albums as The Drovers in 1989 and 1992. Now, their debut is to be released by Light In The Attic Records with brand new liner notes by Sam Sweet. Hopefully, it will finally find its audience–a listener who can see hope in the darkness. “People would tell us those songs were depressing,” Caboor says in his interview with Sweet, “but it wasn’t depressing to us. In a lot of cases, playing those songs in that little room was one of the only things that made us feel better.”

                  FORMAT INFORMATION

                  2xLP Info: * First ever vinyl reissue
                  * 30th anniversary edition expanded to a double LP housed in a deluxe Stoughton gatefold “tip-on” jacket
                  * 24bit / 96kHz remaster from the original tapes
                  * Essay by Sam Sweet interviewing both David and Eric, including unseen archive photos
                  * Includes download card for full album

                  The critically acclaimed Kelela debut is now available on double CD and triple LP for the very first time. Includes bonus unreleased remixes from the Fade To Mind and Night Slugs family - Kingdom, Girl Unit, Jam City, Nguzunguzu, MikeQ, Massacooramaan, Rizzla and Neana.

                  Expanding on the power of Kelela's vocals in the club, this deluxe edition revisits underground anthems with dramatic reinterpretations. With 22 tracks in total, ‘Cut 4 Me: Deluxe Edition’ is the definitive version of Kelela’s breakout record. ‘Cut 4 Me’ followed Kelela through heartbreak, melancholy and the subsequent finding of resolve in order to go on fighting.

                  The remixes explore five of the original songs, each pushing them in exhilarating new directions. Kingdom’s aptly titled ‘Destruction Before Paradise’ mix is a war chant for the brokenhearted, an enraged, pulsing halftime take on ‘Enemy’. Girl Unit’s ‘Send Me Out’ remix places Kelela’s vocals over a supple synth lead, only dusted by incredibly restrained percussion. Nguzunguzu’s very different take on ‘Send Me Out’ captures the feeling of a their legendary live performances, the stuttering acapella slowly giving way into a crisp grime beat. Jam City’s mix remakes his own original production ‘Keep it Cool’ into a personal VIP. MikeQ, Massacooramaan, Rizzla and Neana all twist the original songs into their own sonic universes, rendering a collection of heavy club tools for diverse dancefloors.

                  For 'Speicher 84', Danish mastermind and global fan favorite Kölsch returns to the label that started it all (or at least his best-known monicker), delivering two heroic techno cuts whose electronic grandeur is only rivaled by the sweetness of their melodies.Coming hot on the heels of the face-twisting madness of “Loreley“, the piano-driven melancholy of “Opa“ or the bestselling chords from his collaboration with Gregor Schwellenbach, this release somehow paying tribute to all of these within the confines of one admittedly massive two-tracker. Rune's first new original material in a while, these cuts follow much-acclaimed remix work for artists from the whole gamut of contemporary music, from high-profile pop stars like Coldplay to purveyors of fine house Monkey Safari or bass music aficionado Henry Krinkle. "DerDieDas" is a romping bit of stadium sized techno which alternates rising synth melodies with abrasive fx and disorienting breakdowns, while "Two Birds" is a euphoric and summery hit pairing a fragile melody with purposeful percussion.


                  Sticking very close to the Star Time manifesto, edit experts Kon and The Reflex get together for some main room madness with a couple of reworks of Chaka Khan's anthemic "I'm Every Woman". Kon's mix stays true to much of the original song with just the right twist of acapellas, basslines and drum breaks providing plenty of tension and release to work the crowd up to fever pitch. The Reflex strips things way down and flips the strings up a bit along with the guitar, building a lovely groove that finally brings us into into the verse. A million miles away from the techy loops of Mark E's recent "E-Version", these edits are gonna go down a storm with the true disco heads.

                  Underground sonic energy on 12" of black vinyl as defunct San Francisco free-jazz / free punk band Libertas finds release on La Mission. Growing up in San Francisco, one of the most important punk bands in the tight-knit Mission scene was 50 Million. So when label head Beaner discovered 50 Million member Wade 'Storey' Driver's new project Libertas, he had to release their 'Song For The End Of The World', a swirling blast of sonic expressionism which flips the middle finger to the punk and jazz faithful. This four track release sees the multi-instrumental magic of the original backed with remixes from Max Graef (in his Reverend G guise), Kenneth Scott and J Choirboy and Beaner. Max's weirdo spacelord deep house remix builds to several crescendos, continuing his meteoric rise into the very highest reaches of the atmosphere. Kenneth's tongue in cheek nod to 90s house a la Dajae also mixes in modern elements present in his work on labels like Circus Company. Lastly, the collaboration between La Mission core members J Choirboy & Beaner has a subdued yet big Shed-lite sound, offering something for everyone. As with past releases in the ongoing kunst / WORK series, this one includes a Magazine (40+ pages, Performance Ticket (for the third performance related to the record and magazine) and defaced Zimbabwean Currency. All these things tying together the theme of 'Divesting from Capital / Against Austerity / Exposing the false Scarcity Economy'.

                  Lightning In A Twilight Hour

                  Fragments Of A Former Moon

                  New project from Bobby Wratten (Trembling Blue Stars, Field Mice) and the first full album following the introductory mini-album "Slow Changes".

                  It's an album that shows off the two most remarkable facets of the songwriter: pop melodies that intertwine melancholic and evocative shades plus ambiance of experimentation in which the music becomes a bucolic, intoxicating landscape. Fans of Trembling Blue Stars will be delighted at the new songs, but there are also echoes of Mark Hollis, Labrdford, Brian Eno, and even the BBC Radiophonic Workshop. An album for a silent and solitary night.

                  FORMAT INFORMATION

                  Ltd LP Info: Vinyl is Limited edition double LP on clear vinyl plus download. 500 copies

                  Drew Lustman leaves his FaltyDL persona at the door and dons his stetson for a new alter ego, The Crystal Cowboy - his cleanest, most concise record to date. The 11 tracks here are a body of work that Drew put together quickly, free of the connotations and associations of his FaltyDL moniker. Creating music in the small hours of the morning rejuvenated his sense of experimentation and freedom. Under this new name Drew found himself making the kind of music he would DJ with or play to friends without the pressure of the conceptual weighing him down. Like all great projects between Planet Mu and Mr. Lustman, these songs found themselves in Mike Paradinas' inbox with little fanfare, letting the music speak for itself. The album often uses the speed or tropes of hardcore and drum & bass, assembling tracks a bit like lego, but adding in Drew’s own almost opaque elements of sophisticated soul and funk to give the roughness some melodic light and emotional pull.

                  The album opens with ‘Watch A Man Die’ which relives memories of mid-nineties drum & bass, weaving delicate melodies and smooth strings into brisk latticed drums. ‘Time Machine‘ is a stab-heavy recall of hardcore, with reverbed animal calls giving the track a humid jungle feel. ‘Angel Flesh's‘ delicate looped soul voices blend into a gaseous haze over jazzy drums, while ‘Green Technique’ layers intense beat and synth loops into a dark and disorienting vortex. ‘Wolves’ is Drew's melodic take on dub techno building crunchy, rolling drums and shivery chords into one of the albums many highlights. Placed at the albums midpoint, ‘Hyena’ takes a broken diva vocal and repeats it into an intense howl, leading into the title track whose carefully poised rhodes jazz chords and vocals are balanced against rough hardcore breaks and dense distorting bass which makes you feel like your bouncing on water. Drew takes things slower with ‘Onyx’ which featuring the rapper Le1f’s first ever sung vocals, over xylophone and light raindrop rhythms. The album finishes on the pumping electro of ‘Sykle’ whose itchy overexcited rhythms rub up against plaintive childlike piano and shimmering synths making it one of the album's most memorable highlights. "The Crystal Cowboy asks the listener to lose themselves and any inhibitions they may have as he takes the time to hold your hand and lead you through his thrilling and immersive wonderland. Good night and good luck."

                  Magma

                  Riot 45 Record Bag (Small)

                    The new Riot 45 Record-Bag Small comes in a stylish and timeless record bag design and can comfortably hold up to 60 7 inch records.

