Action Pact

Singles 81/84

    From Stanwell, in Middlesex Action Pact’s singer George Cheex was 15 years old when their first single ‘Heathrow Touchdown’ was released, in October 1981. Two of the band's contributions to the EP, "London Bouncers" and "All Purpose Action Footwear", got the attention of BBC Radio 1 DJ John Peel. He played the single many times and wanted the band to record their first session, which they did on 22 February 1982.[1] They recorded "People", "Suicide Bag", "Mindless Aggression", "Losers", and "Cowslick Blues". The resulting demo tape caught the attention of the fledgling label Fall Out Records, which signed the band as the first act on its roster. !Action Pact!'s label debut, the Suicide Bag EP, was released in July 1982 and rocketed to the top of the British punk chart. Limited to 500 copies, this retrospective on one of the hidden gems of early british punk is a must-have. 


    LP Info: Comes complete with 8 pages 30x30cm booklet with pictures and liner notes.

    “My last record was a break up record and if I had to label this one I would call it a make up record. I’m making up with myself. making up for lost time. making up for everything I ever did and never did.”

    So says Adele about her new long player '25'. "Highly anticipated" doesn't quite cut it, with the video for lead single 'Hello' clocking in at 404,293,556 views the last time I looked (and undoubtedly more by the time you read this). '25' might be the event record of 2015, but really it's a continuation of the sound that brought '21' 9 x platinum global sales. The intimate piano ballads, epic swelling choruses, R&B pop hints and BIG production are all present and correct on '25', along with the emotional catch in Adele's voice - the thing that lifts her head and shoulders above all the melisma-ing X-Factor wannabes. The album features co-production from Greg Kurstin, Tobias Jesso Jr ('When We Were Young'), Danger Mouse ('River Lea') and Swedish pop svengalis Max Martin & Shellback ('Send My Love (To Your New Lover)') 

    The wonderful Black Ops sub label from the SLEAZYBEATS crew continues...

    For the 9th and penultimate release in the series, the Sleazy Beats gang welcomes Bristol's Admin (Future Boogie, Banoffee Pies) aboard the Black Ops ship, which ventures beyond the trusted beatdown waters the label has been sailing since its inception in 2012 in search of exciting new pastures.

    For his 'Super Lover EP', Admin commandeered an obscure record collection and cut up a cheeky trio of summery, sample-heavy disco delights that are rough around the edges but groovy like a drive-in movie.

    The Black Ops dudes decided to leave the crackle, hum and imperfections intact as an ode to good old-fashioned art of sampling, a tip of the hat to the format's charm ('life has surface noise mate') and a polite middle finger to the non-descript clinical compressed deep House that seems to be so in vogue now.

    As always, this is a limited, vinyl only release. It will not be repressed and will not be released digitally. Not now, not ever. 

    The Arcs

    The Arcs Vs The Inventors, Vol. 1

      A new limited-edition 10" six-song recording by The Arcs, entitled The Arcs vs. The Inventors, Vol. 1, featuring Dr. John and David Hidalgo, released on Nonesuch Records as part of Record Store Day's Black Friday event.

      The disc is the first in a series of collaborative "Inventors" recordings to be released by The Arcs. The band's Dan Auerbach says of the project: "Sometimes the best way to see into the future is to study the past. In this series we do both, collaborating with folks who have been in the game a long time but instead of rehashing old material, we collaborate on new works, explore new ideas and introduce each other to a different generational perspective. We'll continue in this series to track down our heroes and bug them until they agree to make some noise with us. Hopefully we learn a thing or two. Yours, Dreamily,”


      Ltd 10" Info: Limited edition Black Friday 10" release.

      Daniel Avery

      Sensation / Clear

      With two years having passed since 2013’s hugely acclaimed "Drone Logic", Daniel Avery returns to Phantasy to offer a much anticipated taste of his restless studio experimentation. "Sensation" projects Avery’s distinctive feedback and engrossing modulations onto his widest canvas yet. Surges of noise link the track to artists such as Cortini and Basinski in its ability to echo purposefully across vast halls, yet proving to be just as absorbing in more intimate circumstances. Tough drums amid the shifting atmospherics nonetheless hint at Avery’s continuing stride towards techno’s more relentless facets. While "Sensation" floats freely, "Clear" continues Avery’s occasional forays into unapologetically trippy realms. Revisiting an evolved but no less addictive form of the acidic psychedelia touched on throughout the duration of "Drone Logic", "Clear" spirals seamlessly into both paranoia and euphoria.

      Originally released in 1964, Zulu is among the most popular of John Barry’s early soundtracks, and the main theme is still frequently heard on radio, conjuring up images of the British army’s courageous defence of (and the Zulus’ equally fearless assault on) Rorke’s Drift during the Anglo-Zulu War of 1879, as depicted in Cy Endfield’s memorable film.

      John Barry (1933-2011) was one of the best known composers of film music in the world. His early career found him working as in-house arranger for EMI, leader of hit instrumental combo the John Barry Seven, and composer, arranger and conductor on the first UK soundtrack album (the Adam Faith vehicle Beat Girl). After Barry’s involvement as arranger on the first James Bond film Dr No in 1962, he was appointed as primary composer for the film franchise. In 2002 he received the GoldenEye award, courtesy of the Ian Fleming Foundation.

      The BAFTA-nominated Zulu (1964) was directed by Cy Endfield with a cast including Stanley Baker, Michael Caine and Jack Hawkins. Originally released in 1964 on the British indie label Ember, the LP comprises soundtrack music (with two of the tracks incorporating narration by Richard Burton), followed by “A Selection of Zulu Stamps”, which are essentially beat instrumentals flavoured with southern African influences, performed by the John Barry Seven.

      Ember initially pressed the album in mono, switching to stereo for a 1972 reissue (same catalogue number), although a stereo pressing had previously surfaced in the USA. Long unavailable on vinyl, Zulu is now reissued by Fantastic Voyage as a 180g pressing, mastered from original stereo tapes. The vinyl is housed in the original Ember sleeve artwork, and bears the label design prevalent at the time of the stereo pressing.

      Melancholia. Longing. Melancholia is a mood which we like to invoke and to maintain, we like to envelop ourselves in it like in a warm blanket. Our brain and our sensory systems appear to be made for perceiving and emotionally responding to music in a very immediate fashion. Consequently music is the obvious drug for all of us melancholia-addicts. However, there is a thin line between melancholia and sadness, and music which is meant to be melancholic too often crosses this line by far. Only very few artists succeed in avoiding this crossing, and in creating music which is melancholia in its most pure form. It is safe to say that BERSARIN QUARTETT - the electronic music project of Thomas Bücker - is one of them.

      After his successful self-titled debut in 2008 and the sophomore 'II' in 2012 - album of the month in many magazines and in numerous "Best of the year" lists - Bücker returns with his third. Much like his two predecessors, III is a pure paradox. It is the creation of a perfectionist, an adamant control freak. Every element, be it a note, an ambience layer, a string arrangement, a field recording, a baseline, a vocal (Clara Hill on Track 11) or a beat, is meticulously modified and then assigned its place in Bücker's vast but still minimalistic arrangements. Thus, superficially Bücker's pieces seem to radiate a certain mechanical bleakness. However, there is a unique reduced warmth and liveliness emerging from these stainless compositions and transcending them. This transcendence is precisely the point where Bücker ironically looses control over his creations.

      In contrast to the first two BERSARIN QUARTETT albums, 'III' offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without losing the characteristic grandeur of Bücker's sound. Whereas BERSARIN QUARTETT's debut was merely a description of melancholia in its most pure form, III maybe even goes as far a defining what melancholia really is. It is the only emotion in the vast spectrum of human states of mind which one can bear forever. 

      Following a trio of albums on the Mush imprint, Bibio (aka Stephen Wilkinson) now makes his long playing debut for Warp, the totally enchanting "Ambivalence Avenue". Bibio is a purveyor of wonderfully warm, melodic music that shines like the late summer sun through stained glass windows, refracting beams of shimmering colour across the room. Unlike many of his contemporaries however, as well as producing lovely, but ultimately superficial soundscapes, Wilkinson has a keen ear for melody and actually knows how to write a good tune. An antidote to the often clinical and soulless nature of current laptop-made music, "Ambivalence Avenue" is an endearingly messy patchwork of sun-dappled west coast style psychedelia, Dilla-esque beatsrumentals, de-tuned woozy pop and electronica, folk whimsy, dreamy madrigals, and intimate acoustic guitar songs – with each song a standout. A permanent fixture on the Piccadilly Records shop stereo, "Ambivalence Avenue" comes highly recommended, and is an essential album of 2009!


      Includes MP3 Download Code.

      Originally released in limited numbers on American imprint Mush in 2005, "Fi" introduced Stephen James Wilkinson's Bibio project to the wider world. Not only did this assured debut catch the ear of major influence Boards Of Canada, but it also won him plenty of fans at UK electronica bastion Warp, who've supported Bibio ever since. This reissue will certainly help fans join the dots between then and now, with ambient and folk still being his main crossover point, just as it was a decade ago. Highlights on here are the looped and layered banjo workout of "Bewley In White", the sombre acoustic expressions of "Puffer" or "Cantaloup" (the latter sounding like it was recorded on a broken tape machine and to interesting effect) and the creepy lo-fi ambience of "I'm Rewinding It".

      “Fi is a special album for me because it still reminds me of those happy days of discovery, where I had very little in the way of equipment or music production knowledge, but somehow managed to find a sound I could call my own,” - Bibio

      "Bibio is the antidote to the modern laptopia of pristine electronic music, curing us with majestic drones, gnarly disintegrating guitars and warbling tape loops filtered through your parent's broken 1970's hi-fi" - Marcus Eoin, Boards of Canada


      Includes MP3 Download Code.

      'Under the shimmering diversions of the spectacle, banalization dominates modern society the world over and at every point where the developed consumption of commodities has seemingly multiplied the roles and objects to choose from. The remains of religion and of the family (the principal relic of the heritage of class power) and the moral repression they assure, merge whenever the enjoyment of this world is affirmed–this world being nothing other than repressive pseudo-enjoyment. The smug acceptance of what exists can also merge with purely spectacular rebellion; this reflects the simple fact that dissatisfaction itself became a commodity as soon as economic abundance could extend production to the processing of such raw materials.'

      Steve Lyon's phenomenal Bitter Minnow project returns to Ono for another excursion into synthetic-organic sonic exploration. Lyon's guitar playing is spacious, ambient and experimental; often preferring singular harmonic resonances to full chords or scales. Comparisons could be drawn with Mark Mcguire as to the ethereal optimism contained within his frequencies and tones but Bitter Minnow sounds completely different to McGuire, instead floating on a Fuxa-esque wave of dreaminess. Absolutely sublime, from start to finish, and should keep you hovering above the heavens for some time after. Recommended. 


      Ltd CD Info: Hand stamped, limited run CD complete with wrap-around Ono artwork sleeve. Exceptionally presented!


      I'm Down With That

        BOSS are Guro Gikling of All We Are, Theresa Wayman of Warpaint, Sarah Jones, who has previously drummed for Hot Chip and Yeasayer, and Speedy Wunderground head-honcho Dan Carey, who has recently been involved in the Sexwitch project with Natasha Khan and TOY.

        In the time honoured spirit of the label, the single was produced in a day at Dan’s south London studio and is their first release, yet the inception of the band goes back to 2012 when Dan met Theresa at a festival in Slovakia (he would also later produce All We Are’s debut album).

        “Being a Warpaint fan I found her backstage and told her I was the best psychedelic rock producer in the world,” remembers Dan.

        “The exact words of her response were ’that’s the last fucking thing we need. See you later.’ “

        Despite the inauspicious meeting, Dan would later be recruited to work on Theresa’s forthcoming solo album and having met Guro on tour, Theresa invited her to also work on the long-player.

        Born out of these album sessions, the BOSS track came out of post recording jams and after recruiting drummer Sarah Jones, a 20 second snatch of an almost 15 hour jam was eventually worked into ‘I’m Down With That’.

        Jeff Buckley / Sly & The Family Stone

        Everyday People

          Jeff Buckley's interpretation of Sly Stone's Classic Everyday People along with the original. Pressed on standard black vinyl.


          Ltd 7" Info: Black Friday exclusive!

          Anyone with affection for treasure of a particularly luminous dream-pop vintage will know about Joe Cassidy and his alias Butterfly Child.

          Having recorded three albums and a handful of EPs in the 90s, in 2012 a brand new Butterfly Child single ‘No Longer Living In Your Shadow’ was released without any fanfare, as Cassidy wasn’t then sure of what he was shaping up for. This is now resolved, as the first Butterfly Child album in 18 years is here.

          'Futures' refutes any fears that Cassidy couldn’t match past glories with an epic, radiant 54-minute journey invested with his usual melodic richness – both musical and vocal - and a more widescreen production, even though the record was recorded at Cassidy’s LA home. Sonically, the album lives somewhere between The Beach Boys and dreampop, but with a much more direct emotional impact, between bliss and melancholy. It combines new songs with unreleased older material, reaching as far back as Cassidy’s very first demos as a teenager, and lyrics inspired by relationships past and present, and where Cassidy is now, 24 years after Butterfly Child’s first release.

