Alloy Orchestra

The Man With The Movie Camera

    It was only a lucky few iNDie Festival attendees who witnessed Alloy Orchestra's performance of their soundtrack to the 1929 silent film "The Man with the Movie Camera" in our Blue Room last Fall, so we are pleased to bring the recording to you in the form of a double LP. Alloy Orchestra is a 3-man musical ensemble - Roger C. Miller, Ken Winokur, & Terry Donahue - who use "racks of junk," synthesizers, and all sorts of other unusual instruments, found objects, and unlikely noisemakers to aurally accompany silent films.

    Roger Ebert has called them "the best in the world at accompanying silent films," and we can't disagree. "The Man with the Movie Camera," directed by Dziga Vertov and edited by his wife Elizaveta Svilova, is a documentary with no specific cast or narrative. In the film, a man carries out his day in the city as a member of the proud proletariat, capturing invention and the relationship between man and machine in Lenin's Soviet Union.

    Elisa Ambrogio, Magik Markers’ power front, lyric intelligence, guitar g’rilla and awkward weirdo, is back, and forth too, to deposit her first full length solo outing on your doorstep. ‘The Immoralist’ lies at the wicked crossroads of the electric wail of Wilson Pickett and the sweetest harmony of Wilson Phillips.

    Ambrogio exhibits a new refinement on ‘The Immoralist’. Working with Papercuts’ Jason Quever, Elisa’s earliest childhood musical loves The Poni-Taies, Tiffany and The Dixie Cups rise through the haze-nraze of electric guitar and drums with a pop repercussion previously unexplored by Magik Markers. Glossy melodies, drums that throb with the rhythmic stamp of a celibate sect and layers of vocals joined in harmony over stark sound-beds engage a whole new quadrant of Starship Ambrogio. Meanwhile, the endocrine hiss of Love’s ‘Baby Soft’ and heart-caught-in-throat emulsion sweats from the tracks, taking Cale’s conceit of fear as man’s best friend and playing fetch with it.

    Flashes of the youthful innocent and her shadow illuminate ‘The Immoralist’s early moments, ‘Superstitious’ and ‘Reservoir’. With ‘Mary Perfectly’, at long last we take the guitar player for a ride. Over the cheerleader chants and locust synth of ‘Comers’, a dreamy meditation on agency, she writes a song about a horse and admits it is a hack move to write a song about a horse in one breath. Not every album can successfully write love songs about examples of irrigation but Ambrogio pulls it off seamlessly on tracks like ‘Reservoir’ and ‘Arkansas’.

    As ‘The Immoralist’ moves through its masterfully sequenced narrative arc, disparate elements are pulled into focus: a suburban dad playing the steering wheel of a Pontiac 2000 is echoed in the opening drum beat of ‘Stopped Clocks’, while the coiled freedom of improvised piece ‘Kylie’ captures at long last the poetic resonance of applying lip gloss and features Ambrogio’s long-heralded but neverbefore captured cello playing. ‘Far From Home’ evokes the loneliness and confusion of waking up in a dark field and feeling your way back to civilization - along with a nebulous-yet-unshakeable vibe of romance.

    Formed in late 1994 by singers/guitarists/drummers Conrad Keely and Jason Reece, Trail of Dead has evolved over the years expanding their line-up while still being creatively driven by the core founding members. Friends since childhood, Keely and Reece started playing music in the indie rock town of Olympia, WA and eventually relocated to Austin, TX where they started …And You Will Know Us by the Trail of Dead.

    This is their ninth album.


    2xLtd CD Info: Limited 2CD digipak edition featuring 2 bonus tracks and 'Tao Of The Dead Part 3' EP as bonus disc.

    As summer fades and the nights draw in, the young lovers of the world need to keep themselves warm through til the morning. Lucky then that "Café Romantica" is here to soundtrack seductions, trysts and lingering embraces, whatever the weather. Man of the moment Andras Fox reconnects with Oscar Thorn on Dopeness Galore for another collection of stripped back, sultry and smooth proto-house grooves, decorated with rippling percussion, intricate and exotic melodies and Oscar's gorgeous vocals. Over the course of eight tracks, the Australian duo take us back to the old school and show us how it's done properly thanks to Nu Groove inspired rhythm sections, street soul motifs and Italian keys. From warm and uplifting floor pleasers to deep and intimate bedroom teasers, Andras and Oscar mack out in perfect harmony. 

    The culmination of four years writing and editing, Anjou marks the first collaboration between Labradfordʼs Robert Donne and Mark Nelson since the release of that groupʼs “fixed:context” LP.

    Combining modular synthesis, Max/MSP programming and live instrumentation, Anjou deftly weaves noise with gentle ambience and melody with texture.

    Guitar, bass and Steven Hessʼ (Locrian, Fennesz, Pan American) live percussion give the eight pieces an immediacy and create a framework for the more abstract sounds of digital and analog synth programming.

    The product of twenty plus years of friendship, Anjou is refined and challenging. An extension of the Labradford sound-world but no mere victory lap, Anjou represents Donne and Nelson stepping out and forward, their eyes firmly focusing on the future.

    Mark Nelson formed the legendary Labradford in the early 90ʼs and and started working solo under the “Pan•American” moniker a few years later. Robert Donne played in Breadwinner, joined Labradford shortly after the release of the first album, recorded an album with Adam Wiltzie as “Aix Em Klemm”, and has been active over the last decade in the trio Cristal. Percussionist extraordinaire Steven Hess has collaborated with dozens of artists including Greg Davis and Fennesz, and has worked in the Dropp Ensemble, Cleared, and Haptic to name just a few.

    Astral Social Club

    Fountain Transmitter Medications

      A boggling and super-fun 100+ minutes from Neil Campbell’s Astral Social Club, Fountain Transmitter Medications delivers the head-on collision of classic UK electronic styles, electric grit and the future.

      The LP starts with a set of tight chuggers, the high-end racket of “Infinity Thug” ripping through the speakers before closing the side with the loping “Grisly Terroir.” Side two is comprised of the 20-minute epic “Diamonds in the Dreich,” a mid-tempo journey of Throbbing Gristle-ish lurch-pulse and disembodied voices, giving way after ten minutes to an organ-interlude which accelerates into a full-on rock jam loaded with scathing guitar slashing. It’s unlike anything else in the Astral Social Club catalog.

      The CD (“side three”) offers three lengthy explorations of key facets of the overall Astral Social concept, where Campbell really stretches out and lets the tape run—the rushing sound effects and buried rock of “Sun Still God,” the bristling electric juddering of “Erotic Meditation,” and the blownout space-rock (!) of “Squeegee Anthem #3.”


      Ltd LP Info: LP comes with a bonus CD.


      All In A Dream

        Balduin – a one man Swiss enigma who has been ploughing his own unique path to the stars since 2001 – and his Sunstone album finds him on glittering form and should appeal to fans of classic pop music and anyone with a grounding in the history of genuine, underground sounds, each listening reveals more depth and variation, and this truly is a work of pure invention and originality.

        There are deep echoes from the chasm that is British Psych and nods to the experiments of the Fabs as well as those often ignored late 60’s Bee Gees albums, Kevin Ayers, Syd and countless lost music by bands with exotic names such as Rainbow Ffolly and Velvett Fogg – this is no re-treading of the past though – it’s a fresh as the breeze that blows through Balduin’s Glamour Forest, the limited 500 press vinyl comes in an eye catching gatefold sleeve – it’s on coloured wax and includes a download code

        WOLF invite two old friends back for the fourth release in their top notch white label series, playing host to Ron Basejam, Danielle Moore and Chicago Damn for one hell of a party. The A-side sees Ron step up with a beautiful piece of soul sampling, low slung house, topped off by the sugar sweet vocals of fellow Crazy P-er Danielle Moore. Sleek, warm and grooving, this is the perfect track for sunset and sunrise in the bar or on the terrace. Chicago Damn rocks the flipside with a proper peaktime jam, which comes on strong like a classic cut with rolling beats, vocal samples and disco loops. Strutting its stuff at the intersection between NY ballroom and Detroit basement, this is one of those killer cuts you can easily pitch up or down a few notches to suit your set. I cannot wait to play this out!

        Julio Bashmore

        Simple Love Feat. J'Danna

        Julio Bashmore's first new music of 2014! Featuring the sensuous vocals of J'Danna, "Simple Love" is the first taste of music from Bashmore's forthcoming album. Glowing with that synthetic radioactivity, this beauty's sure to keep you warm over the Autumn months. The simple but highly invigorating chorus lodging itself firmly in your memory banks before the big bouncy hook comes charging through in all its glory, pummeling 808 subs elevating the droning phosphorescent pads. Massive. "Petals" goes for a more jagged, tough-arsed approach, phased pad stabs ricocheting against a really aggressive, frenzied drum attack and tight brass horn elements. Retaining a certain element of fun-loving, naive recklessness, when the octave bass stabs meet the rest of the mix halfway through I challenge anyone not to start moving. Head twisting stuff that should get bottoms bouncing on tha flo'. Bashmore's back!

        Batida release new album “Dois” via Soundway Records. Strands of afro-house, kuduro, benga, semba, samples from The Clash and old Angolan movies and afro-beat tracks, African MCs and musicians from all over the world are all deftly mixed together by Pedro Coquenão.

        Inspired by the multicultural hotbed of his home city of Lisbon and trips to Nairobi and back to Luanda, ‘Dois’ was predominately produced in his own garage-studio over a two-year period.

        In 2012 Batida’s explosive self-titled debut came out on Soundway Records. Mixing the syncopated rhythms of Kuduro with elements of 1970s Semba and Congolese-influenced guitar licks, Pedro Coquenão won fans for an album that “demanded movement” (The Line of Best Fit) and “gave a view of the old and new, the West and Africa.” (The Guardian)

        Much of the remix and sampling spirit from the first record remains but ‘Dois’ also features live instrumentation along with a host of different guests.

        English, Portuguese, Quicongo and Zulu languages all feature on ‘Luxo’ with Spoek Mathambo (South Africa) & his crew contributing the lyrics together with Angolan MC Sacerdote and a guitar riff by Duncan Lloyd (Maximo Park). On 'Céu' Coquenão pushes things in a deeper direction, dis-assembling and reforming elements of the Francois & The Atlas Mountains studio sessions of the track 'Les Plus Beaux' .

        Full album of insane archive cuts from the inimitable, Beau Wanzer. Known for his past releases on Nation, L.I.E.S, and Cititrax, Chicago's Beau Wanzer delivers a 12 track LP of archival material culled from tapes stored away from years past, the tracks in question being plucked between 2002-2008.
        Wanzer has stuck to his grotesque guns over the years, keeping his music personal, grating, and down right bizarre. Each track takes a narrative of its own, from the languidly vocaled, yet uncannily catchy "Mob Boss" to the possessed murmurs of "Love Tone," Wanzer has created a completely unique collection of music which engages the listener all the way through.

        Following the critical success of last years mini-LP 'The Last Tortuga', Black Deer is back on Emotional Response with a 4 track remix EP featuring friends and alumni Nacho Patrol, Luke Wyatt, Sad City and Valet.

        William Burnett returns to the label in the form of a remixes EP that takes his original productions and hands it to a broad selection of today's finest electronic producers, plus a rare outing from one of the label's favourite pyschedelic experimentalists. While Danny Wolfer's Legowelt project needs little introduction, it was only right that his inclusion on the label came from a more cosmic outlook. With must have EPs and a long player offered, his afro-infused Nacho Patrol moniker is a must check. In 'Circle Dance' the original is taken by the hand down to an afro-tech-funk'n'breaks basement for one of his best remixes to date and rightly so for one of his old buds. Luke Wyatt follows with an uplifting and warped retake on 'Meditation'. The kraut influence of the original is built on with fuzz guitar and a solo that builds across the track to a higher peak. Play this at sunrise for reaffirmation of life itself. Next is a big favourite of the label, Sad City, who caught the ear with his first release on Underwater Peoples and a lush follow up for Phonica. The pure ambience of a 'Highway' remix strips everything back and lets the 4th World shine. Finally, one of the main influences on the label when it started a few years back. Valet aka Portland multi-instrumentalist and mum, Honey Owens offers a deep, beautiful and haunting retake of 'Tortuga', adding whispers, drones, guitar, toms, keys and intonations to swallow you whole.

        Boards Of Canada

        Hi Scores

        Skam Records are very proud to announce the re-release of Boards of Canada 'Hi Scores'. This follows the reissue of their other seminal records by Warp in 2013.

        The new edition has been re-recorded and re-mastered from the original DAT tapes and has been re-cut onto heavyweight collector’s edition vinyl.

        The CD is placed in a digi-pak sleeve with some extra art and the vinyl includes a double-sided 12” poster.

        The original image on the back of the sleeve is in colour. There is a spot varnish finish on the images and text alongside the usual Skam Braille sticker to give the whole package new depth and a refreshing look and feel.

