MAGIC MIX

ALL GENRES

WEEK STARTING 5 Feb

The P&P reissue-a-thon continues this week as we're treated to another pair of long out of press pearls from the classic New York imprint. One of the most powerful disco cuts from the P&P Affiliate 'Land of Hits' Label, "New York’s Movin’" is faithful to the name. A seven minute-plus disco gem of percussive breakdowns, a solid bass groove, classic strings, and enough guitar licks to make Nile Rodgers rip out his trademark hair with jealousy. Ahzz was a studio project by Osborne Hunter and Steve Boston and despite the backlash of Comiskey Park’s Disco Demolition in 1979 and the commercialization of Disco, it was clear New York City was still movin’ in '81. Underground hits like these were just undeniable, filling the floor at The Saint, Paradise Garage and Mancuso's Loft parties. Like a lot of the titles on Peter Brown’s labels, today "New York’ Movin’" is a rare and highly sought after record, even a holy grail for some. Go ahead, check Discogs then thank the disco gods for this re-issue!

Clyde Alexander & Sanction

Gotta Get Your Love

The latest in the recent flurry of superb P&P reissues is without a doubt one of the finest disco records ever released. Back in the day a very young Clyde Alexander went into the studio with Gary Davis and Sanction at the behest of Mr. Peter Brown. The cut they laid down that day has been filling dance floors ever since, thanks in no small part to the fact Gary Davis and his neighbor Truck constructed what many believe to be the ultimate hook in "Gotta Get Your Love". Gary's lavish yet simple arrangement and Truck's lyrics are backed with one of the most solid bass lines you'll ever hear over a beat so steady it's like bedrock. This record is so tight it's hard to believe every player at this session was in their teens when this was laid down on tape. That is with the exception of Gary Davis who was the elder statesman of this outing at the advanced age of 24. Give this one a spin and you'll understand how Gary and his crew from Camden made history that afternoon in '79. Do not sleep on this record!

Brooklyn multi-instrumentalist trio Archie Pelago step up to inaugurate the Styles Upon Styles label proper with the "Hall of Human Origins" EP / mini LP. Previously, SUS have been issuing music under the excellent conceptual BASH series, and their decision to branch out from that is justified with this excellent release from Archie Pelago. Brought to wider attention on last year's self titled debut on Mr Saturday Night, the trio of Hirshi, Kroba and Cosmo D have garnered subsequent praise for their output on Well Rounded and their own Archie Pelago Music imprint. For the uninitiated Archie Pelago focus on an organic and texturally intricate approach to electronic music which they themselves describe as "keep it human, give it soul" and the "Hall of Human Origins EP" maintains the standards of their previous output. Numerous tempos are covered across the five tracks with "Chronomancer" and "Wrong Apartment (Worms)" stand outs.

Fool's Gold head honcho / DJ producer A-Trak hooks up with Warp Records Mr Soul Jamie Lidell for this slice up pop-house uplift. "We All Fall Down" features Lidell's soulful vocals over an upbeat funky house backing with chunky piano chords and hyper 808 percussion. It's the kind of track that I'd actually bother checking out at the gym, and can already imagine the video of festival crowds all jumping in unison during the chorus (in slo-mo, obv.). On the flip is 'Jamie's Version', which has more of an organic feel to it. Hit!

FORMAT INFORMATION

7" Info: Clear vinyl pressing.

‘SEE HOW’ is Pete’s first solo album since 2007’s ‘You, Me and Bill Withers’ (“imagine if Gil Evans and Miles Davis had written for the band in Trumpton.” Uncut Magazine). ‘SEE HOW’ explores the life Pete has lived since then - what it's like to be a divorced, homeless, fifty-year-old father of two with a guitar and a head full of great songs. Pete’s earlier work received much critical acclaim, but ‘SEE HOW’ contains a truthfulness and grit that only a decade of difficult times can produce. Although the album explores themes of emotional upheaval and life-changing events, which should be familiar to many people Pete’s age, his lyrics always manage a wry smile at life’s vicissitudes. All this is set to seductive melodies melded with lilting arrangements. It’s sophisticated songwriting taking in folk, country and pop, amongst which, in the past, has seen Pete compared to Squeeze and The Beatles, as well as vocally compared to Stephen Duffy and Kevin Rowland at his quiet best. ‘See How’ also features some very fine guitar playing – playing that has seen Pete in high demand as a session guitarist. See How’ also includes a cover of Pharrell's 'Happy'. Aside from his solo output Pete has played guitar with the High Llamas for many years and worked with Lee Hazlewood, Petula Clark, Nick Lowe, Shirley Collins, The Lost Ladies Of Folk and Harry Hill among others. 

FORMAT INFORMATION

Ltd LP Info: Limited to 500 copies.

Vinyl comes with CD version of the album enclosed.

Ron Bacardi

Way Back Wednesday Vol. 2

After starting a disco inferno with the first instalment of Way Back Wednesday, Ron Bacardi breaks out the Essex Rascals pack to rock our world all over again with another quartet of red hot edit action. Six days as week, the mysterious Mr Bacardi goes by the more familiar Ben Sims, ripping clubs apart with his big room techno and house. But on a Wednesday, Ben straps on his chest wig, digs out a medallion and goes deep into the history of the groove with his tribute to the rich heritage of the discotheque. It's riotous stuff from the off, as Ron serves up a suped up, echo drenched reshape of Lenny William's escapist soul hit "When I'm Dancing", drawing the groove out with well timed loops while filter sweeps should keep the floor peaking. Next up, Ben digs deep into the box labelled 'soul stompers' to pull out a disco-funk classic complete with sweeping strings, hot horns and sweet vocal harmonies, ripe for the dancefloor reshape. If you dig on the Detroit disco sound, then this realer than real rework should do some serious damage for you. Over on the other side, Ben gets break heavy with a bass led funk odyssey, dubbed out to perfection, before closing with the soulful sounds of Sharon Redd's "Try My Love On For Size", which is tastefully extended and expanded for the contemporary dancefloor.

Erykah Badu

Baduizm

Awesome 1997 debut album from Philadelphia's neo soul queen Erykah Badu. After several years of mainstream pop R&B the main output from the soul scene, her more organic boho soul-jazz vibes and Billie Holidayesque vocals came as a breath of fresh air. Includes such classic tracks such as "On & On", "Certainly (Flipped It)" and "Next Lifetime". Essential!

FORMAT INFORMATION

LP Info: 9 track US only vinyl. Comes in black stickered sleeve.

Bianca Casady & The C.I.A

Oscar Hocks

    Bianca Casady once more steps out of the familiar CocoRosie context to embark on a new musical-performance project, Bianca Casady & The C.i.A.

    About her solo work, she says:

    "I often played the dark side of CocoRosie. And now I don't have to worry about being too dark, too scary, too weird."




    FORMAT INFORMATION

    LP Info: Limited Edition Gatefold Vinyl (1000 copies worldwide).

    CD Info: CD includes 12 pages booklet with art and lyrics.

    The oft requested second salvo from the Black Madonna. A fully realized work, and a big leap from the sample-clad disco house of her records for Home Taping Is Killing Music and Stripped & Chewed. Weaving live orchestration and irresistible synth lines through tough percussive frames, both tracks bare their souls to listeners with enough muscle to command dancers' attention. "A Jealous Heart Never Rests" immediately turns heads with its disco style octave B-line and infectious hand claps. After a long, steady build glistening strings and beautiful piano flecks dance on the master stems, dishing out yearning melancholy and a serene sophistication in equal measure. As the long arrangement marches forth we're taken deep into the Black Madonna supernova, never taking our eyes of the stars as we plummet further and further into the galaxy. B-side's "We Can Never Be Apart" hints at the emotive content within, with a chord progression set to raise a mountain range of goose bumps while the frenetic percussion keeps the body moving forward at pace. Who knew the Black Madonna could pull off epic, cosmic-house anthems with such aplomb! This is ace!
    This is a fresh recut on 140gr vinyl with new black & white labels. 


    Blood Sport

    Axe To The Root

      Blood Sport: Trio. Keegan, Parkin & Potter. Drums, electronics, electric chordophone, baritone guitar, voice. Premiere ambassadors of sheffield’s aggro-beat sound. Audio propaganda from the UK’s ‘first city of sanctuary’. Mongrel soundclash pups of hi-nrg ‘tronics & afro-beat. Musical wing of northern underground party agitators ‘hybrid vigour’ Brothers-in-arms to tie dye tapes & the audacious art experiment. Shoe-less dancers. “A glorious fusion of opposing forces….. You never quite know if they are here to start the party or destroy it” (Loud And Quiet) 

      CABBAGE are a group of young males who have fallen into solitary, half-mad grooves of life and given up trying to be normal or decent. With a collective desire to express themselves creatively, artistically, and in a semi rebellious - but ultimately meaningful nature - Cabbage are here to fight for all that's pure.

      Oliver Rodrigues in 1825 said: “The power of the arts is indeed the most immediate and fastest way to social, political and economic reform,” and Cabbage join and submerge in that struggle and inevitable victory. Manchester-based, the five-piece serve up an idiosyncratic, satirical attack in the form of discorded neo post punk.

      Their single entitled Kevin, taken from the Le Chou EP, has already been released with an accompanying video which will undoubtedly distort your view on life and ruin your day.

      Chakk existed between 1981 and 1987. Their first single, "Out Of The Flesh", was recorded with Richard H. Kirk at Cabaret Voltaire's Western Works studio and mixed and engineered by Alan Cross, a member of the band who had studio training. Chakk's original sound was centred around Cross' four track tape machine, some home built echo and effects boxes and a small mixing desk. They had always believed that the most important instrument a band could use was the studio itself.

      The first album by Sheffield electro-funk group Chakk was originally released as a cassette by the band themselves in 1982. Personnel for this album: Mark Tattersall (also in Element/Transelement, drummer for Cabaret Voltaire on various recordings), Mark Brydon (also in Moloko, Hula), Sim Lister (also in Heights of Abraham), Alan Cross (DJ Alan X). This early recording, unheard by most people until today, presents a much jazzier and funkier Chakk than later Fon releases. It could be compared to early Clock DVA. There's also a lot of Cabaret Voltaire here, some Hula, also some Industrial music. The album is one wild ride of styles and sounds. It's a fantastic document of its time, and at the same time a timeless and brilliant piece of music.

      Carefully remastered for this first digital release.

      “Merging hip hop and African instrumentation into something mesmeric and true.” The Quietus

      “Speaks to Zimbabwe’s history (“Chimurenga” translates to “struggle”), but this is classic message rap that spans regionally.” Pitchfork

      Chimurenga Renaissance fuse together otherworldly sonics, Zimbabwean beats, Afro-conscious hip-hop, Congolese guitar ambiance and political heat. They mix electronic (ie. synths and samples) and organic instrumentation (IE; ngoma drums and mbira thumb pianos). Chimurenga Renaissance’s first release for Glitterbeat Records is ‘Girlz with Gunz’, a 27-minute, 11-song mini LP. A full-length album will follow in the autumn of 2016.

      The duo was formed in 2012 and features Tendai Maraire, from the widely acclaimed Seattle group Shabazz Palaces, one of the leaders of hip-hop’s “audacious progressive fringe” (New York Times). Tendai hails from a renowned Zimbabwean musical lineage. His father, Abraham Dumisani Maraire, moved to the United States in the late 60’s and helped create a flourishing Zimbabwean music scene in the Pacific Northwest. Tendai’s partner in Chimurenga Renaissance, guitarist Hussein Kalonji (formerly known as the rapper H-Bomb), is a first generation Congolese American born in Washington DC. His father, Raymond “Braynck” Kalonji, is a Congolese guitar legend credited with pioneering the rumba / soukouss sound.


      FORMAT INFORMATION

      Includes MP3 Download Code.

      Reissue of the eponymously titled 1969 record from the star of 'The Harder They Come'.

      This long-overdue overhaul of this, perhaps the most celebrated single-artist album from the golden age of reggae, brings together the original album, plus a dozen Jamaican-produced recordings from the period, including the 7” version of the classic ‘The Harder They Come’ and both German and Spanish versions of ‘Vietnam’.

      Ornette Coleman

      To Whom Who Keeps A Record

      In the late 1950s, Ornette Coleman set the jazz world on fire. From his own unique playing style to his fundamental deconstruction of harmony and complete rethinking of group performance, Coleman at once confounded critics and inspired a new generation. This revolutionary music eventually became known as free jazz, but Coleman’s influence extended well beyond - into avant-garde rock and art circles - and today his name is synonymous with artistic freedom.

      Originally released in Japan only, 'To Whom Who Keeps A Record' collects outtakes from Coleman’s legendary Atlantic period, sessions from 'Change Of The Century' and 'This Is Our Music' that are as emotionally transfixing as intellectually rigorous. Featuring members of the classic quartets (Don Cherry, Charlie Haden, Billy Higgins and Ed Blackwell), this collection is striking for its brilliant compositions and scorching solos. The song titles themselves lay out Coleman’s central philosophy: “Music always brings goodness to us all. Unless one has some other motive for its use.”

      This first-time vinyl reissue includes liner notes by Byron Coley.

      • First-time vinyl reissue
      • Collection of outtakes from Coleman’s Atlantic period
      • Originally released in Japan only
      • Featuring Don Cherry, Charlie Haden, Billy Higgins, Ed Blackwell
      • Liner notes by Byron Coley

      The Commitments

      The Commitments OST - Coloured Vinyl Edition

        • 180 Gram Audiophile Vinyl
        • 4-Page Insert
        • Pvc Protective Sleeve
        • 25th Anniversary Edition
        • First Pressing Of 1000 Numbered Copies On White & Black Mixed Vinyl

        Alan Parker’s adaptation of Roddy Doyle’s crackerjack novel The Commitments (1991) kept its focus on the music - the classic American R&B and Soul the titular workingman band cranked out in pubs across Ireland.

