Acid Mondays

Pint Of Cornflakes EP

We find Acid Mondays slap bang in the middle of a festive flavoured purple patch at present; Instinkt turning out yet another solid EP from the Ibiza based superstars. "Pint Of Cornflakes" is thick, heady and gloopy, their trademark terrace sound filling up every frequency of the Funktion1's (or is that Void Air Motion these days?) and forcing our body to contort and wiggle. The pair's hypnotic refrains, fx and little idents are ever present throughout and as usual, they offer up a more stripped-back version through "Cornflakes Beats". "Sleazy Wonder" is up next and unloads some squelchy, skewiff drums and chopped and pulled female vocal lines. Heading down a route more suited to the warm up, Acid Mondays show that they're not all main-room peaktime maestros and are more than capable to get the place simmering red hot early on in the session. "Colon" concludes, jittering and gyrating with all the energy of a 2AM Iberian dance-off under the stars. Flapping leads, big breakdowns and a tongue-in-cheek approach are sure to unite the dancefloor in big smiles and bigger dancemoves. Massive!

The Action

In My Lonely Room

Alongside the Small Faces and the Who, London’s ACTION were undoubtedly Britain’s premier mod band during the mid 1960s, and their chain of five singles for Parlophone from October 1965 to June 1967 are venerated as one of the finest runs of 45s of the period (or indeed of any period really). Subsequent releases of the group’s material such as The Ultimate Action, Rolled Gold, Uptight And Outasight and CD repackages of the band’s EMI output, plus the Action’s period of reformation, have endeared the group to a huge swell of post 60s fans and the band command a level of respect and adulation rarely bestowed on many other groups of their era. Sadly with the aforementioned slew of records and CDs the well of archive Action material appeared to have run dry...until now that is!

The excellent book on the Action In The Lap Of The Mods, published in 2012, shed light on a previously rarely documented aspect of the Action’s recording career, specifically their audition for the Decca record company in May 1965. Indeed some copies of the book included a limited edition vinyl 45 extracted from an acetate recently discovered from that audition, which was a supreme version of the Temptations ‘Why You Wanna Make Me Blue’. That recording, taped six months before their EMI debut, makes a welcome re-appearance here and also emerges on CD for the first time. Unbelievably since the book came out another acetate from that Decca session has surfaced, one side of which features a wonderful interpretation of one of many people’s favourite Action tracks ‘In My Lonely Room’, which incredibly surpasses the later recording for Parlophone and has a real ‘live’ feel to it. Coupled with ‘In My Lonely Room’ was a fine rendition of the Impressions’ ‘You’ll Want Me back’, which finds the Action in a more mellow blue eyed soul groove and showcases perhaps the most Reggie King’s leap in vocal prowess in the comparative short space of time since the band’s recordings for Pye as the Boys barely six months previous.

Not that the Boys’ single for Pye was a slouch – far from it – and Top Sounds round off the EP with another previously undocumented recording. Committed to acetate during their time as the Boys was one of Reggie King’s earliest compositions, and ‘Fine Looking Girl’ exposes further the pre-emptive Action in rather good form indeed.

Restored to the best possible standard from the original acetates, the four selections on In My Lonely Room are a fascinating, important and invaluable document of the emergent Action during late 1964 and 1965, and Top Sounds are justifiably elated to place these portentous recordings together for the first time. With the blessing of Action drummer Roger Powell, help from In the Lap Of The Mods authoress Jane Shepherd and delivered in full vintage 60s style packaging courtesy of Bruce Brand, In My Lonely Room is sure to excite Action fans everywhere and in all probability – unfortunately – may well be the final release of ‘new’ vintage Action recordings. Your last chance to catch some new unbelievable ACTION!


Ltd 10" Info: 10 inch EP with 4 page booklet.

CONCEPT: On this new album for Ghost Box Records, The Advisory Circle (aka Jon Brooks) explores darker territory than on 2012’s more pastoral As The Crow Flies. This time Brooks hints at a Wyndham-esque science fiction story, where bucolic English scenery is being manipulated and maybe even artificially generated by bizarre multi-dimensional computer technology.

SOUND: Brooks’ strong sense of melody and composition is still evident as are his renowned sound design and production skills. Consequently the album is a rich and rewarding experience that subtly showcases a wealth of musical experience. The usual analogue synth sound palette is augmented with found-sound from antique tape reels and Brooks’ ever growing tangle of home built electronics.

BIOG: The Advisory Circle is one of the core acts of the Ghost Box collective. Originally inspired by library music and the sound-world of British public information films, Jon Brooks has developed this aesthetic through four albums over a period of nine years. During that time he’s also released a wealth of material under his own name (and as Georges Vert) on several other labels. His mixing and mastering skills are much sought after and he is responsible for some of the more challenging sonic restoration work for the re-issue label, Trunk Records.


CD Info: The CD version includes three bonus tracks.

Ltd LP Info: The 180gm LP comes with a free download code.

Peerless rhythmist and sonic explorer Afrikan Sciences makes his PAN debut with ‘Circuitous,’ the third full-length, freeform offering from the New York-based artist.

At the nexus of Afrofuturism, science fiction, transcendental free jazz, and future hip hop, this new work from Eric Porter Douglas casts itself and its creator in a liminal zone most recognizably charted by astral traveler Sun Ra.

‘Circuitous’ follows from nearly a decade of releases for Deepblak - the Oakland-rooted imprint of frequent collaborator Aybee - and shares common blood with both the elevated conscious- ness of late ‘80s club culture and contemporary West Coast beat scene

Built around Douglas’ signature polyrhythms and complex melodies, the unorthodox agility demon- strated throughout the album’s fourteen tracks reflect his long history of live, improvised sets combining multiple turntables, upright bass, and a command center of digital tablets and controllers. Each track maps the artist’s own movements, tracing paths of flight, highway trajectories through tunnels and over bridges, and rides through rough and gated neighborhoods. If familiar on the surface, deeper or repeated listenings to ‘Circuitous’ reveal the dynamic multiplicity embodied within.

‘Circuitous’ is a free and unbound body of work - one that defies easy classification yet translates fluidly across multiple environments - compiled over double LP in order to fully realize the scope of Afrikan Science’s sonic palette.

Album Cover Frame

Black - 4 Pack

    A clear plastic fronted black wooden album frame. Just like a standard picture frame, with the sleeve held in place via metal clips on the back.

    Accomodates single record sleeves to the size of 31.5cm x 31.5cm (please note; does NOT hold gatefold sleeves).

    Perfect for all your favourite record sleeves.

    £12.99 for one frame, so buying 4 saves £8.

    Album Cover Frame

    White - 4 Pack

      A clear plastic fronted black wooden album frame. Just like a standard picture frame, with the sleeve held in place via metal clips on the back.

      Accomodates single record sleeves to the size of 31.5cm x 31.5cm (please note; does NOT hold gatefold sleeves).

      Perfect for all your favourite record sleeves.

      £12.99 for one frame, so buying 4 saves £8.

      '"Suicidal" by Amin Peck is one of the most intense italo disco songs ever. For almost 10 minutes, the listener experiences some very light male vocals tossed on top of some extremely deep synthesizer rhythm's concurring with all sorts of experimental noises and sounds. Obviously, Amin-Peck enjoyed the 'arpeggio' feature on his synthesizer more than the other Italians. To this day, I have been unable to decipher what the vocalist is saying in the song, but that doesn't stop me from loving this song so much. Amin-Peck obviously knew music well because this is one of the best.. A+'- Magic00 (Italo / Euro-disco obsessive).
      More fresh pressings of classic Italo records here for you folks. this one from 1983. Limited press - move quick if you want to bag a copy!

      Our favourite beret wearing Anglo-Argentine pops up on the rejuvenated Aim imprint with his first release since swapping London for Berlin in the summer. "Two Beating Hearts" follows in the footsteps of Arnaldo's previous releases on Smallville and Blank Slate, but transfers his intelligent sound designs and intricate rhythms to the heart of the club. We're in offbeat dancefloor mode right from the off as Will pairs piano vamps and polyrhythmic percussion on the sweltering "Primavera". Armed with a bumping kick, galloping cowbell and sizzling hats, Arnaldo forges an irresistible groove decorated with vocal snippets and a techy bassline. As you lose yourself to the swirling beauty of this alternate peak time universe, the moustachioed producer ramps things up a gear with a massive stargazing synth that'll have all the hands in the air. After a cracking start, things get even better with the Timmy Thomas sampling brilliance of "Only I Know The Name Of This Track". Topping a classic house groove with sublime rhodes chords and some sort of synth slinky (killer signature sound alert!) Arnaldo allows the perfectly sourced sample of "Why Can't We Live Together?" to emerge from the deep gradually, ensuring it achieves full impact when all the ingredients come together. This one's garnered rapturous reviews from dancefloors across Europe during the producer's recent sets, and it's destined to do the same for you. Flip the disc and lose yourself to the hypnotic rattle and emotional depth of "Blossom". Melancholic house at its best, this B-side weapon marries longing organ leads with a deep and warm bassline, while a subdued African rhythm sits deep in the mix. As the track develops, those heartfelt organ lines are joined by stuttering, Field-esque keys and a body moving ride as Arnaldo makes you dance, cry and fall in love all at once. Packed with the bittersweet emotion of a fading love affair, this secret weapon might just be the one you keep coming back to.

      Azar Swan

      And Blow Us A Kiss

        Zoo Music is pleased to announce the second full-length album by Brooklyn two-piece Azar Swan. Formerly the core members of Religious to Damn, Zohra Atash and Joshua Strawn (Vaura, Blacklist) changed gears in 2012, turning their multi-member, organic chamber ensemble into a drum-machine-minded, electrocentric duo.

        The shift was sparked by the realization that coordinating multiple musicians often slowed the writing and performing process, and by a mutual revived interest in electronic music and hip-hop beats, pulling influences from acts like The-Dream and These New Puritans as well as classic industrial artists such as Front Line Assembly and Coil (whose former member Drew McDowell remixed Azar Swan’s single “In My Mouth”).

        In the last two years, Azar Swan released a single on Pendu Sound and the Dance Before the War LP on the independent label Handmade Birds, as well as several covers and one-off free digital releases. Notable shows include direct support for Prurient, White Lung, King Dude, Tamaryn, and J.D. Samson & MEN.

        "Black Dog" is the debut EP from Untzz Twelve Inch co-founder Babicka, a record that presents a brooding and intelligent trio of minimalist tools, made for mixing. The UK born, now fully fledged Australian resident maintains a raw and dark energy synonymous with his name since breakthrough track "Zero (The One)". "We Don't Need All Night" has the blurred and hazed production aesthetic that's forever present throughout clubland (Fred P and Pepe Bradock both jump to mind) but combined with that ultra hi-fidelity Untzz punch. It's an eyes-down, jazz-inflected house groover of the highest order, hypnotic vocal layers and a thick Rhodes permeating through the fizzing percussion. "Stars Of Avion" is a chunky and masculine, acid-tinged micro-banger. After a long drum intro some beautiful flanging, gravity-less low-end basslines and leads come in. A bit Ron Trent-esque but galactically-aligned and sublime in their execution; gentle space twinkles occupying the very recesses of the mix. "Drenching" unloads a darker, dub-tainted view of the universe. Taking cues from the greats of the genre (this one screams of early Chain Reaction) Babicka faithfully represents the sound to its maximum potential! A true nugget for dub-techno aficionados everywhere (TIP!). This debut EP is a noteworthy addition to Babicka’s growing reputation as one of Australia’s best selectors and future talents. Recommended.


        Matt says: Untzz - fast becoming the go-to label for DJ-friendly club trax. And rightly so. Exquisitive selection and wonderful pressings synonymous now with the label.

        Despite the attention and love devoted to Chicago's house scene, there are still a few producers who've managed to evade the praise they deserve. One such producer, Chris "Bam Bam" Westbrook  was responsible for releasing a slew of quality records alongside artists like Armando & Mike Dunn on his own Westbrook label, but has since flown under the radar. One record that mysteriously never officially came out on the label was "Hot Spot" from 1987, never making it past White label stage. Here, for the very first time, "Hot Spot" finally gets a full release boasting all 4 alternate mixes of the track by the man himself. Suggestive lyrics, chattering drum machine rhythms and uplifting pianos in the classic raw Chicago style are what makes "Hot Spot" a special re-issue. Harking back to a headier time, the record still slams hard today and shows contemporary producers how House music should really be done. A long lost, un-released nugget from the old school, re-mastered from the original DAT and officially released for the first time with original Westbrook label artwork in conjunction with Bam Bam / Westbrook Records, Chicago USA.

