MAGIC MIX

ALL GENRES

WEEK STARTING 29 Jun

After a killer vinyl debut on Piccadilly favourites Aficionado and a serious sophomore release on Music For Dreams, A Vision Of Panorama returns on his own Mellophonia imprint with six coastal grooves for summer moods. "Floral Rhythm" opens the set with blossoming keys, lilting rhythms and a bouyant bassline, overpowering your senses with the lush atmosphere of tropical horticulture. "Seaside Tune" sees the producer slow the tempo and indulge in a spot of diasporic downbeat, layering the yearning chord progression with a combination of Chinese and Caribbean melodies. Closing the A-side out with the dancefloor in mind, Mikhail delivers "Blues 909", a head nodding fusion of compass point instrumentation and pitched down proto house that'll loosen the early doors crowd up no problems before "Heartbeat" takes the night to its next level. A solid beat underpins layer after layer of killer melody played on xylophone, marimba, guitar and arp, while the irresistible Burrell-esque bassline moves those hips like an orthopaedic surgeon. "Message From Library" follows on with the leftfield funk and steady backbeat you'd expect of a KPM classic, marrying stargazing vocoder with cinematic strings, before the stunning "Mosaic Xylos" closes the set out. As beautiful as its name, this Balearic dream brings to mind "C'est La Oate" and "TV Scene" with its sunkissed groove and future primitive instrumentation. Classy, cool and refreshing, this EP is the perfect soundtrack for summer, and yet another essential release from A Vision Of Panorama.

After delivering a superb secret weapon with their debut 10" just over a year ago, Above Machined return with another essential selection for the refined disc jockey. The heavyweight platter gets going with A Side cut "Bad Runner", a Nicola Bruni rewire featuring Luca Cacciatore on sax. It's an irresistible Mediterranean groove, which is far more dirty cocktails & dark corner deals than it is vest and linen slacks - think Don Carlos meets the Vincent Montana Orchestra and your on the right track. On the flip we're treated to the dazzling slo-mo "Communication Breakdown" where Twisted Tongue takes on a Library rarity and transforms it into a Balearic masterpiece, pushing the cosmic synths and funked out bassline deep into the dubspace, where the swelling sounds just wash over us wave after wave. Another sublime release, wearing that Above Machine stamp of quality all over it.


Action Swingers

Quit While You're Head

    Back in 1989, the Action Swingers burst onto the NY underground music scene with one of the nastiest, snottiest, pissed-off 7-inch releases of all time. Written in fifteen minutes, rehearsed only once and recorded for $100, “Kicked in the Head” b/w “Bum My Trip” was an immediate slap in the face of garage punk fury. The band was the brainchild of singer / guitarist / songwriter Ned Hayden, who had previously played in the Nightmares and Pontiac Brothers. Backing him on their debut single was Julie Cafritz (Pussy Galore) on guitar and Johan Kugelburg on drums. The combination of Hayden’s bile-spewing vocals, the cavernous, fuzzed-out guitars and the trashcan drums made their debut single an immediate classic.

    Shortly after it was released, Kugelburg was relived of drum duties and replaced by J Mascis (Dinosaur Jr, Deep Wound), who was then replaced by Don Fleming, who played drums on the band’s follow-up single “Fear of a Fucked Up Planet.” For the better part of the ’90s, the band continued to record and release a slew of incredible albums and singles on various labels and became a revolving door for East Coast musicians. In addition to those named above, the Action Swingers featured Bob Bert (Sonic Youth, Pussy Galore), Pete Shore (Unsane, Boss Hog), Howie Pyro (Blessed, D Generation) and Bruce Bennett (A Bones), to name a few. The band toured Europe extensively where they gained a loyal following, particularly in the UK where they received much airplay from John Peel and written praise from Everett True in NME.

    In 1994, Caroline Records issued a CD compiling the band’s first two singles with unreleased recordings from around the same period. Hilariously titled Quit While You’re Ahead by Hayden, this collection served as a nice reminder of just how brutal and raw the band was in the beginning. Previously unreleased tracks like “Miserable Life” and “Losing My Cool” are every bit as vitriolic and pulverizing as the tracks they had chosen to release. In The Red is now happy as a pig in shit to give this collection its first ever vinyl release. This is uneasy listening at its finest.

    Ryan Adams

    Live At Carnegie Hall - 6LP Box Set Edition

      Live at Carnegie Hall was recorded over two nights at the historic Carnegie Hall in New York, NY on November 15th and 17th, 2014.

      Limited box set that contains six vinyl LPs. 2015 live release from the critically adored singer/songwriter. Live At Carnegie Hall features 42 career-spanning live tracks from two special performances at New York's legendary Carnegie Hall on November 15 and 17 2014. The set list includes fan favorites like 'New York, New York' as well as cuts from his most recent Grammy nominated eponymous album like 'Gimme Something Good'. Includes live performances of two new previously unreleased songs - 'This Is Where We Meet In My Mind' and 'How Much Light'. 

      Aziz Ansari

      Dangerously Delicious

        Actor, comedian, friend of the label Aziz Ansari (of Parks and Rec fame) has visited Third Man a handful of times, even gracing us with a surprise live set back in 2013. For years we’ve been working hard to find something to release together and his second Comedy Central stand-up special, Dangerously Delicious, which was originally released in 2012, contains so many great moments (50 Cent's 1st grapefruit experience, anyone?), it just needs to be pressed into wax. So, here we've done it! Put the needle in the groove and let the good times roll, friends.

        Co-released with Comedy Central.

        Art Of Tones

        The Rainbow Song - Inc. S3A Remix

        There's no stopping Ludovic Llorca! After having several successful releases out on labels like We Play House, Shadeleaf and House Of Disco, Art Of Tones returns to the Local Talk family "'The Rainbow Song". If you've come across Art Of Tones before you know what's in store for you, and "The Rainbow Song" delivers all the signatures of a great Art Of Tones track. Uplifting with a tight groove, a strong vocal hook and well crafted jazz-like rhodes chords, it's guaranteed dancefloor dynamite.  Remix duties fall to one of Paris' finest purveyors of high quality underground electronic music, S3A aka Max Fader. Max showcases his deep seated love for disco and house and has created a version that celebrates both, while aiming straight for your hips. Taking a slowed down sample from Musique's "In The Bush" as his starting point, the producer carefully layers elements of the original to take the track in a  different but no less powerful direction.


        Bringing together Bardo Pond’s three exclusive Record Store Day EPs from the last three years in one, 3xCD package.

        "Specialising in lengthy abstractions, these wigged out Pennsylvanians do sprawling space rock" Q.

        "Reliably transportative swathes of feedback-drenched psychedelica. Bardo Pond's genius lies in the collision of contrasts" Sunday Times. 


        Bardo Pond’ first Record Store Day EP ‘Rise Above It All’ was a breath of fresh air. Their explosive interpretations of Funkadelic's, ‘Maggot Brain and Pharoah Sanders' ‘The Creator Has a Master Plan’ are epic performance pieces, taking the listener through a range of emotions as the band explore their innermost creativity. "These tracks represent the apex of sublimity for us” explains Michael Gibbons, “They are archetypes for our way of making music. They both offer the listener a mainline to an emotional epiphany that can only be experienced through listening to these very songs. Through seemingly minimal means, gut wrenching tones and glorious repetition, a gateway opens, endorphins are released, illumination is attained.

        With their humble ethos stunningly executed, RSD 2014 brought the second in what naturally started to look like a series. ‘Looking for Another Place’ was a continuation of their exploration and interpretations, this time they turned their attention to 'Ride Into The Sun' by the Velvet Underground and 'Here Come The Warm Jets' by Brian Eno. The results are astounding.

        The final instalment (RSD 2015) ‘Is There a Heaven?’ closes the series. Bryan Ferry's 'In Every Dream Home A Heartache' and Albert Ayler's 'Music Is the Healing Force of the Universe' are the subject of Bardo Pond’s feedback drenched, heartfelt and considered attention. Loosely formed in 1989 by guitar wielding art student siblings, Michael and John Gibbons, Bardo Pond became a reality in 1991 with the addition of vocalist and flautist, Isobel Sollenberger, bassist, Clint Takeda and drummer, Joe Culver (replaced in 1999 by trainee librarian, Ed Farnsworth). Bardo Pond are the flagship band of Philly's "Psychedelphia" space rock movement, which also included the likes of Aspera, Asteroid No. 4, the Azusa Plane, and tangentially the Lilys. 

        The LTX arm of the Local Talk mafia returns with a killer 12" from UK producer Black Fan. It's a new name to many, but this exciting producer has a house music heritage, DJ pedigree and record collection matched by very few. After a long history of DJing and promoting that goes back to to the late 80s he took a brake from the scene in 2008. But like anyone who is house, he never truly left it. One night a little while ago, whilst staring at a wall of records and fighting the urge to get down all night in a sweaty little basement, he came to terms that it's just in his bones. He dusted off an old drum machine, started to make some music, and there the Black Fan alias was born. On his Local Talk debut Black Fan goes dark and gritty with a deep warehouse feel. The opening track "In The Water" delivers on all points if you've got a weak spot for deep analog layered house with a Baby Ford(ish) aura. The second track "Dancing Together" is a simple but effective 90's house routine that will bring out the raver in you. The last and final track "J2015" takes us back to those warehouse days when all that mattered was a raw house beat over some nasty electronic sounds. Black Fan is back even though he never really left!

        Black

        Stay Shape, Make Some Love

        Holy Shit!!!  The third release on Tiago's Outerzona13 imprint is in store and ready to lay waste to dancefloors all over the globe! Black's debut was one of the stand out 12"s of last year, so this highly anticipated follow up couldn't come soon enough! Edits? Yes, but out of the ordinary, and out of this world! We get straight into the pudding on the A1, as Black pulls out the Ron Hardy approved "Living Together" by Michael Jackson and brings the disco funk odyssey right up to date. Boasting the same raw, raucous and soulful feeling as Theo's "Get On Down" edit, "Good Time" skips between euphoric vocal passages, deep disco grooves and spine tingling, all treble guitar licks. This is already the best edit record of the last 12 months and we're only one track in! The quality stays sky high as we move on to the A2 with Black working his magic on Brenda Harris' deep disco nugget "Making Love Will Keep You Fit". The bouncy bassline and savage clav weave a spell around clattering percussion while the raw wah guitar takes a back seat, popping up every now and again to funk you up. Brenda's sassy, sultry and sexy vocals get you peaking from the first stanza, before settling into many a moan over the serious instrumental grooves. Flip the disc, don your spacesuit and prepare to blast off into a distant jazz-funk galaxy as Black trips us out to the sounds of "Macho Macho". Setting the dial to a stately 105bpm, the producer utilises a devastating bassline to lull us into his hypnotic groove, before blowing our mind with a swirling cycle of sultry vocals, swooning strings, jazzy brass and Hardy-esque FX abuse. Sublime from start to finish, Black's second EP on Outerzona13 is as good as it gets!


        Bonafide

        Issue 10 - 90s Rap

          Featuring a very special double cover of 2Pac and De La Soul, issue 10 also sees a change to a larger format. Our ‘90s rap special is an ode to the decade that went from the Golden Era to being independent as f*ck. Embracing the aesthetic of the 90s, issue 10 features a dual cover; the front an iconic shot of 2Pac in all his provocative glory, the back De La Soul dwarfed by a backdrop of the Big Apple.

          Issue 10 features:

          • 2Pac
          • Big L
          • De La Soul
          • Black Star
          • Raekwon
          • Pharoahe Monch
          • Blak Twang
          • DJ Muggs
          • Souls of Mischief
          • Periods in Rhyme – illustrations by Anna Higgie, Dan Lish & Zander Gregson
          • Industry Insider – Deal Real Records
          • 10 x 10 – DJ Semtex, Jehst, Peanut Butter Wolf and more pick their favourite albums from the decade
          • Printed Matter – Finest Ego and Rap Pages Art Director Brent Rollins and HHC Editor Andy Cowan on the role of rap magazines
          • It’s a Rap – Jordan Ferguson investigates a purple patch for hip-hop in film

          Texan soul singer Leon Bridges releases his debut album 'Coming Home' on Columbia Records. Produced by Austin Jenkins and Josh Block of White Denim, the album features the previously released tracks 'Better Man', 'Coming Home' and 'Lisa Sawyer'. Inspired by 60s soul sounds, and specifically the legendary Sam Cooke, Bridges pays homage to the the classic era of soul. One for fans of Truth & Soul, Daptone, Amy Winehouse, Aloe Blacc etc.

          Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences.

          The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album.

          The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole. 

          Captain Beefheart & His Magic Band

          Mirror Man Sessions

            When Captain Beefheart went into the studio in late 1967 to record the follow-up to their debut album 'Safe As Milk' which had been released earlier that year, it was with the intention of producing a double album. Three of the tracks they recorded were long, psychedelic blues jams. These were intended to fill one of the set's two LPs.

            This concept, however, was at some point abandoned, and many of the tracks from the sessions were left unfinished and without any vocals. A number of the abandoned tracks were re-recorded in 1968, and released as 'Strictly Personal'.

            The original session tapes, however, remained the property of Buddha Records, who released them under the title 'Mirror Man' in 1971. In 1999, Buddha Records issued an expanded version of the album entitled 'The Mirror Man Sessions', which features five additional tracks taken from the abandoned tapes.

            Music On Vinyl is proud to pay homage to the late Don Van Vliet by re-releasing these 'Mirror Man Sessions' as a double album on 180g audiophile vinyl.

            The French pianist, composer and arranger Christophe Chassol specialises in ‘ultrascore’ - a performance fusing and harmonising stunning visuals and rhythmic motifs into a filmic / musical whole.

            “Big Sun”, the third work of a trilogy, was inspired by a visit to Martinique in the French West Indies, the birthplace of his family.