                    Crafted from durable Riot Tarpaulin fabric, it also features rubberized corners and 1cm padded soft fleece lining to provide optimal protection for your 45s

                    More officially remastered reissues from the golden years of Italo. Malcolm & The Bad Girls 1983 classic "Shoot Me" gets a clean and fresh press here on La Discoteca. Full of exuberant, darting leads and strong octave / arpeggiated basslines, it possesses that magical cybernetic quality that the best records of this genre all adhere to. The vocals are great, with a dead pan male vocal gracing much of the verses before opening up to a euphoric, undeniably catchy male / female chorus which, in my humble opinion, is up there with "Hypnotic Tango" by My Mine (a huge feet in itself!). Everybody together now - 'look look, look into my eyes...'. YES! The instrumental version has all the necessary tweaks and nuances to keep things interesting minus the vocal including extra flange and a 'dub' on the chorus parts. All in all a thoroughly enjoyable affair! Like most of these, OGs fetch big bucks, and these are officially licensed issues - so be a clever camper and bag this now!

                    Matt and Kim, aka Matt Johnson (vocals/keyboards) and Kim Schifino (drums), get things rolling in their exuberant style with a performance lyric video for the song “Get It”: Three minutes and seven seconds of heaven for anyone who has, or hasn’t yet, seen Matt and Kim’s legendary live shows.

                    Previously, Matt and Kim’s video for “Lessons Learned,” in which they strip naked in Times Square on a very cold February day, won an MTV Music Award for “Breakthrough Video” in 2009. 2012’s Lightning (FADER) featured the Alternative radio hit “Let’s Go” and single “Daylight” was certified Gold in the US and very close to platinum certification. All the while they toured the globe, becoming the go-to band for raw exuberance, bombastic beats, sing-along refrains and dance-ready anthems on larger and larger scales.

                    Merzbow, Mats Gustafsson, Balazs Pandi, Thurston Moore

                    Cuts Of Guilt, Cuts Deeper

                    How did renowned Japanese noisemaker Merzbow (aka Masami Akita), Swedish saxophonist Mats Gustafsson and Hungarian drummer Balazs Pandi follow up their majorly intense statement made on their tumultuous debut album, Cuts, which was released in 2013. By adding another ingredient to the volatile mix, in the person of skronking guitar hero and Sonic Youth founder Thurston Moore they’ve taken things up a notch or two on the Richter scale on their RareNoise Records follow-up recording. With Gustaffson’s roaring baritone sax blending with Moore’s shriekback guitar, Pandi’s intensely throbbing beats and Merzbow’s subversive white noise barrages, it all adds up to a sonic pummelling of epic proportions on the remarkable two CD-set, Cuts of Guilt, Cuts Deeper.

                    For Cuts of Guilt, Cuts Deeper, the four kindred spirits went into the studio and came up with four extended tracks. CD 1 is comprised of the 20-minute “replaced by shame, only two left” and the 18- minute “divided by steel, falling gracefully.” CD 2 contains the dynamic 21-minute jam “too late, too sharp -- it is over” and the extreme anthem “all his teeth in hand, asking her once more.” Drummer Pandi calls it ‘mystery in sound.’ As saxophonist Gustafsson said of their purely improvised session, “We had no game plan. That usually does not work so well. It all depends on the day, the energy and of course the room. And oh boy, that room was freakin’ spectacular! It actually had a skateboard ramp! It was a truly spectacular recording. It went super-fast -- just a wall of noise-poetry with layers and perspectives changing all the time. And to have Thurston Moore in the mix just added colours, layers, energies and sound. It was a very inspired sharing with the others.” Pandi provides a bit of history on the evolution of this Cuts quartet. “There is a legendary Roskilde live recording of Sonic Youth with Mats and Masami called ‘Andre Sider Af Sonic Youth’ and as a combination of that record and my longstanding duo with Masami, the idea came to try and play a quartet. Those were the days of the last couple Sonic Youth shows in South America, around 2012.

                    Following that, Masami, Mats and I continued to work as a trio. Meanwhile, in 2013 I got invited to join Porn for a string of gigs. Porn masterminded by Tim Moss and Bill Gould from Faith No More and for the London shows Thurston joined us on stage - it was great fun to play together. When we hung out backstage, we were talking about trying to hook up a quartet session sometime with Mats and Masami again. We already had a gig planned with the trio in London, where Thurston currently lives, so we figured the only day he is spending around that time in London is the one we had for recording the follow album up to Cuts. So he was on board immediately.” As for how this new Cuts project with Moore may differ from their first Cuts outing, Pandi remains philosophical. “From my side, I can’t really talk about differences. I don’t approach anything differently. There are no tactics, concepts, nothing. Only deep listening and playing accordingly. I learned that from Masami early on. The night of our very first show, I approached him backstage, introducing myself. As it was the first time we met, I thought we would sit down and discuss any concept he may have wanted to talk through. But when I asked him about it, he only said one word -- ‘improvisation.’ That’s how it always is with Masami. And that’s how we approached this new recording in the studio.

                    Musicians: Merzbow (Masami Akita) : Noise Electronics
                    Mats Gustafsson : Reeds And Live Electronics
                    Thurston Moore : Electric Guitar
                    Balazs Pandi : Drums

                    Moon King

                    Secret Life

                      “Dream pop with fangs, packing their reverblayered surfaces with punchy playing and swooning melodies” - SPIN

                      Toronto duo Moon King, made up of songwriter Daniel Benjamin and singer / guitarist Maddy Wilde, have crafted a raw, rapturous and emotional new record, which documents their ascent from an intimate conceptual project into a powerful live band.

                      Following a year of touring in support of their ‘Obsession I’ and ‘II’ EPs, Daniel and Maddy relocated to a cottage in northern Ontario to record the album with a group of Toronto music scene luminaries, all of whom had played in various incarnations of the live band.

                      Mostly recorded live off the floor, there is a deep sense of loss and longing in ‘Secret Life’. Moon King channel desperation and project it outwards, each song carrying with it both a weight and a sense of urgency.

                      FORMAT INFORMATION

                      LP Info: Limited clear vinyl pressing.

                      Ennio Morricone

                      Il Sorriso Del Grande Tentatore OST

                        First ever official LP reissue of this 1974 classic.

                        Spiritual cousin to the psyche-liturgy of The Electric Prunes' 1968 "Mass in F Minor" and William Sheller's 1972 masterwork "Lux Aeterna", "Il Sorriso Del Grande Tentatore" is a vital, beautiful, frightening and yet essentially forgotten chapter in the storied discography of lauded composer Ennio Morricone.

                        Remastered 2015 from the original stereo album master. Includes two previously unreleased tracks. Morricone's favourite Morricone! Exclusive liner notes by Alvin Lucia, original poster artwork and photos. Deluxe 180-gm gatefold limited edition LP.



                        Sworn Virgins is one of the many perverted projects from the blossoming mind of Mutado Pintado, legendary vocalist for Paranoid London, head of Warmduscher and general purveyor of chaos and DIY videos. This release is all about rage and bits of broken down computer melted in tar, and is probably LDDLM's strongest release to date. The two original cuts on this madcap 12" come on strong and heavy like a youthful experience with class A's. Opening track "Michelle" bursts out the speakers like a ket addled cousin of Liquid Liquid, boasting trippy synth drum rhythms and detuned brass, shattering into your psyche like a giant metal freeze in the warmth of Trinidad. It's wild and it's fun; there's even a vocal that sounds like a kazoo. "Lazy Boy" on the other hand takes me back to my mispent youth in the dingy basement of Retro Bar dancing to Noblesse Oblige, Crossover and Suicide. This is scuzzy, sleazy electronic ghetto punk of the highest order, powered by distorted synths and deadpanned vocals. Fabrizio Mammarella manages to put a dog collar on the beast with his fist pumping remix. His version of "Lazy Boy" has been label head Ivan Smagghe's biggest hit since he got it and in his words "smells of poppers and GHB, leather and bum sweat." Finally Acid Arab muscle in on the action with their interpretation of "Michelle". They recorded the strings in Teheran (for real) and their mix drops the acid without the TB. This is pure retro-futuristic hypnotism, almost taking the track to the dark regions of James Holden and his Border Community consorts.


