The latest offering from Copenhagen’s Music For Dreams is a superb 5-tracker of unreleased gems from A Vision of Panorama, who established himself last year with that blink and you'll miss it gem on Aficionado. This new release from the talented Russian is full of delicious Balearic Double Fantasy / early 90s Cafe Del Mar moods underpinned by modern programming and washed through with the warmth and richness of a relaxed island atmosphere. "Reef" is a down-tempo, luscious beachy groove oozing sunshine and sea air, "Port De Soller" offers a late eighties vibe through tasty organic keys and a steady bass while "Patches of Light" shimmers with multi layered keyboard harmonies and a superb melodic hook. The ocean waves roll away on "Sail Among The Clouds" where melting electronics and catchy synths evoke memories of sundancing on the beach before the magnificent Jex Opolis remix of “Patches of Light” delivers a hot, summery and beautiful version that hits all the right notes - a future classic already being playlisted by Manchester’s Moonboots and Test Pressing’s Apiento. Did anybody say music for swimming pools, floating frogs and chilled seagulls….Yes!

Luke Abbott

Music For A Flat Landscape

Following his critically acclaimed second album 'Wysing Forest', Luke Abbott's next long-form release is the award-winning soundtrack to the British film 'The Goob'. Composed and produced by Luke Abbott in full, the LP picks up where his previous record left off. 'Music For A Flat Landscape' is a set of beautiful, meditative electronic music that shows Luke Abbott is a composer and musician at his zenith. The music was awarded 'Best Soundtrack' at the Stockholm Film Festival in late 2014. The album is released on Abbott's new label Buffalo Temple.

Acc-sees Record Box

7" Single Case - Silver 50

    Fully lined and padded aluminium record box holds 50 7" singles and includes a lockable catch and keys. Sturdy but light in weight, this is the perfect DJ case for keeping your prized 45s safe and sound.

    Acc-sees Pro Vinyl

    Velvet Antistatic Vinyl Brush

      Keep your vinyl collection in pristine condition with this specially designed antistatic brush. Designed to clear the fine grooves of dust and fluff without damaging the delicate playing surfaces - an essential requirement for maintaining optimum reproduction quality.

      Manchester's most forward thinking, anything goes imprint follows up the industrial punk sludge of Cargo Cult with a completely different kettle of fish from Joe Snape and Another Contemporary Music Ensemble. By now, you should know that each release on Michael Holland's Ono imprint is buy-on-sight rated brilliance, and this expressionistic selection of experimental compostitions from Manchester's best and brightest is no exception. Taking an approach that's as fearless as it is fun, Snape and Co push their instruments to the extreme, working with synthesiser, prepared piano, double bass and anything else they found lying around the Brodsky lobby, to create an otherworldly racket that's at once soothing and energising, uplifting and unsettling. Vocals, strings and keys are warped and repitched, setting the digital processes of modern technology in contrast with the analogue whirr and clunk of  a reel to reel. Invoking musique concrète, accidental composition and a Fluxian sense of fun, "Fleck" sounds like a much more listenable and accomplished Group Ongaku, embracing musicality with idiosyncratic charm. 


      CD Info: Limited 100 copy CD in screen printed wrap around sleeve.

      Ryan Adams

      Heartbreaker - Remastered Edition

        Heartbreaker is the debut solo studio album by Ryan Adams, originally released September 5, 2000. The album was recorded over fourteen days at Woodland Studios in Nashville, Tennessee and has since established itself as one of alt-country’s most iconic records.


        Andy says: Most people would say this was Ryan Adams' finest hour. Includes the classic "Come Pick Me Up".


        2xLtd LP Info: 180g double vinyl.

        JM Airis

        Wild Birds

          Below the hustle and bustle of New York City’s streets, lies ‘Terminal NY’, the bunker-come-recording studio of Wisconsin journeyman-songwriter JM Airis. It’s where Wild Birds was conceived - Airis’ striking new noir-folk album that’s all set to soar from the grit of the Brooklyn basement and circle the Empire State Building, bringing a moment of calm to the pulsing heartbeat of the big city.

          Airis covers a lot of territory with this album, from the swaggering to the solemn as he delves into the darker side of Americana music. Filled with heavy emotions and heart felt lyrics, Wild Birds pushes the prominence of airy spaces, synth notes, and the relegation of guitars to a supporting role pushing this recording to the edge of folk noir, if it’s even definable.
          From structure to sound, Airis is deliberate in his creation of making even the least audible punctuations perfect. Every single chime, raw rhythm, and acoustic string reverberation is exactly as Airis intended it to be, all while not being over produced.

          All together, Wild Birds is a bare-eyed view from above, a finished mirror of the simplicity distance provides and a back-to-the-land reminder that not everyone in the city is singing songs about the hustle.

          Whilst Airis’ previous offering Indian Summer was applauded for its traditional grass roots approach that couldn’t be further from his time as drummer in NYC outfit Dead Sparrows, Wild Birds brings everything bang up to date with the prominence of synths, airy spaces and the relegation of guitars to supporting role.

          Surrounded by old 50s and 60s tube schematics and internet forum kits that manifest as functional Microphones, EQs, Compressors and Preamps within the concrete and tin frame of the converted textile warehouse, what they lack in authenticity is more than made up for with their unique and honest sound. From the southern-gothic style of ‘False Birds’ that recalls the lo-fi nature of BRMC’s semi-acoustic album Howl, to ‘Infinite Sun’s neo-country slide guitar and the moody narco-blues of ‘Cant Hurry’, each song stokes the fire that is Airis’ creative process and is a further exploration into the darker psyche of Americana.

          Recorded almost entirely by Airis himself, leading the way on guitar and vocals, he also enlisted the skills of Young Magic’s Melati Malay who provides backing vocals to the blissed-out, reverb heavy ‘14 Shadows’, plus the technical expertise of Kloke records’ Kloke (high guitar), Ryan Olson (electric drums), and Solid Gold’s Adam Hurlburt (bass) with the “Wild Birds” live band consisting Graham Finn (synth/slide guitar/bass), Street Smells’ Evie Beach (keyboard/drums), and Alan O’Keeffe (guitar).


          2xLP Info: Double LP on black vinyl (please note no download code included).
          LP comes with a loose insert.

          Ajukaja & Andrevski

          Looking For Something That’s Not There / Mesilind

          Estonian duo Ajukaja & Andrevski return after last year’s incredible "Rare Birds EP" with two more pieces of wonderfully weird house music on Jon Rust’s label, Levels. Spun by Joy O on his Beats In Space mix plus further support from Tama Sumo & Lakuti, Jamie XX, Call Super. Skip stones on the lake of life with these oddball cuts! "Looking For Something That's Not There" has a gorgeous, languid, liquid quality to it. Like gently floating across a crystalline lake in a jeweled hovercraft while machine elves row softly and silently. "Mesilind" deploys fast paced hi-hats and crackly snares over a rich tapestry of synthesized textures and digitized strings. Ajukaja & Andrevski bring the sounds of your dreams into focus, and should be complimented on their forward thinking but completely sympathetic production. Vinyl only. Mastered at Dubplates & Mastering, Berlin. Each copy also comes hand stamped with an A4 insert.
          * Pronounced Aa-yu-ka-ya and And-rev-skee for those in doubt.

          Due to popular demand, the final two remixes which completed Akkord’s recent ‘HTH035’ package have been pressed to vinyl.

          Fis (Tri-Angle / Loopy) and Regis (Downwards / Sandwell District) both sourced elements from ‘Gravure’ and ‘Continuum’, tracks from the ‘HTH020’ EP. The former conveys experimental drones and left-of-centre D&B abstraction in his reworking, whilst the latter loops sludgy dub techno atmospherics in his inimitable style.

          Mastered by Matt Colton at Alchemy and pressed on 180g white vinyl, the ‘HTH040’ 12” is a companion piece to the ‘HTH020’ and ‘HTH035’ EPs, with a complimentary colour scheme and debossed cover with postcard insert.



            “It’s Ash at their frenetic best” says drummer Rick McMurray. “A wall of guitars and a shot of adrenaline with a sweet melodic chaser.” A clear statement of intent, ‘Cocoon’ picked up immediate radio support from BBC 6 Music and XFM and served as a bold introduction to their forthcoming album. It’s been eight years since ‘Twilight Of The Innocents’, the album Ash vowed would be their last. The ensuing years saw the band embark on the ambitious A-Z singles series and its accompanying A-Z tour taking them from Aldershot to Zennor. The decision to put the album format to one side allowed Ash to explore a different dynamic to their sound across 26 tracks released over a year.

            “A-Z was a great exercise in creativity and we stand by our choice to do it but we still love the album format. Stepping away from it for eight years has given us a new found love for the format and it's been really exciting to get back to thinking about music in that way again”.

            On ‘Kablammo!’, they set out to capture the live essence of Ash, the closest sonic predecessor being 2004's 'Meltdown', they say, with the songwriting of the 'Free All Angels' singles. “We've stripped away the electronic overtones of the A-Z series and made a streamlined blazing guitar record.” “On every song you can hear what makes this band tick, our beating (atomic) heart. It's a visceral expression of what has driven us since 1992. Passion, melody and Ash.” The title itself – ‘Kablammo!’ - sums up the excitement Ash felt “to be in a room together making new music. You can hear that on every song.” And this renewed enthusiasm for playing together is writ large over the album’s 12 tracks, the ‘in your face’ quality” which has made Ash one of the UK’s best -loved bands.

            ‘Free’ and ‘Moondust’ provide two of the album’s most anthemic moments.
            “In the pool of half remembered dreams,” Tim Wheeler laments on ‘Free’. “How long have I been submerged in sleep?”, his soaring falsetto echoing above an impatient chug of guitars, a cry to cutting loose replete with an achingly emotive guitar solo.

            ‘Moondust’ captivates hearts with sweet pattering keys and the mournful grace of a string section, building to a mighty crescendo, Wheeler’s star -gazing broken heart lifted to the skies, “When you come home, will you stay for good?”

            It’s not all sky-high calls and midnight falls, ‘Shutdown’ takes us back to the trio’s roots. Its scrappy, teenage punk spirit sprinting hand in hand with a sweet ‘90s nostalgia and a three-line chorus destined to raise your pint into the air. Elsewhere, ‘Dispatch’ rides a college rock wave. Wah-oos and guitar dips that explode into a head-crashing power-chord shred, all the while bumping up to hooks so big we’re singing along before we know all the words.

            “We've finally bridged the gap between our live show and the recording” the band say. “Kablammo!’ is the proof.”


            2xLtd CD Info: Limited 2 CD edition includes 4 bonus tracks.

            Essen's own Glenn Astro has called his first album "Throwback", and the name is at once a perfect fit and not nearly the extent of the story. On the one hand, Astro has filled the double-LP with a wealth of old-school gestures and textures - the warm whoosh of analogue synths, the rattle of Rhodes keyboard lines and the sizzle of jazzy drums, all held together by the comforting glue of tape hiss and vinyl crackle. If you're used to the clean sonic lines and stylistic streamlining of so much contemporary house music, then "Throwback" is sure to feel less like a record you just pulled out of plastic wrap than a well-seasoned one salvaged from a flea market or unfinished basement. And yet like so many Tartelet releases - particularly the label's last two full-lengths, Max Graef's "Rivers of the Red Planet" and Uffe's "Radio Days" - it feels fresh and keenly contemporary no matter how vintage the fabric. Rather than throw back to any one moment, he's given us a collage of styles that's quite literally timeless. Astro makes brilliant work of his influences, drawing on hip-hop, house, funk and soul in such equal measure that it's hard to argue that one impulse dominates the other. The sound certainly flirts with the dance floor, with Astro applying highpressure deep house pads on the title cut, gliding on shimmering keys for "One For Viktor," and taking us on a vibraphone-fueled workout with "Kilometer Disco," one of a pair of cuts featuring Max Graef. But Astro obviously relishes the time he spends on the sidelines absorbing the atmosphere, or at home head-nodding to the dustiest corners of his record collection. For every house beat you hear, you'll also dip into juicy, 90’s-style beat science, toasty ambience and buttery chord progressions. Expertly paced but never hustling you along, "Throwback" begs to be heard as a whole but explored at your own easy pace - a record for hazy mornings-after, vibey nights in and endless summer afternoons.

            Australia's infamous party collective Untzz (not to be confused with Rossendale's hardcore massive - gawmf gawmf gawmf) present a collaboration by two of the label's biggest stars. Babicka and Mic Mills recorded this EP 'under thunderous grey skies while the snow poured outside'. A departure from the usual sun-scorched house sounds, "Lenny" opens proceedings with an icy cold techno romp. Nice delayed elements echo through the mix while a nagging bleep tone repeats on every bar. Still retaining that crisp, well produced and fresh sound that both producers aim for whilst exploring the more Detroitian techno that surely informed the crew. "Depraved (The Brave)" displays the kind of lo-fi rattle and tape saturated aesthetic usually associated with Anthony Naples or some the LIES output (also more recently, London's Rhythm Section and Vancouver's Mood Hut). Scorched dub fragments riding against organic, rhythmic percussion and a deep rumbling kick; all you need to get bodies contorting in the dance. Flip for "Temple" and its concentric, computerized, broken grooves. A tour de force of sound manipulation and mind exploration. Although stylistically different, the sophistication of the synthesis and sound design on this reminds me of when we first heard Floating Points' rich tapestry of sound. Exceptional stuff. Finally, "Write U A Luv Song" concludes with tough bell chime melodies, powerful floor toms and rib-cracking kicks for a hard yet fun loving jaunt into dancefloor voodoo.