            Critics have described Chassol as a “rare artist, an adventurer of his time” and “an eclectic genius”. He's also recorded sessions for Gilles Peterson, who is a big fan.

            Jay Chattaway

            Maniac Cop 2

              "We are thrilled to present Jay Chattaway's chilling, pulsing score to 'Maniac Cop 2' on vinyl for the first time ever. Years after our release of Chattaway's soundtrack to 'Maniac', we are honored to add another of his scores to our growing discography. This superior sequel is one of our favourite horror films of all time, and we are excited to pay tribute this film nearly 25 years later. " - Mondo

              This limited edition, one time pressing also features the infamous Maniac Cop Rap.

              The Chemical Brothers

              Electronic Battle Weapon 11

              The Chems are back in the house and back on the turntable ready to wage war on your senses with this first release from their forthcoming tenth LP (counting their "Hanna OST" of course). "Sometimes I Feel So Deserted" sees Tom and Ed transform a soulful NYC garage house bomb into an all out festival banger, supercharging Big Moses' "Brighter Days" with raucous breaks, chunky loops and distorted synths. It might just be their biggest, baddest and hardest hitter since "Block Rockin' Beats" - massive!

              It’s a unique band that finds itself cherished as bona fide legends of new wave and neo-psychedelia while remaining a virtual enigma to the world that knows its name. But maybe that's no more remarkable than the mystery that continues to unfold within its own ranks.

              At this stage of the journey. brand new album FURTHER/DEEPER seems both unimaginable and the only option on their endless quest from chaos to resolution. It's an album of breathtaking new vistas and intense emotions. of sinister black caskets and gorgeous caverns of light. a work born of immense struggle and effortless expression.

              "The magic started on day one." says singer and bass player Steve Kilbey. "Someone strummed a chord or struck a drum or plucked a note and we were off. We wrote and recorded like demons and it was inspiring to feel every member using all his resources in the service of this record."

              On the subject of creation let’s not forget that Mike Joyce. Andy Rourke and Johnny Marr were inspired to form The Smiths after seeing The Church play at Leadmill Sheffield in 1982!

              Twenty-six songs for FURTHER/DEEPER born over eight days of exploration in Sydney in late 2013. Guitarist Peter Koppes. recalibrating his personal canvas in the absence of his long-time foil Marty Willson-Piper. drew palpable inspiration from the quartet's remixed chemistry."This new incarnation of the band with Ian Haug has brought a joyous energy to the music we've written together." he says. "The rhythm swings more than usual yet the moods still range from melancholy pop to our modern version of heavy psychedelic rock. as in Laurel Canyon. to the epic gothic-progressive dance track. Globe Spinning."

              From the ominous allure of the lead track. ‘Vanishing Man’. to the beguiling tippy toes of ‘Pride Before A Fall’ the chiming keys of ‘Love Philtre’ to the sheer hammer horror ‘Toy Head’ the exhilarating breeze of ‘Old Coast Road’ and the ultimate. panoramic drama of the mini-screenplay that is ‘Miami’. FURTHER/ DEEPER delivers on the promise of its title in a combined blossoming of melody. rhythm and audacity.

              For Haug. transitioning from the multi-platinum ashes of Powderfinger to join "one of my favourite bands of all time” was an utterly surreal experience. audibly expressed in fantastic new dimensions of the church's fabled "guitarchitecture".

              "The first song we wrote was Miami. and from there we splintered off into several styles of surreal to intense psychedelia — and songs to make you drive fast." he says. "It was a trip. And an incredible honour to be accepted so readily into a songwriting as well as guitar-playing role."

              Drummer Tim Powles was again instrumental in the painstaking alchemy that boiled the explosion of ideas down to 12 potent pieces in the early months of 2014. a process that often saw members working simultaneously in separate studios across multiple instruments to produce a work of singular cohesion.

              "After an eternal twenty years in the church I marvel more than ever at how we've become masters of our own freedom." Powles says. "No strings attached. no view to winning a prize. How lucky are we? Or have we earned it? We've got better at it too. Or maybe it's got the better of us. It seems to devour us. Like magic."

              The Church's accidental signature tune. ‘Under The Milky Way’. is like a lighthouse on the brink of a continent forever to be discovered: 25 albums over 35 years and countless diversions that have almost destroyed them a dozen times. yet always reaffirm a mutual commitment to an uncompromising and unparalleled act of creation.

              Stelvio Cipriani

              La Polizia Ringrazia OST

              Stelvio Cipriani’s seminal soundtrack for the legendary 1972 movie La Polizia Ringrazia, directed by the great Steno who started the “poliziottesco” genre, and starring Enrico Maria Salero, and Mariangela Melato.

              Italian hard-boiled cinematic vibes on Dagored!


              FORMAT INFORMATION

              LP Info: Limited beige vinyl pressing.

              MJ Cole

              Bouldaz

              Following an inaugural release from Jonas Rathsman, Disclosure's newly minted Method White imprint returns with a club killer from one of their biggest inspirations, MJ Cole. The UKG veteran steps up and delivers a punishing bassline house cut complete with skipping hats, thunderous subs and a snapping snare. This floor-burning cut rolls on and on, driven by that slamming bassline right into the middle of the club, through a textured soundscape of pitched down vocal snippets and rattling drums. Eventually we drop into the whirpool spiral of a trippy synth breakdown, before Cole brings it all back home to smash it out the park. "Bouldaz" is as heavyweight as its namesake. 

              DFA is proud to release a long-gestating 12” single of wild interprations of Eric Copeland’s 2013 album “Joke In The Hole”. The Black Dice member received universal acclaim for the record, “Fringe though Copeland may be, this album is a serious coup for DFA—he walks the line between complete nuttiness and outright accessibility, and ends up with one of his best records to date.” (XLR8R) Starting us off is Panda Bear, who adds his trademark falsetto vocals and shuffling percussion, sweetening Eric’s black coffee beats. DFA’s own sonic collagist Larry Gus blends Eric’s mumbled vocals with bright percussion and a vocoded male choir, among many other audio dalliances. Meanwhile, Hyperdub’s Fhloston Paradigm (AKA King Britt) takes aim with his laser cannons, firing volleys at unrelenting waves of marching alien armies, before being swallowed up in a solar flare. Finally, Anthony Naples (Text Records, Trilogy Tapes) brings it back to the club with snaps, claps, and hi-hats, but it sounds like you left ‘em out in the rear window of your car on a sunny day. You know what we mean.

              Limited editon of 1000 hand-stamped and numbered copies, assembled at DFA in NYC.

              “It’s tempting to take the record’s relentless affability with a grain of salt, but Copeland seems genuinely eager to please, and Joke in the Hole really is fun to listen to.” XLR8R

              “Joke In The Hole is a step forward for Copeland, as his murky mess of clumsy samples is gradually beign transformed into actual songs.” - The Quietus”

              “...The result is music every bit as unclassifiable and singular as that on an Black Dice album, but which is characterised by the same playfulness that drives AC.” – Fact Magazine


              Cowboy Lovers is the dynamic duo, F. Pascual (Guitar / Vocals) & H. Bardisa (Drums / Vocals) from the Spanish costal town of Alicante.

              They first worked together as DJ's playing soul/rock/ punk/ garage and cosmic music around the discotheques and nightclubs / bars of their hometown, forming Cowboy Lovers in 2012. They immediately began writing their own songs and performing in venues and festivals across Spain including Microsonidos (Murcia) and Low Festival (Benidorm).

              In 2014 their good friend, Todd Parmenter (Beatings uk) introduced them to the esteemed producer, Liam Watson who took it upon himself to produce and record the band’s debut LP at his TOE RAG STUDIO in London.

              During recording sessions a sort of "Cosmic Brotherhood" was formed between the band and Watson, the latter asking COWBOY LOVERS if they would be interested in being the 1st signing to his new TOE-RAG affiliated label, LBW RECORDS. A suitable agreement was made and COWBOY LOVERS are now ready to take on the world with a refreshing blend of proto-heavy-metal-rock-and-roll, Cosmic / Acid Gypsy and discotheque influences.

              For Fans of: rock 'n' roll, heavy metal, heavy rock, psychedelia, classic rock, garage punk, punk and cosmic sounds.

              After a recent excursion on Theo Parrish's Sound Signature label these two pioneering legends of UK music return to Eglo Records for another heavyweight jaunt through broken house and boogie. Those with their finger on the pulse, and head in the bassbin for that matter, may well be aware of EP opener "Black Is Key", which has been making serious noise through the underground over the last few months. Skipping beats and a bubbling bassline hold down the rhythm section, while stabbing keys and soulful vocals hold it down in the foreground. Once we're locked in, Dego & Kaidi gradually turn up the pressure with glittering sequences and almost spiritual arps, reminding me of the finest Rotating Assembly releases. "Man Made" follows on naturally with the wonkiest funk this side of a Sound Signature release, combining a jazzy drumbox rhythm with diminished keys, G-funk sine waves and a concentric bassline that runs rings around the competition. On the flipside, the deep, boogie tinged house of "Orbiting Uhura" sees the duo taking a leaf out of the Floating Points book, delivering a full blooded hit of bass heavy, mid tempo brilliance. Jazz chords, a bubbling bassline and Roy Ayres keyboard riffing come together in a glorious union of soulful dancefloor brilliance. Closing the EP out in sunnier style, we get the skipping, broken beat beauty of "The Vault Descends", a laid back number perfect for the smokers out there. It's another stone cold classic to add to a long and rich discography. 

              The Delgados

              The Great Eastern - 180g Vinyl Edition

                In many people’s opinion, The Delgados’ magnum opus ‘The Great Eastern’ remains one of Chemikal Underground’s most significant releases.

                The Delgados’ Mercury Music Prize-nominated album is now available on vinyl for the first time in almost 15 years.

                ‘The Great Eastern’ was The Delgados third studio album, following ‘Domestiques’ in 1996 and ‘Peloton’ in 1998.

                The album was recorded by band member Paul Savage and engineer Tony Doogan in Scotland. The album was mixed by Dave Fridmann (Mercury Rev, The Flaming Lips, Mogwai) at Tarbox Road Studios.

                The end result was a resounding success: shortlisted for the Mercury Prize, The Delgados also received a Spirit Of Scotland music award , a Nordoff-Robbins Best Newcomer award and a Jockrock Tartan Cleft award for ‘The Great Eastern’.

                The album itself, named after the homeless shelter a mile or so from Chemikal Underground’s offices, was a triumphant realisation of The Delgados’ potential as songwriters and as a live act.

                Praise for ‘The Great Eastern’:

                “A masterpiece” - Q

                “The greatest songs in the history of recorded sound” - NME

                “Astonishing… stunning” - Select


                Heavyweight 180gsm vinyl limited to 500 copies. 

                The Dream Syndicate

                The Days Of Wine And Roses

                  The Dream Syndicate’s debut album, The Days Of Wine And Roses, has long been considered a cornerstone release of the early ’80s Paisley Underground scene. However, it was more influential than that, and is one of indie-rock’s essentials. The original Steve Wynn/Karl Precoda/Kendra Smith/Dennis Duck line-up took seminal ’60s rock and filtered it through more modern sounds. In fact, it was Flesh Eaters’ front man Chris D., who produced The Days Of Wine And Roses, who got it released on Slash Records—one of the premier L.A. labels of the punk rock era.

                  Despite its seminal status, The Days Of Wine And Roses has been out of print for the better part of a decade. With the rebirth of the band as a live/touring unit over the past two years, Omnivore Recordings has remastered and expanded this gem. Calling on the band’s long-time archivist Pat Thomas, the CD now contains a slew of never-before heard recordings that capture the first year of the classic Wynn / Precoda / Smith / Duck line up in all their lo-fi glory!

                  Bonus tracks from previous editions have been replaced by rehearsal tapes that capture two songs that later turned up on Medicine Show, as well as four songs that no one has ever heard, including a nearly 10-minute Krautrock inspired jam! Long-time fans have often wondered what it would have sounded like had Kendra Smith stayed in the band for a second full-length album, now we have the answer— less ’70s FM rock, and far more Marquee Moon-era Television! A revamped booklet includes new notes that describe the source of the vintage recordings—plus fresh testimonies from their peers; members of the Rain Parade, The Long Ryders, Divine Weeks, and Sonic Youth weigh in about the first time they heard The Days Of Wine And Roses. This is a reissue that is essential for both fans who’ve already collected it all before and the new kids on the block—those discovering the soundtrack of ’80s college radio for the first time. Welcome to the new Days Of Wine And Roses.

                  The Dutchess & The Duke

                  Live At Third Man Records

                    The Dutchess and the Duke have made two previous albums of wonderfully sincere, heartfelt and true songs. Their self-described “campfire punk” is equal parts beautiful boy/girl harmonies, subdued finger-picked acoustic guitar pairings and minimal percussive accoutrements. In short…it’s sublimely compelling. After a hiatus of a few years, they’re slowly creeping back into live performances and Third Man could was thrilled to host one of the first, recording the set direct-to-acetate in the relaxed, intimate setting of the Blue Room.

                    Philadelphia's Ecstatic Vision explode onto the scene with one of the most thrilling guitar driven records in a long, long time. Weaving the guitar heroics of the 70s heavy classics of UFO and Hawkwind with the rhythmic intensity of Sun Ra Arkestra and The Budos Band, Ecstatic Vision are sure to be a huge hit for fans of High On Fire and Fela alike. Massive riffs vibe seamlessly with deep rhythms to create one of the most original and best heavy psych debuts in years!

                    Recommended if you like: Hawkwind, Fuzz, Wooden Shjips, Fela Kuti, High On Fire, Goat, Boris.