                        Under the moniker Mylets, Henry Kohen takes on the roles of several musicians at once. The wunderkind guitarist who, at 17, became the youngest artist signed to Sargent House has since established his reputation as an awe-inspiring and agile performer, playing across North America and Europe multiple times over the past couple of years. Mylets debut full length Arizona is the defining work of a masterful tunesmith. Despite their complexity, the songs are never disrupted by the intricacies running beneath their hyper-infectious pop structures. Kohen operates his equipment like the conductor of a small orchestra, summoning fully realized melodies from his devices. "I put in a lot of effort to make every single word and note of each song as deliberate and concise as I could," Kohen explains, "rather than throw out an unintelligible overflow of information."

                        Album opener "Trembling Hands" is a massive, hook-heavy anthem driven by layers of churning guitars and distortion that stirs somewhere between the throaty verses of Broken-era Nine Inch Nails to the hymnal anxiety of a Cloud Nothings record. The title track follows with a cascade of syncopated guitar arpeggios setting the stage for a reverse-reverb soaked vocal harmony that chimes like something off of U2's Unforgettable Fire. And, that's the beauty here: Mylets appeals to every listener, not just other musicians. Kohen understates his unparalleled and highly specific skills and instead forces the emotion informing his music to the forefront. This ability is what makes the songs on Arizona command repeat listens. 

                        It's not all that difficult to find beauty in life's more joyful moments, but few artists are capable of doing the same for bleaker times. Excelling at a Fahey-esque fingerpicking technique, Nadler pays homage to some of the great early American blues players. She sings haunting chansons of maidens, the cowboy ditties of ranchers, and the funerary processions of mourners. On her fourth solo album, "Little Hells", Marissa Nadler proves she's well-acquainted with the splendour of sorrow and envelops the listener into those gauzy moods.

                        Jeb Loy Nichols

                        Katie Blue / Don't Drop Me

                        Limited to just 300 copies in beautiful hand screen printed fold-around sleeve, and signed by Jeb himself. This is the first in a series of three sevens from the great Jeb Loy Nichols, one of the finest country / southern soul singers and song writers working in music today. Imagine Dan Penn quality songs sung by Tony Joe White or Bobby Charles - yes he really is that good. 

                        Paid Reach

                        Fair Trade Dark / Colddrinksnreverse

                        The first release on Paid Reach - in collaboration with Ominira, edited and produced by Kassem Mosse. 

                        'Fair Trade Dark' is pure minimal wave / industrial inspired electro-tech, with an insistent, elastic, siren-like analogue twang repeating over grimy synewaves, syncopated tones and machine noise. 'Colddrinksnreverse' is a minimal rhythm track... But running backwards... Not only that, but the track plays backwards as well, from the centre label to the outside edge, just to fox you...

                        Passion Pit’s new album Kindred is their third release and follows 2012’s Gossamer. According to frontman Michael Angelakos, the LP is inspired by his own personal experiences with bipolar disorder and finds him reflecting on his new take-charge outlook on life.

                        Everything is autobiographical. Everything is honest. This record was written around the time when I was trying to figure out what constitutes family: who loves you, accepting love, giving love. On Manners, I was like, “I have no idea what’s going on and I wish I did but I just don’t have the answers.” Gossamer was like, “This is what happened, I’m so sorry” — acknowledging what happened but not saying that I’m going to do anything about it. Kindred is like: “I’m really trying to make this work and be better.”

                        I’m actively trying to improve all my relationships and my lifestyle and my way of working and interacting with people. Everything. And that’s a really hard thing to talk about because it’s embarrassing. I just desperately wanted to be happy again in a way that wasn’t forced. I wanted to feel like I accomplished something. I did this. I finished this record. I’m doing all the promo. I’m doing everything that I said I was going to do.“.

                        Pere Ubu

                        The Pere Ubu Moon Unit

                        “Pere Ubu has never visited Cleveland, Ohio, but it sounds like an interesting place and we hope to go there one day.” David Thomas // Since the American Federation of Musicians have blocked Pere Ubu from performing in America, the band has renounced not only its American ‘citizenship’ but also its American past. The Pere Ubu Moon Unit, a subset of the band, has released 'Leeds,' a petition to the authorities in that English town, to grant Pere Ubu asylum as a band that formed in Leeds, in 1975. Those authorities are a specially convened congress of the members of Gang of Four, Sisters of Mercy, Soft Cell, The Mekons and The Wedding Present. Any member of the congress may object and Pere Ubu will then turn to the authorities in Port Talbot for sanctuary. Following on from their improvised sets on their Visions of the Moon Tour, 2014, the Pere Ubu Moon Unit was born as solution to the often irritating conversations regarding Support Bands.

                        David Thomas says “if we're going to have to endure crappy support bands then we'll do it ourselves. The Moon Unit plays a 30 minute show of songs made up from nothing.” ‘Nothing’ never materialised. Instead, there were half hour continuous performances that opened unique new pathways in the Pere Ubu sound. Songs were formed, the musicians pushed their own and each other’s boundaries, Thomas was Ringmaster, with sleight of hand and voice. Whilst unmistakably the ‘sound’ of Pere Ubu, these sessions were raw and fascinating, and it was only through chance that a recording was captured. This album was recorded at the Brudenell Social Club in Leeds, during the November 2014 tour of the UK. This intelligent and theatrical recording exudes the unrelenting energy that was witnessed by the audience during these ‘support’ sessions. It is an extraordinary and just addition to the Pere Ubu story. At the end, Thomas concludes with a suggestion to the observers, “If you were cool like Jimi Hendrix, or something, or Brian May… you’d turn that into a national anthem”. 

                        Piero Piccioni

                        Colpo Rovente: Colonna Sonora Originale Del Film

                          * 2014 re-mastered version from original tapes
                          * First ever LP reissue with original artwork
                          * 180gram vinyl housed in Stoughton 'Tip-On' jacket
                          * Fully detailed liner notes (by Hans Sangchol, Bulssazo)

                          'Colpo Rovente' is one of the rarest soundtrack albums in the Italian film music history.

                          This soundtrack stands out from the traditional period into the psychedelic era. Soft-spoken and suave cool jazz, along with hallucinogenic go-go sounds appears throughout the film and soundtrack. Dynamic big band tunes are stunningly matched with impossibly beautiful jazz funk scores infused with a touch of bossa nova.

                          If your tastes lie somewhere in the intersection between elegant European lounge and primal psychedelia, this soundtrack is a must-listen.


                          Pins

                          Too Little Too Late

                            The first track from PINS’ second album ‘Wild Nights’, to be released through Bella Union.

                            Recorded at the Joshua Tree at Rancho De La Luna with Dave Catching (Queens Of The Stone Age, Eagles Of Death Metal) and Hayden Scott and mixed in New York with Ben Baptie at Atomic Sound NYC (Mark Ronson).

                            The B-side to the 7” is a cover of The Misfits ‘Hybrid Moments’ - a track the band also perform live - recorded at Part Time Punks and mixed by Josiah Mazzaschi.

                            The sound of the fifth Benoit Pioulard full length is lush and verdant, a temperate rain forest of ear ecstasy that reflects the environment surrounding the artist. A mostly instrumental work, it is an adept melding of song and sound, melody and texture, the intangible and the palpable, that in an abstract sense recalls the more fractured and loose end of the 70ʼs krautrock movement.

                            "The basis of the album was a series of field recordings of tones and unintentional harmonies that I made in the summer & fall of 2013 - whistling industrial air conditioners, bird songs, locust drones, washing machines - that I mimicked or interpreted on the guitar, making loops that developed into fuller compositions. Several of the pieces are recreations of harmony loops that I heard in a series of extraordinarily vivid dreams, and then woke up and recorded. A few pieces had lyrics and vocal parts that I ultimately removed; at a certain point the album became an exercise in restraint, so I strove to leave only what I felt absolutely essential.

                            Unlike most of my previous recordings, there are no digital / software after-effects on the album; all sounds are from analog tape and / or my few guitar pedals." Thomas Meluch (Benoit Pioulard).