          In the early Nineties, a Butterfly Child demo had ended up with the celebrated noise/dream-pop adventurists A.R.Kane. The duo were signed to Rough Trade (UK) and Luaka Bop (US) but were starting their own label H! Ark. Cassidy recorded the Toothfairy EP (1991) and the Eucalyptus EP (1992) for H.ark! before he moved to Rough Trade himself for the Ghetto Speak EP and debut album Onomatopoeia (both 1993).

          But Rough Trade’s collapse saw Butterfly Child move again, to Dedicated for the Beaujolais EP (1994) and The Honeymoon Suite album (1995). It was then Dedicated’s turn to implode. Cassidy – battling Britpop’s tide, “which I found woefully uninspiring” – was given a fortuitous way out by Chicago label Hitit!, which had licensed both Butterfly Child albums for the US, and invited Cassidy over to make use of studio space. “I just fell in love with Chicago,” he recalls. “I recorded eight tracks in a week, and then the label asked if I wanted to make an album. So I went back, and stayed for ten years! I’ve always gone where the chance to make music has been afforded to me.”

          Hence the lush, sun-dappled climes of LA, which can be felt in the expansive folds and grooves of Futures, both on the softer, heartache-y side and pop-centric songs such as ‘A Shot In The Dark’ and ‘Holding On’. The latter has a fascinating genesis: Sirman sent a string loop to Cassidy, which reminded him of Dionne Warwick, though the eventual track was inspired by Jimmy Webb and Glen Campbell. This being LA, Cassidy could call on his pals Justin, James and Christiaan, Webb’s three sons, to add backing vocals, while Campbell’s son Cal plays guitar and percussion.

          The track also features drummer Matt Walker (he’s also on ‘Shot In The Dark’) and keyboardist Brian Liesegang. Other Futures guests are Ryan J Rapsys (Euphone, drums), Pendle Poucher (a Butterfly Child accomplice back in the Nineties, on ‘glitch’ guitar), Merritt Lear (another Butterfly Child accomplice, and Assassins co-singer, on violin and backing vocals) and Oliver Kraus (strings and horns on the exquisite finale ‘Beauty #2’). Assassins producer Stephen Hague (of Pet Shop Boys and New Order fame too) has done a remix of ‘A Shot In The Dark’ that will be released as the next Butterfly Child single. 


          Another Music In A Different Kitchen

            Buzzcocks were formed in 1976 and are regarded as an important influence on the Manchester music scene, the independent record label movement, punk rock, power pop and indie rock. They achieved commercial success with singles that fused pop craftsmanship with rapid-fire punk energy.

            Another Music in a Different Kitchen is the debut studio album by the band released in 1978. It includes the hit single “I Don’t Mind”, which reached number 55 in the UK singles chart and was rated four stars by Uncut magazine.


            Ltd LP Info: Pressed on translucent orange vinyl, exclusively for Black Friday.

            Includes MP3 Download Code.

            Tom Carter

            Long Time Underground

              Tom Carter is one half of the long - running and influential underground duo Charalambides (Kranky).

              Tom Carter’s new solo album, Long Time Underground, is nothing short of stunning. While Carter shrugs off suggestions that Long Time Underground represents some sort of sea change in his approach to making music, this (along with its companion post - illness release, Numinal Entry, on Halatern) comprises his first solo work this decade.

              Long Time Underground, moreover, is the first solo studio recording Carter has ever done. Long Time Underground is almost unsettling in its purity. A collection of fractal guitar études, the album is comprised mostly of composed material some of which was written in the studio, some worked out in performance over the past few years. Each song was set down live without overdubs, and the result is an almost confessional intimacy.

              The sprawling side long opener ‘August is All’ begins in a kind of languorous humidity, Carter’s bell like guitar chiming  against a scrim of cicada song and building to a storm of jagged heat lightning before subsiding again. Carter’s guitar is painting landscapes here, conjuring a panorama in such vivid colors and textures that one is happy to idle there for a time. ‘Entreaertne’ is an electric prayer, set against the harmonium-like breathing Carter somehow elicits from his guitar. The bluesy, cascading dirge of ‘Carvedilol Cowboy’ has just enough swagger to almost count as rock and roll.

              The luminous ‘Prussian Book of the Dead’ slowly transmutes a hopeful, hymn -like progression into bright, buzzing angelic noise. (The song’s title, with its intimations of mortality in Berlin, promises something radiant, if not quite human, awaiting us all on the other side.) The album closes with an older song, ‘Colors for N,’ an earlier version of which appeared on Carter’s 2007 Whispers to Infinity CD.


              2xLtd LP Info: 2LP pressed in an edition of 900 copies on 140 gram Dutch vinyl housed within a gatefold jacket (with download).

              Johnny Cash

              Man In Black Live In Denmark 1971

                Unreleased 1971 concert from Denmark previously only available on DVD. Pressed on 120G opaque White (LP1) and Red (LP2) vinyl.

                Pressure Sounds rediscover a roots obscurity from Lacksley Castell that has been locked in the vaults of Roy Cousins Tamoki Wambesi Uhuru label. Lacksley Castell was very much a product of the Waterhouse area of Kingston. It's a pity 'Tug A War Games' was the only tune he recorded for Roy Cousins as it's a beauty. Castell was a much in demand singer in the late 1970s and early 80s. He recorded for Prince Jammy, Lee Perry and worked with Hugh Mundell on the 'Jah Fire' set. He was also a preferred vocalist of Augustus Pablo. A thoughtful laid back singer, Castell was perfectly suited to the sparse rhythms that dominated the roots scene of the period. He sadly passed away in 1983.

                The flipside by contrast has the soaring vocal harmonies of the Royals over the lush production that was the Roy Cousins modus operandi. As much influenced by the Philly Sound of Gamble and Huff as West Kingston and King Tubby and Channel One. There is an excellent unreleased version of 'Malnutrition' to finish this set of. Come in a hand stamped re-cycled card sleeve.

                Form and orderly queue please! The buy-on-sight Apron records comes strong with this killer release from Funkineven and the mighty Shanti Celeste in what could be the biggest coup for the label yet! Shanti Celeste's "SSS" is both dreamy and direct, floating on a similar bliss-cloud as Aphex Twin's electro fantasies but with a sense of immediate urgency and great synthesizer interplay. Glorious pads wash over the Detroit-electro beat, enveloping all while fizzing, weaving lead lines permeate through the kaleidoscoping atmospheres. Funkineven's "90s" cut has longer breakdowns to reflect the XTC-induced euphoria of the time while his tape saturated beats are present and correct. Flanging pads and woozing synth-organs add life and colour with various melodies peppering the mix with an eyes-wide-shut joy. Clever, stimulating and fun in equal measure and perfectly in keeping with Apron's fully established (and highly sought after) aesthetic. A classic for the label and another hit you'll need to bag quickly if you want a copy. Recommended. 

                After spending the summer totally smashing it, Church returns with its latest 'white' offering courtesy of Peckham via Auckland brothers Chaos In The CBD. Fresh off the back of the sell-out sensation "Midnight In Peckham" on Rhythm Section, they delve into deeper territory with emotive title track "Constraints Of Time Travel". Referencing Larry Heard in the percussion and early Prescription releases through spacey sequences, Ben & Louis get fully astral on this one, getting your spine tingling with jazzy piano chords and lithe FP-style synth squiggles. We're in more familiar territory on the B-side, shaking our stuff to a pair of sampledelic deep house heaters in the boys' trademark style. "Phantom Melodies" marries swinging percussion, circular bass and off beat piano, keeping us right in the pocket while the looped crowd sample adds an irresistible texture. I  could very happily live in this groove alone, so Ben & Louis are spoiling me rotten with the occasional vocal samples and muted trumpet. Rounding the package off in blue-tinged basement style, "Similar Stories" works bloodless minor pads over rattling African percussion before hypnotising us with a melancholy piano loop. The muted trumpet licks return and a couple of streetwise vocal snippets add the extra detail which lifts this production above most of their contemporaries. 

                Rob Chapman

                Psychedelia And Other Colours (Hardback Editoon)

                  In the summer of 1965 the informal parties that Ken Kesey was holding at his house in Palo Alto California were about to evolve into what became known as the Acid Tests. These spontaneous anarchic gatherings spread their tentacles far and wide until an entire generation seemed to be under their spell. Fifty years on from the Merry Pranksters multimedia mayhem, acclaimed author Rob Chapman explores in crystalline detail the history, precedents and cultural impact of LSD, from the earliest experiments in painting with light and immersive environments to the thriving avant-garde scene that existed in San Francisco long before the Grateful Dead and the Fillmore Auditorium. In the UK, he documents an entirely different history, and one that has never been told before. It has its roots in fairy tales and fairgrounds, the music hall and the dead of Flanders fields, in the Festival of Britain and that peculiarly British strand of surrealism that culminated in the Magical Mystery Tour.

                  Sitars and Sergeant Pepper, surfadelica and the Soft Machine, light shows and love-ins - the mind-expanding effects of acid were to redefine popular culture as we know it. It's a story that you think you know, but no one has laid out the narrative quite like this before. Chapman documents psychedelia's utopian reverberations - and the dark side of its moon - in a shimmering day-glo portrait where the sublime, the sinister and the just plain silly co-exist in imperfect harmony.

                  Includes a foreward by Andrew Weatherall.

                  FORMAT INFORMATION

                  Book Info: Hardback edition. 656 pages, 16.5 x 4.1 x 24.1 cm.

                  The subject of Music From Memory’s latest compilation release is the elusive and mysterious Philadelphian musician Napoleon Cherry (aka Cool Waters). In the late 80s and early 90s Cherry privately released two LPs and an EP which form the basis of this retrospective, alongside an unreleased cut "When You Had The Chance" which was recently released on 12” in collaboration with US label PPU. Recorded with a very DIY aesthetic and a strong presence of gospel and R&B, Cherry’s unique take on soul and funk music, reflect a rawness that stands in contrast to the slick, over-produced soul of that era. With appearances by jazz musicians such as the late celebrated saxophonist Byard Lancaster, who coincidentally played with MFM’s previous compilation subject Vito Ricci, Napoleon’s music seems to defy any clear categorisation. From cocktail jazz funk to intergalactic synth workouts to melancholy bedroom soul, Napoleon’s use of synths and drum computers, though perhaps unknowingly, also seem to strongly echo elements of early house music. 

                  Circuit Breaker

                  My Descent Into Capital

                  ) "My Descent Into Capital" represents the most ambitious recording from this London-based duo to date. Even if they're taking influence from minimal synth, post-punk or early industrial sides, Circuit Breaker are unmistakably contemporary with their delivery. Forging together metallic drum machines, propulsive synth lines and stark guitar degradation into bold , simple and effective songs about down-trodden themes of isolation, discontentment and the true horror of work. This album transgresses any simple nostalgia for its musical forefathers and showcases a band with their eyes fixed firmly on the future. Any obvious reference points are contorted and stretched to the point where they are transformed into something new. After ten years of obscurity and a refusal to go away, and after two well-received records on Tombed Visions, this album is their first full-length album, and first for abstract-punk imprint Harbinger Sound. After many shows with supporting Harbinger Sound mainstays Sleaford Mods, the duo are about to embark on an extensive tour with new label mates Consumer Electronics early next year.
                  The album was mastered by Barry Grint at Alchemy.

                  Circus Devils

                  Girl In Space / Sunflower Wildman

                    Exclusive A-side track "Girl in Space" backed with "Sunflower Wildman" from Circus Devils 'Stomping Grounds' full length. Edition of 500 total. 


                    Embrace The Fuzzy Unknown

                    Three years have passed since Correatown released the critically acclaimed dream-pop album ‘Pleiades’. Highline are proud to announce the release of her follow up, ‘Embrace The Fuzzy Unknown’.

                    Having built a fanbase with her debut album ‘Spark. Burn. Fade’, Correatown’s listeners continued to grow through her work in TV and film music and her collaboration with Tom Brosseau as Les Shelleys. ‘Pleiades’ saw Correatown expanding both her global audience and her sonic horizons.

                    Correatown’s new album reflects and revels in change and evolution. Songs wonder about purpose, wonder about the future and wonder if this is all that there is. Without answers to these questions, the music implores us to ‘Embrace The Fuzzy Unknown’.

                    The album was produced by Angela Correa and Dan Long (Yeah Yeah Yeahs, Son Volt, TV On The Radio).

                    Correatown’s music has appeared on ‘Grey’s Anatomy’, ‘Ugly Betty’, ‘How I Met Your Mother’ and ‘Private Practice’ and films ‘The Lucky One’ and ‘Admission’.

                    Beautifully crafted ethereal pop music that will appeal to fans of Feist, Regina Spektor and Best Coast.


                    Concrete Love - Extra Love

                      Concrete Love - Extra Love features the original eleven track LP plus a nine-track bonus disc that features the brand new single alongside three rare EP tracks and previously unreleased acoustic versions of five Concrete Love tracks.