            German musicologist, deep sonic archivist and expert record dealer Basso presents the third release on his essential Growing Bin imprint, a sublime retrospective of German trio Barthel, Böhm and Bauer. Cherry picking the exquisite highlights from their three private press LPs "Auf Der Suche" (1984), "Zeitlos" (1986) and "New Horizons" (1988), Basso delivers an immersive collection which carries you on a far flung journey through time and space. The unique amalgamation of oriental folk, percussive rock and good old blues found on "Another Rainy Day", "Drift Away" and "Tamam" will let you drift away, dream and dance into a storm. Original copies of their three albums are almost impossible to find these days and change hands for serious sums, so welcome the "Timeless Horizons"...

            STAFF COMMENTS

            Patrick says: Basso collects a batch of ridiculously rare, totally far out jams from German trio Barthel, Böhm and Bauer, perfect for drifting away to. It's CSN, strung out on opiates in North Africa and it's absolutely amazing. A strong contender for reissue of the year.

            Lucio Battisti

            The Balearic Sound Of....

            Fantastic compilation of sun drenched Balearic beauties from the great Italian singer / songwriter Lucio Battisti. Features the sublime ‘Ancora Tu’, covered recently to great effect by Roisin Murphy but in no way surpassing Lucio’s original version, followed by the superb in-demand instrumental floor-filler ‘Il Veliero’. On the flip is beautiful disco-tinged groover and big Moonboots play ‘Due Mondi’, one of Lucio’s rare duets from his highly acclaimed ‘Anima Latina’ LP. Also includes Lexx favourite - the gorgeous ‘Questo Amore’ and finally the often-edited ‘Amarsi Un Po’, an absolute Balearic classic with its fat bass, soaring strings, gentle guitars and sweetly emotional vocals. Essential collection.

            Matt Berry


              This album has been long-awaited by Matt Berry fans who regularly comment on their struggles to get their hands on a copy of this album on CD. Until now the album has never previously been available on CD, apart from a few hand-made bootleg copies which float around the internet for hundreds of pounds.

              Blend Mishkin & Roots Evolution

              Settle Down Feat. Exco Levi

              Following a number of singles on Nice Up!, Greek producer Blend Mishkin has delivered a full length album for the label. Teaming up with a five piece band to help realise his rhythms, Roots Evolution have taken Blend's sound to the next level - real authentic reggae music! This first single, featuring Exco Levi - up and coming Jamaican superstar and part of the current reggae revival movement (alongside artists such as Chronixx, Protoje and Kabaka Pyramid) is a perfect taster of what's to come!


              The Singles And EPs

                Following the acclaimed re-issue of their sole album, Leave The Straight Life Behind, BOB return with an anthology of all their singles, many appearing on CD for the first time.

                The band’s most well-known single, Convenience, a John Peel favourite, opens this 2CD set and the CD is then a chronological run through of the key songs from the various singles and EPs.

                Disc Two includes many of their b-sides and EP tracks including their debut 1986 flexi disc.

                All tracks bar Convenience appear on CD for the very first time having all only ever been released on vinyl previously.

                Boogie Nite are back on Glenview after their killer disco revision of Tom Tom Club’s “Wordy Rappinghood” and the dancefloor brilliance of “Make Me Hot”, with this four track blinder which comes with all manner of bonus brilliance via a download code. Up first is the funked up attitude of “Better Than Yours”, a mid tempo groove in the same vein as Bionic Boogie’s “Cream”, topped with the slightly bitchy, pecking order posturing of Leah Hannah. Homegirl embarks on the sassiest diva vocal since the heyday of the ballroom house scene, complete with spoken word interludes and plenty of head wobbling. It’s as infectious and inventive as they come – dancefloor dynamite for real. Next up, the percussive punch of “War Time” injects a little leftfield drama into our lives, packing rolling toms, serious strings and swinging brass into six minutes of intense ass shaking. Flip the disc for the disco house strut of the Dennis Edwards’ sampling “Don’t Look Any Further”, a soulful edit that’ll sit perfectly next to any of those essential Firecracker 10”s from a few years back. Last but not least, St Petersburg producer and Glenview regular Kito Jempere offers a deeply danceable dub of “Pisces”, applying loops, adding fx and upping the ante for late night debauchery. With all these delights on wax, and extra tracks on the downloads, there’s a lot to love on another classic Glenview release.

                After two sold out 12" EPs on Optimo Trax, Boot & Tax head over to mother label Optimo Music for the release of their debut self-titled, 9-track album.

                The Milanese duo are comprised of Cristian Croce (already part of The Barking Dogs) and Claudio Brioschi (Brioski), two of the most popular and respected DJs / producers of the Italian scene who share a great passion for analogue synths and experimentation, and a deep knowledge of both clubbing and production.

                Dance albums are notoriously difficult to pull off and often fall flat but Boot & tax succeed where many fail by making a record that will work on open-minded dancefloors but isn't necessarily a dance album. Indeed, my 80-year-old stepmother hasn't danced for years but has been listening to this on repeat all month. Incorporating Claudio's guitar playing, Boot & Tax's trademark eccentric instrumentation along with their analogue arsenal and the occasional vocal from Cristian, they have managed to forge a uniquely characteristic sound world.

                Playful, psychedelic, hypnotic, captivating, the album comes in a gatefold sleeve on double vinyl and Boot & Tax will be touring live in support of the record throughout the summer and beyond.

                Burning Spear

                Social Living (aka Marcus Children) / Living Dub

                The arrival of Roots Reggae in the mid-1970s propelled onto the international stage a small and select group of Jamaican acts that became synonymous with the genre - and of these few proved more popular or influential than Winston Rodney aka Burning Spear. By the late seventies, Rodney had become a powerful and influential force on the Reggae scene, with his worldwide success supplying the funds necessary to the launch of his own Jamaican music label for which he produced he magnificent ‘Marcus Children’ album in 1978. Released by Island in the UK as ‘Social Living’, the LP was promptly acclaimed as a Roots masterpiece, the LP has stood the test of time and today rightly ranks among the greatest Reggae collections of the era. Soon after its original release, Rodney issued ‘Dub Living’, a companion volume comprising sublime Dub cuts of all the tracks featured on ‘Social Living’. Now, for the very first time, both of these essential LPs are brought together on a single disc.

                Circuit Des Yeux

                In Plain Speech

                Haley Fohr’s music strikes a unique balance between the personal and universal. As Circuit des Yeux she creates music that embodies the complexity of human emotions, juxtaposing tenderness and grief, ecstasy and horror, using sounds as representations of the emotional spectrum that we all experience. Fohr’s striking voice, an impassioned baritone, is the music’s centrepiece and guiding force.

                On ‘In Plain Speech’ Fohr is joined by some of the most progressive musicians in the Chicago music community; Cooper Crain (Cave, Bitchin Bajas), Whitney Johnson (Verma), Rob Frye (Bitchin Bajas), Adam Luksetich (Little Scream), and Kathleen Baird (Spires That In The Sunset Rise). Fohr cements her reputation as a fearless songwriter and inventive arranger with this stirring collection of songs that are both gorgeous and emotionally potent.

                ‘In Plain Speech’ represents the start of a new, more collaborative chapter for Circuit des Yeux. While previous works were solo affairs, not only in performance but emotionally tied to a sense of confinement and place, these new songs were composed after a move to a collective living space, giving Fohr an opportunity to break free of the isolation that informed her previous albums.

                ‘In Plain Speech’ continues her collaboration with Crain but it is her first recording with a full band, who are all leaders in Chicago’s new wave of creative musicians. Her songs, while always potent when delivered solo, shine in this new band context.

                Extensive touring after Circuit des Yeux’s acclaimed 2013 album ‘Overdue’ (praised by NPR, Pitchfork and Tiny Mix Tapes among others) influenced the making of the album in several ways. On that tour, which stretched for months throughout Europe and the US, Fohr toured solo, no band, no tour manager, no driver and in that solitude learned to commune with the audience in a way that she hadn’t ever before. That connection sparked in her mind a conversation with the audience, and many of the lyrics on ‘In Plain Speech’ are directed at you, the listener. She also became acutely aware of disquiet, a pervasive anxiety, which permeated society in almost every city she visited. “I felt an uneasiness that superseded phonetic communication,” she writes. “Something dim is in the air, and it is looming large.” This anxiety crept into songs like ‘A Story Of This World’, which is a call for change of priorities and values among the world’s leadership.

                FORMAT INFORMATION

                LP Info: LP pressed on virgin vinyl and packaged in an old tyle tip-on jacket with artworked inner sleeve and free download coupon.

                CD Info: CD version in 4 panel mini-LP style gatefold package.

                Shana Cleveland & The Sandcastles

                Oh Man, Cover The Ground

                  ‘Oh Man, Cover The Ground’’s softly-stated melodies and breezy air operates on its own sense of time. Though the songs still settle comfortably into threeminute parcels, their gestation bucked at the convention of pop music’s stringent time format.

                  “I’m really into meandering, fingerpicked open-tuned acoustic guitar, like John Fahey and Robbie Basho,” says Shana Cleveland. “I started playing guitar in that style during a year right before I moved to Seattle when I was lonely and bummed out in the San Fernando Valley and found solace in spending long afternoons fingerpicking slow moving improvisations.”

                  This casualness is evident in the music - you can hear it in the airy ambience of album opener ‘Butter & Eggs’, the gentle piano and strings accompaniment on the title track, the particularly Fahey-esque explorations of ‘Itching Around’ and ‘SPATM’. Even the timeline of the album’s development seems to defy the ephemeral haste that permeates so much contemporary music.

                  The bulk of ‘Oh Man, Cover The Ground’ was recorded in Shana’s basement. “I wanted it to sound casual and kind of loose like my favorite folk albums, so we didn’t practice much before recording and a few of the musicians were playing the songs for the first time.”

                  FORMAT INFORMATION

                  Ltd LP Info: The LP is available exclusively to independent retailers on limited edition lake blue coloured vinyl (90 copies for the UK & Eire). A digital download card is included.

                  Eddie Cochran & Gene Vincent

                  The Saturday Club - Red Vinyl Edition

                  Two giants of rock 'n' roll on one album featuring fully remastered rare broadcasts of the two of them together on that very last tour Eddie Cochran would do before his tragic death. Limited RED vinyl LP contains free poster and ticket facsimile as well as being mastered specifically for vinyl. Contains 6 classic hits “Summertime Blues”, “Be Bop A Lula” “Twenty Flight Rock”, ”Hallelujah I Love Her So“, “Something Else” and “C’mon Everybody”. Includes the track “White Lightnin’“ which features BOTH Eddie and Gene together on the same song! In depth liner notes by Author Max Decharne and classic design by Sophie Lo.


                  Culture On The Front Line

                    Shortly after being formed by Joseph Hill Kenneth Paley and Albert Walker in the mid-seventies, Culture joined the roster of Kingston-based producer, Joe Gibbs for whom they recorded a stream of Roots classics, including the 1977 breakthrough hit, ‘Two Sevens Clash’. The following year, the group signed with Sonia Pottinger, who between 1978 and 1979 provided Richard Branson’s recently launched Virgin Front Line imprint with four of sublime long players: ‘Harder Than The Rest’, ‘Cumbolo’, ‘International Herb’ and ‘Black Rose’. Widely acclaimed upon their release, the first three of these albums soon became regarded as Roots classics. Now, after over 35 years, this long-lost masterpiece finally sees its long-overdue release on this essential CD collection, which also features the legendary trio’s three other Front Line LPs, so highlighting Culture’s complete recorded works for Virgin’s esteemed label.

                    Miles Davis

                    Tutu - Deluxe Vinyl Edition

                    30 years ago, in May and June 1985, Miles Davis signed with Warner Bros Records, shocking the music world by leaving Columbia. He immediately started working on an album to be called 'Perfect Way', named after a tune by Scritti Politti, but later renamed 'Tutu' by producer Tommy LiPuma. When 'Tutu' (a tribute to Desmond Tutu) was released in 1986, it re-ignited Miles Davis’ career, winning him two Grammy Awards. The record reflected the 80s, just as Herbie’s 'Rockit' did. That meant keyboards, sequencing, dub effects, drum machines and tonalities that often had the brightness and sharpness of the Fairlight era. This album was a key factor in raising Davis’ status to an international superstar.

