MAGIC MIX

ALL GENRES

WEEK STARTING 28 Aug

It’s been three years since Advance Base’s debut album, A Shut-In’s Prayer, made #19 on MOJO Magazine's Best Albums of 2012 list.

Since then, singer, songwriter & multi-instrumentalist Owen Ashworth has contributed electric piano & co-writing credits to Sun Kil Moon’s critically acclaimed 2014 album, Benji, & produced more than a dozen other releases for his own label, Orindal Records.

He has published a book of drawings, made beats for Chicago rapper Serengeti, recorded the debut single by psych-folk troubadour Julie Byrne, paid tribute to gospel & outsider music legend Washington Phillips (see 2013’s The World Is In A Bad Fix Everywhere EP)

Ashworth has finally turned his focus back on his own music & given us Nephew in the Wild, the second official album by Advance Base.

Nephew in the Wild is a nostalgic, melancholic & occasionally harrowing collection of lo-fi indie rock & electronic pop. Electric pianos, drum kits, drum machines, autoharps, Omnichords, Optigans, Mellotrons & the occasional guitar lay the foundation for sweetly sad stories about lonely Midwesterners trying to make sense of their troubled pasts. In the world of Nephew in the Wild, the internet hasn’t been invented yet, & a change of address is the only thing a person needs to exit their old life completely. Disappearance, displacement, hell-raising, child-raising, Christmas, Michigan, arson, aging & animals are recurring themes throughout the album.

Nephew in the Wild was recorded by Ashworth in his basement in Oak Park, Illinois, with additional instrumentation by Nicholas Krgovich (No Kids, P:ano, Gigi), Mike Adams (Mike Adams at His Honest Weight, husband&wife), Howard Draper (Tre Orsi, Okkervil River, Shearwater) & Mat Sweet (Boduf Songs), among others. Ashworth’s baritone vocals & frank, conversational lyrics sit at the front of the mix throughout nine of Nephew in the Wild’s ten songs, while guest vocalist Jody Weinmann takes the lead on the album’s only co-write, “My Love for You is Like a Puppy Underfoot”.

The Analogue Cops

Monkey Suits

    The Analogue Cops, made up of the part machine-part man duo that is Lucretio and Marieu, have now solidly established themselves at the base of contemporary house and techno. Moreover, the pair have, and always have had, an instantly recognizable sound; their hardware approach and funky yet driving grooves are always a pleasure on both the Juno HQ speakers and the ol' Funktion One's. For their latest outing on the UK's Hypercolour imprint, they've chosen to deliver two tracks each: Lucretio comes through with the disco-filtered stabs of "Vampire Killer", and the 80's electro number "Shinobi World", while Marieu goes deeper and housier on "Corona", but leaves the funky servings for last on the excellent sample-fueled "McGraw". Quality, as per usual, from the Coppers.

    Andras & Oscar

    (I Know) What You Want / Looking Back - Inc. Tornado Wallace / Zanzibar Chanel Remixes

    After taking us for dinner at the "Embassy Cafe" and "Cafe Romantica" on dates number one and two, "(I Know) What You Want" sees Andras and Oscar go all the way. Released in celebration of the duo's current European tour, this sublime cut is a smoothly urgent house plea, with Oscar’s yearning vocals soothed by Andras’ warm, lightfooted production. Blessed with arguably the best production I've ever heard, this incredibly textured and round house cut goes all the way back to the early 90s, shaking its shit next to Larry Heard, Frankie Knuckles and Vincent Floyd. A fluid sequence works its tropical magic under the warm house chords, while the smooth bassline and killer drum programming get you moving from the toes up. Total summer anthem! For the B-side A&O enlist some of their antipodean chums to transform "Cafe Romantica" stand-out "Looking Back". Tornado Wallace takes to the task first off, stretching the track out into an instrumental excursion into lush vegetation and fragrant flowers. Perfumed, groovy and summery as they come, this remix is alive with additional percussion and disco guitar. On the B2, funk anarchists Zanzibar Chanel take a big swig of the purple drank and deliver and deranged cover version complete with croaking synths, flip flopping toms and all kinds of odd distortion. It's as mad as the box of frogs they used to record it! There are three killers here, but it's the A-side that steals the show - Ladies and gentlemen, put your hands together for Andras and Oscar!

    Ash Before Oak

    Favourite Chickens

    Imaginative songwriters Armor and Griffin present a sumptuous collection of melody lavished with harmonies reminiscent of Finn Brothers and garnished with atmospheric guitars and dynamic arrangements. Faberk O’Shea, the mysterious pierrot clown, is now synonymous with the band and their peculiar musical characteristics.

    The record emerged after a two month period of writing and demoing a track each day. Whilst being hard to pin down stylistically, Favourite Chickens will fascinate you with its hooks, crooks and charm.

    Au Pairs

    Playing With A Different Sex

    Since forming in Birmingham in 1979, the Au Pairs become known for catchy, dark and politically relevant songs with a biting sense of humour and angry delivery. Their first album, 'Playing With A Different Sex', instantly became a post-punk classic when released in 1981. It's is a powerful and controversial album, with acerbic takes on gender politics, sexuality, government and torture. Long out of print on vinyl, 'Playing With a Different Sex' is now proudly being re-issued by Drastic Plastic Records. The album sounds better than ever before, thanks to this faithful remastering and expert pressing. For fans of Gang of Four, Delta 5, The Slits and X-Ray Spex.

    Ausmuteants

    Mates Rates / Echo Beach

      It has to be said, these boys are just on fire, there’s no way around it! With an incredible, agitated, and nervously energetic sound they’ve pounded into all their own, Ausmuteants are back with another massive slab of synth punk savagery you won’t be able to wash off with just one shower. After two pummeling LPs, another album full of demos, and a handful of stellar singles, all garnering the mouth-breathing praise they so wholly deserve, we’ve finally caught up with our release schedule and have shoved our bloody stump of a head into their sticky world, and we never wanna pull out. The two sizzling, neurotic, and probiotic cuts featured here don’t appear on any other releases, and are as vile, infectious and just as rabid as you needs require, crushing their formula into a powerful dust that erases your will to resist their impeccable Aussie charms.

      The A-side’s irresistible anthem “Mate’s Rates” rides a riveting synth line that will surely go down in history as one of New Wave Theatre’s great lost performances by a band you didn’t catch the name from, and sometimes something this classic sounding doesn’t need anything else, just like a good steak. And if that wasn’t enough, Ausmuteants dig deep on the b-side for a cover of Martha & The Muffins’ bizarre 1980 new wave hit “Echo Beach” that just doesn’t let up until your grip on life has loosened to the point of submission. You really don’t even have much of a choice here, just stab & grab and kick back with an air of satisfaction until their next morsel of crude synth punk boils up to dangerous levels, rinse & repeat. - VictimofTime.com.

      Get ready to feel the sun on your face and the wind in your sails as Mark Barrott returns with the latest instalment in his ear pleasing, care easing "Sketches From An Island" series. Recorded in the tranquil heat of the Ibizan spring, this four tracker sees Barrott pick up right where he left off on an LP which found fans everywhere from Todd Terje to Trevor Jackson, even including a reprieve of its opening track and the welcome return of Uruguayan botanist Dr Nimm. 

      Opening track "Right 4 Me" finds Barrott in playful fashion, reimagining the cheery melodies of "Baby Come Home" over a buoyant bassline and loose percussion before knocking us down with the feather light flute melody. Next up, Mark charters the International Feel jet and zooms us across the oceans to the "Mysterious Island Of Dr Nimm", a strange place where up is down, left is right and time flows backwards. Sola topi in situ, we begin an anthropological study of Balinese gamelan, Peruvian pan-pipes and bouncy Aboriginal percussion until the ayahuasca takes over completely. On the flipside, the circular marimba of "Cirrus & Cumulus" perfectly soundtracks our out of body experience, echoing to infinty like ripples on a rice paddy. Finally "Der Stern, Der Nie Vergeht", fuses the celestial kosmische of a Dusseldorf commune with the humid percussion and fretless bass of Morocco to arrive at sound you might stumble across during a trip to the Growing Bin. Your pockets might get a little lighter but you're soul will get much richer.


      Beach House

      Depression Cherry

      Beach House is Victoria Legrand and Alex Scally. We have been a band for over a decade living and working in Baltimore, MD. Depression Cherry is our 5th full-length record. This record follows the release of our self-titled album in 2006, Devotion in 2008, Teen Dream in 2010 and Bloom in 2012. Depression Cherry was recorded at Studio in the Country in Bogalusa, Louisiana from November ’14 through January ’15. This time period crossed the anniversaries of both John Lennon’s and Roy Orbison’s death.

      In general, this record shows a return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role. With the growing success of Teen Dream and Bloom, the larger stages and bigger rooms naturally drove us towards a louder, more aggressive place; a place farther from our natural tendencies. Here, we continue to let ourselves evolve while fully ignoring the commercial context in which we exist.

      Here are a few quotes that we feel relate to the feeling and themes of this record:

      — “I’ll never be able to be here again. As the minutes slide by, I move on. The flow of time is something I cannot stop. I haven’t a choice. I go. One caravan has stopped, another starts up. There are people I have yet to meet, others I’ll never see again. People who are gone before you know it, people who are just passing through. Even as we exchange hellos, they seem to grow transparent. I must keep living with the flowing river before my eyes.” - from Kitchen by Banana Yoshimoto
      — “We inhabit a world in which the future promises endless possibilities and the past lies irretrievably behind us. The arrow of time… is the medium of creativity in terms of which life can be understood.” - from The Arrow of Time by Peter Coveney and Roger Highfield
      — “Mostly it is loss which teaches us about the worth of things.” - from Parerga and Paralipomena by Arthur Schopenhauer
      — “Hark, now hear the sailors cry, feel the air and see the sky, let your soul and spirit fly, into the mystic……
      ….when the fog horn blows, i want to hear it, i don’t have to fear it” - from “Into the Mystic” by Van Morrison.

      Depression Cherry was produced and recorded by the band and Chris Coady at Studio in the Country in Bogalusa, Louisiana.




      FORMAT INFORMATION

      CD Info: The CD comes packaged in a red velvet sleeve.

      Ltd LP Info: Limited edition white vinyl packaged in a beautiful red velvet sleeve.

      For Fans Of: Tom Waits, Sadé, Bob Dylan, Cat Power, Enya, Bonnie Prince Billy, outsider art.

      “Part soul-singer, part outsider-art curiosity” - The New York Times

      Willis Earl Beal has yet to be born. Critics and publicists defined him before he’d had a chance to define himself. Their expectations were inextricably linked with race and gender, two concepts Beal thoroughly rejects. Now, two extremely productive years removed from the spotlight, Beal doesn’t feel pressure to define himself against anything.

      His new music is shockingly original, utterly confident, and as ephemeral as Beal himself. He levitates above definition, concerned only with self-discovery and truth-seeking. “I know it sounds falsely altruistic,” he says. “But I think a simple voice like mine can serve as an example of some kind of freedom.” Willis’ appeal and exposure has broadened in the last 2 years has he has begun a promising film career, recently starring in the award winning Memphis (2014). He has signed on for film management with Brillstein Entertainment Partners and is actively pursuing acting alongside music. 

      For the label's 16th (!!!) release, Dixon Avenue Basement Jams continues to bolster their local infantry with fresh, new blood, this time with the addition of a young but well-seasoned individual hailing from the hinterland of greater Glasgow and going by the name of Big Miz. If you happen to live within an 8 mile radius of a Blue Lagoon, the chances are you will have already been acquainted with the bold Miz, most likely through the longstanding and legendary club night / crew he’s a resident and founding member of: Offbeat. Tracks presented here, such as “Good Thing” strike a fine balance between good ol’ Motor City funk and Chi-Town oddities such as Vincent Floyd’s more obscure cuts on Dance Mania. Utilizing a very well known disco vocal sample across dark acid beats. "Electrolites" see Miz take cues from Metrodome's recent Wet Play record - tearing cowbells into long grain delayed sweeps and overall creating a very tropical sensation through house music, always with a nod to the pioneers from across the pond. The velocity increasing “Solange” opens the flip like the result of a three-day Theo Parrish studio session fuelled by bad speed. Nagging melodies and the grimiest beats collaborating in unison to take you deep inside your cerebrum. Finally, "Wurx" unloads some squashed and technofied beats onto the master tape, filling in the gaps with big synth swells and distorted donks. Great stuff!

      Bootsy's Rubber Band

      Bootsy? Player Of The Year - 180g Vinyl Edition

      'Bootsy? Player Of The Year' (1978) by Bootsy’s Rubber Band featured two hit singles, “Bootzilla”, which went to number one on the Billboard Hot Soul Singles charts, and “Hollywood Squares”. The album itself peaked at number one on the Billboard Soul Album charts.

      This album finds Bootsy at his peak. There isn’t a dull moment here. Take for instance, “Hollywood Squares”, a song that teeters somewhere between a dance song and a ballad, sometimes picking up the pace, other times slowing it down to a strut.

      'Bootsy? Player Of The Year' is one of the most enjoyable Parliament / Funkadelic P-funk albums ever. However, by the following year, 1979, it was clear that the P-funk army was running out of fresh ideas, and Bootsy was no exception. This makes the album even more special in retrospect, because it was among the last of the great P-funk releases.

      Brown Spiders

      It's Something To Do

        Pretoria, South Africa’s most dangerous arachnids are here to finally burst forth from their egg sac and right into your vulnerable arms and ears, as the debut 7” from our second South African export has hit the floor and is busy scrambling into your darkest corners. A prodding, sinister and disorienting riff hits you immediately just before that winding, repetitive and repulsive bass line stares you down, and before you know it, Jacco and Andreas (Make-Overs) have their claws at your throat with two cuts so thick with bad vibrations, you might just want to get yourself inoculated to prevent swelling on contact. You won’t have time to call up Dr. Moosa or any of your normal witch doctor contacts as this blackness and numbness will spread quickly, and just as soon as the main riff in “It’s Something To Do” unravels into a demonic roar, it’s probably too late to save any semblance of sanity.