        More essential Burrell related goodness from deep in the vaults of Nu Groove. This time the brothers collaborate with Basil Thomas aka the wonderfully named Basil Hardhaus on "Make Me Dance", another stomping NY garage house smasher from 1991. It's all here, vocal mixes, dubs, shout outs to all the radio and club DJ's of the day, the record store and promotions people and most importantly - the regulars and dancers of NYC's legendary Shelter club where the brothers were regular fixtures! On the flipside there's more garage pressure in the shape of the grooving "For The Underground" and two separate mixes of the much sampled (but never bettered!) "Black Man". All the tracks included here have that deep, late night, classic sound that is instantly recognizable as the Burrell Brothers, sultry vocals, warm pads and heavy, swinging, raw drum beats! "Make Me Dance" has always been one of the tougher 12"s to track down from the enviable Nu Groove catalogue. Now it's here, back again, re-mastered, re-pressed and re-issued in conjunction with the Burrell brothers and Nu Groove records. One for the real house heads!

        Big Youth

        Screaming Target

        Recently acclaimed as one of the most important reggae albums of all time in Q magazines 'reggae special' "Screaming Target" set a new standard in terms of deejay albums. Originally issued in 1972, the collection is filled to the brim with Jamaican hits and illustrates Big Youth at his most devastating, as he MC's with style and wit over some of the hardest hitting rhythms of the day. 34 years on this ground-breaking album still sounds fresh.


        CD Info: Remastered CD features 14 tracks of bonus dub, vocal and deejay cuts.

        Limited 7" from Bloodshot Records (produced for Black Friday in the USA).

        1000 copies worldwide.

        Andrew Bird & Nora O'Connor cover Robbie Fulks' "I'll Trade You Money For Wine" from his 2013 album "Gone Away Backwards".

        Robbie Fulks returns the favour with a cover of Bird's "Core & Rind" from his "Swimming Hour" album of 2011


        Biophilia Live

          “A dazzling audiovisual spectacle that benefits from the full cinematic treatment... an imaginative stand-alone artwork.” - The Hollywood Reporter

          The critically acclaimed documentary film which captures the multidimensional concert centred on Björk’s eighth studio album, titled ‘Biophilia Live’, will be released on audio-visual formats via One Little Indian Records.

          The film documents the intimate ‘Biophilia’ performance at London’s Alexandra Palace where Björk was accompanied by unique musical instruments, collaborators and visuals. Shot by directors Nick Fenton and Peter Strickland and produced by Jacqueline Edenbrow / Gloria Films, the film also features science and nature archive and found footage inspired by the themes of the album, as well as animation which has been augmented with the music of ‘Biophilia’.

          The infinitely creative journey presents a culmination of work that represents one of the most original musical endeavors of a generation.

          The DVD and Blu-ray formats also feature extra content filmed during Biophilia’s residency at Japan’s Miraikan Museum and the options of stereo and 5:1 surround sound.


          3xLP Info: 3xLP+DVD.

          The fourth release on 1-800-Dinosaur comes from label co-founder and resident DJ James Blake. Road tested at summer festivals and on the 1-800-Dinosaur BBC R1 residency show the "200 Press EP" consists of 3 off the wall soulful house tracks and a weird poem, split across a 12" and 7" vinyl doublepack. "200 Press" kicks us off in deep and subby fashion, as Blake combines neo soul with deep, bass-led house. Layering slowed down hip hop vocals with his own idiosyncratic vocals over a synth heavy melody and stumbling rhythm, the producer creates a wall of sound that could just as easily be four different tracks being dropped at once. On the flip "200 Pressure" is a dark and disturbed future dub incarnation, which finds the synth line of the original mangled and hung out between rattling beats and echo laden samples. Over on the 7", Blake shows off the poise which made him a star on the sweet and subtle "Building It Still". The producer achieves the perfect balance between the deep and metallic sub and his gently played piano and sampled vocals. I can see this being a secret weapon and collectors item for his fans over the years to come. On the flip, we're treated to a odd and uneasy poem, over the kind of melancholy and jazzy piano Keith Jarret made his own. The artwork has been carefully designed in photoshop by a designer before being printed onto individual labels by a machine and then stuck onto the vinyl. Each vinyl has been carefully placed into a black cardboard sleeve. This is the first ever release to be mastered by a pack of lions at the Addis Ababa Zoo in Ethiopia. For further enquiries please contact Jah.

          Bon Jovi

          Live 2

            This is the second in a series of live Bon Jovi Picture Disc. "I'll Be There For You (Live in Lakeland)" and"Runaway (Live in Paris)" are both on vinyl for the first time.Track Listing "I'll Be There For You (Live in Lakeland)", "Lay Your Hands On Me (Live at Giants Stadium)", "Bad Medicine (Live at Wembley)", "Runaway (Live in Paris)"

            This total rarity from Nu Groove legend Ronald Burrell, which was previously only available as a test pressing, finally gets a full vinyl release, remastered for modern club use. The four track EP takes in Burrell's varied musical influences and flips them into seriously deep territory. Opener "Journey" is an epic jam punctuated by an 808 cowbell, beautiful pads, strings and Ronald's voice asking us to join him on a journey through our own minds. Second cut "Feelin Jazzy" picks up the pace a little, hitting us with a stripped back rhythm blessed with some choice, chopped up jazz samples while vocal stabs keeps things moving in the right direction. Over on side-B we are treated to the deepest groove imaginable thanks to "Bedtime Story", which has all the trademarks of a classic Burrell production; soulful vocals, smooth melodies and crisp drum programming. Closing track "The Crib" takes us to church for a hands in the air finale, as Burrell tops a circular piano bassline with killer gospel organ stabs and sizzling tambourine. Can I get a hallelujah?!


            Sixteen Stone - Copper Coloured Vinyl Edition

              Sixteen Stone is the debut album of British rock band Bush, released in 1994. Widely regarded as the band’s most popular album, it peaked at No. 4 on the Billboard 200 and boasted numerous successful singles. “Comedown” and “Glycerine” remain two of the band’s biggest hits to date, each reaching No. 1 on the Billboard Modern Rock Tracks chart. Both tracks also entered the Billboard Hot 100, reaching No. 30 and No. 28, respectively.

              Sixteen Stone received mostly positive feedback from music critics, calling their sound impressive, not unlike their Seattle Grunge counterparts. In later years Bush would distance themselves from the familiar Grunge sounds with experimental releases such as Deconstructed and The Science Of Things.

              In April 2014 Rolling Stone placed the album at No. 39 on its “1994: The 40 Best Records From Mainstream Alternative’s Greatest Year” list. A month later, Loudwire placed Sixteen Stone at number eight on its “10 Best Hard Rock Albums of 1994” list. In July 2014, Guitar World placed the album on its “Superunknown: 50 Iconic Albums That Defined 1994” list.


              LP Info: 20th anniversary edition with remastered audio. 180g audiophile vinyl pressing. first pressing of 1000 numbered copies on copper coloured vinyl. Gatefold sleeve + insert.

              Cavern Of Anti Matter

              Total Availability And The Private World

              This is the fourth release by Cavern of Anti Matter. Featuring Tim Gane of Stereolab, their album 'Blood Drums' came out on Grautag Records in 2013.

              Artwork is by Julian House (designer/co-owner at Ghost Box Records)

              Peripheral Conserve is a bedroom label run by the filmmaker, Peter Strickland since 1999.

              Kerri Chandler

              House Legends - Kerri Chandler Sampler #2

              The second sampler from King Street celebrating the work of the mighty Kerri Chandler. Kerri's career in dance music stretches way back to the late 80's and he has remained at the top of his game throughout, thus rightfully earning him the title of - House Legend!

              As with the sampler before, the King Street vaults have been raided for only the highest quality cuts from his extensive back catalog. Kicking off the EP is his all-time classic, monster, dancefloor wrecking "Bar A Thym", A real deep House masterpiece that should need no introduction and the perfect way to start things off. Over on the flip we are treated to "Welcome To King Street" a deep, immense spoken word love letter to the dancers delivered in true "Kaos 6:23" fashion! This track has never been issued on vinyl before, only ever appearing on the 2012 King Street compilation of the same name. Finishing things off is "Be There", another solid banger lifted from the "Kaoz On King Street Chapter II" 12" from 1997. All in all, a killer selection of tracks from a true master!

              This (and the preceding) EP are the perfect points for those who missed these killer tracks first time around, or are a great place to start for those who are new to the legendary Mr. Chandler's sounds. All tracks included have been re-mastered and re-pressed in full conjunction with King Street Sounds, New York City.

              Australian synthesizer enthusiast, boogie revivalist and occasional house producer Inskwel dons his rarely used Cold Chillin' Inkswel alias for this outing on Marcel Vogel's Lumberjacks In Hell label. While the Aussie producer's disco and boogie influences can be heard on "Lemonade City", for the most part the EP is a house-centric affair. "Mercury Retrograde" melds a midtempo, head-nodding chugger out of backwards synth melodies and analogue sounding beats, while "Ompai" delivers his usual, soft-focus blend of vintage synths and warm, floor-friendly bottom-end. There's a chunkier feel about the heavily filtered disco bump of "Lemonade City", while "Degrees In The Shade" moves from metronomic house throbber to sparse P-funk jacker in the blink of an eye.

              Dave & Ansel Collins

              Double Barrel - The Best Of

              This is the first ever definitive collection of Dave and Ansel Collins, both as a duo and as individual performers. Included are the pair's two UK chart hits from 1971, alongside a selection of well-known and rare sides from the late 60s and early 70s, many of which appear on CD for the first time.

              Shirley Collins / Davy Graham

              Folk Roots, New Roots

                Reissue of previously deleted classic Folk album - Back to Black.

                Jonnie Common

                Trapped In Amber

                After releasing his debut album to great acclaim on Manchester indie Red Deer Club, Jonnie's second album come out on Edinburgh cottage industry Song, by Toad Records.

                Jonnie has the ability to make the oddest noises sound like the most approachable pop songs, and this album showcases that talent perfectly. If you look closely at how the songs are assembled you'll hear a lot of really odd noises, and yet the result is an album of lush, warm pop music.

                His lyrical ability is perhaps underrated as well, but as amusing as he can be, he can also be touching and subtle, as heartbreaking songs like So and So demonstrate. So this album may be enjoyable and fun, but there is depth here, both musically an emotionally, and it will stay with you longer than most other records in this sort of musical space.

                FORMAT INFORMATION

                2xCD Info: CD includes a second disc, 'Trapped In Amber' - Alternate 'scrapbook' version.

                Cool Ghouls

                A Swirling Fire Burning Through The Rye

                “San Francisco’s Doomed” ... or so they say. There are, however, four Cool Ghouls who will have none of that. Born and raised in Fog Nation’s strip-mall suburbs, these boys dreamed of the day when they would move to Shaky City. San Francisco was their destiny—the town their electric heroes Creedence, Thee Oh Sees, Grateful Dead, Jefferson Airplane, Moby Grape, Flamin’ Groovies, etc. call(ed) home. Thank the gods their dreams came true! Their loud guitars, acid riffs, party screams, and stacked-as-fuck three-part vocal harmonies are echoing down the alleys and shaking foundations.

                A Swirling Fire Burning Through the Rye is Cool Ghouls’ sophomore full-length album, and it rules. Recorded live to tape by San Francisco’s Sonny Smith (Sonny and the Sunsets) and mixed and mastered by Mikey Young (Total Control, Eddy Current Suppression Ring), this record elevates the band’s psychedelic garage jams to a whole new level. Empty Cellar Records is very stoked to present ten new, delectable Cool Ghouls songs brimming with infectious, creative energy. This record is an excellent complement to the never-ending nights of a never-ending summer. San Francisco is still doomed... it always has been and always will be. At least these Cool Ghouls are here to help it go down with just a little bit of true class.


                Mind Holding Pattern

                  When Cuticle’s asteroid techno shrapnel formations finally streak the sky, they’re immediately recognizable – the stark cubic mixing eccentricities, a clashing crosshatch of alien bass patterns and arcade synth fingerpaint, acid atmospherics dripped like candlewax, poems whispered through futuristic air ducts. Brendan O’Keefe’s phantom touch has been distinct since the project’s origin but Mind Holding Pattern feels even more defined and isolated than his earlier work, nine morphing textures charged with different voltages. “Antigogglin” and “Faberge Tear” spywalk a stealthier electronic heartbeat, but “God Still Cannot” and “Beg To Exist” come down thick like heavy Depeche Mode lessons learned at cosmic desert raves, restless and deranged. As always his layouts are spiked with dabs of freeform mutation and wobbling grids, programs buffering to align.

                  The naked hand glows weirder in the foreground. Mastered by Ghost Sounds. Black vinyl LPs housed in custom silkscreened sleeves designed and printed by Daniel Luedtke. Edition of 397.

                  D.D Dumbo

                  Tropical Oceans

                    The latest addition to 4AD, Australian resident Oliver Hugh Perry - creatively known as D.D Dumbo - has announced details of his first release for the label.

