Lexicon Of Love - Back To Black Edition

    A classic album from this Sheffield band fronted by gold lamé suited front man Martin Fry. Produced by Buggles man Trevor Horn, it's an album full of dramatic, romantic pop songs. It's all very stylized and on it's release in 1982, stood out as being quite unlike anything else around. And definitely very different from much of the more industrial, electronic sounds that were coming out of the Steel City at the time. Includes the hits Look Of Love and Poison Arrow. 


    Andy says: Big, smash-hit, 80's pop album that's pretty unique and hard to pigeonhole, hence its longevity. It was also really, really good!


    Ltd LP Info: 180g heavyweight vinyl.


    Appetizer White Label

    Long Island Electrical Systems give us a brief introduction to a familiar face's new alias Appetizer, on this super limited up front promo. Taking us back to the glory days of the faceless white label, this special ain't ever coming back so don't miss it. Appetizer dishes up a dastardly duo of rough, rugged and raw psycho jackers, to put you on while you wait for the main course. A-side cut "Sky" sees a frenetic and psychotic web of prickly synths layed on top of distorted drums with peaktime intensity. B-side cut "Image" aims a little deeper, marrying metallic and gloomy synth squiggles with a growling bassline and relentless percussion. Just the thing to whet your appetite.

    Essen's premier space cadet Glenn Astro takes some leave from the ISS to drop a six track EP of celestial electronics on Bristol's home of leftfield house Space Hardware. With a growing fanbase of the creme de la creme of the house scene, I'm tipping Glenn for big things this year, and this EP's sure to show you why. Opening with as fine an example of warm and worn, dubby and dusty house you could ever hope for, the EP moves on to the complex sounds of "Invasion Der Klang-Kot-Artisten". Opening with a fragile and emotional sampledelia, the track soon explodes into the fuzzy bump of bass heavy house, before combining both elements into a off-beat house killer that shouldn't work, but definitely does. Title track "Amitriptyline" is a woozy and wonky sample house slammer that'll sit perfectly with your collection of Max Graef records. In fact, it's no surprise that the two of them head up the current wave of house producers. "Huh!?" is a skippy stepper at a hip hop pace with deep house chords and stuttered vocals, which shows of the producer's expertise with the MPC. "One Hill" sees Glenn & Rasho T hook up for some grainy and groovy deep house brilliance, while the EP closes with Astro's killer mix of Clara Park's "Uncertainty". Deep house chord progressions, soulful vocals and a shuffling garage rhythm all come together perfectly as Glenn takes us back to the old school. If you've heard Move D in the last 12 months, you're certain to recognize this monster. 

    Erykah Badu

    Mama's Gun - 180g Red / Gold Vinyl Edition

    • 180 gram audiophile vinyl
    • Gatefold sleeve
    • Insert
    • First pressing of 1000 numbered copies on red / gold vinyl

    'Mama's Gun' is the second studio album by neo soul singer Erykah Badu, released in 2000. Recorded at Electric Lady Studios in New York City, the album incorporates funk, soul and jazz styles. Covering themes of insecurity, social issues and personal relationships, Badu delivered a highly intimate and personal album that reached Platinum two months after its release. 'Mama's Gun' features substantial contributions from several members of the Soulquarians outfit, of which Badu was a member. It also features guests such as soul singer Betty Wright and trumpeter Roy Hargrove.

    The album contains the single "Bag Lady" which, with its colorful, artsy music video, shot to #1 on the R&B charts, and also into the Top 10 on the billboard charts. "Bag Lady" was nominated for the Grammy Award for Best Female R&B Vocal Performance and for Best R&B Song. Also the song "Didn't Cha Know?" was nominated for Best R&B Song.

    Rolling Stone magazine applauded her for taking "chances the way Stevie Wonder or Nina Simone did in their prime" and went on to say "she has taken her art to the next level." Entertainment Weekly called the album a "'70s soul homage featuring live musicians and a smooth-funk sound that wouldn't be out of place on a CTI record."

    Coyote's classy Is It Balearic recordings are back with this latest collaboration between cosmic legends Daniele Baldelli and DJ Rocca. The pair worked together on some cracking releases on Nang, and this latest offering could well be their best work to date, comprising of three outstanding electronic disco bombs. "Reflextion" gets the party started in peaking fashion with its low slung, almost acid bassline before blasting us off to the outer limits off space with the wonked out funk of the synth lines. On the flip, Baldelli and Rocca get stuck into the psychedelic heart of the swirling maelstrom that is space disco. An exotic variation on the "I Feel Love" bassline, echoing riffing, and soaring synth strings spiral around each other until you're floating somewhere above the DJ booth. EP closer "Out To Lunch" is the kind of off the wall synth funk nugget you're likely to hear on an old Cosmic Club tape, all zero gravity fx, forward/backward melodies and jerky keys. And there's more, as Ray Mang gets himself into it and serves us with a top notch remix of the title track. He doesn't stray too far from the original in terms of new parts, but dubs out the arrangement, adds a little extra firepower into the mix, and applies his now tradework fx use to maximise the dancefloor thrust. 

    Big Blood

    Unlikely Mothers

      Brand new double LP from the duo of Caleb Mulkerin and Colleen Kinsella, who also play in Cerberus Shoal and Fire On Fire. The duo also performed on Michael Gira's Swans LP, The Seer in 2012. Based out of Portland, Maine, Big Blood has dropped a ton of stunning self released CDs and cassettes since 2006 as well as some fantastic vinyl releases for Time-Lag, Feeding Tube, Phase and Immune.

      Big Blood's sound is rooted in folk and prime 60s / 70s garage pscyh. This new double LP sees them focus more the electric side of things than on some previous releases with the addition of drummer, Shon. The record was recorded after Colleen spent a lot of time listening to Sabbath, Zepp and Dead Moon, so it definitely has a heavier vibe than some of their past releases.

      The gatefold sleeve features artwork by Colleen, 'Unlikely Mothers' refers to Colleen's mother (pictured on the inside) and Colleen's aunt (pictured on the outside), both were nuns. Her aunt stayed a nun and colleen's mom left (obviously) during Vatican II. The two images for the sleeve are from an ongoing series about women who buck common notions of who are the mothers in our lives.

      The LP is pressed on 180 gram red transparent vinyl (250 copies) and includes a download code and insert.

      One of the finest Claremont 56 releases, tucked away on a missable little 7" back in 2011, gets a big and beefy Mudd rework for 2014 on this dope 12". Recorded at Can’s legendary Innerspace Studio, it’s a seedy late night boogie affair with sultry vocals from a tempting hostess and the gentlemanly yet sinister host, the legendary Holger Czukay. Built on grinding, guttural bass, a rolling groove and slinky guitar lines, all finessed with weird space-ocean noises, this is immersive psychedelic disco at its finest. A good dose of organ comes into the second half and adds its own peyote addled charm. The results are of the kind when records become loved for their obscure oddity and otherworldliness. A track that doesn’t fit anywhere, but works everywhere.

      The Black Tambourines

      The Black Tambourines

      Cornwalls hottest band right now with uk tour, Glastonbury Festival (John Peel Stage) and Isle of Wight festival & Sheffield’s new Tramlines Festival looming up in the coming weeks. The band are also enjoying radio play on XFM (Jo Good) The Black Tambourines debut album will be reviewed in Uncut, Vive Le Rock Artrocker NME. The Black Tambourines have recently toured the Uk with sold out shows in Bristol, Sheffield & Brighton. Its no wonder many labels are chasing this quartet including Alan McGee who rates the Black Tambourines as one of the most promising young UK acts.

      Portuguese disco warrior Tiago launches a soul sister to his edit imprint Interzona 13 in the form of Outerzona 13. The new label will play host to a rotating cast of groovy cats who dig deep and cut sharp, flipping hidden gems into dancefloor workouts. First up is the minimally titled Black, aka Nelson Gomes, a former bandmate of Tiago's in the excellent, Golf Channel approved Gala Drop. His latest moniker is reserved strictly for edits and DJ sets, and off the back of this three tracker of African excellence I reckon he's gonna get plenty of work. Stretched across the A-side in one giant, hypnotic hip shaking groove is the percussive dancefloor killer "Black". The track evolves from a killer conga, lin and kit drum groove into an irresistible funk workout with sexy clav, chanted vocals and hot brass working in perfect harmony to tear the floor apart. I've already bagged a copy on the strength of this track alone. But that's not all folks, because the flip boasts another two upfront Afro grooves that'll work their magic on the crowd everytime. Up first is the raucous and off kilter vocal cut "Van III", a snaking and swaying shoulder roller with tight guitar work and effortless bass brilliance. From the giant snare and twinkling sequences, I'm gonna date this to about 84, but I've been wrong before. And what better way to finish than with a sunblushed boogie roller in the form of "Tabanka". The sweet vocals, perfect for an unknowing singalong, ride a languid west coast groove dropping out here and there to make room for some dope solos. Buy this record or deeply regret it.

      Blat Brut

      Blat Brut

        Amazing previously unreleased 1976 recordings by psychedelic progsters Blat Brut. Highly touched by the works of Jimi Hendrix, Traffic, John Mayall, Pink Floyd or Jethro Tull, the band melted all their influences into a unique sound and delivered extended heady instrumental jams with a tight, ferocious drum & bass backline under guitar pyrotechnics and psyched-out flute arrangements. This band was not only formed by its four musicians, their line-up also included two sound engineers who built their equipment and created the sound effects heard on the instruments. They where also responsible for these recordings made in 1976 and unearthed here for the first time ever.

        Think of a mindexpanded instrumental version of Pan & Regaliz, add some spicy bits of the early Jade Warrior's fuzz guitar, some reminiscences from Skin Alley's first LP or the Canterbury way of deconstructing instrumental passages and you'll get a close idea of what these young kids were doing where they were doing when they closed themselves together in their small rehearsal room in Barcelona's mid seventies.


        Ltd LP Info: For the enjoyment of all mindexpanding progressive jam lovers, Wah Wah is now issuing them in a beautiful edition with paste-on cover and a gatefold insert plenty of photos and text by original band flutist Anton Serra, in a very limited edition of only 400 copies.

        Before signing to London Records and scoring hits such as ‘Young At Heart’ and ‘I’m Falling’, the band recorded an album’s worth of independent recordings and demos, most of which remained unreleased.

        Compiled by Robert Hodgens (Bobby Bluebell) with the involvement of the rest of the band, EXILE ON TWEE STREET finally reveals the band’s roots in the indie scene of early 80s Glasgow.

        The Bluebells actually demo’d songs for Alan Horne’s Postcard label, recently the subject of a critically acclaimed book by Simon Goddard entitled Simply Thrilled.

        Only the track ‘Happy Birthday’ has been issued before – on a rare flexidisc!

        Blues Pills

        Blues Pills

          Elin Larsson, Cory Berry and Zack Anderson - all in their early twenties - formed a group which should quickly become one of the most acclaimed and interesting bands around. Behold the birth of a new musical experience, an experience we thought was long gone, lost in time and space. Behold the birth of Blues Pills.

          The young American-Swedish-French quartet create a very unique, intense and extraordinary rock atmosphere while at the same time having a major mainstream appeal that takes you right back to the time of Blues Pills’ ancestors Aretha Franklin, early Fleetwood Mac, Led Zeppelin, Jimi Hendrix, Janis Joplin and Cream. Driving basslines, grooving drums and guitar solos from another planet by the only 17 year old Dorian Sorriaux, harmonized and tied together with such easiness, such delight, by Elin’s incredible voice, sometimes singing in her mother tongue Swedish.

          With the idea to take soul music, combined with blues and rock ‘n’ roll and turn it into a new force of unimaginable energy, intensity and freshness, their blonde archangel and soul saviour Elin Larsson will guide you gently into a new world - the band’s empire of soulful rock. Elin’s powerful lyrics are full of emotions, her jazzy-soulful voice unfolding with outstanding beauty.

          All this is realised on the band’s stunning 10 track debut, produced by Don Alsterberg (Graveyard) and packaged in the incredible 60s style artwork of Marijke Koger-Dunham.


          2xLtd LP Info: Limited edition picture disc.

          From the ashes of Well Rounded Records comes a new label riding that delicate line between the current hybrid garage, house and techno styles.
          First up for us is Boxwork. "Pressureface" is a tribal-house revival tribute but produced with enough weight and drama for the wave of clued up club kids to go nuts in front of the speaker stacks too. With that UK soundsystem mentality, Boxwork fires off one-shot samples and effects with ease, never loosing that forward propelled flow. Heavy tackle. "That's His Take" juxtaposes rough as fuck techno drums with jazzy interludes and languid trumpet riffs, merging the harsh and abrasive with the soulful and delicate in mesmerizing ways; reminding one of an early Anthony Naples. "Michael Jackson" is a squelchy, drum heavy workout which works brilliantly in the mix, introducing this quirky but catchy vocal motif halfway through ('they call me Michael Jackson') which works brilliantly with the bouncy yet sophisticated drum palette. Excellent stuff. Vinyl limited to 250 copies.

          Donald Byrd

          Black Byrd - Remastered Vinyl Edition

          This 1973 Blue Note LP sees the legendary jazz trumpeter in full jazz-funk / jazz-fusion swing, easily moving between the Blaxploitation style atmospherics of the title track to the uplifting dancefloor styles of "Love's Far Away". Mostly written and produced by Larry Mizell too! Timeless and beautiful tunes to make you feel good whatever the weather.

          Blue Note President Don Was says, “Two years ago, we began remastering the jewels of the Blue Note catalogue in hi-def resolutions of 96k and 192k. In order to develop a guiding artistic philosophy for this delicate endeavor, we donned our lab coats, ran dozens of sonic experiments and carefully referenced every generation of our reissues. Ultimately, we decided that our goal would be to protect the original intentions of the artists, producers and engineers who made these records and that, in the case of pre-digital-era albums, these intentions were best represented by the sound and feel of their first-edition vinyl releases. Working with a team of dedicated and groovy engineers, we found a sound that both captured the feel of the original records while maintaining the depth and transparency of the master tapes... the new remasters are really cool!

          While these new versions will become available in digital hi-def, CD and Mastered for iTunes formats, the allure of vinyl records is WAY too potent to ignore. This year, Blue Note - along with our friends at Universal Music Enterprises - is launching a major 75th Anniversary vinyl Initiative that is dedicated to the proposition that our catalogue should be readily available, featuring high quality pressings and authentic reproductions of Blue Note's iconic packaging. Although this program begins in celebration of Blue Note's 75th Anniversary, our catalog runs so deep that we will faithfully be reissuing five albums a month for many years to come!”

          The Chills

          Molten Gold

          Last year’s first sneak peak at new material from The Chills in over a decade heralded the return of one of New Zealand’s most beloved bands. Originally released only digitally, the track “Molten Gold” is now available as a 7” single on Fire Records with an extra-special b-side – a reworking of The Chills’ classic “Pink Frost”.

