Following the monumental success of ‘HTH030’, where The Haxan Cloak (co-producer on Björk’s latest album) and Hospital Productions’ Vatican Shadow reworked tracks from Akkord’s ‘HTH020’ EP, Akkord return with another handpicked curation bringing together two more producers at the top of their game in their respected genres.

Fis (Tri Angle / Loopy) conveys the experimental drones of left of centre D&B sound design abstraction in his reworking of ‘Gravure’ and ‘Continuum’ while techno OG Regis (Downwards / Sandwell District) reassembles the same two tracks looping sludgy dub techno atmospherics, placing emphasis on the space in-between.

Placing all four original Akkord tracks and these interpretations onto CD, ‘HTH035’ brings together some of the most exciting producers in experimental electronic music onto one release. Mastered by Matt Colton at Alchemy.

Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex’s fifth album, DSU. Recorded prior to DSU and previously only available via Alex’s Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Rules is soaked in the distinctive personality that is Alex G; the professionally mastered versions of these tracks further highlight that Alex has a serious knack for melodic songwriting.

In addition, Lucky Number are also thrilled to be releasing Trick, Alex’s fourth album. Written and recorded just a few months after Rules, they both harbour a similar charm that makes it feel right for them to be released together.

Both Trick and Rules continue to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.


Ltd LP Info: Heavyweight Vinyl LP includes free copy of CD and Bonus Tracks.

Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex’s fifth album, DSU. Recorded prior to DSU and previously only available via Alex’s Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Trick features many of the fan favourites that Alex has been playing at shows recently, including the infectious off-kilter anthem 'Forever', the dreamy and surreal 'Animals' and the charmingly lo-fi 'Change'. Trick is soaked in the distinctive personality that is Alex G; the professionally mastered versions of these tracks affirming that underneath all the unconventional guitar lines and scrawls of fuzz, Alex has a serious knack for melodic songwriting.

Trick continues to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.


Ltd LP Info: Heavyweight Vinyl LP includes free copy of CD and Bonus Tracks.

JT Allen & Little Richard's Band

Working Hard / Freeway Crowd

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

Get yours before they are gone.


7" Info: Limited dinked 45.

Aye Aye

Aye Aye

    The CV on Aye Aye, the long-rumored self-titled debut by Philadelphia’s premier desert blues marsupials, runs deep through the beer-strewn underbelly of Philly rock. The Gibbons Bros’ unmistakable slow-motion, big-chord fuzz will be familiar to anyone who’s taken a plunge into the Bardo Pond soundpool over the last few decades, though a cultivated ear will note more grits and butts and less pedalboard worship here. Ben Leapheart retains his very official title of greatest drummer in Philadelphia—have you shmoes not heard Purling Hiss or Watery Love?—with his innate understanding that the drums lead, not merely keep time. And then there’s the high lonesome harp of Harmonica Dan Balcer, a record hound of profound depth. He’s been the public face of Boogie Witch, blown his harp on records by Jack Rose and Birds of Maya, blasted noise with the Megajam Booze Band, patiently schooled dingdongs from behind the counter at the Philadelphia Record Exchange, and devoted unhealthy decades to an insatiable thirst for true rock spirit. Yeah, yeah, cool, but what does it sound like? OK bub, how about terrestrial crunching rock drifting over a great expanse? Aye Aye is limited to 300 copies on vinyl and includes a complimentary digital download with purchase.

    Courtney Barnett

    Sometimes I Sit And Think, And Sometimes I Just Sit

    Following the runaway success of her EP collection, 'The Double EP: A Sea of Split Peas', Courtney Barnett returns with her debut album. Recorded in the Autumn of 2014 in an intense 10 day session at Head Gap studios in Melbourne, the album finally brings Barnett's incisive vision into stark, unflinching focus; her wit sharpened to a knife edge, her melodies more infectious and addictive than ever.

    'Sometimes I Just Sit and Think, and Sometimes I just Sit' cements Barnett's standing as one of the most distinctive voices in indie rock. Mixing witty, often hilarious observations with devastating self-assessment over a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Depressing rentals and dead foxes, go-nowhere relationships and dead end suburbs, even her own fears, doubts and insecurities - nothing escapes Barnett's caustic sense of humour.

    If 'The Double EP' announced the arrival of a major new talent, 'Sometimes…' consolidates that promise and marks Courtney Barnett as one of the best and most unique voices around, period.


    CD Info: Gatefold CD includes a booklet as fold out poster.

    2xLtd LP Info: Indie stores exclusive - Limited deluxe 2LP is a double gatefold heavyweight orange vinyl and also includes MP3 download card.

    Julio Bashmore

    Rhythm Of Auld / Knockin Boots

    Julio Bashmore returns alongside J'Danna with "Rhythm of Auld". A boogie-fused future soul romp with lush vocals and exceptional Bashmore synthwork the trademark. Pairing J'Danna's sensual voice with 80s-informd licks and flurries, plus a nice rounded drum palette makes this the perfect crossover track, landing somewhere between classic Detroit beatdown, 80s boogie, pop prowess and Bashmore's unique style. "Knockin' Boots" is also undeniably Bashmore - as he turns his hand to more a frenetic, looped house sound but one that twists heads through a series of dynamic breakdowns and drops. Keeping you on your toes till the very end. Great stuff.

    Big Strick back with for 2015. 4 rolling, killer house jams in the inimitable Strick style. Luminous and radiant, handily preparing us for the sunshine months ahead. "Ghetto Man" kicks off with keys that'd make Andras Fox blush as he deploys bouncy hardware drums, wooden analog bass and a thoroughly sunshine outlook across the mix. "Don't Wait Up" signals the start of the outdoor evening bash as Strick gets all funky with his Rhodes and deep with his bass. Perfect to get people prancing around your garden post-BBQ. "48 Hours" sees us move into the twilight as Strick wraps us up with warm, enveloping pads and more gorgeous Rhodes. You can almost see the fiery red sunset burning through the horizon as this one chugs on and on. Lovely. Finally, "Illuminated" sees us finally arrive in a balmy summer night sky, doing away with the bright keyboard flurries and concentrating on grooving bass and soaring pads - exceptional! Strick's absolutely nailed it on this one; in my opinion his best record to date. Move quick.

    Richard J. Birkin

    Songs For Spoken Words

      “In its sweet, low-key way, Songs for Spoken Words is magnificent. It's as if you're hosting a cutting edge artistic event in the comfort of your own office, living room or train seat. Within a few lines of “Being That Person” you're hooked. Technically dazzling and emotionally involving.”
      - The Arts Desk.

      “Listen and marvel.” - Collective Zine.

      "The overall mood is reflective and melancholic spanning a spectrum that ranges from the warm slow-indie vibe that bookends the album (‘Being That Person’ and ‘Goodbye’) to modern classical motifs rendered with a dash of cinematic melodrama in such achingly beautiful pieces as ‘That Night’ and ‘One’. Everything is elegantly and minimally arranged, featuring crystal clear acoustic guitar, resonating strings, and just a faint smattering of electronics. Songs for Spoken Words is worth the price of admission for the music alone; each tune is engaging, both easy on the ear and able to summon wistful feelings in the listener." - Stationary Travels.

      Black Symbol are among the unsung heroes of British reggae. During their heyday in the early 1980s, they not only released a handful of their own songs as singles, now highly sought after, but financed and released the two volumes of “Handsworth Explosion”, records that documented and showcased so many talented local acts. They played countless shows, funded numerous recording sessions for local bands and singers and did everything possible to promote the music they and their fellow artists were creating.

      Although their reputation within Birmingham was and still is second to none, their self-released records lacked the promotional muscle of major label backing and enjoyed modest sales, not escaping beyond the specialist reggae market.

      There can be few British bands whose back catalogue is so unknown by the masses and so deserving of an album release. Better late than never, three decades and more since they were recorded, Reggae Archive Records have gone through the singles, the Black Symbol tracks included on the two volumes of “Handsworth Explosion” and unreleased songs, to compile an album that will do Black Symbol’s music justice and rightfully secure their place as one of Britain’s most important and original reggae bands of the 1980s.

      The music is roots reggae at its best, clearly British, but firmly anchored to the childhood home of the band’s core members in St Ann’s on Jamaica’s North coast; like Birmingham another hotbed of reggae creativity and talent. Although all tracks were recorded at Outlaw Studios in the heart of Birmingham, this music is among the most Jamaican sounding of any British recordings. There is not a conscious attempt to mimic a Jamaican sound, it’s in the group’s DNA and just naturally permeates their sound. Unlike so many other British reggae groups, they didn’t take The Wailers as a template and instead created something new and entirely unique.

      The double vinyl LP comes in a deluxe gatefold sleeve and both it and the CD version contain sleeve notes based on interviews with original band members; Fatman, Blobbo and Rhino plus archive photos provided by bandleader Fatman. The album will be released on all formats by Reggae Archive Records on 16th March 2015 and is sure to be one of the highlights of the year for all fans of roots reggae and British reggae.

      Wick Blaze is a producer from a small island in the Baltic Sea. He started producing in early 2013 and has been devoted to the various shapes and sounds of the current house music cannon. Looking for a deeper touch he keeps the beats raw yet diverse, concentrating on sounds that invite you back for a second listen. "Glympses" quickly cements this outlook as an exotic palette of Latin-guitar, bouncy tribal beats and catchy male vox get us grooving from the very off. "Falling" mixes emotive piano melodies with the vocal hook off "Let No Man Put Asunder", completely changing the mood and texture of the OG. This is much more a smoky Theo Parrish-styled backroom jam than the glitzy mainroom disco of the original. Flip for "The Addiction", lulling us in with tough drums ricocheting through the delay units to start with. A sexy female vocal ident is added to the mix and then rolled out till the end. The perfect tension builder / DJ tool - this one just bubbles, teetering on the edge of climax throughout but leaving you painfully teased and gasping for more - surely inviting the more adventurous DJs to get involved in the fun! "U Took My Love" twists and wraps more big room Diva vocals to a more restrained, beatdown vibe. This one has big weighty kicks propping up a seriously emotional collage of hooks and piano loops and again, doesn't mess around too much with the arrangement; keeping it simmering till its natural duration draws to a close. Understated and sexy stuff from the Baltic newcomer!

      The Blood Tub Orchestra, set to be 2015’s most interesting and innovative outfit, are delighting and enthralling listeners with their wholly unique idea. Unearthing Victorian and Edwardian music gems from often long-forgotten artists, The Blood Tub Orchestra evolve the pieces into fully-formed 21st century creations that still possess the characteristics and soul of the original historic works. The ghost is firmly spooking the machinery.

      When we look into our histories, we often do so with a rose-tinted and fantastical idealism of what entailed in those previous years, belying the actual truth whilst embracing the myths. This music most certanly isnt that! With the cosy mothball whiff of fancy dress nostalgia removed, a straight bare knuckle fight between the song and the performers is left to find its place creating the most mouthwatering proposition since The Rolling Stones re-introduced Blues to America. Great Britain, this means you!

      The songs on this EP are selected for their timeless relevance and irreverance, We’re Glad You’ve Got A Gun, of which no known original recordings exist, is a chilling call to arms propaganda song aimed at the popular music markets of it’s day. The Modern Mephistopheles is a damning a bitter whimsical mocking version of a song about poverty and ‘domestic bliss’ that was popular in its day.

      The Blood Tub Orchestra is comprised of a ragtag assortment of musical waistrels. Tim Whelan (Transglobal Underground, Furniture etc), Ashley Davies (Project Dark, London Dirthole Company etc), Kirsten Reynolds (Project Dark, LDC etc), Rob Lewis (Pulkas, LDC etc), Debbie Smith (Echobelly, Ye Nuns etc) plus various guests

      Blues Pills

      Blues Pills Live

        Easily one of the breakthrough classic rock bands of 2014, Blues Pills have been enchanting fans and media alike since they unleashed their self-titled, UK Top 75 debut last year. This young American / Swedish / French quartet create a very unique, intense and extraordinary rock atmosphere while at the same time having a major mainstream appeal that takes you right back to the time of Blues Pills’ ancestors Aretha Franklin, early Fleetwood Mac, Led Zeppelin, Jimi Hendrix, Janis Joplin and Cream.

        Driving basslines, grooving drums and guitar solos from another planet by 17 year old Dorian Sorriaux, harmonized and tied together with such easiness and delight by Elin Larsson‘s incredible voice.

        With the idea to combine soul music with blues and rock ‘n’ roll and turn it into a new force of unimaginable energy, intensity and freshness, blonde archangel and soulsaviour Elin Larsson will guide you gently into a new world; the band´s empire of soulful rock. Elin’s powerful lyrics are full of emotion, her jazzy-soulful voice unfolding in outstanding beauty with a refreshing new take on the timeless and unquestionably noble art of rock ‘n’ roll.