                      A Simple Act Of Faith

                      Cymande (pronounced Sah-mahn-day) are a legendary funk group formed in 1971 in London by musicians from Guyana, Jamaica and Saint Vincent. Their name was derived from a calypso word for Dove, symbolizing peace and love.

                      The band were signed by producer John Schroeder to his Alaska label. Cymande went on to release three acclaimed albums in the early-to-mid 1970s, boasting much-sampled classics like ‘The Message’, ‘Bra’, ‘Dove’ and ‘Brothers On The Slide’.

                      Following some well-received reunion shows, Cymande are now back with their first album in four decades, reuniting original members such as Patrick Patterson and Steve Scipio with John Schroeder.

                      These 10 new songs were recorded in the UK, with the first sessions dating back to 2011. But despite its protracted development, the album boasts a unity which harks back to their 70s heyday!


                      Ultraviolet Music

                      A new collection of otherworldly transmissions from Deepchord’s laboratory. With ‘Ultraviolet Music’ Deepchord returns to his proprietary formula of atmospheric heroin-house (after 2013’s more cinematic ‘20 Electrostatic Soundfields’).

                      A hallucinogenic amalgamation of deep emotive textures swimming around 4/4 kicks and sub-bass, middle of the night atmospheres, hypnotic repetitions, shortwave static and slowly evolving textures that envelop the listener in warm blankets of sound. Multidimensional sounds that move the mind and the feet.

                      Numerous (processed) acoustic and organic sound sources make these tracks seem alive in a way that is uncommon in electronic music today. They are breathing life-forms that reveal their subtle layers with repeated listenings. It’s music that’s influenced equally by 1980s experimental, 1990s ambient, Detroit techno, deep house and Berlin school, creating something entirely unique in the process.

                      The Deep

                      Psychedelic Moods

                        Expanded deluxe edition of The Deep's one and only album, originally released in 1966 and now well-established as a psychedelic classic. One night in a darkened Philadelphia studio, the Deep (Rusty Evans, songwriting partner and producer Mark Barkan, the legendary David Bromberg, whose credits include playing with Bob Dylan and many others, plus a bevy of talented musicians) laid down tempestuous garage punkers, sweetly-twisted ballads and ambiguous weirdness, all rife with hyper-psychedelic lyrical flashes of a rolling midnight expressway through the subconscious mind. A perfect representation of the psychedelic sound: free-form poetry, infectious drum beats, fuzzed out guitar, and playfully plucked bass (and vibes and tympani and so on), swirl together, coalescing into some of the most impressive psychedelic rock you'll hear. Cuts like 'Your Choice To Choose,' sound very Seeds-like or proto-Velvet Underground, Lou Reed snarl and all; others like 'Shadows On The Wall' and 'Wake Up and Find Me' are haunting acid ballads: the whole point of the album was to thoroughly explore the hallucinatory agony and ecstasy of a 12-hour Technicolor dream... although the end result is more amphetamine edgy than acid-soaked trippy. The Deep "Psychedelic Moods" pre-dates its closest kindred sprit in sound and energy (albeit not subject matter): “The Velvet Underground and Nico" came along five months later, and the world of music shifted on its axis—but too late for the Deep.

                        This 3xLP release of “Psychedelic Moods” is taken from the original four-track master tapes. In addition to the superlative master takes, there are three sides of out-takes and alternates from the Deep original four-track session tapes. This set also marks the vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro), another LSD trip project produced by Mark Barkan in 1966. Tip-on gatefold art has liner notes detailing the mysterious rise and fall of this New York City band. Made with full co-operation of original Deep producers, Mark Barkan and Rusty Evans. A definitive example of the psychedelic sound.

                        "Something of a psych fan's dream, this LP was recorded in August 1966, when the idea of a conceptual acid album was completely uncharted territory. Consequently, Rusty Evans and his NYC ex-folkie pals managed to create an LP that sounds fresh many decades later. The twelve tracks are essentially a series of musical trip reports covering the whole emotional spectrum, from chaos and euphoria to introspection and melancholy, with an intense, challenging atmosphere." —Patrick Lundborg, Acid Archives

                        •Remastered from the original four-track tapes—including three sides of alternates

                        •Vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro)

                        •Housed in an old school "tip on" gatefold jacket

                        Another monster smash from the ‘Caracal’ album, Disclosure's 'Omen' is reminiscent of Bobby Caldwell's 'Open Your Eyes', with soaring vocals from Sam Smith and yacht rock smoothness reimagined in a 2015 slo-mo garage pop-house style. As well as the original mix this limited 12" includes three reworks for the club. Claude VonStroke and Jonas Rathsman provide stripped-back tech-house remixes, while Motez goes with a UKG flavour. Vinyl comes with bespoke sleeve artwork. Inner bag and reverse board finish.

                        Yes! This is actually happening! Legendary acid house / hip-house innovator Fast Eddie’s masterpiece "My Melody" gets pressed to 12". To say this track is rare is an understatement. It never received a 12" release (unless you include a very rare bootleg in 1988) and only ever appeared cut very quietly on 1989’s "Jackmaster Phuture Trax" album. Well now Super Rhythm Trax (one of the most underrated labels of the year IMO - Matt) are very proud to present to you remastered and cut super loud for the first time ever, this amazing track.. But that’s not all! Also included are two further album cuts hand selected for their squirming acid lines and the fact that they’ve also never been available on 12" vinyl before (only on LPs). Then what better way to round it all off than with the freshly remastered banger “Hip House” that sees Eddie get lyrical over one of the most suggestive 303 lines ever. Don’t sleep on this one folks - we've warned you!

                        One of the defining releases on Large Music gets a special re-issue after a 16 year wait. Considered by many to be one of the top 3 packages in the early Large catalog, this EP set the trajectory for what would quickly become known as the "West Coast" sound of American House. A-side cut "Let Me Love You" instantly welcomes us with open arms into a waking dream of funky guitar licks, subtle bass, deep pads and soulful vocals. Believe me, you could stay in this groove for days on end. A venerable classic at the Shelter in NYC, this jam was played consistently by the legendary Timmy Regisford throughout his tenure there. After keeping things deep and sensual with perfectly executed dub, Rasoul kicks off the flip with a dark and sticky filter disco bomb which goes by the name of "Blue Note". The killer bassline and snapping percussion has you locked in the pocket before looped up jazz piano and sweeping strings add another sublime dimension; it's no wonder this was massive for Daft Punk and Cassius back in the day. The disco house bliss continues on "Night At The Top", which sees Rasoul lay down a rhythm section packed with gurgling funk before working the fx and loops to drive the dancefloor wild. Rasoul is often overlooked as one of the chief architects of modern Deep House, yet this release certainly secures his elite standing in the annals of House Music history. Essential!

                        C Duncan

                        For (Autumn Rebuild)

                          C Duncan takes single 'For' from his stunning debut LP 'Architect' and rebuilds it as a new single on limited orange 7".

                          "[An] astonishing debut… songs elevated to brilliance by multi-layered harmonies." The Sunday Times

                          “Hauntingly pretty, intricately arranged...Will blow you away with its awed atmosphere and reverential sense of rapture...Exquisite and unearthly.” Guardian band of the week

                          “C Duncan takes the heartstring-tugging abilities of his label mates and wields them in harmony-laden, acoustic fashion” NME

                          Earlier this year, Judy Dyble (Fairport Convention, Trader Horne, Giles, Giles & Fripp) issued her 'Gathering The Threads', a 3CD anthology of all the fragments that make up her - frankly extraordinary - career. Here, the first disc of the triptych is released as a deluxe vinyl compilation of her earlier work, as 'Anthology - Part One'. Compromising rare, unreleased and hard-to-find tracks - many of which have never before been issued on wax - these 15 songs bring together Judy's most prolific period as a musician. Deluxe linen-finish sleeve. Limited to 1000 copies worldwide. Comes with high-quality download featuring two additional tracks (full 12 minute version of ‘Improvisation’ / ‘Mirror Master Tape Advertisement’). 

                          Julien Dyne

                          Down In The Basement Volume 2

                          New Zealand based crate digger Frank Booker invites good friend Julien Dyne to drop the second release on his new imprint Down In the Basement. JD picks up where The Man Called Booker left off on Vol 1 and gets straight up to speed cutting up rare boogie, disco and Afro jams and employing his trademark raw cuts in an old school style, while lacing oodles of FX 'n stuff into the mix. The opening cut sees us thrust right into the throng of a Lagos dancefloor, shaking our stuff to a seriously funked up slice of Afro-disco. All key elements are present and correct (sweeping strings, hot horns, buoyant bass, thick wah guitar), and JD's crazy FX use blasts the whole thing off to a distant dancefloor dimension. The A2 sees the tempo drop to a midtempo strut as Dyne indulges in a fully freaked out head nodder complete with low slung bass, chunky piano and the occasional bit of strings. Making extensive use of echo, delay, filter and reverb, the Kiwi producer properly fucks with the groove, blessing us with a full grade psychedelic disco stormer. JD keeps it funky on the flip, running the fx unit over a symphonic and soulful bit of Blaxploitation funk before knocking our socks off with some seriously feel good boogie. Infectious, invigorating and eminently danceable, this essential EP sees Dyne trading in the playful and psychedelic style we're used to hearing the Idjuts exploit, and I can't get enough of it. 


                          Leaders Of The Free World

                            'Leaders of the Free World', Elbow's third album, sees the band try to beat down their major league contemporaries with a more ambitious set of songs. The results are impressive and may form the band's best work yet. Beginning with the beautiful, slow-building "Station Approach", and ending with the short but touching "Puncture Repair", 'Leaders of the Free World' takes in an a host of minor classics along the way including the captivating title track. The album is the result of a collaborative projecy between the band and film-makers, the Soup Collective.

                            Based in Californian Humboldt County, Brian Pyle is Ensemble Economique. On his by now eleventh album and fourth Denovali release "Blossoms In Red", Pyle combines and perfects elements of his previous output into a cohesive narrative. The opener ""From The Train Window, Red Flowers On The Mountain"" is a surprisingly scarce ambient piece, which feels like an almost infinitely stretched precious moment of time. Despite being austere, it is warm, sublime and incredibly captivating and after listening to its full 8 minutes, one cannot help but to rewind and replay. Having barely escaped this seductively infinite loop, one encounters the title track "Blossoms In Red" featuring Portland electronic duo Soft Metals. Starting off with a characteristic sluggish programmed beat, one is immediately overpowered by the onset of the towering combination of a warm bassline and a shimmering synth ambience. As the track flows, these elements writhe around each other in a delicately beautiful fashion, absorbing the materialising wailing guitar which almost sounds like an ethereal voice, as well as the occasional melodic and rhythmic accents. The next track sees this guitar return in a rather pure form. ""On The Sand"", featuring jack-of-all-trades Peter Broderick, is essentially just reduced analogue drums, electric guitar, a simple vibrating bassline and hoarse almost spoken vocals. Slowly and methodically, these constituents form a captivating erotic ritual, much like a beguiling and hypnotic mandala procession of imperturbable blissful individuals on the beach. As proven on numerous occasions, Pyle can easily lead all his trumps in the presence of female lead vocals, and "Blossoms In Red" makes no exception. Indeed, "You, By Candlelight" is easily the best Ensemble Economique track with female vox to date. Pyle manages to embed the vocals just in the right minimal amount of instrumental layers, making the track radiate an elusive tranquility. The fifth and closing track "Nothing Is Perfect" is a classically tinged piano piece with only very little processing and sparse field recording samples. Ensemble Economique's most minimalistic album, but at the same time - or maybe just for this reason - his most skilled work. 

                            STAFF COMMENTS

                            Barry says: Ensemble Economique's Brian Pyle once again expands his already venerable sound palette on his latest release for ambient/synth/post-rock titans Denovali. Near-gothic sounding drums hammer over echoing guitar and cavernous reverb, backed up on the third track by Multi-instrumentalist Peter Broderick's hoarsely whispered vocals. This is a haunting and stunning addition to the label's ever expanding domination over the ambient field.

                            FORMAT INFORMATION

                            LP Info: 180 gram vinyl.

                            Includes MP3 Download Code.

                            Everything Everything

                            No Reptiles

                              Limited edition 7" taken from the "Get To Heaven" album.
                              500 copies only.

                              Like Hawkwind on even more acid or Sunn O))) meets Butthole Surfers/P.I.L. with four bassists and droning powerful songs...

                              Those masked marauding architects of cacophonic, bombastic, psychedelic bass bothering rock have been at it again, by which we mean making another album of unrivalled and quintessentially unique rock music.

                              Everybody Come To Church is the new album from Evil Blizzard. To say it’s been eagerly awaited in many quarters is an understatement, something we reckon fellow North-West based musician Mr Mark E. Smith, who’s been heard to say of the Blizzard “I like Evil Blizzard, they give me hope that music is alive and kicking” will no doubt agree with. The Guardian are also huge fans of the band having featured them on their cover and describing them as“…afearsome collision of Hawkwind, krautrock, molten noise, dazzling psychedelic lights and weird, gnarly looking masks.”

