Adam And The Ants

Kings Of The Wild Frontier

This classic album from 1980 has been remastered & curated by Adam Ant himself. Although this record and Adam  became  Huge Pop Sensations both actually had cool punk/post-punk roots and the sound here still has a DIY rawness and playfulness. It is not shiny, over-produced Pop, that would come later, but it just happened to have a handful of stonkingly massive, superbly crafted pop songs on there. With the two Afro/glam drummers providing a unique musical base, and Adam's native-American get-up a supreme Pop gimmick, catchy as anything songs like Dog Eat Dog, the title track and the still incredible Ant Music lit up the charts and seemingly the whole of the UK for at least a year. It has stood the test of time too. 


Andy says: Classic pop LP with its roots in the post-punk of the early 80's. Still ridiculous fun and ridiculously catchy, after all these years. Love it!


LP Info: The stand alone 180gm heavyweight x12 trk LP vinyl includes a x12 page 'Ant catalogue'.

2xDeluxe CD Info: The deluxe x2 CD set contains the original album with previously unreleased studio demos, fully remastered by Adam Ant & Walter Coelho. The 2nd CD is a live concert recording of x17 songs from Chicago in 1981, never-before-released on CD, plus more rough cut/bonus tracks. This format also includes a x16 page colour booklet.

Adult Jazz

Earrings Off!

Adult Jazz first appeared back in 2013 amid a flurry of praise surrounding their joyous and addictive debut single ‘Springful’. Their unanimously acclaimed debut album, ‘Gist Is’ (2014), was a startling and mesmerising voyage from start to finish, taking a labyrinthine, fragmented pop-not-pop path, while maintaining a sense of humour in spite of its complex themes surrounding religion, gender and humanity.

Adult Jazz now return with new album ‘Earrings Off!’, their first for Tri Angle. In contrast to ‘Gist Is’, ‘Earrings Off!’ finds the band confidently veering into more electronic territory with elasticated beats and harsh vocal experimentations riding alongside off kilter horn arrangements and treated string sounds, all shaped by the band’s inimitable and unpredictable songwriting skills.

‘Earrings Off!’ is the sound of a band breaking away from the crowd and becoming all the better for it.


LP Info: Includes large fold-out poster insert.

Includes MP3 Download Code.

Africans With Mainframes (Hieroglyphic Being / Noleian Reusse)


Jamal Moss, aka Hieroglyphic Being, returns for a new second album on Soul Jazz Records, after last year’s debut "The Acid Documents", this time under the name Africans With Mainframes. Hieroglyphic Being and fellow Chicago producer Noleian Reusse have been releasing music under the name Africans With Mainframes for over 15 years now, ever since their debut on Hieroglyphic Being’s own Mathematics Recordings label in 2005. "KMT" is the debut album from the group, a collage of apocalyptic Chicago acid meets industrial and transcendental post-house machine funk. Both intense and unique, the album of forward-thinking, experimental, boundary-pushing Afrofuturist electronic music shows why Hieroglyphic Being is regarded as one of the most serious purveyors of experimental music today. Born and based in Chicago, Moss’s music embodies two of the cultural foundation blocks of the city’s musical lineage; that of Chicago’s original acid house sound, that of Frankie Knuckles, Phuture, Marshall Jefferson et al, alongside a rigorous experimental sound searching that taps into the cosmic musical lineage of pioneering artist Sun Ra whose Arkestra landed and was based in the city from 1946-61.

Available on double LP, hard Japanese card style CD and digital download album, including cover art by Paolo Parisi (the Italian designer of the John Coltrane graphic novel and Soul Jazz’s own ‘Acid - Mysterons…’ releases).


Includes MP3 Download Code.

Terry Allen


    Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely celebrated as a masterpiece - arguably the greatest concept album of all time - his spare, haunting 1975 debut LP Juarez is a violent, fractured tale of the chthonic American Southwest and borderlands. Produced in collaboration with the artist and remastered from the original analog tapes, this is the definitive edition of the art-country classic: the first reissue on vinyl; the first to feature the originally intended artwork (including the lithographs that accompanied the first edition); and the first to contextualize the album within Allen's fifty-year art practice. Juarez is not just an album, at least not in any ordinary sense of the word. Songwriter and visual artist Terry Allen describes it instead as a “haunting.” For nearly five decades, Juarez has served as the elusive, enigmatic axis mundi of his artistic and musical practices. Never discrete or static, the Juarez mythos continually accretes a growing constellation of new meanings, mutations, and manifestations, defying linearity and finality, appearing as drawings, constructions, songs, prints, installations, texts, a screenplay, a musical theater piece (co-written with David Byrne), a one-woman stage play, and an NPR radio play (both starring his wife, the actor and writer Jo Harvey Allen). Forty years later, Juarez is widely regarded as Allen’s first masterpiece, timelessly relevant, resonating with works of film and literature as much as other music, recalling the existential violence of Terrence Malick’s Badlands (1973) and informing successors like David Lynch’s Wild at Heart (1990), Cormac McCarthy’s Border Trilogy (1992-98), and Roberto Bolaño’s 2666 (2004). Paradise of Bachelors will reissue Terry Allen’s critically acclaimed 1979 double album Lubbock (on everything), the follow-up to Juarez, later in 2016. A master lyricist. - New York Times // Eccentric and uncompromising, savage and beautiful, literate and guttural. - Rolling Stone // The single greatest concept album of all time. - PopMatters // Like Willie Nelson's Red Headed Stranger as reimagined by Tarantino. - AllMusic //


    LP Info: Deluxe vinyl package includes expanded tip-on gatefold jacket, printed inner sleeve, download code, and 24pp. book with artwork, lyrics, and essays by Dave Hickey, Dave Alvin, and PoB.

    CD Info: CD edition features replica jacket, sleeve, and 48pp. book.

    As Telex so perfectly put it, "Diskow Moskow, Moskow Diskow!" After tearing sets up with appearances on Basic Fingers and That's A Steal, the Russian selector extraordinaire makes his Razor N Tape debut with a three tracker of willfully obscure and infinitely groovy edits. We're suspiciously close to library territory with A1 excursion "Son Of The Sun", a head-nodding, shoulder-rolling strut through Shaft-In-Outer-Space, Blaxploitation cosmic funk. The combination of dreamy textures, tribal synth riffing and belching synth bass lends this groover the same interdimensional spacesuit as Supermax's "Dance Dance Dance" but with new and improved hip manoeuvrability. After that excellent exercise in cosmic nonsense, we re-enter Earth's atmosphere somewhere above the mother continent, floating back down to earth to the proto-Balearic lilt of "Jungle Melody". This jazz-funk infused number utilises punchy bass, mesmeric flute and tripped out guitar to lead a conga line past lianas and lairs. The big band funk of "Fool Like A Child" strolls across the whole of the flipside, top hat doffed and cane a-swinging. Arsenii fuses a tuxedo clad horn section with cabaret piano, sci fi synth and sleazy disco bass, blowing our minds and moving our feet in equal measure. Pressed on transparent yellow 10" with a classic jazz library label design, this one is the perfect package for the discerning collector. 

    Richard Ashcroft returns in 2016 with his fourth solo album entitled ‘These People’ released on his Righteous Phonographic Association label via Cooking Vinyl Records on 20th May.

    The previous Brit and Ivor Novello award winner (and Grammy nominated) artist made a handful of solo live appearances at the end of 2015, playing a performance at Zermatt Unplugged in Zurich in October and an incredible solo acoustic set in front of 30,000 people at Mexico's Corona Capital Festival in November (see below), live dates for 2016 will be announced shortly.

    The album was recorded in London and produced by Ashcroft and longtime collaborator Chris Potter. It marks a reunion with Wil Malone, who worked with Ashcroft on the string arrangements on the seminal albums by The Verve ‘A Northern Soul’ and ‘Urban Hymns’. 

    Richard Ashcroft Is Alive: The Verve Man's Thrilling Resurrection At Mexico's Corona Capital Festival – NME.
    ‘Who else here has got the bollocks to stand up on this stage, on their own, with their own tunes and their own guitar and play it from the soul?" NME.


    Andy says: Lead single "This is How it Feels" typifies this lush return to form for Richard. Hooked up again with both the producer and strings conductor of Urban Hymns, this album has the depth and most importantly tunes that he used to knock out for fun all those years ago.


    Includes MP3 Download Code.

    The Associates

    Fourth Drawer Down - Expanded Edition

    Formed in in 1976 by Billy McKenzie and Alan Rankine, The Associates made lavish, genrebending cabaret pop.

    The original release of ‘Fourth Drawer Down’ gathered The Associates’ inventive, genre-defying singles released by Situation 2 on one album.