        As a book and film, The Commitments was all about love of music, so it didn’t matter if the soundtrack offered workmanlike versions of oldies the band and audience knew by heart: as long as it was done with some soul, the film would work, and the soundtrack would too.

        In that sense, the Commitments were a cousin to the Blues Brothers, John Belushi and Dan Aykroyd’s tribute to the very same music but where Jake and Elwood managed to hire Stax’s house band (such are the perks of stardom), the group Parker assembled were working Irish musicians.


        Crystal Shipsss

        Dirty Dancer

          Jacob Faurholt of Berlin-based Crystal Shipsss has never been very good at hiding things. So when he decided to write and record a collection of personal songs intended only to share with his future self and not for official release, deep down Faurholt always knew that this diary of songs would one day be left open for the world to find. The album, Dirty Dancer, is a hauntingly intimate collection of minor falls and major lifts through one man’s life of ups and downs – all documented through melodies reminiscent of Daniel Johnston, Xiu Xiu and Grandaddy.

          Recorded sporadically between 2011-2013, Dirty Dancer is an autobiographical album with stories centered around struggles with anxiety, obsessive thoughts, teenage insecurity, and in one case a panic attack. In “I Had a Friend,” Faurholt sings about the true story of a burning ferry that took the lives of his best friend along with the boy’s entire family, while in the song “I’m Not Insane,” he shares details of a helpful therapy session. “I wanted to make an album that lyrically would be embarrassingly direct and describe moments in my life that burned into my mind,” admits Faurholt, a native of Denmark, who relocated to Berlin in 2010. Faurholt recorded the album with a mix of studio experiments and pre-written arrangements but without having a pre-meditated clue of how to glue everything together. Faurholt recorded and mixed most of the album in his living room in Berlin. In the end he invited some good friends and fellow musicians to help out with some additional recordings and mixing. They are: Soren Little Brothers from Canadian act Man Meets Bear, Daniel Crowell from California’s The New Slave, and Jens Christian Madsen from the Danish one man band Tjaere+Fjer. The album was mastered by James Plotkin (Isis, Earth). Faurholt and Crystal Shipsss have played a long list of shows, sharing the stage with bands such as Nadja, The Black Heart Procession, TEEN, CocoRosie, Efterklang, and Grizzly Bear, including a successful US tour, which saw Crystal Shipsss play shows in California, Oregon, and Washington.

          FORMAT INFORMATION

          Includes MP3 Download Code.

          The Cult release the tenth studio album of their stellar career, the epic ‘Hidden City’, produced by Bob Rock and written by Ian Astbury and Billy Duffy. It’s the final part of a trilogy that has witnessed the rebirth of the band, beginning with ‘Born Into This’ (2007), which evolved into ‘Choice of Weapon’ (2012), and arrived fully formed, kicking and screaming with the seductive ‘Hidden City’

          The sonic assault of ‘Dark Energy’ is the perfect intro to this startling new album. Peel away the layers of this 12 track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception.

          When the Cult played Coachella last year, Rolling Stone hailed their performance as “the messianic moment of Coachella” This year they’ve played a handful of visceral shows that promises much for next year’s touring. For the Cult, ‘Hidden City’, became the perfect metaphor for the revolt between the self and soul and provided the framework for the new album.

          “I find today’s gurus are trying to peddle some cure, product or insight as if it’s a new phenomenon,” says Ian Astbury. “My place is to respond, not react, to observe, participate and share through words and music. There is no higher authority than the heart.”

          The Cult have cut their own career path. From the iconic ‘Love’ album to the dystopian ‘Beyond Good & Evil’ (2001) to the current biting truth of ‘Hidden City’, the band live their art. As The future unfolds The Cult will respond. It’s what they do.

          FORMAT INFORMATION

          2xLtd LP Info: 2 x Black Vinyl 180 gsm LP cut at 45 RPM in gatefold Sleeve with colour inner sleeves and spot gloss finishes.

          Includes MP3 Download Code.

          Dego & 2000Black Family

          Don't Stop (Let It Go) / Save It Til Later

          Neroli welcome back Dego & the 2000Black Family three years on from their previous banger and instant classic ‘Find A Way’ circa 2013. Here they walk in similar territories with ‘Don’t Stop (Let It Go)’ a house tempo disco-boogie monster with strings to die for (courtesy of Izzi Dunn). On the flipside we get the chunky, morphing acid stomper ‘Save It Til Later’ with that unique Dego twist. Essential!

          'Is The Is Are', the highly-anticipated sophomore release from Brooklyn-based DIIV, is an album years and many personal struggles in the making for it's architect, Zachary Cole Smith. Recorded and mixed in various locations in Brooklyn, it showcases everything you know and love about DIIV, and many things you did not, all with an added nuance and depth. It is a 17-song, double-album statement intended to resonate with its audience in much the same way that 'Bad Moon Rising' or 'Tago Mago' has for Smith himself. An extension and deepening of the musical ideas first expressed on 2012’s critically-lauded Oshin, 'Is The Is Are' yields a multiplicity of textures, lyrical themes, and moods. It is a more diverse world than Oshin, with different parameters and ideals. Dark and honest to a fault, the new songs are dynamic, loud, quiet, sad; they are songs that hiss and snarl; songs that, as Smith wrote recently, represent “the real me.” Smith’s vocals, too, are much closer to the foreground, layered legibly on top of tidal waves of shimmering guitar and melodic bass weaving in and out, leaving a distinct and indelible imprint.

          Eagle/Deer

          The Summer Of Sepia

            Maybe this album should be called “patience is a virtue”. Time has it’s own logic, and this 2011 record has been sat patiently awaiting a release date for some years now….. And in that time the music seems to have turned into a deeper, darker ache, the flavours got richer, the strange got stranger. But a stranger no more …2016 please welcome Eagle/Deer.

            Eagle / Deer is Sara Barratt. She is now 29 years old.She actually started recording this album in her early 20’s.She says she enjoys singing but isn’t so sure about all the hoopla that goes with it, she remains somewhat ”off grid” tho’ not in a Unabomer sense. One phone call, a few emails. That’s Sara on the record cover doing some static “horse vaulting”. You can read a couple of short interveiws out there on the web And we’ve heard tell of the occasional (undocumented) live performances, tho’ not for some time. This is not some attempt to seed ‘mystique’. The songs will do that nicely, thank you kindly.. We can do the modern thing and try to get our pidgeon in a hole. So today we’re calling it “ massachusetts psych-soul -folk” The few people who we played the record too offered up a range of references - mostly of a “ 70’s classic lost legend”. But eagle/deer is all original & in entirely of the here & now. Surely one the most strangely beautiful records blast first has ever released in it’s 30 year history. Play it once and be intrigued. Play it twice and fall under the spell. Play it three times and you’ll be in love. Patience is a virtue.

            Earl Brutus

            Tonight You Are The Special One (Expanded Edition)

              Earl Brutus achieved notoriety and cult status with the release of their debut album Your Majesty… We Are Here. Their attention grabbing interviews and gigs attracted wider interest and they sign to Island Records via Fruition. They released a second long player, Tonight You Are The Special One, and several singles including The SAS And The Glam That Goes With It and Come Taste My Mind (“masterful examples of raging techno-pop” - Select ) and Larky.

              The band continued to play chaotic shows and the last ever gig is at Hammersmith Working Men’s Club on 7th April 2004 and the last track from that gig, Teenage Taliban, is included on the 2CD edition along with a demo recorded in William Reid’s (Jesus And Mary Chain) front room. Other bonus tracks include all the single b-sides sequenced by the band.

              The art direction on this re-issue has been done by Scott King who realised the concepts for the original release and singles. The album sleeve is included in Q magazine’s 100 Best Album Sleeves Of All Time in 2001.

              FORMAT INFORMATION

              2xCD Info: The 2CD set is packaged in a tri-fold digipack and comes with a 16 page booklet with sleevenotes by Ian Harrison.

              Earl Brutus

              Your Majesty...We Are Here (Expanded Edition)

                Earl Brutus are Nick Sanderson (Clock DVA, Jesus And Mary Chain, World Of Twist), Gordon King and Jim Fry (World Of Twist), Rob Marche (JoBoxers, Subway Sect) with Shins and Stuart Boreman.

                Earl Brutus formed in 1993 and release a handful of singles before their debut album Your Majesty… We Are Here on Deceptive Records in 1996. They are chaotic, glam-rock, glitter-stomp British Pop. They think Bowie, T-Rex, Kraftwerk and The Fall. Their chaotic live shows became folklore and their reviews and interviews were always impressive. Your Majesty… featured in Q Magazine’s Top 50 Albums of the Year in 1996 and in 1000 Albums To Hear Before You Die.

                Your Majesty… has been long unavailable and is now re-issued.

                The two CD edition also includes all the b-sides sequenced by the band and an unreleased David Arnold remix of Life’s Too Long, the rare Alan Vega (Suicide) version of On Me Not In Me and Earl Brutus Display Purchasing Power, both commercially available for the first time.

                FORMAT INFORMATION

                2xCD Info: The 2CD set is housed in a tri-fold digipack sleeve with a 16 page booklet, all designed by artist, Scott King, and contains sleevenotes by Ian Harrison

                Feather

                Be Real / Trips

                Even in 2016 there still exist songs which are (so far) unknown in the soul and funk 45 collectors world. Feather's sole 45rpm single release "Be Real" b/w "Trips" is certainly one of those. Thanks to some folks whose names we have to keep secret, two wonderful songs finally get the attention they deserve so badly. Originally released in 1977, the band put it out with no distribution deal and also almost zero promotion. That's most likely the reason why it is so damn hard to find these days and why everybody out there should be more than pleased with this legitimate re-issue.


                'Commontime' is the first album of new songs from North East siblings Peter and David Brewis since 'Plumb' in 2012 and their fifth album 'proper' since their debut in 2005. After four years threading a way through one extra-curricular project after another, the space that Field Music vacated still appears to be empty and Field Music-shaped. No one else really does what Field Music do; the interweaving vocals, the rhythmic gear changes, the slightly off-chords, but with the sensibility that keeps them within touching distance of pop music.

                All this is present again but things are different this time. Where 'Plumb' was an album of vignettes and segues, 'Commontime' edges towards what people might call “proper songs”. Field Music have never shown off their unashamed love of choruses quite like they do on this record. Lyrically, Peter and David continue to mine that inexhaustible seam wondering how on earth we ended up here, in this situation, as these people. Over fourteen songs, conversations are replayed and friendships are left to drift. And all the while, that thing you were trying to remember has changed while your head was turned.

                STAFF COMMENTS

                Andy says: The Brewis brothers return with more perfectly realised funky, melodic, maths-pop (and not forgetting 70's rock!?) nuggets. It's an incredible blend that's just built for repeated listens. Possibly their best yet.

                FORMAT INFORMATION

                2xIndies Exclusive LP Info: Indies exclusive NEON ORANGE 180 gram double vinyl with download code.

                Finnitus Edits #1

                Night & Day Sexy Ton / Shoe Shop

                From the dusty bargain bins of Europe comes Finnitus Edits #1! Hidden in plain sight, two Italian disco monsters have been rearranged for your pleasure, with the seductive flamenco guitar of the up-beat "Night and Day Sexy Ton", balancing out the massive bassline madness of "Shoe Shop". If sultry, slinky disco brilliance is your cup of hot drink, then these two caffeinated killers should have you up all night long. On the A-side, the up-tempo disco stomp of "Night And Day Sexy Ton" romps out the grooves like an Italian stallion, hitting us with the same rocky Mediterranean sound the likes of Macho, Chaplin Band and Gianni Bella specialised in. Alongside rapid fire flamenco, chunky chords, a fluid bassline and sweeping strings, we get treated to dramatic, cinematic, progged-out chord progressions and shouted vocals for a full frontal 'kitchen sink' assault. On the other side, our mysterious editor sharpens his scalpel and gets to work on the pulsating, synth funk sound of "Shoe Shop", a camp as Christmas mid tempo cut perfect for sleazy nights in the club. A "Planet Claire" style bassline pushes us towards the peaktime, while wah guitars, twinkling synthlines and full blooded vocals introduce some welcome wonk into the track.


                “She effortlessly dissolves barriers between herself and her fellow musicians, between music and listener, between language and expression" -  The Wire.

                Josephine Foster's "No More Lamps In the Morning" is a new folk route, a stripped down starsailor vector connecting heller to highwater. Foster, on nylon string guitar, and husband Victor Herrero, accompanying on Portuguese guitar, together weave intimate readings of songs spanning Foster's songwriting career including selections from recent albums "This Coming Gladness" (2008) and "I'm a Dreamer" (2013) and back to Born Heller (2004).

