Sacred geometry, complex polyrhythms and clinical sound design all collide in the work of Manchester outfit Akkord, who selected two of their favourite artists to reinterpret their ‘HTH020’ EP. The results are breathtaking, powerful and utterly ferocious.

Tri Angle Records’ The Haxan Cloak dissected elements from all four tracks on ‘HTH020’, reassembling them into a 10-minute masterpiece, a wall of sound that defies classification.

Meanwhile, Fabric’s Room 2 inspired Hospital Productions label boss Vatican Shadow (aka Prurient) to arrange parts of ‘Typeface’ and ‘Greyscale’ along with his own sounds, to create an intricate, ominous techno trip.

Mastered by Matt Colton at Alchemy and pressed on 180g vinyl, the ‘HTH030’ 12” is a companion piece to the ‘HTH020’ EP, with a reversed colour scheme, debossed cover and postcard insert.

After Volume One seduced speakers and ripped up sets the world over, it was only fair for the Anonymous crew to stop leaking celeb selfies online and get back behind the desk to hit us with another batch of red hot edits! This time round we're all slaves to the groove, as those mysterious maestros get us locked in from the get go with the killer break of "Just Can't Get Enough". Taking Teddy Pendergrass' Philly classic "The More I Get, The More I Want" as it's start point, the track cycles through sizzling breaks, endless grooves and peaking chorus parts as the full array of echo, reverb and filtering up the intensity to a frenzy. Next up, "Love Dub" bites us with the love bug, as Tamiko Jones' sprawling space disco classic "Can't Live Without Your Love" is looped up into the clav-led killer with a devastating bassline. The Anonymous editors dub out the majority of the vocals to focus in on the hypnotic groove and Tamiko's swooning "love, love, love", before finally breaking into the huge chorus. Massive. Flip the disc and get up close and personal with France's disco master Cerrone, whose 1977 classic "Give Me Love" finds its loose rhythm tightened into a DJ friendly extension which bursts into a looped up instrumental freakout worthy of the finest French touch record in the second half. Last but not least, we're treated to an alternative rerub of Martin Circus' "Disco Circus", which takes a very different route to Justin Vandervolgen's recent "My Rules" edit. The track might begin with the same chanted vocal and tribal bassline, but rather than opting for JVV's exotic house vision, the Anonymous crew deliver the full disco hit, including that massive Italo bassline! Four tracks that'll all pack the floor! Don't miss out!

Matt Berry

Take My Hand

The single Take My Hand features the theme to Toast of London, Matt Berry’ hit comedy which is returning to TV Channel 4 on November 3rd for its second series. The single has been out of stock for some time and is now back, in limited quantities.

Toast of London sees Steven Toast, an eccentric middle-aged actor with a chequered past who spends more time dealing with his problems off stage than performing on it.

The show recently won a British Academy Television Award for ‘Best Situational Comedy’ after the success of the first series.

Cultures Of Soul pave the way for their imminent "Bombay Disco Vol. 2" compilation with another limited edition disco 12" featuring killer re-edits from the one and only DJ Brother Cleve. For the LP, the renowned digger and collector scoured the dusty bazaars of India seeking the wild disco sound of Hindi films from 1980 to 1992. Here, he selects two of the prime cuts from the compilation and offers his own subtle extensions and expansions on the dancefloor mystecism of the originals. Both tracks give you a great preview of what is to come from 'Bombay Disco 2' in a limited pressing of 500 copies.



    Their 3rd album sometimes referred as "Locomotora". Originally issued in 1974 in Chile, here is a superb reissue of this killer psych LP! Superb long tracks with Pink Floyd elements plus flutes and scorching guitars throughout.

    DFA are delighted to welcome Dan Bodan to the label's roster. Bodan

 mixes traditional song-writing with intricately textured electronic production.

    "I write about the things I know, but it should be interesting for other people. So I want it to be like a really great roman-a-clef, or reading your older sisters diary." - Dan Bodan

    Berlin based songwriter Dan Bodan was born in the wide open Canadian prairies and raised in Montreal. Reared on the city's underground noise and experimental music scene, Bodan moved to Berlin 8 years ago. Blossoming in the city's unique mixture of crumbling old-world European values, start-up philanthropy, sleepless techno and epic grey skies, he began writing songs to soundtrack his train rides through the city and make sense of it all. 

    ‘Soft’ is a rose-scented journey through millennial love issues, which was co-produced with Physical Therapy and Ville Haimala (Renaissance Man) and features MESH, 18+, Great Skin, Latisha Faulkner, Dena Yago, and Stadium. The album artwork for ‘Soft’was designed by famed-artist Julien Ceccaldi who currently graces the cover of Artforum's Summer issue.

    Working together with a team of world-class producers, poets and artists, he writes songs to fit comfortably in that space between the finger and the mousepad, the bedroom and the club, the earth and the ether.

    'Nothing Has Changed' collects together for the first time the definitive collection of David Bowie’s music from 1964 to 2014. Fifty years on from his first recordings, Bowie continues to be at the vanguard of contemporary culture as a musician, artist, icon and a nonpareil to generations of writers, artists and fashionistas. He remains to be a unique presence in contemporary culture.

    Named after a lyric from the “Heathen” album opener ‘Sunday’, it compiles tracks from every period of Bowie’s career from his earliest incarnations with ‘Liza Jane’ and ‘Can’t Help Thinking About Me’ right up to James Murphy’s ‘Hello Steve Reich Mix’ of ‘Love Is Lost’ from last year. The album features Bowie’s first new music since he stunned the world with the critically lauded ‘The Next Day’.

    The new single ‘Sue (or In A Season Of Crime)’ was especially recorded for Nothing Has Changed with long time collaborator Tony Visconti. Alongside the brand new track are the previously unreleased ‘Let Me Sleep Beside You’ from the ‘TOY’ sessions, the download only ‘Your Turn To Drive’ making its debut on CD, and the stunning 2001 re-recording of the 1971 outtake ‘Shadow Man’.

    David Bowie

    Nothing Has Changed - Deluxe Edition

      Nothing Has Changed collects together for the first time the definitive collection of David Bowie’s music from 1964 to 2014. Fifty years on from his first recordings, Bowie continues to be at the vanguard of contemporary culture as a musician, artist, icon and a nonpareil to generations of writers, artists and fashionistas. He remains to be a unique presence in contemporary culture. Named after a lyric from the “Heathen” album opener ‘Sunday’, it compiles tracks from every period of Bowie’s career from his earliest incarnations with ‘Liza Jane’ and ‘Can’t Help Thinking About Me’ right up to James Murphy’s ‘Hello Steve Reich Mix’ of ‘Love Is Lost’ from last year. The album features Bowie’s first new music since he stunned the world with the critically lauded ‘The Next Day’. The new single ‘Sue (or In A Season Of Crime)’ was especially recorded for Nothing Has Changed with long time collaborator Tony Visconti. Alongside the brand new track are the previously unreleased ‘Let Me Sleep Beside You’ from the ‘TOY’ sessions, the download only ‘Your Turn To Drive’ making its debut on CD, and the stunning 2001 re-recording of the 1971 outtake ‘Shadow Man’.

      David Bowie

      Sue (Or In A Season Of Crime)

        David Bowie has announced his first new music since he surprised the world by returning in 2013 with the single "Where Are We Now", followed by the album 'The Next Day'.

        His new single "Sue (Or in a Season of Crime)" – which lasts nearly eight minutes – was recorded with long-time collaborator Tony Visconti especially for inclusion on a new compilation, 'Nothing Has Changed', which spans 50 years of Bowie from 1964 to 2014. It will be given a separate release as a digital download and as a limited-edition 10 inch single.

        Nathan Bowles


          The second album by Nathan Bowles (Black Twig Pickers, Pelt, Steve Gunn) deploys banjo, percussion, piano and voice to explore the rugged country between the poles of Appalachian old-time traditions and ecstatic, minimalist drone. Nansemond is the name of a fading dream as much as it is a place name; the word has largely disappeared from maps of Virginia. Once a vast swampland, now a ghost-choked locale. This is the wetlands landscape Nathan Bowles conjures with this cinematic suite of contemplatice set pieces. 150g vinyl with full colour inserts and download code.

          "Nathan Bowles is like my spirit animal. It's the real shit...beautiful then, beautiful now. Timeless. He's got the modern edge too, and the experimental thing down, and it sounds totally modern as well. That's why it's so great" Kurt Vile.

          Debut album from Brassica, which follows critically acclaimed EPs "Hayat Zor" and "Temple Fortune". It's a unique and original record. Sophisticated and distinctive it distills Michael Anthony Wright's storied musical past; capturing new wave, psych, synth music, avant garde electronics, house, and italo disco; without sounding consigned to any part of it. Guests vocalists include long time collaborator, Stuart Warwick, avant garde electronic producer Ghostape and notably Veronica So from celebrated noise/art band TEETH; (who begins her contribution on album opener Be Lost with the line "Everything Not Saved, Will Be Lost", famously the unintentionally profound quit screen message from a Nintendo console).

          Many overt eccentricities hide in this record. A vocoded Italian translation of Slayer's "Dead Man Skin" in Ballo Dei Morti. Brian Ferry's Saxophonist Jorja Renn appears on Be Lost and Psychic Heartburn. Anagrammatic Art Eb Lull Us was written on an old Hammond Organ with a nod towards Mike Oldfield. The Lodger contains the breaths and grunts of a contemporary dance troupe recorded in a collaboration 15 years prior, and the voice of Emile Bojesen (whose little documented collaborations with Brassica as synth punk band Gold Blood) appears on No Apocalypse.

          Brassica has previously released coveted 12"s for innovative underground labels including Andy Blake's Dissident, Tartaruga and Cyber Dance.

          Andy Butler Vs Ha-Ze Factory Feat Mad Panther / Ha-Ze Factory Vs Tin Man

          Soldier / 12 Bits Of Deepness

          Hercules & Love Affair’s main man Andy Butler delivers another killer single for his relaunched Mr. Intl label, calling in reinforcements for a dancefloor blitzkreig. A-side cut "Soldier", a co-production between Andy Butler & Ha-Ze Factory, with the brilliantly named Mad Panther on vocal duties, offers a rough and tough assault on the club from the first bar. An infectious, bumping mid-90’s NY groove underpins Cleo’s powerful torch-like vocal as funky keys and fat stabs fill up the frequencies on this sure fire killer! On the flip, Ha-ze Factory team up with the legendary Tin Man (Johannes Auvinen) and get deep and ominous, delivering another timeless underground anthem that's gonna sound huge coming out of the system!

          London-based Oliver Rodigan, (David's son!) who produces under the name Cadenza, is quietly killing it. He produced on Ryan Leslie's Black Mozart album, has released on Mad Decent, and Fools Gold, is now touring with Major Lazer, and co-produced on TALA's awesome "Black Scorpio," which came out yesterday.

          His next release is a double A-side single, with the timeless "How Many Times," featuring newcomer Kiko Bun on vocals, joined by "Poison Dart." Check out the premiere of "How Many Times" below, and wish you were chilling on a sunny beach in Jamaica.

          Captain Beefheart

          Sun Zoom Spark: 1970 To 1972

            This new four-disc collection revisits the albums Captain Beefheart (aka Don Van Vliet) recorded with the Magic Band in the early Seventies —Lick My Decals Off, Baby, The Spotlight Kid and Clear Spot. It includes all three albums, which have been remastered for the first time, as well as a disc of unreleased material.

            The fourth and final disc in SUN ZOOM SPARK includes 14 unreleased tracks and is a trove of alternate versions, rehearsals and outtakes from the sessions for The Spotlight Kid and Clear Spot. The disc reveals just how much some songs evolved before being released. Among the highlights are a sung-version of “I Can’t Do This Unless I Can Do This/Seam Crooked Sam,” which became a spoken-word performance on Bat Chain Puller; a raucous, off-kilter version of “Dirty Blue Gene” that pointed the way to the final version on Doc at the Radar Station; and an instrumental rehearsal of “The Witch Doctor Life” that is nearly unrecognizable compared to the version heard on 1982’s Ice Cream For Crow.

            Timeless Italo record released in 1983 anticipating the sound of the next decade (some say its bleepy fx and siren keyboards make it a proto-techno blueprint) and still sounding extremely futuristic today! A heartbreaking banger with lush strings, darting synth lines and a uplifting, sugary sweet melody; Salvatore "Casco" Cusato's very first track still hasn't lost its electronic seductive power and I challenge any dancefloor not to fall for its beautiful charm. Comes with handy version instrumental too, why not treat that loved one to a two-copy extension! ;) Recommended.

            Nick Cave & The Bad Seeds

            Abbatoir Blues / Lyre Of Orpheus

              English guitarist and organist James Johnston joined The Bad Seeds for their thirteenth studio album ‘Abattoir Blues/The Lyre Of Orpheus’, which was released on September 20th 2004 by Mute Records, and produced by Nick Launay.

              This masterful double album was produced by Nick Launay at Studio Ferber in Paris in March–April 2004 with Cave splitting drumming duties for the two parts, with Jim Sclavunos on ‘Abattoir Blues’ and Thomas Wydler on ‘Lyre Of Orpheus’.

              The entire album was completed in twelve days, and notably, the last track on the album, ‘O Children’, was featured in the 2010 film ‘Harry Potter and The Deathly Hallows Part One’. The song is also referenced as an achievement in Lego Harry Potter: Years 5-7.

              The album's release was supported by the ‘Abattoir Blues’ Tour, which travelled through Europe during November and December 2004.

              The tour generated extremely positive reviews, as did the album with the All Music Guide commenting thus: "The first disc is a rock & roll record, a pathos-drenched, volume-cranked rocker, full of crunch, punishment – and taste" while the second "is a much quieter, more elegant affair. It is more consciously restrained, its attention to craft and theatrical flair more prevalent. But that doesn't make it any less satisfying”.

              Vinyl transfer approval overseen by Mick Harvey during Summer 2014, cut at Abbey Road studios.

              Vinyl is heavyweight 180 gram.

              This edition, approved personally by Nick Cave, is finally available again on it’s original format.

              Nick Cave & The Bad Seeds

              Dig, Lazarus, Dig!!!

