A treat for anyone who does their dancing at the soulful end of the spectrum here, as house legend Ron Trent takes on executive production duties for this sumptuous serving of modern jazz-funk. Drawing inspiration from the likes of Atmosphere, Dinosaur L and Raw Silk, and in the good company of Ron Trent and Jonesy, multi-instrumental maestro Jared Hines took to the studio and laid down five body moving, soul soothing tracks inflected with just a touch of the power cosmic. Opening cut "Mother Confessor" sees the ensemble lock the dial on an intergalactic broadcast of jazz-funk classics, riffing on the "Dancing In Outer Space" bassline and "Wood, Brass and Steel" melody, while the backmasked vocal and thick film of cosmic slop provide their own psychedelic shimmer. Next up, our sonic explorers harness the synthetic majesty of a lost West End classic for the dubbed out disco/boogie sounds of "The Gift", a fast paced peak timer which bounds out the stacks like a Francois K mix of a Sharon Redd stormer. "Nicci" rounds out the A-side with an emotive chord progression and some wild guitar solos whilst retaining the full phat funk of the previous two cuts. Over on the flipside, "People's Palace (Devotion)" sees A Band Called Flash set phasers for stun and head off on a intergalactic dub disco excursion complete with head fucking fx, killer rhythm breaks and a euphoric 'loveboat' chorus. Last but by no means least, "Sliph" offers a low slung take on the kind of bass heavy jazz funk the Parisians jacked for the first wave of French Touch. If the on point percussion and infectious bassline weren't enough to get fingers a-popping and feet a-stomping, then Andrew Zhang's outrageous rhodes solo should take you to Cloud Nine. It's already getting major props from Piccadilly staff Michael and Patch and is set to fly off the shelves, so don't dilly dally.

Acid Mothers Temple & The Melting Paraiso U.F.O.


    In typically fine form, The Acid Mothers Temple and The Melting Pairaiso UFO have delivered another smoker to Important Records. Double LP pressed in an edition of 1000 copies. Benzaiten is an In C style homage to the the classic Osamu Kitajima record of the same name. The Acid Mothers Temple covers the title track and reprise using Kitajima's original composition as a departure point to explore the outer realms of AMT territory. Further instrumental explorations reveal textures of the original composition while launching out further into the cosmic domain. Numerous Acid Mothers original tracks are scattered in between. Benzaiten! 

    Air Formation

    Were We Ever Here

      Very limited 12" (250) on heavyweight coloured vinyl (transparent orange with blue spots).

      "Were We Ever Here' is the first new material from Air Formation since reforming in 2014. Loosely based around the group of songs they were working on in 2010 before their split, the band worked on the EP in secret, stating "We thought it would be a more exciting, organic, experience if we just got on with it un-announced and released it as fast as we could." Air Formation formed in 2000, long before their spiritual forebears Slowdive and Loop were once again considered acceptable influences, and gained a devoted following for their albums Daylight Storms and Nothing To Wish For (Nothing to Lose). Their incendiary live show also saw them share stages with the likes of Vessels and Efterklang. Ten years on, the swathes of feedback and distortion are all present and correct, while adding surprising new touches, such as swooping New Order synths. Slow-building opener 'I Could Stay' comes to life in a swooning burst of fuzzed-up bass and hyperactive Ride-like drums. Closing track 'The Wasted Days' takes the entire EP into another gear, shifting from kinetic drone-pop to expansive post-rock territory, bringing this record to a close in a shower of noise The band's spark has returned. With a vengeance.

      "Being at an Albion gig is like entering a Bedouin tent and smelling the scent of an exotic spice for the first time, At that point you can't imagine living without it for the rest of your life."

      The psychedelic disco Viking is back. Master crate digger Albion is a DJ who doesn't merely take you on another drum journey, but adds an extra dimension where preconceptions don't apply. It can take a while to get used to it, but sophistication never went out of style; it just took more than three decades to catch up. When the coin finally dropped, Albion was there to pick it up. When it comes to the Mixtura series Albion always opens up new ground. He only selects the finest cuts for our table like "Burning Disco" We here sexy sultry voice from a man who probably has a very large moustache "Don't you know I'm dancing like an eagle in sky, people always ask me why?" onto "Flamingo" Synths play in tandem with guitar and flute glides though a delay without a care in the world, add the horns and sexy porno voice and you got a winner. "Mustang" Is about letting the good times roll, Freaky disco biscuits with dash of rock? Yes please.


      Magic College

        Allusondrugs in partnership with the excellent folks at Too Pure are proud to bestow upon the universe a double-A-side 7” single. This attractive slab of purple vinyl contains the tracks ‘Magic College’ and ‘Her Crown’ which were recorded in the band’s hometown of Castleford, Yorkshire in June of this year.

        Allusondrugs formed in the summer of 2012. Since then, their very individual take on a melding of psych-pop-grunge has caught the eyes and ears of the likes of Kerrang, Rock Sound and Radio One, as well as audiences across the UK. Late 2014 / early 2015 saw the band building a solid live fan-base following high-profile support tours and shows with Enter Shikari, Marmozets, Lonely The Brave and Pulled Apart By Horses. An extensive period of headline touring through April / May and a packed festival season across the summer has only seen the buzz continue to build. Allusondrugs have thus far released a brace of download only singles, a CD / digital EP and a handful of hand-painted super-limited-edition single releases (now long gone and much-sought-after), and are pleased to add a Too Pure Single Club 7” to the catalogue.


        Same For Me - Inc. Junior Fairplay Remix

        (Emotional) Especial welcomes the mysterious Alphonse to the label. Last seen by his crew dancing atop a bus, Alphonse was re-discovered on the outskirts of Letchlade, down the bottom of an abandoned traveller site in a delapidated caravan with just the clothes he was dressed in, clutching an armful of reel-to-reel masters, a pack of 20 B&H and 1 can of Strongbow, Alphonse's story is one of party obsessive gone AWOL. Mumbling periodically, words deciphered and names dropped (Frome, Stroud and whisper it, Castlemorton) led to rehabitlation, a bath, shave and slowly sharing his musical knowledge. Here he is able to share his experiences by making music of the future. 'Same For Me' starts with stern intent, all hats, kick and fx to the max, a Fantazia of expression, before toms and 808 snap and the sermon begins. But wait, where is the bass? Boom! Dubwise subs squeeze ribs while flute lifts minds skywards. To bring this in to the Emotional fold, Junior Fairplay was given the tapes to show what he could do. The most subtle start lulls us in to a sense of "Is that it? There must be more". And there is more: the track keeps on building before Fairplay breaks things down with a heavyweight dub section, then slaps us around the face with some old school jungle breaks. 

        Amateur Best

        The Gleaners

        Amateur Best is the alias of Birmingham-based ‘personal pop’ musician, songwriter and producer Joe Flory.

        After releasing debut album ‘No Thrills’ via Double Denim Records (Empress Of, Tei Shi, Kero Kero Bonito) in 2013, Amateur Best returns with ‘The Gleaners’, his second full length, via Brille Records (The Knife, Gwilym Gold, John Wizards).

        The result of three years writing and recording, the 10 tracks that make up ‘The Gleaners’ straddle the fine line between outright ecstasy and muted melancholy. Initially envisioned as a concept album about a charity shop-bought doll’s house, it mutated into a full-on dance record.

        ‘The Gleaners’ is testament both to Flory’s commitment to making music on his own terms and to the sheer joys of making music full stop.



          London-based Anteros release their eponymous debut single on 25 September on Regal. The band were formed earlier this year by songwriters Laura Hayden and Josh Rumble. “The track is about us coming to terms with moving to London”, explains front-woman Laura. “Although it’s big and busy it can be a confusing and lonely city. The single is about us coming to grasp with growing-up and balancing love with fears, dreams and ambitions. Our name Anteros was birthed from the statue with the same name that sits in the middle of the beating heart of London.”

          Olafur Arnalds & Nils Frahm


            Ólafur Arnalds and Nils Frahm reveal third collaborative EP titled ‘Loon’ via joint website – following on from their recent surprise 7” record store release ‘Life Story Love And Glory’ and 12” reissue of 2012’s ‘Stare’.

            Containing five synthesiser-led pieces, ‘Loon’ was recorded in autumn 2014 across five days at Nils’s Durton Studio in Berlin, and continues on from the ambient sounds of ‘Stare’ but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

            Like on ‘Stare’, their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint website together with the launch of an intimate 45-minute studio film titled ‘Trance Frendz’, featuring another seven improvisations.

            “Nils got some new synths and we thought we’d try them out. We loved them so much that we didn’t actually end up using anything else to make these songs.” – Ólafur Arnalds

            “When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. ‘Loon’ is almost a blurry memory of these times. In other words, it is what I’d like to remember that music sounded like back then. In fact it sounded probably really cheesy.” – Nils Frahm.

            A stunning survey of the 1970s heyday of this great Japanese singer and countercultural icon. Deep-indigo, dead-of-night enka, folk and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarised versions of Oscar Brown Jr and Bessie Smith collide with big-band experiments alongside Shuji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. Hotly recommended.

            William Basinski + Richard Chartier


              Divertissement is the third collaborative full length from minimalist composer William Basinski and sound artist Richard Chartier.The duo utilize electronics, piano, tape-loops and short wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts. Pressed in an edition of 500 on transparent ochre vinyl with beautiful cover drawings by artist James Elaine.

              William Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California. Employing obsolete technology and analogue tape loops, his haunting and melancholy soundscapes explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. The Temporary Residence deluxe LP box-set reissue from 2012 was awarded best re-issue of the year and a score of 10 on Pitchfork. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold out crowds around the world.

              Most recently, Basinski was chosen by Music Director, Antony Hegarty to create music for the new Robert Wilson opera, The Life and Death of Marina Abramovic which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013. Orchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and La Batie Festival in Geneva, Switzerland. Basinski is currently touring the world in support of Cascade and The Deluge, his latest works which will be released in Spring 2015 on 2062/USA.

              Richard Chartier (b.1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art which has been termed both "microsound" and Neo-Modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Chartier's sound works/installations have been presented in galleries and museums internationally including the 2002's Whitney Biennial and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History's collection of 19th-Century acoustic apparatus for scientific demonstration. 

              Big Black


                Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. ‘Lungs’, the first Big Black release, was recorded by Steve on a borrowed 4-track. He played everything on the EP himself, except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass and Santiago Durango (also Naked Raygun) joined them on guitar.

                In 1983, together with live drummer Pat Byrne, they recorded the ‘Bulldozer’ EP. By 1984, the band had done some touring and recorded the ‘Racer X’ EP and the start of the ‘Il Duce’ 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley.

                In 1985, Big Black recorded their first full-length, ‘Atomizer’, as well as finishing the ‘Il Duce’ 7”. ‘Atomizer’ was released in 1986 along with the release of the ‘Hammer Party’ compilation CD.

                In 1987, the ‘Headache’ EP and ‘Heartbeat’ 7” were released. That same year, the band recorded and released the 7” of ‘The Model’ / ‘He’s A Whore’ as well as their second full-length album, ‘Songs About Fucking’. They toured extensively (for Big Black) and they broke up.

                Available again on vinyl, now including digital download coupon.

                Blitzen Trapper has built a solid reputation as a band unafraid to take chances. Incorporating a vast array of influences, they have released albums that touch on indie folk/rock, roots, art rock, alt country, psychedelia and pop, while maintaining a sound that is distinctly Blitzen Trapper. On their new studio effort, the group’s years of experimentation and experience have come full circle, culminating in their strongest, most cohesive work to date with the career milestone, All Across This Land.

                All Across This Land once again confirms that Blitzen Trapper possess the unique ability to create thoughtful, melodic, finely crafted songs on one hand, and deliver full throttle, infectious rock on the other. From the opening riff of the title track, this is quite evident as it unfolds into a flurry of guitars, bass and drums. The band also eases back, on the semi-autobiographical “Mystery and Wonder”, for example. The track’s reflective and nostalgic tone was inspired by the band’s beginnings, the chemistry that develops over time and the music they have created though the years.

                While the album features some of Earley’s finest songs to date, the rest of his bandmate’s performances – Eric Menteer (guitar), Michael Van Pelt (bass), Marty Marquis (guitar/keys), Brian Adrian Koch (drums) – elevate each track thus taking Blitzen Trapper to their highest artistic peak yet.

                The Bluetones

                Slight Return

                  2015 marks the year of the bands’ 20th anniversary and the group are set to take off on their (set-to-sell-out) reunion UK tour, spanning two weeks. Of which, this 7” record shall be made available to fans. These never-before released demo tracks from one of Britpops’ most popular bands are brought to you exclusively through Acid Jazz Records on 7” vinyl, finished with The Bluetones Reunion Tour 2015 inspired artwork. The bands’ biggest single Slight Return is the opening track for this double-A side. The track went to #2 in the UK charts and is a firm favourite with Bluetones fans and at Mark Morriss live shows. Now, 20 years after its initial release fans can hear the “demo” version of their favourite track.

                  Backed with “No.11” (aka Bluetonic) which was the bands’ first ever single, which was released back in 1995. Slight Return / No. 11 will be available to purchase on the bands’ tour and will be easily recognizable as it uses the same artwork as the bands’ tour poster. We wanted to create a real connection between the tour and this release.

                  David Bowie

                  Space Oddity - 40th Anniversary 7" Picture Disc

                    This release marks the 40th anniversary of David Bowie’s first ever #1 single in the UK.

                    A Side image from the David Bowie Archive / AA Side photo by Vernon Dewhurst



                      BOYSETSFIRE are a phenomenon, and the latest chapter of their success story reads: FAMILY! FREEDOM! FORWARD!

                      Boysetsfire is not just any band, and its fans are not just any fans. Boysetsfire is perhaps the most successful example of how an uncompromising Heartcore sound, an irrepressible will and unbeatable stamina can move mountains and mobilize the masses.

                      There is a good reason why the new album is self-titled. It is the final result of a fight for freedom that lasted years and a reawakening of all the strengths within the band, combined with the power of the close bonds between its members. The focus is on their own abilities, something that was not always easy for front man Nathan Gray, Chad Istvan, Joshua Latshaw, Chris Rakus and their German bassist Robert Ehrenbrand. The captivating euphoria that has been building around the band from Delaware/USA for years has been channeled into thirteen songs that contrast with the rage of the previous album, with rousing optimism seeping from every pore. You could say that the eponymous album is the light-hearted sister of the brooding “While a Nation Sleeps”.