                    Hailing from Castlemaine, a small township deep inside the Victorian bush, D.D Dumbo’s reverbsoaked songs erupt in thunderous rhythm and euphoric drone. Minimal in structure and complemented by Perry’s astonishing voice, they subtly reference traditional stylings from around the globe such as African desert blues, Tanzanian ilimba and transcendental Tuvan melody.

                    “Unfathomably cool.” - NME
                    “A dazzling patchwork of melodies.” - Q

                    Delroy Edwards takes a break from the molasses grooves of his vapey "Slowed Down Funk" mixtapes to drop a three tracker of serious house energy on his Gene's Liquor imprint. Alongside the huge piano vibes of the classic vocal cut "Always", Delroy delivers two rough and bumpin' floor shakers packed with raw funk. Since the young producer burst onto the scene with the killer "4 Club Use Only" on Ron Morelli's L.I.E.S. imprint he's hit us with a variety of tough, rough and pounding cuts mostly on his own LA Club Resource label, finding a niche in the market for super hard Dance Mania repping filth. Now while that's all well and good, only the brave and badass can play those cuts, so it's good news for the rest of us that he's found his groove on this Gene's Liquor 12". "Can U Get With" opens proceedings with a rattling, lolloping beat, G-funk lead line and 'ardcore chipmunk vocal, totally nailing that, "Wait a minute, didn't I have this on tape way back when" vibe and getting all the asses shaking on the dancefloor. From there we move into rave territory with the hard hitting "Always (Edit)", which evolves a one note bassline intro into a massive hands in the air piano tune! Last but not least, "Untitled" does it's thang across the whole of the B-side, picking up where "Can U Get With" left off in the land of tape saturated US house. Twinkling piano samples sit nicely within the stampeding drum pattern, while the smooth bassline tickles your toes into action, getting you loose and limber for a big response to the vocal sample. Delroy's back with his best work to date, for use in clubs of any size.

                    Disco Deviance Presents

                    Rahaan Edits - Sweet Stuff / You Got The Right To Dance

                    Chicago legend Rahaan returns to Disco Deviance and drops a seriously hot double header of essential reworks that are sure to keep the floor warm through the winter. Building up from the ground up, "Sweet Stuff" is the perfect record to open your next mix / set with, evolving from a smooth and soulful intro into a sizzling disco-jazz groover. Rahaan takes all the best elements of Nino Tempo & 5th Avenue Sax original, and extends them into a non stop latin disco killer that's gonna slay them all this party season. For the flipside, Rahaan takes us into the brainfizzing, mind bending world of the Muzic Box with "You Got The Right To Dance". Opening with some serious warped synth FX and a trippy pitched up vocal, this bomb soon unwinds into a dubby disco cut topped with echo laden sax and raw vocals. My guess is the Sylvers for the O.G. but I could be wrong. Either way, it's one of those killer jams which pairs the synthetic and the organic in super cool fashion. As they say in Chicago...beat that shit Rahaan!

                    French Touch legend and edit master DJ Vas returns with another quartet of floor burning disco reworks, primed for the jocks out there on the front line! You'll have to have your wits about you in the dark of the booth though, this one opens with a big old mislabling! Vas gets us started with "The Q", a remastered, rearranged edit of Italo/first wave techno classic "The Voice Of Q", which straightens the beat out for DJ simplicity, enabling those lengthy blends we all love without any of that pesky tempo riding. Next up we have the soul infused strains of Curtis Mayfield's '79 disco-boogie groover "Tell Me, Tell Me (How You Like To Be Loved)". Vas boosts the original with a solid kick and some insistent percussion, before breaking the track down into its constituent parts and rearranging it into modern dancefloor dynamite. Flip the disc and Vas gets super funky with the break heavy groove of "What's Funk?", a fat cut with plenty of bump in the trunk. Killer bassline, scratching guitar, shouted vocals and irresistible percussion are all present and correct as DJ Vas gets the block rocking. The Frenchman closes the EP out with the slinky sizzle of "Keep It", a full on funk bomb packed with attitude, sleazy vocals and a stomping bassline. Just wait for those horns to ignite the party. Big tunes all round from the one and only DJ Vas!

                    Newly signed to Melodic, The Drink are now set to intoxicate further with the arrival of Company; their gloriously inventive debut album.

                    Collecting together those now-unavailable EPs, Company has an inimitable, wayward sound drawn from the chaos of real life. “People and places shape the sound - I get ideas from watching people do their thing and also looking at billboards thinking that everything is fucked," says singer and guitarist Dearbhla Minogue. Without clear narratives, the lyrics have a stream-of-consciousness quality, loaded with uncanny imagery. "I try to invoke feelings of familiarity and imagery in songs because that is what I love about hearing good lyrics. For them to invoke something that you recognise and makes you feel a certain way but you're not quite sure why."

                    The title Company explores the album’s themes of what it means to be human, and being alone. "The idea of company is really interesting, why is it so important?" asks Dearbhla. "The way people operate in company - and in companies - is so interesting. Groups are formed by individuals but after that they take on a life of their own."

                    The Drink came together when Dearbhla moved to London from her hometown of Dublin and overheard drummer Daniel Fordham and bassist David Stewart practising with their former band in the warehouse she shares with other musicians. “I used to listen to Dan and Dave in Fighting Kites and when they disbanded I took them for my own,” says Dearbhla. “They have a way of making an odd song flow really well. It was great to realise that together we had a band sound without having to contrive it.”

                    In the way bands such as Deerhoof are revered for their unusual sonic approach, The Drink celebrate beauty in oddness through their use of bold syncopated rhythms, strange time signatures and complex structures, via a love of artists from Joanna Newsom to The Breeders and Captain Beefheart. While many lose their sense of melodic direction labouring to create an intriguing experimental sound, on Company it never wanes through the band’s boundless energy, reverberating basslines and unforgettably spontaneous fusion of American and English indie rock with Irish folk leanings. “We don't set out to write odd songs at all. We just write them as we think they sound interesting and they always turn out to be in bizarre time patterns when it comes to putting them together,”says Dearbhla.

                    "Our first rehearsals were fuelled largely by Nigerian Foreign Export Guinness, but we're not specifically referring to alcohol when we say The Drink, it's also a way of describing the sea, or something that's essential to survival."

                    “It sounds pretty unique - save for a little like Warpaint with a folkier wash - and is certainly some of the most refreshing music we've heard from a new act these last few months.” The Line Of Best Fit.

                    “Dearbhla Minogue is a woman on a mission. The lead singer and primary songwriter for London-based trio The Drink is reassuringly focused on how she wants her band to sound. Since their inception just over a year ago – and rather refreshingly in an era where many artists spend a huge amount of energy exploring the outer edges of genre-splicing experimentation - The Drink have defined themselves as purveyors of ballsy and intelligent indie rock.” - Quietus.

                    FORMAT INFORMATION

                    LP Info: LP is 180g black and comes with album CD included. LP Inner sleeve contains album lyrics.

                    May 2009 marks the 40th anniversary since Jamaica lost one of its best-loved sons - the legendary trombonist, Don Drummond. Educated at Kingston's famed Alpha Boys School, Drummond later achieved pre-eminence as one of Jamaica's premier musicians, playing an integral role in the celebrated Skatalites band in the early 60s. But soon after, while at the height of his success, his career ended in tragic circumstances: found guilty of murdering his long-term girlfriend, dancer, Marguerita, the troubled hornsman was sentenced to spend the remainder of his days in custody, and on May 6th 1969, he was found dead in his cell, the official verdict given as death by natural causes. Following Drummond's death, producer Duke Reid paid tribute to the much-loved musician with a collection comprised of re-mastered reggae mixes of a dozen of his early ska works. Released by Trojan as the "Memorial Album", the set illustrated how the trombonist's talent could transcend genres and became an immediate best-seller for the company. Now, 40 years on, this classic set is made available once more, bolstered by 37 bonus tracks from the Treasure Isle catalogue, including the original ska mixes of the tracks, as well as the entire contents of the "Skatalite" LP from 1964. The result is not only a fitting tribute to one of Jamaica's most iconic figures, but also the most comprehensive compilation of Duke Reid's pre-1965 work yet to see issue.

                    Electric Eels

                    Die Electric Eels

                      Cleveland’s electric eels (all lower case in homage to poet e.e. cummings) is America’s quintessential proto-punk band. Formed in 1972 by singer Dave E. McManus and guitarists John Morton and Brian McMahon, the group enlisted drummer Nick Knox (later of The Cramps) and producer Paul Marotta to record a flurry of catchy and genuinely fucked-up tunes. After only five legendary live performances - complete with Dave E. in black leather jacket covered in rat-traps and playing a gas-powered lawnmower on stage - the eels broke up in 1976 and posthumously released their classic single Agitated on Rough Trade in 1978, blazing a trail for high-art, low-concept rock.

                      As Jon Savage writes in the liner notes, “There is something heroic about the eels’ isolation and uncompromising attitude: a fierceness that you can hear in these songs that still resonates in a different time and world.” This archival LP collects the eels’ best material from 1974-75. From the loud and snotty “Agitated” and its Bside “Cyclotron” (which Johan Kugelberg listed as #1 in his top 100 punk singles) to the anarchic anthem “Jaguar Ride” and the loose, bluesy sludge of “Anxiety,” the album exorcises the demonic power of the Stooges and Velvets and captures the mystique of these outsider artists inventing a new language. As the eels demand “Attendance Required” on their flyer for the infamous Special Extermination Music Night, listening is absolutely mandatory for this seminal band. Recommended for fans of Dead Boys, Simply Saucer and Pagans.

                      Electric Eels

                      Spin Age Blasters / Bunnies

                      Following their legendary punk-as-ever Agitated single, electric eels released their second posthumous single, Spin Age Blasters / Bunnies, on Mustard Records in 1981. Recorded in 1975 and taking the band’s free-form jazz and art rock alliances to dizzying extreme, the twin-guitar swirl of “Spin Age Blasters” sounds like Trout Mask Replica on paint fumes, while “Bunnies” features Dave E.’s relaxing Bob-Ross-like vocals and frantic clarinet bursts à la Roscoe Mitchell.

                      This first-time vinyl reissue includes original cover artwork by eels’ guitarist John Morton and is pressed in a limited edition of 1,000 copies.

                      Ellis Island Sound comprises the duo of Pete Astor (The Loft, Weather Prophets) and David Sheppard (State River Widening, Snow Palms).

                      Hot on the heels of their critically revered 2014, Krautrock-meets-Afrobeat longplayer ‘Regions’, Ellis Island Sound return with a brand new, seventrack mini-album.

                      The new album is another fertile marriage between motorik Mitteleuropa pulse and subtropical guitar and percussion textures.

                      Full of intricate, highly melodic arrangements for guitars, keyboards and tuned percussion, with a spacious sound palette propelled by polyrhythmic marimbas and xylophones and layered with infectious lead lines and choral.

                      For fans of Penguin Café Orchestra, Cluster, King Sunny Ade and Steve Reich.

                      FORMAT INFORMATION

                      LP Info: Download code and fine art poster included in LP version.

                      Everything But The Girl

                      Eden - Transparent Vinyl Edition

                      Cut to 180 gram heavyweight transparent vinyl. This is an individually numbered in the exclusive run with gatefold artwork featuring rare images and reconstructions. The inner bag features printed lyrics, sheet music and photograph.

                      After Tracey Thorn's Marine Girls offerings and solo album "A Distant Shore", and Ben Watt's "North Marine Drive", the pair came together to form Everything But The Girl, "Eden" being their superb debut album from 1984. This collection of tracks hallmarked the duo's understated but beautific composition skills, displaying a great leap forward from the comparative naivete of their previous offerings. Mixing up gentle bossa-nova and jazz-flavoured tunes with guitar-strummed indie-pop and nu-country acoustica, the duo straddled the gap between Sade and The Style Council on one side and The Smiths on the other, creating a lyrically astute perfect pop album.

                      Fat White Family

                      I Am Mark E Smith

                      Another cracker from the excellent Fat White Family.

                      I haven’t a clue what they’re on about, so can’t tell if it’s a tribute to Mark E or not. (Not sure which of them I’d fancy in a scrap if they have upset him!) They manage to be both discordant and melodic at the same time. Sleazy slo-mo grooves that like the song’s protagonist sound like no-one else around.

                      Great stuff!

                      Fruit Tones

                      Some Strange Voodoo

                      Stolen Body’s first 7” release comes from Manchester garage'n'surf rock band Fruit Tones. The 4 track EP shows off the bands ability to morf garage rock, tropical pop and surf beautifully while keeping a raw rock'n'roll feel to everything.

