‘Do To The Beast’ is the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing angst and obsessions.

The new album is both a homecoming - it marks their return to Sub Pop, for whom the Whigs were the first signing from outside the label’s Northwest base - and a glimpse into the future of one of the most acclaimed bands of the past twenty five years.

‘Do To The Beast’ is an appropriately feral title for one of the most intense, cathartic records of Dulli’s entire career. It adds fresh twists to The Afghan Whigs canon: there’s the film noir storytelling of ‘Black Love’, the exuberance of ‘1965’, the brutal introspection of ‘Gentlemen’. However, the album exudes a galvanized musical spirit and rhythmic heft that suggest transcendence and hope amidst the bloodletting.

Recorded in LA, New Orleans, Cincinnati, and Joshua Tree - a virtual map of the band’s past and present homes, the album features Whigs co-founders Greg Dulli and John Curley, along with the core band of guitarists Dave Rosser and Jon Skibic, multi-instrumentalist Rick Nelson and drummer Cully Symington. Also featured are soul iconoclast Van Hunt, Mark McGuire (Emeralds), Johnny ‘Natural’ Nagera (Usher’s musical director), Alain Johannes (Queens Of The Stone Age, Arctic Monkeys), Clay Tarver (Bullet LaVolta, Chavez), Dave Catching (QOTSA, Eagles of Death Metal), among others.

Erol Alkan

Check Out Your Mind / Bang - U / Beau Wanzer Remixes

Here we are, still reeling from the realisation that the "Illumination EP" was Erol's debut production and drunk on the dark power inside the grooves, when Phantasy hit us with a jab-hook combo of remix EPs! On this first package, Man Make Music star U and Chicago young gun Beau Wanzer are at the controls with two completely different but both brilliant remixes. U does the honours on the A-side, reworking "Check Out Your Mind" into a psychedelic head fuck of rampant synths, fizzing distortion and bass power. This one's definitely a bad trip, it sounds like mechanical ants chomping on your brain! On the flip, L.I.E.S. man Beau Wanzer reimagines "Bang" from inside a malfunctioning toy factory. Mesmerizingly propulsive, percussive and repetitive, the hypnotic power this holds will turn any club into a land of dancefloor zombies. That's a good thing by the way.   

Erol Alkan

A Hold On Love / Bang - Tom Trago / The Emperor Machine Remixes

Here we are, still reeling at the realisation that the "Illumination EP" was Erol's debut production and drunk on the dark power inside the grooves, when Phantasy hit us with a jab-hook combo of remix EPs! This second instalment features Amsterdam house don Tom Trago and cosmic synth maestro Emperor Machine taking Erol's work to town. Tom Trago opens proceedings with his Tokyo Mix of "A Hold On Love", a minimal house cut with maximal emotional response thanks to its broad pads, stuttered vox and burbling bassline. On the flip, UK house stalwart Andy Meecham dons his Emperor Machine cap for a sprawling wormhole interpretation, bringing the crystalline synth to the forefront, and injecting the track with a sublte hit of acid funk.

The Amazing Snakeheads - Dale Barclay, William Coombe and Jordan Hutchinson - are truly a force of nature.

‘Amphetamine Ballads’ is the soundtrack to the dark corners of nightclubs and those dimly lit alleyways off the main drag. The smell of smoke and liquor pervades everything.

Recorded at night time at The Green Door Studio in Glasgow, this is a subterranean record, an album that can show you ‘round the parts of a city that come alive after dark.

A monument to the redemptive powers of rock & roll, full of rage, romance and dark humour, ‘Amphetamine Ballads’ is an uncompromising, astonishingly visceral debut album.


CD Info: CD in high gloss mini gatefold digipack with printed inner.

The Amazing Snakeheads

Amphetamine Ballads - Bonus 7" Edition

    Indies-only LP pressed on heavyweight black vinyl and featuring a download code plus a bonus 7” featuring ‘Here It Comes Again’ and exclusive B side ‘Stud’.

    The Amazing Snakeheads - Dale Barclay, William Coombe and Jordan Hutchinson - are truly a force of nature.

    ‘Amphetamine Ballads’ is the soundtrack to the dark corners of nightclubs and those dimly lit alleyways off the main drag. The smell of smoke and liquor pervades everything.

    Recorded at night time at The Green Door Studio in Glasgow, this is a subterranean record, an album that can show you ‘round the parts of a city that come alive after dark.

    A monument to the redemptive powers of rock & roll, full of rage, romance and dark humour, ‘Amphetamine Ballads’ is an uncompromising, astonishingly visceral debut album.

    Sound Signature continues its unrelenting grasp on the world with this new angel pursued by Andrew Ashong. Taking cues from Cody Chestnutt - a laid back, feel-good vocal delivery with a totally organic sound bed - live Rhodes, jangly drums and a breathy, low-end bass organ; the track is one of those timeless, captivating, understated tracks that could soundtrack anything from your daytime BBQ session, to one of the last tracks of the night in a sexy, sweaty nightclub to beginning your day dancing in the bathroom with the sun beaming through the windows. Its beautiful. Simple. Next track "Take It Slow" is also heavily influenced by Nu-soul / RnB - Andrew's delicate vocals serenading us against a syncopated synth bass / MPC groove and sharp guitar licks. Finally, "The Way She Moves" is the most subdued and sensual offering here. Totally acoustic, with a simple kick - snare pattern; gentle, strumming guitar chords and very subtle bass. It's a summery ballad with a totally slack, lazy vibe, perfect for lighting up post-BBQ, jussst as the sun's going down, the sky's all red and your sat all full and cosy on your camping chair taking in the world....Excellent release, Theo knows how to keep us his toes dunt he?! After the mind-bender that was "Any Other Styles" he roots us back down into soulful bliss. Grand.


    Matt says: Theo Parrish brings a Cody Chestnut type vibe into his hallowed Sound Signature halls.

    Chuck Berry

    After School Session - Coloured Vinyl Edition

    'After School Session' was Chuck Berry’s debut LP, but when it appeared in 1957 he had already been famous for two years. The teen market in those days was based around singles, not albums, and he had built a formidable reputation releasing one killer 45 after another. On stage, screen, and radio, he had been featured heavily by deejay Alan Freed, whose syndicated radio show, all-star stage packages and Hollywood drive-in features put Chuck right in the front rank as rock’n’roll swept all before it.

    Released in May 1957, the album came complete with sleeve notes describing the man himself as ‘our Rock-a-Billy Troubadour’. If this sounds a little strange to modern ears, it’s worth recalling Chuck’s well-documented love of hillbilly music, and Maybellene’s own roots in the 1938 Bob Wills recording, Ida Red' Chuck once said that his influences ranged all the way from Muddy Waters to Jimmie Rodgers, via Nat King Cole. Out of this he created something truly his own, which wasn’t strictly R&B and it wasn’t hillbilly either. This, unquestionably, was rock’n’roll, and with this LP and its preceding singles, he laid down many of the genre’s enduring ground rules.


    LP Info: Deluxe coloured vinyl and CD package in original 1957 cover art. Liner notes by rock & roll author musician and Mojo writer Max Decharne.

    Kick starting a re-issue campaign of 20 albums on limited edition vinyl and CD (with bonus tracks)

    Focusing on main man Nick Saloman’s songwriting and taken from the ‘Miasma’, ‘Inner Marshland’, ‘Bevis Through The Looking Glass’, ‘Triptych’, ‘Any Gas Faster’ and ‘New River Head’ albums, it's a celebration of timeless alternative rock

    Includes the super rare title track, originally released as a limited edition single via Bucketfull Of Brains magazine

    For fans of Dinosaur Jnr, Teenage Fanclub and vintage UK psychedelia

    Remastered from the original sound sources with sleevenotes by MOJO magazine’s Dave Henderson

    Bikini Kill

    Yeah Yeah Yeah Yeah EP

      This is a reissue of Bikini Kill’s second EP, Yeah Yeah Yeah Yeah. Yeah Yeah Yeah Yeah was recorded in 1992 with Tim Green (Nation of Ulysses) at The Embassy - a group-house in Washington, D.C. - and was the first Bikini Kill release to feature the band’s song, “Rebel Girl.” Originally a split EP with the Brighton, UK-based band, Huggy Bear, the b-side now features seven previously unreleased Bikini Kill songs drawn from era-appropriate live shows and practice tapes. The artwork has also been updated to include archival photos and liner notes from the Bratmobile’s Erin Smith, Comet Gain’s David Feck, and the members of Bikini Kill.

      Bikini Kill was a feminist punk band based in Olympia, WA and Washington, D.C., forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances.

      Billy Bragg

      Live At Union Chapel London

        On Wednesday 5 June 2013 Billy Bragg played a very special show at The Union Chapel in London, featuring songs from his acclaimed March 2013 album ‘Tooth & Nail’ as well as classics from his back catalogue.

        This unique DVD/CD souvenir of that performance, which includes bonus features and extras, is released on Cooking Vinyl. The package will also include a set of 5 postcards, comprising 4 live shots from the Union Chapel show and 1 from Wembley Arena in 2012, all taken by Pete Dunwell.

        Fortuna POP! are beside themselves with excitement to welcome the incredible CHAIN AND THE GANG to their ever-increasing family, with the release of their fourth album MINIMUM ROCK N ROLL on April 14th. Led by the remarkable Ian Svenonius, prime mover behind two of the most essential bands of our time, Nation Of Ulysses and The Make-Up, and author of two books, The Psychic Soviet and Supernatural Strategies for Making a Rock 'n' Roll Group, not to mention online talk show host and auteur filmmaker, Chain And the Gang deal in a new genre called CRIME ROCK that updates rock n roll, blues, and gospel music or vocal quartets from the late 50s /early 60s for the discerning few.

        As Ian himself puts it: “If asked about it by a prospective fan, I would say "Watch out; it might hurt your feelings." Or "Be careful … there's no telling what might happen if you put it in your ear." Why? Because Chain & The Gang isn't for everyone. It's not designed for the victims of Ikea who rely on robots to choose their background muzak. But it can also prove to be addictive and has some disturbing side effects.“ A gang with a fluid and floating active core, Minimum Rock N Roll was recorded in Portland Oregon with Ian and Katie Alice on vocals, Brett playing the electric guitar, Chris on electric bass guitar, and Fiona driving the drum kit and then mixed down in DC by Brendan Canty. More minimal and more ferocious, more lean and more mean, Minimum Rock N Roll is Chain & the Gang looking for food, hungry and intent on devouring the known world, once they find its tender underbelly.

        The opening song DEVITALIZE is both topical and timeless. A call for de-evolution, disenfranchisement, total rejection of the worldwide trend of class war disguised as connoisseurship and good taste. Then the record goes pell-mell, bouncing from disco demands for love and affection (NEVER BEEN PROPERLY LOVED) to classic love songs (I'M A CHOICE (NOT A CHILD)); analog-electro stompers (STUCK IN A BOX); swamp-errific groovers (GOT TO HAVE IT EVERYDAY); incitements to silence in the face of surveillance and grotesque confessional culture (MUMS THE WORD); outlines of the Chain & the Gang music genre "Crime Rock" (CRIME DON'T PAY, WHAT ARE YOU IN HERE FOR?); a wordless explanation of Minimum Rock N Roll (MINIMUM ROCK N ROLL); a dance based on obscuring the pointless pretenders (CURTAIN PULL); and a lament about being late to the party (EVERYTHING WORTH GETTING IS GONE). Svenonius again: “MINIMUM ROCK N ROLL is a challenge to all the tiresome groups with no content, no heart, no soul, no direction, who parade around like mediocres onstage with an inherited diagram of acceptable behavior. What are they striving towards? A slot at a festival? Chain & the Gang want it all. They want justice in this universe and the other ones in the other dimensions. And that starts with aesthetic justice.

        MRR is naked, raw, catalyst, creepy, crazy, cretinous..."crime rock". Minimum Rock n Roll uses fewer beats, fewer words, fewer ideas … "why pay more for unneeded words rhymes and riffs?" is the philosophy behind the album. It's a purely distilled rejection of the indie rock prescription for enforced brain dead, artless mediocrity.” Minimum Rock N Roll is a protest against a world where everything is available … the internet's engorgement of the senses has bred a world that’s stupefied, self-satisfied and sedate. It’s time for a diet. This record is a kind of aural austerity! Barely any words! Hardly any beats! Fewer notes! Its just EXACTLY ENOUGH.


        LP Info: Heavyweight vinyl LP.

        Expansion continues its series of classics back to back on 10" with the coolest contemporary takes of one awesome track. First off is the 70s masterpiece by Norman Connors, originally recorded by Carlos Garnett. It's timeless spiritual jazz-dance / rare groove classic previously only available as an edit on single before, or as an LP track, but expanded here complete with a stunning vocal performance by Jean Carn.

        The new version is by ‘Queen Of The Broken Beat’ Bembe Segue, a singer, composer, DJ and poet who has worked with IG Culture, Likwid Biskit and Dego from 4Hero. She was an intrinsic part of the vibe that created the West London broken beat scene working extensively with Kaidii Tatham (Agent K) Orin Walters, Daz IQ, Bugz In The Attic, Mark de-Clive Lowe etc as well as appearing on Seiji.

        The Crookes consist of George Waite (vocals / bass), Daniel Hopewell (guitar), Tom Dakin (guitar) and Russell Bates (drums). They live in Sheffield and infamously found (most of) each other, bleary of eye and dancing alone, on the indie dancefloor at the city’s Fuzz Club near the close of the previous decade.

        ‘Soapbox’ saw the band forego the studio-related home comforts of South Yorkshire and instead drive their gear and recording facilities to the Alpine wilds of Italy at the start of winter. “We recorded at the very top of a mountain – quite literally in a cloud – in a very old church dedicated to San Antonio,”

        You certainly couldn’t accuse The Crookes of shirking their tidy shirt-wearing duties: on September 27th 2010 they released the ‘Dreams Of Another Day’ mini-album; in the spring of 2011 came the ‘Chasing After Ghosts’ album; the spring of 2012 saw the release of the ‘Hold Fast’ album. Spring 2013 was relatively quiet – they merely released the ‘Bear’s Blood’ / 'Dance In Colour' standalone single and headlined London’s Scala. “This is definitely the bravest collection of songs we’ve ever written,” states a steely Daniel. “Musically we’ve definitely grown up, It certainly isn’t a happy, carefree album. But again, the intention has never been to make people like us…but simply to make music that we like.”