        The band‘s stunning 10-track debut, produced by Don Alsterberg (Graveyard), was dubbed “one of the most exciting releases of the year” by Classic Rock Magazine, while Mojo predicted that “good times lie ahead for Blues Pills.” The album was rapidly backed by serious bout of roadwork. A sold-out November club run was followed a month later with a full UK tour as special guests to Rival Sons. Such is the demand for the band that another April headline run was announced immediately after.

        It couldn’t be more fitting that the band’s first live album was recorded at the renowned German Freak Valley Festival. Festival founder Jens Heide has not only been supporting the young musicians from “day one, before we even played a single show, before ‘Devil Man’ even was written and before the band was fully formed,” as vocalist Elin Larsson points out. In fact, he even gave the band their name.

        This concert was also their first ever headline festival appearance. “We took a walk around the festival and I remember getting a really good vibe from the place,” recalls guitarist Dorian Sorriaux. “It felt like all the puzzle pieces came together up at that moment,” adds Larsson.

        It’s in the live arena where Blues Pills really come into their own, as this 10-track release, recorded in front of a rabid German crowd, surely testifies. Improvising, stretching and twisting arrangements with Sorriaux and Larsson swapping the spotlight, Blues Pills remain anchored by their rock-solid rhythm section. ‘Blues Pills Live’ is the sound of a young band at the top of their game.


        CD Info: A5 digibook CD

        2xLtd LP Info: Gatefold double vinyl with etched Side 4.

        Gary Bredow

        The Belleville Three - High Tech Soul - The Creation Of Techno Music

          "Bredow's cast of alumni - the holy trinity o f Atkins, May & Saunderson at the front - fill out this tale with passion, pride and, oddly for music of the future, nostalgia too." - Dazed and Confused

          "An enjoyable education into the music, the city and the main players past, present and future." - DJ Magazine

          The Brian Jonestown Massacre

          Spacegirl & Other Favorites (Reissue)

            Taken from the original vinyl release with the original tracks & re cut at Abbey Road. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.

            Buena Vista Social Club

            Lost And Found

            Coming almost two decades after the release of the original Grammy-winning, self-titled LP, the new album is a collection of previously unreleased tracks - some of which were recorded during the original album’s sessions in Havana and others from the years that followed. 

            The studio tracks on 'Lost And Found' were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista’s legendary veterans.

            "Over the years we were often asked what unreleased material was left in the vaults," says World Circuit’s Nick Gold. "We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was."

            The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music. It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996, bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

            Hotly tipped Glasgow imprint West End Communications returns with this storming selection of live edits from The Burrell Connection, who stake dive straight into the midst of Scotland's bloody battle for techno supremacy. A-side cut "Articulate" should have you hooked from the get go, as the Glaswegians get their sync on, combining driving drum patterns with lively analogue sequences and celestial pads to find that perfect middle ground between classic UK techno and vintage US house. The A2 "Alternate Mix" blasts off to infinity and beyond as The Burrell Connection get into some space age synth action, breathing in clouds of cosmic dust and twiddling knobs all over the shop for a dynamic and high octane retake of the EP opener. On the flipside "Morning Detroit" makes good use of swirling pads and churning sequences in the foreground as the stripped back drum track and low slung bassline drive us on for days. "One Day" brings proceedings to a close in emotional fashion as The Burrell Connection extract the very essence of longing from their hardware array via a shimmering synthline, set it to a simple beat and bring the dancefloor to tears. In short, deep house perfection to compliment the techy vibes found elsewhere. 

            Cannibal Ox

            Blade Of The Ronin

            Vast Aire and Vordul Mega collectively known as Cannibal Ox return to claim their rightful throne as the kings of underground hip-hop with their highly-anticipated sophomore album 'Blade Of The Ronin'. Serving as the long-awaited follow-up to their classic debut 'The Cold Vein', 'Blade Of The Ronin' showcases the duo wielding its proverbial swords and exemplifying why Stylus Magazine declared that Cannibal Ox’s wordplay demonstrates “the potential for hip-hop lyrics to work on many levels as the finest English poetry.” Cannibal Ox is joined by an A-list ensemble of who’s who in underground hip-hop on 'Blade Of The Ronin' with guest appearances from the likes of MF DOOM, U-God of Wu-Tang Clan, Elzhi, Artifacts and more. Blade of the Ronin is truly a must-have album for any fan of Cannibal Ox, or hip-hop in general for that matter.

            Fresh from his split EP with Tuff Sherm on Plastic World, the mighty Cassius Select drops a wild one for UTTU. Aligning themselves with that fucked up, post-everything world occupied by the aforementioned Tuff Sherm, but touching also on the strange warped genius of Kassem Mosse and Madteo, "Cross Strut" opens up the carnage with a thoroughly wooden bang'n'clatter interspersed with clever little vocal manipulations. Purpose built to bend minds in the club, the sheer weight and power of the drums is enough to make ceilings crumble. "Crook" continues with a similar sound palette, but goes on an even more frenzied attack, syncopating the drums with various other elements in the mix for a bouncy, skewiff groove that should have dancers spiraling out of control manically. "Joy Mile" is a gritty, half-tempo gangsta house joint dragged through some filthy backstreets. A bit Shit & Shine in the mangled prowess, Cassius Select fires up the 808 piston subs halfway through the track whilst the crazed vox continues in pirate radio fashion throughout. Unbelievably good! And essential for fans of the Diagonal resident's manic outbursts. "He Ain't Worth" staggers along the same blurred lines as a plethora of out-of-time drum hits somehow buffer themselves mid-delivery into a sort of UK-footwork template. Frenetic as a bumblebee high on nectar, this beauty buzzes around all over the shop before settling on some shoulder-dropped, half-tempo crawl towards the end - designed to floor all but the sturdiest dancers! Brilliant madness from the UTTU camp - thoroughly recommended.

            Cerberus Future Technologies

            Frequency Adjustments Vol. 1

              Post apocalyptical, auditory machine-dirge signalling the shift in solar winds and featuring, amongst others Manchester finest hardware mangler, Ste Spandex. Cerberus Future Technologies is a new label featuring cosmic vibrations, interstellar energy and Orgonite-fuelled sonic communications beamed straight outta Levenshulme, MCR. This first compilation is a genuine treasure of a release. The cassette tape features 18 tracks from the galactic creative, mixed via analogue wizardry by starship commander Ste Spandex. Alongside this, purchase of the tape allows digital downloads to all tracks featured on the cassette as individual files - perfect for those DJs wishing to harness Cerberus' alien voodoo in their DJ sets. There's plenty of digital bonuses included too, but let's concentrate on the tape that you'll hopefully have in your hands. The music, as mentioned, conjures up images of a scorched Earth, after a thousand wars and conflicts have obliterated all organic life. Rather than take the sparse, barren aesthetic associated with this music metaphor, Cerberus opt for a fully crazed audio assault, filling the tape with frenetic sonic artefacts as the clattering and splurging of a thousand re-wired machines do battle against just-audible vocals and lashings of acid. Somewhere between Afrikans With Mainframes, Suicide and Ron Hardy all jamming away in a sherm stick-fuelled Muzik Box (Chicago) circa 2040AD. Fuckin' mindblowin'. Hats off to the crew for creating a new sound from our city - there's nothing like this out there at the moment pop pickers, and this surely marks a historical moment in our city's fine DIY heritage. A future classic - handily made collectable and tangible through this beautifully presented cassette tape and made accessible via its connection to the computers that we all live our life through. Essential.

              For soundclips please visit:


              STAFF COMMENTS

              Matt says: Excellent stuff from this burgeoning East-side scene. Beaming truly otherworldly sounds into our collective consciousness, Cerberus Future Technologies could well soundtrack the beginning of a new era for mankind!

              Charles Howl

              Sir Vices

                Today we introduce Charles Howl, a London-based brit-psyche group with a thrillingly melodic sound.

                Charles Howl release their debut album ‘Sir Vices’ with a dozen tracks that deliver. Comprised of Charles Howl & Bobby Voltaire (both of The Proper Ornaments) they elected to record at Syke Lane's warehouse studio on the outskirts of Leeds, utilizing the foggy and remote atmosphere. Locked away Howl honed his songwriting, and production skills, slowly bringing in a team of friends, including Chris Hicks (Talons) on bass and Wesley Patrick Gonzalez (Let’s Wrestle), who laid down a lead line on track 5 while round for a cup of tea.

                As some of the last children of the ‘80s and with a britpop upbringing, it’s no wonder Charles Howl has produced an album that sounds like The Modern Lovers channeling The Stone Roses while maintaining its contemporary charm. It makes for an album that is outward looking with tight rhythms tying down whirling guitars and lustrous textures bouncing off melodies. 

                Chic Featuring Nile Rodgers

                I'll Be There / Back In The Old School

                The legendary Nile Rodgers and Chic release the brand new tracks ‘I’ll Be There’ and ‘Back In The Old School’ to commence a new global recording contract with Warner Bros. Records. A new album - the band’s first since ‘Chic-ism’ in 1992 - will follow in June. The two new songs arrive on this 12" complete with instrumental versions as well. ‘I’ll Be There’ was inspired by Rodgers’ Chic partner Bernard Edwards who died in 1996. Co-produced by the Marinez Brothers the tracks bring back the classic Chic disco sound with a hint of house music.

                Clark’s ‘Flame Rave’ EP follows the aesthetic and sound of his eponymous 2014 album ‘Clark’, his most widely praised body of work that reestablished him as one of the forerunners of avant-garde electronic music.

                “I started making these ravey tunes to play out at gigs, but they gathered a momentum and gradually formed this EP,” Clark says of the genesis of Flame Rave. “I came back to it again and again - it seemed to work in clubs but also as a sneaky, immersive headphone listen. I love the feel of an almost overwhelming percussive violence being suddenly flooded with heartache and melody. I find that dynamic exhilarating.”

                'Silver Sun' is a mash-up of clockwork chimes, detuned keys, rave Hoover stabs and hardcore rhythms. The wonderfully titled 'To Live And Die In Grantham' will take you back to the days of the Orbit - an industrial techno pummeller for peak-time, smoke-filled dancefloors. 'Springtime Linn' goes down the new beat / EBM route of pitched down chug. 'Unfurla Cremated' closes the EP with layered synth textures and horn fanfares - a heady psychedelic sunblast of electronic sound.

                Wayne Cochran

                Wayne Cochran! - 180g Vinyl Mono Edition

                'Wayne Cochran!' The exclamation mark is there for a reason. Known as “The White Knight of Soul,” Cochran was flamboyant in both voice and attire. Crowned by a swooping white pompadour, he held back nothing on stage. His performance style was very reminiscent of fellow Georgia native Little Richard Penniman. Like Penniman, music led Cochran to his current career as a minister. Anyone who’s ever witnessed a fire-and-brimstone southern gospel service can see the connection between gospel’s passion and r&b’s groove.

                Issued by Chess Records in 1967, Wayne Cochran! captured the outrageous energy of his live show within the album’s grooves. This explosive collection of songs proved that Cochran deserved to share the label home of r&b greats like Etta James, Howlin’ Wolf and Muddy Waters. Rather than a traditional artist portrait, the front cover features an outline of his white pompadour against a black background. Simple and direct, it stood in stark relief against the sea of day-glo, psychedelic imagery of the day. To put it another way, the cover art clearly conveyed that this album was all killer, no filler.

                The original mono version of this LP is incredibly rare and changes hands for princely sums. However, there is no need to empty the savings account now that Sundazed Music has prepared a righteous reissue, in glorious mono! Sourced from the original analog master tapes, this Sundazed edition is 180gm of concentrated soul. Just add a turntable and watch the party spring to life!

                Elizabeth Eaton Converse grew up in Laconia, New Hampshire in 1924. Described as a polymath, she attended Mt. Holyoke College, but by 1944 she decided to leave college and, in 1949, she made her way to New York City. Over the course of the next decade, in addition to acquiring her new moniker, “Connie” wrote and recorded songs that captured the hearts of those close to her. Some were recorded by the artist in her Greenwich Village apartment, others by friends enamored of the music. These included animator Gene Deitch and his colleague Bill Bernal, who helped coordinate an appearance on the CBS Morning Show with Walter Cronkite.
                Despite these efforts, Connie’s music never reached an audience wider than, as she once put it, “dozens of people all over the world.”