                      They have featured on several compilations which have been incredibly recieved. They have also previously released a split tape with Death Cats on Scottish label Fuzzkill Records which is now sold out. Stolen Body is happy to release the EP on limited edition colour vinyl. Limited to 500 copies (Coloured - Yellow with black splatter)

                      FYI Chris

                      No Hurry / Juliette

                      More fresh sounds from London's hottest borough, as FYI Chris, usually found pulling out tunes at Peckham's Rye Wax, hits us with some killer jams of his own making. This floor filling 10" sees the up-and-coming producer serve up two different flavours of body moving house, inspired by soudns from either side of the Atlantic. On the A-side, "No Hurry" blends the light and lithe grooves of Jack J and the Mood Hut massive with the rough and soulful stylings of a classic KDJ. Chris pours his heart and soul into some deep rhodes chords, while his MPC beats swing away perfectly. As we head into the first break, a killer bassline takes control of your motor functions and makes you dance like a loon til the last beat. Flip the disc for the UK vibe of "Juliette", a deep and bassy house cut accented with high pitched vocal snippets, 909 bells and toms, which is already doing the rounds with the biggest names in the current wave of UK house DJs. 

                      Ghost Culture

                      Guidecca - Factory Floor Remix

                      Phantasy Sound don their jolly red suit and white beard (*pictures Erol in full Santa garb* - Hurrumph!) and take the company sleigh round the globe to dole out this strictly limited present to only the luckiest boys and girls out there in vinyl land. The gift in question is a single sided remix of Phantasy's star in the East (London), Ghost Culture, by machine master Gabe Gurnsey of Factory Floor. The hardware expert bangs Ghost Culture's sleek synthwave original at the end of his assembly line and flips the conveyor belt into reverse, splitting the original into an extended edition of glitchy and splintered post-industrial tech-house monster. As the track nears its peak, Gabe strips it back to an assortment of warped (and Warped) vocal chops and prickly ketno sequences. I've not heard disembodied wonk like this since those glory days of passing out upstairs in Sankeys while Holden held court. 

                      Killer reissue of some fully loaded heat from our Kelli, originally released back in 2002 on Acacia. The solid EP sees Ms Hand in full-on house mode, providing four extended treats for the real jocks out on the front line; I'd say two copies is a must on this one. A-side opener "My Love" is a stomping, stripped back, peak-time killer that's all heavy drums, trippy synth sounds and a lusty female vocal, which is already getting our own Kickin Pigeon shaking a tailfeather in the office. Smoothed out vocal cut "Without You" follows on without missing a beat, getting right in the pocket with rough beats, a rolling disco bassline and slick horns. The B-side opens with "Remember When", an epic, string laden banger that locks you into some real house hypnosis. Finishing out the EP is "Want U Back" a pacey, organ driven 90's style house jam laced with vocals and samples in true big room fashion. Kelli's in full effect on this one, going in hard with four no nonsense, straight to the floor killers.

                      Happy Meals is the Glasgow-based duo of Suzanne Rodden and Lewis Cook, life-partners since high school finding expression in cosmic form. Originally from the Scottish borders, Rodden and Cook (also of The Cosmic Dead) began Happy Meals in a flurry of experimentation at Glasgow’s creative hub The Green Door Studio. Initially the result of a free music production course, 'Apéro' sees the pair embark on a blissful voyage into a love-fuelled, outward-looking hedonism. Both artists operate machines and sing but it’s the dominating Franco-Scottish lingua-franca of Suzanne Rodden that imbues a sense of seductive fun to the album.

                      Their first recorded statement, 'Apéro' is an instant rush of Kosmiche-disco, utterly addictive and inviting. The epic 'Crystal Salutation' welcomes the listener in with analogue synths delayed into the horizon before 'Electronic Disco' ushers in distorted drum machines and Rodden’s disco-at-sunset vocal. Album stand-out 'Altered Images' is a pop-masterpiece, mixing French / Italo disco, acid basslines and a sense of Scottish optimism. 'Age Of Love' is unabashedly the feeling of being up until day-break, with layered synths climaxing all-around. Retro-futuristic visions abound on the beat-less 'Visions Of Utopia' before closer 'Le Voyage' reprises back the cosmopolitan disco, playing out the perfect club night in ecstatic fashion. It’s an enchanting, inclusive vision; everyone is invited, the future is bright. Just say yes.

                      Harry J Allstars


                      Reissue of the classic 1969 album. ‘Liquidator’ was a massive hit in Jamaica and Top 10 in the UK and it spawned this 12 track instrumental favourite. Includes instrumental versions of Jamaican vocal favourites alongside covers of pop classics ‘Je T’aime’, ‘My Cherie Amour’ and ‘Don’t Let Me Down’.

                      Musicians involved in the recording included the core of the Hippy Boys: bassist Aston 'Family Man' Barrett, drummer Carlton Barrett and guitarist Alva Lewis, who later formed the core of The Upsetters and The Wailers. The organ was played by Winston Wright who, as a member of Tommy McCook's Supersonics, was acknowledged as Jamaica's master of the Hammond organ. Wright featured on other Harry Johnson hits, including The Beltones' "No More Heartaches" and on Boris Gardiner's "Elizabethan Reggae".

                      Heart Kill Giant

                      Diamond Concubine / Drive In

                      For their latest release ‘Diamond Concubine’, Heart Kill Giant have taken a darker route and further explored their electronica edge of the first EPs. This has given rise to an "acid folk" sound which features a steady, muffled 4/4 kick, pulsing, morphing 303 bassline (on the acid side) and ethereal vocals and reverbed acoustic guitar (on the folk side). On the flip we're treated to another brand new track, ‘Drive In’, which offers a super slo-mo dub / industrial techno sound (a fluid 303, clanking metallic echoes), before evolving into an electronic cinematic nightmare with creepy ice cream van / music box tones. Both tracks have been produced by Johnny Aux of Paranoid London.

                      Hercules & Love Affair's anthemic house smash "Do You Feel The Same?" has slayed dancefloors from NYC to Ibiza over the past few months, and now the our favourite dancefloor divas have enlisted a couple of remix heavyweights to add their own magic to the track. First up we get two versions, vocal and dub, from house legend and garage pioneer Todd Terry. The veteran producer injects a trademark swinging garage rhythm to the track and gets to work chopping and dropping those vocals to create a sleek and deep groove that'll get any dancefloor jumpin'.  Rather than transforming the track completely, and losing some of that mainroom magic which made the track stand out in the first place, Terry chooses instead to add elements and rework the arrangement, putting his own spin on the track and turning it into something even more peaking! For those who like to take the dancefloor deeper, the sparse and bass driven dub mix will be just the ticket. On the flip, Scotland's masters of the deep, slo mo house groove slip into a coastin gear with a deep and expansive remix which gradually evolves in their trademark style. The hypnotic combination of simple percussion and the rippling sequence from the original hold court over the first half of the track as Craig and Graeme delay the bassline until the vocal drops in the second half, delivering a masterclass in the tension and release style of production. It's another classic from the low bpm experts!

                      Holdie Gawn / Micawber

                      Vimmes / De Jure

                      As 2014 comes to an end, the irrepressible London based duo is closing the year with yet another split EP. On the A-Side we have ’’Vimmes’’, a low-slung groove, Villalobos-friendly with percussive textures that expand gradually and steadily, evolving along shadowy soundscapes and intricate rhythms. It’s a fine example of Holdie Gawn’s personal style, stripped back grooves moving along melodic tones and sound design. Micawber on the other side offers a shuffled up house track under the name ‘’De Jure’’. Syncopated synth lines, huge bass plumes, lush pads and melodic textures make this an warm, lush early morning electronic affair. I gotta love this label, seven releases in and remaining true to their original style. These are cuts for loooong sessions, ideally suited to the Berlin lifestyle where going out on a Sunday morning doesn't always mean picking up the Sunday papers. Druggy, minimalist (but not minimal) and perfect for working DJs. Surely Villalobos' UK label of choice?

                      Inspired by a number of conversations between director Yann Demange and music producer David Holmes, the majority of ’71’s score was created before the film was shot. Yann likes to shoot with music already written - an idea that resonates with the collaborative work of Sergio Leone and Ennio Morricone. With reference to Can's, David would describe the emotion, tone and atmosphere of the scene with the other band members before recording and then editing to picture after. He says “It frees your imagination to try and capture a world that only you can see and feel but in total relation to the directors overall vision. Living in Belfast for most of my life was also a big inspiration.” Musically influenced by John Carpenter’s ‘Assault From Precinct 13’ and ‘Escape From New York’, John Paul Jones’ ‘Four Minute Warning’ and Tony Conrad’s ‘The Pyre of Angus Was In Kathmandu’, the music pulses with the tension and potential terror of war-torn Belfast streets in 1971.

                      FORMAT INFORMATION

                      LP Info: Limited edition numbered vinyl with download card.

                      Icky Boyfriends

                      Live In San Francisco

                      “You like anchovies? Morning breath? Dried blood? The sun-up residue after a night of hard drugs? Well, you’re gonna love Icky Boyfriends.

                      “I painted houses for a couple years with an old-school San Francisco artist / musician dude who would let me run the boombox while we worked. This was right around the time I became obsessed with Icky Boyfriends. I would play the shit all day and wax about how I much I loved them. He piped up one day and asked what they were called again. ‘Icky Boyfriends,’ I said. ‘Oh yeah, I remember those guys…man, they could clear a room.’ “That’s the Ickys—an acquired taste for people who maybe have eyes that feel natural when trolling the gutter for nutrition. These are stories of strung-out super heroes singing the praises of the old school San Francisco freak scene. Hilarious at times, genius always and as scuzzy as anything you could ever hear. “Live in San Francisco was recorded masterfully by the Castle Face engineers team at the grand SF Eagle. There are many classic favorites here, as well as a couple new jams (I challenge anyone to tell the difference). We’ve kept it primal and simple as the Ickys always have. What a treat, now let’s eat!” - John Dwyer

                      Inkswel returns to Faces with a steady swinging right hook mini EP after recent outings on Wolf Music, Rush Hour Store Jams, People Must Jam, Omega Supreme, Dopeness Galore and City Fly records. On the A-side, the boogie wizard unleashes "Used 2 Hold Me" featuring blossoming UK soul singer Alena and legendary edit-not-edits producer Yam Who? collaborating on a burner that's primed to boom out your Jeep speakers! Sounding like Masters at Work in a bedroom romp with Dimaond D at a Bugz in the attic party, this is hip hop house (ahem, I think we call that hip-house) music at its finest. A definite floor stomper drafted to bridge the gap between party hip hop jams and “for the heads” house tunes! Things go totally batshit on the B-side as Inkswel throws in a little extra bang for your buck with the late night skronking of "Go Coconuts!" and the skewed sci-fi bonus beats of "Fizzy Fluoride". 

                      Formed in Bermuda in 1968, The Invaders are responsible for what is arguably the most sought after piece of island funk in history, their lone long player, 1970s 'Spacing Out'. Full of funky breaks, Meters-esque guitar work, and tripped out horn lines, 'Spacing Out' is not simply collectible because of its exotic locale, it is a stone funk classic that holds its own against such luminaries of the genre as The Meters (whose 'Look A Py Py' they cover), The JBs, and the Nite-Liters. An absolutely essential piece of funk history available again on LP, and this version won’t cost you a month’s rent to own.  Definitely worth having, as originals go for £700!!!

                      "The Invisible Hands is a transcontinental collaboration between Alvarius B. (Alan Bishop of Sun City Girls) and four stellar young musicians from Cairo, Egypt: Cherif El Masri, Aya Hemeda (both formerly of the popular Egyptian group Eskenderella), Adham Zidan and Magued Nagati. On Teslam, The Invisible Hands expand the already panoramic range of their eponymous debut LP with a haunting set of melodic, impeccably crafted songs whose vintage psych/hard-rock edge conjures up early Alice Cooper almost as often as it recalls Sun City Girls and 20th-century icons like Ennio Morricone and Serge Gainsbourg. The band's exquisite sonic palette is deepened by Cairo-based guest musicians Mohamed Ibrahim, Mohamed 'Moe' Asem, and Sammy Sayed, as well as by longtime SCG compatriot Eyvind Kang. Recorded in Cairo between 2013 and 2014, Teslam represents a further evolution of Alvarius B.'s peerlessly idiosyncratic pop sensibility, which is just as volatile and unclassifiable as his more experimental work. His songwriting -- both on his own, and in partnership with Cherif El Masri -- is marked by a unity of purpose that has compressed countless musical and emotional incongruities into a handful of sharp-edged, pitch-black jewels. A brooding track composed by keyboardist Adham Zidan ('The Great Implosion') perfectly complements the record's uneasy mood. As usual, Alvarius B.'s lyrics comprise an apocalyptic pile-up of cruel metaphors at the intersection of culture, politics and international crime. But they take on new power and new implications as sung by El Masri and Hemeda, whose seductive voices are as inviting as a welcome mat at the gates of hell. Each song stands on its own while also fitting into a planet-sized jigsaw puzzle detailing dark associations and secret narratives that stretch back as far as the foundation of the world. Arguably Alvarius B.'s most accessible work to date, Teslam is a generously baited steel-jaw trap for the unwary listener. Like The Invisible Hands' 2013 debut, Teslam inevitably reflects the precarious political circumstances in which it was conceived and recorded. As such, it's a vivid document not just of an unlikely musical collaboration, but also of a critical moment of hope, defiance, rage and sorrow in one of the world's most venerable cities." - B. Kearney.

