Chantal Acda

Live In Dresden

A nice collectors follow-up to 'Let Your Hands Be My Guide'. Limited edition of 500 hand made/numbered copies for the world..

Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the With Our Heads in the Clouds and Our Hearts in the Fields (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on.

Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for this project. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group Mum had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room they formed an instant rapport.

The circle completed, Acda had found the 4 worlds that would enable her to record the album in full freedom. Power revealed through vulnerability. Nils Frahm, who plays throughout the record, also took on the role of producer. What began as a journey ended as this wonderful record - one wherein the five musicians were able to find their place and, together, and with great warmth, tell their nine-song story. Let Your Hands Be My Guide.

‘Live in Dresden’ features six songs from ‘Let Your Hands Be My Guide’ played by Chantal Acda, Alan Gevaert, Eric Thielemans & Gaetan Vandewoude.

Ryan Adams

Gimme Something Good

This is the first single from Ryan Adams self titled, self-produced new album (September 8th) on Pax-Am / Columbia Records.

Backed with an exclusive track "Aching For More".


Andy says: Powerful guitar riff, swirling Hammond, heartfelt 'n moody words. Ryan is back!


Ltd 7" Info: Limited gold vinyl 7".

Worship The Sun is an apt title for the second album from the LA-based group Allah-Las, the follow-up to their self-titled 2012 debut.

When The Distillery, the all-analogue studio in which their eponymous debut album was recorded closed its doors for the final time, Los Angeles’ Allah-Las could easily have forgone their sound and turned to a non-descript location to record their follow up. Yet Worship The Sun is a continuation in the band’s authentic West Coast vibe – staying true to their homegrown dwellings it was laid down in numerous locations across LA.

“We’ve had great experiences touring; we've been influenced by new environments and we’re always digging for new records, books, art and inspiration but there’s always a bit of anxiety as well,” tells drummer Matthew Correia. “We’ve skirted the law a few times, gotten out of some tight situations and luckily emerged unscathed; touring has given us a real appreciation for time at home.”

Worship The Sun is exciting and evocative, revealing the maturity of a band no longer starting out but working at the top of their game. If you’ve been waiting for more of that warm hazy sunshine goodness, well brace yourself for warmer climates, the outlook is good and it goes to show that you can take the band out of LA but can’t take LA out of Allah-Las.


LP Info: The vinyl includes the secret track "Abez Jam".

CD Info: The CD includes the bonus tracks "Every Girl" and "No Werewolf".

R&S are proud to introduce hugely talented new signing Alma Construct, AKA 19 year old Josh Thompson to the world for his debut self-titled EP.

From the throbbing bounce of Balearic-friendly opener 'On The Edge, Surrounded With The Shores Of Assudrey' to the menacing hum and snarl of 'Deer Drink From The River' it's clear that Alma Construct music is wildly ambitious and expressive. Taking inspiration from La Planète Sauvage a 70s stop-motion science fiction allegory by René Laloux, his music conjures up fantastical visions through caustic timbres and enigmatic melodies - on the flip 'Imagine Them's industrial beats, strobing synths and hypnotic BoC bass melody give way to Dialectic A and B - a pair of trippy, hallucinogenic audio workouts.

Thompson utilises an array of beatboxes, samplers, tape machines and guitar pedals to assemble his warm, immersive sound taking as much inspiration from his fascination with film and art as his obvious love for music.

There’s an array of styles on this debut EP and an obvious deft skill behind the machines that point to Alma Construct joining the ranks of some of the finest young producers in the UK.

Amadou & Mariam

Ce N'Est Pas Bon - JD Twitch Edit

As has now been universally scientifically accepted, JD Twitch can do no wrong, even when taking on the might of Mali's masterful Amadou & Mariam. If you've caught a few of his sets in the past couple of years (or heard Ben UFO and Midland for that matter) then you may recognise this gem from soundtracking a particularly celestial moment on the dancefloor. It's been a secret weapon for the Optimo man since 2008, and now thanks to this strictly limited 10" pressing, it can do the same for the likes of you and I. Twitch shows a subtle and well balanced touch as he adds some floor centric punch to the gorgeous music box melodies and droning guitars of the original, and tweaks to arrangement to allow the lush instrumental opening to blossom into the spiritual bliss of the vocal duet. All proceeds will once again go to the Mtandika mission in Tanzania and since this is the last Autonomous Africa release slated for this year, you'd best dig in to get your fill of the good stuff.

Fred P immerses himself further into his techno alter ego, bringing more depth and insight to the saga, using sound to transcend time and space. "Serenitatis" kicks things off in an intoxicating manner, long synth drones permeated with pumping, side-chained compression and a rumbling, rubbary kick drum rhythm. The perfect long, drawn out atmopshere which instantly transports the dancefloor into another world (or planet) and is brilliant for bridging spaces between more track-based or 'hooky' records. "Dark Population" could be one such record, with its wooden, cavernous lead motif firing up from the off. Tribal and minimalist at the same time, this one's crying out for a huge pitch black mainroom with super powered speaker stacks. As the track evolves the hook does too, growing in intensity and bounce and should see the floor unite under its mystic voodoo. "Convective Zone" concludes the set with squelchy synth elements meeting gliding basslines and rampant drum programming; again keeping things understated, sexy and sophisticated. It's Fred P alright - just not as we know him! Recommended.


Matt says: Anomaly is Fred P's dark, space-age techno alter ego and this SPM record is suitably prepared for galactic exploration.

A lost boogie / disco-funk masterpiece providing another glimpse into the genius mind of Slave founding-member Steve Washington and the Brides Of Funkenstein / P-Funk singer Sheila Horne Brody. 'Somebody' is lifted from a previously unreleased Aurra album originally recorded for Quincy Jones’ Qwest imprint in 1984. Slap bass, electro-funk heavy synths, Linn drums, sultry vocals… this is boogie at its finest!

Spread over two 45s (original vocal + instro versions on the first 7"), on 7"#2 nu-boogie's finest Dam-Funk adds a bit of dirt and grime by putting his signature 'Re-Freak' on the track. A confirmation from Los Angeles’ Ambassador of Boogie Funk that this is in fact the the un-cut funk and nothing but the funk.

If you heard Obsidian last year, you already understand. On his sophomore album as Baths, Will Wiesenfeld fully shed of his sonic influences with a staggering work of graveyard beauty. Contrasts to the other artists became null. Giving it a 8.6 “Best New Music,” Pitchfork hailed it as a “subversive work that gets uncomfortably close to pop, confronting closed minds with what they don’t want to believe.”

Always a gifted musician, Baths became a fully conceived artist: a songwriter of uncommon sensitivity, a whimsical and romantic spirit, and a lay-me-gently-down falsetto. Think of his Anticon EP, Ocean Death, as a companion piece—the Dia De Los Muertos to Obsidian’s Halloween. It’s title and the eponymous opening track existed before a single note of 2010’s Cerulean had been recorded. Darker in tone, they were always targeted for a sophomore album, but wound up a different cut of gem.

Ocean Death is the exquisite setting. Just five songs and a shade over 20 minutes, the idea was to avoid over-thinking. Songs were perfected not embellished. The subject matter remains dark-tinted pop. “Ocean Death” reclines in the aquatic seabed. The lyrics are simple and bleak, but the effect is celestial. The 3 a.m. introspection and heart beat pulse are almost reminiscent of Four Tet or Pantha Du Prince. The pulse is almost minimal techno, but it’s suffused with maximalist emotion.

A small part of Ocean Death was recorded in a hotel room in Spain, but it was mostly done at a friend’s home in LA, the same place where Obsidian was completed. Both records traverse similar terrain: morbid lyricism, direct vocal melodies, a felicity in subsuming electronic experiments into pop songs. It’s about death, apathy, and loneliness. It sounds like a final love letter to a chapter of life that has already ended - and maybe it has. Songs are currently being theorized for a third full-length, and the direction is vastly different.

It’s not normally in Baths’ nature to rehash old ideas. In a sense, Ocean Death was an experiment to animate these beautiful but discarded fragments. We’re lucky they survived. Baths has a rare gift for cloaking melancholy with gorgeous arrangements. The emotions are raw, but the musicianship is refined. Guitars are scraped and processed. Vocals are clipped and layered, drowned and resurrected. But what lingers are the songs themselves; ideas fully formed and immortalized, built to haunt forever.


Mini LP Info: Coloured vinyl pressing.

BE (Garth Be)

The Seven Movements - US Import Edition

In the mystical cycles of the sonic universe, every so often Manchester conjures up, seemingly from nowhere, an absolutely mind blowing LP; up there with anyone else the world over. Following in the footsteps of Moodymann's "Black Mahogany", Trus'me's "Working Nights", Floating Points' "Shadows" and more recently, Kyle Hall's "Boat Party" and llum Sphere's "Ghost's Of Them And Now", we have this expansive, full-vision of sound presented by our fair city's very own Garth Be. I don't make these comparisons lightly, but it's rare that something quite so perfect reaches our shop - and it's with great honour that I write these notes. "Marquis" opens with delightfully radiant pads and glowing licks that wrap around a bouncy, disjointed groove which Kyle Hall would be proud of. "Dreamline" retains that jazzy bounce and bright, optimistic keyboard work; joining the esteemed ranks of Vakula and all the aforementioned cats when it comes to sophisticated organic sound palettes. Then he flips the script. "Don't Want" is a PERFECTLY constructed MPC jam which should have Andres wetting his pants and Theo scratching his head. So onto the B-side and "Housekeysonbrandy" moves towards a 2AM dancefloor, rolling a tough mechanical train wreck across deep aquatic pads. The perfect pairing of hard edged tension coupled with blissful release. Smoothly inserting another smoky sample from the archives of Afro-American heritage. "Monday Club / Tuesday Nite" is possibly the elevated 'top ring of the pyramid', and aptly titled "On and On" - you won't want this beauty to end. Simple but ridiculously infectious, think "JB's Edit" on Theo’s SS001 - it really is that good. "GYB3" is the celestial workout you've been waiting for, and oh so perfectly timed! It's like Garth's some cosmic shaman, guiding us through our trip like a seasoned galactic explorer. In his own words - 'find your place in the cosmos and unwind your mind!' I felt like I'd been on a 250mics acid trip by the end of this track. Finally we have the most delectable of outro's with "Teakayo" - again working the MPC like Shane Warne works the reverse swing. Leaving you desperate for more, BE keeps things painfully tight and succinct, not a single groove on the record is wasted, and at least three of the tracks could well be extended across a whole side of a twelve inch. It's that Madlib-styled intensity which cuts each track at its very peak, keeping you riding the wave till the very end, with absolutely no room for boredom. Unrivalled.


Matt says: Anyone who's been pecking my bill recently will know how excited I've been about this dropping. The next beacon of light in Manchester's long musical heritage. **New US pressing on 180g vinyl and in hand-painted sleeve**


Ltd LP Info: *SUPER LIMITED* 300 180g, numbered copies - no repress. Individually hand painted sleeves by RICHARD HARRIS (Oi Polloi) and Garth Be. Logo design inspired by Rachel Dargave-Leafe.
More info at

Swamp81 kick off their latest offshoot Benton Beats with this three tracker of bass heavy dancefloor workouts from Benton himself, served on thick 180g wax and housed in an original Will Bankhead sleeve. "The Callin'" kicks us off with a rattling and clattering 'ardcore break packing seismic bass power and topped by floating diva vocals, and there was I thinking they didn't make em like this anymore! On the other side "Airtight" slows that juke bump down to a slinky mid tempo explores a soundfield rich in echnoing stabs, pitch shifted vocals and rumbling subs, perfect for getting your crowd nice and riled up. They said 'ardcore will never die, and it's back in full effect on "BBS Madness", as Benton lays a looped and skewed Scuba style vocal over some vintage breaks for a bit of classic system abuse. A fine start to this new limited vinyl only series.

The Black Madonna

Stay / Venus Requiem

The queen of the scene brings 2 tracks of gorgeous, emotional, disco-inspired deep house in the vein of her sought-after 2013 Argot release. Already getting played by Derrick Carter, Mike Servito, and more. 300 with menu attachment.


For The Feel

After spending the past year touring the US and abroad, the Clavin sisters have settled back into their LA digs long enough to bestow upon us a few more nuggets of dirty, blissed out hits.

Bleached had this to say about the title track: "For The Feel is a song we originally wrote for our full length but it didn't sound right once recorded so we held off on putting it on the record. Finally when it came down to recording it again we were really inspired by the sound of The Kinks, we even used The Kinks amp. I'm really glad we waited to release this song because now it's perfect."

On the flipside, they've churned out two jukebox classics; "Poison Ivy" is inspired by The Rolling Stones' take on The Coasters (and Bleached's love of both) and a live show favorite, The Damned's "Born To Kill" finishes out the sweaty dance party to perfection.

Limited, of course, and yours for the taking.

Blue Phantom


    Reissue of classic 1972 progressive/psych rarity. Comes with the original UK sleeve. This all-instrumental exploitation album is a heavy acid-rock symphony, an unclassifyable hybrid of orchestrated pop and trips gone awry. For the strong-souled among us. Highly recommended!

    Sophomore record Just Enough Hip To Be Woman is a bold step forward for BRONCHO.

    Though it certainly bears the hallmarks of their previous work — fuzzy, guitar driven rock - the production and energy of the record moves into decidedly sleeker and decidedly more new wave directions (think Cheap Trick meets the Drive soundtrack meets every great song from Fast Times at Ridgemont High meets the greatest after-hours party you’ve never been to).

    Tracks like “Stay Loose,” “NC-17” and “What” are the kind of pop-rock that could have easily been beamed in from the same universe that gave rise to The Cars (or a looser version of The Strokes), while the album's first single, “Class Historian” — with its unstoppable “do do do do” vocal refrain is the kind of song that seems scientifically engineered to stick in your brain forever and is arguably best played loudly over a car stereo with the windows down and your long hair blowing in the breeze.