          The Chills are a band from Dunedin, New Zealand fronted by the rare talent of Martin Phillipps. Originally formed in 1980, The Chills had a revolving cast of band members with Phillipps remaining the only constant. His knack for writing fantastic pop songs led to chart hits back home and a cult following around the world. “Molten Gold” was released to coincide with Phillipps’ 50th birthday, ladling his stirring vocal over chiming guitars and spring-breeze-fresh-sounding strings, this is quintessential Chills and a reinvigorated return to form for the indie luminaries who propelled the much celebrated ‘Dunedin Sound’. “Pink Frost” was originally recorded in 1982 and has been performed at nearly every gig that the band has played since then. It is a unique piece of music and it has always changed and evolved over the years as the various line-ups of the band have approached it in subtly different ways.

          The current line-up of The Chills has been stable for many years now and with the band realising that 'Pink Frost' had recently become something different and distinct again, it felt right to capture it once more in the studio – with tremendous results. As Martin himself comments: "At the end of the day, it's my composition and I can record it as many times as I choose to! It is by no means meant to replace that very special original recording but it will sit proudly alongside it as one of the many approaches that could be taken with this most evocative and atmospheric song. I hope people will enjoy it in the spirit of it being a fresh and alternative companion piece to that original marvelous moment in time captured on tape many years ago."

          The Chills are: Martin Phillipps (Guitar/Vox), James Dickson (Bass/Backing Vocals), Todd Knudson (Drums/Backing Vocals), Erica Stichbury (Violin/Backing Vocals), Oli Wilson (Keyboards/Backing Vocals)

          Code III

          Planet Of Man

            Brothers Manfred and Wolfgang Schunke were pioneers of the Kunstkopf Stereophonie (artificial head, dummy head) binaural recording system. This recording technique was created in the Technical University of Berlin in 1974 with the aim to reproduce real stereo sound as the human ears perceive it. Human ears listen to the sounds in a concrete way that is affected not only by the sound frequencies themselves but also by the position of the listener in respect to the different sound sources. The Schunke brothers wanted to experiment this recording technique, and as early as 1974 they set their own kunstkopf recording studio, Delta Acustic, with the help of Klaus Schulze.

            Code III was the vehicle for Manfred Schunke to explore the possibilities of kunstkopf recording. To do so, he joined forces with two Berlin-resident americans: Ed and Mary Key. Lyrically, Planet Of Man verses on the big theme of the creation of Earth, as The Crack In The Cosmic Egg book details it: "The music on PLANET OF MAN is a sonic depiction of the history of the Earth, from the void of empty space, via the formation of the planets, the evolution of life, through to man's domination of the planet, and ultimately back to the void. The opening and closing excursions, involving atmospheric electronics, injections of a dreamy folk song, and disembodied resonant female voice, hint a little at Brainticket's CELESTIAL OCEAN, although the mood is much spookier. Confusingly "Dawn Of An Era" (the lyrics are sung in the previous track) involves what sounds like demented Neanderthals involved in some weird drum ritual. "Countdown" adds up to a blend of atmospheric electronics with abstract use of voice collage and effects (and Indian music), onto a remarkably clever accelerating space-rock burn-out featuring Klaus Schulze at the drum stool! Returning to weird space music at the end, it all adds up to a remarkable and unique album."

            Planet Of Man was one of the six releases on the Delta Acustic label (among them there was the legendary Sand Golem LP), all recorded using the Kunstkopf Stereophonie techniques. After that, the Schunke brothers would quit the studio and move to new adventures. Manfred continued experimenting with dummy head recording, he would work, among others, on albums by Can and also use his binaural engineering experience on Lou Reed's 1978 Lps Street Hassle and Take No Prisoners, among many others. There were originally two different versions of the album, the Wah Wah edition reproduces the longer, uncut one.


            Ltd LP Info: First ever official vinyl reissue, with remastered sound and an insert with liner notes curated by Wolfgang Schunke for the occasion.

            Coober Pedy University Band


            Melbourne party enthusiasts Animals Dancing launch their self titled label with the sophomore release from Krautback duo Coober Pedy University Band (Tornado Wallace & William Paxton AKA Tom Moore of Otologic). This completely bonkers ode to Australia's workshy, snake eating laughter bird is the best example of dancefloor didgeridoo since that Aphex Twin single I can't remember the name of... Once described as "a bit too mental for me", "Kookaburra" sees our intrepid composers pick up exactly where their Moon Plain release left off, that is at the ridiculous, silly and amazing end of the dancefloor spectrum. Essentially little more than an undulating didgeridoo line, a solid kick, bongo clatter and the maniacal laugh of the Kookaburra, the track is perfect in its simplicity. Also included is the hilariously named, Kookapella", an exotic tool which drops the didger to give more room to our feathered friend. A prominent member of our mail order department is sat sharpening the knives as I type this, but I think this is the most fun record I've heard in ages. Unique, a certain mood changer, tone setter and future classic you've gotta get on this.

            Hollie Cook

            Looking For Real Love / 99

            Mr Bongo is proud to release this 2-track 7” from the amazing new album by Hollie Cook. The album is the follow-up to her fantastic eponymous debut album which was released to huge acclaim in 2011, with Q calling it “gorgeous late ‘70’s style reggae pop” whilst the BBC named it as “one of the most enjoyable reggae albums of 2011”.

            The new album “Twice” sees Hollie’s obvious love of reggae joined by other influences including Bond-like strings, Brazilian percussion, dark disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis. The strings on the album are the Macedonian Radio Symphonic Orchestra and choir. The album was produced by Prince Fatty.

            Taken from her new album this 7” single featuring 2 tracks written with Dennis Bovell, Winston Frances and George Dekker.

            ‘Oscillations’ is the debut album from London’s Cosines, and charts the ups and downs, the instability of relationships, misguided hook-ups and ‘subsequent break-ups. The matter-of-fact blunt Yorkshire stylings of songwriter Alice Hubley’s lyrics tell it like it is, and the resulting tone is one of relief more than sadness. Simon Nelson’s songwriting contributions to the album – Lookout Mountain Drive and Stalemate - compliment Hubley’s songs perfectly and bring a second perspective to the scene. Peppered with luscious synth tones this is music for modern happy robots.

            The album was recorded and produced by the band in Wood Green at Simon’s own Klank Studio, using a variety of instruments and electronic trickery including marimba, autoharp, theremin and cranky old Moog and Roland synths. The album features guest turns from spiritual members Gabe Saucedo (Still Flyin’, Red Pony Clock) and Gary Olson (The Ladybug Transistor), who phoned in their recordings from across the pond. As a band Cosines are constantly trying to find the perfect meeting point between clean synths and fuzz guitars. Though their lineage and history presents them as indie pop, they bring new wave, avant-garde 60’s pop and synthentic Krautpop to the mix, creating a sound all their own. A brilliant mélange of the likes of Love, United States of America and Stereolab.


            LP Info: Limited edition 12” vinyl album (500 copies) includes MP3 download.

            CD Info: Limited edition CD album in handpainted sleeve (200 numbered copies).

            Dexy's Midnight Runners

            Too Rye Ay - Back To Black Edition

              On this second album from Dexy's, Kevin Rowland ditched the Northern soul style of Searching For The Young Soul Rebels, and reinvented Dexy's as a Celtic folk band. Armed with banjos, violins and sax, they produced a string of hit singles including Jackie Wilson Said and of course Come On Eileen both of which appear on this album.

              STAFF COMMENTS

              Andy says: Here Kevin Rowland mixes his usual intensity with glorious pop songs and an exhuberant sound. An enormous hit record. Because it's superb.


              Ltd LP Info: 180g vinyl.

              Back with a third release Sean Dixon’s Final Chapter label has a very solid and defined sound, and up until now just displaying Dixon's own production talents. On this third release however, he enlists Oliver Deautschmann and Joel Alter onto remix duties. Opening with the OG of "Unknown", Sean delivers a deep, techy, eyes-down groover meant for big laser-guided dancefloors. Intricately pieced together and achieving lots of syncopation around the 4/4 the track has that glowing techno radiance that Kirk Degiorgio and Magda pervey so well through their DJ sets. Cool as fuck techno without a ket-vest in sight. Deutschmann's first reworking takes us deeper into the technoid elements, pairing Detroitian stabs with a repeating robot vocal hook - 'future' and blasting the whole thing with white noise hats and super compressed snares. Like the original, this is sublimely dark and well executed techno musica. "Rework V.2" keeps within the genre but gives us more pump, with a rubbery bassline accompanying the elastic vocal manipulations, which sees the 'future' refrain spiraling through the speaker stacks with little control or patience for our cranium's to keep up. Mind-bending. Finally Joel Alter's version goes all ethereal and plinkity plonky, saturated but tuned tom hits padding out a glistening thumb-piano melody while organic percussion elements are worked to the max in the background. Great stuff.

              Dorian Concept

              Draft Culture

              Since Dorian Concept's enthralling 2011 release 'Her Tears Taste Like Pears' he took some time off to craft a new sound. He abandoned his signature use of the Mikrokorg and started working with a Wurlitzer electronic piano and a handful of analogue synthesizers. 'Draft Culture' is the first sneak preview of this new sound, and of the forthcoming album 'Joined Ends' on Ninja Tune.

              'Draft Culture' combines a lightly stepping rhythm with taut electroid bassline, layered organ riffs and treated vocals that are more musical than lyrical.

              This one sided white label test pressing is limited to a pressing of 500 copies only.

              Originally started down a Hackney back alley as the backing band for B-movie goddess, Faster Pussycat Kill Kill star, Tura Satana’s latest film, The Dustaphonics have now cemented themselves as fixtures on London’s live music scene. Following on from the single ‘Burlesque Queen’ (which featured lyrics penned by Satana herself prior to her untimely death), their first album (Party Girl – Dirty Water Records CD/KingAling Records LP) saw former T-Rex manager Jeff Dexter calling them ‘one of the best bands I’ve seen in England in years’, whilst Happening magazine said that ‘in a market saturated by trash, The Dustaphonics occupy the space where the talented few, committed and bright, stick to their guns’. Some groups are capable of doing things more intensely than others. The Dustaphonics is a group that knows how to grab your attention and get people dancing.

              The music is a fantastic mash-up that details their musical influences, from booze-soaked 1950s rhythm and blues, vintage stomping ‘buttshaker’ soul, ’60s garage rock and british beat / r&b, Vegas lounge, sleazy grind instrumentals and surf guitar. And the whole deal is sealed and delivered with the spirit of ’70s punk. The Dustaphonics take you to another world: the best of vintage music styles with the rocking yet soulful vocals from a sensual and gorgeous fiery-haired vocalist – but performed and produced in a way that can suit modern ears.

              This has the best of both worlds, enough to satisfy both the vintage music purists and those who want something new on their plate with an up to date feel. Although the influences are vintage, there is something remarkably and distinctively fresh and progressive about their songs that takes the music beyond simple imitation and infuses it with tremendous energy and passion. The Dustaphonics features: Hayley Red on vocals; guitarist and producer of the project, the acclaimed disc jockey Yvan Serrano (aka Healer Selecta); on drums the near-legendary Bruce Brand or Eric Frajiria; and Dan Whaley on bass.

              Hans Edler

              Elektron Kukéso

                After having served in the rich Swedish beat 1960's scene as a member of The Ghostriders and We 4, a.o., at the end of the decade Hans Edler became one of the pioneers of psychedelic electronic sounds experimentation in Europe. His "Elektron Kukéso" LP is a landmark in the genre. Released in 1971, it featured his explorations in electronic avant-garde music from the period 1969-1971. It was recorded at the Electronic Music Studio foundation, one of the world's most advanced studios in the era, and one of the few prepared for the creation of electronic music.

                Influenced by the works of Karl-Heinz Stockhausen and using techniques similar to those of Pierre Henry or Raymond Scott, Edler brought a psychedelic edge into electronic music just like Silver Apples had done in the USA. The album has also a strong rock attitude plus a certain pop sensitivity in some passages, not far from that of David Axelrod's, which confers it a distance from what used to be the more serious appeal of what most electronic pioneers had been doing, giving the album an accessivity that is closer to the electronic hits of artists such as Gershon Kingsley, Jean-Jacques Perrey or Dick Hyman. However, be it because of the songs being sung in Swedish or the outsider reputation Edler seems to have in the Swedish musical scene, this great LP remained an obscurity - hardly spoken of outside a small circle of connoisseurs and collectors.

                "It really doesn't get much better than this. In these days of harsh turmoil to uncover a rock & roll sweetheart like Hans Edler it really proves the gods to be smiling. Bonafide electronic experimentation with a heart full of pop is a love potion most desirable. Listen to the religious Brian Wilson-meets-Jandek orayer hymns of young Edler and travel to a time when long haired girls and dope-laced boys were truly getting it "on". The hybrid fascination of electronic space composition and soul sweet pop-love in such a fresh state has me floating to my tombstone cloud." Thurston Moore (Sonic Youth).

                "Hans Edler's Elektron Kukéso reflects a man who, musically speaking, is in a world of his own. Edler's music seem to be totally uninfluenced by the music of his day. On the contrary, Edler seemed to be making up his own musical rules, and if the rest of the world didn't follow, that was probably fine with him. As for his tunes...(they)... resemble folk music, but in a strange, contorted way. I have never heard an album that is so devoid of musical influence of others, and to me, that's what makes it remarkable." Dana Countryman (Cool and Strange Music Magazine).

                FORMAT INFORMATION

                Ltd LP Info: Since the original LP was pretty short, seven bonus tracks not appeared on the original release have been added. These songs predate the LP tracks and are from 1969 / 1970. Remastered sound, an insert with photos and liner notes complete this great reissue of this legendary Swedish electronics LP.

                A new collaborative album from Brian Eno and Karl Hyde. The album is comprised of nine songs, composed and sung by Eno and Hyde together with a highly distinguished cast of supporting musicians, including Tessa Angus, Nell Catchpole, Marianna Champion, Will Champion, Kasia Daszykowska, Don E., Darla Eno, Fred Gibson, Georgie Gibson, Andy Mackay, John Reynolds and Chris Vatalaro. The release was produced by Brian Eno with 20 year old Fred Gibson, continuing an ongoing collaboration between Karl and Brian which sees the two together on a complete album for the very first time.

                Pulling in a variety of directions, 'Someday World' takes in the the esteemed duo's previous incarnations and ambient, rock, electro and techno producers, and then goes about meshing all those ideas together. Opener 'The Satellites' is anthemic stadium tech-house with a motorik rhythm and blasting synth horns. 'Daddy’s Car' offers busy indie-dance. Hyde's poetic vocals are front and centre on 'A Man Wakes Up', which combines highlife guitars and jazz-rock rhythms. Featuring choppy 'Virginia Plain' piano, uplifting chord progressions and spoken vox 'Witness' is sure to be another festival winner. Aiming for the home listener 'Strip It Down' gives minimalism a pop twist. Brooding and beatdown, 'Mother Of A Dog' sounds like an outtake from 'Mezzanine'. 'Who Rings The Bell' brings to mind 80s rockers the Blue Nile. 'When I Built This World' switches between angular, arty jazz squiggles and propulsive krautrock, leaving 'To Us All' to fade us out on a tide of dreamy soft rock uplift...