                ‘Dig, Lazarus, Dig!!!’ is Nick Cave & The Bad Seeds’ fourteenth studio album, and was recorded in June and July 2007 at The State of the Ark Studios in Richmond, Surrey, and mixed by Nick Launay at British Grove recording studios, in Chiswick, west London, and was released on March 3rd 2008.

                It would also be the last album to feature founding member Mick Harvey, who left the Bad Seeds in 2009.

                In several interviews Cave has stated that this album would "sound like Grinderman", his side project, who had released their debut album a year earlier. In line with this rough-and-ready approach, the album was recorded in about five days, an uncommonly short period for a full-length album.

                Cave wrote on his inspiration for the album: "Ever since I can remember hearing the Lazarus story, when I was a kid, you know, back in church, I was disturbed and worried by it. Traumatised, actually. We are all, of course, in awe of the greatest of Christ's miracles—raising a man from the dead—but I couldn't help but wonder how Lazarus felt about it. As a child it gave me the creeps, to be honest. I've taken Lazarus and stuck him in New York City, in order to give the song, a hip, contemporary feel. I was also thinking about Harry Houdini who spent a lot of his life trying to debunk the spiritualists who were cashing in on the bereaved. He believed there was nothing going on beyond the grave. He was the second greatest escapologist, Harry was, Lazarus, of course, being the greatest. I wanted to create a kind of vehicle, a medium, for Houdini to speak to us if he so desires, you know, from beyond the grave."

                Critical response to the album was overwhelmingly positive, with reviewers citing this as both a return to greatness and a new side of the band.

                A review from NME described the record as a "gothic psycho-sexual apocalypse" and gave it 8/10, whilst Mojo magazine proclaimed it their album of 2008.

                Vinyl transfer approval overseen by Mick Harvey during Summer 2014, cut at Abbey Road studios.

                Vinyl is heavyweight 180 gram. Please note: this is a three-sided record.

                This edition, approved personally by Nick Cave, is finally available again on it’s original format.

                Nick Cave & The Bad Seeds


                  ‘Nocturama’ is the twelfth studio album by Nick Cave and the Bad Seeds, released in 2003.

                  To date, it is the last Bad Seeds album to feature founding member Blixa Bargeld.

                  This album reunited Nick Cave with Nick Launay, who had produced The Birthday Party’s groundbreaking ‘Junkyard’ 21 years earlier.

                  Featuring the singles ‘Bring It On’, ‘He Wants You’ and ‘Rock Of Gibraltar’, this album finds Cave moving away from ‘Murder Ballads’ and the gory fire and brimstone of yore, and exploring more personal themes.

                  More than twenty years into his career at this point, Nick Cave proved himself worthy of the comparisons made in the press on his behalf: now he could stand alongside the likes of Bob Dylan, Johnny Cash and Tom Waits, as a storyteller who could be unflinchingly honest in his work, whilst continuing to grow his fan base.

                  Vinyl transfer approval overseen by Mick Harvey during Summer 2014, cut at Abbey Road studios.

                  Vinyl is heavyweight 180 gram. Please note: this is a three-sided record.

                  This edition, approved personally by Nick Cave, is finally available again on it’s original format.

                  Nick Cave & The Bad Seeds

                  Give Us A Kiss

                  Nick Cave & The Bad Seeds release two previously unavailable tracks: Give Us A Kiss and Jubilee Street (live from The Sydney Opera House). The songs from the award-winning feature 20,000 Days On Earth will be available on a limited edition vinyl 10".

                  20,000 Days on Earth is a new feature film starring Nick Cave about 24 hours in his life. It premiered at Sundance, winning two awards – both the Editing and Directing Awards in World Cinema Documentary. The jury describing the film as “being arguably the most exciting film in competition… This is documentary storytelling at its most visionary and mindblowing”

                  The drama-documentary portrays a fictionalized 24 hours in the life of Nick Cave directed by Iain Forsyth & Jane Pollard. The film was inspired by a calculation Nick had made in his songwriting notebook working out his time on earth. Forsyth and Pollard have taken this and from it crafted an innovative and powerful film that takes us inside Nick’s artistic process and celebrates creativity.

                  Jimmy Chambers

                  You Can't Fight It (From Assault On Precinct 13)

                  "You Can't Fight It" was written for John Carpenter's seminal "Assault On Precinct 13", but only made it onto the Italian release of the film, "Distretto 13", and was previously available only as a very limited 7" promo!

                  Trinidadian Jimmy Chambers was commissioned to perform "You Can't Fight It", masterminded by British 60s legend Kenny Lynch.

                  FBNM favourite Riccio has also provided us with a superbly authentic re-edit, only adding a little quantisation, fattening, stretch and sparkle to accompany the original faithfully and help translate this lost gem onto today's dancefloors!

                  This officially licensed premium 10" reissue features the original version carefully restored and remastered by Andreas "Lupo" Lubich (CALYX Berlin), in a vinyl only package featuring promotional art from the film, a digital download code and lyrics insert!

                  Ladies and gentemen, it's time to jack. DJ International polish up another dusty gem from their creaking shelves, this time from short lived Adonis collaboration The Children. A deep, otherworldly and almost sinister piece of Chicago House that features the conversational spoken word talents of Jamie Christopher who tells a mysterious robotic voice "Freedom... That's what life's about" over a driving, acidic backdrop of clicking drum machines and descending synthesizer pads. Originally released in 1987 "Freedom" boasts 4 different mixes, all retaining that slamming Adonis vibe and trademark sound. Re-mastered, re-pressed and re-issued with original label artwork for the first time, this is another essential jacker!

                  The Chills were invited to record for the legendary 'Peel Sessions' at the BBC on three occasions between 1985 and 1988. We are delighted to present all twelve tracks recorded at the BBC, re-mastered and available on CD, and on LP for the first time. From Dunedin, New Zealand, The Chills are fronted by the rare talent of Martin Phillipps. Originally formed in 1980, The Chills had a revolving cast of band members with Phillipps remaining the only constant. His knack for writing fantastic pop songs led to chart hits back home and a cult following around the world. Each session produced four fantastic recordings.

                  Opening with ‘Rolling Moon’ which would feature on the soon to be released ‘Kaleidoscope World’, the first session, which was recorded in November 1985 in Maida Vale 5 studio, also includes future ‘Brave Words’ album tracks; ‘Wet Blanket’, the beautiful ‘Night of Chill Blue’ and of course ‘Brave Words’. The second session, recorded in April 1987 continues with ‘Brave Words’ tracks; ‘Dan Destiny & The Silver Dawn’, ‘Rain’ and ‘Living In A Jungle’, as well as the superb ‘Moonlight on Flesh’. The third and final session, recorded at the Hippodrome in December 1988, features ‘Part Past, Part Fiction’, ‘Dead Web’ and ‘Effloresce and Deliquesce’ from the soon to be released ‘Submarine Bells’ LP with the additional track ‘Christmas Chimes’.


                  First Contact

                    New band featuring A.E. Paterra of Zombi and Majeure, and acclaimed film composer Paul Lawler. RIYL: Zombi, John Carpenter, Maserati, Vangelis, Majeure.

                    Contact is the new duo of A.E. Paterra (aka Majeure) of famed sci-fi synth-rock group Zombi, and acclaimed British film composer, Paul Lawler. Exploring a similar orbit as Majeure and Zombi, multi-instrumentalist Lawler infuses heavy doses of melody and drama to give First Contact a sound and feel that blends late 70s Pink Floyd sprawl, the nostalgic wonder of early 80s science documentaries, and John Carpenter's 80s sci-fi action films. Equal parts fascinating and euphoric, Contact is two masters of their respective crafts finding common ground in zero gravity.

                    FORMAT INFORMATION

                    Ltd LP Info: Limited Edition of 1000 copies.

                    Cowboy Rhythmbox

                    We Got The Box

                    Cowboy Rhythmbox are Nathan Gregory Wilkins and Richard X, latest signings to PhantasySound. Coming together to create their own singular strain of music for dancing, they draw on a collective love of outsider house, bargain bin cut-outs, hard drive debris, rudimentary jack trax, obscure TV themes, Euro disco, EBM, Detroit techno, the Smith & Wesson Model 3 and horses.... In other words, it's sexy, sleazy house music with a healthy portion of oddness. "We Got The Box" brings to life the playground game of repeat-a-word-until-it-sounds-weird, pushing and pulling a disembodied voice by milliseconds to create a hypnotic mind episode. On the flip "Rattle" picks up where their debut track "Shake" left off, assaulting the senses with a devastating barrage of industrial drums, nagging sequences and frenetic chants. Considering this is the collaborative work of two of house music's most celebrated mavericks, it'd be reasonable to expect the unexpected, and this is some true 'Looney Tunes' shit.


                    LPs 2002-2005 - Vinyl Box Set

                      Ever since launching his production career at the turn of the century, dub-techno auteur Scott Monteith has been nothing if not deeply prolific. The Canadian-born, Berlin-based producer’s nine Deadbeat albums and nearly two-dozen singles represent one of most prolific and consistently rewarding catalogues in 21st century electronic-music canon.

                      It’s a spectacular run of records that continues to hit new heights, as witnessed with the widespread acclaim that met his most recent album with Paul St. Hilaire, The Infinity Dub Sessions. Continuing the reissue campaign of his early output that began with 2001’s Primordia last year, Monteith’s BLKRTZ imprint is now set to release a massive 6-vinyl box set of his most iconic Montreal albums: 2002’s Wild Life Documentaries, 2004’s Something Borrowed, Something Blue, and 2005’s New World Observer.

                      2002-2005: The Montreal Albums
                      Taken together, these three Montreal albums capture the Deadbeat project at its most contemplative and intimate, as far from the club speakers as it would ever get and tuned inward instead. Released a year after moving to Montreal, the roots-reggae revisionisms of Wild Life Documentaries proved to Monteith’s international calling card. This sophomore Deadbeat album was the first to see release on Stefan Betke’s (aka Pole) ~scape imprint, which in 2002 was considered the premier venue for dub-directed electronic music in the world. The album pitted the Montreal producer alongside contemporaries such as Jan Jelinek and Kit Clayton. Two years later, Monteith returned with Something Borrowed, Something Blue, the most introspective album of the entire Deadbeat catalogue, and also the album from this early period to attain the most critical acclaim. With the international success of these two ~scape albums under his belt – Deadbeat and Jan Jelinek proved to be the label’s biggest sellers – Monteith quickly turned the corner and released the bristling, politically charged New World Observer album in 2005. A year later, the producer would make the move to Berlin, joining a generation of Canadian producers who’d launched careers at to become frustrated with the limited growth potentials of the North American market at the time.

                      Certainly the city of Montreal played an outsized role in the sonic depths of these recordings. “I worked a desk job for a music software company, but would come home every evening and quite literally lose my self in sound until late into the night,” he remembers of this period in his life. “When I eventually left the company in 2003, this became a full time affair and I often didn't even bother to get out of my pyjamas for days at a time. My good friend Robert Henke recently said, in an interview, that the only thing an artist truly needs to create is the space and time to do so. By that measure, this period in my life was a golden age, providing glorious amounts of both. My studio at the time was very meagre, a little grey room with a half-rotten balcony, some not very good speakers, even worse computer and a not very comfortable chair. It was my first full-time studio though, and I made things in that little room each and every day that made my heart race and left my mind reeling at the seemingly endless possibilities the simple act of making sounds and music opens up.”

                      Outside his tiny studio, Monteith was surrounded by a community of electronic musicians who were in the midst of putting Montreal on the international techno circuit. The producer lived above Marc Leclair (aka Akufen), whose Perlon EP “Quebec Nightclub” and 2002 Force Inc. album, My Way, would become an instant classics of the burgeoning micro-house sound that was synonymous with the city. The cut n’ paste technique can be heard bubbling up most clearly in passages of New World Observer, which followed Monteith’s fruitful collaboration with micro-house producer Stephen Beaupré as the duo Crackhaus. Fellow Kitchener-native Mike Shannon had also moved to the Quebec metropolis and was responsible for releasing several of Monteith’s early EPs via his labels Cynosure and Revolver. Ambient powerhouse Tim Hecker also got his start in the Montreal of those years, and was never too far from this tightly knit web of like-minded producers. Creativity and, more importantly, productivity, were in the air, and those underpinnings helped set the tone

                      Deadbeat, Dub, and Techno

                      Few producers have bent the dub-techno template to suit the demands of the moment as successfully as Scott Monteith. And whereas his most recent BLKRTZ albums have been defined by Berlin’s ever-morphing club culture, these long out-of-print early albums that first elevated the Deadbeat moniker to international recognition are reflective of another time, another place, and ultimately another context than the one familiar to a new generation of electronic-music listeners. Listening back to these three albums in hindsight, almost a decade after New World Observer’s release, also begs for a re-evaluation of their original cultural context.

                      It’s nearly impossible to overestimate the long shadow cast by dub-techno’s originators over the work of the second-wave generation of producers who began using the template in the first years of the 21st century. For North American producers such as Deadbeat and Detroit’s DeepChord, the challenge of overcoming that set of preconceptions proved even more difficult. They were, after all, taking on a form that was being created, consumed and thus evaluated by largely European audiences. In the miscast blanket of critical thought, they would be forever indebted to the pioneering work of the Chain Reaction/Burila Mix/Basic Channel families to one side and Stefan Betke’s Pole recordings to the other. This context was further cemented by the fact that Monteith’s introduction to the larger electronic community came via releases on Betke’s ~scape label.

                      But shorn of that originating context all these years later, Deadbeat’s Montreal albums reveal a different picture. There’s a degree of depth and texture to these recordings that simply bypasses any notion of minimalism that was all the rage in discussions of the meeting ground between Kingston’s dub low-ends and Berlin’s fin-de-siècle avant-garde electronics. Looping repetitions swirling out ad infinitum are simply not part of the Deadbeat aesthetic at this juncture. Instead, the listener finds an inordinate amount of attention being placed on narrative and musical storytelling. The low-end mindset definitively draws from dub and the technology employed is part and parcel with techno but, beyond that, these albums are also deeply melodic affairs that borrow from a wide-ranging palate of musical ingredients.