    The group’s story is filled with wonderful anecdotes (chocolate guitars on Top Of The Pops, whippets with their own hotel room) but it’s their wildly-inventive music capped by Billy’s stunning vocals, that ensures their place in pop music history.

    This new CD edition expands the original single album to a 2CD collection with a 28 page booklet featuring lyrics, new liner notes, previously unpublished photos and rare memorabilia.

    The Associates

    Sulk - Expanded Edition

    Formed in in 1976 by Billy McKenzie and Alan Rankine, The Associates made lavish, genrebending cabaret pop and ‘Sulk’ (1982) is their crowning achievement.

    The group’s story is filled with wonderful anecdotes (chocolate guitars on Top Of The Pops, whippets with their own hotel room) but it’s their wildly-inventive music capped by Billy’s stunning vocals, that ensures their place in pop music history.

    Newly re-mastered from ¼” tape, ‘Sulk’ features their biggest hits ‘Party Fears Two’ and ‘Club Country’.

    28 page booklet features lyrics, new liner notes, previously unpublished photos and rare memorabilia.

    The Associates

    The Affectionate Punch - Expanded Edition

    Formed in in 1976 by Billy McKenzie and Alan Rankine, The Associates made lavish, genrebending cabaret pop.

    Their debut album, ‘The Affectionate Punch’, further cemented their growing reputation as sometimes startling, often enthralling innovators.

    The group’s story is filled with wonderful anecdotes (chocolate guitars on Top Of The Pops, whippets with their own hotel room) but it’s their wildly-inventive music capped by Billy’s stunning vocals, that ensures their place in pop music history.

    The original album on CD1 is newly re-mastered from ¼” tape. CD2 features rare and unreleased tracks.

    28 page booklet features lyrics, new liner notes, previously unpublished photos and rare memorabilia.

    Following on from his return to dance orientated music on Neroli records with the lush and endearing 'Music for The Golden Age', multi album artist Lars Bartkuhn (Sonar Collective, Needs) brings contrasting sides of his musical character for Alex Bradley's burgeoning Utopia Records, touching on Detroit, jazz fusion and ambient sounds.

    'Tokyo Burning' is a youthful and stripped back electronic club track harking back to the Detroit house heyday of 'Galaxy 2 Galaxy' and Happy Records but with a modernist approach and Bartkuhn's unique musicality for what has all the hallmarks of a peak-time club classic.

    In contrast title track 'Nomad' brings the full spectrum of Bartkuhn's musical range with a more organic and rhythmic dance composition. A fusion of afro percussion, his own emotive vocal hook, melodic keys, joyful flute playing, bound together with the guitar playing that has had many compare Bartkuhn to the likes of Jazz master Pat Metheny. The track builds into a breakdown that is perhaps best described by Anthony Nicholson as; 'a combination of truth, inspiration and cosmic energy'.

    Rounding out the EP a gentle acoustic reprise of 'Nomad', a deeper introspective piece for ambient music lovers.

    Karl Bartos

    15 Minutes Of Fame (2016)

      Second vinyl 7" from the re-issue of Karl Bartos' "Communication" album. Ltd to 1000.

      Originally released in 2000, the programmatic track "15 Minutes of Fame" was the first single Bartos released and was an exciting peek into the world that was his upcoming full album. Inspired by Andy Warhol’s statement, “In the future, everybody will be world famous for 15 minutes,” Bartos used this as a template to comment on the increasing rise of celebrity culture unleashed by casting shows, reality TV programs, cooking contests etc. As Warhol had predicted and Bartos also tapped into, anyone could, and was becoming, famous, whether it was through singing, dancing, cooking, losing weight or surviving in a fake jungle. Things reached a stage in which there was no difference anymore, whether it's Princess Diana or some C-list celebrity that the paparazzi is chasing, it's all about grabbing that photo. Communication takes this theme and societal observations further by focusing them through multiple aspects, of what Bartos calls our “new media reality”.

      Julianna Barwick’s revelatory third album, ‘Will’, is the Brooklyn experimental artist’s most surprising left turn to date. Conceived and self-produced over the past year in a variety of locations, the compelling ‘Will’ departs from the weighty lightness of 2013’s ‘Nepenthe’.

      If ‘Nepenthe’ conjured images of gentle fog rolling over desolate mountains, then ‘Will’ is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds ominous and restorative all at once.

      ‘Will’ comes after Barwick’s busiest period to date in her career following ‘Nepenthe’ - a spate of activity that included playing piano for Yoko Ono, performing at the 25th annual Tibet House Benefit Concert alongside such kindred spirits as The Flaming Lips and Philip Glass, releasing the ‘Rosabi’ EP and delivering a reimagining of Bach’s ‘Adagio’ from Concerto In D Minor.

      Her life over the past several years has largely been lived in transit and as such the genesis of ‘Will’ was not beholden to location; Barwick reflects on this cycle of constant motion. “You’re constantly adjusting, assimilating, and finding yourself in life-changing situations.” That sense of forward propulsion is largely owed to ‘Will’s synth-heavy textures, an ingredient she was inspired to add to her vocal loop-heavy formula after demoing a new prototype analogue sequencer for Moog.

      Another new wrinkle ‘Will’ introduces in Barwick’s sound: Mas Ysa’s Thomas Arsenault, who lends his richly complex vocals to ‘Same’ and ‘Someway’.

      The beguiling, beautifully complicated ‘Will’ is the latest proof yet of Barwick’s irresistibly engaging talent as a composer and vocalist.

      Julianna has recently collaborated with Moog and MoMa, lending her prestige as both a musician and artist as a whole.


      Coloured LP Info: Available exclusively to independent retailers on rose gold coloured vinyl.

      Includes MP3 Download Code.



        Bey's back with another audio visual long player. The record is Beyoncé's second "visual album", following her eponymous 2013 record, and a concept album. While its predecessor featured individual music videos for each track, 'Lemonade' is accompanied by a one-hour film on a DVD included here. The album encompasses a variety of genres including pop, R&B, blues, rock, hip hop, soul, funk, country, gospel, and trap. It features guest vocals from James Blake, Kendrick Lamar, The Weeknd and Jack White.

        Black Milk & Nat Turner

        The Rebellion Sessions

          Black Milk, one of the most prodigious and versatile talents in the world of hip-hop, returns alongside his band Nat Turner with a live instrumental LP, The Rebellion Sessions, a jazz-funk opus recorded over the span of one week. Orchestrated and produced by Black Milk, The Rebellion Sessions features Nat Turner (Aaron “Ab” Abernathy on keys, Malik Hunter on bass, and Zebulun “Z” Horton on drums). Although the guys have appeared on Black’s previous works, The Rebellion Sessions is the first project created by the four as a collaborative unit. The album, at times recalling the works of Fela Kuti, Charles Mingus, Miles Davis, Sly & The Family Stone, D’Angelo, and Robert Glasper, builds off Black Milk and Nat Turner’s incredible live show, honed over the course of years and more than 90 shows played worldwide in 2015 alone. Black Milk & Nat Turner will embark on The Rebellion Tour in Europe this May, performing select tunes from The Rebellion Sessions in addition to songs from Black Milk’s extensive catalog, before hitting the road in the States.

          Steve Black

          Village Boogie

          After starting his musical career back in 1968, the Nigerian artist, drummer, singer, multi-instrumentalist and producer Steve Black released the fantastic and unique "Village Boogie!" in 1979, a true holy grail of afro funk music. The original album is incredibly rare today and frequently fetches prices of $800 plus! Boasting Black's updated version of the massive "Brand New Wayo" by Mixed Grill (in which Steve was the singer). Along with that hit "Village Boogie!" gives us six other groovers and movers that make your hips shake like you were hit by an earthquake - in fact this is an earthquake of ever pulsating polyrhythmic drum and percussion patterns, a solid platform for lush horn arrangements and swinging bass lines. A little bit of guitar and other instrumentation adds color to the whole wild steaming funky sound and on top we find the utterly distinctive voice of Mr. Steve Black. "Village Boogie!" comes as strong as the best US funk releases of that days, but with that spiritual, ancestral rawness you only find on an African release. Place it on the platter and feel the funk!

          Blues Magoos

          Mercury Singles 1966-1968

            Hailing from NYC, The Blues Magoos took the folk/blues soundtrack of their mid-sixties Greenwich Village contemporaries and forged it into a tough, garage/psych hybrid that attracted fans as quickly as it angered folk club owners, incensed by the band’s volume and unhinged stage show! Signed by Mercury Records in 1966, their inaugural single for the label, a reading of John D. Loudermilk’s “Tobacco Road,” was a churning 4 1/2 minute(!) plunge into crazed guitar/organ/drum/bass pyrotechnics with vocals careening over the top. The release hailed the arrival of a new and wholly unique voice on the rock scene.