                Brian Eno:
                “A lot of the nicer cities I know are cities built on hills, and the cities are beautiful because the buildings have a challenge to adapt to. They have to mould themselves around the geology that they've formed upon. And that always makes for very interesting buildings, because they can't just be blocks, they have to somehow morph around the environment. A lot of the constructions on the album were deliberately irregular and awkward. I had a big collection of 'beginnings' sitting around waiting for something to galvanise them into life, to make them more than just 'experiments'. That something turned out to be Karl Hyde.”

                Karl Hyde:
                “It's a bit like being nine years old again. You have no idea what you've just been given, the record button has been pressed and you're on. And then these unlikely patterns start to happen. The biggest surprise was discovering we both had a love of Afrobeat, Cyclical music based in live playing. When Brian played me these early tracks it was, 'Oh my god, this is home! Can I borrow a guitar?”

                Originally scheduled for release on Halloween 1985 this privately pressed all female post-punk / broken-folk collective concept LP was resurrected from the ashes of the original line-up of The Fall and Velvet Underground singer Nico’s Blue Orchids backing band at the command of pioneering Manchester female punk icon Una Baines before disappearing into the annals of UK punk purgatory.

                Comprising all the DIY traits and snarling attitudes of Manchester’s smartarsed punk retaliation, with haunting mechanical folk, pastoral drones and a back story that unites sleeve artist Linder Sterling (Ludus), Spider King, Martin Hannett, Tony Baines, Martin Bramah and John Cooper Clarke with the 16th Century Pendle Witches, this virtually unknown LP is a vital missing piece in Manchester’s self-help anti-pop industry. Lost in the ether, lauded by collectors and likened by Mark E. Smith to the Third Ear Band this unclassifiable arty-fact renders tags like Pagan punk utterly redundant.

                Seemingly unaffected by the passing years since its original release, ‘Furia’ stands alone as a unique vision and testament to its communal casting of fragile mischief - set apart from the era of its conception and eschewing tags like avant-folk, pagan-punk and pastoral-drone by existing within its own spectral significance. It’s hard to imagine a similar record from then but certainly wholly conceivable that such a record would come to pass now.

                Optimo Music is usually known as a 12” label, but occasionally something rare and dangerous comes their way that compels them to release a full length album…

                It’s not exactly a dance album, although there is music you can dance to on it. It’s more filmic in nature, with references to wonderful directors like Kubrick and Carpenter that will enthrall a film buff, particularly if they’re interested in electronica and dance music. There’s a sleazy and unsettling feel to much of the tracks (“Tina Weymouth” is a sleaze-floor monster groove…), but Optimo hope it will intrigue and delight!

                The film references are directly relevant as Felizol and The Boy are film directors Yiannis Veslemes and Alexandros Voulgaris, who live in Athens, Greece and have composed music for numerous feature films. They also perform live in house clubs, heavy metal dungeons and hippy-friendly festivals…

                They have this to say about their release: “We had a loose concept for this album and we compiled tracks that we've recorded the last 3 years that have to do with the cannibalism. Literally but also as a metaphor for the blessing and the tyranny of paying homage and influenced from music and films (and directors and musicians).

                So these are songs about the agony of creating something new and personal when so much information and influences are fused in them.”

                III Rivers bringen zee ruckus eins more time! Mark Forshaw providing the subterranean transmissions on this latest space nugget. With Shulgin gone, secret tales of him dosing up the clientele at Bohemian Grove have surfaced, with this record surely soundtracking the ensuing all night discotheque?! The north-west UK based artist provides three tracks of smoky, hardware-based techno infused with narcosis throughout. "Change Request" rides a glistening, arpeggiated crescendo of luminescent goodness. All eyes-wide-shut dancing under industrial backdrops. "Fantastic Flake" could well be what happens after smoking one of Ron Hardy's sherm sticks at Islington Mill. Muzik Box-inspired repetition and a concentric acid bassline mean this baby is crying out for a 2-copy, extended workout and destined to send dancers spiralling out of control into the speaker stacks.

                Occupying the whole of the B-side is "Where Did You Go" a cavernous 303 workout which lends itself to ADHD-levels of smoke 'n' strobe abuse. Journeying deeper and deeper into the rave cave as the track progresses, expect a hoard of lysergic gremlins and machine-elves leading the charge.

                Sterling stuff from our man Mark Forshaw, and another essential release on Manchester's most underground label.

                Peter Michael Hamel

                The Voice Of Silence

                  A few years ago we were lucky to be allowed to reissue some of Peter Michael Hamel works. Two LPs by Between (And The Waters Opened - now deleted - and Einstieg -a few copies still available) and the great Hamel 2LP (also deleted!) joined the Wah Wah catalogue. We would have wanted to go for the Voice Of The Silence too, an now we have finally got the kind permission to go for it.

                  Here is a much needed reissue of the sought after second LP by Peter Michael Hamel, originally released on the collectable Vertigo label in 1973. Hamel's experimentation with meditative and minimalist sounds is a further field of exploration for those into the likes of Terry Riley, LaMonte Young, Popol Vuh, Taj Mahal Travellers or Deuter- and will also appeal to those with interest in ambient and meditation musics.

                  From "A Few Thoughts on Composer PMH" by Terry Riley:
                  "...Peter's heart did not seem to be aligned alone with the post Webern traditions that had emerged so prevalently in Germany. His sensibilities were attracted more to American minimalism and Indian music and to some degree Rock and Jazz. In this sense he stands apart in the field of modern music of Germany. He has recognized the vast importance of improvisation and being 'in the moment' in music performance. He realizes the importance of experimentation and of finding new ways to notate his ideas. However, his music is at the same time rooted in the great German tradition and today he is recognized as a major figure whose compositions have greatly enriched the development of 20th and 21st century."

                  FORMAT INFORMATION

                  Ltd LP Info: Originally released in Vertigo in 1973, the Wah Wah reissue will come housed in a textured sleeve reproducing the original artwork, remastered sound, and feature an insert with photos and liner notes. Limited edition of only 500 copies.

                  Well, well, well! Our mysterious teutonic chums come through once again with a couple of secret weapons for the DJ's serving on the frontline of modern dancefloor warfare. On the A-side,  "Haus Nej Schen" sees the House Master Boyz get ripped the fuck up, but this ain't Chicago and it ain't 1986! The classic acid house refrain gets welded onto a distinctly contemporary strain of retro sonics to create an acid laced behemoth that's equal parts new beat and strobe-lit proto-house. It's timeless and powerful floor food, and as such this stomper is equally at home in some Erol Alkan piloted stadium as it is in a stinky basement. A quick flip of the disc and the "JJ Jam" swaps the retro leaning homage we lost our shit to next door for a futuristic steppers workout potent enough to get you baked off just one toke. The mysterious production team deliver roughly hewn stabs underpinned by some ribcage rattling low end that rolls along for days. Big ting!


                  But Blood

                    Hockeysmith are Annie & Georgie Hockeysmith, two sisters who spent most of the last year living and making music in a caravan on a farm in Falmouth, Cornwall. In need of more room to live and record the sisters recently traded the caravan for an old tour bus and now they count members of Hawkwind as neighbours on the farm. The past few months have seen them making a name and piquing interest for their exploratory sonic palette, hauntingly idiosyncratic songs and pulsating, strobing live shows, which has led to features and profiles by outlets ranging from The Fader and Interview Magazine to Dazed And Confused, SPIN and The Guardian.Their sound utilizes echoes of shoegaze, post-punk, acid house and dream pop that coalesce into an alien, yet somehow distantly familiar, hypnotically wayward sound. The EP consists of four distinct and individually unique tracks, merging interweaving singsong melodies and unorthodox song structures with adventurous sonics and a sense of wide-eyed experimentation and discovery.

                    Julia Holter

                    Don't Make Me Over / Hello Stranger

                      Double A-sided 7” release of Julia’s cover of the Dionne Warwick standard ‘Don’t Make Me Over’, complimented by ‘Hello Stranger’, which is taken from Julia’s 2013 album ‘Loud City Song’.

                      Exclusively available to independent retailers and strictly Tracklisting limited to 200 copies.

                      Holy Ghost!

                      Okay / Bridge & Tunnel - A/jus/ted Remixes

                      Good evening and welcome to the Piccadilly sports desk where we bring you the all important decider of the Holy Ghost! Remix Cup 2014, where the USA look to overcome Norway's two-nil aggregate lead from the first leg of the tie. Team USA are represented by the talented pairing of Justin Strauss (Whatever Whatever) and Teddy Stuart (Eddie Mars), known collectively as A/jus/ted. Coming into the fixture off the back of a fine result on their Blood Orange remix, A/jus/ted take the opportunity to cement their place at electrnic music's top table. The remixers take on two consecutive singles from last year's Holy Ghost! LP “Dynamics”, breaking down and building up "Okay" and "Bridge & Tunnel" into 4/4 floor fillers. On their rework of "Okay" the duo summon a weighty bassline from the depths of the underworld and concoct a dense mainroom brew topped by an echo ladden vocal. On the flip, the duo reimagine "Bridge & Tunnel" as an Inner City inspired classic house shuffler which merges its fluid bassline with bleeping electronics on its way to peak time club success. This last ditch equaliser ensures honours are even, and makes winners of us all.


                      Deluxe Tote Bag (Ecru)

                        Heavyweight deluxe ecru tote bag with folded gusset that expands to hold approx 25 LPs / 12"s. Printed with Horsebeach logo.

                        Ryan Kennedy has been making music ever since he was a young teenager. Now in his early 20's, his dreams and desires have finally been distilled into this, his debut album. Written over the space of a year, but recorded in a fortnight, straight to tape, in Ryan's central Manchester flat, 'Horsebeach' is a gorgeous journey through Northern, jangly, dreamy guitar pop. From as far back as The Wake, through the now de rigeur C86, this is bedroom introspection gone widescreen.
                        Gorgeous songs of love and longing, this music has a lilting, drifting quality, sometimes reminiscent of Felt, or of a meandering, jangle-tastic Real Estate, of whom Ryan is clearly a fan. Chiming guitars, brooding melodies, thoughtful words. 'Horsebeach' is a very lovely record indeed.

                        STAFF COMMENTS

                        Andy says: Like Real Estate, but with a delicious debt to The Smiths, feeling melancholic never felt so good. The sound of the Summer.


                        Upon A Once Time

                          We're proud to present the first ever vinyl reissue project of Canadian hippy folker Huckle. This first album was recorded with only accoustic instruments in spring of 1974 with the help of some of The Perth County Conspiracy members and had a very limited release. This is one of finest psych folk albums of canadian scene from the 70's. An extremely rare and difficult to find record. It appears on Pokora's Record Collector Dreams Book with 4 records, and collectors have paid more than 600$ for the originals of this impressive crossover between the first Dylan and the first Van Morrison. Beautiful songwriting and great performance for a folk masterpiece that includes "Flowers", "Beyonder" and "The Sunshine Shuffle".

                          Mapache presents this vinyl reissue, digitally remastered from the original tapes, with original artwork, including the paste-on cover and an extra insert with unseen pictures.

                          FORMAT INFORMATION

                          Ltd LP Info: Limited to just 500 copies.


                          Wild Blue Yonder

                            We're proud to present the first ever vinyl reissue project of Canadian hippy folker Huckle. Wild Blue Yonder is a cosmic-psych folk rock masterpiece recorded in 1976 as his second and last album from that period. After his accoustic debut, Huckle recorded this album with a full band creating a fascinating mix between folk and rock. This is a favourite album for folk and roots music collectors. Extremely rare and hard to find, it has arrived up to $400 on auctions. Sometimes with an "Astral Weeks" flavour, this album combines great songwriting with an excellent freedom feeling and a very special performance.

                            Mapache presents this vinyl reissue, digitally remastered from the original tapes, original artwork and extra insert with unseen pictures.

                            FORMAT INFORMATION

                            Ltd LP Info: Limited to just 500 copies.

                            We find Aus slap bang in the middle of a purple patch at the moment, with an almost one-a-week delivery rate of solid club bangers being supplied by their ever-expanding roster. This week it's Hypercolour and Leeds native, Huxley pumping out the jam. "Callin" has stadium-filling potential with its monstrous square bassline, radioactive leads and spine tingling breakdowns. A perfect example of how to execute a massive house banger. "Machina" opts for a vocal-led option drenched in melancholy while glowing pads and more phosphorescent synths accompany the emotive musings. "Tendered Mess" is abstract and ethereal in its outlook, swirling synth fragments and ghostly pads rising aloft ground-shaking bass stabs before dropping into a fractured techno groove more akin to Blawan or Midland. "Oil Spill" concludes this highly varied EP with a deep, hypnotic, end-of-night ride through blissy pads, tantalizing congas and enveloping bass sweeps. Four solid bangers, locked and loaded and ready for action. Recommended.

                            Optimo Trax continue their relentless onslaught, this week initiating into their ranks son of legendary Glasgow DJ and close affiliate of Optimo Music, Harri. With his father providing 30 years+ (and still going) of music and producing knowledge it was gonna be hard for James NOT to get involved in the dance! At the forefront of the current generation of Glasgow dance ambassadors (he shares a flat with Jackmaster) this EP showcases the youngster's rugged and detailed, bumpin' tech house sound. "Sneaky" is all about the warehouse, a classic ring modulated synth riff riding a tight sqaure bass and chopped up party vocal samples. With nice two-part variations this just rolls and rolls and will get 'em shaking off the rafters and dancing on every conceivable surface. "Listen To My Buttons" unlocks the long sawtooth drones and dark eerie synth-strings for a heady, late night electrical excursion; made for elevating consciousness after a long session. "V Moog" deploys more rave-inspired hoover-leads (his Dad's surely been playing him all the old hardcore tapes) and allows more rampant drumbox trickery to carry the groove. Big breakdowns with fat drops characterize this as another huge warehouse number. Finally another Glasgow local Esa (under the Hillhead Young Team moniker) remixes "V Moog" into a wobbly Iberian-inspired terrace jam. Techy and stimulating, with those twangy, discordant sine tones that seem to be the favoured sonic drug of choice with the kids at the moment. Massive record from the next star of Glasgow's underground.

                            Brisbane’s The John Steel Singers present their stupendous new album ‘Everything’s A Thread’, recorded in a makeshift-studio the band constructed in a 70s-built house owned by singer Luke’s parents overlooking Mount Coolum on the Gold Coast of Australia.

                            Like all the best coastal albums it’s brim with sparkling, sun kissed sounds but here the band’s creative freedom equally allows for lurking in the shade, moving from the hook-heavy pop numbers ‘Happy Before’ and ‘Common Thread’ to the sinister sound of ‘The Marksman’ and soulful yet strange vibe of ‘There’s A Bird’.