                            Pity Sex

                            Feast Of Love

                              Walking the razor's edge between overdriven navel gazing bliss and perfect pop sensibility, Ann Arbor's Pity Sex have crafted a breath taking debut LP in 'Feast of Love' that's both awesomely beautiful and deftly evocative. Massive, harmonically distorted guitars and airy dual male/female vocals are hallmarks of Feast of Love, all drenched in warm, dreamy reverb.

                              Most impressive however, is how the band utilizes pop conventions - both vocal and instrumental melody, and a strong and pounding rhythm section - while delving deep into the ethereal power of textured soundscapes. Guitars fuzz and flange, weaving between distinct, identifiable parts and simple brushes of coloured noise. The voices similarly drift between carrying delicate melodies and delivering evocative feeling. Calling on the infectious, hooky inclinations of the Pixies, dreary melodies of the Breeders and sonic mass of My Bloody Valentine, Pity Sex's Feast of Love twists and churns with these beautiful yet fleeting vignettes captured in sound.

                              FORMAT INFORMATION

                              Ltd LP Info: An exclusive reissue, including a bonus flexidisc 7” featuring two songs not available on Feast of Love, “Euclid” and “Acid Reflex”. UK exclusive coloured vinyl limited to 300 units - brand new beautiful gatefold packaging with foil stamp.

                              Gianfranco Plenizio

                              La Gatta In Calore

                                First ever official LP reissue of this rare 1972 classic.

                                "The perfect giallo score, from the opening tones of Edda Dell 'Orso, through jazz-bossa into dissolving dissonance, disarray and pathological destruction." - Alvin Lucia

                                Remastered from the original master tapes, and includes four previously unreleased tracks. Exclusive and extensive liner notes by Alvin Lucia, original artwork and rare photos. Deluxe 180-gm replica limited edition LP.


                                Redman

                                Dare Iz A Darkside - Back To Black 180g Vinyl Edition

                                'Dare Iz a Darkside' is the second studio album from American hip hop artist Redman, released November 22, 1994 on Def Jam Recordings. It's clear from second track 'Bobyahed2dis' onwards and Redman's schizoid personalty changes throughout that he's influenced by George Clinton and Parliament / Funkadelic - even the cover has him buried in the ground up to his neck, paying homage to Funkadelic's 1971 album 'Maggot Brain'. Produced by EPMD's Erick Sermon, 'Dare Iz A Darkside' is an inventive psychedlic hop hop stew.

                                The Revenge

                                Love That Will Not Die

                                  After dropping a teasing 12" last year, Graeme Clark returns as The Revenge with his second full length release, "Love That Will Not Die", released through his own Roar Groove imprint. The Scottish producer came to prominence at the tail end of the last decade through a impeccable string of disco re-edits on the likes of Jisco, L.E.S.S. and Instruments Of Rapture, which found their way into more or less every set that mattered over the next five years. In recent times Graeme's moved away from the edit scene to concentrate on original productions which bring together his love of deep and hypnotic house, rough disco and raw soul. "Love That Will Not Die" finds the producer in imperious form, marshalling tough percussion and lithe bass into a dozen body moving, floor shaking beauties that'll have your hands in the sky before you know it. Careful to avoid the tired dance music formula of a handful of identikit tracks thrown together to make an LP, Clark offers a varied selection of mood here, contrasting tense warehouse bangers with swooning disco cuts and uplifting house jams, keeping us on our toes, and our toes on the dancefloor. 

                                  Reverend Horton Heat

                                  It's A Rave-Up! / Beer, Write This Song

                                    ‘It’s A Rave-Up’ / ‘Beer, Write This Song’ is a brand new 7” featuring two previously unreleased songs.

                                    Reverend Horton Heat have sold over 1 million albums in the US.

                                    Reverend Horton Heat had their highest chart position in their 25 year career with the release of ‘REV’ in January 2013.

                                    Reverend Horton Heat have been on the road nonstop since 1989 and will continue to tour heavily throughout 2015.

                                    Reverend Horton Heat have toured extensively with Motorhead, The Cramps, Social Distortion, Soundgarden, White Zombie, X and The Smashing Pumpkins and have supported Guns N’ Roses, The Misfits, Nine Inch Nails, Dolly Parton, Johnny Cash, Marilyn Manson, Bad Religion, Rancid and many more.

                                    Pressed on solid red vinyl with randomly selected clear pink vinyl copies.

                                    Includes digital download card.

                                    Manchester's snazziest dresser, most committed vaper and foremost cassette tinkerer Ruf Dug inaugurates the brand new Cosmic Pint Glass imprint with a trio of Balearic-not-Balearic cuts perfect for the summer months. Ruffy kicks the EP off in sumptuous fashion with the sublime synth sounds of the brilliantly named "Guybrush Threepwood Takes DMT & Goes Paragliding At Sunset". As far as titles go, this is pretty much perfect, combining comedy with descriptive prowess; this does sound like Monkey Island, an interdimensional trip and a calming journey through the orange skies. Powered by a rhythm section of dubby drum machines and a hipshaking bassline and lifted skywards on cosmic electronics and new age sequences, the track manages to perfectly combine the lilt of reggae disco with the earnest emoting of Krautrock into something completely beautiful. Next up, El Ruf takes us on a gorgeous diversion into the shimmering heat haze of a midsummers afternoon with "Joanna". Fragile mallets scatter across a lysergic bass sequence as Ms Newsom's unmistakable vocals weave a spell over your smiling brain. Loosely speaking, it's acid Enya in dub, and how good does that sound! Since Ruf Dug's softened you up with all the interdimensional vibrations of the A-side, Chicago Damn may as well dissolve your consciousness back into the universal with the immersive dream house of his "Dangerous Dub". CD drops the vocals completely and rearranges the original elements with a new bassline to submerge us entirely in wave after wave of hypnotic house bliss. Monkey Island funk and tropical breeze for the geez!

                                    Phonogramme get with the program and drop a much needed reissue of S3A's killer EP from back in 2013, offering the uninitiated a chance to pick it up with ease. Like many people I was late on this first time round and had to part with a great deal of my hard earned on a well known second hand site, and it was worth every penny. The French house genius has breathed new life into the weary world of sample based house with his smooth and sultry productions, well sourced originals and intuitive knowledge of the groove. "Forward (Part 1)" kicks us off with the rattle of off kilter percussion before dropping into dope jazz territory thanks to a warm double bassline and swooning Rhodes licks. The track builds and builds as S3A adds crashing hats, terse strings and a one bar vocal loop the French touch fraternity would be pleased with. Killer. On the flip, we blast off into the sweaty humidity of the peak time dancefloor thanks to "Forward (Part 2) (The Anthem Version)", a funked up stomper featuring a few of the ingredients of the A-side worked into a straight up club banger. After keeping you locked in the hypnotic groove for the first three minutes, S3A lets loose with a classic 'hands-in-the-air" string line, and just about secures himself a play in every open air set for the next decade. But that's not all folks! He's only gone and dropped a superb B2 show stealer, ain't he! Let's face it, sampling Bob James' "Feel Like Making Love" always goes down a treat, (just ask MAW or Fudge Fungers), but this raw and soulful arrangement plays those sweet jazz funk chords against bumpin kick and rattling hats to perfection, making for a DJ Nature approved weapon which always has people coming to ask what it is! Buy on sight!

                                    Chicago house godfather Jesse Saunders originally composed and released this proto house classic in 1984 on his own seminal Jes Say Records before later being re-released on Trax in the 90s. On the A1, Jesse opts for groove over impact, layering smooth vocals and Italo style synth vamps over a roving Bobby O bassline and sets the 808 to a gentle jack. If you like a little more boom, boom, boom for your zoom, zoom, zoom then try out the "Club Mix" on the flip. The thunderous kick should find a home deep in your gut while the stripped back arrangement opens up space for head turning dancefloor sonics. All 4 original mixes have been re mastered and are re released in conjunction with the Trax rights holders.

                                    The School

                                    All I Want From You Is Everything

                                      White vinyl, numbered limited edition of 500, with download.

                                      The School are back with a limited-edition 7" in advance of their upcoming album. Their luminous melodies and magical arrangements are back, and so is Liz's sweet voice, echoing the best pop traditions of recent decades, with a special focus, of course, on the sixties and girl groups.