                Foster's new route is a free, chromatic music, a tuneful montana of mind-an expansive harmonic space dominated by Rif mountain on the horizon. As highwater as the music is, as broad the stylistic palette of the musicians, the music really exists in service of the lyrics. Two of the songs on No More Lamps are poems by Rudyard Kipling and James Joyce given musical settings by Foster. The rest arguably are musical settings of her own poems strengthened in a fiery crucible of guitars (and on 2 tracks Gyða Valtýsdóttir's cello) in which dissonant notes bend and quaver as wirefork embers, dying without affecting the glowing tonal fire which unites contrary forces in a Moroccan speakeasy. She and Herrero have performed, for an audience of burros, concerts of Federico Garcia Lorca poems set to music. A music of wandering and a music of roots. An impermanent tradition passed down for generations. Recorded live to tape by Henry Hirsch and Patrick Higgins at Future-Past Studios, Hudson, NY, in February 2014, the record was mixed by Patrick Higgins. ‘No More Lamps In The Morning’ features Victor Herrero on Portuguese guitar and Gyða Valtýsdóttir on cello (tracks 4 and 6). 

                After swapping his native Russia for the USA in the late 80s, Serge got hooked on hip hop, getting his fingers dusty in all crates, breaks and loops on the way to a career making rap beats. You can him work his magic on killer tracks from the likes of Masta Ace, Edo G and Guru to name a few, and this second volume of disco edits sees him continue to exploit his vast knowledge of soul, funk, jazz, disco and boogie. A-side cut, "Trust Your Heart" sees Serge slice, layer and collage the raw soul power of Bobby Womack's 1978 cut of the same name over a sturdy 4/4 for extended dancefloor bliss. Boosting both the tempo and the bottom end, Serge gives the track a respectful facelift, raising it up to the dizzy heights of Theo's Harold Melvin and GQ reworks. Speaking of which, "Disco Party" sees Serge sticking his scalpel into a Philly disco classic and Detroit DJ favourite, turning out a bass fuelled peak time pounder with plenty of additional percussion and killer clav action. Strutting its stuff right at the crossroads between disco, soul and funk, EP closer "Gonna Get Your Love" hits us with vocal hooks, blaring horns and on-point percussion, before Serge plays merry hell with the FX!


                It’s been an astonishing couple of years for GoGo Penguin, the UK trio of drummer Rob Turner, double bassist Nick Blacka and pianist Chris Illingworth. Their trademark mash-up of minimalist piano themes, deeply propulsive bass lines and electronica-inspired drums has seen their 2014 album 'v2.0' shortlisted for the Mercury Prize. Drawing on a heady brew of influences from Brian Eno, John Cage, Massive Attack and Aphex Twin, GoGo Penguin has created a brave new sound that is wholly their own.

                Now signed to iconic jazz label Blue Note Records the trio release their new album. 'Man Made Object is the sound of a band confidently pursuing their own path. “The title is partly inspired by my fascination with ideas of robotics, transhumanism and human augmentation,” says pianist Illingworth, a statement that begs for elaboration. “We’re recreating electronic music on acoustic instruments. It’s like a man-made object that has become humanized and it seemed like a good album title, one that also means something different to each of us, and hopefully to each listener.”

                Indeed, although they're predominately an acoustic piano trio, GoGo Penguin’s music draws from many areas of contemporary electronic music, one where you can hear arcade game bleeps, glitchy breakbeats, hypnotic Aphex-style melodies, grinding bass lines and a rumbling low-end. It has been described as “acoustic electronica”, a term which perfectly sums up their modus operandi. “Many of the songs on this album started out as electronic compositions that I made on sequencing software like Logic or Ableton,” says drummer Turner. “I’ll then play it to the band and we’ll find ways of replicating it acoustically.”

                Grimes

                Geidi Primes - Arbutus Edition

                Grimes' debut LP 'Geidi Primes' has a strange air of being created unconsciously while the artist herself was asleep. It is a vastly intriguing set of pop tunes highlighted by its amazing ffth and sixth songs: “Avi” and “Feyd Rautha Dark Heart”, which are each frighteningly reminiscent of an unaccountable psychic experience you may have never had. As an album, it touches on many different tones without exploiting any.

                It manages to be playful without being precious, clean without being sterile, cryptic without being obscure, and operates in a deceptively complex melodic structure without calling attention to the artistry therein. It reminds one of being a small child, listening to adult contemporary radio in the back seat of your mother’s minivan when a special kind of song comes on. You are still maddeningly susceptible to the sympathetic rise and fall of a maternal voice, yet this is a different sort of mother, one more primeval and distant.

                Icily it falls over your entire body, begging for an escape you know you cannot give it. You are strangely moved. It seems like an album made for very tall people about what it’s like to be very small. It calls to mind the glowering of a child king amidst the many vestments and decorations of his coronation. Listening to Geidi Primes is what it’s like to suddenly realize you are being watched while taking a cold shower...on the moon.


                FORMAT INFORMATION

                Includes MP3 Download Code.

                With a penchant for the cinematic, the Georgia-born Durham, North Carolina-based producer cuts blasted, abstract beats on post-punk textures, resulting in a sound that somehow manages to echo RZA, Rammellzee, This Heat and PIL, whilst carving out a unique identity all of his own. At a time when most hip hop production sounds as if it’s stuck in preset mode, ‘Reducer’ feels like a vital injection of creativity, harking back to a time in the past when no sample and no sound was off limits.

                Opening track ‘The History Of…’, a dizzying collage of broken drum machine beats, white noise shards and glitchy dub, is a good place to start in trying to epitomize the energy of the record. From there on Hanz continues to take the listener on a trip into a dark, complex headspace where haunted patois vocals, industrial drums, harps, elastic basslines and dystopian hip hop beats collide. It’s his capability of collapsing one sound world into another almost seamlessly, whilst retaining a distinctly raw punk energy throughout, that sets Hanz aside. It makes for an unpredictable and thrilling listen.

                Francoise Hardy

                In English

                'Françoise Hardy in English' is a studio album of the French popular singer Françoise Hardy. English covers of rock, folk, and pop tunes are the backbone of this rather heavily orchestrated album, which may be Hardy’s most overlooked ‘60s recording. The songs are catchy and the produc­tion, arrangements, and near-ope­ratic backup harmonies excellent, at times almost Spector-esque. Fans of Marianne Faithfull’s mid-’60s work can find something of a French equivalent here, though Hardy’s ma­terial was stronger and her delivery more confident.

                The Heptones

                Night Food (Expanded Edition)

                A sublime listening experience of superior reggae music - This essential deluxe edition of ‘Night Food’ features an astonishing 11 previously unreleased works & outtakes, never made the final cut.

                Comprising Leroy Sibbles, Earl Morgan and Barry Llewellyn, the Heptones first burst onto the Jamaican music scene with a series of sublime rock steady and reggae classics recorded for Coxson Dodd’s celebrated Studio One enterprise. By the mid-70s, the trio were regularly recording for Harry Johnson at his studio in Kingston, having scored big with the producer with ‘Book Of Rules’, a highlight of the 1972 cult movie classic, ‘The Harder They Come’. Working at Harry J’s, the group cut enough material for two albums, although only 10 of the tracks were ultimately selected to comprise the new LP, which in March 1976 saw issue as ‘Night Food’.



                Originally released on Dance Mania in 1986, this Marshall Jefferson produced 12" was massive at Chicago clubs like Frankie Knuckles' Warehouse and Ron Hardy's Music Box, also crossing the pond to become a favourite at the Hacienda's early house nights, and with the likes of Laurent Garnier. Now Jefferson revisits his classic with new brand new mixes for 2016 on this official Dance Mania release. The 'Main Mix' and 'Club Mix' fatten up the paired back OG with extra drums and synth fills. On the flip Dance Mania's ghetto house man Jammin Gerald provides us with a stripped back instrumental and sleazy vocal rework, adding new life to this seminal track.


                Lauryn Hill

                The Miseducation Of...

                "Though the Fugees had been wildly successful, and Lauryn Hill had been widely recognized as a key to their popularity, few were prepared for her stunning debut. The social heart of the group and its most talented performer, she tailored 'The Miseducation of Lauryn Hill' not as a crossover record but as a collection of overtly personal and political statements; nevertheless, it rocketed to the top of the album charts and made her a superstar.

                She found a hit single with "Doo Wop (That Thing)," an intelligent dissection of the sex game that saw it from both angles. "Superstar" took to task musicians with more emphasis on the bottom line than making great music, while her collaborations with a pair of sympathetic R&B superstars (D'Angelo and Mary J. Blige) also paid major dividends. And if her performing talents, vocal range, and songwriting smarts weren't enough, Hill also produced much of the record, ranging from stun-gun hip-hop to smoother R&B with little trouble." - All Music

                Micah P Hinson & Nick Phelps

                Broken Arrows

                  After his fifth studio album ‘Micah P. Hinson and the Nothing’ ( Talitres 2014), Micah P. Hinson comes back with an intense, almost entirely instrumental 'psych-western' recording. ‘Broken Arrows’ is via Bronson Recordings, a small label specialized in limited edition vinyl recordings (Steve Wynn, Dirty Beaches, Pontiak, Ronin, The Vacant Lots). Hinson and the label owners Bronson Produzioni have a long-time friendship. He has played several times in Ravenna where the group run three different live venues (Bronson club, Hana-Bi Beach and Fargo Café) and promote some of the most important festivals in Italy, such as Beaches Brew and Transmissions’ festival.

                  The Texas-based Americana folksinger decided to pay tribute to his Italian passionate friends with this exclusive LP written, arranged and recorded together with his close friend and collaborator T. Nicholas Phelps in Abilene, Austin and Baltimore. The album is composed of nine tracks (only I Sleep Tonight has vocals) where Micah’s harsh baritone voice makes way for unusual fuzzy and thunderous suites (‘Why Yes, I Was Born Yesterday’, ‘Whilst Rabbit Run’, ‘Chinatown’), appealing western glimpses (‘Looking Outside’, ‘The Oregon Vortex’, ‘The Downside’) and narrative moments evoking comparisons to The Black Heart Procession, as well to Neutral Milk Hotel and other Elephant 6 early recordings.

                  HNNY / Kyodai

                  Nothing / Vengo Loco - Inc. Kyodai Remix

                  Local Talk (presumably) get a round in with the first release on new white label offshoot Beer Records. And what a way to wet the baby's head than drop a hot new remix of HNNYs big 2015 tune 'Nothing' by labelmate Kyodai. Flute loops, pulsing keyboards, slamming Todd Terry TNT style beats and THAT vocal sample give new life to an old favourite. Alongside this rework, we get a killer unreleased afro-Latin house jam from Kyodai entitled 'Vengo Loco'. Bongos aplenty, stuttering metallic rattles and siren blasts hit the spot. No fuzz, just a serious buzz on this one!

                  Limited hand-stamped 12"! 

                  House Of Mora invite you to turn on, tune in and drop out with another body moving, chakra grooving example of drifting, dreamstate house music. The Berlin outfit open the EP with the appropriately titled "Two Far Gone", a tranqued out journey into pillowy pads and softly spun ambience nudged gently onto the dancefloor by clicking woodblock rhythms, subtle chimes and bubbling boogie bass. The transcendent vibe and dreamlike textures bring to mind the out-of-body effect of early Prescription releases, but with a fuzzy, doped out undercurrent worthy of Blind Jack's Journey. To follow we're treated to two variations of the "Unathi" theme, beginning with the deep and percussive afro-house rendition of the "Experianza Version". Opening with the rattle of tribal polyrhythm and afro scatting, the track soon drifts off into the night, cycling between immersive textures and hypnotic sequences while the restrained bassline keeps the bottom end moving. On the flip, the "Haute Couture Euphoria Mix" sees the Berlin crew push the bassline further forward in the mix before adding ecstasy fuelled piano and trilling flutes for a voyage through time and space to the glory days of deep house. Not only is this essential dancefloor tackle for any self respecting DJs, but it's also as limited as it gets, so don't sleep!

                  FORMAT INFORMATION

                  12" Info: Strictly limited dream house business direct from Berlin.

                  Anna Homler And Steve Moshier

                  Breadwoman & Other Tales

                  'Breadwoman & Other Tales' are the collected recordings of a language arising. It is the sound and document of Anna Homler divining speech, lyrical fragments, and melody for music composed, mixed, and engineered by Steve Moshier. It’s 1982 and Anna is driving an ocean blue classic Cadillac to meet renowned poet and playwright Deena Metzger in Topanga Canyon, Los Angeles. Passing a non-descript desert patch where tall wheat and mustard flowers grow, Anna opens her mouth and sings in a salient stream of rhythmic, melodic sound. Breadwoman is born, but not by Immaculate Conception.

                  For Homler, performance art had recently become “a form big enough to contain everything happening” during her studies with Rachel Rosenthal at Otis College of Art and Design. As this performative freedom fed into the enchanted vocalese, the character of Breadwoman emerged. Homler tread the same multidisciplinary waters where Steve Moshier and the Cartesian Reunion Memorial Orchestra (CRMO), a communal avant-garde urban chamber music ensemble formed in LA in 1979, floated. When their currents connected, it was clear Homler and Moshier were kin, crossing genres through intensely physical de-significations of music: quasi-theatrical, fully mythic, ritualistic performances. Instead of confining Anna as “a vocalist,” Moshier recognized Anna’s voice as a sonic element. To accomplish the recordings of this collection, Moshier chose the least song-like material from Homler’s handheld cassette transcriptions and composed music considerately. Anna would then record chants and song variations which Steve would tweak for final touches through his arsenal of analog equipment. Although Breadwoman stands outside of time, she is rich in the ingredients of 1980s Los Angeles performance art, renegade DIY punk, gallery culture, galvanized jazz, underground cassette-trading culture, drag extravaganzas, and esoteric meaning-making mysticism. Breadwoman is a storyteller - she’s so very old she’s turned into bread. Breadwoman says: If you don’t try to understand, you will.

                  She is the voice, and the voice is cosmic reality’s musicality. Through 'Breadwoman & Other Tales', we hear material meet mythos.