                In 1961 Connie tired of New York and left for Ann Arbor. She became increasingly despondent in the 1970’s, and, finally, in 1974, Connie wrote a series of goodbye notes to friends and family, packed up her Volkswagen and disappeared. She has not been seen or heard from since. At first listen, Connie’s music seems to keep close company with the female folk artists who were her contemporaries. The knack for plaintive storytelling shares much with Peggy Seeger and Susan Reed, but Connie’s music stands out from that of the American folk revival of the 1950’s. Her fluid and disarmingly intelligent poetry is often filled with the kind of contradictions that reflects an urban perspective. She is at once a maverick and a romantic, intellectual and spiritual, a staunch independent and a tender, pining lover. How Sad, How Lovely captures the broad spectrum of Connie’s music..

                The Cribs mark a welcome return with their new album For All My Sisters. The band’s sixth studio album, it follows 2013’s career spanning ‘Payola’ collection and 2012’s Top 10 album ‘In The Belly Of The Brazen Bull’. Having reconvened in Wakefield and Portland, the band decamped to New York and Magic Shop studio with legendary producer and The Cars frontman Ric Ocasek (Weezer) to begin recording.

                For All My Sisters marks the start of the next chapter, in a decade long existence that has seen the band continually evolve and thrill, ever advancing whilst stockpiling an enviable arsenal of songs.

                FORMAT INFORMATION

                2xLtd CD/DVD Info: A deluxe package which includes 5 bonus tracks and a 23 track 'live' concert DVD from the infamous Christmas 2013 shows @ Leeds 'Town & Country Club'.

                Cyanide Pills

                Government / Hit It

                  To coincide with the general election we have a brand new single from Cyanide Pills. The A-side is a timely, two-fingered salute politicians of all stripes and is a taster for the band's third album due out sometime in the summer.

                  Dead Rider

                  New End

                    With glints mirroring off their gun metal blue fenders, Dead Rider are roaring down the trail again. Hot off ‘Chills On Glass’ (a Best Of The Year qualifier on many lists at the end of 2014) and several feverish tours around America, they have returned with a pair of songs to throw into the public’s yearning maw. This is Dead Rider, though; these songs aren’t benign give-the-people-whatthey- want fare.

                    On the A side the band consider the late night thoughts of the insomniac as he contemplates the endless parade of humanity that has passed through the very room in which he’s trying fruitlessly to sleep. How many of them were there? Who laid in this exact spot? Stared up at that exact crack? The room is empty now or is it full of the spirits that keep echoing out from the shadows in the corners? As sheets of black guitar reign all around these are the thoughts you might have when you’re facing ‘New End’.

                    The B side features the post-apocalyptic B Boy trying to fight off boredom and a bellyache. The collapse of civilization has left only broken beats, hot magnetic pulses of rhythm and scraps of raps. It can get a bit ‘Uncomfy’.

                    Georges Delerue

                    Jules Et Jim / Tirez Sur Le Pianiste

                    The fruitful and long working relationship between the legendary director François Truffaut and composer Georges Delerue covered 23 years and 11 films, beginning with Tirez sur le Pianiste. In this compilation two of the most famous scores of the “Mozart of Nouvelle Vague” are reunited in a precious LP. From the melancholic tunes of Jules et Jim to the vibrant piano play of Tirez sur le Pianiste” here you can find all the “colours” of Truffaut’s cinema.

                    Aus Music continue on form with a 4-tracker from label favourite Tom Demac who aligns his arsenal of hardware and readies a pack of rattling club tracks peppered with armoured kicks and luminescent textures. This latest offering carries forth the power present in his anthology as it spans a variety of moods and textures that are propelled by his tough, thrumming percussion and sportive synth work. "Smoke Stained Ivories" kicks off in pretty epic form as a spine-tingling hook repeats through white noise bursts and loose, coke-can percussion. Searing synth washes occasionally breaking through the euphoric haze. "Guilty Measures" is a terrace roller of the highest quality, designed for the big outdoor soundsystems and packing plenty of punch as it grooves through its course. "RIP Vogel" is a ket-friendly tech fest as a crazed breakdown gives way to pumping side-chained grooves and a proper wigged out melody. Finally "Beckett's Racket" is the end-of-night anthem you've been waiting for. Sublime in its approach and executed beautifully, this radiant baby burns on with the heat of the summer sun surrounding it, elevating the dancefloor to dizzying levels of exuberance as it powers on. Wicked stuff from Aus. Recommended.

                    2nd release on the Vienna based Yoshi Imprint. First one sold out in a flash and this one's just as tasty. I love labels like this: understated, minimal hype and press, just absolutely solid records for DJs and dancers alike; pressed beautifully onto virgin vinyl with a loving and caring hand. "Drive In" is tribal repetition and voodoo distilled and captured into a forward propelled techno form. Woodblock melodies, round kicks and wasp-like synth arrows darting around the mix. Thoroughly hypnotic, the track's repetition is bolstered by the warmth and clarity of the sounds on offer, you don't get bored of listening to these infectious grooves and what is long track duration seems to whizz by in a flash. Exceptional stuff. "Track 01" adopts a similar approach but swaps the woodblock melodies for growling bass riffage. The mid-high frequency interplay with the low end is incredible if not breathtaking, and to me epitomizes the very essence of techno - machines talking to each other in symbiotic unison. "In And Out Of Focus" concludes this mesmerizing set, another eyes-down technoid bleeper. This one's got concentric sine tones circling overhead while a rugged rhythm gets the body to work. Lashings of analogue goodness are strewn like tendrils across the mix in what is an effortless display of techno sophistication. A truly great second release from what could end up be in institutional label. Most recommended.

                    Dinosaur L

                    24-24 Music

                    Dinosaur L is an alias donned by Arthur Russell, a man whose contribution to dance music from the late seventies and through the eighties was formidable but only quietly acknowledged. His innovative and left field dance records were way ahead of what people were used to hearing at the time. He was a cellist who studied classical and Indian music. As well as his great strides in dance music he was also involved in the New York downtown avant-garde music scene and produced some albums in a more avant-garde / experimental vein as well as trying his own unique approach to pop. He scored several hits on the underground New York dance scene at clubs like The Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, “Go Bang!” and “Is It All Over My Face?” were worldwide club hits and are still played today as classics. His records have influenced the scene from his first dance record in 1979 to the present day and his work has been much sampled. Sadly Arthur died in 1992, but his music lives on and his influence is still felt on the dance music scene, his tunes still sound great and are still moving many dancers around the world, so his spirit lives on. Sleeping Bag Records and Traffic Entertainment Group is proud to present Dinosaur L’s “24-24 Music“ on double LP.

                    FORMAT INFORMATION

                    2xLP Info: Now re-released as a double LP with exclusive mixes.

                    CD Info: CD reissue features four extra tracks, including mixes from Francois K and Larry Levan.

                    DJ QU is back with a killer Strength Music 12". Changing tact from his usually sultry style, "Redtones" commenses proceedings and it's an absolute slammer! Rib shaking kicks accopanying thick dub chords and tearing vox strewn across the background. Reflective and powerful this should absolutely devastate any claustophobic sweat boxes across the world and should be saved for the very last push of the session. Don't be dropping this one in the warm up! The aptly named "Sadness In The Static" sees mournful, melancholic piano notes rub up against smudged vocal murmerings and crackly vinyl static. Finally, "Sweaty One" returns to the unrelenting force of the title track for another exercise in punishing, wall shaking goodness! Qu delivers moments of nagging acid through the pumping walls of sounds before rattling percussion lines come firing through the track. A fitting tribute to tough, pitch black dancefloors, Qu's showing us another side to him as a producer, and it's a scary if thoroughly enjoyable experience! Recommended.

                    After taking us on a drug chug at the start of 2015 DJ Rocca serves up two tracks for the next El Diablo's Social Club release. Retro freestyle / house cut  'Lets Go Party' kicks things off with stabby chords, Roland percussion, catchy vocal shots, bassline and massive E'd up breakdowns make this a must have slate for your box. The remix comes from a fave of the El Diablo's cartel, Brioski, who goes straight for the heart of the dancefloor and rips it right out. This is where late 80s Chicago and Rimini styles collide. 'Slumber' slows the pace down a bit sounding like something from a late 70s Italian horror movie given a soft jazz-funk cinematic rework. Pulsating chords and echoey piano reminiscent of Claudio Simonetti or John Carpenter. The El Diablo's Social Club remix stays in the same vein making making sparse use of the eerie piano whilst adding a chuggy bassline, heavy Arps and some extra guitars courtesy of Crazy P's Tim Davies.

                    DJ Yoda

                    Presents Breakfast Of Champions

                    Buoyed by the wealth of collaborators for his acclaimed second artist album, 'Chop Suey' that dropped in late 2012, Yoda has been busy in the studio creating his first live hip hop band, Breakfast of Champions.

                    Evoking the golden age of hip hop, the band features up-and-coming wordsmith Rex Domino, Mouse Outfit MCs Sparkz and Truthos Mufasa, plus a host of musicians chosen by DJ Yoda himself.

                    Finally realising his long-held vision for a live hip hop band, ‘Breakfast of Champions’ is so much more than just a hip hop Album. DJ Yoda has managed to bring in the the studio the excitement and the energy of a whole live band, crossing all sorts of genera: hip hop, dub, funk, rocksteady, reggae, R'n'B, ska, country, Klezmer and more, 'Breakfast of Champions' is the ultimate music journey.

                    FORMAT INFORMATION

                    LP Info: Limited coloured vinyl pressing.

                    Fabiano Do Nascimento

                    Danca Dos Tempos

                    'Dança dos Tempos'  is the debut album from thrilling, young Brasilian guitarist Fabiano do Nascimento, and it features legendary percussionist Airto Moreira in his first album project in over ten years. 'Dança Dos Tempos' follows folkloric Brasilian music as experienced through the mind and able fingers of an expansive musician, not yet thirty years old, and combines the heady ‘60s and ‘70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brasilians for generations. It is the second Brasilian album released on Now-Again, following Seu Jorge and Almaz.

                    Moreira, the bandleader, songwriter and producer who recorded a bevy of titles under his own name, with his wife Flora Purim, and whose resume contains the names of - seriously - every musician worth mentioning from America or Brasil from the past 50 years - plays percussion on the album and is joined by do Nascimento’s long time drummer, Ricardo “Tiki” Pasillas on trap drums. Do Nascimento and Kana Shimanuki handle vocals on what is otherwise an airy instrumental album that allows the guitarist’s virtuosity to shine through originals, folkloric Brasilian songs, and select covers by the likes of Pascoal and Powell, both formative influences on the guitarist.

                    These duets show the camaraderie that two master Brasilian musicians - of two different generations, but of the same spirit - share with comrades of ages past as they imagine music for the years to come. These tracks were recorded live in the studio with no overdubs by producer Luther Russell and engineer Jason Hiller - straight to 2” analog-tape, and only sparingly mastered to focus on the subtleties of the performances.

                    Hitting the ground running in 2015, Huntleys + Palmers returns with a new DrumTalk release.

                    Following on from the success of his MASSIVE 'Time' release in 2014, DrumTalk is back with a 4 track EP of serious belters.

                    From slow-burners, to straight up peak time anthems, our favourite changes every time we hear them and we're sure you'll find your own one to treasure. Not much needs to be said really. Enjoy.

                    Tan Dun

                    Crouching Tiger, Hidden Dragon OST - Blue Vinyl Edition

                    This is the original soundtrack album of the 2000 Academy Award - and Golden Globe Award-winning film Crouching Tiger, Hidden Dragon starring Yun-Fat Chow, Michelle Yeoh, Ziyi Zhang and Chen Chang. The soundtrack was awarded at the Academy Awards, Grammy's and BAFTA Awards. 

                    The score was composed by Tan Dun, originally performed by Shanghai Symphony Orchestra, Shanghai National Orchestra, and Shanghai Percussion Ensemble. It also features many solo passages for cello played by Yo-Yo Ma. The "last track" ("A Love Before Time") features Coco Lee. The orchestra's string section was accompanied by traditional Chinese instruments such as the bamboo flute and hand drum, and an ethnic Miao group.

                    FORMAT INFORMATION

                    LP Info: 180 gram audiophile vinyl featuring 4 page insert and outer PVC protection sleeve. First pressing of 750 numbered copies on light blue transparent vinyl.