                                      Second Storey & Appleblim Present ALSO

                                      ALSO

                                        3 x ALSO 12" EPs packaged together in a stickered heavyweight anti-static transparent grey cellophane outer sleeve. Limited stock.

                                        R&S welcomes ALSO to the family, AKA the pairing of Appleblim and Second Storey for their excellent debut album, compiled from their critically acclaimed trilogy of EPs.

                                        Ever since they first met and bonded over a shared love of machine rhythms and sleek electronic grooves, the pair have been hard at work on pushing their creative boundaries to the limit, never content to take the easy route - as Laurie explains "if that means broken rhythms, and untraditional melodies then so be it. There's so many people making sonically 'correct' or refined 4x4 music, we just wanted to explore everything other than that, whilst still keeping the dance floor moving."

                                        These heavy studio / live jams sessions have borne truly verdant musical fruit inspired as much by classic R&S alumni from Aphex Twin to Blawan and the Detroit axis of Carl Craig and Juan Atkins. The album drips with uptempo cyborg funk, heavyweight bass and bleeping synth squiggles, pulsing subs and swooning pads. ‘Arpemonger’ is an exclusive track to the album that sees ALSO stretch their classic IDM influences into a lush, soulful, futuristic five minutes that finishes the album in style. 

                                        ALSO is pan genre, pan generational, emotive electronic music at its best. Truly something special and a fine addition to R&S rich heritage of forward thinking dancefloor sonic artistry.


                                        Fit Siegel

                                        Carmine / First Found

                                        It's Winter in Detroit and Fit Siegel has given us "Carmine", a moody techno classic perfect for the lonely season. Subtle, low-key and thumping, the title track revolves around a bittersweet piano lead, elegiac 303 and Blade Runner string swells. It's a high-tech driving song in the tradition of Model 500's low-key classic "Pick Up The Flow" and FIT sounds more assured than ever. "First Found" is Millsian jigsaw puzzle techno imbued with breathy and addictive humanity. Staccato, free-jazz informed piano solos lock into ping-pong synths before eventually, a female vocal emerges over a bed of arpeggiated bass. Loose yet robotic, "First Found" is first-rate Detroit techno mysticism. The record as a whole is a worthy entry into the Motor City's storied canon from a leader of the new school. Indeed, Fit himself seems dedicated to the cause, his distribution alone carrying forward the baton of new Detroit music into 2015. Like Underground Resistance his name behind a record is a sign of uncompromised quality. Look out for more vibrations emanating from the Motor City under the guidance of this high-grade mover. Recommended.

                                        Sleaford Mods

                                        Mr. Jolly Fucker / Tweet Tweet Tweet

                                        Repress on orange vinyl!

                                        Sleaford Mods started around 2006 in Nottingham by Jason Williamson. Born out of frustration and by accident, it quickly found its feet as an aggressive attack on all that is contrived and connected to the day-to-day hammer of low paid employment. After a year in the studio and gigs around Nottingham, Jason then took the cause to London for a period and eventually back to Nottingham in 2009 where he met Andrew Fearn, who became nvolved with the production of the 5th album, Wank. He also became the second member. On Wank's release, Jason and Andrew were offered a slot on the bill of The Rammel Club's 3 day festival which introduced Jason to the Noise scene, so to speak, and also to Steve Underwood from the punk label, Harbinger Sound. A year later Harbinger Sound released Sleaford Mods first vinyl album, Austerity Dogs, and it immediately took off with a string of gigs in Europe and major cities in the UK along with side articles in leading music magazines The Wire, Fact and Vice as well as countless fanzines. The second album from Harbinger sound is due to be released later this year and also two 7" releases from Fourth Dimension Records and Kraak's home label are due in the meantime. Tours to promote these are currently underway with more planned. ‘Mr. Jolly Fucker’ b/w ‘Tweet Tweet Tweet’ sees the duo continuing their sometimes raucous yet always edgy melding of mean hip-hop beats, often savage poetic observations (think whizzed-out Mark E, Smith) and snarling punk attitude. A full-on kick to the senses inspired by the Sex Pistols, The Last Poets and ‘60s garage and soul music.

                                        FORMAT INFORMATION

                                        Ltd 7" Info: Orange vinyl.

                                        Sonic Youth’s second full-length LP Bad Moon Rising was originally released on Homestead and Blast First in 1985. The album is a fascinating examination of “the junction where hippie idealism [meets] the cold hard world,” says guitarist Lee Ranaldo, “where Woodstock [meets] Altamont—Death Valley, Charles Manson, Brian Wilson, musicians, murderers, heroes and villains.” Its original eight-song tapestry of droning guitar feedback, distant clattering percussion, and sullen vocals, all held together with interstitial noise loops and shadowy haze, ambles through a long, dark night before the feverish “Death Valley ’69,” driven by runaway guitar riffs and a frantic Thurston Moore / Lydia Lunch vocal duet, pounds the capstone into place.

                                        Sonic Youth’s big leap forward from Confusion Is Sex and Kill Yr Idols “reflects the spirit of the time,” to quote All Music Guide. Bad Moon Rising views “American gothic through the glassy eyes of wilful moonlit paranoia.” Back in print on Goofin’ Records, this reissue includes bonus tracks “Flower” and “Halloween,” both from a 12”single of the same era. The sound collage morsels “Satan Is Boring” and “Echo Canyon” are your cue to begin moving toward the exit and get out while you can. 

                                        Waheeey! It's a new Soundstream, primed and ready for extended play over the Summer months... but has it been worth the wait? Most definitely - yes! These are 3 HOT cuts by the German maestro, and should more than please your fellow chopped'n'looped disco-house fanatic. "Bass Affairs" introduces the EP on a smooth, sunny plane; the slap bass riff, funky guitar lick and pulsing organs all converging on an end point which signifies hot, sweaty days smoldering under sun-burnt skies. As the cowbell rhythms move to the fore you'll soon be sucked into its magnificent grooves, tailor-made for daytime dancing! "Sweep Magic" gets more manipulated as 'stream delivers some sizzling white noise hi-hats (ala Kyle Hall) across a filtered disco loop and celestial background pads. Frank Timm sure knows how to work the shit out of a loop, and this is displayed with aplomb on this excursion. Finally, "Starstrike" is a chunky, bass heavy number with looping sirens and live drums. Before long a brilliant swelling bassline is introduced along with more ascending sirens and tones and some cleverly syncopated hi-hat / shaker rhythms. Subtle but devastating, and possibly my favourite track off the EP. Soundstream continues to provide the DEFINING disco-house standard, leaving everyone else in his shadow. Essential.

                                        Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

                                        When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

                                        The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

                                        Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

                                        And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip?

                                        FORMAT INFORMATION

                                        LP Info: Standard LP is gatefold, single black LP with chapbook, plus digital download card.

                                        Ltd LP Info: Deluxe LP is a gatefold, metallic gold coloured vinyl, with chapbook, plus digital download card and sticker. (200 ONLY FOR UK)

                                        Spring King

                                        They're Coming After You EP

                                          Follow up to critically acclaimed 'Demons E.P'. "Featured on the Transgressive Records showcase, this four-piece dispensed rambunctious and infectious post-punk in the vein of early Futureheads. Bonus points for pulling it off with a singing drummer." NME.

                                          Limited edition - 300 copies only.

                                          "Damogen Furies", Squarepusher’s first full-length since 2012’s "Ufabulum", finds Jenkinson’s kineticism in full flow. While the techniques and craftsmanship that Jenkinson has honed over the course of his career are clear, "Damogen Furies" is a record with all the brutal energy and the vivaciousness of a debut. 2014 saw Squarepusher release "Music For Robots", an EP composed by Jenkinson and performed by the three robots that comprise the Z-machines. "Damogen Furies" then marks the culmination of years spent experimenting with and hacking hardware and software, rejecting limitations choosing instead a compositional process that places the act of building instruments at its heart. On "Damogen Furies" we hear a truthful, unembellished representation of how those instruments sound. All of the recordings here were made in one take, with no edits. Raw and raging electronics packed with punk spirit.