                            The Singers move from playful harmony-filled summer nuggets to electronic sheened pop, psychedelic sea shanties, Kraut-pop and hard riffing cosmic rock with ease, evoking an uncanny vibe like mist resting on the ocean just before sunset.

                            “Nicolas knew how to declutter the sh*t we had recorded to give the parts space” says Pete of mixer Nicolas Vernhes (Deerhunter, Fiery Furnaces) giving the record its clarity in sound.

                            The JSS have played Liverpool Sound City, The Great Escape and London Calling festivals so far this year and plan to come back just after the album release. NME are already fans with a radar feature already under their belt and plenty of press already confirmed in the major monthlies.

                            FORMAT INFORMATION

                            LP Info: The LP comes with a download of the entire album plus the bonus material.

                            The John Steel Singers

                            Everything's A Thread - Live Bonus Disc Edition

                            Brisbane’s The John Steel Singers present their stupendous new album ‘Everything’s A Thread’, recorded in a makeshift-studio the band constructed in a 70s-built house owned by singer Luke’s parents overlooking Mount Coolum on the Gold Coast of Australia.

                            Like all the best coastal albums it’s brim with sparkling, sun kissed sounds but here the band’s creative freedom equally allows for lurking in the shade, moving from the hook-heavy pop numbers ‘Happy Before’ and ‘Common Thread’ to the sinister sound of ‘The Marksman’ and soulful yet strange vibe of ‘There’s A Bird’.

                            The Singers move from playful harmony-filled summer nuggets to electronic sheened pop, psychedelic sea shanties, Kraut-pop and hard riffing cosmic rock with ease, evoking an uncanny vibe like mist resting on the ocean just before sunset.

                            “Nicolas knew how to declutter the sh*t we had recorded to give the parts space” says Pete of mixer Nicolas Vernhes (Deerhunter, Fiery Furnaces) giving the record its clarity in sound.

                            The JSS have played Liverpool Sound City, The Great Escape and London Calling festivals so far this year and plan to come back just after the album release. NME are already fans with a radar feature already under their belt and plenty of press already confirmed in the major monthlies.

                            CD edition includes a bonus disc of brand new, live and exclusive material, including vocals from Robert Forster and Everett True.

                            Originally recorded for the EMI Nigeria label and produced by legendary producer Odion Iruoje 'Keyboard' was a one-off studio project formed by Brodricks Majuwa and Isaac Digha from circa 1978. These two session men were often used at the EMI studio and played in multiple recordings that Iruoje produced throughout the era.

                            The LP is released again after 35 years and strictly limited to only 1000 vinyl copies on 180gram vinyl in a rigid paste-on sleeve. It also has a free download code.

                            This extremely scarce and obscure record features amongst others Ignace de Souza of the Black Santiagos from the city of Cotonou, Benin and Jonni Wood from the band SJOB movement.

                            Lilting, laid-back, solid, soul-funk grooves and beautiful horn arrangements with synth effects combine for a unique sound but one that is unmistakably from the sound forge of Odion Iruoje and his two front-line studio engineers Emmanuel Odenusi and Kayode Salami. The album is licensed directly from Broderick Majuwa (hailing originally from the Delta region of central southern Nigeria) who played with many bands in the 1970s: starting out with The Severe 7 (a Santana - influenced rock band from Benin City) followed by The Thermometers with Emma Dorgu who cut one 45 for Afrodisia records. Later on he had stints with more famous Nigerian artists Ebenezer Obey and Bongos Ikwue amongst others.

                            Killing Sound

                            $ixxx Harmonie$ Version

                            Blackest Ever Black drop something very special for the djs operating at the dancefloor extremities on this single sided wax. "Six Harmonies', the febrile opener from Killing Sound's recent EP double-pack (BLACKEST028) gets refashioned as a shapeshifting, shark-eyed junglist wrecker with maximum bassweight and asymmetrical aggression. Definitely one for the brave, this track boasts nine minutes of pure dread at 180, cut by Matt Colton at half-speed for maximum dancehall pressure. Moody as you like, darker than your worst night on Ket, this is gonna do serious damage to the nation's youth. Brilliant stuff.

                            The Kneejerk Reactions

                            The Indestructible Sounds Of...

                            This raw rhythm’n’beat garage-rock’n’roll combo, headed up by the ubiquitous veteran rocker, Sir Bald Diddley (aka Hipbone Slim), delivers super rough, tough and wild mid-’60s inspired sounds that are just about as frantic as a pack of dogs in a lamp post factory. It’s British beat at its best, loaded with grab-your-throat guitar riffs, snarling vocals, wailing harp and much maraca shaking -- proper raw-as-you-like freakbeat, inspired by the likes of the Pretty Things, Kinks, Downliners Sect, Them, Birds, Stones, Yardbirds, Sorrows, Small Faces, Outsiders, Bo Diddley, Chuck Berry, Link Wray, Howlin’ Wolf, Jimmy Reed, Sonics, Wailers, Larry & the Bluenotes and the Remains. Basically, all the people in music really worth talking about.


                            Water Near A Bridge

                              RIYL: Agitation Free, Cluster, Popol Vuh, Godspeed! YBE, Embryo, Magma, Bitchin’ Bajas

                              Some of the oldest known rocks on earth are found in the Northwestern region of Australia dating back some 3.5 million years. Fitting, since the stirring trio of opuses that comprise Melbourne, Australian band Krakatau’s debut “Water Near A Bridge” seemingly have their origins before recorded history, emerging from the primordial ooze & lurching towards your turntable like a creature out of Lovecraftian fiction. The guitar-less trio, Krakatau utilize organ, bass & drums to communicate their message crafting dense & heady tunes sprung from the seeds of improvisation & honed to perfection in the studio.

                              Side A is comprised of two compositions; “Riddells Creek” starts off the side with progressive grooves that fade into focus, slowly stretching into a shamanistic organ drone before sliding into an oily, funky strut peppered with some sweet organ leads. “All Water Near A Bridge” closes the side with a rippling synth cascading over the pusle of an interstallar heartbeat.

                              “Kuriere” occupies the whole of Side B, resplendantly indulgent in it’s shapeless slithering beginnings that bubble & swell into the primitive rumblings of the rhythms of lost civilizations that thrived & crumbled into oblivion before we ever existed. A bewitching miasma of technology & nature turning in on itself, swallowing it ’s own tail.

                              “Water Near A Bridge” is a vinyl-only release, pressed on 150gm black vinyl & includes a download code.

                              Land Observations (aka musician and artist, James Brooks) presents ‘The Grand Tour’, the follow up to 2012’s critically acclaimed debut album, ‘Roman Roads IV-XI’. Where the debut album was concerned with the roads of communication and conquest that stretched across the former Roman Empire and Republic, the new album creates an imaginary travelogue through Western, Central and Southern Europe with reference to the historic Grand Tour.

                              The album was recorded on the edge of the Bavarian Alps on just one electric 6-string guitar - exploring the potential of the instrument in relation to layers, rhythm, melody and timbre.

                              The recording process utilised a selection of vintage amplifiers and studio equipment, intentionally enjoying the warmth of analogue tape for assisting to create immersive pastoral motorik.

                              After an initial ‘Land Observations’ EP for Enraptured Records and a performance at Mute’s Short Circuit Festival at the Roundhouse in May 2011, Brooks “realised that I wanted to take it further and make a long-playing record” which culminated in 2012’s release, ‘Roman Roads IV-XI’, described by Mojo as “metronomic intensity” and by Q as having an “understated, fragile beauty.”

                              FORMAT INFORMATION

                              LP Info: Includes 12" booklet.

                              Look out folks, we have a new sample-based house genius in our midst, Lay-far is here to reintroduce us to the joys of the MPC, organic house music and liquid soul. Lay-far is based in Moscow and this EP follows the "So Many Ways" LP, seeing the producer dish out 3 tracks of low slung, funky and soulful house music, done in that classic Detroit style. "That Voice From Far Away" has great vocal chorus elements, paired with a funky and tight instrumental backing which has early Andres and KDJ written-all over it (we should probably also mention Local Talk, Raw Cuts and Gamm records here, none Detroit labels also flying this sample-based house thang flag). On the flip we start with “Where I’ve Never Been Before (Yet)”, a jacking Harlem funk groove that builds up with layers of chords and intricate percussion combined with the now trademark vocal skits and riffing funk guitar. “You Know I’m Gonna Getcha” concludes this essential 3-tracker; a gorgeous blend of samba rhythms, deep chords and Rhodes keys, all given extra weight by a big bouncy house beat and huge wub'ing bassline introduced halfway through the track! Massive record, already garnishing lots of press, move quick!

                              DJ reactions:
                              Osunlade: "Loving "You Know I'm Gonna Getcha"
                              Phil Asher: "Been playing it. Smashed Uber on sat night! X" Claude Young “real sexy slick stuff!!!!”
                              Fudge Fingas "That boy's on it at the minnit”
                              Takasi Nakajima “i just listen yeah that so good i really love that release!!”
                              Titonton Duvante “Oh My goodness. Absolute FIRE! Much deck time and chart action on this one. I'm Gonna Getcha being my pick but all are wicked. Big UP Lay-Far!”
                              Ourra: “ My fave cut here is the That Voice From Far Away.... lovely chords, especially melty around the 4m30s mark - love it! glad you sent it before I do my next mix, will def be including! :-) 'Where I've Never been Before'
                              get loads of people sending tracks over....try to listen to everything but I know in seconds if I'm feeling it. Pleasantly surprised to receive something of real depth & quality.....the beats are right on point! All 3 tracks are all 3 with equal have my recommendation & support” maybe a little too funk based for my house sets but obviously quality and again love the roy ayres kinda chords. 'You know im Gonna Getcha' would def be worthy of a play in a jazzier moment. Sorry to bang on about chords, but killer here too ;-)”
                              Thatmanmonkz: "Lovin' it! "
                              Mike 0’Mara : Fantastic stuff mate, love all three. Honestly couldnt pick a fave!
                              Tomson: Love this lay-far EP! Will defo play one of the tracks on this month's radio show and also play in the club next week!
                              S3A: "Where I've Never Been Before (Yet)" For me ! Great !"

                              STAFF COMMENTS

                              Matt says: Organic soulful house for fans of Seven Davis Jr, Theo and Kenny, Local Talk and Raw Cuts. Watch out for this Russian bad man.

                              Craig Leon

                              Anthology Of Interplanetary Folk Music Vol. 1: Nommos / Visiting

                              Craig Leon’s seminal synthesizer albums 'Nommos' and 'Visiting' are finally re-editioned in definitive form as the 'Anthology of Interplanetary Folk Music Vol. 1' for RVNG Intl.’s archival series.

                              Issued respectively by John Fahey’s Takoma record label in 1980 and Leon’s Arbitor private press in 1982, 'Nommos' and 'Visiting' were the twin brainchildren of studio wizard Craig Leon. Leon’s production was pivotal in realising the debut recordings by Ramones, Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound, Leon’s own debut album was arguably, if not literally, more alien.

                              In 1973, the Brooklyn Museum hosted a comprehensive collection of sculptures by the Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named Nommos. Years after experiencing the exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? And how best to imagine it?

                              Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to employ the latest and greatest synthesizer technology available. An avant empathist and eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint. After a secluded week in an Austin, Texas studio with his partner, wife and collaborator Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms programmed on a prototype of Roger Linn’s nascent drum-machine, the LM-1.

                              Issued by Fahey with zero expectation of the same radio airplay Leon accomplished with his pop productions, 'Nommos' now stands as an innovative example of cosmic-synth composition that wasn’t made for its time or any other. For this edition, Leon has in fact re-animated 'Nommos' by re-recording the exact audio signals as preserved in the album’s original studio notes. Every patch, tape-delay speed and outboard setting was transcribed as first scored, materializing the best possible audio of an album whose masters were unaccessible to Leon due to a major label merger milieu from years ago.

                              Additionally, the re-master of 'Visiting' was supervised firsthand by Leon. As its title suggests, 'Visiting' materialized in 1982 as a conceptual continuation of 'Nommos'. The album is in equal measure more improvisatory and constructed than its predecessor. Both albums were intended to be listened to as a set in the first volume of Leon’s 'Anthology of Interplanetary Folk Music' (the title was an homage to Harry Smith’s influential collection of folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and compositional additions to both albums to enhance the connectivity and encourage infinite interpretation.

                              While reissues and bootlegs have appeared to relieve the demand for these records, this collection will stand as definitive versions authorized by Craig Leon himself. The vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by Leon. The first tells the complete story of the stargazing Dogon people and their prescient understanding of cosmology. The second details Leon’s adventure in creating the 'Anthology of Interplanetary Folk Music Vol. 1', an epic story bookended on this side of history as one seamless synth classic.

                              California singer songwriter Jenny Lewis returns with The Voyager, which will be released by Warner Bros. Records on July 28th. This is the former Rilo Kiley frontwoman’s third solo album and first in six years, following 2006’s Rabbit Fur Coat (with The Watson Twins) and 2008’s Acid Tongue.

                              The Voyager is Lewis’s most deeply personal album to date, documenting her struggle to cope following the death of her estranged father in 2010 and the subsequent break-up of Rilo Kiley. The Voyager’s rootsy, golden glow comes courtesy of Lewis and the artists she chose to produce various tracks, including Ryan Adams (who, alongside Mike Viola, produced all but three of the tracks), Beck, and Lewis’ longtime collaborator Johnathan Rice. The Voyager finds the always relatable songwriter at her sharp-witted best, singing about her recent experiences with honesty and incisiveness.

                              After several years of writing new material, Lewis took 2013 off to tour with The Postal Service. Sharing the spotlight was a freeing experience, providing the realization that she needed to give up control in order to move forward. While on the road, she reached out to Ryan Adams to record at his newly built studio, Pax Am, at Sunset Sound. Her first day back from tour, she went into the studio with Adams and his partner Mike Viola, and found the creative collaboration she was missing.

                              Bob Lind

                              Since There Were Circles

                                Mapache presents the very first vinyl reissue of this truly buried treasure of american music originally issued on Capitol. In 1971, a semi-retired songwriter after his 60's hits entered at the studio to record a masterpiece of pop-folk with an incredible allstar band that included Gene Clark (The Byrds), Doug Dillard (The Dillards), Carol Kaye and Bernie Leadon.

                                Produced by Doug Weston with beautiful arrangements by Jimmy Bond, this amazing collection of tunes beween pop and traditional roots music became his last studio album to date. Full of incredible performances and great songs, "Since There Were Circles" is what music lovers define as a "buried treasure" in his own right.

                                Mapache presents this vinyl reissue, digitally remastered from the original tapes, with original artwork and replica of original insert. Plus, this reissue includes an extra insert with rememberings and thoughts of the album recording sessions written by Lind's himself.