        As a brackish minimalist counterpart to the more free-form sonic smashings of Make-Overs, Brown Spiders linger in the shadows, sharpening their pincers and retracing their horrific steps, carving their undulating chords into your wrists and ankles as you sleep. Building tension comes as second nature over these two rough numbers, just enough ominous thunder bellowing out between the soiled grooves to let you think you're safe from those utterly murderous backup vocals. We’re beyond stoked to bring this dark and brutish-style thug crusher into the world, and we hope you will allow several listens before hiring a professional exterminator service. - VictimofTime.com.

        FORMAT INFORMATION

        Ltd 7" Info: Black edition of 300 copies.

        Buck Biloxi & The Fucks

        Streets Of Rage

          Buck & the boys are back with a vengeance, and the new ‘Streets of Rage’ LP is going to cause quite a few dizzying episodes of pure punk euphoria so don’t even start to think you’ve heard it all yet. Culling all the burned-out, hate-fueled visceral verbiage from the streets into an impossibly catchy and dare we even say “poetic” benchmark of garbage spun into gold, ‘Streets of Rage’ kicks off with “Rock’n Roll Sucks Part 2” and just never lets loose of its grip around your neck/life until your record player is emitting the typical black smoke of overheated electronics. A slight uptick in fidelity won’t even begin to ruffle any feathers here, as the guitars-cum-food-processors tone is still hitting the spot every time, surely ushering in the next era of Buck Biloxi and the F*cks’ primitive pessimism, and establishing this New Orleans troupe as one of the modern era’s greats, stomping their way through a sea of pretenders. It doesn’t take long to realize the caliber of Mr. Biloxi’s moxie, his lyrics will be quoted for the next ten generations, and his attitude toward human existence will be the material of graduate level sociology courses, mark my words, and this insight doesn’t come cheap.

          ‘Streets of Rage’ might be the most punk record you’ve ever owned, or will the record OWN YOU? Either way, you lose, so don’t get those high hopes up anywhere where you can’t reach ‘em, because Buck Biloxi and the F*cks are going down in history with all the best losers in the game. The least you can do is try and keep up, this shit is as real as it gets. - VictimofTime.com.

          With deconstructed bow and the extraordinary sound of double recorder, Beneath Swooping Talons has grown out of unearthed fragments that became improvised pieces, then immediately recorded in single takes. Tapping the potent rural landscape and long-dormant musical modes, this album encompasses both wild animal calls and long forgotten liturgical chords, which drawn through Laura’s music seem to originate from the same, a historical place.

          With a background in traditional, early and experimental music, she creates a solitary minimalist chamber music, where one player makes all the harmonies. Based in rural East Anglia, Laura Cannell’s work draws on the emotional influences of the landscape and the sometimes dissonant chords of early and medieval music. Since founding and touring with duo Horses Brawl a decade ago, Laura has established her practice as a solo musician with recorder and fiddle her primary instruments. 

          In 1949, Luzmila Carpio was born in the rural town of Qala Qala, Bolivia. It was there that her earliest musical experiences -  and the genesis of her unique voice - shaped her decades-long career writing and performing Quechua music. In Bolivia, though more than 36 indigenous languages are spoken by nearly 40 percent of the population, the only officially recognized language of state was Spanish until September of 2000. The social, political and economic stigma that came with identifying as Quechua was keenly felt throughout Luzmila’s formative years, though the tide began to shift in the late 1960s. At age 15, Luzmila joined the group Los Provincianos and has continued to make music ever since. Her distinctive musical style comes from her impossibly high upper register that oftentimes mingles so closely with the timbre of a quena flute: “In my community, among us, we sing like that - very high. It’s the tradition in our area that I further developed while trying other styles or ranges as my voice allowed. In October of 1992, Luzmila began working with UNICEF on the Yuyay Jap’ina campaign for adult literacy. The designers of the Yuyay Jap’ina project commissioned recordings by Luzmila. that featured local musicians performing both traditional Quechua songs and those specially composed by Luzmila. Many of the songs take a pedagogical approach; they testify to the importance of clean drinking water (Ch’uwa yaku kawsaypuni, “Crystal Clear Water Is Life”), the self-actualizing power of literacy (Riqsisqa kasunchik, “We Will Be Recognized”), and the self-assertion of women (Warmikuna yupay-chasqapuni kasunchik, “Women, We Have To Be Respected”). But looking at the Yuyay Jap’ina tapes as a set of instructional songs would be only the narrowest interpretation. Taken in context, the songs are a bold celebration of language and culture. Luzmila Carpio currently lives in Paris and continues to write and perform her songs around the world.

          Thatmanmonkz Sheffield house imprint Shadeleaf drop their eighth release, and it's another solid release.

          Joseph Caserta (now known simply as Caserta) is a DJ / producer based out of Boston, Massachusetts, who has worked with Razor N Tape, Soul Clap Records, Midnight Riot, BBE, and Kon's Star Time imprint.

          'Ricky' is a little slice of traditional East Coast, soundsystem / basement club house. It's a simple but textured workout aimed squarely at the floor, with its lascivious narration and repetitive hook - sweet. On the flip the 'Jeep Mix' harks back to those mid 90s B2 hip hop beats mixes othat all Big Apple house twelves included.

          Digging royalty and a bona-fide master of the art of the re-edit Kon handles the first of the B-side re-rubs. Stripping things back a little and letting the bump and hustle ride to an altogether more hypnotic and atmospheric destination, the weight of the bass on this reminds me of Mood II Swing etc.

          Finally label boss Thatmanmonkz adds more than a little Sheffield grit to proceedings, amping the rhythm section, laying out a deadly bassline and aiming for the proper Sheffield ravers. Another Shadeleaf sureshot! 

          Johnny Cash

          At Folsom Prison

            "Johnny Cash At Folsom Prison" fully captures Cash's gritty intensity and hard-headed humanity, capturing a high-energy set performed for an equally spirited audience. With a set list tailored for the occasion, Cash focuses on songs dealing with crime and imprisonment, balancing dark subject matter with wry, playful humor. The album opens, appropriately enough, with the venerable "Folsom Prison Blues," and continues with such outlaw anthems as "Cocaine Blues," "25 Minutes to Go, "The Wall" and "I Got Stripes," alongside such Cash classics as "I Still Miss Someone," "Orange Blossom Special" and "Jackson," with the latter track featuring Cash's wife and frequent duet partner June Carter. The album closes on an inspirational note with "Greystone Chapel," a song written by convict Glen Shirley, which Cash and his band learned especially for this show.

            Johnny Cash

            At San Quentin

              Perhaps even more so than its predecessor, "Johnny Cash At San Quentin" captures Cash at his most raw and uninhibited. The artist's raucous rapport with his captive audience is obvious on an inspired mix of Cash classics ("I Walk the Line," "Folsom Prison Blues"), jailhouse ballads ("Starkville City Jail," "San Quentin"), traditional tunes ("Wreck of the Old 97," "There'll Be Peace in the Valley") and well-chosen covers (Bob Dylan's "Wanted Man," the Lovin' Spoonful's "Darling Companion"). The album's most popular track, though, remains the Shel Silverstein-penned novelty number "A Boy Named Sue," which became the biggest hit single of Cash's career.

              FORMAT INFORMATION

              LP Info: 180 gram audio quality "legacy vinyl".

              The Central Executives

              A Walk In The Dark

              The Central Executives. What can we say?

              Not much as it turns out - the generally very forthcoming Golf Channel crew are remaining tight-lipped about the architects of this, frankly mind-blowing debut long-player from this new NYC collective.

              'A Walk In The Dark' is exactly that, a situationist song-sheet and sonic chaperone to guide us through the back street escapism these troubled times demand. From gently over-driven punk funkin' mascara stained hymns, to house that's been thoroughly smudged to the edges of its live music incorporating limits.

              Sitting very comfortably, in a moment of stewed elevation alongside Sound Signature style machine jams, bare bones vocal led improvisations, discordant Arthur Russell moments and the distorted reflections of roots House that run to the very core of the big apple.

              A drop-jaw debut then, that wears its influences proudly, but takes them somewhere entirely new.

              Rhythm Section International proudly presents its 8th offering from local boys Chaos in the CBD. Born in New Zealand, but based in Peckham for the last few years (literally just around the corner from Henry Wu and Bradley Zero), these brothers have made a real mark on the scene in London town. Taking its title from the locale the boys have come to know as home, the record channels a delicate late night energy - equally indebted to the hypnotic incantations of Ron Trent as it is to the hazy suburban atmospheres of Burial. These 4 classic cuts pay homage to deep house in its truest sense - at once sublime, melancholic and meditative. "Trust Is Key" utilizing delicate, emotive piano chords alongside that shuffled, Rhythm Section-patented groove. "Observe" lets the deep jazz influence run riot with upright bass and brush drums supporting the bright piano licks. "Midnight In Peckham" is the sensual money shot which should have the whole of Canavan pool hall united in sweaty, exuberant bliss. Ghostly saxophones cascading through the mix while a straight 4/4 keeps us chugging and a beautiful piano section plays its heart out. "Luxury Motivation" concludes this tight and succinct set with more of the same - playful pianos meeting emotive brass sections and a nigh-on-perfect attention to drum programming. Chaos in the CBD have clearly taken their cue from the mid-west masters of the genre but have not been afraid to let their own influences and environ creep in, and in doing so have created something that is unmistakablely London, Rhythm Section and infact, timeless. Move quick!

              'FW14' is the debut album from Christian Rich AKA DJ and production duo and twin brothers Taiwo and Kehinde Hassan. The album features Vince Staples, JMSN, Goldlink, Sinead Harnett, Niia, the legendary Steve Arrington and more.

              The Nigerian raised, Chicago born, LA-based Christian Rich recently contributed to #1 Billboard albums for Drake, J Cole, Earl Sweatshirt and Childish Gambino, as well as recently producing tracks for Vince Staples’ upcoming album.

              Inspired by their fascination with the future, time travel and the worlds outside our galaxy FW14 is a time stamp for the journey and the start point of exploration. The album’s concept is influenced by Phillip K Dick works "VALIS Trilogy", "We Can Remember It For You Wholesale" and the Christopher Nolan directed sci-fi motion picture, Interstellar. There are interludes that sound like a person traveling in space and time. That person is the main character of the album; the female depicted on the cover standing next to an Audi prepared for her expedition. She is also narrating in the interludes, a nod to the classic 'Midnight Marauders' LP. 'FW14' is the vessel she travels in.

              Staying true to their roots the duo incorporate footwork and hip hop with unique percussion inspired by Nigerian fugi music and Brazilian bossa nova. Taiwo and Kehinde mix bossa style chords with high energy drums and string heavy productions create the sonic experience that is 'FW14'. 

              FORMAT INFORMATION

              LP Info: Heavyweight vinyl. Includes limited edition "Production Mix 2015" CD while stocks last.

              CD Info: Includes limited edition "Production Mix 2015" CD while stocks last.

              Lyn Collins

              Think (About It) / Ain't No Sunshine

              In 2014, Get On Down released the For The People Pt. 1 box set, which featured a selection of heavy funk 45s from James Brown's 1970s imprint People Records, as a celebration of the label and its' most famous singles. Now we're proud to present the five singles available for individual sale, lovingly re-created with visuals taken from the original artwork!

              Lyn Collins had a reputation as one of the strongest hit-makers to come out of People Records, and her R&B smash "Think (About It)" is one of the most enduring to come from James Brown's label. Famed equally for Collins' powerhouse vocals as its frequent sampling in hip-hop and dance tracks, (most prominently the Rob Base & DJ EZ-Rock hit "It Takes Two") it features contributions from Fred Wesley and Brown himself, and is reissued as a standalone single for the first time since 1973. Her powerful and emotional cover of Bill Withers' "Ain't No Sunshine" is featured as the B-side.


              Cowboy Rhythmbox return to Phantasy with a new set of recordings, following last year's celebrated debut two-side, 'We Got The Box' and ‘Rattle’, which gained international DJ support from the likes of Barnt, Carl Craig, Seth Troxler, Roman Flugel, Kim-Ann Foxman, Jackmaster and Lena Willikens, as well as featuring on Erol Alkan's acclaimed Fabriclive 77. Fantasma's distinctive three tracks continue from where Cowboy Rhythmbox left us; a trident forged from the sweat of a thousand lost nights spent dishevelled beneath tarnished mirror balls.

              ‘Fantasma’ takes its cue from early sample fetishists Yello, a compelling, sensual and rather muscular piece of industrial house music underpinned with a series of mesmerising, cavernous breakdowns. This is the sound of a ride on the world's biggest ghost train, the ultimate drug for morbid thrill seekers.

              ‘The Natives Are Having Us For Dinner Tonight’ drops the the tempo, but maintains the intensity. Militant 21st century exotica, heavily percussive fourth world music , an atonal hymn to found sounds and lost souls. A track very much inspired by Nathan's marathon DJ sets at Salon Des Amauters, the cult club in Dussledorf, home to one of the most legendarily open-minded dancefloors on the planet.

              Finally, ‘Latin Sex Change’ melds a primitive drum machine with the sound of metal on metal, while mechanically altered vocal elements assist in creating a brutal and robust DJ tool, bringing aspects of EBM, early Chicago House and exotica to the fore once again.


              "Bound Adam" is the first in a series of reissues by American artist Elysia Crampton (f.k.a. E&E) for Total Stasis record label. Originally self-released in 2011 as digital files, this is its first vinyl pressing. Its three tracks are an ode to the artist's Ford Ranger. 2011 is also the year Ford discontinued the Ranger line. As Crampton says, 'it is a speculative / ontological poem about a relationship with a car.' Sonically, if you imagine the futureproof hydraulics of Jam City or Bok Bok, coupled with that icy frost of Total Fantasy but then given a warming, hippie-friendly edge which recalls a distant Iasos or Brian Eno. Glacial pop ambience for generation i-pod.
              7" vinyl record
              Mastered by Brandon Hocura
              Cover + insert by Felix Lee


              Death And Vanilla

              California Owls EP

                4 track EP cut at 45rpm on green vinyl. 1000 copies worldwide.