        Originally released in 1996, this six track EP signalled the arrival of a major force on the electronica scene. Everything you love about the BOC sound is here; crunching breaks, busy electronic infills, crystalline tones, synth lines reminiscent of the theme tunes and incidental music from 1970s Programmes for Schools and Colleges. Included are the wonderful title track 'Hi Scores', haunting 'Turquoise Hexagon Sun', electro-funker 'Nlogax', dancefloor slammer 'June 9th', sleazy, queasy 'Seeya Later' and melancholic hip hop cut 'Everything You Do Is A Balloon'.

        'Hi Scores' hasn't been available since 2005, so take advantage of this limited remastered repress and grab yourself a copy of BOC history!

        The Body / Sandworm

        Split LP

          The Body and Sandworm contribute full sides of brand new material for this vinyl-only split LP pressed on virgin vinyl with free download card.

          This is the debut release from Sandworm, a Providence, RI duo playing raw and elemental black metal.

          The Body’s Thrill Jockey debut ‘Christs, Redeemers’ was praised by Pitchfork, The New York Times, Decibel, Noisey / Vice, The Fader and SPIN. The album also landed on Best Of year lists with Pitchfork, The Quietus, All Music Guide and Cvlt Nation.

          The split LP was recorded by Seth Mancehster and Keith Souza at Machines With Magnets (Battles, Lightning Bolt, Javelin).

          Sandworm will tour the US in September and October, playing their first shows outside of New England. The Body will continue their non-stop touring schedule and join Sandworm for many US shows in October.

          Praise for The Body:

          “The duo has captured the sound of the apocalypse... From its morbid and sonically insane noise-wall backdrop, blood-throated, six feet under screams, stadium-sized death-grip riffs, symphonic arrangements and pummeling drums torture, The Body has reached its terror epic apex.” - Noisey / Vice

          “[One] of the most remarkable acts bubbling up from the extreme-metal underground.” - The New Yorker

          The Budos Band

          Burnt Offering

          The Budos Band return with 'Burnt Offering'; a wild, booze-fueled ride of hazy riffs and take-no-prisoners horn lines that summons the occult - an evolved sound for this mighty 10-piece band sparked by their love of Black Sabbath and Pentagram.

          'Burnt Offering' was recorded live in the studio, engineered and produced by Tom Brenneck, a founding member and guitarist in The Budos Band who runs Dunham Records and Studios. It was written at the band’s longtime Staten Island studio, where they’ve gathered for weekly rehearsals for over fifteen years. The haunting album cover was created by drummer Brian Profilio, a NYC public school art teacher.

          The new album is dripping with the psychedelic sounds of early heavy metal fused with the tight-knit propulsion of Fela Kuti. “The Sticks” kicks off with a snarling riff seamlessly doubled on bass and guitar and unfurls into sludgy breakdowns and searing guitars.


          Livin' Up / Stop (Official)

          Initially listed as HM1001 now re-released on Archivio Fonografico Moderno. This is an official 2014 of B.W.H's 1983 offering 'Livin' Up'! Melancholic and ultra funky synth lines together with an ultra fat bass and unique vocals for one of the most significant record from the golden age of Italo disco! Don't miss it!

          The diabolical double act of Les Disques De La Mort and Kill The DJ, two labels joined at the hip make their first ever collaboration and it's well worth the wait. The evil twins introduce CAR the latest project from Chloe Raunet, a melange of dark electronics, chugging beats and the swirls of her spectral vocals. Friend of the LDDLM family, Roman Flugel steps up on a remix tip and drops a ripsnorting synthetic driver. There are bleeps, there are subs, and Chloe's vocal drifting on top of a general electronic monster. Kill the DJ may have commissioned the Planningtorock remix but LDDLM loved it so much they stole it for this vinyl release. Jam has made the song hers, pitching down the vocal, punking up the bass grove and adding sumptuous disco strings for some seriously danceable high art! Manfredas' remix of "Angelina" has been given extensive road testing by Ivan Smagghe over the past year. A tricky one to describe, this stomping remix incorporates gloomy synths and mournful bells as it advances unrelentingly. A cross between a panzer and Rondo Veneziano on acid, this is one for those who dare. Finally, Robert Johnson and Hivern wunderkid, Benedikt Frey delivers a brilliant acid rendering which just builds and builds. A million miles away from plastic warehouse cliches, this growling remix channels C.A.R.'s scowl and sneer with devastating results. Could this mark the return of electroclash? Watch this space.



            After last year’s icing on the CAVE, ‘Threace’, who knew when in the world there’d be another CAVE record? Next year maybe? Well, next year is here and there isn’t a new CAVE record but instead there’s a CAVE record with some ‘old’(ish) sides compiled.

            ‘Release’ compiles jams from the sweltering heart of CAVE that didn’t make it onto their three albums and three EPs. Anyone who’s heard their albums can attest that CAVE have a fresh, yet well-seasoned ear for long-play records and each one shows their ever-revolving palette. Being in CAVE is also about fun though and they’ve also indulged themselves now and again with standalone songs and shortplay records on Trensmat, Static Caravan, Giradiscos and Permanent, as well as some self-released cassette freakouts.

            Like the best singles, CAVE’s sides here have singular qualities that songs on albums can’t, as they unwind themselves over 30 or more minutes in time. A couple of the Release tracks rock more extreme too, which the CAVE-head will find in awesome contrast to the refined production of ‘Neverendless’ and ‘Threace’.

            There are three waves of CAVE so far, from 2007 - 2014 and they’re all a part of ‘Release’. The first band was Cooper on guitar, organ and / or synth, Rex on drums and Zach on bass but Dan came on pretty quick after that and plays on almost everything else here. Then it was the second wave: Cooper, Rex and Dan plus Adam playing keys and Rotten Milk on synth. Adam left after ‘Pure Moods’ and Rotten Milk left after ‘Neverendless’. Then the third wave began when Jeremy came in on guitar. He plays and sings too on the ‘Threace’ outtake, ‘JIM’. Phase three continues to expand with Rob on woodwinds.

            Since the beginning, when they recorded on cassette and released on CD-R, CAVE have been all about formats, interacting with them as the they captured their sound, the weirder the better. ‘Release’ contains mostly 4-track stuff, plus some 8-track stuff. A bunch of the masters had to be transferred from VHS, which CAVE liked for mixdowns in the early days of the late 2000s.

            It should be said that the ‘Harshmellow Mix’ of ‘Butthash’ is not the same version as on the Permanent split 10” with the California Raisins.

            L.I.E.S. mainstay Marcos Cabral dons his Chemotex alias for his second black ops mission on Will Bankhead's Trilogy Tapes. The pounding "Snake Inside My Leg" emerges from the stuttering hiss of high frequency distortion as a mutated dancefloor monster, taking the rhythmic thrust, minimalism and echoing keys of dub-techno and pushing them straight through the red. The result is a blast of dancefloor intensity wrapped in a thick cloak of distortion, not for the faint hearted. On the flip "Yang Solution" is even more menacing as the kick and bleep stylings of later Belgian releases get the technoise treatment. If you can find a system that can take it, this shit's gonna change lives!


            12" Info: 500 run, with hand-stamped inner bag.

            Chicks on Speed are back with a new daring style of Media-Art-Pop-Music.

            The album and series of six interactive musical instrument apps presents analogue craft strategies alongside digital human computer interaction, in a collision between pop music, art, activism and data - this album and international series of interactive live-art exhibitions and concerts to launch 'Artstravaganza' invites Chicks on Speed audiences to become PROSUMERS.

            'Artstravaganza' was created by Murray-Leslie and Logan in collaboration with leading contemporary artists, activists, producers and a princess, including: Julian Assange, Yoko Ono, Peter Weibel, Francesca Thyssen-Bornemisza, Christopher Just, Oliver Horton, Angie Seah and Anat Ben- David.

            Johnny Clarke

            I Don't Want To Be A Rude Boy

            From the very successful Jamaican Recordings 7’’ Singles Club, here is the 23rd release. An under promoted Johnny Clarke classic advising against the rude boy badness that hit Kingston, Jamaica in the 1970’s. Cut for Bunny 'Striker' Lee in 1975, it comes backed with its original King Tubby version (which was then used by Augustus Pablo on 'Tubby's Dub Song').

            Quality reissue of Codek’s highly sought-after first release from 1980. This hard to find 12” version features the incredible full length six minute version of ‘Me, Me, Me’ a funky slo-mo new wave floorfiller that originally found favour with Baldelli, Loda etc. on Italy’s early eighties cosmic scene as well as the equally great instrumental ‘Demo’ version on the flip. Somehow bridging a sonic wormhole between Ian Dury, Talking Heads and David Bowie…Unmissable!

            If early 70s afro-tinted spiritual jazz is your bag, then this is a must! The music of Collocutor was composed by Tamar Osborn. Tamar plays woodwind and baritone sax for Emanative and is a member of The Fontanelles and the Dele Sosimi Afrobeat Orchestra. She is also part of Kelis'€™ live band, Dele Sosimi'€™s Afrobeat Vibration shakedowns, Africa Express and a host of other projects. Collocutor is: Tamar Osborn - baritone sax, soprano sax, alto flute; Josephine Davies - tenor sax; Simon Finch - trumpet; Marco Piccioni - guitar; Suman Joshi -€“ bass; Maurizio Ravalico - various percussion, Afla Sackey -€“ djembe and Ghanaian shakers (Magnus Mehta on various percussion in the group'€™s live expression). This debut LP, 'Instead' was produced by Emanative's Nick Woodmansey. The sleeve art is by Yohanna Alem and has been silk screen printed, hand stamped and numbered late into the night at On The Corner HQ.

            Cooly G returns with ‘Wait 'Til Night’, an album of sensitive, lo-fi bedroom music, its lyrics sketching dreamy scenarios of seduction, lust and sex. The moody South London house of her debut album 'Playin Me' and her DJ sets has given way to a near-horizontal, sometimes melancholy and highly original take on R&B. The tracks swing effortlessly with no-fuss musical arrangements that are filtered through reggae sound system culture and US R&B in equal amounts, with a slight hint of dark synth-pop wound throughout. The pace has come down from the deep, tribal house she's known for so far, with the only constants that run through the album - her intimate vocals and smokey synths - cross-hatched with her characteristic broken rhythmic sense.

            Opening with title track, Cooly coos about a date, over an infectious synth lead that wouldn't sound out of place on a Depeche Mode song. 'Like A Woman Should' is twilight music, synths rolling out like clouds over pulsing drums, while the vocals whisper invitations. 'Your Sex' is a fantasy with synths and surprisingly stabbing, hooky and distorted rhythm guitar. 'I Like' feels like the opening of an especially dreamy jungle track stretched into a full pop song. 'Dancing' rolls out drums and a mini guitar figure into a gently dizzy waltz, while 'Quick Question' plays out the scenario after the dance. 'Want's' barely-there song structure of drum and occasional bass with a wiry synth lead, is accompaniment to a near-whispered vocal. The pace steps up with the smouldering 'So Deep', with a deep synth bassline and a muscular hip hop beat. '1st Time' is all depth charge bleeps, guitars and piano. 'Freak You' is spacious and guitar driven, with Cooly beaming in directives through a distant voice transmission. The album's final honest, angry and forlorn track, 'The 3 Of Us', comes down hard on an absent parent, a full stop on the romance that the album narrates. It also reveals Cooly G as a skilled rap artist, something she’s kept hidden until now, with double-time flows casting off a missing babyfather. ‘Wait ‘Til Night’ finds Cooly G casting her net wider than her debut album, with songs that are more confident, accessible and stylistically consistent. The album comes laced with Cooly's unique honesty and charm and is sure to win her new fans with her catchy melodies, slow-jammed stories of blighted urban romance, and engaging lack of pretension.

            The Coral return with the release of a new album - ‘The Curse Of Love’ - on Skeleton Key Records.

            The album features 12 previously unreleased tracks recorded and produced by the band in 2006 on a Tascam 8-track recorder.

            Recorded in a period between the release of ‘The Invisible Invasion’ (2005) and ‘Roots & Echoes’ (2007).


            Ltd LP Info: Limited edititon - 900 copies only.

            Two of the UK's finest underground labels join forces and share their talent on this killer 12. From IIB we have Coyote's "Sin Distracciounes", an upbeat sunkissed dancefloor meditation featuring the blissed out Flamenco guitar of long time collaborator Saro Tribastone. Futurboogie's Christophe remixes and chops up the guitar and adds some gypsymenesque organ stabs and layers of keys. Futureboogie's Felix Dickinson and Jamie Read drop the funky guitar heavy "Restless People". Sublime chugging beats and a beautiful vocal refrain imploring 'Slow It Down' creating a laidback house monster. IIB's Max Essa puts his remix right in the middle of the dancefloor with straight up house vibes and extra percussion.

            The Cramps

            Blue Fix

              The Cramps’ “Blues Fix” first came out in 1992 as a side project to “Look Mom No Head!” – sort of the single from the album, plus three. It came out then on newfangled CD, so here’s your chance to get a vinyl fix of the “Blues Fix”, all big 10 inches of it.

              ‘So what you got here big boy? Well, first up is ‘Hard Workin’ Man’, originally released on MCA Records in 1978 as part of Jack Nitzsche’s soundtrack to Blue Collar, which had Harvey Keitel playing alongside Richard Pryor. The record featured Ry Cooder on slide guitar and Captain Beefheart growled a mean vocal. Jack was a good friend of Ivy and Lux, with a shared passion for records. This has to be the latest original they covered on record.