    Clocking in at just more than 30 minutes, the eleven tracks on the new record are a potent statement of intent: an effortless sounding rock record that dips its toe into a variety of different styles without every succumbing to any of them. It’s a record that sounds like the summer. Or the future.

    Brooks And O'Hagan

    Other Voices 01

    The new series of singles by regular Ghost Box artists, the series is called Other Voices and kicks off with a collaboration between Sean O'Hagan of the High Llamas and Jon Brooks of The Advisory Circle.

    The new series of singles by regular Ghost Box artists and some very exciting guests commences later this month. The series is called Other Voices and kicks off with a collaboration between Sean O'Hagan of the High Llamas and Jon Brooks of The Advisory Circle.

    Jeff Buckley

    Grace - Vinyl Extra Edition

      New vinyl series from Sony Legacy UK. "Vinyl Extra" are classic albums, re-issued on heavyweight 180gm black vinyl, including a card slipcase CD insert.

      "Grace" is the only complete studio album by Jeff Buckley, originally released on August 23, 1994. After the death of Jeff Buckley in 1997, the album grew to be one of the most important album's of the 90s. The album was produced by Andy Wallace who had mixed Nirvana's album "Nevermind".

      In addition to seven original songs, the album included three covers: "Lilac Wine", based on the version by Nina Simone, "Corpus Christi Carol", from Benjamin Britten's A Boy Was Born and "Hallelujah" by Leonard Cohen. Jeff recorded the album with bassist Mick Grondahl, drummer Matt Johnson and guitarist Michael Tighe.

      The Bulletproof Bomb

      Five Green Bottles

      The Bulletproof Bomb are five 18 year old South Londoners armed with guitars, infectious songs and a very exciting future. Their self released debut single gained unprecedented attention including support by Zane Lowe on Radio 1 and bookings for the forthcoming Bestival and Reading & Leeds Festivals. They now release their second single ‘Five Green Bottles’ on the 8th September. Get on it now - The Bulletproof Bomb are ready to explode.

      When The Bulletproof Bomb self released their debut single 'Suitcase' in March, they expected to get some constructive feedback and tentative interest at best. 
Bless them though, what they actually got was a flurry of support, including a Zane Lowe ‘next hype’ play on BBC Radio 1, several BBC London Introducing plays and immediate bookings to play Ibiza Rocks The Snow, Boardmasters, Bestival and Reading & Leeds!

      Buoyed by such a positive first foray, they now release their second single, 'Five Green Bottles' which is backed with a second track 'Shoes'. Both tracks were written and recorded by the band but like the first single, produced by Rory Attwell in his floating studio on the River Thames. 
Rory is well known for his work with The Vaccines, Yuck, The Palma Violets and now The Bulletproof Bomb! Self-releasing through Paper Round Records, 'Five Green Bottles' shows the band's first release was no accident. It does reveal a slightly different side to the band but their raucous edgy guitar driven sound is still more than present whilst front man Joel Douglas’ hooks and reels you in with his distinctive vocal delivery.

      Krautrock, that perennial badge of hipness. The ultimate honorary title for repetitive music, as played by Camera. In fact, the Berlin band's penchant for playing without permission in underground stations or other public places (in the gents at the Echo awards ceremony) has seen them dubbed "Krautrock Guerilla". Camera are not seeking to emulate the sound of older Krautrock bands, in any case. Nor have they been listening incessantly to NEU! or Can.

      "Perhaps we just have the same angle of approach" suggests keyboard player Timm Brockmann, "we start playing and simply go with the flow." Motorik-driven, energetic stretches laced with psychedelic overtones rise up from keyboards, drums and guitars, much as they did for the pioneers of German Krautrock some forty years ago. On the back of "Radiate!", their debut album in 2012, Camera extended their range to Russia and the USA.

      Whilst "Radiate!" was entirely the product of studio improvisation, "Remember I Was Carbon Dioxide" sees Timm Brockmann and drummer Michael Drummer revisit and revise jams supplemented by various different guitarists and other guest musicians, exploring the possibilities of the studio as a reflection loop. Without losing sight of their overriding impulse to improvise-which is, after all, the essence of Camera.

      Catfish And The Bottlemen

      The Balcony

      From Llandudno, North Wales, this four piece is fronted by outspoken and charismatic frontman Van McCann, release their debut ‘The Balcony’ on Island Records / Communion.

      Includes the singles ‘Fallout’, ‘Kathleen’ and ‘Cocoon’. Produced by Jim Abbiss, the man behind critically acclaimed releases by Arctic Monkeys, Adele and Kasabian.

      Following last years determined studio double LP, Euporie Tide, Causa Sui returns to improve with a third round of mindbending jams feat. Ron Schneiderman! The savage, kaleidoscopic improvisations of the quintet's previous two volumes instantly gained reverence among fans of free flowing krautrock and detuned stoner rock, and this brand new addition, recorded in the late summer of 2013, fullfills the group's potential entirely. The krautrock grooves, the low-end heavyness and the sprawling furor is still very much present - but this set is also permeated by a rare free jazz-sensibility, at times recalling American masters of improvisation such as John Coltrane and Don Cherry in spirit. Ferociously experimental, yet absolutely welcoming and corporal. One eye looking back to the golden age of improvised music, the other looking straight ahead, into the future.

      ”Incipiency Suite”, which takes up the entire B-side of this record, stands as the high pinnacle of what this group is capable of with the inclusion of Ron Schneiderman: an afternoon of spontaneously recorded parts, cut-and-pasted into an abundant whole by studio wiz Jonas Munk, creating a unique interplay between in-the-moment improvisation and creative studio editing. History: Ron Schneiderman (aka Pewt'r) from American impro-rock collective Sunburned Hand of the Man first got together with Danish stoner/kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania – Copenhagens autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt'r jjjjj, and became widely admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel.

      In the early summer of 2009 Ron Schneiderman was back in Denmark, this time for a threeweek stay as co-curator of the art-and-music event Festival of Endless Gratitude in Copenhaagen. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui's studio in Odense, which resulted in Pewt'r Sessions 1 and 2 The group got together again for a performance at 2012's Roskilde Festival and later again at Festival of Endless Gratitude in the summer of 2013. It was during the latter sojourn that Pewt'r Sessions 3 was recorded.

      It's time to make another nightime foray into the DJ International Batcave, this time to snatch the raw, stripped back and jackin' Chi town sound of Chip E. Originally released all the way back in '85, "Jack Trax" is one of the bonafide classics from the first wave of house, laying the blueprint for many a warehouse jacker to come. The pitch shifted insanity of "It's House" sets the wheels in motion as we cut a rug to its delirious minimalist groove. Next Chip hits us with the anthemic "Time To Jack", a percolating hit of proto acid which sees the producer firing up every sample in the TR repertoire while the bassline rolls on. The flipside offers the mindbending delights of the dub mixes, which turn the o.g.'s inside out, take a hit from the sherm stick and go bananas. When you factor in a tasty drum track on the A3, and a mid tempo roller on the B3, you know you're in business with this one. Get jackin' folks!

      A 24 track double CD (18 track double LP) compiling EPs, obscurities, songs in German & French and a cover of "Diamonds Are Forever". Partly recorded by Steve Albini. With extensive sleeve notes by Cinerama's bass player.

      Cinerama is David Gedge’s ‘other’ band, formed in 1998 when The Wedding Present were taking a break. They have released three studio albums and three compilations, of which Seven Wonders Of The World is the third. The Cinerama compilations round up singles and EPs and principally feature tracks that were not included on the studio albums. The CD version of Seven Wonders Of The World also features a stripped down acoustic session that Cinerama recorded for the KRTU radio station in San Antonio Texas in 2009.

      Gedge used Cinerama to explore a different musical territory to The Wedding Present and often cited John Barry and Ennio Morricone amongst his influences. Although this gave the band a big screen filmic feel Cinerama also often incorporated classic pop as well as surf music into their sound. Some of the singles on Seven Wonders Of The World were taken from Cinerama’s 2002 album, Torino, which was described by Uncut Magazine thus : “Cinerama are escaping the shadow of Gedge’s illustrious indie-legend past. Torino is a giant beast of adulterous lyrical fantasies, cult soundtrack flourishes and the screams of Steve Albini-engineered guitars”.

      Wild Oats presents Da Sampla's "West Side Sessions". This wonderful project is by Detroit techno legend Anthony 'Shake' Shakir. Limited to 800 copies, the release comes as a LP + 7", all with signed, stamped and screen-printed sleeves. Featuring rare, out-of-press Shakir joints and some new collaborative material between him and Kyle Hall. Rather than a full length album, the release presents a number of jams, tracks and tools in an easy to use format. A secret package of Detroit firepower if you will. "Pursuit Mix 3" and "Pursuit Mix 2" are both extended club jams which work as either tools or stand along tracks. Lots of live percussion and filter use alongside a chugging Detroit kick. Organic techno in that Shake style, which is totally in fitting with the Kyle Hall / Wild Oats ethos. "Over" on the flip uses a well known disco sample to devastating effect. Proper bumping Detroit disco-tech with rough-as-a-bear's-arse sample chopping and serious party energy! "Track Four" is just as relentless, with looping strings and a powerful kick riding a massive slapbass line and more rough cuts. The 7" is more tailored to being a DJ tool, with "GJ" and "FRCT BEAT #6" being live percussion workouts with extra effects and manipulation, with each featuring a locked groove version at the end. Perfect for 3-deck action or just adding some extra drums to some crazy acapela or summat. A real head turner in these days of laptop DJs and Serato. An exceptional release, beautifully put together and pretty limited in number - move fast if you want to snaffle a copy.


      Matt says: Timely repress of this Wild Oats classic featuring the amazing Shake Shakir. Recommended if you missed it first time round.


      LP Info: Limited LP + 7". Repress - this time with printed sleeves.

      Toronto-based dance-punk duo Death from Above 1979 return with a brand new album. Their previous full-length album, You're a Woman, I'm a Machine, was released in late 2004 on Last Gang Records. The band broke up in 2006, but announced a reunion in 2011.


      LP Info: Die-cut sleeve with printed inner.

      CD Info: CD with 4 panel digisleeve with 24 page booklet.

      Candela Rising welcomes Manni Dee to the fold with 2 original tracks covering broken beats, nostalgic rave elements, industrial menace and heavy bass rhythms, all topped off with 2 remixes. "A Lover's Rhetoric" displays the kind of tough, pneumatically powered techno that's very big in Europe right now. A concentric groove lets the bass drum pistons power the machine forward with a shoulder dropped swing while electrified static elements keep us locked in till the very last beat. Ancient Methods deploys his now famous ‘pitch black techno war funk’ attitude to the track, turning it into a militant, swampy wall shaker which should turn heads across the board. "Voluptuous Surrender" cleverly unloads more concentric grooves onto our ears, this time a dark industrial whirring sound repeats at the end of each bar, desperately holding onto its audience and stopping them spinning wildly into the speaker stacks while incessant acid shots are fired at the body. Insane. New York's Shawn O'Sullivan completes the package, moonlighting here after time spent with both The Corner and L.I.E.S. His remix is a fractured, discordant affair with synthesized bell tones chiming through a thick, sludgy haze of sharp percussion snaps and blurred atmospherics. Really strong release covering the four corners of the techno dancefloors. Recommended.


      Matt says: Superb techno from this feldging label

      Dejay Cease / Boogienite

      Grimy Trax 2

      If you're going to beat 'em down, you need the right tools. On the label's second release, Grimy Trax has given you a couple hammers. The A-side, DeJay Cease's 'The Fixer' is straight Chicago. We're talking banging 909 funk that might be found buried on a particularly unhinged Ron Hardy mix. A simple bass line and two notes of acid are all it takes to make the floor go wild. This is functional heat with enough atmosphere to engage the mind, body and soul. On the B-side, rising Chicago son Boogienite proves he's earned the hype. 'Boy, OK' is an instant classic thanks to some recognisable disco strings and a funky escalator of a bassline. The producer uses a trippy, rubberband synth which eventually turns into rhythmic, teasing vocal. The mixdown is ridiculous, especially as the lengthy track passes the halfway mark. Boogie brings the bassline in and out in between beautiful ambient Rhodes keys and a call and response male and female vocal. Those strings hit again and you feel no pain.

      Joao Do Vale

      O Poeta Do Povo - LP+CD Edition

      Joao do Vale was a very important singer and composer noted for introducing the popular art of North East of Brazil to the mass medium-classed people of major Brazilian cities. João do Vale is a singular poet. His lyrics, which transmit his profound understanding of the sertaneja (inlander) soul, are full of a very personal notion of rhythm. The strength of his work can be appraised if we consider that he is one of the three great figures of Northwestern popular music (the others being Luís Gonzaga and Jackson do Pandeiro) even having recorded only two individual albums. His first LP, 'O Poeta do Povo', released just after show Opinião, where Joao sings his compositions. Joao do Vale has recorded only three LPs on his entire career.

      Bob Dylan

      The Freewheelin' Bob Dylan - Vinyl Extra Edition

        New vinyl series from Sony Legacy UK. "Vinyl Extra" are classic albums, re-issued on heavyweight 180gm black vinyl, including a card slipcase CD insert.

        "The Freewheelin' Bob Dylan", his second album, is filled top to bottom with classics, including "Blowin' In The Wind," "Don't Think Twice, It's All Right," "Masters Of War" and "A Hard Rain's A-Gonna Fall."

        Ekman follows up his apocalyptic release on Berceuse Heroique with another transcript from the unholy book of sonic revelations on the ever experimental Trilogy Tapes. The EP opens with the enigmatic "≥0", an unsettling combination of thudding distorted drums and fragile layers of ambient sound, before heading into tripped out territories thanks to the unhinged rhythms of the Border Community-esque techno epic "Entropy". "Dissipation" sees the producer experimenting with the form of bass music, melding its sub heavy rattle and stepping rhythm to his own dark and distorted designs. Around the halfway point Ekman brings the pain, letting the track unravel into a clattering rhythm topped by a prickly synthline. EP closer "ΔS" sees Ekman adding a little lysergic colour to the technoise palate, creating an intense and immersive acid-techno-ket-banger.