                    This deluxe double LP edition includes:
                    • The remastered original album
                    • An extra LP of live performances by the Miles Davis Octet of the Nice Jazz Festival of 1986 only available on the CD version of 'Tutu Deluxe'.
                    • The packaging is a replica of the original vinyl album, including stickers, LP labels, Irving Penn’s beautiful and iconic photographs
                    • All this on 180g double vinyl!

                    Hailing from Spain and active since the early nineties, Eduardo De La Calle is a seasoned expert in the world of house and techno production. Over the course of 100 plus vinyl releases, he's watched scenes and styles come and go without ever falling victim to the hype or hate of trends. Lately, his muscular productions have increasingly featured in Boddika's DJ sets, teaching the club kids of the world a thing or two about proper dance music. Unfalteringly analogue, De La Calle is back with a quartet of heavy hitters, naturally finding a home on Boddika's Nonplus imprint. "The King Parikshit" opens proceedings in dark and cyclical fashion, chucking you about and a bass heavy murk, occasionally punctuated by blasts of synthesised lightning. "Sudha Nityananda Parivara Vaisnava" descends further into the murk for some deep and threatening dub techno decorated in all manner of hollow, k-hole fx. Over on the second disc, "The Sudama Song" rumbles along in the subs while a hypnotic bell pattern nags away up top and "Sri Sri Ragendra DAS" injects a shot of cinematic intensity into proceedings.

                    The Debutantes

                    Adams Apples / Kids

                      Of interest to fans of Henrys Dress, classic era MBV etc…

                      The Debutantes formed in 2009, determined to make structurally straight-forward indie pop but chiming beneath a veil of reverb and shimmering in its own simplicity. Sounding more sun-soaked than their home turf of Ireland, the band’s wash of layered noise, hazy vocals and strummed guitars ring out in heart-melting dream pop. It wasn’t till Sarah moved to Galway that the line up was complete and the band booked their first show supporting legendary Irish band Whipping Boy. Sarah and Paula went on to form The September Girls together after meeting in The Debutantes.

                      The band eloped to The Hive Studios in Wicklow to record their cassette EP which was released in the UK and Ireland on Soft Power Records. NME picked out the doom, romantic opener ‘X&Y’ and ‘Adam’s Apples’ they call a “melancholy reimagining of West Coast slacker rock” as the stand out tracks on the release. The band features Leon Butler on Guitar and vocals, Paula Cullen on Bass and Vocals and Sarah Grimes on Drums. 

                      FORMAT INFORMATION

                      Ltd 7" Info: 2 song 7” green or pink vinyl with 4 song download. (Download Also Includes The Songs “Gentlemans Wash” And “X And Y”).

                      Black Halo the second full-length release from Jon DeRosa, following up 2013's A Wolf In Preacher's Clothes (Rocket Girl). After moving from Brooklyn to Los Angeles in early 2014, DeRosa began frequenting Joshua Tree and other sparsely populated nature destinations in California. His spiritual attraction to and fascination with the solitude and openness of these new landscapes, combined with his penchant for 60's pop songwriting and orchestration, largely inspired the vast "West Coast" sound of Black Halo.

                      Though the amply bearded, heavily-tattooed DeRosa looks the part of Hells Angel- meets-Source Family member, his striking baritone is more in tune with the Golden Age of crooners, 1950's Nelson Riddle arrangements and 1960's teen love songs. Known for his dreamlike ambient-pop work as Aarktica, DeRosa integrates those signature otherworldly elements into the songs on Black Halo, combining a certain kind of occult mysticism with a refined orchestral sound. His ability to successfully blend such disparate elements is what makes his music so strikingly original and DeRosa such a singular character. But then again, this is the kind of thing that can happen when your past includes studying under minimalist pioneer La Monte Young, making records with Alan Sparhawk of Low, collaborating with Stephin Merritt, and touring Europe with Lydia Lunch.

                      For the recording of Black Halo DeRosa returned to Brooklyn to work with his musicians and long time collaborator and producer Charles Newman (The Magnetic Fields, Soko, Gospel Music). The two returned to Los Angeles for further tracking and vocals, and to work with multi-instrumentalist Brad Gordon (The Weepies, Dan Wilson) on the orchestral arrangements (Brad also co-wrote "Blood Moon" with DeRosa). The record features vocal contributions from the exquisite Carina Round (Early Winters/Puscifer), as well as the DeRosa/Round co-written duet "Dancing In A Dream." Finally, a most notable collaboration comes in the shape of "When Daddy Took The Treehouse Down," which DeRosa co-wrote with the inimitable Stephin Merritt (The Magnetic Fields). 

                      Devil Worshipper

                      Devil Worshipper

                        Imagine a version of Julio Cortázar’s The Night Face Up where there is no motorcycle crash and no series of dreams about trying to outrun Aztec warriors determined to capture you for human sacrifice. There is still darkness in this story - the darkness of living in post-Reagan America, existential dread, the futility of living one’s dreams and still waking up every day.

                        Devil Worshipper is the dream that swirls and reflects landscapes in chrome as snakes dance in your spine. Blistering solos that wouldn’t be out of place on a Helios Creed or The Mike Gunn LP draw the night sky as a steady, hypnotic rhythm paints the lines dividing the highway out of here.


                        Miracle Witness Hour (Live In Ohio 1977)

                        Spuds rejoice, for the Miracle Witness Hour is at hand! In 1977 DEVO played an intimate show to an eager handful at biker bar turned total dive The Eagle Street Saloon in Cleveland, Ohio. Unbeknown to those canny onlookers, they were to testify to the healing power of DEVO! But what of us now? Beautiful mutants fear not, FUTURISMO are here to rectify your late party syndrome. Televised through the antennas of time we give you DEVOs’ most intimate unreleased live record ever - Miracle Witness Hour!

                        Released for the first time on any format, this remastered document of de-evolution is finally given the attention it truly deserves. A rare glimpse into the embryonic stages of the groundbreaking band way before the masses knew how to ‘whip-it good’, the Miracle Witness Hour boasts primal versions of the bands most recalled avant-pop songs such as ‘Jocko Homo’ and ‘Mongoloid’ moments before Brian Eno got his hands on them, juxtaposed against some of their rarer experimental gems. Seemingly fitting for the kind of off the wall experience that would have DEVO’s dehumanised art house sci-fi set against the backdrop of Eagle Streets’ dingy and ruptured old world interior.

                        Synonymous with innovative ideology, it was only a few months later that David Bowie would declare them “the band of the future!” but it was at the Miracle Witness Hour that DEVO were already proving that the future was already happening. Like surrealist preachers transmitting a challenge to the preconceptions of pop music, it’s the playful live imperfections in this recording that genuinely make the Miracle Witness Hour an original and intimate experience - so intimate that you can make out individual handclaps of the sparse crowd.

                        This FUTURISMO release revitalises this event with exciting artwork and packaging that enforces the bands forward thinking approach to the aesthetics that shaped the following decade. The outer sleeve comes die-cut revealing the box-fold reversible cover inner sleeve, containing a second sleeve and housing rare images as well as brand new liner notes by DEVO founding member Gerald Casale.

                        FORMAT INFORMATION

                        LP Info: Ultimate virgin - white vinyl.

                        Ltd LP Info: "Neutron Dream" coloured vinyl.

                        Tom Diabo was late-70s/early 80s punk musician from Wuppertal, Germany. He played in several bands, most notably Western Force and X 112 For Dancing, and also curated a series of legendary local cassettes called "Talfahrt". Diabo passed away from cancer in 1988 shortly after his 30th birthday. He left behind a cache of home-recorded songs that eventually came out posthumously as an LP called "Dark Star" that same year.


                        Pageantry Suite

                          Doomsquad are a Toronto-based art project made up of siblings Trevor, Jaclyn and Allie Blumas.

                          Following on from 2014’s ‘Kalaboogie’ (Hand Drawn Dracula/No Pain In Pop) the band have announced a new EP titled ‘Pageantry Suite’ via Bella Union.

                          Besides public bathroom fixtures, when we think of American Standard, we think of gritty disco edits ranging from low tempo builders to high octane pounders. On their seventh offering, even the logo, newly styled with the true baby blue colorway found on those very porcelain items in rest stops and restaurants around the country, suggests a move to a more electronic and airy place. The Dream Chimney has been a music stop on the internet, carrying the weight, stature and grandeus of the Library of Congress. Now DC steps into the physical world, putting the glistening touches on the new look, new feel and overall updated AS with these two tracks. On the A-side "Feather Bed For Hatch Back" fuses a reverb soaked 80s drum track with shimmering Sakamoto synths, circular bass pulses and airy drones, carrying us up high into the sky on the warm wings of a jet stream. Flip the disc for "Charlie Dub", a mid-tempo hit of Balearic Beat which sees a solid drum machine rhythm propel us into an alternate dimension of hazy new age pads and textured electronics.There's no way you'll want to flush them down the toilet, but do wash your hands. Welcome to the new American Standard.

                          Triskaidekaphobes all around the world can breathe a selective sigh of relief, as the safe hands of Ed Wizard and Disco Double Dee take care of Editorial's thirteenth release. The groove experts focus on the deep and soulful end of the dancefloor, marrying a clubby bump and thump with emotive melodies and impassioned vocals. "Shake It Loose" starts the party in spiritual fashion with the perfect union of hip twisting bassline and ear teasing orchestration, including flute, strings and thick wah guitar. Chuck in the hair raising vocal and we're in disco heaven, shaking our shit to the beat without a second thought. The A2 plays host to an inspired mash up of two funk classics as the GAP Band's "Shake" meets Fred Wesley's "House Party" downtown for a proper block party breakout! "Endless Love" takes us deeper than we've ever been, refixing Eddie Kendricks' "Intimate Friends" into a beatdown beauty which retains all the soul and feeling of the original, but packs a proper low bpm dancefloor punch. Last but not least, "Sweet Love" lays roses on your pillow and gives you a back rub, softening you up for a private dance late in the evening. Working their magic on the killer bassline, the duo hit us with a dreamy disco cut at a slow and sexy pace. All killer, no filler from the Editorial veterans.

                          El Perro Del Mar

                          El Perro Del Mar (Deluxe Edition)

                            Celebrating 10 years since its original Swedish release, El Perro Del Mar (aka Sarah Assbring) is proud to reissue a deluxe edition of her self-titled debut album on double green vinyl with an additional 10 tracks of demo, live and unheard music. 

                            FORMAT INFORMATION

                            2xLtd LP Info: Double green vinyl + download.

                            Alt-R&B / wonky-soul duo Electric Wire Hustle get the refix treatment on this Somethinksounds four tracker. Yoruba Soul, aka Osunlade arrives at the studio first and gives 'By & Bye' a typically afro-spiritual overhaul - much percussion, minimal piano, EWH emotive vox. Flako is on hand to provide a tumbling Latin-jazz-dance rework of 'Bottom Line'. Seven Davis Jr does his rough, organic, analogue house thing with 'Look In The Sky' - a proper energised boost with soul. Eliphino closes proceedings with a bouncy garage remix of 'If These Are The Last Days'.

                            DJ Support Gilles Peterson, Benji B, Alexander Nut, Jamie Jones, Altern-8, A Taut Line, Ossie, dOP, Chateu Flight, Deetron, Jimpster, Reboot, Kyodai, Jim Baron (Crazy P), Bill Brewster, Severino and many more.

                            FORMAT INFORMATION

                            12" Info: Full picture sleeve.



                              THe Smiths had split, New Order were on a hiatus, it was  1989  and a dream partnership was born.  It  took two years for Johnny Marr and Bernard Sumner's debut LP to  reach fruition but it was well worth the wait. What was immediately apparent was that Johnny had put Bernard in the driving seat and although a few tracks (most notably the gorgeous lead single "Get The Message") featured his fantastic guitar playing, it was mostly understated and as a compliment to Bernard's synths and beats.  Add into the mix a Pet Shop Boys ' cameo on "Patience Of A Saint" and you have a wonderful , modern pop group  for the 90's. 

                              STAFF COMMENTS

                              Andy says: New Order meets Smiths in a marriage made in heaven. Did not disappoint!

                              The brand new (and 31st!) Album from The Fall; the First in over a year. Recorded in Manchester over The last year with Mark E Smith producing.

                              Featuring all the trademarks of a great Fall record, Sub-Lingual Tablet comprises 11 tracks and is being released on CD and limited edition vinyl.

                              The current Fall line-up is as follows: Peter Greenway, Keiron Melling, Elena Poulou, Mark E. Smith, Daren Garratt and David Spurr.

                              Known for his work on the Antinote label as DK, 45 ACP is the alias of Parisian producer Dangkhoa Chau. Having seen prior releases on Italian label, Dog in the Night Records and French label Odd Frequencies, 45 ACP has caught the attention of L.I.E.S. Records where we find him issuing his debut six track LP. Not straying too far from the expansive nature of his prior works, we get a wide spread of tracks throughout the record held together by the same sonic narrative and production expertise. Sounds ranging from the slo-mo cosmic chug of "7th Circle", to the percussive boogie leaning "Ground to Ground" or the Sakamoto-esque lush B-side opener "Hidden Garden", 45 ACP delivers start to finish proving equally effective on the dancefloor or in your headphones. Undoubtedly a producer to watch as time goes on.