                                FORMAT INFORMATION

                                Ltd LP Info: Limited to just 500 copies.

                                Meridian Brothers

                                Salvadora Robot

                                Meridian Brothers are back with a new studio album, the bizarre and wonderful 'Salvadora Robot'. Heading deeper into the tropical rhythms of Latin America and the Caribbean each song on the album focuses on a different style and playfully twists it into Meridian Brothers's surreal landscape.

                                Originally formed in 1998 it was the previous album 'Deseperanza' that brought Álvarez's Meridian Brothers to the attention of the wider world. Released worldwide in 2012, the album's unique aesthetic and freaked-out blend of Latin rhythms and psychedelic grooves won him new fans the world over. DJ and tastemaker Gilles Peterson selected 'Guaracha UFO (No Estamos Solos...)' as his favourite track of 2012.

                                'Deseperanza' focussed heavily on salsa rhythms but on his new release Álvarez based each track in a different Latin American style. For example 'Somos los Residentes' finds it inspiration in Dominican Republic merengue while 'Baile ultimo....' is a slow and sad reggaeton. The lyrics talk of a man who has been sent to the electric chair because he was dancing too much reggaeton, a style that isn't accepted as "good taste" within Colombia.

                                When Spencer Evoy arrived in London fresh from Canada, little did he know that his quest to reignite the spirit of the rock’n’roll sound of the American Northwest would start outside a chicken shop on the Holloway Road. Walking down that fabled stretch of tarmac, he was struck by the greasy aroma of deep fried chicken and felt his belly ache. Realising his funds had all ben spent on the plane fare, he whipped out his saxophone and proceeded to busk outside the premises in the hope of a few quid to pay for his next meal. Hearing the sweet tones of rock’n’roll drift into his bedroom in the flat above the shop, Bret Bolton called out to Spencer. Their eyes met and they instantly realised they were musical brothers in arms. Days later, they had formed a band together, naming it after the now sadly defunct and derelict chicken shop where they met: MFC Chicken. Joined by Ravi on drums, Parsley on organ and Alberto on guitar, the poultry-loving group soon began making a name for themselves, becoming one of the hottest garage rock'’n’roll acts in London, setting clubs alight with their own red hot take on “the music the Sonics were listening to”.

                                Having spent a good year or more honing their set and finding out which songs make the girls dance (ie. all of them!), their debut LP, Music for Chicken, cemented the globe-spanning gang as the finest purveyors of Pacific Northwest rhythm and blues in the land. So do you love dancing but hate contemporary music? Are you desperate to hear garage rock’n’roll really taken back to its roots? If so, then you most definitely ready for that indescribable, unstoppable Chicken sound: “The latest and greatest item on the rock’n’roll dance menu.” With new bassist Fernando on board, MFC Chicken have continued touring the world and found time to knock out a brand new album that is EVEN better than their debut.

                                Franco Micalizzi

                                The Visitor OST

                                  MONDO is pleased to reissue the original soundtrack to the cult classic THE VISITOR, complete with 8 tracks previously unreleased on vinyl. Pressed on 180 gram Black vinyl with randomly inserted Yellow & Orange swirl vinyl. Music composed, arranged and conducted by Franco Micalizzi.


                                  Miltinho E' Samba - LP+CD Edition

                                  Milton Santos de Almeida aka MILTINHO has a respectable resume in Brazilian music. Singer and instrumentalist, leader in several sambas ensemble with great success. His instrument before the microphone was the tambourine. He was one of the first panderista vocal ensemble in Brazil combining two skills: singing and playing. And speaking of bands, Miltinho was present in one of the most successful group in the 1940s, the Anjos do Inferno, who came to tour with Carmen Miranda.

                                  In this “Miltinho E’ Samba” has the accompaniment of Orquestra RGE with arrangements and musical direction of Maestro Rubens Perez (Pocho) and Nelsinho.

                                  The Mispers

                                  Dark Bits EP

                                  ‘Dark Bits EP’ is the second EP release from London alternative-rock newcomers The Mispers. A hugely exciting band, they are already selling out shows in UK and Europe. The lead track is a genre-bending stomper reminiscent of influences ranging from Arctic Monkeys to Clean Bandit. The EP is a huge step forward, sonically, from their debut The Mispers EP.

                                  Mr Fingers

                                  Washing Machine / Can You Feel It / Beyond The Clouds

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

                                  Another absolute blinder from the glory days of house music gets the official reissue treatment, remastered and pressed on pristine wax for full scale club demolition. Originally released back in 89 on NYC's infamous Nu Groove (my favourite NY house label) this six tracker from Rheji Burrell is a perfect snapshot of the sounds and styles prevalent in the genre at the time. Rheji kicks the EP off with the orgasmic garage groove of "APT. 1A", a shuffling shoulder roller with a tasty little 303 line squelching underfoot. From there he moves through the darker, tech infused "APT. 2A" into the smooth, gorgeous dream house of "APT. 3A". On the flip, we head to peaktime at the Haç via the basements of Chicago, with the bass and strings groove if "APT. 1B", before experiencing the hard hitting intensity of the brain scrambling "APT. 2B". Rheji finishes the B-side in a similar style to the A, with the exotic and hazy beauty of "APT. 3B", an island groove topped by a blissed out flute solo. I can only imagine this was on heavy rotation at the Ku way back when, and if you're digging on the Andras Fox, Young Marco tip, then you need to hear this originator. I strongly advise you take this opportunity to put a little history in your collection. 

                                  Third album from the unpredictable, genre defying Okkultokrati! On European tour with Converge in August. Artwork by Esra Røise (Haraball, Vogue Magazine etc). Okkultokrati once again address the public with Night Jerks, an album created to spread confusion and despair. The band reposition themselves as a foreign object: moving high and fast, impossible to catch or categorize. 

                                  The time towards the album release has been marred by hardship and insecurity for guitarist and songwriter Pål Bredup, who has been struggling with an aggressive muscular disease. "All the frustration and pain from the last twelve months has been documented on Night Jerks. Every beat has been an attack on the body," Bredup says.

                                  The illness led to him temporarily replacing his guitar with a synthesizer in both Okkultokrati and Haust. As a result, the synth is heavily represented on Night Jerks, even though Bredup by now has picked up the guitar again. Also on guitar is newcomer Milton von Krogh of Pirate Love, who has recently joined the band permanently, as well as producing the album. Von Krogh has also recorded and mixed records for both Haust and Årabrot in the past year. Milton’s guitars provide the band with a sharp and ice cold edge, and he is also the only member of "Oslo-band" Okkultokrati who is actually born in the capital.

                                  Night Jerks is a monotonous master piece, where chilly, modern reality gets its musical counterpoint. But the album is no soundtrack of frustration - instead, the listener is introduced to an introverted, contained and harmonious piece of music where a focused band creates their cosmos. "Moon Daggers" and the title track continue the familiar Okkultokrati sound, while "The Ladder (Punched Out)" is reminiscent of The Birthday Party at their hairiest. Synth and alternative percussion characterize both ends of the album (not least in the monumental closing track "Cosmic Wynter"), and channel Okkultokrati’s fascination for dark music's high priest, Austrian musician Zero Kama. While the previous albums were produced by Ruben Willem (No Light for Mass, 2010) and Emil Nikolaisen (Snakereigns, 2012), Night Jerks is produced by the band. Recorded at Årabrot HQ Djura Missionshus in Sweden and Tåkeheimen studio in Norway, Milton von Krogh and Pål Bredrup have maintained full control.

                                  The result is the ultimate Okkultokrati record, where the band’s primal punk finds its place in a captivating beat, filled with floating guitars and rumbling synth. The album is mastered by Paul Hammond, who (besides from playing in the world’s biggest Led Zeppelin tribute band) has mastered releases from Marissa Nadler and Bonnie “Prince” Billy. The cover is by Esra Røise, who is known for her work for Vogue Magazine and Okkultokrati label mates Haraball, among other things.

                                  Van Dyke Parks

                                  Super Chief: Music For The Silverscreen

                                  ‘Super Chief: Music For The Silver Screen’ is an ‘orchestral fantasy’ inspired by a rail journey Van Dyke embarked upon across the United States in 1955.

                                  Originally made available for the first time on a very limited vinyl pressing in 2013. Now re-pressed, following an almost immediate sell out of the original pressing.

                                  In Van Dyke Parks’ own words: “I’ve made an orchestral fantasy illustrating my first trip across the USA by rail, in 1955. This Suite is drawn from over a score of years, and as many films, now re-recorded from my archives as a film-music composer. […] In editing, I was surprised to discover my penchant for folk themes, reframed in orchestral settings. (There are countless quotes from the 19th century ‘The American Century’). […] The lingo of such traditional American music reveals my obsession, however unconscious, for rustic old saws that can still cut the wood. Yep, it’s Americana. All made in the great 48. […] Celtic examples abound: ‘The Water Is Wide’, ‘Old Joe Clark’, ‘The Forked Deer’, ‘Saint Anne’s Reel’, ‘I Ride An Old Paint’, etc. With these references, a dash of lowchurch hymns (‘Goin’ Home’) and an occasional Aboriginal motif, all embedded in this novel and singular Ode to that passing American scene... so long ago, yet about a handshake away. […] It can come in handy as a backdrop to a romantic interlude in candle-lit dinner conversation over a fine linen-count. (I’ve tried this at home.) Perhaps for a head-set in a subway tunnel, or as a car-tune in a smooth segue from the surrounding road-rage on a daily commute.”

                                  FORMAT INFORMATION

                                  Ltd LP Info: LP features a copy of the album on CD. The CD includes three extra tracks: ‘The Pleasure Dome’, ‘Bed Of Stones’, and ‘So Long Santa Fe’.

                                  It’s in the haze of a cloud of chirruping insects that Plank return, following the success of their mammal-concerning debut LP Animalism.

                                  Two years since that record gained plaudits and sold out vinyl run, the instrumental trio have thematically splintered the number of beings on Hivemind, paying homage to the millions of arthropods without which our global eco-system could not survive. It’s apt enough, really, because Plank themselves have opened up a whole new sub-species of sounds, elements and textures beyond their previous environment too, each track giving the feel of an overall movement through differing habitual undergrowth.

                                  Definitely an album designed for vinyl (it’s on 180 gram) with side A more song structures (King Crimson, Camel, Trans Am, Giorgio Moroder, Kling Klang, Agitation Free, Steve Reich) and side B should be listened to as one complete piece ala DJed by Tortoise or Echoes by Floyd.

                                  “instru-mentalists with maverick Krautrock vibes” - Guardian Guide.

                                  “James Murphy at his Kraftwerk swiping best” - The Fly.

                                  “akin to Chrome Hoof creating a cosmic space soundtrack to a modern day reboot of Blade Runner” - Loud & Quiet.

                                  “the music John Carpenter would make if he was in 65 Days Of Static” - Clash.

                                  “The orchestration throughout 'Hivemind' is deft and the arrangement fluid and impeccable as the band move between blissful popol vuh style ambient heaviness ,metronomic jams. Math-rock and full-tilt psyche wig-outs. Basically, it's the bees knees” - Prog Rock.

                                  The delectable Obsession Recordings presents their second release - a killer split EP between Primitive World and Yør. Primitive World's "Purple Caps" opens proceedings - a PCP laced exercise in paranoia with a jerking filtered loop oscillating around a thumping kick and intermittent percussive bursts while looming minor chords offer the only brief respite from the heavily swung and distorted bassline. Completely future-proof and soundsystem-ready, it'll be this track soundtracking messy afterhours sessions throughout the European centers of hedonism. "Tides Of Lust'' 's protean techno ups the urgency with the phantom punch of its caustic toms, skittering percussion and low-res tones that ride the steady pulse of the 808 subs. Sparse, minimalist but packing a heady mystic punch, it's another winner that'll find favour amongst forward-leaning club DJs. "Rites Of Passage Pts. 1& 2" see Yør delivering steady neo-equatorial rhythms - pt1. finds a throbbing bass and ritualistic percussion peppered with suggestive whispers and breaths that weaves as the track vibrates with restrained-intensity, capped off by a bubbling acid line and industrious snares. Pt 2. ups the ante with a more polished, jacking number; allowing post-Detroitian chords and stabs to decorate a rolling 909 groove and haunting vocal fragments. Four killer tracks on this understated but greatly evolving label. Recommended.

                                  The Raveonettes


                                    Pe_ahi (/pe____hi_/ pay-ah-hee; is a place on the north shore of the island of Maui in the US state of Hawaii. It has lent its name to a big wave surfing break, also known as Jaws. During off season the spot is taken over by meth fuelled crazies and people are advised to not venture out there.

                                    Immersed in the surf-history of Southern California, where both Sharin and Sune reside, the album incorporates various elements from this culture into every song both lyrically and musically. The result is their most complex, intricate and autobiographical work to date.

                                    Brian Reitzell

                                    Watch_Dogs Original Game Soundtrack

                                    Following on from the phenomenal success of their Record Store Day 2014 release of FAR CRY 3: BLOOD DRAGON’s Original Game Soundtrack, Invada Records are proud to partner with Ubisoft Music and dive once again into the world of video game soundtracks with the release of Brian Reitzell's musical score to the highly-anticipated open-world adventure game WATCH_DOGS. With people around the world taking the day off work on the game's release, to play what is sure to be contender for 2014's most popular gaming title, this is a huge accomplishment for Invada to land this album and a chance to introduce their high production values and love of vinyl to a far wider audience.

                                    Full of infectious beats and atmospheric, retro-futuristic synths, the score is a further achievement from composer Reitzell, who has previously written music for the highly-rated U.S drama series HANNIBAL as well as working on multiple scores with acclaimed director Sofia Coppola, the latter of which has featured collaborations with French band AIR and Kevin Shields of famed alt-rock band MY BLOODY VALENTINE.

                                    WATCH_DOGS presents a dark and dangerous journey through an alternate version of Chicago, where ultra-hacker Aiden Pearce seeks to redeem himself after causing the death of his niece. Using the concepts of artificial intelligence and information warfare, the game brings technological relevance to a Grand Theft Auto-style open world in the tradition of the revered science fiction of William Gibson and Philip K. Dick.

                                    To represent the varied challenges of the game, Reitzell brings an eclectic feel to the score, with thumping beats and off-kilter melodies of the club scene juxtaposed with the more ethereal and atmospheric synth and guitar, evoking the music of Vangelis and Brian Eno - ideal for a post-noir cyberpunk game. There's also an introspective and emotional feel to the score as required by the game's story, which is reflected in the album's sequencing, providing a well-rounded narrative-driven musical experience.

                                    FORMAT INFORMATION

                                    LP Info: Limited Blue splatter coloured vinyl.

                                    "This is music written over the last year, whilst recording for my second album. Much of the music I released before my debut album was instrumental and I want to continue to share this side of the music I make. This series of tracks is titled 'Transitions'" - SBTRKT

                                    The 'Transitions' series is released on three individual 12” records. Each one will feature artwork and 2D Moiré animation by A Hidden Place. When removing the sleeve from its inner casing it creates a unique visual effect the ties in beautifully with the effect created by moving the mouse on the Transitions website.