                      While he was in the studio, front man Nathan Gray was delirious with joy and sounded more enthusiastic than in any previous interview: “This album has quickly become one of my favorites we’ve ever done, and I am dying to get it out there. In albums past, we’ve talked a lot about all the terrible things going on in this world, and this time, we’ve focused a lot on sort of overcoming all of that. It’s a much more positive vibe. Musically, there are some incredible, huge sounds on this album. It’s very much us.”

                      And Boysetsfire haven’t missed the opportunity to accompany their rebirth with a new look. The snake, which gives the album’s artwork a touch of mystery, is a symbol of that renewal.

                      The first track, “Savage Blood”, opens the album with an unbelievable energy that breaks down barriers. It features the crushing sound the world has come to expect from Boysetsfire, but with a level of intensity the band has rarely achieved before. The anger that has defined many of the post-hardcore veterans’ albums is combined with catchy hooks: Typically atypical Boysetsfire!

                      “One Match”, the first single from the album and perhaps the most unforgettable tune since the band’s smash hit “rookie”, makes it clear that it is a blazing torch that will light a thousand others in dark times. Despite the track’s accessibility, its lovingly crafted details show that the band has the talent to take a huge step forward in terms of songwriting on their sixth album.

                      “Torches to Paradise”, which is an explosive force in a philosophical band like Boysetsfire, whose members have very different beliefs, has a very special meaning for bassist Robert Ehrenbrand in particular: “To me it is about freeing myself from the burden of dogma and the imposed slavery of illusions brought upon us by society, religion and mind control… setting fire to “paradise” (aka the illusion) we free ourselves and become what we truly can be, a self-empowered and free thinking, loving entity.”

                      This self-produced and released album deserves even more respect when you consider the band’s turbulent past: Originally formed in 1994, Boysetsfire was as good as dead about five years ago, when its members put the shards of an almost failed career back together, risking a reunion. The post-hardcore pioneers from Delaware/USA, who helped shape the genre with their albums “After the Eulogy” and “Tomorrow Come Today”, both released around the millennium, were victims of the music industry’s demise and the failed attempt to work with a major label affiliated record company.

                      That brave comeback in early 2013 was based completely on the principle of self-determination and culminated in the release of their most successful album to date, “While a Nation Sleeps”, on the indie label End Hits Records, which their closest confidante had quickly established in cooperation with the band. What followed should be entered in the encyclopedia of hardcore under “P” for “Phoenix from the ashes”.

                      The album was a sensation, entering the German charts at #22 in 2013, and was followed by sold-out tours, headline appearances at Rock Am Ring and Rock Im Park (together with Metallica in 2014), an anniversary tour that included three packed shows in major European cities, and finally the Family First Festival, which has been organized by Boysetsfire themselves and sold out in just a few weeks (August 21, 2015 in Cologne, capacity 4000).

                      Stanley Brinks And The Wave Pictures

                      My Ass

                      Stanley Brinks is joined by The Wave Pictures for their new record ‘My Ass’, the follow up to last year’s ‘Gin’, and their fourth album together. After ‘Gin’ Brinks wasted no time in taking The Wave Pictures straight back to the studio, bright and early, the morning after the final show of their tour, to ensure they lost none of the fire still burning in their hearts from the final night’s drinks. Three playful days and twelve loose, jazzy, tracks later, with Brinks making salubrious use of his new penny-whistle and the assembled studio choir of friends hanging out, embraced into the recordings, he had his camel, ‘My Ass’.

                      ‘My Ass’ is an album born out of Brinks’ life on the road, life as an outsider. It is a celebration of new drinking companions, in new bars, in new towns, every night. The memories of loved ones left at home, of places you can smoke inside and drink warm beer through the night. The shows that you wish could last forever. That island in the sun that keeps bringing you back ‘Wakefield’, the first single has a jazzy flowing bass driving a day in the life of Brinks on tour: a sense of togetherness, a touch of sax and the knowledge that love will act as a shield against all evil. ‘Berlin’ is yet another anthemic Brinks sing-along. Its airy ambivalence celebrates both the freedom and the ensuing pressures of his beloved adoptive hometown.

                      Stanley Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singersongwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin.

                      The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

                      The Wave Pictures are David Tattersall, Franic Rozycki and Jonny ‘Huddersfield’ Helm. Formed in 1998 when Franic and David lived in a village called Wymeswold, the band played with several drummers until Jonny became a permanent member in 2003 replacing Hugh J Noble. In the beginning the band learned to play together by covering Jonathan Richman songs but soon David was writing lots of original material.

                      " interesting and occasionally excellent collection." Drowned In Sound.

                      "....lo-fi delight, with cutesy low-key ballads and pop classics.." - The Line Of Best Fit.

                      FORMAT INFORMATION

                      LP Info: Camel coloured vinyl with download.

                      Captain Beefheart And The Magic Band

                      Clear Spot

                      One of Captain Beefhearts more accessible albums, but it's not to the detriment of the 'Beefheart' sound. Includes classics such as "Big Eyed Beans From Venus".

                      FORMAT INFORMATION

                      LP Info: 180 gram high-definition premium virgin vinyl pressing for super fidelity. Limited edition classic LP.

                      Captain Beefheart And The Magic Band

                      Lick My Decals Off, Baby

                      Coming hot on the heels of the huge classic album "Trout Mask Replica", this is cited by many Beefheart fans as their favourite album. In the same 'experimental' style of "Trout Mask Replica" but based around a more coherent 'song' structure. Essential obviously!!!!!

                      FORMAT INFORMATION

                      LP Info: 180 gram high-definition premium virgin vinyl pressing for super fidelity. Limited edition classic LP.

                      Captain Beefheart

                      The Spotlight Kid

                      A slower blusier classic from 1972 similar in style to "Clear Spot", includes classic such as "I'm Gonna Booglarize You Baby" and "Grow Fins".

                      FORMAT INFORMATION

                      LP Info: 180 gram high-definition premium virgin vinyl pressing for super fidelity. Limited edition classic LP.

                      Michael Chapman


                        In recent years, the revered British guitarist and songwriter has seen his classic Harvest records from the 70's reissued by Light In the Attic, and he's toured with Bill Callahan, Kurt Vile, Thurston Moore and Bonnie "Prince" Billy. On the eve of the Fully Qualified Survivor's 75th birthday, 'Fish' finds Chapman vital as ever. Tompkins Square also released Chapman's 2010 double CD 'Trainsong : Guitar Compositions 1967-2010' and a tribute album, 'Oh Michael, Look What You've Done : Friends Play Michael Chapman' featuring Hiss Golden Messenger, William Tyler, Lucinda Williams and Thurston Moore among others.

                        "The footnotes and legends that line Chapman's 40-year career are the stuff of thick biographies and fireside storytelling sessions." – PITCHFORK 


                        Entheogen - Inc. A Guy Called Gerald / Unknown Unknown Remixes

                        Charolastras are a group of experimental electronic musicians with a keen interest in ancient rituals involving dance.

                        In many cultures from the past, music and dance were closely tied with shamanism, spirituality and even combat. These traditions continue today in some parts of the world where music isn't solely for entertainment, as is often the case in our modern Western society.

                        The group's goal is to spread a message of peace and unity with their music. This intention is evident in the blissful ethereal textures used in their mellifluous productions. But their sound can also have a harder edge that evokes conflict, not calm.

                        This is all by design because, as Charolastras like to point out, 'sometimes you have to fight for peace'.

                        'Entheogen' (“generating the divine within") builds from a faint murmur into a delicately woven bed of syncopated electronic parts before being anchored by sub bass. Thunderous drums then penetrate the soundscape and the track takes off.

                        What ultimately manifests is a timeless hybrid of Schooly D, Orbital, The Future Sound of London and Jon Hopkins.

                        The legend that is A Guy Called Gerald rarely ever remixes other people's material. So it's a real privilege that he's broken with tradition and created a dark, bass heavy version of Entheogen for Blackout '77.

                        His tough minimal remix is aimed straight at the dance floor. Charolastras' label mates Unknown Unknowns have also delivered a remix which retains the melodic feel of the
                        original but blends it with their own contemporary style.

                        FORMAT INFORMATION

                        12" Info: Pressed on Red Vinyl in a full Picture Sleeve...


                        Women's Rights

                          Childbirth are a supergroup in the sense its members are all in other hit bands (Julia Shapiro of Chastity Belt, Bree McKenna of Tacocat, Stacy Peck of Pony Time) and also that they do good for the world while in costume.

                          Childbirth’s forthcoming album, ‘Women’s Rights’, is wet-your-pants funny - subject matter includes a trashy friend bringing coke to a baby shower (‘Baby Bump’), characteristics that warrant an instant ‘swipe left’ on Tinder (‘Siri, Open Tinder’) and dating vapid IT douches (‘Tech Bro’).

                          Lyrics on ‘Women’s Rights’ are highly quotable - from ‘Tech Bro’: “I’ll let you explain feminism to me / If I can use your HD TV.” Like the majority of effective political art, ‘Women’s Rights’ shows rather than tells. The songs describe what is messed up in the world so evocatively that it needs no commentary and always has a biting sense of humour.

                          “Catchy, crass, and f*cking hilarious.” - Pitchfork

                          “As charged and vital and absolutely withering as circa-2014 punk rock can possibly be, and it’s very funny, too.” - Stereogum

                          FORMAT INFORMATION

                          Ltd LP Info: LP pressed on washing up glove yellow vinyl! Includes digital download code and printed innersleeves.

                          Here Euros talks us through the making of his new album. A track will be included on Uncut's covermounted cd in time for the release.

                          Back in April my parents very kindly agreed to go on holiday for a week so that I could take over their house in Pembrokeshire to record my eleventh album 'Sweetheart'. My biggest concern with recording in a house was of getting complaints from the neighbours. So on the afternoon before the sessions began I called round all the nearby houses in the village to warn them of what was in store and to let them know we'd be finishing around eight every evening. They were very understanding.

                          Whilst I was appeasing the neighbours, Stuart Kidd (drums) was travelling down from Glasgow, Marco Rea (guitar) from Clydebank, Rhydian Jones (bass) from Cardiff and Iwan Morgan (engineering) from London. By early Sunday evening everybody had convened at the house and we watched a bit of a Rambo film. We were ready.

                          The sessions were pretty layed back. There wasn't the same sense of clocking in and out that you get when recording in a proper studio, and as we were all staying in the house there was no travelling to be done. It was just a case of waking up, having breakfast and starting to record. It also helped that the house overlooks the coast – so in stressful moments you could gaze out the window at the Irish sea. I tend to get quite nervous when I'm recording so I did a lot of gazing out the window.

                          With the exception of Laura J Martin's flute and Stuart and Marco's backing vocals, everything was recorded live, including my vocal. It felt good to be singing live with a band again on record. I hadn't done that for a while. Sometimes when you're overdubbing vocals it can bring with it a sense of reconstruction, of trying to recapture a mood. But when you're singing live with a band the feel is captured there and then. You can move with the band and feed off everybody's energy.

                          Recording in the house also meant I could play the piano that the songs had been written on. I've been writing on the same piano for nearly twenty years and although it's featured on two of my solo piano albums 'Ends' and 'Eilaaig', it's never featured on an album with a band. To my ears hearing the songs played on that piano gives the album a more homely feel. The session flew by. We started on Monday morning and finished on the Friday afternoon. Eleven songs recorded in five days. I'd be lying if I said it wasn't at times hard work, it was a lot of music to record in five days. But I think the fact that it was recorded so quickly gives the record a fresh and spontaneous feel.

                          By Saturday morning everybody had packed up and left and all that was left to do was to tidy up the house ready for my parents return. Once everything was back in its place it was as if nothing had ever happened.

                          And in case you're wondering - no, we didn't get any complaints from the neighbours.

                          Razor-N-Tape welcome Chicago native Chrissy into their disco fold with a scorching edit EP that gets down and dirty in all the right places.  As a journey through various underground dance sounds, this record covers some serious ground - from uptempo space disco to slow-chugging 70s R&B, and even an official edit of a Dance Mania housey freak-fest on Rag Tyme's "Fix It Man". We're dancing under the cosmic mirrorball on opening cut "Discoglide", cutting some serious space rug to the far out synthlines, squelching wah guitar, body moving bass and rhythmic vocals. I can only imagine the chaos when you hit a packed dancefloor with this ripper! Next up, Chrissy goes deep into the pornographic jack of "Fix It Man", hooking us up with a stripped back and percussive variation which places the 'Carry On' vocals over a tight bassline and rattling drum track decorated with the most minimal of funk guitar licks. Clear your throat and flip the disc for some sing-a-long disco euphoria courtesy of "Every Person" a floor pleasing, filter teasing reshuffle of Double Exposure's conscious disco bomb "Everyman". Last but not least "Standing Passengers" is a superb disco instrumental which boasts rattling percussive, deep bass and horn blasts! All out party tackle from the the Chicago man.

                          We all know the Carole King who wrote some of the biggest hits of the ‘60s, from "Will You Love Me Tomorrow" to "Pleasant Valley Sunday," via "The Locomotion" and "(You Make Me Feel Like) A Natural Woman."

                          We also know the singer-songwriter behind 'Tapestry', the album that launched King as a solo singer in her own right. But in between - and not nearly as well known - is King’s band, The City, and their album, 'Now That Everything’s Been Said'.

                          * First official vinyl reissue!
                          * 24 bit / 96 kHz remaster from the original tapes
                          * New notes by Steve Hochman featuring interviews with band members and album producer Lou Adler
                          * LP expanded gatefold edition housed in deluxe Stoughton “Tip-On” gatefold jacket

                          By the mid-‘60s, King’s marriage to Gerry Goffin, with whom she’d written many of those wonderful hits, had hit the rocks. A divorce loomed, and King all but retired to raise their two daughters. She headed west to Laurel Canyon in ‘67, taking the children with her, and made the previously unlikely move of joining a progressive folk-rock band. King formed The City with future husband Charles Larkey on bass and Danny Kortchmar on guitar and vocals. With King on piano and vocals, they created a folk rock sound that pre-empted the singer-songwriter boom of the ‘70s.

                          Produced by Lou Adler and featuring Jimmy Gordon on drums, The City’s sound is deep and soulful, imperfect but passionate. And the songs, with King writing or co-writing all but one, are as exceptional as you’d expect and as widely covered as her factory work. "Now That Everything's Been Said" was a hit for American Spring, "A Man Without A Dream" was tackled by The Monkees, and "Hi-De-Ho (That Old Sweet Roll)" was a hit for Blood, Sweat & Tears. Central to the album’s appeal is King’s own stirring reading of her track "Wasn’t Born To Follow," covered masterfully by The Byrds for the Easy Rider soundtrack.