                              Take Daniel Leseman's signature swing and loose arrangements, add a touch of Junktion's knack for jazzy chords and sampling, and you get Fouk. After a set of excellent solo releases on their own Outplay records and Slow Town, the duo now turn to Heist with a killer EP. The wobbling bass line of the title track might easily be a playful Dave Holland getting into his zone, which the subtle percussion variations and deep keys give "Kill Frenzy" that perfect vibe to really get a party going. "Lefty's Bar" goes a step further on the jazzy vibe, with the same loose percussion and vintage keys, a lazy horn section and a lovely twisted and turned female vocal sample filtering in and out. "Ken Sent Me" is perhaps the most straightforward track on the EP, with Rhodesy pads and a great use of tremolo to give swing to the 4/4 rhythm. Heist releases never stick around too long, so make sure you jump on this one asap.

                              Frijid Pink

                              Frijid Pink

                              Frijid Pink produced some of the most scorching blues-rock of their day, led by the song writing talents of guitarist Gary Thompson and bassist Tom Beaudry. Their breakthrough effort was their heavy, distorted guitar interpretation of "The House Of The Rising Sun", a huge hit here and in the States. Their album debut followed in 1970 and this is a unique opportunity to rediscover a band that despite fleeting forays into the Top Ten during the 1970s disappeared without ever receiving the full recognition it deserved. 



                                Hailing from the sleepy beach town of El Segundo, CA, Froth was founded in 2012 by a couple of high school friends with a shared love of music and lack of musical ability. However, while their ambitions may have been modest, the band quickly progressed from South Bay slackers to focused psych-rock songsmiths after a self-released demo and a string of solid local shows put their name on the shortlist of L.A. bands to watch. Froth’s debut LP, Patterns, was released in fall 2013 on Burger Records and Lolipop Records, and bared witness to the young group’s rapid musical growth and developing ear for composition. A shimmering mix of jangly 12-string guitars and swirling omnichord sounds, the album offers plenty of moments of pure psych-pop bliss; however, the band also flirts with a darker, driving element that they have continued to explore on subsequent releases.

                                For their sophomore album, Bleak, Froth has largely traded in the sun-soaked 60s pop of their first long-player in favor of a maximalist shoegaze sound that combines screaming guitars with muscular drumming and throbbing, nervy bass lines. The result is a mature, confident record built upon tight songwriting and carefully honed tones. Lead singer and guitarist Joo-Joo Ashworth displays an equal knack for noisy, fuzz-driven leads and economic pop hooks, while drummer Cameron Allen holds down the beat with machine-like precision and bassist Jeremy Katz infuses the album with a unique groove that has become a necessary ingredient in Froth’s signature sound. With the arrival of a new record, Froth has also introduced a second guitarist, Cole Devine. The former Cosmonauts drummer and current Black Sea front man adds to the band’s already rich textural palette, bringing his distinctive dream pop sensibility into the fold. After tirelessly touring the U.S. and sharing the stage with scene standouts like The Growlers, The Dream Syndicate, La Luz, Mr. Elevator & the Brain Hotel, Mystic Braves and many more, Froth continues to attract new fans with their infectious music and high-energy live show. Recent stints across Europe and work with fashion legend Hedi Slimane have further cemented the band’s reputation with an international audience. As always, though, Froth remains dedicated to pushing their own boundaries and exploring new sonic avenues, both on the road and in the studio. 

                                Brian Gascoigne And David Briscoe

                                PHASE IV Original Motion Picture Soundtrack

                                * Never before released in any format
                                * 12 page booklet featuring never before seen photos and conceptual art
                                * Artwork by Kilian Eng
                                * Liner notes by Sean Savage of The Academy of Motion Picture Arts and Sciences
                                * 180 gram “100% Yellow” wax to represent the toxic repellent used to fight the ant invasion

                                Never before released in any format, and what is highly regarded as a holy-grail for soundtrack enthusiasts, Waxwork Records and Paramount Pictures are honored to announce the definitive soundtrack release of the 1974 mind bending science-fiction masterpiece, PHASE IV.

                                Directed by the late, legendary poster artist and graphic designer Saul Bass, PHASE IV has gained a cult following while influencing numerous films such as Beyond The Black Rainbow. The unique, psychedelic synth-driven score is composed by Brian Gascoigne and David Briscoe, and full packaging artwork has been created by Swedish artist, Kilian Eng.

                                Waxwork Records has worked closely with the Bass family and the Academy of Motion Picture Arts and Sciences to create the ultimate PHASE IV soundtrack experience. The LP package comes complete with never before seen production and marketing photos, and unreleased conceptual art by Saul Bass that has been locked away in The Academy vaults for 40 years. Each LP package features a heavyweight Stoughton old-style tip-on gatefold jacket and a 12 page booklet with unreleased photography, liner notes from Sean Savage of The Academy, and a bonus art spread by Kilian Eng. The score has been mastered for vinyl by former White Zombie guitarist, J. Yuenger and pressed on 180 gram yellow vinyl.

                                Golden Gunn (Steve Gunn And Hiss Golden Messenger)


                                  Golden Gunn is Steve Gunn and Hiss Golden Messenger (Merge Records).

                                  This self-titled collaborative album was originally released as a limited Record Store Day title in 2013.

                                  This 2015 re-press is limited to 660 copies pressed on 140 gram silver vinyl with download card.
                                  In September 2012, songwriter and singer M.C. Taylor of Durham, North Carolina; multi-instrumentalist and recordist Scott Hirsch of Brooklyn, New York (who together helm Hiss Golden Messenger) and accomplished New York-based guitarist and songwriter Steve Gunn (recognized for his solo prowess as well as his work with both the Gunn-Truscinski Duo and GHQ), were motorvating from Raleigh to Monkton, Maryland, when they encountered Dickie. He needed an extra thirty cents and a ride as the transmission on his yellow Pontiac was gutted. He rode shotgun and told the boys his story.

                                  Originally engaged as a fanciful and casual collaboration between Hiss Golden Messenger and Steve Gunn, under the newfound artistic direction of Mr. Silk, Golden Gunn instead gradually developed into something more singular, evocative, and visionary. Trading loose concepts and recordings back and forth across state and Mason-Dixon lines, Taylor, Hirsch, and Gunn conjured these tunes in response to the rhythm tracks Dickie programmed on his antique drum machine. When they could reach him, Dickie weighed in with elliptical comments and encouragement but his flip phone was always breaking, and by the time they were ready for mixdown, he was reportedly in Malaysia.

                                  Formally speaking, the largely instrumental album includes some new selections and confections from each of the players which were then transformed through the amber BluBlockers of Dickie Silk and honed into an altogether stranger collaborative session vibe, copping feels from Silk favorites like J.J. Cale, Waylon Jennings, Boz Scaggs, and the Average White Band. Featuring additional contributions from Terry Lonergan on drums, Abigail Martin on flute, and Nora Rogers on mountain dulcimer, the resulting rig maps the scary wrong side of the country-funk tracks, exploring the odd, compass-busting entanglement of plodding old drum machines and sinuous, simmering guitars and synths.

                                  Athens Of The North keep up their relentless schedule of essential reissues with this storming release which puts two deep disco classics on 45 for the first time ever. Not only are these two blinders personal favourites of label head DJ Fryer, but also Theo Parrish who extended and upended both tracks way back when for his Ugly Edit series. GQ stood for Good Quality, and those guys weren't messing around, notching up a fair few top ten hits and a wealth of underground dancefloor bangers throughout their 70s output. From the word go, "Lies" has you hooked, boasting an irresistible bassline, scratchy guitars and hot horns, which soon lead into the melancholic organ line and lovelorn vocals. On the flip, "Is It Cool" rocks another dope bassline alongside rhythmic soulful piano and rising horns, keeping things deep and tense through the verses before bursting into life at the chorus. This release, featuring a perfect new master from Sony, cut loud and lively at the Timmion lab in Finland sees the two classics sounding better than ever. Get ready to get down!

                                  STAFF COMMENTS

                                  David says: As featured on Theo Parrish's Ugly Edit series (number 7 fact fans). This. Is. A. Bomb.

                                  Duncan Gray takes a  break from his Tici Taci imprint to drop a mother chugging four tracker of top notch synth sleaze on Andrew Weatherall's Bird Scarer. The multi-instrumentalist and the big man go way back, with Gray providing space guitar on a number of Wevvers' remixes over the years (apparently they call his guitar sound 'pink wray', arf). "Kick Intrusion" opens the EP in a swirl of circular synths, lop-sided rhythms and smooth sub bass, before the dub-chug of "Electric Razor" turns everything up to eleven and takes your head off. On the flip, "Engineer Salute" goes down the slow motion techno avenue, layering fizzing synthlines over a stomping beat, before "Now We Eat" rounds the package off in oddball kosmische fashion. This EP totally nails the ALFOS sound with a musicality and production quality which raises it well above the competition.

                                  Steve Gunn

                                  Boerum Palace

                                    Boerum Palace is Steve Gunn’s second album, originally released in 2009. The album starts off with a headlong rush into the hypnotic “Mr. Franklin”. Gunn’s fluid playing style, especially as portrayed within this track, provides ample space for the development of infectious musical themes. The track ends in a dextrous duel between Gunn’s guitar and guest Marc Orleans’ (of D. Charles Speer & the Helix, Sunburned Hand of the Man) vicious pedal steel.

                                    The album mixes Gunn’s long-form blues / raga / psych explorations alongside briefer cuts that equally display his songcraft. These tracks, such as “Variation II” and “Jadin’s Dream,” demonstrate that Gunn is equally confident with shorter or longer compositions. Gunn’s voice is joined by an ethereal turn from the Vanishing Voice’s Heidi Diehl on the album’s central and haunting “House of Knowledge.” The track opens with a building central guitar theme.

                                    This theme allows Gunn to layer on further guitar explorations. The tone set by these musical themes builds into the duo’s vocal delivery that delivers volumes despite being uttered in gentle tones. Other highlights include “Cryin’ Eyes,” an inspired reworking of J.J. Cale’s “Crying Eyes” featuring backing instrumentation from Marc Orleans, and the richly textured album finale “Mustapha’s Exit.”

                                    FORMAT INFORMATION

                                    Ltd LP Info: Third Pressing On BLUE Vinyl. Included is a free download card and insert.

                                    Another one of Acacia Records most sought after releases from 1993 and displaying K Hand's multi-faceted production talents. From the euphoric piano-led main room banger of "Not Giving Up" to the dark and gritty, booty-inspired filth of "Beat That Bitch Wit A Stick", it's all undeniably Kelli Hand and all very, very good! Also included is the "Plastic Dream" mix of "Not Giving Up" - hallucinagizing the whole shabizzle into a late night, trippy affair that chugs on and on through the session with sweaty, unashamed glee; and not to forget the "Disco Dream" version, deploying skewed piano chords against a concentric, drunkard groove and looping up to a frenzy. Finally, we get the Claude Young mix of "Deep Down 2", another foray into the joys of Detroit house with shuffled hats a plenty, eyes-down keyboard stabs, deep bass and soulful vox strewn across the mix. Lovely stuff. Some of my favourite K Hands joints al on one, jam-packed 12". Yes please!

                                    London's Hejira follow up their critically acclaimed 2013 debut album "Prayer Before Birth" with the release of a new EP entitled "Name Surname". Produced by the band themselves and mixed with a little help from Eglo boss, Floating Points, the four track EP sees the three piece push the late night melancholy of their contemporary alt-R&B / synthetic soul into diverse, disorienting sonic spaces. Intricate, intimate and stripped back, each of the four tracks on the release delivers a bold emotional message whilst maintaining a necassary restraint. 

                                    Almost two years after HNNY dropped "Mys/Kela" on Let's Play House, the NYC imprint lure him back to drop another sampledelic strut on our asses in the form of "Solsidan" and "Alby". Like the inaugural EP, this one's got two originals, the first of which is heavy on smooth, looped-up vocals with no lyrics, and the second of which takes classic house tropes and romanticizes them to an almost saccharine point. Also like the first EP, there're two remixes included in this package. First up Avalon Emerson follows killers on Icee Hot and Spring Theory with a chunky peak time rework which chops and drops the original samples around a tough house beat. Argentine producer Ana Helder follows up with a disco tinged rewire of "Alby" which rides a thick and subby bassline before arriving at the early evening dancefloor, shaking those static bodies into action.