                      Thrilling Cardiff-based noisepop group Joanna Gruesome have teamed up with their American cousins Perfect Pussy to release a remarkable four song split 7" EP. The release comes packaged in a 24-page comic book, illustrated by cartoonist Phil McAndrew (brother of Perfect Pussy's guitarist Ray McAndrew). The heroine in McAndrew's comic is a "split" between Joanna Gruesome front woman Alanna McArdle and Meredith Graves of Perfect Pussy, who battles misogynists, online trolls and haters everywhere.

                      The EP is being co-released by Fortuna POP!, Captured Tracks and Slumberland. Joanna Gruesome’s terrific debut album “Weird Sister” took the world by storm when it was released last September. Produced by Hookworm’s MJ, the album is brimming with irresistible pop melodies and spiked with dissonant fuzzy jangle, the songs shot through with loud discordant feedback and super-fast, hardcore punk drumbeats. Fantastic press support saw glowing press reviews across the board with particular love from Pitchfork and from NME, including a spot on the front cover as part of their Rule Britannia issue. At radio the singles from the album scored a remarkable three out of three in BBC 6Music B-lists and the band played sessions for Lauren Laverne on 6Music and for Huw Stephens on Radio One. The album has recently been shortlisted for this year’s Welsh Music Prize.

                      The two tracks here follow their recently released split EP with Trust Fund and represent some of the first new material to be heard from the band since the release of “Weird Sister” and, in lead track “Psykick Espionage” a taste of their new album to be released in the first half of 2015. Their second track “...And Keep Reaching for Those Stars” is a cover of a song by 90s US emo band I Hate Myself.

                      Hailing from Syracuse, New York, Perfect Pussy are one of the boldest and most intriguing projects to surface in recent years. Veiled beneath layers of exquisitely abrasive noise, frontwoman Meredith Graves’ lyrics are disarming, brutally honest and poetic, possessing a feverish intensity that can only be matched by her electric stage presence. Their album ‘Say Yes to Love’ was released on Captured Tracks in March 2014 to widespread critical acclaim. On this EP Perfect Pussy cover Björk’s old band the Sugarcubes’ “Leash Called Love” and also contribute the new track “Adult World (The Secret)”.

                      FORMAT INFORMATION

                      Ltd 7" Info: 7” EP with comic book.

                      New York, early 90s, the heyday of the New York and Jersey clubhouse! With labels such as Nu Groove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident DJ Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music!

                      After a two year break from the longer format, synthetic house veterans Juju & Jordash return to Dekmantel with their fourth LP, "Clean Cut". The nine tracker sees the duo fully embrace the album format, creating a tight tapestry of emotive and danceable sound that reveals more detail and depth with each new listen. Textures range from organic and lush to synthetic and arresting as deep-space serenity gets juxtaposed with more urgent and alien paranoia. The terse rhythm of the title track puts us on the dancefloor from the off, as Juju & Jordash launch us into the galaxy with cosmic synthlines, glacial pads and rattling rimshots, before cutting the boosters and letting us float free in zero gravity with the classic deep house of "Schmofield". "Whippersnapper" and "Swamp Things" follow, combining the organic melody of marimba lines with Belgian techno leads, detuned drones and ambinet textures. "Deadwood City" takes things right back to the dancefloor with its bumping kick, array of stuttered vocal samples and deep house keys, while "Maharaja Mark" and "Wheeze Please" embrace skewed synthwave and off kilter techno respectively. As we reach the final side of vinyl, "Anywhere" sees the duo offer their take on Torn Hawk's hazy new wave stylings, combining sweet coastal synths, guitars and vocals with a narcotic bassline and uneasy drums. Closing the album out in expansive fashion is the operatic sci fi nebula of "Eventide", a deep, futuristic and spiritual journey into the eerie surrounds of deadspace.

                      Ariel Kalma

                      An Evolutionary Music (Original Recordings: 1972 - 1979)

                      'An Evolutionary Music (Original Recordings: 1972 - 1979)' compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalma’s work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde. Ariel Kalma’s boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue drum machine meditations. Kalma’s story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, 'An Evolutionary Music' offers the imprint of an outright auteur.

                      Born in France, but rarely in one place for long, Ariel Kalma’s 1970s migrations took flight through the decade’s furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, a place where Kalma would learn circular breathing techniques enabling him to sustain notes without pause against tape-looping harmonies configured through his homemade effects units. Those effects evolved from Kalma’s loyalty to a beloved dual ReVox set-up - two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings.

                      In France during the mid-1970s, Kalma was staffed as a technician at Pierre Henry’s legendary Institut National Audiovisuel, Groupe de Recherches Musicales (INA GRM) studios - the same music concréte laboratory that spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma’s relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as related universal patterns, in perfect harmony with the people, places and environments it was created. Kalma’s recorded output of the 1970s culminated in the now scarcelyavailable Les Temps des Moissons (The Time of Harvest) in 1975 and Osmose in 1978, a masterpiece of birdsong exploration. Osmose is double album featuring sculptor Richard Tinti, who had supplied Kalma with hours of field recordings from the rainforests of Borneo.

                      'An Evolutionary Music' harvests uncatalogued music made between Kalma’s private press records and onward through the many small-batch cassette releases Kalma would tender. With this collection of musical hybridity and distinct genre-corrosion, Ariel Kalma’s righteous bucking of both popular music trends and the academic tenets of the avant-garde falls squarely in the spirit of other renegades of sacred new-music such as Terry Riley, La Monte Young, and Charlemagne Palestine.

                      Kiasmos (Ólafur Arnalds And Janus Rasmussen)


                      Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size

                      After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

                      By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

                      “We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

                      “The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

                      Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

                      Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

                      The Kinks

                      Kinda Kinks

                        Classic Kinks catalogue on vinyl. The original albums on their finest format, with the original UK tracklistings.

                        Originally released in 1965, The Kinks’ second album was made up of nine Ray Davies originals - one co-write with Dave Davies - and two covers.

                        It went to Number Three in the UK chart and included their second UK Number One ‘Tired Of Waiting For You’.

                        Davies’ lovelorn songs had yet to fully flower into elegies for disappearing lifestyles and values but his wistful melodicism can be heard in tunes such as ‘Something Better Beginning’, ‘Don’t Ever Change’ and ‘So Long’, which mingle nicely with the pop propulsion of ‘Tired Of Waiting For You’.

                        140g vinyl.

                        The Kinks


                          Classic Kinks catalogue on vinyl. The original albums on their finest format, with the original UK tracklistings.

                          Consisting largely of covers and revamped traditional songs, the Kinks’ self-titled album was released on 2 October 1964, reaching Number Three on the UK Charts.

                          It features their massive UK Number One hit ‘You Really Got Me’, which got to No. 7 in the US and was Top 10 in Canada and Australia. Written by Ray Davies and widely acknowledged as the start of heavy rock, the track influenced everyone who followed, from Led Zeppelin to Black Sabbath and even The Beatles.

                          Also features ‘Stop Your Sobbing’, which was taken into the Top 40 in 1979 by The Pretenders.

                          From the original sleevenotes: “Ray, the leader of The Kinks is 20 and almost 6 feet tall. He composes, listens to what the others have to say about the compositions and then they record what he originally wrote! Vocalist, rhythm guitar and harmonica player, he has very definite ideas of his own about almost everything and enjoys the occasional sulk.”

                          140g vinyl.

                          The Kinks

                          The Kink Kontroversy

                            Classic Kinks catalogue on vinyl. The original albums on their finest format, with the original UK tracklistings.

                            The third Kinks album, originally released in 1965, is a transitional work, with elements of both the earlier Kinks styles (heavily blues-influenced songs such as ‘Milk Cow Blues’ and variations on the band’s hits from 1964 - 65) and early indications of the future direction of Ray Davies’ songwriting styles (‘The World Keeps Going Round’ and ‘I’m On An Island’).

                            The album went to Number Nine in the UK Chart and includes the Top 10 hit ‘Till The End Of The Day’.

                            140g vinyl.

                            Kitty, Daisy & Lewis

                            Baby Bye Bye

                            Kitty, Daisy & Lewis are proud to unveil the release of ‘Baby Bye Bye’, the first single taken from their new album ‘Kitty, Daisy & Lewis The Third’, three years on since their hugely acclaimed ‘Smoking In Heaven’.

                            Described as “a gift to those of us who still believe in magic” (The Observer), they have used those three years wisely, building a new 16 track analogue studio in a derelict Indian restaurant in Camden Town, resulting in an album and a sound all of their own making.

                            All songs performed by Mark Kozelek November / Decemeber 2013 in San Francisco.

                            FORMAT INFORMATION

                            Ltd LP Info: BLACK VINYL COPIES!! Super limited!

                            Suzanne Kraft

                            Tracks For Performance

                            The inaugural release for the label offshoot of Australian radio show Noise In My Head, "Tracks For Performance" serves up two new tracks from LA-based anomaly Suzanne Kraft. Originally conceived as a contemporary dance score, these proven body movers are some of the producer's toughest work to date. "Dead Ringer" opens proceedings in atmospheric style, marrying the snake charming mysticism of esoteric jazz clarinet with the hollow racket of a metal works factory. Almost beatless, this eerie opening merely lulls us into a false sense of security, as soon enough a warehouse shaking bassline and solid drumbox groove transform "Dead Ringer" into a full on jacktrack. On the flip, "Ruff Bathers" is rather more what we're come to expect from Kraft, as calming drones and subtle melodies settle into a synthetic groove. Cinematic and atmospheric with those cool eastern melodies, it's the LA producer's take on Japan's "Tin Drum". If you're the kind of cat who likes to get people dancing in peculiar ways, then this two tracker is for you. 


                            Backspace Unwind

                              Lou Rhodes and Andy Barlow understand difference more than most. They're the first to admit that when they got together their diametrically opposing aesthetics - Lou's devotion to The Song, Andy's obsession with all things beats-driven and electronic and his complete disinterest in vocals - created problems. But those differences also bred a mutual respect and resulted in one of the most genuinely genre-bending dance albums of the mid-90s.

                              And so to 2014. Earlier this year Andy and Lou returned to the studio to write and record the sixth Lamb album 'Backspace Unwind'. "Making this album has been a journey of discovery in so many ways", says Lou. "After making music together over a period of almost 20 years (with a 5 year hiatus to take a breath) it's reassuring that new routes and approaches seem to abound. Over those years I think we've learnt that this journey needs no map; in fact tearing that map up, at every twist and turn, has become our regular gleeful practice" Most of the record was written and recorded at Andy's studio "The Lookout" - so named because of its panoramic views over the South Downs. The album contains 10 new songs written by Andy and Lou with four featuring string arrangements by Tom Trapp, who also conducted the string section for the recording session.

                              Musically we're treated to crisp electronica, tech-house and downbeats, sweeping orchestral passages and, as ever, Lou Rhodes fragile, folk-tinted vocals centre stage.

                              Lee 'Scratch' Perry & The Upsetters

                              Blackboard Jungle Dub - 10" Vinyl Box Set

                              Originally issued on coloured vinyl as a Record Store Day exclusive release, demand for this deluxe boxed edition of Lee “Scratch” Perry and King Tubby’s finest pairing has been so great that a new pressing on black wax has been authorised. The package contains the full length album spread across three 10-inch plates, a 30” x 30” giant poster of the album’s cover art, and is housed in full colour hinged box secured with a magnetic clasp. The audio has been painstakingly remastered a second time to ensure 100% flawless sound quality. This record has truly NEVER sounded better. This is the definitive ‘Blackboard Jungle Dub’ and a real collector’s keepsake.

                              FORMAT INFORMATION

                              3xLtd 10" Info: 3x10" box set.

                              For their haunting thirteenth release, Especial take a side-step from their usual chug heavy tackle, welcoming up and coming producer Wolf Muller (Remember his remix of Jose Padilla? Scorchio!) to the label with his remixes of indie-pop dreamer Mariam The Believer. Now, some of those chuggers might register upwards of 5 on the sci-fi horror scale, but no one does doom and gloom better than the goths, and Mariam's Siouxsie-esque post-punk delivery nails that B-movie vibe. Muller transforms her dreamy (or should that be nightmare-y) sonnet into a percussion heavy hit of voodoo groove, which finds a place between post-punk, disco-not-disco and no wave to dance like Britt Ekland in Wicker Man. Available exclusively on this release in dub and vocal form, this bone rattler is already getting love from Lexx, Manu and Coyote.