        Balearic expat Max Essa transmits another batch of healing frequences from the land of the rising sun, joining the dots seamlessly between the ambient imaginings of Sakamoto, the Krautrock rhythms of Neu and the beach pop of Chris Rea, while making them all dance together like waves on the shoreline. The EP opens with the subtle strumming and coastal drift of "All Is Not Lost", a tranquil combination of electronic and acoustic which would be quite at home soundtracking an introspective Crockett on a moonlit beach. "Complicated Lover" swaps the moon for the sun as Essa serves us a refreshing cocktail of swaying guitar, cowbell led percussion and exotic synths. This tasty number practically comes with its own umbrella! On the flip Essa explores the funked up stylings of a post-fusion Hammer, pre-piano Sakamoto, loved up Chris Rea and laid back Wally Badarou with the lilting rhythms and riffing baselines of "Destination You". If that list of influences doesn't fire your imagination then I don't know what will. The EP closes in atmospheric fashion thanks to Essa's Kraut inspired hymn "Your Carnival Sounds Like This." Deep and immersive, this final track draws you into a melodic swirl worthy of Neu, Cluster, or Eno, before those mellow guitar noodles expand your horizons for good. Continuing the fine form and exotic tonalities of his beautiful double on Nado earlier in the year, Essa makes a memmorable debut on Back To The Balearics.

        Champagne Holocaust, originally released in the summer of 2013 is re-released by Trashmouth Records as a deluxe CD version.

        The re-release will include a bonus 10-track CD featuring un-released / live tracks and new inner-spread artwork featuring 17 drawings by Saul from the band of famous serial killers which are featuring in a forthcoming exhibition alongside work by legendary 60’s cartoonist R. Crumb.

        Produced by Bernard Butler, London trio Flowers's debut album captures the intensity of being young in 14 deceptively simple pop songs that take their power from their brevity, elevated by Rachel Kenedy’s extraordinary voice. Flowers are Sam Ayres (Guitar/Synths), Rachel Kenedy (Vocals/Bass/Synths) and Jordan Hockley (Drums), brought together by Sam’s advert for a singer to make music like "Madonna through a broken tape machine". The three of them immediately moved in together and spent the following weeks writing pop songs, practicing daily in their living room and recording through the night, barely sleeping with the excitement of it all and amassing a huge collection of over a hundred songs in demo form.

        When they posted the results of their feverish recording online, word quickly spread and within weeks they were touring Europe with The Pains Of Being Pure At Heart, despite never having played live before. More shows followed, including a support for Young Marble Giants in London at the behest of another fan who had discovered them via the internet, YMGs guitarist / songwriter Stuart Moxham. Appropriate first supports, as Flowers' live performances draw a line between the joyous fuzzpop of The Pains and the minimalist brilliance of YMGs. The reception at the shows was nothing less than rapturous, with audiences blown away by their intensity and compelled by their sparse beauty: Jordan a physical yet inventive presence behind the drum kit, Sam a constant blur of kinetic energy on guitar and Rachel utterly still. The shows would often end with the stark and mesmeric “Stuck”, with Rachel alone, accompanying herself a one-string bass guitar, soul laid bare.

        It was clear that Flowers needed a producer to help them capture the emotion and simplicity of their live show and that search led them to the door of Bernard Butler, whose track record and love of the Cocteau Twins marked him out to be the perfect choice. That and his love of the Gibson ES-355 guitar that Sam also plays. And so it was that Flowers’ very first foray into a proper recording studio was at Butler’s 355 Studio – a daunting prospect for a young band, softened by Butler’s sensitive production and access to his collection of beautiful analogue synths and Vox organ. Band and producer worked in harmony to produce a set of songs much cleaner and clearer sounding than anything they had recorded before, dispensing with the “wall of sound” that characterised their home recordings and providing the clarity to allow the songs to breathe. Across these 14 songs, Flowers explore the gamut of emotions that come with youth.

        As Rachel says, “We were young writing this album (we still are I think!), so all the songs reflect the emotions of being young, which covers just about everything to the extreme; loneliness, happiness, rejection, love, torment, excitement... “. For every song about the carefree, halcyon days of youth (“Young”, “Forget The Fall”), there is another about the pain of relationships (“Drag Me Down”, “Lonely”). The album closes with a run of 3 exquisite numbers: “Be With You”, “a song of reassurance, about knowing that everything will get better somehow, because it can't not, some things are too good to ever end.”; “Plastic Jane”, “about someone who wears a facade with nothing underneath” (lyric: “Your plastic pain / just like Novocaine”); and the aforementioned “Stuck”. Most of the songs weigh in at less than three minutes, a deliberate strategy for a band that seeks strength in simplicity. “Our songs tend to be quite short - if there's something that doesn't need to be there, take it out! Just leave in the best bits”, explains Rachel. “We love all kinds of things, Ramones, Madonna, The Misfits, Iggy & The Stooges, Joy Division, all sorts! The album doesn't sound too much like any of those, but the songs are short and simple pop songs, and all those artists we love write songs like that.”

        Indeed, Flowers’ genius is in their ability to convey a remarkable amount of emotion with minimal instrumentation. Rachel possesses one of those beautiful pop voices to die for, with echoes of Elizabeth Fraser, Hope Sandoval and Harriet Wheeler, whilst Sam’s guitars chime and churn with an incredible intensity and Jordan’s drums rip right through with urgency and precision, resulting in a beautiful album that conjures up a strange and entrancing sort of magic. Haunting, mesmerizing and intense, this is an impressive calling card from a sensational new band.

        “A little Jesus And Mary Chain, a lot of Black Tambourine, and one hell of a voice." doNYC.


        LP Info: Heavyweight Vinyl LP with free download.

        CD Info: Gatefold card-only CD.

        Melbourne-based producer Andras Fox (A.r.t. Wilson) creates a tactile and unique form of Antipodean boogie / synth-funk that feels equally informed by garage house and new age musical traditions. His productions sound appropriate on both the dancefloor and in the lounge, boasting a casual danceability and mood that seamlessly adapts to both environs. On 'Vibrate On Silent', Wilson creates G-funk with a surf sensibility; congas, shakers, electro-acoustic melodies coalesce with grooves, subtle hooks and a laid-back, oceanic ambience.

        Wilson's arrangements are spacious and deceptively simple - layers are built up and stripped down, with the rhythm track providing a solid framework for jazzy / improvised flourishes. Opener "Ankle Snapper" begins with a politely funky bass line, adding handclaps and a casual house beat that is gradually adorned with cowbell and midi-saxophone. "Pontoon" pushes the G-funk agenda further, coming across like Dr. Dre driving top-down along the Great Ocean Road.

        Elsewhere, "Driftwood" and "Mystic Beach" allude to Wilson's prior dabblings in new age. In addition to his production work, Wilson is a renowned DJ, hosting Strange Holiday on Melbourne's Triple R where he champions a diverse mix of primitive rhythms, weird disco, outsider music and other Australian rarities. He recently completed a DJ tour of UK and Europe, and now has three Boiler Room sets under his belt.


        12" Info: Limited numbered edition of 1000.

        The Free Fall Band

        The Münster Sights

          The Free Fall Band are five very young timeless pop creators bursting with melody and sublime choruses, hailing from Mataró, a village north Barcelona.

          ‘Elephants Never Forget’ was the band’s debut album, produced by Miqui Puig and released on LAV Records. The record sums up The Free Fall Band perfectly: echoes of The Beatles, Jonathan Richman, The Shins, The Zombies… fun and emotion in equal measure, carefully assembled arrangements and a youthful image.

          2013 put them at the forefront of Spanish pop, thanks to landmark moments such as their performance at the Primavera Sound Festival and supporting Rodriguez in Barcelona. They also released their first step on El Segell del Primavera, an EP with covers of The Strokes, Violent Femmes, New Order, Booker T. & The MGs and Jonathan Richman.

          And now their second album arrives. It’s called ‘The Münster Sights’ and shows the band in another level: the songs reflect a band that have been playing and growing as musicians. The album was produced by Darren Hayman (he used to play in Hefner and has a long and amazing solo career) and engineered by Giles Barrett (from London popsters Tigercats), a perfect choice for The Free Fall Band as they’ve long been fans of both musicians. As a result ‘The Münster Sights’ sounds richer and fatter than their previous efforts and contains such great numbers as ‘Fontana’ and ‘I Want To Know’.

          Germ House

          Showing Symptoms


            Dividing time between Las Cruces, NM & Boston, Justin Hubbard & Tara McManus (MR. AIRPLANE MAN & TURPENTINE BROTHERS) recorded "Germ House" w/Matt Rendon (RESONARS), providing a deranged amalgam of candidly direct & distinctive melodies drizzled atop ragged, lo-fi punk testimonials. Herein lies the uncomfortable duality of Germ House's album - a fascinating suite of tunes that are balancing with equal measure both the melodic & discordant.

            John Gibbs & The US Steel Orchestra


            The second of two 12" tasters ahead of EM's CD/LP reissue of Gibbs & Co's classic "Steel Funk" LP is a rare disco bomb in high demand on the collectors market. "J'Ouvert" is a non-album track originally recorded and released in 1979 as a 12" single in co-operation with legendary Philly Soul producer Louis Anthony DeLise. This underground disco classic has been loved and played for years and is still on heavy rotation for some of the hottest jocks around, including the one and only DJ Harvey. This version is, surprisingly, a previously unissued original version that was held in the vaults by the artist for 35 years, after the 'remixed' 12" version was released in 1979. This original version is some two minutes longer than the 1979 12" and the pitch and mix are quite different from the 1979 version. Transferred from the original master tape and newly mastered. A great-sounding release! Lord Echo, a rising star from New Zealand, has re-edited this classic with deep respect for the original, featuring his trademark cutting guitar playing. This is Echo's first remix / re-edit work for another artist.
            Both tracks are NOT on the upcoming EM Records album "Steel Funk" so don't sleep on this one.

            EM Records delivers an excellent new addition to their 'EM Steel Pan' series from the legendary John Gibbs and the Unlimited Sound of Steel Orchestra. It's official, and of course it's excellent. Designed to whet our appetites before EM's reissue of Gibbs & Co's fine 1977 album "Steel Funk" on CD/LP, this first of two 12" singles is about to blow your socks off! "Trinidad (Disco Mix)" was originally released in 1977 as a remixed 12" single for the dance market on Gibbs' own label, in co-operation with the legendary Philly Soul producer Louis Anthony DeLise. The uplifting and explosive slice of island disco is legendary among the deep disco circles and was a favourite of Larry Levan, who always had it in his record bag for Paradise Garage play. This version is a previously unissued long version which was the basis of the 1977 remix 12". The track is approximately one minute longer than the 1977 release and this new remaster from the original tapes sounds better than ever. On the remix tip Hair Stylistics AKA, Masaya Nakahara, has totally transformed this long version into a two headed house-not-house monster, entering the Gibbs soundworld, adapting and rebuilding it for a contemporary audience. Both tracks are NOT on the upcoming EM Records album "Steel Funk", so grab the 12" while you can.

            Goblin's genius lies in skilfully combining elements of progressive psychedelia with jazz-rock, Eastern European folk music and the Baroque. Their music often displays an eerie fairy tale quality that underscores tensions within a film to great effect.

            If Bella Casa's 2012 box set, 'The Awakening' (CASA12BOX) documented Goblin's formative years, this edition comprises selections from ten films scored by the group across a twenty-five year period from 1977, culminating in Non Ho Sonno the Argento thriller for which this remarkable aggregation reformed to help create.

            Among the manifold musical innovations occured in recent years, one of the trends both in Europe and in USA is to set up ensemble devoted to improvisation. These bands show similarities in their rich expressions, but could nonetheless be pigeonholed in two great families: one directly coming from the jazz tradition and one of a more intellectual kind, connected with contemporary classical music.

            These trends had been deeply analysed by Gruppo di Improvvisazione Nuova Consonanza, aka The Group, aka The Feed-Back, whose bold approach to music, more linked with current tendencies, placed them at the forefront of the Beat scene. The name of the ensemble, The Feed-Back, is noteworthy: a word coming from the cutting edge science of cybernetics communicates to the public the idea of a contemporary reality, almost physical in its essence.

            A feed-back is a device that enables an effect to counteract on its causes, achieving this way a given goal, as our body does when it regulates automatically our actions according to their ends. This mechanism underlies the improvisation - a special circuit whose action adjusts and fine-tunes the energy of each single musician in relation to the others.

            The mechanism of feed-back transcends the inner dynamics of improvisation and aims to extend its action to the listeners, enabling another feed-back circuit, now between the band and the public. This purpose is sought hrough unusual and disrupting stimulations such as the loss of traditional melodic lines, the introduction of noise in the musical discourse and a deconstructive approach which reduces vocals to the essence leaving only a few basic rhythmic elements as a blueprint that still characterises this music as Beat. Within this avantgarde context the band feels at ease thanks to its innovating spirit and is projected in a fertile future.

            For now they invite us to listen to evocative titles like “The Feed-Back”, “Kumâlo” and “Quasars” - aptly chosen for a public ready to discover them, a public capable to understand how this band overcame current musical structures like psychedelic music or underground's timorous attempts with a sound closer to our times that we could name.

            Number 3 on Ruff Draft comes from Louis Guilliaume. Having met Louis back in 2009 and followed his music since way before then, it was an exciting day when we received these tracks from him. Known more for his harder edge techno productions on labels such as Soundtravels, Bio Rhythm Holland, Teng, SD Holland and a remix on Skudge, here he edges slightly away from that heavy sound. The tracks here ('Careless', 'A Place Like This', 'Taking Over (The Sermon)' and 'Electriflying') vary from deep, groovy and meandering house to a beatless soundscape reminiscent of early Larkin and Pullen to a powerful kick drum driven sermon.