                      These albums are dubby, yes, and not quite techno at all. There are refractions of Krush, Vibert, and Vadim-like trip-hop pacing at work here – a deeply unfashionable position to take back in the early-2000’s but an era of music that’s gaining traction once again now. There’s the moodiness and syncopation of Warp-era IDM at work here too. Micro-house collage techniques emerge in the sampling. All of this is to say that, in hindsight, the Deadbeat at work on these three albums is a synthesist, not a purist. His vision of dub-techno was less keen on sonic formula and more open to narrative concept than the standards set by the pioneering dub-techno of the mid- to late-90s. Removed from the timeline that defined them within the footsteps of dub techno, listeners shouldn’t be surprised if they hear something altogether different at work here. - Dmitri Nasrallah

                      FORMAT INFORMATION

                      LP Box Set Info: 6xLP box set.

                      Long out of print, and even impossible to find on vinyl at the time of its release, Get on Down presents the classic Diamond D debut 'Stunts, Blunts And Hip Hop'. As the album title states, this album is one long party from beginning to end. Diamond shines both on the mic and behind the boards creating one of the greatest hip hop albums ever made. Coming in at over an hour long Stunts never has a dull moment, Diamond along with the Psychotic Neurotic’s and his DITC brethren are able to make each song or interlude stand out and play through without any skip worthy moments. Literally each track has such uniqueness to it, each song fits like a piece to the puzzle. Stand out tracks like “Step To Me”, “Pass that S#*t” or “Check One, Two” are perfect examples of Diamonds ability to create a different mood from song to song, the rhymes mirror the music almost perfectly. Singles such as “Best Kept Secret” and “Sally Got A One Track Mind” were perfect choices in showcasing the overall feel of the album. Although Diamond D handles the majority of the album's production, others such as Large Professor, Q-Tip, Jazzy Jay, Showbiz, and DJ Mark the 45 King co-produce on several tracks. The music he was making in 1992 cemented Diamond as one of the best producers in the game. This record is true to his heart, and because of the immense quality of its contents, it should be remembered fondly by all lovers of this music. As he puts it “Diamond is Dope Nuff Said”!

                      Disco Patrick & Patrick Vog

                      Disco: An Encyclopaedic Guide To The Cover Art Of Disco Records

                        This 360 page deluxe hardback book - a massive 12x12” - features the amazing artwork of thousands of disco record cover designs from the 1970s up to the mid-1980s. The record cover designs amount to a unique visual history of disco culture. Featuring over 2,000 album cover designs
                        (including many full-size covers) as well as over 700 12” sleeves, this book is truly an encyclopaedic document of disco music and its industry.

                        As well as being a comprehensive visual document on the era, the book comes complete with interviews of a number of important disco figures, histories, biographies and discographies of all the major disco record companies. Sections on Roller Disco sleeves, Disco Instruction albums, 12” sleeves and a scrapbook of disco ads are all brought together in one stunning and stylish package.

                        Artists featured include Chic, Grace Jones, Salsoul Orchestra, Musique, Cerrone, The Blackbyrds, Giorgio Moroder and thousands more. Interviews and label profiles include Ken Cayre (Salsoul Records), Henry Stone (TK Records), Casablanca Records, Marvin Schlacter (Prelude Records) and Mel Cheren (West End Records).

                        Editors Disco Patrick and Patrick Vogt have previously put together the book ‘Disco Patrick Presents: The Bootleg Guide To Disco Acetates, Funk, Rap And Disco Medleys’.

                        DJ Shadow & Cut Chemist

                        Renegades Of Rhythm

                          Available in a limited edition of 2500 copies! Hand silk-screened cover w/ art by Paul Insect! 80 full-color perfect bound pages!

                          To commemorate Cut Chemist & DJ Shadows Renegades Of Rhythm tour Boo Hooray has prepared this limited edition tour book. Inside you'll find exclusive texts by DJ Shadow, Cut Chemist and Afrika Bambaataa detailing the history of the Zulu Nation, the history of Hip Hop DJ-ing and Bambaataa as well.

                          Included are full color reproductions of numerous original records, test pressing and acetates from Afrika Bambaataa's collection. As DJ Shadow says of the records used on the tour and featured in the book, "They're his records, with his blessings. this isn't just ANY copy of 'X' breakbeat, it's THE copy, THE copy that started everything."

                          Also included are full color images of dozens of funky-fresh, original Bambaataa hip hop flyers (examples below), rare drawings, rare photographs and more including lists of Bambaataa's favorite breaks.

                          In the lead up to his debut solo album the Ten Thousand Yen label boss returns home with four essential cuts, with two vocal features from LA's Seven Davis Jr. The EP leads with "What's It Gonna Be?" which is already picking up early love in the clubs and on radio by the likes of Annie Mac & Skream. Twangy, futureproof synth riffs and a squelchy drum palette accompany Seven's soul-fuelled vocal delivery. "Together" takes Pam Todd & Love Exchange's "Let's Get Together" and does a massive DJ Sneak / Armand Van Helden on it, looping up the infectious chorus loop, loading a banging kick drum into the mulitrack and getting to work on the filters. A classic house formula executed with aplomb and worth the entrance fee alone! "Ghost Text" is an electrified, jagged-edged beat track; a naughty, nagging acid line melting through the tough brick wall beats. "I Promise" closes off the EP and sees Seven Davis return to the mic. Again, liquid-soul, sun-blushed flavours are explored as simple hand claps and finger snaps accompany a lush, radiant piano stab, sumptuous strings and Davis' incredibly desirable vocal section. Absolutely huge! Better move quick on this one folks...

                          “Mouse and the Man” is the 1983 dancehall classic from the one and only Eek-A-Mouse. The album finds the Roots Radics in full effect, laying down typically metronomic riddims for Eek-A-Mouse (real name Ripton Joseph Hylton) to add his trademark nasal singjay vocals over. The set is produced by Linval Thompson at Channel One and mixed by Soldgie. It includes the hit single "Terrorists In The City".



                            Houndstooth present the debut album from 18+, ‘Trust’. The band, Boy and Sis, have operated since 2011, evolving through several media formats of music, performance and visuals which graphically explore identity, gender, sex and morality.

                            The sound of 18+ has bewitched its audience; sonics at once over-bearing and subtle, the delicate voice of Sis spitting sweet nothings over fucked-up beats and hooks which permanently hack their way into your subconscious. Their mixtapes have existed in the internet’s dark underbelly and their debut single ‘Crow’ sold out of physical copies in unbelievable time.

                            Einstürzende Neubauten are back with a new exceptional composition. The band has produced a musical work on the outbreak of World War I 100 years ago, which will make its premiere performance in Diksmuide, Belgium on November 8, 2014. In this work the band will link their techniques, which are explicitly bound to the traditions of the avant-garde, with this first global event that shook the entire world.

                            As the Shaggs so wonderfully sang "It's Halloween! It's Halloween!" How could Third Man let the year pass without any celebration? They couldn't. They are beguiled to bring you two new original recordings from Elvira™ Mistress of the Dark. With two songs written by the otherworldly Fred Schneider (of the B-52s!), both "2 Big Pumpkins" and "13 Nights of Halloween" brim with fun double-entendres, campy cackling, devilishly danceable beats and so much more. If that weren't enough, the cover art for the single is printed with heat-reactive ink. So while Elvira may appear to be only a dark silhouette, once things heat up you'll definitely get a delightful eyeful.

                            And did we mention pugnacious purple vinyl? I think we just did.

                            Adonis' comically named Endless Pokers project is no joke, in fact, this is some serious Chicago Acid house! Originally released in 1987 and featuring Adonis' trademark staccato drum machine rhythms, creeping acid lines and cowbells, "The Poke" is a bona fide classic (Watch out for those vocal stabs too!). All three mixes featured on this 12" bring something new to the table, twisting and turning that acid line into a frenzied buzz. This is pure old school business in true Chicago style; raw, simple box jams of the highest order! Re-mastered and re-pressed, this is the perfect battle weapon for any house jock on the front line.



                              Biker unleashes seven slabs of free-form guitar and ecstatic No Wave atonality atop giant churning bass and thundering motorik drums. Jensen Tjhung (Deaf Wish, Lower Plenty) and Per Byström (Ooga Boogas, Leather Towel) anchor the blown-out epics with pummelling lock grooves as vocalist/guitarist Duncan Blachford dispenses improvised six-string sizzle in a style that synthesises classic post-Hendrix psych and the reverb/delay clouds of the Mizutani/Haino tradition with the rawness of Bruce Russell. Recorded in gristly no-frills fidelity at the band’s own studio, Biker is a high-potency emission from the deepest reaches of the Melbourne underground.

                              The second release from Earth Recordings is the one and only album from the virtually unknown Australian singer Howard Eynon, now to be reissued 40 years after it's original release.

                              So What If Im Standing In Apricot Jam (note no apostrophe) is a bizarre and wonderful acid folk treasure in the vein of wild-eyed geniuses such as Syd Barret, Kevin Ayers, Neil Innes or Nick Drake, although perhaps even more beautiful and mysterious. It's certainly more unusual, with its colloquial lyrics, acerbic wit and Howard's Anglo-Australian accented singing voice.'.

                              Howard Eynon was born in the small market town of St Ives, Cambridgeshire and then moved to Chichester. When he was eleven, his family moved to rural Tasmania. Settling on a dairy farm in the small town of Deloraine, Howard grew up milking cows, driving tractors, riding horses and blowing up tree stumps with gelignite and would often spend days on end in the bush without seeing another living soul.

                              At 17 he left the farm on his motorcycle and made his way to Melbourne to pursue a career in acting. He worked mostly in theatre and joined various theatrical repertory companies. He found himself in all kinds of small parts for local Aussie dramas such as The Sullivans. Later, he made notable small appearances in both the original Mad Max (1979) and as one of the horse riders in The Man from Snowy River (1982).

                              Throughout this time he continued to play music. In 1971 he had won the Grand Final of Australian New Faces and became a much-loved solo artist in Tasmania, playing many shows and toured with great artists such as Hunter S Thompson. Whilst a member of the Tasmania Theatre Company, he was asked to write and record a guitar piece for a play, which lead him to Spectangle in Hobart, Tasmania where he met Nick Armstrong, who invited him to record a full-length album.

                              Recording took three months and Howard was joined by a host of amazing local players and utilising Violin, Mellotron, Flute, Synths, French Horns, Double Bass, Piano and more to capture a dozen quirky and addictive tracks that would become one of Australia's most interesting albums of the 1970's. It was originally released in 1974 by Basket/Candle Records but has been out of print ever since. The record ranks amongst the rarest and most sought after acid folk private pressings.

                              Not much was known of his whereabouts or activities beyond the early 1980s.

                              So What If Im Standing In Apricot Jam is a bold and madcap record on a par with Paul McCartney's Ram. The evocative lyrics take in everything from political commentary, to anti-authoritarian jabs, to bright homely humour and deep descriptive stories.

                              This daffy folksy psychedelic ramble full of tall tales, delightfully quirky melodies, hilarious lyrics and marvellous wordplay, risqué irreverence and beguiling lapses into musical frippery, has not only stood the test of time, but completely and utterly blown it away.

                              FORMAT INFORMATION

                              LP Info: Black vinyl edition.

                              Fat White Family

                              Champagne Holocaust

                                Fat White Family’s debut album, 'Champagne Holocaust', came out in April on vinyl only to rave reviews from places as diverse as The Quietus, The Independent, and Vice and all across the web. It is now available on CD too.

                                Quotes :
                                “Rock & roll with the blood slowed to a dark sweetness and just like how it began, with Little Richard, Roy, Jerry Lee - psychotic, monstrous, doomed” - The Quietus
                                "Champagne Holocaust is an assault of warped fantasies, weirdo blues, guttural garage and drug-addled deviance" - The Fly
                                "A sleaze infested groove machine banging out taut, sex-electrified jams... Buy it!" – Vice
                                "Brilliant macabre lullaby- sung over a shonky casio metronome, full of nasty asides about druggy co-dependence" - Drowned In Sound

                                Feral Ohms

                                Super Ape / The Snake

                                  Feral Ohms’ second release…”blisterin’ caveman-psych featuring members of Comets on Fire, Drunk Horse, and Nudity”, first 250 / numbered limited pressing of this two track 7” comes with a 33rpm bonus Feral Ohms’ “jams” 7”….. This is some seriously amped up wildness that might just take out your speakers! Putting the OOOOOMPFCRASHWOOOOOOSH back into the whimsical Psych scene..

                                  Super Ape is a new Ethan Miller jam, and The Snake is FO’s take on a Pink Fairies’ classic…

                                  24 year old Benjamin Garrett, aka Fryars, has always bucked trends. His startling new album Power has been more than just a labour of love, it's been a near-five year journey of the imagination built around a story that spans three continents and deals with all the deliciousness of life; love, greed, loss and death.

                                  FORMAT INFORMATION

                                  Ltd CD Info: Limited edition digipack with foil blocking and 16-page satin finish booklet.

                                  Ltd LP Info: Heavyweight vinyl in a gatefold sleeve with full colour printed bag and lyric sheet, all on a satin finish.

                                  First Demo’s first appearance on CD, vinyl and mastered MP3, bolstered by an 11th track: Turn Off Your Guns, recorded during the same sessions which was omitted from the original demo tape.

                                  In early January 1988 and after only ten shows, Fugazi decided to go into Inner Ear Studio to see what their music sounded like on tape.

                                  Despite the fact that Ian, Joe, and Brendan had been playing together for nearly a year, it was still early days for the band. Guy had only been a full member of Fugazi for a few months and only sang lead on one song ("Break In"). It would be nearly another year before he would start playing guitar with the band.

                                  At that time, the studio was still located in the basement of engineer Don Zientara's family house. It was a familiar space as almost all of the members of Fugazi had recorded there with their previous bands (Teen Idles, Minor Threat, Deadline, Insurrection, Rites of Spring, Skewbald, Embrace, and One Last Wish). Joey Picuri (aka Joey P), who would later become one of Fugazi's longtime sound engineers, joined the band for the initial tracking.

                                  The sessions only lasted a couple of days, but tour dates and indecision about the tape would delay the final mix for another two months. Though the band was at first pleased with the results, it soon became clear that this tape would remain a demo as new songs were being written and the older songs were evolving and changing shape while the band was out on tour. It was decided that the session would be passed out free as cassette copies, with the band actively encouraging people to share the recording.