                              The album was “recorded live in one day with minimal overdubs at Magnetic North Studios” “Everybody Come To Church is a fierce, spontaneous outburst of evil noise.” Like we’d expect anything less. They hadonly four songs written before entering the studio and the rest of the album just ‘happened’ around ideas they’d had knocking about.“Everybody Come To Church features eight tracks of brooding, sinister psychedelic rock that will melt your mind and soul. You have been warned” concludes the press release. Amen to that.

                              FORMAT INFORMATION

                              Ltd LP Info: Red vinyl repress - limited to just 300 copies.


                              Visceral / The Ah Track

                              Brooklyn producer FaltyDL follows up the batshit bruk of recent Ninja Tune 12", "Rich Prick, Poor Dick", with the melodic dancefloor madness of "Visceral" and "The Ah Track". Opening with the gentle sound of cello, clarinet and chimes, "Visceral" sees Drew work some minimal influences (Glass, Riley, Reich) through his ADHD sound design, chopping and scattering the samples amid a restless and frenetic broken beat while sumptuous snaking synth leads bring to mind the symphonic future jazz of Floating Points. Over on the flip, "The Ah Track" rollocks along at a breakneck pace, feeding filtered strings and the titular "ah" through a solid breakbeat, while sawtooth subs nip at your ankles. On his incendiary return to the dancefloor, FaltyDL holds it down for the grown up ravers.

                              Family Fodder

                              Sunday Girls (Director's Cut)

                                "Family Fodder exude an exhilarating sense that everything was possible, that there weren't any limits to imagination and humour. The scope of their musical range remains as dizzying and exciting as it once was." (Time Out New York) Staubgold proudly presents the legendary first 12" EP from 1979 by UK underground heroes Family Fodder, for the first time reissued on CD and vinyl. "Sunday Girls (Director's Cut)" comes as a lovingly assembled full-length album compilation. It features the complete "Sunday Girls" EP, the very first Family Fodder 7" single "Playing Golf" (1979), the "Debbie Harry" 7" from 1980, the 7" A side "Warm" (1980) and last not least two tracks from the rare "Te Deum" 12" (1979) by Alig Fodder's pre-Fodder project Frank Sumatra. Family Fodder was originally formed in 1979 by Alig Pearce - with a cast of thousands over three decades. They emerged from the melting-pot of 70s/80s London alongside This Heat, The Flying Lizards, The Pop Group, Slits and many others. The original formula consisted of psychedelic and new wave influences, incisive song-writing, improvisation, experiment and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on-stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling, now collectable singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities", they were best known for indie-chart hits such as "Debbie Harry", "Playing Golf (With My Flesh Crawling)" and "Savoir Faire". More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire. Family Fodder also appear on the infamous Nurse With Wound list. "Their music was generally playful, a hint of dub and reggae mixed with absurd, blissful pop, with synthpunk and sometimes experimental instrumentation. Most of the lyrics were also sung in French, courtesy of original vocalist Dominique Levillain, a combination rumored to be of some significant influence over Stereolab." (Systems of Romance) 

                                Originally dropped on Jack Trax back in 88, "Another Side" collected together the finest moments of the mighty Fingers Inc, and became the seminal Chicago house album on the way. Resurfacing occasionally over the last fifteen years in less than official form, the LP has always caused a wave of excitement, and now, a quarter of a century after its original release, Larry Heard has remastered and repackaged the set for an official outing on his own Alleviated imprint.

                                A studio collaboration between house originator Larry Heard, Robert Owens and Ron Wilson, Fingers Inc served up some of the deepest, most soulful  house ever heard, and it's all on this LP! The proto house/club soul sounds of opener "Decision" and deep and spiritual "Bye Bye" keep things light and euphoric, while cuts like "Never No More Lonely", "Feelin Sleazy" and "Music Takes Me Up", head deeper, darker and filthier into the realm of acid house. Flawless from start to finish, this is an essential item for any true house head.

                                Forever Cult

                                Tunnel Vision

                                  Following on from the success of summer single ‘Antonio Banderas’, FOREVER CULT release the quirky fuzzed up pop number ‘Tunnel Vision’ on 7” vinyl via Beggar’s Too Pure Singles Club. Produced by Matt Peel (Pulled Apart By Horses/Eagulls/Autobahn) at Nave Studios in Leeds, ‘Tunnel Vision’ is a blend of squealing whammy guitars, reverb laden falsetto vocals and growling hooks.

                                  Cin Cin, a series of split 12’s from Piccadilly favourite Fort Romeau and Warm Record's Ali Tillett. Each installment bringing together friends old and new in a spirit of collaboration and togetherness. Kicking things off is label boss Fort Romeau and ex Ostgut Ton honcho and Panorama Bar man Nick Höppner. “Untitled” sees Fort Romeau whip out the 909 for some bubbling, acid-tinged tech-house done in his fluid, glistening style. "Diana" follows with a more tranquil, dreamy vibe, FR's control of the filters allowing various levels of intensity and dynamics to break through the psychedelic hue bathing the track in technicoloured beauty. Nick Höppner indulges in some UKG influences with steppers “Stay” and “Splicing Hues”. The former utilizing Burial-esque coke-can drums that seem manipulated by bit-rate reduction while a woozy synthline drifts drunkardly through the track. The latter, "Splicing Hues" sees the producer go on a real London tip; sparse, deep and syncopated to the very last drop. Recalling the golden age of UKG but keeping the production tight and up-to-date. Proper.

                                  FUFANU follow up their ‘Adjust To The Light’ EP with their full-length debut, ‘Few More Days To Go’.

                                  European tour with John Grant.

                                  “Disclosure attending Bela Lugosi’s funeral.” - Rolling Stone

                                  “A tantalising amalgamation of The Fall, Bauhaus and the weirder corners of Blur’s output.” - Q Magazine

                                  “Strange, discomforting and mesmerising in equal measure.” - Line Of Best Fit

                                  Fumaça Preta

                                  La Trampa

                                    Tortured organ derails your mind as the Funana drums force your feet to move. Soon we dine with the devil; Fumaça Preta are leading the conga line to hell. La Trampa’ is a Venezuelan slang opera. A dancefloor tsunami.

                                    B side ‘Apelo’ offers up a twisted Fumaça Preta arrangement of Paolo Begunca’s lost classic, mixing sabbath rock, tambu, voodoo and fado. Lose your soul to the impossible cocktail that is Fumaça Preta.

                                    Gang Of Four

                                    Songs Of The Free

                                      Formed in 1977 by Leeds University students, Gang of Four produced some of the most exhilarating and lasting music of the early English post-punk era. They play a stripped-down mix of punk rock, funk and dub, with an emphasis on the social and political ills of society. They have released nine studio albums over their lengthy career as well as an array of compilations and live albums.

                                      Songs of the Free is the third studio album by Gang of four, released in 1982. It was listed as Pitchfork Media’s 99th best album of the 1980s and rated four stars by Rolling Stone.

                                      FORMAT INFORMATION

                                      Ltd LP Info: Pressed on splattered coloured vinyl, exclusively for Black Friday.

                                      GOD Double Vinyl Reissue LP features the seminal Melbourne band's 1987 mini-album Rock Is Hell and For Lovers Only (1989) together for the first time on full waxy goodness!

                                      "GOD was a giant exploding quagmire of a calamity of a band, but they had their bad days as well. At their best, which was neither live nor in the studio - maybe it was during band meetings - GOD sounded like a ten train smash-up in Tin Railroad Town, which was hilarious, because they were trying to encapsulate stadium rock at least half of the time and the "monster riffs" - and they had those, and some sneakily grabby songs as well ? often sounded like a kids' playgroup had broken into the bottle recycling bin combined with that siren song of crap amps buzzing and wheezing you sometimes hear just before they blow up. You just looked at those guys, and even listened to them, and you just knew right away they were the coolest thing going - a buncha hairy brat kids doing KISS meets punk, heads down and blasting away like a mining company that's just been given the green light on a few hectares of unexploited desert. Tim Hemensley, Joel Silbersher, Sean Greenway, Matty Whittle - in the annals of rock history, these are names that will never mean anything to anybody, no matter how good they were in GOD or how much great stuff they recorded separately after they broke up. The annals of rock history are fucking stupid, that's why. Thanks to my telcom company sending me a magazine subscription I never wanted instead of cutting their prices down to something a human being might be able to afford, I just got a copy of Rolling Stone today. It eulogises all those great artists whose albums you supposedly rilly need to hear this year, dude. From the front cover photo of 2007's leading fat rock chick Jack White, through to the rock'n'revolutionary mobile phone ad on the back, there's not one single human gazebo in there who, in the broader artistic scheme of things, deserves to scratch the crust off GOD's underpants. There's only one album rock lovers need this year. That's GOD. Same as last year, only now it's on vinyl. Like Radar from "M.A.S.H." once said, "Put a new fang in your tone-arm cobra", and blast it today." - Leaping Larry L. 

                                      STAFF COMMENTS

                                      Darryl says: Featuring one of my favourite singles ever, "My Pal", this is superb double lp round-up of their career.

                                      FORMAT INFORMATION

                                      2xLtd LP Info: 300 copies world wide of this on deluxe 2LP / gatefold sleeve.

                                      Gurgles are a three piece (Bass, Keys, Drums) brother-and-sister plus Bradley Cunningham Bradford progpopband. Songwriter and Fender Rhodesman is Augustin Bousfield of Mucky Sailor and ex of Nope. Also promoter of Saltaire's Pleasure Grounds night, synthpop bon viveur Lord Adonis and writer of TV music.

                                      The album was lovingly recorded by MJ from Hookworms and features artwork of the destruction of Shipley Clock by famed illustrator Kenn Goodall.

                                      'Gurglefirst?' is a multi-hued Fender Rhodes driven pop-trip whose influences include Jim O'Rourke, Steely Dan, High Lamas, Deerhoof Prefab Sprout, Cardiacs, Kraftwerk, Yellow Magic Orchestra, Robert Wyatt, Chicago, Pink Floyd and Van der Graaf Generator.

                                      Rawhead & Bloodybones deftly spins together sampled Appalachian folk tales and field recordings with newly composed music. The album focuses on folk tales mostly told by children and recorded in the 1940s. The tales are humorous, gruesome, and full of meaning and character. They are weaved together with archival samples and newly composed instrumental parts. The combination of the youthful voices and often-grisly tales offer a striking contrast. 

                                      Richard Hawley

                                      I Still Want You

                                        Latest single to be taken from the "Hollow Meadows" album. Includes a live acoustic version of "Tuesday PM" on the B-side.

                                        Lee Hazlewood

                                        Its Cause And Cure

                                          The mid-to-late '60s were strange days for Lee Hazlewood. Having struck gold as songwriter and vocal foil for Nancy Sinatra, he signed up to MGM as an artist in his own right, and between 1966 and 1968, produced three ambitious solo albums that were eclectic, idiosyncratic, and most of all, unpredictable.

                                          It was a happy time for Lee; his music was hot on the charts, he was fully immersed in his collaboration with his muse, Suzi Jane Hokom.

                                          The second of his MGM trilogy - 1967's peculiarly named Lee Hazlewoodism: Its Cause And Cure - took on countrified French ye-ye (“The Girls In Paris”), a tale of a young bullfighter built on Spanish guitar and choral cowboys (“Jose”), a string-drenched song about the passing of time (“The Old Man And His Guitar”), and a western epic about a Native American tribe (“The Nights”). And that was just the first four tracks. Elsewhere, the honky tonk madness of “Suzi Jane Is Back In Town,” the Byrds-like jangle of “In Our Time” and–in the bonus tracks–an instrumental named “Batman” confirm this to be one of Hazlewood's most far-ranging, far-out LPs ever.

                                          It’s the result of two main factors: ambition–to top Phil Spector, primarily–and cash, which paid for orchestras, plush studios, and the inestimable talents of arranger Billy Strange. “I think the big sound of those records came out of the Spector thing,” says Hokom, in the new liner notes. “If you can have a big sound and you have money to burn… it was a flamboyancy.”

                                          Released before the Nancy & Lee LP–a bona fide hit for Reprise Records–Hazlewoodism was a tougher nut to crack, a record that confused by combining po-faced delivery with unabashed comical touches. By 1967, Hazlewood had founded the LHI imprint, and was busy building his own empire–one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus predecessor, The Very Special World Of Lee Hazlewood and follow-up, Something Special. Welcome to Hazlewood's magnificent–and mad–MGM years.

                                          FORMAT INFORMATION

                                          LP Info: LP housed in a deluxe gatefold Stoughton tip-on jacket.

                                          Lee Hazlewood

                                          Something Special

                                            The three years spent on MGM Records between 1966 and 1968 were golden ones for Lee Hazlewood. He spent them working with his muse, Suzi Jane Hokom, writing a still-unreleased book, The Quiet Revenge of Elmo Furback, competing with Phil Spector from their respective studios, and coming up with the formula for the "boy/girl” songs for which he'd become famous. In fact, the unflattering portrait on the cover of Something Special did little to hint at how hip this late-flowering talent (he was in his late 30s when “These Boots Are Made For Walkin’” made him a star songwriter) had become.