            HANKy PARK

            Shinny's Secrets

              "'Shinny's Secrets' is quite diverse and unique with all diverse types of styles & qualities like no other. I guess it's a cut above the first album 'Rags 2 Riches' and second 'Highly Fueled' with tracks featuring The Specials Neville Staple and Opera singer Jon Christos and there's also a great cover of 'Hurt' Johnny Cash style..."- James Davenport (HANKy PARK).

              Marquis Hawkes

              Maladaptive Brain Dysfunction

              The Berlin based producer and DJ Marquis Hawkes is next to take the baton for Creme Organization with another of his searing EPs. Before now Hawkes, about whom little is known, has released a diverse array of rough and ready, raw and ripping tracks that range from deep house to jacking acid, weird techno to freaky electro on labels like Dixon Avenue Basement Jams and Clone Jack For Daze. First up here is 'Tunnel', a slow and lazy house cut with rubbery bass drums and sharp edged hi hats making for an inviting groove. Starry melodies unfold up top like a classic night sky and deep, spacious synths flesh out the simple but effective track. Next cut 'Prince Among Men' is a much more prickly and synapse firing affair with random hits, stuttering drums and chopped up vocal samples all chucked together into one fierce brew of soulful analogue noise. On the flip, 'Sofa Acid' is riddled with hiccupping 303 lines and proceeds at an inviting mid tempo pace, whilst closer 'October Blues' is a deconstructed house jam with rave whistles, cow bell pings, wooden hits and tinny drums all loosely glued together into a slow and sombre track that oozes a freaky late night moodiness. Overall, then, an EP that fits in perfectly with Creme and is another fine release from the man they call Marquis Hawkes.

              Last year Accidental Records released ‘Herbert Complete’, a 130 track boxset featuring Herbert’s entire extensive back catalogue. It included rare and unreleased tracks from the mid 90’s right up to the critically acclaimed ‘Bodily Functions’ and ‘Scale’ albums. Though this might have felt like the closing of the doors for Matthew Herbert’s house moniker, particularly with the ever forward-thinking producer having moved onto making music out of an exploding bomb, a shopping list, a club and even a pig, this thankfully is not the end for this side of the prolific composer's output. Following last month’s release of the 4-track EP 'Part 6' comes the unsurprisingly titled 'Part 7'. Another 4 tracks of twisted club music kicking off with the R&B tilted pop chant 'Bumps' which once again featuring the vocals of Rahel from London band Hejira. Track 2 'Sucker' is reminiscent of the original 'Parts 1-5' that came out on the now defunct Phono label circa 1995, a true Herbert techno workout.

              Side B of the vinyl opens with 'Get Strong' a track that Herbert has already been playing out a fair bit in his DJ sets to heavy crowd responses at the likes of Fabric and Space already this summer, the bouncy melody picking the dance floor up against a backdrop of industrial sounding bass clunks. Moving on to the closing piece of the EP comes 'Pretty Daddy', a twisted and rigorous slab of electronica to keep you awake all night.

              With 'Part 7' directly following 'Part 6' (of which the first pressing of the vinyl sold out in under 2 weeks), we hope there may be more to come from the uncompromising producer yet...

              Hiss Golden Messenger is Durham, North Carolina-based songwriter M.C. Taylor. Lateness of Dancers is the fifth full-length from Hiss Golden Messenger. It’s an open, confident, immediate album, and it feels, at times, like a direct response to the darkness of Taylor’s last record, 2013’s Haw, or to the searching of 2010’s Bad Debt, the stunning acoustic LP he made at his kitchen table shortly after the birth of his son. Lateness of Dancers was recorded in a tin-roofed barn outside of Hillsborough, North Carolina, last fall and includes many of Taylor’s longtime collaborators, like Phil and Brad Cook of Megafaun, the guitarist William Tyler, and his erstwhile recording partner Scott Hirsch. Alexandra Sauser-Monnig of Mountain Man contributes backing vocals; her tender, wooly voice both complements and challenges Taylor’s.

              The record takes its name from a Eudora Welty story, which is noteworthy not because of its origins—although there are hints of Welty in Taylor’s work, and not just Welty but Flannery O’Connor and Faulkner and Barry Hannah and Larry Brown and the whole pantheon of brutal and exquisite southern writers—but because Taylor is the type of person who recognizes the beauty in a phrase like that. It is a record about self-discovery and self-knowledge, and how impossible it is to outsmart yourself. I don’t know how you learn a lesson like that, except the hard way.

              “The misery of love is a funny thing / The more it hurts / The more you think / You can stand a little pain,” he sings on “Mahogany Dread,” one of Lateness’ most telling tracks. These are the kinds of lies we tell ourselves to feel the things we want to feel, even when those pleasures are buried in a whole lot of hurt.

              “Mystical country, like an eerie yellowing photograph.” --David Bowie

              Joel Hood makes escapist Friday night music heard through the haze of a foggy Monday morning. The North Yorkshireman's music transports you straight out of a cold working town and drops you into a hazy world of intercontinental sonic voyaging, taking in fragments of family holidays and adult travel adventures cut and pasted into instrumentals that evoke DJ Shadow, Twin Peaks and The Avalanches stargazing in the middle of nowhere, with Hood's voice weaving between it all.

              Already profiled by the Guardian and Music Week plus picking up support from Rob Da Bank and BBC6Music, his debut EP for International Feel features four tracks of psychedelic fusion carrying hints of 80s nostalgia amidst hedonistic futurism.

              Music is certainly taking Joel Hood somewhere else. in 2013 he was working for his builder dad and making music in his Ripon spare room with a borrowed drum machine, a 'crappy' keyboard and the various percussion instruments his friends brought home from their travels.

              His four track debut EP exercises his love of old audio samples culled from film, radio and YouTube. Take EP track 'In Turmoil', which layers a friends road movie along the Pacific coast with his own Yellow Magic Orchestra­ style synthesizers and a slow­burn head­nod.

              "We've released just about every style of music (cos we're Balearic) except dreamy pop....which of course is well Balearic, so here's Joel Hood to bliss y'all out" - Mark Barrott, International Feel founder

              "Ices" is a celebration of flight, levity, and the conviction that you can leave earth. You take wing in an airplane, you go to real places when you dream, you have out-of-body experiences, you get high, you lose yourself in someone else.

              When we started work on these songs, I was beginning a gradual move to California, constantly traveling back and forth from New York. I was experimenting. I was falling in love. Our studio in the Hudson Valley was full of electronics and computers and the sounds of future ships sailing through the vastness of space, and I sometimes forgot where I was. The first songs we wrote were called "flying 1", then "flying 2", and so on, which eventually evolved into songs on the album. Flight became a metaphor for the ignition of the imagination. The process created a lightness in me, a freedom and positive energy that I¹d never before felt or explored.

              This recording session became a two year music and spiritual retreat with my psychic twin brother, Eliot. A private journey during which we abandoned old habits and familiar sounds. We got really geeky and experimented in our studio. We obsessed over sympathetic magic, "Ancient Aliens", and the NBA. We allowed everything we loved to find its way in: Persian percussion, hip-hop beats, lo-fi, hi-fi, Pakistani pop, Link Wray, Jason Pierce, gospel, dub. We developed new systems; we worked with synthesis, software, and samples; we became producers. The Hudson Valley was home base, but I wanted to keep flying. I wrote songs in California, recorded vocals in Atlanta, and worked with Clams Casino in Brooklyn.

              For the first time, Lia Ices felt like an inclusive project with its own identity, not just a name.

              "Ices" as a whole is devoted to these certainties. While we have evolved, we are still animals. We respond to planets, patterns, and cycles. We require the sounds of our origins. We live in the future but stay bound to the primitive and primordial. We will always want tribe, we will always want rhythm, we will always need music to guide us into our deepest sense of what it means to be human. So we hear sounds from all over the planet in this album. We devour so much music, and with this album we allowed ourselves to claim bits from all of it.

              Holy CBGB's batman! In Flagranti return with a heady hit of unmissable New York noise featuring the musical talent of disco-not-disco legends Salvatore Principato (Liquid Liquid) and Jonny Sender (KONK). This international collaboration worked their magic in a truly modern way, with each musician submitting recording their parts in their hometown then beaming them to In Flagranti for assembly and studio wizardry. The EP opens with the angular groove of the original mix, propelled by restless percussion and a low slung groove and topped by Principato's unmistakable and idiosyncratic vocals. If you're gonna make a track with a Liquid Liquid founder, then it makes sense to enlist a member of Optimo for a remix, and so JD Twitch enters the fray to hit us with his bass heavy, space age house-not-house rerub, perfect for the leftfield dance crowd. On the flip, DFA's Whatever Whatever drop a relentless, bass driven house refit which marries a little of that early DFA magic with the bass heavy crowd rocking breaks Justin Strauss has made his own in the past couple of years. For those yearning for a little of that dark wired sound, the stripped back, avant garde brilliance of the Suicide-esque dub mix will more than suffice. Dark and playful, "High Pitch" is frowning and laughing and it’s available now.

              When Etta James passed away in early 2012, the tributes and plaudits flooded in the world over. Gone forever was the soul diva and legend, the peerless and seemingly indomitable, screaming, bawling R&B siren who had seen off several near death experiences with dangerous substances and even more dangerous men. As the music world mourned, the question still remained - did Etta really receive her dues during her life? That recent interest in her career probably peaked when portrayed onscreen by a certain Beyonce Knowles in the Chess biopic 'Cadillac Records' would suggest the answer is no. This short and sweet set of six songs spread across three 45rpm records captures various key snapshots and key moments in Etta's early career. Included are the sexy R&B anthem 'I Just Want To Make Love To You', the song that came to spark her adult career into a new direction and lifespan and became her signature: 'At Last', ballads like 'Seven Day Fool', R&B rocker 'Something's Got A Hold On Me', gems like 'Spoonful' and 'It's A Crying Shame'.

              The Italian Job was made in 1969 and has been hailed as one of the great British films of all time, Set in Italy it tells the tale of a bunch of bank robber who set out to steal Gold Bullion - it is fondly remembered for it huge car chase featuring Mini's around the city of Turin.

              Quincy Jones was handed the task of producing the music score for The Italian Job as director Peter Collinson wanted to give the pennyless musician a chance. Apparently Quincy had no job, no money and he and his wife were expecting a baby, but he was talented. So producer Michael Deeley brought Quincy and his family over to England and set them up in a flat in Marble Arch and was commissioned hired.

              The production team were worried about the last few minutes of the film as the editing was a little choppy and Quincy was credited in saving the film by creating a music score that pulled it all together.

              Highly regarded lyricist Don Black wrote the lyrics for the two vocal tracks on the score - 'On Days Like These' and 'Get a Bloomin' Move On'. Matt Monroe sang 'On Days Like These', as he was working with Don Black at the time.

              'Get a Bloomin' Move On' (or 'The Self-Preservation Society' as it is sometimes referred to) originated from old East End tunes like 'My Old Man's a Dustman'. Quincy had a fascination with Cockney rhyming slang, he found it very funny and apparently created it for the amusement of the production team.

              STAFF COMMENTS

              Philippa says: "Hang on a minute, lads, I've got a great idea..." Quincy Jones soundtrack to the classic gold bullion bank heist caper flick. One part crooning (with Matt Monro), one part swinging London, one part football terrace Cockney knees up. Love it!

              DJ International reissue a proper rarity from their well stocked vaults in the form of label head Rocky Jones' 1987 acid epic "The Choice Of A New Generation". A1's "Choice Of Clubs" pairs a jacking rhythm track and stuttered vocal with a web of deep and immersive pads and driving sequences, foreshadowing Ron Trent's sound a few years later. "Let's Jack, Rock & Move", strips the track back and chops the arrangement down to a concise blast of dancefloor intensity. For those who dig on dubs, the oceanic depths of the B-side instrumentals will tickle your fancy, with the "Choice Of The Underground" ditching the majority of the jack in favour of added bass weight and psychedelic sampling, while "Deep Underground" heads even further into the post peak darkness. This essential cut goes for silly money on discogs, so prudent investors out there would be advised to pick up one of these remastered reissues for a fraction of the price.

              Istanbul, Turkey; Year 2006: Ekin Sanaç and Berna Göl form Kim Ki O. Sanaç plays synth while Göl hits the bass. They both come up with beats and sing. Their music is lo-fi minimal synth with a postpunk / cold wave feel. The cool / warm dual female vocals are eerie and dreamy, referencing classic post-punk as well as traditional Turkish melodies but remaining understated.

              Over the next couple years, the pair releases two very limited CDRs and tours Scandinavia. In 2009 they appear on Radio Resistencia, released by the great Dutch synth label Enfant Terrible. One year later, Enfant Terrible releases their first album Dans. KFJC writes “The name of the band means ‘Who is that anyway’ in Turkish, and it reflects the ethereal nature of the sounds … a lovely early ’80s slow and somber electronic vibe (think Joy Division) combined with floaty, minimal lady vocals (sort of 4AD-ish like Cocteau Twins and Lush) … sweet, but not saccharine.” The vinyl issue of Dans quickly sells out.

              Over the next couple of years, Kim Ki O appears on various compilations and tours Turkey and Europe several times. They collaborate with Turkish filmmakers Merve Kayan and Zeynep Dadak on the short film Elope and write music for the Turkish performance group biriken for their play Re: Fwd: die in good company. In 2013, Lentonia Records out of France releases Grounds. It inspires a followup album of remixes called Grounds Album Remixes, also on Lentonia. In 2014, S-S Records dips into the Kim Ki O vaults and finds songs from their early CDRs. While the originals were muddy sounding, the tracks used for Bir, İki... (Turkish for “One, Two...”) are crystal clear. The vinyl—mastered by John Golden—gives Kim Ki O’s sound new warmth. These ten early tracks are a great addition to their catalog. Not content with music, film and drama, Sanaç and Göl are also involved in Turkey’s pro-democracy and women’s / gay rights movement. They strongly identify with other women in rock ’n’ roll and underground culture.