                “Sweet psychedelic pop from your new favourite Swedes.. nocturnal track, California Owls is hypnotic, this is dream pop at its absolute best.” i-D

                “Our dreamiest pick this week… "California Owls," pairs reverb-soaked vocals with a harpsichord-like synth that sounds like sunlight filtered through water.” NPR

                “California Owls” could almost be Beach House. At least until it descends into a two-minute cascade of bird noises. Enchanting stuff.” Loud & Quiet

                “Nilsson’s vocals bob in an ocean of reverb on ‘California Owls’ evoke everything from Czech cinema soundtracks to The Velvet Underground channelled through their uniquely distorted lens” Clash

                “California Owls,” a tidy three and a half minutes of airy-pop gorgeousness followed by two more combining chirping birds and tones reminiscent of a distant calliope amidst the reliable retro-futurism.” The Vinyl District

                Following the success of their critically acclaimed ‘To Where The Wild Things Are’ released in May, Death And Vanilla return with EP ‘California Owls’ EP, featuring two non-album tracks. Forming in Malmö, Sweden by Marleen Nilsson and Anders Hansson, Death and Vanilla utilise vintage musical equipment such as vibraphone, organ, mellotron, tremolo guitar and moog, to emulate the sounds of 60s/70s soundtracks, library music, German Krautrock, French Ye-ye pop and 60s psych. They revel in the warmth of older analogue instruments to create a more organic sound, each loose wire and off-kilter noise adding to the rich atmosphere. Creating deliciously enticing soundscapes, full of moody moogs and breathless vocals, their influences are as diverse as their music.

                Passionate about the culture of the 60s/70s, Death And Vanilla have the retro-futuristic edge of Broadcast with Stereolab leanings and the electronic library sounds of the BBC Electronic Workshop. Opulent and timeless, ‘California Owls’ is a reverb soaked spectral-pop song drenched in 60s-psych while the dark and swirling melodies of ‘Follow The Light’ has a ‘Walk Away Renee pace’ (Guardian). Their new EP brings together old songs with the new, much like the samples and the instruments they use, whilst capturing the haunting and wild dreamy experimental edge of ‘To Where The Wild Things Are’.

                Destroyer's Poison Season opens swathed in Hunky Dory strings. Dan Bejar’s a dashboard Bowie surveying four wracked characters—Jesus, Jacob, Judy, Jack—simultaneously Biblical and musical theatre. This bittersweet, Times Square-set fanfare is reprised twice more on the record—first as swaying, saxophone-stoked “street-rock” and then finally as a curtain-closing reverie.

                Broadway Danny Bejar dramatically switches scenes with “Dream Lover,” all Style Council strut and brassy, radio-ready bombast (echoes of The Boo Radleys’ evergreen earworm “Wake Up Boo!”). This being Destroyer, its paramours-on-the-run exuberance is judiciously spiked by his deadpan delivery: “Oh shit, here comes the sun…”

                Like the other DB, Mr. Bejar has long displayed a chameleonic instinct for change while maintaining a unified aesthetic (rather than just pinballing between reference points). No two records sound the same, but they’re always uniquely Destroyer. His latest incarnation often appears to take sonic cues from a distinctly British (usually Scottish, to be precise) strain of sophisti-pop: you might hear traces of Aztec Camera, Prefab Sprout, Orange Juice, or The Blow Monkeys. These songs merge a casual literary brilliance with intense melodic verve, nimble arrangements, and a certain blue-eyed soul sadness.

                Playfully rueful, “Sun in the Sky” foregrounds cryptic lyrical dexterity over pop-classicist strum before gradually left-fielding into rhythmically supple, delirious avant-squall. It’s as if Talk Talk took over a Lloyd Cole show. Originally released on a collaborative EP with electronic maestros Tim Hecker and Loscil (the latter’s drones are retained here), a retooled “Archer on the Beach” suggests Sade swimming in The Blue Nile, smooth-jazz marimba melancholy dilated by ecstatic ambience. Flecked in heady dissonance, elusively alluring, Dan hymns its eponymous “impossible raver on your death bed” while implicitly beckoning the listener: “Careful now, watch your step, in you go.”

                That’s Poison Season in essence: familiar yet mysterious, opaquely accessible. Arch, for sure, but ultimately elevatory.

                STAFF COMMENTS

                Andy says: After the incredible Kapputt, Destroyer change style again but crucially Keep The Tunes!

                FORMAT INFORMATION

                Indies Exclusive LP Info: Limited clear vinyl edition.

                Africa Seven present the third in their series of Manu Dibango re-issues. For your delight this time is 'Home Made', a four tracker of epic African musicianship. Recorded in 1979 the album's bedrock of rhythms was recorded in Nigeria. This creates an infectious and addictive afro-beat / afro-disco groove for the album. Overdubs and mix downs were then carried out in Paris adding layers of sheen and expansive jazz groove. 




                Where To Now? records present Beatrice Dillon’s follow up release to "Blues Dances". This three track 12” sees Beatrice step things up a gear in terms of intricacy, experimenting wildly to add to her already astute palette of timbre and rhythm. "Face A" opens the record with the unmistakable skronk of saxophone cutting and jamming over the skeletal pulse of Beatrice’s signature dubbed out techno landscape. Initially the inclusion of saxophone acts as an aural abstraction or diversion to extract a little freedom from the pumping cavern of dark dub techno punctuated with the mechanical juddering saw-bass. As the piece develops and we become locked into the groove, the inclusion of wild sax trips us up and becomes the focus itself as new levels of complex melodic and rhythmic detail become apparent within this otherwise structurally obedient space. Taking its cues from Rabih Beaini, Miles Davis ‘Big Fun’ era, Dresvn and Keith Hudson, undoubtably "Face A" is a compelling, complex trip; heads down but arms flailing. "Face B" continues the theme but takes the listener deeper into the cavern. Here the concern is more the effects of space within song, a moment where Beatrice allows herself to move away from the floor to find a little more room for playful experimentation. The saxophone is further treated with a plethora of effects to compliment the array of dub signals that scatter and skip around the basin. The record closes with "Sonnier (Walk in the Light)" which strangely manages to feel even jazzier in its components, even in comparison to a pair of tracks riffing on a manipulated free-jazz sax part. It sounds strangely unsure of its world, adding to this whole loosely slung, loping feel which somehow fits amongst the stern, brooding, and efficient synth play. Beatrice masterfully manages to create a piece here that grows in intensity without ever increasing in pace or texture, every drop is intended to stir the listener a little more than the last. There is optimism, harmony and above all - wild groove nestled within Beatrice’s world of mutant shuffle, as I for one love it. Totally alien and of another species perhaps, but Beatrice is on hand to translate and iron out any communication difficulties. Pioneering stuff indeed. 

                Dope Body

                Kunk

                  Since 2008 Dope Body have been refining and redefining their own kind of hard rock music, a sound that has many tributaries flowing into it but one that is definitely coming through a group that could only happen now.

                  Dope Body are in a four-way conversation here, with drums, guitar, bass and vocals all pushing it around. Leaning into the future, mindlessly, just reacting, the jams of ‘Kunk’ are shimmering, alive with a simmering sizzle. Swirling jams that pound and float, cloud-like, associating segmentally like a naturally growing train of thought. ‘Kunk’ rolls forth with funk and flutter, plenty of riffs, stuttering and structure gleaming in the air. In the parade of sounds on display, the crunch of previous album ‘LIFER’’s straight-rock sound comes and goes, as does the impressionism of 2011’s ‘Nupping’ and the thick grind of ‘Natural History’ from 2012.

                  While getting outside the straightjacket of songs, Dope Body still have an inherent way of ordering their chaos. They’re the smart animal in the room, pitting the primal against the tactile and ‘Kunk’ finds them way out in their group brain, extemporizing and making something solid and songlike too.

                  140g vinyl bangers. Not much to say apart that all of us at Piccadilly think this is killler. Must have for fans of twisted house and techno - think early Blawan, Boddika, Tessela and the rawness of Night Slugs 'Club Constructions' series. "Energy" kicks things off in slow, deliberate form. A dark and menacing atmosphere introducing the track before metallic shards lock into action. One of those Surgeon-friendly concentric techno beats reinforces the nuclear power station mentality of this deathly wall-shaker. "Twisted Karma" unloads equal measures of dischord and controlled aggression; making another industrial techno clanger which should get the kids chucking drugs with weird letters down their throats with little personal regard for safety. "Jack Knife" is a very unusual track indeed, and really highlights the potential of this crazed new artist. Hysterics' "Club Constructions" are the closest reference point I can think of - pneumatically powered beats with a disjointed groove sucking all but the last few molecules of air from a tight vacuum. On a big powerful system like Fabric or Liquid Rooms this is gonna absolutely demolish the floor. Brand new freshness from a relatively mysterious source and thoroughly recommended. 

                  If there's one thing better than acid house, it's acid hip-house, cos everyone knows there's nothing better to accompany the 303s than a catchy rap that shoehorns in the rhymes. 'So Let It Be Houze!' was released on Bam Bam's Westbrook imprint in 1988.

                  Written by Mike Dunn and co-produced by Bam Bam all three tracks are truly pioneering acid house benchmarks from Chicago's golden age. EP title track 'So Let It Be Houze!' snaps the 808s, prods a three note synth bassline and lets someone (Dunn? Bam?) do the talking. 'Life Goes On' offers tinkling ivories, a super-funky elastic bassline bounce and jackin' beats. Closing the EP and going for the 3am peakin' clubbers special is 'Magic Feet' - hyped beats, acid and honking synth sax work overtime in the mix - one for the Lucozade crew.

                  Re-released and remastered for 2015 in conjunction with Westbrook Records / Chris "Bam Bam" Westbrook.

                  Durutti Column

                  Another Setting

                  Factory Benelux presents an expanded edition of Another Setting, the third studio album by cult Manchester ensemble The Durutti Column, originally issued in 1983.

                  Another Setting was recorded at Strawberry Studio in Stockport with production by Chris Nagle, a favourite engineer of Martin Hannett. The 11 track album contains several acknowledged Durutti classics, notably haunting instrumental Prayer (burnished with cor anglais by Maunagh Fleming) and The Beggar, an unusually muscular vocal song and probably the closest Vini Reilly has edged to rock music. Elsewhere, Smile in the Crowd would be covered by Depeche Mode mainman Martin Gore on his 1989 solo project Counterfeit.

                  Bonus tracks on FBN 30 CD include exemplary live versions of The Beggar and Bordeaux, plus non-album single I Get Along Without You Very Well, a Hoagy Carmichael cover sung by Lindsay Reade, the former wife of Factory foreman Tony Wilson. Also included are two tracks issued on a highly collectible Japan-only 7” single, Love Fading and For Noriko, as well as Piece for Out of Tune Grande Piano from an earlier EP on Factory Benelux, Deux Triangles.

                  This extended remaster of Another Setting is packaged in a 6 panel digipack on white reverse board, restoring the original cover artwork by Mark Farrow with cover paintings by Jackie Williams.

                  Ebony Cuts

                  Carrie On / Oba Chule

                  Hamburg's mastering maestro and edit extraordinaire returns to Kojak Giant Sounds, following up his 2013 Roy Ayres edit with this swinging two tracker of groove based delights. On the A-side "Carrie On" bursts out the blocks with tough additional drums and a replayed buzzing synth bassline before settling into a swinging jazz influenced groove complete with rasping sax, off kilter piano chords and warm vibraphone licks. Perfect for the warm up, cool down or simply to switch things up a little, this cut perfectly marries the club friendly bottom end thump with sophisticated melodies. On the B-side, the title track plunges us into the psychedelic swirl of an ancient tribal ritual. Ever changing polyrhythms bump, thump and rattle and the additional synth bass throbs through the subs, feeding the dancefloor frenzy while raucous brass and group vocal chants put you slap bang in the middle of the action. Top notch!

                  Faith No More

                  Angel Dust

                    In 1992, after an extensive period of touring, San Franciscan rockers Faith No More released Angel Dust. The album swings between extremes—aggressive and disturbing, but also beautiful and soothing—showing off every facet of the band’s quirky eloquence on such diverse tracks as “Midlife Crisis,” “Jizzlobber,” “R.V.” and “Small Victory.”

                    Celebrating the classic albums that helped establish the band’s vital and visceral musical legacy Rhino Records releases a fantastic 2LP Deluxe Edition of Angel Dust. Featuring the original album and an additional disc packed full of rarities related to the album.

                    Among the tracks featured on the bonus disc is a mix of “Midlife Crisis” by the band’s longtime producer Matt Wallace, a trio of live recordings from a concert in Munich, Germany, as well as covers of the Dead Kennedys’ “Let’s Lynch The Landlord” and the band’s unforgettable take on the Commodores’ “Easy.”

                    FORMAT INFORMATION

                    2xDeluxe LP Info: Double 180 gram vinyl in a gatefold sleeve.

                    Faith No More

                    The Real Thing

                      Like all bands who transcended their time to become cornerstones of an era, Faith No More sounded like nobody else. Their big breakthrough came in 1989 with The Real Thing. Although it was the San Franciscan rockers third studio album it was the first to feature the line-up of Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jim Martin (guitars), and Mike Patton (vocals).

                      Celebrating the classic albums that helped establish the band’s vital and visceral musical legacy Rhino Records releases a fantastic 2LP Deluxe Edition of The Real Thing. Featuring the original album and an additional disc packed full of rarities related to the album.