                                            The common strand on the MGM trilogy is one of the unexpected happening. They were an ill fit for a major label–experimental, difficult to pigeonhole, and unpredictable. Those descriptors apply nowhere more aptly than Something Special. Where 1966's The Very Special World Of Lee Hazlewood and 1967's Lee Hazlewoodism: Its Cause And Cure had employed an arranger, Billy Strange, and a full orchestra, Something Special stripped things back and brought in a flavor of jazz and blues, complete with gravelly-voiced scatting courtesy of collaborator Don Randi. This sat alongside tracks like “Little War” and “Hands,” the kind of late night, acoustic balladeering Hazlewood would later seize for his career-highlight LP, Requiem For An Almost Lady. The sound was that of a stripped-down nightclub jazz/blues/folk combo, fully rejecting the psychedelic music going on all over the world.

                                            The album made clear that forging a career as a serious star was not at the top of Hazlewood's agenda, and at the third opportunity, he'd let the listener in on the joke. Tellingly, Hokom recalls Hazlewood saying the MGM albums were his “expensive demos. I’m sure that MGM thought that they would be successful.” Little chance of that with Something Special–it was originally released only in Germany. The same year, Hazlewood founded the LHI imprint, and began building his own empire, one we've been lovingly archiving for the past few years. We now present this missing link in the story, three albums that generated some of Hazlewood's best–and most varied–work.

                                            FORMAT INFORMATION

                                            LP Info: LP housed in a deluxe gatefold Stoughton tip-on jacket.

                                            Lee Hazlewood

                                            The Very Special World Of Lee Hazlewood

                                              Lee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with “These Boots Are Made For Walkin’,” the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic. Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described "non-singer" whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned.

                                              In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning–in as much as he ever did–for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment.

                                              Lushly orchestrated and–like the album that preceded it–half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others (“Sand,” “Boots,” “So Long Babe,” “Summer Wine”–included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, “For One Moment.” It’s a record of extremes: “When A Fool Loves A Fool” is as light and throwaway as anything he ever laid down, while the wistful “My Autumn's Done Come” (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest.

                                              Despite MGM's best efforts, Hazlewood proved difficult to market without a Sinatra to temper his baritone drawl, and you'd suspect Hazlewood wasn't taking it quite as seriously as they might have hoped anyway. By 1967, Hazlewood had founded the LHI imprint and was busy building his own empire–one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus follow-ups Lee Hazlewoodism: Its Cause and Cure (1967) and Something Special (1968). Welcome, then, to Hazlewood's magnificent MGM years.

                                              FORMAT INFORMATION

                                              LP Info: LP housed in a deluxe gatefold Stoughton tip-on jacket.

                                              Neil Hefti

                                              Batman Theme / The Batusi

                                                Theme song from the original 1960s television show. Pressed on opaque yellow vinyl. Graphics will be"cartoony" in nature lending to the original theme of the show.

                                                Herva is the artist name of Hervè Atsè Corti. He lives in relative seclusion from the dance music world in the Italian countryside around Florence and is one of the most intriguing producers to work in house and techno for a while. He makes house and techno that doesn’t adhere to the usual influences of Detroit, Chicago or Berlin. ‘Kila’ (the Swahili word for 'everything') was put together using software and hardware that he often modifies, with a mixture of beats and samples punched in like old-school hip hop and synths and effects that give his tracks the feeling of dance music that's been teased apart, smudged and smeared. The music is relaxed and warm but simultaneously abstract and punctuated with ragged detail and gritty disruption.

                                                The album moves across tempos, from the floaty upbeat disco of ‘All Good On Your Side’ to the full throttle electro of 'Seat Behind Mirrors’ which gently gives away to a looping Burundi vocal. Then down to the old-school hip hop and wonky ooze of ‘Mistakes Dealer’. The track ‘Fading Above Smoke’, is held in place by a repeating drum pattern while synths and samples scrape and wrap themselves around the rhythm. ‘Dust Cover’ approaches the sound of early Pole, as if it had been described to him but never heard, sending digital grit and glitches across a low-slung bassline and opaque dubbed-out chords. The album finishes on the overloaded climax of ‘Fog’, which runs awkwardly edited samples over a loose drum tattoo, with enough restraint to keep the track flowing.



                                                  Stabs is the debut LP of the Swedish garage rock act HOLY, the project of Hannes Ferm. Released via Stockholm label PNKSLM Recordings and Ny Våg Records, the label of Dennis Lyxzén from Refused, it’s a mix of lo-fi production and instantly catchy, and expertly crafted, songwriting. HOLY is without a doubt one of the most exciting new acts in Scandinavian, mixing the sound of sixties psych pop with the past decade’s Californian garage rock scene to create his own distinct brand of home-recorded pop and HOLY’s already picked up attention from Stereogum, DIY, The Line of Best Fit as well as toured the UK around Liverpool Psych Fest.

                                                  Hurricane #1

                                                  Find What You Love And Let It Kill You

                                                    Batten down the hatches - there’s a storm coming. Former Creation Records act Hurricane #1 are back! After battling cancer, front man Alex Lowe has emerged triumphant (well, they do say 'only the strongest will survive') and resurrected his old band and now Hurricane #1 are about to release their first album in 16 years.

                                                    The original line up included ex-Ride guitarist/vocalist Andy Bell, Alex Lowe (vocals & guitar), bassist Will Pepper and drummer Gareth Farmer. The band split up in 1999 after releasing two full-length albums and several singles on Creation Records. Their anthemic sound was influenced by classic 60s Rock & Roll, Soul and Country Rock, but with a contemporary edge. Paul Oakenfold remixed their debut single, and UNKLE’s James Lavelle revamped 'Only The Strongest Will Survive'.

                                                    After the demise of Hurricane#1, Lowe concentrated on his solo career - his most recent album was recorded under the name Gun Club Cemetery and came out last year on Alan McGee’s new label 359 Music. McGee has been the driving force behind bringing Hurricane#1 back from the dead. This time around, former boxer Lowe has been joined by Brazilian brothers Carlo and Lucas Mariani on guitar and bass, and Chris Campbell on drums. Says Lowe: "I’m really excited about the new line up - there is a real buzz about it and I can’t wait to get back on the road in 2015. It’s going to be fun. It’s great to be back with such a gifted band. It’s been a tough couple of years, but I’ve never been more convinced that this is the time for Hurricane#1. Bring it on!".

                                                    The new album came about when Alex was in hospital undergoing cancer treatments. Alex says: "I would sit there on the bed for hours just thinking, staring out the window, then I thought if I’m spending my time in here doing nothing, I may as well try and keep busy, so I wrote most of the album in hospital." At the time of writing it Alex wanted to write something happy and not too dark to get him out of the horrible state he was in at the time. "When you are wired up to chemo and radio therapy, the last thing you want to do is wallow in it and feel sorry for yourself so I had the idea that the album should be happy and not too dark. I knew I wanted it to be a very organic album, back to basics type of sound, nothing fancy,just good tunes played in a good Rock ‘n’ Roll manner."

                                                    The album was recorded in Turriff Aberdeenshire, Scotland, where Steve Ransome, an old friend of Alex, runs a studio. During the recording sessions Andy Bell contributed the backwards guitar sounds on 'Think Of The Sunshine'. For the artwork the band hunted down loads of ideas, but couldn’t find anything they liked, so Alex painted it.Hurricane#1 will be touring in 2016 and Lowe promises that the band will sound bigger and better than ever. Prepare to be blown away.

                                                    FORMAT INFORMATION

                                                    Vinyl comes with CD version of the album enclosed.

                                                    Antipodean Italo expert George Hysteric joins the Ostra Discos crew for a the "Oasis Room" EP, serving us middle eastern disco three ways - it's a feast! Teasing our tastebuds on the A-side is the electro-disco/EBM fusion of Tuareg, a stomping 80s cut propelled into the middle of the dancefloor by a reverb-heavy, drum box rhythm. The slap bass bottom end gets your body winding like a snake, while the arabesque synthlead, Fairlight flute and synth vox provide ace period detail. "Agave" opens the flipside in properly proggy disco fashion, working a dusty groove under spiralling space synths and endlessly asscending chord progressions. The EP closes in meditative fashion with the low bpm groove of "Desert Illusion", a properly cosmic stroller which soars over dunes and round pyramids on its easy going rhythm. A change of pace and direction for the Ostra Discos imprint, and possibly their finest release to date.


                                                    Gruss Vom Krampus / Little Drummer Boy

                                                      Snowflake 8 features two songs by Melbourne postpunk band IKON. IKON was started at the end of the 1980s as Death In The Dark by school friends Chris McCarter and Dino Molinaro, influenced by bands like Joy Division and New Order. The band changed its name to IKON in 1991. Since then, IKON released seven albums, the last 'Everyone Everything Everywhere Ends' in 2014. The band, that still features the two original members alongside David Burns and Clifford Ennis, has done several tours through the years, and has become one of the mainstays of the worldwide darkwave/gothic/postpunk scene. IKON's sound has developed through the years, incorporating acoustic and electronic elements in their dark, postpunk-inspired rock sound. Despite Christmas in Australia usually being sunny and hot, IKON is going to make Christmas 2015 a very dark, cold and even scary one.

                                                      The A-side tells the story of Krampus, the Christmas devil, the helper of Saint Nicholas (aka Santa Claus) according to the folklore of the Alp countries, who punishes children that have misbehaved. The B-side turns the Christmas classic 'Little Drummer Boy' in a scary sounding darkwave song.

                                                      On special request of the band, the single comes in two versions: 200 copies on snow white vinyl and 200 copies on blood red vinyl. - Lucky dip which one you get!

                                                      After indulging in a little no nonsense house music via Henry Rodrick's mighty "Daybreak", Omena return with a lovely leftfield offering from mysterious newcomer Ishi Vu. Opening with the lush and verdant sounds of title track "Green Is The Colour Of Love", the EP immediately sets you at ease, wrapping you in deep bass and immersive textures before a chanted world vocal adds an extra element of otherness, which leads into "Plant Your Feet". Driven by tribal polyrhythms and lively market sounds, this floor friendly track utilises a filtered bassline and frenetic violin to make you trip the light fantastic - proper fireside ritual tackle. "Uhh, Your Heart Is Melting" continues the theme, looping a world vocal on some dreamy keys while rattling percussion moves your body. "Bi-Polar Nature" opens the B-side with playful sequences and lush Floating Points-esque lead lines, before opening out into a vivid and visual trip on a sonic safari. All that remains is for "Tem Per Malva" to close the set with sampled exotica, sweeping pads and subtle sequences, #lush. An assured debut which continues the recent revival of late 90s chillout we've seen from HNNY, Omena LTD and Saine.

                                                      Dave Jackson & The Cathedral Mountaineers

                                                      Red Fin Sunset

                                                      For fans of; Tom Waits, Nick Cave, Johnny Cash, Leonard Cohen, Velvet Underground. Red Fin Sunset by Dave Jackson & The Cathedral Mountaineers follows on from his critically acclaimed first solo album Cathedral Mountain. This time, he’s reunited with Benny Profane and Dead Cowboys guitarists, Robin Surtees and Greg Milton, and augmented by Andy Wilson on keyboards and the celestial Cathedral Mountain Choir.

                                                      The album contains six new songs and five re-imagined ‘covers’ of Benny Profane classics, all stripped back to the atmospheric, two guitars, no drums mood of the previous album but making wider use of heavenly choir and keyboard textures to create a more expansive sound. The songs give prominent place to vocals and continue in the storytelling vein of yore: Having seduced the mother by stealing her Mojo Hand, a Saltspell Man swaps their first-born for a Changeling Girl. A Jekyll & Hyde style drug fiend dances through Victorian London, accompanied by his Pet Ape and wielding his Dragon-headed Cane. The spirit of Vlad Impaler visits a Tory Tax evader at his Andorran mountain retreat. A man on life-support contemplates the cosmos through palliative bliss. An estranged lover watches his paramour diminish from the gondola of an airship.

                                                      Dave Jackson has been writing, recording and singing with his bands The Room, Benny Profane, Dust and Dead Cowboys since the early 1980s and has toured in the UK, Europe and the USA with The Fall, The Birthday Party, Bauhaus, The Violent Femmes, Tom Verlaine, New Order, Echo & the Bunnymen, Aztec Camera and The Wedding Present. Tracks by The Room and Benny Profane are included on Cherry Red’s Scared to Get Happy: the Story of Indie Pop Box Set and C86 Deluxe Box Set. Jackson’s first novel is due out this winter, accompanied by the micro-budget feature film he adapted from it and co-produced. Violet City was shot entirely on green screen, by director John Maxwell and has been in post-production for 5 years.

                                                      The Jesus And Mary Chain

                                                      Barbed Wire Kisses

                                                        The Jesus and Mary Chain are a Scottish alternative rock band formed in Scotland in 1983. Although their chart success was virtually non-existent, their artistic impact was incalculable; making the world safe for white noise and dense sound serving as inspiration to many artists. They have released six studio albums over their career as well as a variety of B-sides and compilations.