                    Cult electronic specialist Enzo Elia (Balearic Gabba Sound System / El Freakadelle) has long been turning out hot edits and remixes on the mighty Hell Yeah, always inventing new genres and creating compelling grooves as he goes. Now he is back with his own original EP featuring Italian jazz singer Roberto Cherillo aka Rokkerillo. This EP finds Enzo going back to his techy roots and comes complete with a remix by the legendary DJ Kaos (of Jolly Jams) and with a terrific version produced along with jazz trio, 3iO. The title track is eight-minutes of pure dancefloor pleasure. Slowly building on a thick, rubbery bassline and lush chords, Rokkerillo's sensual breathing and seductive vocals add lots of emotion to Enzo's slick and stirring production. Building to a frenzied peak and bassline-lead breakdown, it will have dancefloor locked and hands in the air, no doubts. As well as an excellent instrumental version, compost and DFA associate and Berlin disco machine DJ Kaos turns out a stunning remix that is melancholic and groovy at the same time. His sombre chords marry with the rising sense of bassline tension and build to a frenetic deep disco peak that it's impossible not to get carried away by. Lastly, revered jazz outfit 3io flip the track into a woozy and late night bit of smoky disco-jazz with rolling drums, lots of thick double bass, string work and more. It's freeform and shapeshifting, lush and organic and majestically magical - drop this and watch the 'floor completely loose it! ? This is a yet another essential release from Hell Yeah that offers something for everyone and covers every imaginable mood on the dancefloor.

                    Mark Ernestus returns with his much lauded Ndagga Rhythm Force. Senegalese Mbalax derivatives in approved Rhythm & Sound-produced fashion. Four different mixes of one all-conquering riddim - "Yermande". The "Kick & Bass" mix is dead, dread rootsical with rootsman vox echoing through the track while Ernestus dominates the mixing desk, sending artefacts flying around the stereo field in true dub mode. Tight and tough drum rhythms and rampant percussion the main traits of the track, with a particularly sharp snare and conga sounds taking the lead through the arrangement. Side A concludes with an instrumental of the same version - doing away with much of the rootsman vox but adding extra embellishments on the mixing desk - Ernestus really getting to work on those delays and gated reverbs like a true dub wizard. "Prophet 5 Mix" is surely designed for the Berlin nightclubs as Ernestus cleverly and subtly works the Prophet 5's gratifying frequencies into the sonic tapestry; inflicting more of the legendary pair's trademark, ubiquitous sound palette into the cauldron. Again we're treated to a more dubbed out version, this one simply entitled "Prophet 5 Rhythm" which places the sharp, rhythmic synth nuances thoroughly at the forefront of the track, with the rabid percussion parts supporting it through its long and winding course. Exceptional stuff as Ernestus shows he's got all the poise and delicacy of a top surgeon, cutting and splicing so sympathetically and in-tune with the original vibe that you don't even notice. A true head-turner for the club. Recommended. 

                    ‘Lease Of Life’ is the follow up to Errors’ critically acclaimed 2012 album ‘Have Some Faith In Magic’. Formulated on the Hebridean Isle Of Jura - the location where George Orwell wrote ‘Nineteen Eighty-Four’ and the place where The KLF are rumoured to have burned a million pounds - the new album is a bold work borne by the confidence and ambition of a band with the desire to combine the exploration of fresh soundworlds combined with their most accessible, immediate songwriting yet.

                    Incorporating featured vocalists Cecila Stamp and Bek Oliva, ‘Lease Of Life’ is also the band’s most cohesive album statement to date: a start-to-finish experience that’s bound by recurring constituents and accomplished craft.

                    FORMAT INFORMATION

                    2xLP Info: Heavyweight white vinyl.


                    Just Escape - Inc. Jacques Greene / Justin Martin Remixes

                    In the wake of Youandewan’s 'Spiral Arms EP', Will Saul’s Aus Music turn their attention from the established to the auspicious and present a brand new artist from the camp: Escape. Based in Glasgow, Escape is a fledgling talent whose cultivation amongst the ranks sees him now ready to drop the first of several EPs on AUS. His debut EP "Just Escape" is a poignant brew of delicately treated vocals, swooning strings and gut-wrenching melodicism. Backed up by remixes from the mighty Justin Martin and Jacques Greene this is a package that astutely straddles the bridge between pop and underground dance music - a skill which Aus have honed throughout their lauded and extensive anthology. The title track drifts atop a glacial bed as softly shifting strings are punctuated by Escape’s haunting croon before "Without You" blooms behind sportive synth work and jutting vocals that are underpinned by a vibrant 4/4 groove. Dirtybird regular Justin Martin mines deep into "Just Escape" and offers up a remix and a dub. Subtly permeated with some nifty sampling, his revision spotlights a vocal reprise that’s impelled by a low-end that punches in signature fashion. LuckyMe mainstay Jacques Greene weighs in with a prodigious take on the title track that churns and swells throughout its extended duration rounding up an enlivening insight into an artist that’s primed to make some serious headway throughout 2015.

                    'On A Business Trip To London' is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated PE, limp-wristed ornamental industrial, sickly minimal synth and cheap suntanned trollop techno. What’s more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck’s piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, 'On A Business Trip To London' is a highly accessible and often disarmingly pretty work which will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power and dominance.

                    Exploring Jezebel has been active since 2008’s Locking Up The Husband’s Penis Is Not Slavery, But Rather The Greatest Act Of Kindness Given To A Man and Attending UCLA Lecture On Forced Feminization, and notable releases since include the 12-hour, 8-cassette set Penis Torture Chamber (2010) and 2014’s Performs For Her And Her Bulls (all Hospital Productions). On A Business Trip To London is Exploring Jezebel’s first vinyl offering, and is presented in a full colour gatefold sleeve with two printed inserts; the album will also be issued on CD and digital formats. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.

                    Faith No More


                      Faith No More, who reunited in 2009 for a series of sold out performances and international festivals, are currently recording their first full-length album since 1997’s ‘Album Of The Year’.

                      ‘Superhero’ is the second single to be released from the upcoming full length.

                      The new album is being recorded in an Oakland, California studio with bass player Billy Gould handling production.

                      The release will be the first from Faith No More’s newly formed Reclamation Recordings imprint via Ipecac Recordings.

                      Father Murphy, one of the most mysterious and enigmatic musical entities to emerge from Italy in recent years, presents their fifth full-length via The Flenser. This dark psychedelic / industrial cabaret is a religion-themed concept album titled Croce (“Cross” in Italian), one side representing suffering and sacrifice and the flip reflecting what comes after—the end of suffering, resurrection, or perhaps oblivion. The work was recorded by John Dieterich in Albuquerque, NM, and mixed by Greg Saunier.

                      From the shadowy atmospheres of Croce spring forth unexpected blurts of impossibly catchy noise pop, at times operatic like some twisted musical detailing the trials and tribulation of the crucifixion. Male and female vocals by Freddie Murphy and Chiara Lee intertwine over distorted blasts of guitar crunch, anchored by stuttering, homebuilt percussion. This sound is textural and nuanced yet noisy and chaotic, carefully sculpted into jagged shards of fragmented pop.

                      A-side closer “In Solitude” is an appropriately dour slab of murky miserablism that sounds like a slow sonic death, a haunting dirge that dissolves into that ineffable space between the record’s two sides; the netherworld, the afterlife, Purgatory. But Father Murphy erupts from this stygian blackness with the second half of Croce—the light to the A-side’s dark. “Long May We Continue” retains a doom-like approach at first, stringing a field of metallic shimmer and junkyard percussion together into a spare framework over which dramatic male vocals soar. The female counterpart responds like some demonic Greek chorus, delivering a sense of warmth. Finale “They Won’t Hurt You” is all majestic pipe organ, a stirring and stately court music, lush and lovely and epic, the sound of rebirth: redemptive and restorative, a return from the beyond, arisen from the grave, ascended into the heavens, the sounds drifting upwards, beyond the galaxy, the universe, into the unknowable infinity.

                      “… a fascinating listen… an unapologetic venture into head music and contains some powerful compositions. It’s steeped in a sense of reverence, but one that looks below, rather than expecting anything from above.” —Drowned In Sound.

                      “The oddball psychedelic chamber pop the Italian duo exhales will creep you out with drones, lullabies, and anguished vocals all competing for frontrunner spot in your next nightmare. Perfect.” —Terrorizer.



                      Debutant producer Foreign takes the controls for BAROC005 and delivers four pounding, blown out tracks spanning the gritty, blackened realms of techno and industrial house. The first of four untitled tracks wastes no time on a lengthy intro, instead opting to get straight down to business with maximum respect for Belgium. This fierce New Beat monster snarls and spits its way through uneasy synth sequences and rumbling bass frequencies as it lays waste to techno pretenders and RA hipsters. The A2 follows hot on its heels, propelled forward by tough drums and a thudding one note bassline into a mess of malfunctioning hardware that sounds like a particularly aggressive dalek orgy. Things take a turn for the dark and queasy on the B1 as we tunnel down into a particularly hollow and cavernous techno soundscape haunted with melancholic leadlines. The EP closes with a tense and claustrophobic thumper with just a little acid in its gullet. Strong stuff.

                      FORMAT INFORMATION

                      12" Info: Hand-stamped with sticker inserts

                      Fabio Frizzi

                      Zombie Flesh Eaters

                        Death Waltz Recording Company is proud to exhume another classic from their catalogue in lieu of demand from the dead and the living. From the twisted mind of Lucio Fulci comes ZOMBI 2 aka ZOMBIE FLESH EATERS. A notorious gore classic and the poster child for the video nasty generation, the film gently transports the viewer from the concrete jungle of New York City to the mysterious Caribbean island of Matool, with some shark versus zombie shenanigans along the way. Our musical guide for this tour de gore is the inimitable Fabio Frizzi and his magic synthesiser.

                        Frizzi is adept at providing a superb musical travelogue, and is brilliant at lulling the listener into a false sense of security with authentic Caribbean sounds before dragging them down to the tenth level of hell via electronics. Synths chug as percussion while dreamy keyboard notes meander – is this a dream or reality? It’s reality, and you’re slowly pulled out of the dream with prog-rock beats and intense drums until that iconic main melody starts and you wake up. You’re not on Matool anymore, you’re back in Manhattan and the apocalypse has begun. Welcome to ZOMBI 2. They are going to eat you.

                        Re-mastered in 2014 at Abbey Road Studios. Cover art by Tom Beauvais. 

                        Gatefold sleeve printed on 425 gsm reverse board includes an exclusive lobby card and booklet featuring Sleeve notes by Fabio Frizzi, Ian McCulloch, Stephen Thrower & Tom Beauvais.

                        FORMAT INFORMATION

                        Ltd LP Info: Zombie green coloured vinyl LP - limited to 400 copies.

                        Mike & Cara Gangloff

                        Durang‘s Hornpipe / Rake And Rambling Boy

                          Having released records on The GPS previously as part of the late great Jack Rose’s backing band and The Black Twig Pickers- (as well as cutting their cloth as part of the mighty Pelt), Mike and Cara release a great double ‘A’ side for March here in an edition of 500.

                          “Durang’s Hornpipe” is spectacularly underpinned by the majestic drone of Cara’s Shruti box, with Mike on banjo and fiddle and is backed by the peak and fall and drone pulse of the Shruti once again on an incredible reworking of the standard “Rake and Ramblin’ Boy”.

                          A beautiful 45, worth it alone for those moments where both voices collide on the flip- it won’t hang around long and is dressed in ace printed inside and out sleeve and on dark cherry wax. Pressing of 500 only.

                          Sublime Frequencies presents Radio Vietnam, a 70-minute overview of the diversity and extreme brilliance of Vietnamese radio.

                          - Includes outstanding examples of Vietnamese folkloric, traditional, and pop music, radio theater, ads, jingles, bumpers, and various anomalies in another insanely entertaining and provocative Sublime Frequencies radio collage.

                          - Recorded, compiled, sequenced, and produced by Mark Gergis on location in Vietnam between December 2013 and November 2014.

                          FORMAT INFORMATION

                          CD Info: CD presented in a beautiful Digipak with full-color images, a booklet, and liner notes by Gergis.



                            Girlpool are a Philadelphia by way of Los Angeles two piece made up of Cleo Tucker (guitar) and Harmony Tividad (bass).

                            Having met at local DIY venue The Smell, the two quickly grew very close. Their sound is raw, comprised only of a guitar, bass and vocal harmonies. The band use this stripped-down instrumentation to accentuate their vulnerable yet powerful lyrics to create honest pieces, tackling concepts ranging from awareness and respect to the simple of feeling of being alone at a show.

                            For fans of Sleater Kinney, Waxahatchee, Beat Happening, Peggy Sue.