                                    Back in stock Cover of Kime Ne - Ricardo Villalobos Versions by Insanlar.
                                    London's Honest Jon's deliver something mind expanding, other worldly and frankly fantastic here, bringing together Turkey's foremost supergroup and the master of minimal techno on a beautifully packaged double pack. Side A introduces us to the Insanlar sound with "Kime Ne", psychedelic, arabic and exotic music which fuses the organic and synthetic into a deep desert trance. The brainchild of Baris K, Cem Yildiz and Hogir, Insanlar is a modern fusion of Baldelli's cosmic sound and the psychedlic folk and disco of Erkin Koray, Derdiyoklar and a host of other musical visionaries from Istanbul's past. The expansive track sees the musician glide through frazzled solos and brain twisting drones over a stripped back machine beat before dropping into prophetic words from 16th and 17th century Turkish poets. It's simply sublime. Over on the flipside, Ricardo Villalobos delivers the first of his two mixes, upping the tempo, concocting one of those percolating rhythms he's made his own, and distilling the original ingredients into tense and terse snatches of esoteric sound which perfectly compliment his loose machine funk. On the other vinyl, Ricardo delivers his second mix, a deep and dislocated minimal techno version with all manner of sonic artefacts scattered freely throughout the course of the track. I've got a sneakying suspicion that this is gonna blow plenty of minds late on in his sets. 

                                    Weldon Irvine

                                    We Gettin' Down / The Power And The Glory

                                    Athens Of The North presents the second of two 45s from a true musical genius, Weldon Irvine. Following 'I Love You' on the boogie-based parent label, the fledgling Owl Of Athens comes with a jazzier angle. This 45 features two classic sides taken from Irvine's album 'Spirit Man', released in 1974 on RCA. Surprisingly neither tracks have been issued on 45 despite being spun on many scenes since the early 80s. 'We Gettin' Down' is a sophisticated synth and strings jazz-funk masterpiece which features a killer vocal and mucho percussion. Sublime. The flip 'The Power and the Glory' is a jazz-dance monster if the highest order. Blasting horns, a syncopated piano line and playing so exuberant it that feels like the band might fall right off the edge. Essential.

                                    Composer Kenji Kawai was chosen to recreate the futuristic cyber-punk atmosphere that emanates from the 'Ghost In The Shell' manga, into music. Assisted by the percussionist Yuhki Sugawara, Kenji Kawai reached the summit of his art by delivering captivating music, halfway between ambient electronics, traditional Japanese music and Buddhist ritual chanting. The synthetic and ethereal soundscapes, almost disturbing, blend perfectly with gongs, bells or female choirs filled with echoes. The listener is plunged into a dreamlike fable sound with a striking and evocative poetry that is reminiscent of the soundtrack of a certain Akira.

                                    Reissued for the first time on vinyl.

                                    It's fair to say Khijda's debut EP on Especial was one of the highlights of the label to date. "Mustafa" - in original form and remixed to distraction by Timothy J Fairplay - became the soundtrack for many a Summer party, while "Abdul" was perfect for those deeper late night afters. This time though (Emotional) Especial present a stand alone four track EP of original music so that Khijda's sound can be full explored. Starting with the title cut, the duo aim right for the dance floor, mixing throbbing live bass, guitar and a touch of Eastern mystic vocals that twist and rise higher and higher. This is followed by the deep dub vibes of "Aura", coming on as if the idjut Boys had relocated to Istanbul, the bass rumble and tripped out fx are overlaid with strings, xylophone and even a nice dose of (more) cowbell that is full of funk and ass-moving swing. On the flip things take a warped turn with "Indecis". It's incessant rhythm and Eastern flavour, mixed with 80s style cut up vocals, take the sounds championed by Baris K and Acid Arab to new (and bazar) heights. Finally then, the EP comes down with the beautiful Balearic grooves of "The Quiet Before The Red Stop". With a nod to their roots Khidja again forge their own journey, creating and carving out a sound of their own that is unique and at the same time compelling. Watch the skies.

                                    King Gizzard & The Lizard Wizard


                                      A band that refuse to stop on their journey to heaven knows where, King Gizzard & the Lizard Wizard release Quarters, a moment capturing 40 minute collection on Heavenly Recordings on Monday May 25th 2015.

                                      The 4 songs, each 10 minutes 10 seconds long, quickly follow their recent album I’m In Your Mind Fuzz and perhaps offer a sign post towards and beyond the band’s hazy musical horizon.

                                      The artwork for the 12” features 4 distinctive painted images, each representing the songs on the record.

                                      After the driving freakbeat of their last record, Quarters takes a sharp turn into the wispy and mellow - The River tumbles down a Brubeckian 5/4 meander right into a Leslie’d wicker counter pattern, Infinite Rise rides a groovy yawning wake-up call through the commune, God Is In The Rhythm effervesces like a prom dance when the acid starts kicking in, and Lonely Steel Sheet Flyer circles ever upward like a friendly smoke signal from a beach fire

                                      At 10 minutes apiece, the boys have plenty of room to stretch out around the songs, and they do so with loose limbs and wry smiles. Altogether it feels like it flies in on dragonfly wings, lazily basks in the sun for a bit, and follows the sunset over the horizon…no doubt to write another record.

                                      The KVB

                                      Mirror Being

                                        Berlin based duo, The KVB, recently spent a week at the Invada Bristol studios recoring their next album - which will be released towards the end of the year. In the meantime we have pressed their recent limited edition instrumental album 'Mirror Being' onto LP and CD. Mirror Being was previously only available as a cassette, exclusively from the bands website.

                                        FORMAT INFORMATION

                                        LP Info: The Invada issue LP is pressed onto Frosted Clear Vinyl (800 units) and comes with download card.

                                        Pokey Lafarge

                                        Something In The Water

                                          The dozen-song set, produced by Jimmy Sutton marks a new landmark in a career that's already filled with musical highlights.The St. Louis-based singer, songwriter, and multi-instrumentalist draws from a deep well of American musical traditions to create distinctively personal music that's timeless rather than retro, transcending the confines of genre in a manner that reflects the artist's openhearted attitude.

                                          Incorporating elements of early jazz, ragtime, country blues, Western swing, and beyond, LaFarge has created a vibrant, deeply expressive body of work that embodies an expansive musical vision and vivid storytelling sensibility that are wholly his own. He's also earned a reputation as a tireless, uniquely charismatic live performer, winning a loyal international fan base that regularly packs his rousing, celebratory live shows. 

                                          ‘Le Tigre’ was the debut studio album of American music trio Le Tigre, a band formed by Kathleen Hanna (formerly of Bikini Kill) and fanzine producer Johanna Fateman circa 1998 in New York City. It was originally released on October 26, 1999 by Wijja in the UK.

                                          After the punk sounds of riot grrl outfit Bikini Kill Hanna expanded her range, combining electronic samples and lo-fi beats for the alt-pop Le Tigre. The album combined  the band's feminist political lyrics with this new pop musical direction. Standouts include opener disco-punk dancefloor slayer 'Deceptacon' and 60s style popcorn swinger 'Hot Topic'.

                                          Now regarded as a classic, 2015 sees the album being reissued on vinyl.

                                          Le' Noiz

                                          Wanna Dance / Certainly

                                          The first release on Trax naturally came from the Jesse Saunders stable. It was an agreement between pressing plant owner Sheerman and Saunders and Vince Lawrence that led to the formation of the label. Early pressings even had a Jes Say catalogue number etched in them, though subsequent editions bear the Trax cat. no. "Wanna Dance", unusually for Trax is not really house at all, bearing far more similarities with the experimental proto-house / industrial-electro productions of On-U-Sound and the Doug Wimbish / Skip McDonald crew. Says Vince "This is built around the fact that we found out that could call the Linn drum people and order a chip and that said somethin' - we got our first sampler. When we learned that you could say shit and play it like an instrument that was a big deal then."

                                          Repressed and remastered for 2015 & featuring all original label artwork, with permission from Trax records "Wanna Dance?" is now available again to be rediscovered.


                                          Sarsfest / Blank Flag

                                            Sweltering groove oriented post-rock featuring Alex Edkins from Metz, Brian Borcherdt from Holy Fuck and Doug MacGregor from The Constantines. LIDS might seem like an unlikely pairing on individuals at first (Alex Edkins of Metz on bass and backups, Brian Borcherdt of Holy Fuck on guitar, vocals, beats and sounds and Doug MacGregor of The Constantines on drums) but the concept for LIDS has been in development in the back rooms of Toronto basement bars for over 3 years. Between hectic touring schedules, LIDS have managed to pump out one of the most original debut singles we've heard in years. If you like your jams heavy, driving and full of so much texture that they mess with the fabric of time than LIDS are a band for you.


                                            Relaxin' With Lolina

                                            Inga Copeland dons another moniker for another genre twist, this time trying out a fusion of synth-pop, future beats and alt-R&B. After initial MP3 and FLAC dispersal, 'Relaxin' With Lolina' now arrives as a super-limited three track CD EP for us physical formatters. Featuring an unnerving childlike quality on the one side (Copeland's treated vocals, nursery rhyme style lyrics) and a whole gravel load of surface noise and electronic interference on the other, 'Lolin' has an otherworldly, disorienting feel to it. 'Miss Understood' grabs dancehall riddims and fractured pop as its two ingredients, creating some weird alt-ragga-pop hybrid. Unsettling track of the week is 'Relaxx', which has no relaxing qualities at all. Creepy treated vocals and spidery, discordant piano lines, marimbas and mechanical noise make for queasy listening,

                                            Ladies and gentlemen, it's time to welcome Sweden's Dubbla Budskap into your record collections and your hearts. Their debut release, a self titled four tracker from the mysterious Lonely Behaviour delivers a diverse range of dub-tinged, disco delights for the bearded dancefloors of the Balearic world. Whether you're spacewalking to the slo-mo cosmic stomp of "Benny's Trip", skanking to "Jerry B Goofy's" electronic lilt, shaking your tailfeather to the blissful post disco of "Boogie Bengt" or swaying to the dubbed out 80s pop of "Kerstin's Night Out" with your arms flung round a lover's shoulders, you're gonna be in dancefloor heaven from the first groove to the last. Limited, luxurious sounds from the Swedish debutant. Essential for fans of Kenneth Bager, Joe's Bakery, Aficionado and Lexx.

                                            STAFF COMMENTS

                                            Patrick says: Sweden's mysterious Dubbla Budskap imprint opens its account with this killer four track of Balearic disco grooves. If you dug on the recent releases by Lexx and Foster, then this is perfect for you!

                                            FORMAT INFORMATION

                                            12" Info: 250 hand numbered copies worldwide

                                            Lord Of The Isles

                                            Ultraviolet (Original & Part 2)

                                            Scottish house genius Neil McDonald began his steady rise to the top of the game back in 2011 with this absolute belter on LA's Adult Contemporary. Out of press since then, second hand prices soared as more and more people have fallen in love with the track's stunning melodies, mindbending production and purposeful beat, rightly acknowledging it as a modern classic. Now Adult Contemporary do the honourable thing and deliver a fresh 2015 repress, replacing the slightly weaker Beat Broker dub with Neil's own rework for the B-side this time. Driven on by the hypnotic chug of a steady, snare heavy beat and percolating bass synth groove, "Ultraviolet" finds the middle ground between Todd Terje's "Ragysh" and Space Dimension Controller's "Love Quadrant", taking control of the dancefloor, but with the echo drenched synthlines of futuristic boogie. Despite the solid bottom end, the track still manages to be airy and uplifting and the combination of expansive Scando disco melody and a totally psychedelic sound palette is completely irresistible. For the eleven minute "Part Two", McDonald stretches the track out a little and strips back the leadline for a subtle journey incorporating elements of his mature forays into ambient electronics. Two killer mixes of a modern classic on one disc, who could ask for any more!


                                            Magic Dance / Pink Footpath

                                            Proper, licensed, re-master of the mega-rare Blow Up records release of the Italo masterpiece "Pink Footpath" by Loui$. Originally released in 1985, this gem has become one of the most highly sought after Italo disco tracks around. On the A-side is "Magic Dance", an emotive, male-led number with electrofunk flavour and a big play for Red Laser's Il Bosco. Alongside this, the more instrumental track "Pink Footpath" really gets the DJs drooling. With its killer analogue B-line, dreamy synths and Balearic guitar riffs, it’s easy to see why it became such an anthem at the early Ibiza parties as well as a late night favourite in Chicago and New York. There's been a couple of dodgy boots of this over the years but this new, official pressing trumps them all on quality, and finally gets the picture sleeve release it deserves. Highly recommended.

                                            Mak & Pasteman

                                            Do 4 Me / Blue Suede

                                            Return of the Mak (& Pasteman) once again, back on Lobster Boy with two bass music bangers to get your party started! The Leeds pair finally release their massive 'Do 4 Me' which has been knocking about online since winter 2014. Crisp hi hats sizzle on a driving garage rhythm, while moody, industrial metallic synths and sprightly rave keys pad out the space (halfway through the track there's even a nod to Leeds' finest LFO - listen out for some electronic bleeps). The hook is provided by a chopped up old school house diva vocal sample on repeat - cue mass singalong and a packed dancefloor. Flipside cut 'Blue Suede' fires up a jittery speed shuffle that's part footwork, part techno, part steam train, punctuated by a melancholic, echo-laden pitched down vocal.

                                            FORMAT INFORMATION

                                            12" Info: Full picture sleeve.

                                            Hailu Mergia

                                            Hailu / Yegle Nesh

                                            Despite being three decades since any new Hailu Mergia material has been released, in the past few years reissues of his old recordings have brought the Ethiopian musician back to the scene allowing a wider audience to discover his great music.