        The second single from Manchester-based 3 piece Darlia. It follows the extremely successful debut (the ‘Knock Knock EP’) which generated over 30 plays from Radio 1 despite not being added to the playlist. Other notable radio support included XFM and the band have been touring extensively - supporting the Family Rain on UK dates, as well as playing headline shows.

        NME described ‘Candyman’ as having “Seattle grunge running through its veins and scuzzy, distressed guitars that made the crowd go ape at a recent gig at Camden's Barfly. Its melody and stomach-flippingly rousing chorus carried by Day's unholy howl stands Darlia out as damn fine song-writers with attitude.”

        A true gem unleashed from the vaults! John Davis was born in Anderson, South Carolina to musical parents, and started playing the guitar when he was seven years old. He went on to learn the bass guitar, drums and keyboards and began his musical career traveling around America singing gospel music with his father and his five brothers. In the 70s he joined the army and was stationed in Germany; when he left the army he continued to play with both local musicians and American acts who were touring the country. An experienced producer, in the early 80s Davis worked with Prince cohort Terry Lewis of The Time and in the 90s moved to Los Angeles where he played with Babyface and many other artists on the Solar Records label. The tracks compiled on the Citinite album "Flashcan" were written in 1984. John recalls, "I had a friend, Manfred Radtke, who had a small studio in Kitzingen, Germany. He offered me the chance to work in his studio and there I began to write songs in the style that I really liked, that came out of my soul and heart. One of my favourite bands was Zapp and they often worked with the voice box. At the time, music was very electronic and groups like Parliament were doing a mixture of smooth funk and electronics, and so I mixed them together to create my tracks". The resuscitation of electro's most influential producers continues with this reissue from 1984 of John Davis' best work. With a funk quota that makes Prince himself sound like a bow-legged honky...while production techniques have evolved, it's nonetheless clear that Juan Atkins' early work owes a debt to 'Laser Man', I-F has spent a lot of time listening to the warm, vocodered melodies of 'Dream Six-0', and as for Undergound Resistance's high-tech sound? Take a listen to the moody chords and angular breaks of 'Electro-?' to find out who Mad Mike's mentor is. PURE HEAT!!!


        Matt says: A double album of authentic 80s boogie / electro-funk for 12 quid?! Hope you're paying attention Il Bosco, Randy Marsh and Sonofapizzaman! A must for anyone with a penchant for all things buggy.

        Desmond Dekker

        King Of Ska

        180 gram vinyl compilation of Dekker ska. These recordings are from the final studio session before Desmond's untimely death in 2006 and feature four of his UK top 20 hits '007 (Shanty Town)', 'Israelites', 'It Mek' and 'Pickney Girl'. Complete with full colour double sided insert featuring photos and track by track breakdown.

        Felix Dickinson & Nick The Record

        Unbreakable / First Fruit

        Tokyo dancefloor superpower, Ene, look to old blighty for their new release, tempting two acid house survivors into the studio with the promise of good drugs, strong booze and beautiful sportswear. Cynic boss, disco don and Balearic mischief maker Felix Dickinson and esteemed vinyl dealer Nick The Record take their collaborative relationship to the next level, swapping the editing scalpel for the full studio array. And in the true acid house spirit the duo decided the more the merrier and invited the mighty Kaidi Tatham (Bugz In The Attic fame) and his magic fingers to take care of keyboard duties. On the A-side "Unbreakable" is a huge smiling groove which throws serious shapes somewhere between disco and house. A conga-led percussion percolates away alongside a sturdy bassline while Kaidi hits us with some Floating Points styled keys, layering synth lines and samples until the club's awash with melody and colour. Deep and dope stuff. B-side cut "First Fruit" goes down a completely different route, exploring the dubby end of the synth funk spectrum. The synthetic rhythm has a tropical, almost baile flavour to it, whilst the bass synth womps away like it escaped a Joker single, giving the track a disorientating weightless quality. If there were a genre heading for off the wall electro-dubstep-disco-funk then this would be the sole occupant, which is almost worth the entry fee alone. It's already a winner for DJ Harvey, Lexx and Psychemagik, so get on board!

        DJ Clent - the low end legend - has been known for his music since the days of Dance Mania, releasing tracks such as 'Bounce' and 'Back Up Off Me' which are juke classics. He also released the grimy call to arms footwork track '3rd Wurle', as well as tracks on both Bangs & Works Compilations. 'Hyper Feet' starts off the EP with a high-speed footwork homage to Mike Dunn's classic 'Magic Feet', replicating the hits and using 303 acid to make a sparse but precision-tooled piece of footwork. Next up, 'Baby Yeah' works a vocal and sax sample into shimmering cut-ups and high-speed rhythmic shapes. On side B 'Clent's Dog Catcher' is a half-speed chop up of the intro to George Clinton's famous 'Atomic Dog', sliced and diced into itchy, slippery shapes. 'Don't Go Down' pits an MPC drum workout of the word "down" against a looped "don't go" sample and a mournful piano line, while 'Don't Leave Me (Baby)' contrasts soul samples with a clipped vocal of of 'Baby C'mon' before the track flips into cascading synths.

        Extra-raw DJ tool EP from Delroy Edwards, aka the Big Pun, DJ Punisher. Manufactured in East Los Angeles, CA. A four, or possibly five track (four listed, five on the actual disc) DJ tool EP, with "tool" being the operative word: be warned, a couple of thse tracks are the sound of having your teeth drilled while someone opperates heavy machinery right by your ears. Industrial ouch! Elsewhere we get deep, dark Chicago jack tracks and dub reggae loopage. Super-limited - you know these LA Club Resource twelves all vanish very quickly!


        12" Info: Full picture sleeve.

        Dracula Legs

        Heartburn Destination / Cold Licks

        The April instalment of the Too Pure Singles Club sees brand new act Dracula Legs release their first ever single, the 7” of 'Heartburn Destination' b/w 'Cold Licks'.

        Based in London, this quintet are men who hail from all walks of life - the great lakes of Canada, the mountains of Wales, the Black Country, even Essex. There’s probably a generic term to pigeonhole their "sound" – Alt-country? Heavy-country? Plain ol' country? – but really who cares when they’re this good? They’re not wasting time too with this single having already picked up plays on both 6Music and XFM (John Kennedy making it his Exposure Big One).

        Echo & The Bunnymen


        'Porcupine' is Echo & The Bunnymen’s most profound & personal album from their early period. Weathering band turmoil, rejections from their record company & spans of song writing drought, the group emerged with a passionate & compelling set of songs described by vocalist Ian McCulloch as “coming to terms with the opposites in me.” Following their fourth Peel session in early 1982, the band chose Ian Broudie, leader of The Lightning Seeds and co-producer of Echo’s 1980 album Crocodiles, to produce Porcupine. 

        While the album includes both “The Back of Love” & “The Cutter” (two of their most upbeat & successful singles), most of the material was fairly introverted & autobiographical. Unfortunately suffering negative reviews upon release (including a misguided hate-piece in the NME), Porcupine has since become a gold standard for both the band & British underground rock from the ’80s. It’s also simultaneously their most retro album & their most forward looking. The production is full of guitar effects that must have set the mind of Kevin Shields onto the path to My Bloody Valentine’s own masterpiece, Loveless. In addition to the “The Cutter” & “The Back of Love”, Porcupine includes songs such as “My White Devil,” “Heads Will Roll,” & “Porcupine” that transcend & enlighten to this day. It’s an essential album from one of the most influential bands of the post-punk movement.


        Andy says: Heavy, powerful, totally original, sometimes melodic sometimes fractured post-punk rock. An amazing band.

        More driving, aircraft-hanger sized techno cuts from the Selected Edits project. The A-side sees Italian dub-techno mainstay Giorgio Gigli team up with Edit Select, rolling out their typical flat-lined sound. Alien murmurings attempt to make audible their utterances but are silenced by waves of chunering bass and dark metallic sweeps. The flip offers two massive remixes of "Asperity" from the very first Edit Select release: First, a stone cold killer from Cassegrain who adopts a more post-apocalyptic approach, allowing a concentric bass groove to repeat while shards of acid rain fall on a baron, nuclear wasteland. Finally Edit Select joins forces with Markus Suckut to revisit the track, deploying some intricate hi-hat patterns and a seriously punishing kick drum, flattening all that dare to step in its path. Power!

        Oooof! It's always a pleasure to hear a new Emperor Machine release, and this one's a real blinder. The man responsible for 50% of Staffordshire's energy consumption (the other 50% being swallowed up by Dean Meredith, obviously) once again fires up his impressive collection of vintage synths and dons his space suit for a voyage to distant worlds. "RMI Is All I Want" is a mid-tempo cosmic chugger in the trademark EM style, but this time features some dreamy female vocals which could easily be the sound of a space siren. The live bass is funky and groovesome to a Bootsy level, while the wigged out guitar heroics add a frazzled stargazing charm to the track. As ever, Andy combines tough edged disco beats with more cerebral cosmic melodies into alluring soundscapes that bend your mind and drive your feet. Ace. On the flip, Nu Rave survivor, electro impressario and Phantasy boss Erol Alkan copies the original mix onto 3.5" floppy and whacks it into his Amiga 600, transforming the original into a belting nugget of micro(chip) house. 

        Chet Faker’s first EP release, 2012’s ‘Thinking In Textures’, marked the arrival of a truly unique talent and began a dream run for Australia’s freshest new artist. Two years in the making, his full-length debut brings together all of his influences, from house to R&B, and fuses it together with his smoky vocals. ‘Built On Glass’ is set to truly cement Chet Faker as one of the most unique artists of 2014.

        The Fix

        Vengeance / In This Town & Jan's Room

        Set of two 7”s that have been out of print since 1982.

        The debut releases by essential US Midwest punk pioneers The Fix.

        Numbered limited edition, available exclusively to independent retailers. Limited to 150 copies for the UK and Eire.

        The original 7”s sell for thousands of dollars online.

        Packaged in a two pocket plastic gatefold wallet.

        Reissue printing exactly as per the original, including the record labels - no text was added, changed, or removed.

        ‘Vengeance’ / ‘In This Town’ sleeve offset printed with a half-flap backcover, same as the 1981 original.

        ‘Jan’s Rooms’ sleeve is silkscreened, same as the 1981 original.

        ‘Jan’s Rooms’ reissue contains exact reprints of both original inserts.

        All copies signed by band member(s).

        For fans of The Meatmen and Negative Approach.

        Jackson C Frank’s original 1965 album is a lost classic now proudly resurrected by Earth Recordings. Frank’s eponymous 1965 album was produced by Paul Simon after he was impressed with seeing Frank play at folk clubs in England. It is said Frank was so shy during the recording that he asked to be shielded by screens so that those present; Paul Simon, Art Garfunkel and Al Stewart could not see him, he declared, “I can’t play, you’re looking at me.“ Frank is a true original. His music comes from a blues and folk background but it is the sincere individual style that he developed which resulted in such a unique record. At once tender, moving and haunting, ‘Jackson C Frank’ is steeped in emotional honesty whilst riding a wave of deep melancholy. His virtuoso playing is disguised in a manner of simplicity, owed much to his relaxed nature. Franks lyrics further the experience as he expounds upon the existential nature of relationships, the passing of the seasons and other honest and often painful moments of a world drifting by.

        The self-titled debut by Jackson C Frank is a singular work of art, a personal statement from a man that faced an uphill battle with life following the albums initial release, leading to his neglect for many years despite the unadulterated acclaim from fellow folk musicians and critics alike. John Peel was a fan, often playing tracks on his BBC radio show. His songs have been covered by Simon and Garfunkel, Bert Jansch, Laura Marling and Sandy Denny (whom he dated for a while) and the track ‘Milk and Honey’ was selected by Vincent Gallo to appear in his film ‘The Brown Bunny’. Earth recordings are immensely proud to re-issue this lost, legendary recording by Jackson C Frank with the intention of moving it from its current cult status, to that of the absolute folk classic it truly deserves.

        Ray Frazier & The Shades Of Madness

        Ray Frazier & The Shades Of Madness

        One of our specialties at Jazzman is focusing in on the obscure and often previously slept on regional based sounds across America. This time our radar was honing in on state of California and some of the rawest Los Angeles funk and sweetest soul. Many celebrated musicians have tried to make it big along Sunset Strip, but Ray Frazier & the Shades of Madness were some of the most active, prolific and influential showmen of the soulful 50s, 60s and 70s. This collection of unique recordings captures the essence of the multi-talented entertainer, singer and songwriter – one of the hardest working music men about town. Includes the £1000+ rated 'My Baby's Hand' - otherwise known in less than a handful of copies!

        Fripp & Eno

        Evening Star

          In 1975 with King Crimson on hiatus (as it would remain until 1980), Robert Fripp's appearances on album or on stage were rare. When he did appear, it was with Brian Eno. Circumstances following an accident in January 1975 led to Eno formulating the idea of ambient music as detailed in the notes to "Discreet Music" – released in December 1975. The title track of "Discreet Music", was initially conceived as a backing loop for Fripp to play over at a series of concerts. These concerts took place in Spain, France and England in late May 1975. A short section of one of these concerts provided the basic track for "Wind On Water" – the opening piece from the second Fripp and Eno album "Evening Star". The title track that follows features a Fripp solo that is regarded by fans as one of his most beautiful performances. The short, pretty loop called "Evensong" and "Wind On Wind" an extract from "Discreet Music" formed the remainder of the album's first half. Perhaps more pastoral than truly ambient, and in part indicative of the type of music that Eno would feature on his later "Music For Films" albums this was a firm step away from the long form pieces that had made up "No Pussyfooting". As if to balance the equation, the second side comprised a single piece "An Index Of Metals". Over thirty years on from its original recording, the sense of unease conveyed by the piece remains intact.