                              All About That Bass / Love Never Felt So Good

                              Mr Reggae Makeover, Mato, is back with two new killer reworks.

                              On this new 7", Mato hits us with a special pop oriented package. On the A-side he remakes mega smash “All About That Bass” by the young Meghan Trainor. On the flip he gives a sweet reggae tribute to the King of Pop, with a remix of his recent posthumous single, “Love Never Felt So Good”.

                              That's your festive reggae-pop dancefloor sorted!

                              Lubomyr Melnyk


                              Erased Tapes first introduced Lubomyr Melnyk and his unique continuous music technique to a wider audience with ‘Corollaries’, an album produced by Peter Broderick in 2013. Now he returns with a 24-minute mini album entitled 'Evertina'. Featuring three newly composed solo piano pieces, the long-form EP showcases another side to Lubomyr Melnyk – his more gentle and melodic work.

                              In 2012 Lubomyr's ears began to notice the remarkable tonal depth of upright pianos. To Lubomyr the upright piano sound is like a natural forest of microcosmic colours. 'Evertina' and 'Awaiting' were created on a middle-aged upright piano at a friend's home in New York in October 2012 – just before Hurricane Sandy hit the city. Some children were listening to Lubomyr as he played in a hotel lobby in Cologne and 'Butterfly' is the piece that he made for them. It was recorded on a battered grand piano somewhere in Switzerland in late 2013, with the lid closed down to soften the effect.

                              "The piano for me has so many different faces, so many personalities and wonders, it is like life itself, ever-changing yet always holding to a permanence of beauty. Like butterflies that never fly in a straight line but always carry their loveliness with them in their multi-angled paths. I want people to hear these pieces, that are always hidden from the world. I keep them locked away in a quiet place, far from the concert hall. Why do I do that? I guess it is because they are so easy to play, so effortless, I can do them while sleeping. Whereas my more demanding abilities on the piano come out in the forceful nature of continuous playing. There, the new ground is being broken and a new door is being opened for the world. But that does not mean that I am bound by nature or by god to do only continuous music. My heart moves into these pieces just as it moves into the continuous modalities. So here, for the very first time, I am bringing three of these little miniatures to the public view. May everyone enjoy them for their gentle simplicity and quietude.

                              These three pieces fit so nicely together in spirit, they present a tableau, a tiny triptych that can reach the world without waiting for a major work, they stand beautifully on their own, and do not need an album to surround them with comfort and padding. No, they are what they are, and a short musical interlude as this record gives, is just perfect for their nature." – Lubomyr Melnyk

                              Lubomyr Melnyk is a true innovator, exploring new directions for contemporary music. Classically trained and greatly affected by the minimalist movement in the early 1970s, the Ukrainian pianist developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound. Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music. Playing rapid and complex note patterns made Lubomyr one of the world’s fastest concert pianists. His virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. To accomplish this requires a special technique, one that has taken Melnyk many years to master. To witness one of his rare live performances is nothing short of a mind-opening experience.

                              FORMAT INFORMATION

                              Ltd 10" Info: Limited edition clear 10" vinyl includes album download.
                              With gilded typography.

                              The Melvins return with Hold It In, their first studio album as a quartet since 2010's The Bride Screams Murder.

                              Joining Buzz Osborne and Dale Crover for the 12-song outing are BUTTHOLE SURFERS' guitar player Paul Leary and bass player JD Pinkus.

                              Hold It In was recorded in both Los Angeles and Austin earlier this year.

                              "Hold It In is a refreshing piece of fiction in a boring world of fact and bullsh*t," said Osborne. "Paul is one of the best guitar players I have ever heard and Pinkus has an outside the box type of approach to both guitar and bass that you just have to let it ride. I can't believe this actually happened. I'm thrilled."

                              "It's very rare you get a chance to work with three folks from the 'Break A Wish' foundation, all at the same time," said Pinkus. "I believe they'll remember their experience with me forever (or until they finally all lose their fight with S.I.D.S)."

                              Still the favourite with many Motorpsycho fans, the iconic "Demon Box" was also their breakthrough album and is a testament to their most drastic period of transition, from being a relatively, but not entirely, straight rock band largely met with indifference, to becoming a band where "shit definitely falls in place", to quote Tommy Olsson´s liner notes. It´s also, notably, the only album in their vast catalog where Deathprod was a permanent member of the group. This re-issue follows those of "Timothy´s Monster" and "Blissard" and has been possible with the kind permission and co-operation of Voices Of Wonder.

                              Spread over five discs we get the following:
                              Disc 1 and 2: "Demon Box" as it appears on the double vinyl edition and as it was envisaged by the band at the time. But the label only wanted to release it as a single CD, meaning that a couple of tracks, much to the bands regret, had to be left out. So this is actually the first ever CD release of the full "Demon Box" album.
                              Disc 3: The two EPs that followed the album, plus "Home Of The Brave", a live recording previously available on a long deleted compilation.
                              Disc 4: Various outtakes, live recordings and other rarities, mostly unreleased until now.
                              Disc 5 (DVD): Something of a curio that will have the fans wetting their pants, for sure. A previously uncirculated, one-camera video documentation of the full gig at the Vera venue in Groningen, The Netherlands, September 19, 1993. Dark, shadowy, chaotic, loud, energetic and primitive, this is still the best audiovisual recording of a complete show from this period.

                              The original 2LP edition of "Demon Box" is being released at he same time. This has been out of print for many years, and now fetches unhealthy prices on the net.

                              Following their debut, "Hold this Ghost", whose immediate melodies and lush orchestration garnered significant press and a devoted listenership worldwide, Musee Mecanique returns with the ambitious "From Shores of Sleep", a through-composed musical voyage that finds its lineage as much in the song-cycles of Robert Schumann as in its Portland, Oregon folk-rock contemporaries. Using water as a central image, Musee Mecanique has crafted a story both surreal and insightful, meticulous and moving, a record about travels and transitions, of restlessness and longing, and the grief that comes from leaving things behind. Ogilvie's background in classical composition is apparent throughout "From Shores Of Sleep", as is his tenure with respected post-rock instrumental band Tristeza.

                              From the upbeat opener "O Astoria" to the arresting choral harmonies of "Castle Walls", arrangements mirror and interact with the lyrics. Strings, woodwinds and synthesizer sounds appear and re-appear, often playing characters, not unlike Tchaikovsky's instrumentation in "Peter and The Wolf". Sirens enter, sung beautifully by Johanna Kunin and Alela Diane. Layered percussion at times resembles the complex rigging of a ship, and elsewhere invokes the steady pulse of ocean waves. The album ends with a quiet meditation on mortality "The Shaker's Cask": a pump organ dissolves into a string quintet then makes way for a regal section of woodwind and brass, each change emphasizing the song's message: all things will pass. Musee Mecanique includes drummer/ethnomusicologist Matthew Berger, one-man brass section John Whaley, and skilled multi-instrumentalist Brian Perez. Each player must do several things at once, all the while singing complex harmonies, to succeed in capturing both the technical complexity of From Shores of Sleep, and also its emotional depth and generous spirit.

                              Mutant Beat Dance


                              The hardest, deepest and most uncompromising duo in the acid house world are back with a strictly limited DJ use double header in a gorgeous screened sleeve. Don't let the beauty of the sleeve lure you into a false sense of security, Traxx and Beau Wanzer are here to put the frighteners in you big time on their latest Mutant Beat Dance collaboration. Inspired by the early days of house music, the wild nights at the Muzic Box after way too much PCP and the endless nights of frenzied acid flashbacks. The hardware obsessed two piece like to call this Jakbeat, and I'm not gonna disagree. "PolyfonikDizko" opens in classic acid fashion, with a disjointed female vocal phasing in and out of a swirling bass sequence and steady machine rhythm. Over the course of the next half hour (or seven minutes) prepare yourself to get lost in the dark dream world of this hypnotic groove, textured with subtle variations as envelopes and gates are opened and closed, white noise drones blow through the mix and the percussion builds into a thunderous roar. On the flipside, "Stress" trades deepness for upfront dancefloor energy, as the duo deliver an irresistible jacker that's certain to get your body moving on the one. The head noding sequence is topped by backmasked vocal samples, detuned synthlines and offbeat drum fills, keeping the floor moving and grooving in preparation for the far out acid excursion of the second half. If you thought they didn't make 'em like this anymore, then think again!

                              Night Flights

                              Night Flights Vol. 1

                                Tripping the Light fantastic courtesy of Night Flights, a new San Franciscan take on the path taken by the likes of Schulze / Tangerine Dream / Cluster / Eno and other doyens of the space-synth-riff float.

                                Night Flights is a recording project of lo-fi, ambient, synth-driven, soundscapes. Consisting of members of the band Carlton Melton and Mastered by John McBain, Night Flights is a collection of sounds prepared 'for headphones only'. It is very much influenced in spirit by the 1980's late night television series 'Night Flights'. Rich Millman - synth and guitar; Andy Duvall - galaga-guitar on 'alpha jerk'. Recorded and mixed by Rich Millman, Mastered by John McBain at Taylor Street Studios. Art by Kaveh Soofi

                                Its not like this hasn’t been done before, but Agitated hasn’t released anything so chilled and spatial…and after the year we've had, this 40 minhutes from Night Fligths de-bugs the sytstem and sets our mind straight!

                                This is the ideal comedown record for the concerted psychedelicist. Freak on my flotation tank flag wavers. 500 only 12” vinyl, clear orange vinyl at that.

                                ‘Measures’ is the second album from the Nostalgia 77 & The Monster guise, bringing a flavoursome take on instrumental jazz. The collection of songs sees Ben Lamdin's long time collaborator, bass player and arranger Riaan Vosloo stepping to the fore, bringing six original compositions. The album also contains nods to the two dominant influences on this group over the years, in renditions of Sun Ra's otherworldly 'An Island In The Sun' and British firebrand (and previous Nostalgia 77 collaborator) Keith Tippett's 'Thoughts To Geoff'.

                                Nostalgia 77 and the Monster is the second incarnation of the Nostalgia 77 Live band, his original Nostalgia 77 Octet having been disbanded after the death of drummer Graham Fox. Lamdin and Vosloo’s aim was to produce an album ranging from the chaotic to the meditative. On ‘Measures’, Vosloo's writing strikes a delicate balance between strong themes and free space for the improvisers - a perfect canvas for the impressive cast of Kit Downes (piano), James Allsopp (reeds), Fulvio Sigurta (trumpet), Tim Giles (drums) and Vosloo himself on bass. The record captures the fiery fluidity of the band’s live performances.

                                Charlemagne Palestine & Rhys Chatham

                                Youuu + Mee = Weee

                                This is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. After the musical meeting with Tony Conrad (SR204), and with Z'ev (SR340), this new Sub Rosa session creates a trilogy. 166 minutes with Charlemagne Palestine: piano Bösendorfer, orgue Yamaha and voice and Rhys Chatham: trumpet, loop pedal, electric guitar.

                                Rhys Chatham studied under electronic music pioneer Morton Subotnick and minimalist icon La Monte Young and was a member of Young's group, The Theater of Eternal Music, during the early seventies. Chatham also played with Tony Conrad in an early version of Conrad's group, The Dream Syndicate. By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, The Word And The Flesh. This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles.

                                Ooof! After one of Detroit's finest sons blew us away with a sneaky Christmas release late 2013 (Kenny Dixon Jr's excellent "Moodymann" LP), his fellow Chair looks set to do the same this time round. The hugely anticipated follow up to "Sound Sculptures Volume 1" is here and it's well worth the wait. On this album Theo fuses jazz and soul with electronic production, intricate rhythms and his trademark arrangements to make a record which sounds both futuristic and grounded in the past at the same time. Featuring some of Parrish's most experimental rhythms (but not quite as experimental as "Dance Of The Medusa") "American Intelligence" seems informed by the producer's recent experience as a live performer. You have to take your hat off to Theo, twenty years into his career and he's still pushing boundaries way further than his contemporaries. Our hat is well and truly doffed.