                          King had been used to a life on the sidelines, and her stage fright left the trio unable to tour the LP which adversely affected their fortunes. That, plus some behind-the-scenes distribution problems, meant the album was quickly deleted, and it remained so for the next thirty years–partly at King’s request. Even so, its failure was a surprise to those concerned. “I was 26 when Now That Everything’s Been Said was released in 1968,” King says in the liner notes. “[We] expected it to zoom to the top of the charts within, at most, a few weeks. Individually and together, we optimistically imagined the album’s success as if it had already happened. Danny and Charlie kept telling each other, 'It’s a great album. The City is gonna be Number 1 with a bullet!’"

                          Listening now, you can feel the threads that lead to Tapestry and to the hugely successful performing career that followed. It’s not so much an oddity in King’s work as the missing link between her two lives. Reissued here in deluxe vinyl, this is, at long last, a chance to own this lost album.

                          Steve Cobby Presents Chieftain

                          Out Of My Life

                          In these headspinning days of information overload, it seems hard to believe that anything can slip through the net. After all, if you've got a 3G connection, reasonably priced tablet and local coffee house you can do almost anything, at least until those artisanal grounds send you into cardiac arrest. Remarkable then, that the world was nearly deprived of these three sonic gems from Chieftain. The collaborative vehicle (image a tandem) of Fila Brazilia legend Steve Cobby and Birmingham mainstay Adam Regan, Chieftain made a brief and ill-fated appearance in the digital realm back in 2013, delivering a killer package of jazzy downbeat, piano house and island funk which was lost in the face of label ineptitude and online ignorance. Luckily for those of us with ears and a turntable, Mr Cobby is a man of stern stuff. Making fine use of his stubborn Yorkshire grit, Hull's finest son has waded through copyright calamity to give this material a much deserved moment in the vinyl spotlight through his Déclassé imprint.

                          'Out Of My Life' struts into the room to the laid back funk of a fine breakbeat, pours itself a drink and starts to hold court. Mellow jazz chords and lithe sequences add a sophisticated texture while sumptuous strings (both sustained and pizzicato) sit in perfect balance with the floor shaking bassline. While lesser men could have made this cocktail way too smooth, Cobby and Regan are raiders of the Black Ark, utilising plenty of dub FX to add a little bite. 'Til Everyman Is Free' sees Chieftain shift gear, switching to midtempo house with a solid drumtrack and driving bassline. Soulful vocals and warm keys turn up the heat before the killer house piano drop tears the roof off in an explosion of wide-eyed dancefloor euphoria. It's the perfect soundtrack for those sultry nights when you're still dancing as the sun comes up, and that's exactly where the polyrhythmic exuberance of 'Coati Mundi' comes into play. Alive with the ripple of playful percussion and the sunkissed sounds of steel drums, this Island groove throws out shapes and feelings long after the part timers have gone home, slinking around to languid synth lines and getting down to those funky Rhodes licks. With Chieftain taking care of the warm up, peak time and after party, you've just gotta remember to pack your dancing shoes. 

                          STAFF COMMENTS

                          Patrick says: Hull's finest export gets collaborative with Brummy boy Adam Regan for three choice cuts, including the magnificent beard house bomb "Til Everyman Is Free". Pianos and hazy memories from the master.

                          Cristobal and the Sea are a proper European union of a band, if ever there was one. The quartet hail from four corners of our diverse continent. They are: Alejandro Romero from Spain (bass/vox), João Seixas from Portugal (guitar/vox), Leïla Seguin from Corsica/France (flute/vox) and Josh Oldershaw from old Blighty (drums).

                          After signing to City Slang (Sinkane, Caribou, Junip, Lambchop) and releasing their debut EP ‘Peach Bells’ last year, the band spent the duration of February locked in Namouche studios in Lisbon (Portugal) working on their forthcoming debut album with producer Rusty Santos (Animal Collective, Owen Pallett, DJ Rashad, Ariel Pink). Entitled ‘Sugar Now’, the record is set for release later this year, with this new single ‘Sunset Of Our Troubles’ displaying the band’s mystical, dreamy & enticing sounds wonderfully, offering a little glimpse of what to expect from the forthcoming debut.

                          Young, enormously gifted, very charismatic and incredibly laid back, Cristobal And The Sea are devouring life as only the young and carefree know how.

                          Current 93

                          Swastikas For Noddy / Crooked Crosses For The Nodding God

                          A 2LP and 2 CD reissue of PickNick Magicians CURRENT 93’s seminal and liminal 1986 album, SWASTIKAS FOR NODDY, including the 1987 re-recording of the album, CROOKED CROSSES FOR THE NODDING GOD.

                          Packaged in a full colour gatefold, reproducing the original artwork and adding previously unpublished photograph of Current 93 in each format. The 2LP edition is coloured vinyl, one record being opaque green and the other record opaque lilac. Swastikas For Noddy has been unavailable on vinyl since 1987. Crooked Crosses For The Nodding God has never been available on vinyl. 

                          Czarface Feat. MF DOOM

                          Ka-Bang! - Picture Disc Edition

                          It’s a bird! It’s a plane! It’s Czarface & MF DOOM! Who better to team-up with the boom-bap hero de jour Czarface, but the super-villain himself...the masked man known as MF DOOM! “Ka-Bang!” accomplishes just that, and is taken from the bestselling ‘Every Hero Needs A Villain’, the sophomore album from Czarface, the collaborative stylings of Wu Tang Clan’s Inspectah Deck and indy rap vets 7L & Esoteric. On it, the three MCs assemble for some clobberin’ time over a hypnotically sparse and bass heavy track from DJ 7L. The picture disc 10” also contains the lyrical krypton of “Deviatin’ Septums” (only available digitally until now), plus the mighty “Ka-Bang! (Suckface’s Swine Mix)”, which is exclusive to this release! The B-Side features Instrumental versions to all three tracks. All of it is pressed on high quality 10” picture disc vinyl featuring the amazing comic-book-inspired art work of L’Amour Supreme of Mishka NYC fame. Side A depicts Czarface tangling with MF DOOM, and Side B has Czarface exposing his inner workings. With great power comes great responsibility! Czarface embraces that head on, and crusades against wack MCs across the universe!

                          Dead Sea Apes

                          Spectral Domain

                            Manchester’s Dead Sea Apes have quickly built a fascinating catalogue that has breadth enough to house their shape-shifting bulk and is rife with the promise of growth and exploration. From the riveting stomp of ‘Soy Dios’ and ‘Astral House,’ to the enigmatic ebb and flow laden ‘Lupus,’ and straight through to their stunning collaboration with Black Tempest, ‘The Sun Behind The Sun,’ Dead Sea Apes have bewilderingly avoided categorization. You may not know what they are, but you certainly know who it is when the sounds begin to generate. Equally capable of crushing weight and a mesmerizing nimble agility as well as fragility, Dead Sea Apes are about evolution: process defined with no limits. Transformation continues with the follow-up to the critically acclaimed ‘High Evolutionary.’

                            Cardinal Fuzz and Sunrise Ocean Bender are proud to present ‘Spectral Domain,’ the third album by Dead Sea Apes. From the Lalo Schiffrin meets Cluster spy theme of ‘Brought To Light’, the driving noise juggernaut of ‘Universal Interrogator’ through to the dubbed out claustrophobia of ‘Sixth Side of the Pentagon’, Spectral Domain soundtracks the twilight world of 21st Century conspiracy paranoia. 

                            FORMAT INFORMATION

                            Ltd LP Info: Housed in a visually striking sleeve and insert designed by Luke Insect on a purple and clear vinyl swirl.” 200 only for European Distribution.

                            San Francisco’s Deafheaven found massive critical success when their 2013 album Sunbather was an unexpected crossover hit, earning the band a 92/100 Metacritic score and ending the year as the best reviewed album of 2013. No one could have anticipated a band that drew from equal parts Weakling and My Bloody Valentine ascending to such heights, and that incomprehensibility added to the band’s singularity and allure. Two years later, founding members George Clarke and Kerry McCoy began working on their ANTI debut, New Bermuda, with a new perspective.

                            “Sunbather yearned for something better. New Bermuda focuses on the idea of false promise, achieving something and wondering if it’s what you really wanted in the first place.” McCoy (guitars) shares that sentiment: “Sunbather sounds like people who have nothing but are satisfied with life. There’s an uplifting quality to it. But New Bermuda is a very tense record.” McCoy cites death metal demigods Dissection and Morbid Angel, the blackened death pioneers Behemoth, and Cliff Burton-era Metallica as influences on the new album.

                            FORMAT INFORMATION

                            Indies Exclusive LP Info: Indie exclusive solid white and solid black mixed 2LP in gatefold packaging, contains download card.

                            Alexandre Desplat

                            Harry Potter And The Deathly Hallows Part Two - Black / Blue Vinyl Edition

                              Harry Potter And The Deathly Hallows won the 2008 Colorado Blue Spruce Book Award, and “Best Book for Young Adults”. As JK Rowling's book was so long it was turned into two films, Harry Potter And The Deathly Hallows Parts 1 & 2. Having released the score for 'Part 1', we're now treated to 'Part 2' as another deluxe edition from Music On Vinyl At The Movies.

                              The bombastic, sinister and triumphant score is written and conducted by the French film composer Alexandre Desplat, famed for his work for blockbusters such as Godzilla and The Imitation Game.

                              The soundtrack was nominated for a Grammy Award and it won the San Diego Film Critics Society Award for Best Score

                              FORMAT INFORMATION

                              2xLP Info: • 180 Gram Audiophile Vinyl
                              • Gatefold Sleeve / Insert
                              • First Pressing Of 1000 Numbered Copies On Black/Blue Transparent Vinyl

                              Aïsha Devi

                              Of Matter And Spirit

                              Continuing from the highly-praised ‘Conscious Cunt’ EP, Aïsha Devi’s debut album ‘Of Matter And Spirit’ sees the Swiss-Nepalese producer, vocalist and label owner resume her dark and intricate self-journey and investigation of the disconnection between matter and spirit in society, commenting upon media and consumerism, collective mental and spiritual resistance, and finding inner peace.

                              The album is a moving landscape of interconnected themes and experimental techniques. Using sound and vibrations to create a sense of healing and awareness, Devi’s production dilutes and skews traditional formats. Crafting vortices of haunting sounds from her vocals and production, her work is deeply self-reflective, yet simultaneously taps into the collective consciousness in order to awaken our senses.

                              The four piece who consist of Tom Rowlett (vocals), Ben Deboo (guitar), Jamie Harris (bass) and Chris Mardon (drums) – home grown in Hoxton before the beards and pop-up cocktail bars arrived - have spent the last few years touring consistently, honing their classic yet contemporary sound. The result is a shockingly tight live band who are heading out on a month long UK tour in November. „We Paid For Blood‟ is the follow up to 2013's "Shimmer Gold" and sees them musically evolved, whilst still maintaining their raw power and melodies. The album has a much fuller sound – a mixture of The Clash, The La‟s, The Replacements, The Kinks and Captain Beefheart – although they are much more than the sum of their influences. Fired up by the political situation of 2015 (both personal and public) Rowlett uses these issues lyrically and enhances the urgency of the new record.


                              Holding On (Feat. Gergory Porter) - Inc. Julio Bashmore / Melé / Armand Van Helden Remixes

                              After doing a 'Thriller' and releasing pretty much every track off 'Settle' as a DJ-friendly 12", extracurricular vinyl activity has been pretty sparse around 'Caracal'. However, that situation is resolved here with a separate outing for one of the album's best cuts, 'Holding On'. Featuring the soulful vocals of Mr Balaclava himself, Gregory Porter, the track arrives on this 12" remixed five ways. Fellow house revivalist Julio Bashmore ups the pace and provides a punchy peak time version with a slowly rising synth whine that makes way for Porter's vox and jazzy Rhodes-style keys. Canadian producer Pomo invokes the spirit of 90s New York garage with his rework, complete with a piano breakdown dropping into synthetic R&B moves. Fresh from a recent offering on Lobster Boy Melé drops some heavy batucada vibes on his carnival-ready mix. The king of the speed garage bassline, Armand Van Helden, drops a typically AVH funky house slammer. And last but not least Gutterfunk man Gus Pirelli applies retro soulful disco pressure.

                              Intangible reissue of "The Crab Legs EP" by Disco Revisited aka Terrence Parker from 1995. Contains a new, unreleased edit of "When Loves The Feelin". "Tonight's The Night" is classic, mid-90s, feel-good TP. Big male vocal ident, rampaging congas and buzzing with those electric keyboard stabs. Parker mixes the soul and funk of disco with the soundsystem pressure of house music perfectly, and this blueprint from 1995 would inspire a whole host of kids to fire up their samplers and drum machines. "Gonna Roc U All Nite" also churns out the big piano chords and b-line, layering up the energetic percussion and sexy male vox perfectly. It's a tried and tested formula but Terrence never fails to add panache and style to the equation. The aforementioned 2015 edit of "When Loves The Feelin" sees more bright-eyed Terrence Parker pianos™ coupled with raucous male diva vox echoed out to the max and supported with a bad boy b-line to boot! This is THE Terrence Parker sound pop pickers, executed with all the aplomb of an eagle putt. Most recommended.

                              The dons Jus-Ed and Mr G together on wax for Underground Quality. Each contributing two tracks each in the unimitable style. Mr. G's dark, melancholic Rhodes waves ripple through "Billares Londres The Rum", the opening track of the EP which pumps and shuffles with all the intention of a proper deep house groove, eyes down and going for it. Jus-Ed is up next with "Gotee Stroke", a swinging, radiant house track which recalls the sublime glow of Floating Points, Garth Be or Pepe Bradock's finest hours with tantalizing xylophone meldies and Ed's sumptious strings. Mr. G's "Freakshow" completes the set, a dark throbber with descending square bass slabs and punishing kick drum. Iconic house music from the masters. 