          Fripp & Eno

          No Pussyfooting

            In August 1972 King Crimson guitarist Robert Fripp was producing some material for Robert Wyatt. Brian Eno – then a member of Roxy Music, came to the studio to add synth to the same sessions. Fripp & Eno found common cause. The 21 minutes piece of music that resulted, "The Heavenly Music Corporation" became one of the most significant and influential pieces of electronic music ever recorded. The other track on the album "Swastika Girls" was not recorded until over a year later in August 1973 – the track title inspired by a picture of girls wearing a swastika and little else that was pinned to the console. Also pinned to the console was a piece of paper with the words "No Pussyfooting" – Fripp's reminder to both musicians that they should not compromise what they felt to be right or be deterred by the hostility to the project shown by management and record label alike. (There was talk of Fripp leading Eno into 'un-commercial territory'.) The album was released in November 1973 and went on to sell over 100,000 copies. It was a unique achievement at the time to place an album of experimental electronic music into the hands, homes and ears of 100,000 rock music fans.

            Future Islands are a post-wave dance band from North Carolina - now residing in the fertile music capital of Baltimore. Future Islands play a terse yet passionate music wrought from a stripped back palette. Gerrit Welmer's cartwheeling synthesizer melodies tumble across the austere wilderness of William Cashio's post punk bass pulse, driven ever forward by Eric Murillo's ecstatic feel for rhythm. Perhaps the most striking aspect of the band's sound however takes shape in the form of Sam Herring's distinctive guttural vocal, delivered as Glenn Danzig if he ever found himself in a Shakespearean tragedy.


            CD Info: Re-release.

            The Whole World direct his attention to the wintergames in Sotschi, we will send our gay candidate into the race... ! Even Putin could looking forward to this. When Chris Garneau started working on Winter Games five years ago, he had a simple premise in mind: exploring the frostbitten season through secondhand story lines. Not long-forgotten memories of merriment and myrrh: 'This record isn't about trivial shit' explains Garneau. 'It's about why love doesn't happen right, how your person is shaped in the early stages of life. It's about defeating parental abandonment, sexual abuse, or family rejection. It's about people who struggle well, what it means to have those things happen to you as a child and play out later in life" . And yet Winter Games isn't a downer.

            In its own twisted way, it's triumphant, bursting at the seams with Garneau's barebones melodies and the richly woven arrangements of CJ Camerieri and Rob Moose - perfectly paced orchestrations that parallel their work on Bon Iver's GRAMMY-winning debut as a full-blooded group. In many ways, Winter Games is the music Garneau's been trying to make since he was a lonesome kid who competed in Parisian piano competitions but Garneau had to endure years of personal and creative growth first. 'I trusted myself on this record," says Garneau. „For the first time, this record is me. That's all I know.'

            Laurent Garnier

            AF 4302 EP

            You have to admire Laurent Garnier's continued desire to push boundaries and confound critics. His plan to devote 2014 to releasing five EPs on five different labels, whilst mixing up the styles, is undoubtedly bold. This three-tracker for the ever-intriguing 50Weapons imprint is particularly impressive. "MILF" bristles with stuttering analogue rhythms, foreboding chords and attractive bleep melodies, coming on like an unlikely jam session between Sweet Exorcist and Orbital. "DSK" sees the French veteran moving further towards his techno roots, while "He" sounds like an homage to darkwave with techno overtones and more than a hint of stripped-back early Chicago acid. Bravo Monsieur Garnier, bravo!

            Glass Animals

            Gooey - Inc. Kingdom Remix

              One of the first signings to Paul Epworth’s Wolf Tone label, Glass Animals have polished their pulsing indie electronica-by-way-of-R&B sound under the production of the band’s vocalist and writer Dave Bayley, and Epworth’s guiding hand. 'Gooey' is the latest fruit from their album sessions, and the first to truly showcase that new direction. It’s a slick, sultry affair, lilting and looped. Tranquil in its build, all reverb and pulse. Its approach is unashamedly experimental in both its tone and approach, and caught the eye of Radiohead’s Colin Greenwood who, as ambassador for Independent Venue Week, recently booked Glass Animals to headline a sell-out show at Oxford’s Jericho Tavern.

              'Gooey' slots neatly into the alt-R&B groove, with subtle post-footwork 808 drums blipping and blopping under a lush curtain of synths and topped with a seductive laid back vocal. There also also three 'Gooey' refixes here: the first features New Age member Chester Watson adding a rap.Chicago producer Gilligan Moss takes the track more upbeat on a house tip, but keeping the pop nature of the original intact. Fade To Mind's Kingdom supplies the most R&B of all four versions, with a crisp rhythm and high-end sparkle. 'Holiest' features Tei Shi on vox and offers a simple slo-mo beat, chime bars and sunmerged atmospherics.


              12" Info: Full colour picture outer (die-cut) and inner sleeves.


              LED / Baretta

              Chris Spero has been at the cutting edge of house and techno for many years now, with landmark releases for labels such as Planet E and Hypercolour as Glimpse whilst his recent reinvention as Dense & Pika (alongside Alex Jones) for Hot Flush has seen him capable of hulking, powerful techno that has won him fans from Richie Hawtin to Koze whilst troubling the beatport top ten via their smash ‘Colt’. His first EP for Aus Music last year, ‘True South,’ carried the familiar weight of his Dense & Pika project, yet touched on a deeper, rolling house-leaning sound. With this new 12″, he once again steers straight down the house / techno divide with a set of perfectly weighted basslines underpinning some deliciously, rough-cut percussion. Both are catchy as hell and likely to get hoards of under 25s losing their shit next to the speaker stacks upon hearing. Already being supported heavily by the likes of Scuba, George FitzGerald (who played both tracks on his Radio 1 ‘In New Music We Trust’ residency).

              STAFF COMMENTS

              Matt says: H E A T from Aus Music... Glimpse getting on the bassline-techno vibe here.

              Golden Teacher

              Party People / Love

              After the success of their first EP “Bells From The Deep End” and their second “Do Not Go Gentle Into That Good Night”, Optimo Music are very happy to present the third Golden Teacher EP featuring another sleeve designed and made by their very own fair hands. Further copies will be available in the usual pink Optimo Music house bag. Super-limited, so buy now or never!

              Their latest release is a party record… Play it loud, preferably with some lasers and strobes, and LET LOOSE.

              It's a double A-side release, with "Love" actually taking up the first side. A rip-roaring, tripped-out acid house workout, but with a large twist of post-punk no wave cool in the treated vocals, and a funky swing in the cowbells and percussion. "Love" has been cut at 45 so it can be cunningly played at either speed apparently, for extra added value. Bringing the pace down, "Party People" is a go-go au go go number with everyone having a go (go) on percussion, someone adding the sleaziest of analogue electro-funk keyboards, while vocalists Cassie Oji and Charles Lavenac freeform like a twin-headed James Chance. The 12" also features an added bonus track "Silver Chalice" - imagine Cultural Vibe's proto-house classic "Ma Fum Bey" with jazz-funk keys and live drumming.

              Max Graef

              Rivers Of The Red Planet

              Tartelet has a knack for uncovering virtuosic, off-kilter electronic music. Max Graef - born, bred and still holding it down in Berlin's Prenzlauer Berg - is their latest artist in this mold. Though adventurous dance music is thick on the ground in the German capital, Graef's 2013 run of singles, cropping up on Graef's own Box aus Holz, plus Melbourne Deepcast, The Gym, Heist and Tartelet, continually surprised, infusing worn-in house with manic energy and acrobatic elasticity. Where many of his peers make languid, self-consciously laid-back tunes, Graef makes brilliantly restless ones. Dropping the needle on one of his EPs, you nearly expect it to pop right off again.

              "Rivers Of The Red Planet", Graef's first full-length and Tartelet's latest album project, takes all that wildness and refines, expands, updates and scrambles it. It's as ambitious and deviously entertaining a record as you'll hear in 2014, the fulfillment of Graef's desire to make anything but another contemporary house music album. At any given moment, Rivers of the Red Planet feels like it could have been recorded through the smoke at a jazz club in the booth at a techno club 30 years from now or inside an MPC stocked with crusty dollar-bin samples. (We'd guess the staff at Graef's beloved OYE Records in Berlin will have a difficult time settling on which section to file it in.) If it sounds sampled, it's a testament to Graef's natural musicianship and production prowess - the record is heavy on sounds he played himself, from drums and Rhodes to fat synth melodies wrung out of an old Crumar Performer water-damaged to perfection. For vocals, Graef enlisted Nigerian singer Wayne Snow, whose rugged soulfulness makes him a natural pairing. On cuts like "Drums Of Death" and "Speed Metal Jesus," the club- readiness of his EPs lives on. But "Rivers of the Red Planet" may be most at home in your living room, with a good bottle of red and a roaring fire's crackles mixing with the pops and hiss of the vinyl - a playful listen that sinks in, burrowing deep and getting you all warm and gooey on the inside.

              The follow up to Manchester songbird Liz Green’s rapturously received debut ‘O, Devotion!’ (2011).

              Recorded at London’s legendary Toe Rag Studio with producer Liam Watson, Liz’s sophomore album displays a wonderful array of sounds and styles, from the ‘drone-blues’ of ‘Battle’ to the sea shantyinfluenced title track.

              In a departure from its predecessor, ‘Haul Away!’ sees Liz bringing the piano to the forefront, influenced by such artists as Thelonius Monk and Nina Simone.

              Artwork designed and conceived by Liz herself, including the iconic cover image.

              Includes self-styled single and ‘wonky circus tune’ ‘Where The River Don’t Flow’, a jaunty dance of life and death.


              CD Info: Initial orders come with a limited edition postcard pack - while stocks last!

              Horse Thief are purveyors of a panoramic yet nuanced sound, flowing from intimate to anthemic, the mood from vibrant to contemplative, with frontman Cameron Neal’s lyrics ranging from confessional to metaphorical. The result evokes the wide-open spaces of America’s Midwest but infuses the sense of grit and wonderment with edgier emotions.


              Ltd LP Info: The LP format is available on blue vinyl and
              includes a copy of the album on CD.

              Brand new (circa 2012) Sound Signature from Craig Huckaby featuring production from Theo Parrish and Pirahnahead. This is a HOT HOT HOT twelve! "Black Music" is liquid bliss Detroit house. A totally infectious hook repeating over and over while a deep spoken word talks about black music, John Coltrain and Sun Ra in a righteous and invigorating manner. Deliciously long, this is one of the tastiest hooks to come out of Detroit for ages - the searing strings, live bass and soulful backing vocals just sitting perfectly on our ears. On the flip we get "Child Of The Sun" which features another spoken word, this time about a man / boy named Peanut who everyone called Squirrel. Or is it the other way roung? Anyway, the groove this time is more leftfield and quirky, but still with enough of that Detroit funk to keep everyone’s hips wiggling in the dance. It’s also got one of those nagging thin guitar lines that Theo likes so much to extended and tweak in the mix (remember that super extended James Brown guitar lick edit he used to always play?). Anyway, after a long introduction the track drops into an amazing live jam with this catchy-as-hell bassline and live Rhodes. Jaw-dropping, the hottest Sound Signature release for a good while. Finally we get the poem acapela, tagged onto the end of the record for creative mixing and sample use. Move fast on this one... like Mummy's hot cakes they won't be around for long.



                Hypnotized are an experimental psychedelic electronica band from Brighton, UK that formed after old friends Robbie Wood & Robin White met Paul Whelan in October 2011. They found an instant connection and created Hypnotized (named after a Spacemen 3 track) using what equipment they had around and began making improvised drone jams, soundscapes and intense drum loops. They spent most of 2012 recording at home and buying an eclectic range of equipment such as handmade Japanese oscillators, 80’s Keyboards & Percussion. After releasing a few home recordings and remixes they spent the past year playing shows around Brighton and London with the likes of Islet, Flamingods, Clipping, Speak Galactic and TRAAMS. Hypnotized use warped visuals, strobes, face paint and masks making their shows intense and unpredictable. Their influences range from Electronica, Krautrock, Hip-Hop, Dub, Noise, Space Rock, and Psychedelia. A new EP named Telesto is soon to be released on limited edition CD with Brighton label Love Thy Neighbour, which is run by Daniel from Esben & The Witch. The 5-track EP captures sounds from their live shows and is named after a moon of Saturn, taking you on a voyage through different landscapes and atmospheres.

                It's '94, it's Chicago, and it's totally going off! House music legend Paul Johnson has just dropped what became a ghetto anthem on the uncompromising Dance Mania. "Feel My MF Bass" is a slamming ghetto house bumper of the highest order. A pounding drum track, a selection of vocal cuts and that threat to 'Feel my mother fucking bass in your face', and absolutely nothing else. No bassline, no chords, no strings or pads, just simplistic rhythm assault. Mint! "Jack-U-Later" (which appears here as a reissue bonus!) is another completely off the wall thumper from Paul, who splices a crazy percolating synth part with a warped morse code riff (A La Lil Louis) and another punishing beat. Proper warehouse tackle if you ask me. The insanity continues on the flip, where Paul samples a ridonkulous conversation with his niece and lays it over a bass heavy ghetto tech groove that shows no remorse. I can only imagine how much this would twist your melon if you heard it on a system. On the flip, "Bootycall" is the sleazy twin of "Jack-U-Later", racheting all the elements up to eleven and adding a sexy little vocal. Essential Dance Mania reissue yo!

                STAFF COMMENTS

                Matt says: The Dance Mania enslaught continues with one of their finest ever moments. Paul Johnson at his most ridiculously quirky yet irresistible best.

                Juggy Murray Jones

                Inside America / Disco Extraordinaire

                Red-hot limited reissue of the Juggy Murray Jones’ super rare double-header from 1976. Released on Juggy’s own Jupiter Records, Side A features the extremely hard-to-find long 12” version of ‘Inside America’ - Jones’ blistering disco tribute to Americana which was huge at Mancuso’s Loft parties and Levan’s Paradise Garage as well as hitting big across the US and also finding a spiritual home with the soulboys of the UK. Flip over for the more relaxed but equally floor-friendly vibe of ‘Disco Extraordinaire’. Essential disco rarity - don’t sleep!