            It was also a signpost for a new genre. One of the first albums to use “psychedelic” in the title, it arrived right on time for a generation ready to expand their consciousness with the aid of their turntables. The album’s next single, band-penned “(We Ain’t Got) Nothin’ Yet,” featured one of the all-time great riffs, an insistent bass run over which keyboards swirled and unison vocals chanted. An absolute smash, “(We Ain’t Got) Nothin’ Yet” zoomed to #5 on the national pop charts and made the band an exotic household name.

            In total, The Blues Magoos released three amazing albums and eight incredible singles on Mercury. Longtime fans, Sundazed has now gathered all sixteen A- and B-sides together on The Blues Magoos: Mercury Singles (1966-1968). Featuring the accurate, original mono single mixes from the Mercury masters, these songs have NEVER sounded better! 

            The Bluetones

            Expecting To Fly (20th Anniversary Vinyl Edition)

              Exactly 20 years ago, on 12th February 1996, The Bluetones released their debut album, “Expecting To Fly.” It knocked Oasis’ ‘What’s The Story Morning Glory’ off the top of the charts in the week the Mancunians scooped an armful of BRIT Awards and signalled the start of a hugely successful career for The Bluetones. 

              STAFF COMMENTS

              Andy says: This was a massive record for our shop all those years ago, as The Bluteones were one of the most charming bands of the Britpop era. Smart songs, but none smarter than the still incredible Slight Return which was the greatest song The Stone Roses never wrote.

              20th May, 2016 marks forty years to the day that David Bowie's first ever best-of compilation, including songs from 1969 to 1976, CHANGESONEBOWIE was released. To mark this anniversary the album has now been reissued.

              STAFF COMMENTS

              Andy says: Iconic best-of that all us oldies saw in people's record collections in the late 70's! Every song is actually an official Classic!!


              Ltd LP Info: Half of the limited vinyl will be pressed on black vinyl whilst the other half will be pressed on clear vinyl, this will not be mentioned on the sleeve so it will be completely random as to which one you receive.

              Boxed In Feat. Formation

              Running Out

                Boxed in - aka Oli Bayston has been part of the Speedy family for a long time. Longtime friends with all members of the label - Carey produced his first record, is currently working on his next and the pair previously collaborated on the Scotti Brains Speedy release. As well as a friendship , the connection extends to a professional capacity - Bayston having assisted Dan on records such as TOY and Mystery Jets – so it was only a matter of time until a Speedy release was on the cards.

                Of the session Oli says, 'it was a real pleasure venturing into the world of Speedy Wunderground. We've been looking forward to it for very long time. It went by in a flash and we loved every minute of it.'

                The result, a skittering Arthur Russell indebted jam was formed in the spontaneous tradition of the label. Written in twenty minutes and recorded in a couple of hours - the collaborators, local boys, Formation, who Dan first encountered at a South London chess club were given 30 mins notice before confirming their involvement and making their way down to the studio.

                Talking about Formation’s involvement Dan says, “I was trying to think of how to surprise Oli on the day of the speedy session – ‘Young Ones’ (by Formation) came on the radio , which I had mixed last year , and I'd always liked Matt and Will and wanted to work with them again. They only live round the corner so I called them and they were round within the hour.”

                It was worth the wait.

                The single is available as a limited edition 7” and features a ‘dub version’ as its B-side.

                Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas – joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.

                FORMAT INFORMATION

                Includes MP3 Download Code.

                Gabriel Bruce

                Come All Sufferers

                  After an extended hiatus following the breakthrough success of his debut release Love In Arms, baritone vocalist Gabriel Bruce is back with his second album, his most accomplished, accessible and self-assured work to date. The album, which has been 3 years in the making (following a particularly traumatic breakup and painful injury, in which his hand was crushed by, of all things, a heavy fossil), owes as much to early 90’s era indie pop, with its hook-filled anthemic choruses and razor sharp guitar crashes, as it does to the late 70’s Goth-disco sound which inspired much of Love in Arms. While his deep, brooding vocals, along with the inevitable comparisons with Leonard Cohen, Nick Cave and Johnny Cash remain, inventive drumming, thumping bass and glossy synths now provide the basis for Bruce’s intriguing and thoughtful lyrics. Whereas Love In Arms dealt inwardly with turmoil, Come All Sufferers looks defiantly outward. Opening track Freedom sets the tone and quickly develops into raucous swamp rock.

                  Blackest Ever Black and Klanggalerie present the first ever vinyl reissue of Caroline K’s outstanding 1985 album, 'Now Wait For Last Year'. This haunting, wistful work of post-industrial synthesizer music - the late Nocturnal Emissions co-founder’s only solo record - has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely rare and sought-after. Appropriately enough for an album concerned with the disruption of linear time - it takes its title from a Philip K. Dick novel concerning a highly addictive hallucinogenic drug, JJ-180, that induces time travel for its users - the music on Now Wait seems to exist firmly outside of it. Tags like industrial, minimal synth or proto-techno can’t really do justice to the richly cinematic sound-world that Walters describes: from the sustained ambient tension of sidelong opener ‘The Happening World’ to the future-primitive rhythms and stately piano flourishes of ‘Animal Lattice’, and the melancholic, deep-frozen synth sequences of ‘Chearth’.

                  Fans of Wendy Carlos’s A Clockwork Orange, Chris Carter’s 'The Space Between', and early Detroit techno should pay special attention, but this searching, future-proof masterpiece demands to be heard by all. 

                  The third instalment of King Street Sounds Kerri Chandler focussed "House Legends" series sees us digging into late 90's territory with the EP kicking off with "Harder Gets Higher", a stomping Garage groove with dope flourishes of live percussion, typically heavy on those swinging drums and the deepest bassline, all of the trademarks we've come to expect from the man himself. Following on is the heavyweight 6.23 club mix of "Grass Cutter" lifted from his "Trionosphere 3" release from 2000, serious Latin-esque drums cascade over one of the funkiest basslines out there to create a devastating club tool, a perfect way to shake up any dance-floor. On the flip we're treated to a pair of stellar Kerri remixes, Ananda Project's "Awareness (Kerri's Dark Dub)" kicks things off, a taut, driving piece of sultry, late night house featuring some sublime spoken word vocals from Mia Tuttavilla. Rounding out the EP in fine style is the gospel infused sounds of Carolyn Harding's "Pick It Up", as deep as it gets, uplifitng organ, piano and vocal led sweetness, this is pure HOUSE, one for the heads indeed. All featured tracks have been fully licensed from King Street, remastered and reissued with %100 involvement from the label. Essential House music for the seasoned heads and neophytes alike!


                  Glowing Raw

                    Created around the same time as the crucial Houston album, Glowing Raw is Charalambides in essential and pure form. It's powerful and potent.

                    Drawing Room is proud to present the first time vinyl release of Glowing Raw. Each LP is pressed on 180-gram vinyl housed in a full color matte jacket (with download) and includes a foldout poster.

                    FORMAT INFORMATION

                    Includes MP3 Download Code.


                    Strangle The Wretched Heavens

                      Formed in 1991, Charalambides has always and will forever be the constant core duo of Tom and Christina Carter. Though music scenes and genre classifications ceaselessly change, this duo has stayed "wholly-other" dedicated to a "vision of spiritual music (in all its forms) as transformative force."

                      Drawing Room is proud to present the first time vinyl release of Strangle... Each LP is pressed on 180-gram vinyl housed in a full color matte jacket (with download) and includes a foldout poster.

                      The sound of Charalambides is beyond unique. Personal and consistent, it moves forward and outwardly in radical shifts and strategies. Strangle The Wretched Heavens..."We could get lazy and use words like 'spectral' or 'haunting,' but those words open neither ears nor hearts. This music is every bit as supernatural as it is grounded, and what it does, ultimately, is move according to its own internal logic, as our feelings move according to their own internal logic. That is what keeps Charalambides' music relevant, what makes it timeless.

                      Following one of their earliest seminal releases, the almighty Market Square, Strangle... is the next chapter. Dark and intense, the album is pure beauty inside and out. Its magic is almost indescribable, but its power can be physically felt completely.

                      Chico Mann

                      Nobody Wants To (feat Kendra Morris)

                      A chunky slab of shimmering synth-soul on a hip-hop beat throbs out of the speakers on the new Chico Mann and Kendra Morris single. Served up with trademark afro guitar licks and spacey synth stabs this beautiful one-off release follows their killer album-cut 'Same Old Clown', the highlight of the Chico Mann 'Magical Thinking' full-length of 2012.