                    Is It Balearic arrive at the milestone of their 40th release with label stalwart Max Essa at the helm, steering them safely through an ocean of bristling synths, wonky funk and sun-dappled bliss. "Feel The Machine" gets us off to a blistering start, as Max keeps the Balearic dancefloor moving to a proto-house rhythm boosted by driving Italo-disco sequences and off beat cowebell. "Panapoleon Dreamer" sees the producer drop down a couple of gears, employing eastern strings and exotic tones on an atmospheric new beat tip. On the flipside, "Tall Shadows Walking Home" sticks with the ethno melodies, layering oriental motifs over a mid tempo proto-house groove, while "Twenty Types Of Dusk" cuts the engines completely and leaves us floating free on a calm ocean of glistening synths and sumptuous textures.


                    Evil Acidhead

                    In The Name Of All That Is Unholy

                    Originally released in the late 1980’s on cassette only, “In The Name of All That is Unholy” is Evil Acid Head’s (aka John McBain, previously of Monster Magnet & Wellwater Conspiracy fame) long overdue reissue.

                    Fully remastered from the original recordings by McBain himself, “In The Name of All That is Unholy” is, across all 7 tracks, 4 sides of this LP, a jarring mind expansion of the third eye kind. It’s by no means a whimsy gaze; “In The Name of All That is Unholy” takes your psyche and smashes it into smithereens.

                    FORMAT INFORMATION

                    2xLP Info: Limited double LP on Green /Red vinyl. Comes with eye - searing wall poster, and CD copy of the album.

                    The Faze Action brothers released their glorious fifth studio album "Body Of One" in 2014 and to continue the celebration they have recruited some heavyweight talents to give their spin on three tracks from that album. First, Simon and Robin take on the remix duties of "Magic Touch" themselves, giving the track a dub house reboot that could be the sound track to countless sunsets this summer. Next up is a deft dub mix of the same track by Maxidiscs cohort and globe trotting DJ, Dicky Trisco. Reducing the track to its key elements, then dousing them in echo, Dicky delives a killer version that chimes with your favourite Francois K remixes on Prelude. On the flip side you'll find Balearic powerhouse Phil Mison, remixing "Echoes Of Your Mind" into an electronic, down-tempo feast with additional bass, guitar and keyboard played by the man himself. The final mix on this 12" is provided by Emotional Response curator and head honcho Stuart Leath, who adopts his Chuggy guise to deliver an organic dub mix of "Floating World", which is like Sakamoto at sunset.

                    Fufanu follow up their ‘Circus Life’ debut with a mini album of brand new material.

                    ‘Adjust To The Light’ will be released via One Little Indian.

                    “Disclosure attending Bela Lugosi’s funeral.” - Rolling Stone

                    “By far and away our favourite Icelandic act.” - Dazed & Confused

                    “A tantalising amalgamation of The Fall, Bauhaus and the weirder corners of Blur’s output.” - Q

                    “Strange, discomforting and mesmerising in equal measure.” - Line Of Best Fit

                    “Gripping to watch… Kaktus is a star.” - Evening Standard

                    Future Islands

                    The Chase / Haunted By You

                      Last March the Baltimore-based trio of William Cashion, Samuel T. Herring and Gerrit Whelmers made their groundbreaking network television debut on Letterman, and they recently debuted new single ‘The Chase’ live on the show, after being personally invited back to mark one of the chat show host’s final broadcasts before his retirement.

                      The track is released as a double A-side with another unheard song ‘Haunted By You’, which the band first performed at their recent sold out UK shows.

                      The Gories

                      Be Nice / On The Run

                        The baddest garage band from Detroit city is embarking on a 20-date campaign through the wilds of Europe and to help celebrate those live shows Third Man is proud to announce the release of their first 7” of new material in over twenty years! “Be Nice” is originally by The Nomads, featured prominently on “Back from the Grave” volume 4 compilation and is completely reclaimed by the Gories to fit in their inimitable style. “On the Run” is the first original badass Collins/Kroha composition in forever and while appearing on a streaming-only compilation a few years back is seeing its first physical release here. 

                        Fraser A Gorman arrives on our shores with a bagful of cool, funny, heartfelt and super-infectious tunes, on debut album 'Slow Gum.' Although a core member of fellow Melbourner Courtney Barnett's Milk! Records label troupe and close pals and collaborator with King Gizzard and the Lizzard Wizzard, Gorman cuts a dash entirely his own.

                        He drinks deep from the well of wayward folk contemporaries such as Bill Callahan and Cass McCombs, while also genuflecting to heroes such as Woody Guthrie and Bob Dylan. Its lackadaisical charms bely Gorman's wryly affecting way with a lyric, however, as he sings tongue in cheek couplets over gorgeous slide guitar twangs and early offbeat melodies.

                        Fraser A Gorman has achieved a great deal in the past 12 months firmly establishing himself as one of Australia’s most promising rising talents. His captivating songwriter abilities and charismatic live performances have secured his place on some of Australia’s most loved festival bills including Meredith, Falls, Queenscliff Port Fairy and Boogie. He has also supported the likes of Mark Lanegan, First Aid Kit, Tex Perkins, Gary Clarke Jr., Wanda Jackson, You Am I and Simone Felice.

                        Studio Barnhus introduced the world to HNNY back in 2011, playing host to his killer Mariah edit, so it seems right that he celebrates four years of sell-out success with another offering on the imprint. The homecoming begins with "Caypio" a sweet, sampledelic groover built out of skipping hats, intricate rhodes licks and and dreamy pads that'll have the dancefloor purring in no time. "Good" kicks off the flip with a smooth, sweet and slightly sad mid tempo number that'll grace many a warm up set and bar session this summer. Crunchy drums, swooning strings and subtle chimes combine and beguile. "Kitigai" closes the set in introspective fashion, topping a filtered beat with the heartwrenching melancholy of some Eastern strings. Beauty is everywhere, but it’s most easily found on this record.

                        Another one from the THC-soaked Vancouver shoreline. Layne Brown returns with more from the desk of H.O.D. Inc. Descend the stairs into two sides of brass and flautist celebration by the mysterious Emm Three laid atop Brown’s fixed earth rhythms. Some call House of Doors the spiritual guide of the back rooms of 524 Main Street and this release does nothing to cloud that theory! "Starcave" deploys rapid slap bass and synth brass to a droning sunshine organ while energetic drums fire on all cylinders. "Burmstar" gets two equally orgasmic mixes, the "Twin Mix" heading for the jugular with squelchy high end frequencies and bubbling low end business, candy coated with the most delicious of melodies on top- bellissimo! Finally, the "Running Flutee" mix of said track ever-so-slightly changes up the aasssthetic ma'an, for a more tropical, hazy blast of the dabs. Some say this is the summer of the flute. On the other side of the world they say this is winter. And some say this is a new 12” from Mood Hut. Shouts 2 Scent distro! Highly recommended.

                        STAFF COMMENTS

                        Matt says: Mood Hut's most bouncy, fun-loving and downright grooving release to date drops right in time for the mid-summer dances - get those skates on folks

                        The Ipanemas

                        Call Of The Gods

                          The Ipanemas fifth album ‘Call of the Gods’ is a gorgeous slice of Brazilian vintage magic and clearly invokes the spirit of their 1962 debut ‘Os Ipanemas’. Back then they forged their own unique sound by infusing bossa nova with African traditions, jazz instrumentation and the lyrical themes of Samba-Canção [sung samba].

                          ‘Call of the Gods’ exquisitely captures their self styled ‘afro-bossa’ sound of the 1960s, conjuring up that golden age Rio de Janeiro feel. The Ipanemas are a direct link to the old samba roots of the street bars in bohemian Lapa, the 1950s Copacabana jazz joints, and the emerging bossa wave – Wilson and Neco come from the source and made a sound all their own. Crucially, the album is driven throughout by the deep spiritual kick of the Afro-Brazilian religion and music Candomble, whose Gods inspire the title and so much more - as Wilson says ‘Brazilian music is religion’. This album swings with grace and pure class, thanks to the rich experience only The Ipanemas can bring.

                          Leeds finest purveyors of fine underground music and delicious pastries, Joe's Bakery, present undiscovered balearic beats, cosmic curveballs and obscure oddities from around the world on their latest outing. "Can't Explain" opens proceedings with the dancefloor in mind, treating all and sundry to the sleazy, coke-fuelled sounds of the new wave discotheque. The seductive pop vocals are right at home amid the scuzzy guitars, skewed organ and stomping beat, perfect for getting the pulse racing. The hilarious named "Mamba Gascoine" rocks our socks off with a swampy krautrock groove, driven by its low slung bassline straight into Andrew Weatherall's record bag! On the flipside, we find the Emperor Machine in full effect, going for the jugular with two killer mutant dancefloor remixes of the title track. Meecham dissects the elements of the track over a trademark zero gravity beat while adding a wonky, warped synth lead to take the track into the land of wormhole funk.


                          Joy Division

                          Closer - 2007 Remaster Edition

                            Joy Division's second album came out a year after their debut, and many consider it an even greater achievement. Whilst still messed-up, depressed and turbulent, there's a less violent and more resigned vibe here. A majestic gloom prevails and whilst the old side one would feature their trademark, twisted, scariness, a glacial, detached beauty sees the last four songs take Joy Division into the realm of the gods. These are brooding soundscapes with keyboards to the fore (the whole album has less guitars) and heartbreaking melodies. In this seamless run of four unbelievable tracks, the sorrow and emptiness is so real, so powerful, that nothing in popular music has since surpassed it. They were growing as writers and their sound had evolved. Two of the most stunning albums in the history of pop and only a year apart. A whole slew of imitators were waiting in the wings, and Joy Division were set to take on the world. We all know what happened next.

                            Joy Division

                            Unknown Pleasures - 2007 Remaster Edition

                              It's difficult to describe the jaw-dropping astonishment that came with the release of this, Joy Division's debut album, in 1979. That four Mancunian punks could create a work of such power, splendour and originality that would change pop music forever, well, a whole new genre had to be invented for them. This had the honesty and passion of punk, but this was arty, angular, literary and unique; this was definitely post-punk, but the massive impact of this record saw Joy Division quickly transcend any pigeon-holing. With singer Ian Curtis documenting fear and alienation, and the band conjuring powerful, brooding rock that featured bass as a lead instrument, dischordant guitar and churning drums and percussion, an emotive group was turned into one of the greatest of all time by Martin Hannett's beautiful production. This is bleak, heavy music, but it's also incredibly exhilarating. In Curtis's words and monotone vocals there's doom and drama, but you could never say this was an act; this is pure, naked emotion captured on tape. There's an intensity here that still shocks.

                              FORMAT INFORMATION

                              LP Info: 180g vinyl edition.

                              Pure warmth and a deephouse beauty by East German arrangement perfectionist Jan Ketel. Including a not-from-this-world version by Rose Record's Luvless and a collaboration with his mate Siggatunez, Jan Ketel's Girliewood EP leads you to the warmer days and brings heat to the floor.

                              Starting with the title song, Jan Ketel introduces us to his understanding of deepness. A warm and thick pad wrapped into a filigree arrangement of percussive high-drums, combined with an impulsive kick-drum, Girliewood builds a paralyzing intro. It develops to a first break, which emphasizes the deep groove to the point, when the kick drum comes back again. It becomes a very groovy and harmonic song, which builds itself up again. Added with well arranged keys and constantly moving drum elements, it gets to the point where it came from.

                              A2 is Luvless' slower version of Walking Away (B2), which could be described as a drifty but sedate floor-filler. Luvless uses a well collected drum set, containing a very pregnant dynamic and organic clap sound combined with a constantly playing murder bassline at the beginning. Step by step and in a well thought out way, main elements of the original enter the song to a part you could call the height. After that it comes to a long break, which prepares and makes you needing the last part. Luvless brings back the full effect and rounds up his version by minimizing it to a percussive end, containing that heavy bassline. It ends where it started and fits more than perfectly into the context of the whole EP. What a killer...thanks for that!

                              Over on B1 'Background' is a co-production with his buddy Siggatunez. Characterized by a dirty rhodes chord line and a very dynamic and constantly moving arrangement, it perfectly flows from the beginning to the end. In between, a lot of sample-work happens, which mainly includes a divided voice, a chopped piano-line and an electric key-patch and makes 'Background' highly melodic and harmonic.

                              Finally 'Walking Away' drives heavy from the beginning on. A pumping bassline kick-drum-clap-ensemble directly screws into your stomach to a point, where the very warm and harmonic main pad/bell/electric-key-sample appears from nowhere. From this time on, 'Walking Away' rises up to a height by adding very nice but descent parts step by step. It does not stop flowing until it comes to the break, which makes you just want more...and you will get exactly what you need, when the kick-drum drops again...till Jan brings it to a perfect end.

                              The Girliewood EP is a piece of music as we all deserve it...round, deep, warm and a must have this summer...Jan Ketel gets your soul moving.

                              Kornél Kovács runs the Studio Barnhus label and has been a massive hero for Numbers for quite some time. Like a lot of the crew he was an early starter, playing in clubs since the age of 14, promoting his own parties and hosting a radio show - the influential ‘P3 Dans Show’ on Swedish national radio. He’s got a unique approach to house and techno which packs in bags of personality along with the odd curveball, but he always remains firmly focused on making people dance. Dancing is exactly what you’ll do to "Radio Koko", that dream radio station where music never sleeps and the hits keep coming. "Pantalon", the brexit baiting sequel to Sabrina’s "Boys, Boys, Boys" is on constant rotation and according to those in the know, is destined to top the charts in at least four European nation states despite an EU wide ban on its accompanying video. The many highlights of "Radio Koko’s" night time programming includes the summertime jack of "Lighthouse" which can be adapted to suit both nightclub and BBQ situations. Strictly for the club is the late night stalker jam "Gangsta" whose growling Reese basslines and Mentasm riffs are slowed down to a menacing 120 BPM. "Radio Koko" also features special guest, Marcus Price who provides assistance on "Malon", a soundclash of the melancholic and the ecstatic, matching up rough experimental drum programming with unexpected bursts of hands in the air piano licks. More essential Numbers? You betcha! 