                              DJ Spinn is one of the founders of Chicago's Teklife's crew, who alongside the late DJ Rashad is credited with bringing the culture of footwork to from the streets to the world. Spinn has appeared on lots of tracks with DJ Rashad, but this is his debut EP debut for Hyperdub, and the sound of a producer at the top of his game. From the opener "Throw It Back", DJ Spinn effortlessly consolidate energies from all over into footwork's 160bpm grid, a rough, creeping acid line rubbing against chopped and screwed rap, over a system-destroying hip hop beat, before a huge drop heralds in double-time kicks. "The Future Is Now" is an intense minimal track with a gnarly repetitive melody that bleeps somewhere between acid and 8-bit dancehall, before the drums roll into double pace and a vortex of synths build up into a frantic double-speed, with claps keeping pace at half time. 'Off That Loud' is a tribute to weed, rapped lyrics layered and chopped into stuttering patterns against 160bpm drums over a bed of the most gentle rhodes chords. The final track features the talented Detroit MC Danny Brown and is co-produced by the late DJ Rashad. Rashad, Spinn and Danny hit it off while on tour in the US and Danny recorded this rap for them, celebrating footwork's Chicago roots. Chopping between jungle breaks and bass, a high speed jazz guitar and Danny's chorus over footwork kicks and bass, it's a chant-a-long anthem for the scene and the finale to an exciting debut.

                              Since 2010, Vancouver artist Christopher Smith had carved a notable space in his native Canada for his exquisitely rendered, emotionally bold music, over the course of two solo albums. In a great leap forward, he’s now fronting the five-piece Dralms, which is making inroads overseas with their first European shows and now a towering debut album. Shook is defined by its hypnotic, rich and simmering heart of darkness, its contents are as provocatively elusive as the band’s name, yet there are lyrical clues to draw you in. Beneath the music’s deceptively unruffled and dreamy exterior are viscous eddies, which can turn into dangerous riptides when the tension is unleashed.

                              The sound of Dralms, says Smith, “is an assemblage of different inspirations. But it’s hard articulating what the influences are.” In search of comparisons, reviewers have referenced the likes of Talk Talk, Radiohead, The Antlers, Pink Floyd and Spiritualized, but they can only hint at the indeterminable quality Dralms can have.

                              Shook is a world of emotions and extremes, a compelling and seductive missive, that might reveal itself to be one of 2015’s most unique.

                              FORMAT INFORMATION

                              LP Info: Includes limited edition 4 track bonus disc while stocks last.

                              CD Info: Includes limited edition 4 track bonus disc while stocks last.

                              Sammy Dread & Papa Tullo / Freddy Mckay / Sammy Dread

                              I'm A Dread Locks / Sometimes I Cry / Rainy Days / Gonna Be Sorry

                              To complete the vinyl issues of tracks from the recent compilation CD “Strong Like Sampson” Hot Milk presents the final two 12"s from the 5 disc set. Each 12" includes four songs and over 20 minutes worth of heavy roots music.

                              Sammy Dread and Freddy McKay take the lead roles while Papa Tullo picks up the gong for Best Supporting Toaster. Sammy and Freddy play counterpoint with their vocal styles, Sammy with a raw soul edge, while McKay offers a Motown sweetness, all poise and grace. Each song has an extended dub workout at the end in proper 12" reggae disco style. 

                              All songs produced by Linval Thompson and released with the blessing of the man himself.

                              Westbrook dig deep into their well stocked arsenal to unleash the first ever Mike Dunn EP from way back in 1987. Featuring co-production from label owner Bam Bam, this is raw and riotious Chicago house just the way we like it, packed with funk and sleaze. "Dance You Mutha" sees an infectious little bassline wriggle around a snare heavy stomp, laying the foundation for the half sung vocals, glassy keys and some totally classic synth strings. It's as fine an example of floor moving, wall shaking Chi-chi-chi-cago house as you're ever likely to find. As with all club monsters of this era, the EP features a whole host of alternative mixes, so tuck into the stripped back perc and scat vibes of "Original Mutha" and the "Muthapella" the heavyweight extended power of Bam's "The Dub For The Club" or the tripped out freakiness of the "Jazz "Mutha" Mike" mix. Remastered and rereleased in conjunction with Westbrook Records, this is non-stop deejay delight!

                              EODM (Eagles Of Death Metal) is an American rock band from Palm Desert, California, formed in 1998 by best friends Jesse Hughes and Josh Homme (QUEENS OF THE STONE AGE/ KYUSS/ THOSE CROOKED VULTURES). Despite their band name, EODM is not a death metal band. The story goes that a friend was introducing Josh Homme to the death metal genre.

                              When he played a song by the Polish band Vader and made a claim that the song was within the death metal genre, Homme then referred to Vader as “The Eagles of Death Metal”. After hearing this phrase, he wondered what a cross between the Eagles and a death metal band would sound like. With that, the band was born. 

                              Following the surprise release of their first new music in two years via a secretive placing of ‘No Harm’ on a Play It Again Sam label sampler and a further taster in the form of the seven plus minutes ‘Marching Orders’ which saw 300 test pressings donated to Oxfam for sale in their stores around the globe, Editors release their fifth studio album, ‘In Dream’.

                              Recorded in Crear in the Western Highlands by the band, and mixed in London by Alan Moulder, ‘In Dream’ is the second album to feature the ‘new’ line-up of the band with Justin Lockey and Elliott Williams firmly in place alongside founding members Tom Smith, Russell Leetch and Ed Lay. After two years of global touring this five piece incarnation used the new album to stretch the Editors sound, swerving away from the rock dynamic of ‘The Weight Of Your Love’ and marking a return to a writing process influenced by electronic music that draws a line from their debut album through to prominence on the band’s third album, the UK Number One ‘In This Light And On This Evening’.

                              ‘In Dream’ is an album created without preconception. The initial visit to Crear, an isolated artist’s retreat 8 miles from the nearest town down dirt track roads was envisaged as a writing and demoing exercise but sessions bloomed within the stunning live room (with floor to ceiling windows framing the Atlantic) and it soon became apparent that the recordings were staking a claim as finished works.

                              At the centre of ‘In Dream’ is a belief in collaboration. Thus the album was produced by all band members in an open studio environment, nowhere within Crear was cut off from the music being performed and recorded in the creative space. Downtime was soundtracked by a varied playlist that stretched from Todd Terje to 80’s Robert Palmer, John Grant to the Despacio three hour club mix.

                              ‘In Dream’ is the first Editors album to feature duets, Slowdive’s Rachel Goswell sharing vocal duties on ‘Ocean Of Night’, ‘The Law’ and ‘At All Cost’ and is an album focused on allowing artistic interpretations outside of the band to flourish; Alan Moulder was left to mix the tracks without any band involvement whilst visual collaborator Rahi Rezvani has been given carte blanche with the photography and videography that will accompany the album and its attendant singles. It is a bold and expansive statement and is driven by, according to Tom Smith, a belief that music can be ‘both pop and experimental’.

                              Elephant9 With Reine Fiske

                              Silver Mountain

                                It´s not often a "jazz" band take the big step from the club scene to a 1300 capacity rock venue like Oslo´s Rockefeller. But then again, Elephant9 is not your ordinary jazz band, often being named as Norway´s best live band - surely quite rare for an instrumental band - they are equally popular in jazz and rock circles. On this, their fourth studio album, Elephant9 once again join forces with Reine Fiske - the quite excellent Swedish guitarist from Dungen and The Amazing - for an epic slice of mindblowing modern rock´n´jazz prog psychedelia.

                                "Silver Mountain" is their finest album so far, where all the parts fall into place. The core trio is still Ståle Storløkken, Nikolai Hængsle Eilertsen and Torstein Lofthus, three of Norway´s finest musicians. Guest Reine Fiske brings another dimension to the band and is now so integrated that he might as well be considered a permanent member."Silver Mountain" is an epic double album containing five tracks between 10 and 22 minutes, four tracks being originals in addition to the most spaced out version of "You Are The Sunshine Of My Life" you´re likely to encounter.

                                Ståle Storløkken (Hammond Organ, Fender Rhodes, Minimoog, Prophet t8, piano) is widely considered to be the most inventive keyboard player from the fertile Norwegian jazz scene, his playing with bands like Supersilent, Humcrush, Motorpsycho, Terje Rypdal and countless others being firm testament to this.

                                Nikolai Hængsle Eilertsen (bass, acoustic guitars) is since long a member of popular rock group Big Bang as well as Ketil Møster´s quartet Møster!

                                Torstein Lofthus (drums) is a most versatile drummer who has done a lot of session work as well as playing in jazz, soul and rock bands, most notably blackjazzers Shining.

                                Reine Fiske (electric and acoustic guitars) is a member of Dungen and The Amazing and has guested on two recent Motorpsycho albums. He is also heavily involved in the fine Swedish record label Subliminal Sounds. 

                                Alhough better known as a reissue imprint, those tastemaking folks over at the Numero Group take a break from digging to serve up a sublime original release from downtempo trio Express Rising. The follow up to their critically acclaimed but largely slept on self titled debut, "Fixed Rope" comprises of a dozen one-take ambient instrumentals recorded spontaneously in rural Arkansas during the spring of 2015. Bulging sub-woofers lope through fissures of skeletal banjo and pitched down pedal steel, while delicately arranged basins of synth and guitar reverberate genty, providing a steady stream of granular epiphanies. Utterly faded, yet still possessing crystalline clarity, the expressionistic explorations on "Fixed Rope" blend the soft focus soundscapes of July Skies and Durutti Column with Eno-esque fx, Spike-styed distortion and the fragile beauty of Mazzy Star's gossamer compositions. If you're fond of any of those acts, or simply have a working pair of ears, you should buy this record.

                                Gianni Ferrio

                                La Poliziotta OST - 180g Vinyl Edition

                                  A dream that has become reality: one of the best and among the most sought after soundtracks by Gianni Ferrio finally comes back to life in LP form. The original record has always been one of the rarest of the entire cult RCA SP series, considered an absolute must-have for the Italian groove hunters of the day: Jazz-funk texture with touches of blaxploitation, b-boy breaks, flipped out hammond, flashes of bossa and the vocal stylings of the unmistakable Edda Dell’Orso. The Four Flies issue, remastered from tapes of the original recording sessions, also contains two unexpected alternate takes never before released on vinyl.

                                  First time ever on vinyl!!! "Environments" is generally regarded as ‘the great lost album’ by The Future Sound Of London. It has taken on almost mythical status with the group’s fan base. “Environments” was due for release much sooner after the 1993 release of the UK Top 10 album hit “Lifeforms”, and only now is it being released - back on the group’s original home, Jumpin’  & Pumpin’ Records.

                                  This release also comes after the recent success of the ‘Archive’ series which has so far sold over 20,000 units across the different volumes and still climbing.

                                  To re-cap, Brian Dougans and Garry Cobain began their musical partnership and friendship in Manchester, England, in the mid 1980s whilst the two were studying at Manchester University. Dougans had already been making electronic music for some time when they first began working in various local clubs. In 1988, Brian embarked on a project for the Stakker graphics company. The result was Stakker Humanoid. In the following three years the pair produced music under a variety of aliases, followed by the breakthrough classic ambient dub track Papua New Guinea in 1992, which was also the first release under the Future Sound of London moniker.


                                  Garbage: Deluxe Edition

                                    Garbage released their genre defying, groundbreaking debut on August 15, 1995, at a time when grunge dominated the airwaves and mainstream culture.

                                    Their distinctive approach to songwriting and production, blending elements of rock, pop and electronic music, captured the attention of critics and fans all over the world.

                                    The album spawned multiple hits including ‘Vow’, ‘Queer’, ‘Stupid Girl’ and ‘Only Happy When It Rains’. It spent more than a year on both the US and UK charts, received multi-platinum certifications around the world and was nominated for three Grammy awards including Best New Artist and Best Rock Song (‘Stupid Girl’). The album went on to sell over 4 million copies worldwide.

                                    Garbage release a special 20th Anniversary re-mastered edition of the album featuring remixes and previously unreleased versions of songs from their debut.

                                    Northern Ireland’s Girls Names return this autumn with their third full-length album, Arms Around a Vision. 

                                    RIYL: The Horrors, These New Puritans, The Cure, Savages, Deerhunter, Toy, Ice Age, Fire Engines, Wire.

                                    “We look to Europe for inspiration. For romance. For the idea of a better life,” says the band’s frontman, Cathal Cully, when discussing the album. “For me, living in Belfast just makes you focus on your own art.”

                                    True, Girls Names formed in Belfast, but they’ve long considered themselves a European band. The distinction is important – their vision of Europe is one of weird, labyrinthian histories, blackest-ever-black coffee, and long drives to dismal places. Romantic notions for those of a certain disposition, but behind the thousand-yard stares they’ve always been a soft-hearted lot. As the title of Arms Around a Vision would suggest, they’re all set to let love in.

                                    The band initially came together as a relatively lean two-piece back in the summer of 2010, but over the course of a handful of EPs and three very different albums, they’ve grown in number and ambition. Their last album, The New Life, was an unexpected underground hit in early 2013, taking the band around the world and garnering much critical praise, culminating in nominations for both the Northern Irish and Irish Music Prizes. Emboldened by the reception to that record, in March they returned with an 11-minute single that was played in full on Radio 1 and, typically, does not feature on their new album. Girls Names like to do things a little differently.

                                    On Arms Around a Vision, they’re more widescreen than ever but also more direct and aggressive. The bass, drums and guitars are still there, but so are saxophones, organs, detuned broken guitars and pianos, and even sheets of metal assaulted with hammers. Conceptually, Arms Around a Vision acts as a love letter to European elegance – Italian futurism, Russian constructivism, Germany’s Zero Group and both Neubauten and Bowie’s Berlin.

                                    Love and pain, romance and fucking. It’s all in there somewhere. Grand claims, perhaps, but in an ever bleak world, why not skygaze? The album opens with ‘Reticence’, a song in two parts that’s half metallic knockout, half midnight swagger. It sounds unlike anything they’ve ever done before, and is a perfect primer for an album that treads a course between Eno-era Roxy sleaze, Birthday Party dissonance and M.E.S’ three R’s: repetition, repetition, repetition.

                                    As confident as it sounds, hardship has equally played a role in shaping Arms Around a Vision. “I'm not starving or anything, but I've practically been living hand to mouth since I was 22,” confirms Cully. “Most guitar music now is just a playground for the rich middle classes and it's really boring and elitist. We're elitist in our own way, in that we're on our own and you can't fuck with us when we’ve nothing to lose”. The near-6 minute ‘A Hunger Artist’ tackles that subject full on, addressing that age old adage of suffering for one’s art.

                                    While the songs aren’t narrative-driven as such – the band still generally favour abstraction and ambiguity – there is a consistent underlying message: “We've got nothing. We’ve never had anything. And we don't expect to. The only person I ever wanted to impress was myself. I've never got anywhere close to succeeding in doing that until this album. I'm proud of it. I think I can start saying I'm a musician now.”