                                          Torino-based instrumental trio’s powerful, adventurous second album, inspired by the squares of the Arab Spring, features guests Scott McCloud (Girls Against Boys), Colin Stetson (Tom Waits, Arcade Fire, Bon Iver) and Ryan Patterson (Coliseum). Over the past decade, instrumental trio STEARICA (Torino, Italy) have gained a cult following in the independent music underground, touring and performing live with the likes of Girls Against Boys, NoMeansNo, Dälek, Tarentel, Damo Suzuki, Coliseum, and forming the Acid Mothers Temple and Stearica Orchestra, which recorded a full-length album together.

                                          The key to STEARICA’s success is their powerful and adventurous sound, which is geometrical yet visceral: so intense that there is no need for words – much like “The Scream” by Edvard Munch. STEARICA’s second album, Fertile, will be released during Spring, the season of renewal and fertility in many parts of the world including the historical region known as ‘The ‘Fertile Crescent’, the birthplace of some of the earliest human civilizations, and also the scene of the revolutionary political uprisings that swept across the Middle East known as the ‘Arab Spring’. Both the concept of ‘fertile’ as ‘life-giving' and the revolutionary impulses of the Arab Spring and the Indignants protests in Barcelona provided inspiration for this latest work from STEARICA, Examples of this fertility are also seen in the artistic collaborations with the musicians who contributed in different ways to the gestation of the album: fellow travellers of the independent international underground, including Scott McCloud of Girls Against Boys, who provided the vocals for ‘AMREEKA’, Ryan Patterson of Coliseum (vocals on ‘NUR’) and groundbreaking saxophonist Colin Stetson (brass orchestration on ‘SHĀH MĀT’). Produced by band member Francesco Carlucci, Fertile captures the primordial nature of the sound that the trio creates in their dynamic live performances. At times brutal, chaotic, mysterious, tranquil; Fertile is music born of our time: instinctively revolutionary. 

                                          FORMAT INFORMATION

                                          2xLP Info: Deluxe 180 gram double gatefold edition of 500 with a free poster and album CD included inside.

                                          Stranger Cat is the new project from Cat Martino, Sufjan Stevens' right hand woman for the Age of Adz tour and record, as well as All Delighted People. Cat was also a recording and touring member of Sharon Van Etten's band circa Epic. She appeared with The Shins on SNL and Williamsburg Park, played in Passion Pit at Governor's Ball, and sings on the Son Lux record Lanterns. Cat retreated from Brooklyn, NY to winter in the Sierra Foothills to write and record songs emerging from loops using her voice, synths, and percussion. With her pedal chain and gear in a small cottage she explored the gamut from ethereal to turbulence. Simple melodies or beats became powerful walls of sound melting through snowstorms, howling winds and stark silence nestled inside gargantuan oaks and the infinite starry dome. Joined by Sven Britt for a week, each of them traded making beats, or melodic parts on casios, synths, guitars, branches and spoons, while the other recorded. Often a cat would come to the door to listen, meowing to be let in. When it appeared daily they called it Stranger Cat, and observed its alien supernatural powers, as she’d heard tell of the Foothills’ long history of UFO sightings and ghost haunts. One day they let Stranger Cat in. The plump feline ate all the kitty food and left.

                                          FORMAT INFORMATION

                                          LP Info: LP Limited to 500 copies only.

                                          Suuns & Jerusalem In My Heart

                                          Suuns & Jerusalem In My Heart

                                          Beginning in November 2012, Suuns and longtime friend Radwan Ghazi Moumneh of Jerusalem In My Heart rented a studio in Montreal for seven days. The idea was to collaborate on rough sketches of song ideas and to complete as much recording as possible without discrimination. The session was successful, yielding many vibe-laden songs featuring heavy analogue synths, Arabic influences and electronic sensibilities.

                                          After the session the recordings laid dormant. Both bands were releasing individual albums; touring was to ensue shortly. Some editing time was squeezed in between tour dates but a full year passed before the songs were heard by an audience. The collaborative band did a live show at Pop Montreal 2013 and then another the following March. At that point the project was kickstarted into gear. The band over-dubbed and re-worked the songs in the summer of 2014 and finally, whilst on tour in October, finished the vocal overdubs and mixing. Radwan Ghazi Moumneh of Jerusalem In My Heart did the tracking and most of the mixing while Max Henry of Suuns handled some mixing as well.

                                          Tapes Meets The Drums Of Wareika Hill Sounds

                                          Datura Mystic / Version

                                          This started out a couple of years ago as a grounation drumming session above the old headquarters of the Mystic Revelation Of Rastafari, in Wareika Hill, Kingston, JA. Calvin 'Bubbles' Cameron from The Light Of Saba alongside his regular crew and original Saba drummers sat with four funde, a repeta and a bass drum laying down a heavyweight nyabinghi riddim. Back in London, contributing flute and guitar, Kenrick Diggory unbottled the deep rootical psychedelia and sheer awe of 'Hunting' - the Keith-Hudson-versus-Count-Ossie wonder of the world - and Tapes added electronics, a shot of Drum Song… and a giddily intense layered steppers nyabinghi dub. Total murder.

                                          Tooth Faeries

                                          The Sound / Love & Resistance

                                          Sheffield mainstays Mark Brydon (Moloko) and Parrot (Sweet Exorcist, All Seeing I) come together as Tooth Faeries with this latest release on Shabby Doll comprising of two versions of the title cut plus the gently pulsing "Love & Resistance". Deeply melodic yet also crisp and compelling, "The Sound" layers Carmen Squire's lush vocal over a martial drum beat, unleashing a dose of deep Sheffield bass just when it matters most. It's an arresting and irresistible record, disarmingly simple and yet designed to stick fast in the memory. On the flip, "Love & Resistance" balances an unsettling electronic rhythm track with delicate chords and crystal clear vocals, guaranteeing heavy rotation throughout the summer months.

                                          The latest chapter in the electronic evolution of guitarist John Frusciante (Red Hot Chilli Peppers) features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template.

                                          Frusciante's desire to cede control to machines has paradoxically allowed him to present a singular take on elemental dance music, a brilliant and unexpected entry into Acid Test's growing canon of modern, 303-focused dance music.

                                          Frusciante  says:
                                          “I started being serious about following my dream to make electronic music, and to be my own engineer, five years ago. For the 10 years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer and sample based music, emulating as best as I could, what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony. I would learn what someone had programmed but their thought process eluded me. Programmers, particularly ones fluent on machines from the early 80s and/or tracker programs from the 90s, clearly had a theoretical foundation in their employ but it was not the theory I knew from pop/rock, jazz or classical. The hands relationship to the instrument accounts for so much of why musicians do what they do, and I had come to feel that in pop/rock my mind was often being overpowered by my hand, which I had a strong desire to correct. I was obsessed with music where machine intelligence and human intelligence seemed to be bouncing off one another, each expanding with the incorporation of what it received from the other.

                                          In 2007 I started to learn how to program all the instruments we associate with Acid House music and some other hardware. For about 7 months I didn’t record anything. Then I started recording, playing 10 or so synced machines through a small mixer into a CD burner. This was all experimental Acid House, my skills at making rock music playing no part in it whatsoever. I had lost interest in traditional songwriting and I was excited about finding new methods for creating music. I’d surround myself with machines, program one and then another and enjoy what was a fascinating process from beginning to end. I was so excited by the method of using numbers much in the same way I’d used my muscles all my life. Skills that had previously been applied by my subconscious were gradually becoming conscious, by virtue of having numerical theoretical means of thinking about rhythm, melody and sound.

                                          In summary, Acid served as a good starting point for me, very gradually leading me to be able to combine whatever styles of music I want, as a one man band.” - John


                                          Fantastic remastered reissue of a masterpiece of the golden era of NYC deep house, the incredible "Love Is A Mystery" EP by Tropical Moon (aka legendary producers Nelson Paradise Roman & Blue Jean), their one and only release under that moniker. Originally released back in 1990 every track here is a killer. The A-side features the underground emotional smasher "Love Is A Mystery", with its beautiful emotive pianos, classic lush strings and gorgeous vocal. Quickly followed by the infectious conga rhythms of "It’s Alright", coupled beautifully with a soulful male vocal hook this ones perfect for getting the floor simmering hot during the warm up. On the flip we get another club classic, the Instant House-inspired tribal bouncer "Jungle House" (the blueprint for a sub-genre of house music all unto itself!) as well as the darker, after-party vibe of "Data Bank" with its phat b-line, deep chords and superb sleazy vocal. Absolutely storming stuff and pretty under the average house DJ's radar as far as I can tell too. 