                              STAFF COMMENTS

                              Matt says: Numbers bringing the heat for that brief slice of the British summer where no one sleeps and parties stretch from day into night into day again.

                              * Newly remastered audio
                              * 2xLP housed in a deluxe gatefold Stoughton tip-on jacket
                              * Includes rare archive photos and liner notes Q&A with Krog
                              * Featuring jazz greats Dexter Gordon and John Surman

                              The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she’s practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog’s albums weren’t available in the USA or UK, meaning three decades of recordings were waiting to be discovered. With this anthology of her best recordings from 1963 to 1999 - curated with Krog’s own input - Light In The Attic hope to set the record straight.

                              To listen to opening track "As A Wife Has A Cow" is to jump into the deep end. It’s 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too - and that’s Krog’s USP. 'Don’t Just Sing' takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist / multi- instrumentalist and composer.

                              Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, 'Metropol Jazz', but also became the first Norwegian jazz artist to record and release a full album (1964's 'By Myself' on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. .

                              Recorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968’s 'Joy' is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell’s "All I Want" and Bobby Gentry’s "Ode To Billy Joe," both of which show how Krog brought jazz aesthetics to pop songs of the day.

                              “Glass" and “Tystnaden" are the two previously unreleased finds from the archives, the former written for a British documentary in 1997, the latter a soundscape improvisation from a 1963 studio session with Lars Werner on piano, Kurt Lindgren on bass, and Janne Carlsson on drums. The compilation rounds off with the “Psalm” movement from John Coltrane’s monumental piece, 'A Love Supreme'. Krog’s version came at suggestion of the man himself. “It was John who pointed to the text on the inner sleeve of the Impulse! LP and said, ‘Karin, look. Why don’t you sing this?’” she remembers.

                              Krog remains fiercely productive, recording, performing, and running Meantime records from her and John’s villa near Oslo. Now 77, she’s showing no signs of slowing down. “Everybody has to retire at some point, but I believe that once a musician, you’re always a musician,” she says. “If I can’t stand up and sing on stage anymore, I can always do it sitting down!”


                              ‘Inji’ is the debut solo album by Sam Dust, AKA LA Priest.

                              Across its 10 audaciously imaginative tracks, ‘Inji’ reasserts Dust as a truly idiosyncratic voice in British music, applying the same frantically eclectic, mischievous and willfully absurd spirit of his previous band, the beloved Late Of The Pier, to ever more nuanced and affecting songwriting and composition.

                              From the obscene space-age stadium rock guitar solo of ‘Oino’, the maddeningly catchy digi-dub single that Dust leaked sample-by-sample on a suitably enigmatic website at the turn of the year, to ‘Learning To Love’, the record’s gargantuan, eight minute long prog-house centrepiece and ‘Occasion’, a melting Martian Prince come-on, ‘Inji’ confounds and delights in equal measure and at every turn.


                              FORMAT INFORMATION

                              Ltd LP Info: Limited edition indies only GREEN VINYL edition. Gatefold sleeve with poster + mini booklet.

                              Mike Ladd

                              Welcome To The Afterfuture

                              A timely re-issue of Mike Ladd’s crucial and seminal work ‘Welcome To The Afterfuture'. It's an LP that is included in the book ‘1001 Albums You Must Hear Before You Die’ and describes Ladd’s masterstroke as “a powerful statement on the concept of justice in a godless land.” The albums “unique voice from a tobacco-raspy philosopher capable of arch comedy, social insight, and emotional impact in the same line” is an essential “grounded trip” that also features the esteemed and much missed Company Flow, Big Juss, Mr. Len and El-P (Run The Jewels). Summoning b-lines, electronic spatter, jazz wig-outs, hard hip hop, Indian ragas and soundtrack ephemera, Mike Ladd chooses a different voice (and sometimes an absence of voice) for each tune. He runs hyper-literate, pun-stuffed rap against pitched-down crooning, Pif-punk call-and-response against uninflected reportage, preacher’s cadences against poetry. Something that particularly resonates on this now 15 year old album are two very specific references to Amadou Diallo and his murder where today, 15 years on, we’re still going through these same issues with police brutality and police killing. This special Va Va Records edition is packaged with a special booklet complete with exclusive pictures, lyrics and literature from prominent writers and critics as well as an MP3 download of the album and exclusive vinyl only bonus tracks.

                              Lapsley

                              Station / Painter (Valentine)

                              Over the course of the past year, fast-emerging singer, songwriter and producer Holly ‘Låpsley’ Fletcher has become one of the most hotly tipped new UK artists around.

                              The Southport, England-raised artist has created a unique sonic identity, mixing sparse, minimal electronic production with gorgeous, emotive songwriting.

                              On 'Station' you might be checking the credits to see who the male voice is, but actually Låpsley duets with herself, pitching one half of her vocals down to a male timbre. Both vocals entwine to create an intimate feel to the song. 

                              “I knew when I finished writing ‘Station’ that this was what I wanted to sound like. I was still experimenting before, playing around with different beats, techniques and tempos” - Låplsey

                              Joe Le Bon

                              House Music Love Music

                                Over the last 16 years Moods & Grooves has amassed a staggeringly impressive label family that includes names like Theo Parrish, Mr G, Kyle Hall, Rick Wade, Andres & Kenny Dixon Jr. aka Moodymann. Now the legendary Detroit label returns with a seminal 13 track album from veteran DJ / producer Joe Le Bon entitled ‘House Music Love Music’.

                                With this new LP Jarno Eerola aka Joe Le Bon demonstrates his inimitable production prowess, garnered from a musical career spanning more than 20 years and encompassing releases on labels such as International Deejay Gigolo Records, Pro-Tez, Plastik.FM and Blumenbeat. Alongside his own output the Berlin-based artist has written tracks and remixes for numerous producers, most notably composing DJ Hell's chart-smashing remix of Tim Deluxe ‘Transformations’ which saw six continuous weeks at number one on Beatport.

                                Jarno’s polished production ability and aptitude for exploring diverse sounds and rhythms whilst maintaining a resolute warmth and depth to every cut is the most prevalent footnote across the course of the album. For ‘Ghosts On Cassette’ the Berlin-based producer works whirring space-like atmospherics over hypnotic beats and shuffling snares to dish up a smooth and captivating opener. ‘For Yasuni’ and ‘The Road Is Under Repair’ get worked over subtle synth patterns and crisp percussion to offer up some of the more emotive provisions on the album. This in contrast to the deep driving beats of ’House Music Love Music’ and the more club-ready tracks like ’82 Degrees’ or ‘Like Cotton Deep Orchestra’ truly exemplifies the wide-ranging nature of the album.

                                All in all Joe Le Bon has structured a sublime body of work that can be enjoyed in the comfort of your own home or the middle of a dance floor, each and every track oozes depth and sits as a true testament to his abilities in the studio.

                                LGK

                                I Like It / Please

                                Two pieces of snarling filter house from NYC heavyweights Robbie Busch aka DJ McBoing Boing - record dealer to the stars, digger extraordinaire, & DJ of sweaty underground parties around the world, and Josh Dunn - one part of the sorely missed 100 limousines, and one third of the holy trinity that put on New York's legendary Foreal People party. For two guys so deeply immersed in the rich history of urban dance music, from the blues and gospel through deep disco, soul, Chicago and Detroit sounds, you could be forgiven for expecting to hear a rich homage to the sounds of the past.

                                Instead we get the future ghost of Ron Hardy playing the record backwards on a janky turntable with a quarter for a counterweight, while fucking shit up in every conceivable way. Taking A-side cut "I Like It" as example, we see the duo take a classic disco vocal, throw it over a completely wonky bassline, add slightly detuned organ stabs then drag the whole thing through an outboard fx unit that's been pickled in bong water. This psychdelic disco nugget is the missing link between Shit & Shine's deconstructed experiements and Eric Copeland's chopped and screwed sonics. On the flipside, "Please" sees the duo push the tempo into the peaktime bracket to transport the dancefloor to a different plane entirely via the simple means of psychoactive sound. Although there are undeniable similarities to the rainforest house of Dresvn, "Shplittin The Shtones" and Sotofett, the hints of first wave filter house remind me most of the late nineties Depth Charge output, which is no bad thing. Above all, these two producers are chiefly concerned with moving things forward, having some fun, and taking no prisoners along the way.

                                Lone’s classic debut album ‘Lemurian’ gets the deluxe re-issue treatment courtesy of Magic Wire and R&S. Originally released in 2008. It returns in 2015 re-mastered by Matt Colton, with new artwork from Konx-om-Pax and on vinyl for the very first time.

                                What we said back in 2008:
                                If you've been enjoying recent releases from Flying Lotus and Samiyam, then be sure to add this debut album by Matt 'Lone' Cutler to your to buy list. On a similar psychedelic leftfield hip hop / hiptronica tip to those artists' work, "Lemurian" adds some lush lounge and exotica samples to the equation for a slightly different slant on the wonky-hop sound. Lazy summer atmospherics are twisted with off-key pitch-bent notes - kind of like Boards Of Canada, but with even more of a hip hop edge.

                                FORMAT INFORMATION

                                Ltd LP Info: Limited PINK VINYL edition.

                                Loop

                                Array 1

                                  The first new music from Loop in 25 years and the first in a series of three mini-LP's. The third will include a slipcase to house all.

                                  Late 2013 saw the reformation of one of the most revered and respected late 80’s UK alternative bands, LOOP. Founded by Robert Hampson, the group hadn’t played together since the early 90’s but got together to curate a night at the legendary All Tomorrow’s Parties festival at Camber Sands. US dates followed in 2014 and they then got back in the studio to start recording. The result is three brand new releases to be released over the course of a year which see the band return to their hugely unique and era defining sound whilst retaining their fresh, exciting sound.

                                  The first release is ‘Array 1’, four tracks of haunting, aggressive, beautiful noise. ‘Precession’, ‘Aphelion’, ‘Coma’ and ‘Radial’ are the first songs to be heard from their recording sessions made in Sub Station Studios in Rosyth in Scotland with the current line up of Robert Hampson (vocals/guitar), Hugo Morgan (bass), Wayne Maskell (drums) and Dan Boyd (guitar).

                                  With only an early version of ‘Precession’ having had any previous live outing (at a show in London at the end of 2014), this is the very first new music from the band since their third album, 1990’s lost classic ‘A Gilded Eternity’.

                                  Lynyrd Skynyrd

                                  Pronounced 'Lĕh-'nérd 'Skin-'nérd

                                    Lynyrd Skynyrd is best known for popularizing the southern hard-rock genre during the 1970s. The band rose to worldwide recognition on the basis of its driving live performances and signature tunes "Sweet Home Alabama" and "Free Bird".

                                    Following on from the vinyl box set released in January; the six albums are now available individually with exact reproductions of original artwork to retain authenticity pressed on 180 gram heavyweight audiophile vinyl with download card included.

                                    Lynyrd Skynyrd

                                    Second Helping

                                      Lynyrd Skynyrd is best known for popularizing the southern hard-rock genre during the 1970s. The band rose to worldwide recognition on the basis of its driving live performances and signature tunes "Sweet Home Alabama" and "Free Bird".

                                      Following on from the vinyl box set released in January; the six albums are now available individually with exact reproductions of original artwork to retain authenticity pressed on 180 gram heavyweight audiophile vinyl with download card included.

                                      M.ono & Luvless

                                      Double You EP

                                      M.ono & Luvless join forces for the seventh release on Leipzig's much loved Rose Records.

                                      The pair runs and curates alongside Martin Hayes & L. Sluter. The duo impressed a few years ago with sought-after joint productions on upmarket labels like O*RS and Kolour LTD and now steps up to the plate with a pair of pitch-perfect burners for their own imprint (The label's first 10" release).

                                      Synth lines set the mood on the A with the delectable Double You. Crisp drums set the pace, carefully arranged percussive elements, a teasing vocal and a monumental breakdown take care of the rest.
                                      On the flipside we have Happy Chap. A quintessential Rose fare with its tight drums, vocal snips and the sort of deadly piano work that is such a staple in M.ono and Luvless' productions.

                                      Johnny Marr

                                      Candidate

                                        Johnny Marr has enjoyed a rapturous start to his solo career following the critical acclaim (including the honour of being named as NME’s Godlike Genius) greeted to his Top 10 solo albums ‘The Messenger’ and ‘Playland’. Meanwhile his live shows have been celebrated for his ability to combine the best of his new material with select highlights from The Smiths plus others from his extensive back catalogue.

                                        ‘Candidate’ will be available on digital and 7” vinyl formats, both of which feature the brand new b-side ‘Exit Connection’.

                                        Matchess

                                        Somnaphoria

                                          RIYL: Grouper, Zola Jesus, Suicide, Brian Eno, Ruth White, Terry Riley.

                                          Experimental solo project of Chicago psych-band Verma’s Whitney Johnson. Follow-up to her 2014 release “Seraphastra”, about which Impose said: “Johnson taps into the necessities and complication of human bonds. Chicago’s Whitney Johnson’s Matchess project took flight in 2013, with the super limited cassette release “Seraphastra” on Digitalis Industries, a bewitching miasma of synth & organ drones, prepared tape loops, & viola scree.