                            Claudio Gizzi

                            Andy Warhol’s Flesh For Frankenstein OST

                            A sophisticated work by Claudio Gizzi for the soundtrack of the ultra cult Flesh For Frankenstein, the legendary movie directed by Paul Morrissey and produced by Andy Warhol, starring a young Udo Kier. With its sad tone the score perfectly matches the cold and cruel realism of this bizarre horror film.

                            - First time ever double vinyl gatefold edition
                            - Deluxe embossed cover
                            - Mixed double coloured vinyl pressing
                            - Limited numbered edition of 1000 copies

                            FORMAT INFORMATION

                            2xLP Info: Limited edition coloured vinyl.

                            Philip Glass

                            Solo Piano - 180g Vinyl Edition

                            With 'Solo Piano', Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. "Metamorphosis" was written in 1988 and takes its name from a play based on Kafka's short story. Its second track, "Metamorphosis Two", formed the basis of one of the main musical themes in the film "The Hours". It is also the song that the American rock band Pearl Jam uses as their introduction music to concerts.

                            "Mad Rush" was written for the occasion of the Dalai Lama's first visit in New York City. "Wichita Vortex Sutra" is the result of a chance meeting between two long-time friends, Glass and poet Allen Ginsberg, in a bookstore in the East Village. 'We decided on the spot to do something together, reached for one of Allen's books, and chose the poem "Wichita Vortex Sutra"'.

                            Chilly Gonzales

                            Chambers - Bonus Disc Edition

                            Chilly Gonzales, Canadian pianist and entertainer, returns with his much anticipated follow-up to "Solo Piano II": "Chambers".

                            Since the release of "Solo Piano II", Chilly Gonzales composed the best-selling book of easy piano pieces Re-Introduction Etudes, produced and released Octave Minds, the piano-meets-electronica album with Boys Noize and, most importantly, devoted himself to finding a modern take on chamber music. The result is "Chambers", an album for piano and string quartet (and a few surprises along the way). Inspired by the deepening relationship with Hamburg's Kaiser Quartett, the album re-imagines Romantic-era chamber music as today's addictive pop. Gestures from rap, ambient, easy listening and the avant-garde co-exist as always in Chilly Gonzales’ musical universe - this time with strings attached.

                            FORMAT INFORMATION

                            CD Info: Includes bonus 'Compoers Commentary' while stocks last.

                            Ltd LP Info: Limited edition LP includes poster. Includes bonus 'Compoers Commentary' while stocks last.


                            Good Grief

                              Good Grief is the wonderful wonderful debut album by Grawl!x, the solo project of ex-My Psychoanalyst singer and guitarist James Machin.

                              The music he makes as Grawl!x (pronounced Graw-lix) is gentle and spacious, but with a deep well of feeling that often rises up out of nowhere to take over. This can be joyous, riveting, sometimes even terrifying.

                              It’s a varied record that starts out with simple piano and a string quartet arrangement, a gentle opening that acts as a sort of ‘reset’ button on your world, readying you for the 9 tracks that follow.

                              Robin Guthrie & Mark Gardener

                              Universal Road

                              'Universal Road' is the new album by Robin Guthrie (Cocteau Twins) and Mark Gardener (Ride). Their former bands work ought to give hints as to where a collaboration between the pair might lead, but this remarkable new album has it's own chemistry and is an unexpected treasure from the two well established artists. The pairing of Guthrie and Gardener might, at first glance, be expected to deliver a very particular brand of guitar-driven euphoria, however, 'Universal Road', defies expectations across ten tracks whose diversity is one of the album's great strengths. This is a most harmonious collaboration, at times affirming - 'Yesterdays News', exuberant - 'Dice', reflective - 'Sometime', striking - 'Old Friend' and quietly epic - 'Blind'. Gardener's vocals have rarely sounded better than they do on Universal Road, his layered harmonies are a particular highlight. Guthrie's lush sound and alluring guitar arrangements and melodies are seamlessly interwoven throughout, deftly accentuating the emotional content of the songs.


                              Wall Of Blue Sky

                                Haleiwa is a band from Stockholm, Sweden that is led by Mikko Singh. The music is experimental pop with influences from different musical traditions, if the Clientele evoke deserted, suburban streets at 5am then Mikko can bring forth the misty morning echoes of the enchanted woodlands of his homeland.

                                The release of the 100 only press Sunstone 7” will see a release party in Stockholm where Mikko has recruited a full band to realise his pure pop vision. Grab it quickly...

                                The Hanging Stars

                                Golden Vanity / Floodbound

                                  ‘London’s best cosmic country band’ - TIMEOUT.

                                  Features several member of The See See.

                                  In April 2014, Paul, Sam, Rich, Phil and Horse started life as The Hanging Stars. Combining lush harmonies with their love for Cosmic American Music, English folk and psychedelia, their songs lie somewhere between the desert's beating sun and the grey skies of East London; both timeless yet new.

                                  The band’s debut 7” single will be released on cult vinyl label Great Pop Supplement and was recorded both in Lake Hollywood (US) and Walthamstow (UK) by Rob Campanella (Beachwood Sparks, The Tyde) and Brian O’Shaughnessy (Comet Gain, The Clientele) respectively.

                                  A side ‘Golden Vanity’ sees the band take the lyrics from a traditional folk ballad they found in the pages of an old Alan Lomax anthology and reworking them into a whole new original melody. Part inspired by the folk tradition and part pure psychedelic pop song, it exemplifies the band’s unique and distinctive sound.

                                  AA side ‘Floodbound’ is an English take on Californian music. Desert chords and swirling pedal steel combine with a soaring melody in a song that ebbs and flows with darkness and light.

                                  A full album is scheduled for release late 2015.

                                  Richie Havens

                                  Mixed Bag - 180g Vinyl Mono Edition

                                  “Freedom.” The very mention of the song conjures images of Richie Havens at Woodstock, fiercely strumming his guitar and lost in an improvisational moment of creation. An intensely engaging performer, Havens honed his craft in the clubs and cafes of Greenwich Village, just over the bridge from his native Brooklyn. Painter, poet and multi-instrumentalist, Havens immersed himself in the Village’s beatnik culture just as the nascent folk scene began to develop. Connecting with uber-manager Albert Grossman, then guiding the careers of Bob Dylan and Peter, Paul and Mary, Havens rose to the top tier of the international folk movement.

                                  Signed to Verve Forecast, Havens released his first album, Mixed Bag, in August of 1967. The intriguing LP gathered songs from Gordon Lightfoot, Bob Dylan, Lennon/McCartney as well as two self-penned compositions and one co-written with future acting star Lou Gossett, Jr. The album’s instrumentation featured Havens on sitar and acoustic guitar played in his unique style, thumb chording songs in open D tuning. Soaring above it all was his commanding baritone, a voice that injected gravitas into every song, bringing the lyrics to vivid life. A stunning debut, it climbed both the pop and jazz Billboard charts.

                                  Sundazed Music presents this vital album in its rare mono version, sourced from the original Verve masters, and pressed on lush 180g vinyl. Cue it up and hear the glorious sound of artistic freedom pouring from your speakers.

                                  Richie Havens

                                  Something Else Again - 180g Vinyl Mono Edition

                                  “Freedom”. The very mention of the song conjures images of Richie Havens at Woodstock, fiercely strumming his guitar and lost in an improvisational moment of creation. An intensely engaging performer, Havens honed his craft in the clubs and cafes of Greenwich Village, just over the bridge from his native Brooklyn. Painter, poet and multi-instrumentalist, Havens immersed himself in the Village’s beatnik culture just as the nascent folk scene began to develop. Connecting with uber-manager Albert Grossman, then guiding the careers of Bob Dylan and Peter, Paul and Mary, Havens rose to the top tier of the international folk movement.

                                  Havens followed up his album debut 'Mixed Bag' a year later with 'Something Else Again'. The cover portrait found Havens clad in dashiki and wearing beads while playing a sitar, looking like a standard bearer for the counterculture. The songs’ subject matter followed that direction as well, dealing primarily with social issues rather than relationships. It was another charting record for Havens, reaching #184 on Billboard’s Pop Albums. More than mere albums, Mixed Bag and Something Else Again: were signposts for a rapidly changing culture, leading the way to a more enlightened existence.

                                  Sundazed Music presents this vital album in its rare mono version, sourced from the original Verve masters, and pressed on lush 180g vinyl. Cue it up and hear the glorious sound of artistic freedom pouring from your speakers.


                                  This Is Your Captain Speaking… Your Captain Is Dead: The Albums & Singles 1970-1974

                                    This brand new Hawkwind box set, encapsulates the band from 1970 – 1974, beginning right at the start with the band’s first self-titled album in 1970 and chronicles 4 years across 7 live and studio albums. Also included is a bonus disc of singles, featuring their iconic track Silver Machine. 

                                    London's Honest Jon's deliver something mind expanding, other worldly and frankly fantastic here, bringing together Turkey's foremost supergroup and the master of minimal techno on a beautifully packaged double pack. Side A introduces us to the Insanlar sound with "Kime Ne", psychedelic, arabic and exotic music which fuses the organic and synthetic into a deep desert trance. The brainchild of Baris K, Cem Yildiz and Hogir, Insanlar is a modern fusion of Baldelli's cosmic sound and the psychedlic folk and disco of Erkin Koray, Derdiyoklar and a host of other musical visionaries from Istanbul's past. The expansive track sees the musician glide through frazzled solos and brain twisting drones over a stripped back machine beat before dropping into prophetic words from 16th and 17th century Turkish poets. It's simply sublime. Over on the flipside, Ricardo Villalobos delivers the first of his two mixes, upping the tempo, concocting one of those percolating rhythms he's made his own, and distilling the original ingredients into tense and terse snatches of esoteric sound which perfectly compliment his loose machine funk. On the other vinyl, Ricardo delivers his second mix, a deep and dislocated minimal techno version with all manner of sonic artefacts scattered freely throughout the course of the track. I've got a sneakying suspicion that this is gonna blow plenty of minds late on in his sets. 

                                    PPU follow up 2014's cassette reissue of Dwight Sykes and Jahari's "Situation" album with this super limited 12" featuring a two unreleased demo versions of "Fire and Desire" and the remastered studio version of "Situations". Over the last thrity years, the hero of Michigan's underground funk scene has become a well respected figure amongst the true boogie fans out there, whilst entirely missing out on any mainstream acclaim; PPU are here to change that. The unreleased demo versions of "Fire and Desire" show Sykes and his long term backing band completely in the pocket, whether it be on the slow and stripped back bedroom soul take, or the uptempo bass driven romp which follows. Sykes' vocals are soulful and unrestrained, while the musicians constantly flesh out their parts with decorative riffs and solos, driving us all to the heart of the dancefloor. A remastered version of the sweet and soulful "Situations" closes the EP with its fluid groove and shimmering guitar, taking us home in fine form thanks to some gorgeous vocal harmonies. It might be thirty years overdue, but at least we can cherish it now.

                                    This is a record about love and resistance. After the broken frigidity of ‘Classical Curves’, Jam City return with an urgent, fearless and strikingly sensitive album of modern pop songs, both crushingly heavy and glitteringly light.

                                    Made by modest means, made by any means, the DIY origin of the record speaks to the artist’s faith in the power of music to not only transcend but also to confront, unsettle and suggest an alternative to the total colonisation of art by neo-liberalism. Always raw, always in the red.

                                    There’s no question that you’re listening to the same artist responsible for some of the most intense and influential club tracks of the last 5 years, on an album that could only be realised by Night Slugs. ‘Dream A Garden’ is not a total break from the world of ‘Classical Curves’ but rather an inversion: what becomes of the people struggling to live and love beneath the chrome-plated, vacuous and superficial machinery that we must fight to see beyond?

                                    While drawing on a diverse musical history (sound system guitar dynamix, punk, hip hop, grime, country, the gothic and the modern), ‘Dream A Garden’ remains rooted in the bleakness of the present: everyday life under the regime of high capitalism. Turning the avenues of lifestyle fascism we walk through everyday into psychedelic, surreal daydreams; Jam offers his songwriting as a coping mechanism, a form of rescrambling a landscape dominated by ideologies of selfishness and hatred.



                                      According to Tim Booth, Laid and Wah Wah are “the culmination of playing four or five hours a day four or five days a week in Manchester and the new band adapting to that. It is about the transition of becoming more of a band but with Brian at the helm.” Booth remembers jamming “hundreds of songs that never saw the light of day” and guitarist Larry Gott suggests it might have been “as many as 340 tracks.”