                                    Leading the way on 'Transitions 001' is 'Gamalena', which as the title suggests, uses polyrhythmic Gamalen style percussion and flowing chimes over a punchy upbeat steppers rhythm punctuated with 808 blips reminiscent of Benga & Coki's all conquering 'Night'. An absolute killer for the forward-looking bass / future beats dancefloor. Flip it for the deeper, darker 'Hold The Line' which blends a dull bass thump with crisp machine drum patterns and brittle, cascading top-end electro synths a la Zomby / Rustie etc.


                                    Transitions 002

                                    "This is music written over the last year, whilst recording for my second album. Much of the music I released before my debut album was instrumental and I want to continue to share this side of the music I make. This series of tracks is titled 'Transitions'." – SBTRKT

                                    The 'Transitions' series is released on three individual 12” records. Each one will feature artwork and 2D Moiré animation by A Hidden Place. When removing the sleeve from it’s inner casing it creates a unique visual effect the ties in beautifully with the effect created by moving the mouse on the Transitions website.

                                    'Resolute' takes up side A on 'Transitions 002', opening with lush ambient, beat-less synths, before a sparse kick / snare drum track crashes the melancholia. SBTRKT then tops beats and synths with the kind of spiralling arpeggiated keyboard line usually found pre-bass drop on a gym music electro / hardstyle cut. Tethered to these slo-mo trap-esque beats and moody synths though, and the effect is less euphoric. 'Kyoto' heads to Japan's computer game industry for inspiration, firing off itchy chiptune sparkles over another head-nodding riddim.


                                    Transitions 003

                                    "This is music written over the last year, whilst recording for my second album. Much of the music I released before my debut album was instrumental and I want to continue to share this side of the music I make. This series of tracks is titled 'Transitions'." - SBTRKT

                                    The 'Transitions' series is released on three individual 12” records. Each one will feature artwork and 2D Moiré animation by A Hidden Place. When removing the sleeve from it’s inner casing it creates a unique visual effect the ties in beautifully with the effect created by moving the mouse on the Transitions website.

                                    And onto the final 'Transitions' installment we have 'Highs + Lows', doing exactly what it says on the tin, knitting together a seismic bass rumble at the bottom end with crashing dubstep drums and trance-like synth arpeggios sprinkled on like top-end frosting. Closing this triple EP series 'Stifle' rides out on a half-step, head-nod, wet-clap 3/4 rhythm peppered with junglist machine percussion, Boards Of Canada style woozy keyboards and spirited chiptune mayhem.

                                    “Sanity, a visage of my wealth
                                    Lost but always found before the idols that I’ve knelt
                                    Strategy, the only way to cry
                                    Keep it do or die and always think in terms of I
                                    Reverie, some legend futures past
                                    Revelry, instead for it renders hella fast
                                    Capitol, a sound that’s on the rise
                                    It’s slaking unrealized until essence has been razed
                                    Sepulcher, a stage enlived by ghosts
                                    Floating off with bags of the blood encrusted dough.”

                                    - “They Come In Gold” (from “The Phasing Shift” suite)

                                    Herein bumps and soars 'Lese Majesty', the new sonic action of Shabazz Palaces. Honed and primal, chromed and primo. A unique and glorified offering into our ever-uniforming musical soundscape. 'Lese Majesty' is a beatific war cry, born of a spell, acknowledging that sophistication and the instinctual are not at odds; Indeed an undoing of the lie of their disparate natures.

                                    'Lese Majesty' is not a launching pad for the group’s fan base increasing propaganda. It is a series of astral suites, recorded happenings, shared. A dare to dive deep into Shabazz Palaces sounds, vibrations unfettered. A dope-hex thrown from the compartments that have artificially contained us all and hindered our sublime collusion.

                                    These reveries were sent to Palaceer Lazaro and Fly Guy ‘Dai in the year of gun beat battles in excess; In a succession of days, whilst walking in dreams and in varied transcendental states….(every minute of every day is filled with observation and composition. In action). Songs are committed and gathered by robots at Protect and Exalt Labs, a Black Space in Seattle, Washington.

                                    FORMAT INFORMATION

                                    2xLP Info: Marbled purple / clear vinyl pressing.

                                    In the six years since the release of their last full-length record, Naomi Shelton & the Gospel Queens have toured extensively, playing main stages at some of the most prestigious festivals in the world, including Bonnaroo, The Monterey Jazz Festival, Montreal Pop, and The Ottawa Blues Festival.

                                    Though seasoned veterans, these years of touring played a major role in the creation of the twelve songs that we are so delighted to offer to you, our beloved Daptone Family. Presenting: 'Cold World'. With Gabriel (Bosco Mann) Roth at the helm, Naomi and company went into the studio, and cut onto tape what can only be described as bonafide Soul Excitement of the highest order.

                                    Though the music is most unapologetically gospel, most of the lyrics on the record would fall under what could be called “message songs”. That is, music containing uplifting spiritual messages, reminiscent of the more inspirational moments of The Staple Singers or Curtis Mayfield. However, the relationship between gospel and soul music does not need to be discussed again here. It is as plainly and naturally inherent in these grooves as it is in the singer’s every word and motion. There is no one alive today that has a voice or spirit more capable of lifting an audience than Naomi Shelton.

                                    On this record, the grooves are pure Soul. ‘Sinner’ sits atop side one as a dark welcome into the soulful stomping world of the Queens. They flow effortlessly from the Sunday stomp of ‘Get Up, Child’ to the country-twinged swagger of ‘One Day’ and ‘I Earned Mine’; from the river’s edge lilt of ‘Everybody Knows’ and ‘I Don’t Know’ to the energetic boogie of ‘Thank You Lord’, ‘It’s A Cold, Cold World’, and ‘Bound for the Promised Land’. This album is a menagerie of Soul music at its finest, untied by the strong message-laden lyrics. Trust us, the wait was worth it.

                                    Ladies and Gentlemen, welcome back to the Shimmy Sham Sham sessions. After a trio of sell out under the counter specials the crew return with their finest work to date, ready to add some extra weight to every DJs box. In a move that many a purist would baulk at, our intrepid editors offer a rework of Arthur Russell's mystical, magical and magnificent "In The Light Of The Miracle". Wipe that pained expression of your face, this isnt some clunky ableton cut up powered along by a banging donk! This is subtle and delicate scalpel work, worthy of the best in the business, far from the usual back street boob jobs we're subjected to in edit land these days. The blissful melodies and complex percussion get multiplied by groove factor ten, and the whole thing is given a straighter, more floor-centric arrangement. So, now you've left the beach for the dancefloor, the boys are ready to get the party rocking for real on the seductive and sassy B-side. Nina had her fair share of hits, but none work a dancefloor better than the percussion heavy groove of "Funkier Than A Mosquito's Tweeter". Here, at the hands of the Shimmy Sham Sham crew, it's extended and uplifted into a bumping house mover perfect for sultry nights on the terrace. Adding a well balanced kick and remodelling the arrangement, Shimmy Sham Sham massage the rough edges of the original into an irresistible dancefloor force!


                                    Rotary / Catacoustics

                                    A momentous occasion for Soma Records, as we see the label hit the milestone 400th (!!) release, and who better to see this in than label heads Slam?! "Rotary" opens proceedings with an aggressive rawness as a concentric synth hook leads the track from the offset. Keeping it stripped back and straight up, the boys slow add distortion and open up the filters on the hook to bend and evolve it over the course of the track. Reminiscent of early Robert Hood-esq minimalism this baby bites! "Catacoustics" takes things deep into the mainframe as low subs rumble underneath a nicely delayed bell tone, reverberating and rattling throughout the track. Strung out percussion flutters and sways as subtle time stretch is applied giving this a trippy and mind melting feel. Slam pull back on the reigns ever so slightly going into the break as yet more subtle builds give tension before firing back with the hypnotic essence of the track. Excellent stuff; proper techno as our man Matt likes to call it.

                                    Through releases from the likes of Glenn Astro, Muff Deep, Brandt Brauer Frick and CTEPEO' 57, Copenhagen's Tartelet Records have become a coterie for an auspicious breed of modern-day oddball. Opting for analogue gear, the Tartelet mainstays bring together lopsided sampling and loose-limbed rhythms suffused with a distinctive degree of restless energy. The next instalment comes courtesy of Nigerian born vocalist, songwriter and Max Graef collaborator, Kesiana a.k.a Wayne Snow. His vinyl debut, "Red Runner" sees the Berlin based producer drop a deluge of soul over grubby Rhodes tones, contorted melodies and tumbling drums backed up by remixes from Glenn Astro and Delusions of Grandeur regulars Session Victim. The title track rubs Snow's harmonised vocal lines against choked horn stabs and chugging guitar flashes as the basement soul bassline keeps everything grooving along nicely. "Blue Moon" sees the producer flip the script, cooking up a slow burner which softly gallops like a Dilla record making use of stuttered shuffles and granular drum samples. Glenn Astro & Imyrmind are first to tuck into the remix buffet, injecting some bump and rattle into the rhythm section and adding some short circuiting synth stabs for a little extra melodic punch. The ever soulful Session Victim transform Snow's original into a tightly coiled dancefloor spring, bursting with spiraling synth energy and laid back funk. Another winner for Tartelet and an assured debut for a producer with a big future ahead of him.

                                    Soft Cell

                                    Non-Stop Erotic Cabaret - Back To Black Edition

                                      The 1981 debut album from Leeds synth-pop duo Dave Ball and Mark Almond, aka Soft Cell. Featuring the smash electro-pop cover of Gloria Jones northern soul classic 'Tainted Love', the rest of the album is a far more sleazy affair, lifting the lid on an alternative, underground nightlife sign-posted in the LP title 'Non-Stop Erotic Cabaret' and tracks like 'Seedy Films' and 'Sex Dwarf'. Also includes classic cuts 'Bedsitter' and synth torch melodrama 'Say Hello, Wave Goodbye'.

                                      Universal Music are proud to present the next batch of Back To Black reissues. Presented as exact reproductions of original LP artwork to retain authenticity, but now on 180 gram heavyweight vinyl.

                                      FORMAT INFORMATION

                                      Ltd LP Info: 180g vinyl.

                                      Brighton's Dan Reeves is a busy guy. In addition to running his own label, Faux Discx Records & playing in the band Cold Pumas, he also records under the moniker "Soft Walls". These 10 songs are meditations on the passing of time itself & the pre-conceived notions (both external & internal) of what you can & should be doing with it. Filled with avant-leaning psych drones, dreamy guitar ragas, motorik head-boppers, & pop tunes that shimmer enticingly, these are songs to get lost in; to discover & re-discover. Don't worry - there's plenty of time.

                                      Space Girl

                                      Space Girl / ODSM

                                      Delivering a beguiling two tracker on the Various label, Space Girl are two producers and a singer called Floella all from London.

                                      Eponymous track 'Space Girl' mixes a lo-fi selection of analogue and acoustic instruments (theremin, upright bass, tremelo-twanged guitar etc) along with Floella's seductive vocals creating a cute sci-fi tinted rock & roll era style easy pop number. B-side cut 'ODSM' brings things up to date, using those same instruments to sculpt a sparse post-dubstep / downbeat vibe with a sweet easy touch. This 7’ will is a start of things to come… Space Girl brings a tune for the jetpack and future technology sneaker world.

                                      DJ magazine say: "a quirky and light-heated set of vocals are underpinned by a subdued pop / folk / electronica production backdrop expertly crafted. Love this."

                                      Already getting airplay from Rob da bank (Radio 1), Gideon coe, Marry Anne hobs (6 Music) and John Kennedy (Xfm).

                                      Jim-E Stack

                                      Tell Me I Belong

                                      Jim-E Stack has come a long way. Born and raised in the culturally rich environs of San Francisco, the now Brooklyn-based artist born James Harmon Stack cut his musical teeth as a jazz drummer, but it wasn't until he entered the world of solo production at the age of 16 that he found the freedom necessary to write and record how he wanted.

                                      Following time spent in New Orleans, James moved to New York in summer of 2012, and started the slow process of sketching, refining, and developing the diverse tracks that would make up his captivating LP. In every corner of Tell Me I Belong, you can hear an artist who equally reveres classic jazz musicians like John Coltrane and McCoy Tyner, experimental pioneers like Steve Reich, Detroit techno greats Omar-S and Robert Hood, and contemporary boundary pushers Arca, Oneohtrix Point Never, and Actress. “More so than anything, it’s really on some personal shit,” says Stack. “The time period between leaving San Francisco and moving to New York was a tough time for me, and the music is kind of a reflection of that, the feeling like you don’t belong.” The music may speak about a kind of alienation, but it also abundantly offers the chance of collective experiences in the form of hard-hitting dancefloor jams. That fearless juxtaposition is the lifeforce of Tell Me I Belong..

                                      Following that corking rework 12" (a firm favourite with Piccadilly's Patrick) and their dark and moody ESP debut "Drogato", Tambien have ignited excitement among discerning dancefloors worldwide. This sophomore effort brings to light a deeper and more melancholic side of their house repertoire. The A-side’s "Der Elf" gives us serious goosebumps as its monotonous marching 909 snare lays ground for an almost random arrangement of beautiful bending synths and psychedelic chopped female vocals. The same off kilter attitude and psychedelic swirl that made "Indignatos" such a rampant banger are present and correct in a big way. On the flip, we have the lengthy and gorgeous come-down soother "Are You In Touch w/ Varan?". After more than half of this muted and breezy oscillating vibe, we’re awoken by the twinkle of naive keys, rainforest ambience and the soft glow fo sunlight, helping us all face the day ahead.

                                      Tears For Fears

                                      The Hurting - Back To Black Edition

                                        Universal Music are proud to present the next batch of Back To Black reissues. Presented as exact reproductions of original LP artwork to retain authenticity, but now on 180 gram heavyweight vinyl.

                                        STAFF COMMENTS

                                        Andy says: Massive, naval-gazing, 80's pop album that blended guitars and electronics, with gorgeous tunes and angsty lyrics. John Grant was and is a huge fan.