              It was the Cramps who introduced me to the delights of Lightning Slim’s ‘It’s Mighty Crazy’, originally issued on Excello 2131 in November 1957, if you must know. Of course you must, as like the rest of us record freaks you just keep on rubbing at that same old stuff: catalogue numbers, matrix numbers, dates, the colour of the label, the thickness of the wax, even what’s inside the groove. A svelte take here from our band.

              Walter Brown got his Jelly Roll rocks off on Zip 4686 in 1958 and is definitely not to be confused with the blues shouter of the same name who fronted the Jay McShann Orchestra. Our Walter made this singular outing in his search for fame and poverty and put a lot of energy into both sides of his 45. This tune is the more insistent, and the Cramps do that restless-breathless-energetic thing so well on their take.

              The EP closes with ‘Shombalor’, originally issued by Sheriff & the Ravels on Vee-Jay 306 in December 1958, just in time for Christmas. Sheesh, who buys their loved one this to play under the mistletoe? (You’ve guessed.) The record was produced by Aki Aleong, who might have also owned up to writing “Of all the animals in the world, I’d rather be a bear”. But then again, as Sheriff sings it with such panache and conviction, maybe they are his finely tuned lyrics. Whatever, Lux eats the song like only Lux could eat a song.’ – Roger Armstrong

              Fantastic limited reissue of one of the holy grails of the Balearic scene. Recorded in 1981 by Guy Cuevas, a Cuban-born DJ living in Paris, every track is a killer. Side A features the full seven minute 12” version of ‘Ebony Games’ an epic Latin-tinged disco-funk floor-filler and for most, the stand-out track. Lush piano chords, tantalizing flute passages and a delicate picked guitar line accompany the most sensuous of vocal deliveries, taking cue from Sylveter's seductive falsetto. Side B’s mesmerising dubbed-out "Everywhere Is My Home" screams of early evening indulgence, the sludgy 80s beat carrying the exotic vocal chants and wigged-out synth parts beautifully while more of Cuevas' unique voice supports the track. Finally the sweet rays of "Inside My Mind" radiate slowly onto the listener. Swapping vocal duties with a female backing trio, Cuevas rolls out a soft, sunny, almost Bosa Nova pop ballad. Essential!


              Nowhere Is Home

                "Nowhere Is Home" is a brand new film about Dexys and their recent live shows. It is directed by recent BAFTA winner Kieran Evans and Paul Kelly (the first time the pair have collaborated since 2003's Finisterre) the film documents Dexys celebrated residency at the Duke Of York's Theatre in London last spring.

                This deluxe vinyl live set is released to coincide with the film.

                Dilly Dally

                Candy Mountain

                Katie Monks and Liz Ball started Dilly Dally in 2010 while living in a cockroach-infested apartment near Toronto’s Kensington Market. The two shared a love for dreamy guitars, weed and karaoke. Turning to good friends Corey Marshall (drums) and Michael Guiliani (bass), the four piece spent the next three years playing any bar or basement with a PA, building a solid fan-base in Toronto and sharing the stage with notable bands such as Born Ruffians and Tokyo Police Club.

                By 2014 the band had recorded their first full length record with producers Leon Taheny (Owen Pallett, Austra, Dusted) and Josh Korody (Fucked Up, Beliefs, Greys) at Candle Studios in Toronto, capturing a collection of songs that had been written over the course of three years. The track ‘Next Gold’ was released independently as a single: “Katie Monks sings the way drunk people do at weddings - loudly, messily, and with absolute conviction. You can make out about five words total on ‘Next Gold’, the first track from Dilly Dally’s forthcoming debut, but the Toronto four-piece’s Pixies-style grunge pop is no less riveting for being incomprehensible.” - Pitchfork, May 2014

                Deejay Deer was born and raised in the Bavarian wilderness and is to our knowledge the first forest dwelling animal to use the prefix ‘Deejay’. Deejay Deer produces music of such high quality and depth that most people think he’s a true pro who has been hiding in a studio for the past 20 years.’

                Deejay Deer is hiding in the woods to protect himself from all the fake producers in the city'. Numbers enslist some HOT new talent onto their well respected roster. "Natural" is a future-proof liquid house jam, utilizing glowing phosphorescent keyboard chords alongside undulating, glistening arps. The catchy vocal refrain 'give yourself away' rides the groove gently before the big fat drop catches us off guard and hurls us into the speaker stacks. "Unnatural" uses a similar sound palette, and also deploys the catchy vox; this time supporting the glorious synthetic textures and hooks with a rapid fire, hardcore-informed, skitting breakbeat and massive, room-filling darting synths. Great stuff, recommended.

                The new DJ Rocca release for Italian Records takes you on a cosmic trip through space time to a place where synth pop meets Italo disco and when the machines used to run the rhythm.This is a proper journey to the hottest point of the galaxy, the centre of that burning star, the sun! The muscular throb and thrust of the "Original Flying Mix" give us a tanned and toned demonstration in lycra clad space exploration, paying particular attention to the marauding bass sequence, stargazing synths and vampish vocals. Hardcore Italo fans will be made up with the immersive dub experience on the B-side, packed as it is with synthetic energy and added space dust. The legendary production team of Leo Mas & Fabrice close the set with their own version of the zero gravity party starter, showing a subtle hand and accomplished control of the mixing desk to provide a definitive remix of the track.

                Dope Body have built their name in the underground with intense live performances of their also intense studio recordings. On the back of their second album, 2012’s ‘Natural History’, they embarked on a rigorous nineteen months of almost nonstop touring, bringing their individual performance stomp to every bar, basement and backyard that asked for it.

                It’s easy to picture the members of Dope Body emerging from their distant and hidden cave of rock with a new wave of grimey, Sabbath-refracted mayhem in order to torch Earth once again but they’re actually a group of trained players and fine artists with vision.

                On ‘Lifer’, Dope Body redefine the aural yawp they have been venting for some time, honing wild windmills into surgical strikes, their gut-busting repulsion-sound continuing to expand without losing any of the feral energy that made a crazed reputation in the already-insane Baltimore music and arts underground.

                Zachary Utz’s metalloid guitar fingerprints are as uniquely rough and scabrous as ever but with a few new refinements added to his barrage. Andrew Laumann’s vocal bellow continues to incite a riot of excitement with each additional chorus. David Jacober’s power-and-precision drumming continues to grow in might and scope, driving the songs whether at peaks of volume or the depths of introspection. Plus, bassist John Jones, who joined following the recording of ‘Natural History’, contributes to the weird math of Dope Body’s nu-power trio with lines that perfectly expand the bounds for the band. When Dope Body converge to conceive of the next thing, the storm brews, songs are rocked out and written and we’re propelled into another sweaty go-round. This is a controlled demolition, planned but with room to take down additional structures.

                Simply put, there’s a distinct-but-subtle evolution from one Dope Body record to another and ‘Lifer’ is no different. ‘Repo Man’ progresses the band’s songwriting, creeping on you and crooning with an oscillating bass groove before whipping into a frenzy. ‘Hired Gun’ gives us the pyrotechnics we want with a forward-evolving, 2014-style dynamic range of loud / soft / loud and a big-ass sing-along chorus. Where most Dope Body songs show lead singer Laumann’s rhythmic ability, ‘Rare Air’ exhibits his talent for constructing melody.

                ‘Lifer’ juggles the rough spark of Dope Body’s sound, shuffling slow burners and their previously (and righteously) established propulsive attack, making for a new yet satisfyingly heavy trip into the heart of Dope Body.

                Austrian musician and producer Dorian Concept presents his singular musical vision in its most widescreen form to date. His second album 'Joined Ends' is the biggest, boldest work of his career, and a sheer, technicolour audible joy.

                This album is sonic geometry at its finest. With layers upon layers of breathtaking chords, weighty bass lines and hypnotic synth phrases - the album sits somewhere between a floating lucid dream and a deep trip into a synaesthetic wonderland. Whilst working on this album he cut down on touring and distanced himself from his signature club sound to put his mind on what was to become a two year journey.

                For 'Joined Ends', he dropped his trademark MicroKorg and started working with new gear, building the album around a Wurlitzer electric piano and a handful of analogue synths. Sequencing only the beats, he based his songs on material he recorded live and then sampled.

                The album moves with profound subtlety and deceptive simplicity: at times feeling effortless and light ("Ann River, Mn"), other times taking a turn for the calculated (as in the rhythmic intensity of "Trophies"), and sometimes falling into euphoric escape (heard in the fragile arpeggios of the closer "Tried Now Tired".) Although there is a tangible narrative weaving throughout, each individual song is packed with several stories, such as "Nest Nest", which oscillates between music-box charm, dynamic flares and pulsing rhythms. A dense, agile body of work filled with playful melodic earworms, complex textures and virtuosic transformations, the long player reveals more with each listen.

                Following on from Dury’s acclaimed 2010 album ‘Happy Soup’, ‘It’s A Pleasure’ is a series of conflicted emotions, stark drum beats, comic vignettes and strung out synths coming together to present one man’s wry take on the battle with existence. It’s metaphysics meets morose disco.

                FORMAT INFORMATION

                Ltd LP Info: Special white vinyl LP format exclusively available to independent retailers.

                First major release since 2012’s “Dasaflex”. While their second longplayer was an exploratory affair, the duo return with a sense of focus energized by the creativity and unity they now find surrounds them. With the seas shifting around the label owners in the post-dubstep era, the duo deliberately took one step backwards to find forward movements. The results are five tracks written in the same project file and hewn from the same soundbank: the dark aquatic 8-bar rollage of “Timeless”, two driving percussive “Back 2 Go FWD” versions, the Detroit/broken “Peng One Two” and a beatless “Epic Jam”. All written at 130bpm but differing widely in mood and impact, they aim at the tricky paradox of diversity but interconnectedness. Three more tracks make up the doublepack: Blackdown remixes “Steppenwolf,” a rethink of Epoch’s contribution to the scene-setting “This is how we roll” compilation, while Horsepower and Facta remix two Dusk + Blackdown tracks, the newer “Wicked Vibez” and older “Drenched;” the latter taken from the very first Keysound 12”. That the symmetry of having one back (old school) and one forward (new school) remixer came about entirely organically - both independently approached Keysound and asked for parts - only makes the connections deeper. “For a while there, Dusk and I felt pretty musically isolated - trying to find this dark rolling path out of the trajectory of UK funky,” explains Blackdown. “But now we roll deep: turns out there are many who are hungry for this flex too. The "Back 2 go FWD>>" EP is our contributions back to the underground unity, vision and creativity we’ve found ourselves surrounded by in the last two years or so.”

                'Loose Change' is a trip to the T&S vaults, the label dusted off the reels to some alternate mixes and previously unreleased songs from the SOTC sessions, including a little interlude featuring the one and only Lee Fields.

                Michels has produced and co-produced many of the Truth & Soul releases including the new Lee Fields record, Emma Jean. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John. Loose Change is a glimpse into the early, early days of El Michels Affair.

                This is a limited edition 1000 piece pressing for the world and for those that have been asking, yes, there are two new El Michels Affair records in the works.

                10 years ago, Truth & Soul released its first full length record, 'Sounding Out The City'. It was also Leon Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination.

                Leon Michels, who was 18 when recording 'Sounding Out The City' began, had just released 'Thunder Chicken', the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afro-beat, and 60s garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80s 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period.

                Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labeled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date.


                Venice (10th Anniversary Edition)

                "Venice", the fourth studio album by Christain Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture. It was voted No. 3 in The Top 50, The Wire, December 2004, was album of the week at BBCi on its release and remains Christian Fennesz's best-selling record to date. prefix (USA) noted: "Although Fennesz's breakout record Endless Summer was followed by a live release and a collaboration with Jim O'Rourke and Peter Rehberg as Fenn O'Berg, Venice is the true heir to that album's ascendant pop. Venice is not as unabashedly poppy as its predecessor (the lack of Beach Boys references can attest to that), but still mines much the same vein. It was marked by critics at the time as a move away from the relatively robotic music spawned by the IDM craze of the late nineties. Instead, its melodic, emotive tracks foresaw an electronic music that could be purely human." Pitchfork Media (USA), in a lengthy review, also noted: "Venice's quality extends beyond its sound. Touch proprietor Jon Wozencroft-- through his breathtaking design and photography - continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect." and The Declaration Online (Web): "Two blue empty row boats left listless on rippling water. Red orange green riverbed foliage reflected in the water's gauzy oil slick surface. An airport enveloped in dull gray stratus and snow. Upon seeing the photography and packaging accompanying Christian Fennesz's latest recording, Venice, it is clear that the record label Touch remains intent on not simply putting out records but creating audiovisual imprints dedicated to inextricably tying sound and vision."

                FORMAT INFORMATION

                2xLP Info: First time on vinyl! Includes bonus tracks.