                                          STAFF COMMENTS

                                          Matt says: Huge reissue of this little known deep house classic from 1990. Essential for anyone into Instant House, Murk, Rudolpho, Risque III etc.

                                          Wax Poetics

                                          #61 (Bishop Nehru / Ghostface Killah Cover)

                                            Cover Stories: James Brown's the Payback, Curtis Mayfield, Bishop Nehru, Ghostface Killah

                                            - Rick Stevens, Tower of Power
                                            - Joi
                                            - TV on the Radio
                                            - Morrie Turner
                                            - Electric Wire Hustle
                                            - Tuxedo (Jake One & Mayer Hawthorne)
                                            - Young Fathers
                                            - Soulection's Joe Kay selects twenty records that inspire the label's "Sound of Tomorrow"
                                            - Black Panther graphic artist Emory Douglas

                                            Paid in Full: Fred Wesley did his second stint with the James Brown Band during the Godfather of Soul's rebirth in the 1970s. Here, Wesley reminisces about their seminal and best-selling record, The Payback, which can be seen as a hard and cold metaphor for social justice.

                                            The Message: The Impressions were up and down on the charts for a decade, depending on the creative inspiration of its songwriter and lead vocalist Curtis Mayfield. The final three increasingly sociopolitical charttoppers he wrote for the group-"We're a Winner," "This Is My Country," and "Choice of Colors"-would lean more towards Black Power, alienating some fans and radio stations, but would set the tone for his incredibly important solo work to come.

                                            Golden Child: After releasing his first mixtape, 2012's Nehruvia, at only sixteen, New York phenom Bishop Nehru arrived as a fresh voice laced with erudite wordplay and a penchant for classic beats. With his EP strictlyFLOWz the following year, he grabbed the attention of MF DOOM, resulting in their recent collaboration, 2014's NehruvianDOOM. As he prepares his solo album, with Nas on board as executive producer, the old-soul poet is poised to help bring the art form back to New York.

                                            The Champ: In an arena where MCs seldom have extended careers, Wu-Tang's Ghostface Killah has increasingly improved through two decades after his 1996 solo debut, Ironman. His use of cryptic slang and his gift for spinning complex tales leaves an unmatched legacy-one that's still growing.

                                            Wax Poetics

                                            #61 (James Brown / Curtis Mayfield Cover)

                                              Cover Stories: James Brown's the Payback, Curtis Mayfield, Bishop Nehru, Ghostface Killah
                                              - Rick Stevens, Tower of Power
                                              - Joi
                                              - TV on the Radio
                                              - Morrie Turner
                                              - Electric Wire Hustle
                                              - Tuxedo (Jake One & Mayer Hawthorne)
                                              - Young Fathers
                                              - Soulection's Joe Kay selects twenty records that inspire the label's "Sound of Tomorrow"
                                              - Black Panther graphic artist Emory Douglas

                                              Paid in Full: Fred Wesley did his second stint with the James Brown Band during the Godfather of Soul's rebirth in the 1970s. Here, Wesley reminisces about their seminal and best-selling record, The Payback, which can be seen as a hard and cold metaphor for social justice.

                                              The Message: The Impressions were up and down on the charts for a decade, depending on the creative inspiration of its songwriter and lead vocalist Curtis Mayfield. The final three increasingly sociopolitical charttoppers he wrote for the group-"We're a Winner," "This Is My Country," and "Choice of Colors"-would lean more towards Black Power, alienating some fans and radio stations, but would set the tone for his incredibly important solo work to come.

                                              Golden Child: After releasing his first mixtape, 2012's Nehruvia, at only sixteen, New York phenom Bishop Nehru arrived as a fresh voice laced with erudite wordplay and a penchant for classic beats. With his EP strictlyFLOWz the following year, he grabbed the attention of MF DOOM, resulting in their recent collaboration, 2014's NehruvianDOOM. As he prepares his solo album, with Nas on board as executive producer, the old-soul poet is poised to help bring the art form back to New York.

                                              The Champ:In an arena where MCs seldom have extended careers, Wu-Tang's Ghostface Killah has increasingly improved through two decades after his 1996 solo debut, Ironman. His use of cryptic slang and his gift for spinning complex tales leaves an unmatched legacy-one that's still growing.

                                              Wovenhand

                                              Wovenhand

                                                No doubt Wovenhand is one of the most intense bands existing at the present moment coming from the USA musical scene.Wovenhand's first album, dated 2002 is now finally released on vinyl.This is the very first effort by David Eugene Edwards after 16 Horsepower and this meant the start of a new era in his musical career, diving into foggy and shady passages of folk and blues. Take a walk on the darkest side of American music. A mandatory album for fans of The Gun Club/Jeffrey Lee Pierce, Johnny Cash, Mark Lanegan, The Beasts Of Bourbon, Nick Cave and the Bad Seeds, etc.

                                                FORMAT INFORMATION

                                                LP Info: 150g vinyl limited to 500 copies.

                                                O. Xander's "Less is More" EP does what it says on the tin with a bare bones aesthetic that pays dividends in the subtlety of its arrangement and an enigmatic viscidity that sits central to each component track, none more so than the nectarous "Lovers Theme". Deeper into the EP there is a discernible salute to the Belleville Three and their dilettantish synthesis of sound and sensation on the aptly titled "Integrity & Intensity", while closing out the collection Michigan's Karen Gwyer contributes a leviathan rework of the propulsive "Dirac Sea", also included in its original form, with the subsequent version weaving a distended web of imbricated melodies into a rapturous crescendo.

                                                Relapse is proud to make The Zombi Anthology formally available for the first time ever. Previously made available by the band themselves (over 10 years ago) in an extremely limited, CD-only run, this is the first time that Zombi's very first recordings have ever been available in stores. The Zombi Anthology represents Zombi at the peak of their horror-score obsession. Check out where it all began! Recommended if you like: Goblin, the film-scores of John Carpenter and Fabio Frizzi, Trans Am.

                                                "Analog synthesizer-based horror soundscapes" - PULP.

                                                “With analog synths set to “stun”, the Pittsburgh duo sound like the soundtrack from a lost John Carpenter film.” – ALTERNATIVE PRESS.

                                                “crisp sequences signal the past triumphs of Tangerine Dream, Moroder, Klaus Schulze, and Robert Schroeder.” - Sea of Tranquility. 

                                                “one heck of a synth-led journey...Definitely a "headphone album" in the classic sense” - All Music.



                                                FORMAT INFORMATION

                                                Ltd LP Info: Limited white vinyl.

                                                Wonderful new compilation of unearthed gems from Balearica. Kicks off with the in-demand full 12-minute version of the Chaplin Band’s definitive take on Lucio Battisti’s classic "Il Veliero", a hypnotic druggy bass and guitar-driven dancefloor opus that tears the roof of every time (and has a huge following in Manchester after being played at Electric Chair by Harvey back in the day then championed by Balearic Mike and Moonboots!). Followed by the short but sweet sun-drenched gem "Flying Cloud" by The Doobie Brothers. Next up comes Boule Noire’s "Aimer D’Amour" a superb beefed-up French version of Leo Sayer’s Balearic favorite "Easy To Love" and then rounding things off is the gorgeous mellow groove of "A Touch Of Temptation" by Japanese multi-instrumentalist Masaaki Ohmura taken from his impossible-to-find "You Gotta Chance" soundtrack LP from 1985. Great collection. Move quick!

                                                Matt Tolfrey’s musical roots lie in Nottingham where he regularly attended DIY events as well as the infamous The Bomb nightclub, the latter being a home to authentic British deep house via the likes of Kelvin Andrews and Dave Congreve. Soon after these formative years, just after the turn of the century Tolfrey found himself behind the decks at The Bomb - and later, Stealth - where he began to carve out a reputation for himself as a varied and adept house selector. Craig Richards, also a Bomb regular, spotted Tolfrey’s skills and invited him to play at fabric in 2004 which marked the beginning of a long relationship with the club and its auspicious resident.