              King Crimson


                DGM & Panegyric are proud to present the sixth in a series of King Crimson high quality vinyl reissues. The return of “Islands” to the 12” vinyl format is newly cut from masters approved by Robert Fripp. Manufactured on 200 gram super-heavyweight vinyl, it is housed in a reprint of the original sleeve, with lyrics insert. This edition also contains bonus MP3 codes giving access to a download of a transfer of an original 1971 pressing – in this case taken from Fripp’s personal file copy of the album.


                Follow The Leader - Gold Vinyl Edition

                  Follow the Leader is the third studio album by the American nu metal band Korn. Originally released in 1998, the album was produced by Steve Thompson and Toby Wright.

                  The Family Values Tour promoted the album, along with its five singles. Both “Got the Life” and “Freak on a Leash” charted on various charts. ”Freak on a Leash” was nominated for nine MTV Video Music Awards, and won for the Best Rock Video award, as well as Best Editing. The music video also won Best Short Form Music Video at the 2000 Grammy Awards.

                  The Music On Vinyl reissue is pressed on 180 gram audiophile vinyl, with the first 2000 copies being individually numbered and pressed on gold coloured vinyl.

                  The usually banging boys at LHAS Inc throw us a slight curveball with this hot shot on Rong, swapping their usual weighty acid excursions for the light and lithe tropical sway of "LA Sunrise" and "Imminent Boogie". "LA Sunrise" locks us into a lilting tropical rhythm from the off, as Felix and Jamie drop their habitual 4/4 thump for a polyrhythmic explosion of drum machine exotica, complimented perfectly by the rapid fire bassline and twinkling keyboard sequences. "LA Sunrise" might still sport the veil of the dancefloor, but there's something deeply cinematic at play too, reminiscent of Hans Zimmer before he only wrote epic scores for trashy blockbusters. On the flip, "Imminent Boogie" surfs straight into the heart of the dancefloor on wave after wave of sunkissed pad. The duo gently massage sound esoteric sounds out of a Jomox, indulge their inner Nile on the guitar, and get real nasty with a killer bassline. Don't think about it, just report straight to the dancefloor. 

                  “On Le Butcherettes' sophomore effort Cry is for the Flies, Teresa Suárez's high-pitched yowl omits debauchery. But it's not the same kind of blood-soaked garage rock from 2011's Sin Sin Sin. This time, the L.A.-based trio have settled for a beautiful narrative that's grounded in sadness and guilt, channeled through Suárez's venomous punk poetry. Add in guest appearances by Garbage's Shirley Manson and Henry Rollins, and Cry is for the Flies is flat out bitchin” LA Weekly – Best Indie Album of the Year (So Far)

                  “This is an amazing band, Gender Bender is rapidly heading to Karen O territory with her vocals and stage presence, and you should listen.” NPR

                  Le Butcherettes have joined Ipecac Recording's roster and will release their sophomore release, Cry Is For The Flies, on Sept. 15 via the Bay Area label in conjunction with Nadie Sound.

                  Cry Is For The Flies was recorded at Infrasonic and Kingsize Studios in Los Angeles. The album features guests Henry Rollins ("Moment of Guilt") and Shirley Manson ("Shame, You're All I've Got").

                  "Since I created Le Butcherettes in Guadalajara, I've always yearned for the band to be part of a label/community that helps and supports artists to act fearlessly and help serve the music." explained fiery Le Butcherettes' frontwoman Teri Gender Bender. "So happy beyond words that we've found a family in Ipecac. Dream come true."

                  The eleven-song release had previously been available exclusively as a digital download via producer Omar Rodriguez-Lopez's label Nadie Sound's website but, as of Sept. 16, will be made available on physical formats (CD/vinyl) as well as through various digital service providers including iTunes.

                  In a recent interview with the Los Angeles Times, Teri said of the subject matter on Cry Is For The Flies: "There are so many demons I have inside - they're little gods. There's a god of evil, the god of good, the god of sex, the god of lust. With music, I tape into those god demons. It's therapy."

                  Le Butcherettes is Teri Gender Bender (vocals, guitar, keys) and Lia Braswell (drums).

                  Listening Center

                  Other Voices 02

                  NYC's Listening Center return to Ghost Box with another 45. The second in the Other Voices series, in which David Mason puts his analogue electronics to work on two powerfully melodic pieces. Drawing on the classic library-esque, music for schools and colleges sounds that inspired Ghost Box at its very beginnings.

                  After the sampledelic beauty of J-Walk's excellent "Off Beat", Wonderfulsound keep the gold flowing with Simon Lord's beautiful sophomore solo LP.

                  Following on from his 2012 debut "One" - a stripped down, acoustic album with a touch of the psychedelic about it - "Stripes" sees Lord return with the same classic pop songwriting attitude but a different approach, including an upright bass player and jazz inspired drummer with Simon as producer and engineer.  With the inspiration of "Astral Weeks" and the groove and sonics of "50 Ways To Leave Your Lover"-era Paul Simon, ‘Stripes’ is a fully realised perfect pop album.

                  LV & Joshua Idehen


                  'Islands' is the second album and live project from Worldwide Award-winning producers LV, and Benin City vocalist Josh Idehen, three years on from their critically acclaimed debut collaboration 'Routes'. Where the 'Routes' album saw Josh’s voice used in fragments to examine themes of life in modern London, 'Islands' sees LV move Idehen’s lyrics and vocals front and centre. “More so than on 'Routes', Josh is creating little worlds and telling stories with this project,” explains Wil LV. “We tried to write music around him, with highs and lows; trying to make it coherent… but not too coherent.” British, Nigerian; rapper, poet; comedian, depressive; lover, fighter; energizer, observer; narrator, subject: being Josh Idehen is a world of contradictions. “Everything that was coming up through 'Islands' does relate to a part of me,” he explains. “That feeling of being an outsider, being isolated and this kind of lonely story teller. And not in a kind of ‘I’m cool, I’m different’, but just an outcast, always on the outside looking in.” Born in London to Nigerian parents, he returned to Nigeria at four when his father started the country’s first video rental store. “All I did was watch TV. So I had this weird kind of displacement, because all my frames of reference were English or American. I would go to a school and no-one would know what I was talking about when I would mention Knight Rider.” With unlimited VHS tapes to hand, perhaps it was inevitable that Josh would become a story-teller. Indeed, the Islands of this project’s title could represent the disparate themes between which Idehen’s lyrics hop.

                  On ‘Imminent’, overheard whispers on an East London balcony tell the tale of an unforeseen demise, while on ‘Waiting For the Night’, Josh drew on honest reflections of his experiences after he returned from Nigeria. ‘Obsessed’ is about an unhealthy, social-media enabled reaction to being put in the post-coital friend-zone. “I tend to be a bit full on…” says Josh. “I think it was because when I was in Nigeria, I lived in a very Catholic house until I was twenty, so you can imagine me coming to London…” Murder, desperate loneliness, obsessions and sexually-unfulfilling nights out: on paper you’d be forgiven for thinking that Islands is a thoroughly morbid affair. “Some of Josh's more poignant moments happen when the music pares back and his performance becomes the focus,” explain LV. Between Josh’s observational eye and LV’s considered yet dance-floor moving production style, with its funky hardware synth jams and live drums, delightful aesthetic contradictions abound on Islands. “Of course we always make one track at a time, but once you start to get a collection of tracks you start to see a bigger picture…”adds Wil LV. “There's a fair bit of improv when we're recording, but when it comes to putting tracks together, we're choosing to use certain things we've come up with over others because they hang together well thematically.”

                  'The Beats' contains 10 tracks of instrumental hip-hop created by Madlib for the Stones Throw film Our Vinyl Weighs A Ton. This is producer's first original soundtrack and first 10-inch vinyl release. The beats and breaks on the album are typically Madlib; off the wall, funky, odball, stoned and as many miles away from the mainstream as you'd want them to be. Snippets of rap vocals fly in and out of the tracks, and there are plenty of between-track skits and crazy samples too.

                  This album is issued with two different sleeves (girls on one, skull & bong on the other) each wrapped with a custom, removable card, designed in the style of the Boss SP-303 sampler.


                  Rob Manga Salawaku Slipmats

                    High quality pair of anti static felt slipmats with Rob Manga Salawaku print.

                    Marvin & Guy

                    Makin' Love

                    After launching their self titular label with a well worked dancefloor edit of Black Sabbath's seminal "Paranoid", Marvin & Guy are back for second helpings with an extended, expanded and explosive rework of Sir John Roberts' "Ain't Nothing Like Making Love". Our intrepid editors deliver a nice long conga led intro rigged with spacey fx (perfect for those jocks who like to get deep into the mix) that warms you up for the seductive charms of the hot sexy vocal line. Sustained synth strings form an immersive swell in the background while the low slung bassline winds your body down to the ground. Dope. On the flip we get hit with a fantastic re-work of a rare disco/folk track brought right up to the present with loops, fx and lasers that deliver a proper kick on the dancefloor. Bubbling synthlines combine with gypsy strings while tripped out vocals wax lyrical about yellow caves, dreams, cowboys and waterfalls. It's another essential fireside Balearo banger in my book.

                    Some records are birthed through countless months or even years of studio hard yaka; drafts, followed by re-drafts, an eternal process of searching for that money shot musical moment. Then there are albums that simply pour out of the collective minds of its creators - more of a stream of consciousness and musical expressions that strategic beat creation.

                    For best friends and long time collaborators Matt Edwards (aka Radio Slave) and Thomas Gandey (aka Cagedbaby). Matom began as a one off project to create an hour of music to celebrate the iconic Hansa recording studios in Berlin, a space that’s seen everyone from David Bowie and Iggy Pop to Tangerine Dream and Brian Eno.

                    Says Edwards “The initial music was loosely based around the recording of David Bowie’s ‘Low’ and the works of Iggy Pop and I wanted to create these soundscapes that would allow Thomas to improvise and we managed to come up with seven songs in two days.”

                    From this auspicious beginning the project continued to pick up pace and the pair soon performed in Warsaw alongside revered Kosmiche figurehead Manuel Gottsching and a few months later at the Name festival in Lille, France.

                    Splitting time between Gandey’s home and studio outside Bordeaux and Edward’s studio in Kreuzberg, Berlin, the pair continued to create. The duo adopted a free-flow approach to production, with Gandey talking warmly about creating sounds for the Matom Project. They’d cook together, eat fine food, and then sit down to work on the music together.

                    Gandey describes Edwards as the “master of minimal”, building up the soundscapes and beats before Thomas filled out the compositions with various keyboards from his collection including a Fender Rhodes, Moog Voyager, Clavia Nords, Roland Drum Machines and live percussion and finally another collaborator Paul Sandrone would improvise on guitar at the final stages of production.

                    The entire essence of Matom’s sounds is based around live takes and recorded snippets of conversations and ambiences from their tours, with no MIDI or samples so when they joined the line up for the Pyramids of Mars label showcase at Berghain’s Kantine it was a seamless transition from studio to stage. Their last gig was once again for the Red Bull Music Academy in Miami WMC 2014 to perform the finished album for the people who first inspired and supported the project.

                    And so Matom’s ‘Love Mistakes’ is signed sealed and delivered, a work Gandey describes as “a culmination of our combined skills and reflecting its contrasting environments, a dualism between the cosmic serenity of the vineyards in his south of France retreat and the gritty urban cityscapes of Berlin’s bohemia.”

                    The Mattson 2 stride into a new realm of sound that blends their signature jazz soundscapes with ethereal structures and haunting splashes of improvisational raga techniques. This time around, they go deeper and darker, balancing an ebb and flow to create something truly mesmerizing, thanks in no small part to producer Thomas Campbell and the legendary John X. Volaitis (Rolling Stones, David Bowie, Phoenix).

                    This much-anticipated follow-up to 2011’s Feeling Hands is a marvel of jazz-rock orchestration and arrangement. The droning vistas of Agar are as technically liberating as they are hauntingly avantgarde. The duo is more connected than ever as they move in and out of exotic landscapes that transcend the concept of modern musical performance.

                    Named for the gelatinous substance that binds and connects items in a petri dish (also “raga” backwards), the album shimmers and shakes with sagely nods to the past and the soaring modern wizardry of Jared’s untamed guitars and Jonathan’s tribally hard-bop drumming. With Campbell and Volaitis at the helm, Agar is awash with the sun and surf as much as it is mysterious metal jazz. It glistens with a beautiful weirdness, conjuring images of neon-light rain dances and fireworks in darkening summer skies.

                    The musical capabilities of Farmer Dave Sher (Interpol, Kurt Vile, Vetiver) add unique and pivotal symphonic layers. And for the first time, the Mattson 2 provide emotional complexity via voice: Maryann Tran’s Easternly, wordless sounds are euphoric and majestic. All of this adds to up a layer cake of hypnotic mood and otherworldly innovation.

                    Melted Toys

                    Melted Toys

                      Melted Toys self-titled debut is out on Underwater Peoples. Culminating three years after their acclaimed Washed & Dried EP first unveiled the group's distinct blend of hazy, plaintive pop and psychedelic electronica, the full-length reigns in squarely as the group's most definitive vision yet. It comes on as a sort of sanctuary-in-transit, inspired both by the shifting visions of dreams and global travel, so that each of the twelve passages flicker and flame with equal impression.

                      Melted Toys is Stephen Harkins, Daniel Rosado, Brian Wakefield, and Ole Haarstad. Their casual bond laces the languid pop with an unpretentious melodic language. It's both downcast and serene, resembling the catalog of mid-career FELT, where Maurice Deebank's somber leads colored each and every detail, rather than just issuing showy statements at predictable intervals. Highlights along the album spark from timely synthesizer voicings as well, mixed in fantastic contrast against the shadowy mid tones of Wakefield's bass and Haarstad's metronomic, motorik drumming style.

                      The three-year wait for this debut irked followers and friend's close to the band, but it was caused by one of the members leaving a laptop containing all the initial work on a San Francisco BART train. So it goes, and Melted Toys seems to have used the guffaw to their advantage, as the band re-located to Los Angeles, and singer-guitarist Harkins ended up traveling to Beijing, Tokyo, and Taipei, where he wrote an additional half of the material.