                                          Trouble In Mind rereleased “Seraphastra” in 2014 on vinyl, giving it a much-needed wider release, and since then, Johnson has been working dilligently, crafting her next installment in a proposed trilogy, entitled “Somnaphoria”. Johnson’s solo work has always toed the line between the corporeal vs. metaphysical - the juxtaposition of the physical interaction of viola strings & the electronic pulses of circuits & oscillators. With a cohesive vision both thematically & sonically, the album fuses elements of contemporar y classical music & modern experimental electronic music with a neo-new age mysticism. Johnson isn’t the first electronic musician to find inspiration in the French poets - pioneering musician Ruth White also found Baudelaire’s “Flowers of Evil” to be a guiding force & titled her 1969 album after the writer ’s collected poetry works & White’s seminal work seems to be a touchstone for “Somnaphoria”. Matchess continues to evolve, both recorded & in a live setting & Johnson has only begun to allow us, the listener to hear her potential. 

                                          FORMAT INFORMATION

                                          Ltd LP Info: 500 copies only, mixed colours, includes a download code.

                                          Tom McRae & The Standing Band

                                          Did I Sleep And Miss The Border?

                                          Recorded in Wales, Los Angeles, and Somerset this is Mercury and Brit nominated McRae's 7th studio album, and is the follow up to 2013's critically acclaimed "From The Lowlands".

                                          Featuring his international band, this new album of soulful alternative Folk/Americana has been garnering rave reviews.

                                          **** MOJO "A dark triumph"
                                          **** Q Magazine "finds real beauty in despair"
                                          8/10 UNCUT, "a thrilling air of doom...beautiful" 


                                          Michael A Grammar

                                          Michael A Grammar

                                            If Michael A Grammar's previous two Eps (Random Vision and Vitamin Easy) cemented how devastatingly accomplished this young band has become in the last 18 months, then their debut album 'Michael A Grammar' (made up of those first two EPs and 4 brand new tracks) is set to confirm that good things come in threes. It's the Brighton four-piece’s triumphant debut album and it brilliantly captures their sonic evolution and live prowess from conception through to the present day, and gives us a heady insight into their future.

                                            “Had we set out to record everything straight away, we’d probably have drifted into an infinite tundra of sub-satisfactory jingles and drowned early on,” explains guitarist and singer Joel Sayers. “This record marks the voyage of change that has been underway since our beginning, documented in the way we know best.”

                                            Whilst most young bands simply start up, make a record, and then tour it out, Michael A Grammar boast a freshness contrary to having already experienced their fair share of ups and downs. Following the release of their first Vitamin Easy EP when just 20 years old (four transcendent, psychedelic tracks of Slowdive-style sparkle that surfaced from sessions in a Victorian coach house whilst attempting to recreate lost songs from a crashed hard drive) the band’s original bassist Daniel Ondieki was facing deportation back to his native Kenya.

                                            “Unfortunately Daniel had to leave due to visa issues with "The Combine", though it could’ve been worse had Nigel Farage been in the hot-seat with a stick up his arse,” says Joel. “Thankfully we found Clémentine with her clothes off at a life drawing class and invited her into the family. We're now waiting on the fifth member...”

                                            Michael A Grammar’s evolving line-up was unveiled on their next installment, the Random Vision EP. Recorded in the basement of their Nottingham student house by Joel and fellow founding member Frankie Mockett (both guitar/vocals). They were joined by John Davies (drums) and French bassist Clémentine Blue, whose driving riffs enhanced the group’s widescreen and stoned out jams towards a more buoyant 'not give a fuck' blistering live show. This EP, recalling Boards of Canada’s mind-ensconcing atmospherics, The Beta Band chowing down on ritalin or Broadcast (whose song ‘Michael A Grammar’ lends the band its name) propelled them forwards. A feature on Mary Ann Hobbs’ XFM podcast ensued, as did a session for BBC 6music’s Marc Riley, live appearances at The Great Escape and Camden Crawl followed shortly after an invite by British Sea Power to be main support on their sold out tour, an invite to play Green Man and a European autumn headline tour are next on the horizon.

                                            Marking Michael A Grammar’s biggest progression to date, the album’s anthemic final third (which they've named collectively as the suitably intergalactic 'Lunar Sea') kicks off with ‘Mondays’ – it skilfully sets the tone with petroleum powered melodies fired from layered Brit Pop guitars, devastating distortion and woozy vocal effects. ‘Nature’s Child’ explodes into a ambush of axe-wielding noise and ‘You Make Me’ is a patchwork quilt of manipulated psychedelic organ textures and varying sources of inspiration;

                                            “The words are a mix of notes I’d scribbled down in various places,” Joel reveals. “Some come from listening to Souls of Mischief; another line comes from a poem in the film Patton.” Shifting from the DIY charm of a friend’s old office in Portslade, Brighton, to a fully-equipped studio for the first time, the tracks were recorded live with external producer, Julian Tardo.

                                            “Each part of the album is an indicator of our present,” they say. “Obviously as things change, so too does the music and the way it’s recorded. As a result we feel more confident within ourselves which has inspired us to bring it back down to earth and record in the manner we did.” All live recordings, single takes and a ferocious energy gives these tracks a contagious energy.

                                            Everything has been leading towards this moment; Michael Grammar is the story of four young friends progression personally and sonically into adulthood through their past, present, and if you listen to its entirely improvised hidden ending, maybe a glimpse into their near future.

                                            FORMAT INFORMATION

                                            3xLtd 12" Info: Michael A Grammar's debut album, now available as a very limited 3 x 12” deluxe package.
                                            Made up of their first two Eps (Vitamin Easy and Random Vision) along with brand new EP (Lunar Sea) housed inside a reverse board 12mm outer sleeve.
                                            - 3 x 12” Heavyweight colour vinyl (White, Green and Purple)
                                            Download Code Included with each EP.
                                            Limited to 50 copies.

                                            Modini return to their Dixon Avenue trap house for another exercise in sonic freebasing. "Budgie" fires up the glass for the first blast - a big sweeping bassline engulfing the mix while tantalizing laser beams pepper the mix. "Romance" is a pure genius, electrified version of Modern Romance's "Salsa Rapsody" (!!) and has to be heard to be believed. The very epitimoy of sassy, explicit, dancefloor head turner. "Cisco" uses dramatic builds and drops to unload a tough-ass ghetto-house bassline burner, ricocheting from the stacks with power and aplomb; perfect for concocting big bouncing mosh pits of sweaty house energy. Finally, "Europa" concludes; slyly hinting at more of Modini 80s guilty pleasures. If "Romance" was his ode to the post-punk energy of the era, then "Europa" displays his secret love of all things Italo and nu-beat, the wobbly analogue lead lines permeating through a thick Euro chug. Another absolutely belter from the DABJ - you know what to do!

                                            STAFF COMMENTS

                                            Matt says: Squelchy, acidized version of Modern Romance's "Salsa Rapsody"? Yes please!! Modini brings home the proverbial with this sizzling selection of 80-inspired warehouse clangers.

                                            Moggi Aka Piero Umiliani

                                            Omaggio Ad Einstein - Yellow Vinyl Edition

                                            “Omaggio ad Einstein”, among the many albums of electronic music composed by Piero Umiliani, has a very relevant place. In this homage to the German physicist, Umiliani subverts the rules of space and time in music and creates an album with 23 compositions, all of them less than 2 minutes long, instead of following the traditional 7-10 tracks usually present in an LP.

                                            This is an original and experimental album, with a peculiar and epic catchiness, tied to Piero Umiliani’s masterful use of synthesizers and great experience in the field of soundtracks. The themes of “Omaggio ad Einstein” take us to sidereal spaces, wandering across the universe with their clear sounds and wonderfully creative titles (The Celestial Vault, Nuclear Valchyries, Galactic Abyss…). This album, released in 1976 by the Omicron Label along with a few other copies, still fascinates us and 40 years later it sounds incredibly modern”

                                            Mutoid Man is an incredibly talented trio featuring Stephen Brodsky (Cave In) on guitar and vocals, Ben Koller (Converge, All Pigs Must Die) on drums and Nick Cageao on bass. This is no self-indulgent sonic experiment, no tepid throwaway-track recycling project, no musical 180° into cringe-worthy territory. Instead, Mutoid Man offers up the best of Brodsky and Koller’s respective worlds. Brodsky distills the melodicism and metallurgy of Cave In into a concentrated elixir of frantic fretboard work, big riffs, and undeniable vocal hooks. Koller continues to batter his drums with unmatched force and dexterity. With the recruitment of bassist Nick Cageao and his driving low-end growl, Mutoid Man quickly established themselves as one of the dominant new power trios in the world of heavy music.

                                            With their debut full-length, Bleeder, Mutoid Man proves that the euphoric fury of their 2013 Helium Head EP was no fluke. Bleeder builds upon the triumphant barrage of Helium Head with bigger production, increased ferocity, and the bolstered confidence from writing as a three-piece unit. The album sounds like a gluttonous orgy of every metal indulgence the band has held since junior high school. Mutoid Man was initially meant to be an exercise in flexing the creative chops outside of the members’ other projects. But if Helium Head proved that this musical diversion was serious business, Bleeder confirms that Mutoid Man are an imposing force regardless of their pedigree. Once the album launches into the first riff of “Bridgeburner”, there is no surrender, no apologies, and no relenting until the final crash and chug of the closing title track. Clocking in at just under half-an-hour, Bleeder seizes upon the same concentrated ferocity of classics like Reign In Blood. And with songs as good as these, Bleeder is sure to become a classic in its own right. Early support/features confirmed with Pitchfork, Revolver, Decibel, Stereogum, Spin, FADER and more.

                                            FORMAT INFORMATION

                                            LP Info: with printed inner sleeve + download card.

                                            CD Info: CD Digipak.

                                            Naytronix

                                            Mister Divine / Shadows

                                              Naytronix is the alter ego of multi instrumentalist Nate Brenner. Brenner spent much of the past four years touring the world as bassist for the mighty tUnE-yArDs. His music as Naytronix keeps its characteristic reflection of the ‘70s of Onyeabor and Bootsy Collins, there is too a new face of the sincerity and vulnerability of the ‘70s of Arthur Russell he shows here amid the psychedelia, as if wishing to land the Naytronix Mothership down to stay with us for a bit.

                                              This limited edition 7" is the first release as a newly signed artist to City Slang and provides a first glimpse of what’s to expect from his album later this year.

                                              FORMAT INFORMATION

                                              Ltd 7" Info: Limited to 500 copies.

                                              Omar-S

                                              Side Trakx Vol #3

                                              The main man Omar S is back in top future soul form with this knock-out 45 on his ever reliable FXHE imprint. "4 Uuuuu" sees the Detroit master combine a sombre bassline, sparse drums and gloomy synths into a moody soundscape worthy of Prince at his most weird. Into this alien environment strolls John FM, primed and ready to deliver a totally heartfelt vocal which could bring a tear to a glass eye. The B-side plays host to "Another One 2 Love", a smooth boogie ode to promiscuity which swaps the melancholic for the erotic via Omar's breezy instrumentation and James Garcia's sleazy vocal.

                                              Tess Parks & Anton Newcombe

                                              I Declare Nothing

                                              Born in Berlin in early 2014 and nurtured over the following summer, ‘I Declare Nothing’ is the spine-tingling collaboration between Tess Parks and Anton Newcombe (Brian Jonestown Massacre), released on Anton’s A Recordings label. The duo co-wrote and co-played on the album.

                                              Tess Parks - A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music. Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music. Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her "gauzy psychedelic sound” and "smouldering voice”. Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet … her most beautiful quality is her lack of ego. Tess is an amazing lady”.

                                              Anton Newcombe as I'm sure you know, is the leader of the Brian Jonestown Massacre, who returned last May with their 14th full-length album ‘Revelation’ to critical acclaim. It is the first album that was fully recorded and produced at Anton Newcombe’s recording studio in Berlin and was released on his record label A Recordings. It was supported by a successful European tour. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock & roll, Brian Jonestown Massacre formed in San Francisco, California in 1990. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe.

                                              FORMAT INFORMATION

                                              LP Info: Amber 180 gram vinyl.

                                              Pazazz

                                              So Hard To Find / The Right One - Kenny Dope Remix

                                              This is the first official reissue of Pazazz’s deep disco two sider, originally released as an obscure, promotional-only 7” single in South Florida circa 1980. And, while it took nearly two years, this 12” contains the excellent Kenny Dope's remixes of both tracks. Naturally, Kenny brought the funkiest parts of each track to the fore and, while they're DJ friendly, they're now our preferred way to listen to these tunes. Tony Castellanos (guitar and vocals) and Tim Boynton (bass and vocals) founded the Zanzibar band in Miami, Florida, in 1974 for gigs at the Bahia Cabana Hotel in Ft. Lauderdale, with the addition of Rick Gritz (drums and vocals). Inspired by the likes of Bill Withers and Steely Dan, Zanzibar played a soulful series of club dates and private parties as well as a their requisite beach hotel gigs at Miami area staples like the Fontainebleau, the Eden Rock and the Marco Polo hotel. In the late 70s, Castellanos changed the name of the band to Pazazz and, while the band was working for the Norwegian Cruise Line, he penned the band’s first single “So Hard To Find.” This and “The Right One,” written by interim drummer Al Varon, who played on the single, were recorded and readied for release on a silver Pazazz label, complete with picture sleeve. It wasn’t until Castellanos received five hundred copies of the single that he realized that the record was flawed. He demanded a second press run – this time issued on a red Pazazz label - but it too was, in Castellanos opinion, flawed. So the band decided against any sort of release, opting to gift copies of both versions to fans at their gigs. The band split in 1981 and forgot about their single until Los Angeles record collector Mike Vegh found a random copy of the record and, impressed by the steady funk of Pazazz’s soulful disco, tracked down Castellanos and brokered the purchase of the last remaining copies of his records. Vegh connected the label with the man and we’re all lucky to receive Pazazz’s small, but great, catalog on this special 12”.