                  Hood

                  British Radars

                    Although it is true that Hood never officially announced their break-up, it is also true that for over a decade they have not been that creative rampant cell which we were used to until circa 2005. That is why the publication of “British Radars”, an exclusive limited edition vinyl containing 6 songs, is such an important event. Being a sort of facsimile edition of a 7” that could not be released at the time (1994) because of various circumstances (as explained by Richard Adams with a lot of sense of humor in the previous notes to the single) its contents goes beyond the mere time capsule. The matter of urgency that the songs reveal (some unpublished, others renovated through a new mix or in different versions regarding the original) are so current, so contemporary that there is no room for nostalgia.

                    “British Radars” - alternate version of 'Cabled Linear Traction' track / “Experiments In Silence” - appeared on 'Structured Disasters' / “Flood History” - appeared on 'Singles Compiled' Bonus disc as 'Create!' / “Delusions Of Worthlessness” - different version from 'Silent 88' album / “Walking Mindless” – exclusive / “Fears Grow” - appeared on 'Structured Disasters' 

                    Broken Dancefloors, Kev Beard's Box Bedroom Rebels offshoot and 'the sound of the northern DIY hyper insomniac underground' is back with its sophomore release. Its by Lancaster Tech-IDM-electro artist H>O>D aka House Of Daggers. A big ol' bear of a brute who makes Plaid-esque dancefloor killers that continually shift and evolve but never lose their pace. This is a 4 track 7" EP and a whopping 11 track download! And those extra tracks are OFF THE SCALE! From the robotic grind of "Glitchen Void" & "Brand New Plastic Bag" to the straight up leftfield AFX tech-electro of "KYBX" its a sweaty ride from beginning to end. One minute sounding like Plaid doing insane techno before rupturing into live percussion breakbeat and back into full-on warehouse tech. The next sounding like something of a Chris & Cosey analogue LP - fully robotik and tweaked 'n' twisted for your listening pleasure! All 4 tracks on this EP are different but made for a warehouse rave somewhere in deepest Ancoats.

                    4 track 33rpm 7" in a custom thick card numbered sleeve, artist portrait & 80s rave propaganda insert plus download code.
                    Only 200 numbered copies.

                    FORMAT INFORMATION

                    Ltd 7" Info: 200 numbered copies. As usual - jazzy inlay with inserts including more 80s rave propaganda and portrait illustration. Download featuring extra tracks too!

                    Benji Hughes

                    Songs In The Key Of Animals

                      RIYL Beck, Harry Nilson, Randy Newman, The Flaming Lips.

                      North Carolina's Benji Hughes fronted a rock band in the nineties. He's written commercial jingle. He's made music for film and television (Walk Hard, Eastbound & Down). He released 2008's A Love Extreme, his excellent double-LP debut record. But these ventures aren't different hats Hughes wears. They're not different paths traveled. This is Hughes playing in different keys. Now, for his first full-length on Merge, Benji Hughes is playing Songs in the Key of Animals.

                      Recorded over two years mostly at Frisbie studios in New York, the record is 41 minutes of pop-music exploration. The album has a summertime immediacy but an evergreen resonance (see "Longshot"). It's clever but too deep for punchlines (check the excellent back and forth of "Picnic"). It is sincere ("Girls Love Shoes") yet heartbreaking ("Song for Nancy"). It's eccentric but never forced in its strangeness. It's the kind of record that reminds us music can be fun without being empty. It's an album full of peacocks and sharks and zebras and tigers, but ultimately, it's about us. "People are animals," Hughes says, "even if some people don't want to admit it." Songs in the Key of Animals taps into something beyond just intellect or trend or taste. It's all about the feel, the connection between the player, the music, and the listener.

                      FORMAT INFORMATION

                      LP Info: LP includes full album download.

                      James Hunter has been on the scene for enough years to acquire plenty of feathers in his cap. He has earned an international reputation as a rhythm and blues troubadour for his command of the microphone both on stage and in studio. This album, however, is something far deeper than just another notch in his belt. It is truly an artist’s vision come to fruition.

                      This may be James Hunter's fourth album, but it is his first Daptone record. Produced by Daptone's own Bosco Mann (Gabriel Roth) at Penrose Recorders (Daptone West) near his home in Riverside, California, ‘Hold On!’ is a perfect portrait of an artist at the top of his game. 

                      Though tunes like "(Baby) Hold On," "If That Don't Tell You," and "Stranded" carry the buoyant energy, crackerjack arrangements, and tough soulful pulse for which the band has become renowned, the true treasures of this LP may lie in the deeper grooves. Rumbas, boleros, bossanovas, and easy rockers, each one swinging more than the last: "This Is Where We Came In", "Something's Calling", "A Truer Heart", “Light of My Life”, “In The Dark” - no clichéd throwback nods to a-time-gone-by here.

                      These are forever songs crafted with immaculate care and ingenuity, sung with an effortless balance of tenderness and grit. Many will be tempted to describe it as “authentic,” but the word really has no place here. Hunter's words are truly his own and though at moments his voice may "evoke" Ray Charles or Sam Cooke, there lies an inherent naturalness in these songs that bucks any comparison past or present.


                      Hot on the heels of his brilliant "Superfoods" trilogy of albums on BBE, Australian production powerhouse Inkswel returns with a brand new solo effort entitled "Unity 4 Utopia". Stellar collaborators Steve Spacek, Recloose, Crazy P, Lay-Far, Kid Sublime, Mark de Clive-Lowe and Colonel Red all make an appearance and help to make Inkswel's quest for musical utopia a reality - As the man himself puts it: "we need to work together if we want happiness and furthermore if we want positive change - this is mirrored in music, collaboration being key". Flawlessly combining a lifetime of influences, Inskwel shifts between the early hip hop of "Utopia Intro", the future funk of "Unity 4 Utopia" and "The Heat", the roller disco of "Outerspace Connection" and "Together" and the boogie tinged "Vibe On It", and that's only the first disc. Inkswel's artistic freedom extends beyond a disregard for genre confines to the playful approach he brings to compostion and groove, which draws together the disparate stylings with an abundantly positive feeling.


                      David Isaacs / Freddie McKay

                      Jah Love I / It De Hay / Version

                      Pressure Sounds bring us an entended mix of the ‘Jah Love I’ a song written by Freddie McKay and voiced by David Isaacs, who delivers a soulful heartfelt slab of roots. Isaacs was born in Denham Town and cut some excellent sides for Lee Perry in the late 60s. This cut is a rarity that was only ever released as a 12" on Phil Pratt's Chanan-Jah label.  

                      ‘Jah Love I’ is backed with Freddie McKay's ‘It De Hay’ originally out on the Lucky Star label. The dub version (also featured on this 10") is a sparse slow rhythm with Freddie’s sweet vocals gliding over the top. Comes in a hand-stamped re-cycled card sleeve. 


                      Bert Jansch

                      Avocet

                        Bert Jansch was often quoted as saying “I’m not playing for anyone, just myself” and this feels no more apparent than on 1979’s ‘Avocet’, his beautifully meditative paean to British birds. This isn’t to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him. (The subject of British birds is one that Jansch held close to his heart. Indeed, just preceding this album was his 1978 split 7” single with Shirley Collins - with proceeds in aid of the RSPB.) For fans of Jansch this is often the album that is singled out as his best work. The freedoms of a post-Pentangle career are much in evidence; folk rock and even trad folk give way to an album that is not only without lyrical accompaniment but really quite orchestral, classical even, in its composition. There are surprises in particular in ‘Lapwing’ (a dirge-like waltz that wouldn’t be out of place on a Nils Frahm album) and ‘Bittern’ (which speaks of Arthur Russell’s more experimental pieces). Last issued more than 25 years ago, this is Earth Recordings’ deepest Bert-directed bow to date. Featuring ex-bandmate Danny Thompson, alongside Martin Jenkins with sleeve notes by Jansch aficionado Colin Harper (author of ‘Dazzling Stranger: Bert Jansch and the British Folk and Blues revival). 

                        FORMAT INFORMATION

                        Deluxe LP Info: The vinyl edition comes with 6 high-quality lithograph art prints (by UK illustrator Hannah Alice) representing each of the birds on the album, held in a heavy board die-cut gatefold sleeve. This unique packaging is fully interactive - the cover image is interchangeable with any of the prints, though each one is perfectly framable too.

                        Includes MP3 Download Code.

                        CD Info: CD version comes as a deluxe ‘bookback’ edition, comprising all the illustrations and notes over 24 pages.

                        Transatlantyk delivers more deep dancefloor heat straight from the Polish house underground. This time Zambon has recruited two duets from the opposite corners of the country, hence the name of the sampler (Polnoc/Poludnie = North/South). The result is one of the most diverse and playful Transatlantyk releases yet. Jazxing are two youngsters from Gdansk, who cut their teeth playing drums, keys and bass in local reggae and new wave bands. Fusing their musicianship with an ear for classic American house production, they deliver two fresh and charming tracks. First up, "KS Gruv" is the road tested crowd favourite, never failing to move the dancefloor into the jacking direction with it's bubbling bassline, hypnotic strings and sizzling percussion. On the A2, "The Coast" is a slower, more seductive and deeper affair, topped with gently twinkling chimes. Its phased strings and swinging bassline form a perfect soundtrack for a late night or early morning at the Loft. Krakow's Unitrax take care of business on the flip, bringing their love of dusty samples and analogue machinery to the Transatlantyk table. Here they showcase the sound of deep, mystic, meditative house with a hint of medicine overdose. "Oasis (Water Of Love)" pulls us into the depths with its thick and narcotic textures, gentle percussion and brooding synthlines. Where others might drown you in druggy murk, Unitrax shine enough light through the water to keep you beaming throughout. EP closer "Another Feeling" is the blissed out sound of a post-coital cigarette in the early morning light, rubbing your shoulders with soft focus keys, dusty samples and rolling percussion. Buy on sight, play it in your local opium den and you won't be disappointed. 

                        Junior Boys

                        Big Black Coat

                        Electro-pop pioneers Junior Boys return with ‘Big Black Coat’ their first album in 5 years. The Canadian dancefloor innovators return with their boldest record to date. 'Big Black Coat’ is a slick, soulful, synth-pop record fusing their illustrious trademark production with their love for R&B, soul and pop music.

                        FORMAT INFORMATION

                        Includes MP3 Download Code.

                        Ilan Kabiljo

                        Expressions EP

                        The Imogen label launched back in September with a pair of Ilija Rudman remixes of London Acid Jazz favourite Brand New Heavies. This second release sees them change tack somewhat, adopting an archival focus to dig out two tracks by Croatian hero Ilan Kabiljo. Known mostly for his '90s work, Kabiljo comes from legendary Croatian music stock - his father was composer and musician Alfons 'Alfi' Kabiljo. This "Expressions" 12" sees Imogen dig through the Ilan archives and pluck out two rare and unreleased tracks from 1990, ripe for contemporary rediscovery. We're in a dream right from the off here, as Ilan layers picturesque chimes, smooth Rhodes and lush cello for the sublime intro to A-side cut "Cool Nights". That coastal breeze soon leads us off on a moonlight stroll as off beat drum programming, fretless bass and killer chord progressions tell the history of jazz funk in the digital era - sweet. Over the way, "Golden Days" treats us to a rolling bass synth sequence, woozy, wonked out keys, some solid boogie percussion and more dreamy lead lines, before the synth sax solo and jazz funk piano land us on a lilo under a baking midday sun. It doesn't get much better than this folks.

                        With ‘Nightcall’ used on the Drive soundtrack, the buzz surrounding Kavinsky is massive. On the back of 30 million Youtube views for the track, Record Makers bring us his long-awaited debut album. The album features 13 tracks including eight previously unreleased cuts and some reworks. From the first notes, we can hear Paul Hahn (manager of Daft Punk) recounting an introduction to the adventures of Kavinsky. Warm and electric, ‘Blizzard’ makes its entrance and sets the tone before allowing ‘Protovision’ to take its place, which with its nervous and synthetic melody was the first excerpt of ‘Outrun’. Next we get ‘Odd Look’, the first vocal song on the record, which unveils a mysterious funky voice reminiscent of Marvin Gaye or Prince. It’s then ‘Rampage’‘s turn to take us with its menacing orchestral atmosphere; after what comes the persuasive beat of ‘Suburbia’ on which the notorious Havoc from Mobb Deep lends his mic skills. The upgraded version of ‘Testarossa Autodrive’ confirms the efficiency of this unstoppable melody. Big hitter ‘Nightcall’ is next, produced by Guy-Manuel from Daft Punk and featuring Lovefoxxx from CSS. ‘Dead Cruiser’ arrives all muscled yet melancholic, followed by ‘Grand Canyon’ which takes us with its electric ritournelle. The voice of Tyson, the new electro-funk revelation from the UK, transforms the instrumental ‘First Blood’ into a cut with genuine hit potential. The rhythmic and melodious ‘Road Game’ leads us to ‘Endless’, which gently closes this long-awaited debut along with narrated epilogue by Paul Hahn again.