                Bobbito García Y Su Álala

                Park Pick-Up Player - Mark De Clive-Lowe Remixes

                Alala Records is Bobbito Garcia’s current vinyl-only label, and third imprint in his 20 years of releasing forward thinking music on wax. His newest release “Park Pick-Up Player” features Kool Bob Love himself doing a spoken word piece inspired by Doin' It In The Park, the basketball documentary he co-directed. Accomplished producer Mark de Clive-Lowe’s remix gives the tune an up-tempo Latin-jazz flavour. “Park Pick-Up Player” has received airplay on and massive club support from DJs Rich Medina (NYC), Sake 1 (San Francisco), and Suce Smash (NYC-Puerto Rico). Enjoy the track on the dancefloor, in your headphones, or on the sideline of a basketball court near you!

                Clone Royal Oak hit us with a timely repress of one 2011's hottest records from Norse duo Genius Of Time. The original pressing disappeared in a flash and has hovered around the £30 mark on discogs ever since so a nice fresh repress seems heaven sent. The fact this record has aged perfectly probably comes down to the fact the duo nailed a timeless house vibe across these three tracks, keeping things deep, jazzy and laid back. Opening cut "Drifting Back" begins life as a conga led disco loop and gradually opens out into a sublime groove textured with warm pads and ornate rhodes. It could have come direct from the Move D playbook, and by the time the vocal sample comes into play, you'll be moved to tears. Flip the disc for the track that everyone wanted in their sets, Genius Of Time's magnificent, "Million Dollar Bill" tampering "Houston We Have A Problem". This house head nodder makes great use of Whitney's acapella over a rolling drum loop, giving you plenty of time to tease the crowd before you unleash THAT bassline. Looking back, it seems like such a simple idea, taking the most groovy pop record in years and wrapping lush deep house pads around it, but it still sounds totally flawless to this day. Huge! To close proceedings in timely fashion, our genii deliver the celestial bliss of the broken beat flecked "Juxtapose", which snakes its way to the floor to the heavenly sounds of harp and strings. 

                The George-Edwards Group

                Chapter III

                  ‘Chapter III’ of The George-Edwards Group archives draws from deep in the pockets of their sporadic later embodiment. With their grand 70s dreams of Hollywood stardom fading, Edward Balian and Ray George continued to track their winsome muse, perhaps a bit more aggro and with a bit more dolour than they had back in the ‘38:38’ days.

                  Although late 60s Detroit was the seedbed for The George-Edwards Group, they had more in common with Silver Apples than the Amboy Dukes. Enamoured of keyboard effects and sonic tomfoolery, they developed their sound away from the scene, slowly developing a spacily elegant pop music as the 70s passed by outside their basement lair. Scoring their melancholic melodies with bells, pianos and synthesizer led to something you might almost call ba-roque ‘n’ roll, or perhaps like demos for Big Star’s ‘Third’.

                  In 1977, they laid down enough tracks to produce a white-label LP pressing that they dubbed ‘38:38’; however, a trip to the Sunset Strip to drum up record label enthusiasm was a complete bust. However, without that pressing of 100 copies, where would the legend of George-Edwards be? Instead, based on oft-told tales, Galactic Zoo Disks located the music and the band brought this wayward classic to Drag City. ‘38:38’ received a first official release in 2009, to great fanfare. The 21st century discovery of The George-Edwards was also accompanied by a show or two (still in the deep underground, of course), along with, naturally, the recovery of more tapes. The 2011 GZD / DC release, titled ‘Archives’, brought to the light a few fuzzheavy rock cuts and deep synth dirges to add to the ethereal G-E signature.

                  ‘Chapter III’ throws the vault open once again with flair: ‘The 8th Circus’ is a magisterial guitar lead couched in synth chirps and swoops, all of which has a distinctive ASW (After Star Wars) vintage to it. The classic George-Edwards murk drifts through several sweetand- sad songs before the bubblegummy bounce of ‘My Love’ pops up, followed by the trapped-in-the-funhouse pastiche of ‘Who Stole My Brain?’.

                  Side two features a few surging tracks that recall Archives rockers like ‘Shattered Heart’, as well as several more ARP-string-laden ballads in the classic ‘38:38’ G-E tradition. All in all, an excellent third trip to the faraway heart of The George-Edwards Group.


                  Coax / Thundare EP

                  Graze is the synthetic porous ultralight material derived from low-mid frequencies, in which the liquid component of the melody has been replaced with curvaceous tones. The result are tracks with extremely low density and high thermal conductivity. "Coax" was produced by extracting the liquid component of an early Toronto rave tape through supercritical drying. This allowed the essence to be slowly extracted without causing the solid matrix in the samples to collapse from tape hiss, as would happen with conventional techniques. Ruff, ready and ragga. The electrical backbone of "Thundare" typically does not leave even a minor mark when played at low volumes; but pushing the system more firmly will leave a permanent depression on the floor. Pressing extremely firmly will cause a catastrophic breakdown in the atmospheric space, causing the music to shatter like glass. Despite the fact that it's prone to this behavior, the track is very strong structurally. Its aggressive low-end abilities are due to the dendritic microstructure, in which spherical percussion particles of average size are fused together into clusters. These clusters form a three-dimensional highly vibrational structure of almost fractal chains, with tones just under ear level.

                  STAFF COMMENTS

                  Matt says: Dark, frenzied breaks and voodoo for the Witching Season. Recommended for fans of HATE Soundsystem, Objekt, Night Slugs, Adapt, Sunklo etc.

                  Keiji Haino / Jim O'Rourke / Oren Ambarchi

                  Only Wanting To Melt Beautifully Away...

                  This release blows the trio’s instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion in addition to the gorgeous, soaring vocals from Haino.

                  Released as a digipak CD and as limited edition LP

                  Design by Stephen O'Malley with high quality live shots by Ujin Matsuo and stunning artwork by Norwegian noise legend Lasse Marhaug
                  Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo’s legendary SuperDeluxe. Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums, with last year’s ‘now while it’s still warm let us pour in all the mystery’ (BT09) containing a series of instant compositions of stunning power and concision that demonstrated how familiar and attuned to one another the three have become.

                  Presenting the entire first set of the trio’s March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), ‘only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen’, their fifth release, blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino’s most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O’Rourke’s 12-string acoustic guitar and Haino’s kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver’s seat, here O’Rourke takes centre stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino’s greatest recordings, such as the legendary ‘Live In The First Year Of The Heisei’ volumes recorded with Kan Mikami.

                  After this stunningly beautiful opening sequence, the performance moves organically through a number of episodes, including a dramatic central passage in which Haino moves to synth and drum machine, crafting a current of raw electricity that unfurls slowly over the gently pulsing foundations of Ambrachi’s cymbals and builds to heights of manic intensity. When Haino later turns to wooden flute, Ambarchi answers him with nimble hand-drummed percussion in a passage that calls to mind Don Cherry’s liberated combination of free jazz improvisation and non-western musics.

                  The trio’s move away from the power trio dynamic bespeaks a risk-taking and questing spirit that refuses to be satisfied with repeating past glories, and yet the organic, immersive flow of this single improvisation attests to the intuitive bond that has formed between them over the last five years. Exuding the signature mystery and emotion of Haino’s greatest works, this release is perhaps the strongest statement yet from this acclaimed trio, and holds out a tantalizing promise for everyone hooked on their continuing exploration of ‘those things said to be as of yet unseen’. - Francis Plagne.

                  Brand new studio album by the legendary Merseyside band. Released on Probe Plus Records.

                  Famed for making ill-tempered music with a social conscience, Birkenhead band Half Man Half Biscuit, formed in the early eighties, ‘merely as a way of getting through the day’. Quickly picked up by the angst-ridden youth of the eighties, their punk driven, lyrical rants, and protests against all things celebrity and fake, became the unofficial anthems of the underground.

                  “A band as savage as they were whimsical, Half Man Half Biscuit provided an unexpected desser for those British post-punk teenagers who lamented the demise of bands with bite. Nigel Blackwell’s inimitable songwriting on the minutae of life, football and TV celebs quicly garnered cult status, particularly live, whwer fans could eagerly chant back his wisw words” – Patrick Thorne.

                  Heat Leisure

                  III & IV

                    Heat Leisure are a collective featuring all members of Pontiak along with Greg Fox (Guardian Alien, Liturgy, Ben Frost), Alexandra Drewchin (Guardian Alien) and Steve Strohmeier (Beach House).

                    Heat Leisure take a freewheeling approach to psychedelia with obvious nods to Amon Düül II, Can and The Grateful Dead.

                    ‘III & IV’ features Merry Prankster and Grateful Dead associate Ken Babbs.

                    Pontiak will tour in both the US and Europe this Autumn. Guardian Alien will tour in Japan.

                    ‘III & IV’ is released on LP only, pressed on virgin vinyl and presented in a jacket with spot UV gloss printing on cover and free download card.

                    Heat Leisure’s first recording (‘I & II’) premiered at the Chicago International Music And Movies Festival in 2013.

                    “Intense guitar rock isn’t a new pleasure, but in the Carneys’ capable hands, it’s still a potent one.” - PopMatters on Pontiak

                    “Guardian Alien’s music creates wide and wonderous sonic vistas” - The Wire

                    Jimi Hendrix

                    The Cry Of Love

                      This classic Jimi Hendrix album was released in 1971 & has been unavailable for a long time, before being remastered, with original artwork for these 'Legacy Recordings' releases.

                      Originally part of an ambitious double album project, "The Cry Of Love" is a ten track album compiled and mixed by Eddie Kramer & drummer Mitch Mitchell at Electric Lady Studios, New York.

                      Hieroglyphic Being And The Configurative Or Modular Me Trio

                      The Seer Of Cosmic Visions

                      Producer and boss of Mathematics records, Jamal Moss aka Hieroglyphic Being is a one-off musical explorer. Jamal's music takes cues from the EBM and house that played a huge part in the city's musical underground in the late 80s and early 90s, notably Ron Hardy and Adonis, but also industrial, avant-jazz and noise. His tireless schedule of rough low-key releases over the last 12 years and his intense, very physical, psychedelic music, have made him a key exponent or maybe even a pioneer of what's recently come to be named 'outsider house', although he prefers the more Sun-Ra like descriptors of 'rhythmic cubism' and 'cosmic be-bop'.

                      His releases as Hieroglyphic Being, much like his music, have straddled house labels and the more leftfield avant garde electronic imprints with ease. However his deeply held Afro-futurist intent and the discipline of his radical designs set him apart from the pack. Always moving forward, his music is an ever-evolving transmission from his mind to our bodies, or as he sees it, a form of meditation that the supple, tuned listener will enjoy immensely. 'The Seer Of Cosmic Visions' is a collection of tracks from his back catalogue that have been selected to make this album. Remastered by Michael Kuhn at Berlin's Dubplates and Mastering. The album is hugely varied within its basic drum machine and synths template; from the psychedelic blowout 'The Seer Of Cosmic Visions' and the distorted, ruptured crunch of 'How Wet Is Ur Box', to more delicate meditations like 'Space Is The Place' or 'Letters From The Edge'. From the the shimmering rhythmic noise of 'A Genre Sonique' to the the woozy tribal funk of '134340 Pluto' or the rough darting strings of the off-kilter 'Calling Planet Earth' and finishing on the relaxing gaseous drones of 'Strange Signs In The Sky', the album never fails to transport the listener to another state of mind.

                      Welcome reissue of super-rare Balearic gem ‘Spanglish Movement’ from little known band Hot Pepper. This obscure Mexican release has garnered a cult following for side B’s massive afro-Cosmic anthem ‘Ritual Song’ - a nine a half minute epic throbbing slo-mo disco workout huge with DJs and collectors in the know and a firm dancefloor favourite for its pounding drums, heady synths and rhythmic chants. An awesome track but don’t overlook the LP’s other delights - ‘No Me Presiones’ is a superb slice of crazy swirling dirty space disco with a relentless energy while over on side A we have the Latin-tinged ‘Wrong Way’, a captivating Balearic-style instrumental disco odyssey packed with hi-octane percussion, superb guitars, firing brass and lilting synths plus joyful bubbler ‘Let The World Be Happy Again’. Don’t miss this essential exotic disco rarity!

                      As one third of SA-RA Creative Partners Shafiq Husayn helped change the world, producing, writing and collaborating with a diverse cast of artists, from Common to Kanye, Jill Scott to J Dilla and Erykah Badu, the aspects of music that SA-RA helped reintroduce to hip hop and R&B can be heard today throughout the current musical climate. Citing the influence of the greats like George Clinton, Prince, Herbie Hancock and Jimi Hendrix, Shafiq's sky high level of quality and musicality is noted and admired all over the world.

                      Featurng Anderson Paak (formerly know as Breezy Lovejoy) "It's Better For You" is a typically bumpy-yet-smooth hip hop soul groove. Next up we have J Mitchell, aka Melodiousfly, applying quirky soul vox to the wonk-hop that is 'Re-Incarnation' - it was SA-RA that the wonky-hop term was created for I seem to remember. The Dove Society (a collective of artists, musicians and creative-minded individuals brought together by Husayn) drop 'Twelve', a more organic soul-jazz jam that channels the optimistic spirit of Sly Stone. There are instros of all tracks as well.