                                  In the spring, Fugazi went out on its first U.S. tour and a few weeks after returning from the road they went back to Inner Ear to record what would become their debut Dischord release, the self-titled 7-song 12" EP.

                                  The only song from the demo session that was formally released was "In Defense of Humans", which appeared on the State of the Union compilation in 1989. Now, some 26 years later, Dischord is releasing the entire first demo including the one song ("Turn Off Your Guns") that wasn't included on the original cassette.

                                  This release also coincides with the completion of the initial round of uploads to the Fugazi Live Series website. Launched in 2011, the site lists and details all of Fugazi's 1000+ performances and makes available close to 900 concert recordings that were documented by the band and by the public, as well as countless flyers, ticket stubs, posters, and photographs. After two years of work, all of the recordings in the band's archive are finally posted.

                                  Ian MacKaye - vocals, guitar
                                  Guy Picciotto - vocals
                                  Joe Lally - bass
                                  Brendan Canty - drums

                                  First Word Records delivers some late summer heat with the first release by newly formed duo of French producer Fulgeance and DJ Scientist from Berlin. Scientist is renowned as one of Germany's most prolific record collectors, as anyone who heard his 2013 mix of 70s Soviet grooves for Ninja Tune's Solid Steel will testify. Trawling through his extensive collection he dug out a haul of rare samples for Fulgeance, MPC virtuoso and one half of Souleance, who transformed the source material into one of the most exciting projects on the label so far: 'The Soviet Tape'.

                                  'Moscow Nightlife' is the first single from the album, paired with two other tracks aimed squarely at the DJs and the diggers. Built on an incredibly catchy sample it is a definite winner on the dance floor. 'Imperialist Monsters' delivers even more heat and is based on a jazzy Latvian Pop Rock recording. Spiced with thrilling vocals from an old anti-Russian CIA documentary it blends light and dark with an ease that is a trademark of the full album. Finally, on the flip side (and exclusive to this EP) 'Caucasian Wolf Dance' is another DJ-friendly funky hip hop track that mixes traditional Georgian vocal flavours with Fulgeance's fat beats.

                                  Noel Gallagher's High Flying Birds

                                  In The Heat Of The Moment

                                    1st single taken from Noel Gallagher’s High flying Birds “Chasing Yesterday” album.

                                    Get Well Soon

                                    Henry - The Infinite Desire Of Henrich Zeppelin Alfred Von Nullmeyer V

                                      Konstantin Gropper, artistically known as GET WELL SOON, will be releasing three different EPs on three consecutive Mondays this coming November. These EPs will be available exclusively on limited edition 10” vinyl, as well as in the usual digital formats. Each EP has its own theme and its own release date. Konstantin Gropper explains: “These EPs are projects I’ve been meaning to do for quite a long time, but neither “concept” would have been suitable for an entire album, nor would they actually all add up to a coherent album, plus I do love these smaller formats. What’s more beautiful then three nice little 10inches with gorgeous black and white artwork all by the same artist (in this case, celebrated German painter Hermann Schenkel)?” he asks. And continues: “With the LUFTHANSA HEIST EP, I don’t exactly remember what prompted it. Whether it was a much too early midlife-crisis, a second wave of puberty, or simply a rush of nostalgia, something led me to the question: why did I start this in the first place? Inevitably I ended up at the place, or rather, the music that inspired me to pick up the guitar in the first place. I think it was called “College Rock” back then, and it sounded like Buffalo Tom or Lemonheads or Pavement.” (Editor’s note: Gropper is obviously way too young to have been around when the first wave of college rockers and slackers hit the scene, so how in hell he managed to record these songs, these crashing guitars and euphoric chords like this, is beyond us).

                                      “The “Henry…” EP is a reverence to one of my favourite German writers: Arnold Stadler, who has just turned 60. His novel “Death and I, the two of us” (“Der Tod und ich, wir zwei”) has been accompanying and inspiring me for quite a while now. These five songs are a musical tribute to this incredibly romantic, dark, smart and funny book. Self-pity, crooked biographies, fear of being alone, the ridiculousness of life and most of all the great longing. I could probably go on forever about this masterpiece, but I’d rather recommend reading the novel. And I do hope that the music will work on its own.” And then, of course, there are the covers. Playing other people’s songs has always been a good tradition at camp Get Well Soon. At one point I wanted to record a whole bunch of just mega-hits. I mean, real über-hits. Somehow that idea got lost in the making and I ended up recording Italian soundtrack obscurities instead, plus some songs everybody knows, and either loves or hates. Hey, if you take the saxophone out of “Careless Whisper” you actually end up with a pretty great song with meaningful lyrics. So I tried to de-cheese that one. But overall these songs have come up over the course of many years. I do hope the selection is controversial enough.”

                                      Girlpool are Los Angeles based duo Cleo Tucker and Harmony Tividad. Their sound is comprised only of a guitar, bass and their striking vocal harmonies. This bare bones instrumentation accentuates their vulnerable yet powerful lyrics which tackle sexuality, lust, equality and empowerment with an unfaltering directness and honesty.

                                      Their debut mini album seems destined to be a classic, packed with catchy and memorable two minute slices of bluesy lo-fi punk. It was originally released on local cassette label Big Joy in early 2014 and picked up acclaim from the likes of NME and LA Weekly. The EP will now get a full worldwide release on Wichita Recordings.

                                      For fans of Honeyblood, Liz Phair, Bikini Kill, Cat Power, Joanna Gruesome, Waxahatchee.

                                      "Armed with just two guitars, the duo reel you in with seriously catchy hooks and achieve more depth with these songs than any drum kit ever could." - NME

                                      "Every angst-ridden moment of growing up, from falling in love to self-acceptance is all perfectly captured in Girlpool’s selftitled debut. No matter the age of the listener it’s hard not to relate to the acoustic-punk of the Los Angeles duo.“ - The Grey Estates

                                      "If Cat Power and Courtney Love came together to wear jean jackets and write angsty campfire songs, it would probably sound something like this.“ - The Le Sigh

                                      "Their raw, bluesy punk sound is incredibly simple, shaped only by the sounds of Tividad's guitar, Tucker's bass, and the two girls' aching vocals." - LA Weekly

                                      FORMAT INFORMATION

                                      Ltd LP Info: The LP is pressed on 180g orange vinyl with a copy of the album on CD included.

                                      Happy Meals is the Glasgow-based duo of Suzanne Rodden and Lewis Cook, life-partners since high school finding expression in cosmic form. Originally from the Scottish borders, Rodden and Cook (also of The Cosmic Dead) began Happy Meals in a flurry of experimentation at Glasgow’s creative hub The Green Door Studio. Initially the result of a free music production course, 'Apéro' sees the pair embark on a blissful voyage into a love-fuelled, outward-looking hedonism. Both artists operate machines and sing but it’s the dominating Franco-Scottish lingua-franca of Suzanne Rodden that imbues a sense of seductive fun to the album.

                                      Their first recorded statement, 'Apéro' is an instant rush of Kosmiche-disco, utterly addictive and inviting. The epic 'Crystal Salutation' welcomes the listener in with analogue synths delayed into the horizon before 'Electronic Disco' ushers in distorted drum machines and Rodden’s disco-at-sunset vocal. Album stand-out 'Altered Images' is a pop-masterpiece, mixing French / Italo disco, acid basslines and a sense of Scottish optimism. 'Age Of Love' is unabashedly the feeling of being up until day-break, with layered synths climaxing all-around. Retro-futuristic visions abound on the beat-less 'Visions Of Utopia' before closer 'Le Voyage' reprises back the cosmopolitan disco, playing out the perfect club night in ecstatic fashion. It’s an enchanting, inclusive vision; everyone is invited, the future is bright. Just say yes.

                                      Aldous is a Christchurch local, whose records are released in New Zealand by Lyttleton records (home of the mighty Marlon Williams and Delaney Davidson).

                                      Lyttelton is a gorgeous port town to the north of Christchurch. A home for Māori for about 700 years, Lyttelton Harbour was discovered by European voyagers passing by on 16 February 1770 during the Endeavour's first voyage to New Zealand. Today it is one of New Zealand’s busiest ports. In popular culture it is best known as the location for most of the exterior scenes in Peter Jackson's 1996 horror movie The Frighteners.It is also a town surrounded by many historic buildings, many of which have been turned into bars.

                                      Aldous Harding’s music has been the best thing that has ever happened to these bars, where wayfaring loners shuffle in at the wrong times of day. She has been the saviour of those falling in home-cooked opium furrows. She has kept sailors in check with cheek and a strong-songed tongue.

                                      And now she will be all yours for an album length period of time, and you may have your picnic and feast upon the music. So lucky one, close your eyes. Turn your nose towards river water. Twitch your ears as rabbits do. Settle in. Listen to this one closely.

                                      This is a special album in the sense that its graceful and subtle qualities form a powerfully emotive listening experience. It uses familiar musical forms to create something quite spooky and entrancing and it is those qualities that will repeatedly draw listeners back for more.” Under the Radar (NZ)

                                      “Don’t tell my wife, but I’ve fallen for another woman.” Rip It Up (NZ)

                                      “This is folk music, simple and bleak (not unlike Melbourne’s own gothic country band, Jimmy Tait), with Harding’s fragile coo reminiscent of retiring, 60s-era folk singers Vashti Bunyan and Linda Perhacs.” Who The Hell.

                                      Re-issue of Micah P Hinson's debut album from 2004, and available for the first time on vinyl.

                                      Here's what we said about the album first time around:
                                      'Astonishing album from 22 year old Texan Micah P Hinson. 13 tracks of heartfelt and dark dreamy Americana that comes on like Johnny Cash or maybe Nick Cave fronting a downbeat Lambchop. Add to this mix the fact his friends the Earlies have done the production, then you get an idea of the epic soundscape that is covered here. A fabulous country noir album that for sure is going to be one of the albums of the year.'

                                      And it still sounds fantastic 10 years on!

                                      Inspired by a number of conversations between director Yann Demange and music producer David Holmes, the majority of ’71’s score was created before the film was shot. Yann likes to shoot with music already written - an idea that resonates with the collaborative work of Sergio Leone and Ennio Morricone. With reference to Can's, David would describe the emotion, tone and atmosphere of the scene with the other band members before recording and then editing to picture after. He says “It frees your imagination to try and capture a world that only you can see and feel but in total relation to the directors overall vision. Living in Belfast for most of my life was also a big inspiration.” Musically influenced by John Carpenter’s ‘Assault From Precinct 13’ and ‘Escape From New York’, John Paul Jones’ ‘Four Minute Warning’ and Tony Conrad’s ‘The Pyre of Angus Was In Kathmandu’, the music pulses with the tension and potential terror of war-torn Belfast streets in 1971.

                                      FORMAT INFORMATION

                                      LP Info: Limited edition numbered vinyl with download card.



                                        Holögrama is the recording project of Fancisco Borja, an electronic musician from Granade, Spain. After self-releasing a slew on online albums, EPs & hand-made CDRs, “Waves” marks his debut to the vinyl format. Borja performs & records the majority of everything himself, using synths, drum machines & whatever odds & ends he can scrape together to orchestrate Holögrama’s sound.

                                        The tone is set straight away - “My Bicycle” opens the album with the steady pulse of a drum machine, pumping digital blood into the beating heart of the record. Soon it ’s joined by Borja’s keyboard & bass, aliging a mezmerizing hum that carries through the last track. Keyboards drift in and out alongside Borja’s ghostly voice, hearkening back to the stark reverberations of Vega & Rev, but with a more positive, hopeful vibe tinged with a whisper of melancholy. “In Your Head” closes out the A-Side with it ’s cr ystalline keyboard twinkles, that ease up to it ’s cathartic beginning, as the music drops in and Borja’s voice echoes across the landscape. The key track is the 9-minute “Pink Sky ”, which bops along with a jaunty keyboard line until a deafening scree of guitar (courtesy of Carlos Alcantara) dive-bombs into the mix, rippling into a psychedlic maelstrom alongside Borja’s synthesized oscillations.

                                        The first edition of “Waves” is pressed on black vinyl & includes a download code.

                                        WOLFEP027 sees the Dutch duo Homework making their debut on WOLF with a full EP backed up by label favourite Greymatter on remix duties.

                                        Homework burst onto the electronic music scene in 2010 with a refreshing take on lush, Chicago-inspired house music, pricking up the ears of some of the most respected underground dance labels such as 20:20 Vision, Made To Play, and Berlin-based Exploited.

                                        Their Hudson Square EP - now a vinyl collectors item going for high prices on Discogs - garnered thumbs ups from both critics and peers and, seemingly overnight, turned them into internationally in-demand club djs.

                                        Their EP for WOLF continues the tradition with three beautifully crafted club hits perfect for anytime of the night. Greymatter delivers his trademark sound taking things rougher while still maintaining the soul leanings of the original track.


                                        Hookworms (Repress)


                                          Faux Discx and Gringo Records are psyched (no pun intended) to announce the debut vinyl release of Leeds' Hookworms. The Hookworms 12" features 4 songs, clocks in at around 27 minutes, and is limited to 500 copies on 180g black vinyl.

                                          The release was previously only available on tape via Sun Araw's Sun Ark label and that sold out in a matter of weeks. Hookworms formed in late 2009 at a time when most of the group’s members were also playing together in a snappy punk group. The punk and garage background is important, because it has a lot to do with the energy that makes Hookworms so noticeable. Many groups think they can make good on psych-rock by just wigging out to their own ends, during interminable jam sessions that only come to a halt when someone decides “That’s long enough.” Most of Hookworms’ songs are around the six minute mark, which isn’t long at all, and each one is constantly doing something. The singer and keyboard player delivers his vocals like The Gun Club’s Jeffery Lee Pierce on Fire of Love - frantic and impassioned. The guitars colour in and around the lines, informed just as much by Flipper’s Ted Falconi as ‘Sister Ray’. Bass grooves lead the way, sage in their wisdom over which path to take. This is tidy stuff, a purposeful and fully conscious journey into the realms of Zoss. It’s also a journey taking place on increasingly large stages, where they’re just as confident at filling the sonic space as at the small venues where they started out.