                                                After a move to London around this time, Tolfrey kicked off Leftroom and signed his debut EP to the burgeoning Crosstown Rebels, two moves which fully drew him into the music industry. Since then, Tolfrey’s productions have cropped up on the likes of Cocoon, Culprit, Phonica, Rekids and, most recently, Skream’s Of Unsound Mind while stewarding Leftroom to drop releases from the likes of DJ Bone, Laura Jones, Huxley and Kate Simko.

                                                The result of eleven years of playing and attending fabric (Tolfrey can be seen regularly at the club when not he's travelling himself), fabric 81 is a distillation of his experiences and musical memories rather than a straight up trip through the latest promos and hot cuts.

                                                Across Tolfrey’s mix we’re treated to a broad selection of styles and compositions old and new, all tied together in the DJ’s bumping, energetic and sometimes idiosyncratic dancefloor style, with tracks frequently weaving in and out of the mix or laid over others throughout their full duration. Nods to the past come from Nail (‘I Think It’s Love’) on Tolfrey’s beloved DiY Discs and Soichi Terada’s ‘Tokyo XXX’ while contemporary offerings come in the shape of cuts from Genius Of Time, Jon Convex and a number of Leftroom exclusives. Tolfrey, ever the slave to his record collection, also drops in bonafide classics such as Doc Martin & Eddie Amador’s take on Aaron Carl’s ‘My House’ and a Derrick Carter re-rub of 2nd Shift’s ‘Somethin’ Else’.

                                                fabric 81 stands as a radiant presentation of Matt Tolfrey’s knowledge and background as one of the UK’s finest purveyors of electronic music.

                                                London Housing Trust 009 is here with the second installment of Jamie Blancos "Unknown Reason", the original mix which creates a moment of late night drama for dancers. Fx Mchn makes a welcome return with his trademark dark, eerie sound, rolling mutating crispy beats and weird vocal samples on "UFOD". LHT newcomer, Late Night Audio enlists the vocal skills of a local Hackney gal before adding a techy, shuffling nightclub beat and deep rumbling bassline on "Live For The Music". Finally LHT mainstay Facade brings us one of his best pieces of work yet with a stunning slow analogue house workout that goes way deep with added dub delay FX warm chords and arpeggiating bassline.

                                                This limited cassette is a special bonus / pre-release item for the forthcoming 2 X LP 'HIGH ROAD" forthcoming on RED MOTORBIKE!

                                                LOW ROAD contains unreleased music from EDDIE C which won't be appearing on the vinyl version, and also features cuts from KKOOSH, DANE & KHOTIN and CEM G

                                                Lightly 'mixed' by Eddie... 50 Copies worldide !!

                                                Ladies and gentlemen, boys and girls of all ages. It's that most magical time of the year again, as Vinyl Christmas is on its way. You must all have been very good this year because that Balearic Santa, Moonboots and his head elf Jason Boardman, have a luxury treat for one and all; Aficionado's officially unofficial Record Store Day release!  To celebrate the most exciting day of the vinyl calendar, the finest purveyors of the eclectic and ecstatic have brought together four rising stars from across the globe for a special 10" release. The musical journey begins close to home with a well matched pair of laid back beauties from Manchester's freshest talents, Half Silk and Menage a Trois. It's the mysterious Half Silk who opens proceedings, making his debut with the dreamy groove of 'Delicious Crime'. Taking us on a late night cruise through the big city, Half Silk treats us to swelling chords and seductive basslines while the clavinet sounds a neon-tinged solo, heralding our arrival downtown. As we spill from one bar to the next drinking in the midnight sleaze, echo drenched guitar and organic percussion emerge from the shadowy backstreet, leading us into temptation. We swap the red-lit vice of the city night for the fresh air of coastal sunrise on the A2 in the company of yacht rock revivalists Menage a Trois. 'Conditional Love' evokes memories of off kilter Japanese synth-pop, 10cc at their most ambitious and the afternoon delight of Rupert Holmes and Pages. Breathy chords drift over a simple rhythm track, setting the scene perfectly for that pitch bent melody. The B-side begins in truly exotic fashion as Fasaan witch doctor Prins Emanuel transports us from his native Sweden to the moonlit desert for some dervish dancing. 'Dr Arvid's Campfire On The Doones' brews a redolent psychedelic melange of droning sitar, rhythmic guitar and rowdy conga, distilling North African flavours for a trance inducing hit. From a Swede in Morocco to an Australian in India then, as Eleventeen Eston closes out the EP with the tape warping swelter of his humid white funk. Primitive drum machines, heat haze synth-lines and tropical melodies spin into infinity as Eleventeen masters the art of noise from the comfort of a sun-lounger. What better way to celebrate Record Store Day than with four future classics from your favourite Balearic outfit.
                                                Officially Aficionado

                                                STAFF COMMENTS

                                                Patrick says: Sublime Various EP on Nado with Ryan Horsebeach's sleazy side project, Half Silk, and Menage A Trois holding it down for Manchester. On the flip, Prins Emanuel dishes out some exotic psyche and Eleventeen does his humid funk thing. Ace!

                                                Various Artists

                                                Nekromantik

                                                  One Way Static Records is proud to be bring you their latest release, a release where we had the chance to work with German visionary Jörg Buttgereit and his trio of go-to composers : Daktari Lorenz, Hermann Kopp & John Boy Walton.Nekromantik is known to be frequently controversial, banned in a number of countries, and has become an international cult film over the years due to its transgressive subject matter (including necrophilia) and audacious imagery.Daktari Lorenz, Hermann Kopp & John Boy Walton make up the holy trio of composers called upon by film maker Jörg Buttgereit. Between the three of them they produced some of the most haunting and beautiful tracks to be paired up with Buttgereit's controversial on-screen works of art.

                                                  The Nekromantik score displays the dynamic ability and range of the composers. It strikes a perfect balance of beauty, horror, joy and dissonance. The score is both minimalistic and hauntingly atmospheric at the core, and yet remarkably complex at the same time. A wide variety of instruments and sound effects are utilized throughout it’s making. Kopp wastes no time displaying his mastery of the violin, which takes center stage, captivating the listener with his powerful, rhythmic, and beautiful solos. He also uses the violin to create some of the strangest tracks on the album, significantly slowing down the rhythm, creating an ominous, off-key droning sound. Kopp is no slouch on the piano either, with a number of beautiful piano interludes that appear throughout the score. In sharp contrast are the tracks which sound as if they are from an old school industrial album. Harsh noise, clanging metal, pounding drums, synthesizers, and various sound effects come together to create a truly dark and desolate picture. The moog synthesizer, also makes a few appearances. This is an amazing collection of music that appeals to a wide variety of people.

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: LP & bonus 7".

                                                  Mr Khan is back with the 11th edition of Shir Khan’s "Black Jukebox" series!
                                                  This time Shir Khan has collected edits from Purple Disco Machine, Dayne S and Zoka. PDM's "Magic" kicks off proceedings with a well know male-rap vocal collaged onto a funky shaker rhythm before "Evil Vibration" by the Mighty Ryeders gets lo-pass filtered into just bass and groove. Every so often the catchy rap hook gets fired over the top of the mix with aplomb, hitting hard and working collaboratively with the hi-pass filtered sections. Dayne S's "My Soul" is up next, another soundsystem-ready disco-house jam which tickles the subwoofers beautifully and seems purpose built for eyes-wide-shut Summer terrace play in big outdoor spaces. Zoka brings two cuts to the B-side. "I Don't Dance" deploys some nice warm disco drums before subtly working in some intricate guitar parts, funky b-line and sensual female vocals. Another hip-shaker to get an early evening dancefloor wiggling too. Finally, "Professional Dancer" closes off the EP with a percussion heavy workout taking in wicky-wicky guitar (official term) and heady, psychedelic elements; a loft-party future classic for sophisticated dancers everywhere. Limited & vinyl only. Cop that before it sells out. 



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