                        Max Graef and Glenn Astro keep the hits flying out of Money $ex towers, mining the rich seam of new wave sample house talent with this storming EP from German producer Kickflip Mike. If you've had your ear trained on the Oye camp, then you'll have caught this cat on Box Aus Holz, tearing it up with his wonky stylings. Mike steps up for the fifth edition of Money $ex, working through a crate full of dusty samples and pushing through an MPC haunted by the ghost of Madlib, as pitch-bent melodies bounce off the heavily swung beat work. As always, hip hop provides a sturdy foundation for this house, but make no mistake, we're living very much in the future. The "Intro" sees Mike getting jazzy with some off centre Rhodes loops and brushed drums, keeping us cool before the tough and rough kick of "Vanilla Seibt" slams into view, heating shit up for the club. Taking an infectious rhythm and deep bassline as a starting point, Mike chops up a little spiritual jazz and takes us right to the peaktime with some future funk keyboard lines. "The Green One" continues the dancefloor assault, serving up crunchy beats and croaky bass beneath some smooth keyboard work, before the totally batshit sample overload begins. Two note loops, rapid fire bongo riffs, crowd noise and a whole host of other madshit takes over, sending about 1000 volts through the dancefloor. On the flip, "Wizard Island" lays the dustiest percussion over some immersive pads, while wonked out Fly Lo funk lines, spiritual synth leads and a bubbling bassline lift us up to cloud nine. Spoken Blaxploitation samples adorn a drawn out bassline before the funk strikes back, Seven Davis Jr style. Kickflip Mike closes the set out with a break heavy jazz-funk outro, proving without question that he can groove for days.

                        Lafawndah’s first release on Warp takes influences from wide-ranging genres such as zouk, kizoma, salsa, cumbia, dubstep and grime, creating an exciting sampler of what’s to come next from this defiant and inspired artist.

                        “Out of this world music… the perfect expression of our globalised culture” - The Guardian · Lafawndah is somewhat of a global citizen, having lived in Paris, Tehran, New York and Mexico City and coming from an Egyptian / Iranian / English heritage.

                        Listening to her music, a fusion of regional subgenres from different corners of the world, she has evidently a certain porosity when it comes to digesting sound, taking snippets of different influences as souvenirs to use in her own work. · The songs on ‘Tan’ are at the same time relaxed and playful, bold and confrontational. The combination between strong narrative, clarity of expression and seamless transmutation is reminiscent of early Björk, Missy Elliott and Grace Jones.

                        Co-produced by L-Vis 1990 and ADR. Executively produced by Lafawndah.

                        For fans of Kelela, Leila, Muslimgauze, Mira Calix.

                        FORMAT INFORMATION

                        Includes MP3 Download Code.

                        The Lavender Flu

                        Heavy Air

                          Heavy Air is a 30 song puzzle / map masterminded by Chris Gunn (The Hunches, Hospitals). Recorded on analog tape machines over a period of years and outside of the genre concentration camps. A home recording project approached completely open to experimentation but in love with songs. Like Terrence Malick's Tree Of Life remade by the ghost of Phillip K. Dick; projecting sounds as images inside your head. It's extremely psychedelic and dense with layers and layers yielding new secrets with each listen. Songs / melodies / lyrics appear and reappear as half remembered dreams or reconstructed memories. It's a circuitous path through pop songs ("My Time", "Those That Bend" - with a Waterloo Sunset vibe), blasted rockers ("Fingers Like Wounds"), beautiful instrumentals ("Feel The Ground", "Telepathic Axe"), fractured folk ("Between The Trees"), weirder experimental songs ("Vacuum Creature", "La-Bas"), straight up fried epics ("Transcendental Hangover") plus a few covers in the mix including a maximal / minimal take on The Godz mantra-like ode to sun worship and a Townes Van Zandt tune that is derailed by a massive panic attack. Traces of Big Star, Royal Trux, Brian Eno, Meat Puppets II, American Beauty are in the DNA but The Lavender Flu is its own beast.

                          While it is obviously insane to release a double album debut in the current no-attention-span era, it is the only way. Put in the time, you will be rewarded. This is one of those rare double albums that isn't overripe or padded with mediocrity. All killer, no filler! Super dynamic pressing! Completely insane on headphones! Recorded by Chris at home with lots of help from Justin Higgins (of Old Standard Sound), Lucas Gunn (The Blimp), Scott Simmons (Exiled Records, Helen), Ben Spencer (The Hunches), Adam Stonehouse (The Hospitals), Hart Gledhill (The Hunches), Spencer Clark and others.

                          Mastered by Timothy Stollenwerk.
                          Lacquers cut at Ardent (Big Star) by Jeff Powell on the old Stax Lathe.
                          Vinyl cut at Quality Records.



                          UK-based production duo Letherette release their first new music since 2013's self-titled debut album on Ninja Tune - a record that cemented their place at the forefront of the UK's perpetually shifting electronic underground. Returning from an extended studio interlude, the 'Refresh EP' wastes no time getting down to business, collating four powerhouse trax aimed squarely at the dancefloor and blessed with the signature warmth, soulful character and loping swing that lie at the heart of Letherette's appeal. Simultaneously recalling the certified classic output of early 90s NY imprint Henry Street (Kenny "Dope" Gonzalez, Armand Van Helden, DJ Sneak) and the instantly addictive grooves of Pepe Bradock, Motor City Drum Ensemble and Joey Beltram, Refresh is a startling comeback and signal of intent for 2016.

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

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

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

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

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

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

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

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


                          FORMAT INFORMATION

                          Includes MP3 Download Code.

                          Lois

                          Dank Jazz

                            Lois is a multi-talented artist; a gifted vocalist and musician who also draws his own artwork, an illustrator who has a flair for writing obscure, haunting indie-pop songs from his bedroom studio in Madrid. His first release was a two-song cassette on US DIY-label Citrus City Records, and it was aptly entitled ‘Bedroom Recordings’. Everything is done by Lois himself in his room, with an old beatbox, a Fender Jaguar and a 4-track tape recorder. Those two songs quickly caught the attention of some influential blogs and put him under the spotlight, surprising everyone with his sultry vocals and catchy guitar lines. Instead of basking in the media attention, he retreated back to his nest to write the two new songs that appear on this 7” vinyl debut, and started scouting for musicians to form his live band.

                            Now, with ‘Dank Jazz’ on shiny vinyl and its two wonderful dark-surf songs under his belt, LOIS is ready to take the next step and travel outside of his boudoir with his excellent live band, crooning his way across the ocean and rightly becoming the latest indie-pop sensation to come from this new hotbed of musical talent that is Madrid.

                            “The missing link between Nick Cave and Billy McKenzie” – THE LINE OF BEST FIT / 

                            Really, really good” – DIY

                            “With Cure-like guitar lines and tinny Garageband drum tracks, Lois manages to create his own goth-tinged, C-86 world” – NME (Buzz Band of the Week) 

                            “Catchy tape-recorded bedroom serenades” – REMEZCLA 
                            “With Hinds and The Parrots leading the charge of the Madrid music mafia, Lois is set to be the next breakout artist from the Spanish capital’s creative scene” – THE LINE OF BEST FIT.


                            Magazine

                            Secondhand Daylight - 180g Vinyl Edition

                            After leaving the Buzzcocks in 1977, vocalist Howard Devoto formed Magazine with guitarist John McGeoch, bassist Barry Adamson, keyboardist Bob Dickinson, and drummer Martin Jackson. Acknowledged by Radiohead as an important influence, Magazine wilfully ignored the prevailing musical orthodoxy of the punk era - which is what makes these albums timeless. "Secondhand Daylight" was released in March 1979. Magazine's ambitious second album was produced by Colin Thurston, the engineer on two era-defining albums: David Bowie's "Heroes" and Iggy Pop's "The Idiot". Reviewing "Secondhand Daylight", Nick Kent said that 'there is now an austere sense of authority to the music. Magazine are a force to be reckoned with'. The chilly majesty of "Back To Nature" and "Permafrost" attest to that.

                            FORMAT INFORMATION

                            LP Info: 180g vinyl pressing in gatefold sleeve with insert.

                            Man Friday (Larry Levan)

                            Groove / Winners

                            Here’s an EP featuring two songs that are sure to take you back. Written by Brodie Williams, and mixed by the legendary Larry Levan of Paradise Garage fame, these two tracks were both considered anthems back in the day, and spun regularly at the club by Larry. Originally released on Warners back in 1986 'Winners' is a typically mid 80s synth-funk / electro-boogie cut. At the time the stripped-back ‘Demo Mix’ of 'Winners' was never released, finally getting issued on King Street Sounds in 2003. Having been bootlegged since (LARRY001), it's nice to get this killer track back on a legit reissue, complete with replica label artwork. On the flip “Groove” was another track Larry used as a secret weapon, making a long-overdue appearance back to back with 'Winners' on the same KSS twelve.




                            Mind Enterprises

                            Idealistic

                            Debut album. Puzzling over a new direction for his one-man electronic project a few years back, Andrea Tirrone aka Mind Enterprises turned to an old friend. Or more precisely, a hard drive given to him by an old friend, Salvatore Principato. “I was looking for something to inspire me,” he says. “So I plugged it in and suddenly there were all these amazing sounds.” Now 29 and having recently finished work on “Idealist”, a debut album which channels both the electronic pulse of Todd Terje and William Onyeabor’s loose-fit West African disco, Tirrone’s desire to widen his musical horizons and find a new audience for the electronic experiments he was creating on his laptop have since taken him from northern Italy to London – and his current studio in a garden shed in Clapton.

                            FORMAT INFORMATION

                            Vinyl comes with CD version of the album enclosed.

                            Following an erotic adventure in the jungle on his own Moonlighting imprint, Øyvind Morken returns to Full Pupp, with "Invisible Objects". The Oslo producer ventures into the functional aspects of dance music for his latest EP, calling on his invaluable experiences from the DJ booth and moulding them into four dance floor tracks that highlight the more mysterious corners of his hometown’s dance floors. Built on the foundation of syncopated high hats and elastic Juno bass sequences that have become the Oslo DJ’s trademark sound palette, "Invisible Objects" finds Morken in a coy mood. Catchy melodic phrases repeat over driving rhythm sections, constructed from Morken’s vast knowledge and experience of the dance floor. Øyvind ingrains a mysterious air in the title track as the main melodic phrase drifts off its central pitch in a woolly distraction from the precise rhythm section. "Unholy Trance"’s Theremin-like central motif carries this sentiment through on the A-side, creating a hazy B-movie aesthetic against the backdrop of the primal pulse that has transcended the jungle for the cold solitude of space. Morken is nothing if not a curator of mood, taking the experience of the DJ booth once again to the recorded format. As "Invisible Objects" moves over to the B-side, the producer tones things down with the lusciously serene "New Age Of Smokin", a cover of LB Bad´s classic Nu Groove record from 1989, before making the final ominous statement with "Dance of the Drunk", a track forged in the bowels of an electro beat while metallic bass-stabs make a sizeable impression in the speaker cabinet, before moving onto its next victim.

                            Early last year, the Wolf Crew took their brand of swinging, sampledelic house on the road for a wild night at Dortmund's Oma Doris club. After tearing the roof off the joint, Matt & Stu were relaxing backstage when a young resident named Mr Fries slipped them his demo CD before disappearing into the dancefloor throng. Immediately impressed with what they heard, the idea of an EP was formed, and nearly a year later, Wolf Music proudly present the newest member of the pack! The EP opens in classic Wolf fashion with "Get Together", a sublime collage of rattling beats, deep chords, lively bass and killer vocal samples, perfectly arranged for total club destruction. "2poor4change" sees the producer drop the tempo a little and head deeper into the groove with warm rhodes sounds, jazz club ambience and a head nodding rhythm section, while the extensive vocal sampling and lengthy breakdown offer a breath of fresh air before the body moving beats return. Capping off a perfect hattrick of original productions, "Daily Struggle" sees Mr. Fries hark back to KDJ's "Forevernevermore" with funk guitars, gospel keys and socially conscious vocal samples. German hip-hop producer, Hulk Hodn was one of the main reasons Mr Fries started to make beats, so it seems totally appropriate that he don his Hodini moniker and deliver his own remix of the young producer's "2poor4change". It's a slow burning, gradually building affair which spreads the soulful beauty over the full track length. Piccadilly favourite and long time Wolf buddy Garth BE drops in on the B2 with a hypnotic and hard hitting rework of "Get Together", which lands somewhere between Iz & Diz and Dance Mania. Simplistic and stripped back, the beauty of this is the contrast between the minimal rhythm section and the stuttering, stammering vocal sample.

                            Manchester's techno alchemist and master of the Roland TR-808, the enigmatic Mr Raw, debuting MANCDETROIT 12” on WIN or LOOSE Records straight outta Toronto CA! Long term nightclub shaman on the Northwest of England circuit, Raw served time in Rotterdam's early 90s gabba circles before returning back to Manchester to twist brain's n bodies with his wild blend of freestyle techno. Raw's witnessed trends in production go from hardware to soft and back again but he's never strayed from a solid rack mount set up based solely around the TR-808. With a few added choice fx processors Raw's style is loose'n'live and captures a pure spirit rarely exercised by today's pacified youth. "Perseus Dance" sounds like the kind of shit the great Ron Hardy would jam on, with two copies, for hours. Inflicting a sherm-stick flavored mind-blast to the floor that may have indeed caused the good man to blush, we find percolating 808 percussion woven together with a mystic, fizzing lead line and twangy analogue artifacts. Darkside acid dragged wailing and whining from Rusholmes drains. Flip and we have "Hard On": a twisted x-rated porno horror jam. Raw's rapid-fire double-speed drum loops firing away while a plethora of abhorrent vox and coital sounds converge onto the track. A total wrecking ball of filth and hellish distortion which just smolders away in the basement of some sadistic nightclub like a rotten but highly intoxicating fungus ready to switch on any passing freaks.