                                      The simultaneous, coupled reissues are particularly notable, however, due to the fact that producer Brian Eno and the band had originally favoured releasing the records as a double package. Recorded concurrently in 1993 during a frenetic six week period at Peter Gabriel’s Real World Complex, the albums were always intended as companion pieces – Laid being referred to as the “song” album whilst Wah Wah was known as the “experimental” or “jamming” album – but the record company’s decision to release them months apart put paid to this conception: Laid, released in the UK in October 1993, reached the No.3 spot in the UK and became the band’s biggest album to date in the US, selling 600,000 copies and breaking the band in the USA in the process but the subsequent follow-up Wah Wah effectively sunk the band over there and – according to Booth – “put paid to us breaking America at all!”. More pertinently perhaps, by the time Wah Wah came out, U2 (and Eno) had released Zooropa and “everyone thought we were copying off them instead of the other way round!”

                                      FORMAT INFORMATION

                                      2xCD Info: 2CD Deluxe package with 28 page booklet.


                                      Wah Wah

                                        According to Tim Booth, Laid and Wah Wah are “the culmination of playing four or five hours a day four or five days a week in Manchester and the new band adapting to that. It is about the transition of becoming more of a band but with Brian at the helm.” Booth remembers jamming “hundreds of songs that never saw the light of day” and guitarist Larry Gott suggests it might have been “as many as 340 tracks.” 

                                        The simultaneous, coupled reissues are particularly notable, however, due to the fact that producer Brian Eno and the band had originally favoured releasing the records as a double package. Recorded concurrently in 1993 during a frenetic six week period at Peter Gabriel’s Real World Complex, the albums were always intended as companion pieces – Laid being referred to as the “song” album whilst Wah Wah was known as the “experimental” or “jamming” album – but the record company’s decision to release them months apart put paid to this conception: Laid, released in the UK in October 1993, reached the No.3 spot in the UK and became the band’s biggest album to date in the US, selling 600,000 copies and breaking the band in the USA in the process but the subsequent follow-up Wah Wah effectively sunk the band over there and – according to Booth – “put paid to us breaking America at all!”. More pertinently perhaps, by the time Wah Wah came out, U2 (and Eno) had released Zooropa and “everyone thought we were copying off them instead of the other way round!”

                                        As the popularity of Footwork has continued to soar, the range of sounds within the genre has expanded. From the angular, minimal beats of RP Boo to the widely admired sound of sadly departed DJ Rashad, the genre has lovingly seeped into hearts and feet worldwide whilst continuing to innovate. Until now most of the focus has been on the male DJ/Producers, but that is about to change. Gary based producer Jlin, who some of you might remember for her track “Erotic Heat” (Bangs and Works Vol.2 – Planet Mu 2011), or from her moment in the mainstream light providing music for fashion designer Rick Owens’ FW/14 Paris runway show, is stepping further into the light with a stunning eleven track debut album “Dark Energy” showcasing her unique and bold new sound.

                                        Gary, Indiana, a neighbouring City to Chicago, is one of those towns people overlook or perhaps expect the worst of. It's famous for the Jackson 5 and its Steel Mills, one of which Jlin works long shifts at. She says her sound and “the themes behind my tracks are all based off what my creativity absorbs, whether it be bad or good”, and the music certainly shows that intent. It's forceful, yet ripples with colour; it’s an intense, monolithic sound with rugged rhythms that stop and breathe and roll out in unusual staccato patterns. It’s a sound unlike any other out there, one that’s fiercely unique. Her track titles are as evocative as the music is intense and hint at deeper themes – “Black Diamond”, “Guantanamo”, “Abnormal Restriction”. She notes “The titles I chose are based off failing and learning.” Album track ”Expand” also features a vocal from another important female artist - respected experimental West Coast producer Holly Herndon whom Jlin has been quietly collaborating with.Her album “Dark Energy” is so called because of where it came from and how it came to be; the dark monolith on the cover also perfectly encapsulates it – “This album took my entire life to make. Every moment in my life lead up to this album. My musical sense of expression comes from sadness, and anger. I can't create from a happy place. It seems pointless in my opinion. I don't make the tracks as much as I feel them. Creating for me is about feeling and impact.”Jlin has been supported by all the key players in the Footwork scene and says she is “thankful to many.” 2015 feels like the year people are ready for a new voice in Footwork and Jlin is a true original with a hard, yet infectious style and an album that showcases it brilliantly.

                                        Ariel Kalma

                                        Le Temps Des Moissons

                                        First solo recording LP from Ariel Kalma, recorded in 1975. After a long journey to India where he learnt the basics of modal music and singing, Ariel was inspired by the fusion of ancient and modern ways of playing music in the 70s with saxophone, ethnic instruments, effects, electric instruments and electronic filters. Kalma is also known for have played in albums by other French experimental artists like Delired Chameleon Family, Nyl, Heldon...

                                        Nowadays very rare and hard to find private pressing, some copies came with a hand drawn cover and some in printed form. The Wah Wah reissue reproduces the original printed sleeve, comes mastered sound from the original tapes, 2 bonus tracks and an insert featuring liner notes and photos, in a limited edition of only 500 copies.

                                        Happy Skull's first release of 2015 comes from UK based artist Creta Kano, who first impressed with his 2013 debut on Rotterdam's Pinkman Records. He showcases his highly melodious and deeply textured sound across three tracks for the Bristol imprint.

                                        'Skyway Motel' is an emotive, Detroit inspired amalgamation of warm chords and rolling drum machine rhythms. The track's romantic qualities are emphasised on 'Skyway 81', a screwed, pitched-down version that re-casts the original as a serotonin fuelled slow jam. 'False Water' completes the package. A sprawling trip in to broken techno territory, reminiscent of 90's era Rephlex.

                                        Kill West

                                        Kill West EP

                                          The first record by (and debut release for Drone Rock Records) Buenos Aires-based experimental, garage, rock & roll band, Kill West.

                                          Formed in bandleader Franco Beceiro’s garage in late 2012 with friends Joel Menazzi on bass, Martin Valentini on guitar, and brothers Nicolas and Mario Miele on drums and keys.

                                          With the self-release of their first, eponymously titled EP in 2014, a dirty rumbling wall of attitude introduces us to Kill West. Yes there’s a bit of surf-rock going on in there, there’s a fair bit of doom & drone, and there’s a great sense of speed. These Argentinian reverb merchants have taken some quite diverse elements and put them together in a quite refreshing way.

                                          FORMAT INFORMATION

                                          Mini LP Info: Limited to just 250 copies and pressed on red & black split-coloured vinyl.

                                          King Tubby

                                          Midnight Rock At King Tubby’s

                                          Classic early 80s dubs mixed at King Tubbys by King Tubby and Scientist. All tracks were recorded by Nkrumah Jah Thomas at Chanel One and feature the Roots Radics. Eleven tracks from the vaults available on vinyl for the very first time. Pressed on 180G vinyl. Heavyweight reverse board sleeve.

                                          Kode9 + The Spaceape

                                          Memories Of The Future

                                          The cherished vinyl releases of Kode9 with his Ragga poet partner The Spaceape and label-mate Burial for Hyperdub are rightly regarded as at the apex of dubstep evolution. Although steeped in the history of dubstep's formative days through his Forward)) and Rinse FM experiences, taken on their own Kode9's productions are a strain that seems to have developed separately from the rest of his capital colleagues. Owing as much to the dynamics of minimal techno and dub reggae, the sluggish, invasive riddims of "Backward", "9 Samurai" and "Kingstown" are unique amongst such a vibrant scene. Indeed, the sheer originality which they apply to of their cover of Prince's "Sine O' The Times" should merit it an instant classic to anyone's ears. The 14 tracks on this LP bring you up-to-date with Kode9's Hyperdub recordings so far and contains the same amount again of brand new material, which is more than enough to convert naysayers to dubstep's legitimacy.

                                          FORMAT INFORMATION

                                          2xLP Info: Double vinyl pressing includes previously unreleased extra track ‘Stalker (Alt Edit)’

                                          The inaugural volume of Rocksteady Disco release brings another blast of raw heat from the streets of the D, thanks to local legend La Fleur. Edits may be the order of the day here, but La Fleur throws down like a true original. Up first, "Peace" sees the producer tackle a Lonnie Liston Smith disco / jazz-funk classic, looping that bumpy bass led intro before letting loose with the rich texture of polyphonic disco. Next up, things get rather leftfield with the disco-not-disco of "Consume", a percussive freak out topped with yelping female vocals before we head to the smooth and jazzy grooves of the croaky throated Tom Waits and "Step Right Up". La Fleur works the loops and filters nicely and injects a little dancefloor oomph thanks to some additional percussion. Killer label debut from the mysterious Detroiter!

                                          Rush-released due to Internet leakage, Kendrick Lamar's 'To Pimp A Butterfly arrives in double quick time. 

                                          With Lamar's previous album, 'Good Kid M.A.A.d City', lauded as one of this fledgling Century's best, the level of expectation on its follow up was sky-high. How do you proceed after such a triple A-rated straight-up hip hop smash? Get afflicted by the (P)funk, that's how. Channelling the psychedelic stew of Parliament / Funkadelic, 'To Pimp A Butterfly' positions Lamar along the higher branches of rap's genre-busting evolution (see also The Roots’ 'Phrenology', Common’s 'Electric Circus', Q-Tip’s 'Kamaal the Abstract', André 3000’s 'The Love Below'). The expansive scope of Lamar's vision also runs to a live studio band featuring Robert Glasper, Flying Lotus' fretless bass maestro Thundercat and producer /sax player Terrace Martin, who add free jazz backing, pulling the music in another direction.

                                          Lyrically the album walks in the footsteps of the socio-political commentary of Curtis Mayfield and Marvin Gaye, but in the post-Ferguson era of continued police brutality towards African-Americans, Lamar's anger burns bright. Less 'What's Going On', more ' The Predator'. He offers a thoughtful and thought-provoking exploration of what it means to be a black man in America today, often introspective, but never naval-gazing.

                                          Inspired and inspiring, 'To Pimp A Butterfly' is an adventurous and challenging album, and one that can be added to the essential hip hop list.

                                          The La's

                                          There She Goes: The Collection

                                          A fresh 16-track career spanning collection from the well-loved Liverpudlian melodic indie pop band The La’s. Features the UK Chart Top 20 smash hit ‘There She Goes’ amongst other favourites. This is the first La's collection available at this competitive price point, featuring all the band's biggest hits and memorable BBC Sessions. Includes 12-page booklet and extensive liner notes.

                                          The Ossie Layne Show

                                          Barcelona '69

                                            The Ossie Layne Show "Barcelona 69‟ EP is the latest vinyl release to become part of the Acid Jazz Records‟ Rare Mod Series.

                                            This very rare 4-track 33rpm vinyl 7” featuring ‘Ian Dury and the Blockheads’ bass player Norman Watt-Roy and his brother Garth, led by band leader Ossie Layne.

                                            The EP‟s tracks deliver the classic 60‟s Soul and Funk sound that Acid Jazz Records and the Rare Mod Series are famous for.

                                            The EP features a version of Rod Stewarts "Rock My Plimsoll‟ and Sly and The Family Stones classic “Sing A Simple Song”.

                                            A collectors‟ item for those who collect the Rare Mod Series

                                            An interesting item for Ian Dury and the Blockheads fans.

                                            Suited to the 60s Soul and Funk audiences

                                            Very rare recordings.

                                            Cover Girls is a women only recording and has the following wonderful, unique, charming and beautiful women contributing their voices: Elisabeth Oswell, Katie Oswell, Gena Netherwood, Baby Dee, Jess Roberts, Cosey Fanni Tutti, Melon Liles, Lavinia Blackwall, Alex Jako, Miranda Kinkelaar and Bobbie Watson. The album includes cover versions of songs originally by David Essex, Scraping Foetus off the Wheel, The Buggles, UFO, Einstürzende Neubauten and many more. It is packaged in a beautiful gloss laminated digipack. 

                                            Holy sheeeit! Do not adjust your sets kids, we're about to enter the twilight zone! The true originator of the cosmic disco sound, Mr Beppe Loda, digs deep into his countless crates of Typhoon classics and hits us with a three tracker of sprawling space disco brilliance. "Obscure Cuts" collects together a couple of lost, rare and now re-edited treasures from the heyday of Italian disco, put through their paces by a man who's understanding of the dancefloor is second to none. Sounds good? Read on! The A-side rockets into the outer reaches of the universe as only true space disco can, jet propelled by a rampant bassline, rapid fire sequences and insistent percussion. Beppe adds a whole host of system melting fx and synth washes, lets loose with a garbled vocal and takes us on a brief detour into the land of prog thanks to that acoustic guitar break. Killer! If those euro vocals don't do it for you, you're mad, but can take comfort in the instrumental mix. On the flipside, "Flavio", sees Beppe drop the tempo slightly and get wonderfully wonky, stirring solid synthlines into a cosmic funk brew, rich with low slung bass, tumbling congas and celestial melody. Inspired by Beppe Loda’s residency at the frequent Oscillator parties in dark dungeons and underground basements in the heart of Berlin, this 12" gives you a taste of his cosmic sound, wherever you are. 