                                          “Hookworms fling themselves headlong into classic 80’s/90’s psych-rock like they’re trying to break something. Hailing from Leeds and cramming themselves giddily within the well established formal properties of the genre, they walk the scorched road behind Loop, Spectrum, and any other titan of two-chord songs who’s ever slowly wah-ed a chord until they saw colors. Most excellent burners!” Cameron Stallones, Sun Ark / Sun Araw.

                                          FORMAT INFORMATION

                                          LP Info: 180 gram vinyl. Includes download card with added bonus tracks.

                                          They called him "the man with the musical message" and nowhere was the full effect of Keith Hudson’s mighty, brooding Rasta vibrations felt than in the 1978 release of “Rasta Communication”. Recorded at Randy’s, Channel One and Chalk Farm with a final tweak from Prince Jammy at King Tubby’s, it featured a top line up of Jamaica’s finest musicians including Family Man & Carlton Barrett and Sly & Robbie. ("Felt We Felt The Strain" was one of the very first reggae 12"s I bought, way back in 1979 - Philippa). Essential!

                                          In Aeternam Vale

                                          Jealous God 05

                                          Everyone's favourite French minimal wavers In Aeternam Vale return for an outing on Jealous God. "V8" kicks off proceedings in suitably dark and techy form, a churning bass and kick drum groove supporting darting percussion artifacts which ricochet around the stereo field aggressively. A record matched perfectly with the industrial sonics emanating from our own Islington Mill, this is one for the witching hour make no mistake. "62,54hz" is next, and I guess refers to the frequency at which this massively nagging element is introduced. Just a big bouncy sub and grating percussive elements on this one - perfect! Another one suited to Manchester's current fascination with all things dark, industrial and technofied! "808TS" occupies the B-side and sees the said Roland drum box supply the electro-tinged beats which prop up this menacing metallic drone which sweeps through the entirety of the track. Pure evil menace, but with a groove tight and sharp enough to get you. A completely unique and mind bending EP - move quick! 

                                          STAFF COMMENTS

                                          Matt says: Off-the-wall in every fashion, these French dark-wavers know how to get the attention of Manchester's techno illuminati. Industrial filth from start to finish and most excellent with it.

                                          FORMAT INFORMATION

                                          Ltd 12" Info: Transparent blue vinyl with bonus mix CD and insert.

                                          Eiko Ishibashi

                                          Car And Freezer

                                            Eiko Ishibashi returns from her ‘Imitation Of Life’ album with the all new ‘Car And Freezer’. · Ever wondered if you could make an album twice, with completely different lyrics? It’d probably help if you had two completely different languages to draw from and for ‘Car And Freezer’ that’s exactly what Eiko did.

                                            In 2013, Drag City introduced Eiko to the world outside of Japan by way of her first US album release. At that time the label explained that Eiko was an instrumentalist and arranger who had come into writing songs somewhat accidentally. She’s been doing so without further accident since 2006, with a series of acclaimed albums in Japan. Her previous album, ‘Imitation Of Life’, was so developed lyrically that it was in essence a song cycle linked by a science-fiction narrative. This natural evolution in her writing notwithstanding, Eiko has often questioned her role as a creator of songs, seeking some way to be at peace with the song while wondering if it was right that she was the human singing them.

                                            Since each album requires its own approach, the session for ‘Car And Freezer’ provided another chance. In the Spring of 2013, Eiko convened with her band but in contrast with the previous album, she did not come prepared with arranged demos. Instead, she and the band stared unblinking at each other for days, seeking to divine the elusive communal flow for her songs. Actually, Toshiaki Sudo, Hatano Atsuko, Yamamoto Tatsuhisa and Jim O’Rourke all got it right away - make Eiko’s kind of pop music but bring themselves forward in their playing. In this approach, Eiko was drawing from her background of improvised music to inform the direction of her new songs. Guest musicians Shinpei Ruike on trumpet and Daisuke Takaoka on tuba added to this process by playing with sensitivity and focus along with the band. In the booth, O’Rourke also doubled as producer, providing directions for Eiko to choose from while moving forward in her unclear path.

                                            The new approaches clearly paid off: the sound of ‘Car And Freezer’ has a swinging openness, with looser, rolling rhythms that suit the mood of exploration and the sense of introspection that are so much a part of Eiko’s songs. The band’s expertly precise playing is contrasted by their intuitive choices within the songs, which are seized upon by Eiko for mood and colour. And Jim doesn’t hurt the sound a bit by focusing on interesting and unconventional sounds whose presence in the mix help define a sense of the unexpected.

                                            As songs came together, Eiko consulted with singer-songwriter Kenta Maeno for the Japanese lyrics: his words perfectly matched Eiko’s humour and humanity and eye for small details. However, the English words were another matter. A regular listener to music with English lyrics, Eiko recognized the pitfalls of translation and how many nuances could potentially be lost. So she worked on the English version herself with a mind toward solving this problem and in the process found a way to remove herself from the song while coming together with it - all it took was writing and singing in an entirely different language. For this release of ‘Car And Freezer’, we have combined the Japanese and English versions of the record, flowing in and out of the languages to make a unique edition in contrast to the Japanese CD release, which included the English version of the entire album.

                                            “In my hometown, cars and refrigerators were often abandoned and just left lying around. I have always remembered this as the image of a landscape that has inspired my music. I have had the image that even though abandoned, their souls, and those with no life, even with electricity running through them, only regain life when they accept death by throwing themselves into the sea. This was the image that ran through my mind in making this record.” - Eiko Ishibashi, 2014


                                            A Game For All Who Know

                                              With echoes of the more acoustic bits of early Pink Floyd this top flight acid folk / psyche LP was originally issued as a tiny micro private press of 99 copies in 1973. A top dollar rarity as an original this is a superb remastered edition.

                                              Australian baggy-psych revivalists Jagwar Ma offer the vinyl-only heads a real treat here via this tripartite reinterpretation of their hit "The Throw" from Dreems. Clocking in at an expansive 21 minutes plus, this immersive remix goes head first through the looking glass into the mind altering, lysergic world of psychedelia. Allow yourself to melt away into a calm ocean of pulsating synths, never ending drones and gentle piano riffs, as Dreems' beatless first movement aligns your chakras and clears your mind for what's to come. As we segue into the scond movement, Dreems hits us with a swampy funk backbeat and some chuggy electronics. Soon enough, an infectious bassline emerges from the haze of dub effects, and we're transplanted to a psychedelic disco near you. Celestial vocals ring out overhead while Dreems plays merry hell with the tape delay, drawing us into a hypno dance before blasting the track off into the far reaches of the cosmos via a buzzing acid line. The track grows in intensity right up until the point the blasters come off and it floats free into the land of melodic downbeat. 2014 - A Space Odyssey.

                                              With a voice like daybreak, Nat Johnson sings with heartfelt lucidity about her descent into and out of a dark time. A northern chanteuse of strong vulnerability, ‘Neighbour of the Year’ is Johnson’s first solo endeavour, and earnestly speaks of woes and personal experiences which rapture in an emotionally tangible record. A “songstress, maverick, and fighter,” Johnson compels herself and her audience to aspire with honesty in melody. Her profound capabilities, both technically and in decorum, are why Johnson’s work is revered and admirable. A songwriter with clever articulation, no element is amiss in her artistry. The “circular” nature in which the songs physically manifest communicates how these seven tracks span in delicacy, and have helped Johnson pinpoint, examine and heal to find the silver lining. An annotation of self-discovery, Johnson doesn’t shy away from articulating difficulty or pain. ‘Neighbour of the Year’ is a record of exposure and solace, and is an exceptional solo debut for Johnson, who is a songstress of integrity, talent and insight.

                                              Just in time for Christmas, Wild Oats put end to a long hiatus with this release from London artist K15. Whether it’s making hypnotic head-nod heaters, or pulsating dancefloor grooves, K15’s music always radiates soul and promise. He has been in the music scene in London for a while but is a bit of an unsung hero in our eyes. His skill of mixing genres is unmatched. Pulling from different influences regardless of genre or era is what gives his music its distinct style. "Insecurities" is K15's debut on Wild Oats; a 5-track EP which heads down a retroist, classic deep house route, full of soulful vocals, rich piano work and swinging drums. "The Story Of Her Life" kicks things off with airy bass plumes, emotive keys and clickity hats propelling the powerful female vox through nicely. "GWRH" deploys Kerri Chandler-esque keys, undulating synth lines and searing strings to a beautifully programmed drum groove of hand claps, rampant bongos and thick bass. Proper Ron Trent tackle this, the epitome of soulful US house! Title track, "Insecurities" opens with jazzy keyboard bass, enveloping pads and simple hand claps before bursting into action with big room kicks, sharp hats and synth-sax licks aplenty. "Gratitude" screams of classic Boo Williams / Glen Underground with its wonderfully tight shakers, weaving keyboard lines and radiant, sunshine glow. The whole EP does the traditional US house vibe perfectly, and no more so is this present than on this jam. "Yellow" closes off this essential deep house masterpiece with discordant synth noodling accompanied by rich piano licks and heady double bass, slowly growing into to a jazzy house shuffler worthy of any backroom across the globe. Understated, sexy and executed with lashings of finesse, this is truly great stuff from K15 and Wild Oats, essential for any deep house collector or DJ.

                                              The follow-up to their critically acclaimed self-titled debut album and was recorded at Rockfield Studios in Monmouth and co-produced with Jim Abbiss (Arctic Monkeys Editors Ladytron); and includes the singles Empire Shoot The Runner & Me Plus One

                                              FORMAT INFORMATION

                                              2x10" LP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                              With scuzzy beats, trippy keyboard squiggles and vocals 100% full of attitude and belief, these Midlanders seem to have the lot. Like a more brazen Beta Band (similar 60's references, similar use of beats) or prime-time Happy Mondays, some of these songs are like chants or mantras that get right under your skin. It's powerful, low-slung-funky, effortlessly catchy fun!

                                              FORMAT INFORMATION

                                              2xLP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                              Ltd CD Info: The limited edition CD features the full audio CD on one side of the disc, and 45 minutes of DVD footage on the otherside of the disc. The wonders of modern technology eh?!

                                              The follow-up to the acclaimed 'West Ryder Pauper Lunatic Asylum', Velociraptor! was recorded in Leicester and mixed in San Francisco. Written and produced by Sergio Pizzorno, 'Velociraptor!' is a major leap forward from "Britain’s biggest band".

                                              FORMAT INFORMATION

                                              2x10" LP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                              Written by Serge Pizzorno and co-produced by Serge and Dan the Automator (Gorillaz, DJ Shadow), "West Ryder Pauper Lunatic Asylum" was recorded in Kasabian's hometown of Leicester and Dan the Automator's recording studio in San Francisco. It's the third chapter in Kasabian's magnificent journey so far, which began in 2004 with their debut self-titled album. The new album is a mash-up of towering melodies, electro-punk riffs and psychedelic lullabies, fused with Tom Meighan's searing vocals, Serge Pizzorno's bar-raising musical vision, Chris Edwards' driving basslines and Ian Matthews' galloping drums. 'It's about people escaping somewhere else. It's a place of opposites, where paupers can become princes. The way things are at the moment, it seems like a good place to be,' concludes Serge.

                                              FORMAT INFORMATION

                                              2x10" LP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                              There's been an emerging UK synth disco scene for a few years now, with vinyl labels like Cyberdance, Flight Recorder and Red Laser pushing the sound onto vinyl pretty much alone in the UK.

                                              Defiant against the odds, their resilience is now coming to fruition as it finally seems the scene is exploding inspiring new generations of synth disco lovers to create labels or parties based on the European output of the scene.

                                              An artist that has been associated with all said labels and has been riding the wave even when it was a mere ripple is Kid Machine. Kid Machine's ear for amazing simplicity and slick production has seen him carve his own unique style. His sound has a crossover quality that has acted as the catalyst for the UK synth scene's explosion.

                                              He has had various tracks released on Red Laser and his first solo album on Cyberdance earlier this year drew critical acclaim. This Mars themed 'Red Planet EP' for hometown Manchester label Red Laser Records is classic Kid Machine material. Four tracks of atom crushing slo-mo disco darkness, creating hazy semi real dreams of isolation and paranoia on the red planets vast emptiness.

                                              The first track alone 'Invasion' is a dance floor soundsmash to rival any recent disco chug. The story continues with the quicker pace and acerbic tones of 'Rulers Of The Red Planet'. 'Martian Emotion' drifts more towards 'beautiful space ballad' and finally the grand finale to the story of this EP is the dark and foreboding John Carpenteresque 'Last Day On Mars'. The track completes a journey in sound so well accomplished it will have you feeling like you just watched a three hour sci-fi epic inside your mind!

                                              Following hot on the heels of Kindness' triumphant sophomore LP "Otherness", is this limted 12" release of one of the album highlights, "This Is Not About Us". Bainbridge supports a circular piano figure with clattering street soul percussion and a languid bassline, before allowing the track to slowly melt into a gorgeous choral haze. Combining heartache and groove with the same pomp as Prince in his prime, Kindess cements his place at the forefront of the current bedroom funk movement. On the flip, the 'Perc Restart' (possibly a minimal percussion mix by London's techno militant, probably not) distils that cowbell rattle into a killer break that'll delight the adventurous jocks and b-boys / b-girls alike. 

                                              King Gizzard & The Lizard Wizard


                                              Australia’s King Gizzard & The Lizard Wizard release their new single ‘Cellophane’ on Heavenly Recordings.

                                              This Australian beast of a band, with a bear of a name and a thick herd of band members, deliver many things on this single and their warped forthcoming album ‘I’m In Your Mind Fuzz’, namely a skeleton of propulsive Krautbeat fleshed out with a liberal dose of citric sweetness, flutes and harmonicas, a ton of wah, many lovely left turns of delicate psych and a dash of DMT dread.

                                              All songs performed by Mark Kozelek November / Decemeber 2013 in San Francisco.

                                              FORMAT INFORMATION

                                              Ltd LP Info: Super limited - on managed to get a couple of this, so get your skates on if you want it!