                Crepuscule presents a brand new remastered edition of The Only Fun In Town, the influential debut album by iconic Scottish guitar group Josef K, originally released on Postcard Records in July 1981.

                Speedily recorded in a small studio in Brussels, The Only Fun In Town was a defiantly abrasive, serrated long-player in the mould of the second Velvets album, Josef K having already shelved a more conventional recording. Sharp-edged pop singles abound – It’s Kinda Funny, Sorry For Laughing, Revelation – along with rattling Haig/Ross twin guitar classics such as Fun ‘n’ Frenzy, Heart of Song, Forever Drone and The Angle.

                The Only Fun In Town topped the independent charts on release and remains a canonical post-punk album. This new 2014 remaster comes housed in a handsome trifold digipack with 12 page booklet, and by way of a bonus also features all 12 tracks from Sorry For Laughing, the shelved debut album recorded at Castle Sound (Edinburgh) in November 1980, and apparently abandoned because it was thought to sound too polished.

                “Josef K were The Sound of Young Scotland, together with Orange Juice, whose guitars were also radiant and brittle, whose rhythms were also scrubbed and blunt, whose vocals were also proud and serious, but who sounded like another group entirely” (Paul Morley)

                “Josef K was about the heroic Outsider suavely surfing across the fraught surface of their albino funk fracas. Haig sounds high on anxiety, finding an odd, giddy euphoria in doubt.” (Simon Reynolds)

                Label boss Dan Carey and JUCE have history – Carey, who worked with them on their song, ‘Call You Out’, bumped into them at an ESG show where a plot was hatched to work on a Speedy Wunderground release.

                The requisite Speedy Wunderground tenets, as ever, were firmly in place – recorded in a day at Dan’s South London HQ in a dry ice and lazer filled studio, mixed the following day and quickly pressed on limited (250 only) vinyl.

                Juce are London trio Georgia, Chalin & Cherish. They debuted ‘Call You Out’ earlier this year and describe themselves as ‘TIMELESS / FRESH / SOUL / LIVE GIRL BAND’. Reverb-heavy indie-disco-not-disco with a fresh pop edge - love it!

                London-based collective Jungle reveal their new single ‘Busy Earnin’’. The track, their first since signing to XL Recordings, follows on from 2013’s acclaimed ‘Platoon’ and ‘The Heat’ singles (which both also feature on the B-side of this release).

                Based around a core musical duo known simply as ‘J’ and ‘T’, who expand to a thrilling seven piece live band, Jungle make mesmeric, modern indie-tinted soul-pop that’s unmistakably born in the UK but with true global appeal (their ‘Platoon’ video has already racked up more than 4 million views). Soulful vocals that draw a line from Shugggie Otis to Pharrell Williams, and the combination of retro (blazing horns) and current (swirling synth pads) sounds make Jungle one of the must-have outfits of 2014.

                Following a spur-of-the-moment cross-country trip with a pair of fiery European girls, Vikesh Kapoor left school for a brief yet inspiring stint as a mason’s apprentice. The America he had previously known resided narrowly between his childhood home in rural Pennsylvania and the New England university he left home for. Alongside his parents’ own immigrant struggles, these experiences quickly witnessed Kapoor to the scope of the American dream.

                A few years later, Kapoor performed at Howard Zinn’s memorial service in Boston, in front of Zinn’s family and colleagues (including Noam Chomsky). Roused by Zinn’s lifelong battle against class/race injustice, Kapoor spent the next two years in Portland, Oregon working on his full-length debut record. The Ballad Of Willy Robbins, a concept album loosely based on a newspaper article, chronicles the brutal but hopeful story of a working class man who slowly loses everything: ambitions, health, family and shelter. It’s a worker’s tale, less specific to the blue-collar life as it is about anyone struggling to make something of themselves.

                Co-produced by Adam Selzer (M. Ward) and features Nate Query (Decemberists, Black Prairie), Jeff Ratner (Langhorne Slim) and Birger Olsen (Denver).

                THE NEW YORKER: “a series of sharply etched portraits of struggling Americans that points back along a road of socially conscious songs. Woody Guthrie is standing at the head of that road”

                If the scattershot ideas of Melodic Records’ schizophrenically brilliant Manchester experimentalists Working From A Nuclear City seemed to be aural metaphors for a galactic explosion, then King Of The Mountains, the new project of their songwriter, keyboardist and producer Phil Kay, hones in on a singular galaxy hurtling away from the blast’s initial impact into the cosmos. With his debut solo LP, the now-London-based artist detaches himself from his band’s tumult of sonic thoughts and sets a flight for more cohesive plains.

                Of course, King Of The Mountains being a product of the creatively restless Kay’s own fertile mind means that proceedings are rarely static; built largely around electronics but with its creator embellishing these artificial sounds with a variety of live instrumentation – even teaching himself saxophone in one afternoon to add extra layers. There are wonderfully interwoven structures, ranging from swelling tempestuous dance floor filler (‘Undone’) to richly textured maps of gently bustling sound (‘Stranger Things Have Happened’) and ambient secretions (‘Airstrips’).

                “The record was very nearly called Brutalism because I realised that what I was trying to do in music was similar to what brutalist architects were trying to do in the post-war period,” Kay explains. “There's a similarity in using these really hard edged electronic materials to try and create something human and meaningful, and the way the brutalists used concrete and steel to do the same. I'm more influenced by architecture than any other art form other than music. When you see a building like [Barcelona basilica] Sagrada Familia you realise the sheer potential of the creative mind. It gives you something to aim for.”

                With that attitude, it’s no surprise that King Of The Mountains contains grandeur even among its more direct four-to-the-floor yearnings; tracks like the sprawling ‘Zoetrope’ are constantly looking for pathways out of their tightly-meshed digital fabric, while the likes of ‘Surrounded’ seek to stimulate the imagination, offering woozy half-light evocations. “A lot of what I do is just trying to create a place (existing or imaginary) that I'd like to be in,” says Kay. “Cities, nature, buildings... Sometimes it’s better to be in a city or a place in your head than actually be there.”

                For a decade, Kay was part of the aforementioned Working For A Nuclear Free City – who produced three critically-acclaimed albums between 2006 and 2011 and saw their music included in numerous TV series, films and adverts (from the very first cook up scene in Breaking Bad, to the classic 100 years of Hovis advert that spanned over two minutes). However he found his and co-songwriter Gary McClure’s tunes were starting to drift further apart. “As a result, he released a very acoustic record last year, he really embraced that; my stuff’s been getting more electronic. One of the problems (and arguably one of the strengths) with Working For A Nuclear Free City was that it was very eclectic, which confused people. We wanted to see what would happen if we broke out the two key components of that sound instead of them battling each other.”

                It’s true that there isn’t much battling to be found here, with each track as though a different world, like moving through levels on an old arcade computer game. What differs between this and WFANFC though is that there’s a thread holding them together – elements that recur and snaps of sound that come back to you. Kay does most of his electronic work on antiquated software, using Windows XP and the same software he has for the past decade, relishing in attempting to challenge their limitations.

                FORMAT INFORMATION

                Ltd LP Info: LP is limited to 300 copies.


                Love Frequency - Tom Rowlands / Mild Pitch Remixes

                Klaxons return to the battlefield ahead of the release of their "Love Frequency" LP with this covert operation on Erol Alkan's Phantasy imprint. This vinyl only release features two of the producers of the LP offering their own interpretations of the title track. On the A-side, Chemical Brother Tom Rowlands makes his return to Phantasy after the huge 2013 double A sided single 'Through Me' / 'Nothing But Pleasure', picking up exactly where that release left off. Huge, main room tech house with clunking vamps and clattering hats that'll have sweat dripping off the walls at Warehouse Project. On the flip, label head Erol Alkan, drops the tempo and ups the dub with a hollow, reverb heavy rework which puts its hands up for Berlin. 

                Irrepressible Dutchman Legowelt drops his long player, 'Crystal Cult 2080', on the Crème Organization imprint.

                The '2080’ part of the album title is taken from the Roland JV2080, a legendary digital synthesizer from the 90s that was used a lot in the making of the album. Bought second-hand in Tokyo for a couple of hundred dollars, it lends the record a very dewy eyed soul, whilst the 'Crystal’ part of the title stands for the self-made DIY Germanium crystal compressor Legowelt used throughout the writing process.

                The album itself features 12 new tracks of pure Legowelt music mainly recorded in The Hague in the past year, but also on the road during tours of LA, the Californian desert, Tokyo (which spawned 'Crystal Cult 2080') and Tejada Gran Canaria (where 'The Future of Myself' was written). Where his last album 'The Paranormal Soul' was an organic trip into misty forests, this one seems more concerned with medieval spirits; it’s deeper, darker and the whole thing is tied together by a more coherent sense of ancient alchemy.

                Given the use of a DIY germanium crystal compressor during production, it’s no wonder everything feels warm, fuzzy and mystic in a way that draws your attention in like that fabled philosopher’s stone… Stare too long and you might just turn to stone. Right from the opening track the mood is so encapsulating you are drawn right into Danny Wolfers’ mysterious electronic world. From there various different tempos are explored and plenty of famed synthesizer work comes to the fore, wrapping grooves in trippy themes, impish spirits and plenty of organic lushness.

                'Crystal Cult 2080' is sure to prove another lucid and distinctive chapter in the ever-captivating story that is the musical career of Legowelt.

                New Heavy Sounds gives you the self titled debut album from London Doom/Sludge monsters Limb. Limb have been a band to catch by those in the know on the Doom/Sludge scene since their formation in 2011. The underground metal label 'Witch Hunter Records' was hooked enough to release the band's early demos, as well as a recent split EP with fellow sludge merchants Gurt, on which Limb cover and truly demolish Queen's 'Son and Daughter'. They are also a crushing live outfit, that have shared stages around the country with bands like Conan, Witchsorrow and label-mates Black Moth and Throne. Championed by Metal Hammer, Terrorizer and the rest, 'Gift Of The Sun', Limb's first release for NHS, even made onto BBC radio and that perhaps highlights Limb's singular vision. Their sound is shot through with an alternative twist on the Doom/Sludge theme. The record’s dynamics and approach are akin to Slint in many ways, though post rock it most certainly isn't. It's deliberately stripped-down. Stark, bleak and visceral. As dark and menacing as Joy Division 'de-tuned', though post-punk it most certainly isn't. There are moments of sleazy psychedelics, blasts of cosmic rock and brushes with hardcore. This is one heavy record. For this release we have some very special cover art, created by the super talented (and super hot) Richey Beckett, fresh from his work with Metallica and Mastodon. It's pretty special: intricately detailed and darkly beautiful.

                FORMAT INFORMATION

                LP Info: The super deluxe vinyl edition will come in a gatefold sleeve, with a heavyweight 180g, green and black vinyl record, plus an insert of the cover art and a free download of the whole album. Vinyl is limited to just 300 copies.

                Here it is, the tenth and final chapter in the Seaghdha label story, as LoShea wraps up a monumental series with a special, limited 12" & "best of" CD combination package.

                First up we get four more new tracks on the wax: 'It's On' is an atmospheric, driving house jam complete with melodic guitar effects, which ride the groove and combine with the devilishly deep low end to startling effect

                'Got Swagger' strips things right back to the bone, a skeletal rhythm framework, those trademark atmospherics and rock solid low end.
                'Buchsheff' sees us back in familiar LoShea territory, with a powerful warehouse rattler. Finally 'To Be Sure' brings it all home with a cinematic ambient piece.

                As if that wasn't enough we also have a hand-stamped CD, featuring the best of the cuts from the earlier 12"s in the series, which are now fetching serious change on the second hand market.

                It's a great package, and a serious send off for what has been a hugely successful and widely supported musical endeavour.

                Breathtakingly relentless, stomping techno here from Paul Mac and Ritzi Lee on Ben Sims' Theory imprint. Opening is Paul Mac and "Control", a tense and heady piece of late night techno which serves to both disorientate and energize the listener with its looped vocals and ethereal atmospheres. A2 sees Mac take on Dutch producer Ritzi Lee’s "Reverse Process", employing similarly overdriven aesthetics to the original’s buoyant and anthemic top lines underpinned by a mountainous drum assault. On the flip Ritzi Lee serves up a pacey filtered workout entitled "Subway Trip" – a neat title considering the tracks nifty manipulation of repetition and subterranean depths. This is really, really hard, fast and punishing and reminds me of a proper Ben Sims set mid-session - leaving you gasping for breath and going at it like a Duracell bunny. Finally we have the electrifying currents and Millsian bells of "Grind Returns" (Ritzi Lee remixing Paul Mac). This has got to be a tribute to "The Bells" but who's complaining?! One of the hottest blueprints in techno gets reinvigorated with extra vocal snippets, massive crescendos and even bigger drops. Worth the entrance fee alone! Recommended.

                More laser-lit futuristic disco sounds teleport out of Rotterdam and onto your turntable. Dutch imprint Bordello A Parigi fire up the strip lights and strobes and drop a couple of Nuovo Italo bombs courtesy of Machinegewehr and A Visitor From Another Meaning (AKA the one and only Alden Tyrell). On the A-side Machinegewehr sets phasers to stun, hits the red button on the arpeggiator and enlists Gees Voorhees to lend her gorgeous vocals to blast us into the cosmos. The overall effect is an understated euphoria (if that makes sense), emotional and uplifting without crossing over into staduim cheese. Elitechnique's remix smooths out the more rampant moments of the original, opting instead for Sci-Fi synths, twinkling bells and soaring strings. On the flip, Alden Tyrell adopts one of his numerous aliases and drops a tasty reimagination of the A-side cut featuring Fred Ventura on vocal duties. "Neon Lights" is a classic Italo pounder with a hint of those big chord progressions loved by Kano and the bass power of Bobby O. You can't argue with comparisons like that.