                                Eilon Paz

                                Dust & Grooves - Adventures In Record Collecting (2nd Edition)

                                  (This edition has 20 more pages than the first edition) A stunning, 436-page photography-and-interview coffee-table book about the world’s most fascinating and accomplished vinyl collectors created by noted photographer Eilon Paz. “[Eilon Paz’s] lavishly illustrated coffee-table book contains portraits of some 130 ‘record diggers,’ as he sometimes calls them, who have often gravitated to genres as obscure as Turkish psychedelia, ‘Sesame Street’ albums, lounge acts, sexploitation and horror film soundtracks, ’60s girl groups from France and Japan, and even colored discs … visceral and joyous.” NY Times // Eilon Paz’s 436-page coffee-table book illuminates over 130 vinyl connoisseurs and their collections in the most intimate of environments—their record rooms. With a foreword by the RZA, compelling photographic essays are paired with indepth interviews to illustrate what motivates record collectors to keep digging. Readers get an up close and personal look at a variety of well-known vinyl champions as well as a glimpse into the collections of world-renowned and lesser-known DJs, producers, record dealers, and everyday enthusiasts. The book is divided into two main parts: the first features 250 full-page photos framed by captions and select quotes, while the second consists of 12 fulllength interviews that delve deeper into collectors’ personal histories and vinyl troves. Unearthing the very soul of the vinyl community, his book will appeal to a broad spectrum of readers, from die-hard record enthusiasts to fans of pop culture, sharp photography, and music history. Eilon Paz has shot for Israel’s top cultural publications and is a regular contributor for the US based food/travel magazine, Saveur, and his work appeared in worldwide publications such as Wax Poetics, Monocle, Conde Nast Traveler, Delta Airlines’ Sky magazine, and the French music magazine Vibrations.

                                  Itinerant producer Portable finds himself settled in Berlin for the time being, and the stark and wintery surrounds of Kreuzberg have certainly made an impact on his productions. His latest release, "Surrender" is a heart breaking journey through through the crisp leaves of December's first frost. Fusing classic songwriting with flawless house production, Portable lays his emotive vocals over a piano led taste of dancefloor music at its most melancholic. Syncopated rhythms and serene flute compliment Lcio's vocals perfectly as we're given a snapshot into that relationship you just can't leave behind, despite your better judgement.

                                  Dave Porter

                                  Breaking Bad Original Score Vol. 1 - Vinyl Edition

                                    Breaking Bad has received widespread critical acclaim and is considered one of the greatest TV series of all time. Each season generated extremely positive word-of-mouth leading to a steady increase in popularity. This rapid growth was aided by the show’s availability for binge-viewing on multiple platforms, most notably on Netflix.

                                    Original score includes highlights from seasons 1-5, hand-picked by composer Dave Porter to correspond to the most pivotal moments in the show.

                                    Released on vinyl for the first time in a deluxe full color gatefold jacket with images from the show and extensive liner notes from composer Dave Porter, as well as from show creator and executive producer Vince Gilligan.

                                    Dave Porter

                                    Breaking Bad Original Score Vol. 2 - Vinyl Edition

                                      Volume 2 serves as a companion album to the original score album released in 2012 titled Breaking Bad: Original Score From The Television Series.

                                      Deluxe package includes full color gatefold jacket, two full color heavy stock inner bags and an 18” x 24” full color poster.

                                      Breaking Bad has received widespread critical acclaim and is considered one of the greatest TV series of all time. Each season generated extremely positive word-of-mouth leading to a steady increase in popularity. This rapid growth was aided by the show’s availability for binge-viewing on multiple platforms, most notably on Netflix.

                                      Released on vinyl for the first time in a deluxe full color gatefold jacket with images from the show and extensive liner notes from composer Dave Porter, as well as from show creator & executive producer Vince Gilligan.

                                      Powder Monkeys

                                      Time Wounds All Heels

                                        Finally seeing the light of day again, and for the first time on vinyl, is the Powder Monkeys' classic album from 1995, Time Wounds All Heels. Originally released on the Dog Meat label and comprising the power-trio line-up of Tim Hemensley, TJ Ray and John Nolan, the band at this point were an absolutely unstoppable force, a powerhouse comparable to the finest moments from the MC5, Motorhead and Black Flag.

                                        Featuring 10 original tracks from the band, this is often considered the group's finest recorded moment, and one which has been out of print in any form since the 20th century. Our special edition on Desperate Records comes remastered for vinyl by Mikey Young and is pressed on 180-gram vinyl. The sleeve is on thick, reverse-board stock with a descriptive obi strip, download card, exclusive photos and liner notes and a 24" x 24" poster. It also comes in an all-new sleeve, the front cover being a stunning, previously unpublished shot of the band taken by renowned rock photographer, Liz Reed.

                                        The download card also features four bonus tracks (inc. Bored! and Motorhead covers), two of them previously unreleased, one of which is a fantastic original from drummer TJ Ray.The reissue of is a major deal for all Aussie rock & roll aficianados. There are only 700 of these being pressed!

                                        Jose Prates / Miecio Askanasy


                                        In August of 2014 a request was sent out by Gilles Peterson for someone to issue the incredibly rare Brazilian LP 'Tam…Tam…Tam…!'

                                        This is because it’s an extraordinary album, only issued once in 1958 as part of Mieco Askanasy’s 1950s touring “Braziliana” show. It’s so rare not even Gilles Peterson has a copy (and let's face it, he doesn't just have a Record Room, he has a whole Record House...).

                                        The original music was written and produced with José Prates and as an album it stands out as a keystone in the development of the Brazilian sound that was to explode around the world in the decade to follow. This is the first time this landmark LP has been issued since 1958. An original, if you ever found one, would cost you in excess of £1000.

                                        The reason Gilles Peterson wanted this album reissued is because it is so extraordinary. Musically it works on a number of levels – firstly that the solid blueprint of 1960s Brazilian music runs throughout it. For example, if you listen to Track Three Side One “Nānā Imborô” you will hear “Mas-Que-Nada”.

                                        Secondly, the infectious rhythms, melodies and exotic sounds that emanate from this album are deep, raw and totally engaging. And the more you listen to 'Tam…Tam…Tam…!' the more you hear its importance and influence.

                                        This rare reissue comes at a crucial time, when in our connected and information saturated world few important things have escaped attention and reappraisal. Finding anything new and genuinely incredible is a rare feat.


                                        Finding The Floor

                                          Philly trawler Noah Anthony’s pulverized industrial designs under the black Profligate flag have grown increasingly caustic and cracked, culminating in the eight misery beat clawhammers comprising his sophomore full-length, Finding The Floor. What’s particularly impressive given Anthony’s history in form-frying outfits like Form A Log and Social Junk is how deft and purposefully these pieces are arranged – asylum weaponry fashioned from scavenged hardware.

                                          Of the record’s eight cuts, only “Can’t Stop Shaking” has seen release before (though the LP version is a fresh edit); the rest rip through variously frenzied frequencies of slaughterhouse techno, basement desperation, maniac minimal wave, heavy breathing, and shattered glass dub. Only the closer, “We Can Have It All,” hints at an escape hatch, glassy synth-pop bliss pinned against a Belgian new beat rhythm. All in all a slaying, sleek selection by one of our favorite heads in the game. Electronic body music as existential prison break: “Can’t stop shaking / can’t stand myself.” Mastered by Alex Nagle. Sleeve design by Noah Anthony.

                                          Psychic TV


                                            Angry Love Productions is proud to present Snakes, Psychic TV's first full-length LP since 2009's Alien Brain vs. The Skinwalkers. A psychedelic journey from start to finish, Snakes has a wide variety of material that musically touches on various parts of Psychic TV's 35-year history, yet feels extremely cohesive as an album. Singer Genesis Breyer P-Orridge has and will continue to be a press darling for h/er reputation as a "cultural-engineer" and will be promoting the album full-tilt while Psychic TV as a band have and will continue to promote it on the road.

                                            This LP will be a limited run of 1,000 copies bearing stunning five-colour artwork and will have the trademark "random recycled vinyl" colour process, meaning each copy of the vinyl will be completely unique in colour.

                                            After seducing us with some late night boogie sounds last time out, Inkswel & Benny Badge's Hot Shot Sounds invite Quaid to take us on a trip to a futuristic metropolis where the cars fly, thought is the only form of currency and NYC sits submerged beneath the Atlantic Ocean. On this perfectly realised mini-LP, the producer serves up the cyclical sounds of slipstream funk, the proto-house inspired sounds of a red light district dive and malfunctioning hardware jams from the archive of the cybernetic broadcast system; and that's just on the A-side. The flipside tackles sci-fi tinged heavy boogie, Prince-styled future gospel and a smokers groove perfect for whatever narcs they take three centuries from now. While I'm disappointed that we don't have robot suits, this is still a future I'd happily live in.

                                            Red Rack'Em storms the Wolf Music offices, global mainrooms, record shops and NATO conference with this latest EP of raw and raucous sampler bashing house! For A-side cut "Do Or Die", the Nottingham producer smashes his MPC into smithereens, cutting up a disco sample I've sadly forgotten and pushing the tempo through the roof in Soundstream fashion. But Danny's his own man, and soon enough the whole thing breaks down into a filtered, beat repeated mess of narcotic swirl. It's at this point Danny decides to flip the script, injecting a huge hit of hardware funk into the track, thanks to detuned keys, a subby baseline and massive pads. Disorienting but danceable, this is one of those brilliant "What the fuck just happened?" club tracks. Flip the disc for the beatdown groove of "Ooh Ooh Ooh", a late night trip through blissed out jazz loops, swinging drum machines and a Oizo (!) bassline. You've gotta expect the unexpected when it comes to Red Rack'Em. Last been not least, curtain call "Live At The Music Hall" is straight up deep house in a Detroit style. Following the same pads, rhodes and crowd noise pattern as KDJ's "Tribute" or a Rick Wade classic on Harmonie Park, this slow burner will work wonders on the floor. 

                                            Brian Reitzell

                                            Hannibal OST Season 2 Volume 1 - Travertine Grey Coloured Vinyl

                                              Invada Records are proud to announce the vinyl release of two volumes of music from season 2 of hit NBC television series HANNIBAL by Brian Reitzell. Spread across two double gatefold LPs with each volume available as 140gm and colored variants. Accompanying the release, director David Slade has provided rare photos from his personal collection for the artwork. Each double LP is housed in a gatefold sleeve and comes with a download card. The music has been sequenced in the chronological order they appears on the show itself, allowing for an essential listening experience as dictated by the music’s creator.

                                              Over the last decade and a half, multi-instrumentalist, composer and producer Reitzell has created his own unique method of scoring films, drawing equally from his experience as a recording and touring musician with bands such as Redd Kross and Air, and his massive knowledge of recorded music. His vision is to create a seamless landscape of songs, score, and found music for each soundtrack. Brian’s explorations of new sounds add unique character to visual images.

                                              Brian's past films include The Virgin Suicides, Lost In Translation (For Which He Received A Bafta Award Nomination), Cq, Friday Night Lights, Stranger Than Fiction, Thumbsucker, Marie Antoinette, The Brothers Bloom, 30 Days Of Night, Beginners, And Red Riding Hood. His video game credits include his critically acclaimed score for THQ’s Red Faction: Armageddon and the upcoming Watch Dogs for Ubisoft.

                                              Brian Reitzell

                                              Hannibal OST Season 2 Volume 2 - Hemochrome Red Coloured Vinyl

                                                Invada Records are proud to announce the vinyl release of two volumes of music from season 2 of hit NBC television series HANNIBAL by Brian Reitzell. Spread across two double gatefold LPs with each volume available as 140gm and colored variants. Accompanying the release, director David Slade has provided rare photos from his personal collection for the artwork. Each double LP is housed in a gatefold sleeve and comes with a download card. The music has been sequenced in the chronological order they appears on the show itself, allowing for an essential listening experience as dictated by the music’s creator.

                                                Over the last decade and a half, multi-instrumentalist, composer and producer Reitzell has created his own unique method of scoring films, drawing equally from his experience as a recording and touring musician with bands such as Redd Kross and Air, and his massive knowledge of recorded music. His vision is to create a seamless landscape of songs, score, and found music for each soundtrack. Brian’s explorations of new sounds add unique character to visual images.

                                                Brian's past films include The Virgin Suicides, Lost In Translation (For Which He Received A Bafta Award Nomination), Cq, Friday Night Lights, Stranger Than Fiction, Thumbsucker, Marie Antoinette, The Brothers Bloom, 30 Days Of Night, Beginners, And Red Riding Hood. His video game credits include his critically acclaimed score for THQ’s Red Faction: Armageddon and the upcoming Watch Dogs for Ubisoft.

                                                NDATL back on top form with Stefan Ringer aka REKchampa making the starting lineup. Featured at last year's NDATL's annual DeepDetroit party "The Fix" was a highlight. The unique chord structure, intricate leads and shuffling drums keep the crowd enthralled until a well placed breakdown allows a breather. Kicking back in full throttle the track rides that jazzy house wave beautifully till the very end. Stefan's diversity is further shown in the fluttering bliss cloud that is "IFY", featuring a duet with vocalist Afua and epitomising that beatdown flavour that Amp Fiddlr and Recloose did so well; gorgeous soul music with a modern twist and oh so sexy with it. "Meagangood" recalls the jazzy house tracks off Garth Be's (Piccadilly #2 album of 2014) "Seven Movements" - enough of an accolade in itself. "MYM" deploys a New York flavoured sound palette across more shuffling rhythms, cementing Stefan Ringer as a bringer of the funk! This one has Peacefrog written all over it, funky bass, hats shuffled to the point of collapse and glorious lead melodies; all mixed with finesse and style. "Transitions" concludes the EP (more like mini-LP) with an introspective, deep take Ringer's synonymous style. Echoed and pitched up vocal snippets cascade through the mix as a squashed kick keeps us moving forward and the track gets swamped with gloopy, shaded elements. Great stuff.