                      The bonus tracks puts a different spin on the album tracks with remixed versions of “Falling To Pieces,” as well as live performances of “Surprise You’re Dead,” “Underwater Love” and the Black Sabbath classic “War Pigs.”

                      FORMAT INFORMATION

                      2xDeluxe LP Info: 180g vinyl housed in a gatefold sleeve.

                      Fidlar

                      40oz. On Repeat / West Coast

                        Los Angeles band Fidlar announce the release of their double A-side ‘40oz. On Repeat’ / ‘West Coast’ via Wichita Recordings. Both tracks are taken from the band’s sophomore album ‘Too’.

                        The video for ‘40oz. On Repeat’ features visuals directed by Ryan Baxley and has become the must-watch video of the Summer. It is an hilarious ‘Be Kind Rewind’ tribute to past music video masterpieces, sure to conjure loving nostalgia for anyone who came of age during the glory years of MTV’s afternoon video countdown show Total Request Live.

                        ‘West Coast’ was also released to much fanfare, with fans from around the world sending in their own video clips and pictures which will then be made into an alternate video. This was premiered on THUMP, made Annie Mac’s Hottest Record on Radio 1 and has picked up 10 plays in as many days since then on the station.

                        Fidlar are set to make their UK return after their sell out headline appearance at London’s Heaven (tickets went in 3 hours) at Download Festival and a main stage slot at Reading & Leeds.

                        “Fidlar are still sat firmly, two middle fingers up… They’re making music as they see fit and they’re doing it with such conviction that it feels right at home in whatever time it so chooses to inhabit” - DIY

                        “Their most vitriolic work yet” - NME

                        Japanese import business here from the Catune label, who giddily present the first material from Balearic dancefloor supergroup Flying Men. The collaborative vehicle of Japanese import Max Essa and Italian duo Leo Mas & Fabrice, Flying Men touch down on your nearest turntable with a two part 12" special, featuring four sublime mixes of the mighty "Only Love". We're right in the pudding from the get go on this first EP, speeding through the strobe lit underground to the sounds of the "Flying On The Dancefloor Dub". A heads down trance dance reminiscent of The Backwoods or DJ Kaos, this cut flies into the peaktime on the back of a jet propelled acid bassline, full of menacing synth stabs and phasing white noise. Almunian guitar and synthetic brass provide hands in the air melodies before space age synths make a notable appearance in the latter stages. If any of us are lucky enough to see the Idjut Boys play in Japan, I'm certain they'll deploy this rave weapon. Things take a calmer, cooler but no less killer vibe on the flip, as Max, Leo and Fabrice serve up the humid house vibes of the "Jingumae Rooftop Extended Mix". Cicadian guiro adds a tropical touch to the chunky drumtrack, while the vintage house bassline shakes the windows and the wall, locking everything in sight into its timeless groove. Glassy keys deliver some deep dancefloor texture while the synth brass returns to tie the whole thing together. If you dig on early nineties Larry Heard or those recent Far East Recordings reissues, then this is very much the one! Deep and discoid Balearic house tackle already approved by Weatherall, Coyote and Pete Herbert - join the club.

                        The bells sounds for round two of Catune's Flying Men double header, and we find Max Essa, Leo Mas & Fabrice in imperious form with two more mixes of the mighty "Only Love". Once again we're thrust straight into the smoke, strobes and sweat of the peak time on the A-side as the "Balearic Militant Acid Spirit Dub" soars out the speakers with a menacing roar. Powered along by a fierce acid bassline, this stripped back mix drops most of the guitar and brass from the other mixes, opting to keep things dark and deep via trippy echoing percussion, whispering slo mo vocals and occasional bursts of laser guided synth. Skip to the flip and it's a different kettle of fish - specifically, big fish, little fish, cardboard box. The Flying Men top a shoulder rolling Balearic house bassline with fluid piano, spacey synth and rippling guitar while the exuberant percussion rattles away. Sounding a whole lot like a collective memory beamed forward from the second summer of love, this sunkissed dancefloor moment should have ravers of any age smiling and swaying.

                        After three critically acclaimed Top 10 albums, a succession of major awards and a growing list of festival headline sets, Foals will be propelled to bold new heights with the August 28th release of their eagerly anticipated new album ‘What Went Down’. Produced by James Ford (Arctic Monkeys, Florence + the Machine), ‘What Went Down’ is an album that grapples with questions that are a world away from the bland bleatings of homogenised pop: permanence and impermanence; life and death; solitude; vulnerability; intimacy; passion; rage; humanity – weighty issues that make demands of the people creating that music, and of all those who listen to it, too.

                        Sonically, it’s an album that precariously seesaws between primal aggression and naked vulnerability. It’s an approach that delivers a contrast of muscular shocks with the fiery central riff of ‘Snake Oil’ and the menacing percussive march of ‘Albatross’ set against some of the band’s most openly experimentally moments to date such as cocktail of afrobeat and drum machines that underpins ‘Night Swimmers’ and the stripped-back, vocal-led ‘Give It All’. 

                        FORMAT INFORMATION

                        Ltd CD/DVD Info: Deluxe CD/DVD edition featuring full making of film / poolside sessions & official video.

                        Fx Mchn

                        Dunn - Inc. Roman Flugel Remix

                        If you've had your ear close to the ground, you'll no doubt have peeped the subterranean, earth shaking vibrations of Fx Mchn. Fresh from causing that Mancunian Way sinkhole, the producer drops by Transit with one of his most potent system smashers in tow. Previously released on a London Housing Trust edition, "Dunn" is the trippiest, lo-fi warehouse monster you've ever heard, saturated with radioactive filth, weapons grade bass and deranged bells. After the full fat "Dunn" experience you're left needing a breather, and A2 cut "Piter De Vries" is just the ticket, taking you on a space funk journey to the nebulous regions beyond SDC's "Love Quadrant". The groove takes care of your bottom half while the stargazing melodies and whirring fx give your head endless textures to get to grips with. The flipside sees one of house music's most versatile and talented producers, Mr Roman Flugel offer his own acid laced version of the club killing "Dunn". The German takes thing deep, drawing you into the hypnotic slow-burn arrangement before soaking the whole place in thumping bass stabs and white hot acid lines. Don't miss out on a chance to grab this classic from Fx Mchn on vinyl if you missed it first time around. 


                        Gakakirise And EYE

                        Gagakiriseye

                          ‘Gagakiriseye’ is a collaboration between the Japanese noise rock duo Gagakirise and EYE, the legendary founder of Boredoms.

                          Gagakirise are the Tokyo based duo of Sachio Yoshizawa on guitar and Ryo Inoue on drums. They are a major force in the Japanese underground since 2006, having released two albums and a split with Juiceboxxx, as well as touring the US several times as well as Japan with the likes of Black Pus and others.

                          Gagakirise’s music is a reconstruction of rock music, using the basic elements and merging them with other Japanese styles and playing as energetically and as loudly as they can. EYE adds a distinctive percussive and maniacal presence to the proceedings. This is wild, unrestrained music that is boundless in its creativity, color, and hunter for the new. Gagakirise are currently recording their third LP and are playing live throughout Japan as much as possible.

                          ‘Gagakiriseye’ is released as a 7” pressed on virgin vinyl and packaged in a full colour jacket with postcard insert. Exclusively available to independent retailers.

                          This is the first new recording to feature EYE in over five years.

                          Noel Gallagher's High Flying Birds

                          Lock All The Doors

                            This track is the fourth single to be released from the hugely successful second album, ‘Chasing Yesterday’ and is backed by the non-album B-side ‘Here’s A Candle (For Your Birthday Cake)’.

                            Direct from the deepest corner of the southern hemisphere, aka Perth, Western Australia, Good Company Records is a new outlet for the music of the West Coast Underground, born out of four years of parties and a newly-opened specialist record store of the same name.

                            For GCR001, the label have worked with local fishing outfitter Hugo Gerani to offer a grab bag of quality night-time tackle sure to land you the big one!
                            From the deep jacking 'About Face' to the VIP 'Deep Sea Dub' of his classic 'Baited Drum Lines' through to luminescent throbber 'Freeze Action (Desire)', there's something for every condition and skill level.

                            Born on the Aegean Sea but now calling the the Indian Ocean home, in retirement Mr Hugo Gerani supplies local jocks with the very best gear money can't buy - most handmade in his modest atelier - but with this record his products are finally available to discerning deejays worldwide!

                            Holly Golightly

                            Seven Wonders / Nothing Lost

                              “Seven Wonders” is taken from Holly's forthcoming album Slowtown Now! It's backed with an exclusive B-side “Nothing Lost”. Performed by the perfect Holly Golightly band line-up of Bruce Brand (drums), Matt Radford (double bass), Ed Deegan (guitar) and Bradley Burgess (guitar). Though the last decade has seen the London-born singer relocate from the Medway delta to the southern state of Georgia, USA, she returned to Blighty late last year to record a new solo album at London’s Gizzard Studios with Ed Deegan at the controls.Holly first came to musical prominence as a member of Thee Headcoatees, a Billy Childish/Thee Headcoats all-girl splinter group in 1991. Four years later she broke away from the garage punk scene with the release of her debut solo album The Good Things, which featured a mix of folk, early electric blues, & '60s beat influenced rock 'n' roll.

                              It's a template that she's honed over the course of 13 solo albums, along the way impressing celebrity fans such as Jim Jarmusch (Holly's track “Tell Me Now So I Know” featured as the main title theme in his Broken Flowers movie), and most notably Jack White who duetted with Holly on “It's True That We Love One Another”, the final track on the classic White Stripes album Elephant.Though it's been 11 years since her last solo album, Holly's been busy as half of blues/Americana duo Holly Golightly & The Brokeoffs (The Brokeoffs being multi-instrumentalist Lawyer Dave). The pair have released a string of well received albums, and undertaken many tours on both sides of the Atlantic.

                              Though the last decade has seen the London-born singer re-locate from the Medway delta to the southern state of Georgia, USA, she returned to Blighty late last year to record a new solo album at London’s Gizzard Studios with Ed Deegan at the controls. Holly first came to musical prominence as a member of Thee Headcoatees, a Billy Childish/Thee Headcoats all-girl splinter group in 1991. Four years later she broke away from the garage punk scene with the release of her debut solo album The Good Things, which featured a mix of folk, early electric blues, & '60s beat influenced rock 'n' roll.

                              It's a template that she's honed over the course of 13 solo albums, along the way impressing celebrity fans such as Jim Jarmusch (Holly's track “Tell Me Now So I Know” featured as the main title theme in his Broken Flowers movie), and most notably Jack White who duetted with Holly on “It's True That We Love One Another”, the final track on the classic White Stripes album Elephant.Though it's been 11 years since her last solo album, Holly's been busy as half of blues/Americana duo Holly Golightly & The Brokeoffs (The Brokeoffs being multi-instrumentalist Lawyer Dave). The pair have released a string of well received albums, and undertaken many tours on both sides of the Atlantic.

                              Slowtown Now! features 12 songs that will please fans old and new alike performed by the perfect Holly Golightly band line-up of Bruce Brand (drums), Matt Radford (double bass), Ed Deegan (guitar) and Bradley Burgess (guitar). Holly, it's good to have you back!

                              As Gonno celebrates more than a decade at the forefront of the Japanese house & techno scene, it seems about time he got down to business and released a second full length LP. If you've heard any of his releases for the likes of International Feel, Perc Trax or Beats In Space then you'll be well aware of the man's flawless knack for mixing speaker punishing club sonics with machine wrought emotion. For his new album “Remember The Life Is Beautiful” he ressurects a forgotten art and leads us on a musical journey, producing ten tracks that unite Balearic, ambient, techno, house and the spaces inbetween into a mesmerising sonic collage. Even though the LP comes on like a multi-coloured musical trip, switching between rushing peaks and drifting ambience, Gonno manages to inject a story arc into his album that reflects the emotions and feelings we've all been through at some point. And where so many of his contemporaries are slaves to the sampler, Gonno does his thing with 100% original material, hunkering down among the Korgs, Moogs, Roland drum boxes and borrowed guitars and letting it all loose. The result is a triumph or machinery and melody which offers delights for both the DJ and home listener.

                              Raw, crisp, and simply honest 115 bpm organ techno with a distorted soul. Two takes of it featuring a left-handed chord intro so surreal the exposition will softly draw you in before you realise you just got caught in drum loop heaven. This is a white label release with music played from the heart and recorded live straight to L/R on an old used cassette tape. Mastered and cut by Matt & Barry at Alchemy in London. The record comes in a black cover with a handwritten and burgundy RISO printed 120g paper inlay. Will be big for fans of Jamal Moss / Mathematics, LIES, Moot Hut, Magic Mountain High, Ste Spandex / Cerberus Future Technologies - basically all hardware fiddlers throughout the known cosmos!

                              Reactions and reviews:
                              "From the heart of dark ambient comes two slices of fuzzy joy, bringing with it ghosts of fellow travellers from the past: Cabaret Voltaire, This Heat, Nurse with Wound; even the African electronics of Francis Bebey. Still German at it’s core but somehow squeezed into a pipe sticking out of some industrial wasteland in Mecklenburg-Vorpommern and re-appearing in a lay-by just outside Sheffield." (Prof. Jono Podmore)

                              "I am confused. This a record you should listen to. There are simply no words doing it justice." (Thaddeus Herrmann, Radio Fritz Berlin).


                              Jimi Hendrix

                              Atlanta Pop Festival (Live)

                                This is a 16 track 'live' performance from 4th July 1970, featuring all his classic hits & live favourites, recorded in a field just outside the town of Byron, with an estimated audience of 300k-400k!!!

                                The 'Atlanta Pop Festival' was hailed as 'The Southern Woodstock' & is viewed as the last great US Rock Festival. Recorded just 10 weeks before his death, this is seen as one of Hendrix's greatest live recordings. 