                      Kendra Morris explains: "Nobody Wants To is about trying to fill the void and then being to stubborn to let go... I feel like we all have this thing in us that we search to fill.. sometimes we are doing alright and it seems to maintain itself but then there are times usually when you're on some sort of self destructive warpath where it just is this hollow thing and you try to stuff anything into it to feel feels good for a while but then it kinda bottoms out"

                      Kendra's long-time collaborator Jeremy Page (who produced both of her two albums for Wax Poetics Records) and Chico Mann built the instrumental - Kendra "had a ton of vocal ideas" the second she heard it and Nobody Wants To was born.

                      Chico Mann recently re-located from New Jersey City to Los Angeles where he's working on new material both as Chico Mann and with his new psych-rock outfit Here Lies Man.

                      Wild Billy Childish & CTMF

                      A Song For Kylie Minogue B/w True

                        A-side is taken from the band's latest LP SQ 1, and is backed with an exclusive B-side 'True'. The single is already getting played on BBC6Music “On 'A Song For Kylie Minogue' Childish pays tribute to some of the rock stars who have paid tribute to him over the years (minus one or two big names). All true stories, we get an insight as to who has tried to stroke Childish.” (b.childish – march 2016) 40 years ago, Billy Childish, then a 16 year old working in Chatham dockyard formed a group called 'the Chatham Forts', and started a journey through punk rock from 1977 to now. Along the way this painter/ poet has released over 140 independent LPs. (SQ 1 is something like his 150th.) “The reason we didn't sound like the Smiths is because we wanted to sound like this” is Billy's reply to all the reviews of his band's work during the '80 and '90s - in the days when they stood all but alone as 'the kings of garage rock' (New York Times).

                        FORMAT INFORMATION

                        Ltd 7" Info: On transparent red or transparent yellow vinyl! (each limited to 400 copies!)

                        'The reason we didn't sound like the Smiths is because we wanted to sound like this' 40 years ago, Billy Childish, then a 16 year old working in Chatham dockyard, imagined a group called 'the Chatham Forts', and so started a journey through punk rock from 1977 to now. Along the way this painter/ poet has released over 140 independent LPs. (SQ 1 is something like his 150th - no one knows for sure.) As always great lines are delivered with deadpan humour: “The reason we didn't sound like the Smiths is because we wanted to sound like this” is Billy's reply to all the reviews of his band's work during the '80 and '90s - in the days when they stood all but alone as 'the kings of garage rock' (New York Times). SQ 1 could be seen as a manifesto of punk rock defiance, a celebration of musical independence or simply a true document home made rock and roll delivered as art, not commerce.

                        (Few artists have demanded and exerted so much control over their output as Childish. As with his previous LPs, all designs are undertaken by the group, from song writing, recording/producing, track listing, and LP design.)

                        STAFF COMMENTS

                        Laura says: Wild Billy Childish, under various guises, has been ploughing his own very individual furrow through rock'n'roll for forty years. This album is prime Childish: a raw, stripped back hybrid of classic garage rock and punk that's guaranteed to bring a smile to your face.

                        Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this record as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that it was in fact not a record at all... It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation / grant application / educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

                        In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its like-minded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums 'The Bull' and 'Silver Apples Of The Moon', Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

                        These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

                        The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne’s gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne’s work, a vast vault of previously unpublished “non-records”, will already know how the creative politics in her art of “being” simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last “first” with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines.

                        You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani’s initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these “non-records” that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again. You, are invited!

                        Jarvis Cocker

                        Likely Stories

                          Limited edition 7” EP of music written by Jarvis Cocker for the TV series “ Likely Stories”.

                          Friends gather in an after-hours bar to swop “true” ghost stories. One tale - of an after - school encounter - leads to the unearthing of a dark secret.

                          Jarvis worked on the score for the series with musicians Alasdair Malloy (percussionist to Scott Walker), Serafina Steer, Sarah Anderson, Jenny Moore (collectively known as Bas Jan), Martin Slattery (The Hours, Black Grape) & drummer Tom Skinner (Melt Yourself Down). Adrian Utley (Portishead) makes a guest appearance playing synth & Swarmatron on the Main Theme.

                          Count Ossie & The Rasta Family

                          Man From Higher Heights

                          Soul Jazz Records are releasing Count Ossie & The Rasta Family’s long lost reggae album ‘Man From Higher Heights’ (originally released in 1983), digitally remastered and with full original artwork.

                          This release follows on from the earlier release of Count Ossie and The Mystic Revelation of Rastafari ‘Tales of Mozambique’ (1975), also by Soul Jazz Records.

                          Recorded in Kingston, Jamaica, it remains unclear whether this album is a mixture of original recordings overlayed with additional players, or Ossie’s post-Mystic Revelation players remaining true to the spirit of Count Ossie (who had died in a car crash in 1976). Either way, it is a fascinating and successful blend of heavyweight Rastafarian roots rhythms and drumming alongside deep jazz improvisation and tripped out psychedelic fuzz guitar. · Count Ossie is the central character in the development of Rastafarian roots music, an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley’s promotion of the faith internationally in the 1970s.

                          Count Ossie’s drummers made the first ever song to integrate Rastafarian traditional music into popular music - The Folkes Brothers’ song ‘Oh Carolina’, recorded for producer Prince Buster in 1959. In 1966 his drummers greeted the arrival of Haile Selassie at Kingston airport.

                          His Rastafarian compound in the hills of Wareika, Kingston, hosted jam sessions between his drummers and Jamaica’s finest musicians, Roland Alphonso, Don Drummond, Johnny Moore and others.

                          Count Ossie and the group’s ‘Man From Higher Heights’ remains one of the most elusive of his highly progressive Rastafarian inspired recordings, the final release in Count Ossie’s career.

                          FORMAT INFORMATION

                          Includes MP3 Download Code.

                          From the edge of Germany’s Black Forest to the English hamlets of Dorset, The Dandelion Set make psyched-out, blow-your-mind sound nuggets with the (un)self-conscious freedom of the 70′s. Drawing on library music, radiophonics and Krautrock, the band produce a heady mix of psychedelia, prog, folk and electronics with beautiful sounds created on harpsichord, 12 string and acoustic guitars, electric bass, moog, woodwinds, autoharp with fat beats and tripped-out effects.

                          This incredible debut album also features vocals and sleeve notes by legendary writer + graphic novelist Alan Moore (V For Vendetta, The Watchmen, Swamp Thing, The Killing Joke). Produced by Glyn Bush (Lightning Head, Rockers Hi-Fi) and lifelong friend PK Chown the album reflects their love of a huge range of musical styles, with the emphasis on un-formularized tunes and originality over familiarity.

                          Each format contains a unique combination of tracks, rarities and exclusive material. Very limited edition!! 

                          FORMAT INFORMATION

                          Includes MP3 Download Code.

                          Melanie De Biasio

                          Blackened Cities

                            Much lauded since the release of ‘No Deal’, her second album in 2014, Melanie De Biasio now delivers a new composition, ‘Blackened Cities’.

                            Revered in her native Belgium, the classically trained flautist and vocalist was heralded by Gilles Peterson on the release of ‘No Deal’ as one the most exciting artists in the jazz world. Together with long-term musical associates pianist Pascal Mohy, Pascal Paulus on vintage synths, Samuel Gerstmans on double bass and drummer Dre Pallemaerts, ‘Blackened Cities’ continues to see De Biasio mine an extraordinary vein of immersive splendour.

                            Taking inspiration from a post-industrial landscape, a backdrop of unexpected hope rediscovered in cities such as Manchester, Detroit, Bilbao and De Biasio’s home city of Charleroi, ‘Blackened Cities’ emerges... As De Biasio says, “I don’t think anyone, including me, was expecting a 25-minute piece which wasn’t a successor to ‘No Deal’, or anything other than a collection of new songs. I followed what the music told me, like a gut feeling.”

                            The ensemble create an emotive and sensuous presence, coming into earshot on a ripple of orchestration patiently awaiting De Biasio’s introduction. The rhapsody that froths and foams for nearly half an hour surpasses the song format. ‘Blackened Cities’ rolls and swells with both a physical sensation and intimate journey encapsulating the instantaneous origins of its birth, undergoing minimal postproduction, as De Biasio adds; “everything or almost everything was there in that collective moment on autumn afternoon.”

                            The Diabolical Libertes

                            The Diabolical Libertes

                            The Diabolical Liberties turned down nobody to put out a limited run of vinyl EPs. They remain at large planning how to scrape the off cuts of lost ideas and misplaced rants, from a dance floor where nobody can hear you no matter how loud you scream.