                            STAFF COMMENTS

                            Matt says: Here it is! Iconic release for the Canadian-via-Manchester label Win Or Loose. With Manc hardware stalwart Mr. Raw on the dials! An old friend of the shops, Mr. Raw's torn heads and bodies apart at Detroit Public Radio (Wet Play's precursor) and Faktion respectively. An uncompromising record through and through. We heart this!

                            MTO (Modified Toy Orchestra)

                            Mary = X / The Breath They’ve Been Holding Released

                              Birmingham’s iconic audio scientists, Modified Toy Orchestra, are back. This time as mto and with a new single on their old label.

                              Hand cut in an edition of 100 copies by PhilM at 3345 this return sees the band in a casio only landscape watching the mathematician Richard Feynman sit alone at the top of a light house on mars contemplating calculus and aspects of his life.

                              ‘Mary = X’
                              A haunting lament of what might have been from the perspective of Richard Feynman's ex-wife Mary, her plaintive voice keening for her husband’s attention, a hopeless attempt against the infinite mysteries of calculus.
                              "He begins working calculus problems in his head as soon as he awakens. He did calculus while driving in his car, while sitting in the living room, and while lying in bed at night." —Mary Louise Bell divorce complaint.

                              ‘The breath they've been holding.’
                              The Title is taken from a news broadcast observing the faces of the doomed astronaut’s families during the space Shuttle Challenger disaster in 1986.

                              Since touring the world performing their 2nd album Plastic Planet, which culminated in sell out shows at the Hong Kong Civic Hall, mto have been commissioned to perform Stockhausen and to collaborate with composer/conductor Richard Baker on "Game" by Faster than sound performed at Aldeburgh Britain's oldest classical music festival.

                              The 2 tracks are part of digital EP called "Feynman on Mars" which shows a darker, colder distant side of mto an aspect of the band which will be further explored as they blast off in to the outer reaches of the cosmos on what will be there 3rd album "Silfurburg".

                              FORMAT INFORMATION

                              Ltd 7" Info: Lathe cut 7"
                              Edition: 100

                              Hirofumi Murasaki, Morihiko Akiyama And Masayuki Nagao

                              Shinobi III: Return Of The Ninja Master - Oxblood Coloured Vinyl

                              With music composed by Hirofumi Murasaki, Morihiko Akiyama and Masayuki Nagao, 'Shinobi III' is a relentless bass-driven soundtrack which, upon its release in 1993, pushed the Mega Drive’s audio capabilities to its limit. Its strong percussive elements are something of a technical marvel and, like all of the greatest soundtracks of the 16bit era, showcases the ingenuity and resolve of game composers when faced with extremely limited hardware.

                              180g vinyl packaged in a 400gsm matt finish sleeve with traditional OBI strip. All copies also include a foldout poster featuring the original Japanese artwork, sourced from the SEGA archives.

                              With audio sourced directly from a Japanese Model 1 Mega Drive (AV Intelligent Terminal, VA5 with stereo output mod) and painstakingly remastered for vinyl, 'Shinobi III' should appeal to anyone with even a passing interest in video game culture, FM synthesis or electronic music in general.


                              Mystery Plane

                              Still Life

                                Mystery Plane formed in 1980 from the ashes of 70's new wave band 3D5 who's line-up also featured future Cure member Porl Thompson. This record was originally a demo cassette made in 1981 that was hawked around record labels with a view for release. Later Color Tapes released a 100 copies edition. To support their demo at the time the band played such gigs at the Marquee, Rock Garden and The Bridgehouse supporting bands such as Fad Gadget, Modern English and Henry Padovani (Ex-Police) in London.

                                This sublime minimal basement krauty synth LP was inspired by bands such as Neu, Amon Duul ll, and "Vienna" period Ultravox. The album features guitar work of Gerald O' Connell who was a big fan of Ash Ra Tempel's guitarist Manuel Gottsching. A year later he went on to form Lives Of Angels who made the classic cold wave album "Elevator To Eden" which was originally released on Color Tapes in 1983.

                                Mystery Plane have been featured on the sold out Cold Waves Of Color compilation series. The album has been remastered by Denis Blackham and comes complete with a poster insert.

                                Nap Eyes

                                Thought Rock Fish Scale - Bonus Disc Edition

                                Both vinyl and CD formats include a free Paradise Of Batchelors label sampler CD.

                                For fans of The Only Ones, The Modern Lovers, The Clean, The Verlaines, The Go-Betweens, Bedhead, and all things Lou Reed. With lyrics, color inner sleeve, and download code. Recorded live to tape, with no overdubs, on the North Shore of Nova Scotia, Nap Eyes' quietly contemplative sophomore record refines and elaborates their debut, offering an airier, more spacious second chapter, a bracing blast of bright oceanic sunshine after the moonlit alleys of Whine of the Mystic (PoB-20). But the briny, cold Atlantic roils beneath these exquisite, literate guitar pop songs, posing riddles about friendship, faith, mortality, and self-doubt.

                                Like all of their recordings to date, the album is framed by a set of severe self-imposed strictures: a mere four days to capture as many songs as possible completely live, with no overdubs, to a temperamental old TEAC four-track ¼” tape recorder. The result is a document pristine in its intentional imperfections. After the dark, drunken night of Whine of the Mystic (recorded nocturnally in Montreal), Thought Rock Fish Scale brings blinding sunlight and blue horizon to these elemental stories of water, fire, and spirit. Compared with its predecessor, this album is far less concerned with the effects of alcohol—excepting “Click Clack,” with its admission that “Sometimes, drinking, I feel so happy but then / I can’t remember why … Sometimes, drinking, I don’t know my best friend for my best friend”—and more concerned with negotiating the mornings after, all the hungover or otherwise creaky, tentative new mornings of a life assembled from discrete days. Musically, a new delicacy and tautness manifest here as well, a patient willingness to wait; Josh Salter (bass), Seamus Dalton (drums), and Brad Loughead (lead guitar) exhibit consummate restraint. Sonic touchstones remain similar—The Go-Betweens (particularly Robert Forster’s melancholic bite). Thought Rock Fish Scale deploys the language of anxiety and self-reflection as a sort of symbolic vernacular.

                                Nap Eyes make soul music, in the sense that their music describes, from a position of uneasy humility, the often mundane maintenance of the fragile human soul. How long can we keep ourselves buoyed or crutched, even provisionally, like that sad swallow in “Alaskan Shake”? As Nigel asks in “Mixer,” “Then again what else is there / Another life, some other way?” 

                                After a string of releases for Omena, Transatlantyk and Studio Barnhus, Wroclaw-based Naphta delivers his first EP for Maciek Sienkiewicz's Father & Son Records & Tapes (FASRAT) label. This is house music like you've never heard before - loose, freaky, hippie, voodoo machine funk, highly infectious grooves for any modern dancefloor. 'Exorcist' is a jazzy piano looped beatdown house number for early doors head nodders. 'Boomerang Disco' is a slurred and submerged disco-tinted shuffler with gritty crackle and light fingered ivory tinkling. EP title track 'Enter The Dagon' fires up the mystic flutes, woodblocks and voodoo chanting for a tropical house flava. Lastly 'Idle Look' is a jump-cut house number, throwing spliced vocal samples, piano lines and organic beats  into the mix.

                                As always FASRAT delivers also full picture sleeve artwork - this time by renowned graphic designer Ania Goszczynska.

                                Jeb Loy Nichols finally comes home to On-U Sound, the label he first befriended in 1981. 'Long Time Traveller' is a country / dub crossover record, backed by members of Dub Syndicate and the Roots Radics, and with Adrian Sherwood at the controls. The subtle dub production gives Jeb's careworn songs of love and loss a unique sound - this is Nashville-by-way-of-Kingston, Lee Hazlewood if he'd made an album with the Wailers, equal parts Johnny Cash and Horace Andy.

                                Following a limited Japanese release in 2010, the album has been remixed, resequenced and redesigned to present the definitive edition of this sublime set of songs. A cult figure for fans of Americana, Jeb was born in the Midwest of the United States. His career has encompassed leading The Fellow Travellers (one of the first bands to be described as ‘alt country’), sleeve design for the Pressure Sounds reggae reissue label, compiling the acclaimed 'Country Got Soul' series, writing a regular column for the Heavenly-affiliated Caught By The River periodical, and solo albums for Capitol, Decca, Rykodisc and Rough Trade. He now resides in rural Wales, where he spends his time making art, playing music, writing, worrying, digging holes and planting things.

                                Vinyl edition includes a download card for full contents plus 11 bonus tracks (same content as Disc 2 of the CD edition).

                                CD edition includes a bonus disc containing 11 additional songs and alternate mixes.

                                FORMAT INFORMATION

                                LP Info: The vinyl edition includes a download card for full contents plus 11 bonus tracks.

                                2xCD Info: CD edition includes a bonus disc containing 11 additional songs and alternate mixes.

                                Noelita / Doris Monteiro

                                Sambalanca / E Isso Ai

                                On side A we have Noelita's 'Sambalanca', a quirky, up-beat samba, originally released in 1973 on Copacabana. Organ and horn lines bubble under the drum groove and percussion. Taken from her only LP ‘Quando Me Sinto Só’ released in 1975. Sought after and expensive in its original form. Flip over for  Doris Monteiro's 'E Isso Ai'. The instantly recognisable, original version of the classic and much covered ‘E Isso Ai’. Beautiful laid back samba / MPB (Música Popular Brasileira), drenched in horns and percussion. Taken from her 1971 Odeon LP. This is the second time the hugely prolific Doris Monteiro has featured in Mr Bongo's Brazil 45’s series; previously with ‘Se Vocé Quiser Mas Sem Bronquear’ on number 9.

                                - Mixed and mastered by Nils Frahm at Durton Studio
                                - Artwork by Frederic Gmeiner at FELD

                                Nonkeen is a project led by Nils Frahm (Erased Tapes) alongside Sebastian Singwald and Frederic Gmeiner. Nils Frahm and Gmeiner attended the same school in Hamburg. A mutual interest in sound recording brought them together and they began producing their own radio show which featured sounds from school, the voices of their teachers and recordings of their own instruments. In 1989, East German schoolboy Sebastian Singwald spent two weeks at their school. Frahm and Gmeiner bonded with him instantly.

                                After the Berlin Wall came down, Gmeiner and Frahm were eager to visit Singwald to play as a band. They performed their original material on fairgrounds in Plänterwald over the summer holidays. After an accident in 1997 at one of their fairground gigs the trio parted company, only recently started playing music together in experimental sessions with tape machines on Singwald's basement. Nils Frahm's input is evident across all the tracks in the form of minimalist keys and synths. With tracks ranging from lush synth-heavy ambience ('The Invention Mother', 'Pink Flirt'), via the more organic jazz-influenced 'Ceramic People' (think Four Tet or Floating Points), or the Boards Of Canada style cassette-sample woozines of 'Animal Farm', to the epic motorik electronica of 'Chasing God Through Palmyra', 'The Gamble' is a sublime listening experience.

                                “this is the album I am most proud of” - Nils Frahm.


                                STAFF COMMENTS

                                Martin says: Nils Frahm is incapable of being associated with anything other than beautiful music. His trademark piano caresses might largely (but not entirely) be absent from this collaboration with his above mentioned primary school chums, but it is nonetheless a thing of wonder. Yes, there is just the faintest air of Boards Of Canada about its organic, jazz infused electronic atmospheres and loops, but that is about as far as you can get from a bad thing. A joy.

                                FORMAT INFORMATION

                                2xLP Info: Double vinyl LP in heavyweight card sleeves with printed insert. Includes vinyl only track 'For Voice'.

                                Nots

                                Reactor - Mikey Young Remix

                                  Ultra limited one sided white label 12".

                                  Remix by Mikey Young of Total Control!




                                  In 2009 a close knit collective of London-based musicians - Jesse Hackett (keys), Louis Hackett (bass), Sam Lewis (guitar), Chris Morphitis (bouzouki / guitar) and Tom Skinner (drums) - first arrived in Nairobi. They were brought to Kenya's capital in order to collaborate with local musicians as part of a project established by an organisation called Art Of Protest, which aims to promote local Kenyan musicians and rappers. Art of Protest introduced the London faction to Joseph Nyamungu, a phenomenal player / teacher of the nyatiti (an 8-string lyre) whose scope of knowledge of the traditional music of the Luo tribe is unparalleled. The sessions with Joseph and Charles Owoko, a drummer specialising in traditional Luo rhythms developed into something unique, fresh and full of verve - a Nairobi meets London sound clash.

                                  The five London-based musicians, who have been friends since their school days, draw on a broad spectrum of African influences, from Fela Kuti and Tony Allen to the likes of Thomas Mapfumo and Oumou Sangare. On reconvening with Joseph and Charles on a second trip to Nairobi in May 2010, the group had now grown to a 10-piece big band, with Joseph inviting many other musicians to join the proceedings. A two day session at the Kenya National Theatre then culminated in the forthcoming self-titled album - a collection of gloriously loose Afro grooves symbolic of the true culture clash between the Luo and London. The founder of Gorillaz and Afrika Express, Damon Albarn, even gives the project his personal blessing, popping up on organ duties on the sprightly "Odera Lwar" and "Margaret Okudo (Dub)".


                                  Palehound

                                  Molly

                                    Palehound is the musical alias of 21-year-old Boston-based guitarist and songwriter Ellen Kempner. Much has been made of her connections with Speedy Ortiz and it's obvious that they've both drawn from the same influences (The Pixies, Pavement and the like) but Palehound have their own sound, and it's great! 

                                    The 7” features 'Molly' from the forthcoming album 'Dry Food' and features a cover of Kelly Clarkson's ‘Miss Independent’on the flip.