                                              Alden Penner

                                              Canada In Space

                                                In 2003 Alden Penner cemented himself in the annals of indie rock history as the co-founder/singer of The Unicorns. Montreal’s beloved dysfunctional art-pop outfit imploded shortly after the release of their now seminal album ‘Who Will Cut Our Hair When We’re Gone?’ (8.9 Best New Re-Issue, Pitchfork). Following a series of low-key self releases Alden Penner is back with a new EP ‘Canada In Space’ out June 29th via City Slang digitally and on limited edition vinyl.

                                                “There are more Canadians than any other nationality represented in the planned Mars colony. The “Canada In Space” EP is an imagining of the dreams, reveries, phantasms, hallucinations, psycho-spiritual projections, naïve mythologies, actions, visions and experiences of an abandoned crew before, during and after it’s permanent journey to Mars; the compression of time; dispersion, fragmentation of states and generations in space; ultimate detachment & wormholes.”

                                                •Stunning unreleased radio show from 1987 prior to the debut Full album Surfer Rosa released the following year in 1988

                                                • Contains songs mostly from the mini Lp Come On Pilgrim released later in the year and from what would eventually be known as the ‘purple tape ‘. Issued on Cd in the U.S and Canada in 2002 simply as ‘Pixies’, tracks originally recorded in 1987 at Fort Apache studios.

                                                •In depth liner notes by Chris Bell and artwork by Sophie Lo

                                                •Presented in card gatefold sleeve.

                                                The Pixies are an American rock band formed in Boston, Massachusetts in 1986. The group currently consists of founders Black Francis (lead vocals, rhythm guitar), Joey Santiago (lead guitar), and David Lovering (drums). Co-founder Kim Deal (bass, backing vocals) left in 2013 and was replaced by Kim Shattuck as live bass player for a few months, then by Paz Lenchantin for the band's 2014 tour. The Pixies achieved relatively modest popularity in their home country, but were significantly more successful in the United Kingdom, mainland Europe and Israel. The group disbanded in 1993 in acrimonious circumstances, but reunited in 2004. Despite limited commercial success, their jarring pop sound subsequently influenced bands such as Nirvana, Radiohead, The Strokes, Bush and Weezer. The band's style of music contains a range of elements, including psychedelia, noise pop, hard rock, surf pop, and surf rock. Black Francis is the Pixies' primary songwriter and singer. He has written about a number of offbeat subjects in the band's songs, such as extraterrestrials, surrealism, incest, and biblical violence.The group is credited with having an influence on the alternative rock boom of the 1990s. The Pixies' legacy and popularity grew in the years following their break-up, leading to sold-out world tours following their reunion in 2004. In June 2013, the band released their first new material in almost 10 years. 

                                                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". 

                                                  The Pop Group / Sleaford Mods

                                                  Nations / Face To Faces

                                                    The Pop Group and Sleaford Mods release a split 7”. The single features 'Face To Faces' a raw alternate version of a track featured on the forthcoming Sleaford Mods new album, and 'Nations' a track taken from Citizen Zombie, The Pop Group’s recently acclaimed album.

                                                    Clarence Reid

                                                    I Get My Kicks / Gotta Take It Home To Mother

                                                    Clarence Reid is probably better known as Blowfly. As Blowfly, he has recorded numerous albums, mostly of sex-based parodies of other songs, as well as original raps themed around sex. After moving to Miami, Florida, Reid started off writing songs for artists of the Henry Stone family including Betty Wright, Gwen McCrae, and KC & the Sunshine Band. He also recorded many songs of his own in the 60s and 70s including his 1969 hit record 'Nobody But You Babe'. The tracks which Tramp choose for re-release on this 45 are two of his rarest, and certainly two of his best too. 'I Get My Kicks' is an absolute funk belter right from the word go - wham, bam, thank-you mam! 'Gotta Take It Home To Mother' sits somewhere between the mid-tempo funk grooves of the Meters and the raw funk of James Brown. You'd better be quick and get your hands on this limited repress - the other option is to spend hundreds of $$$ for an original copy, if you can find one.

                                                    Brian Reitzell

                                                    Hannibal: Original Television Soundtrack

                                                      Featuring 20 cues from the first two seasons of the hit television show, (10 from each) curated by the composer himself. This compilation is essential for Hannibal fans, Just in time for the Season 3 premiere. Featuring an informative interview with the composer, and original artwork by Phantom City Creative
                                                      Black vinyl 250 for UK.

                                                      Ricked Wicky

                                                      Jargon Of Clones

                                                        One of two 7” singles from KING HEAVY METAL, the forthcoming 2nd album by Ricked Wicky, the new project of Guided By Voices’ mastermind Robert Pollard, joined by GBV’s Kevin March (drums), long-time collaborator Todd Tobias (bass) and secret weapon, Nick Mitchell (guitar). The A-sides are majestic and hook-filled - classic Pollard rock. 

                                                        Ricked Wicky

                                                        Tomfoole Terrific

                                                          One of two 7” singles from KING HEAVY METAL, the forthcoming 2nd album by Ricked Wicky, the new project of Guided By Voices’ mastermind Robert Pollard, joined by GBV’s Kevin March (drums), long-time collaborator Todd Tobias (bass) and secret weapon, Nick Mitchell (guitar). The A-sides are majestic and hook-filled - classic Pollard rock. 

                                                          Roots Radics Meets Scientist And King Tubby

                                                          In A Dub Explosion

                                                          Special reissue of this classic dub album.

                                                          Recorded at Channel One by The Roots Radics and produced by Nkrumah ‘Jah’ Thomas in the early 1980s. The dubs were then produced by King Tubby and his protégé Scientist. 

                                                          All tracks feature the seminal Roots Radics band - Errol "Flabba" Holt, guitarist Eric "Bingy Bunny" Lamont and drummer Lincoln "Style" Scott, Noel "Sowell" Bailey, Dwight Pinkney and Steve Golding, keyboard player Wycliffe "Steely" Johnson, and saxophonist Headley Bennett - all later of either Dub Syndicate or digital pioneers Steely & Clevie. High class, pre-digital dubs by the masters.

                                                          RP Boo

                                                          Fingers, Bank Pads & Shoe Prints

                                                          “Footwork” - the very word indicates a movement of the feet that is “work” (as in an effort to achieve). Its joyous social party nature sits within a lineage of African American history that includes the infamous Soul Train dance tunnel and hip hop dance circles. However, as footwork continues to become more popular, we should not forget that at its essence it is a highly evolved battle form. This is the central theme one feels listening to the stunning “Fingers, Bank Pads & Shoe Prints”, the second album from RP Boo, the man credited with inventing the footwork genre with a 1997 track “Baby Come On”. RP Boo is to footwork what Juan Atkins is to techno - a source point for a busting out of innovative ideas and new directions.

                                                          Dancing is central to RP Boo. If you’ve been lucky enough to catch one of his DJ sets, such as his groundbreaking 2013 European debut at Unsound Festival in Krakow, you’ll have seen him come out from behind the decks and start dancing in and with the crowd, spreading Footwork both sonically and as an evolving set of movements. Sonically, RP Boo is a modern-day Zatoichi samurai, cutting his samples in unorthodox ways. His sound remains unique. “Fingers, Bank Pads & Shoe Prints” contains both tracks made after his acclaimed 2013 debut album “Legacy” and older tracks. Highlights include “Banging On King Dr.” which sees him cutting up street numbers; the monolithic noir feeling of “Sleepy”; the subtle funk of “Your Choice” which may in some way be inspired by his Dad’s role as bass player for Prince; “Lets Dance Again” whose delicate soulful sound echoes deep streams of Chicago dance music history; the dramatic string-infused “Daddy's Home” and the celebration of achieving dreams that is the closer “B'Ware.” “Fingers, Bank Pads & Shoe Prints” is the sound of an innovator reconfirming his place as leader with one of the most essential Footwork albums to date.

                                                          Sea Of Bees

                                                          Build A Boat To The Sun

                                                          Sea of Bees is the musical project of Julie Ann Bee, or Jules as everyone calls her. She sings, writes the songs, and plays lots of musical instruments. She is the kind of singer-songwriter you come across only a few times in a lifetime – special, unusual, leaping out at you like an alien, her character fully-formed, her uniqueness intact.

                                                          Following the acclaim of debut album, Songs For The Ravens and follow-up Orangefarben, Jules is leaving the darkness for brighter horizons, gathering the good things up, leaving the bad behind and moving forward. The music has moved forward sonically too, with a full band sound after Jules bought a drum set and spent as much time playing it as she played guitar, much to her neighbour's dismay.

                                                          Working with long-time producer John Baccigaluppi she again visits a variety of styles across the album – folk, Americana, pop and rock. The album was mixed by Jesse Lauter (The Low Anthem).

                                                          Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels. First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth it, as Diego takes the crazy afro-stylings of "Afrobotics" and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians, Cole MGN. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on "Shockers" is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind. Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of "Underdogs", Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr Ruscha.

                                                          Back in stock Cover of Anthology by Marlena Shaw.
                                                          16 Classic songs from one of the great female singers. The hard hitting 60s soul-jazz vibes of ‘Woman of The Ghetto’, ‘Liberation Conversation’, ‘Mercy Mercy Me’, mod dancer ‘Wade In The Water’ and her anthem ‘California Soul’ still sound very fresh. Her smoother 70s tracks like ‘Feel Like Making Love’ , ‘Loving You Is Like A Party’, ‘Back For More’ ‘Look At Me Look At You’, ‘Rhythm of Love’ are masterpieces, as is her epic 'Yuma-Go Away Little Boy’ with its spoken intro. Lastly there's an early 80s track, ‘Without You In My Life’ produced by Gary Taylor. Classic Marlena, classic soul-jazz.

                                                          Source Direct

                                                          Black Rose - Inc. Blawan Remix

                                                          Boddika's Nonplus label will release a series of 12"s pairing classic Source Direct tracks with new remixes.

                                                          Jim Baker is a pioneering drum & bass and jungle artist who's been recording solo as Source Direct since 1999 (before then the project was a duo with Phil Aslett). Nonplus will issue a 12" that has a Blawan remix of "Black Rose" alongside the 1996 original. 

                                                          "I first met Jim around '97/'98 at The End nightclub in Central London," says Boddika. "I wasn't sure who he was when I first met him. I thought he was one of the guys from Lock Stock And Two Smoking Barrels at first, but soon realised he wasn't. By that time I was an avid listener of anything Source Direct were doing and their tracks were 'buy on sight' for me. The Source Direct discography was in many ways a blueprint for lots of jungle / D&B that would come throughout the following years and has stood the test of time unbelievably well."

                                                          As for the remix, Boddika pulls in the on form producer Blawan, who turns the track inside out, flattening those energised D&B breaks into a metronomic industrial 4/4 techno slam with pitched down scratches and frantic shaker. Menacing analogue synths rise and fall, there are metallic clanks and clonks aplenty, and a horde of screaming banshees to ramp up the fear factor. 10/10 for moodiness.

                                                          Il Bosco takes aim and fires the first missile in a barrage of Red Laser releases scheduled over the next few months, enlisting Manchester's hardware mangling madman Ste Spandex to cause maximum devastation. True to the Spandex manifesto, frequencies are pushed to the extreme, testing the limits of both your hearing and your hi-fi. This EP is a fascinating collision of diverse dance music aesthetics which bristles with energy and passion. As usual all the tracks are live takes with various hardware working overtime from Ste’s orchestration.

                                                          The A-side sees Ste utilising the vocal prowess of long time collaborator Sarah Bates on two floor pleasing cuts, "Soaking Wet" a peak time workout with tightly sprung drums and whirling effects and "Breakin My Heart", an addictive bubbler that melds house and boogie sounds while the vocal takes entre stage. The B-side opens with the low tempo throb of "Gotta Move", an 80s-esque grinder which sees pumped bass rub up against squelched keys and peaky riffs. Spandex closes the EP out with the temporary bliss of "Nice Weather", a short and sweet movement of shuffling drums and swerving synth action, which rounds the package off perfectly.


                                                          Spirit Club

                                                          Spirit Club

                                                            • Debut release from members of Wavves, Sweet Valley, Jeans Wilder 
                                                            • Ten tracks of soaring harmonies over sludgy guitars.

                                                            Brothers Joel Williams (Sweet Valley) and Nathan Williams (Wavves), alongside childhood best friend Andrew Caddick (Jeans Wilder), make music about loss that frays at the seams. Soaring harmonies over sludgy guitars and lush production create a sound all their own. “... a wooly slice of surf pop boasting enough fuzz on its fringes to leave listeners just a wee bit dazed.” -ConsequenceOfSound.



                                                            Stone Temple Pilots

                                                            Shangri-La Dee Da - Orange Vinyl Edition

                                                              Shangri-La Dee Da is the fifth studio album by American Hard Rock band Stone Temple Pilots. It was produced by Brendan O'Brien and released in 2001. The album was certified Gold.

                                                              While recording the album, the band also worked on a documentary and coffee table book. Neither was released, however, and limited footage was made available through the band's official website in the form of live performance-based music videos.

                                                              The album's most successful song "Days of the Week" was only being performed at a handful of dates on the supporting tour for the album. However, the album's second single "Hollywood Bitch" has become a staple of the band's live set ever since their 2008 reunion. In 2011, the song "Black Again" was added to STP's setlist, and was performed for the majority of the tour. "Bi-Polar Bear" was also performed occasionally, after the band reunited in 2008.

                                                              The first release on Athens of the North spaced out sister label Ocean Of Tears had to be something obscure, weird and brilliant so here we are.