                            In the old industrial warehouses , down there bellow the sub bass. Down in Phorcy’s kingdom of misshapen beats swimming in their own echo. The new future has already started. A darkness disturbed by the occasional flash from someone thumbing a device. It’s then you see who’s been dancing next to you for the last 2 hours.

                            Now you notice there’s ‘something in their motion’, they been looking for the ‘dance floors of England’ . The ‘sons of the bass bin’ try shouting, ‘hey you lets dance’, but that doesn’t disturb them. They just keep on with that ‘get it off me’ face, knowing ‘this will change it‘, but feeling to ‘wind up saint peter’ on the way in.

                            Rizla birds feeding in the speaker stack echo code met you in the passing – i’m only dancing bleach another night we bleach another night vanquished and claimed on the dance floors of England promises promises our dirty little promises dancing all together on our own money in the meter put your money in the meter i lost me in the mirrors on the dance floors of England flooded toilet expectations every box n sound i’ll dance you in the morning dance me full of fire stumble like an old man i’ll stumble like an old man drop and fall to the dance floors of England club upon pub out of my constriction heroes and ghosts lost and still looking for the dance floors of England."

                            Tanya Donelly is a singer-songwriter and founding member of three of the most successful bands of the post-punk era. At the age of 16, she and stepsister Kristin Hersh formed Throwing Muses, which became the first American band ever signed to the influential British label 4AD. Not only did the Muses' dreamy, swirling guitar sound prove highly influential on many of the alternative acts to emerge in their wake, but they also made any number of unprecedented advances into the male-dominated world of underground rock. Donelly later sidelined with Pixies bassist Kim Deal to form the Breeders, appearing on the debut LP, Pod. She later exited both the Breeders and Throwing Muses to form her own band, Belly.

                            After issuing a pair of well-received EPs, Belly released their full-length debut, Star -- a superb collection of luminous, fairy tale-like guitar pop songs -- and for the first time in her career, Donelly earned commercial success commensurate to her usual critical accolades. Not only did the record go gold on the strength of the hit single 'Feed the Tree' but the band even garnered a Grammy nomination for Best New Artist.

                            Donelly would eventually disband Belly to raise her two daughters. She still found time to write and record music as a solo artist -- Beautysleep, Whiskey Tango Ghosts and This Hungry Life were all exceptional albums and enjoyed critical success. The Swan Song Series is a collection of songs in which Donelly collaborated with friends, musicians and authors such as Rick Moody, Robyn Hitchcock, John Wesley Harding, Damon Krukowski and Naomi Yang (Damon + Naomi/Galaxie 500), Bill Janovitz (Buffalo Tom), Tom Gorman (Belly), and Claudia Gonson (Magnetic Fields), and explored an impressive range that wasn't always captured on previous albums.

                            This exclusive collection includes the first 5 self-released digital EP's + 7 brand new, previously unreleased, tracks on a 31 song set.

                            Bob Dylan

                            Modern Times - 180g Vinyl Edition

                              'Modern Times' is the thirty-second studio album by American singer-songwriter Bob Dylan, originally released in 2006. Following 'Time Out Of Mind' [MOVLP1049] and 'Love And Theft' [MOVLP506], the album was Dylan's third album in a row to be met with nearly universal praise from fans and critics. It continued its predecessors' tendencies toward blues, rockabilly and pre-rock balladry, and was self-produced by Dylan under the pseudonym "Jack Frost".

                              'Modern Times' became the singer-songwriter's first #1 album in the US since 1976's 'Desire' [MOVLP836]. It was also his first album to debut at the summit of the Billboard 200. At age 65, Dylan became the oldest living person at the time to have an album enter the Billboard charts at number one.

                              FORMAT INFORMATION

                              2xLtd LP Info: 180g audiophile vinyl pressing in gatefold sleeve with printed innersleeves.

                              2xLP Info: Deluxe 2-LP 180 gram vinyl.

                              2xLtd CD/DVD Info: Back in stock! The DVD disc includes "Blood In My Eyes", "Things Have Changed", "Love Sick" (Grammy Performance) and "Cold Irons Bound" (Live from "Masked & Anonymous").

                              Columbia Records are proud to announce the release of "Fallen Angels", produced by Dylan & Jack Frost - the thirty-seventh studio album by Bob Dylan. The album features covers of twelve classic American tunes chosen by Dylan himself, from a diverse array of writers such as Johnny Mercer, Harold Arlen, Sammy Cahn and Carolyn Leigh.Much like the album's predecessor, "Shadows in the Night", every song on the album, except for "Skylark", was once recorded by Frank Sinatra.

                              Essex Rascals

                              Hip Hop Mash Ups Vol. One

                              The elusive Essex Rascals strike once more, this time with a highly limited 45 featuring two party starting hip hop mash ups for the fun loving DJs amongst us.

                              On side A 'Double Fresh' plays with Mantronix' 'Fresh Is The Word', while on the flip 'Set Off The Planet' uses Big Daddy Kane's 'Set It Off'. Simple, effective and familiar, not only will these two golden era flavoured jams do plenty of damage at the dance but they'll also put a smile on the face of even the most hardened ageing B-boy / B-girl.

                              It's the return of everyone's favourite noize-psyke-acid-dance troupe, Factory Floor; back on what should be their spiritual home, DFA. "Dial Me In" should instantly pique the interest of anyone who saw their jaw-dropping performance at Liverpool Psyche Festival last year. Layering up those bubbling 303 lines, industrial percussion and robotic, dead pan vocal parts, Factory Floor meet us somewhere between Chris & Cosey, Paranoid London and Phuture but the result is something entirely fresh and arresting. "Dial Me In" also gets a club rub down, adding more beats to keep people moving frenetically in the club. Rampant cowbells, hand claps and flailing sine tone toms make for a completely different take on the track, perfect for getting lost deep in some smoke filled rave dungeon. Flip and we get the crazy mental, "Work It Out"; Factory Floor displaying the playful if slightly deranged side of their personalities. "Work It Out" Plays with 'glide' and 'detune' functions on their synthesizers of choice to create a discordant, cacophonous acid burner for the true club freaks

                              The Arab world of the 70s and 80s spawned more than its fair share of interesting rock and pop acts. Chief among them is Libyan genius Ahmed Fakroun, whose stunning "Mots D'Amour" LP is finally back in print after a three decades hiatus. Originally released on France's Celluloid, the 8 track LP was the perfect fusion of synth pop, new wave, funk and traditional Arabic sounds - bounding out the speakers like the Tom Tom Club's kaftan-wearing cousin. Deeper and more danceable than the typical chart bothering ethno-pop of the era, "Mots D'Amour" effortless skipped between lightly spiced pop, Big Apple funk and the mystical melodies of the Middle East, boasting the double whammy of "Love Words" and "Soleil Soleil" at the top of the B-side. Loved equally by disco kids, Balearic heads and world music fans, these two 80s pop gems are undeniable underground hits, and had Bat For Lashes moving and grooving in the shop this very morning. Grab a copy of the reissue and make your dance party go crazy with this fascinating guy from Libya.

                              This was a funny one. I had to first search ol' Bernardino Femminielli's name on discogs to check I wasn't uploading some obscure 70s French disco that later become an unknown Cosmic club hit. But I was right first time - this is NEW music folks - no need for reissue or bootleg, just damn fine cosmic slop first time around! Sleaze is the first thing that comes to mind as "Gluantes Pornographies" opens up on the record player. Even without a basic grasp of French I can see the words 'pornographies' and the music gets even sleazier! So Bernardino Femminielli is from Montreal, Canada, that explains the French vocals but what else? "Plaisirs Americains" continues like a soundtrack to some obscure spy / espionage film, bursting with vibrant piano chords and Femminielli's chain-smoked ruff vocals. Can I just point out at this stage that the sleeve comes with all the lyrics printed on the back - this is the real deal folks! "Touch-Pipi" allows us a sensuous moment behind the speaker stacks with the girl / boy of our fantasies, Femminielli narrating the action as he keeps one eye on the fun. "Babylone Straße" recalls Air's sophistication and grace as lush guitar and delicate piano notes drip out of the speakers with pure eroticism. Side A should leave you feeling highly sexed if nothing else.
                              "My Baby Takes My Money" opens side B with some tense urgency, a plodding b-line supporting suspended strings and stabbing chords. "Tatouage" takes us coastal for some sun-blushed Balearic goodness. Finally, "Boy's Trottoir" is the epic, end of feature credits track, moving through its arrangement with all the style and panache of Serge Gainsbourg himself! There - I've mentioned his name! You were waiting for the reference weren't you?
                              A future classic of the Balearic / French / Cosmic scene? I hate to say it but yes! I can't help think that if this was released 20 years ago we'd have already sold out on preorder but I guess that's the nature of the beast sometimes. Trust me though - people are gonna be paying big bucks for this in 10 - 20 years time! Timeless, essential sleaze for people that know - highly recommended! 