                                STAFF COMMENTS

                                Andy says: Famous gig just ten weeks before Jimi's death. Like the Southern version of Woodstock .This gig includes the incredible "Straight Ahead" which was due to be on his next LP.

                                FORMAT INFORMATION

                                2xLP Info: Deluxe 2LP set with 8 page booklet filled with never before seen photos and detailed liner notes. Mastering by Bernie Grundman. Pressed on 180 gram audiophile grade vinyl.

                                CD Info: Includes 24 page booklet filled with never before seen photos and detailed liner notes.

                                As well as creating a surreal and hilarious visual image, the words Willie Hill should flick a switch among the boogie aficionados out there, after all, the man's no stranger to the good ship PPU. Operating out of his Durham, North Carolina production house for nigh on thirty years, Hill has been serving up forward thinking soul to those in the know since the early days. His smooth and swift stepper, "Delicate Rose" found itself on a PPU reissue back in 2010, and original copies of the cut go for a song on the dealer circuit! The material here dates to 1991, but retains that timeless quality you're looking for in the reissue market. On the A-side, "Eternal Love" combines a snapping beat, bubbling bassline and soulful pianos as a fine supporting cast for Willie's passionate vocals. Percussive breaks and dancefloor friendly bells turn up the heat on your feet, keeping you dancing til the dawn. The flip gets kicking with the new jack swing of "Talking On A Funky Note", a breezy bit of Teddy Riley style soul complete with synth brass hits, glistening guitar, drumbox beats and sleazy vocals. It's worth Eddie Murphy making a sequel to Boomerang just to stick this on the soundtrack. Closing cut "Over The Hump" delivers a hit of feelgood modern soul complete with swooning swing lines, buoyant bass and lyrical references to "Movin On Up" and "What's Going On?"

                                As has often been noted, psychedelic music can involve causal links between getting out of it and getting into it. Conversely, expansion of consciousness can be found by heading deep into the roots that a band explores, and journeying to the centre of their inspiration. Thus, a curious paradox is attained, whereby the traditional elements of an outfit’s sound are superseded by them blasting their core vibrations into unchartered territory. Such is the case with the new opus from third-eye visionaries Hills, a dizzying journey that traverses through the band’s origins and beyond to new dimensions.

                                The Gothenburg-based Hills are entering their ninth year of existence, in which they’ve released two full-length albums, the second of which, ‘Master Sleeps’ saw a vinyl outing on Rocket last year. Part of a rich scene in their homestead also including friends and Rocket Recordings label mates Goat, they form the new chapter in a tradition of Swedish psychedelia that found its origins in late-’60s and early ‘70s freakouts and mind-melts by the likes of Baby Grandmothers and Älgarnas Trädgård - not to mention the unholy trinity of Pärson Sound, International Harvester and Träd Gräs och Stenar - before being developed by the likes of The Spacious Mind and Dungen in the last two decades. These inspirations make their mark on ‘Frid’ by journeying inward, via mantric repetition and hip-shaking pulsations as on the ten-minute monolith, ‘ Och Solen Sänkte Sig Röd’, yet they can also lurch into the unknown via the fuzz/wah odysseys of the aptly monikered ‘National Drone’ and the ceremonial exhortations of the closing ‘Death Will Find A Way.’

                                As they also showed recently at a rare and spellbinding appearance at Liverpool International Festival Of Psychedelia, Hills have landed on a rich and intoxicating sound that sidesteps the cliches and humdrum stylistic foibles that often plague modern-day psych, in the process breathing new life into an approach that can sometimes seem in danger of appearing redundant through lack of imagination. ‘Frid’, their most out-of-mind and out-of-sight effort to date, crystallises everything that makes these Scandinavian satyrs stand out from the global herd; adventurous experimentation and fearless hallucinatory intensity, rendered with brass-knuckle fortitude. The end result is 38 minutes that translate into a feast for seasoned crate-diggers and fresh-faced converts alike. There is, indeed, gold in these here Hills.

                                From Chester and Ellesmere Port, their name inspired by a sign for the tennis club in Little Sutton, Hooton Tennis Club grew up together and played in a number of bands with improbable names. While studying at various colleges they speedily recorded some songs to upload with no intention of ever being an actual ‘band’ but early demos soon caught the ears of Heavenly Recordings and by September 2014 the band had signed to the label.

                                Following a UK tour with label-mate H. Hawkline the band entered the studio to start recording their debut album in the early spring of 2015. Inspired by the plug-in-and-play quasi-improvisational approach of Deerhunter and Ariel Pink, the album is the sound of the summer of adolescence slipping into the autumn of adulthood.

                                Here the wit of Kurt Vonnegut and twisted storytelling of Wes Anderson collide to tell tales of banal jobs, relationships, memorable parties and passing characters. Musically melodic, fragile, wonky, witty, poetic and pop (definitely, defiantly pop) the skewed melodies and oddball narratives combine in perfect symbiotic musical harmony, each song a small burst of sunshine to warm the coldest of hearts. Think Teenage Fanclub, Guided By Voices, Randy Newman, Big Star, Silver Jews – but birthed in northern English towns in the 21st century.

                                FORMAT INFORMATION

                                Indies Exclusive LP Info: Limited edition coloured vinyl.

                                John Hulburt

                                Opus III

                                  Guitarist and singer-songwriter Ryley Walker discovered the 1972 private press LP in a Chicago record store, loved what he heard, and teamed with Tompkins Square to produce the reissue.

                                  John Hulburt (1947-2012) was a member of legendary mid-60's Chicago garage rock band The Knaves, whose records were recently reissued by Sundazed.

                                  Opus III showcases his exceptional talent on the acoustic guitar, proving somewhat of an anomaly in a city not known for its solo guitar recordings during this era.Walker writes in his liner notes, "Solo acoustic guitar music was adopted by several in the Berkeley school and the ever expansive roots fanatics in the South, but here in the middle of the country with harsh winters and the landlocked prison of corn fields, it was almost destiny that the amplifier assault of electric blues and controlled chaos of dance music came from the South Side."

                                  Opus III has another notable Chicago connection : It's one of the earliest studio credits for Styx and Ohio Players engineer / producer Barry Mraz. Styx's debut album would also be released in 1972.

                                  The reissue of Opus III includes illuminating liner notes by John Hulburt's sister, Cynthia Fritz; The Knaves' Gene Lubin; and Ryley Walker, as well as vintage photographs. ‘Opus III' Originally Released as Clarence Records CR-003, 1972. Recorded at Plynth Studios, Chicago February/March 1972 Engineer:Barry Mraz

                                  Joy Division

                                  Unknown Pleasures - Black T-Shirt

                                    Standard-fit short sleeve T-shirt.

                                    100% Cotton.


                                    Amid the haste and confusion of the modern world, you need to take comfort wherever you can find it. I'd suggest there's no better place than in the soft, ambient textures of the debut album from July Skies. The solo project of Birmingham musician and Avrocar mainstay Antony Harding, July Skies offers a hazy glimpse of soft focus nostalgia and reassuring melancholy. Composed from a minimal set up of guitar, reverb/delay, occasional keyboard washes and calmly murmured vocals, the twelve pieces on this debut fully envelop you in their fragile beauty, sheltering you from the outside world and allowing you to luxuriate in raw emotion. On its CD only release back in 2002, "Dreaming Of Spires" met with rapturous critical acclaim, garnering comparisons to Duruttti Column's finest work. I'd offer Gigi Masin, Johnny Nash and Suzanne Kraft as ideal companions from recent years. The album consists of twelve delicate dreamlike compositions, each full of heartfelt detail that conjure up images of half-forgotten childhood days, innocence, nature and the English landscape and skies. From the dusky autumnal loss of "Coastal Stations", the swooping delayed melody of "Swallows and Swifts", the late night astronomical delights of "The Night Sky" and "Garden Constellations", this is certainly an album for the quiet moments in life and will delight anyone who is led by the heart. No review would be complete without a mention of "The Softest Kisses", a sublime piece of music much loved by Balearic militant Moonboots. After a truly dire week, I'm gratefully accepting the opportunity to retreat into the shelter of this modern classic.


                                    FORMAT INFORMATION

                                    Ltd LP Info: 180 gram vinyl. Limited to just 300 copies worldwide.

                                    Jungfrau

                                    Nacht

                                      This blinding debut album from Brighton-based psychedelic krautrockers Jungfrau contains six mind-melting tacks that evoke the strident & heady vocal-led swirl of late sixties Jefferson Airplane and the intensity of Jarboe-era Swans, underpinned with the hypnotic rhythmic density of Can and Neu! & splattered all over with searing-hot stabs of furiously heavy Stooges-eque guitar. The soaring ultra-trippy vocal gymnastics of singer Hannah Grasskamp put Jungfrau firmly on the map as one of the most promising and original bands on the psych-rock underground today.

                                      Kim And Leanne

                                      True West

                                        In 1985 The Scientists, Kim Salmon’s Australian post punk band were stranded. On the eve of a major UK tour, their talented, yet difficult drummer Brett Rixon walked out on the band. A number of name “Rock” drummers were hired to replicate Rixon’s parts, however, it never sounded like The Scientists. The last thing this band wanted to do was “Rock”. In 1985, The Scientists' sound was Dark, Primal, Beat Driven, Minimal and Swampy. As important as the Beat was, it couldn't overpower the band. The playing had to be Metronomic and Restrained.
                                        At this time, the band’s tour manager Leanne Cowie secretly purchased Rixon’s drum kit and proceeded to learn the instrument through The Scientists' repertoire.

                                        After a few more failed auditions with what would be viewed by any other band as more than worthy applicants, Leanne was finally asked to join the band. Instantly, The Scientists sounded like The Scientists. With Leanne as Rixon’s replacement, the band was able to tour and record a little longer. However, even with this vital transplant, the band’s days were numbered and by 1987 it was no more.

                                        For the following two decades, Salmon continued to write, record and perform releasing dozens of acclaimed albums with groups as diverse as the Surrealists, Beasts Of Bourbon, Antenna, The Business and the Darling Downs. Moving between Art Rock, Soul, Pop, Punk, Jazz, Electronica and Americana. Meanwhile, The Scientists’ legend grew and the band was being name checked by what would appear to be the entire 90’s Alt-Rock scene. From Mudhoney (who Salmon recorded and album with in the mid 1990s) to The Jon Spencer Blues Explosion, many have been vocal about their love of all things Scientific and their influence can still be heard in modern Indie Garage-Punk. Classic Scientists tracks “Swampland”, “We Had Love” & “Set It On Fire” have now become staples.

                                        As is always the case in rock mythology, it took twenty years of being broken up before anyone would offer The Scientists money to play a show. The newly reformed Scientists (with Leanne on drums) played festivals throughout Europe and Australia. The band finally made their American live debut in 2010 with a one-off show at New York’s All Tomorrow’s Parties festival with the also recently reformed Iggy & The Stooges. At last, American fans were allowed to experience The Scientists’ dirty, swampy, fucked up punk-mess in the flesh.

                                        The Scientists reformation at the beginning of the decade reignited Salmon’s interest in all things Dark & Primitive. Deciding to go with it, Salmon and Cowie entered a Melbourne studio and within a few days, True West was born.

                                        Although Kim & Leanne is a reunion of sorts, True West is not a throw back or a “Happy Days” version of the mid 80s. There is definitely no hairspray and no paisley. Yes, the music is Dark and Primitive but it is most definitely a record made in the now. It would be ridiculous to pretend the last three decades didn't happen!

                                        The material on True West has echoes of the classic Scientists' Swampy sound especially in the tracks "Freudian Slippers" and "Get A Hold Of Your World". And "The Science Test" is another exercise in Minimalism. Salmon plays one note and Cowie plays one beat. It also has an accompanying video is just as strange. "Carry On Baggage" recalls classic Nuggets Garage Punk. They also manage to throw a Rolling Stones cover in "Dead Flowers". But, you have never heard the Stones do anything like this. The album also contains a few hip - hop moments, glam rock and funnily enough a couple of "Rock" songs.

                                        Recommended If You Like: The Scientists, Kim Salmon & The Surrealists, Beasts of Bourbon, Moodists, The Birthday Party.

                                        Black vinyl pressing of 400.

                                        The Kitchen Cinq

                                        When The Rainbow Disappears: An Anthology 1965-68

                                        * Compilation and notes by Alec Palao
                                        * Includes The Kitchen Cinq’s complete LHI sessions, comprising the Everything But album and non-LP singles as well as rare sides by the act’s earlier incarnations as The Illusions and The Y’Alls
                                        * Fully remastered audio with three previously unissued cuts
                                        * Extensive liner notes featuring interviews with Cinq members Jim Parker, Mark Creamer, and Johnny Stark, along with manager Tom Thacker and producer Suzi Jane Hokom

                                        Lee Hazlewood’s LHI flagship group, The Kitchen Cinq, had everything but one elusive factor: success.

                                        Formed as The Illusions (and briefly The Y’alls) in Amarillo, Texas, the group blended garage punk with killer harmonies and a slight sense of the absurd. Picking up steam locally in the mid-‘60s, the members started to think about cracking it on a bigger scale, and, in 1966, moved to LA. “Almost immediately upon arrival, we auditioned for Lee,” says guitarist/vocalist Mark Creamer. “He said, ‘Deal.’" Another of Hazlewood’s coterie, Suzi Jane Hokom, was charged with producing the group, making her a de facto female pioneer in the industry.

                                        By 1968, The Kitchen Cinq issued a total of five impressive singles and one album, Everything But. They recorded a surprisingly vast amount of material, all of which is collected here. Their version of The Beau Brummels' "Still In Love With You Baby" was a regional hit in many cities, but they were still chasing a big hit, and the LA dream was wearing thin. In the end, the industry burned them out: the endless gigging, the radio spots, the long journeys–including an ill-fated East Coast tour that required them to drive from LA to Florida in three days. “I think LA ate the Texas boys; I really feel that way,” says guitarist/vocalist Jim Parker.