                                        Kanal - Inc. Prins Thomas Remix

                                        Another debut on Full Pupp! Henning Severud is Telephones, who originally hails from Bergen but has recently relocated to Berlin. He makes the kind of uplifing melodic disco-house people might tag as something silly like 'Balearic Beach House' (ooh, new genre alert!), but is actually just nice fat dancefloor music. Yes, it’s pretty Balearic (Prins Thomas says it reminds him of Nik Kershaw in places, but we'll brush over that), but Full Pupp really don’t care what you call it. All they know is they’re dancing around like happy little girls to his cool contemporary disco (I want photographic evidence of this). Around the obligatory Norwegian rhythm section of a dubby disco beat and squelching Scando acid bass, Telephones massages uplifting sequences and subtle pads to create a sunkissed, loved up vibe that'll last longer than the (admittedly decent) marios knocking around these days. On the flip, Henning delivers a proggy space disco groover for all the sunrise movers in the form of "Turkis". If you were to stumble across a bizarre rarities version of Now! 86, made up exclusively of studio b-sides knocked up by engineers and session musicians while the stars were out celebrating Thatcherism, then this would very much be the vibe. Sounds good don't it! To rounding the EP off in style, Prins Thomas stops by to remix "Kanal" into a pumped up cosmic nodder par excellence. Our favourite disco viking strips the original back, amps up the 303 b-line and then adds a mesh of acid squiggles on top as the track blasts us off to distant galaxies. Highly recommended!


                                        Piano Piano / Barbados

                                        Those expert ears at Aficionado work their magic once again to coax two stunning sounds out of the aether and into the warmth and comfort of a 12" vinyl. Harnessing the power of the international Balearic brotherhood, 'nado sought out these sublime frequencies from Italian sorcerers Tempelhof and transmitted them directly into our lives. Freshly inspired from recording an album with ambient maestro Gigi Masin, the Mantuan duo deliver two pieces united in quality but diverse in mood.

                                        On the A-side, 'Piano Piano' captures that bittersweet sensation of a joy you wish would last forever but you can't stop slipping through your fingers. Rhythmic guitar, emotive piano and rising strings build into a towering sculpture of sound decorated with blossoming chimes and intricate percussion. Over the course of nine minutes Tempelhof take us on a journey through euphoria and melancholy arriving at the perfect Balearic end of nighter. After all that exhilaration we're in need of some respite and our Italian guides duly oblige with B-side cut 'Barbados'. The intro of cadent guitar, serene synth washes and rippling hats invite you to slip your mooring and drift away to a distant land. The track swells like rising waves before crashing into a shower of rattling percussion, loon calls and echo drenched snares. Suddenly your mind floods with memories of Arthur Baker remixing New Order and the guitar and synth return in natural harmony like surf washing over the shore. On this 12" Tempelhof take us on a one way journey to emotional release, flying first class with all the perks.

                                        Officially Aficionado

                                        Clover Lane marks the Yep Roc debut for Americana singer-songwriter, Jonah Tolchin. The album was recorded quickly and spontaneously in Nashville, Tennessee with an impressive cast of characters that include Chris Scruggs, Steve Berlin (Los Lobos), John McCauley (Deer Tick), and Mickey Raphael (Willie Nelson). As a songwriter, Jonah bridges the gap between classic folk self-sufficiency and punk's DIY defiance; he plays everything from roots and Americana music to old time folk and acoustic blues.

                                        Trulz & Robin

                                        I Takeskogen / Mosemannen

                                        Two of Norway's most far out and least well known producers make their Full Pupp debut with these two brain bubbling tracks of offbeat house. Trulz Kvam & Robin Crafoord hail from Oslo (where else?) where they have been making deranged and deep Detroit influenced Transmatic slow electronic house since the turn of the millenium. They like to call their particular strain of dancefloor brilliance "acid-house-gone-organic", and off the back of the Drexiyan machine funk of "I Takeskogen", I'm inclined to agree. The duo combine the familiar Norwegian sounds of twinkling synths and kosmische sequences with a gliding bassline and a shuffling drumbeat worthy of the first wave's finest. This is one of those wonderous grooves that works your body without fail, but will take you to another plane if you let your mind be free. On the flip, "Mosemannen" is an immersive synth driven soundscape so deep it bypasses the ocean floor and heads straight for the insanity of the Earth's core. The growling bassline rumbles away like shifting tectonic plates revealing the bleeping machines buried in the depths by the ancients. Sorry, that went a bit Matt Ward, what I mean to say is, this is deep and contemplative business on a future primitive vibe.


                                        Somebody / I Want You - Roman Flugel / Alan Fitzpatrick Remixes

                                        Prime Numbers bring the curtain down on their Trus'me remix journey with a couple of proper blockrockers from Roman Flugel and Alan Fitzpatrick. Given a free hand to select a track at will from the acclaimed "Treat Me Right" LP, German legend Roman Flugel plumped for the moody and brooding "Somebody" and ratcheted the tension right up. Stripping the drums back with the kind of subtlety he delivers as standard and looping up that hypnotic organ part, Flugel builds the groove expertly with delay and a perfect flow. If you dug on his ace Jack For Daze release last year then this is a track you need in your life. On the flipside, Trus'me's sleazy little groover "I Want You" gets jacked up on steroids by Alan Fitzpatrick and dumped in the soundsystem starting fights with itself. Southampton's king of techno lays down a thunderous kick, loops the vocals and adds a neat little offbeat vamp and lays waste to the system. Fitzpatrick's rocking some seriously insistent action for the heads down crew and once he unleashes the bleeping synths in the second half it's game over. A fine way to finish the series.

                                        STAFF COMMENTS

                                        Matt says: Hi-grade technoid paranoia supplied by Roman Flugel. While Alan Fitzpatrick goes on sophisticated techno romp that'll get the Fabric heads twitching. Excellent stuff.

                                        Real Soon brings together a trio of heavyweight practitioners in the fine art of house music to remix tracks from Ultramarine’s critically acclaimed 2013 LP "This Time Last Year". Atlanta’s Kai Alce and Amsterdam’s Juju & Jordash are Real Soon veterans with five releases between them on the label whilst this EP marks the debut of long-term Ultramarine admirer Andy Butler of Hercules & Love Affair who teams up here with Viennese producers Ha-Ze Factory. Kai Alcé and Hercules & Love Affair take care of business on the A-side with two mixes with a similar approach; raw, jacking and dancefloor friendly. Kai gives "Eye Contact" a Chicago-flavoured jazz twist with a bassline reminiscent of Glenn Underground, fleeting high-register piano and thunderous drums. On "Passwords", Hercules & Ha-Ze layer rhythm and vocal samples from the original track and punch a hole in them with brutal sawtooth basses and bouncing syndrums. On the flip, Juju & Jordash reduce the downtempo "Decoy Point" to a warm, pulsing mantra. Throbbing organ and accordion drones, synth pads washing up in waves, a heartbeat kick-drum, ambient sounds from the room next door; all heard as though waking from a heavy, troubled sleep.

                                        STAFF COMMENTS

                                        Matt says: With an all-star cast of remixers at the knobs it's no wonder this is causing a flurry of excitement here in Manchester at the moment.

                                        The Unheard

                                        Untold Stories In Music The Compilation

                                        Fifth release for the Unheard here, on the Unicycle Nutfish Productions label, following on from the the 'Untold Stories In Music trilogy, here is a double vinyl compilation featuring 14 new tracks, and eight others hand picked from past releases. The styles vary from chillout lounge, to upbeat grooves, big breaks, and cut & paste. 300 copies only.

                                        In a past life Vito & Druzzi toured the world with the likes of LCD Soundsystem and Soulwax as members of influencial NY punk-funkers The Rapture, but these days the duo split their time between all night sessions in their Brooklyn studio and DJ duties at raucous night spots across the world. This debut release on Throne of Blood marks the first airing of the fruits of their studio graft, and is surely only beginning for this new stage of their musical lives. “Moon Temple” and “King of the Jungle” have a classic (but not retro) feel to them: “Moon Temple” gradually builds towards analog madness, the groove held together by relentless rim shots reminiscent of Plastikman’s seminal “Spastik”. ”King of the Jungle” is to Chicago what “Moon Temple” is to Detroit: slightly groovier, with ample use of organ sounds that’ll please fans of Mike Dunn, all while retaining the same modern analog approach. Again, rimshots are omnipresent, but what did you expect coming from the guys who inspired an entire decade of cowbell driven disco jams?

                                        Curses reworks “Moon Temple,” molding the track into a'“doom house' stormer that fits right in with his 'Call the Doctor EP'; The reverbs are cavernous, the bass is low and the vibe is right. Fresh off their 'Achilles EP', PBR Streetgang house up “King of the Jungle”, adding hats, cut up vocal bits and sirens, steering the EP right into the middle of the dancefloor. Literally and figuratively, this is 100% Throne of Blood.

                                        White Noise

                                        An Electric Storm - Vinyl Edition

                                          Cited as an influence by Aphex Twin and Chemical Brothers, White Noise's "An Electric Storm" was the work of American-born David Vorhaus, Delia Derbyshire (who had created the electronic version of the Doctor Who theme for the BBC) and Brian Hodgson. 1969 was a year which saw the world of popular music blossom. Musical freedom was the watchword and experimentation was welcomed by an ever increasing underground audience who were eager to feed their heads with ambitious albums by acts who embraced the worlds of rock and the avant garde. It was also a year in which independent record labels began to make their commercial mark in Britain. Of these companies, Island records was undoubtedly the biggest player.

                                          Of all the albums released that year by Island, "An Electric Storm", by White Noise was by far the most experimental and ground breaking. The album was equally surprising for the fact that two of the three members of White Noise were not long haired rock musicians, but were respected pioneers of electronic music who worked at the BBC's legendary Radiophonic Workshop. Initial recording work was undertaken by Vorhaus, Derbyshire and Hodgson at the BBC Radiophonic Workshop in Maida Vale during the night after staff had gone home. '

                                          It was all very unofficial and the BBC was unaware of us using the studio and equipment for our own ends' recalls David. 'However, it's common knowledge now that the first couple of tracks recorded by White Noise were actually recorded at the BBC, so I think it's safe to come clean!'

                                          The Whole Truth returns for a second round of precision engineered dub boogie hybrids, this time featuring the mighty Mo Kolours on vocal duties. The first Whole Truth release, which featured Errol Bellott, garnered praise from DJs like JD Twitch, Hugo Mendez and Zaf Chowdhry as well as Piccadilly Records mailorder legend Dave Walker, and WT002 finds this anonymous project exploring even more dubwise territory. One-Handed's Mo Kolours guests as a singer and percussionist on the lead track, "Don't Tell Me No Lies" a track which sees dub basslines and offbeat vamps played on D-Train's studio set up for unique sound that's as much Jamaica as it is Queens. "Steppas Don't Lie" is more than an instrumental version, stripping things back, picking up the pace and aiming the track squarely at the dancefloor. On the flip, "Truth Groove" blasts off into the boogie galaxy ruled by the likes of Convertion, John Davis and KID, effortlessly firing off shimmering synths and twinkling sequences while that classic boogie b-line rolls away underneath. The set closes with the super heavy digidub of "Myth Dub", a dread version of the B1 which you're gonna hear rattling cabs throughout the summer. Full bespoke artwork comes courtesy of Lewis Heriz, known for his contributions to the Sofrito and Soundway labels.

                                          Another solo album by the highly prolific yet always captivating Richard Youngs, whose music can waver healthily between new forms of singer-songwriter material, lo-fi drones and all manner of avant-garde forms/non-forms. On this album, Primary Concrete Attack, he utilises a borrowed spring reverb generator from his friend, Luke Fowler, to rise to the challenge Richo at FD set him of creating a dub record. Whilst not liking reggae or dub himself, Richard Youngs professes a huge passion for tape echo and spring reverb, plus loves a hearty and perhaps provocative challenge. The eight tracks that make up Primary Concrete Attack, as perhaps expected, bear little in common with a dub record and fall far closer to the idiosyncratic worlds Richard Youngs generally appears to feel happiest in. Combining electronic splurge with all manner of loops and various sound sources, this album focuses very much on their effects and how to play around with them as much as the original sounds. Like Calmont Breakdown before it, also released by Fourth Dimension Records in 2013 and now sold out, this album is not an entirely comfortable listen. In the hands of Richard Youngs, however, this is always a good thing.

                                          Zero 7

                                          Take Me Away / U Know

                                          Soulful sonic architects, connoisseurs of beatific beats and sound design par excellence - Zero 7 - return with the kind of sun-kissed, blue-sky studio twinkling you’d come to expect from the boys. You could use the term ‘veterans’ to describe Henry Binns and Sam Hardaker and you might well be right but they remain inspired, enthralled and enraptured by new sounds. Still fresh then.

                                          “We're really glad to let you know that we've got a couple more 12" releases coming. The second of which, 'Take Me Away' features (the one and) Only Girl on vocals. On the B-side of this one is a track we knocked up after a long hang out at Block 9 at Glastonbury last year called 'U Know'. We hope you enjoy these next instalments …..and as always, massive thanks...S & H x”

                                          'Take Me Away' exemplifies the boys cinema-scope, widescreen sound and ambition. A tight, in the pocket bass line takes root over skittering, celestial synths and Only Girl’s sublime vocal line. This could be a phuture-phunky Quincy Jones track, utterly infectious. In perfect tonal-tandem with this is the uplifting, techy-pop of 'U Know'.


                                          The now legendary Beck, Song Reader - twenty Beck compositions previously released exclusively as stunningly illustrated sheet music in partnership with McSweeney’s - receives a long awaited traditional release when Warby Parker/Capitol Records issues the Beck Song Reader compilation album, produced by Beck and Randall Poster, known for his music supervision work with directors Wes Anderson, Martin Scorsese, Sam Mendes and many others. Warby Parker will commemorate the release of Song Reader by reissuing limited-edition Carmichael frames created in collaboration with Beck, this time in Black Cherry—as well as a new edition of the Song Reader book, featuring two new prints from artist Marcel Dzama.

                                          The 20-track all-star collection features exclusively recorded versions of Song Reader charts by the likes of Jack White, Jeff Tweedy, David Johansen, Jason Isbell, Fun., Eleanor Friedberger, and several more including Beck himself.

                                          The Warby Parker release of Beck Song Reader marks the first officially recorded incarnation of the project, which has already inspired interpretations from hundreds of musicians the world over. The record includes the studio-quality debut of songs previously only played live either by Beck himself or at one of the handful of Song Reader concerts staged over the last two years. The most recent of these was presented by the L.A. Philharmonic in partnership with McSweeney’s and Warby Parker at the Walt Disney Concert Hall in Los Angeles on November 24, 2013. Described by The Los Angeles Times as an “expertly delivered and received night… another big step in Beck's long, fascinating evolution,” the show’s highlights included Jarvis Cocker’s interpretively danced “Why Did You Make Me Care?" and Jack Black’s borderline frightening “We All Wear Cloaks,” the latter of which makes its recorded debut on the Beck Song Reader album.