                      "Bummed Out" signals the albums opening tone with a wiry lead from Rosado, a kind of circuit-bent guitar hook that practically finishes Harkins' nodding out sentences. Further along the first side "A Postcard" unfurls the most somber portrait of the LP, but forgoes lulling in self-importance by trodding against a snare heavy loop, and sneering delivery.

                      Tellingly, the lyrics to "Horizon" seem to underscore the album's themes of psychoactive and physical escape: "Here I'm standing right on the cusp / of what could be my life / when we're strapped under pressure / we could go inside our minds", wherein Harkins ends the verse with the line, "There's a chance for us / LAX back to Beijing." There, Harkins consolidates Melted Toys’ psychedelia with wanderlust, and what's more, the album seems most apt for both these extremes: music for headphones en route to self-discovery, or music for mental escape indoors, where's there's nothing more to discover but music.

                      The Messenger (Todd Edwards)

                      Guide My Soul

                      Four tracks of classic 1993 Nervous NYC garage house from the mighty Todd Edwards under The Messenger moniker.

                      If you're a fan of his work (and let's face it, who isn't?), you'll love this; It's full of soulful groove, jazz licks, tough skippy drums and Edwards’ trademark spliced up vocal samples, this release does not disappoint.

                      “Guide My Soul” opens the EP and can't fail to put a smile on your face or feet on the floor - funky, skippy and soulful, it's a killer. Dropping jazz touches and working the room is 'So Real'. 'End This Hate' cuts up uplifting, positive vox over a stripped-back funky swing featuring biscuit tin snare snaps, rim shots and compressed keyboard lines. 'Main Vibe' is even more crisp and compact. You can hear the roots of UKG all the way through this EP - it's 100% quality.

                      Remastered from the original DAT and repressed in conjunction with Nervous with love for all the house heads and garage freaks.

                      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.

                      The Mighty Mocambos With Afrika Bambaataa

                      Hot Stuff

                      An outstanding exclusive 45 from the ongoing killer collaboration of the Mighty Mocambos and Afrika Bambaataa, who deliver a surprising cover version of the Rolling Stones’ 1976 single “Hot Stuff” (from the album ‘Black & Blue’).

                      While the Jagger / Richards-penned original vaguely flirts with the disco-funk sound of the era, this rework out funks it in true and inventive Mocambo style, bringing the song closer to its intial inspiration and stretching it further out into a banging street funk jam. Afrika Bambaataa makes you wonder who the funk Mick Jagger is, and fellow Zulu Nation members Charlie Funk and Deejay Snoop top it all up with P-funk-style vocals and talkbox. The jam continues on the flipside with an exclusive part 2 including more beats, breaks and helium voices.

                      Model 500

                      The Passage - Clear Vinyl Edition

                      Apollo come correct with a sweet treat for all the true techno heads out there courtesy of this gorgeous clear vinyl reissue of Model 500's "The Passage". Originally released in 1992, this three tracker of intergalactic delights stands up as some of Juan Atkins' finest and most under rated work. The title track opens the EP with zero gravity sequences and a snapping electro rhythm before Juan shows a subtle touch thanks to a restrained sub bassline and the occasional breakbeat blast. Perfectly constructed techno whether you're upright or horizontal. The mood gets darker and more intense on the flip, as Juan delivers the paranoid melodies and menacing bass of "Mind Changes", a constantly evolving salvo of metallic Detroit techno. As you'd expect from the title, "Vessels in Distress" is a galactic ghost beamed back from the Event Horizon. A bass pulse combines perfectly with interlocking sequences as Juan jettisons us into deep space forever. Re-mastered by Matt Colton, these three techno killers sound better than they ever have, so don't miss out.


                      City Wrecker

                        “I recently made some more recordings under the name Moonface, which take the form of a 5 song EP called ‘City Wrecker’, and run at around half an hour.

                        “‘City Wrecker’ is the title track of the EP. I wrote it before Miley Cyrus released ‘Wrecking Ball’, but I cannot prove it. Oh well. In describing the song (and maybe the whole EP) I would say it’s the aesthetic opposite of ‘Wrecking Ball’ by Miley Cyrus, which is not to say that’s a good thing or a bad thing, just an apple for you to hold up beside your orange. Regardless of all that, my friend Eetu, who recorded this EP, still likes to call the song ‘Wrecking Ball’ and to sometimes call me Miley, but that’s okay cuz we’re buddies.

                        “I lived in Finland for a couple of years, but now I live in a little town nestled in the woods of Vancouver Island. This is a recent move, and so ‘City Wrecker’ represents the last album I completed in Helsinki. Maybe I will go back to that big icy lighthouse, and all the lovely weirdos within I have come to love, one day, but for now I have used it up.

                        “I have a tendency to wreck the places I live in. I am a luster scraper; a green grass imaginer. I wreck places emotionally, as in, even though they stay the same objectively, they somehow worsen in my heart. I wreck their meaning, and so ultimately their function. No more crackling inspiration. I waste my own time. I get bored. I turn gardens into dust bowls.

                        “And I am a city wrecker not just for myself, but for those close to me as well, for my wrecking is a quiet and creeping poison that is hard to identify; hard to see coming through my mist of moods. I fuss, and then still am dissatisfied, making my loved ones feel sad and helpless, angry and confused, and perhaps most terribly, responsible. Though of course they are blameless and magnificent.

                        “Anyway, all of the songs on this EP, in one way or another, are about places. Going in and going out. Regret and hope. The past and the future. Ducking out early from your own farewell party. That’s why it’s called ‘City Wrecker’” - Spencer Krug

                        FORMAT INFORMATION

                        Ltd LP Info: Limited edition mini album (100 copies for the UK and Eire) available exclusively to independent retailers.

                        Mr Assister

                        Bala / Reggae Drums

                        Mr Assister - more commonly known as the drummer that James Blake sings for - unleashes his debut double B-side release on 1-800-DINOSAUR, the London based label and club-night of which he is a founding member. The seismic lead track "Bala" has received rapturous feedback from the likes of Jamie xx, JD Twitch, Martyn, Gilles Peterson and Pearson Sound and was made on a laptop in Mr A's kitchen without much knowledge of the software he was using at the time. Emerging from a polyrhythmic drum beat. the cascading beauty of thumb piano tops a simple and subby bassline as Mr Assister clashes cultures brilliantly. If you've dug on those Autonomous Africa releases, then this is gonna make you flip your lid. Prior to "Bala" he came up with the deeper, driving house workout "Reggae Drums" on the tour bus, using samples of drums from reggae songs. A warm bassline and melancholic pads combine for a teasing deep house groove, but it's the polyrhthmic brilliance of the percussion that sets this one in a class of its own. If you're looking for that special something for your set then look no further.

                        Roisin Murphy

                        Mi Senti Remixed - JD Twitch Optimo / Daniele Baldelli & Marco Dionigi Remixes

                        After the impressive line up on Roisin's first remix package, she pulls out all the stops and enlists the help of a trio of true greats to ensure that part two goes off with a bang. Murphy's Italophile EP "Mi Senti" soundtracked many a BBQ over the summer months, and it seems like JD Twitch has his sights set on dominating the basements this winter. He laces a thudding rhythm track with the fragemented and fractured echoes of Roisin's vocals while a warm, round and pulsing analogue bassline undulates away underneath. Sparkling keys fit for Detroit's thrid wave shimmer overhead as Twitch gets you moving and grooving for good. On the flip, Daniele Baldelli & Marco Dionigi take the controls and pilot our shuttle for the outer rim of the cosmic sphere It's here we find "Ancora Tu", transformed into a space funk chugger of the highest order, retrofitted with a rolling baseline, shapeshifting vocals and a whole lotta cosmic rock riffage!  This little gem actually sounds like it could have featured on a mid eighties Cosmic Club tape, it really is that good!

                        This one’s been planned for what seems an eternity now, a mighty pair up of like minded souls for a new 45 for The Great Pop Supplement. Woods and MV & EE each offer up live versions of the Floyd classic “Green is the Colour” across one killer split 45; finally coming to fruition as each band hits the road this Autumn.

                        A double ‘A’ side in the truest sense of the word. The Woods take was recorded at The Bowery NYC in May this year. With Matt & Erika’s cut at The Woodsist Festival CA, last September….

                        Ace Matt Valentine sleeve art and released as a one off pressing of 500. Get on it as it will go quick, looks great, sounds great. One time pressing….

                        Child of Microtones proudly announces the release of its first LP! MV & EE’s Alpha Lyrae is a heartfelt paean to cosmic children and beasts everywhere. > “i was feeling rockets all the time when we were creating and listening to this record. sometimes they were bottle rockets, imaginary rockets, estes, space crafts and gimongous star machines that haven’t been built yet. more importantly i was feeling stages, secondary...tertiary…beyond growth. definitely alotta triangulation with the “eye” and geometric eye in the sky -> always liftoff/ground, fruit/roots. ∞ philosophies. those kinda sounds often bless our head to remind us heads, they peak and peek out of the spectra as explosions. hopefully that translates for you, it will if you are that kind. dig it in headphones.” - matt valentine maximum arousal farm (vermont 2014)

                        “Some people have a hard time picking sides, not me, not here: I’ll take the flip. It starts high on the crazy horse, all gallop and fuzz, and begins to fray in the most glorious way. When the tambourine starts to shake, the jam goes to shambles — they coulda let it in, coulda made some rock heroism out of it, but they let it soak, standing outside, staring through the window as the storm rages on. It’s one of those moments that makes it real clear why MV&EE end up on bills with boundary pushers as often as mellow jammers. Of course, matt and erika being who they are and doing what they do, bring it back home, nice and comfortable like a loaned drug rug on a cold night, with some song stylings that showcase finger picking and ghostly harmonies and that inimitable siren’s wail of EE’s slide. I’ve got plenty of shelf space given over to the road ramblings of the various incarnations of their band, but the studio outings are always something special, and this one gets better with every spin.” - peter meehan/lucky peach (NYC 2014)

                        “brother...u’ve outdone yrself on the ‘alpha’...this is one of the best sounding records i’ve heard in forever...y’ve taken it all to another spectra-4-life…” - matthew “doc” dunn (the wolfking of TO)

                        ‘This Is My Hand’ is a bold chapter in the unfurling My Brightest Diamond story. The album’s exploration of music and its rhythmic urgency escort Shara Worden’s chamber music aesthetic out of the chamber and back into the dance hall and rock bar.

                        Produced by Shara and Zac Rae, ‘This Is My Hand’ is the moment where the music achieves the brilliance of her huge ambition.

                        Sounding not quite like anything else but hugely accessible, ‘This Is My Hand’ will be the moment that My Brightest Diamond sparkles worldwide.

                        FORMAT INFORMATION

                        LP Info: Initial LP pressing on red vinyl.

                        Negative Scanner

                        Ambitious People


                        When Negative Scanner members Rebecca Flores & Tom Cassling's other band, Tyler Jon Tyler disbanded in 2012, the 2 members recruited bassist Nick & guitarist Matt to flesh out the lineup & Negative Scanner was born. "Ambitious People" launches off the A-Side, wasting no time rocketing to the anthemic chorus reminiscent of savage early Mekons carousing with The Feelies. The B-side lets the dueling guitars ebb & flow rather than bludgeon, bringing to mind the effortless, slash & burn tension exuded by Northwest punk originators The Wipers by way of modern-day DIY heroes like Tyvek or Eddy Current Supression Ring

                        Golf Channel pull off a major coup with the debut vinyl release from New Jersey born New Yorker Dan Selzer under the New York Endless moniker. For those out the loop on this one, Dan's thrown parties across the Big Apple for the past 20 years, playing disco in Brooklyn lofts, post punk and new wave with The Rapture, all kinds of kosmiche weirdness with Mike Simonetti and blunted house with the Lectric Sands crew. Add in to that intimidating track record that this is the cat who runs the essential post-punk reissue imprint Acute Records and it's obvious we're talking about an OG of the highest order. And now, one of the world's more diverse disc jockeys makes his studio debut with three kaleidoscopic cuts reflecting his various influences. Techno, house, Italo, new wave, cosmic, kosmiche, Kraut and minimalist all get refracted through Selzer's prismic mind and come out the other side in healing frequencies of synthesizer joy. The brilliantly titled "Consultant's Agreement" kicks things off in serialist fashion, with a cyclical introduction Philip Glass would be proud of. Soon enough skipping house drums and pure kosmiche synthlines weave a spell over those crystalline sequences taking your mind for a wander. From the celestial heights of the opener, we make the transition to the more earthy "Scale Those Heights", a driving hybrid of Italo and new wave which gradually makes the glorious transistion from minor key to major key as those analogue keys get you peakin! Flip the disc and Selzer hits yer with the pulsing, glistening, arpeggiated brilliance of his krautrock hymnal "Benefits Arrive, Life Goes On". The New Yorker packs this number with arms aloft 'sun-through-the-clouds' moments and lush melodies, building from a bass led sequencer groove into a sunset Balearic bomb (in the "E2-E4" sense at least!). A superb debut and another total blinder from Phil South's Golf Channel. 

                        Richard Norris

                        Freaks / Yeah - Inc. Hardway Bros / Brioski / Ivan Smagghe Remixes

                        While many labels take it easy during the summer, lounging by the pool and getting a tan, Throne of Blood are doubling down with the soundtrack to a heavy night bathed only in strobe lights. For the label's latest release, the aptly named “Freaks” / ”Yeah” EP they’ve recruited UK legend Richard Norris to lead their latest foray into the darkest and sweatiest corners of the weekend.

                        Best known for his contributions to storied projects like Beyond The Wizard’s Sleeve (with Erol Alkan) and the Grid (with Dave Ball), to say nothing of his cosmic disco project, The Time And Space Machine, Norris here is sailing alias-free for the very first time.