                                    FORMAT INFORMATION

                                    Ltd LP Info: Limited edition Cream coloured vinyl.

                                    Cooked straight on the searing streets of Glasgow and served up for mind-bending, floor-filling pleasure – Golden Teacher are back with "Sauchiehall Enthrall", an all-new four track EP released directly by the band. Following a slew of snapped-up releases on Optimo Music, Soul Jazz / SOTU, Huntleys & Palmers and Akashic Records – which saw the band meld the worlds of acid-house, leftfield disco, EBM, dub and afrobeat – Golden Teacher have redrawn the boundaries of their sound yet again, giddily embracing jacked-up UK funky, dancehall, musique concrète and further tripped-out stylings from the badlands of Escocia. Slithering, rattling and snapping like a snake with a toothache, this EP is further proof that Golden Teacher are one of the most infectious and unhinged dance acts around at the moment. The EP comes in screen-printed silver sleeves made by the band's own hands.

                                    STAFF COMMENTS

                                    Matt says: Golden Teacher's frenzied take on tribal / dancehall riddims and it's a belter. Apparently the band rocked this vibe out at their Manchester gig and it went off - I can see why!

                                    Goldie Thorn

                                    Canal Life

                                      Canal Life is the debut release of London based Melbourne duo Goldie Thorn. Canal Life is a bouncy filtered disco pop venture influnced by the sounds of the East London water ways. Emu/Akai hardware sampler librarys are guided by sweet vocals, bargain digital synths and melodic picked bass. This is also the debut release of their very own dreamtime records, dream analysis music. A imited run of 200. enjoy, canal life!

                                      Recorded by renowned producer husband Daniel Ledwell in their studio built close to the home they share in Nova Scotia, Grant’s fifth full-length studio album features a cornucopia of instruments including flutes, harps, violins, congas, wurlitzer, piano and lap steel all that enhance the depth and subtleties of her effortless singing.

                                      Compostela translates to “Field of Stars” Or ‘Star Field’ and there is a band of stars on Compostela including Sarah Harmer, Buck 65, Ron Sexmsith, Rose Cousins, Don Kerr, Justin Rutledge, and Rachel Sermanni. Grant has garnered critical acclaim from across the globe. Her music has featured in hit TV shows such as Grey’s Anatomy and Heartland with Jenn’s song “Dreamer” providing the theme song for the show.

                                      Panagiotis Melidis started writing music as Larry Gus (λάρυγγας [larigas], Greek for larynx) in 2006, after his previous band, the bass and drums duo Ginger, parted ways. Initially his music combined sample-based constructions and psychedelic pop melodies, merged into an infinitely dense amount of layers and polyrhythms. He soon became known for his energetic and chaotic improvised live performances that involve intricate layering of vocals, drums, and electronics… along with lively stage banter.

                                      On his new DFA album, "I Need New Eyes" (a title inspired by a Marcel Proust misquotation), moving slowly out of his sample-based roots and using clearer songwriting structures as his starting point, he stares intensively into his obsessions, anxieties and inadequacies, namely failure, humiliation, subservience, submission, and comparisons with other musicians’ careers, always through the prism of a provincial outsider.

                                      The Haggis Horns

                                      What Comes To Mind

                                      The UK's favourite funk/soul brothers release their long awaited third album "What Comes To Mind" worldwide on the 2nd Oct 2015. This one drops on their own independant record label Haggis Records and features a host of special guest artists including vocalists Lucinda Slim (Zap Mama), John McCallum (Corinne Bailey Rae band) and John Turrell (Smoove & Turrell) plus New mastersounds bass player Pete Shand and UK conga/percussion legend Snowboy.

                                      "What Comes To Mind" is packed full of feelgood funk, soul and boogie that pays homage to the band's musical heroes of the 1970's - Kool & The Gang, Donald Byrd, The Blackbyrds, The Mizell Brothers & Earth Wind & Fire. There's plenty of dancefloor filling funk for the clubs - "Outta My Head", "It Ain't What You Got", "I Can't Stop The Feeling" - plus heavy funk instrumentals like "Return Of The Haggis" where the band get the chance to stretch out and cut loose on the solo sections. For deep soul heads, check the slower tempo gospel tinged vocal track "Give Me Something Better". British soul past or present doesn't come much better than this!

                                      Following ‘Lost In Sound’, Fay Hallam’s acclaimed collaboration with The Bongolian, Fay returns to Blow Up Records for a new solo album ‘Corona’. Fay wrote the majority of the songs in a two day whirlwind writing session after returning from a tour of Italy, which ultimately inspired this atmospheric eclectic album. ‘Corona’ has absorbed Fay’s love for the Bossa Nova of Antonio Carlos Jobim and Astrud Gilberto, the experimental productions of the Carpenters and the eclecticism of Beck. There’s even a nod to the 50’s pop of Frankie Laine with ‘Giving Myself Away’ and a sole cover: Paul McCartney’s classic ‘Maybe I’m Amazed’ joins the new set of songs.

                                      With thoughts still fresh of driving through the Alps and soaking up the ambience, the songs took on a reflective mood displaying a softer, more atmospheric side to Fay’s music. An almost nocturnal feel prevails at times, exemplified by album opener ‘Se mi Ami’, perfect for late night listening, whilst her love for Soul and Rhythm & Blues still shines through on songs such as ‘Let Me Into Your Soul’ and ‘Sunny’ Originally from Wolverhampton, vocalist and keyboard player Fay Hallam has performed over the years in acts such as Makin' Time (with a pre-The Charlatans Martin Blunt), The Prime Movers, Phaze and The Fay Hallam Trinity. She has worked with Billy Childish, Graham Day, Alan Crockford and other luminaries of the Medway Scene where she has lived for many years. She has toured the UK and Europe extensively. 

                                      FORMAT INFORMATION

                                      LP Info: Heavyweight 180 gram vinyl.

                                      Matthew Halsall & The Gondwana Orchestra

                                      Into Forever

                                      Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album 'Into Forever', puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. 'Into Forever' features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

                                      Steve Hauschildt, one third of the now sadly defunct Emeralds, returns with his most recent long-player since 2012's captivating synth-funk-lounge (etc,etc) masterpiece Sequitur (confusingly titled as, though brilliant as it was was definitely a Non-Sequitur in every sense). 

                                      This outing is much more his traditional style, paddling arpeggios, triumphant filter sweeps, and juddering delay. Cavernous, echoing reverbs, applied to celestial pads. And that's just the second track. 

                                      Haushildt has always had the ability to conjure up the very fabric of time and space in every chord change and this collection is, if anything an expansion of that mastery. This is not a meditative collection, because in order to do so would requite thinking of something other than how achingly emotive and stunningly beautiful this music really is. 

                                      A masterful collection, and a true indication of where the future of cosmic synth music is (or at least, should be) headed. Essential. 

                                      STAFF COMMENTS

                                      Barry says: A continuation of, and simultaneous cementing of Haushildt as a master of the Celestial / Synth / Kosmische scene. Haunting, euphoric, and stunningly beautiful. Recommended to any fans of anything even remotely ambient or synth-based. Stunning stuff.

                                      Initially lurching from the UK noise underground in 2003 like a bedraggled audial creature rendered from toxic waste in a VHS horror movie, the musical growth rate of Hey Colossus has been quite a spectacle to observe. Yet from the nightmarish murk of early driller-killer works such as 2004’s debut ‘Hates You’ and 2008’s ‘Happy Birthday’ to more recent nuggets of perversity like 2013’s ‘Cuckoo Live Life Like Cuckoo’, this beast has mutated and evolved into something uncommonly alluring.

                                      The six-piece London-via-Somerset troupe began 2015 with February’s release of ‘In Black And Gold’ - in which the brawny repetition-driven raunch they built their sound on was furnished and burnished by dub-derived spatial awareness and cinematic drama, making it both a bold reinvention and an uncommonly compulsive avant-rock document. Yet not content with this, the band immediately set about following it up with their second album of the year, and one that further ups the ante on their savagely graceful assault.

                                      ‘Radio Static High’ is the sound of a confident outfit honing their attack to become a veritable force of nature.With the band citing - tongue presumably firmly lodged in cheek - inspirations as diverse as Jane’s Addiction, Fleetwood Mac (Tango In The Night era) and Cypress Hill, songs were constructed at a fierce rate of knots, yet with a focus and intensity partly instilled by band members living hundreds of miles apart, and partly by the relentless passage of time.

                                      “We have noticed a small wave of incredible goodwill towards us. We want to give as we receive.” notes guitarist Jonathan Richards, whose chiming lead guitar plays a notable role in the album’s Paris,Texas-esque midday ambience..”Maybe the knowledge of our 12 years together makes us aware of our mortality. Time is limited. A band’s purpose is to create”

                                      Songs took shape from demos, exchanged riffs and drunken text messages alike -one such from guitarist Bob Davis to Richards demanding an homage to Neil Young’s ‘Cortez The Killer’ resulted in a demo to that effect a mere 20 minutes later. which eventually became album centrepiece ‘Memories Of Wonder’.

                                      Elsewhere, ‘Hop The Railings’ takes the powerfully propulsive groove of Can and cross-pollinates it with Beefheartian interweaving triple-guitar skronk to make a heat-haze-dwelling juggernaut of intimidating proportions, whilst the closing double-drop of ‘Hesitation Time’ and “Honey’ hits like Joy Division re-purposed for the soundtrack to True Detective. “After 12 years functioning in a Noiserock/Doom/Kraut/whatever scene of sorts and being aware of unwanted repetition, we feel it is more subversive for us to compose songs with rigid song structures than it is to absent mindedly clang off another riff-athon.” Richards adds. Indeed, with all the bulldozing primal drive of heavy AmRep-style rock and none of the cliches, and a sound infused with leftfield sleight-of-hand yet hitting home like hammer to anvil, Hey Colossus prove themselves as potent as they are prolific. What’s more, ’Radio Static High’, in all its sunkissed widescreen glory, is set to leave most all their contemporaries eating their dust. 

                                      If there's anyone ordained knocking around in the vicinity send them my way. I've just listened to all four cuts on this EP twice and I'm afraid I'm gonna have to kidnap Hidden Spheres next time he pops in the shop and force him to join me in a civil partnership. Not only is he one of our most affable customers, Hidden Spheres is also a musical genius and smooth motherfucker, and this EP showcases exactly why. The first release on Lobster Theremin sibling Distant Hawaii, "Waiting" serves up a cool cocktail of summer house sounds that's certain to soothe even the sourest soul. The title track opens the EP with a gentle pitter patter of bongos before some gorgeous jazz piano licks saunter into focus. Soon enough, breezy strings, alluring vocal samples and a buttery bassline work their magic as part of a awe inspiring arrangement. Next up, "Ups N Downs" swaggers in on the A2, reinforcing polyrhythmic percussion with fluttering rhodes keys and a bubbling bassline while Biggie (possibly) hits us with a couple of adlibbed "ughs", as the track builds to its peak, we're treated to the sustained strings synonymous with Detroit and dropped into a joyous climax. On the flip, Hidden Spheres drops the tempo a little for the cool beatdown of "Be A Man", a classy early doors cut adorned in drained deep house chords, percussive intricacies and chiming synths. Last but not least, "Bill Loves You" sees the Mancunian producer inject a little lysergic power into his palette, supercharging jazzy horn licks and Bill's heartfelt vocals with a rampant 303 bassline. All killer no filler from the new imprint, and a sensational release from Manchester's newest star. Highly recommended!

                                      STAFF COMMENTS

                                      Patrick says: Hidden Sphere's essential summer house banger on Lobster Theremin swoops back into stock on a repress tip, go go go!!!

                                      Opening with the subtle rumble of early morning Chinatown, a hazy instrumental sharpens into focus with languid guitars, gently welcoming you into a dream of Kennedy's creation.

                                      The summery groove and pop majesty of 'It's Alright' soon sends you spinning into infinity, cares eased by the warm tones of chiming guitars, while Beth de Cent's smokey vocals come together in perfect harmony with Kennedy's. 'Andy' treats you to a yearning tale of forbidden love, packed with homoerotic overtones so full blooded they'd make Morrissey blush like a young Caligula, while the marbled melodies of 'Broken Light' come on in nostalgic ripples and waves of sepia-tinged beauty. 'Let You Down' finds Kennedy's voice sounding better than ever, detailing visceral regret over a full bodied groove which marries the baggy backbeat of his hometown with the sultry exoticism of Thai-funk.

                                      Opening the B-side with a masterful subtlety, synth led instrumental 'Midnight Pt.2' sees Kennedy taking us for a moonlit stroll by the ocean before 'Dana' ushers in the dawn with the greatest X-Files inspired song ever written (sorry Cerys). The antithesis of over-serious hipster cool, the earnestly emotional lyrics, anthemic chords and shimmering should be enough to prompt John Hughes to rise again and make a much needed sequel to The Breakfast Club. 'Disappear' finds Kennedy and drummer Matt Booth drinking in the cosmic vintage of Düsseldorf '72, as their chiming West Coast guitars are joined by celestial keys, head nodding bass grooves and a motorik rhythm. 'Clouds' draws us back into the haze as Kennedy's multi-tracked vocals gently melt into the swirl of flanged guitar, while 'Avoid The Light' closes the LP with a plea to stay in the dreamworld just a little longer.

                                      Alive with lyrical depth, melodic intricacy and lush production, 'II' is the work of a confident and mature multi-instrumentalist and songwriter, and it's your new favourite LP.

                                      For Fans of Real Estate, Flying Nun (early Chills / Verlaines / Sneaky Feelings etc), Scritti Politti, etc.

                                      STAFF COMMENTS

                                      Andy says: A deeper, richer sound prevails on this follow up to one of Piccadilly Records' Albums Of The Year (2014). When married to songs as beautiful as this, the result is another superb instalment from our Mancunian maestro.

                                      FORMAT INFORMATION

                                      Ltd LP Info: Limited to 500 copies on clear vinyl.