                                        The group split in ’68, and the members spread off into bands including Them, rock outfit Armageddon and, eventually, careers in studios. One–temporary member J.D. Souther–has a recurring role on the popular soap opera Nashville. The Kitchen Cinq was just a springboard for each of them, but listening to these overlooked works of beat-pop brilliance, you can’t help but wonder why it didn’t work out for the Texans at the time. Their songs–all of them–live on in this anthology.

                                        There are some things in this world which were just meant to go together; coffee and cream, beer and pizza, Frankie Knuckles and Jamie Principle. When the duo delivered this flawless example of house songwriting back in 1985, no one knew they'd be responsible for a shitload of the essential dance releases, but with glorious hindsight you can see where it all started. Perfectly programmed sequences, swooning synth strings and emotive pads ride a solid rhythm, while Jamie's heartwrenching vocals take your breath away on top. The radio version delivers a short sharp shock of vocal perfection, the club mix bangs harder than Suge Knight and the B-side dub is simply heaven. 
                                        Remastered and re issued for 2015 on Trax. Released in conjunction with the rights holders.

                                        In young Maesa Pullman The Last Hurrah!! mastermind HP Gundersen has found the perfect singer for this ever developing project that is so dear to his heart. After exploring the possibilites of the drone guitar on their debut "Spiritual Non-Believers" and the slightly more song-oriented follow-up "The Beauty Of Fake", HP is back with a third album that dives straight into the heart of classical song traditions and vintage production values, blending elements from country and Americana, classic British pop, psychedelia, blues and a pinch of soul.

                                        HP Gundersen has been a central figure on Bergen´s vibrant music scene for more than three decades, as producer, composer and mentor for many of the city´s artists. As a producer he discovered and nurtured the career of a very young Sondre Lerche, one of Norway´s most successful international exports. As well as Madrugada´s mega-hit "Lift Me" with Ane Brun, he has produced over 50 albums - including Tim Rose´s final album "American Son".

                                        HP names Beatles, early Stones, Tin Pan Alley, cosmic American country... as his life changing musical epiphanies.Maesa Pullman comes from a very musical family and was brought to the attention of HP Gundersen through mutual friends. Also a songwriter, guitarist and pianist, she performs frequently with different musical constellations in Southern California, being a profiled presence in the local roots community. Her cousin Rosa Pullman sings lead on two tracks, "You Ain´t Got Nothing" and "Those Memories". Among the musicians we fine some of Bergen´s finest as well as American guests such as Marty Rifkin on pedal steel, John Thomas on Hammond organ, Kiel Feher on drums and Jason Hiller on bass. 

                                        This 12" Remaster of 4-Track LP only previously available on tape from 2008, sees Lightning Glove churning out a brutal but highly absorbing assault. Filtered vocals, distorted beats and suuuuper slow sirens further adding to the claustrophobic feel. Never dark enough to completely scare you off, but constantly teetering on the edge of something catatonic.

                                        Opener on Side B, "Plasic Zone" is a masterpiece of brooding ambience (Synth pads, actual slow-motion screaming, more sirens?) juxtaposed to a frantic click beat, with reverbed gothic vocal refrains. It's like a distillation of Blackest Ever Black's finest moments, filtered through a oija board and jumped out on from the cupboard ; scared, desolate and ready to fight. 

                                        This journey closes with "Endless tides Of Weathered Soda" No doubt referring to the swashes of tired looking Lilt cans in the spar, is a deep and enthralling final cut, consisting primarily of a degraded voice, over tectonic grinds of synth and distortion and building a befitting but strangely optimistic climax. 

                                        If Ono Tesla / Red For Colour Blind keep bringing us records like this, they could well have a place on every end of year list out there. Highly Recommended. 

                                        Okay. If you're coming to this expecting the usual LIES technoise assault, you're barking up the wrong tree. If, on the other hand, you're in the market for the most eccentric, otherworldly, eurotrash madness captured on tape, this three track of edit action from Lipelis is right up your strasse! Enlisting fellow muscovites Simple Symmetry for the A-side, our intrepid editor gets right into the drug-laced pudding, throwing a painfully obscure Thai vocal over a borderline Balearic, 80s electro-funk / disco backing to create "Weirdshit Xu Paelk". Tribal drum breaks sit next to Caroline Loeb pop fusion keys, while weird dub effects and an eastern chorus make up the rest of the music. Incredibly it still manages to sound like one coherent record, packing maximum punch amid the madness - weirdshit indeed (imagine Compass Point relocated to Phuket). Lipelis is joined by That's A Steal affiliate Emotional Blackmail on "Rumours", a coke-fuelled ballad which manages to tread the fine line between blue eyed soul, jazz fusion and sweatband metal without ever losing its cool. Balearic in the most eclectic sense of the word, this should give the LIES crowd a much needed end of nighter, and provice the beards with a distorto curveball to play next to "Kiss Me All Over" (apologies to Rob Bright). Now, at this stage in proceedings, there isn't much ground Lipelis has left uncovered. Lysergic Brazilian disco, I hear you cry? Of course! "It's Alright" marries a phat acid bassline with tumbling toms, rolling congas, bells, whistles and the sounds of tropicalia, before bursting into a spoken female vocal (a la Musique) and the flourish of AOR disco strings. Mental and essential.

                                        STAFF COMMENTS

                                        Patrick says: The Russian disco mobster comes through with eurotrash brilliance, blue eyed soul and tropical acid insanity that's a million miles away from the usual LIES tackle.

                                        Afro-cosmic originator Beppe Loda returns to the Oscillator imprint for the second volume of his "Obscure Cuts" series. While the great man is currently a resident at Berlin's Oscillator imprint, the four obscure edits on this weird wax were favourites on the floor at the legendary Typhoon club. Raiding his archives for a quartet of Eastern influenced Italian disco tracks, Loda hits us with a truly mindwarping selection of space age sounds. First up "Arabian Dance" sees solar winds whoosh over a menacing bassline while scratchy guitars tell of 1001 Arabian Nights. This desert disco banger merges ancient folk sounds born out of the sand with the sci fi sounds of the future to create a jam so otherworldy it could have leap out of the Stargate. "Music Maker" gallops into view on horseback like the bastard child of Harry Thumann, Ennio Morricone and Nese Karabocek and the forefather of Lindstrom and Prins Thomas' "Turkish Delight". The sequenced bassline takes us into the cosmos before the swooping strings and accoustic guitar turn things into a galactic spaghetti western. On the flipside, "Mustafa" grows from a psychedelic flute melody to a funked up concoction of clav, bass and beats topped by chanted vocals and growls. Proper afro-cosmic madness! Last but not least, the Instrumental Edit of "Sandstorm" utilises a hypnotic bassline to lock the dancefloor into a trance, before opening out into an organic disco groove complete with an expansive and cinematic orchestral arrangement. Grandiose and slightly unhinged, this is yet more evidence why Loda and Baldelli were wy ahead of their time.

                                        Melé

                                        Ambience / UFO'z

                                        Set to smash the summer and beyond, Mele debuts his single, 'Ambience' on Redlight's highly acclaimed label Lobster Boy Records. With its wailing female diva vocals and a hefty, bumpin' drum groove, this could be classic 1990s Todd Terry or Masters At Work at their most tribal. Arriving on vinyl just in time for (Notting Hill) Carnival, this bass / house bomb is sure to create a roadblock at the right soundsystem. Flipside cut 'UFO'z' gives the riddim a broken, swinging touch, and replaces the diva with some little green men. With a residency on the Diplo and Friends, Radio 1 show and support for the track from Gorgon City, Disclosure, Tiga, Jackmaster, Skream, Redlight and Annie Mac, Mele has created a soon-to-be sought after dance formula, and exercised the production of a track that cannot fail to make people move.

                                        Method Man

                                        The Meth Lab

                                        It’s been nearly a decade since the world was treated to new official music from celebrated rapper and pop-culture icon, Method Man. The Wu-Tang Clan’s most successful member is getting back to music with his new album ‘The Meth Lab’ via Hanz On Music / Tommy Boy (Ghostface Killah / Sheek Louch). Recorded in Staten Island and featuring lifelong cohorts and SI residents Redman, Raekwon, Hanz On, Streetlife, and Inspectah Deck, along with Uncle Murda, Cory Gunz, and Mack Wilds. The album features production from Ron Browz, Allah Mathematics, J57, and 4th Disciple and is exactly what his fans have been craving - 17 new and gritty tracks dripping with Mef’s lyrically imaginative, deliberate and laid-back style.

                                        FORMAT INFORMATION

                                        2xLtd LP Info: 2LP is limited and pressed on clear blue virgin vinyl in gatefold sleeve.

                                        Mr Fingers

                                        Washing Machine / Can You Feel It / Beyond The Clouds

                                        Trax pull the rabbit out of the hat and reissue the greatest house record of all time, complete with the iconic centre label that defined dance music for so many years. Actually, let me change that, "Can You Feel It?" isn't the greatest house record of all time, it's the greatest record of all time. End of. The heartbreaking combination of those huge emotive pads and that stunning square bassline have changed lives for nearly thirty years now, and I don't think they'll ever stop. This is a magical record, perfect in its simplicity and subtlety, with Larry Heard's masterful syncopated percussion giving you a different nuance every time you hear it. Stunning! And there's more! Back in '86, Trax had the dancers in mind and bumped "Can You Feel It?" to the A2, giving the floor oriented "Washing Machine" top billing. Officially the first record Theo Parrish ever bought, and an enduring classic of the Chicago house scene, the pyschotic and hypnotic force of "Washing Machine" is just as powerful now as it was back in the day. Considering he'd already delivered the defining peak timer and end of nighter on this single, I guess old Larry thought he may as well nail the after hours game as well with the blissful deep house of "Beyond The Clouds", a mellow and melancholic nodder with all of his trademark touches present and correct. Musical perfection for £7.99, sounds good to me. 


                                        Natural Information Society & Bitchin Bajas

                                        Automaginary

                                          Natural Information Society, like their partners in time Bitchin Bajas, live their days in flow motion. Rhythms come and go, instruments sound as a means to a greater end. Music is the way of their life. Their debut convergence, ‘Automaginary’, feels as natural as it does inevitable.

                                          Both groups were first heard in 2010, both emerging from solo endeavours that accessed a vastness, more room than a single player might ultimately fill. Joshua Abrams, a questing bassist and improviser by trade, with an extensive discography of solo recordings and collaborations with a wide variety of artists, formed Natural Information Society as a conduit for the live presentation of his guimbri music. Abrams had delved into the sound of the three-stringed Gnawan lute on his own, intrigued by the instrument’s ability to provide melodic and rhythmic direction with a minimal, hypnotic palette. Over several years, many shows and three albums, Natural Information Society has featured some of Chicago’s most remarkable musicians while developing a sound situating Abrams’ compositions and playing in diverse sonic settings, amid ultimately consonant sounds from electric guitar, percussion, harmonium, reed instruments, bells, vibes and synthesizer. Over this time a core line up has emerged, featuring Frank Rosaly, Emmett Kelly, Ben Boye, Mikel Avery and Lisa Alvarado.

                                          Cooper Crain of CAVE started Bitchin Bajas to explore his fascination with vintage electronics and recording techniques. With Dan Quinlivan on keyboards as well, Bitchin Bajas’ discography has explored a range of dynamic approaches, producing various proportions of atmosphere and soundtrack that move from becalmed stasis to synthetic beat-building with a prescient liquidity. Of late Rob Frye has joined, blowing reed and woodwind texture and naturally adding only the necessary ripple to their slow-unfurling ecstatic process.

                                          Both Natural Information Society and Bitchin Bajas are in pursuit of the unconscious in their musical expression and through their independent methods both have ridden the wind to unseen places, using the playing as the carpet that will take them there. A multitude of influences swarm amoebically in their sounds, from the mud of ancient Afro-groove to 20thcentury classical austerity, from the clatter of freedom jazz to the 4/4 of Kraut and disco and fusion beyond.

                                          Wrapped up in a screen-printed jacket by visual artist Lisa Alvarado, whose aesthetic sense is a touchstone for the vision of Natural Information Society.

                                          New Order

                                          Substance - White T-Shirt

                                            Standard-fit short sleeve T-shirt. 

                                            A unique combination of 2 key radio broadcast performances by Nirvana one being virtually the first performance at Olympia Community radio June 1987.

                                            The band played under the name Skid Row with Aaron Burckhard on drums. John Goodmanson booked this performance after seeing the band play at the 05/01/87 show. The performance took place on a combination of the radio shows "Out Of Order" and "Toy Train Crash Backside Bone Beefcake." A recording of this performance served as the band's first demo.

                                            The Second when the band were in their stride, having issued Bleach to a globally receptive audience. Recordings restored and re-mastered Liner notes by author Dick Porter Presented in card gatefold sleeve. 

                                            Two and a half years on from the sad and untimely passing of Ewan Robertson aka Offshore, his label Big Dada can announce the release of a last album from the Aberdonian musician and designer. The tracks for the new record, 'Offshore' were all more or less completed before his death in 2012. His family, his partner and the label have pieced the album together as close to his original intentions as they could manage, to create a suite of music which in its openness, beauty, humour and joyfulness, both hints at what Ewan could have gone on to achieve, and celebrates what a unique and lovely human being and musician he was.

                                            In addition, artists including Ikonika, Amon Tobin, Blue Daisy, Slugabed, Mamiko Moto, Lockah and Enchanté have all contributed remixes and expect videos and photographs from long time collaborators.

                                            All profits from the record are to go to the Marfan Trust at his family's choosing, it was the condition that affected Ewan.

                                            The sadness felt by those who knew and loved Ewan is still very real, but this record is a chance to celebrate what a unique and talented individual he was.

                                            FORMAT INFORMATION

                                            LP Info: Limited blue and white marbled vinyl pressing. Comes in colour sleeve with printed outer PVC sleeve.