                        As efficient as they are simple, the aptly named “Freaks” and “Yeah” are to the point, post midnight analogue jams, what Norris calls basement filth. Three superb remixes complete the EP: The Hardway Bros make their second appearance on TOB with a storming version of “Freaks”, dragging the original into Belgian new beat territory. Boot & Tax’s Brioski also reworks “Yeah” into a shuddering polyrhythmic chugger. Rounding out the EP is Ivan Smagghe, who turns in a mind-bending 8 minute version of “Freaks” that trades much of Norris’s signature filth for 60s-era organs and hair grease

                        Olivia Tremor Control

                        John Peel Session

                          1997 was a big year for the Olivia Tremor Control. They were riding high on the release of their debut 2LP "Dusk At Cubist Castle," & touring the world relentlessly. during a visit to the UK in March, DJ John Peel requested the band to visit his studios to record for his radio show.

                          17 years later, "John Peel Session" is released, & features a couple never-before-released songs amidst the three tracks. A radio session that has been officially licensed from the BBC, this is continued evidence of a band that is in further need of celebration.

                          Massimiliano Pagliara

                          With One Another

                            Massimiliano Pagliara, originally from Lecce, Italy, now Berliner of choice, is an orchestrator of a warm bassline-sound accompanied with rich melodies - due to a deep love to vintage drum machines and synthesizers - takes Ramona on a journey through the colourful depths of his new album 'With One Another' - follow-up of his debut album 'Focus Of Infinity', released in 2011.

                            'With One Another' shares the joy of Massimiliano's trademark sound influenced by underground-disco of the 70s and new-wave of the early 80s. Starting from this point, he took a hand full of close friends along with him on a ride through his musical garden - reaching from Italo-induced disco smashers over to acid dripping floor fillers to charming proto-house.

                            Features contributions from Telephones, Mavin, Credit 00, nd_baumecker, Lee Douglas, Benedikt Frey and more).

                            Capital Bass continue to offer an insight into Moscow's booming bass music scene with another release from a rising local talent. After the wall shaking success of Formally Unknown's "Untitled EP", Capital Bass drop another tough as nails, bottom heavy package from close label friend and Red Bull Music Academy Moscow graduate Pak0. Based in the Arkhangelsk, North Russia (home of one of the best levels in Goldeneye) the young producer has consistently focused his productions towards the more weighty strands of dance music, shifting through experimentation with techno, garage and drum 'n bass. This tonking two tracker on Capital Bass gets nasty from the off with the subby and dubby thump of "Legacy", a cavernous bass techno hybrid boasting Basic Channel stabs, rhythmic rattle and seismic bass power. Flip the disc and Pak0 hits us with a different kettle of caviar thanks to the jazzy groove of "Work It Out". This breakbeat fuelled nodder combines concrete kicks and brash hats with a jutting piano riff that shifts your focus throughout. With a busy schedule including shows with the likes of Zed Bias and Lokiboi, progress shows no sign of slowing for Pak0 and propelled by their 5th release it's fair to say the same applies to Capital Bass.

                            People Skills

                            Tricephalic Head

                              Following a self-titled cassette (Psychic Mule, 2013), People Skills serve up a first LP of deceptively relaxed songs. As per usual, deductions are to be made on the consciousness of the character; the important thing is that in the ensuing spatial vagueness, Jesse De really comes into his own. The influence of Graham Lambkin has become so staggeringly panoramic over the past decade it seems to demand participation and here it is, inscribed by the chance blurts of Die Spielverderber and the slow attitude of The University Punx, and played from the loner-folk-side-in—that is, for feeling felt. And the laziness is projective; always managing to sound looser and more vivid than it seemed a couple of seconds before, shifting from lyrical to terse by way of The Rebel.

                              And if that doesn’t get you, consider the mortal words of John Berryman: “Well hell / I’m not writing an autobiography-in-verse.” As a first-person hallucination recorded memory, this plays somewhere between full-blown De narrative and snapshot. Regardless, we’re blazing into a new era and this one will go perfect in one of those new rabbit-computer cafés.

                              Marcellus Pittman / John Cannon

                              1044 Coplin (Give You Whatcha Lookin 4) / J.C.'s Groove

                              A modern boogie 7" on Unirhythm!? Yep, you heard right! Marcellus Pittman graces the A-Side of the disc on "1044 Coplin" - a nice slice of mid west funk sure to appeal to all the boogie heads worldwide. On the flip we have the Unirhythm debut from Detroit's own John Cannon. John C is a veteran producer and MC, most recently featured on the J DIlla album "Rebirth Of Detroit." No suprise there - we definitely hear some Dilla on "J.C.'s Groove." Essential!

                              Huge reissue from Steve Poindexter's back catalogue circa 1991. All SIX tracks are fully remastered for 2014 and re-released with authentic replica label artwork. Released in conjunction with Steve Poindexter / Chicago Underground. If you want to shell out on an original, Discogs prices are $100+, but I bet they won't sound as good as this brand spanking new version, as those early pressings had loads of faults. So, on the platter we have 'Happy Stick', 'Destiny', 'Mental Problems', 'State Of Shock', 'Mental Problems' and 'Night Flight'. More Chi-Town house sounds than you can shake a stick at.

                              Chen Qigang

                              Coming Home OST - Transparent Vinyl Edition

                              Zhang Yimou’s movie Coming Home (original title “Gui lai”) is adapted from the novel The Criminal Lu Yanshi by American- based novelist Yan Geling. The film chronicles the journey of a Chinese dissident from the 1920′s to the 1990′s, and world premiered at the Cannes Film Festival in May of 2014. Filmmaking doesn’t get more timeless than this heartbreaking historical romance, a family drama of guilt, love and reconciliation set during the aftermath of China’s Cultural Revolution.

                              The original soundtrack has been composed by Qigang Chen, who worked as Music Director of the Opening Ceremony at the 2008 Beijing Olympic Games. In 2013 he was voted, along with Mo Yan (Nobel Laureate, Literature) and Lang Lang, “Most Influential Chinese in the World of Culture and the Arts” by a consortium of major Chinese media.

                              Chen Qigang’s score, drawn from vintage Chinese revolutionary symphonies performed by legendary pianist Lang Lang, is a sentimental one. Piano is the main “voice” of this score, with cello, violin and female voices in upporting roles. In order to make it work with the story, the music of Coming Home features simple tunes and forms. Anything excessively rousing is avoided, with the soundtrack largely providing an understated aural backdrop, coming up to the foreground only when the occasion calls for it.

                              Ramrock Allstars Feat. D'Oxman Pon Mike

                              Return Of The Gentleman Rudeboy

                              Respected black dance music DJ, Jo Wallace, was commissioned to create a bespoke track to accompany Dean Chalkley and Harris Elliott's 'Return of the Rudeboy'. In order to deliver the track in a limited vinyl format, Jo had to create a label....thus, Ramrock was born. Paying homage to the glorious heyday of Jamaican rocksteady, Jo tailored the sound to fit the flavour of the exhibition - more Argyle socks than on the rocks. Gathering together the production skills of the legendary Ashley Beedle, the talents of musical supremo Darren Morris and the mighty MC D'Oxman, Jo oversaw the whole project in the studio even lending a hand on backing vocals and percussive teacup. "Gentleman Rudeboy" is a rolling and strolling hit of rocksteady, hot with the swelter of the Island dancehall. Mr Beedle shows his experience on the desk, melding a thick and heavy sound that'll work any system.

                              With a bountiful career of singles and EP releases, alongside a host of collaborative and solo monikers spanning a staggering fifteen years, The Revenge is preparing to release his first solo full length LP next year. The first release from the full length LP is three tracker "Incredible Shellsuit". Naturally popping on his own imprint Roar Groove, here we have a proud hat trick of infectious and refreshing grooves that have become a trademark for the Scottish Producer/DJ. "Incredible Shellsuit"s up tempo blend of house and disco is an apt beginning for this newest venture, as the producer provides the sound he’s traditionally famed for whilst still creating a new and forward-thinking composition. Breathable nylon to one side, here we have The Revenge’s signature sharp studio output where every sample and key drapes and falls into that precise arrangement we’ve come to trust from him. Next, "Los Angeles Times" displays a darker side, comprised of looped vocals and synths that build to a growling apex, bubbling with atmospheric intensity. "Vorderman" rounds off the release with a stripped down groove and raw percussion that confirms that less can certainly be more. The track ends with a steady rumble of thunder reminding us that this is just the beginning of this new venture.

                              The Rhythm Odyssey & Dr Dunks

                              Broken Drums / Super Chips

                              After smashing plenty of systems woldwide with "Saffron" and "Fox", the dynamic duo of Eric Duncan and Dean Meredith return to unleash another double headed monster that's gonna detonate the dancefloor. On the A-side, "Broken Drums" sees the duo turn out a heads down floor driver of the highest order. An almost progressive keyboard sequence and solid 4/4 at the heart of the track power your body forward, augmented by the rumble and tumble of 808 toms, a phat boogie flavoured bassline and a funky pitch bent synth. It sounds like Duncs and Dean were on the lash in New Jersey one night, happened across Metro Area's studio and decided to smash out some techno. Let's face it, this one has you hooked well before that massive proto-house vocal comes in! On the flip, "Super Chips" is a deft combination of mid-tempo electro-funk groove, Carpenteresque gloom and freestyle boom. Imagine World Premiere's "Share The Night" and Rockers Revenge's "Dubbing On Sunshine" circled by a sweaty throng, settling their differences with an intense dance off. The "808 Mix" strips the original mix down to the bone replacing some of the synthetic flavour with added rhythmic drive. More dopeness from the GC massive.

                              Rival Consoles


                                Ryan Lee West aka Rival Consoles reinforces his unique style of minimal electronic arrangements with a new 6-track EP .

                                Continuing on from his Odyssey EP released in 2013, Ryan Lee West aka Rival Consoles creates atmosphere and space whilst exploring waves of sound and rhythm, and the power of colour. With Sonne Ryan creates music to structure itself around a pulse, rather than the pulse being the defining point.

                                The title track begins with “a very subtle set of melodies that repeat almost without confidence, and then gradually give way to a huge collage of colour and power”, as Ryan describes it. Not relying on a conventional beat, it’s a prime example of how an analogue synthesiser can create the power and momentum of a rhythm section. From the distorted waves in 3 Chords, growing and shrinking, to the rhythmic waves of constant speeding up and then slowing down in Recovery, it’s the Moog Voyager, Prophet and tape delay that make up the core sound of the EP. Whilst tracks like Helios, Haunt and Think Tank see West play live drums and acoustic guitar.

                                “I’m often looking at art in exhibitions and I always think to myself ‘why the hell don’t I have this much colour in my work?’ The answer in part I think is down to synthesis. It is very difficult to create colour without it sounding plastic. Colour in music is both the note combinations and the actual timbre of the sounds. There are lots of instances of very colourful ambient sounds, which I took great care to create for each song, using various methods – from passing analogue synths through chains of effects to chopping up random sequences of recordings and forming tiny collages." – Ryan Lee West

                                Resembling the colour and vibrancy in his music, the cover art was created by South London artist Supermundane, who was also responsible for the artwork of the Odyssey EP.

                                After supporting Luke Abbott on his recent UK tour and I Break Horses on their North American tour in spring, Ryan will debut his new live set with a special release show in London, followed by a string of West Coast U.S. dates culminating in Decibel Festival.

                                ABOUT THE ARTIST:
                                Some might be surprised that London based electronic producer Ryan Lee West, the man behind Rival Consoles, shares a home with contemporary classical composers such as Nils Frahm, Ólafur Arnalds and Peter Broderick. And yet they have a lot more in common than expected. Fascinated by sound from an early age, Ryan chose to dedicate his time to studying, experimenting with and producing sound graduating from De Montfort University in Leicester. One consistent element in his musical journey has been his desire to create a more organic, humanised sound. Ryan often drafts early ideas on piano, violin and guitar, although the end result is much more electronic-laden. As an accomplished sound designer he has repeatedly performed at the Tate, and recently created a bespoke audio-visual performance for Boiler Room at the V&A. Ryan is currently composing music for a BBC production.

                                Aria Rostami's "Czarat EP" is Spring Theory's sophomore release. With Avalon Emerson's "Church Of SoMa" having soundtracked many a dance throughout the Summer, I was very excited to see the label's next foot forward. The San Francisco-based musician's roots extend off into theoretical dimensions far beyond conventional dancefloor fodder (his material has appeared on labels like Audiobulb and Crash Symbols). For "Czarat", however, he's honed his approach to produce an unusual dancefloor anthem. Melding influences from around the world, the song arrives at something that sounds like acid house and techno as interpreted through an internet-enabled, information rich dialog of the present moment. Glitches permeate through a thick stream of sound while a spectral, AFX-inspired beat skits along nicely. Unique; good. Secret Circuit's 'Acid Dub' remix sends the OG spiraling off into the cosmos with circular arpeggios and sweeping white noise elevating the floor to dizzying heights. "Vietnamoses" concludes with yet more aciieeed. A heavy 303 assault combined with soulful piano refrains, lush strings and a sympathetic, well executed arrangements. Solid second release from this label and another one set to sell out quickly. Move quick!

                                Japanese singer, songwriter and multi-instrumentalist Shintaro Sakamoto returns with a new full-length, ‘Let’s Dance Raw’ on Other Music Recording Co. (distributed by Fat Possum). The album is the follow-up to Sakamoto’s solo debut, the otherworldly folkpop masterpiece ‘How To Live With A Phantom’ (2012).

                                While ‘How To Live With A Phantom’ was the first many around the globe knew of Sakamoto, he has long been an icon in his homeland, having long fronted the psychedelic phenomenon Yura Yura Teikoku, a Tokyo-based band that emerged from Koenji’s legendary UFO Club scene and, across their 20-year trajectory, achieved mainstream success throughout the country. Following the group’s break-up in 2010, Sakamoto began working on ‘How To Live With A Phantom’, a bold stylistic departure that eschewed Yura Yura Teikokou’s psychedelic freak-outs for a much quieter and harder-to-define sound.