                                      Mothball's man from down under George Hysteric is right in the middle of a particularly livid purple patch at the moment, making sine waves all over the globe with his recent mix and EP for Public Possession and that blood sucking edit on Salamanca everyone's been hammering of late. After a trailblazing European tour as part of the Bordello A Parigi crew, George took some pointers from E.T. and phoned home, preparing his studio for a frenzied return. Here, Hysteric follows up Mysidian's debut release "Italo-Record" with 5 extraterrestrial edits that'll make for a great soundtrack to your exit from Planet Earth and return to your home-planet. "Silly Confusion" sets phasers to stun with a playful sci fi vocal, bubbling bass sequence and theremin leadline, before blasting off into unknown territories thanks to an uber camp vocal. George keeps us rocking on the A2 with the jaunty synth disco groove of "Badaduba", a gurgling cut which propels us through distant wormholes. The B-side opens in a cool, calm and romantic AOR disco mood thanks to "Midnite Dancer", a country-tinged sci fi love song which I'm almost certain I've heard on Smooth FM. Next up Antilles, possibly named after Luke Skywalker's buddy Wedge, merges rock drums, prog chords and analogue synths to take us on a heroic voyage through the upper stratosphere. Last but not least, "E.T." bounces out of the Bundesrepublik Deutschland with a killer 80s pop groove, sweet vamps and some truly out of this world vocal pitch shifting.

                                      BRAND NEW album from legendary LA firestarters, The Icarus Line. Their third full length release for Agitated (their eigth album in total), following on from their imperious return to the fray in 2013 with the much lauded release of 'Slave Vows', followed up by its companion "album release" 'Avowed Slavery' in 2014.

                                      Recorded and arranged live as a group in Cardamone's studio, Valley Recording Company in Burbank, the sessions "were very private and conducive to conjuring," the frontman describes. "If you are lucky, you can capture something before it dies. I feel like all great music is a fleeting inspiration. You only have so much time to capture it before it either turns into routine or it turns its back on you."

                                      The album features a guest appearance from legendary outsider artist Joe Coleman who helped coin the album title. Also appearing is Bad Seed / Grinderman/ Dirty Three band leader Warren Ellis who helped pen the track "Bedlam Blue" with Cardamone.

                                      Art work for All Things Under Heaven was found during the making of the record. Veteran news photographer Randy Taylor was receiving attention for some works of his that were created out of destruction. During the Sandy hurricane his archive was flooded and many of his photos were "destroyed". The pictures that would make up the record's sleeve were simply a document of a 4th of July cookout but after the waters of Sandy they became the american dream in a car crash with mother nature. The perfect visual to compliment a document about a melted american dream.

                                      All Things Under Heaven packs the kind of swagger, raunch & ascent that would make Iggy Stooge and Sun Ra proud parents. It is a record that expands the vocabulary of what rock music can be without sacrificing the critical spirit that makes it Rock N Roll. The Icarus Line have summoned up the demons from the past, paid their homage and taken the sound in an entirely new direction; because this band are never ones to be caught on their knees. The album is a sprawling sonic landscape that has a timeless quality about it as it traverses between low valleys, towering skyscrapers and all the dirty alleyways that connect them. It's a record that's as sprawling as the city of Los Angeles to which The Icarus Line have always called home. It's a fuck you to the bite size society that has become music consumption. Life is bigger than that. And just like LA, this is a record that from the opening hollow echo swallowed pounding drums of "Ride Or Die" to the final free jazz funeral lullaby of "Sleep Now" is all its own world.

                                      The Icarus Line have been deep in the rock 'n' roll trenches since their debut album Mono in the late 90s, yet sound more significant now than ever. Over the years The Icarus Line have proved to be one of the most exciting and unpredictable live bands around, again and again. Their performances are explosive, dangerous and sexy all at the same time.

                                      "Joe Cardamone slanks in a room like some sick fuck who actually knows how to live on the street, instead of pretending that he still does," writes Permanent Midnight author Jerry Stahl. "Walking down Vulnerable Hardass Ave " the one where OG rock'n'rollers, the early eat-their-arms screamers and bar walkers that paved the way for posers and haircuts to come, first started screaming out the truth that was eating them alive."

                                      For fans of all music styles American Primitive: Ayler, Patton, Howlin Wolf, Gira, Velvet Underground, Funkadelic, Sun Ra, The Psychedelic Stooges, Black Flag, Charlie Feathers, Tony Conrad.

                                      STAFF COMMENTS

                                      Barry says: As brash as ever, The Icarus Line return to the fore with this, their latest outing since 2013. All Things Under Heaven sees the band in a more grungy, punk-influenced mood. Snarling vocals, and screaming call-to-arms refrains atop driving distortion and thumbing kick drums. Never likely to be accused of being boring, this is a new direction from a band that can do no wrong. A Political noise-punk statement, and a righteous performance from one of the greatest post-hardcore bands of all time.

                                      FORMAT INFORMATION

                                      Deluxe LP Info: Deluxe double LP / Gatefold sleeve, packaged with a CD copy of the album.

                                      Smalltown Supersound's Idjut extravaganza continues this week with the second superb 12" to be lifted from their essential "Versions" full length. Now, rather than simply stick a trio of album cuts on one club friendly 12", the dub disco draw enthusiasts offer proper value for money with some radically different reduxes of the album tracks. A-side cut "Kenny Dub Headband" sees Dan and Con sticking their green tinged fingers right into the heart of the Roland Space Echo to play merry hell with a little freeform dub disco. The system stressing bassline is in full effect here, gradually mutuating under the twist of the resonator while that echo drenched disco beat lilts away in a world of its own. Bass heavy and Balearic, this is the kind of cut you're begging for after an overlong ambient set in the Croatian sunshine. Now unless you have a particularly quick broadband connection, or a burgeoning friendship with a Japanese distributor (of course I do!), then you may have missed this ambient take on LP closer "Le Wasuk", which appeared in slightly longer form on a limited 7" back in 2014. Freeform dub majesty for the horizontal dancers out there as the A-side slips into the run out groove. On the flipside, Dan & Con park outside the Black Ark studio for their dubbiest production to date, the permanent vacation of "Le Wasuk Long LP Dub One". Classic Noid synths buzz and bleep away while the bubbling groove rolls on and on into an infinite green cloud of headtwisting fx, disembodied roots vocals and deep tape manipulation. Stick that in your pipe and smoke it - the Idjuts have!

                                      Alex Gloor and Sasa Crnobrnja began traveling the world together under the In Flagranti moniker over a decade ago after initially meeting in Switzerland in 1991. Ever since, the veteran dance music producers have offered up a unique marriage of sample-based disco and electro, releasing their prolific catalogue on imprints like Erol Alkan’s Phantasy Sound and French outfit, Kitsuné, along with their own “disco punk” label, Codek Records Europe.

                                      Thirteen years after their first release, In Flagranti prove once again that their knowledge for quality disco grooves is consummate, showing off top notch use of recognisable samples and funky synths in new single “Double Talk”. Rigged up with an 80s synth-pop style vocal from guest Craig Yamey and a bubbling electronic bassline, In Flagranti’s latest offering is another fine dancefloor offering.

                                      The EP also features remixes from Andy Butler of Hercules & Love Affair fame (deep, stripped-down house), Wolfram (hi-NRG meets electrodisco meets warehouse darkness) and Dinamo of Azari & III (retro house).

                                      Jagwar Ma X Dreems

                                      Another Day In The Sun

                                        Meeting up in Australia after time spent in Europe and North America, old friends and collaborators Angus Gruzman (Dreems) and Jono Ma (Jagwar Ma) teamed up in Sydney and celebrated their personal climate change with a cover of The Moffs '80s cult classic. Equal parts of each artist shimmer in this visceral version of ‘Another Day In The Sun’

                                        A love letter to the end of the summer, also featuring the vocals of Gabriel Winterfield (Jagwar Ma), the song takes sonic cues from their surroundings on the Australian east coast. This is a one-off collaboration released to tie-in with Dreems current tour dates.

                                        FORMAT INFORMATION

                                        Ltd 12" Info: Limited edition white label.

                                        After the incendiary beauty of ‘Dream A Garden’ Jam City returns with an EP of bass-heavy, club-ready extensions of standout album cuts.

                                        ‘Crisis’ and ‘A Walk Down Chapel’ are given the 'Earthly' treatment; the chugging, emotional and delirious new sound emerging from the impromptu club night and mix series.

                                        The previously unheard ‘Dream ‘15’ is a closing signal soaked in the ecstasy of riot, marrying the modern psychedelia of ‘Dream A Garden’ to the relentless, low end intensity of Jam City’s infamous live shows.

                                        Bert Jansch released two albums simultaneously in August 1966. ‘Bert And John’ was the first full album to feature him in partnership with John Renbourn and presented their contrasting but sublimely sympathetic approaches in the year before their playing laid the foundations for Pentangle.

                                        John Robinson’s notes elucidate brilliantly how Jansch and Renbourn’s creative and personal outlooks - as well as their guitar techniques - meshed so well, born out of endless jamming together at the flat they shared. “‘Bert And John’ is a slim volume,” he says, “but a powerful one. If ‘Jack Orion’ sounds like a night out amid the traditionalists and the modernists of the London folk scene, simultaneously ribald and academic, boozy and purposeful, ‘Bert And John’ is like the vulnerable morning after, the album returning to the concerns of the modern world in a rather more subdued mood.”

                                        This superb edition is the third in a series of all seven of Bert Jansch’s Transatlantic Records recordings, all of which have been remastered from the original master tapes for the first time ever.



                                          Jawbox was formed in Washington, DC in 1989 by guitarist/vocalist J. Robbins, bassist Kim Coletta, and drummer Adam Wade.

                                          The trio released their debut 7” in 1990 as a split between Dischord Records and their own label, DeSoto. Over the next three years, Jawbox put out two albums and three 7” singles. Grippe, released in ’91, was the band’s first full-length.

                                          Second guitarist/singer Bill Barbot joined the line-up in time to record ’92’s Novelty. Both albums were released on Dischord. Zach Barocas took over drumming duties that same year, performing on For Your Own Special Sweetheart, which was released in 1994 on Atlantic Records.

                                          Recorded in Hoboken, NJ with John Agnello in winter of 1995, Jawbox was the band’s fourth and final album. If Sweetheart presented the band’s music in a straightforward and unembellished state, Jawbox found the group more open to experimentation.

                                          Arrangement-wise, it contains some of the band’s densest compositions (“Chinese Fork Tie”), but also some of its most concise and tuneful songwriting (“Excandescent”). While the basic tracks were recorded more or less live, the songs were later augmented with sounds – toy drum kit, Hammond B3 organ, and saxophone – that were outside of the band’s established palate. “I feel like that’s our kind of kitchen sink record,” says Robbins.

                                          “Sweetheart was bare-bones – just the best, most perfectly played representation of the band playing those songs. By the end of that recording process, we had a groove on who was going to do what and we thought, ‘now we can consciously incorporate our weird influences from other places.'"

                                          By the time S/T was released via the Atlantic subsidiary TAG in 1996, it had become clear that Jawbox was beginning to wind down. “That record coincided with us starting to really burn out,” says Robbins. “We didn’t even know what label we were on at that point. We had toured the USA to the extent that we were ever going to feel like we were doing something new.”

                                          The band toured the album throughout the remainder of the year, but ultimately decided to call it quits, performing its final show in Rochester, NY on February 14th 1997. “I think that we thought of it as our best record,” says Robbins. “Every other Jawbox record was, like, ‘We have 12 songs, lets go record.’ This was the one record where we had the sense that ‘Are we ready?’ – we had a vision about how things should be, followed it through, and pushed the envelope aesthetically for ourselves.”

                                          Long out of print, Jawbox has been remastered on LP by Dan Coutant at Sunroom Audio and is re-issued on vinyl and CD by Dischord and DeSoto Records. 

                                          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.


                                          Running From Whatever

                                          The second edition of the Rose Records limited 10" series comes courtesy of Junktion, whose releases on the likes of Outplay, Sleazy Beats Black Ops and Slow Town didn't only sell out at breakneck speed but also established him as one of Holland's biggest talents in discerning deep house / disco circles.

                                          Junktion does what he does best on this delightful little platter. The lolloping 'Running from Whatever' on the A is as infectious as they come, with loads of clever samples arranged over classy rolling drums and a deep, rubbery bassline.

                                          Flip over for Pale Blue Dot, a slightly tougher, trippier uptempo workout with spaced out pads, big drums, crisp hats and massive synth stabs that should whip up a real frenzy in a packed club.

                                          A killer pair of tunes from a producer that's very much on top of his game.

                                          Perhaps the most complete footballer of the modern era, the man nicknamed ‘Zizou’ won everything there was to win with France and Real Madrid. “Football was the easy part”, he stated, when asked about his childhood in the ghettos of Marseille. “Music was important”.

                                          If Zizou were ever to grace this English spa town in the West Midlands, he might find two young men chipping (or ‘dinking’) a football back and forth with a set of goalposts between them. They are trying to land the ball on the crossbar. For one of those men, football is important. Music is the easy part.

                                          Bastien Keb is a prodigiously talented multi-instrumentalist, who makes a living writing music for TV and film. A guitarist first and foremost, you’ll hear him play trumpet, bass, drums, flute and more on this debut record, as well as layering his voice to strangely moving effect. His music belies a love for Curtis Mayfield and Sun Ra, though his voice might suggest Bon Iver - a world away, but here it makes perfect sense. He channels 80s soul with his bass, the New Orleans of The Meters with his drums. He looks to Broadcast and Flying Lotus for direction: how do you assimilate such diverse influences, and come up with something wholly modern, and wholly your own?

                                          Bastien Keb tries to hit the bar one more time before sunset calls time on the game. He senses movement from the corner of his eye. There’s a man at the other end of the pitch. Tall, graceful, with a shaved head and flawless control, the man dinks the ball against the bar, time after time. It can’t be...can it?


                                          Drie / Twee

                                          Ghent's finest party starters, mixtape manglers and stadium electro experts, 2ManyDJs / Soulwax / David and Stephen Dewaelee launch their new Deewee imprint with this two tracker from the mysterious Klanken. There's not a lot to go off, but from the distorted and detuning synthlines, fist pumping beats and the fact that the EP was recorded in Ghent, I'm gonna go out on a limb and suggest that this is actually the work of the brothers themselves. Reaching out through the interdimensional portal like a ket-addled Steve Reich plugged into an analogue synth mainframe, "Drie" freaks us all the way out with metallic neo-classical melodies, zero gravity beats and those batshit bleeps we last heard on "I Love Techno". Add in a rumbling one note bassline and some unhinged engine sounds and you've got one sick puppy on your hands. B-side cut "Twee" pushes us well beyond the event horizon, pushing the tempo and intensity to peaktime levels with vertigo inducing synths, reversed bell sounds, detuning sequences and that trademark nosebleed nastiness Soulwax perfected in their "Nite Versions" days. Mind melting, body beating electroid brilliance from Belgium's dancefloor capital.