                                            The combination of African roots and western influences gave his music a unique touch which is again the strenght and charm of the two new tracks released on this 7" for Philophon. A wave of elegant melodies will weave their way into your ears while your body will be hit by the funky polyrhythmic rhythms.

                                            The songs were recorded in Berlin at Philophon's studio, run by the German drummer and producer Max Weissenfeldt (Poets of Rhythm, Whitefield Brothers, also known for his collaborations with Dan Auerbach and Dr. John).

                                            This 45rpm gem perfectly reflects the aim of the label: to put something precious on vinyl, something that will make you forget time and space and leave you alone with what really matters: awesome music.

                                            Merzbow, Mats Gustafsson, Balazs Pandi, Thurston Moore

                                            Cuts Of Guilt, Cuts Deeper

                                            How did renowned Japanese noisemaker Merzbow (aka Masami Akita), Swedish saxophonist Mats Gustafsson and Hungarian drummer Balazs Pandi follow up their majorly intense statement made on their tumultuous debut album, Cuts, which was released in 2013. By adding another ingredient to the volatile mix, in the person of skronking guitar hero and Sonic Youth founder Thurston Moore they’ve taken things up a notch or two on the Richter scale on their RareNoise Records follow-up recording. With Gustaffson’s roaring baritone sax blending with Moore’s shriekback guitar, Pandi’s intensely throbbing beats and Merzbow’s subversive white noise barrages, it all adds up to a sonic pummelling of epic proportions on the remarkable two CD-set, Cuts of Guilt, Cuts Deeper.

                                            For Cuts of Guilt, Cuts Deeper, the four kindred spirits went into the studio and came up with four extended tracks. Part 1 is comprised of the 20-minute “replaced by shame, only two left” and the 18- minute “divided by steel, falling gracefully.” Part 2 contains the dynamic 21-minute jam “too late, too sharp -- it is over” and the extreme anthem “all his teeth in hand, asking her once more.” Drummer Pandi calls it ‘mystery in sound.’ As saxophonist Gustafsson said of their purely improvised session, “We had no game plan. That usually does not work so well. It all depends on the day, the energy and of course the room. And oh boy, that room was freakin’ spectacular! It actually had a skateboard ramp! It was a truly spectacular recording. It went super-fast -- just a wall of noise-poetry with layers and perspectives changing all the time. And to have Thurston Moore in the mix just added colours, layers, energies and sound. It was a very inspired sharing with the others.” Pandi provides a bit of history on the evolution of this Cuts quartet. “There is a legendary Roskilde live recording of Sonic Youth with Mats and Masami called ‘Andre Sider Af Sonic Youth’ and as a combination of that record and my longstanding duo with Masami, the idea came to try and play a quartet. Those were the days of the last couple Sonic Youth shows in South America, around 2012.

                                            Following that, Masami, Mats and I continued to work as a trio. Meanwhile, in 2013 I got invited to join Porn for a string of gigs. Porn masterminded by Tim Moss and Bill Gould from Faith No More and for the London shows Thurston joined us on stage - it was great fun to play together. When we hung out backstage, we were talking about trying to hook up a quartet session sometime with Mats and Masami again. We already had a gig planned with the trio in London, where Thurston currently lives, so we figured the only day he is spending around that time in London is the one we had for recording the follow album up to Cuts. So he was on board immediately.” As for how this new Cuts project with Moore may differ from their first Cuts outing, Pandi remains philosophical. “From my side, I can’t really talk about differences. I don’t approach anything differently. There are no tactics, concepts, nothing. Only deep listening and playing accordingly. I learned that from Masami early on. The night of our very first show, I approached him backstage, introducing myself. As it was the first time we met, I thought we would sit down and discuss any concept he may have wanted to talk through. But when I asked him about it, he only said one word -- ‘improvisation.’ That’s how it always is with Masami. And that’s how we approached this new recording in the studio.

                                            Musicians: Merzbow (Masami Akita) : Noise Electronics
                                            Mats Gustafsson : Reeds And Live Electronics
                                            Thurston Moore : Electric Guitar
                                            Balazs Pandi : Drums

                                            Leroy 'Ace' Miller

                                            Hook Me / Sneak Previews

                                            Leroy 'Ace' Miller was born and raised in Macon, Georgia, home ground for the careers of Otis Redding, James Brown and Little Richard. After coming very close to securing his place in Macon music history back in the 80s with"Teacher”, released by the indie California label Marina Sound, he hit the studio to look for that big break again. The following year, Marina Sound boss, Ron Patton began a new label Baywest and immediately came back to Ace for two more sides. "Hook Me" is a fast paced dancefloor soul cut in the same vein as (aka 'lifts wholesale') Prince's "I Wanna Be Your Lover", but with more low fi appeal, raw passion and angling allegories. On the flipside "Sneak Previews" goes a little deeper, marrying dancefloor energy with emotive lyrics and moody melodies to keep the mind, body and soul occupied. Nowadays, Leory 'Ace' Miller is an Attorney in Macon Georgia and spends every spare minute writing and recording in his home studio.

                                            Joni Mitchell

                                            Court And Spark

                                            "Court And Spark" completed Joni Mitchell's transition from folk-singer to sophisticated rock auteur. In addition to her meticulously crafted melodies and evocative, image-rich lyrics, the songs here are breezy and immediately appealing. This is in part due to Tom Scott's L.A. Express, a sinuous jazz-based combo, but also to Mitchell's knack for pop hooks, which abound on "Court And Spark". The album's accessibility made it Mitchell's most commercially successful, yet the personal intensity and insight of her songwriting never wavers.

                                            "Help Me" was a hit single, as was "Free Man in Paris", an expansive pop frolic that is reputedly a dig at industry mogul David Geffen. Mitchell returns to the terrain of piano balladry on "The Same Situation" and "Down to You;" yet even on these, as on the excellent social satire "People's Parties", one can hear the influence of jazz on her vocal phrasing and intonations. The rock & roll romp "Raised on Robbery" and the bluesy, comic swing of "Twisted" mix things up a bit, showing the artist's increasing ability to master and manipulate any form. "Court And Spark" is one of Mitchell's finest albums, confirming her standing - at long last - as one of the most important and subtle talents of the rock era.

                                            STAFF COMMENTS

                                            Andy says: With songs as unbelievably good as "Help Me" and "Free Man In Paris", this has to be one of Joni Mitchell's most gorgeous albums. Come on: get Joniated!

                                            Joni Mitchell

                                            Ladies Of The Canyon

                                            Joni Mitchell's third release found her moving away from the wistful folk of her debut and "Clouds", branching out into the progressive pop and jazz elements that would define her best work. The bright, poppy "Big Yellow Taxi", the album's single, is here, as is her epoch-defining "Woodstock", a soulful, stirring song about the 1969 rock festival that was later covered by Crosby, Stills, Nash, and Young. But the material on "Ladies Of The Canyon" is uniformly strong, demonstrating the mature style and vision that made her one of the leading voices of the 70s.

                                            On songs like, "Conversation" and the title cut, Mitchell's lyrics begin to turn toward to the quirky, personal poetry of interior landscapes, focusing with a writer's eye on scene, detail, and the dynamics of human relationships. Her instrumental palette is broadened too, with colourful, textured arrangements that make greater use of piano, as well as strings, reeds, electric keyboards, and percussion. Some songs, like the sweet, chiming "The Circle Game", seem a bit naive, but these are counterbalanced with darker songs like "The Arrangement", a stark ballad. In all, "Ladies Of The Canyon" was Mitchell's first classic album, one that helped pave the way for its watershed successor, "Blue".

                                            FORMAT INFORMATION

                                            Ltd LP Info: 180 gram heavyweight vinyl.

                                            Back in stock Cover of Three Versions by Kassem Mosse / Simone White.
                                            In a typically bold Honest Jon's collision, chanteuse Simone White gets remixed by German techno producer Kassem Mosse over three tracks on this limited EP.

                                            Róisín Murphy follows up 2014's gorgeous Italophone EP, "Mi Senti" with her first long player in 8 years and it's well worth the agonising wait. A triumph of ambition, creativity and talent, "Hairless Toys" sees Murphy and long time collaborator Eddie Stevens take us on a catwalk stroll through a kaleidoscopic range of influences and styles without ever missing that crucial turn. Although the refined beats ensure we never stray too far from the dancefloor, the LP never comes close to losing itself in a formulaic mire, switching up tempo and groove like the most forward thinking selector. The wonky cosmic swagger of "Evil Eyes" and headturning dub-not-dub of "Uninvited Guest" bring to mind previous remixer Daniele Baldelli's classic sets, while "Gone Fishing" and "Exploitation" push sleek machine funk into the psychedelic fringes of alt pop. At the centre of the album, "Exile" offers us a moment of stoned contemplation as Róisín pulls us close into the swirling fug of hazy Americana, before she brings down the curtain with the leftfield electronica of "Hairless Toys" and "Unputdownable", a sublime album closer which updates the baroque pop of Kate Bush for a new generation. Murphy's vocals are clearer, smoother and stronger than ever, soaring and swooning over the sonically adventurous production to take us to the most dizzying heights. A strong contender for the 'end of year' lists, "Hairless Toys" is a career defining best from the astounding Róisín Murphy.

                                            FORMAT INFORMATION

                                            LP Info: 180g vinyl pressing.


                                            Mustor & Falcão

                                            The second release on FTD is also the second release of Lisbon based production trio Niagara. Although they haven’t released a record since "Ouro Oeste" dropped on Príncipe back in 2013, their signature sound has travelled through many different guises. "Mustor & Falcão" charts such experimentations during this time, from the ‘fall-over drunk’ guitars on "Falcão", to the wedding bells and released hounds on "Mustor". Garnishing praise from players such as JD Twitch, Midland, Tim Sweeny, Surgeon and Will Bankhead amongst many others, it's the head turning, uncompromising production values that set the record, and the label ahead of the pack. Psychedelic without being hippy, twisted but danceable and exotic without being clichéd, this is the very definition of right now, right now. Fans of Huntleys & Palmers, Principe, Levels, Bleep etc, take note! 

                                            Octave One

                                            Burn It Down

                                            Octave One are Lenny Burden and Lawrence Burden (with revolving members of Lynell Burden, Lorne Burden, and Lance Burden). Their recorded output has come exclusively on influential labels Tresor and their own 430 West and has very much defined the techno trends of the day. From hard edged to tripped out, futuristic to soulful, they have done it all and then some.

                                            Made using a fine collection of hardware including bits by Roland, Moog, Dave Smith Instruments and much more besides, it follows 2008’s ‘Summer On Jupiter’. Kicking off with the rooted kicks and sci-fi, slo mo techno of ‘Eighth Wonder’ the album unfolds through elastic and triumphant diva house on ‘ Jazzo / Lose Myself’, cosmic soundscaping on ‘Afterglow’ and melodically enriched grooves and funky guitar licks on ‘A Better Tomorrow (O1 Remake)’. Elsewhere there is breezy and anthemic fair with ‘Believer’, soul kissed sounds and lush pads on ‘Whatever She Wants’ and then shapeshifting, industrial tinged beats and twisted techno in the later half.

                                            Things unfold on ‘Burn It Down’ with a real sense of narrative, though, and despite being a techno album never do things grow to stern or serious. Instead the mood and tempo switches up knowingly, just like an Octave One live set, and really transports you to another place entirely in the process.

                                            Thee Oh Sees

                                            Mutilator Defeated At Last

                                            Here we have a new batch from Thee Oh Sees for your absorption - nine muscular tunes primed to pummel to. Last year’s Drop was more schizophrenic, ranging from heavy to whimsical and back - Mutilator Defeated At Last has more in common with the monolithic hugeness of Floating Coffin - with only two slight reprieves in heaviness this is a record made to be played loudly and that demands bodily sacrifice inherently.

                                            Despite the plutonium heavy feel, Thee Oh Sees continue to be omnivorous - synths and acoustic guitars expertly wind their way throughout like veins of gold through granite - any and all that stands in its way will be devoured and assimilated. This is the sound of a band doing what they do best, and it’s out on Castle Face Records.

                                            Since her last studio album "Highwire Poetry" in 2012, Karin has expanded her raw talents even further from her original electro-pop-princess persona down into darker territories. New album 'Apocalypse Pop' delivers just that; gloriously catchy rock-pop-synth tracks laced with deep personal lyrics.

                                            "I don't want forgiveness there's no-one to blame, like a moth to a flame" - 'Demons'.

                                            Karin seems to tell a story from start to finish. Every track feels like a statement and she cleverly accompanies them with a magical combination of sultry beats, buoyant drums, delicate piano, and dabbles with a touch of electronica. With titles such as "Life is Just a Dream", "Shake With The Devil", "Opium", and "Look What You've Done", the 'apocalypse' narrative is present throughout. Each track boasts solo personality going from strength to strength with every listen, teamed together they create a melodically brilliant collaboration of Karin's effortless vocals and talent.