                                                              Forest Terry was a tripped out intellectual from Boston who dabbled his hands in electronics and psychedelic funk. His former band Original Black Sheep released a couple of top notch psychedelic funk records that would cost you a small fortune if you could find one, this 45 (Forrest's attempt at a solo career) is even more obscure. 'Satellite Love' is crazy psychedelic sex ballad. Athens Of The North's DJ Fryer wanted to put this out the first time he heard it (but it took some time to make it happen). The flip is also a banger, a heavy break driven low-fi funk 45 which Forest uses to show off his Tri-Speed Moog Keytar synthesizer guitar skills, which incidentally he invented and patented. As a nod to the OG label and in the spirit of Forest's do it yourself attitude Fryer had a go a drawing his own Keytar for the AOTN label.

                                                              So hopefully this is the start of something wonderful, a label where Fryer can put out those weird and wonderful records that don't fit anywhere else but deserve to be celebrated.

                                                              'Still' was recorded in a two-story rehearsal loft in Chicago over the course of just nine days with Wilco's Jeff Tweedy at the helm, backed by several longtime players from both Thompson's and Tweedy's bands. Thompson enlisted Tweedy's production skills in an effort to shake up his own creative approach to making records. "It turned out be really good idea," says Thompson. "Jeff is musically very sympathetic. Although some of his contributions are probably rather subtle to the listener's ear, they were really interesting and his suggestions were always very pertinent."

                                                              The key to ‘Still’'s emotional resonance is a set of gripping new Thompson compositions rich with his signature mix of trenchant insight, gallows humour, and keen empathy for characters at the brink of being overcome by their emotions, their pasts, or themselves.

                                                              A recipient of BBC's Lifetime Achievement Award and Mojo's Les Paul Award, Richard Thompson was appointed Officer of the Order of the British Empire in the 2011 New Year Honours List. The Americana Music Association also recently honoured him with a Lifetime Achievement Award for Songwriting. Robert Plant, REM, Elvis Costello, Bonnie Raitt and many others have recorded Thompson's songs.

                                                              FORMAT INFORMATION

                                                              2xLP Info: The 180gram LP comes with a download code.

                                                              Throwing Shade

                                                              Fate Xclusive EP

                                                              Throwing Shade is rising London-based producer, DJ and NTS Radio presenter Nabihan Iqbal, who Dazed and Confused magazine have hailed her as “London’s new alt-pop hope”, received a 9/10 review from Mixmag for her debut EP 9/10, and charted in The Wire’s top 10 electronic releases of 2014.

                                                              Her second EP ‘Fate Xclusive’ effortlessly covers ground between seductive downbeat pop (lead single ’Honeytrap’, vocalled by Emily Bee), pulsing club (‘4eva Fate’) and contemporary leftfield electronic music (‘Mirror’). All bear the rainbow fingerprints of her signature kaleidoscopic production style.

                                                              The EP release sees her poised to build on a busy last 18 months and reach a wider audience. October 2013 saw her debut release – ‘Mystic Places’ - on Kassem Mosse’s Ominira imprint. In May 2014 she released the ’19 Jewels’ EP on No Pain In Pop, and followed up with the ‘Chancer / Blanx’ 12” on the dancefloor label Happy Skull. She was commissioned by the Tate Britain gallery in November 2014 to compose a piece of music for the Turner Prize.

                                                              Her productions are often described as “cosmic r&b” and “digital soul”. Drawing in iridescent strains of popular music – from African and Asian modes, to the grime-y axis of London’s contemporary sound narrative – Throwing Shade creates a diverse and abstract sound patchwork, intangibly borne in the here-and-now. 

                                                              Razor N Tape continue their sensual assault on the dancefloor with another superlative edit opus, this time from the mysterious Tom Of Finland. Apparently one of the most influential erotic artists of the 20th century, Tom shows off his virility, poise, posture and prowess over a quartet of disco heaters, slow burners and summer anthems. It's in the latter category we begin our journey, with the sunkissed jazz funk of "Summerjam", a feel good floor burner topped with gorgeous vocal harmonies and an endless sax solo. The smooth keys and wah guitar weave their way around rattling percussion and a walking bassline providing vibes for days. The A2 sees us head into the psychedelic swirl of the tropical dancefloor to shake our body down with a certified "Disco Maniac". A sizzling disco groove emerges from the crowd chatter, samba whistles and percussive riot, before Tom chops, loops, slices and dices with wild abandon, turning the club into a tripped out mess via echo, reverse and filters. As we skip to the flip we're whisked head first into a looped up, funked out filter disco wormhole at the hands of "Dreamin Again". The tough beat and tight loop builds and builds until it's almost too much, then our Finnish friend lets loose with the full hands in the air power of the diva vocal and pushes us to the peak! "Heavy Danse" closes the set in stripped back fashion, getting the spot hot with little more than the rumble of tumbling percussion, a deep bassline and a female vocal. Bravo.


                                                              Released late last year Tosca’s "Outta Here" saw the duo of Richard Dorfmeister and Rupert Hubert rip up the rule book and start again. Having spent two decades and seven albums practically defining downtempo, chill-out music here was an album with one thing on its mind, the dancefloor. Still some traditions are worth maintaining and so like with each of their previous albums the band now present "Shopska", a reworked version of "Outta Here" that puts each of the albums tracks into a radically new perspective from tough 3am techno and bouncy electronica through to spaced out dub and beyond. Tom Demac, FaltyDL and Ogris Debris hold it down for the strobe light crew, while Mato, the undisputed champion of the hip hop-reggae blend comes through with two seriously stoned interpretations. The collection perfectly walks the fine line between quirky and quality, delivering a superb selection for whatever mood suits you.


                                                              The Sovereign Self - named after a line from Dennis Potter, the late television auteur - is the fifth album from Glasgow's Trembling Bells, their first since 2012's The Marble Downs, a collaboration with Will Oldham. It is a driving, dramatic and at times hallucinatory work, filled with a great sense of tension and release; a witches' brew, a psychedelic stew mixing up the range of the band's musical interests - everything from ramshackled ballads to ancient May Day chants, swaggering acid rock to swirling prog epics.

                                                              "Some songs are a little challenging" says lead vocalist Lavinia Blackwall, "Bringing Alasdair C Mitchell into the band means we have the interplay of two guitar parts. Musically, this album has been a lot more collaborative and democratic and as a result a lot of our other influences have come through - psychedelia, early-70s prog and rock. It's heavier and darker. I find it physically and emotionally draining to sing these songs, because they are quite intense you have to put so much into them."

                                                              The range of cultural and counter-cultural interest from the band is apparent on the front cover of The Sovereign Self - a series of twenty portraits painted by Lavinia Blackwall: an eclectic gallery of genius from Emily Dickinson to Aeschylus; Lou Reed to Ovid.

                                                              Another key influence, psych-folk pioneers the Incredible String Band, has loomed large in the lives of Trembling Bells in recent years. They have toured with ISB co-founder Mike Heron, performing tracks from his songbook.

                                                              Having released five cracking LPs in six years, in addition to a number of side-projects, Trembling Bells show no signs of slowing down. Already, work is being done on solo records from three members, and there are plans for an album of reworked traditional folk songs with vocals from comedian Stewart Lee. This is quite simply a group of people with music pouring out of them.

                                                              Around the time Tricky emerged as a solo artist, independent of the Massive Attack collective, he was asked to describe his music. “If you want to dance to it, go ahead. If you want to sit in a darkened room and let it fill your head with strange thoughts, that’s fine too”.

                                                              ‘Trip Hop’, a term Tricky soon grew to despise, has become so omnipresent over the years, that it’s easy to forget how outside the mainstream it once was. Tricky’s 1995 debut 'Maxinquaye' is one of those albums that brought the music to the forefront, entering the UK charts at #2 on its release despite a shocking lack of airplay, and ending up topping many, many year-end lists.

                                                              But despite its being a harbinger of one of the most prevalent music styles of the 90s, it exists outside of trends and time and still stands as a powerhouse of musical innovation almost 20 years on. Featuring vocalists Martina Topley-Bird and Alison Goldfrapp.



                                                              The Twilight Sad / Robert Smith

                                                              It Never Was The Same

                                                                Following on from last year's widely acclaimed fourth album, Nobody Wants to Be Here and Nobody Wants to Leave, Scotland's The Twilight Sad release a third single from the album, 'It Never Was the Same' on Fat Cat Records. It comes bolstered by the fact the AA-side includes a cover of album highlight 'There's a Girl in the Corner' by The Cure's Robert Smith.

                                                                It's a perfect way to cap off what's been a whirlwind period for the band with Nobody Wants to Be Here and Nobody Wants to Leave drawing rave reviews from publications including the Sunday Times, the Quietus and Q, alongside topping Drowned in Sound's best albums of 2014 and earning a rare perfect ten from the site, finishing second in the Skinny's list, third in Popmatters' indie rock albums of the year, and topping Any Decent Music's Scottish albums of the year; touring extensively across both the United States and Europe; and a string of very well-received performances at this year's SXSW reiterating the band's ongoing relevance on either side of the Atlantic.

                                                                "It’s not until you assemble – no, grow, because this is nothing if not organic – the whole thing, that the jaw-dropping brilliance of the album reveals itself." - Drowned in Sound (10/10)

                                                                "Simple but effective, the lyrics are bleak, bitter phrases of existential loneliness and torment. His emotion hits just as potently throughout." - NME (8/10)

                                                                "The group's fourth LP more than justifies [their] ascension. Where there were youthful, wayward meanderings, Graham has emerged a man, exorcising the sorrows of lessons learnt along the way." - The Quietus

                                                                The tenth instalment of the off-kilter, left of centre dancefloor series Porridge Bullet greets you with a cryptic message printed on the donut..."My stepmother why you created me misery when I know that my mother is long dead. Let me live a normal life!" I couldn't say for certain what all that's about, but I can vouch for the quality of the three afro edits on show here. First up, "Ahiwo Ahiwo" sees the mystery producer layer shimmering highlife guitars, sunny organ and organic percussion over a sturdy drum machine beat, before letting loose on the brain-boggling synth fx, deep zipping sine waves and FM bassline. Totally batshit, this funky MF lulls you into a false sense of sanity before freaking you right out. On the flip, "Enye" sees an even sweeter highlife original, stretched, rearranged and reinforced with sturdy drum programming and a dubby EQ, perfect for slipping in and out of in the mix. The set closes with a headfucking drum tool complete with the malfunctional toy police car fx from the A-side. This one's gone straight in my bag and I'd suggest you follow suit.

                                                                Peter Walker

                                                                Live At Third Man Records

                                                                  Peter Walker is the last living psychedelic guitar maestro in a long line of greats like John Fahey, Robbie Basho and Sandy Bull. His performance was nothing short of a master class for anyone who’s ever picked up a guitar. For the occasion Peter performed a handful of songs on piano, something he’s never done before or since. Ending with an absolutely haunting and unreal version of “Chandranandan” Peter Walker left doubt in no one’s mind that he is one of the most important guitar players ever. A transcendent evening.

                                                                  Having moved all around Canada and settling nowhere, Walter TV are contemporary nomads. They formed their band in the basements and cottage-like houses of a beach town outside Vancouver. After Joe McMurray and Pierce McGarry moved to Montreal, they shared an apartment with a constant revolving cast of characters. In a space often overpopulated and reeking of cigarettes, they began recording Blessed. Simon Ankenman would come by periodically, and with him they would finish most of the recordings between there and LA. The band's two members, Joe and Pierce, were also busy touring with Mac DeMarco, acting as his backing band. Mixing and recording turned into a thing to do on the road. Although the group prefers tape recordings to digital, they have never been militant. Always trying to uphold their DIY sensibilities, Walter TV believes the music should speak for itself. It should come from wherever and whatever is available.

                                                                  “Surf Metal drops that punchy kind of rock you know and love from DeMarco’s band, but they also throw in elements that suggest it’s different While the song bounces and punches along to its punky riffs, some good ol’ fashioned black metal like shrieks sneak their way into the background of the song. It’s everything you could ever want from a song that can probably be described as Varg’s Day at The Beach.” – Noisey.

                                                                  For the third Whole Truth EP, the nameless producer is joined by LA vocal duo Lucid Paradise, otherwise known as Ishtar and E. Da Boss (the latter is best known as the deep-voiced half of Stones Throw's Myron & E), for four tracks of dancefloor delight. "Party Down" takes the same approach as the Tom Noble mix of Myron & E's "Do it Disco", bringing beautiful modern soul vocal stylings to a limber groove that could have graced West End Records in '81. The pair also duet on "Who's Taking All The Love?", trading lovelorn vocals while The Whole Truth flexes his dub muscles and drops some deeply burnt chords, which come into their own on the B2's "Memories Of Love". If like me, you're smitten with the proto house genius of Mark Seven's Parkway project, I'd suggest you take in the sights and sounds of A2 cut "Keep On". Bumping out the speakers like a lost collaboration between Boyd Jarvis, Timmy Regisford and Francois K, the track utilises a meaty bassline, dubby percussion and trippy lead lines to take us to the heart of the dancefloor. After gaining exposure on 6 Music with his previous 12", this latest EP should continue the upward trajectory of The Whole Truth.


                                                                  Chicago gave us house music. With initial hits from Farley Jackmaster Funk in the mid 80s, the world fell in love with house; copying it, watering it down in more and more commercial strains. Attention on house music's birthplace quickly diminished, leaving the city full of kids brought up on the early raw sound of house. A second wave of DJs began to emerge pushing a darker, more rhythmical strain of house that was currently being seen in Europe. DJ Sneak, Derrick Carter, Gemini, Cajmere, Glenn Underground, Roy Davis Jr, Paul Johnson, and countless others began releasing their unhinged take on the house sound, and began DJing in basements all over the world, but being largely ignored by the now gargantuan house music audience worldwide.