                                    Berlin-based Palms Trax continues adding to his run of quality efforts with the forthcoming release of his 'High Point On Low Ground EP' - impressive effort number two for the Dekmantel imprint.

                                    Serving up three retro-futuristic killers, Donaldson parades his ability to touch on the many different corners of contemporary house music, whilst delivering heavyweight dancefloor standards. The title track blazes a beaten-up vocal snippet over stanked-out synths, stretched to a breaking point across a low-riding bass line. A stabbing Moroder-esque bass line dominates 'Cloud City', whilst 'Paws' equals pure and raw broken-beat bliss with a pinch of acid.

                                    Fucking hell, this is good! Theo Parrish turns Tullio De Piscopo's mid-80s Spanish Balearic sunshine pop anthem into a 16 minute-long beatdown rave monster. To be honest, I don't hear much of the original in this remix, so just treat it as a totally new Theo track - and a darn good one it is too! Equally good is the shuffling Isoul8 & Mark De Clive-Lowe Tullio refix on the flip. This is a "Stop Bajon" 2010 instrumental 2.0 type of rework, taking the original and adding crunching layers, extra bass and some shaker action. A smile is already on my face! Super-limited!


                                    Theo Parrish

                                    Overyohead / Dance Of The Drunken Drums

                                    *Limited Sound Signature re-presses!*

                                    Sound Signature #6, two tracks of definitive Theo Parrish house. Unique off-centre Detroit signals that defy pigeonholing and remain always the product of a true creative talent. Another pair of tracks, highly sought after by Detroit fans, re-pressed here for the first time in years: move fast!


                                    FORMAT INFORMATION

                                    12" Info: REPRESSED.

                                    Phillipi & Rodrigo

                                    Karma / Gueto De Gent

                                    The latest Deewee release sees the Belgian Soulwax brothers hook up with Sao Paulo duo Phillipi and Rodrigo, otherwise known as Fatnotronic, for a pair of road testing club killers. Experimenting with synths, European club sounds and the rhythms and textures of their native Brazil, the duo have hit upon a unique sound which has done serious damage on the Despacio sound system in recent months. A-side cut "Karma" is a playful acid stomper built out of Wink-esque resonating synth lines, circular marimbas, village square breaks (complete with church bells and loose chickens) and some solid drum programming. On the B-side, the vocal led "Gueto De Gent" drops the pace and bubbles away with a body moving bassline and sunny synth sounds, treating us to some modern Balearic beat for the slower dancefloor.


                                    Pimlican

                                    Geht Enough / That Girl

                                    Although based in the north of England Pimlican has spent a lot of time and put down strong roots in the south developing a north/south blend of music covering different dance genres. Operating as a solo artist but often collaborating with other artists Pimlican has developed a strong song writing ethic. Creating killer hooks and workflows as spontaneously and colourfully as possible along with live performance has always been a great passion.

                                    Porches is the project of Aaron Maine, who resides in New York City. ‘Pool’ is Porches’ second full length album and their debut on Domino.

                                    Written and recorded almost entirely in the Manhattan apartment he shares with his partner and frequent collaborator Greta Kline (aka Frankie Cosmos), ‘Pool’ is an elegantly drawn set of gorgeous, synth-driven pop songs that were influenced, in part, by settling down.

                                    ‘Pool’ was written, recorded and produced by Aaron Maine and mixed in Los Angeles by Chris Coady (Yeah Yeah Yeahs, Grizzly Bear, Beach House, Tobias Jesso Jr).

                                    FORMAT INFORMATION

                                    Indies Exclusive LP Info: Exclusive coke bottle clear vinyl version with spot gloss detail on jacket and 12”x12” insert available to independent retailers.

                                    Includes MP3 Download Code.

                                    NYC’s The Prettiots (Kay Kasparhauser and Lulu Prat) release their debut album ‘Funs Cool’ via Rough Trade.

                                    Packed with catchy melodies, memorable hooks and heart on the sleeve lyrics, ‘Funs Cool’ acts as a thoughtful, funny, and catchy-as-hell state of the union address from young women living in a big city and watching life unfurl in fits and starts before them.

                                    ‘Funs Cool’ comes hot on the heels of the band’s recent rapturously received first UK shows in November.

                                    The Prettiots have a playful aesthetic and a sweet pop sound but their observations are scalpel-sharp and the emotional gut-punch their music packs is real. For Kay (vocals and uke) and Lulu (bass), simple instrumentation and no-frills vocals aren’t employed because they’re easy or cute - they’re useful because they’re the fastest way to the truth.

                                    As Kasparhauser explained recently in a Rookie Magazine interview earlier this year, “My lyrics are completely honest… they’re 100% true to my thoughts at any given moment. I like to talk about Werner Herzog and sex.”

                                    After bringing the noise with artists from Amsterdam, Newcastle and Manchester over their first three releases, this fourth offering on Intimate Friends finds Vienna's Roman Rauch representing, with a little help from Essen-based Glenn Astro. Broadcasting live and direct from the home of the Wiener Schnitzel, Rauch gets deep right from the get go, twisting our melons with a beatdown monster by the name of "Essig Jazz". Tough claps and hats dance around the thudding Detroit kick and subbing bassline, while sampled female vocals shift in and out of focus through the haze of echo. Classic deep house keys create that bloodless effect, while the screaming siren conjures the memories of a thousand RZA beats. On the other side, Caits Meissner drops by to preach some spoken word truth on the uptempo "Got To Be", bringing the realness to a piano-heavy house roller, rich with dubbed out textures and rattling percussion. The B2 plays host to this week's official winner of the Ronseal award, "Slowswing", which takes a beatdown wrecking ball to the nearest club at, you've guessed it, a 'slow swing'. Thunderous bottom end, filtered female vocal snippets, and jazzed up percussion come together in perfect alignment as Roman conquers the globe all over again. On a remix tip, we're in the capable hands of Glenn Astro, who flips the script on "Essig Jazz" with a tempo pushing remix which moves from head nodding hip hop to peaking house and back again in the blink of an eye. Totally off its box, this rework changes outfits more often than an Oscars host, and still seems effortless throughout.


                                    Unpredictable but ever exceptional, Golf Channel just keep coming up with the goods whatever the genre. Their latest offering sees UK legend Jaime Read making his label debut with a deep and diverse four tracker for the backroom and the bedroom. One of the few UK artists who has had the dubious honour of being ripped off by Chicago house royalty, Jaime's been dropping bombs since the early 90s, and recent collaborations with Felix Dickinson as LHAS Inc have seen the producer gracing Rong, Cynic and Tsuba. Switching things up on EP opener "Is It Real What U Feel", Jaime balances dreamy chords with a gentle 2-step for a languid R&B number dedicated to all the lovers out there. Featuring his own filtered vocals, the cut perfectly nails that lovestoned feeling of a blissed out morning after. From there we skip nicely to the slinky "Kaanlile", a lighthearted blend of new jack swing beats, squirming acid bass and emotive melodies. Immersive pads bring some late in the session depth to the cut, while a sumpuous melodica line floats into the clouds with the dancefloor in tow. A steady beat introduces the Fingers-esque "Rolling Dreams", a head nodding groove-a-thon which naturally features a rolling bassline. Echoing piano drifts in and out of focus while Jaimie channels Robert Owens for some sleazy, E'd up vocals. Last but by no means least, "A Night In Shirley" strolls through the dusk as sunny keys and an afterhours bassline vie for attention. The result is a mellow but restless body mover perfect for fans of PPU or Alliance Upholstery.


                                    Steve Reich

                                    Four Organs / Phase Patterns

                                    Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid- 1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called “Big Four” of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich’s influence can easily be seen today in both the classical world and contemporary pop music.

                                    “Four Organs” is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson’s stoicallysteady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound – stretching the tones to create (in Reich’s words) “slow-motion music.” Inspired by Reich’s early training on drums, “Phase Patterns” treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group.

                                    Originally released on Shandar in 1971, Four Organs / Phase Patterns is one of most highly regarded avant-garde recordings in the past 45 years. This release features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker.

                                    Info on Croydon’s shadowy firespitter and beat sculptor Rocks FOE is scarce. He poses a unique combination attack, with a rap style that combines the catch-all hooks of grime with the sheer lyrical dominance of classic US rappers like Pharaohe Monch & GZA. Dig into Rocks' lyrical tidal wave and you find arcane religious references and Anime characters punctuated with frequent direct knock out put-downs. He blends the obscure with the instant to future proof his verses. Every beat on 'Legion' was also produced by the man himself. Never one to stand still, he chops and grafts grime and hip hop with DNA from horror composers.



                                    Emilio Santiago / Osmar Milito

                                    Bananeira / América Latina

                                    When Greg Caz and Deano Sounds teamed up to create The Brasileiro Treasure Box Of Funk & Soul they created a collection of vintage Brazilian music that stretches across the scope of funk, soul, and psychedelic. Co-compiler and Brazilian music aficionado, Greg Caz says: “Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one’s familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.” The stunning 45s from this set will now be available for individual sale. The series continues with the split 7” containing the essential rare groove track “Bananeira” by Emilio Santiago b/w Osmar Milito E Quarteto Forma’s rare “América Latina” (as sampled by Madlib). 

                                    Shamos was born in Dublin and raised in Leyton, East London. Funkineven came across his music via his regular show on NTS radio and promptly ushered him into the hallowed ranks of Apron. "Training Day" kicks things off in sufficiently dark form, abrasive snare hits rattling through a menacing soundbed of icy synths and warbling sub tones. It's Apron through and through - evil, gritty music for clubs with low ceilings and over active smoke machines. "Westdown Road" heads further into the Apron prototype, it's 'dry' treated drum machines working well past their saturation point as squelchy bass farts as other obtrusive sonic artifacts converge on the track. Mad, frenzied hardware abuse for the freaks. "Ode To Lynch" opens the B-side with phazed pads pushed well into the red and mechanical drums chugging on unceremoniously. What began as phazed pads actually transpires to be chopped and mangled jazz hooks, which as the track evolves, allow their loop points to be dropped and more of the hook to filter through the fug and haze. Mind-altering stuff that should send dancefloors careering into uncontrollable hedonistic revelry. Finally, "Cranbourne Road" concludes with a nasty ass acid banger, rawkus drums clattering away as a straight up badass 303-line provides all the bass and melody one could hope for. Wonderful stuff from this now iconic label. Move quick! 

                                    The Skiffle Players

                                    Skifflin'

                                      Songs pre-date our Internet, television, and even the written word as the way to get The News. The stories of all time, ballads, and living legends instantly come to life when the guitar strikes up and the band begins to play, and the singer sings, echoing clear messages from distant times and places. These five skifflers—Cass McCombs (guitar, vocals), Farmer Dave Scher (keyboards, lap steel guitar, melodica, vocals), Neal Casal (guitar, vocals), Dan Horne (bass), Aaron Sperske (drums and percussion)—have found a common bond in the belief that handmade music is in short supply these days—music made by the people, for the people and delivered to the people via an astrological and metaphorical horse and buggy that skiffles through the cosmos direct to your turntable.

                                      Skifflin’ was conceived in a land of enchantment in Fall 2013, cultivated in design and conception throughout 2014, and performed live in the studio with no digital trickery in 2015. Barrel-aged to perfection, this is straight skifflin’ extract; pure, unadulterated, non-filtered West Coast golden goodness. With some ballads old, some brand new, and the whole history of the human condition in song to draw from, The Skiffle Players show no sign of relenting, for they have tapped into something great and mighty and true: a roaring river of living memory, always flowing, waiting there to be discovered when we, humankind, need it most.

                                      So give yourself to the Great Story, the voices of the land in the grand pageant of all times and places. The skiffle has always been and shall endure, and is here once more.

                                      Chef, singer, record producer, owner of 10 record labels and father of 17 children, Phil Pratt is one of the more unusual and elusive characters in Jamaican music. Responsible for some crucial rocksteady sides in the ‘60s, Phil went on to produce some of the best roots music to come out of Jamaica. Since relocating from Kingston, his focus has mostly been on cooking, and his headquarters has been the Scandal restaurant in West London. His attention to detail in cooking was carried over into the powerful series of dub albums he issued in the 70s and 80s.

                                      This release, ‘Dub In Blood’, is one of the rarest and most sought after dub albums of all. Issued in tiny quantities on Phil’s Sunshot label, it now commands ridiculous prices in the collectors’ market. Recorded at Channel One in six hour sessions. Pratt and the band would spend 20 minutes or half an hour rehearsing each song, and then normally one take to record it.

                                      When you do the mixing, first you mix each vocal track followed by its version, because it’s easier to remember where to drop things out. Sometime it takes an hour or less to balance the vocal mix, and then the dub mix take probably four or five minutes. At Channel One they did have a whole heap of effects, like delay and reverbs. The musicians on this set are Skin, Flesh And Bones, who were primarily a live rather than a studio band, centred around the drumming of Sly Dunbar.

                                      In addition to the original ‘Dub In Blood’ album, this reissue features 2 [or 3 on CD] bonus tracks also mixed at Channel One, plus the dub to Al Campbell’s ‘Natty Dread Bandwagon’, recorded by Lee “Scratch” Perry at the Black Ark.


                                      Sly And The Family Stone

                                      Life - 180g Vinyl Edition

                                      Originally released in late 1968, Sly And The Family Stone's third album, "Life", is the forgotten jewel of the band's illustrious catalogue. If the first two albums can be seen as Sly Stone's fine-tuning, "Life" was fully realised music, alive and vibrant. While "Life" got lost in the tidal wave intensity of the band's breakthrough a year later with "Stand!", now nearly four decades later, we can listen without distraction, savor the richness of its musical tapestry, and marvel.