                                            After taking a lengthy hiatus from studio duties, Balearic legend Jose Padilla made his return this year at the request of International Feel. Surrounded by the collective production talent of Jan Schulte, Mark Barrott, Tornado Wallace and Telephones, Padilla delivered the perfect modern Balearic LP, providing the soundtrack to beachlife and nightlife, sunrise and sunset. Following the blueprint laid out by previous singles from the LP, this 12" hits us with a special extended mix from the track's co-producer (in this case Telephones) as well as a fresh remix from NY house legend Dream 2 Science and two versions from French filter disco king I:Cube. Telephones' 12" Version of "Lollipop" sees the Scandinavian producer expand on the transportive dancefloor magic of the original to treat us to a sublime summer house anthem, driven into the clouds by rippling percussion and a rolling groove. The floating melody plays out on keyboard, piano and guitar, while bright sequences ring out across the bright blue sky. I:Cube takes the controls on the A2, discarding most of the original instrumentation in favour of a moodier club cut complete with detuned deep house pads, growling bass and the occasional blast of Padilla's chirruping melody. The B-side opens with a rare appearance from reclusive NYC house dons Dream 2 Science, who compliment the summery melodies of the original with trademark vibraphone and shuffling hats to create a warm and groovesome rework perfect for the terrace or outdoor party. I:Cube takes the reins once more on the B2 with a minimal arrangement of the track played through naive synth sounds, bossa rhythms and autoharp riffs. The result is a gentle journey through cosmic realms, perfect for post club listening. 


                                            Parquet Courts / Joey Pizza Slice

                                            Split

                                              Split release by 2 of our very favorite artists, Parquet Courts & Joey Pizza Slice. Each one has long admired the other's catalog through various incarnations & releases. Now they get a chance to cover one another's songs. Joey Pizza Slice gives tribute to the angular churn of Parquay Court's "Picture of Health", while Parquay Courts turn Joey's synth pop masterpiece "Pretty Girls" into the perfect summer jam that will get you stoked about cloudy days & being ignored all the time - it's just a matter of perspective after all!

                                              Elvis Presley

                                              30 No. 1 Hits

                                                It does what it says on the tin! 30 number ones covering his entire career, from Heartbreak Hotel and Hound Dog through to Suspicious Minds and Way Down.

                                                180 gram audio quality legacy vinyl.

                                                FORMAT INFORMATION

                                                2xLP Info: 180 gram audio quality legacy vinyl.

                                                Elvis Presley

                                                Elvis Presley

                                                  Elvis' classic debut album. 

                                                  FORMAT INFORMATION

                                                  2xLP Info: 180 gram audio quality legacy vinyl.

                                                  1080p make their much anticipated vinyl debut with a special vinyl edition of Project Pablo's "I Want To Believe". "I Want To Believe" was originally released as a cassette on 1080p earlier this year, and the vinyl edition features a special mix of "Follow It Up", alongside another three of the original cassette's lushest jams. The Dandana mix of "Follow It Up" commences proceedings with a very sun-blushed, laid back house shuffle instantly reminiscent of PSS's "The Glass" from May. Crisp analogue drum machines, lush organ / synthesizer patches and bright aesthetic make this ideal music to warm up the floor. "Movin' Out" is up next with tough, compressed conga rhythms collaged onto another familiar soundbed of sumptious pads and velvety goodness. The track evolves into a bit of a banger when the crashing hats and rampant house beats are introduced and provide the EP's first ecstatic dancefloor moment. "Always" opens the flip with more compressed percussion ricocheting violently against the kick. Like a stoned version of Ron Trent's "Electric Blue" series - this one meanders on and on through xylophone-led passages into droning synths and back again, touching the sun as it does so. Most excellent. "Why, Though?" concludes and for me they've saved the best till last. Twangy acid lines, powerful square bass and a syncopated drum program make this a real tasty number, primed and ready to turn heads and contort bodies out on't floor. They've even included that unique sound ident off the first Pender Street Steppers record ("Bubble World") - see if you can spot it!  Obviously, Project Pablo is from Vancouver, you must have clocked this  by now and this first vinyl release from 1080p sees the BC natives join the hallowed ranks of the 'coolest place in dance music right now'. Official. 

                                                  This isn't just recommended if you like Mood Hut / Jack J or the Pender Street Steppers - it's absolutely essential! Very limited copies!

                                                  Rahaan drops another three edits from the soulful end of the disco street. "Mr Bumpman" takes Jackie Beavers' rare soul-funk 45 "Mr. Bump Man (Give Me A Hand)" and extends it out to a full length 12" edit. Packed with energetic dancefloor rhythms (the original is from 1975, so just on the cusp of disco), funky guitar licks and raw soul vocals, this is a must. "Be Thankful" sees the producer tackle The Intruders' 1975 version of jazz-funk standard "Be Thankful For What You've Got", using the extra percussive punch to perfectly tailor those gorgeous melodies to the dancefloor. Last but not least, "So Good" sees Rahaan go in hard on Michael White's jazz funk odyssey, resulting in a fresh finale for the fleet footed. Altogether now..."Beat That Shit Rahaan!"

                                                  Rega

                                                  RP1 Turntable - Cool Dark Grey Colour

                                                    Designed and engineered to achieve outstanding performance way beyond the expectations of a product at this price point.

                                                    Excellent build quality, reliability and ease of use combine to make a product which will offer a lifetime of musical enjoyment. Omitting all the usual gimmicks allows us to concentrate the manufacturing costs on the high quality parts necessary to reproduce records accurately.

                                                    Using a manual speed change rather than an automatic mechanism, eliminates speed inconsistencies and reduces wear of the drive belt. The money we save is spent across the design including a new hand assembled RB101 tonearm, precision main bearing, phenolic resin platter and a high quality low vibration motor which would normally be used on a turntable costing two or three times the amount.

                                                    The minimalist design of the Rega RP1 and the use of extremely high quality components ensure that this turntable will last for many years. The RP1 is the first in a new generation of Rega turntables offering far greater performance than their predecessors.

                                                    We are confident the performance of this amazing new product will impress you. Rest assured the only thing entry level about the RP1 is the price!

                                                    The all new completely British-made RP1 features:

                                                    Brand new Rega RB101 tonearm.
                                                    Precision main bearing and sub-platter assembly.
                                                    High quality low vibration motor.
                                                    All new Phenolic resin flywheel effect platter for excellent speed stability.
                                                    Rega Carbon moving magnet cartridge.
                                                    Rega sound quality at an unrivalled price. 

                                                    After seducing people around the world with the future classic "Into The Sun" on Local Talks OneOffs label and footwork anthems on "Don't Believe" released on Studio Barnhus it's now time to present "Daybreak" or as Tooli described the track the first time he heard it "It's like listening to "Deep Burnt" Part 2". Perhaps it was the jetlag (Tooli arrived in NYC the very same day Henry sent it) or the fact that it's a straight forward deep track with lush strings and no fuzz included. It's up to you to decide. For remix duties label boss Tooli was brave enough to have a go himself and recorded some piano chords and strings. On the flip is where the real magic happens - Parkway Records head honcho Mark Seven, delivers a remix that takes you on a journey and a half. It's deep, got tons of percussions and lures you into afro territory. If Body and Soul was still around this one would peak on a Sunday afternoon. 

                                                    Sydney’s Royal Headache burst into view back in 2011 upon the release of their self-titled album, an adrenaline shot of melodic energy and heart-on-sleeve romanticism that immediately lit up listeners home and away. They dug deep, and took their blinding live show on the road throughout North America and Australia, culminating in a series of opening dates for the Black Keys on their home continent.

                                                    Following a period of rest and reflection, and a recent performance at Sydney’s Opera House, Royal Headache is ready to ride once more. Their new album is called High and injects even more soul and passion into the breakneck formula that became synonymous with Royal Headache. If their first album was akin to a courtship, think of High as the romance. Not just on the level of two people falling in love, but a romance with the qualities of pop music that make Royal Headache who they are and inform what they do: eternal optimism, wistful beauty and interlocking presentation that evolves from four guys singing on a street corner to speed-addled rock, and all the brightness and darkness in between, teetering between stability and chaos and well-aware of how unsteady their footing might be. The amount of emotion and range of Shogun’s vocals and the whip-smart counterpoint provided by the band -- drummer Shortty, guitarist Law, and bassist Joe -- present a dash through decades of pop history, recombining not just the music but all of the feelings of pain and joy elicited from audiences, supercharged and ready to explode once more. Shogun’s voice and lyrics aren’t so much a secret weapon in Royal Headache’s arsenal as they are the front line, happiness and hurt soaring above the songs, driving home all the feelings within.

                                                    Fresh heat from the city that never sleeps here, as Schatzi open their account with a quartet of edit action guaranteed to cause absolute mayhem on the floor. Opening cut "Hands Up In The Air" joins the dots between the ballroom and the warehouse as our mystery editor chops and drops Candi's "You Got The Love" acapella over some tumbling toms, snapping claps and a thumping kick. Sparse, percussive and hard hitting, this is a dynamite tool to throw over anything and everything. Next up, "You're So Right For Me" sees our editor sticking the scalpel into Eastside Connection's glam and glitzy disco stroller of the same name. As well as providing a much needed EQ tweak to the bottom end, a tasty bit of arrangement gives this one the extended dancefloor impact it always deserved, without a single ounce of flab. Flip the disc and undo a couple of buttons, things are about to get steamy. "Perfect Love Affair" accelerates from the filthy french of the intro into a stomping disco driver complete with chunky pianos, sweeping strings wah guitar a heavyweight bass. The Schatzi crew take the Constellation Orchestra original to the moon and back, doubling the length and upping the intensity, resulting in a grade A disco destroyer in the COMBI mode - nothing short of an A-list disco edit! Last but not least, our new friends tickle more than our fancy with a velvet, satin and lace slow burner that's sexy as hell. Slick guitar lines weave between soft strings and sensual moans as the simple beat and deep bassline roll on, moving things from the dancefloor to the bedroom. Ooh la la.


                                                    Edit & Dub Records Tokyo present two unreleased killers from proto house legend and Zanzibar, Better Days and Cheetah resident Tee Scott. If the name's new to you, I suggest you dig out all your favourite 80s dancefloor jams and take a peek at the production credits, because this guy lent his mix and engineering expertise to the best and brightest of the day. Make no mistake, you're dealing with a genius here. Up first we hear Tee's unreleased extended edit of Sergio Medes' "I'll Tell You" (total classic alert!), a sweltering tropical dancefloor jam, alive with steel drums, funk grooves and disco vocals. Tee shows his innate knowledge of dancefloor dynamics on this one, constantly switching between the breaks, chorus, verse and middle eight to create a dub disco masterpiece which will keep any dancefloor on its toes. This killer is followed by the abstract boogie of "Diamond Dub", a Tee Scott original which was only available to a few luminaries at the time. The kind of loosey goosey boogie cut that set the blueprint for the likes of Metro Area and Maurice Fulton, this piano led groover sees the producer utilise a squelching bassline, sharp rhythm guitar, dubby percussion and a space ae synth solo on the way to club nirvana. Larry Levan used to cane both cuts at Paradise Garage, so you know we're talking class here.


                                                    FORMAT INFORMATION

                                                    12" Info: Limited single sided 12"

                                                    Seahawks & Eddie C Present

                                                    Sky Party EP

                                                    Canadian groove expert Eddie C teams up with Britain's famed cosmic yachtsmen Seahawks on this Red Motorbike 12", soothing us with a typically lush two tracker of dreamy innerspace travel music. "Say Hello To Love" opens proceedings with a head bobbing funk breakbeat and porch-swing double bassline (presumably Eddie's doing) before blissed out pads, twinkling harp and yacht friendly guitars enter proceedings taking us to a fantasy island where you can smoke the palm trees and drink in the sun. Just as we're settling in our deck chair, cocktail in hand, Eddie takes the baton and injects the track with a snipped Rhodes lick, beatdown house beat and more of the sample magic he's made his trademark. Truly the sum of its parts! Over on the B-side we plunge into the nebulae and take in the luxuriant beauty of the cosmic majesty. Interstellar whale song, drifting pads and ambient tones wash over the mind and body like a cool solar wind until the gentle rattle of organic percussion carries us through a dimensional wormhole. As we pass onto the other side, a steady one-note bass, subdued kick and hissing percussion replaces the cosmic with the kosmische, suspending us in the perpetual motion of a Tangerine Dream. Phasing synths, sweeping pads and dubby fx work their magic before the celestial choir lifts our souls into exaltation. This is music Carl Sagan would smoke weed to, music that swirls and flutters through rays of light reflected by the sheen on this production.

                                                    Factory Benelux presents a deluxe double disc edition of Always Now, the debut album by cult Factory Records group Section 25, produced by legendary sonic architect Martin Hannett in 1981.

                                                    Recorded as a trio at Pink Floyd’s Britannia Row studio in London, Always Now combined austere post-punk rhythms with elements of Can, Krautrock and modern psychedelia. Key tracks include Friendly Fires, Dirty Disco and New Horizon, along with non-albums singles Charnel Ground, Je Veux Ton Amour and Girls Don’t Count – the latter produced by Ian Curtis and Rob Gretton (of Joy Division).

                                                    Disc 2 offers a wealth of fascinating extra tracks, all previously unreleased. These include a John Peel session from January 1981, a complete live show professionally recorded at Groningen (Netherlands) in October 1980, and alternate versions of several album tracks newly re-mastered from the original quarter-inch tapes.

                                                    This new Factory Benelux 2xCD edition is housed in a miniature version of the folding pochette wallet designed by Peter Saville - famously one of the most expensive sleeves produced by Factory.