                              STAFF COMMENTS

                              Matt says: A proper record. Stylistically complete from start to finish. Epic sleaze.

                              FORMAT INFORMATION

                              Ltd LP Info: Varnished 350g premium quality paper sleeve. Limited edition of 400 copies.

                              Swedish / American four-piece FEWS have been making some serious waves ahead of their debut album. Specialising in propulsive, motoric noise-pop, producer Dan Carey (Bat For Lashes, Sexwitch, TOY, Kate Tempest et all) discovered the band via a mysterious Soundcloud link and promptly invited the band to his South London studio where debut single ‘Ill’ quickly followed on Carey’s Speedy Wunderground label.

                              Having joined the ranks of the Play It Again Sam label their own brand of malevolent post-punk continues to evolve and thrill with follow up singles ‘The Zoo’ and ‘100 Goosebumps’ that has seen the band bear resemblance to DIIV and Faust.

                              “Sonically charged post-punk that’s equal parts Interpol, DIIV, The Walkmen and A Place To Bury Strangers. Anthems for the disaffected in waiting” - Drowned in Sound

                              FORMAT INFORMATION

                              Ltd LP Info: Heavyweight clear vinyl with download code.

                              Ever since she migrated from pitching editors on the little-known music of Robert Nesta Marley to becoming one of the foremost chroniclers of the perfect storm of reggae, punk, hip hop and afro-beat, the London-born, New York-based Goldman has made documenting music her primary life work. But between 1979-82, Goldman was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare grooves are now collected for the first time on 'Resolutionary', courtesy of Staubgold Records.

                              'Resolutionary' takes us through Vivien's first three musical formations: first as a member of experimental new wavers The Flying Lizards; next as a solo artist, with her single "Launderette," featuring post-punk luminaries; and then as half of the Parisian duo Chantage, with Afro-Parisian chanteuse Eve Blouin. Goldman's synthesis of post-colonial rhythms and experimental sounds are threaded together by her canary vocal tones and female-centred themes. Her eclectic musical crew included PiL's John Lydon, Keith Levene and Bruce Smith; avantgardists Steve Beresford and David Toop; Aswad's George Oban: The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; and Viv Albertine, then of her good friends, the Slits. The majority of the tracks were produced by dubmaster Adrian Sherwood, and 'Resolutionary' channels the history of a time when the bon-vivant voice of music was in the air, and Vivien Goldman was its eyes, ears, and mouth. When she wasn't writing, broadcasting or filming - or even when she was - Vivien always sang. She sang in a lilting, clear-toned soprano honed during childhood, when she and her two sisters would harmonize with their violinist father. Spend even a little time with Vivien, and she is likely to burst into song.

                              "The Punk Professor" began her singing career in the late '70s, doing backup with Neneh Cherry and Ari-Up (the Slits) on Sherwood records by reggae artists, including Prince Far I. It was a time of musical fermentation, collaboration, and experimentation - and of post-punk boundary breaking.

                              STAFF COMMENTS

                              Patrick says: Keith Levene (PIL), George Oban (Aswad), Steve Beresford (Flying Lizards), Vicky Aspinall (the Raincoats), Robert Wyatt, Bruce Smith (the Pop Group), Style Scott, Adrian Sherwood, Neneh Cherry and Carol Thompson (and many more) feature on these tracks - say no more!

                              Wesley Gonzalez

                              I Spoke To Euan

                                After ten years in the guitar shredding, pop-punk band Let’s Wrestle, which culminated in a chaotic sold-out final outing in London’s 100 Club, as reported by The Guardian, Gonzalez taught himself to play piano and set his sights on an entirely different approach to songwriting.

                                Out of this new experimentation ‘I Spoke to Euan’ was born; a somewhat somber tale of excess and over-indulging whilst on tour, regaled by Gonzalez in his signature clear-cut in content, dramatic lyrical delivery.

                                Setting the scene with a tranquil key arrangement, the song soon bursts into life – hazy, reverberating synths pair with a steadily building rhythm section - before Gonzalez spills his story via theatrical, far-reaching choruses.

                                On ‘I Spoke To Euan’, he states:

                                ‘We had travelled for a whole day getting to where we were staying after playing Primavera; I was overexcited, drinking a lot and smoking a lot. I think I found it hard to completely ease into it. I went to sleep and had a nightmare that woke me up crying uncontrollably, not really understanding why’.

                                Upon finding the only other band-member awake was Euan Hinshelwood (Younghusband), a conversation between the two made Gonzalez ‘think a lot about how I struggle letting my mind get into a place where I can be relaxed or how I put myself under pressure in a leisurely environment’.

                                Without letting go of a fascination with Beatlesesque melodies, Gonzalez writes songs which hark back to mid 70’s singer-songwriters such as Todd Rundgren and Emmitt Rhodes, but with added elements of soul, funk and electronic music – drawing upon influences like Sly And The Family Stone and Donny Hathaway, as well as. White Noise, Yellow Magic Orchestra and Mort Garson. Although Gonzalez made a conscious retreat from punk music, he maintains his work is “still defined as angry music; anger is still an energy. All the lyrics are rooted in my disgust with a lot of the modern world, and feeling powerless as a young person in our society”.

                                Grimes / D'eon

                                Darkbloom - Arbutus Records Edition

                                A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the 'Darkbloom EP' is a thrilling split LP by d'Eon and Grimes. Harnessing the dark energy of her sophomore album 'Halfaxa', along with the shimmering dream pop of her debut 'Geidi Primes', Grimes’ side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for. Following the Middle-Eastern-tinged R&B of 2010’s 'Palinopsia', d’Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum & bass and trip hop.

                                Split EP between Grimes and d'Eon, originally released in 2011.

                                FORMAT INFORMATION

                                Includes MP3 Download Code.

                                You might double-take in disbelief, but actually the pairing of Berlin's tough ass jack-beats mainstay Marquis Hawkes alongside one of the golden voices of disco and soul music, Jocelyn Brown works quite a treat! "I'm So Glad" comes in three different forms, the main club mix kicking us off with Hawkes' instantly identifiable drums rattling, banging and clanging from the offset. Over a frenetic bassline Jocelyn soon gets to work on vocal duties - laying down a sublime performance full of that diva goodness which we know and love her for. The track's got that Paradise Factory energy locked down but due to Jocelyn's immediately arresting soul, it's elevated high above the also-rans. On the flip we get two dub mixes, the first by Hawkes himself which is basically just an instrumental of the main mix - handy to tease in elements of the OG in a proper 90s house stylee; or to just bang out without vocals to your heads-down ravers. Finally, a producer going under the name Satisfied gives us a Raw mix which contains classic drum sounds saturated to the max, searing strings and cranium splitting bleeps. The tribal energy generated by the tom toms should fire up enough spark on any flat dancefloor while the tracky nature of the mix should invite creative DJs to get busy on the second turntable in tha mix! Heavy record which working DJ should get miles of use out of. Great stuff.

                                Well known under his Hip-Hop moniker Hulk Hodn, Hodini debuts with his first EP on AVA.Records. This EP contains a Damiano von Erckert collaboration and a Glenn Astro Remix. It flows like a proper album, with nods to Moodymann, Andres, Tenderlonious, J Dilla and Al Dobson Jr. The A-side is loosely house based, with organic instruments converging on sloppy 4/4 beats drenched in soul and funk inspiration. It culminates with "Gritty", the last track on side A and a storming 115BPM basement house record. Instantly makes me think of Kenny Dixon playing this whilst working the lo-pass filter and singing along over the mic; a complete stone cold winner for your tuned in dancefloors. Flip and the B-side opens with the J Dilla-esque "Shamading", remixed here by Glenn Astro. "Nightloop Pt.2" works the 3/4 time signatures around weaving synthlines and squelchy-ass bass. Finally "Sheeshkbop" finishes off this great mini-album in fine style. Eyes-down deepness with hip-hop vocal snatches and a nod to Floating Points' celestial space jazz aesthetic. Sublime!
                                Essential for fans of Andres, Cottam, 22a, Rhythm Section. Move quick!

                                STAFF COMMENTS

                                Matt says: S'ALLL ABOUT "GRITTY" on this release people! Worth the entrance fee alone!!

                                International Soleil Band

                                Ta Lassa - Inc. Hide & Smile Edit

                                The next 12" release on Soundway Records is this slab of 1980s West African disco crossover from the International Soleil band from Guinee, West Africa.

                                Composed by Gnamakoron Sidi Diabaté it was featured originally on an album released in 1983 by French Warners offshoot WAM (West African Music) - a short lived label that recorded about 20 releases of West African music released in France.