                                            The individual and intimate nature of the tracks enables an instant connection boldly exposing Karin's torments, "she was the breath of air you needed to feel, whilst I was just the water on your wheel” - 'Stick to The Lie'. Karin stands apart from other pop artists doing her music her way, the attitude in her voice screams passion and drive yet she sings with an air of untroubled content. Technically her edgy, gothic vibes shouldn't work as a pop artist and in so many ways she isn't. But the relation between lyrics, vocals, and beats make "Apocalypse Pop" undeniably addictive.

                                            However it isn't solely Karin who makes this album a success. Her ability to melt easily with other talent creates a recipe for magic as seen on track "Hurricane", featuring renowned film maker and photographer Thomas Knights, the exploration of emotive sound meanders down the alleyways of deep dark dance.

                                            Continuing to create songs that can be released aside of an album, Karin flitters between genres throughout "Apocalypse Pop". We see a variation of different themes, from dance-synth-vibes on "Whipped Cream", to seductive, basey-rock on "Life Is Just A Dream" and progressive, animalistic, bangra influences on "Hard Liquor Man". On "Let My Love Shine", it's Karin's vocals and lyrical partnership that endeavor to carry the difference in tone from each track. Playfully experimenting with steel drums it leaves you relaxed at the end of an exclusive journey through Karin Park's mind.

                                            "Let my love shine into the blackness of your eyes, at night when you wake up and your heart is running wild, you'll be alright."

                                            Pitched somewhere between the molasses gloop of "Acid Tracks" and his more gospel moments, Pierre's Phantasy Club saw Nathaniel Pierre Jones ripping the dancefloor apart with a wicked fusion of pulsating 303 and soulful vocal. The sequencer work here is second to none, hammering you with a full array of frequencies, while the show stealing vocal sucks you in with its emotional impact, before Pierre freaks you out with a rack full of effects. For those who like to go deep into the mix, the Dub and Instrumental mixes on the flip offer two different ways to make you jack. "I'll put the bug in you it'll make you stay, I'll plant it it'll never go away". We believe you, Pierre.

                                            Pinch & Mumdance

                                            Big Slug / Lucid Dreaming

                                            "Big Slug" hits hard, no doubt - definitely not for the faint hearted! Ice-cold atmospherics set the mood in the intro, with a racing hat line to keep pace. Riko calls the track in, ready for the drop... Bang - and – in comes a seriously weighty b-line, with Riko going full blaze on the mic, dropping his calling-card war lyrics, raging in full-on slaughter mode. The track builds and ebbs, laced with paranoid sci-fi sonics throughout and Riko holding court, on great form. Deep, dark and deadly 128bpm soundclash war rhythm. Flip then for the instrumental track "Lucid Dreaming" which sees Pinch & Mumdance taking the spirit of the rave into a new direction. Pounding 126bpm beats and distorting kick drums build and release as searing hi-hats charge overhead. A voice from another world chimes in to instruct and advice, taking you into a psychotic trance.

                                            Piscean Group originally formed as part of an astrological union founding members and initial line up Sir Robert & Osunlade share. Since the group's conception, Osunlade has created an open coalition of musicians from his childhood home St Louis. As an open forum, the group has no real members and is a voice for all writers, musicians and performers alike. The non-credit of participants gives the group's identity a backseat to the sheer pleasure of the music. This debut long player is intended as a soundtrack to an, as yet, unmade film. With an open landscape and no actual movie to score, the group’s imagination was allowed to go from soft to hard groove, and throw in a few cameo performances from Osunlade and rising LA pianist Daniel Crawford. Cinematic jazz, spiritual broken beat, deep, dreamy downbeat sounds abound. This movement proves to be the start of a long musical journey. Whether a Pisces or not, this will set your mood and elevate your spirit.

                                            Robert Pollard

                                            Faulty Superheroes

                                              Neither snow nor rain nor heat nor gloom of night stays Robert Pollard from the swift completion of his latest brilliant record. Faulty Superheroes jets off Pollard's vinyl-grooved runway like the prototype for some new super-sonic power pop fighter jet, and at this point in his career is anyone surprised that the twelve tracks on his latest effort are uniformly awesome? The answer is no. Exactly no one is surprised. The biggest thing Pollard has to contend is his own miraculously consistent greatness. That he rarely if ever stumbles is some kind of marvel, and perhaps implies superpowers of his own. If you see what we did there.

                                              Faulty Superheroes has a tossed-off, effortless magnificence that the rash of indie-whatevers trailing in his wake from Bee Thousand to the present constantly strive for, and fail to achieve. The constant sense of surprise, of wonder, of discovery that you routinely find in superbly-structured instant bomp classics like "Faster The Great" is not something that can be taught, or learned, or imparted, or copied. Pollard pretty much abandoned the four-track for twenty years now and still gets tagged as "lo-fi," which is a word that makes even less sense now in the days of digital recording than it did then in the days of occasionally tape-hiss smothered coulda-shoulda- been hits. "Take Me To Yolita" in lesser hands could have been not much more than a bad one-liner stretched to fit a pop song, but Pollard reverse-engineers the titular pun to build a Kinks-like mini-epic that elevates the raw material of the song to transcendent heights. "She walks to him but that's not him." Damn. And so it goes. Are there bum notes here and there? Recording accidents-on-purpose left in like crushed empty beer cans strewn around the miniature, glimmering pop/ rock/ psych/ prog construction sites left standing in the wake of each of Faulty Superheroes' finished/unfinished songs? You betcha.

                                              The Guided By Voices aesthetic was formed and developed and continues to be improved by Pollard, which makes all the more puzzling the hand-wringing that accompanies every announcement of a so-called GBV "break-up" (or for that matter, "reunion."). "You only need one," he sings on the song of that title. As long as we have Bob, we need nothing else. And we have Bob. If you're counting your blessings, don’t forget that one. It's kinda crucial.

                                              Robert Pollard - Guitar, Vocals, Todd Tobias - Bass, Guitar, Keyboards. Kevin March – Drums. Stephen Hopkins - Bass on "What A Man". 

                                              Prinzhorn Dance School

                                              Reign / You Are The Space Invader - Shit Robot / Optimo (Espacio) Remixes

                                              Prinzhorn Dance School’s spartan sonics have often lead to some hand-wringing when trying to play out their records ‘in the club’. In the first 7 years of their existance, there was a sole club-friendly remix in their entire catalogue. It is for these reasons that we’re really stoked to announce that we now have a second. DFA veteran Shit Robot takes the track “Reign” from their imminently released third album “Home Economics” and turns it into a deep, dark floor-filler. The band’s pleading vocals dive in and out of a throbbing bassline, with new robotic percussion seamlessly blending with the band’s original bangs and clangs. The flip features that previously alluded to Optimo (Espaco) mix of You Are The Space Invader - previously only available commercially in digital form, this is the first (slightly) wider vinyl release of this classic remix. An edition of 500 hand-stamped and numbered white label copies, not to be pressed again for another 7 years or so. Probably.

                                              History Clock Magicians Psychemagik return with another couple of fresh interpretation of ye olde classics, this time with an inspired rework of Balearic / disco-not-disco favourite "This Must Be The Place" by Talking Heads. Alongside the obligatory club-friendly drums they've blended hypnotic segments of an obscure female country version and, for the breakdown, an amazing kids high school choir reminiscent of the Joubert Singers "Stand On The Word". Championed by Rob Da Bank on Radio 1 this version is getting almost as much love as their now classic Fleetwood Mac "Everywhere" remix, re-released here on the flip for those that missed it the first time around. Supported by Greg Wilson, Tom Middleton, Disco Bloodbath, Rob Da Bank, Chris Coco amongst others it reached anthemic status at all the festivals this year. Essential 12" don't sleep on this limited press!!

                                              The legendary Clarence Reid has long been a towering figure over black music for almost 50 years! Even if you're not instantly familiar with his name you have 100% heard some of the man's music... He's produced, played for, written for, and performed with, endless amounts of legendary artists in his career, he is simply put, a legend.

                                              Hand picked from TK Disco's vaults, this 1973 LP was released on TK's sister label Alston and features Reid's own unique brand of music from start to finish. Often sampled and edited by many contemporary DJ's and producers, the sounds on this obscure LP are timeless, if you dig deep soul funk or R&B and you're not down with Clarence this is the perfect place to start.

                                              "Like Running Water" is a bit of a rarity these days so it's about time the LP got a legit re-issue. Remastered and re-released with the original Alston artwork and labels, it's great to see the album back on the shelves! Don't believe what you read or hear, this re-issue has been done with Joe Stone / TK Disco's total co-operation, bringing some soul back into your lives for 2015...

                                              A new remastered edition of the wonderful ambient and experimental work by composer Terry Riley, 'A Rainbow in Curved Air'. One of the great modern musical works, Riley composed this influential piece utilising tape loop recording in 1967, performing every instrument himself.

                                              A pioneer of modern music, Riley’s all night performances of his work were ground breaking experimental events and influenced composers such as Philip Glass. Released as an album in 1969, 'A Rainbow in Curved Air' brought Riley to a wider rock audience. The British band Curved Air took their name from this work and Pete Townshend of The Who was inspired by Riley’s music to create the seminal songs 'Baba O’ Riley' and 'Won’t Get Fooled Again'. 'A Rainbow in Curved Air' remains a highly influential creation.

                                              This Esoteric Recordings reissue is remastered, fully restores all original album artwork and features a new essay.

                                              Sad Edit

                                              Sad Edit 1

                                              Cancel your summer holidays, the biggest record of the year has landed, ready to occupy all your time for the forseeable future. German producer Florian Kupfer comes totally correct with two killer edits of the smooth voiced siren of Holland-On-Sea, Sade. On the A-side, the warm tones of "I Couldn't Love You More" are given a tasteful frequency adjustment before Florian puts a stomping donk on it with his usual percussive power. Coated with the faint hiss of tape saturation, the rhythm track is certain to propel you to about an inch away from the speaker stack; in fact, you'll be prefectly placed for Sade to whisper sweet nothings in your ear. On the flipside, the summery warmth of "Shelter Me" gets a haze house remix par excellence, those slick rhodes keys and sunkissed guitar lines tracing circles around Kupfer's insistent percussion and thin film of grainy distortion. Perfect in their simplicity, these two reworks over a smooth, soulful and sexy element sorely lacking in most of the functional club tackle at the moment. Superb stuff.

                                              It's double debut time here as Berlin based DJ and producer Maurizio Schirò pops his waxen cherry on the freshly minted Basement Night Feeling Sound label, delivering two floor aimed tracks that are already rocking spots for Marcellus Pittman, John Swing and Gari Romalis. The young producer has struck upon a signature sound which sits midway between the hypnotic repetition of the Berlin mainroom and the rough soul of the Detroit basement, assembling a collage of dusty samples in a strictly Teutonic arrangement. The A-side sees SCM go in tough and uncouth on "You Still Remember", topping a rib rattling kick with the same snippets of Marlena Shaw's "Woman Of The Ghetto" you may remember (geddit?!) Blueboy working with. The crackly aesthetic, tough drums and unhinged piano come together to give this a flavour of Wu Tang gone house or DJ Nature slamming through the peak time in pure hedonism. Flip the disc for more deep and dislocated dancefloor funk courtesy of "Ehy Yo". The deep and rolling rhythm track plays host to scratchy rhythm guitar, a dexterous jazz bassline and of course those raw vocals, which cut through the mix to get you peaking! Keep your eyes peeled for the producer and the label - this is an essential debut.

                                              STAFF COMMENTS

                                              Patrick says: Two rough and dusty cuts of the deepest, dopest sampledelic Detroit styled house on fresh imprint Basement Night Feeling Sound.

                                              'For some it might be Kraftwerk, but for me, my favourite electronic pioneers are probably Australia's Severed Heads. They were so far ahead of the game that they had to invent a lot of the technology they used. Inspired, playful, never boring and always sonically brilliant they pushed at the frontiers of electronic music more than most. By the late 80s they were pursuing a slightly more polished course and made a series of records that had the potential to reach a much larger audience. Possibly because of their name they never quite managed that, but they had several big club hits; the dub versions of which crossed over into the nascent house scene. I am honoured that I am able to make the dubs of those three 12"s from 1988 - 1990 available again. On side A is “Greater Reward (Dub)” which has possibly thee most beautiful piano in the history of dance music. Often sampled but never equalled, it still brings joy to dancefloors 27 years after it was released. Severed Heads original production and mastering was so ahead of the game that it needed only the slightest re-master. The original, while perfect in every way was always tricky to DJ with as THAT piano was right at the start so if it was mixed in, it wouldn't get heard until much later in the track. I've slightly rearranged it for DJ use but haven't added anything whatsoever. Side A also includes the majestic original. On the AA side. “Big Car (Crash Dub)” is a masterclass in how to make a track that chugs that is tedium free. At the time it had possibly the heaviest kick drum I'd ever heard and was akin to a mutant cousin of one of David Morales legendary Red Zone house dubs. “All Saints Day (Saints Day Dub)” rounds off the EP with future looking sound design, hypno bass and trademark Severed Heads edit magic.' - JD Twitch

                                              For me, the most exciting Optimo Trax record we've had in, and there's been plenty! Anyone with a penchant for the darker, more seedier side of dance music needs to check out these bombs. "All Saints Day" was a huge Jamal Moss number in his live sets (and on his Medussa series). The piano power edit of "Greater Reward" is pure hi-energy rave bliss with those strong late 80s drums riding true while "Big Car" should rock any retro-tinged 'Balearic Beat' dancefloor with its bright, feel good production values. Four absolute killers, make no mistake. Recommended.