                                                    “One of the best albums Britain's second city has unleashed” (Uncut); “In 1980 their bass-driven mantras were thoughtlessly dismissed as second-rate Joy Division, but hindsight judges them more kindly. The wind-dried skeins of their blasted guitar harmonics and skimped electronics gauntly cling to the songs’ skeletal frames. With telltale titles like Babies in the Bardo their Buddhist interests hang heavy over these early stirrings. But, combining a bass-led drone with a characteristic groaning vocal, Charnel Ground succinctly pins down Section 25's pre-disco appeal” (The Wire)


                                                    Silicon is Kody Nielson, a songwriter, producer and visual artist from Auckland, New Zealand, formerly of cult Flying Nun band The Mint Chicks, a group he started with his brother Ruban - now of Unknown Mortal Orchestra.

                                                    ‘Personal Computer’ is a seductive electronic pop record that pits Nielson’s brilliant soul, funk and disco influenced songwriting against a backdrop of extra-terrestrial noir sonics, calling to mind the varied likes of Flying Lotus, Panda Bear and Portishead in the process.

                                                    FORMAT INFORMATION

                                                    Indies Exclusive LP Info: Exclusive deluxe LP edition features a bonus 28 page book of original art prints including material from a forthcoming international exhibition by Kody Nielson.

                                                    Ska Face

                                                    Instant Karma

                                                      Revitalising the Ska and 2Tone classics of The Specials, Madness, The Selecter, The Beat and Bad Manners plus many others from the late 70s and early 80s, Blackpool 10-piece band Ska Face sparked a 2Tone revival across the north of England. Not content with just playing the songs of their contemporaries, the boys have been writing songs of their own as well as adapting a select number of recordings for the purists.

                                                      Fronted by the enigmatic Tony Montana and featuring a phenomenal four-piece brass section, Ska Face pack a punch from the first note. With a rhythm section as tight as Alberto’s wallet and lead licks that compliment the music perfectly.

                                                      Four-track EP 'Instant Karma' features 3 tracks penned by the band as well as featuring a re-work of a Desmond Dekker classic 'This Woman'.

                                                      Ska Face

                                                      That Difficult First Album

                                                        Revitalising the Ska and 2Tone classics of The Specials, Madness, The Selecter, The Beat and Bad Manners plus many others from the late 70s and early 80s, Blackpool 10-piece band Ska Face sparked a 2Tone revival across the north of England. Not content with just playing the songs of their contemporaries, the boys have been writing songs of their own as well as adapting a select number of recordings for the purists.

                                                        Fronted by the enigmatic Tony Montana and featuring a phenomenal four-piece brass section, Ska Face pack a punch from the first note. With a rhythm section as tight as Alberto’s wallet and lead licks that compliment the music perfectly.

                                                        *LIMITED REPRESS OF THIS DOWNBEAT CLASSIC**
                                                        The first release on the new Downbeat label comes from Chi-Town with Specter. Specter is Andres Ordoñez, the owner of Tetrode Music, a cult label from Chicago, that with only three releases has become a reference point for many techno / house heads nowadays. The EP offers up four hypnotic deep tech-edged house tracks with the influence of Mr Fingers clearly evident throughout. It's atmospheric mid-tempo house that represents perfectly the sound of Downbeat. Full of radiant pad swells, organic percussion and eyes-down vibe throughout this is beautifully deep house music, the very epitome of the genre and what seems to be lost in most of today's soulless copycats. Majestic stuff that disappeared as quickly as it arrived first time round, making this a highly sought after slab or wax. Now's you get a second chance to own this iconic record. Recommended. 


                                                        FORMAT INFORMATION

                                                        12" Info: Limited hand-stamped white label.

                                                        Another boogie classic from the West End vaults. New York legend Tee Scott provides the mixes here, with vocal and instrumental versions on this official remastered replica reissue.

                                                        From the simple beginnings of a clock ticking, via the hooky keyboard line, this is a stone cold slap-bass electro-funk masterpiece from 1981. The A-side comes with strong female / male interplay, while the flip features the full instro, which breaks down into a bass, drum and fluttering, acidic synth groove.

                                                        “Different things are happening in my life now, so there is no doubt that it will be a very different album.” - Mark Kozelek

                                                        ‘Universal Themes’ includes ‘The Possum’, a nineminute track featuring Sonic Youth drummer Steve Shelley about dead possums and hanging out with Godflesh.

                                                        Guitars and vocals by Mark Kozelek. Percussion by Steve Shelley.

                                                        Recorded in San Francisco, 2014 / 2015. Additional recording in Hoboken, 2015.

                                                        Get ready for the goosebumps! Salsoul hit the archives and reissue this total boogie classic in all its spine tingling majesty. If you're in the know, then this is already in your basket, but if it's new to you, I'd suggest you read on. Originally released in 1983 by New Jersey vocal trio Surface, "Falling In Love" is arguably the greatest boogie-soul record ever written. The deep MiniMoog bassline, crisp 808 beat, occasional flute trills and luxurious keys are perfectly arranged, expertly played and brilliantly produced. Bernard Jackson's vocal performance is worth the entry fee alone, soaring over the music straight into your soul. Simply sublime - every home should have one. This remastered reissue contains the full Shep Pettibone 12" mix and DJ friendly instrumental.

                                                        Tamaryn’s first two full-lengths (2010’s The Waves and 2012’s Tender New Signs) stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful, gorgeous, thrilling tapestries of guitar-based textures) as what they weren’t (simplistic, trendy, disposable signposts made to be broken). With Cranekiss, Tamaryn emerges from her past in a way that’s inviting, warm-blooded, and shockingly direct. She’s made a big record, loaded with samples and synth triggers, the result of long nights grinding it out at the Brooklyn studio Gary’s Electric,on her own and with Weekend’s Shaun Durkan, and producer Jorge Elbrecht (Violens, Lansing-Dreiden).

                                                        With Cranekiss her sonic palette has exploded with maniacal abandon, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear, drawing influences from the feelings that fell out of her. Lyrically, this is Tamaryn’s most personal collection of songs to date, and Elbrecht has placed her voice front and center across the entire record. Cranekiss explores dark rock, dance pop, and glistening melancholy with a uniformly commanding presence across it all, in stormy, unsettled brushstrokes that apply pressure behind Tamaryn’s words.

                                                        Cranekiss represents a long journey, and a new phase - a blood-red kaleidoscope of desire and late night abandon, a bold step forward.

                                                        FORMAT INFORMATION

                                                        Indies Exclusive LP Info: Indie exclusive LP version on black vinyl with 24 page booklet.

                                                        A trio of Belgians - Marc Moulin, Dan Lacksman and Michel Moers - recorded one of the finest post-Kraftwerk pieces of electronic disco in the form of "Moskow Diskow". It influenced a generation and helped forge the emergence of techno by young producers such as Carl Craig, who went on to remix it in the late 90s. This JDC reissue 12" has the full length club mix from 1985 plus the two original bilingual versions. Classic early 80's electrodisco from madcap Belgians Telex. Essential for all house and techno lovers really not to mention anyone with a penchant for Italo disco or Belgium new beat. An absolute classic, now available for all. Highly recommended. 

                                                        Tempelhof & Gigi Masin

                                                        Hoshi Remixed - Inc. Ptaki / Balearic Gabba Soundsystem / Reverso 68 / Luminodisco Remix

                                                        Hell Yeah follow up their killer Telespazio remix package (repress coming soon!) by giving Tempelhof & Gigi Masin's Piccadilly favourite and modern classic "Hoshi" the same treatment. In original form, "Hoshi" was a blissed out collage of ambient textures, Balearic grooves and slow motion jazz, and now the creme of the current production crop up the tempo and add some percussive spice to bring it closer to the dancefloor. Graduating top of the Very Polish class, Ptaki have gone from strength to strengh over the last couple of years and their gorgeous remix of "Bow Down" is further evidence of their melodic expertise. Handling the fragile, floating chords of the original with lightness and care, the Polish duo deliver a sumptuous Balearic gem which swells and soars out the speakers like theme to a healthier, happier and more wholesome Twin Peaks. The label's in house and off kilter production team, Balearic Gabba Sound System follow on, flipping "Buena Onda" into a deep bit of sunset disco with glowing arps, elastic drums and sweeping strings. If New Order had made music for cocaine loving European playboys and millionaire heiresses rather than E'd up Mancs, it would probably have sounded a lot like this! The sun kissed romanticism continues on the flip as long time Balearic stars Pete Herbert and Phil Mison don their Reverso 68 moniker to take "Red Venus" for a spin under the full moon. Lush pads and cute stabs sway under the full effect of percolating drums, while a trademark bassline sends spiritual vibrations through your whole body in this perfect example of Balearic house. Lastly, Hell Yeah regular Luminodisco gets a little more broken up and experimental with his dishevelled but soulful version of "My Velvet Book". The Italian producer combines the original's jazzzy keys with slouchy hip hop rhythms and trippy effects to deliver a groove filled cut which sounds like a one off studio collab between Don Carlos and Kruder & Dorfmeister. The original LP won plaudits from the top rung of the international Balearic brotherhood and this remix EP's garnering similar reviews. Finally you'll be able to bring those gorgeous melodies from the afternoon terrace to the late night dancefloor.


                                                        The Ting Tings

                                                        The BXY Remixes

                                                        Very limited remix 12" on heavyweight vinyl - 250 copies for the UK. A pre- and post-club tune, remixed by up and coming Spanish DJ, BXY (pronounced 'Boixy').

                                                        Boixy has been DJing since he was 16. Originally from Elche (Spain) and later based in London, where he perfected his craft before moving to the clubbing Mecca of the world - Ibiza. Here he took up residency as sound engineer at Sonic Vista Studios, while DJing around the underground parties.

                                                        When The Ting Tings were making their third album at Sonic Vista and looking for a DJ to tour with them, they were introduced to the eclectic Boixy, who shared his remix ideas and they snapped him up for their 2014 world tour.

                                                        BXY is currently working on his debut solo material as well as co-producing new material with the Ting Tings, and working on remixes for Alt-J, and Heavy Mellow & Speak

                                                        Torpor

                                                        From Nothing Comes Everything

                                                          London-based Torpor pack a ferocious punch with a six-track debut album that has wowed the underground community. While they have been embraced by the vibrant UK sludge and doom scene, Torpor present something that is a little different. This is the sound of a merciless rhythm section raised on 90s post-hardcore and noise-metal, a guitarist who seamlessly blends massive tones, bleak atmospherics and metallic riffing and a vocalist who leaps from searing hardcore fury to devastating catharsis. Their brutal debut should particularly please those who appreciate Will Haven, Neurosis, Black Sun and Thou.

                                                          Ron Trent

                                                          Tribute To Ron Hardy

                                                          Rush Hour come through with a proper treat for the real deep house heads here, giving Ron Trent's previously CD only dedication to the late great Ron Hardy the fat 12" pressing it always deserved. Originally released on the soulful house master's 2009 CD "Dance Classic", this nine minute tribute to the most fearless, innovative and slightly insane character in the rich house music tapestry became a firm favourite within the house community - after all, we all pray at Ron Hardy's alter. Trent builds a deep mid tempo groove from growling synth bass and a beat up drum box, pulling us into his hypnotic world, before preaching his gospel. Amen!

                                                          Dwight Twilley Band

                                                          Firefly / Living In The City

                                                            HoZac Archival is back with our second 7” single from the Dwight Twilley Band vault, this time with two sparklingly powerful rockers, the first time for both on vinyl, culled from the Great Lost Twilley Album, and thrust onto a 45rpm disc for your pleasure. By now you don’t even need to second guess the raw power of the Dwight Twilley/Phil Seymour connection, and with that warm early Summer breeze wafting through your open windows, it’s clear that these good times belong to this sound, and this sound is right at your fingertips. The two tracks are from 1980 and 1977 respectively and deliver that impossibly tight pop sound you just can’t get enough of, the kind that can turn a small outdoor get together into a raging party, and the kind that can turn a bad day into yesterday’s news.

                                                            “Firefly” is yet another would-be hit which should have been resting at the top of the charts in 1980, yet contractual complications as well as inner turmoil knocked it out of contention, despite the appearance of the Cowsills’ Susan Cowsill on backup vocals, and one of the catchiest choruses in their entire catalog. Either way, we’ve got it here on the single that it always should have been, and backing up that massive hit is the uproarious lost 1977 track “Living’ In the City” with Phil Seymour on lead vocals, and some of the wildest backup vocals these guys ever laid down on tape, a true party going on if there ever was one, and yet another smashing pop hit you won’t tire of hearing any time soon. City Rock defined? Most definitely, and there’s nothing like a smash hit single from the Dwight Twilley Band to kick your summer into gear.

                                                            Recommended If You Like: Cheap Trick, Big Star, Tom Petty, Michael Pagliaro, T.Rex, Badfinger, Raspberries, Artful Dodger, Sidewinders, Pezband.

                                                            FORMAT INFORMATION

                                                            Ltd 7" Info: 1st press Black edition of 500 copies.

                                                            Unouzbeck & Venturi

                                                            Houmous Pous Tous

                                                            French duo Unouzbeck & Venturi make their vinyl debut with a pair of psychedelic disco groovers for the already essential Ostra Discos imprint. Following the lead of De Los Miedos, the producers dive into the dusty crates at the back of an Istanbul poundshop and pilfer a couple of choice cuts to season and serve. On the A-side, "Manjula Doll" sees les amis in proper snake charming mode, looping a mysterious bassline and some souq shaking percussion into a hypnotic groove that'll hold you transfixed. The ever present organ drones away nicely before some interdimensional synths prompt a well deserved dancefloor freakout. On the flipside, "Mumbay Disco Sensation" whirls us into the impassioned frenzy of the ceremonial dancefloor via a collection of organic percussion, vocal chanting and wah guitar. As the track gains momentum, the echo-laden lead hints at dub, before a killer sitar riff lifts us to another level. A superb debut from the Frenchmen, and another must have release from Ostra Discos.


                                                            The Vaccines

                                                            20/20

                                                              New, Ltd 7" Vinyl single, taken from the Top 3 album "English Graffiti".


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