                                              Krzysztof Komeda

                                              Rare Jazz And Film Music: Volume One

                                              Volume One of this Krzysztof Komeda series on vinyl looks at Komeda’s classic work for Polanski’s Knife In The Water (Nóz W Wodzie) along with rare earlier recordings that have never been on vinyl before. These were recorded by Komeda’s progressive trio at the legendary Jazz Jamboree Festivals in Warsaw.

                                              Together these recording signify a sea change in the sound of modern jazz - especially in Poland where it had been banned until Stalin’s death in 1953. By the early 1960s Komeda had found his modern sound, one which he would build on and develop through various film scores and free jazz sessions. His untimely death in 1969 left the jazz world with a small but significant hole, one that seems to grow bigger as more people realize just how unique and versatile his music was.

                                              The Life Rockerfellas

                                              Life's Great / Funky Funky Street

                                              The Life Rockerfellas, hailing from Trinidad & Tobago, released this heavy two-sider in 1968. Both sides feature mucho Hammond B3 along with a funky back-beat, pattering bongos and killer guitar licks. Instrumental 'Life's Great' adds flute to the chirruping tropical funk sounds, while 'Funky Funky Street' adds a hooky vocal refrain to the mix ("Down on funky street, diggin' a funky beat"). A perfect purchase for instant dancefloor warmth.

                                              LoneLady, AKA Julie Campbell, returns with a striking lead single from her upcoming album. A total disco-not-disco dancefloor slayer, 'Groove It Out' has everything you'd want: low-slung bass, rattling cowbell (and jam jars?) percussion, rinky dink keyboard lines, scratchy guitar and super pop hooks sung by Campbell - hey, there's even a bridge! The DIY sound of post-punk Britain dragged into 2014.

                                              Next we have the 'LoneLady Michigan Dub' remix produced by Campbell along with with Bill Skibbe (The Kills, Austra, The Dead Weather). A tougher, dubby affair, this one strips everything back, pushing the bassline to the fore.

                                              Flip over for a remix by Ekoplekz (Planet Mu). The Bristol producer interprets ‘Groove It Out’ from an industrial dub techno angle in which his distinctive hybrid of lo-fi and considered sound meets LoneLady’s subtle references, catchy hooks and terse riffs. The echo and reverb are set to stun on this one.


                                              Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here.

                                              Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener Ahull make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation.

                                              Though staunchly electronic at its core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings.

                                              A varied cast of players appear in the loscil “ensemble”, some familiar collaborators from the past such as Jason Zumpano on rhodes and Josh Lindstrom on vibraphone, and others new to the mix such as Fieldheadʼs Elaine Reynolds who provides layered violin on Catalina 1943, and Ashley Pitre contributing vocals on Bleeding Ink. Seattle pianist Kelly Wyse, who collaborated with loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks Sea Island Murders and En Masse.

                                              Maurice Louca

                                              Benhayyi Al-Baghbaghan (Salute The Parrot)

                                              "Salute The Parrot" signals a departure for Louca from his first solo album "Garraya" - in which he composed electronic music unaccompanied - into the realms of acoustic orchestrations, both composed and improvised. Featuring an all star cast of itinerant musicians and sonic mystics, Louca has leapt forward into the unknown with this mindbending combination of East and West. Here you will encounter a much more complex and hard hitting work of many influences. From dub to psychedelia to Egyptian Shaabi, Louca shatters the confines of musical and cultural labelling with a work that is truly unique. The album’s new live and acoustic elements, coupled with limited pre-recorded material, present ample space for improvisation and fluidity within its composition. Its eight tracks offering a unique record of this new vision, and preparing the ground for future live performances of "Salute The Parrot" which will never sound totally the same.

                                              STAFF COMMENTS

                                              Patrick says: Maurice Louca steps up with an eight track LP of totally off-it diaspora. Imagine Charandjit Singh, Death In Vegas, Goat and Tinariwen sharing the shisha in the temple of doom.

                                              FORMAT INFORMATION

                                              Ltd LP Info: Limited green vinyl pressing.

                                              Luv You Madly Orchestra

                                              Rocket Rock / Moon Maiden

                                              Originally released in 1978, Luv You Madly Orchestra's 12" taken from their first (and only) LP features the prodigious mixing talents of the iconic disco alchemist Walter Gibbons whose deconstructive style has left an indelible mark on contemporary dance music right up to the present day. Elements of dub and experimentation had always been ingredients in Gibbons' formula when it came to DJ-ing, mixing and re-mixing records throughout his career and "Rocket Rock / Moon Maiden" is as good an example of this as you'll find. "Rocket Rock" is a laid back disco groove, starting out with bare, stripped back drums and easing us in with an almost lazy bassline and shuffling percussion. The spacious mix leaves plenty of room for a jazzy organ to drop in accompanied by weird phased string sections and funked out guitars and horns. If that wasn't enough disco energy, super spacey sounds and cowbell run through the track with a large pinch of Walter Gibbons' magic dust in the mix thrown in for good measure! On the flip, "Moon Maiden" is equally as sparse and otherworldly. Essentially a cover version of Duke Ellington's lullaby of the same name, this track sees Gibbons step up the mix with almost nine minutes of frantic, trippy disco eccentricity with soaring strings, odd analogue synth frequencies and spooky vocals flowing in and out. The track build and builds, driven along by wooden blocks, cowbells and that insistent bass-line, until finally exploding into a leftfield disco monster. This is the first non-promo version of this 12" to be released, fully re-mastered and re-pressed in conjunction with Salsoul Records.


                                              Vapor City Archives

                                              Electronic music's Renaissance man Travis Stewart, better known as Machinedrum, brings his 'Vapor City' project to a close with this final chapter in the sprawling epic - 'Vapor City Archives'. Paying close heed to the spirit of the 'Vapor City' community he forged and nurtured, Stewart chose to announce this new record via the global community created when he invited listeners into his personal dream world dubbed “Vapor City”.

                                              Constructed around his vision of an imaginary city with fully-realized districts, the year-long 'Vapor City' project was founded upon Machinedrum’s critically acclaimed album of the same name and supplemented with a worldwide live tour, a string of satellite EPs and remixes. This final installment sees the talismanic producer deliver 10 brand new, exclusive productions alongside fresh artwork from the project’s art directors: LuckyMe’s Dom Flannigan and Éclair Fifi.

                                              Once again experimenting in soundscapes between footwork ("Safed", "Only 1 Way 2 Know"), hip-hop and jungle / drum & bass ("More Than Friends", "Boxoff") to forge a unique sound that he has come to own, Stewart creates a subtle homage that nods to the past while staying firmly future-facing.

                                              Producer Mark E hails from the West Midlands, an area of the UK that was at the heart of the industrial revolution and was also hit hardest by the decline of UK industry in the 1970s, and again by the economic crisis of our own time. It's an area with a distinct sound and atmosphere, one that manifests in the music of artists as diverse as Black Sabbath and The Specials, and one that plays into many of the ideas behind Mark E's 2014 full-length, 'Product Of Industry'.

                                              Following that release, Mark E presents a late-year surprise with 'Avion EP'. Featuring two new tracks from the producer plus remixes on two Product Of Industry highlights: “Bog Dance“ and “Being Hiding“. First up, White Material affiliate Alvin Aronson brings his minimal ambient productions to “Bog Dance“ while the collaborate duo of Leon Vynehall and Christian Piers aka Laszlo Dancehall fire things up on “Being Hiding“ to close out the EP.

                                              Mark McGuire


                                                Noctilucence is a new EP from the prolific artist Mark McGuire, it's the second release from him this year and comes off the back of the critically acclaimed LP Along The Way. Noctilucence was recorded between in 2013 and 2014 between Los Angeles, California, and McGuire's home of Cleveland, Ohio.

                                                "Noctilucence" is the 12 minute centerpiece of the EP, a sprawling and expansive track which might be the most ambitious track McGuire has ever released.

                                                The term "noctilucence" comes from "noctilucent clouds", the name given to clouds which, for some reason, emit a brilliant vibrance at night. On this recording we find our subject diving into the electric waters of the night sky, in long drives across the vast deserts of America. It's a recording about the discovery and understanding of the shadow, entrance to the realm not controlled by the light of day, or the logic of reason. It's about confronting nocturnal terrors and all of those things that go bump in the night. Understanding that the ancient archetypes which watch over us don't flinch, and stand firm across the spell of time.

                                                On Along The Way McGuire sought the Macrobes for guidance, and on Noctilucence we see them taking real shape. Opening with a mantra to the perpetual regeneration of the spirit of love, crying out for new levels of confidence and consciousness to emerge from the human race, Noctilucence is a deep stare into the infinite eye of the shimmering night sky of the future, and all it holds in its gaze.

                                                Ennio Morricone

                                                Lizard In A Woman's Skin

                                                  180gm vinyl
                                                  Disc 1 Transparent Green
                                                  Disc 2 Transparent Blue
                                                  Includes poster & sleeve-notes by Andrea Morandi
                                                  Cover art by Jay Shaw
                                                  400 for UK

                                                  "It is a proud day for Death Waltz Recording Company as we prepare to release a score by one of the biggest composers in film music history. Ennio Morricone (ONCE UPON A TIME IN THE WEST, CINEMA PARADISO, ORCA: KILLER WHALE) has produced masterpiece after masterpiece, but none so creatively unsettling as his score to the 1971 Lucio Fulci giallo A LIZARD IN A WOMAN’S SKIN (aka UNA LUCERTOLA CON LA PELLE DI DONNA). Like many of Fulci’s movies, LIZARD blurs the line between dreams and reality, with hedonistic nightmares featuring narcotic-fuelled orgies leading to real murder that may or may not have been committed during one of the dreams.

                                                  Morricone’s music is as unhinged as the film itself, mixing post-sixties funk and jazz with increasingly uncomfortable effects to provide a haunting and biting backdrop for the turn of the century thriller. As always, elements of the maestro’s music are beautiful, with ethereal vocals by regular collaborator Edda dell’Orso, and this works even better in stark contrast with the harsher sections, with eerie woodwinds, the requisite whistling, wind instruments that sound like coyote howls, and low rhythmic bass that hits your head and your stomach at a point where you start to wonder if someone else is if the house with you. Still, if you’re going to be graphically murdered, A LIZARD IN A WOMAN’S SKIN is the soundtrack to have it done to you by." - Death Waltz

                                                  FORMAT INFORMATION

                                                  2xLtd LP Info: Double album set featuring 24 tracks clocking in at 90 minutes including a host of Previously unheard cues uncovered especially for this release.

                                                  Mr. Mitch

                                                  Don't Leave

                                                    Mr. Mitch is one of a group of producers who have re-envisioned Grime in the last few years, infecting the scene with a progressive and often surprising energy. He's 26 years old and started his own Gobstopper label back in 2010 after having his debut release on Butterz. Last year he started the flourishing Boxed 'Instrumental Grime' night alongside producers Slackk, Logos and Oil Gang. For Mr. Mitch, Grime "…has always been an experimental and progressive genre, taking elements of what came before it and pushing those boundaries to create something new". And so this four tracker, which drops before his debut album 'Parallel Memories', is a short but brilliant showcase of his delicate use of Grime's speed and sound and his ability to take it somewhere else.The record starts with Boxed anthem 'Don't Leave' which chops and screws a repeated acapella, with spaced drum hits and light drizzly chords. It sounds extra sad and emotionally desolate, but within the Grime grid, it still feels tough. 'Be Somebody' elevates the mood, breathing in some much needed sunlight with a graceful twinkling melody and a hopeful but shy vocal refrain which complement each other perfectly over snapping claps and snares, all pivoting on a heavy sub bass. 'Padded' builds incredibly slowly, a tender melody snaking out across a simple kick and some exhausted sounding hand claps. The melody builds very gently and the track peaks midway with a contrasting noise that seems to shatter the track apart. 'Oh' finishes the EP, mixing slower criss-crossing drums with gently warping vocals that drift in and out of the mix while a soft marimba runs underneath.This is music that deserves to find a likeminded audience, progressive and not afraid of emotional depth.

                                                    FORMAT INFORMATION

                                                    12" Info: 12" in plain black sleeve.

                                                    New Street Adventures

                                                    No Hard Feelings

                                                      The East London band whos latest single has seen them win airplay from Robert Elms, Gary Crowley and Craig Charles release their 13 track debut album on Acid Jazz this September. Produced by Mitch Ayling of the Milk it has been declared a ‘masterpiece’ by Q Magazine’s Paul Moody.

                                                      Their hard hitting soul meets guitar sound is allied by the memorable song writing of lead singer Nick Corbin. His work tells of the struggles, loves and musical excitements of 20 something London living. The music is beautifully realised by the five piece group, augmented by strings and horns. The band will be supporting the album with a month long tour of the UK, co-headlining with the Milk. They have recently wowed audience supporting Lee Fields and the Expressions.

                                                      The Now Generation

                                                      Cup Of Tea / Version

                                                      The Now Generation recorded as a house band for many of Jamaica's top producers. In particular producers Herman Chin Loy, Lee Perry and Harry J. They had originally been formed as a live band but moved full time onto the busy Kingston session scene around 1972. The original nucleus was built around the brothers Mikey and Geoffrey Chung as well as musicians Mikey 'Boo' Richards, Robbie Lynn and Earl 'Wire' Lindo. 'Cup Of Tea' was one of the many excellent instrumentals the band cut. Recorded at Dynamic around 1970 the lead keyboard was later overdubbed by a musician called Joe Cooper and the single appeared on a Harry J release with 'Happy cause i'm going home' on one side and 'Cup of tea' on the flipside. There were a few white labels with Cup of Tea on one side and the Cup of Tea version on the flipside but it was never given a full release until now. Comes in a hand stamped bag on the original Mikey Chung 'Superstar' label. It's an exquisite example of how good the Now Generation Band were at their peak.

                                                      Thee Oh Sees / Total Control


                                                        Hailing from Melbourne, Australia, TOTAL CONTROL destroy with a wicked follow up to their first LP/masterpiece Henge Beat. Four new burners from the unstoppable 5 piece. Hard psych guitar based tracks and floating and dark keyboard centred pieces make this a well rounded feast for your southern hemisphere hungry ears.