                      These are the first song lifted from forthcoming album 'The LooP', a project that includes collaborations with the likes of Hiatus Kayote, Thundercat, Miguel Atwood Ferguson, Fatima and many more. Due for release early 2015.

                      Having evolved from engaing underground prospect into a fully established international DJ and producer in recent years, the time has now come for Huxley, born Michael Dodman, to release his debut album. Entitled 'Blurred', it lands on Will Saul's Aus Music. Initially precipitating something of a garage house revival with his early EPs, ensuing releases on key labels like 2020 Vision, Hyper colour and Tsuba have seen him roam into percussive and deep house territories, but always with a fresh modern twist that has seen him find favour with a diverse array of press and peers from Pitchfork to Mixmag, Pete Tong to The Black Dog.

                      One lead single from the album has already been premiered: ‘Callin’ is a collaboration between Huxley and house veteran Roger Sanchez in his revered S-Man guise and with its deeply infectious drum loops, earwormy vocal hooks and slick production is indicative of the album overall. Elsewhere the LP excels with original vocal performances from Yasmin (who has seen chart success working with Gorgon City), FEMME aka Laura Laura Bettinson (Ultraísta), Thomas Gandey and emering UK talent Obenewa. Starting with the deeply emotive melodies and snug sub bass of ‘I Want You’, the album coherently unravels through fractured garage beats and classic LFO wobble, anthemic and idyllic pop leaning vocal cuts, screw face bass tracks and tough techno stompers. Tying it all together is a polished sheen, a deeply rooted musicality and Huxley’s trademark sense of irresistible groove. Certainly marking yet another step up in the musical evolution of Huxley, 'Blurred' more than captures the contemporary dance zeitgeist: it truly defines it and will do so for plenty of time to come.

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

                      Between 1989 and 1995, the band notched up 15 hits and four Top 20 albums. In 2003, they re-formed and have been playing live ever since. In 2011, they reunited with original singer Stephen Holt. One of the LP’s highlights is the garage punk opus “Let You Down”, which boasts an amazing and unique cameo by special guest and legendary punk poet John Cooper Clarke!

                      Larry Heard fires up the Alleviated pressing plant to hit us with a killer deep house four tracker from his long dormant The It moniker. This new EP features the production expertise of the deep house pioneer in harmony with the unique vocal poetry stylings of Harry Dennis (who you may remember from his Jungle Wonz releases). The experience is suitably deep and atmospheric as Heard combines rhythmic intricacy, weighty basslines and fragile melodies, weaving a gorgeous cocoon for Harry Dennis' bleak spoken word. How Larry Heard keeps delivering totally high calibre shit at a time when many of his contemporaries have fallen off still amazes me, and this is as good as any of the classics. Proper.

                      With "Inspiration" Jah Wobble returns to his roots, the love of his youth; reggae music. With the singer PJ Higgins he found the perfect companion, voice and songwriter to accomplish this endeavor with flying colors - a match made in heaven. Already the opener "My Heart's Burning" sparkles with the magic that arose during the recording sessions between Wobble and Higgins and sets the groundwork for the next seven tracks to come. PJ Higgin's vocals are piled layer upon layer and weave seamlessly in the deep, dubby bassline and the mellow guitar sounds. This masterfully, delicate reluctance is present over the full length of the album. Now and then, for instance with “I Did Bad”, it almost gets trip hop-ish and you wouldn't be surprised if at it's finale suddenly Tricky would sneak around the corner.

                      It's only with the third track, “King Of Illusion”, that you finally notice that the foundation of this album is actually reggae. The trumpet of Sean Corby and the offbeat-played keys by Wobble himself make slight references to the bygone sound of Studio One. The core part of this masterpiece is of course the title track “Inspiration”. Alex McGowan caps it all off with his very distinctive guitar playing and the thriftily applied Fender Rhodes add extra virtuosity to the already very complex arrangement. “Floating On High”, sings PJ Higgins and means the transcendence you achieve when you addict yourself to all your inspirations and consider yourself as an aggregate of them. On “What Have I Become” there's no holding back anymore though and she catches fire delivering a performance that goes right through you. The drums and percussion played by Marc Layton- Bennett add a heavy dose of voodoo to the mix.

                      All in all, this is a well-rounded package trying to be a classic reggae album but overstating the case by turning out to be much more than that. If PJ Higgins and Jah Wobble were new kids on the block, they'd be a pair to keep an eye on. Keeping an ear to the ground doesn't hurt though

                      One of the most popular and successful underground bands of the early- / mid-’90s, California’s Jawbreaker was comprised of Blake Schwarzenbach (guitar and vocals), Chris Bauermeister (bass) and Adam Pfahler (drums). The band melded raw vocals, a driving rhythm section and grinding guitar with complex song structures and literary lyrics, forging a distinctive style that has since, along with Schwarzenbach’s subsequent band Jets to Brazil, influenced a generation of independent music.

                      By the end of 1993, Jawbreaker was in full stride. The band had completed a full US tour in the summer, played several shows that October with Nirvana, and was attracting significant major label attention.

                      24 Hour Revenge Therapy, released in early 1994, was Jawbreaker’s third album. After the more “progressive” Bivouac, the trio had returned to a straightforward, poppier sound, and the resulting full-length is widely regarded as their best. The bulk of the recording was done by noted independent producer Steve Albini (though it is officially credited to Albini’s cat, Fluss).

                      Following the mainstream success of fellow Californians Green Day and Rancid, Jawbreaker decided to sign with DGC. They released a final studio album, Dear You, before calling it quits in 1996. A feature-length documentary on the band is currently in the works.

                      JAZ / Party Dad

                      Crash Boom / Dream Dance

                      The Universal Cave crew return for second helpings of dancefloor delight, uniting Charleston's finest disco duo back to back on wax. Coming from two regulars behind the decks, prolific crate diggers, collectors and editors, you'd expect good things, and you'd be right! Side A offers a hard-hitting vocoder disco bomb from the ever forward, deep and free disco minister JAZ. I haven't got the foggiest what the original is I'm afraid, although the Slavic vibe of the vocals suggests it has eastern European roots. Party Dad cools things down to pool party perfection with his "Dream Dance" edit on the flip. Pastoral, proggy and horizontal, this is one far out dude. It's all chiller, no filler on this soothing 7", packing plenty of autumnal Balearic vibes.

                      Super Rhythm Trax follows up Mike Ash's immense "Return To Acid" EP with another smasher. With a slew of releases due to drop on some very respected labels in the coming months, DJ's DJ, Jerome Hill steps up and serves up 3 tracks of pure groove acid music. Owner over at Don't Recordings and Fat Hop, Jerome zones in on that 'Ultra-Vibe' and takes you back whilst keeping you up to date in a style all of his own.. "Paper Bag Acid" is exceptional, reminding me of "Charlie"'s tongue-in-cheek rave attitude (cartoon vocal: 'there was a man.... he went mad') but coupled with a ridulously infectious acid line, huge mind bending grain delays plus full frequency drum assaults. A proper weapon while "Dustbin Acid" makes sense when you hear it - an old school tom tom-led drum track, given extra weight through low-tuned 303s and a cheeky little giggle sample. "Bully Beef" concludes in suitably aggressive form, a rubber band acid line constantly pulling and pushing us in various directions and causing strange contortions on the floor. Head splitting filter abuse lends this track towards frenzied, smoke'n'strobe territory when the floor is packed and the narcs are flowing. Recommended.

                      Successfully weathering electroclash, disco-punk, electro-disco, techno, house, deep house and whatever we can call the sound of today, The Juan MacLean have surpassed it all and created the best album of their career.

                      The dance world way too often privileges the new and not many dance artists write albums as good as ‘In A Dream’, the third full length album by The Juan MacLean, this far into their career. They never feel totally in step with the moment but somehow always feel right and necessary. Put differently: there’s always something exciting to say about the music, regardless of the release date.

                      Let’s start with Nancy Whang. Nancy’s voice has always been a kind of secret weapon on The Juan MacLean records but this album is her triumph. You get all sides of Nancy on this record, a wide range of expression. These are all love songs but emotions run wild.

                      Like every Juan record, this one quotes freely from house and techno and disco. Dead drums and vintage synthesizers are abundant. This is a DFA record, after all. The diction is always off in all the right ways. Another distinction is how much fun Juan and Nancy have with the arrangements of their songs. Different parts interact and play off one another in a way that’s remindful of the interplay on classic disco records.

                      FORMAT INFORMATION

                      2xLP Info: Deluxe vinyl pressing in gatefold sleeve.

                      The fourth installment of the classics series features two of the label's most successful artists Kenny Dixon Jr. and Rick Wade. KDJ's untitled tracks were previously issued as a one-sided limited pressing so here's your chance to get one if you missed out the first time. "Untitled 1" contains a less adulterated version of the ethnic hook used on Rick Wilhite's "Tribute & Respect", backing up the tribal chanting with a simple but effective drum beat and polishing it off with glistening keys. "Untitled 2" deploys a typically funky yet mystery Moodymann loop. Forget Ebola - this is the most infectious thing on the planet right now! I'm tempted to suggest this is a classic Sylvester track looped up and triggered via a possessed MPC2000, Kenny keeping us hooked till the very last beat. Rick Wade's "Thought Process" opens up the B-side with a completely different mood. Sumptuous strings, delicate xylophone licks and a nice warm, rumbling bass instantly exude 'deep house classic' which so many pretenders have tried to copy. "Forever Night" utilizes that classic Rhodes sound Wade likes to use and layers up a sexy male vox. live percussion and the odd piano lick. Heads down, groovy stuff. Massive EP full to the brim of rare goodies - you need!

                      STAFF COMMENTS

                      Matt says: Two fine Moodymann numbers only previously available on one sided white label backed by a super strong Rick Wade couplet. Ideal.

                      What if Can played Ghanaian highlife? What if Morroicone had scored spaghetti westerns in a Moroccan souk?What if The Fall had garnished their rockabilly grooves with swing-era horns? King Champion Sounds recombine canonical influences in new contexts. (SUNDAY TIMES / Stewart Lee December 2013)

                      King Champion Sounds deliver a blistering 10” album combining hypnotic krautedelic / dub / minimalist / electronica tunes with a sugarshit sharp wordsmith in his element.

                      G.W.Sok (former lyricist / singer for The Ex) has never been in better form. The band, led by Ajay Saggar, close ranks hard to deliver the tightest and most exciting palette of music you will hear all year.

                      This is a strictly limited 10” slab of vinyl which includes a free CD inside with TWO extra bonus tracks. Don’t miss out!!!

                      They combine the grit and grind of the best of post rock underground with the swinging horns of Africa in an astonishing whole. Great packaging with CD and vinyl combined.

                      King Champion Sounds are fantastic. They have real presence and authority, they have an astonishing sound (a mix of shuddering, rumbling Fall bass lines, clattering guitar patterns and this soothing, affirming soul revue / Dexys feel from the horns), and they have the songs. They sound massive live. (INCENDIARY October 2013).

                      FORMAT INFORMATION

                      10" LP Info: Limited to just 500 copies.

                      Kreon & Lemos

                      Part 1

                      After 4 years of silence, Kreon & Lemos are back with their first release on their own imprint, Equivalence. This first release offers two dancefloor oriented techno cuts with lots of low frequencies, modulated delays and heavy filtering. "0.1" tears, grates and stretches with analogue elasticity, a thick sonic soup in which the listener can get truly immersed. Nice wooden percussion artifacts pepper the mix while a collage of sweeping low end subs, dusty vinyl static and chirping mid-range frequencies twist and contort our bodies any which way they please. "0.2" has a similar sound palette, all wooden, cavernous and slightly lysergic. This one kicks like a mule and should have the whole floor wiggling their booties before long. Understated and sexy, this one highly noxious mother fucker. Recommended.

                      La Roux

                      Kiss And Not Tell / Tropical Chancer

                      The second single from the Top 10 album 'Trouble In Paradise' is 'Kiss And Not Tell' which is available on a limited 7" single - 500 copies only.

                      La Roux has form when it comes to the earworm pop hook, and I'm sure you'll find 'Kiss And Not Tell' orbiting your brain oncde heard. It's 1970s end of the pier kiss me quick meets early Depeche Mode electro-pop. Going deeper is mellow electro-poppin' reggae number 'Tropical Chancer'.

                      This is the first time his extraordinary music has been released. CD in jewel case with large 16 page booklet, full colour rare photos, essay by Will Fowler. Compiles tracks from the ' Volume One' and' Volume 2' LPs.

                      Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he’s made film, music, art and performances, and collaborated with everyone from the Beatles to Throbbing Gristle.

                      He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World.

                      Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrete to droning electronic trance. The music will be released across two separate LPs and one CD. Included will be a fine essay about the history of this inspiring figure by BFI / Flipside archivist Will Fowler.

                      Bruce Lacey has been a busy man. Since the 1950s he’s been making film, making music, making art, sculpture, rituals, performances and more besides. Many of his films have explored the basics of life and sex all with a sprinkle of irony, realism and ritualism. Many of his films have required music, music which Lacey made himself, improvising with bottles, rattles, typewriters and a tape machine.