                Remember when we were all positive that Black Devil Disco Club was a contemporary producer pretending to be a forgotten king of Euro-disco, we backed the wrong horse. Antoni Maiovvi is not in fact the long lost heir of Italo-disco, but a native Bristolian with an eye-popping synth collection and an electro-disco obsession which borders on fetish. This four tracker on Bordello A Parigi finds the Giallo Disco boss in fine fettle, completely nailing the italo / synth pop crossover with all of those period features we love so dearly. "Trauma" gets you moving with it's staccato electro rhythm, synth vox and outstanding accented vocals. The result is something approaching an Arther Baker remix of Depeche Mode, as commissioned, arranged and mixed to be performed by the house band on a Dutch chat show in 1983. "Sacriledge" follows suit, this time introducing some fuzzy, short circuiting synth riffs to enhance the atmosphere. The EP closes with the zero gravity chug of "An Interface", a track which boasts the most Italo melody and bassline this side of '84. Shades of Rimini in the sunshine and obscure Japanese cd only compilations abound as you drift into the cosmos.

                'World Gone Blind' is the debut album by Kirk McElhinney. Produced and recorded at Limefield studio by Manchester legend and musician John Ellis. Also with help from( bbc radio 2 folk awards, life time achievement winner) producer Bill Leader. Kirk is a passionate singer-songwriter and master of the acoustic guitar. His soulful voice and insightful lyrics mixed with a rich and vibrant mosaic of picking give him a sound that is both unique and enticing.

                He has played with the likes of Nitin Sawhney, folk legend Bert Jansch and Tommy Emmanuel. Kirk's writing of each song, hits the spot and has nothing to hide, expressing up front.... on his life. With John Ellis on keys, Sam Draper on kit and Pete Turner on double bass plus special guess Andy Schofield on Saxophone, all create a sound that you want to keep coming back to. “Kirk’s sound is a melting pot of sonic bliss” Nitin Sawhney

                The 12-track longplayer sounds like a magical sound-alchemy made of Chanson, Electro and Dub. Realised with various musicians and producers including Thomas Wydler (drummer in Nick Cave and The Bad Seeds), Nackt (producer for Mute recording artist Apparat), Ben Lauber (producer, synthesizer), Ephrem Lüchinger (piano), Tobias Preisig (violine), Nicolas Rüttimann (guitar), and electropunk pioneer & producer T.Raumschmiere aka Marco Haas! The most exciting stories that happen to us are the ones that life itself seems to write the script to. You just need to put your hands onto them. If there's an expert on this matter, then it is certainly Swiss artist Dieter Meier, who now, at almost 69 years of age, is releasing his first solo album.

                Be it performance art, his work with YELLO, or his winery: Dieter Meier dislikes the routine, which we ordinarily call day-to-day-life. To him it's spelled in capital letters: DAY-TO-DAY-LIFE. An instigation! He embraces challenge. Consistently, his solo debut is called "OUT OF CHAOS", a reference to chaos itself; to the possibility that, at least theoretically, everything is achievable anytime. On the other hand: the concept of chaos is probably nothing but a daring hypothesis in itself. Over the course of the last years, Dieter Meier's now ready to be released songs have undergone interesting transformations. One could say: They grew in time - and out of time. Meier has taken them on to his journeys and adventures, in constant change, out of the darkness and into the brightness of the spotlights: It all started on a reading tour accompanying the film "Touch Yello" - when Dieter Meier, inspired by his long term Berlin friend and colleague Marcus Herold, brought along a handful of newly written songs and performed them with Jazz-violinist Tobias Preisig and guitarist Nicolas Rüttimann. Meier, who (apart from two exceptions in London and New York) never performed live with YELLO at all, soon fancied the live situation and went on writing new pieces. Herold called Nick Cave and The Bad Seeds- drummer Thomas Wydler, pianist Ephrem Lüchinger joined up, and shortly after, newer versions of OUT OF CHAOS songs found their way to the stage, such as the well reputed Montreux Festival and the Volksbühne, Berlin.

                In summer 2013, Meier eventually found an open minded, experimental producer trio in Berlin: Nackt (Warren Suicide, Apparat Band et al.), Ben Lauber (Apparat Band et al.), and electro pioneer T.Raumschmiere, all of them big fans of Meier's work, teamed up with the first generation Out-Of- Chaos-band at Chez Chérie Studios in Neukölln to arrange, re-arrange, discuss, discard, research, jam and eventually record in a series of sessions which are now an album. What a chaos! OUT OF CHAOS! The result is a grand record starring Dieter Meier, standing at the bar of his life and musing about the rivers of time. Sometimes his songs sound like electro-acoustic Yello tracks ("Lazy Night", "Paradise Game", "Jimmy"), sometimes like a tender ex-lovers-Blues from under the sea ("Loveblind", "Annabelle"), sometimes you’d find a post-punk nerve ("Fat Fly", "Buffoon") or an ode to a befriended artist, who wrestles through life as a night porter (“Night porter”). At any time, "OUT OF CHAOS" sounds like a magical sound-alchemy made of Chanson, Electro, and Dub. And like any other stage Dieter Meier walked onto before, be it as an artist of all genres, be it as the singer/songwriter of OUT OF CHAOS, he remains a discoverer sui generis, who invents himself and a new world.

                ‘Brother’ follows 2013’s ‘Coasts’ and comes off the back of the band’s inclusion in Clash Magazine’s ‘Next Wave Class of 2014’ list as well as being Zane Lowe’s ‘Next Hype’ on BBC Radio 1 recently. Of ‘Brother’, on which the band again worked with Duncan Mills (Jake Bugg, Peace), co-frontman Joey Arnold explains; “it’s a song that Jack and I wrote out in Australia before the actual band came together”. The Mispers were born little over a year ago after frontmen Jack Balfour Scott and Joey Arnold Zapata returned from said last minute, year-long trip to Australia. 'The track is about our bonds with our respective brothers, but overall it's more about finding love in unorthodox places, with things or ideas, outside the norm of boy meets girl' explains Jack. On their return to the UK, they immediately hooked up with Jack’s friend and drummer Jordan Grispino before expanding the line-up to include lead guitarist Diego Belmonte and violinist Hannah Van Den Brul. Despite their intricate indie rock via folk sound on record, The Mispers bring a raw live energy to their shows, which has seen the band sell out every one of their London gigs thus far, building their own little world at each to invite fans and curious onlookers into. Alongside their regular shows, the band were inspired to create their own 'Missing Til Monday' parties, specifically to invite those that had been to previous Mispers gigs. Diego elaborates, “It’s like an oasis of salmon-fish-slap-round-the-face cheap drinks and epic vibes.”. “It’s creating something out of that nothingness; that lack of opportunity that’s around at the moment.” adds Jordan.

                Marking 20 years since the genre-defining release of "Illmatic", which sparked decades of inspiration for other young rappers and performers, comes this anniversary release.

                Often cited as one of the best hip-hop albums of the '90s, 'Illmatic' is the undisputed classic upon which Nas' reputation rests. It helped spearhead the artistic renaissance of New York hip-hop in the post-'Chronic' era, leading a return to street aesthetics. Yet even if 'Illmatic' marks the beginning of a shift away from Native Tongues-inspired alternative rap, it's strongly rooted in that sensibility. For one, Nas employs some of the most sophisticated jazz-rap producers around: Q-Tip, Pete Rock, DJ Premier, and Large Professor, who underpin their intricate loops with appropriately tough beats. But more importantly, Nas takes his place as one of hip-hop's greatest street poets - his rhymes are highly literate, his raps superbly fluid regardless of the size of his vocabulary. He's able to evoke the bleak reality of ghetto life without losing hope or forgetting the good times, which become all the more precious when any day could be your last. As a narrator, he doesn't get too caught up in the darker side of life - he's simply describing what he sees in the world around him, and trying to live it up while he can. He's thoughtful but ambitious, announcing on "NY State of Mind" that "I never sleep, 'cause sleep is the cousin of death," and that he's "out for dead presidents to represent me" on "The World Is Yours." Elsewhere, he flexes his storytelling muscles on the classic cuts "Life's a Bitch" and "One Love," the latter a detailed report to a close friend in prison about how allegiances within their group have shifted. Hip-hop fans accustomed to 73-minute opuses sometimes complain about 'Illmatic''s brevity, but even if it leaves you wanting more, it's also one of the few '90s rap albums with absolutely no wasted space. Illmatic is a great lyricist, in top form, meeting great production, and it remains a perennial favorite among serious hip-hop fans.

                FORMAT INFORMATION

                LP Info: 180g vinyl edition includes download code which features full album + another 10 bonus remixes, demos and freestyles.


                Aerial Ballet

                  Aerial Ballet solidified Nilsson’s craft as a singer-songwriter par excellence. His pen is decidedly sharper in songs like “Together,” “One” and “Don’t Leave Me,” which deal with the insecurities and fatalities of romance. Suicide is explored in “I Said Goodbye to Me,” and the subjects of fame (“Mr. Richland’s Favorite Song”) and fatherhood (“Daddy’s Song”) get their drubbing in scat-filled soft-shoe style. This Sundazed edition presents the 1968 mono mix of this treasured work—scarce then, and virtually impossible to locate in the decades since—from the original master reels, with restored artwork. Also included is “Daddy’s Song,” a tune quickly deleted from the original pressings that features a noticeably different vocal arrangement in its monaural form, and the original first-issue single mix of “Everybody’s Talkin’,” among other highlights. A unique version seen only briefly when issued and virtually untouchable in the intervening years, Aerial Ballet in mono, pressed at R.T.I., is now available on 180 gram vinyl.

                  STAFF COMMENTS

                  Andy says: If you're into The Beatles, especially Paul McCartney, then you'll love Harry Nilsson.


                  Pandemonium Shadow Show

                    Nilsson’s first true album, 1967’s Pandemonium Shadow Show, is an astonishing collection that announces the artist’s unique vaudevillian take on 1960s pop music—a style that brought him to the attention of the Beatles by way of their press agent Derek Taylor. Produced by Rick Jarrard (Jefferson Airplane, José Feliciano) and primarily arranged by George Tipton, the set strikes a balance between Harry’s breathtaking originals (the autobiographical “1941,” the melancholy “Without Her” and the playful “Ten Little Indians”) and a tasteful array of covers (the Beatles’ “You Can’t Do That” and “She’s Leaving Home,” as well as Phil Spector’s gargantuan “River Deep‑Mountain High”), all the while showcasing the vocal prowess of the True One. Plus, the usual benefits of a vintage mono mix are here—a louder rhythm section, more present bass, and an overall sense of ensemble that stereo of the era could rarely capture. A stunning work, pressed at R.T.I., now available from Sundazed in a 180 gram edition with restored artwork.

                    STAFF COMMENTS

                    Andy says: Clever, playful late 60's pop, full of character and melody.

                    More illicit, under-the-counter white label business from the elusive, highly coveted Objekt. Objekt rides the kinda vacuum packed, high pressure tech-bass electronics that can cause nightclubs to collapse under rubble. No more so has this been demonstrated that on "Agnes Demise" - a brutal piece of sonic artillery with the sole purpose of flattening all within its path. It’s pointless to try to describe the sound, just image the aural equivalent of a wrecking ball smashing to bits the Berghain while the DJ's inside still bang out techno. If you thought the recent Cloud's release was tough, then this just brought home the bacon. "Fishbone" on the flip is a little less destructive, but still highly charged. Objekt runs a plethora of elements through a stuttering noise gate, making the whole thing shake and vibrate manically. You may well detect some old rave melodies nestled within the chaos, along with gremlin voices and some junglist subwoofer action. Or you might just become overwhelmed with its sheer weight. Whatever happens, just enjoy.
                    Early support from Perc, James Ruskin, Francois K, Four Tet, Ben UFO, Pangaea, Pearson Sound, 2562, Untold, Tiga, Call Super, Inigo Kennedy, Nathan Jonson, Randomer, Errorsmith, Cassegrain, Paula Temple, Alex Smoke, Optimo.

                    Debut five track 12" release from Manchester-via-Brussels producer Oceaán. "Turned Away" opens the EP, sitting somewhere between the sparse melancholia of James Blake and the current atmospheric alt-R&B sound. A simple rickety organic percussion loop, dubwise bass rumbles and minimal keyboard work combine with Mr Oceaan's heartfelt vox. "To Lose" offers more of that Blake-style fragility, adding fluttering synth patterns and slack beats. "Need U" ups the BPM count to a house tempo, while retaining that emotive touch. Lastly "Your Side" is a sleazy electroid slider with slack claps, distortion and soulful vocal.

                    Our lad John P. Dwyer has been lancing eardrums with Thee Oh Sees in an ever-escalating flurry of records for the past six years. Since the release of The Master’s Bedroom Is Worth Spending a Night In announced a new loud era (and excepting a few momentary detours into home-baked territory - Dog Poison and Castlemania, for example), Dwyer and company have pummelled a bit harder each time out, cementing their reputation as a live force to be reckoned with and leaving legions sweaty and bruised in the process. Late last year, after years of relentlessly touring the world, the word got out… Dwyer’s moving to Los Angeles (fear not, still California!) and Thee Oh Sees are taking a much-needed hiatus with a shifting of gears ahead and a new album on the way. This is that album.

                    Drop was recorded in a banana-ripening warehouse (no joke) with hair-farming studio warlock Chris Woodhouse playing drums; it’s also graced with the presence of talented gurus Mikal Cronin, Greer McGettrick and Casafis adding horns and vocals. The result pushes the familiar polarities of the group farther outward than ever before. Opener “Penetrating Eye” might be the heaviest Oh Sees song yet, “Transparent World” and “Put Some Reverb On My Brother” foam with seasick fuzz, and yet the ballads, like the harpsichorded “King’s Nose” and the lush and stately closer “The Lens,” extend their oeuvre into mellotronic, far-out pop with delicacy and grace.

                    This schizophrenia heralds the man and the band into an unseen future in classic Dwyer fashion - restless energy harnessed into exquisitely crafted jams, with an emphasis on the pensive and the paranoid in turns.