                                From first glimpse of the cover of ‘Let’s Dance Raw’, it’s clear that once again, we are entering uncharted territory. The record’s sleeve, painted by Sakamoto, features the artist sitting upon a black throne, a steel guitar resting on his knee like a child being protected from the ominous mushroom cloud of smoke billowing behind him. A grinning skull has replaced Sakamoto’s face. This dichotomy of bright, innocent beauty and subtle perversity is the essence of ‘Let’s Dance Raw’, with Sakamoto moving even further from the tough underground power-trio psychedelic rock of his former band.

                                Sakamoto hinted at the new sound throughout his solo debut and here the music is blown wide open, with the steel guitar as the unifying force throughout. Sakamoto purchased and learned how to play the instrument just prior to writing and recording ‘Let’s Dance Raw’ and it enriches the post-apocalyptic exotica on these ten songs, fusing together the bright and breezy shimmer of Hawaiian slack-key hula melodies, the dusty shuffle of South Western desert blues and the space age bachelor pad music of post war suburban dreamers. The result is an album that revisits the soundtracks of musical escapism made popular in post war American and Japanese cultures and deftly updates them.

                                It’s all anchored by deep, jazzy grooves straight out of a 1970s AM radio broadcast and peppered with flourishes of Brazilian and Latin percussion throughout. Atop the music, Sakamoto sings of the human race’s downfall, the weight of the lyrics made contrastingly perverse via duets with robotic vocoder voices and helium-voiced cartoon chipmunks cooing in an unsettling fashion alongside him.

                                While Sakamoto once again handles the bulk of the instrumental duties, faithful drummer and percussionist Yuta Suganuma also returns for this set, as well as bassist AYA, on loan from fellow Japanese psychedelic explorers OOIOO (Thrill Jockey).

                                The Shaolin Afronauts

                                Follow The Path

                                The driving force of The Shaolin Afronuats is Adelaide-based Ross McHenry, composer, bandleader, producer and bassist. The band also includes co-collaborators Lachlan Ridge and Dylan Marshall, and It is their combined musical tastes, impeccable production and instrumental skills that always result in music that is original, unexpected and quite beautiful.

                                'Follow The Path' is a 21 track double CD that expands upon and delves further into the musical genres that inspire and influence the group - rhythmic and pulsating afro-beat, and the avant-garde / spiritual jazz inspired by artists such as Sun Ra and Mulatu Astatke.

                                One superb example of the band's style is 'Ojo Abameta', a frenetic percussive number, built on a bed of amazing percussion and topped off with some deeply sweet ensemble horns which acts as a curtain raiser for this incredible album. The end result is reminiscent of African hi-life. The albums title track 'Follow The Path' uses afro-beat as a template, but with strong funk undercurrents, as the insistent beat underpins the beautiful ensemble horns and bubbling analogue synth sounds to dramatic and hypnotic effect.

                                In contrast, the second CD/LP emphasises The Shaolin Afronauts more experimental and introspective side. As an example, the three part suite 'Outside Beyond/Three Ways Back' is a musical journey that takes the listener through many musical moods and textures; this is deep, spiritually rooted music that locates the band almost in a genre of their very own - having such an original and individual approach and sound.

                                To paraphrase the late great Jimi Hendrix, excuse me while I shit my pants! Berlin's sonic militant Shapednoise pops up on Russian Torrent Versions with a blistering, brutalising bitchslap of distorted electronics that'll have the weak-willed cowering in the corner. "The Existence Of A Vital Reality" is an aggressive noise assault punctuated by the occasional blast of rhythm, while "Phase" is a hard as nails techno workout topped with plenty of thunder and lightning. On the flipside "Illumination" puts us in the midst of a breached space cruiser, taking cover as the fire doors malfunction venting black smoke into the atmosphere. On EP clsoer "Distorted Vision", Shapednoise burries a skitterish drum rhythm beneath a fuck-tonne of sonic rubble and rumble, laying waste to any system you'd care to hear it on. Abrasive and extreme, this shit's not for the faint hearted.

                                THE BAND
                                Steve Albini ◊ Guitar
                                Todd Trainer ◊ Drums
                                Bob Weston ◊ Bass

                                This is Shellac’s fifth LP. Recording took place sporadically over the past few years at Steve's ELECTRICAL AUDIO studios in Chicago. The record was mastered by Steve Rooke at ABBEY ROAD. There is no comma in ‘Dude Incredible’; like Sir Duke or King Friday, for example

                                Both the CD and LP version of Dude Incredible come packaged in a chipboard album jacket with two high gloss, full color monkeys on the front cover. The LP includes a CD of the full album.

                                Audio quality is paramount, as always, with Shellac. The LP was mastered entirely in the analog domain, using the DMM (Direct Metal Mastering) process. The LPs are being manufactured at RTI in Camarillo, CA, using their HQ-180 system. The pressings are 180 gram audiophile quality.

                                STAFF COMMENTS

                                Micheal says: 'Dude Incredible' is, as Shellac always are... brilliant. It's a continuation of the tight, rhythmic, head nodding grooves that only Shellac can do.

                                Four peak-timers from the masters of bang! Including a special club edit of the popular "Rawhide" - a growling beast of a track which deploys helicopter blade hats and monstrous weight to Sims' delectable groove. "Strike 2" lashes us with more sharp hats while a nagging circuit-bent lead / bass line hybrid weaves its way quickly and effectively through the mix. Sims works the low pass filter well and deploys a glitching, head twisting breakdown from deep inside the mainframe before firing up the pistons again for the final charge. Uncompromising. Degiorgio's "Dread" appears on vinyl for the first time after its inclusion on Sims' Fabric Mix CD. Dark and rumbling, with on-the-one hand claps coupled with Millsian hats and leads; you'll come too at some point around 5AM, hugging the speaker stacks unbeknownst, covered in a cloud of smoke with this one banging away in the background. Ace. "Dark Fire" shows no let up on the darkness either, with Degiorgio barraging us with 303 fire, rattling snares and a Joey Beltram-inspired bottom end. Great stuff!

                                After years of recording as one man in several sheds, The Long Con is the first full-on, full-band recording from Ireland’s So Cow. Brian Kelly is this time joined by long-time foil Jonny White on bass and the pride of Dublin, Peter O’Shea, on drums. It’s also their first album to be recorded in a studio and, if that isn’t enough, has an honest-to-goodness producer involved, namely Deerhoof’s Greg Saunier. Recorded live over the course of four or so days, the album is an attempt to capture So Cow’s live sound, as opposed to the overdub-happy chaos that marked the debut LP, 2009’s best-of-up-to-then compilation So Cow, and 2010’s Meaningless Friendly.

                                The album was recorded in Ballyheigue in County Kerry, hitherto and probably-now-still most famous as the birthplace of the guy who coined the term “entrepreneur.” Saunier and the band ran through the process at a fairly spectacular pace, most likely inspired by the wi-fi being out of order. The Deerhoof man himself makes an appearance on “Say Hello,” a pretty-muchimprovised final day runabout. The Long Con follows on from the sufficiently varied Meaningless Friendly and their half of Out of Season, a split LP with Dublin’s Squarehead, in that it zips around styles in a way that, to this day, makes their friends find them “hard to describe.”

                                The band themselves are of the mind that they sound like The Chills or McLusky, but they’ve lost all perspective at this stage so don’t go taking their word for it. Similarly, lyrics telling of joyriding local politicians, John Deacon’s post-Queen level of contentment, and the terror of turning 30 can probably now be interpreted any number of ways.

                                No sleep for those guys at Shabby Doll Records. Not long since Nail's Lost Trax 1997 sold out shortly after going on sale, and they now drop SHB014.

                                This time Shabby Doll bring a killer package from two of the most highly respected men in house music today - South West Seven. South West Seven are Montel and Sean Grieve.

                                These guys have a track record to die for: Their collab label Seven Music has released tracks from the likes of COEO, Rhythm Operator, Giovanni Damico, Death On The Balcony and of course the man Montel himself. As a production duo, they've released on labels Kolour Ltd, On The Prowl, Sccucci Manucci, Carry On, and Solardisco.

                                But when Shabby Doll came calling, shit got serious. The result was three shimmering new cuts, on yellow vinyl no less.

                                The four track 'BT1' EP ('Angel', 'You Don't Know', 'Vaporise') is strong. And just when you thought it couldn't get any better, along comes Shabby Doll favourite, Quell on the remix of 'Angel'. Angelic. 

                                Rothmans return with their magificent seventh release, this time paying homage to the unerringly calm and composed German playmaker Paul Breitner. It seems slightly ironic then, that the man at the helm of this release is the perennially wired, wide eyed and peaking Ste Spandex. Manchester's most prolific producer arrives at this release in fine form, fresh off the back of his remix of Coyote on ROTHMANS6, and joined by Piccadilly's own shamanic Matt 'Kickin Pigeon' Ward and sure manic Metrodome, who bring their own sensory boosts to the hardware convention.

                                Spandex flies solo on A1's "Ladykiller", a sprawling psychedelic house cut boasting a spangled groove and heavily dosed synthlines, which has been tried and tested in basements and attics all over Manchester. The A2 sees Spandex joined at the controls alongside feathered friend and Wet Play witch doctor Kickin' Pigeon for the non stop technoid joyride of "Fist". Possibly named after the country's leading brand of poppers, this lysergic slammer lulls you into a false sense of security with those familiar piano vamps before blowing your tiny mind with a barrage of laser fire, echo swirls and trippy sequences. Certain to leave you light headed and sore for days, this is the kind of jam that chews you up on a Saturday night and spits you out on Wednesday. After that stomach churning breakneck intensity, Spandex and Metrodome drop the pace and take you on a cosmic trip with the raw and synthetic "Drinking Petrol", a boogie tinged psychedelic taste of Manchester's after hours scene. Rattling percussion and a sludgy bassline represent for the rhythm section, while those flanged and phased leadlines wind back and forth between dimensions.

                                If you're wondering why this sounds completely different to everything else out there in release land, it might be because the whole EP was recorded 100% live on analogue equipment without a computer in sight. The EP finds Rothmans taking a slightly different and more up-tempo vibe but still retains the psychedelic nu-disco feel of many of their earlier releases. The best one yet I reckon!

                                STAFF COMMENTS

                                Patrick says: Wax debut for our very own Kickin' Pigeon! Spandex, Metrodome and Pidge (aka Matt Ward) deliver the phet fuelled, psychedelic house sound of the Manchester underground. Essential tackle.

                                Nikki Sudden

                                Fred Beethoven

                                  •We are proud to present a newly found unreleased album recorded across two winter time sessions at Nikkis favourite recording studio Woodbine Studios in Leamington Spa.

                                  •The profile of the late Nikki Sudden has never been higher with the release of the highly acclaimed Box Set The Boy from Nowhere & the release by U.S label Numero Uno / Secretly Canadian of all the early albums on limited Vinyl.

                                  •Apart from a couple of cover versions Johnny Be Goode & Ronnie Lane’s, Faces classic Debris and a re- working of one of Nikki’s old songs from his first album Forest Fire , The Fred Beethoven Projectile sessions sees the band teaming up with French Guitar hero Freddie Lynxx to record brand new compositions unavailable on any other recording.

                                  •The tapes were discovered whilst compiling a career spanning box set issued to critical acclaim last year.

                                  Nikki Sudden was born Adrian Nicholas Godfrey in London, England. The main influences on Sudden's music were artists such as T. Rex, the Rolling Stones, the Faces, Bob Dylan and Johnny Thunders. Founder member of one of the U.Ks very foirst DIY bands the now legendary SWELL MAPS. Following the break-up of Swell Maps in 1980, he started a solo career and also released records with Dave Kusworth as the Jacobites. Sudden collaborated with, among others, Mike Scott and Anthony Thistlethwaite of the Waterboys, Jeff Tweedy of Wilco, The Golden Horde as 'The Last Bandits', Mick Taylor of the Rolling Stones, Rowland S. Howard, Jeremy Gluck of the Barracudas, Metrophase, Joey Skidmore, Ian McLagan of Small Faces and the Faces, Phil Shoenfelt, Baron Anastis van Hustler, Big Sleep, Al DeLoner of Midnight Choir, Tom Ashton of the March Violets, members of R.E.M. and Sonic Youth. The Jacobites' tune "Pin Your Heart" was covered on the Lemonheads' 1997 single "The Outdoor Type". Sudden also wrote for a number of music magazines, such as Spex, INTRO, Mojo, the local Birmingham based fanzine Waxstreet Dive, and Bucketfull of Brains. At the time of his unexpected death, he was writing his autobiography, as well as a history of the Wick (an estate in Richmond once owned by Ronnie Wood, currently owned by Pete Townshend), and was due to perform in London on the 29 March 2006.

                                  FORMAT INFORMATION

                                  CD Info: CD is presented in a card gatefold sleeve.

                                  Ltd LP Info: Limited blue vinyl, 400 copies only!

                                  Taggy Matcher & LMK

                                  My Man

                                  Following a flood of reggaefied reworks of hip hop classics and a cover of The Black Keys, Taggy Matcher now presents “My Man”, alongside great songstress LMK. On this new track, he digs more into the digital reggae style from the early 80s, showing another side of his production skills. Reminiscent of Sister Nancy's 'Bam Bam', but with a digital twist. Planned for release in autumn, Taggy Matcher’s first album will further explore the many differing styles in reggae music. He's helped by the great voices of Mr Day, Birdy Nixon, John Milk, plus more from LMK.

                                  Teardrop Factory

                                  Thrash In The Heart - Bonus Disc Edition


                                  Teardrop Factory's debut album Thrash in the Heart falls into existence in a swirling haze of broken sleep, streams of consciousness and teen despondency.

                                  They pick up from where they left last year's excellent Topshop EP (one of Norman Records' singles of the year, also on Faux Discx) but expand their alternative 90s worshiping earworms with an added layer of noise. Grit and scuzz consume 13 pop songs about mermaids, electric ghosts, car crashes, geometry, surfing, eating insects, video games and lucid dreams.

                                  Made at home by the band and recorded in their bathroom, then mixed with Julian Tardo (Church Rd Studios / Bowlegs) and finally, mastered with MJ (Hookworms) at Suburban Home.

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