                      By the early 1970s Lacey was exploring stone circles and ancient rights; he’d also bought a home-made synthesiser from a schoolboy who’d advertised it in Exchange & Mart. He’d made it as a home project. A week later Lacey bought a keyboard from another schoolboy in Exchange & Mart. Lacey set about slowly modifying this synth and improvising music influenced by his stone circle visits over the next few years.

                      This music is made only when “The Muse” descends. It is impossible for Bruce to perform this improvised music live. The music he made was occasionally available on cassette at his exhibitions in the 1970s. The late Poly Styrene (who had a copy) compared Lacey’s music to Tangerine Dream. Lacey had not heard of Tangerine Dream. This is the first time this raw and extraordinary music, by one of the UKs most extraordinary men, has been made available.


                      Backspace Unwind - Clear Vinyl LP+CD Edition

                      'Backspace Unwind' is the long awaited new Lamb album. The sixth album of the electronic music duo contains 10 new songs written by Andy Barlow and Lou Rhodes with four featuring string arrangements by Tom Trapp, who also conducted the string section for the recording session at Air Lyndhurst Studios in London.

                      "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."

                      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.

                      The LP version of 'Backspace Unwind' contains a bonus track that’s not available elsewhere (“As Satellites Go By (Piano Version)'). This fantastic package also contains a free CD copy! And to top it all off, just for the fans, the first 1000 copies are numbered and pressed on transparent vinyl!

                      Lanegan's chief compositional tool on Phantom Radio was his phone – specifically an app called Funk Box. “I didn’t bother to hook up my 909 and 808 this time,” he says, “because the app had ’em. I’d write drum parts with it then add music with the synthesizer or the guitar.” The album grew organically from these synthetic roots, taking in Mark’s ongoing love of Krautrock and also an ’80s new wave show on Sirius satellite radio, his favoured aural companion as he drives around Los Angeles. “They have a few good shows but the ‘80s one in particular I like,” he says. “That’s the music that was happening when I started making music. And although the Trees drew on Nuggets psychedelia, 13th Floor Elevators and Love, we were actually listening to Echo And The Bunnymen, Rain Parade, the Gun Club. A lot of British post-punk. We loved that stuff. I just waited until I was in my late forties before I started ripping it off.”

                      Lanegan’s generous collaborative spirit sees him deliver an excellent co-write with British guitarist Duke Garwood, with whom he made last year’s dustbowl-desolate Black Pudding, and who now offers the music for I Am The Wolf, a Lanegan signature tune. Mark’s favourite song on the album, meanwhile, is Torn Red Heart, an intensely tender meditation for a broken heart that’s like The Velvet Underground’s Pale Blue Eyes orchestrated by Angelo Badalamenti. He also has a special mention for Floor Of The Ocean, which balances sheer catchiness with a deceptively bleak lyrical reflection on a life lived on the hard shoulder: “Clear eyes, can’t avoid the searchlight/Hope that they don’t find me/Find me where I’m lying.”

                      FORMAT INFORMATION

                      Ltd LP Info: Limited white vinyl edition.

                      Lanegan's chief compositional tool on Phantom Radio was his phone – specifically an app called Funk Box. “I didn’t bother to hook up my 909 and 808 this time,” he says, “because the app had ’em. I’d write drum parts with it then add music with the synthesizer or the guitar.” The album grew organically from these synthetic roots, taking in Mark’s ongoing love of Krautrock and also an ’80s new wave show on Sirius satellite radio, his favoured aural companion as he drives around Los Angeles. “They have a few good shows but the ‘80s one in particular I like,” he says. “That’s the music that was happening when I started making music. And although the Trees drew on Nuggets psychedelia, 13th Floor Elevators and Love, we were actually listening to Echo And The Bunnymen, Rain Parade, the Gun Club. A lot of British post-punk. We loved that stuff. I just waited until I was in my late forties before I started ripping it off.”

                      Lanegan’s generous collaborative spirit sees him deliver an excellent co-write with British guitarist Duke Garwood, with whom he made last year’s dustbowl-desolate Black Pudding, and who now offers the music for I Am The Wolf, a Lanegan signature tune. Mark’s favourite song on the album, meanwhile, is Torn Red Heart, an intensely tender meditation for a broken heart that’s like The Velvet Underground’s Pale Blue Eyes orchestrated by Angelo Badalamenti. He also has a special mention for Floor Of The Ocean, which balances sheer catchiness with a deceptively bleak lyrical reflection on a life lived on the hard shoulder: “Clear eyes, can’t avoid the searchlight/Hope that they don’t find me/Find me where I’m lying.”

                      FORMAT INFORMATION

                      2xLtd CD Info: The 2CD edition features the 5 tracks from the 'No Bells On Sunday' EP.

                      'Many Faces Out Of Focus' comprises six joyously well produced tracks from 22 year old Essex boy Stuart Howard. His productions have already caught the interest of those voices seeking future cult heroes and it is no surprise that the finesse with which he controls samples and synths has left every new listener we've played it to smiling with glee. It is easy to cloud the blissful abstracted popiness of this record with the details of its complexities. It's the way that he produces so playfully, breaking rules that others could not and involving the listener in a way that very few producers are able that hooked us in. It wasn't until the mastering studio that we discovered differently tuned bass drums panned to one side then another, a wash of reverb squeezed hard into only one channel and numerous tiny recorded vocal samples. The EP opens with a layered crescendo build on clicks and a seething synth sound, 30 seconds of darkness explodes suddenly into pop hits, tempered with sub bass, set against a sampled and repitched vocal. From this point the EP bathes your brain in lush textures, surprising and explosive atmospheres set in unencountered, unearthly spaces, all somehow perfectly set against catchy rolling choruses informed by pop and commercial R&B.

                      FORMAT INFORMATION

                      12" Info: Limited purple vinyl pressing.

                      The story of The Leisure Society began in Burton-Upon-Trent when Nick Hemming picked up a guitar and formed a band with Shane Meadows, Paddy Considine and Rich Eaton. Following a year of demos and increasingly bizarre gigs, Shane and Paddy were drawn towards careers in film, leaving Nick to pursue a life of making music. After serving time with Burton's best known exports The Telescopes (latterly Unisex), Nick contributed scores to some of Shane's movies, including A Room For Romeo Brass and Dead Man's Shoes, under a new moniker, 'The Leisure Society'.
                      Then in 2005 he moved to South London where he bunked up in singer Christian Hardy's postage stamp bedroom. One thing inevitably led to another and soon Nick started shyly presenting his compositions in the wee hours of the morning, picking up a ukulele, mandolin, banjo or guitar and pouring out songs that were wistful, romantic, poetic and drenched in longing. Hemming was dismissive, Hardy was transfixed. Thus The Leisure Society was reborn, a new band in which Christian tinkled the ivories, twiddled the knobs and sung all the notes Nick couldn't reach.
                      Nick joined the ranks of two Brighton folk ensembles, Sons Of Noel and Adrian and Shoreline, both members of a newly formed Willkommen Collective. It was from this rich pool of talent that Nick and Christian found band members to realise their ever-expanding vision of The Leisure Society. Simple ukuleles and close harmony were joined by lush orchestral chamber pieces with vast rhythm sections and choirs. Nick brought home a sitar, Christian brought home a pedal steel, Nick brought home a flute player, Christian brought home a drummer. And so on. And now they have produced a collection of 30 or so songs, 11 of which are presented on their first limited release, "The Sleeper".

                      FORMAT INFORMATION

                      2xLP Info: Full Time Hobby 10th anniversary repress. Pacific blue vinyl. Limited to 300 copies.

                      Following hot on the heels of the sell out success of INTO26HYR (or Prins Thomas's remixes of Crimea X for those who don't speak catalogue numbers), here's another exclusive merger between Internasjonal and their Italian friends. This time Thomas dishes up a 'Diskomiks" tribute to Margot, Riccone's finest dancefloor electronica project. The dream team of Pepe and Giaga Robot has previously graced Border Community, Kill The DJ and recently Les Disques De La Mort, but this remix 12" on Internasjonal could well eclipse the rest. Prins Thomas snatches up the previously digital only career highlights and gives them his own idiosyncratic twist, elevating and expanding the originals into his own galaxy. If you've been following the Norwegian's career in the past couple of years, you might have noticed a progression from the space disco sounds of his early years to a full on exploration of cosmic techno. Fitting then that on EP opener "Randomizziami Sto", Thomas finds the centre point between the two styles, combining a trademark sequenced bassline with weight synth riffs and a solid beat. As the track progresses Thomas shifts into hyperspace, leaving a trail of pitch shifted melody in his wake. "Merdona" picks up the deep space transmission, emerging from a black hole with reversed melodies and clattering percussion before transforming into a mind bending vision of celestial euphoria. Flip the disc and Thomas is at it again, combining techno and disco with a masterful flourish to transform "Goblin" into psychedelic groover boasting a girth bassline and lengthy delays. While that hypnotic riff rolls on below, a salvo of space age tones erupt in the night sky. This one's already in my bag and I havn't even talked about the EP closer! You can make your own mind up about that one, my copy's in my record box already!

                      Last year saw Johnny Marr enjoy a rapturous start to his solo career following the critical acclaim (included the honour of being named as NME’s Godlike Genius) greeted to his Top 10 debut solo album ‘The Messenger’. Meanwhile his shows were celebrated for his ability to combine the best of his new material with select highlights from The Smiths plus others from his extensive back catalogue.

                      Johnny Marr’s upwards trajectory continues unabated with the release of his second solo album ‘Playland’. Work on ‘Playland’ commenced in London in the Spring as soon as the year of touring in support of ‘The Messenger’ came to a close. It finds Marr continuing the creative connection that was forged on ‘The Messenger’ with collaborator and co-producer Doviak as well as the other musicians who performed on the album and accompanying tour.

                      As Johnny states: "When The Messenger came out I kept on writing. I liked that the band had a momentum going on tour and a connection with the audience, and I thought that energy would be good to capture on the new record."

                      Written around a common theme of “songs that move at the speed of life,” ‘Playland’ captures much of the spirit that made ‘The Messenger’ so memorable with energetic, post-punk songwriting complemented by Johnny Marr’s characteristic guitar style, thought-provoking lyrical ideas and poised vocal phrasing. "It's important to sound like your environment and on this record that's London and Manchester,” he adds. “The feeling of the cities and the people make it into the music."

                      The title ‘Playland’ is inspired by ‘Homo ludens’, a 1938 book by the highly influential Dutch cultural theorist Johan Huizinga which explores the concept of play as a precursor and principal element of cultural development.

                      STAFF COMMENTS

                      Andy says: Even better than his debut, Johnny rips up the rule book with an impossibly vibrant, melodic follow-up album that once more draws on his post-punk/new-wave pop roots. Bottle up and EXPLODE!!

                      FORMAT INFORMATION

                      Ltd LP Info: Limited Edition Aqua Blue Coloured LP. 1000 copies only, indies EXCLUSIVE!!

                      Loud, fast, wild—you’ve heard this all before but you haven’t because the Meatbodies are brand new and they’re going to dominate your eyes and ears and give you a bangover like you’ve never had before.

                      Meatbodies initially came about as a solo project for Chad Ubovich after spending the last several years touring in other groups: In 2011, he was recruited by his friend Mikal Cronin to play bass, and eventually guitar, in Cronin’s band’s first ever tour. While Cronin strummed his twelve-string to his future classic pop songs, Ubovich howled alongside, adding his own brand of wolf-man style to Cronin’s live show. Heavy super-group Fuzz took notice of his on-stage prowess and recruited him to deliver Geezer Butler-style bass riffs that could propel Charles Moothart and Ty Segall’s songs through the stratosphere. While both of these bands have kept him busy over the past few years, his mind was always on his own songs. He would come home and secretly work on his own material—explosive, crunching, grinding songs with soaring melodies and gentle bridges cascading into torrents of riffs.

                      Eventually he shared his work and allowed Segall to put out a tape of his bedroom recordings on his label God? Records. The tape was well received, so Ubovich recruited several friends with whom he could play around Los Angeles and San Francisco, and people began to see that he was more than just a sideman to his heavy-hitting comrades. Eventually, In the Red took notice and the Meatbodies were added to their roster. Sequestering himself in master studio magician Eric “King Riff” Bauer’s San Francisco studio / psychedelic sanctuary, Ubovich busted out an album’s worth of songs, barely leaving the small Technicolor underground quarters.

                      Once the tracks were done, he sent them up to Chris Woodhouse to give them just the right final touches of perfectly controlled chaos. And perfectly controlled chaos is what this trifecta delivered. The self-titled record is a sonic experience truly evocative of its creator: Unabashed, unrestrained, beautiful and strange. Riffs for days. It’s everything we’ve come to expect from Chad Ubovich.

                      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)."

                      Miilk Tooth

                      Desert Town

                      Miilk Tooth - Raphael Mura and JP Robelot - formed in Los Angeles in 2014. As teens Raph and JP were already writing, recording music on 8 track cassette recorders and playing gigs in the Paris region in France.

                      After 10 years of experience in the London (Raph signed as an artist to One little indian records) and LA (JP writing for films and singing in various music projects) scenes, the pair regrouped and decided the time was right to recreate the magical chemistry that makes their songwriting so unique.