                    The man known as Alex Omar Smith drops another double pack via his FXHE label. Last year's quad-pack (split across two releases) ended up charting in my end-of-year top 20, and as expected, became an Official Detroit Classic©. So it's with great excitement that we reveal the new shit for 2014! Smith's split four tracks across four sides of wax, making for maximum fidelity and loudness on the pressing. "Leave" kicks things off - a chuggy Detroit techno romp full of crashing hats, rubbery basslines and a charged dynamic. A near-epic track, riddled with emotion and energy and certain to cause more than just a few goosebumps on the dancefloor - 'taps aff' might even get declared when this baby drops. Title track "Romancing The Stone" has a beautiful gleefulness about it. The keyboard motif and simple string line elevating it to a world of foot-long smiles, dancing pixies and technicoloured flowers falling from the heavens. "Frogs" follows and is unbelieevably funky! A catchy guitar lick and squelchy bass accompanying reverberated talking percussion and a cheeky little acid hit. The track evolves into a full on gremlin attack, taking us deep within some medieval lair and setting the 303s and reverb chambers to work. Mind-bogglingly good! "Surpass" concludes the set and sees Omar S go to work on the pianos. Layering up lots of jazzy licks, emotional sweeps and twinkling solo work, this track'll kill any big main room hall, the sheer size and power of the production set to overwhelm even a space like Deep Space NYC. Omar S could be accused of bad value for money - only four tracks on a double pack of wax; but these four tracks are stone cold keepers. All given extended workouts. Put it this way - if separate 12"s this good came out in ten years time - you'd happily be paying £20+ for the chance to own them. And if you work it out - these only work out a £4.25 a cut - a bargain if you ask me! Recommended.

                    Omi Palone

                    Omi Palone

                      Following their long sold-out self-released cassette of 2011 and two split 7”s in 2012, Omi Palone will release their debut self-titled long-player as a joint release between Faux Discx and new label Negative Space. The 8-track record is a frenetic fuzz-tinged pop headrush of barely-restrained punk outbursts. Singer-guitarist Philip Serfaty's deep and sleepy baritone reverberates over urgent, rushing chord progressions and incisive rhythmic precision. Frantic jangling guitar hooks fall away to one-chord motorik chug, hypnotic drone and looming fuzz, giving the tracks a hounded, runaway feel. Finding strength in brevity, the band explores and experiments with what can be expressed in a 3 minute post-punk song; controlled, complex melodies interweaving in amongst simple (but not simplistic) repetitive structures, interrupted only by stomping middle-eights. Artistic allegiances nod towards an Antipodean influence: the output of 80s New Zealand labels such as Flying Nun & Xpressway, as well as the current Australian punk scene. Having aborted two previous recording sessions at two different studios in 2012, the band found a home at Homerton’s Sound Savers, where they honed their sound and, under the supervision of Mark Jasper, laid the record down onto quarter-inch tape in late Spring and early Summer of 2013.

                      Top quality remastered reissue of Osé’s very rare and sought after old school vocoder electro jam ‘Computer funk’, a stone cold classic with an awesome phat analogue bassline and some of the best vocoder vocals ever recorded. Originally released back in ’83 on the tiny Florida label Bound Sound and produced by the great James McCauley, this is Miami electro at its finest and it’s easy to see why it’s become such a Holy Grail with DJs and collectors. Must have.

                      The Osmonds

                      I, I, I / You're Mine

                      Premium quality vinyl reissue of the highly collectible promo-only 12” “I, I, I” by unlikely Balearic heroes The Osmonds. First released in 1979, this fruitful collaboration between the proto-boyband and legendary pop-disco producer Maurice Gibb is a wonderful slab of chugging syncopated cosmic disco rock topped off with lush string arrangements which despite being criminally overlooked at the time of its original release, has recently garnered much favour with Balearic aficionados. Also surprisingly good is the flipside’s 'You're Mine', a more 'live' sounding affair, coming across like Steely Dan met Chicago at Studio 54 and hit the studio on the way home. Don’t miss!

                      STAFF COMMENTS

                      Matt says: You'll remember this off the iconic 'Down To The Sea And Back' compilation and Kelvin and Danny's cheeky edit they did for 'Osmondosis' on the 12" sampler that accompanied the comp.

                      After a slew of choice cuts on some of Bristol's finest labels, Outboxx step out of their hometown comfort zone and join the Local Talk fold. This three tracker keeps it nice and simple, and showcases the guys doing what they do best, warm, textured house music infused with electronic soul. "Planet Love" is given the A-side all to itself to take you on a eurphoric journey through Italo house pads, Galaxy 2 Galaxy sequences and percussion and classic chord progressions. Sunny, hazy and perfectly produced, this would knock 'em dead on a Sunday afternoon at Body & Soul. On the B-side, "Denim Dreams" picks up the dreamhouse batton and runs with it, pairing a circular marimba pattern with jazzy pads and a wriggling square bassline. Visions of a caravan park in the sunshine circa '92 I reckon. On EP closer "On My Own" Outboxx step away from the druggy fug of the previous tracks and take aim at the hotly contested Local Talk 90s style NY house title. Skipping drums, vamping keys, a simple bass groove and chopped up diva vocals are all present and correct, coming together to form the best retro house track since HNNY'S "For The Very First Time".

                      Augustus Pablo’s unique sound is created by his use of the melodica as the main instrument in his tracks. It made him a very popular session player in the 1970s and early 80s, as well as producing his own music. It was not only his unique talent of playing the instrument but also his talents on a piano and the keyboard that made Pablo stand out from the reggae crowd.

                      Pablo worked on a large amount of studio sessions for all the top Jamaican producers but especially for King Tubby at his studio in the heart of the Waterhouse district of Kingston Jamaica.

                      Jamaican Recordings have compiled a set of rhythms that have King Tubby and Phillip Smart at the controls and Augustus Pablo adding his musical flavour to the mix. Melodica dubs from the master!

                      Hot On the heels of "Love Triumphant" and "Going Downstairs", Theo's back with more essential Sound Sig. grooves. On "Chemistry" he hooks up with Vito Money, Andreya Triana, Steve Spacek, Sofie L, Adi Dick and Ommas Keith, with the singers, players and producers all riffing round a seriously soulful / funky head-nod house tune. This is like some extended improv soul-jazz session that just keeps going, but always keeps its focus on the GROOVE. Also coming in from the more 'free' end of the jazz-house spectrum is "Untitled One", a stuttering instrumental epic with contributions from Theo's pal Duminie Deporres, who goes to town on guitar noodling. This one has "big in Japan" written all over it, and should remind you of those sprawling, dubby and psychedelic house cuts Harvey would play at Ministry of Sound on a Sunday. 

                      Theo Parrish

                      Goin' Downstairs Parts 1 & 2

                      Theo takes his Detroit beatdown track "Goin' Downstairs" from the "Sound Sculptures" CD, and divides it in two, spreading the cut over two sides of this 33rpm long-playing 12". "Goin' Downstairs" sees Parrish in bluesy space-jazz mode, with the main vocal refrain repeated through most of the track, keeping company with some Sun Ra like keyboard noodling, and sporadic synth chords all tied to a metronomic beat. The other half offers a bit of bass and a kick drum here and there, but essentially more of the same - a deep, almost spiritual, hypnotic groove. A massive hit at his Plastic People residency where it became a huge staple of his sets. Quirky yet deep and seductive, this is Theo at his idiosyncratic best.

                      *Limited Sound Signature re-presses!*
                      Further cementing Theo's creative reputation, Sound Signature number 5 features those Parrish trademark sounds, slowed down Motor City noises, teaspoon percussion and hybrid jazz flourishes, obscured by the unfamiliarity of the weird techno-soul. "Dan Ryan" features afro drumming jaunts combined with that powerful Parrish bass, riding that off-kilter organic groove all the way through its glorious duration.

                      "Walking Thru The Sky" mixes jazz guitar with ghostly vocals. This limited re-press won’t be around long, so move quick if you want to grab a copy.

                      FORMAT INFORMATION

                      12" Info: REPRESSED.


                      Island Time - Another Beach / Tornado Wallace Remixes

                      Early in 2013, LA's Pharaohs dropped their ESP debut "Island Time" at exactly the same time that Tornado Wallace opened his ESP account with "Thinking Allowed". The result was a Freaky Friday styled exchange, with both acts remixing each other over the following months. Finally the process comes full circle, as Tornado Wallace drops a killer rework of "If It Ever Feels Right". The Australian producer gets into the groove straight away, opting for a hypnotic bounce, which pulls you into its sprawling synthetic world before blasting you to the next level with a fireworks display of hazy pads and laser light. On the flip, Pharaohs perform the always tricky task of remixing themselves, with excellent results. The "Another Beach" version of "Ahumbo" is a churning psychedelic brew of African chant, organic instrumentation and spiralling synths, warmed in the summer sun and served up with a can of Panache as a Balearic chaser. This is my under the radar Balearic dancefloor record of the week tip, so take note. 

                      Bordello A Parigi pull something very special out of their rolled up sleeves here courtesy of Argentine disco connaisseur Ricardo Piccolo. The Latin lover polishes his medallion (not a euphemism) and gets ready to set the dancefloor on fire with four edits of Argentinian rare groove. Up first, "Take Me" is a rolling groover with scratchy guitar work, disco lasers and a steam kettle synth playing host to some seriously catchy vocals. Some tasty filtering, intelligent arrangement and added studio laugh track set this one apart from the pack. On the A2, Ricardo strolls up to your table and serenades you and your senorita with a heartfelt disco instrumental with hints of jazz-funk and a whole wallop of tango. I can imagine Horsemeat Disco and Terje loving this, or maybe Daniel Wang dropping this next to an Oto Gelb number. On the flip, "Bermilyia Avenue" is a fizzing psychedelic funk number, which combines a strutting disco groove with "Why'd U Fall" synth tones, wartime news reports and plenty of wah solos. And before you think it's just one for the hardcore heads, check out the gorgeous female vocals on the chorus. It's a winner. Ric closes the EP out with the slamming cosmic Jazz-funk of "In Ovni", a space age romp through disco grooves, funk backbeats, and moog madness. If this had snuck onto one of the Black Cock edits you'd be none the wiser, it's a proper out there dancefloor sound packed with soul. My kinda tackle! Limited to 250 copies.

                      KMS spread the reissue love to their offshoot Trance Fusion this time, giving R-Tyme's "Use Me" a fat remaster for 2014. Up first is a stuttering and stammering rework by the one and only MK, who employs his trademark vocal chopping to great effect here while a gorgeous garage groove rolls along in the backgroung. On the A2, D Wynn takes to the desk with a classic vocal house rework, which pairs a stone groove with vamping pianos, strings and diva vocals. Definitely one to vogue to, this is my idea of house music, get it in the bag! Carl Craig takes the reigns on the B-side with two interpretations for very different occasions. Up first is his "Piano Mix", a peak time romp through chunky keys, skipping percussion and a jazzy little vocal sample washed with echo. For his R Tyme Groove, Carl breaks out the Rhodes and serves up a backroom belter that'd hit the hot spot in a smokey basement anywhere in the world. A raw funk breakbeat, jazzy keys and loopy vocals are all winners on what surely must have been a Tony Humphries favourite. 

                      •Second classic live performance from Lou Reed ( first being American Poet Ears012 ), this one totally unreleased and not bootlegged before combining key classic tracks from his previous solo albums Transformer, Berlin, Sally Can’t Dance & Coney Island baby.
                      •This is an FM Radio broadcast from Lou’s 1976 Rock N Roll Heart Tour in its 30th anniversary year restored and remastered in 2006.
                      •Presented in full colour glossy deluxe gatefold sleeve with shots of Lou from the tour and liner notes by Nina Antonia.
                      •Rock and Roll Heart was the seventh album by Lou Reed, released in 1976. It was his first album for Arista Records after record mogul Clive Davis reportedly rescued him from bankruptcy. "A Sheltered Life" (included in this set) dates back to 1967, when the Velvet Underground recorded a demo of it (available on Peel Slowly and See). The Velvet Underground also performed "Follow the Leader", (not in this set ) and a live recording of it was released on The Quine Tapes. Michael Fonfara, keyboards, Bruce Yaw, bass,Marty Fogel, sax,Michael Suchorsky, drums Recorded at Civic Theatre, Akron, Ohio, October 23rd, 1976.

                      Following the sad passing of Anthony Wayne Moore last year, Black Male pay their respects by reissuing one of his best remembered productions in remastered form for a new generation of DJs and fans. Since its release in 1993, the track's emotional energy has haunted dancefloors all over the world. Romanthony's vocals were rarely matched by any other producer or singer and he's on fine form on this one. The famous refrain gets served four ways here, with something for every dancefloor occasion. Whether you need a warehouse jacker, vocal cracker or action packer, this baby's got it all.

                      A year on from the sad death of Anthony Moore, and the retrospective reissues of his work as Romanthony keep on coming. This time we get the incredibly rare 'Warning Tracks', released on Black Male back in 1999. Check Discogs to see how much some idiot wants for an OG copy (£160!), and laugh all the way home with this new official remastered 2014 copy featuring original label artwork.

                      Opening track 'Pretty Ugly' is a rough Chicago jacker that's paired down to the bone, letting the garage / funky house beats lead the way while space age synths add to the rhythm and the obligatory extended 909 drum rolls pepper proceedings. 'Warning Trax 1' is even more back to basics - slamming rhythm, P-Funk horn stab, layered loops. Ditto 'Warning Trax 2', which loops up a spoken vocal sample over a fierce mechanical drum rhythm. If that had too much of the funk squeezed out, then 'Warning Trax 3' should suit. On this one Romanthony copies Armand Van Helden's 'Funk Phenomena' homework and passes the "The Ultra Funkula" vocal looping, butt-shaking identikit rhythm track off as his own, possibly hoping no-one will notice the similarity...

                      The See See

                      Days, Nights & The Late Morning Lights

                        The See See are a contemporary psychedelic band with one foot in 1967 and the other in 2014 - they not only make psychedelic music for today, they make it for forever. The See See originated out of the ashes of some of the modern pop world’s hippest guitar psych acts, most notably Richard Olson’s 'The Eighteenth Day of May'. Forged in the über-competitive London music scene, The See See have an ever-increasing fan base amongst Paisley Europeans fond of Television’s guitars, Moby Grape’s harmonies, the White Stripes’ bite and Syd Barrett-styled whimsy. Their music is an exploding kaleidoscope of colors and sounds.

                        This is the band’s first full-length US release, especially designed for the American market. Through a combination of their cutting-edge use of social media and their old-fashioned work ethic, which has seen The See See tour, tour and tour again, they have saturated the continental European indie market and given London its hippest, most innovative guitar scene in years.