                                              STAFF COMMENTS

                                              Matt says: "Greater Reward" and "All Saints Day" are possibly two of the biggest, yet little known mainroomers of all time! New beat meets early house in pre-1990 Australia! Madness but so, so good.

                                              Broken beat legend Domu makes a triumphant return this week, donning his Sonar's Ghost moniker for a bass heavy future funk odyssey on 2000Black. The Bedford producer opens the EP with "Where Was I?" a space aged soundscape of machine gun snares, filtered keys and laser fx underpinned by a tidal wave of a bassline, sweeping all before it into the heart of the dancefloor. On the flip, "Cannes", delivers a fast paced shuffle through the whole gamut of urban dance styles, working jungle, juke and footwork into one madcapped hybrid of chipmunk vocals, scattered percussion, synth bleeps and powerhouse subs. "Who Loves You?" takes a stripped back approach, rigging wall shaking bass to a killer footwork rhythm and blowing the floor apart. After plenty of abortive attempts, the uplifting organ line eventually bursts through at the final, delivering a hands in the air conclusion to proceedings.

                                              Dele Sosimi

                                              You No Fit Touch Am

                                              Wah Wah 45s are very proud to present the first full-length album in almost a decade from vocalist, keyboard player, Fela Kuti collaborator and afro-beat legend, Dele Sosimi!

                                              'You No Fit Touch Am' represents where Dele is today - something of an untouchable force in the music scene that he has always been such a vital part of. The title is an uncompromising message that this man means business, and with his mammoth afro-beat orchestra on board that is definitely the case. Recorded at the Fish Market Studios in North-West London by Benedic Lamdin (AKA Nostalgia 77) the album provides a musical representation of Dele's strong socio-political opinions, as well as delivering classic song-writing that could have come straight out of 1970s Lagos!

                                              Born in Hackney, East London, but brought up in his parents' native Nigeria from the age of four, Dele Sosimi was schooled and raised in Fela Anikulapo Kuti's shadow at the height of the 70s afro-beat explosion. Having been chosen by Fela to join his band at somewhat of a tender age, he was still a young man when sharing Fela's Glastonbury stage in 1984, and became both musical director for both Fela's Egypt 80 and Femi Kuti's Positive Force.

                                              After Fela's passing in 1997, Dele went on to concentrate on his own solo career and, with diligent patience, carved out his own afrobeat crown. In London, where he now resides, his Afrobeat Vibration all-nighters are charged with his passion, labours and his unrelenting spirit.

                                              Following on from his first two studio albums, 'Turbulent Times' and 'Identity', this third long-player is sure to cement Dele Sosimi's position as a major player within afro-beat and beyond!

                                              Summer Camp

                                              Bad Love

                                                ‘Bad Love’, Summer Camp’s third album, is set in the same spooked domestic terrain in which they made their name back in 2009.

                                                With this album, they set about refining what they do best: those heart-racing heavily distorted guitars, battered synths that sparkle like dirty tinsel, the nostalgia triggered by a pastel sky.

                                                FORMAT INFORMATION

                                                Ltd LP Info: Limited version, exclusive to independent retailers includes a 25-page zine called ‘Drive Past My House’ featuring some of Summer Camp’s favourite comics artists, writers and other talented friends. With stories, comics and poems from Joe Dunthorne (author of ‘Submarine’), Charlie Lyne (director of ‘Beyond Clueless’), Emmy The Great, John Allison and others. 300 copies only.

                                                Summer Camp

                                                Bad Love

                                                  ‘Bad Love’ is the title track of Summer Camp’s third album.

                                                  ‘Bad Love’ the album is the band’s most cohesive work to date, from the dreamy krautrock of ‘Drive Past My House’, the sparkly pop and ‘better off without you’ snarl of the title track ‘Bad Love’, the catchy and addictive ‘You’re Gone,’ to the scuzzedup and angsty pop melodies of ‘Horizon’.

                                                  ‘Bad Love’ the single encapsulates the essence of a young and fraught relationship, filtered through the nostalgic haze of a classic American teen movie.

                                                  Tender Prey

                                                  Organ Calzone

                                                    The latest long playing release to emerge from Jane Weaver’s fertile Bird Records (via Finders Keepers) comes from tantrumpop superhero and longterm spar Tender Prey, personally known amongst Cardiff watering holes and DIY studios as Laura Bryon or Le B.

                                                    This long anticipated feature length offering, entitled ‘Organ Calzone’, captures the inimitable drummy saccharine tinged pow-wow punk heard at her celebrated live shows (including repeat invites to Festival No 6 and Green Man) thanks to the recordings skills of Steven ‘Sweet Baboo’ Black and the unanimous gushing encouragement of virtually anyone who meets her.

                                                    As the latest enfant terrible to come out of the Welsh capital’s intertwined dysfunctional family tree Laura has racked up countless road miles on tour with bezzy mates H.Hawkline and Cate Le Bon (another Bird school alumni) whilst filling secret diary pages with warm-ups for Chicago’s Ezra Furman and as support-act-in-residence for Jane Weaver. However, where others might nurse post-tour hangovers dissolving Beroccas, Laura’s recent anti-downtime has been spent constructing further walls of noise to the beat of Miss Emma Daman Thomas (drummer in Islet) and layering her own breed of distorted guitar, close enough chord changes and affectionate sarcastic sweetness all of which form the this collection of vari-speed compositions.

                                                    Comparisons to DC femme-punk band Slant 6 and specific permutations of Thee Headcoatees will crumble under the Laura’s very unique personality, which in another era would warrant her own French comic strip.

                                                    As well as repeat radio sessions for 6Music and double-thumbs from Marc Riley, Laura will be spreading her music over various formats sharing vinyl sides with Jane Weaver’s latest single while presenting special editions of the LP on vintage reclaimed compact cassette (with free Rorschach psychiatrist cards) and digital download.

                                                    Our hero, Jo Tongo was born and raised in Douala Cameroon. In 1964 he headed off to Paris to begin Pharmaceutical studies. Somewhere along the way the music in his soul eventually won out and he embarked on a life of music. In 1968 his first single "Dig It Babe" released under his Jojo L'Explosif alias. A few more singles followed, as did regular appearances, contributions and productions with (fellow Camerounian) Manu Dibango, Tala AM, Manfred Ebanda and others throughout the 70s.

                                                    In 1977 the stars in Jo's timeline all aligned when he produced and recorded his debut self titled "Jo Tongo" for the Fiesta label. Recorded in both French and his native Duala language, it is a perfect example of 70s funk meeting afrobeat with African folk styles and flavors. Produced with legendary Parisian funk / disco / afro soundman Slim Pezin the album oozes style, quality, fine musicianship and is full of instantly memorable songs.

                                                    The album opens up with stunningly catchy "Jangolo". It's a perfect introduction to Jo's awesomely funky bass guitar. Slim adds layers of percussive "jangly" guitar and the track is underpinned by African drums, funky stabs and 70s nascent synthesiser string machines. Tracks such as a "Kiele" and "Boso Bongo" highlight Jo's Cameroonian roots. While dancefloor stompers such as "Piani" and "A'Muna" sounds more relavent and current today than possibly they did in 1977. The album also includes plenty of swagger with the boogie-style afro swingers "Ewande" and "Muasa Loko".

                                                    The "Jangolo" track was a highlight of the recent Africa Seven debut release "African Airways Volume 1: (Funk Connection 1972-1979). To Follow that up Africa Seven are proud to repress the debut Jo Tongo album in its full glory.

                                                    Jo now spends his time between Paris and New York. He is a social media and Internet wizard (buzz him up!) and is currently working on new material.

                                                    Jeanie Tracy

                                                    Can I Come Over And Play With You Tonight / Hot (For Your Love)

                                                    As the Athens Of The North onslaught continues,  Jeanie Tracy's rarest and best 12" release has been re-mastered and resized down into a perfectly formed soul 45. Produced by the late, great Harvey Fuqua, "Can I Come Over And Play With You Tonight" almost ended up on Marvin Gaye's "Sexual Healing" LP, but Jeanie wanted to keep it for her next single, trusting its quality and class to shine through and hit the charts. Sadly, the cloth eared masses ignored the cut and slipped through the net, falling into near obscurity. Thankfully, DJ Fryer has served up this superb reissue to bring the joyful, bold and buoyant boogie sound to the masses, enriching many a dancefloor experience for a long time to come. On the flip "Hot" a pumping erotic boogie banger with backing from "The Play Boys"....Maurice Mo Long, Michael Brown, Herman Harper Jr. Solid and tight. What a package!

                                                    Jeanie Tracy

                                                    Making New Friends / Trippin' On The Sounds

                                                    Athens of the North hit us with some proper Jeanie Tracy magic here, serving up a sweet reissue of her first and finest single "Making New Friends". Cut for Marvin Holmes' Oakland-based Brown Door Records around 1975, this blinder was to become a rare groove and northern soul anthem of the highest order, keeping demand so consistent that this record has rarely dipped below the $1000 mark. What has generally been overlooked though is that the flip "Trippin' On The Sounds" is a huge deep funk spin in desperate need of major club spins. Remastered at Timmion for world beating sound, this reissue is the real deal!

                                                    Tuxedo is Mayer Hawthorne (Aquarius) and Jake One (Taurus). They are descendants of the one-word moniker family of funk, where you will find such groups as Chic, Change, Loose Ends, Shalamar and Zapp. Tuxedo emerged last year with three tracks of smooth, synth-heavy disco-boogie / electro-funk accompanied by no information about the group except a greeting: “Tuxedo is here! Stay classy.” Multi-platinum recording artist Pitbull loved the tracks so much he used one of them on his album 'Global Warming: Meltdown'.The duo is excited to release the upcoming album on Stones Throw Records, which also marks Mayer’s return to the label since the release of his debut 'A Strange Arrangement' in 2009.

                                                    On Multi-Love, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy, humid longing, loss, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II, Multi-Love takes on the complications of being together.

                                                    Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.

                                                    “It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”

                                                    STAFF COMMENTS

                                                    Andy says: Better bottom-end for the funky psych-groovers. Their last album was well loved here, looks like this is gonna top it!

                                                    Unknown Mortal Orchestra

                                                    Multi-Love - Deluxe Bundle Edition

                                                      On Multi-Love, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy, humid longing, loss, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II, Multi-Love takes on the complications of being together.

                                                      Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights. 

                                                      “It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”

                                                      FORMAT INFORMATION

                                                      2xLtd LP Info: This is the pink vinyl LP plus a 2 track exclusive 12” tracks, limited to 400 copies.

                                                      The Vaccines

                                                      English Graffiti

                                                        Third album on Columbia Records from 'The Vaccines' & the follow up to the #1 album "Come of Age". Produced by The Vaccines alongside Dave Fridmann (Flaming Lips, Tame Impala, MGMT) & Cole MGN (Beck).

                                                        Standard LP Vinyl and CD are 11 tracks and include recent single "Handsome" and current single "Dream Lover". 

                                                        The Vaccines

                                                        English Graffiti - Deluxe Edition

                                                          Third album on Columbia Records from 'The Vaccines' & the follow up to the #1 album "Come of Age". Produced by The Vaccines alongside Dave Fridmann (Flaming Lips, Tame Impala, MGMT) & Cole MGN (Beck).

                                                          The deluxe edition includes a second disc of seven mixes/edits.

                                                          FORMAT INFORMATION

                                                          2xLtd LP Info: Individually numbered heavyweight double LP Vinyl (one black, one white) is very limited!

                                                          next 100

                                                          Just In

                                                          71 NEW ITEMS

                                                          Latest Pre-Sales

                                                          196 NEW ITEMS

                                                          RT @Tim_Burgess: Updated. Now with added Texas & Mexico City
                                                          Fri 29th - 9:46
                                                          Be (Garth Be) new LP has been pressed and is being shipped from pressing plant next week! Pre-order here:
                                                          Fri 29th - 3:22
                                                          RT @danwain21: First record out under my own name for pre-sale at @PiccadillyRecs :) Over the moon :) xxx
                                                          Fri 29th - 11:44
                                                          A message from @PiccadillyRecs STORAGE DEPOT: Instore collectors, can you collect your orders please - we've run out of space!
                                                          Fri 29th - 11:43
                                                          RT @FV_records: 'Ain't Gonna Hush' @BBC6Music comp of the week available @RoughTrade @risebristol @PiccadillyRecs @SisterRayStore http://t.…
                                                          Thu 28th - 10:06
                                                          E-newsletter —
                                                          Sign up
                                                          Back to top