                                      Many of its songs, including “M’Lady”, “Fun”, “Love City”, as well as the title track, became popular staples in the Family Stone’s live show. A middle ground between the fiery A Whole New Thing and the more commercial Dance To The Music, Life features very little use of studio effects, and is instead more driven by frontman Sly Stone’s compositions.

                                      The eponymous soundtrack to the documentary about celebrated singer-songwriter Elliott Smith. Among the gems: “Untitled Guitar Finger Picking,” written and performed by a 14-year-old Smith, a glimpse of the technical style that permeated Smith’s earlier solo albums. “Don’t Call Me Billy” is a potent precursor to Smith’s Either/Or-era “Fear City.” And “Unknown Song,” one of three instrumentals here, pays homage to Smith’s frequent crash-pad/studio, the house belonging to Quasi’s Janet Weiss and Sam Coomes. And of course, included is Smith’s first TV appearance, a performance of “Miss Misery” on Late Night With Conan O’Brien.

                                      After uniting the Balearic crowd, avant experimentalists and classic rock aficionados with the superb "Orange Cloud Nine" retrospective, Golf Channel take another look through Mr Wolter's private press back catalogue, and offer the big room DJs something special at the same time. This superb 12" drops ahead of a forthcoming remix LP "Orange Cloud Versions", well and truly whetting appetites as Golf Channel favourite Justin Van Der Vee applies a tasty overhaul to The Sexican's interpretation of "Sometimes". After making good use of a minimal groove to put the crowd in hypnotic lockdown, JVV gradually introduces the vocal, bass and wild guitar lines of the original, hitting us with lights and colours in crescendant fashion. Soon romping electro synthlines and extra bass weight test the soundsystem to its limits while we punch the air in stroboscopic ecstasy - job done! Elsewhere, the New York label treat us to a quintet of unheard gold from the Spike archive, letting us here some lost nuggets which didn't quite find their way onto the much loved "Orange Cloud Nine". It's gloriously diverse stuff, ranging from the back to front shredding of "Lazerop", through the gorgeous americana of "Seebelebbad" and "Girl", to the chorus drenched, sunlight-through-the-blinds emoting of "You Can Do It" and the stunning fragility of EP closer "Careful". Unless you have the good fortune of finding a copy of the impossibly rare original releases, this is your only chance to bathe in their beauty, plus you get a club smasher on the flip!


                                      Steepletone

                                      12" Record Storage Carry Case - Orange

                                        - Portable LP record storage carry case
                                        - Robust vinyl covering available in 5 colours
                                        - Protective chrome effect trim on corners and all edges of the box
                                        - Hinged lid with 2 closing clasps and carry handle in matching colours
                                        - Holds approx upto 50 LPs / 12"s in their sleeves
                                        - 3.8 KG

                                        STL's an elusive bugger. Although highly revered within the underground scene, he’s always kept a low profile and consistently pursued his own blend of boundary pushing abstract and experimental house & techno. One of those producers often heard but rarely seen. The majority of his music has been released through his own Something imprint but his unique productions have also found a home on Perlon, Smallville and Detroit’s Echospace. The two tracks on "The Amplified Bleep Package" EP marks his first contribution to Phonica’s white label series. "Earworm" on the A side is a discordant, dusty house cut comprised of tumbling, barrel rolled drums, warm tape hiss, gritty percussion and an ascending and descending synth glide that makes for a seriously disorientating, intoxicating listen. The rollercoaster sine wave burns its way through the entire track as the crazed drums lock you deep within their grooves. Out there stuff for out there dancefloors! Flip the disc for "A Cat And Her Solar Life"; a cosmic aligned journey filled with beautiful synth melodies, tight perc and lush harmonics. Intricately programmed and arranged in fine style, this is a tour de force of night club engineering, purpose build to create waves of euphoria rippling through any forward-leaning crowd. Exceptional stuff from STL and the Phonica White series. Recommended. 

                                        Summer Twins are sisters Chelsea (guitar, vocals) and Justine Brown (drums, vocals). They write dreamy rock ‘n roll songs with a touch of California sun. Born and raised in Riverside, Ca, they formed Summer Twins in 2008, with a focus on singing pop harmonies atop garage rock inspired by the ’50s and ’60s.

                                        Summer Twins play live with Michael Rey Villavicencio on bass and Andy Moran on guitar. Sisters Chelsea and Justine always knew they wanted to be in a band. For them, the vision came first; the songs came later. They are the core members of Summer Twins, who weave together modern pop, ‘50's sock hop melodies, and wild ‘60's garage rock, topped with dreamy harmonies and a tinge of psychedelia. Chelsea plays guitar and Justine's behind the drums, with Michael Rey on bass and Andy Moran on guitar and keyboards. With their meticulous DIY ethic, the sisters continue to dream up music videos and crafty photo sets, inviting fans to escape to a carefree world in which worries seem to melt away. Still, now in their mid 20’s, life isn't all roller skating and balloons. The reality of adulthood, and the struggle to balance art with making a living are themes that appear in their latest songs. For ten rainy days in the winter of 2014, Chelsea, Justine, and producer Chris Woodhouse (Ty Segall, Thee Oh Sees) holed up in an isolated Sacramento studio and created "Limbo". (Burger Records, October 2015) The seclusion and the intensity of the sessions are revealed through the album -- this is Summer Twins music with a new bite to it. Also new is the greater role played by Justine as she shares the bass duties with Michael Rey, and makes her songwriting debut on two new songs (singing and playing all the instruments on both “Florence” and “Helpless”).

                                        Sunflower Bean

                                        Human Ceremony

                                        Sunflower Bean find magic within friction. The New York trio’s full-length debut album, Human Ceremony [Fat Possum Records], emerges at the intersection of dreamy modern psychedelica and urgent fuzzed-out bliss. That push-and-pull colours the aural tapestry of these three musicians—Jacob Faber [drums], Julia Cumming [vocals/bass], and Nick Kivlen [vocals/guitars].

                                        “Everything comes from a conflicting interest,” affirms Nick. “We love dream pop, but we also really love rock ‘n’ roll. It’s those two spectrums.”

                                        “You’re allowed to obsess over Black Sabbath as well as The Cure,” adds Julia. “It’d be boring if everything was just one way or the other.”

                                        That diversity defined the group’s approach since Nick and Jacob started jamming back in high school. They would hole up in Jacob’s Long Island basement for hours on end, channelling this vast cadre of influences. Julia’s addition would only expand that creative palette further in 2013. Through constant gigging around New York, Sunflower Bean sprouted into a sonic enigma, boasting a fiery musical call-and-response that serves as a centrepiece, giving the music what Jacob refers to as a “lyrical aspect” between the guitars, drums, and bass.

                                        They transferred this multi-headed energy into their 2015 Independent EP, Show Me Your Seven Secrets. At the same time, this distinct alchemy enchanted ever-growing audiences live. By the time, they entered the studio for Human Ceremony, Sunflower Bean had a lively aural cauldron from which to draw.

                                        They took the summer of 2015 off and retreated to Jacob’s basement to write together. Taking the ideas out of the basement, they hit a Brooklyn studio with producer Matt Molnar [Friends] and tracked eleven tunes in just seven days. Whereas the EP was recorded after Sunflower Bean played 100 shows in one year, Human Ceremony showed the band’s studio side with richer soundscapes, overdubs, and music that had yet to be debuted live.

                                        On the lead track “Easier Said,” Julia’s delicate vocals glide over a lilting clean guitar that spirals off into a vibrant hum.

                                        Sunflower Bean’s spell is cast on Human Ceremony.

                                        “When you’re in a band, you always dream about the first record,” Julia concludes. “It’s that moment where you explore everything that’s been inspiring you.”

                                        FORMAT INFORMATION

                                        Indies Exclusive LP Info: Limited edition red vinyl.

                                        Taigura / Marisa Rossi

                                        Aquarela De Um Paid Na Lua / Deixa Eu Te Amar

                                        Extremely unique, psychedelic up-tempo Brazilian jazz fusion. Flutes, piano and vocal harmonies drift in and out of the mix, creating a lush soundscape.

                                        Taiguara was a prolific and hugely successful singer and songwriter - primarily within pop / MPB - whose career spanned nine albums in the late 60's and 70's. He is also thought to be one of the most censored Brazilian artists and was exiled to London in the 1970's by the Brazilian dictatorship.

                                        'Aquarela' is taken from his most experimental album 'Imyra, Tayra, Ipy' originally released in 1976 on Odeon and is a killer up-tempo psychedelic funk/soul track, highly sought after, originally released on Copaconana 7" in 1970.

                                        On side B Marisa Rossi's vocals, and also the backing track to 'Deixa Eu Te Amar', sound very much like the wonderful Swedish soul-jazz / funk singer Doris. This one's a real swinger.


                                        London four – piece, Telegram release their eagerly awaited debut album, ‘Operator’, Recorded in London with Rory Atwell, features twelve tracks including the single ‘Taffy Come Home’, and a new version the band’s long deleted seven-inch debut release ‘Follow’ from October 2013.

                                        A stunning set of songs, the album will more than confirm TELEGRAM’s early promise as one of the most exciting bands around right now. Formed just over two years ago, the TELEGRAM line up of Matt Saunders (vocals/ guitar), Oli Paget-Moon (bass) and Jordan Cook (drums) have recently recruited new guitarist Pip Stakem to the fold. Effortlessly combining a love of Roxy Music, Syd Barrett, krautrock and late proto-punk to great effect, they’ve built up an ever growing fanbase of critics and public alike with extensive touring and a clutch of fantastic and much sought after seven inch singles, ‘Follow’, Regatta’, ‘Inside Outside; and most recently ‘Aeons’.

                                        FORMAT INFORMATION

                                        Ltd LP Info: Limited edition signed coloured vinyl.

                                        CD Info: CD digipak comes with bonus track ‘Have It Your Way’.

                                        Tiger & Woods

                                        Scoring Clubs Part 2

                                        The inaugural release of T&W Records. Brought to life by Tiger & Woods and associates, this brand new record label will be a home to all things Tiger & Woods: from legit sample songs and up-beat boogie beats to darker deeds.

                                        The new label series starts with the epic and infectious disco trancer “Boca”. As ever with T&W, the track is all about the build (and drop), adding extra elements as the tune progresses; tribal drums, hissing hihat, vocal snippet, 909s, disco keyboard loop... and funky bassline (cue hands-aloft and happy faces on the dancefloor)! Flipside cut “No More Talking" is a prime-time sample-cleared, sliced and spiced disco house banger! Powered by Running Back!

                                        Toots & The Maytals

                                        Reggae Got Soul (Expanded Edition)

                                        40 years after the group cut the tracks in Jamaica, this seminal LP finally receives the deluxe treatment it has long since deserved - Featured along with the original 10 tracks are an equal number of bonus tracks, comprising rare contemporary material, much of which has, until now, never seen issue.

                                        In 1975, the trio commenced work on their first Island-financed long player with their efforts culminating in the widely acclaimed ‘Reggae Got Soul’ album. Overseen by American producer, Joe Boyd, it is arguably their finest collection for the company, with its popularity ensuring what proved to be a long and successful relationship between Island and the group.

                                        Twinkle³ Feat. Sidsel Endresen

                                        Debris In Earths Lower Orbit

                                          Twinkle³ have teamed up with Sidsel Endresen, Norwegian singer, avant garde pioneer and ECM recording artist. The result is Debris In Lower Earth Orbit, a graceful, yet precarious dance through the weightless slipstream of orbital flotsam and jetsam.

                                          The core trio of Richard Scott (analogue synthesizer and electronics), David Ross (Drosscillator, kantele, mbira) and Clive Bell (shakuhachi and other woodwind) conjured 7 distinct sonic landscapes through an intuitive and delicate interplay first honed on their debut for ini.itu ‘Let’s Make A Solar System’. Sidsel's singular interpretation of this material narrates a melancholy, stream of consciousness style wordplay. It was David Sylvian who brought the trio into contact with Sidsel and driving alone across the lonesome northwest recalls the first instance the album poured into his ears from the car:

                                          “As the first buzz of static and the strains of wind instruments, whose cultural heritage belonged to another continent entirely, filled the vehicle, as Sidsel sang with a soulful melodiousness, an ancient lament for lost souls like myself, hungry ghosts, and those found in remote gas stations, featureless structures illuminated white against a reddening sky, the otherworldliness of the landscape was returned to me. No longer blind or indifferent to the ancient rock formations, the bulky mass, the scale, the striations of stone, gradations of colour changing by degrees animated by the irrepressible sun. The black cactus with yellow plumage, the voluminous boulders, isolated, stranded, graffitied rocks and stones. The coarse granular sands, gritty, unrefined, populated by a stubborn stubble of shrubbery, an almost colour, not quite, failing to pick up on the improbability of their being present at all as an excuse for absence. I traversed a world in which both ancient and modern co-exist and there was beauty and sorrow at every turn. A similar journey will be undertaken by any listener of this remarkable recording.”

                                          As Sylvian rightly states, an absorbing awe and cloaking strangeness both ancient and present permeates each of the small rituals Twinkle³ evoke, with Sidsel voicing a bewitching pre-language that ruminates deeply in each of the pieces. One can expect to have their senses hushed, yet amplified, their imagination ignited, yet warmed by nostalgia and throughout its duration enriched by a magical and wondrous aura.


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