                                          Next up on Ivan Smagghe and The Ginger Prince's home for dark disco oddities and pulsing punk obscurities is this snapshot into the weird and wonderful world of Downtown Tel Aviv. After a few strung out trips to the city Ivan began to get an idea of the extensive and more importantly, quasi forgotten, wave and pop scene from Israel. Blown away some of the tracks passed on to him, He and The Ginger Prince thought it would be perfect start for the LDDLM reissues series, with edits and originals sought out and sequenced. "Gazolina" by Chromosome is one of those record hunters' holy grails. Fetching far too much money on Discogs these days and having been a DJ set staple of Red Axes for years, it was only natural that Niv and Dori got their hands dirty. Rather than using those modern tools to smooth the edges and polish the track up, instead their edit keeps the raw punk rage of the original and is all the better for it. Nosei Hamigbaat's "Birthday" was the track that triggered it all and appears on vinyl for the first time in 30 years (I strongly recommend buying the CD of their album on Anova, a label dedicated to excavating the TA underground). This is a heavily psychedelic romp, as if the 13th floor elevator had stopped on the 1983th floor, happened upon a cocaine fuelled jam between Grauzone, Mathematiques Modernes and Material and then promptly disintergrated in sheer excitement. This unclassic has been left untouched, in all its original beauty. The purists might take issue with the inclusion of Tova Gertner, as she was not technically part of the Downtown Tel Aviv scene, but we all know how boring being a purist is. Her 1987 single "Etmol" was a chart hit in Israel on its release, and the pop brilliance on show was too much for the label to let pass. Tim Paris and Ivan Smagghe are on It's A Fine Line edit duty and transform the song with that same queasy psychedelic bent they specialise in (see their edit of GB and the Tracks' "Woman"). They've even beaten us to it and made up a genre for it, Balnearic, the sound of the beach and the nose bleed - There may well be pianos but your hands aren't in the air, but in your pockets, searching for those empty wraps. Get ready for the super cool bit, this vinyl has a spiral groove, 'linking' the It's A Fine Line edit to the original, but still enabling you to play one or the other, call it a 'mix of two halves'. If ever you play in Tel Aviv I strongly recommend dropping it.

                                          Various Artists

                                          Autonomous Africa Vol. 3 - Midland / Auntie Flo / JD Twitch / General Ludd Edits

                                          Autonomous Africa returns with the third instalment of future thinking dancefloor action inspired by the mother continent. The returning cast of Midland, Auntie Flo and JD Twitch are joined this time round by Glasgow funksters General Ludd, who've been on an upward trajectory since their killer cut on Mister Saturday Night. Midland wins the toss and takes kick off, marrying clattering African drumming and chant with the most ribshaking bass house you'll hear all year. "Safi" is a straight up peak timer made for big rooms with proper systems. I can just see a floor going wild as those crashing ceremonial drums duel with the round synthlines; completely massive. General Ludd take a circuitous route to the club, opting for the deep and dubby realm of the backroom or basement over the glitz and glare of the mainroom. "Burning Mack" is a subby and dubby percussive groove with a hint of vintage Noid thrown in, which heads deeper and deeper until arriving at the cacophonous reverb chamber where all manner of fx hell breaks loose. Kickin Pigeon tackle I reckon. On the flip Huntley & Palmers man Auntie Flo steps into the fray with the hypnotic pulse of "Daabi". The producer lays an insistent vocal over a minimal backing, gradually building up the drum track with 808 claps, gentle jacks, and jungle bleeps until you've got a stomping and psychotic floor burner on your hands. That leaves Optimo boss JD Twitch to bring the curtain down, or the sun up with the deep and dense "Maya". Twitch opens the track with a polyrhythmic groove made up of clattering bells, taut conga and stuttering drum machines before introducing the slightly out of place synth melody and subby bassline. The track evolves through this madcap musical collage into a sunrise hymn of swelling synths and sampled vocal, preaching a sermon of identity and equality. Four cuts of Afro influenced brilliance with all proceeds donated to the Mtandika Mission in Tanzania, which is run by Midland's parents. This third edition keeps the quality sky high and paves the way for an Autonomous Africa compilation later in the year.

                                          Various Artists

                                          Ghostbusters - OST (30th Anniversary Edition)

                                            2014 marks the 30th anniversary of the iconic 1980's move "Ghostbusters" & its classic soundtrack.

                                            This 10 track, 120gm, LP vinyl format is being reissued after a long time out of print and is limited to 1000 copies.

                                            Just when you thought it was safe to go back in the water, the critically acclaimed H-Track crew get back to waxing ways and demand your presence on the beach bar dancefloor for the foreseeable future. The H-Track series may not have been the most prolific over the last six years, but their work is always high on quality, even if it's lacking in quantity. For volume 4, H-Track is joined on production duties by Mancunian chum Haners and old time associate Tony Watson, who makes his vinyl debut. Haners jumps straight into the action on the A-side with an amazing extension of Dutch soft rock also-rans Rene And His Alligator and their 1982 recording "Can't Live My Life". There's no doubting that this is one of those songs that makes you think there is a galactic ocean's worth of more to discover, just when you thought you'd heard it all! A gentle yacht rock groove rolls away underneath the exotic kalimba and West Coast guitar licks while Renee's vocals steal you away to a distant land. It's a divine trip you don't want to end so it's just as well that Haners has doubled the length. On the flip, official edit debutant Tony Watson gets his scalpel stuck into the opening track of Eurthmics' soundtrack for the big screen adaptation of 1984. Dave Stewart described the album's sound as "Kraftwerk meets African tribal meets Booker T and the MGs", and it's difficult to disagree when you're listening to a zero gravity afro cosmic bomb of this magnitude. Watson's rearrangement takes the original to the next level of Baldellian brilliance and provides a lysergic dancefloor delight of the highest order. Last up, it's the turn of H-Track himself to take centre stage, which he does with the panache of a seasoned pro. Finally making his long time secret weapon "Lifestream" available for public consumption, H-Track unleashes an intergalactic wormhole powerful enough to invert the fabric of space itself. From an opening reminiscent of an 80s new age album, the track kicks into gear and transforms into a cosmic dancer you'll be powerless to resist with it's chugging bass power and hypnotic synth parts. A fine return, and hopefull the sign of more to come.

                                            STAFF COMMENTS

                                            Patrick says: If you're a fan of obscure Dutch soft rock (and let's face it, who isn't!) then the edit of Rene And His Alligator's "Can't Live My Life" will be a winner for you.

                                            Various Artists

                                            I Am The Gorgon - Bunny 'Striker' Lee & The Roots Of Reggae

                                            "‘Gorgon’ was a tune that Derrick Morgan did. ’Conquering Ruler’. I had a friend and he used to say ”Boy the man there a Gorgon” - it meant he was the champion. Derrick write the tune off his tune and I said “Cornell I want you to sing it”" - Bunny Striker Lee

                                            Bunny Striker Lee’s standing in the Jamaican recording business has remained unassailable for over four decades. Bunny is known by many aliases including ‘Gorgon’. It was Cornell Campbell's ‘Gorgon’ produced by Bunny in 1975 that proved to be one of the defining records of the mid 70s when cut after cut after cut of tracks driven by Carlton "Santa" Davis newly invented "flying cymbal" style drumming dominated the dancehalls.

                                            This double vinyl pressing includes cuts by Delroy Wilson, Cornell Campbell, Dennis Alcapons, The Uniques, Ken Boothe, Horace Andy, Johnny Clarke, Max Romeo, Stranger Cole & Tommy McCook, Prince Jazzbo, Linval Thompson and many more.

                                            Real jazz in the ‘70s and ‘80s had a hard time commercially, with the majors downgrading their investment in the music and concentrating on safe reissues, more easily accessible fusion, and areas more lucrative than jazz altogether. But at the same time, there was an efflorescence and democratization of the music.

                                            The black nationalist politics of the late ‘60s had registered a profound influence on the consciousness of the United States, and the music was reclaimed for black audiences, with a plethora of community-oriented artists putting out intense, committed, recordings on small independent labels … the ‘private press’, hence the ‘private jazz’ you hold in your hands. Whilst jazz education course began to take off at colleges, and independently-minded community radio DJs would support the music, it rarely had distribution. For many of the tracks here, the main sales would’ve been directly from the performer to the public, at gigs.

                                            Meanwhile, in the UK, where jazz had been part of an underground, cutting-edge youth culture at least as far back as the ‘modernist’ 1950s, a selective group of DJs on the jazz-funk and soul scene that exploded, with countless club-nights and all-dayers, at the end of the ‘70s, started to dig a little deeper for their tunes.

                                            One such was our compiler Kev Beadle, who went from being a punter on the scene to a prime mover-and-shaker. Kev attended all the important jazz-dance nights that sprang up in pub backrooms like The Horseshoe and Soho dives like The Wag (where he would soon begin a residency himself). Kev was very much involved with propagating the music and expanding the scene with his promotion at The Belvedere in Richmond, and then, most famously, the afternoon sessions at Dingwalls alongside Bob Jones and Gilles Peterson. He was also involved in the early days of the Southport Weekender, where he now has a major role as programmer of its Beat Bar room. Kev’s expertise was in demand with record companies: he compiled a series culled from the Argo/Cadet archives for Charly (mostly funky soul-jazz) as well as an important retrospective of Terry Callier, and jazz-funk and soul from the Capitol vaults for Blue Note. Many of the tunes we present here first got an airing outside of their home states at those legendary club sessions, where the music changed from its earlier emphasis on hard-bop and bossa to modal, spiritual and ‘cosmic’ jazz. It’s fair to say few of their creators probably ever imagined they were making dancefloor hits, but Kev and his DJ contemporaries blazed a trail there that the music is still registering.

                                            These tunes were rarely found outside of the hands of a few enterprising record-dealers, specialist record shops, and latterly, internet auctions. Kev Beadle’s desire to push the boat out musically led him to most of these tunes two decades ago, but for most listeners, the music will be experienced as upfront and progressive. It’s an uncompromising collection, making accessible music that has never really received the truly wide audience it deserves highlighting a range of artists representing yet another chapter in black America’s fascinating musical history.

                                            Compiled by Kev Beadle - one of the UK's original jazz dance DJs

                                            It's Magic Wand time again, so don't tell JK Rowling (copyright), but I'm Olivander, you're Harry and this is wizard! Another four cuts of reworked obscurities perfect for the Balearic crowd to vibe on during the summer months. Magic Wand stalwarts Coyote dive in with the funked up 80s pop of "Budimo", which sounds very much like a lost maxi disc B-side from Germany's answer to early Spandeau. With its big metallic vamps and cocaine fuelled synth bassline, this is perfect for the peaktime sweat of the Outlaw's floor. Next up there's a Sunshine rework of the blissfully horizontal "Flowers In The Garden", which marries Dilla styled sampler work with shimmering echo and a lanugid funk bassline for maximum BBQ relaxation. Next up, Very Polish Cut out hero Ptaki hits us with brilliant version of Bucks Fizz' "One Of Those Nights", which rolls along with its low slung soft rock groove heading for the heart of the Adriatic beach bar. The new arrangement sees the vocals and almost unbearable chorus stripped back to the bare bones, placing maximum emphasis on that killer groove. We finish in tropical fashion with the impassioned South American disco of "Olhos Colridos", as reworked by Belabouche. This dope jam gets you locked in early before slaying you with an array of corking instrumental parts, while the whole track has the kind of EQ which feels like the sound is swelling in the heat. Ace. 

                                            Various Artists

                                            Soul City Philadelphia - Philly Gems From The Dawn Of Soul Music

                                            'Soul City Philadelphia' presents records which served to establish the musical direction of the city in the late 1950s and early 1960s, at the dawn of the soul era. Compiled and annotated by soul music authority Clive Richardson, Soul City Philadelphia is the latest in a series that has previously explored the nascent soul scenes in Detroit, New York, Chicago and Los Angeles.

                                            America’s fourth-largest city proved to be a focal point for money, growing to be a major banking centre on the East Coast, and money also brought music - as cited by Tony Cummings, author of The Sound of Philadelphia, the “Philly sound was made possible due to a web of coincidences which brought the right people to the right place at the right time.”

                                            The Philly Sound means different things to different people, depending on their age or musical era of choice. In the early 1960s the sound was likely to be the blasting sax solos and crisp snare-beat which typified the chart hits on Bernie Lowe’s Cameo and Parkway labels, generated by the key A&R duo of Kal Mann and Dave Appell. It is this style that forms the focus of this anthology, with Lowe’s labels being matched for independent success by the likes of V-Tone (run by Venton ‘Buddy’ Caldwell from 2034 Ridge Ave), Chancellor (run by Peter DeAngelis and Bob Marcucci from the Chancellor Room of the Hyatt Hotel), and Heritage (run by Jerry Ross). Also featuring are artists who originated in Philadelphia but who achieved success on labels outside the city, such as the Sensations, Solomon Burke and the Majors.

                                            Other famous artists included on this 60-track 2CD selection include Don Covay, Bobby Parker, Screamin’ Jay Hawkins, the Orlons, Donnie Elbert, Lee Andrews and Chubby Checker, but as always in this series, there are fascinating recordings by lesser-known acts.

                                            Here we have music from the formative period of the soul era in Philadelphia.

                                            Also available as 2LP vinyl collector’s edition, featuring 28 of the most sought-after tracks and colour insert.

                                            FORMAT INFORMATION

                                            2xCD Info: 60-track 2CD set, with colour illustrated booklet.

                                            Featured here is a new collection spanning Studio One’s dancehall period - singers and deejays on classic Studio One rhythms, studio and electronic wizardry from the Brentford Road headquarters, lots of rare 12” singles, all effortlessly brought together to nice up the dance.

                                            When Clement ‘Sir Coxsone’ Dodd first ruled the dancehalls of Kingston in the 1950s, fighting off the soundsystem competition of Duke Reid, King Edwards and others, few could imagine how far the reign of Studio One would last. However, the emergence of dancehall as a distinct style of reggae at the end of the 1970s, as upstart competing producers began recording vocalists and deejays performing over replayed classic Studio One rhythms, in many ways made the influence of Clement Dodd’s vision more omnipotent than ever before (and lasting to this day).

                                            Not surprisingly, Clement Dodd’s creativity and business acumen made him quick to respond to this musical phenomenon - he soon began voicing the new stable of Studio One singers and deejays, such as Sugar Minott and Lone Ranger, over original classic Studio One rhythms recorded in the late 1960s - by producing some of the most innovative, time-bending and creative music of his career.

                                            This album comes as CD with slipcase, super-loud, super-heavy triple vinyl with free download code.

                                            Magic Feet boss Craig Bratley shows some serious sense of humour with this four track, various artists, remix EP. Since the ALFOS associate features on every single track on the record, he's cutely titled this release the "Vanity EP", and he has every reason to be vain. This release is aimed at the vinyl completist and features four remixes which have so far been unreleased or received a digital release. We begin with a couple of Craig's remixes on the A-side, a percussion heavy rework of Catalepsi's "Quartz Giaponese", which gradually builds into a chugging zero gravity groover, and a super slo mo sci fi acid version of The Souls' "Tonight" which has been a staple of Weatherall's sets for quite some time. On the flip, the sought after Sean Johnston remix of "Obsession" takes us into the deep darkness of the nightclub black room with it's evil sleaze and S&M synth work. The EP closes with a balearic acid chugger as Craig reworks Four Walls into a languid funk groove with squeeling synths and lysergic washes.

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