                                                        The band released a compilation of singles, b-sides and rare tracks in 1988, with the title Barbed Wire Kisses. It contains a heavily thrashed-up cover of the Beach Boys “Surfin’ USA” as well as various alternate versions of album cuts including “Taste of Cindy” and “On The Wall”. The compilation was awarded four stars by Allmusic.

                                                        FORMAT INFORMATION

                                                        Ltd LP Info: Pressed on blood red vinyl, exclusively for Black Friday.

                                                        Includes MP3 Download Code.

                                                        Ethan Johns is renowned for the vividness and purity of his productions with the likes of Ryan Adams, Ray LaMontagne, Laura Marling and Paul McCartney. But Johns has always worn more than one hat; for starters, he’s an accomplished musician on a variety of instruments. He first came into view as the drummer/guitar player with Crosby, Stills and Nash and then as a guitarist in Emmylou Harris’ band, and subsequently, as a producer, Johns frequently contributed on both sides of the control room glass. Everything Johns has done during the course of his distinguished and varied career has led him to this deep, enthralling album. “The fact that I’ve been playing and performing as much as I have the last few years is showing in the performances that we got on this record, and I’m happy to be progressing". Ethan Johns’ musical explorations to continue to warrant—and reward—our rapt attention.


                                                        De Saison/Pour Noel, Cette Année

                                                          Snowflake 9 features two songs by Juniore, from Paris, France. Juniore is the brainchild of Anna Jean, a singer who lent her voice to songs of Parisian electro acts like Jackson, Jérôme ''Tacteel” Echenoz and Bot'Ox. Juniore, in which Anna Jean is joined by four other female musicians, is something competely different: surf, psychedelica, french female sixties pop and space age music are all blended together by producer Samy Osta (Rover, La Femme, Louis Chedid), while Anna Jean sings stories about being sleep deprived, restless or falling out of love. Anna's mysterious voice is reminiscent of 60s muses, think Nico meets Françoise Hardy. Juniore released three singles so far, and their Snowflakes Christmas Singles Club single is the fourth.

                                                          For their Christmas single, they have composed a reverb drenched dreamy original about the Christmas season. On the B-side, the band gave one of the biggest Christmas hits ever, Mariah Carey's 'All I Want For Christmas Is You' a total makeover– it now sounds like a psychedelic pop song from the sixties, sung Françoise Hardy in the small wee hours of the night.

                                                          The single comes on snow white vinyl and is limited to 350 copies.

                                                          More superb tracks by K-Alexi from the depths of the Trax vaults circa 1994. "Medusa" kicks things off with a wailing and squealing acid jam; surely inspired by the great Steve Poindextor and that rampant Chi-town '89 flavour. Drum machines work in overdrive as a concentric 303 gurgles on through the track. "MCM Club" contains THAT synth refrain from Lil Louis' "Y U Call" and again, unloads a plethora of frenzied drum machine abuse onto the mix. The whole thing sounds like Jamal Moss has gone all Members Only on the Lil Louis OG but this predates Jamal by some years and is pure fire for the floor. "Get The" utilizes some great Chicago booty samples included that instantly recognizable floor tom pattern. Tracky and infectious it's one of those great tunes that doubles as a wonderful DJ tool. "Don't You Want A Remix" bases itself around a well known disco sample whilst adding a serious air of urgency and high energy. Sexy female vox are layered up over the hook alongside beefed up drums and occasional bursts of echo. Just one of those pioneering disco-house blueprints which went onto inspire a whole plethora of copycats. Storming stuff from Mr. Shelby.

                                                          The Keeper

                                                          Golden Round Circus / I Couldn’t Fool Around No More

                                                          This fifth release from essential imprint Universal Cave is music for sideways times when down is up and up is down. The brainchild of mysterious Swedish producer The Keeper, "Golden Round Circus" and "I Couldn't Fool Around No More" are spiritual kin to Michael Wynn Band's "Dark Night" and Straight Shooter's "Frame of Mind" - chugging, cosmic AOR made by heads for heads. "Golden Round Circus" takes your breath away from the off, sucking you into a zero gravity groove before the metallic synths, reverb soaked snares and trippy sequences make lights and colours swirl before your eyes. Weird delayed vocals and snaking synth lines take things to the next level, turning your brain inside out while your limbs move of their own accord. B-side cut, "I Couldn't Fool Around No More" dons its boat shoes and gets stuck into a tasty yacht boogie, soaring into the sunset on open drum breaks, guitar solos and multitracked harmonies. One for cosmic heads and Balearic beards alike, this offering from the Fasaan man is another essential release for Universal Cave.

                                                          Kejeblos Feat. Momo Love

                                                          Just Me No You / Autobahn Dub

                                                          As the days are getting colder and the nights become longer we receive this call for perseverance from Phantom Island. The fifth release of the still young and fresh Zurich based label lives up to the expectations its highly acclaimed predecessors (by Lexx, Foster and Kejeblos) induced. On “Just Me No You” its Kejeblos' longterm favourite ally, Momo Love aka MoreEats, whose voice, lyrics and guitar playing takes us back to spring 1997 on a highway driven by a thunderous bassline and a laid-back sublime production and arrangement. When you play the B side, “Autobahn Dub” you will find yourself in one of those unblemished moments you can enjoy anywhere and anytime; in your car, on your headphones on a bike, at home in the kitchen or even in the club – when you know that everything will be perfectly alright tonight. 

                                                          Kid Congo & The Pink Monkey Birds

                                                          Bruce Juice / El Cucuy

                                                            Kid Congo & the Pink Monkey Birds will be dropping their latest and strongest album in early 2016. To prime the pump, they present this new single featuring two brand new tracks not featured on the upcoming full length.

                                                            Mark Kozelek And Nicolas Pauls

                                                            Dreams Of Childhood: A Spoken Word Album

                                                            Dreams Of Childhood is a collection of 12 poems written by street kids in Argentina, translated Argentine actor/musician Nicolás Pauls, Federico Novik, Pablo Cubarle and Catalina Morano.

                                                            Performed in English by Mark Kozelek and in Spanish by Nicolás Pauls. Executive producer Nicolás Pauls. All proceeds will go to La Casa de la Cultura de la Calle (The Streets House of Culture) which is a nonprofit civil organization that seeks the social inclusion of kids with no homes by giving them art, music, theatre and photography classes.

                                                            Fela Kuti & His Africa 70

                                                            Fela Fela Fela

                                                            Fela Kuti is best known for creating afrobeat, a form of danceable African classical music infused with strong socio-political messages.

                                                            In a dark and dusty corner of a New Jersey warehouse 700 copies of a 2010 Fela LP release were recently discovered. They’ve made their way to the UK and are being offered as a special release just in time for Christmas.

                                                            The album features classic early tracks from the 1969 ‘LA Sessions’ album.

                                                            Despite being recorded 46 years ago, the sounds are as fresh, crisp and rocking as any Fela track ever. A guaranteed must have for Fela aficionados.

                                                            These recordings feature Fela’s group Africa 70, which he formed after returning to Nigeria from a period in the US, representing the beginning of his transition from jazz to soul to the creation of afrobeat.

                                                            Mark Lanegan

                                                            One Way Street: The Sub Pop Albums

                                                              The ‘One Way Street’ set compiles the first five solo albums recorded by Mark Lanegan, the Pacific-Northwest icon also known for his work with Screaming Trees, Gutter Twins, Mad Season, Queens Of The Stone Age, Isobel Campbell and more.

                                                              ‘The Winding Sheet’, Mark Lanegan’s first solo work, is notable in its departure from the characteristic sound of Screaming Trees, the band he fronted from 1985 until 2000. Its follow-up, ‘Whiskey For The Holy Ghost’, released during the grunge explosion of the early 1990s, showcases Lanegan’s growing maturity as a songwriter and vocalist.

                                                              ‘Scraps At Midnight’ could be considered the final installment of a trilogy of albums featuring Lanegan’s interpretation of American roots music accompanied by his troubling lyrics of loss, sin, and redemption.

                                                              ‘I’ll Take Care Of You’, Lanegan’s fourth solo effort, consists entirely of cover songs with interpretation of songs from a wide variety of songwriters including Tim Rose, Tim Hardin, Booker T. Jones and Buck Owens.

                                                              On Lanegan’s fifth and final solo album for Sub Pop, ‘Field Songs’, Lanegan seems to have taken the best elements from his previous work to create one of the most fulfilled and fulfilling albums of his career; ‘Field Songs’ also includes ‘Kimiko’s Dream House’, which Mark co-wrote with Jeffrey Lee Pierce of The Gun Club.

                                                              Three of these five albums have been out of print on vinyl for many years; ‘I’ll Take Care Of You’ was only released on vinyl in Europe and ‘Field Songs’ was only issued on CD.

                                                              Each album in the ‘One Way Street’ box set is pressed on 180gram vinyl and is housed in a sleeve reproducing the original release’s artwork.

                                                              FORMAT INFORMATION

                                                              FREE SHIPPING This item has FREE UK shipping!

                                                              Made by Mark Imperial & Vinnie Devine as Laurent X, "Machines" was conceived in a 16 track studio with the perfect set up of Roland TB-303, TR-808, TR-909, a Juno 106, some FX and a bucket of rib tips. According to Mark Imperial, he and his friends (specially Vinnie Devine) had a mad fun playing with gear. This 'thinktank' approach saw the young producers on the Chi-town scene become acquainted with a vast array of gear in a laid back environment. The approach worked, and "Machines" is a total acid house classic, backed with innovative and unusual drum patterns (check out those syncopated snare rolls), growling synth parts, and of course a heavyweight 303 line. Next up, action packed jacker "Whatcha Tryin' T' Do T' Me", sees Mark and Vinnie let loose on the 808 and 909, putting it all out there while a simple bassline rolls on. Chuck in some chopped and dropped vocal samples and we're in classic Chicago territory. As far as I'm concerned, if you call your track 12 AM, you're making a promise for the peaktime, and luckily Laurent X deliver. Solid drum programming supports a beefy bassline and cinematic synth lines, putting this in the same deep and danceable realm as those early Frankie Knuckles/Jamie Principle collaborations. Finally, "Drowning In A Sea Of House" takes us as deep as the title suggests, laying down a storming bassline, lethal percussion and spooky, siren synths. If you dug on Legowelt's 'House Of Jezebel' version of "Love & Happiness", then you'll recognise and love this bassline!

                                                              Les Rallizes Denudes

                                                              Live 1977

                                                                LES RALLIZES DENUDES are one of the earliest and most revolutionary Japanese psychedelic rock bands, and have existed off and on through four decades. Formed in November of 1967 at Kyoto University, inspired by Exploding Plastic Inevitable-era Velvet Underground as well as the over-amplified rock of Blue Cheer and Mario Schifano’s avant garde ensemble Le Stelle.

                                                                By 1968 they were gigging live and even began a regular collaboration with an avant-garde theater troupe, which ended the next year because of Les Rallizes’ penchant for extreme volumes of sound. Not only did they use massive amounts of feedback at loud volumes, their stage shows used strobe lights, mirror balls, and other effects for a live experience that was a total sensory assault. This historic performance recorded in Tachikawa is a document of the band’s sound: extreme feedback, distressed guitar with detached vocals laid over languid rhythms, unbelievable in intensity.

                                                                In what's sure to prompt a feeding frenzy amongst our Balearic customers (mañana piranhas?) Lexx hooks us up with a super limited repress of this three tracker of Balearic brilliance on his own Phantom Island imprint. At this point it's basically a fact that the Swiss maestro never puts a foot wrong behind the desk or the decks but this beautifully presented EP takes the piss! "Turning Tides" does its best to send those baubles bouncing with the weighty combination of a solid kick and wall shaking bassline forming the perfect foil for the midtempo hi hat shuffle. As the hypno-house groove takes over, Lexx introduces echo drenched vocal snippets, scratchy disco guitar and bursts of clavinet energy, fusing all those disparate elements of a night under Adriatic stars into one sublime track. "Mahogany" follows the opener in a more subdued but no less cheery fashion, like a well mannered in-law at Christmas dinner. A sophisticated piano line rides the dubby bassline, scratchy guitar and swelling synthline, setting the scene perfectly for the gorgeous chimes to seduce all before them. On the flipside Lexx delivers the appropriately blissed out groove of "Serenity", a horizontal odyssey which glides effortlessly through exotic textures and rhythms marrying the organic and synthetic with ease. The low slung disco bassline and clipped guitar are reminiscent of early Norwegian excursions into the realm of space disco, while the exultant vocal samples and tuned percussion transport you to the swelter of a distant shore. Lexx just doesn't make bad records does he?!

                                                                FORMAT INFORMATION

                                                                12" Info: Silk-screen printed sleeves, repress limited to 250 copies.