                                                        San Francisco repeat beaters THEE OH SEES return with 4 revised tunes. These are the live, full band versions of four faves that sweaty kids have learned how to writhe to and old chin-scratching music hoarders have proclaimed as "not bad." Producer CHRIS WOODHOUSE is at his peak performance with this recording. It's raw and all speaker-melty-and holy shit, it comes with a free download so you can pour it in your ear at the gym.

                                                        Much has changed for the members of The Paperhead since the release of their TiM debut back in 2011 - tours both domestically & abroad, more releases, college, life, work, love, tragedy. The span of time & growth (both personally & musically) are reflected in the ten tunes on the band’s third album “Africa Avenue”.

                                                        Recorded by the band themselves in bassist Peter Stringer-Hye’s Nasville garage & mixed by Cooper Crain (Cave, Bitchin’ Bajas), “Africa Avenue” finds its groove in its unabashed melodicism and pop hooks. The title of the album is an homage to a street the band hung out on as children, and the experiences & memories created there drift in & out of lyrics that are appealingly abstract, but hint at an unspoken narrative. The jaunty opener “Africa” sets the scene with guitarist Ryan Jennings’ acoustic strum & sly synth squiggles, before unloading a crunchy guitar hook unlike anything the band has done previously, letting listeners know that something new is happening here; a step towards a full & comfortable immersion in the sounds they love. The band makes no bones of it’s affection for Sixties & Seventies psychedelia, but “Africa Avenue” quietly tiptoes around easy comparisons, mutating itself into something more textured & intricate, leaning more towards avant-pop.

                                                        The rest of the album has it’s fair share of stunners like the cosmic country of “Mother May”, the folk-raga of “In A Corner, or the harpsichord-sprinkled majesty of “Old Fashioned Kind” all fight for ear-space in an album full of highlights. The true key to the album’s success lies in the band’s synergy that comes from playing together since they were teenagers; the “hive-mind” that enables each to anticipate & play off each other, achieving an effortless grace in their arrangements & performance. “Africa Avenue” feels more organic, sounding like the work of a cracking live band in action rather than a heady, studio construction. A breath of fresh air & without a doubt, the band’s most accomplished effort to date.

                                                        The Hunter S. Thompson of beats, Jon Phonics is at the forefront of a new wave of London-based beat makers, cooking up kicks, snares and sine waves for the year 2015 (it's always good to be ahead of yourself). Here he hooks up with fellow London vocalist Yasine, for a soulful excursion through the city streets. Her haunting vocals complimenting Mr Phonics' dirty beats to a tee. If you love Fatima's current output, or have been hankering after the slip-slidin', lopin' soulful wonky hop sound of a few years back, then this will be right up your alley. We're also treated to the bashment bruiser 'Naim' and totally insane 'Bazooka', which sounds like several random, unrelated tracks all playing at the same time. Available on one sided 12" vinyl via Ho_Tep Records.

                                                        As featured in the Piccadilly Records End Of Year Review 2014 Top 100, this comes with a free Piccadilly End Of Year CD sampler. Click HERE for more info.

                                                        Across its 17 tracks and 69 minutes, pom pom is unfiltered Ariel, a pied piper of the absurd, with infectious tales of romance, murder, frog princes and Jell-O. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a decade when cementing his name as a king of pop perversion.

                                                        From demented kiddie tune collaborations with the legendary Kim Fowley (songs like ‘Jell-O’ and ‘Plastic Raincoats In The Pig Parade’ were written with Fowley in his hospital room during his recent battle with cancer), to beatific, windswept pop (‘Put Your Number In My Phone’, ‘Dayzed Inn Daydreams’), scuzz-punk face-melters (‘Goth Bomb’, ‘Negativ Ed’), and carnival dub psychedelia (‘Dinosaur Carebears’), pom pom could very well be Ariel Pink’s magnum opus.

                                                        “Although this is the first “solo” record credited to my name, it is by far the least “solo” record I have ever recorded.” – Ariel Pink.

                                                        STAFF COMMENTS

                                                        Andy says: Brilliance mixed with utter daftness. It's a 'White Album' for our times.

                                                        FORMAT INFORMATION

                                                        2xLP Info: Includes a free EOY 2014 CD sampler.

                                                        CD Info: Includes a free EOY 2014 CD sampler.


                                                        Seeing Stars

                                                          Killer 1969 studio album never issued at the time. Intoxicating blend of hammond organ, fuzz leads and superb melodies. Elements of The Doors, Soft Machine and early Pink Floyd.

                                                          A Great long lost late 60's UK psych classic album featuring members who were later in T2! Recommended!

                                                          Poison Girls

                                                          Chappaquiddick Bridge - LP + 7" Edition

                                                          'Chappaquiddick Bridge' the band's first full length LP, was originally released on Crass Records in 1980 and featured the same line-up as 'Hex'. And like 'Hex', it shared the producer / engineer team of Penny Rimbaud and John Loder. This record sees Poison Girls at their most experimental stage. The songs dig deeper into the connections between the personal and political. Starting with an uncredited version of ‘State Control’ (one of the band's punkiest crowd pleasers) done in an ‘unplugged’ style, and ending with the similarly stripped down ‘Tender Lover’, this album broke all the rules of what a ’punk’ album should sound like. The songs are long. There are extended sonic workouts and codas, using synths, abused studio effects, electric violin, acoustic piano as well as ‘random’ electric guitar sounds and vocals. The mix has thundering drums up front that power the songs, and help create a barrage of rich sound.The lyrics speak of love, power, sexual politics, war and peace and most things in between. This is Vi at her most poetic, but with a razor sharp insight, and not holding back on using it. A truly original album.The original copy of 'Chappaquiddick Bridge' came with a one-sided flexi disc containing the anthem "Statement". This 2014 reissue also includes "Statement" as a proper one-sided 7" vinyl.

                                                          The latest Rhythm Section International release comes all the way from down under and rest assured it is another BEAUTY! The record oozes jazz, lush orchestral experiments and downbeat, Detroit flavoured house spread across 4 tracks of sun soaked productions from Melbourne newcomer Prequel, who makes his debut on this hotly tipped Peckham Label. "Searching" has liquid voicebox skits weaving through a vaped haze of Australian sunshine, electric guitar licks signaling the point of no return. "Fidelio" chops up the flow and takes things into a dubby territory with its thick subs and live percussion. Soon the clickity click, swinging rhythms converge onto the track to make this a backroom dance classic. "Michelle" ups the tempo and moves towards a glistening, more electronic sound palette. Liquid piano licks rise through the low pass filters before bubbling into a crescendo of joy, rendezvousing with lush, dreamy strings and beautifully placed orchestral percussion. Highly cerebral, bursting with sonic goodness, and a completely mind-blowing track! "The Test Dream" closes the deal with a sludgy, stoned romp through back garden BBQs, late afternoon beers in the chiller and the sun catching the light on the trees juusst right. Ahh, an aural paradise awaits listener - please emerge oneself in these aural treats!

                                                          QV (Quiet VIllage)

                                                          Social Music / Change

                                                          The insatiable Phonica White series continue the relentless heat with this huge coup - Matt Edwards and Joel Martin's Quiet Village project! We don't need to tell you how much a new QV record stirs up the cauldron of excitement here at Piccadilly, and this two tracker doesn't disappoint! "Social Music" unfurls over 9+ minutes, ominous atmospherics swirling over tribal drums, dubbed out jazz samples and a tension-mounting aesthetic; resulting in that crystalline, pitch black night vibe that we love so much from the pair. "Change" keeps the tribal juices flowing by deploying a voodoo-riddled Latin groove and reverb-soaked vibraphone while crazed, lysergic murmurings cascade through the mix and submerged piano notes bubble up to the surface. Like Instant House and MAW meeting Jamal Moss and Ron Hardy through a haze of narcotics. These are two expertly crafted examples of Matt and Joel’s production capabilities just asking to be played loud. Centre label artwork by Pedro Carvalho de Almeida.

                                                          Joshua Rainhorn / Paulinho E Beatriz

                                                          Wine And Cigarettes / Você Tem

                                                          Another two of Fred Armisen’s disco-recoveries: LA piano-popster Joshua Rainhorn and Brazilian bossa wonder twins Paulinho e Beatriz.

                                                          Originally from Columbus, Ohio, Joshua Rainhorn moved to the Silverlake area of Los Angeles in 1998, packing only a portable electric piano and lyric notebook into the back of his Honda Civic. His ragged / formal style required little upkeep: white suit jacket with dusty black jeans and a reddish mop of messy hair. He found a studio apartment behind a corner cervecería and immediately got to work, writing as many lyrics as he could. He filled pages and pages with his thoughts, sometimes falling asleep while his hand continued to write into the early morning hours - literally words from a dream state. At the time, he was so prolific, that he would sometimes write lyrics on top of other lyrics, right on the same page. To his friends, the pages in his notebook looked like tangled scribbles, often completely black with ink. To him, it was the encyclopaedia of his subconscious. This was a statement he repeated many times in interviews and later on stage.

                                                          Joshua’s imagery evoked a world of old wine bars and coffee-stained book covers. Honky tonk music and worn out shoes. Elusive, mysterious lovers. His plan was to become a locally-revered lyricist and it wasn’t long before his dream came to fruition. Booking a Tuesday night residency at a piano bar called Marla’s, his audience grew steadily, to the point where after only a few months of playing at the club, a line would form down the street. Fans could often be overheard saying “I hope we get to hear some of his new lyrics” and “I love his lyrics so much.” Since then, Joshua Rainhorn has never strayed far from his adopted home city. Apart from a few two-week tours up and down the Los Angeles / San Francisco corridor, he continued and still continues to play venues all around town. He is respected and sometimes quoted by some of the newer singers / lyricists and his fanbase remains as loyal as ever: the very definition of a Hometown Hero.

                                                          Paulinho and Beatriz were a musical duo from Niterói , Brazil . They began playing together in1969. The music scene was vibrant in Niterói . The groups were experimenting with jazz and traditional Brazilian music. Paulinho and Beatriz brought an intimate tranquility and they found themselves playing to packed halls. Many people danced , while others stood up and admired, lost in the beautiful simple songs.

                                                          Red Red Meat

                                                          There's A Star Above The Manger Tonight

                                                            With its final album, Chicago-based quartet Red Red Meat completed a journey started in the early ‘90s, concluding a study in evolution, moving from its shambolic blues rock roots into an experimental combo capable of synthesizing “a field recording with a Can aesthetic.” Yet, There’s a Star Above the Manger Tonight is the sound of a band blooming even as it folds in – finding Tim Rutili, Brian Deck, Ben Massarella, and Tim Hurley incorporating samplers, loops, and computers, marrying disparate threads of hip-hop, Krautrock, and dub to folk forms, stomps and blues.

                                                            “As a single piece of music it was kind of a real demonstration of where Red Red Meat was at the time, crossed with everything that we were playing around with that would eventually become Califone,” Massarella says.

                                                            Self-produced in DIY fashion in the back room of BJ’s Truck Stop, located on the Southside of Chicago near the seedy stockyards, where the band’s members did double time washing out meat trucks, the record features moments of sublime beauty welded to abrasive noise. “A lot of times I remember being in that back room working on music, and when that bell rang we’d run out and work on a truck,” Rutili says. “We were covered in blood at that job. There was always blood. The dirtiness of the place definitely seeped into the music. That’s the dirtiest record we ever made.”

                                                            Brian Deck – who would go on to helm records by the Fruit Bats, Iron and Wine, and Modest Mouse – crafted the record with borrowed gear and a DIY mentality, referring to two very different albums each morning – Stevie Wonder’s Songs in the Key of Life and Brian Eno’s Here Come the Warm Jets.

                                                            “I personally was trying to do things that I heard on those two records,” Deck says. “The sophistication of the Steven Wonder record was all in the musicianship and musicality – the recordings were very present and raw. I loved that dichotomy, and I was going for that. Which is a good thing, because I didn’t have the facility to go for anything else.”

                                                            Songs like opening salvo Sulfur were built from the ground up, assembled piece-by-piece. “We were all doing different things; it wasn’t like everyone just picked up their instruments and we all played a song,” Hurley says. “Everyone was coming in with whatever struck them. What we were listening to at the time – Tricky, Bitches Brew, Brian Eno -- all that stuff kind of has little strains of timelessness that we responded to.”

                                                            Ultimately, the record closed the book on Red Red Meat, but it introduced ideas that Rutili, Deck, Massarella, and Hurley would explore collectively and separately on future releases. Conceived loosely as a “Christmas record” the album ended up more “a record about all time occurring simultaneously,” Rutili says. And in the records grooves it does – referencing Red Red Meat’s roots and forecasting the future terrains the band members would explore as Califone, Loftus, and Sin Ropas.

                                                            Following on from the summer hit that was Noo's 'Optimo Disco Plate One', the label treat us to the taste sensation of a  second plate, this one an archival release from London's Reel Houze. Comprising of Dominic Dawson and Rob Mello, Reel Houze were an integral part of the mid to late 90s party scene, and these two club killers from '96 graced the decks at the world's finest, and sleaziest venues back in the day. Big with Twitch at the time, he dug out “No Difference“ again last year and started playing it once more and then did the same with “The Chance“. They felt and sounded timeless so it seemed a good idea to make these dub disco wonders available again to a new generation. "The Chance“ is nearly 11 minutes of dubbed out disco madness based on a sample from Dinosaur L's “Go Bang“, and features one of the all time greatest Moog solos, played live by Rob Mello while DJ Harvey gets frenetic on the percussion (he's playing a toilet seat!). It's loose, it's a little debauched and is further proof that disco music can be out there, wild, modern and any tempo it goddamn wants to be. “No Difference“ is the closest equivalent to Basic Channel doing disco. Loose, long, extremely dubbed out and mesmeric, in the right hands it is a swinging, sexy club hypnotiser.

                                                            Rhyton are the Brooklyn based trio of Dave Shuford (D. Charles Speer And The Helix, No Neck Blues Band), Jimy SeiTang (Stygian Stride) and Rob Smith (Pigeons).

                                                            Rhyton take ancestral forms, instrumentation and scales, primarily sourced from Middle Eastern and Greek traditions and incorporate them into the context of scorching improvised rock.

                                                            ‘Kykeon’ was recorded at the legendary Black Dirt Studios (Jack Rose, Steve Gunn, The Black Twig Pickers, etc) in upstate New York with their longtime engineer Jason Meagher.