                                          FORMAT INFORMATION

                                          12" Info: 12″ with HQ printed sleeve + inner sleeve.

                                          Yuzo Koshiro

                                          Streets Of Rage OST - Red Vinyl Edition

                                          Now, while I'd never want to take anything away from Minecraft and its innovative ambient soundtrack, I should point out things were a little different back in the day. Dressed in my best Fruit Of The Looms, LA Lights and a Sonic The Hedgehog t-shirt, I'd get together with my friends Adam, Axel and Blaze and kick some criminal ass on SEGA's classic Streets Of Rage. Aside from the non-stop side scrolling brilliance and boss battle beat-downs, the game was made all the better by Yuzo Koshiro's sublime chiptune soundtrack. Drawing inspiration from house, techno, rave and new jack swing, Yuzo emulated the most up to date club sounds to accompany your technicolor journey through the dystopian streets. From the emotive Italo piano on "The Street Of Rage", through the jazzy new jack of "Player Select" to the crushing synths of "Fighting In The Streets", Yuzo perfectly apes Don Carlos, Jimmy Jam and Joey Beltram and that's only on the first three tracks. Now remastered and released as the first part of Koshiro’s monumental and highly influential trilogy, this is an essential release!

                                          STAFF COMMENTS

                                          Patrick says: Yuzo Koshiro's killer video game soundtrack gets a vinyl release boasting the best in new jack, rave and techno chip tune. There's even a total tearjerker in the form of "My Little Baby" - Mega!

                                          FORMAT INFORMATION

                                          LP Info: Pressed on 180g translucent red vinyl, with traditional OBI strip and 2 x lithographic prints featuring artwork from the Japanese and US/EU editions of the game.


                                          Fear Of Fours - Coloured Vinyl Edition

                                          While their self-titled debut was revolutionary in fusing singer / songwriter vocals and drum & bass, Lamb’s second album set the bar much higher. As on the band’s debut, Andy Barlow proved he was one of the most capable and inventive producers in the electronic community.

                                          The title of the duo’s second album refers to programmer Andy Barlow and singer Louise Rhodes’ dislike of electronica’s hallmark: a metronomic, foursquare beat. Accordingly, Lamb craft their music quirkily, freighting it with more nuance, musical and emotional, than most techno has.        

                                          Barlow also sounds inspired by the fiery side of bop as well as more muted chamber music, from the dexterous synthetic bass and intricate drum programs on “Little Things” to the restrained beats and orchestral tug of “All in Your Hands” and “Bonfire.”

                                          The fourth track is not included on the album’s track listing. It is a single struck chord which effectively ends the song “B Line” preceding it. This deliberate omission is a nod to the album’s title, whose sentiment is revealed in a deeper level throughout the album: unusual time signatures.

                                          In Laurel Halo terms, the 18 month wait between 2013's "Chance Of Rain" and her latest masterpiece seems like a lifetime. Fear not though, the prodigious and productive Michegan native shows no sign of ringrust, delivering her strongest, most coherent LP yet for this Honest Jon's debut. By the time the thunderous, dislocated organic beat of "Situation" reveals itself, you're already hooked into a hypno-dance, nodding, bobbing and weaving away to the sinuous subs, mellow keys and spectral textures. Experimental but still deeply danceable, this advanced hybrid of retro-techno idents and future proofed production marries the organic and synthetic perfectly. The distorted ambient of "Leaves" acts as a palate cleanser before the off kilter array of metallic synths and industrial artefacts of "Nebenwirkungen" and blown out percussion of "Drift" take us on a psychoactive trip to a dystopian rave. "Nah" opens the second half with a dislocated fusion of Pepe Bradock's deep house and fractured technoid beats while "Shake" layers filtered modem sounds over a percolating rhythm before the deepest warmest subs imaginable flood through your system. As the journey nears its end the full frequency experimental assault of "Nimrud" paves the way for album closer "Focus I" an immersive shoulder roller which takes the broken jazz house of Floating Points into a whole new sonic domain. Stellar stuff from the mighty Laurel Halo.

                                          Following the lead single 'Dancing Star' co-produced with Tom Furse of The Horrors, described by Thump as "the perfect cosmic jam", Lilies on Mars announce their full length album '∆GO', due for release by Lady Sometimes Records via Cargo Records on 25th September 2015. Born and raised in Sardinia, a magical island in the middle of the Mediterranean Sea, a place that recalls mystical legends and the strength of a population that has fought throughout history to keep traditions alive and never be fully conquered, Lisa and Marina moved to London 13 years ago. Some time later Lilies on Mars emerged, the result of many long nights spent listening to music and jamming with every imaginable instrument at their home studio in Hackney, from guitars to vintage organs, synthesizers, effects and drum machines.

                                          The contrast of living between these two places has had a profound effect on Lilies on Mars' music. It became a way to navigate their experience, gently incorporating all the information that inspired them, becoming notes and melodies but more precisely a sound. Delicate, surreal and sometimes disturbing, like a lily growing on a red planet. This is the imagery within which they are suspended, where time does not exist. Collaborations with Italian pop experimentalist Franco Battiato also dramatically influenced and inspired the project in its early stages.

                                          Lisa and Marina began writing '∆GO' immediately after returning from an extensive tour of Europe and America. Filled with inspiration, excitement and with overwhelming changes in their lives post tour, they searched for shelter at Lisa's beach house in Sardinia. Here they set up a studio and found the perfect space and freedom needed to create and experiment with new sounds. All songs on '∆GO' were written from edited improvisations and immediately recorded, whilst post production is also a key element in the whole creative process. Retro-futurist, psychedelic and cosmic pop elements are accentuated on this record. At times uplifting, at times drone- and Kraut-like.

                                          They are strongly influenced by primitive electronic experimentalists and pioneers such as Delia Derbyshire and Daphne Oram of The BBC Radiophonic Workshop. The title '∆GO' symbolises the retro-futurist concept; without context the word becomes abstract and helps to weave together the past and future (AGO also means needle in Italian). It can be read as AGO as used in story telling of times 'long ago' or as A GO, as if giving a go at something new in the future. Equally, the lines of Lisa and Marina's distorted silhouettes on both album cover artwork and 'Dancing Star' video, inspired by Rutt-Etra-Izer, provides a visual representation.

                                          "'Dancing Star' is a pulsing, sensual piece of ethereal synth pop with dreamy, trippy textures created with vintage analogue equipment including space echo (just like King Tubby!), ancient, dusty organs and the duo's lysergic vocal tones..." – Louder Than War.

                                          "Lilies on Mars' 'Dancing Star' Is the Perfect Cosmic Pop Jam..." – Thump .

                                          'Dancing Star' is a blissfully kissed slice of cruise controlling Kosmiche über-pop, sending forth love notes from an unspecified solar outpost through the galactic slipstreams on vapour trailing ice cream vans." – God Is In The TV.

                                          "Lilies on Mars are two very talented girls, I really love this song." – Lauren Laverne on 'Dancing Star' (selected for 6 Music Recommends 30/06/2015).

                                          Transit03 comes courtesy of Sheffield techno don, Lo Shea, with a crunching Kowton remix to boot. A driving force behind the burgeoning Sheffield house and techno scene, Hope Works curator, promoter, and resident DJ, Lo Shea has fused his years of musical experience with a myriad of influences from throughout the city to create a unique sound. Following on from his offerings on Secret Sundaze offshoot label SZE, and Never Learnt in 2015, this 12" for transit sees him exploring a darker, more immersive brand of techno for his "Oxygen Lance" EP. With his recent foray into more melodic territory in his "Glock And Roll" EP for Whities, Kowton brings more of the same in his crunching interpretation of B-side "Root Causes", continuing the evolution of his signature UK-bass influenced sound.



                                            “Urgent and commanding” - The Guardian

                                            “They’re like hidden gems, a newfound relic of a generation lost” - The Line Of Best Fit

                                            “Lusts take their cues from new wave, with glimmering synth lines piercing through urgent swathes of guitar” - NME · Produced by MJ from Hookworms in his Leeds studio, it combines distorted organs and synths with fuzz guitars and a driving chorus of “uplifting misery.”

                                            ‘Waves’ follows the bands first two singles, ‘Mouthwash’ and ‘Temptation’, which DIY dubbed a “glistening, new wave nodding exciting debut.” XFM and Radio 1 dutifully delivered support by spinning on several occasions and 6Music crowned the single winner of their Rebel Playlist.

                                            Lusts are brothers Andy and James Stone from Leicester, evoking both the classic woozy chorus and reverb-laden guitars of Echo & The Bunnymen and the new wave pop sensibilities of Beach Fossils.

                                            M.ono & Luvless

                                            Double You EP

                                            M.ono & Luvless join forces for the seventh release on Leipzig's much loved Rose Records.

                                            The pair runs and curates alongside Martin Hayes & L. Sluter. The duo impressed a few years ago with sought-after joint productions on upmarket labels like O*RS and Kolour LTD and now steps up to the plate with a pair of pitch-perfect burners for their own imprint (The label's first 10" release).

                                            Synth lines set the mood on the A with the delectable Double You. Crisp drums set the pace, carefully arranged percussive elements, a teasing vocal and a monumental breakdown take care of the rest.
                                            On the flipside we have Happy Chap. A quintessential Rose fare with its tight drums, vocal snips and the sort of deadly piano work that is such a staple in M.ono and Luvless' productions.

                                            Master Musicians Of Bukkake

                                            Further West Quad Cult

                                              Forseen years ago by the inclusion of a secret extra pocket in the Far West packaging; Master Musicians have created and brought fourth a painstakingly crafted complimentary LP for synced playback with their 2013 release Far West. With 2 turntables or other playback devices you can playback a fully unique quad experience. Further West shows off deeper journeys into the cave where we can dissolve ourselves. Further West also stands alone as an inverted yugified universe from the Far West cannon. Liquid synth journeys into the void. We invite you to enjoy it either way.

                                              Includes fold out poster from photographer Alison Scarpulla .
                                              All Tracks dubbed and manipulated from Far West Source Material.
                                              Additional sound design and synths by Randall Dunn and Timm Mason.
                                              All music by Master Musicians of Bukkake.
                                              Produced Recorded and Mixed by: Randall Dunn at Avast Studios. 

                                              As Mercury Rev began recording their eighth studio album in autumn 2013, when asked what people could expect, co-pilot Grasshopper responded, “Steel Resonator Mandolin. Timpani. Sleigh Bells. All sorts of electric guitars…..” He subsequently added, “It is the best stuff we have done in a long, long time. Gonna be big sounding!”

                                              Two years on, The Light In You more than lives up to its billing. The record is filled with wondrous and voluminous kaleidoscopic detail, but also intimate moments of calm, and altogether stands up to the very best that this notable band of maverick explorers has ever created. Its ecstatic highs and shivery comedowns also reflect a particularly turbulent era in the lives of Grasshopper and fellow co-founder Jonathan Donahue, of calamities both personal and physical, but also rebirths and real births (Grasshopper became a father for the first time in 2014). There's a reason for the seven-year gap since the band's last album, Snowflake Midnight.

                                              “It was one of those otherworldly life sequences, when everything you think is solid turns molten,” explains Jonathan. “But also, when something is worth saying, it can take a long time to say it, rather than just blurt it out.”

                                              As well as The Light In You being the first Mercury Rev album with Bella Union, it’s also the first with only Jonathan and Grasshopper at the controls, as scheduling conflicts and travel between the Catskills and Dave Fridmann's Tarbox studio became too great to overcome. On The Light In You, Jonathan and Grasshopper decided they were best served being based at home in the Catskills for once. Surrounded by longtime friends such as engineer Scott Petito and bassist Anthony Molina, Jonathan and Grasshopper quickly found their stride recording themselves in their own basement studio as well as venturing out into the daylight to record tracks at some of their old haunts like NRS and White Light Studios. The two even found time to arrange backing vocal harmonies and record with Ken Stringfellow at his studio Son du Blé studios in Paris.

                                              Yet from its title down, the album clearly reflects the core relationship between Jonathan and Grasshopper, best friends since they were teenagers, who accompanied each other through the musical changes, band fractures and exulted breakthroughs that has marked Mercury Rev’s career since they emerged with the extraordinary Yerself Is Steam in 1991.

                                              “You can go as deep as you want with the title, on a metaphorical, spiritual level, or just poetic license,” Jonathan suggests. “It’s the beacon that shines and allows us to see ourselves – and then there’s the music between Grasshopper and I, which is how we reflect each other. The arc of the album, lyrically, is someone who’s gone through an incredible period of turbulence, sadness and uncertainty, and as the album progresses, a light appears on the water.”

                                              The album’s track-listing follows a similar trajectory, from the opening slow-build cascade of ‘The Queen Of Swans’, through the epic lonely beauty of ‘Central Park East’ and the album’s half-way peak between ‘Emotional Freefall’ and ‘Are You Ready’ before the closing sequence, with the exhilarating pop beacons of ‘Sunflower’ and ‘Rainy Day Record’ sandwiching the more tranquil ‘Moth Light’. The light is reflected both by the album’s brilliantine colours and imagery drawn largely from the elements and the seasons, creating a world as only Mercury Rev know how. “It’s like taking a drug, but not actually taking a drug,” Grasshopper reckons. “Just sit back and enter and immerse yourself.”

                                              Since Snowflake Midnight, Jonathan and Grasshopper have stayed productive, for example with their improvised collective, Mercury Rev's Cinematic Sound Tettix BrainWave Concerto Experiment at John Zorn's club in NYC, creating live soundtracks to favourite films at various junctures across Europe (most recently in London as part of Swans’ Mouth To Mouth festival in 2014). There were also occasional festival shows such as headlining 2014’s Green Man festival to celebrate the deluxe version of 1998 opus Deserter’s Songs.

                                              “Playing tracks again from Deserter’s Songs helped us look at where we’ve been, and where we were going,” says Grasshopper. “Though by no means did we want to make Deserter’s Songs Two, we did feel we had some loose ends to tie up.”As Grasshopper once commented about Deserter’s Songs, “It’s special because that was the one that brought us back from the brink.” The Light In You is special for that very same reason.

                                              STAFF COMMENTS

                                              Andy says: Mercury Rev bin the glacial electronics and return to splendor with the sweeping, multi-layered, enchanted sounds of their classic Deserter Songs period.

                                              FORMAT INFORMATION

                                              LP Info: Limited edition white vinyl on initial orders only.