                                            ‘Hinterland’ (literally “the country behind” in German) conjures impressions of decayed Manchester outskirts and reclusive inner landscapes obsessively throughout the record, as Lonelady's Julie Campbell continues her fascination with the post-industrial ruinscape.

                                            As with her 2010 debut 'Nerve Up', on 'Hinterland' Campbell continues to pay homage to the post-punk era. I can hear many influences in her punk-funk style - A Certain Ratio in occasional basslines, Viv Albertine (the Slits) and Andy Gill's (Gang Of Four) guitar sound (skeletal, harsh, chiming) , dark and brooding drones, cello and synths (Joy Division, Nico etc), but Lonelady transcends all these reference points to come up with her own sounds. Crucial to her elevation above mere pastiche is Campbell's agile, urgant vocals and her ability to come up with pop hooks that weave their way through the tracks, from the edgy, fidgeting 'Bunkerpop', via breakout disco-not-disco single 'Groove It Out' to the low-slung sleaze-funk of title track 'Hinterland'.  

                                            In Campbell’s words: “It’s channelling Parliament / Funkadelic, Stevie Wonder, Rufus, Prince, Arthur Russell… among others. A strange - but nonetheless real - meeting of funk and… me from Audenshaw, Manchester.”

                                            STAFF COMMENTS

                                            Andy says: That rare thing: an album that unites everyone at Piccadilly! Superb stuff.

                                            Dego's 2000Black imprint continues to fly the flag for broken beats and jazz-influenced bass music in 2015. Lordamercy is the solo debut from Tatham, Mensah, Lord & Ranks member Matt Lord. While his work as part of the quartet (also on 2000Black) offers a deep nu-jazz sound, for 'New Guitar New Mars' he strips things back to the dancefloor essentials. A percussive 2-stepping rhythm, propulsive dancehall style sub bass, jittery keyboard line and guitar licks. It'll bring out your Greg-Wallace-eats-something-sweet face!

                                            'Guitar Smash' goes deeper, with sublime inter-woven keyboard lines heading up skywards, crossing paths with a descedning bassline - a track that will rekindle your love of nu-jazz. Lastly 'Death Of Hercules' has a more organic sound, with squelchy synth bass underpinning jazz-funk keyboard chords, strings and a plethora of percussion.

                                            Al Lover

                                            Cave Ritual

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

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

                                              FORMAT INFORMATION

                                              Ltd LP Info: REISSUE ON BLACK VINYL!

                                              Carlisle’s mighty LUCID DREAM follow up 2013’s debut full length “Songs of Lies and Deceit” with a killer second LP for The Great Pop Supplement (vinyl version) and Holy are You? (CD).

                                              Last year was the best and most rewarding so far for the band, a slew of sold out 45s, critically acclaimed live shows (including Liverpool’s Festival of Psychedelia) and huge airtime including two sessions on and for 6music.

                                              Harnessing the trance like drone and feedback drenched psychedelia of the first album- the second set here adds a tip of their cap to the kraut groove of Neu! or Can, for a sumptuous head rush of fx pedal, motorik chaos.

                                              Where the second LP succeeds especially is that amongst the beautifully repetitious groove, the bands’ keen ear for melody and hints at west coast inspired sunshine pop displayed on recent 45s still break through like beams of sunlight- and the element of surprise is keenly felt throughout.

                                              A beautiful set of tunes aired first at live shows throughout the past year, before the recording process began in earnest, the songs were then allowed to grow naturally and it makes for a free flowing listen. timed just right. with no filler….

                                              FORMAT INFORMATION

                                              Ltd LP Info: A tasty half aqua marine / half green wax in super gloss sleeve. A pressing of 750 destined to follow band and label’s previous output and sell out super quick.

                                              German steamroom wrecking crew LX Sweat returns from a winter of festival dates and self-symbiosis to lay out an impressively realized full-length debut of voidist club fantasia, equal parts Screw bootlegs, slow-jack synth freestyle, and degraded phaser wash. 'City Of Sweat' spirals through a judgement night of weird, codeined lust, luxury hallucinations, overdosed syrup rituals, and long, blurry nights stumbling home through alleys in the rain. Like last year’s 'Sweat Sweat Sweat' cassette, this new LP siphons certain R&B and Memphis swap-meet structures but stretches them so they sprawl and sag and slide in strange moments, giving the songs a mesmerizing melting quality, like hearing overheated vinyl dissolving into the needle. An entrancing, numbed-out suite of pleasure-faded electronics by a rare head.


                                              Save Yourself

                                                Originally released in 1999, this record stands apart as their shimmering and ultra-psychedelic crown jewel. Make Up’s R&B-laced garage-punk gospel saturates salvation and bursts into electric flashes. Lyrically and aurally the songs continue Ian Svenonius’ fascination with spiritual redemption, and they ride a wave of vintage organ, electric guitar, and bouncing bass lines for that perfect 60’s pop sound.

                                                Produced by Brendan Canty, who recorded many of the Make Up's exquisite singles found on I Want Some - the results on Save Yourself are even more clarified. Large and lean. Turn the lights down low and turn up your stereo. Call it an electric lapdance or a gospel firestorm, this music is so for real, it just feels right. Right on.

                                                “Make Up approach the history of rock and soul like a lover, like a scientist and like a preacher [and] Save Yourself punches the perfect buttons with devilish efficiency. This record can make even the most jaded proud to be American.” Pitchfork

                                                “Make Up remain the least square band on the planet. Their genius lies in the tease … Ian Svenonius is punk rock’s token soul man, a rebel with an eternally obscured cause; a ludicrous, charged visionary, working it like a legend on Save Yourself, an album that deserves to transcend the [underground]: urgent, uptight, groovy. An octagon, baby: plenty of points.” NME. 

                                                Save Yourself was the last album crafted by Make Up. Svenonius and bassist Michelle Mae later formed Weird War, and Svenonius currently performs and tours with Chain and The Gang, which released its debut album Down With Liberty ... Up With Chains in April 2009. 


                                                Sound Verite

                                                  The Make-Up flood Dub Narcotic studio with their tightened-up sound. Joined sporadically by members of the Dub Narcotic Sound System, they are doing a soul rockin' that has no territorial boundaries. Turn on to the idea of Sound Verite and understand that the struggle of culture vs. Make-Up is the struggle vs. Destiny, the struggle to stop history itself. The album's cover appears to be an homage to the cover of Love's Forever Changes, a band which The Make-Up were often compared to. 

                                                  Reginald Omas Mamode IV

                                                  Sunshine / Moneymaker - Inc. Al Dobson Jr Remixes

                                                  Just as the surrealists congregated at Rue Blomet, or how CBGB became inextricably linked to the birth of punk, a flat in SE London across the street from a stall selling karelas, edoes and those frighteningly large snails, has become the epicentre of an exciting undercurrent of new and unorthodox British producers.

                                                  From within the confines of their home studios, the inhabitants of - Rye Lane have been crafting a sound that channels Jay Dee as much as the street bustle outside their bedroom windows, and are garnering support from Gilles Peterson, Lefto and Kutmah in the process. New tracks from Reginald Omas Mamode IV, 'Sunshine' and 'Moneymaker', turn around dusty stabs of guitar and Madlib-esque beats. A homage to good weather and a cautionary tale for superficial woman, the tracks also feature his supine and natural one-take vocals. These songs are reprised with the help of brother JeenBassa and childhood friend Al Dobson Jr, fresh from releases on IZWID and Rhythm Section, with additional vocals added for good effect. It showcases the collaborative spirit of this collective, their shared influences and their deeply individual ticks.

                                                  Hotly tipped duo Maribou State are set to reach their most impressive apex yet in 2015. Newly signed to Counter Records (an imprint of Ninja Tune) they've just announced their debut album 'Portraits', due 1st June 2015, and new single 'Rituals'. Effortlessly marrying deep, resonant guitar licks and dishevelled synths riding upon loping breakbeats and overlaid with trademark deconstructed vocal dubs, ‘Rituals’ is a compelling introduction to the forthcoming album. Bonus cut 'Rituals (MS Edit)' beefs up its dancefloor credentials. A deeply soulful marriage of the organic and the synthetic, Maribou State's sound should appeal to fans of Bonobo etc.

                                                  Marika Hackman

                                                  We Slept At Last

                                                    Debut album from Marika Hackman, composed of 12 previously un-released songs. 'Drown' premiered as Zane Lowe's Hottest Record in the World and playlisted at 6 Music.'

                                                    Sunday Times Culture, Telegraph and Independent all have previewed Marika Hackman’s debut as an album to look out for this year. Marika Hackman was included in The Observer's Ones to Watch in 2015, DIY’s ‘Class of 2015’ & Mr Porter’s ‘Acts to look out for in 2015' and named #2 Most Blogged UK artist of 2014, with coverage from Noisey, Fader, Drowned In Sound, DIY, Nylon etc. 

                                                    FORMAT INFORMATION

                                                    LP Info: Limited edition gatefold vinyl with 24 page art book and download code.

                                                    Mark E

                                                    Emergency / Laurentian Abyss

                                                    Mark E has a vivid imagination and everybody knows it. This is his first offering for the ESP Institute. "Laurentian Abyss" undoubtably conjures narrative images from the depths of a man's soul, trudging through an array of rhythmic pulse, percussion and arpeggiation that resembles the inner workings of a grandfather clock, based on a disorienting 5/4 timing yet culminating in a singular stroke. On the flip side, the title track "Emergency" begins with the formula for which we know Mark E best, the ultimate tease winding us up for the big payoff, yet here we're forced into a cyclical trance which diverts our attention so effectively that we never actually receive what we've been waiting for, Mark's elusive drop. When a limitless producer such as Mark E, who's spread his talents widely across the face of dance music, seeks a home away from home in the ESP Institute, we consider it an honor to open our doors and present works that stray from not only his celebrated repertoire, but from reality in general.

                                                    ‘Short Movie’ is Laura’s fifth album in seven years, which is a remarkable achievement for someone who has yet to turn 25 years old. This album marks a new chapter in Laura’s sound and development, this record moving towards a much bigger & electric feel, it’s a much freer and looser sounding album than anything she has done before. ‘Short Movie’ is Laura’s first selfproduced album which was a pleasant but anxious experience for her but one she boldly undertook with a desire to ‘demystify production’.

                                                    Jordan GCZ's Off Minor imprint follows up Stump Valley's superlative "Hollywood" 12", (still a regular feature in my record bag, and a tune that always prompts a slew of ID requests) with this mindbending four tracker from that most beautiful swimmer Max D. In keeping with the other releases on the label, Max delivers a batch of oddball house par excellence, certain to blow your mind and move your body in equal measure. "Circles Bubbles" beams down on a distant dancefloor, making first contact with a highly evolved form of synthetic funk. The bassline bubbles and percolates freely as celestial synth tones soar above the off kilter beat, rocking the block Venus style. Next up, Max goes in deep with the wildly experimental electronics of "Flex Cathedral", a mind expanding combination of space age synths, repeating drum machines and deafening reverb. Flip the disc for "Immunity", an idiosyncratic slice of Dunbar magic which finds the middle ground between the future funk of the A1, and the drum machine clatter of the A2. Throw in some truly brain-boiling fx and you're ready to trip for days. EP closer "She" offers a moment of respite with the relaxing sounds of vintage synth exploration, before Max hits us with the full frequency assault of bubbling sequences, shape shifting sounds and general experimentalism. Killer stuff. (Patrick)

                                                    Gwen McCrae

                                                    All This Love I'm Giving / Maybe I'll Find Somebody New

                                                    Well, they don't get much better than this solid gold nugget lifted from the vaults of Miami's CAT Records (Another TK Disco subsidiary). Often sampled, re-edited and re-jigged but never bettered, Gwen McCrae's all time classic "All This Love I'm Giving" finally sees a timely repress, just as God intended, on a dinked 45 with all original artwork intact! This track has long been a staple of rare groove dances and sophisticated soul parties with discerning DJs and selectors clamoring for the original 45 at any cost. Packing more drama than a year's worth of Eastenders' cliffhangers, "All This Love I'm Giving" delivers a raw and soulful vocal from Gwen, a heavyweight synth bassline and a whole host of emphatic brass as it lays waste to the dancefloor in just under four minutes. Backed here with it's original b-side slow jam "Maybe I'll Find Somebody New" this rare 45 has been re-mastered, re-pressed and brought back for 2015's dance-floors in conjunction and with the permission of TK Disco / Henry Stone Music, Miami USA.