                                                Russian Circles


                                                  The relationship between the calm before the storm and the storm itself is a crucial element of post-rock. The patience and restraint to allow the music to build slowly and organically is an incredible virtue within the genre, and it's a virtue that Russian Circles have been growing into over the course of their career. On Geneva, their third full-length outing, we find a band that has matured as songwriters. With a larger, more atmospheric set of tools at their disposal, the band crafts songs that are more about buildup than release. Instead of down the usual "build, build, build, destroy" route that's so common, the songs grow organically, with changes unfolding so naturally that the big finish is more of a logical conclusion than an explosion. Brian Cook's (of Botch and These Arms Are Snakes) impact on this record is more apparent than it was on Station. His gritty, fuzzed-out bass provides a dynamic contrast to the lighter moments, providing a bit of sonic dirt for the more ethereal guitar parts to play in. This influence might also have something to do with Russian Circles' further tempering of their metal tendencies. While Geneva has its heavier moments (like "Fathom" and "Geneva"), they're not as out-and-out metal as their past work, more reminiscent of Pelican's later work or the sludgy harmony of Zozobra. If you weren't already on the Russian Circles bandwagon, this is the perfect opportunity to jump on.

                                                  FORMAT INFORMATION

                                                  2xLP Info: 180 gram vinyl.

                                                  Secret Pyramid

                                                  Movements Of Night

                                                  Secret Pyramid is the solo project of Vancouver-based musician Amir Abbey, whose previous output includes The Silent March cassette (to be reissued on vinyl by Students of Decay in early 2014). Movements of Night finds Abbey further develop and refine the haunting, faraway sound-world that earned the aforementioned release well-due praise. “A Descent” opens the record; its title aptly portends the track’s dirge-like drones and throbbing cycles of low-end. Throughout Movements of Night, Abbey deftly navigates the properties of sleep and unconsciousness, charting a course that is equal parts harrowing and funereal, tranquil and sublime. Juxtaposing the everyday with the obscured, the half-there melodies and arcs of hazy guitar histrionics of “Closer” dissolve into “To Forget,” a track that posits a more familiar, tangible atmosphere in which radiant drones are tethered to a driving bassline, recalling perhaps a lost ’70s Popol Vuh Herzog soundtrack. “Escape” closes the album on a nostalgic note, akin to the feeling of waking from a wondrous dream which one knows one cannot revisit. With Movements of Night, Abbey casts his net into the abyss of the unconscious and returns with a potent paean to the dreamworld.

                                                  Secret Pyramid

                                                  The Silent March

                                                  Originally released in 2011 on cassette by the Canadian micro-imprint Nice-Up International, The Silent March is the precursor to 2013’s Movements of Night and can be viewed as something of a mission statement for Amir Abbey’s skyriding Secret Pyramid project. Critics have compared the Secret Pyramid sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack’s cherished fuzz devotionals, and indeed Abbey’s reverb-drenched songforms and titanic edifices of drone do feel at times as though they’ve been cut from the same cloth.

                                                  Opener “Outside” might be best understood as the soundtrack to slow-motion video footage of a first-person plunge over some impossibly grand waterfall on an endless loop, as tumbling overtones fight for air among turbid plumes of distortion. “Still Return” finds acoustic guitar figures struggling to escape a blinding mist, their resolution finally arriving in the form of the sublime tranquility of the titular track which follows. Abbey weaves themes of birth, death, nostalgia and existential dread into an album as cohesive as it is all-consuming, a spell that seeks to simultaneously welcome and protect against darkness in its many forms. This edition of The Silent March features an improved mix-down by Abbey and a remaster by James Plotkin to insure maximum transport.

                                                  Secret Pyramid

                                                  The Silent March / Movements Of Night

                                                  Students of Decay presents a specially priced double-CD issue of Secret Pyramid’s two albums, The Silent March and Movements of Night.

                                                  Originally released in 2011 on cassette by the Canadian micro- imprint Nice-Up International, The Silent March can be viewed as something of a mission statement for Amir Abbey’s skyriding Secret Pyramid project. Critics have compared his sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack’s cherished fuzz devotionals, and indeed Abbey’s reverb-drenched songforms and titanic edifices of drone do feel at times as though they’ve been cut from the same cloth. Abbey weaves themes of birth, death, nostalgia and existential dread into an album as cohesive as it is all-consuming, a spell that seeks to simultaneously welcome and protect against darkness in its many forms.

                                                  2013’s Movements of Night finds Abbey further develop and refine the haunting, faraway sound-world that earned the aforementioned release well-due praise. Deftly navigating the properties of sleep and unconsciousness, Abbey charts a course that is equal parts harrowing and funereal, tranquil and sublime. Juxtaposing the everyday with the obscured, the half-there melodies and arcs of hazy guitar histrionics dissolve into a more familiar, tangible atmosphere in which radiant drones are tethered to a driving bassline. With Movements of Night, Abbey casts his net into the abyss of the unconscious and returns with a potent paean to the dreamworld.

                                                  Six By Seven

                                                  KluB MiX!33

                                                    This album will only ever be available on Vinyl and Limited to 300 copies. Six by seven KluBMix33 is a unique album. In April 2013 Chris Olley started his MuZiK KluB, which was a way of funding and being able to artistically manage his own vision for his musical and creative output. Every month Olley would sell his demo's and his stories and photographs in an exclusive artistic package, handmade and individually signed and numbered to each buyer. During this period Olley released over 60 songs and several mini albums before re-recording and mixing tracks to compile an album which he felt captured a dark and intense uplifting sound, a sound which was to be reminiscent of the 80's Blitzclub, but then again, nothing like it.

                                                    "I wanted to feel lonely and detached when I made the music for this record, so it felt like I felt when I was 15, when I first fell in love with music properly. The music of that time was all the early synth stuff and it felt cold and industrial but pure and melodic too. I forced myself into solitude so I could get on with the task of self examination. I wanted it to be six by seven but I wanted it to be free from six by seven and free from the temptation to just follow on from what had gone before. I wanted detatchment, detatchment and tranquility." CHRIS OLLEY

                                                    Recorded entirely onto a Tascam 8 track recorder through an SSL Desk, with only guitars and vintage analogue synthesizer, it's a new sound, it's six by seven firing on all cylinders, in a dark basement club, jamming with Bauhaus and Fad Gadget and early Kraftwerk. At times the record is sparse and melodic and other times, tracks like the 9 minute 'Stealth Wind' and the gargantuan 'Master Race' are as heavy as or even heavier than any six by seven songs before. As promised, everyone who bought a MuZiK KluB release was given a credit on the album as executive producer.

                                                    Nottingham's Sleaford Mods are a duo that need little introduction, having fiercely penetrated people's consciousness on a large scale with their sixth album Austerity Dogs in 2013.

                                                    Since then they've garnered critical acclaim with their subsequent work and now they're joining forces with Ipecac Recordings to release a physical version of their previously released digital compilation Chubbed Up. This version includes three previously unreleased tracks "The Committee", "Bring Out The Canons," and "Fear Of Anarchy".

                                                    Sleaford Mods started out sometime during 2006 whilst Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic siutations arising from that trap. After a year of working ideas out in both the studio and in live performances, Williamson moved south and took the cause to London for a couple of years and trod the boards there for a couple of years, before returning to Nottingham in 2009.
                                                    Soon after that return he met Andrew Fearn and the Sleaford Mods became a duo. Fearn’s first work was on the production of “Wank” – the Mods’ fifth CDr album. Soon after that started stalking the stage and studio with Williamson. Andrew’s involvement meant that Jason was now able to stop creating the samples and loops that littered the early recordings and concentrate on the lyrics, whilst Andrew created numerous tunes for Jason to vent his spleen over.

                                                    Just after the release of “Wank” the duo were invited to play a three day festival curated by Nottingham’s Rammel Club. During that weekend a working relationship with Nottingham’s abstract-punk Harbinger Sound label was formed. A relationship which – a year later – resulted in the release of the “Austerity Dogs” vinyl album. This release would be followed by numerous shows around the UK and Europe, including further festival appearances. As word- of-mouth praise for the album slowly spread out and onto the record-buying publics’ radar, “Austerity Dogs” soon sold out of its intial run of 300 copies and has gone one to, as of today, a fourth pressing of the vinyl edition and a CD version was also released. Rave reviews would start to appear in magazines as diverse as The Wire and Uncut, along with interviews being published both on paper and on-line, both here and abroad. The album featured, and topped, many writers polls for the best records of 2013.

                                                    Sneaky Tim

                                                    What's Your Function Pt.2 - Inc. Ricardo Villalobos & Heiko / Sky Remixes

                                                    Chiwax presents the 2nd part of Sneaky Tim's legendary "What's Your Function" release. This time round we get the second remix of "Mental Kombat" from Ricardo Villalobos & Heiko MSO alongside a Sky mix of said track and "Bad Connection". Villalobos & Heiko's 'Sneaky Dub' does exactly what it says on the tin - combines sounds, grooves and elements from both producers powerful arsenal and gets all sneaky with it on the dub! Those familiar with Villalobos' style will instantly recognize the creeping drums, blurred vocal utterances and bleepy, hard-to-find groove which epitomises his style. Here we're treated to a lovely extended trip (does he do short tracks?) which teases us endlessly with fractals from the OG. Sky stays truer to the original vibe with a pounding take on side B complete with searing strings and flapping hi-Qs.  Proper twisted tackle! "Bad Connection" concludes the set and keeps to the frenetic flavour of the former; unloading a suitcase full of vintage drum machines and subtle acid elements to create an unrelenting steamtrain banger for the floor! Move quick on this one folks!

                                                    St. Vincent

                                                    Pieta / Sparrow

                                                      These exclusive new songs were recorded with John Congleton during the St. Vincent sesions in 2013. The propulsive and soaring "Pieta" has become a mainstay in the St. Vincent live show and "Sparrow" is its counterpoint with a deep musing on death and loss that recalls the sonic textures of Big Science-era Laurie Anderson. The two songs are presented in a deluxe, die-cut, foil-embossed package with a 10" disc cut at 45 RPM. The package was designed by Willo Perron, Annie Clark's collaborator on the striking visuals for St. Vincent. Each piece is individually numbered.

                                                      Sun Ra And His Myth Science Arkestra

                                                      Cosmic Tones For Mental Therapy

                                                        'Cosmic Tones for Mental Therapy' is an album by the American jazz musician Sun Ra And His Myth Science Arkestra. Recorded in 1963 but not released until 1967 on Sun Ra's own Saturn label, the record has become one of the most discussed of Ra's New York recordings.

                                                        'Cosmic Tones' functions as a kind of blueprint for the sort of large-scale jazz weirdness that would inform much of Sun-Ra's subsequent works, featuring the woozy reeds of And Otherness and the afro-jazz experiments of Thither And Yon. On Adventure Equation a space echo treatment on the recording which is reprised for the sax flurries on Voice Of Space making the whole experience even more disorientating than it already would be.

                                                        Ra played "astro space organ," and the array of swirling tones, funky licks and smashing rhythms, aided and abetted by John Gilmore on bass clarinet, Marshall Allen on oboe, and arrangements that sometimes had multiple horns dueling in the upper register and other times pivoting off careening beats, outraged those in the jazz community who thought Eric Dolphy and John Coltrane had already taken things too far.



                                                          A sequel of sorts to his 2010 cassette, Dawnrunner, Anthony Orion’s debut vinyl long-player is a vagrant classic of stringy-haired new age loner Americana, above and beyond anything in the Swanox public domain. Mixing personal Casio squatter meditations with crystal jukebox guitar and hitchhiker whistling over echo-smeared SK1 metronomes, Duskrunner feels hungover, spaced out, worn down, and at peace – sometimes all at once.

                                                          The ex-projectionist and current touring drummer for Tony Molina slowly refined the record’s nine songs across several itinerant years in San Fran’s Sunset District, between sublets, day jobs, evictions, work trips, couch life, and muggings. You can hear it: his is a voice muffled and downcast, nights lost smoking cigarettes on the fire escape, the lights of the Golden Gate swooping up dimly into the fog. “There’s a sign at my bar / and it reads NO LOCALS.” Strangeness and truths from an artist apart. Mixed, assembled, and “saved” by Sam Rezendes at Unified Stations Audio. Artwork and design by Sean Hewitt and Alex Coxen (of Milk Music). Comes with a Tres Hombres-inspired foldout poster of a wastoid’s feast. Mastered by Carl Saff. Edition of 299.

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