                                Also Featuring Mory Djely Kouyate this track was a staple of the 22 band's repertoire in the 1970s (in which many of the ISB played) - famous for their recordings on the legendary state-run Editions Syliphone label.

                                This 12" features an extended Hide & Smile edit on the A side and the original album version on the flip.

                                An extended intro of throbbing bass and keyboard interplay punctuated by classic Guinee guitar lines, metronomic drumming and 80s synth sweeps eventually drops into a more recognisable Guinean vocal outing.

                                Hide & Smile are Sofrito's Frankie Francis and Soundway's Miles Cleret - this is their fifth released edit collaboration.

                                In 2005, rumours began circulating about an album called “”Jay Love Japan””, a J Dilla solo project inspired by one of Jay Dee’s favorite locations to visit on tour. After Dilla’s untimely death in early 2006, the album became a lost classic shrouded in mystery, with only unofficial bootlegs and promo versions available. Following a Japanese edition, an official UK CD version was eventually released in 2008, but quickly went out of print. Now, the album finally receives the official release it always deserved - and on vinyl for the first time as well. J Dilla’s mother Ma Dukes and her label Vintage Vibez Music Group are proud to present official vinyl and CD versions of “Jay Love Japan”. With six soulful Dilla instrumentals and vocal appearances from Blu, Miguel, J*Davey, Ta’Raach, Exile, Baatin, and more, this 11-track collection is a perfect snapshot of late-period J Dilla brilliance. 

                                FORMAT INFORMATION

                                LP Info: LP comes with (heart-shaped) die-cut sleeve.

                                Kate Jackson

                                British Road Movies

                                ‘British Road Movies’ is the long awaited debut solo album from Kate Jackson, former frontwoman of The Long Blondes. Co-written and produced by Bernard Butler (Suede, The Tears), ‘British Road Movies’ is a cinematic, eclectic and beautiful record.

                                Synth driven glam rock, ‘Blade Runner’ electronica, faded piano allure and sweeping Bond style string sections are topped with Jackson’s unique vocal style and Butler’s instantly recognisable guitar sound.

                                These are big, melodic, alternative pop songs with Butler’s production perfectly complementing the narrative of the record.

                                A shared love of Bowie, Eno, The Fall, Shocking Blue and Neil Young filters seamlessly into these recordings which sound both modern and timeless.

                                ‘British Road Movies’ establishes Jackson as a solo artist and songwriter akin to the likes of Jane Weaver, Nadine Shah and Gwenno.

                                Jackson’s Brutalist paintings adorn the album sleeve.

                                STAFF COMMENTS

                                Barry says: Channeling the spirit of rock and roll through a psychedelic filter, 'British Road Movies' is melodic but textured, smooth but liberally saturated with a sort of kaleidoscopic warmth. Sunny and mellow, perfect summer anthems for the mildly inebriated. Brilliant stuff.

                                FORMAT INFORMATION

                                Includes MP3 Download Code.

                                Jared Wilson hits his purple patch on the people's favourite, Dixon Avenue Basement Jams. It's like Jared's been building up to this release, fully re-wiring himself into his trusted 303s, 808s and 909s and controlling them with some inner black magic. "Pheo Acid" grabs us by the neck and throws us straight into the middle of a lazer-guided dancefloor, Larry Heard's "Stars" arpeggios raining down on us from the heavens while Jared inflicts a foreboding darkness across the glimmers of light. Humming and buzzing with electrified goodness this is a tour de force of acid power and with Wilson's new ear for key changes and chord progressions this track reaches dizzy new heights. "Acid River" strips back for some cavernous, gremlin-friendly cave acid - don't venture to deep or you won't escape! Jared Wilson showing he's at least as capable as Omar S at making his hardware squeal. "Smarbar Acid" allows some radiance and tantric melodies into the equation, sucking us into its effervescent glow as mechanical drum machine beats lock into our inner body rhythms. An absolute beauty of a track, full of wondrous mini acid solos and incredibly detailed programming. "Communing With Ghosts" finishes with one of Jared's trademark, straight-up acid jackers. Resonance up to +11, 1/16th note drum patterns and head splitting snare hits. Techno mosh pit tackle of the highest order. Jared Wilson's BEST RECORD TO DATE?! I reckon it could be. Thoroughly recommended.

                                STAFF COMMENTS

                                Matt says: Possibly Jared Wilson's finest hour and an essential addition to the DABJ catalogue. Snarling acid bizniz from one of the true new masters of the craft.

                                Jealous Of The Birds

                                Parma Violets

                                  Hailing from County Armagh in Northern Ireland, Jealous of the Birds, aka Naomi Hamilton, emerged from the vibrant suburban folk scene, alongside acts such as Ciaran Lavery and No Oil Painting. Naomi quietly unleashed her debut EP Capricorn in March 2015, where her wonderfully understated bedroom indie-folk won her an ever-growing legion of support. The entire EP is a stunning lo-fi collection of tunes recalling Girlpool, Karen Dalton, Cat Power, Laura Marling and even The Moldy Peaches at times. Describing her music she has said; My only hope is that the songs sound like a real friend talking. Keen to move away from a purely folk or singer-songwriter tag, for her debut full-length, Hamilton throws her net wider, moving from bedroom recording to a real studio.

                                  With a more extensive range of instrumentation and producer Declan Legge at the helm, the sound is much more sonically expansive and dynamic. Refusing to be pinned down by genre, the tone of each song is contrasting yet complimentary. Parma Violets matches introspective indie-folk with fiery post-punk. Beautifully crafted songs have been given contrasting arrangements, veering from stripped-down acoustic guitar to full-band indie-rock anthems, all overlaid by Naomi’s compelling layered vocals. Equal parts light and shade, the songs are poignant and vulnerable, bursting with honesty and raw passion.

                                  Parma Violets is a startlingly realized offering, poignant and beguiling, the album has a lo-fi organic integrity that is utterly bewitching.

                                  After show-stealing appearances on Outplay's various artists' 12"s, Junktion delivers his first solo outing on the imprint with the groove heavy majesty of the "Wide Awake" EP. Kicking the EP off with a spring in his step, the summer loving Junktion corrals butter bass, sizzing percussion and soulful samples into a terrace tonker that's gonna sound perfect in your next summertime set. "What We Are" boosts the tempo and ups the intensity via jazzy percussion and full on filter use, making a beeline for the peaktime while Junktion chops disco samples with all the flair of a gallic pioneer. On the flip "Sunny Side Up" does exactly what it says on the tin, transporting you to summertime euphoria through an infectious bassline, funky rhythm guitar and searing soloing. Junktion brings the EP to a close with the relaxed and contemplative groove of "Don't Mess Up", a jazzy track complete with some smooth sampling, spoken vocals and neat afro touches.

                                  Mike James Kirkland

                                  Doin' It Right

                                  "Doin' It Right" is the second album re-issued by Luv N'Haight by Mike James Kirkland. A sacred gem in the soul and rare groove canon, it would fetch $500 and upward on the collectors' market at time of re-issue. Mr. Kirkland's sweet soulful voice floats off the turntable and into the collective consciousness on killer joints like "Got To Do It Right," "Love Insurance" and "The Only Change," plus five other groovy tracks. It also includes a phat breakbeat for those interested in that kind of thing. Both "Doin' It Right" and "Hang On In There" are must-haves for all soul lovers. See also "Hang On In There," the first Mike James Kirkland album re-issued by Luv N'Haight.

                                  "Well, here it is, dig it, then decide for yourself. This is truth to me, because it's what I feel is real. Hey, I'm by no means trying to shrink heads. I just want to let you know where my head's at. Check it out; for those of you that can get to the message, I say, loveE, and to those of you who can't, I say, 'Hang On In There'." - Mike James Kirkland (taken from original back cover to "Hang On In There")

                                  As the 1960s were drawing to a close Mike James Kirkland was inspired to interject social commentary into his musical output along with a more funky- soul and experimental side to the production. First he released "Together" b/w "The prophet" on Bryan in 1971. And he followed this up with the amazing "Hang on in there" LP in 1972. The original album and all bonus 7" cuts are included on our re-issue.

                                  "If we were on a bigger label we would have done amazing things," reminisces Kirkland. "But we did the best we could. I'm amazed that John Legend has decided to cover the title track of my first album, that's very cool."

                                  After the release of Hang on In There and Doin It Right (another Luv N'Haight re-issue) Kirkland changed his name to Bo Kirkland, apparently to avoid confusion with the newly-turned-solo-artist Michael Jackson. The first single release under his new moniker, "Grandfather Clock reached #80 on theR&B charts in 1975. This was the prelude to him joining forces with Ruth Davis (formerly of the Ikettes) and the release of the classic "You're gonna get next to me" in 1976.