                        This Sundazed anthology of music from these heirs to the Paisley Underground is classic psychedelia. Listen as The See See leave cult status behind and head for the far reaches of the galaxy…and the top rung of the charts.

                        FORMAT INFORMATION

                        LP Info: 180 gram vinyl pressed at R.T.I.

                        Cut from the cloth of early Soft Machine and Kevin Ayersisms, garagearray is a lofty, loopy flight in a candy-flossclouded sky, with an ever-present darkness just below the surface. It’s wonderfully off the cuff, at times reminiscent of a Syd Barrett session where the band must’ve just closed their eyes and felt it out in the dark, coming together in all the right moments in the nick of time.

                        For 'Garagearray', Dylan Shearer is joined by Petey Dammit (Thee Oh Sees) on bass and Noel von Harmonson (Comets on Fire) on drums. Produced by Eric Bauer (Ty Segall, Mikal Cronin, etc.), the recording maintains a lighter-than-life vibration, like a breeze weaving through a tree far overhead. The production smacks with that lostin- time quality of a BBC session piloted by a natural-onthe- knobs genius. Shearer has a sort of shy quality that seems to fall away when he sings these songs live. It’s really quite lovely and full of sad and poetic moments.

                        Castle Face is very proud to co-release garagearray with Empty Cellar Records, and to celebrate the occasion, the labels have come up with two special limited, hand-printed jacket / colored vinyl editions featuring artwork by Michael Sean Coleman.

                        "When I finally got to see them live, I was transformed into a hysterical nine-year-old girl at a Beatles concert." -Kurt Cobain

                        Formed in Osaka by guitarist and chief songwriter Naoko in 1981, Japan’s Shonen Knife rose from humble DIY beginnings crafting their own idiosyncratic songs, and fashioning their own brightly coloured outfits, to touring with Nirvana on their ‘Nevermind’ tour, trailblazing a path for women in music and inspiring legions of bands. Championed by Nirvana, Sonic Youth and hailed as a favourite by the crème-de-la-crème of Alternative Rock, Shonen Knife remain one of the most influential and beloved of Japanese rock exports. Live, they are tight with machine-precision, punching out fast, highly exciting sets of Punk, Pop, Rock & Metal hits, all coated with their own distinctively quirky and life-affirming charm. As they fast approach their 1,000th gig, Shonen Knife's joy and invention shows no sign of fading. As Naoko says, "Let's Rock!"

                        All female Japanese cult trio Shonen Knife return with ‘Overdrive’, their 20th album in 33 years.

                        This new long-player features ten original songs produced by Naoko and manager Atsushi, recorded by Ippei Suda (Afrirampo/Balzac) Yotsubashi at LM studio Osaka, and mastered by Koichi Hara (Afrirampo/OOIOO/Boredoms). The UK and European release features special lime green/purple artwork by Masahiko Ohno (Solmania).

                        "The concept is 1970's rock and hard rock which is the Golden Years of Rock'n'roll. This album is the harder, 1970's sound." Not so much a retro album but Naoko harking back to her love of the rock she grew up on, namely: Thin Lizzy, Black Sabbath, Bad Company & Deep Purple. It’s a warm overdriven abrasive sound filled with doubled harmonic solos, dissonant power chords, menacing bass and thunderous drum rolls. In the past the band have ventured into hard rock on Mongoose vs Cobra, Antonio Baka Guy and more recently Pyramid Power & Economic Crisis but this is the first time they’ve dedicated a whole album to heavy rock.

                        Recent Press:

                        "Rocks like Motorhead designed by Hanna-Barbara" - Uncut

                        "Ultimately, without using superlatives, Shonen Knife should be set up for life as ambassadors for live music." - Clash Music

                        "There are two types of people: those who enjoy thrashy Japanese girlpunk, and those who have something wrong with them." - The Independent On Sunday 

                        "Shonen Knife's gloriously infectious buzzsaw rock & roll remains firmly in place to charm the pants off even the most of cynical and hardened of churls." The Quietus

                        Work is the first release for 12 years by Denmark’s best kept secret: digital power rock trio Silo. Back in the 1990s the group – Frederik Ammitzbøll (guitars), Mikkel Bender (bass) and Søren Dahlgaard (drums) – were the most abrasive act signed up by Swim Records, the independent label founded by Wire frontman Colin Newman and his wife Malka Spigel. After releasing two albums – Instar (1998) and Alloy (2001) – and appearing live with the likes of Godspeed You! Black Emperor, Sigur Rós, Trans Am and Pole, the group, who came together as students, drifted off into family life and gainful employment.

                        Frederik works in IT and co-runs avantgarde menswear label Uncommon Creatures, Søren is a full time artist and Mikkel works with patents. But now Silo have reloaded, and in 2013 their distinctive twisted-metal sound, built on crunchy digitized guitars, beats that crack like a boltcutter and a sturdy industrial rhythm matrix, sounds bang on trend. Work is the long hours and collective effort required to make music and keep a band together in the first place; it’s what prevents musicians from coming back to it, too. Work is a summing-up of tracks they have been intermittently recording and reworking over the past decade. Jagged edges, distorted sound-clouds and swarming guitars are the trademarks, but the Teutonic-edged grooves make the whole thing fly.

                        "Making rock music that actually rocks even though the beat is way off the grid has been one of the major experiments and ambitions of this album", says Frederik. Hard labour goes into designing the guitar parts, which are digitally sculpted and processed. With its swooning chord changes and superfuzzed guitar textures, Silo’s immersive sound envelope recalls groups like My Bloody Valentine and Band Of Susans, while packing the punch of acts like Helmet or Dälek. Thanks to their admiration for leftfield hiphop producers such as J Dilla and Sa-Ra Creative Partners, their beats are cranky and offcentre, and on ‘Cabinn Fever’ (named after the Danish hotel chain where the track was recorded) Silo recruit High Priest and M Sayyid of Antipop Consortium for a channel-hopping rap taking in everything from Eric Clapton to 747s.

                        Other guests include R&B/pop vocalist Maria Hamer-Jensen (on ‘Power Points’) and Mew’s Jonas Bjerre (the crooner on ‘O’). And who can resist a title like ‘The Inexorable Sadness of Pencils’? The album’s yearning closing instrumental is inspired by a poem by American author Theodore Roethke. It describes the sadness of offices and public spaces where dust and boredom have accumulated – echoing the album sleeve photo of a room piled with unread newspapers. Plug in to Silo and blow the dust out of the corners of your life.

                        Luke Sital-Singh

                        Greatest Lovers

                        The hotly-tipped Luke Sital-Singh is currently on the road on Communion's “New Faces Tour” alongside Eliza and The Bear, Farewell J.R and Annie Eve. Produced by Iain Archer (Jake Bugg), ‘Greatest Lovers’ builds from its hushed introduction into a crescendo of sound as a soaring, emotive hook takes flight. Luke demonstrates a different side to his sound with the single’s b-side ‘You Have To’. Stripped back to a more intimate style of production, ‘You Have To’ is an intimate ballad which demonstrates his ability to craft slow-burning torch songs as well as strident, radio-friendly anthems. The Telegraph called him “a little operatic like Jeff Buckley” while The Guardian said he “could be a British Bon Iver”.


                        Spiderland - Remastered Box Set

                          Hand numbered limited edition box sets.

                          Three 180 gram vinyl LPs, a 104 page book, two CDs and a DVD housed in a custom slip case.

                          Slint’s 1991 album, ‘Spiderland’, remastered from the original analogue master tapes by Bob Weston and pressed on heavyweight 180 gram vinyl.

                          Fourteen previously unreleased outtakes and demos, personally selected by Slint, mastered by Bob Weston, and pressed onto 180 gram double vinyl.

                          104 page book with over 100 never-before-seen photos documenting Slint’s entire history, as well as lyrics to the songs on ‘Spiderland’, plus a foreword by Will Oldham.

                          Remastered ‘Spiderland’ album on one CD, and the 14 bonus songs on a second CD.

                          ‘Breadcrumb Trail’, a brand new, never-before-seen, 90 minute DVD documentary about Slint and the making of ‘Spiderland’, directed by Lance Bangs.

                          Packaging concept and design by Louisville native Jeremy deVine (founder of Temporary Residence).

                          All packaging printed in the USA at Stoughton Printing Co., including heavyweight ‘tip on’ gatefold LP jackets.

                          Exclusively available to independent retailers. Limited to 150 copies for the UK and Eire.

                          “Top 100 Albums Of The 1990s” - Spin

                          “100 Best Albums” - NME

                          “100 Greatest Albums 1985-2005” -

                          Sly & Robbie present the 'Bed's Too Big' groove and rhythm, a JA take on The Police 'The Bed's Too Big Without You' from their 1979 album 'Reggatta De Blanc'. The Rhythm Twins versions come in strictly instrumental and dubwise style! Side A features the 'Underwater Dub' version of 'Bed's Too Big', a taster for the forthcoming full length strictly dub album 'Underwater Dub'. Side AA has the full length original, exclusive to this single, created by the trio of Sly Dunbar (drums & percussion), Robbie Shakespeare (bass), and Mikey "Mao" Chung (guitars).

                          Produced and recorded by Alberto "Burur" Blackwood, mixed by Lynford "Fatta" Marshall and Alberto "Burur" Blackwood at Mixing Lab Studio, Kingston, Jamaica, W.I.

                          Small Black

                          Real People

                            Small Black’s ‘Real People’ mini album follows the band’s 2013 critically acclaimed album, ‘Limits Of Desire’.

                            Sonically, the New York band continue with the pristine electronics they mastered on their last full length and features guest vocals from Frankie Rose on two of the five tracks.

                            The title track drew inspiration from one of our generation’s greatest folk heroes, Colton Harris- Moore aka The Barefoot Bandit.

                            S*M*A*S*H / Nxtgen

                            (I Want To) Kill Somebody / Condemned

                            Tory Baiting split 7" picture disc, with all profits going to Love Music Hate Racism.

                            20 Years ago, a punk rock trio from Welwyn Garden City called S*M*A*S*H smuggled a song about killing the hated, corrupt and discredited Tory government into the Top 30 of the hit parade. Their righteous anger struck a chord right across the country.Fast forward two decades and we have another detested, unrepresentative government of the rich-for -the-rich, and the sense of bottled up, unrepresented, unexpressed anger and frustration is as vehement as ever. To help give this potent force a voice, S*M*A*S*H have re-recorded their anthem and show no signs of mellowing with age; the barbed lyrics still bristle with incandescent, righteous anger, and have been rewritten to suit the current condemned government.

                            S*M*A*S*H are joined on this single by a devastating track by Loughborough rapper and bin man NXTGEN. His notorious Andrew Lansley Rap made him a viral hit on Twitter and Youtube [with over 580,000 views of the video] and he has since laid into the Bedroom Tax, the Cuts and David Cameron's cabinet of millionaires. CONDEMned manages to combine these targets in one magnificent poetic rant of rage, showcasing breakneck verbal gymnastics married to knowledge and wit, all accompanied by an understated laid back piano sample.

                            Smoke Fairies’ outstanding new album, the eponymously titled ‘Smoke Fairies’, shows the band in top form, combining their classic approach whilst exploring new forms of musical expression - but it is an album that they nearly didn’t make.

                            In the six years since Smoke Fairies’ Katherine Blamire and Jessica Davies first entered a recording studio they have made two critically acclaimed albums, supported on tours with Bryan Ferry, Richard Hawley and Laura Marling, and had a single released on Jack White’s Third Man Records, but for all the perceived glamour of a musical career, they were still sharing a house in Peckham and waiting for something to happen while they worked temp jobs around London.

                            However, with the question now raised, Smoke Fairies were able to really take stock and reassess what the band truly meant to them. “We realised that this is our life,” says Davies. “And we just have to see it as this wonderful thing, every gig we get to play and every record we get to make - we’re just incredibly grateful for that.”

                            Smoke Fairies yearned for movement and forward momentum. They wanted to make an album that wasn’t simply recorded live, but rather presented songs that were pored over, puzzled-out, polished and produced. “We wanted to feel that we had dissected everything back to its basic bones,” says Davies, “and then for every song to kind of shimmer.”

                            The result is a remarkable set of songs, notable not only for their strength and robustness, but also a sense of experimentation. The sheer liberation Blamire and Davies felt at using synths for the first time is evident in tracks such as the irresistible ‘Your Own Silent Movie’ and the beautifully compelling ‘Drinks And Dancing’. Davies and Blamire’s sublime voices still stand to the fore, and tracks like ‘Want It Forever’ are lined with a deliciously bluesy skuzzyness. This may not be the sort of album you ever expected Smoke Fairies to make, but it is an extraordinary record - bracing, sensual and defiant - and one that promises an exciting musical future.


                            Blud EP - Inc. Chvrches Remix

                            Born in Belfast but raised in Derry, SOAK offers vivid proof that age does not define artistic maturity. Bridie Monds-Watson has spent the last two years splitting time between her studies, the local skate-park, and her songwriting. There was significant acclaim for 2012’s ‘Sea Creatures’, which saw her offered slots at Glastonbury and Other Voices, support Tegan & Sara on tour, and complete a Biology GCSE moments after playing the City of Culture launch for Derry.

                            On ‘Blud’, however, SOAK accelerates her ascent from raw talent into a unique artistic voice. More atmospheric and textured than her earlier work, ‘Blud’ was written after overhearing an argument and explores the possibilities of change thereafter. The effect is curiously uplifting, seemingly as inspired by a childhood of Joni Mitchell albums as the brooding productions of Cat Power. A counterpart to her burgeoning songwriting, Bridie also played every instrument on ‘Blud’ herself (bar the bass), which was produced in Donegal by Mercury-nominated Villagers’ guitarist Tommy McLaughlin.