                      Raph moved from London to LA in February 2014 and Miilk Tooth started writing and recording drums, guitars, bass, synths in Jp's home studio. 3 months later, their first single was being mixed in London by PDub Walton (The Cure, Massive Attack...).

                      'Desert Town', 'Plastic Universe' and 'Bonsoir Nails' are explosions of noisy dream pop, psychedlia and post punk, carefully crafted with elaborate melodies inspired by LA and California's desert landscapes.

                      'The Best Day' - Thurston Moore’s first solo record since 2011’s ‘Demolished Thoughts’ – is released via Matador Records.

                      Backed by James Sedwards of Nought (guitar), Deb Googe of My Bloody Valentine (bass) and Steve Shelley of Sonic Youth (drums), the album radiates with both his signature thrashing electric guitars as well as blissful 12-string acoustic ballads.

                      In case you don’t already know: Thurston Moore has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard.

                      He is the founder of Sonic Youth, the band that turned on an entire generation to the value of experimentation in rock n' roll.

                      From its influence on a nascent Nirvana, to Sonic Youth’s own ‘Daydream Nation’ album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006, the band’s importance in rock history is undeniable.

                      Moore records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption.

                      Alongside his various activities in the musical world, he is involved with publishing and poetry, and teaches writing annually at Naropa University, Boulder CO, a school founded by Allen Ginsberg and Anne Waldman in 1974.

                      Kevin Morby

                      Still Life

                        Still Life is the second solo album from Kevin Morby. The namesake of the record is an art piece by Maynard Monrow entitled “Still Life with the Rejects from the Land of Misfit Toys.” The album’s title has several meanings. On the surface, it refers to Morby’s change in lifestyle that came with moving to Los Angeles from New York in August of 2013. But he also admits that the title is ironic. The songs from Still Life were written during yet another period of tour and travel for Morby, as he spent almost all of 2013 on the road with Woods (with whom Morby parted ways amicably last year), The Babies (who are currently on hiatus) and as a solo artist.

                        The album reflects both this time in transit and the quiet confines of his new home in Montecito Heights. Scenes of performers, audience expectations and the paradoxical confines of a roving individual perpetually caught in a crowd percolate the songs, notably in “The Jester, The Tramp & The Acrobat,” and “Parade.” (Morby calls the latter an elegy of sorts for one of his major influences, Lou Reed.) Violent fates, wrestling with destiny and the nature of death creep into songs like “The Ballad of Arlo Jones,” “Bloodsucker” and “Amen.” Even Morby’s more obvious love songs like “All of My Life,” “Drowning” and “Our Moon” are highly bittersweet; the characters seem to never quite find each other, but perhaps they find themselves.

                        As with Harlem River, Still Life is produced by Rob Barbato (Cass McCombs, Darker My Love) who adds his signature guitar and bass playing to the album. The album was engineered and mixed by Drew Fischer, who also worked on Harlem River and The Babies’ second full-length album Our House on the Hill, and recorded between March and June of 2014 at Barbato and Fischer’s new studio, Comp’ny. Morby is also once again joined by Justin Sullivan (The Babies) on drums and percussion. Sullivan is a fixture in Morby’s live band, which completed a full US tour in January of 2014, supporting Cate Le Bon. Solo artist (and Le Bon guitarist) H. Hawkline handled bass duties for Morby on the tour and contributes bass to three songs on the record that were a live staple. Multi-instrumentalist Will Canzoneri (Le Bon, Cass McCombs, Jessica Pratt), who also performed live with Morby on the tour and who was a contributor on Harlem River, performs piano and organ on the album.

                        Alanis Morissette

                        Jagged Little Pill Acoustic - Clear Vinyl Edition

                        'Jagged Little Pill Acoustic' is an acoustic studio version of Alanis Morissette’s international breakthrough album 'Jagged Little Pill' (1995). When 'Jagged Little Pill Acoustic' was released in 2005, it commemorated the tenth anniversary of the original album.

                        The album’s single in the US was “Hand In My Pocket”. The video for the track received rotation on VH1. The accompanying tour ran for two months in mid-2005, with Morissette playing small theatre venues. During the same period, Morissette was inducted into Canada’s Walk of Fame. In the autumn of 2005, Alanis Morissette opened for The Rolling Stones for a few dates of their A Bigger Bang Tour.

                        FORMAT INFORMATION

                        2xLP Info: 180g audiophile vinyl pressing. First 1500 numbered copies on clear vinyl. Includes insert. Available on vinyl for the first time!

                        Toi Toi make the natural progression from club night to record label, keeping true to their underground roots and supplying the golden combination of English and German inspired electronic goodness. Mr. G fits the bill perfectly for Toi Toi's first release, having recorded a track named and dedicated to the night (released on Bassculture) after an inspired live performance at one of their events. Here he delivers four tracks in his synonymous, driving future-tribalist style. "Mango & Rum" is dark and discordant, eerie melodies weaving and intertwining with the percussive forward thrust. A clammy female vocal refrain and tight piano stabs immediately transport us straight to some fluorescent purple outdoor stage. "Side Swing" rides a big organ and bass riff through the course of its duration, a straight up 4/4 pounding away throughout while a filtered and looped vocal effect ties our head in knots. Daze Maxim works "Mango & Rum" into something really quite deep and tribal and makes me think of pretty girls covered in feathers and facepaint loosing their shit to Radioslave or Slam under clear starry skies. Finally "Freefall 7" concludes with a subtle, end-of-night bliss hidden within its concentric grooves. Again, clever use of a seductive female vox transports us exotic headspaces while the warm, bubbling piano chords simmer gently on top of the mix, hi-hat patterns spiting over the sides. Excellent stuff. A heads down, eyes-wide-shut beast of an EP for going wild next to the speaker stacks on foreign dancefloors. Recommended. 

                        Hotly anticipated sophomore album from Felix Martin (Hot Chip), Al Doyle (Hot Chip, LCD Soundsystem) and Tom Hopkins.

                        Recorded at their own Lanark Studios in Shoreditch and Club Ralph in West London with Mark Ralph (Franz Ferdinand, Clean Bandit), the 10-track self produced album follows their 2012 debut ‘Yesterday Was Lived And Lost’.

                        An unashamedly electronic collection, ‘Pour It On’ is a cohesive and assured record of rich, monolithic dance music. With shades of The Human League, textures reminiscent of Caribou or Dan Avery and vocal turns right out of Richard Thompson’s songbook, it explores the outer limits of the pop-song-structure.

                        Topped and tailed by ‘The Sunlight’, the band’s atmospheric festival set opener, and ‘Pour It On’ a beautifully crafted seven and a half minute masterpiece, the album is an anthemic set of bold statements, lyrically addressing very human concerns; broken lives, frustration, fear and confusion, whilst simultaneously celebrating the resistance of the human spirit.

                        ‘Legendary’ is the kind of description that gets slapped on artists far too often these days but in the case of Nick Nicely it, for once, feels justified. Bursting onto the UK’s music scene at the start of the ‘80s nick’s debut single ‘DCT Dreams’ was a remarkable slice of ‘synth-pop on acid’ (FACT Magazine) perfectly fusing the electronic sounds of Neu and Kraftwerk with the psychedelic lyricism of Sgt Pepper-era Beatles and Syd Barrett’s Pink Floyd. Soon signed to EMI, nick’s second single, 1982’s ‘Hilly Fields’, took us even further down the rabbit hole with a heady mix of synthesizers, cello and the first recorded use of ‘scratching’ in a non-Hip-Hop record. Hailed by the NME as "the best psychedelic record made since the '60s” it set nick up to be a star and to this day remains one of the most collectable records from the period.

                        Sadly though, as is all too often the case, it wasn’t to be and despite the critical plaudits heaped upon nicely’s head and the interest of various labels, and even legendary producer Trevor Horn, nick’s debut album wouldn’t make it to the shops until 2004 when Tenth Planet Records finally released ‘Psychotropia’, a collection of recordings from 1978 to 2004. Since then though nick’s reputation has continued to grow with critically acclaimed releases on US labels Burger Records and Captured Tracks, contemporary psychedelic acts like Bevis Frond and Amorphous Androgynous citing him as a key influence and following his live debut in 2008 appearances on bills alongside artists such as Ariel Pink and John Maus.

                        As a fresh wave of psychedelic sounds spreads across the globe nick’s music is more relevant today than ever before and now we have ‘Space of a Second’, 14 songs that range from the “prime shoegaze bliss” (Pitchfork) of ‘Wrottersley Road’ and ‘HeadwindAheadwind’ through to a brand new imagining of ‘Hilly Road’ that reveals nicely to be once again at his bewilderingly creative best.

                        Bringing to the fore nick’s unique take on lo-fi baroque psychedelia, Space Of A Second bends influences from across time and space into an exhilarating construction that evades easy definition, indeed perhaps in the end the best description comes from The Guardian’s Alexis Petridis who simply hailed nick as “Unique, almost inexplicable”.

                        Guitars, hip hop beats and traditional folk arrangements.

                        As one third of The Monks Kitchen, Luca Nieri wears many hats. He can typically be found behind the drums, or noodling on a Spanish guitar, or plucking a bass or contributing anything from eerie melodica lines to banjo, bar room piano or blues harp.

                        Featuring his own compositions and several cover versions, including Bert Jansch, Davey Graham and John Frusciante.

                        Nieri also finds time to be a member of Colorama, sessioning with Emma Trica and Fabienne Delsol, as well as co-producing the forthcoming John Stammers album.

                        Nightmares On Wax

                        A Word Of Science

                        Reissue of Nightmares On Wax’s 1991 debut album. ‘A Word Of Science’ is the hardcore rave sound of the initial duo line-up of George ‘EASE’ Evelyn and Kevin ‘Boy Wonder’ Harper. Contains the dancefloor anthems ‘Aftermath’, ‘A Case Of Funk’, ‘Biofeedback’ and ‘Dextrous’.

                        The original vinyl release of ‘A Word Of Science’ was a single LP which dropped three of the tracks included on the CD version. For this edition Warp have re-cut the album as a double LP for improved bass response and the missing three tracks (‘BWTM’, ‘Sal Batardes’ and ‘EASE’) appear on vinyl for the first time.

                        FORMAT INFORMATION

                        2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

                        Nightmares On Wax

                        Car Boot Soul

                        George Evelyn AKA DJ EASE took four years to follow up "Smokers Delight", but it was worth the wait as he came up with another seductive LP full of downbeat delights and dreamy instrumental hip hop gems, which, as the title suggests, is a sample-heavy session for sofa-surfing. Includes the Ibiza sunset classic ‘Les Nuits’.

                        Nightmares On Wax

                        In A Space Outta Sound

                        "In A Space Outta Sound" harks back to the trippy beats of NOW's sophmore album "Smokers Delight", woven together with some heavy references from older dub reggae sounds, recalling Prince Far I and Lee Perry, or subtle 70s soul and soul-jazz grooves. This is George Evelyn, aka EASE's fifth album for Warp in a discography that spans over ten years. Nightmares On Wax is one of Warp's biggest selling and longstanding artists and is most famously known for his "Smokers Delight" album, now regarded as one of the classic downbeat albums of the 90s.

                        FORMAT INFORMATION

                        2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

                        Nightmares On Wax

                        Mind Elevation

                        Another must-have LP from George Evelyn AKA Nightmares On Wax. Reissue of 2002 album. Expanding on the blunted instrumentals they had become known for, the trademark dreamy ambience and looped cratedigger samples of Nightmares On Wax’s world is joined by joyous vocal tracks such as ‘Know My Name’ and the nostalgic rap of ‘70s 80s’, the only track you're ever gonna hear that rhymes 'Muppet Show' with 'electro on the radio'!! Genius!

                        FORMAT INFORMATION

                        2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

                        Nightmares On Wax

                        Smokers Delight

                        Reissue of the 1995 magnum opus - a defining statement of intent in the development of the Nightmares On Wax sound. Moving away from the bleeps and breaks of their first album, ‘Smokers Delight’ presents a post-club comedown journey which experiments with elements of jazz, dub, soul and hip hop.

                        If you don't own a copy of this LP, you should get one right now 'cos it's one of the best LPs of the 90s. Originally out in '95, it's a defining moment of the 'trip hop' genre and ranks alongside LPs by Portishead and Massive Attack from the same era. Pure schmokers downbeat sounds!

                        FORMAT INFORMATION

                        2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

                        Nightmares On Wax

                        Thought So...

                        From 'bleep' pioneer to purveyor of the sunkissed, psychedelic downbeat funk, Warp records prodigal son returns - his sixth long playing release for the label. "Thought So..." continues the seasonal fun with it's warm, Quincy Jones-inspired soul, rootsy reggae and gentle, deep-funk. All tracks conceived during an odyssey from Leeds to his new home, the Balearic state of Ibiza.

                        FORMAT INFORMATION

                        2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

                        Nu Era

                        Nouveau Synthetic Compositions - CD+7" Edition

                        Limited edition eight track CD with bonus 7" single in a gatefold sleeve. Nu Era's last album 'The Third Adam' was noted as one of the most adventurous techno records of 2013 and had support from DJs across many genres. Marc Mac continues to expand on his Nu Era journey into soulful, funky techno with these 8 new compositions.