                                              Franco Micalizzi

                                              Laure OST - 180g Vinyl Edition

                                                Out of all Franco Micalizzi’s soundtracks, this is the Holy Grail! The criminal domain usually occupied by the master in his famous police thrillers has been left behind. In Laure, also known as Forever Emanuelle, the territory explored is purely exotic/erotic: unadulterated Italian cinematic trip-hop, with the sensual vocals of Baba Yaga, the phenomenal percussion of Tony Esposito, the clavinet and fender rhodes of Enrico Pieranunzi. One of the most controversial films produced in Italy in the 1970s also hides one of the most surprising and original soundtracks ever completed in that period. Published in 1976 on RCA SP label, the record has been a joy and torment for whole generations of collectors, one of the most elusive of the series. Now, finally, remastered from the original master tapes preserved from the RCA archives, Laure can spin once again.

                                                Minami Deutsch

                                                Minami Deutsch

                                                  Cardinal Fuzz proudly presents the debut album by Minami Deutsch.

                                                  Emerging from the vibrant Japanese psych explosion that has recently birthed Kikagaku Moyo, Sundays & Cybele as part of a new wave of vibrant acts that are making waves in the West. Minami Deutsch formed in 2014 and quickly went to work on this their debut album which the good Cardinal was lucky to find in his in-box via Kikagaku Moyo.

                                                  Their debut album is at once a product of their source bands while putting a fine new twist on them, resulting in music that captures what for many is the motorik ideal as the band locks into repetitive locked modular grooves. Tracks drone, while shimmering chimes coalesce into some sort of cosmic Ur-drone, punctuated by thuds and epic swooshes, resulting in a grand and gorgeous ambience. On Futsu Ni Ikirenai we are treated to an atonal out - rock explosion of finger blistering guitar buzz while Ubergleich Part 2 brings forth Can - Like rhythms ala Future Days as the repetitive dream like vocals ease you into a blissed out state. Minami Deutsch embody the ‘Endless Straight’ motorik of Neu!, La Dusseldorf and Harmonia, yet feel very part of the here and now. 

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: 500 pressing on Weissensee white vinyl.

                                                  Takenobu Mitsuyoshi, Ryuji Luchi, Osamu Murata & Yuzo Koshirp

                                                  Shenmue OST - Blue Vinyl Edition

                                                  The original soundtrack to the groundbreaking SEGA game, newly remastered and available for the first time ever on vinyl. A selection of beautiful orchestral tracks from one of the most important games of all time.

                                                  Pressed on 180g translucent blue vinyl, with traditional OBI strip, spot varnished cover and a lithographic print.

                                                  Mr Spaulding

                                                  Plane Fare / Fantastic

                                                  Hot on the heels of Hot Milk’s recent reissue of Mr Spaulding’ “Twelve Tribe Of Israel” double CD and reissue of the LP with added Dub versions, Hot Milk are tying up loose ends with a series of three 12”s that collect together some of the later post “Twelve Tribe” era tracks.

                                                  Recorded in England in 1986 and coming back to his spiritual home on Morris Duncan’s Roots Rockers label. Hinting at a recent stint in New York, these tracks are almost Wackies like in atmosphere, with Spaulding enjoying a more rub-a-dub stylee. ‘Plane Fare’ has the best “widdily, widdily, biddily, bong, skang” vocal heard since a particular Mouse and a foundation shaking dub version utilises all the studio’s effects units, all on Bobby Babylon. ‘Fantastic’ on the Throw Me Corn riddim produces memories of Jah Batta as Spaulding “drinks out of glass and not plastic!” Gussie P engineered deep down in the Dub Vendor basement.

                                                  Hot on the heels of Hot Milk’s recent reissue of Mr Spaulding’ “Twelve Tribe Of Israel” double CD and reissue of the LP with added Dub versions, Hot Milk are tying up loose ends with a series of three 12”s that collect together some of the later post “Twelve Tribe” era tracks.

                                                  1986 and for the last time on Roots Rockers, Spaulding gives us another party / conscious flip. ‘Skank In The Dance’ is an evangelist view of the beauty of a dancehall, dubplate, mic in the hand Spaulding is the crowning king. This music is nice, you’ll want to play it twice. ‘Come Now Youthman’ is much more contemplative, a gentle push of the youth to seek more positive directions in life. No less relevant today as it was 30 years ago, Spaulding’s voice was never sweeter than this.

                                                  Mr Spaulding

                                                  Sweet Lady / Vision

                                                  Hot on the heels of Hot Milk's recent reissue of Mr Spaulding 'Twelve Tribe Of Israel' double CD and reissue of the LP with added dub versions, Hot Milk tie up loose ends with a series of three 12"s that collect together some of the later post 'Twelve Tribe' era tracks.

                                                  Released by Bunny Roots' Kris Disk label in 1983, 'Sweet Lady' and 'Vision' came out on separate 7's and were the last Jamaican recordings of Mr Spaulding. 'Sweet Lady is in bouncy loverman mode, a sugar hymn of elusive desire for a certain lady, recorded on the same night as Josey Wales Kingston Hot at Aquarius.

                                                  'Vision' predicts a sea of blood, a warning of social tension on the streets of 1980's Jamaica. Not long after this, Spaulding was stabbed, hastening his move abroad to the USA and eventually London

                                                  The prolific production partnerships of Greg Wilson & Derek Kaye, Timo Maas & James Teej and the solo force of Citizenn take Róisín Murphy’s ‘Jealousy’ to new levels with fresh remixes of the smash single released earlier this year.

                                                  Róisín Murphy’s compelling vocals are set in new bright landscapes by disco dons Greg Wilson & Derek Kaye, London retro-futurist Citizenn hot of the heels of his debut album on Crosstown Rebels and Timo Maas & James Teej. Co-written and produced by the great Sheffield bastion of house, The Crooked Man AKA DJ Parrot (Crooked Man), formally of Sweet Exorcist (Warp) and All Seeing I (FFRR).

                                                  Hell Yeah return with a brand new 12" from Italian duo Mushroom's Project, who the keen eared should know for their string of killer 12"s and a majestic full length on Leng. Infusing their worldly disco sound with all sorts of influences from ambient to house, pop to psychedelia, the duo are truly children of Italy's Cosmic movement. Their latest release provides coastal moods of ocean spray, warming sand and cool wind alongside a touch of sunset swelter. Bird calls and breaking waves set a hazy scene on "Rio Disco 94" before the languid bass and rolling drums of Italo house take over, turning the temperature up and bringing the terrace dancefloor to a simmer. Faded vocals and house keys increase the tension before the waves break and the track transforms into a slow mo acid masterpiece. On the flipside, "Rio Disco 84" steps into a faded postcard and lays down under the mid-day sun. This blissed out ambient cut soothes your cares with trilling guitars, lush pads and plenty of seaside atmosphere, before the organic hand drums and golden strings ensure you float away before the end. Closing the set out in emotive fashion is an acoustic reprise of the same track, which is even more stripped back and beautiful. Bravo!

                                                  The latest release on Italy’s Early Sounds sees ancestral musicologists The Mystic Jungle Tribe arrive a long time ago in a galaxy far, far away to take a sonic survey of the remote planet "Solaria". Their findings range from the bizarre cosmic voodoo and sci fi exotica of "Ocean FM" and "Neon Lights" to the squelching machine funk of "Ancient Lizard" and "Plastica Razionale", and the synthetic proto-house of "Land Of Dunes". Expect to hear these otherworldly dance floor sounds bouncing off the walls of the Salon in no time.

                                                  The National

                                                  A Lot Of Sorrow - Independent Stores Exclusive

                                                    On May 5 2013 The National collaborated with Icelandic artist Ragnar Kjartansson on ‘A Lot Of Sorrow’, a durational performance presented as part of MoMA PS1’s Sunday Sessions.

                                                    Kjartansson, who often uses repetitive performance to explore collective experience and emotion, invited The National to play their threeminute, twenty-five second song ‘Sorrow’ live on stage, repeatedly and continuously, for six hours.

                                                    This incredible feat of endurance has become legendary and the audio recording of the performance is now released as a deluxe vinyl box set by 4AD.

                                                    ‘A Lot Of Sorrow’ features nine pieces of clear vinyl in clear sleeves held in a translucent, screen printed box.

                                                    FORMAT INFORMATION

                                                    LP Box Set Info: Free postage to UK customers. International customers contact us and we'll work out the cheapest rate.


                                                    Over & Over / We Ridin'

                                                    All City Dublin bring us a double header featuring two Onra collaborations from his recent 'Fundamentals' LP. Both sides bring back a midwest, 90s style groove - think Bone, Thugz N Harmony etc.

                                                    'Over & Over' features Chicago legends Do Or Die complete with chorus from Johnny P, while Daz Dillinger guests on 'We Ridin'' with long time Onra pal Olivier DaySoul. Instrumentals for both included, all wrapped up in a full colour sleeve.

                                                    Cale Parks

                                                    The Diego Maradonna EP - Inc. Eddie C Remix

                                                    Rothmans are back with their first real milestone as a label and what better way to celebrate the label's tenth record than honouring the greatest no10 of all time, Diego Armando Maradona Franco.

                                                    After only three seasons Rothmans have developed a reputation for throwing us curve ball after curve ball, and in what has without doubt been their best season yet, off the back of Rothmans #8's house slammer from Aimes & Brassica, and Rothmans #9's Acid Arab chug from Naduve & Co.

                                                    The 'Diego Maradona EP' comes from Brooklyn based producer Cale Parks. Also a professional drummer Cale has recently turned his hand to producing and off the back of some fine releases on HAKT (Have A Killer Time), he has now found his way onto the Rothmans team sheet.

                                                    'The Big Bust' sounds like something you might hear as the opening to an Apparat album, the sweeping synths and beautifully scored piano create a delightful ambient electronica piece. Next up '9G' steps up the pace a bit with echo-drenched filmic piano and darker synths over a chugging ALFOS rhythm.

                                                    The record is finished off with a banging breakbeat sounding remix of '9G' by Eddie C that gets on a hip-house tip, marrying those tinkling ivories with a funky breakbeat and acid gurgles.

                                                    Piccadilly Records

                                                    Mono Colour Print - Black Tote Bag

                                                      One colour 'mono' print (white) of the Piccadilly Records logo on a black tote bag.

                                                      Piney Gir presents her sixth album, mR hYDE’S wILD rIDE, released via Damaged Goods.The album collates twelve pop stories about a young woman coming to terms with the hope and regret that accompanies love and loss. Piney's easy way with melody belies an album of new and different shades.

                                                      Album opener ‘Gold Rules’ is a finely-honed, heavenly tune even as the song celebrates unreachable riches and glibly states the fact, “you can’t take it with you anyway.” First single, Keep It Together, deftly channels 60s beat pop and Stereolab all at the same time - a lover's lament laced with urgency and optimism, piped-in directly from her space-age, bachelorette pad.Other stand-out tracks include ‘Tilt A Whirl’, a piece of fairground philosophy that dates back to Piney’s childhood years when she would accompany her grandmother on something akin to the Waltzer. As the song spins, with Farfisas swirling around life's ups and downs "like a shooting star or a hope combustible..." become metaphors among the lights and sounds. ‘Mouse Of A Ghost’ fuzzes up like Pineys-in-Toyland channelling her inner riot grrl, with boxy guitar blasts that remind us all that you can rock just as hard, if not harder, in a gingham dress.

                                                      Piney has pulled together a stellar band for this release, with members of Gaz Coombes and Emiliana Torrini's touring band jumping in on guitar, bass and drums alongside The Smith Brothers & regular collaborator Garo Nahoulakian taking a seat in the producer’s chair. Andy Ramsay of Stereolab makes an appearance on drums, and the bulk of the album was recorded in his South London studio. The rest was whipped-up in Piney’s little Hackney Studio, small and perfectly formed like a musical toy box, chock-full of space echo, marimba, omnichord and pocket piano, which combine to create a euphoric indie-starshine. Think Yoshimi-era Flaming Lips alongside sparkling tableaux of Mercury Rev., the tunefulness of Grandaddy and riff-led counter-melodies like Pixies.After a decade spent in the UK it feels like Piney's finally made England hers by rediscovering America, re-imagined from London's rainy streets, channelling her inner Jekyll and Mister Hyde. These tunes beautifully stitch together English folk, American pop, mariachi moments, trail songs and baroque beats. Sometimes it's like an alternative musical history of a storybook amusement park ride. And need we mention, it's a wild ride you're going to love


                                                      Kiddy Pool Dreams

                                                        Very limited 10" (300) on frosted pink, purple and blue vinyl. Includes download.

                                                        Hot on the success of their debut album 'Everything Else Matters' Saint-Petersburg's Pinkshinyultrablast are set to release a new single, 'Kiddy Pool Dreams'. Kiddy Pool Dreams is indicative of a forthcoming album full of even more melodic gems and shimmering shoegaze - euphoric with spectral guitars, its sharp edged pop has a radiant charm.

                                                        Now, if you only know Psychemagik from their expertly compiled selections of rare and exotic vinyl delights, this pure as the driven slush sleazer might just take you by surprise. Anyone who's seen Danny and Tom take to the decks will know that rather than set out solely to please the beard strokers at the back of the room, these boys bring the party in raucous fashion, dropping floor-ready bangers from all across the disco and house spectrum. The same is true for their original productions, and luckily you're about to hear their finest work to date. With absolutely no intention of fucking around, Danny and Tom offer the minimum in drumbeat preamble before launching you into orbit with the murkiest, syrup-synth groove you've ever heard.  It's a seductively squiggling romp through the outer reaches of the cosmos, delivering sky-crawlingly atmospheric, slow-motion dance floor abstraction for acid heads and space cadets. Alongside the glitter tinged keys, bass vibrations and Crazy P sass, we're treated to triumphantly sexy vocals from Navid Izadi, taking us right into the smoke and strobes of a packed club. As well as the Original mix, dub and radio edit, we're treated to a gliding house revision from Lokier, who cuts back on the mirror ball shimmer with a version tailor made for the heads down dancers.

                                                        Randomer returns to L.I.E.S. with his second release for the label, a five track maxi-12inch jam packed with mixing tools to rip the floor.

                                                        Granted these aren't your everyday mixers, Randomer went in and dug up some percussive nastiness and got all dynamic with it, dropping in and dropping out, heavy kicks and bells, these tracks will work the crowd and are suitable for all nite clubs around the globe. Club-tested and approved, a classic in the making.

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