                                                                  Debuting on Curtis Jones' Relief Records - the tougher sub label of his Cajual label - Boo Williams dropped his "A New Beginning EP" in 1994 and quickly established his own sound. More ferocious releases for Relief followed, as did a 12" for renowned Dutch techno imprint Djax-Up-Beats. Come 1996, Relief offered Boo an album release, for which he delivered "Home Town Chicago", Boo's electronic love letter to house music. While still driving and heading straight for the dancefloor, "Home Town Chicago" showed a softer side to his sound, and the perfect place to start Anotherday - a new label dedicated to shedding light on forgotten classics.

                                                                  Greg Wilson Feat. The Reynolds

                                                                  Summer Came My Way - Inc. Walter Ego Remix

                                                                  Having been one of his biggest festival tunes in the summer of 2014, the Luxxury mix of Greg Wilson’s 'Summer Came My Way' - which originally surfaced on last year’s Schooled In The Classics 12” - was put on the back burner throughout the winter in readiness for a full 2015 release. Juxtaposed by Walter Ego’s equally sublime take on the track, the release marks the first of eight records to be issued over the summer months.

                                                                  Sometimes composition is a long and arduous process, other times a song arrives fully formed. The latter was the case for Greg when he imagined Summer Came My Way as a vehicle for hitherto unknown vocal forces of nature, The Reynolds - twins Katherine and the song’s lead singer Carmel - who, by beautiful serendipity happened to live within a mile of Greg’s Merseyside home.

                                                                  Bursting out of LA with a lavish twelve-part re-edit series last year, Luxxury’s brand of hazy, slo-mo reworks - a West Coast Balaeric fusion - has catapulted him onto the world stage. Opening his mammoth eight-hour Berghain set in 2013 with Luxxury’s Hotel California rework, Greg helped bring his Los Angeles vibes to wider attention, bolstered by his subsequent support of other reworks; Night Fever and Riders On The Storm.

                                                                  A victim of his own success,Hotel Californiagained Luxxury a little too much notoriety and, after a Wall Street Journal interview began circulating, Warner came down on him like a ton of bricks on finding out he’d used The Eagles’ multitracks. All was resolved however and he’s currently recording his forthcoming album, with great things expected for 2015 and beyond. The Luxxury approach perfectly fitted Greg’s vision of the song and the result is a glorious nine-minute epic, just in time for the summer.

                                                                  With releases on the legendary Ninja Tune, San Francisco’s murky Symbols and Kerri Chandler’s jackin’ MadTech, Walter Ego’s appeal stretches across the board; from forward thinking house to rough and ready grime. Having got to know the Sheffield musician during recent years, Greg was impressed by what he heard, especially an as yet unreleased project he was working on in collaboration with London singer, Obenewa. Inviting him to remix the track, Walter returned an ethereal yet mechanical take on Summer Came My Way, his delicately decaying synths and cold hydraulic rhythm giving the track a brooding quality and placing The Reynolds in an entirely new context.

                                                                  SW001 contains Walter Ego’s remix of Summer Came My Way by Greg Wilson featuring the Reynolds, as well as a radio and full length version of Luxxury’s remix. It’s available digitally or on vinyl – individually on 12” or as part of a box set (vinyl limited to 500 copies in total).


                                                                  The Wonderland Philharmonic

                                                                  Shogun Assassin Original Soundtrack

                                                                  * Official Record Store Day 2015 Exclusive Release
                                                                  * First ever vinyl reissue
                                                                  * Remastered and pressed on 180 gram BLOOD RED wax
                                                                  * Housed in a hand-numbered deluxe gatefold “tip-on” jacket
                                                                  * Includes reproduction 27” x 40” film poster

                                                                  It’s not unusual for hip hop artists to immortalize something by sampling it, but few did so as extensively - or as effectively - as GZA in his use of snippets from Shogun Assassin on his 1995 album 'Liquid Swords'. Though we know them as elder statesmen now, in the mid-90s The Wu-Tang Clan were the spookiest kids on the block, sharing an obsession with shaolin monks, B-movies, and soul-chillingly dark string samples.

                                                                  Released to the grindhouse film circuit in 1980, Shogun Assassin is a martial arts East-meets-West culture mash-up. Recutting scenes from the swashbuckling Japanese series Lone Wolf And Cub for the British and American markets, the film sold on its brutal action and frequent decapitations. Producer RZA was a big fan and let the soundtrack shape his work on his bandmate’s solo LP.

                                                                  “[The album tells] the story of a shogun told through different narratives and scenarios. It’s not a theme but more like a thread throughout the album,” GZA has said. “While we were mastering the album, RZA asked the engineer to go out and get it and bring it back to us. That’s when I watched it. I loved it immediately and thought it fit with the album well.”

                                                                  The film’s soundtrack blends eastern melodies chiming out of futuristic synths, electronic beats, and bouncing disco bass lines introduced by a child’s ominous voiceover. It was neither Japanese nor authentic. It was, in fact, recorded and mixed at Icon Studios, Hollywood and composed and performed by W. Michael Lewis (of LA disco pioneers Rinder & Lewis) and Mark Lindsay, a man well known as the frontman of hit 1960s beat group Paul Revere & The Raiders. The combination produces results that are typical of neither and all the more intriguing for it.

                                                                  Never officially released on vinyl beyond a limited promotional pressing, this is your chance to own the highly sought after LP. It’s sure to be of interest to soundtrack buffs, Wu-Tang lovers, Tarantino aficionados (who may recall Shogun's homage in Kill Bill Vol. 2), and fans of experimental synth music.



                                                                  Milton Wright

                                                                  Silence That You Keep / Po' Man (First Versions)

                                                                  Athens Of The North presents two of the boogie-disco floaters from the label's previously unreleased 'Original Friends and Buddies' album, making both of these versions are on 45 for the first time. The stripped-down version of 'Silence That You Keep' benefits from the more direct tight vocal. Without the synths there is much more space in the mix which suits the melancholy deep disco groove so much better. On the Flip 'Po' Man' has also been stripped right back to its more basic elements also for the better, less-is-so-much-more sound.

                                                                  The first release from the new Malka Tuti record label introduces us to Xen, a multi-talented multi-cultural singer, artist and designer from Tel Aviv. For her debut EP she went into the studio with the Red Axes lads to produce two original tracks for the A-side as well as two different versions on the B-side. After already collaborating with them on their track "This is It" for a Correspondant records compliation on 2014, this time she takes a step froward and really brings out her post-cold-wave-some-wave attitude and delivers two psychedelic oddball pop tracks, highly influenced by German krautrock as well as British and French post-punk and late 80s Israeli new-wave. The deadpan fuzz of "Bells" wouldn't sound out of place on Trevor Jackson's "Metal Dance" compilations while "All Of The Sun" is the moody, broody and spiky sound we all love early Celluloid records for. 
                                                                  On the B-side Red Axes take to the controls to deliver a dubbed out dancefloor killer topped with layered, echo-drenched xylophone and serrated guitars. Speaking of dub, the "Voodoo" mix of "All Of The Sun" sounds like a brain-melting studio soundclash between Adrian Sherwood and Benga, rounding the package off in terrifying fashion.

                                                                  Neil Young + Promise Of The Real

                                                                  The Monsanto Years

                                                                    Neil Young + Promise of the Real have joined forces and will release a new studio album, entitled The Monsanto Years, via Reprise Records. For this guitar-centric, full steam-ahead and highly-charged ecologically / environmentally-focused rock album, Young is joined by Promise of the Real, an LA-based rock band fronted by Lukas Nelson (vocals/guitar), along with Micah Nelson (guitar, vocals), Anthony Logerfo (drums), Corey McCormick (bass) and Tato Melgar (percussion). They have performed with their father, Willie Nelson and Young on previous occasions. For the first time, they have recorded and will now tour together under the banner of the Rebel Content Tour.

                                                                    Peter Zinovieff is one history's most enigmatic and influential electronic music composers. Described by Jon Lord of Deep Purple as "a true mad professor type", his innovations in the design of electronic music instruments have left an unquantifiable mark on the evolution of music technology touching the music of David Bowie, Pink Floyd and Aphex Twin to name but a few.

                                                                    'The Electronic Calendar :The EMS Tapes' is the first complete retrospective of his earliest experiments in 1965 through to the dissolution of his studio and the bankruptcy of his company EMS Synthesizers in 1979. The collection is presented as a deluxe two CD set with extensive liner notes, exclusive photos and Zinovieff's own diary entries compiled by Sonic Boom a.k.a. Pete Kember (Spacemen 3).

                                                                    Born in 1933 to two Russian aristocrats fleeing the Russian Revolution, Zinovieff, a graduate of Oxford University, worked as a Mathematician in the Air Ministry following World War II and other "boring jobs in atomic physics”. During his time at Oxford he met Daphne Oram who taught him the fundamentals of creating music from splices of tape in her private studio prior to formation of the BBC's Radiophonic Workshop. The frustration of working with reels of tape led Zinovieff to ponder the idea of an electrically controlled studio, and in 1964 he sold his wife's wedding tiara to purchase the first computer housed on a private estate. Zinovieff's garden shed in Putney became the most advanced music studio in the world, housing 384 oscillators, as well as a collection of filters, noise generators, ring modulators, signal analysers and amplifiers built with the help of his college David Cockerall using ex-Army electrical components.

                                                                    The centre of the studio was the computer, running on 8k of memory priced at £1/byte (£8000) allowing thousands of musical parameters to be sequenced several thousand times a second. Throughout the 1960’s and 70’s Zinovieff’s studios housed a community of passing intellectuals, engineers, inventors and hippies, becoming a place of pilgrimage for musicians looking to discover previously unheard sounds; Peter's daughter Sofka recalls, "I’d be having tea in the kitchen with my two younger brothers, when people like David Bowie, Paul McCartney or Pink Floyd would pass by on their way to the studio".

                                                                    Other visitors included Kraftwerk, Klaus Schulze, King Crimson, Alan Sutcliffe, Hans Wener Henze and Karlheinz Stockhausen to name but a few. During 1966-67 Zinovieff worked closely with Delia Derbyshire and Brian Hodgson on their post-Workshop project 'Unit Delta Plus', together they attempted to create commercially viable sounds for TV, film and advertising without success, although Zinovieff admits "I didn't want to have a commercial studio, I wanted an experimental studio where
                                                                    good composers could work and not pay".

                                                                    In 1969 Zinovieff formed EMS (Electronic Music Studios Ltd.) with Tristram Cary and David Cockerell and together they developed the EMS VCS3, a portable analog synthesizer used on Pink Floyd's 'On The Run' and The Who's 'Won't Get Fooled Again' whilst becoming a staple of the studios of Brian Eno, Jean Michel Jarre and Todd Rundgren. The VCS3 and the subsequent Synthi 100 and Synthi series appeared with the tag-line ‘Every picnic/nun/school/band needs a Synthi’ and are still in use by Aphex Twin, Stereolab, Portishead and Panda Bear, with MGMT, Spectrum and Experimental Audio Research placing the VCS3 on several album sleeves.

                                                                    ‘Electronic Calendar’ begins with ‘Chronometer ‘71’ composed in the form of a graphical score by Harrison Birtwistle. The piece is comprised of recordings of Big Ben and Wells Clock which are sequenced by Zinovieff’s computer to a pre-determined structure controlling tape machines and their parameters in a system that resembles an early sampler. The piece was created in the second iteration of Zinovieff’s studio in the basement of 49 Deodar Road which he called ‘Musys’, inside this studio was the world’s first series of narrow filter bands that could be used as a sound analysis system, recording the response of each filter in relation to the applied signal: Zinovieff had created the world’s first vocoder.

                                                                    The second CD opens with Zinovieff’s interpretation of the Christian song of mass ‘Agnus Dei’, followed by ‘ZASP’, a collaboration with Alan Sutcliffe. In 1967 ‘ZASP’ won second prize at IFIP (International Federation for Information Processing) Congress, a society dedicated to computer arts, missing out on first place to Iannis Xenakis. The CD closes with the last piece of music recorded in the EMS studio before it was destroyed by a flood in London’s National Theatre in 1979. The piece is aptly titled ‘Now Is The Time To Say Goodbye’ and features interview fragments of Zinovieff fading in and out of view.

                                                                    After a 35 year gap, Zinovieff has re-emerged following a commission from Russell Haswell, he continues to experiment with computer music theorising future innovations while proclaiming “computer music is only at the beginning”. ‘Electronic Calendar’ therefore serves as an essential preface to the history of electronic music from one of its most influential pioneers.

                                                                    Founded way back in 91, Z Records have since amassed a lauded and plentiful collection of singles, albums and compilations. Run by Dave Lee aka Joey Negro, the label has enjoyed success through his unique ability to foster the principles of underground dance music whilst also remaining mindful of commercial appeal.

                                                                    Through various compilations, Mr Lee has consistently delved deep into the heart of a specific genre or era and selecting a lesser-known series of tracks that give a real insight into the spirit and energy that made that point in time special. Whether it's been gogo, Brit-funk, boogie, Italo house or straight up disco, he has mined deep into his extensive bank of influences and also enlisted the help of some of his most clued-up comrades in offering some unforgettable collections of classics. Next up - he pulls together a collection of his favourite moments across a definitive decade for house and garage: the 90’s. Inclusive of material from Kerri Chandler, Robert Owens and MAW as well as remixes from Mood II Swing and Ron Trent - the compilation is packed with sultry vocal lines and the sort of slick, irresistible grooves that defined the era. Sticking with the ethos of his series, Joey Negro has dug out an olio of music that may have until now ‘slipped under the garage doors’ meaning a lot of the material on this compilation is being digitised for the very first time. In searching deeper and wider than the average compilation, the package provides a thorough insight into why this was such a fertile period for production and gives a nod to the sort of drum patterns, sampling techniques and vocal lines that have inspired the likes of Bicep, Brawther and Huxley amongst many more.



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