                        Oozing Wound

                        Earth Suck

                          Oozing Wound is a thrash trio featuring veterans of Chicago’s underground scene. ‘Earth Suck’ is the explosive follow up to the band’s breakout debut ‘Retrash’, which earned them praise from the New York Times, Pitchfork, Decibel and more

                          Oozing Wound were selected by Adult Swim to be a part of their exclusive ‘Singles’ series alongside Sleep, Mastodon, Deafheaven and Diarrhea Planet.

                          Oozing Wound have played with High On Fire, The Body, Ash Borer, Wolf Eyes, Nazoranai and Black Pus.

                          “Some of the filthiest crossover thrash you’ve ever heard” - Decibel

                          “They’re really good at delivering songs with power, but remember, this is also a band with a sense of humor.” - Pitchfork

                          “A bulldozing piece of sleazy throat-bawling metal terror that would make those softies in Metallica and Slayer blush” - MTV Hive

                          FORMAT INFORMATION

                          Ltd LP Info: LP packaged with a printed inner sleeve and free download card. Initial copies pressed on special pink vinyl.

                          Ora Iso


                            Ora Iso’s pieces begin in abstraction, encounter semblances of melody, then disintegrate into fragments. It all comes together as a glorious noise, and Bathcat, the duo’s first album, captures the essence of their nature. The group formed with a shared affinity for challenging pieces. Kathleen Malay, born in Indonesia and a recent transplant to New York via Australia, is a classically trained pianist who found her calling once she met Jason Kudo, a guitarist best known for his work in Modra. Bathcat was recorded with the deft influence of Lary Seven, a fixture on the New York experimental scene since 1970, who has worked with Tony Conrad, Foetus and Jarboe.

                            The Orchids

                            Beatitude #9

                              The Orchids formed near Glasgow in 1986. Since day 1 they were one of the darlings of the illustrious Sarah Record’s roster and developed far more on that label than any band not named The Field Mice. Starting with a melancholy guitar-pop sound on Lyceum and contemporaneous 7”s, they moved on to become more keyboard and sample/effects-based for their 2nd and 3rd albums, Unholy Soul and Striving For the Lazy Perfection, saw the development of a more electronic sound as they continued to work with producer Ian Carmichael (One Dove). Then, in 1995 they disappeared without ever really splitting up. Their entire back catalogue was re-released on CD in 2005. The band had already reformed in 2004 and published Good to Be a Stranger (2007) on Madrid-based label Siesta, playing live gigs for the first time in twelve years. In 2011 the group released a fifth album, The Lost Star through Pebble Records.

                              Now, The Orchids are excited and proud to announce the launch of their new full-length, Beatitude #9, their sixth in a 26 year career. When you put Beatitude #9 on to listen to, the feeling could be compared to being reacquainted with your best friend that you've known the longest but might not have seen for a few years. In the moment you get together again and embrace them for the first time in a while, it's only a split second before you feel like they've never really been away. There’s no awkwardness between you despite the long hiatus, as you realize there is no mistaking The Orchids sound and they're as good as they've always been. Whilst the familiarity is soothingly comforting, there is still a freshness that means there is a passion and excitement gripping you that is difficult to describe.

                              Beatitude #9 is made up of 14 brand new songs recorded in their home studio over the past three years and sees the band broaden their horizons again, sounding modern and revitalizing whilst still sometimes harking back to some of the mainstream acts that they grew up with in the eighties. It has a feel of summer written all over it and captures classic Orchids guitar pop in tracks such as "Something's Going On" and "Hey! Sometimes". At the same time it also delves into their well known contrary habit of producing more experimental sounds in the epic cinematic soundscape that is "Away To You" as well as in "Today's The Day", which features a groove throughout the five minutes that is impossible not to become entirely mesmerized by. They also pepper the release with several songs that appear to easily cross over into the mainstream where you can imagine other acts covering the songs and charting with them such as "Good Words" (where lead vocals are handed over to the wonderful Pauline Hynds - as they did to similarly wonderful effect with "A Kind Of Eden" on their third album), "A Perfect Foil" with its beautiful harmonies and "Someone Like You".

                              STAFF COMMENTS

                              Andy says: Best band on Sarah Records, still going and still writing superb songs. Could've been massive. ARE massive in my house!

                              Italian synth wizard Massimiliano Pagliara accompanies his recent LP "With One Another" on Live At Robert Johnson with this vibrant two track tribute to a couple of close friends he lost in the last year. Continuing in the fine vein of cross genre form he displayed on that long player, "Major Fun (For Joshi)" is an acid fuelled Italo-disco groover with just enough star gazing synth work and off kilter guitar to ensure the Adriatic crowds will lose their shit. From the first clatter of the reverb heavy kit you just know this one is gonna be massive. For B-side cut "Your Love Away (For Luck)" Massimiliano is joined by fellow Egyptian Nipple Jules Etienne as they take a techy journey through Italo's back streets, encountering sleazy synth washes and dubby vamps on the way. A retro futuristic paean to the darker side of dating, voiced through hushed vocals and spiralling synths, this B-side secret weapon is the bastard love child of a Balihu classic and vintage Juan Maclean. It's that good!

                              Pev / Pev & Kowton

                              Aztec Chant / End Point - Tessela / Stenny & Andrea Remixes

                              As Livity Sound deliver the final instalment in their long running remixes series, they keep the quality sky high right through to the end. This time round, two of the Bristol label's biggest hits from 2013 get ripped apart and restitched by a couple of big players in the seismic techno field. First up label head Pev's "Aztec Chant" gets an earth splitting remix from R&S signing Tessela, who lulls us into a false sense of security with a rattling intro before blowing us away with a barrage of wall shaking aggression. On the flip, Pev's enduring collab with Kowton, "End Point" gets a main room techno refit thanks to Italian duo Stenny & Andrea. Like a Ferrari on an open road, they go full throttle through their remix, making a hell of a racket in the process. Proper pounding techno that'll sound amazing on any decent system.

                              Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ.

                              “After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time,” Chardiet said. “It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness.”

                              Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet’s internal conflict.

                              Bestial Burden was recorded at Heaven Street Records in Brooklyn, N.Y. with Sean Ragon (Cult of Youth, Venerence), who also recorded 2013’s critically acclaimed Abandon. Ragon allowed Chardiet to experiment with a mix of live recording and tracking, and some of the vocals were recorded live with a small group of people packed into the studio so she could feed off their energy. The result of those sessions is the bar-raising follow-up to Abandon, and an invitation to go even deeper into the sometimes terrifying, always fascinating labyrinth that is Margaret Chardiet’s mind.

                              Ed Piskor

                              Hip Hop Family Tree Vols. 1-2: 1975-1983 Gift Box Set

                                To celebrate the resounding critical and commercial success of the first two volumes of Ed Piskor’s unprecedented history of hip-hop, we are offering both books in a mind-blowingly colorful slipcase, drawn and designed by the artist. As if that’s not enough, in addition to the two books and the slipcase itself, Piskor has drawn a 24-page comic book - Hip Hop Family Tree #300 - specifically for this boxed set that elegantly reflects the confluence of hip-hop and comics, which was never more apparent in the early 1990s than with the famous Spike Lee-directed Levi’s Jeans commercial starring Rob Liefeld, who went on to create Youngblood and co-found Image Comics, not to mention ending up on the radar of gangster rapper Eazy–E. Piskor tells this story as a perfect parody/pastiche/homage to ’90s Image comics.

                                'Cabinet Of Curiosities' is a brand new, nine-track Pop Group compilation which kicks off with the fractured future-funk single 'Where There's A Will', described by Gareth Sager as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."

                                Next up is the unheard, original previously unreleased version of 'She Is Beyond Good And Evil', probably the band's most infamous song and more recently covered by St Vincent on the Jimmy Fallon show and throughout her 'Strange Mercy' tour. 'Cabinet Of Curiosities' continues with BBC John Peel session tracks 'We Are Time' and 'Words Disobey Me', and rounds up previously unreleased songs 'Abstract Heart' and 'Karen's Car', plus other alternative versions.

                                Mark Stewart describes 'Cabinet Of Curiosities' as being of similar status to a lost Pop Group album. The release will also be available as part of a limited CD box set (The Pop Group 'Curiosities') accompanied by memorabilia and an extensive 36 page booklet.

                                The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

                                The LP version is on 180g heavyweight vinyl version and includes a download card of rarities by The Pop Group.

                                FORMAT INFORMATION

                                LP Info: Limited grey vinyl pressing.

                                After spending over a year collating original singles, albums and previously unreleased studio and live recordings, the Pop Group have created a limited box set containing albums 'We Are Time' and the brand new compilation 'Cabinet Of Curiosities' + 36 page perfect bound book + bookmark + badge.

                                'We Are Time', named after one of their most infamous onslaughts was originally released on vinyl in 1980 a nd has been remastered from original tapes becoming available on CD for the first time and also reissued as limited vinyl. Of the early live and studio recordings that comprise 'We Are Time', frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

                                'Cabinet Of Curiosities', the nine-track compilation includes the fractured future-funk single "Where There's A Will," described by Sager [guitar] as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."
                                Also included is the original previously unreleased version of "She Is Beyond Good And Evil," probably the band's most infamous song. The set continues with BBC John Peel session tracks "We Are Time" and "Words Disobey Me," and rounds up previously unreleased songs, "Abstract Heart" and "Karen's Car," and other alternative versions.

                                The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

                                "It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" - Nick Cave on hearing The Pop Group for the first time.

                                The Pop Group

                                We Are Time

                                'We Are Time' was named after one of the Pop Group's most infamous onslaughts and originally released on vinyl in 1980, has been remastered from original tape s and available on CD for the first time and limited vinyl.

                                Of the early studio and live recordings that comprise We Are Time, frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

                                Guitarist Gareth Sager explains that the band was "trying in an inexplicably naive manner to combine Patti Smith's Rimbaud ramblings, James Brown, the Stooges, Roxy Music, T.Rex and classical aleatoric music. You can hear the results of this on tracks 'Genius Or Lunatic', 'Colour Blind', 'Trap', 'Sense Of Purpose', 'Kiss The Book' and 'We Are Time." He goes on to say "soon after this the band were bringing in other influences, Ornette Coleman, King Tubby, Funkadelic, Debussy, Jacques Brel, Fela Kuti, Steve Reich and then you get 'Thief Of Fire'."

                                The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society - indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

                                "It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" – Nick Cave on hearing The Pop Group for the first time.

                                FORMAT INFORMATION

                                LP Info: Limited red and white marbled vinyl pressing.


                                Primus & The Chocolate Factory With The Fungi Ensemble

                                The classic Primus line-up are back together and set to release their first full-length studio album in nearly 20 years, 'Primus & the Chocolate Factory,’ on ATO Records.

                                "The idea was to combine the Frog Brigade and Primus, and do this record,’ says Claypool. “I think like a good portion of the planet, we were all pretty put off by the remake of the 'Willy Wonka' movie - the Tim Burton version. I really wanted to pay homage to a film [1971's 'Willy Wonka & the Chocolate Factory,' starring Gene Wilder] that was very important to me as a kid and very influential to me musically. So that's what we did. And as opposed to just going in and recording the songs and playing them the way they are in the film, we twisted them up a bit…twisted them up a lot”.

                                FORMAT INFORMATION

                                Ltd LP Info: Limited edition lilac vinyl.

                                Radio Birdman

                                Radio Birdman - CD Box Set

                                  Radio Birdman, legendary Australian underground band and one of the pioneers of the high energy rock 'n' roll scene, are primed to reissue their formidable back catalogue in a comprehensive limited edition CD box set just in time for Halloween.

                                  The box set will contain the three studio albums Radios Appear (Trafalgar and Sire versions) and Living Eyes, all remastered from original tapes and each accompanied by a standalone bonus disc. Much of the bonus disc material is previously unreleased and will provide a treasure trove of material for diehard fans.

                                  The seventh disc to make up the box set is a previously unreleased live concert recorded at Paddington Town Hall (Sydney Australia) in December 1977 just prior to the band's departure for the UK to promote the Sire release of Radios Appear. This live recording has been mixed from master tapes that have languished forgotten for decades. The result is a totally wild and raw release that captures the band's true primal energy. The bonus accompanying this disc is an all regions PAL format DVD of live footage; two clip from the December '77 concert, one from April '77, two obscure '76 tracks plus a promotional video made to celebrate the Australia only 1988 LP box set release "Under The Ashes".

                                  Awww yeah! Essential reissue time baby as another early 80s NYC classic is plucked from the West End vaults and bestowed upon us. The post disco/boogie dream team of Matinelli and Todd are in full effect on this glorious groover, and the Raw Silk girls are in fine voice. Get up and get down as your ears are filled with sparkling synths, a bouncy bassline and the most seductive vocals this side of Jessica Rabbit. And for those who like to get fully subterranean, the killer dub mix on the flip, "Just In Time & Space" is an immersive interstellar journey which taps into the veins of disco, boogie, jazz-funk and dub in true West End fashion. Remastered and sounding better than ever, this is a classic in the truest sense of the word. A true late night, early morning gem.

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