                                                                LNTG (Late Nite Tuff Guy)

                                                                I Get Deeper - Inc. Cassian Rework

                                                                For the ninth instalment of his unstoppable Tuff Cut series, Late Nite Tuff Guy goes back to the start and the track which kicked the whole thing off. Originally released on TBot's All Nite House Party imprint in 2007, this simple, but devastatingly effective rework of Roland Clark's house classic took on a life of its own, infiltrating the digital realm via a wealth of dodgy rips and finding its way into all the playlists which mattered. Eight years and countless killer edits later, LNTG takes pity on the 470 people on Discogs (and however many less savvy collectors) and represses his masterpiece, this time round releasing more than 100 copies. For the uninitiated, or those who need a refresher, our main man looped up an irresistible bassline, laid down and solid drum track then topped the whole thing with the essential accapella from Roland Clark's "I Get Deep" - and it's ruddy brilliant. The LNTG original has be remastered for 2015 and arrives alongside a brand new remix from Sydney's Cassian, who amps up the drums and goes harder on the fx for 2015. 

                                                                Al Lover

                                                                Zodiak Versions

                                                                  San Francisco-based producer Al Lover has spent the last several years evolving a unique approach to psychedelic music by way of exploring the common threads within it’s various genres. His newest effort, ‘Zodiak Versions,’ sees Al exploring what he views as two musical styles that have defined modern underground music culture, Jamaican Dub Reggae and the German experimental “Krautrock” from the 1970’s. Sketching out repetitive dub baselines and leads using only the keyboard of his laptop as a musical device, Al formulated the basic structures of the what would become these versions. Reminded of what artists like Kraftwerk and Neu! attempted to portray with the driving motion with their motorik beats and expansive washes of analog synthesis, Lover felt compelled to write music directly within the environment that had once inspired the original ‘Krautrock’ sound.

                                                                  Once back in the states Al teamed up with good friends Burnt Ones in LA to add some touches of guitar and synth drone to the sketched out songs. At this time he was further introduced to the some of the lesser known efforts of Kraut pioneers that would later influence the rise of Ambient music. Returning home completely inspired, he added even more layers of analog Moog synthesizer, tribal percussion, and vintage rhythm box drum sounds before sequencing and mixing all the elements through a vintage Roland RE-201 Space Echo. The end result is is what you have here in Zodiak Versions. With his last few projects, Al Lover has been bouncing back and forth between a more sample based remix approach and actual synthesized music composition.

                                                                  You can hear elements of his earlier works - Distorted Reverberations (of Reverberating Distortion), Vodun Moon, Goat Remixes, Sacred Drugs, Cave Ritual (& Redux) - in Zodiak Versions, but the music is heading in a more textured, droned out direction. An experiment in maximized minimalism. Subtlety and nuance hidden within an intense wall of sound, as if the psychedelic aspects of everything that influenced the record have been extracted and reconfigured to produce the sonic dub version of a bad trip. 

                                                                  Re-issue of this beautiful Christmas EP from Low. Originally released in November '99. If you don't own this already, you really should buy it!!!

                                                                  STAFF COMMENTS

                                                                  Laura says: "Just Like Christmas" is a sublime pop song with sleigh bells that give it a sprinkling of festive cheer without coming across all "Now That's What I Call Christmas"!

                                                                  Klasse Recordings and Grafiti Tapes impresario, Luca Lozano, rolls up to Hypercolour with a 12″ par excellence of genre blending, future dance grooves. Leaning on his Sheffield upbringing, it’s of no surprise that the break beats, edits and bleeps of his native city seeps into his own forward thinking productions. Having racked up some super releases for Sex Tags UFO, Optimo Trax, Crème Organization, alongside his own imprints, Lozano really impresses on his Hypercolour debut. "Gun Fingers" is a strictly heads down affair, luscious synths, tantalising breaks and heavyweight B-line sandwich in-between pounding kicks for a classy cut, whilst "Calling All Dancers" is indeed a call to rave, laced with the familiar components of a golden era of UK dance, that never slips into pastiche, instead sounding fresh, vital and relevant to the times. Kindred spirit, DJ Sotofett, weighs in with two versions of "Gun Fingers" exclusively for the vinyl edition of this release. Those who know Sotofett’s killer style will know the score here, and he certainly does not disappoint. And those who spent time chasing around motorways and A roads in search of the party will most definitely know what’s up on this set of remixes!

                                                                  Edizioni Mondo presents Serie Due! While the first chapter with four releases dedicated to seascapes ended with the compilation Collezione, we now delve into a new part of Edizioni Mondo’s world that presents new views and also artists. To kick this new chapter off, the imprint trail L.u.c.a.'s forthcoming album with "Niagara", which sees Rotla and Polysick joining the Italian to each provide a version of the same track. Rotla kicks the package off with a drifting, cinematic journey complete with ocean sounds, cool acoustic guitar and a fluttering woodwind. Swapping the 4/4 for a swinging 80s rhythm and pushing the synth vox to the fore, Polysick offers a brilliantly retro version which comes off like a Dennis Bovell produced out-take from "Spirit Of Eden", rejected for being too damn funky. Over on the flip, L.u.c.a. throws us all a curveball, leading us straight to the dancefloor with his own quirky take. Sizzling Balearic disco rhythms, scratched samples and swelling strings all play a part in moving you from toe to tip! Good listening!

                                                                  Francis Lung

                                                                  Faehers Son Vol. 1

                                                                    Limited edition white vinyl 12" and CD with hand written lyric sheet.

                                                                    Debut release from Manchester's Tom McClung - former bass player of WU LYF.

                                                                    “It’s due time the world took notice of this huge talent.” – This is Fake DIY.

                                                                    FORMAT INFORMATION

                                                                    Vinyl comes with CD version of the album enclosed.

                                                                    David Lynch & Marek Zebrowski

                                                                    Polish Night Music - Vinyl Edition

                                                                    Barren train stations, Polish factories at night, and silent hotels where lonely travelers meet. These are the images and suggested narratives that pervade the spirit of Polish Night Music, the musical collaboration between American filmmaker David Lynch (Twin Peaks, Eraserhead) and Polish concert pianist and composer Marek Zebrowski.

                                                                    Zebrowski and Lynch first met during the Camerimage Film Festival in Lodz, Poland, and started to work together during the organic evolution of Lynch’s Inland Empire. Originally, Zebrowski served as a translator for the shooting of several Lodz-based Polish scenes in Empire, but upon discovering their shared interest in musical experimentation and improvisation, Lynch invited Zebrowski to his Los Angeles studio to participate in a series of musical experiments. From these initial collaborations, inspired by their unique and distinct connections to Poland, emerged a tangible mood and distinctly modern texture that became Polish Night Music.

                                                                    “(Poland) is a landscape that continues to remain at once familiar and completely alien to me,” Zebrowski explains. “Every time I am there, I am surprised by some- thing, and I think for David, Poland certainly represents the process of discovery.”

                                                                    “We don’t know what will happen,” says Lynch, simply. Somewhere in this not- knowing exists the experience of a Polish night, and this album is its soundtrack.


                                                                    Digital Shades

                                                                      Digital Shades is an ongoing ambient series from acclaimed French musician M83. It was released in 2007 and features only founding member Anthony Gonzalez.

                                                                      Inspired by Eno and Krautrock in its many forms, M83 focused heavily on subtleties and atmospherics during the writing process.

                                                                      Listeners will find the same textured richness throughout the Digital Shades series as can be found on all of M83's releases. And while not a categorical sonic shift, Digital Shades follows its individual elegiac, lunar and dream-like path.

                                                                      FORMAT INFORMATION

                                                                      Ltd LP Info: 180g vinyl.



                                                                        Saturdays = Youth is the fifth studio album by M83, first released in 2008. It’s produced by Ken Thomas, known for his work with Sigur Rós, Cocteau Twins and Suede.

                                                                        Adolescence is the defining theme of this enchanting new album, his most explicit celebration yet of how it feels to be dazed, confused and 15 years old. The record marks a change in a friendlier, pop-shaped direction for M83. After touring Before The Dawn Heals Us for much of 2005, Gonzalez decided to give the noisy rock side of things a rest.

                                                                        Pitchfork Media ranked Saturdays = Youth at number eight on its list of The 50 Best Albums of 2008, and it was also named the best album of 2008 by Drowned in Sound.


                                                                        River's End

                                                                          Mammút have been playing together since their teens. In this time they have refined a sound that is saturated with heavy energy and sense of melody, something that comes to the fore in their live shows, known for their intensity.

                                                                          The band recently gained prestige in their native Iceland with their latest album ‘Komdu til mín svarta systir’ winning the Icelandic Music Award for Best Album and their song ‘Salt’ awarded Best Song Of The Year. Mammút are now ready for the rest of the world.

                                                                          ‘River’s End’ is Mammút’s first record sung in English. It showcases the band’s ability to craft deep cuts of moody, melodic yet tense music.

                                                                          FORMAT INFORMATION

                                                                          Includes MP3 Download Code.

                                                                          Manic Street Preachers

                                                                          The Holy Bible

                                                                            The third album from The Manics isn’t the easiest of listens. It’s a tense and at times harrowing collection of songs, recorded shortly before Richey James hospitalisation for depression, and subsequent disappearance. The lyrics, whether personal or political, are graphic and unflinchingly bleak. And even their usually buoyant glam hooks are tighter and more intense. It’s a powerful statement and still remains one of The Manics’ finest moments.

                                                                            Four reworks lifted from the expanded edition of Maribou State’s debut album ‘Portraits’.

                                                                            Remixers include Axel Boman (Studio Barnhus), Ross From Friends (Breaker Breaker), FYI Chris (Rhythm Section) and Glenn Astro (Tartelet / Money $ex). 

                                                                            FORMAT INFORMATION

                                                                            12" Info: Comes in plain black sleeve.

                                                                            Jono McCleery


                                                                              Jono McCleery’s ever growing fanbase will be thrilled to hear that the Rotterdam-based singer songwriter has produced his definitive album. Pagodes is the deepest, most powerful work to date by a musician whose work has been described as like “Miles Davis, Massive Attack, John Martyn, Fink, and Radiohead wrapped up in one exquisitely produced sound.”

                                                                              His second album 'There Is', released in 2011, began his association with Counter Records, and brought him widespread critical acclaim. New album 'Pagodes' is a collaborative release with London record store If Music.

                                                                              Several years of hard work making 'Pagodes' has paid off in spades. It’s an album that’s difficult to turn away from, full of beautiful melody, futuristic production flourishes and lyrics that don’t shy away from darkness, but always alight on uplifting conclusion.

                                                                              Opener "This Idea of Us" is a smouldering torch ballad, its string arrangement lending it gripping drama. Robert Wyatt’s "Age of Self" comes off as a song McCleery was born to sing, its lyrical content as relevant today as it was 30 years ago. The album moves into infectious percussive swing and melodic loops with "Ballade," a song that could have come from the LA-jazz hotbed surrounding Flying Lotus.

                                                                              'Pagodes' marries all of this thrilling diversity via McCleery’s existential musings and his startling voice and playing. It’s unlikely you’ll hear an album of such power from another singer songwriter anytime soon.

                                                                              Lubomyr Melnyk returns with his new album ‘Rivers and Streams’, the embodiment of his signature style.

                                                                              Ukrainian pianist Lubomyr Melnyk has often felt that his unique Continuous Music playing is akin to water – flowing and ever connected. As he further developed his technique, and the more the notes flowed, the closer to water he felt. “I found my hands and arms and everything inside them changing from normal muscle and flesh to well... water.”

                                                                              With his latest album, ‘Rivers and Streams’, Lubomyr focuses deeply on this connection to water, to the point where the music itself begins to embody its liquid form. Produced by Robert Raths and Jamie Perera, the album flows seamlessly from the live recordings of ‘The Pool of Memories’, captured in a church, to pieces entirely born in the studio, such as ‘Sunshimmers’ and ‘Ripples in a Water Scene’, which feature Perera on acoustic and electric guitar.

                                                                              Amorphous, ever-changing, Lubomyr as performer becomes subsumed into the natural ebb and flow of the keys as the album drifts between nascent upstream trickles and deeply reflective passages through winding river valleys. The album reaches its climax in ‘The Amazon’, a 20-minute piece dedicated to the world’s largest river. Raths invited Korean flautist Hyelim Kim to guest on the first part, before Lubomyr closes the album with cascades of arpeggio figures, stretching across the breadth of the keyboard with rapid virtuosity.

                                                                              Following on from 2013’s ‘Corollaries’ album and last year’s ‘Evertina’ EP, Lubomyr’s latest offering compounds upon his existing fluid signature style, and breathes an organic vitality, both nuanced and thoughtful.

                                                                              "In the body of the Continuous Piano Master, the fingers and the hands turn into Water, Air and Stone. These are the three manifestations of the Continuous Technique. And for the Continuous Pianist, the fingers physically transform the music into one of these three elements.

                                                                              The greatest of all miracles in the universe is Water. It is also, I believe, the rarest of all physical things in the universe. Water is the most magical and the most mysterious of all things we know! And so I dedicate this album to the Rivers and Streams of this world – in gratitude for their Beauty!“ – Lubomyr Melnyk.