                            "This is a wonderful 17 year old singer songwriter from Derry, she’s called Soak and her new single Blud is pretty much the best thing ever!" Lauren Laverne, BBC 6 Music

                            "A vivid portrait of teenage deep-thinking: intricate, ambiguous psychodramas" The Guardian

                            “Soak’s sound has snippets of Cat Power and the delicacy of Lykke Li...well-crafted and uplifting psalms” Noisey

                            “Understated and beautiful” Stereogum

                            “Her music is spellbinding” The 405

                            "A vivid portrait of teenage deep-thinking: intricate, ambiguous psychodramas" Guardian

                            “Soak’s sound has snippets of Cat Power and the delicacy of Lykke Li...well-crafted and uplifting psalms” Noisey

                            “Age be damned. Talent shouts louder” NME

                            It's a 4 track EP including a Chvrches remix on heavyweight vinyl.

                            Martial Solal Joue Michel Magne


                            Bringing together two of Finders Keepers leading artists, longtime critical favourites and out-and-out pioneers of the French conceptual rock scene that we at FK HQ often refer to as the No-No years, Cacophonic are proud to present this rare collaboration between Jean-Claude Vannier and Michel Magne along with pianist Martial Solal for the pioneering 'Electrode' album from 1967. As the creators of the albums that launched both our Finders Keepers and Cacophonic labels respectively it is plain to see how this early LP represents a historic keystone in our precious roster. 'Electrode' also documents the first professional job as an album arranger for the young Vannier, working under two of his heroes, at the tender age of twenty four (some five years before he cemented his relationship with Serge Gainsbourg providing the music for the celebrated 'Histoire De Melody Nelson').

                            Marking the earliest example of Vannier’s evident penchant for ethnic influenced string arrangements (inspired by his early studio work with Algerian musicians) 'Electrode' elaborate introductions drawn comparisons to the orchestral elements in the Don Cherry / Ronald Frangipane score for Jodorowsky’s Holy Mountain - complete with its fervent anti-pop overtones. This one-off patchwork arrangement of brooding cinematic flair, anti-concrete soundscapes and free jazz piano flirtations represents each of these important artists in equal proportions and serves as a direct meeting of Vannier’s 'L’Enfant Assassin Des Mouches' (FKR001) and Magne’s 'Musique Tachiste' (1CACK) with the privileged inclusion of one of France’s most lauded jazz pianists – a mantle shared only, in our opinion, by Francois Tusques.

                            An essential prototypal release for our expanding Cacophonic label Electrode exposes yet another side of off kilter European free music continuing to prove to the die hard skronkophobiacs that jazz is not a four letter word.

                            The Stone Roses

                            The Stone Roses - Vinyl Edition

                              Surely this album needs no introduction or explanation?! But just in case you don’t know, this is arguably one of the best debut albums of all time, from one of the most influential bands of their generation! And if that’s not enough to tempt you, then I don’t know what is.

                              25th anniversary replica featuring original artwork and 180gm heavyweight vinyl.

                              STAFF COMMENTS

                              Andy says: Every one's a winner, baby. That's a fact!

                              Following the release of their debut collaborative EP, Chasing Honeybees, in February 2014, UK producer Stumbleine (aka Peter Cooper) and vocalist/songwriter Violet Skies deliver their first full-length album, Dissolver. In it, the duo continues to explore the fusion of Stumbleine’s electronic beats and dreamy, shoegaze guitars with Violet Skies’ soulful pop / R’NB vocals. From the slow-burning soul of opener Thunderdome through the catchy melodic pop of Sunset Boulevard and Heroine, the propulsive R’NB of Her Touch and Whirlpool and the swirling shoegaze-infused balladry of One Step Closer and Sleeping Through The Day, Dissolver delivers a welcome progression to the pop genre that seamlessly blends classic pop sensibilities with modern R’NB, contemporary electronica and 80’s shoegaze indie. The music still retains the trademark lush production that Stumbleine is noted for, with strong melody lines and compelling lyrics penned by Violet Skies.

                              With Violet now involved in the songwriting, Peter affirms that she’s given Stumbleine a face and stamped his music with her personality. “She makes the music stand out and has opened the door to a wider audience,” he says, “I’ve pushed myself much harder over the past year to create something a bit different”. With Dissolver, Peter has added Violet’s vitality to the dreamy essence of Stumbleine and the results are breathtaking. Violet Skies has recently launched her own solo career, with the recent debut of her first track “How The Mighty”.

                              FORMAT INFORMATION

                              LP Info: A 180 gm vinyl LP pressing of 500 (300 white vinyl, 200 black vinyl) which includes a free poster and an album CD in a printed card wallet inside.

                              "The Seer took 30 years to make. It’s the culmination of every previous Swans album as well as any other music I’ve ever made, been involved in, or imagined. But it’s unfinished, like the songs themselves. It’s one frame in a reel. The frames blur, blend and will eventually fade.

                              The songs began on an acoustic guitar, then were fleshed out with (invaluable) help from my friends, then were further tortured and seduced in rehearsals, live, and in the studio, and now they await further cannibalism and force-feeding as we prepare to perform some of them live, at which point they’ll mutate further, endlessly, or perhaps be discarded for a while.

                              Despite what you might have heard or presumed, my quest is to spread light and joy through the world. My friends in Swans are all stellar men. Without them I’m a kitten, an infant. Our goal is the same: ecstasy!" - Michael Gira.

                              “For the last two years, one of the world’s most bellicose bands has paid respect to its legacy largely by leaving it alone and tried to expand it by testing its old limits … this is exactly the kind of forward-pointing roadmark Swans deserve.” —Pitchfork

                              “The Swans are currently the greatest rock band on the planet....” —The Quietus

                              “[Gira] is looking for beauty, pure and simple, unfettered by meaning or standard songwriting notions of emotional resonance.” —The Wire

                              STAFF COMMENTS

                              Darryl says: The mighty Swans return with 'The Seer'. From ribcage crushing noise to gentle acoustic passages, this has all the hallmarks of the classic Swans "sound"; intense, powerful and pure.

                              More rugged, slamming funk from the man John Swing on everybody's favourite bit-crushed tape-saturated disco-techno label - Relative. Harsh filter abuse, rough-as-a-bear's-arse editing and levels running well into the red categorize the sound; 4 whiplash jackers for your all night discotheque! "Dirty Disco" epitomizes this description with its hard to place sample looping over and over through an assortment of drum boxes cooked super hot onto the tape. A wah-wah low-pass lets fragments of the sample squelch through occasionally while a monstrous kick drum thunders on. "Re Funked" takes Azymuth's "Jazz Carnival" and suitably inebriates the track through distortion units, noise gates and some damn fine EQ'ing. Excellent stuff and a great tough take of this classic disco sample - hopefully you won't have the techno militia battering on the DJ booth complaining... "Madman Groove" opens the flip and takes cues from Glen Underground and early Peacefrog records - turning the 'swing' dial to 11 and firing off a plethora of catchy vocal samples and jacking percussion. We're treated to another surprise after the breakdown when a thin, weaving sine tone lead snakes through the mix with a real Dance Mania vibe to it. "Raw Twist" concludes with a squashed, lo-fi aesthetic as rattling drums accompany a fretted bass sound and more jacking grooves are deployed. Great stuff from the Relative camp!


                              Lost Here Art Print

                                Limited edition art print featuring the image from Synkro's 'Lost Here EP'. Each print (30cm x 37.5cm) is signed by the artist and numbered in an edition of 100.

                                Released on their own label ESL Music, "Saudade" borrows its title from a Portuguese word meaning “a longing for something or someone that is lost, a contented melancholy, or, simply, the presence of absence.” “Saudade is the essence or feeling of true bossa nova,” explains TC man Eric Hilton, who names “those warm, soulful, melancholic vocals” as one of the elements of bossa nova that’s most alluring to him. Drawing influence from classic Brazilian performers like Antonio Carlos Jobim, Gal Costa, and Luis Bonfá - along with Serge Gainsbourg, Ennio Morricone, and more modern artists like electro-samba pioneer Isabelle Antena - 'Saudade' achieves its delicate yet deeply sensuous sound with the help of more than a dozen guest musicians. With each track sung by one of five female vocalists (including longtime Thievery cohort LouLou Ghelichkhani, newcomer Elin Melgarejo, Nouvelle Vague singer Karina Zeviani, Argentine chanteuse Natalia Clavier, and former Bitter:Sweet singer/songwriter Shana Halligan), the endlessly mesmerizing album also features such guests as UNKLE drummer Michael Lowery, Argentine singer / songwriter Federico Aubele, and master Brazilian percussionist Roberto Santos.

                                Although Thievery Corporation stay true to traditional bossa nova’s elegant fusion of samba and jazz all throughout Saudade, the album is rich with strange and wonderful flourishes that revel in the duo’s hyper-inventive tendencies. Opening with the dusky “Décollage,” Saudade glides from the smoldering and string-drenched “Quem Me Leva” to the hushed and mysterious “Sola In Citta” (an Italian-sung nod to the legendary soundtracks of Ennio Morricone, featuring Wurlitzer electric piano by Enea Diotaiuti) to the sweetly ethereal “No More Disguise” (a dreamlike piece laced with orchestral strings and bolero rhythms). With the instrumental title track serving as its gently stunning centerpiece, "Saudade" also offers the sultry and spacey “Claridad” (a swaying Latin number propelled by analog organ beats) and the French lullaby of “Le Coeur” (featuring the sublime saxophone work of Frank Mitchell, Jr.). And on the final track “Depth of My Soul,” Halligan delivers a haunting vocal performance that merges with the song’s swirling symphonic soundscape to hypnotic effect.

                                FORMAT INFORMATION

                                LP Info: Deluxe vinyl edition in hard paste-on board sleeve.

                                Holy Vacants, the fourth album from Trophy Scars, sees the New Jersey quartet deliver their magnum opus as they continue to evolve their sound. The album was initially worked up as a 35-page screenplay by vocalist/lyricist Jerry Jones and is even more ambitious than 2011's Never Born Never Dead, which took reincarnation as its theme. Holy Vacants uses as its springboard a bizarre cocktail of mythology, ancient religion, and conspiracy theory surrounding the Nephilitic gene. The album revolves around Jones's tale of two lovers who have discovered not only that the blood of angels contains the fountain of youth, but also the formula for Qeres. This ancient Egyptian perfume is claimed to be the only substance that can kill angels and Nephilites, who are the supposed offspring of angels/human unions. Armed with this knowledge, the couple embark on a killing spree, drinking spilled Nephilitic blood to stop growing old. The narrative may be conceptually out-there, but it doesn’t fence the album in and stands as a metaphor for far simpler and more widely recognized issues – the idealization of youth, loss of identity and corrupted innocence.

                                It’s also Jones’ personal way of drawing a line under an intense past relationship: “The album was about being so in love with somebody that they literally destroy you,” he explains. “I had to write the album as a way of exorcising this person from my mind and soul. I wanted a Bonnie and Clyde-type story, because I’ve always loved that. There’s something beautiful about the idea of rebelling together against something and losing yourself in the rebellion to the extent that it destroys your life. It’s the doomed romanticism thing.” Holy Vacants was intended the band’s final album , but instead constitutes a complete rebirth. “I thought we had one more record in us and we wanted to go out with a bang”,says Jones. Guitarist Ferrara, who Jones calls “an unbelievable composer”, sent the singer some bare-bones riffs and he found himself connecting with them immediately, hearing how they might work with strings here, a Moog and organ, maybe some brass and an all-girl choir there. And listening to the likes of opener “Archangel” and “Qeres”, with its free-wheeling but complex and cathartic, psychedelic blues, it’s obvious the band have moved light years away from their post-hardcore early years. They reveal their admiration for fellow New Jersey son Springsteen, circa Darkness on the Edge of Town with “Crystallophobia”, “Everything Disappearing” and “Extant”, and for Jimi Hendrix via “Hagiophobia”, while elsewhere there are echoes of Guns N’ Roses and The Mars Volta. But what might sound like an unworkable agglomeration of disparate parts is an intense and cohesive, hugely compelling whole, with powerful contrasts that make for a visceral immediacy.

                                FORMAT INFORMATION

                                2xLP Info: Limited pressing deluxe 180 gram double gatefold edition with a free poster and album CD included inside: 750 copies clear with blue with black marble and 250 random black vinyl.

                                Tuk Tuk

                                Chambray Record Shopper Tote

                                  Lovely new chambray (that's denim to you and me) tote bag from the good folk at TukTuk.

                                  The main compartment is big enought to carry your 12" vinyl purchases, and there's also a 7" pocket on the front for those few cheeky sevens you've picked up too.

                                  The main compartment has a magnetic stud fastening, and there is a phone pocket and zip pocket for all your other bit's and pieces, both in lovely check fabric (like the linings in their leather record boxes).

                                  It has nice long handles, big enough to sling it over your shoulder, but not so long that you can't carry it in your hand.


                                  Tyler, The Creator

                                  Wolf - Pink Vinyl Edition

                                  "Wolf" is the second studio album by Odd Future leader Tyler, The Creator. The album is released by Odd Future Records and RED Distribution under Sony Music Entertainment. "Wolf" is a set in a different direction compared to his other material. "Bastard" and "Goblin" respectively featured more violent content, while this album features a more production based sound and different themes. The album features guest appearances by Frank Ocean, Mike G, Domo Genesis, Earl Sweatshirt, Left Brain, Hodgy Beats, Pharrell, Casey Veggies and Erykah Badu. The album is produced solely by Tyler, The Creator, except for the final track "Lone".

                                  FORMAT INFORMATION

                                  2xLP Info: Deluxe double pink vinyl pressing in gatefold sleeve with printed inner sleeves, insert and oversized sticker.

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                                  RT @EmperorMachine: Looking forward to playing @PiccadillyRecs on Saturday for #RSD14 which is also the release day for my LP!
                                  Wed 16th - 8:36
                                  RT @Toopuresingles: It's only bloody record store day this Saturday! Be sure to visit the best indies we've got @PiccadillyRecs @residentmu
                                  Wed 16th - 8:36
                                  RT @silent_radio: MAXINE PEAKE & ADRIAN FLANAGAN of @The_E_R_C will be joining us on our radio show after their @RSDUK DJ set at @Piccadill
                                  Wed 16th - 8:35
                                  Engelbert Humperdinck possibly spent too long under the sun lamp before his Jools Holland appearance... #LovelyPieceOfMahogany
                                  Tue 15th - 9:27
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