                                                            “Rhyton is going to take you somewhere you’ve never been... Undulating rhythm throbs and plate shifts; sun spots that flash right between the ears; melodies that come, go, return, vanish, and never really existed – this is all Rhyton at work.” - Jambands

                                                            “...smoke-belching psychedelia, like Eternal Tapestry getting spanked by Blue Oyster Cult, only more throbbing and fried.” - Magnet

                                                            FORMAT INFORMATION

                                                            LP Info: LP version pressed on virgin vinyl with free download card.

                                                            CD Info: CD version limited to 300 copies with hand-applied
                                                            wrap around artwork.

                                                            The Amen Brother Disco Band step aside for Vol. 3 on the label, allowing Sweden's Sergio Rizzolo to lollop into the limelight with this 4 track EP of low slung house and psychedelic stoner disco. A kindred spirit in the world of the dollar bin, Rizzolo shares a similar knack for finding those leftfield dancefloor oddities, constantly searching for psyche fused gems and regularly surfacing with a fresh sound that is unique to him. Up first on the A-side, "Stoned Apes" is a mushroom fuelled disco psyche groove with plenty of head turning fx in the mix. The kind of funked out chugger that Harvey, Dunks, JVV and Idjuts blow minds with on a weekly basis. Next up, "Four Twenty" is a slow burning slice of swamp funk boasting a whole lotta wah and some killer talk box vocals. Next time you're djing at some sort of heathen fireside ritual, this is the track you'll be reaching for. Flip the disc and head further into the darkness of the spirit realm with the soundtrack disco of "The Odyssey", a far out psychedelic-disco-jazz-rock anthem with a spooky spoken word about Odysseus and the underworld. Remarkably, it's every bit as good as that sounds. Last but not least, "Strangers World" shimmeys out of 70s AM radio, slips off its cardigan and pours you a scotch, before leading you in a soft rock slow groove of epic proportions. This tasty selection of heady brews has already got Psychemagik in a fluster, will you be next?

                                                            The Rolling Stones

                                                            From The Vault - L.A. Forum - Live In 1975

                                                              “From The Vault” is a new series of live concerts from The Rolling Stones archive which are getting their first official release. “L.A. Forum – Live In 1975” is the second title in this series. The Rolling Stones’ “Tour Of The Americas ‘75” was the band’s first tour with new guitarist Ronnie Wood. Even before the dates started there were dramatic scenes in New York City at the official tour announcement when the band unexpectedly turned up on a flatbed truck to play “Brown Sugar”. After a couple of low key warm-up shows in Louisiana the tour took in 44 dates between the 3rd June and the 8th August 1975. They settled into the L.A. Forum for a five night stint from July 9th to 13th and this concert film features the show from July 12th. The footage has now been carefully restored and the sound has been newly mixed by Bob Clearmountain for this first official release of the show – a full length 2½ hour concert of The Rolling Stones performing at their very best.

                                                              FORMAT INFORMATION

                                                              3xLP Info: Triple LP and DVD.

                                                              The Saints

                                                              King Of The Sun / King Of The Midnight Sun

                                                              2CD and 2LP release featuring ‘King of the Sun’ and a completely new recording with new versions of each track, titled ‘King of the Midnight Sun’. With reversible artwork sleeve design.

                                                              The legendary former garage-punks, recently covered by Bruce Springsteen, break new ground with two albums that are the same - but different...

                                                              Why would a band re-record their new album in its entirety and then release them both at the same time? Because, as leader Chris Bailey puts it, "it's both sides of The Saints in one package". And so the deluxe debut European release of their "King of the Sun" features not only that album - a beautiful, expansive collection that harks back to Saints high points like "Ghost Ships" - but also a freshly recorded rock'n'roll take on exactly the same set of songs, recorded as live, and called "King of the Midnight Sun".

                                                              "I'm very proud of the studio album as a listening piece," says Chris. "It's lyrical, musical, an exploration of songwriting. 'Midnight' is more a celebration of the strengths of a rock band. There's a swagger on it that there isn't on the original."

                                                              The impetus for the added recording came from the recent reintroduction to The Saints of Barrington Francis, who played in the band from 1979 to 1989. "There's magic that happens when Barrington, Peter [Wilkinson, the drummer] and I get together," says Chris. "In this technological world where everything is nine million tracks on computer it's very important to retain the immediacy of rock'n'roll, to keep that earthy, organic, primitive side. If you can type, you can type an album these days, but there's something that happens when you rely on people playing together."

                                                              The Saints have reached a huge new audience thanks to Bruce Springsteen, who covered their "Just Like Fire Would" on his 2014 global No 1 album, "High Hopes". "Bruce told me: 'I bought the album when it came out and I've always really loved that song'," says Chris. "I'd known that he'd done the song live on his last tour, but I never in my wildest imagining thought he'd release it".

                                                              It's the latest development in the career of a band that found themselves at the forefront of the punk revolution with the release of their era-defining single "(I'm) Stranded" in 1976, ("NME" made it Single of the Week; "Sounds" made it Single of the Year; and EMI executives raced to sign them), that led to "Top of the Pops", and a stack of classic albums. Since then The Saints have one moment blasted out the most raucous rock'n'roll, and the next created some the most affecting, emotional lyricism, and often even done it at the same time.

                                                              Chris Bailey's songwriting has always been key to The Saints. "My job is to come up with vignettes that make sense on a poetic, intellectual and artistic level, and in the context of a rock'n'roll band, which is what I always want The Saints to be," he says. "The Saints aren't your average rock band. Never have been, never want to be. This is another manifestation of that."

                                                              "Worshipped... a truly great band" - NME

                                                              "More stage presence than an army of attitudinal hipsters and a back catalogue to kill for" - The Independent

                                                              "Chris Bailey, a distillation of [John] Lennon and... Van [Morrison], and one of the great punk larynxes" - Uncut

                                                              Samrai Meets Ruf Dug

                                                              At The Dane Bank Observatory - Inc. Hashman Deejay / Zanzibar Chanel Remixes

                                                              UTTU drops some hype shit in the form of Manchester's Samrai & Ruf Dug collaborating on some crazy ass future interplanetary dancehall business! With these two forward thinking men of the universe we knew the results were gonna be out of the ordinary, but were we prepared of this?! No chance! "1st Observation" opens with glacial synth shards reflecting of a neon-lit lake, pitched vocal snippets and female diva samples bouncing across the crystalline valley of sound. Pluming sub woofer jets occasionally lifting us from the air gently as if on a cloud of air. Future Times native, Hashman Deejay enters the observatory and reinterprets "1st Observation", taking in its luminescent charm through a steady pulsating house rhythm, subtle jungle sirens, glowing pads and a completely infectious, overwhelming groove. Amazing stuff. "2nd Observation" plummets further into deep space, discovering some lost cybernetic jungle planet, occupied by huge neon frogs, choral singing apes and lit by sweeping green lazers and multicoloured strobe lights. Ozzy cohorts Zanzibar Chanel get suitable rainforesty on the remix duties, serving up a joyous, dusty jaunt through drum box percussion, sophisticated keyboard work and a forward propelled momentum that shows no signs of easing up. Absolutely great stuff! Unique, beautiful and full of charm - you need this record in your life!

                                                              Savages & Bo Ningen

                                                              Words To The Blind

                                                              Bo Ningen and Savages announce a collaborative recording to be released by Stolen Recordings.

                                                              ‘Words To The Blind’ comprises of one 37-minutes long track. Taking their cross fertilisation a step further, following occasional live appearances together and Savages’ Jehnny Beth guesting on Bo Ningen’s current album ‘III’, ‘Words To The Blind’ is an astonishing piece of work, a ‘sonic poem’ inspired by the Dadaist concept of the ‘Simultaneous Poem’.

                                                              You thought Ty Segall’s ‘Manipulator’ was the money album of the year? Think again. ‘Singles 2’ is here.

                                                              ‘Singles 2’ sweeps out the ashes of the breakneck days (and nights) of 2011 - 2013 and burns down the house all over again in the process - but not by accident. ‘Singles 2’ slinks low and flat-out sprints behind the scenes of the ‘Goodbye Bread’ / ‘Twins’ / ‘Sleeper’ trilogy, collecting all the now-out-of print sides that totally work amazingly well together when placed back-to-back-to-back as an album.

                                                              The super-deadly ‘Spiders’ single is spun again here in full, along with the epically pop B-sides for ‘I Can’t Feel It’, ‘The Hill’ and ‘Would You Be My Love’. Plus there are tracks for other righteous labels too like Permanent, Castleface and Famous Class.

                                                              Covering The Groundhogs, the Velvets and GG Allin, Ty reps for a good array of punk godheads too. Between the covers and the originals, ‘Singles 2’ is also a run through the SF 388 scene circa 2010 - 2013, with various local heroes like King Riff, Mike Donovan and Ty himself at the board.

                                                              ‘Singles 2’ is really about the rush of getting a single for the A-side and then finding a total sunshine jewel like ‘Children Of Paul’ or ‘Mother Lemonade’ on the flip. Or a stone-solid jam on a classic like the complete retooling of ‘Femme Fatale’ or the Mackay-style sax bleatings of ‘Fucked Up Motherfucker’.

                                                              Closing the album with the seemingly unlikely (‘Music For A Film’) and the seemingly inevitable (‘Pettin The Dog’, a mighty hardcore slamming of the lid) cleanses the palate for... what? Another spin, probably! Singles 2 has been designed to withstand obsessive flipping.


                                                              Deep Mountain

                                                                LIMITED EDITION 400 ONLY VINYL LP. FOR FANS OF MELVINS, HARVEY MILK, BARDO POND, MAINLINER, ETC

                                                                Upon releasing their now sold-out self titled debut album in 2010, Sloath claimed 'more soon!' … Four years on they have finally delivered 'Deep Mountain'. In place of the wide, white spaces of the debut, shorter tunes slam corkscrew riffage home with a new-found rhythmic propulsion. Behind the filthy power chords (redolent at times of Harvey Milk or Melvins), the overblown scut of Les Rallizes Denudes or Mainliner, and the state-altering sonics a la Bardo Pond, a mud-scuffed classic rock sensibility informs the songs and their structures. Having submitted to the influence of Creedence, ZZ Top and the Groundhogs, 'Deep Mountain' is no doom-rock trawl – with the exception of blissful, glacial centrepiece “The Toucher”, the songs here are for the party or the road trip.

                                                                SOME HISTORY:

                                                                2007: Five veterans of Brighton's rock scene gather with the intention of playing slower, louder and heavier than any of them have previously. Initial songs are developed with the aid of weapons-grade skunk, Polish beer and a heady cocktail of cheap rum and apple tango. Tunes built from super-distorted power chords and crushing, throbbing, squalling drone stretch at times past the half-hour mark. Early gigs are marked by deafened, blissed-out audiences, blown amplifiers and mid-set fist fights with venue managers.

                                                                2010: Debut album finally released on Riot Season, featuring three monolithic slabs of psych-sludge, but the band has already moved on, having written and discarded a whole LP's worth of new material, before holing up in their practise space to record six brand new numbers for album number two. The songs are shorter and faster, unlike the mixing process, which due to various members' life stuff takes four years to complete. In the interim, various comings and goings leave the band stripped back to a four-piece, working on yet another batch of new material in twice-yearly spurts of activity.

                                                                2014: New songs are debuted at a couple of riotous February gigs before the band scatters once more to the four corners of the globe. LP #2 'Deep Mountain' is finally completed and handed in to Riot Season. Touring plans are laid and delayed...

                                                                Thus far Sloath have shared stages with Acid Mothers Temple, Decapante, Kogumaza, Om, Part Chimp, Bardo Pond, The Unit Ama and White Mice. They intend to hit the road in support of 'Deep Mountain'.

                                                                Tabou1 Records release Sly & Robbie’s 'Dubrising' LP, which reunites the riddim killers with dub maestro extraordinaire Paul “Groucho” Smykle for the first time in more than twenty years.

                                                                Anyone unfamiliar with the work of former Island Records in-house mixing engineer Paul “Groucho” Smykle need only drop the needle on any one of several landmark dub reggae recordings he mixed in the 1980s and 1990s.

                                                                Smykle is back in the mix with Sly and Robbie, this time mixing a set of largely unknown recordings by the likes of Bunny Rugs (“Rumours”), Horace Andy (“Zion Gate,” “Rastafari Prophecy,” “King of Kings”), Khalifa (“Accused”) and Chezidek (“Devil You Can’t Bully Me Out”, “Surrender”). The instrumentals were recorded live at Harry J’s and Anchor studios in Kingston, Jamaica.

                                                                Don Donovan (Big Audio Dynamite) was brought in by Smykle to lay down synthesizer overdubs and Bunny McKenzie to add harmonica. The overdubs bring a cohesion to the mix that can be heard throughout the entire album.

                                                                Sly and Robbie’s 'Dubrising' is a whimsical Taxi ride back to Channel One Studios on Maxfield Avenue, West Kingston. It is a testament to the sound and vibe that the duo created in the uncertain yet transformative post-Marley era of the early 1980s

                                                                PPU come through with a beautifully remastered 12" pressing of this super rare boogie-disco masterpiece from George Smallwood. So rare is the original 7" of this record, that no one's sure when it was originally released, although signs point to 1980. Self released by Smallwood back in the day in his local Washington DC, "You Know I Love You" failed to take off and get the exposure it deserved, which works out well for all the heads seeking a secret soul weapon. The track struts out the speakers clad head to toe in designer clobber, seducing you bar by bar as George's earnest vocals ride the bubbling bassline and scratching guitar like it ain't no thing. Ocean deep and soulful, this one's gonna have you hooked before the organ solo drops. For the real heads out there, the B-side dub mix is gonna flip lids all over the show.

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                                                                RT @serioussam1980: What an honour. Made it into the @PiccadillyRecs end of year chart!! @JoeyBashment @JumboRecords
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                                                                And our #1 album, @JanelWeaver 'The Sliver Globe' has a PICCADILLY RECORDS EXCLUSIVE bonus disc!
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                                                                Get our End Of Year Review booklet FREE instore today, & a free CD sampler when you buy anything in our Top100,Comps & Reissues charts
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