                                                    Following EPs on Black Butter and other illustrious imprints, Monday Club deliver the acid drenched "Blackout" for Steve Lawler’s VIVa MUSIC, featuring a monstrous beast of a remix courtesy Luke Solomon. Monday Club is the musical meeting of minds of Luke May & Paul Sidoli. They have a long, shared history of all things acid house and this new endeavour has led to releases on ALiVE, Black Butter, Muzik Box and more. As one half of Cosmonauts, Paul has remixed revered artists such as Moby, Empire Of The Sun and M83. His solo productions have lauded him more than one spot as Pete Tong’s Essential New Tune. Luke is one half of Medicine 8 who have remixed the likes of Orbital, Xpress 2, Manic Street Preachers, Kylie Minogue and Tiga and held residencies at the legendary Centro Fly in NYC, Pacha Buenos Airies, Kama Kama Italy and Ministry of Sound London. Also currently releasing under the moniker Decius, it’s safe to say that between them, Luke & Paul definitely have the experience and know how to take care of any discerning dance floor. Luke Solomon is undeniably one of British house music’s unsung heroes, from setting up the seminal label Classic Recordings with Derrick Carter to taking quirky house to the UK Top 10 and international charts, with his band Freaks, to DJing around the globe and performing live, Luke has been there for many of the more interesting 4/4 moments of the last decade.

                                                    Revered Belgian DJ and producer Mugwump proudly presents his longawaited debut album on his Subfield imprint. An impeccable nine track LP, informed by two decades as a globe-trotting DJ, producing tracks that have inspired everyone from Andrew Weatherall to Mr. Scruff. A mainstay from the Belgian club scene, on the ground in Ibiza in the early 90s, behind the cult Food Club in the late 90s, now running his own Leftorium clubnight in Brussels, with releases on the highly influential Kompakt label but also on R&S, Gigolo, Cocoon, Eskimo, Permanent Vacation or Throne of Blood… Mugwump has the CV to deliver one of the year’s most eclectic and inventive studio albums, a timeless excursion into modern-day, leftfield dance-pop and mutant disco with heavy new-beat influences. Produced with his partner Olivier Grégoire, it also gathers a solid list of collaborators: Circlesquare’s Jeremy Shaw (!K7/Output), Brussels guitar wizard Raphael Lee (aka Spookhuisje), Luke Jenner (ex-The Rapture), Norway‘s cosmic disco lords Päl Nyhus of Mungolian Jet Set and Tore Gjedrem from Ost & Kjex, Belgian multi-instrumentalist Stephan Fedele, Philip Janzen (frontman of Cologne’s Krautrock-disco band Von Spar) and Sami 'Morpheus' Birnbach from 80s cult punk-funk / new-wave band Minimal Compact.

                                                    FORMAT INFORMATION

                                                    LP Info: Includes bonus 5 track remix CD.

                                                    CD Info: Includes bonus 5 track remix CD.

                                                    Pan is the first solo effort from Jonas Munk released in his own name. Jonas Munk is a musician and producer from Odense, Denmark who has been active in a wide range of musical styles for the past decade. In the European psych-rock community he is mostly known as the guitarplayer in the respected stoner/jazz/krautrock-outfit Causa Sui as well as related projects such as Chicago Odense Ensemble, a joint session project featuring members of Causa Sui, Chicago Underground Collective and Tortoise, which resulted in a 2LP released in 2011.

                                                    Outside of these circles Munk is best known as a producer of electronic music, most recently with a full-length collaboration with German synthmeister Ulrich Schnauss. Munk also holds a masters degree in philosophy with a thesis on music and consciousness. Pan simultaneously betrays his connections to the European stoner-rock community and the world of electronic ambient music – this album combines ideas from both worlds, while the result really doesn't belong in neither of them. With Pan's motoric analog synthesizer patterns and its warm, fuzzy drones the influence from 1970's German synthesizer- and new age music, such as early Kraftwerk, Ashra and Popol Vuh, is apparent from the first note. But there's also definite traits of American styles running through this album – from the flowing optimism of Alice Coltrane and Terry Riley to the modern-day psychedelia of Comets on Fire and Bardo Pond. While large parts of Pan has been programmed on electronic equipment there's a jam-like quality emanating from album's seven tracks.

                                                    The album reflects the idea of giving up rationality and control with the purpose of letting the music flow towards it own ends. The compositional ideas are incredibly simple while still carrying a certain depth. Soundwise Pan is all about analog machines, 30+ year old synthesizers, detuned guitars and heavily cranked vacuum tube amplifiers weaving together in fuzzy, pulsating glory. The title Pan refers to the ancient Greek word meaning all or everything.

                                                    FORMAT INFORMATION

                                                    LP Info: Repress.

                                                    Former Moloko frontwoman, unrepentant Italophile and disco vocalist par excellence Roisin Murphy pops up on US hit factory Crosstown Rebels with a solo sonic bomb for dancefloors across the globe. "Jealousy" is an unashamed slice of dancefloor hedonism from the acclaimed singer flipped into both a thumping house banger and euphoric disco anthem. Co-written and produced by the great-unsung modern day house hero, The Crooked Man AKA DJ Parrot, formally of Sweet Exorcist (Warp) and All Seeing I and a bastion of the Sheffield sound since the late 80s. The single is also mixed by the legendary Eric Kupper, who was a production partner with Frankie Knuckles and Dave Morales and whose K-Scope releases were a staple of 90's American NY House. In Murphy's own words, "Parrot understands dancing music and he understands me. This is fast and furious; he says it's roller-disco music. The backing track sounded so frantic, the lyric wasn't long coming to me, all I had to do was try to create a vocal as demented as the music!" 


                                                    Live At Clouds Hill

                                                    "Nisennenmondai - Live at Clouds Hill" is the new live record from the Tokyo-based all-female intrumental trio Nisennenmondai. Recorded Live in Hamburg by Johann Scherer (producer i.e. for Gallon Drunk, Bosnian Rainbows) the longplayer is supported by a European tour! Nisennenmondai formed in the late '90s and took their name from the Japanese translation of the then-current phrase 'Y2K bug'.

                                                    "Nisennenmondai - Live at Clouds Hill" will be released as a part of the 'Live at Clouds Hill' series. The included tracks are live versions of Nisennenmondai's LP "N" (Bijin Records, Sept. 2014). The idea of "... live at Clouds Hill" - releases is extremely simple. Johann Scheerer (owner of Clouds Hill Recordings Studio, in Hamburg, Rothenburgsort) invites a band/artists to his recording studio. The band / artist performs in front of a small live audience a maximum 64-minute long set which is exactly the length of 2 x analog tapes. The performance will be recorded live and mixed simultaneously, and straight away sent off for mastering and vinyl manufacturing. Band / artist, as well as Johann Scheerer as the producer, sound engineer and the live audience are forced to focus on the uniqueness of the moment, because the final outcome is irreversible.


                                                    Nitejams 01

                                                    In the immortal words of the Chemical Brothers, "Here We Go!", diving straight into a deep and dense world of machine fuckery created by Nitejams. The latest alias of the duo behind the fast rising production outfit 'Nummer', Nitejams is all about the hardware hammer, delivering gritty house and pulsating techno mixed with warping pads, valve saturated percussion and pounding kicks. The A1 accelerates directly into the peaktime without giving you a moment to fasten your seatbelt or adjust your mirrors resulting in a dancefloor smash of whiplash beats and gear grinding sequences. Tough and rough but with enough sophistication to lift it above your average banger, this is gonna soundtrack all the decent sweatboxes over the next few months. Bringing the A-side to a close in breakneck fashion we have a thundering drum track that kicks harder than a recovering junkie and is just as spaced out. Flip the disc and prepare to get deep, get deep, get deeper into this as Nummer hit us with a one-two combo of hammer-head house music from the robotic heart of their hardware arsenal. The menacing bassline and emotive pads of the B1 create the perfect tension for the smoke and strobe section of the evening, while the red lining machine funk of the B2 pays homage to vintage DJ Deep and UR while putting your system to the test. Tops off, limiters on!

                                                    STAFF COMMENTS

                                                    Patrick says: Ludicrously good B-side bangers on this one. Expect to hear Kickin' Pidge dropping them in Sankeys someday soon.

                                                    For release number two, the Magic Movement conjures up another outstanding debut EP, this time from the exotically named Oceanvs Orientalis. The one man orchestra from Istanbul takes you on a mystical journey down the Silkroad to a place where slow timeless jams meet hypnotic club killers. Over a percussive foundation, Oceanvs Orientalis mixes traditional eastern instruments and chants with house and techno, never leaving the dancefloor out of sight. Title track "Khronos" sees the producer work a languid bassline into a lively polyrhythm before unleashing a symphonic piano melody and creating a moment of complete dancefloor immersion. "Leonardo" sees the producer delivering tripped out slo mo techno with all the strung out melody of a middle eastern souk. The exotic vocals are looped, echoed and screwed as Oceanvs Orientalis produces the perfect counterpoint to Jose Manuel's recent release on Joe's Bakery. On the flip, things get deep and psychedelic as "Ozunde Lyi Insanlariz" heads into the same fireside ritual as Rub N' Tug's superb remix of Wild Rumpus' "Musical Blaze Up". Proper trippy woodland vibes. Last but not least, "Night In Samarqand" gives it to us slow and sticky like the thickest Turkish coffee. Syrup basslines and organic percussion percolate while the producer replays traditional eastern melodies on synth, taking us somewhere far, far away. Great stuff from the debutant, and an instant entry to my record box. By melting oriental history into modern beats, Oceanvs Orientalis has created a whole new sonic universe: Contemporary Eurasian Dance Music.

                                                    Lord have mercy! Rush Hour are back on a 'No' Label tip with a thrilling, killing split LP from label debutants OD and familiar face Morgan Buckley (MB). Paradise music is the order of the day as the two artists transform sun drenched electronics, celestial frequences and rainforest rhythms into interdimensional house excursions and experimental soundscapes. OD kicks us off with the wonderfully titled "Sol Baize At The Chinga", an expansive melange of polyrhythmic percussion, Gottsching-esque guitar, circular sequences and sunburst synth lines. I could probably listen to this on a loop forever, and it's proving a real struggle skipping it on to record clips. Totally tripped-out house music for the Balearic crowd! Next up "Eau-De-Vie" hits us with the stripped back sounds of  drum machine, gentle acoustic guitar and fx soaked sax, before evolving into a driving post-punk / new wave jam reminiscent of Palais Schaumburg. OD closes the side out with an experimental palate cleanser in the form of "Manual Greever". A surefire feature on Radio 3's Late Junction, this one leaps right out the Pierre Schaeffer playbook in a truly eccentric musique concrète fashion. Morgan Buckley takes over on the flip, picking up exactly where he left off on "Shout Out To All The Weirdos In Rathmines", with the repetitive, experimental minimalism of "Miwp (Miwpy Mix). Merging contemporary dancefloor arrangements with synth wave sonics and a tape loop aesthetic. "A Well-Oiled Party" follows suit in mind melting fashion as Morgan transforms a about three sounds into a glorious cacophony of frequencies and rhythms. "Absolutely No Peace (Can't Get No Peace And Quiet)" sneaks in on the B3 and steals the "leftfield-oddball house record of the week" title from right under Max Dunbar's nose, combining sunkissed mallets with a lilting beat, brain funk bassline and expansive array of tape loops, found sounds and synth bleeps. One of the freshest records I've heard in quite some time, and presented in a stunning sleeve, this split EP is the real deal.

                                                    Classic techno royalty, The Oliverwho Factory serves up a peak hour floor stomper with "Black." Sizzling synths abroad sky scraping clap effects and a rumbling resonant bass throttle. "Black" has a gloriously long arrangement, evolving throughout and never letting us succumb to a boring 'thump thump thump'. The synthlines switch tact on a thimble, and their attention to frequency response on the speaker stacks is sublime. This baby should fly outta the system with power! The B-side gives us some soulful Shonie C (Oliverwho Factory) action with a huuge drop just the way we like it! This is similar to Rob Hood's Floorplan alias, pairing soulful vocal hooks with slamming techno beats and lashings of acid. Finally, we get an untitled, squelchy techno jam to conclude proceedings. Thick and heady like the previous two tracks and with soaring leadlines and deep, thunderous kicks, it's another stone cold winner for any forward-leaning dancefloor. Super limited so don't hang around on this one!

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