                                                                              STAFF COMMENTS

                                                                              Barry says: Another beautiful release from Lubomyr Melnyk, creator and practician of what he calls 'Continuous Music'. A technique in which constant notes are played throughout the pieces, creating a driven and dynamic style. Despite being continously playing, Melnyk manages to imbue these pieces with a certain delicacy when needed, reminiscent of Labelmate Nils Frahm, these tracks are beautifully nuanced and outstandingly performed. Gorgeous meditative modern-classical.

                                                                              FORMAT INFORMATION

                                                                              LP Info: Black vinyl edition.

                                                                              Deluxe LP Info: Limited coloured vinyl edition.

                                                                              Mistakes Are Ok return to the delectable Hivern Discs, Barcelona's finest purveyors of left-of-centre dance music. A label adored by those who follow it and who's artist roster always introduces new talent and never rests on its laurels. Mistakes Are Ok is Franc Sayol, one of the men behind this iconic label. "Forgiven" is weighty, slow motion trance music; thick, chunky beats galloping through effervescent pads and vivacious keys. Direct and succinct in its arrangement, there's little chance for respite bar a small but spine-tingling breakdown almost exactly halfway through the track. Great stuff. Completing the package, we get two very interesting remixes courtesy of a producer simply going by the name of Edward (who's actually got quite an impressive discography, linked to Giegling and Dubplates and Mastering). The first: "Alternate World" remix flips the track completely and sends us plummeting into an enchanted rainforest. Loose conga rhythms accompanying ethereal sound fx and gushing celestial winds. Psychotropical to the very last beat this is some out-there craziness that no home should be without this festive season. Flip and we get Edward heading in a new direction - the mainroom! A full frequency rub-down of the highest order, this is one of those hi-tech tracks that sound amazing across the Funktion1 / Void soundsystems. Urgent, repetitive, and very, very techy, the epitome of fine club science. The 12” comes wrapped in beautiful artwork by Australian via Berlin illustrator Elliot Beaumont. Hivern Discs always sell out super quick so move fast if you want a piece of the pie...

                                                                              FORMAT INFORMATION

                                                                              Ltd 12" Info: The 12” comes wrapped in beautiful artwork by Australian via Berlin illustrator Elliot Beaumont.

                                                                              “This record is about cycles. From the tiny cycles of loops within songs to the broader cycle of the whole album, which is designed to take you away and bring you home again at the end. Loops within loops. Loops overlapping in different ways and shifting as they go can take you very far away. You hear it in lots of African music, in jazz and hip hop”.

                                                                              Mo Kolours explores this theme through both music and lyrics. "Pass It Round" is about giving and receiving, and the importance of depending on others. "Orphan’s Lament" is named after a Mongolian folk song, and Mo Kolours' own words urge the listener to “fall to get up again” among a set of inescapably linked opposites. The message may be optimistic or otherwise, depending on the listener’s point of view. The theme also appears in his choice of cover versions as he reinterprets songs absorbed in his youth: "Harvest For The World" by the Isley Brothers and The Stranglers’ "Golden Brown", from which the album title is derived.

                                                                              “The Stranglers are one of my earliest memories of music. I had an auntie who was a huge fan and my parents had all their records. ‘Golden Brown’ always gave me such a beautiful feeling, way before I knew what it was supposed to be about”.

                                                                              “I've always admired producers who push your ear, who draw you into unexpected elements of a song. I like it when people use a minimal number of elements and find ways of making you re-engage with each of them. It can be subtle, just a drum or the repetition of a word. I was thinking about that in the arrangement of the whole album”.

                                                                              Raised on the traditional sega music of his father’s Indian Ocean homeland alongside records by the likes of Jimi Hendrix and Michael Jackson, Mo Kolours adds hip hop, dub, soul and other electronic styles to his individual sound. His approach could find him placed alongside Madlib or The Gaslamp Killer but he would be equally happy in the company of James Blake, Erykah Badu, Theo Parrish or Moodymann.

                                                                              Hugh Mundell

                                                                              Blackman's Foundation

                                                                              Blackman’s Foundation is one of the great roots albums of the classic reggae era. Hugh Mundell, who was tragically murdered at the age of 21, was one of the most talented young roots reggae artists on the Jamaican scene.

                                                                              A protégé of dub legend Augustus Pablo, Hugh recorded the legendary roots-classic album "Africa Must Be Free (By 1983)" at the age of 16. Blackman’s Foundation, is one of only three Hugh Mundell albums ever released. As such it is a precious artifact of Mundell’s prodigious talent as it features Mundell’s keening, hypnotic declamatory vocals over deep, powerful reggae riddims. Highlights of Blackman’s Foundation include the hit single "Can’t Pop No Style," the extended 12” version of the title track featuring Jah Bull and the classic single "Stop Them Jah."

                                                                              Israel Nash

                                                                              Israel Nash's Silver Season

                                                                              Cosmos-wrangling Americana upstart Israel Nash returns from Texas Hill Country with his Silver Season, a deeply gorgeous and wholly immersive nine‐song set that plays less like an album, and more like a cross section of time and space. The man’s fourth LP ventures farther down the acid‐soaked trail blazed by 2013’s Rain Plans, arriving in lush and expansive territory. Here, this Missouri son sounds more assured than ever, supported by his highly capable band and production inspired by psychedelic greats. Israel Nash’s Silver Season is best played loudly, and sounds wonderful in headphones.

                                                                              FORMAT INFORMATION

                                                                              Deluxe LP Info: 180g LP + download, limited initial copies in gatefold sleeve with custom windows.

                                                                              Nectarine No 9

                                                                              Saint Jack

                                                                                ‘Saint Jack’ was originally released in 1995 by Postcard Records. The album is an unknown legend, the lifetime best from Edinburgh-born Nectarines frontman Davy Henderson, who also fronted the Scottish capital’s much-acclaimed Fire Engines, a key influence on bands including Franz Ferdinand and The Rapture.

                                                                                The ‘Saint Jack’ album title comes from the 1979 film of the same name directed by Peter Bogdanovich, with Ben Gazzara as the titular pimp and fixer, stirring things up in the pleasure zones of Singapore.

                                                                                The album was The Nectarine No.9’s second album - a rock album but one also laced with of Henderson’s brilliant pop melodicism. Musically and lyrically acute, this is an authoritative take on both pop-art and artrock.

                                                                                This release includes nine bonus Peel Sessions recordings.

                                                                                “Davy Henderson is a genius and the ‘Saint Jack’ album is him at his very best.” - Irvine Welsh, 2015

                                                                                FORMAT INFORMATION

                                                                                LP Info: The LP format of ‘Salt Jack’ includes a digital
                                                                                download which also features all the bonus content.

                                                                                2xCD Info: The bonus Peel Session tracks are included on the
                                                                                second disc of the 2CD set.

                                                                                New Order

                                                                                Music Complete - Limited Vinyl Box Set Edition

                                                                                  Music Complete is the iconic group’s ninth LP (tenth if you count 2013's mini-album Lost Sirens), and possibly their most eclectic collection of songs yet. Whichever way you count it, it's New Order's return to recording after an absence of more than a decade, and it's an album that finds the group revitalised, refreshed and razor sharp, looking to their past while forging forward. Where the group has previously pushed toward synthesisers or guitars, here the two are in balance.

                                                                                  11 brand new tracks. Art direction by long term collaborator Peter Saville.

                                                                                  Music Complete: The Deluxe Vinyl Box-Set
                                                                                  8 piece deluxe vinyl collection.
                                                                                  New album on double clear vinyl.
                                                                                  Extended versions of all 11 brand new tracks on an additional 6 pieces of coloured vinyl.
                                                                                  Packaged in an archival acid free box, using 1300 micron grey white board and a wire stitch.
                                                                                  Box is debossed on the lid and base.
                                                                                  Art Direction by Peter Saville.

                                                                                  Box-Set is limited to 250 copies only for the UK.

                                                                                  France's Macadam Mambo top off an exceptional year with arguable their most ambitious release yet. "Be In Sync" is the result of a long distance collaboration between the excellent Andrea Noce and legendary David Kristian carried out during 2013. The duo arranged basic guidelines of style, tempo and structure for each track, then begin to fire loops and compositions across continents, aiming to create a new track in 36 hours. The result is a three track Mini-LP of progressive synthesis, electronic experimentation and deep and hypnotic frequencies in line with Innovative Communication or Editions EG. "Be In Sync" opens the LP with a sense of drama and urgency, as an insistent 80s bass sequence cuts through squeeling drones, cosmic leadlines and electronic percussion, referencing Robert Schroder as well as Goblin. "So Far So Good" offers a change of tack, veering into Balearic waters via new age pads, bright harp, trippy vocoder and crashing waves. Over on the flipside, "Sleepiness Scale" hypnotises us completely with metallic polyrhythms, deep drones and sprawling sci fi synthlines. By the latter stages your consciousness has left your body behind entirely and is happily bathing in the collective energy pool. This record is completely intemporal, made for the past, the present, the future, with marvelous atmospheric and space sounds, escape from your body and synchronise.

                                                                                  Nouvelle Vague

                                                                                  Nouvelle Vague - Vinyl Edition

                                                                                  French musicians Marc Collin and Olivier Libaux are the duo behind the cleverly named Nouvelle Vague, which translates as new wave in English and bossa nova in Portuguese. The name gets to the very essence of the idea behind these songs - post punk new wave tracks re-played in a mellow bossa nova / easy latin style, fronted by a parade of guest female vocalists (six French, one Brazilian and one New Yorker). Joy Division, PIL, The Clash, The Specials, Depeche Mode, The Undertones, XTC, Sisters Of Mercy, Tuxedomoon, The Cure, The Dead Kennedys, Killing Joke and Modern English are all given the Nouvelle Vague homage, showing the brilliance of the original compositions, while breathing new life into them. Whether you grew up with these songs in the late 70s / early 80s, or are coming to them afresh, you have to agree that this LP is a bit special.

                                                                                  Stephen O'Malley


                                                                                  Barry Says : Stephen O' Malley, formerly involved in all the projects dedicated to all the subgenres of drone/classical/dark ambient (Sunn o))), Aethenor, KTL, Khanate, etc) presents this, his latest incarnation.

                                                                                  "Gruidés" is a collaboration with the French improv orchestra, ONCEIM and is very much a longform drone piece dedicated to texture and weight.

                                                                                  Overtly sustained notes on all instruments ( special shout-outs to Xavier and Louis, clarinet and trumpet respectively) build atop each other slowly, sometimes dissonantly to create an increasing magnitude to the piece. Though the notes themselves are not changing, the organic sway of breath, or hand on the instrument lends it a living feel.

                                                                                  The second side presents a slightly more airy and spacious affair (within reason), clangs of wood and surpringly small sounding, yet strangely jarring bells pierce the washing pulls of strings. Shockingly candid, and visceral, this piece even more than the last displays a fragility and finity not often seen in classical music, and to stunning affect.

                                                                                  Through classical methods (and instrumentation), and the intensity of drone, "Gruidés" presents an initially bleak outlook, but glints beneath the surface. Shining and stunning, this is a modern classical masterpiece, a fascinating and life-affirming journey, and is one further notch in the extensive musical bedpost of Stephen O' Malley.

                                                                                  Hailing from Nigeria, William Onyeabor made a number of incredible Nigerian soul and funk albums towards the tail end of the 1970’s. However, as the 80s kicked in William began to experiment with the new sounds and bleeps that could now be tweeked on modern synthesisters. ‘Anything You Sow’, William Onyeabor’s final LP was released in 1985 and is a true masterpiece of Afro-electro that’s been rediscovered by modern acts such as Keiran Hebden AKA Four Tet and Caribou (who recently sampled this LP). The album is worth a pretty penny these days as is very hard to find the LP in any decent playable condition.

                                                                                  Kicking off with the 12 minute epic ‘When The Going Is Smooth & Good’, which was recently used in Keiran Hebden’s Essential Mix, this is a truly pioneering piece of Afro-electro-disco with a clear message in the music. Dipping in and out of intricate percussion workouts and driven by bleepy synth grooves, it has an iressistable lo fi charm. Followed by the up-tempo ‘This Kind Of World’, another percussive electronic workout that begs the question 'have you ever seen this kind of world?'. The B-side sees the LP’s tempo drop down a notch with the LP title track ‘Anything You Sow’. The LP finishes with a beautiful electronic ballad ‘Every Day’. This album is an exceptional piece of music, that’s all killer, and you’ll have never heard anything like it… it will appeal to fans of Nigerian Afro-funk and fans of more modern "Shangaan Electro" don’t let this fantastic album pass you by!

                                                                                  William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

                                                                                  Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And, though he is still alive, he refuses to speak about anything regarding the past.

                                                                                  According to various rumours, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

                                                                                  'Atomic Bomb' is from 1978 and features the weirdly seductive title track plus another four cuts.

                                                                                  'Body And Soul' is possibly THE track that bought a whole new audience to William Onyeabor, having been released on an unofficial 12" way back in 2002. A killer combination of jerky funk, quirky synths and hooky vocals, it's the track that had everyone asking "Who IS William Onyeabor?"

                                                                                  Born outside Enugu, a small, rural town in Eastern Nigeria, Onyeabor created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

                                                                                  Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And, though he is still alive, he refuses to speak about anything regarding the past.

                                                                                  According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

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