                                  The title track "Hang On In There" was recently covered by John Legend and The Roots.

                                  Released back in 1983, this jazz outfit from California takes us on a journey through time and space; back to the late 60s and very early 70s, into the spiritual realms of greats like John Coltrane, Pharoah Sanders, John McLaughlin and Miles Davis. If it weren't for the modern sounds of the keyboard and bass you'd be sure it was a lost modal LP from those halcyon days. Listening to it with far over 30 years distance, it easily stands the test of time, turning out to be one of those mind bending gems with an ever pulsating flow of magic being transferred into music. With the addition of a lead guitar this could rival everything the Mahavishnu Orchestra ever released, but there is no need for guitars when you have a piano player going crazy and a rhythm section that seems to dance the Saint Vitus dance with each other. Utterly tight and perfectly performed, each note and each beat sit exactly where they belong. Rather than the free flowing lines of modal jazz, "Hassan's Walk" drifts through fragments of melody, immersing us in a scared, spiritual fever dream. What Miles Davis started 24 years earlier culminates in the sheer musical eruption of this album. Recommended for any fan of spiritual jazz. Far out.

                                  Jessy Lanza's second album 'Oh No' is addressed to her own constant nervousness. The pressure of music making, which used to calm her nerves, has led to a whole new world of contingencies that stoke the anxiety mill. The exclamation 'Oh No', for Jessy, marks yet another incident of randomness interrupting her tranquillity. All of which seems at odds with the confidence and spontaneity of this second album.

                                  Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the plaintive, reverb drizzled mood of the first album has all but given away to a more direct, self-assured and joyful set. As with many artists whose hometown lie off the usual network of cultural hotspots, 'Oh No' is driven positively by the idea of making music that isn't inspired by where she lives. Instead, the album resonates more with the philosophy of experimental pop of Japanese 80s electro outfit Yellow Magic Orchestra and Jessy's breathless, pitched vocals are reminiscent of YMO collaborator Miharu Koshi. Playfully laced with cascading arpeggios, crispy drum machines and breezy songs, 'Oh No' has an infectious energy that has been brewing in her live shows since her first album. As Jessy says ‘I want to make people feel good and I want to make myself feel good’.

                                  The album oscillates between the languid, coiled, arpeggiated slow jams of ‘New Ogi’, 'Going Somewhere', 'Begins', 'Could Be U', 'I Talk BB' and the low slung 808 groove of 'Vivica', where Jessy’s vocal gymnastics run wild over minimal drums and synths, and the catchy upbeat boogie of ‘VV Violence’, ‘Never Enough’, 'Oh No' and the high point of 'It Means I Love You’ which has a sparse addictive bounce with a pitched up vocal refrain and a nod to Shangaan electro. The trials of dealing with nervousness are also encrypted into the artwork, such as the plants that recur in the sleeve and videos. As Jessy remarked, "I became obsessed with surrounding myself with tropical plants. I've been convinced that the air quality in our house is slowly killing us. It might sound crazy but the plants have made a huge difference." Anxiety and botanical remedies or not, 'Oh No' is a bold second album from Jessy and a marked step forward for her sound.

                                  Tippa Lee

                                  Cultural Ambassador / Dub Them With Reality

                                  Tippa Lee was born and raised in Kingston, Jamaica. He started performing on his father’s sound system as a child, standing up on a beer bottle box to reach the mic, and made his first recordings at King Tubby's studio at the age of 12. Eventually, he teamed up with Rappa Robert, and as a duo they had a number of hits including “Nuh Trouble We”, an anthemic statement against police harassment that was a number one Jamaican hit in 1988. In more recent years, Tippa Lee has been based in the US, performing live and releasing underground CDs.

                                  'Cultural Ambassador' was produced by Tom Chasteen, DJ and promoter at LA's long-running Dub Club. Tom and Tippa have been working side by side for years. This record is the result of many hours performing and recording together and much mutual respect. The musical tracks were recorded by a hand picked studio band including reggae legends Tony Chin on guitar and Fully Fullwood on bass, who between them probably played on a quarter of all the records that came out of Jamaica in the '70s.

                                  Included with 'Cultural Ambassador' is 'Dub Them With Reality', a dub version of the album mixed by Tom Chasteen that reconfigures the tracks live on the mixing board with echo and reverb in a traditional dub style.

                                  The Little Flames

                                  The Day Is Not Today

                                    The Little Flames were formed in Liverpool by singer Eva Petersen and songwriter / guitarist Mat Gregory. They were later joined by drummer Greg Mighall, bassist Joe Edwards and guitarist Miles Kane. Signed to legendary indie label Deltasonic, the band toured extensively during their first years, releasing edgy and anarchic singles ‘Goodbye Little Rose’ and ‘Put your Dukes Up, John’. Their sound continued to evolve as they absorbed and reformulated an array of influences, ranging from Krautrock, Motown and 60’s garage, to film music and symphonic pop of artists like Serge Gainsbourg and Framcoise Hardy. In the Session leading up to the recording of their debut album, working wotj producer Central Nervous System, the band’s early spiky sound gave way to something altogether darker and more expansive. The album, The Day is Not Today, Was eventually recorded with producer Tore Johansson, using Sweden’s famous Tambourine studios and Gula Studion in Malmo. It showcased the evolution of the band’s music, where the energy and impatience of their earlier twisted guitar pop was not only fully honed (Seven Days, If Tomorrow Never Comes), But Juxtaposed with a sound that was both ethereal and cinematic (October Skies, The Girl of Last Year). The album was mixed, mastered ad ready to go in 2007, but before it could be released The Little Flames decided to split up. Miles, Joe and Greg formed The Rascals, with Miles Kane then going on to for The Last Shadow Puppets with Alex Tuner and recording solo material. Mat and Eva have continued to work separately on various music and art projects. The Little Flames’ second single, ‘Put Your Dukes UP, John’ was covered by The Arctic Monkeys after the two bands toured together on the Sheffield band’s first two album tours.

                                    It is late 1972. Six emigres from Congo, Benin and Cameroon find themselves in Pavia, near Milan in Italy. Sharing a passion for music and dance rooted in African culture they form a band called M'Bamina ("Lightning") they and stage their dance and music show in Le Rotonde di Garlasco. Two years of hard work and gigging follow before they make their first album "African Roll", released in 1975.

                                    Following a European tour in 1976 then find themselves performing in Cameroon for a landmark concert at the Stade de Yaounde with Claude Francois (French Pop star and the writer of the original version of Sinatra's 'My Way') and African music legend Manu Dibango. As it often happened in the 70s when talented ambitious bands met Manu Dibango, a move to France and a record deal with Fiesta Records (Decca) soon followed.

                                    In Paris 1977 the band find themselves opening for a James Brown's concert Au Pavillon de Paris. By now the band is a well-oiled machine they have honed their live shows and sound by distilling a pure and fresh blend of R&B, rumba, afro-Cuban, funk and traditional African. M'Bamina then hook up with French producer Philippe Brejean to record their second album "Experimental" in Sysmo studios (a hot bed of album activity and French production music at the time). The results capture the band at the peak of their powers.

                                    The core of M'Bamina was made up of Samba Ngo (guitar and vocals), Antoine Nkouka Batenda (guitar and vocals), Bernard Bifuanibo (bass), Jean-Marie Bolangassa (percussion), Anselme Tambakassa (congas) et Ligali Ali Amidou (percussion and vocals). The band would go on to make 2 further albums before disbanding in 1985.


                                    Voracious Culturilizer Disco Mix - Inc. DJ Sotofett Edit

                                    Excellent new record delivered to us through Fit distro in Detroit. US odd-ball tape mangler Madteo joined by crazed Scando tripper DJ Sotofett. "VC Disco Mix" sees Sotofet edit Madteo's sample-based jam. Simply executed but with lashings of infectious groove, this is one of those secret jams Theo Parrish would tease us with for months before anyone knew what it was. I have no idea where the sample's from but it's got that crunchy 80s proto-house / freestyle sound nailed down with sexy female vocal snatches riding the tough-ass beat. On the flip we get two experimental noise jams from Madteo. "The Guiding Wand Principle" sticking out particularly due to excessive lazer beam sounds and layers of crackly static. Absolutely bonkers, but then I wouldn't expect anything else from Madteo and Sotofett! Recommended.

                                    Ahmed Malik

                                    Musique Original De Films

                                    Ahmed Malek was one of the most important musicians of the Algerian scene of the 1970s. His sountrack works that were composed for various Algerian movies of the time fuse Arabic influences with jazz, psych and funk influences. Dark cineastic soundscapes meet african Jazz at times reminicent of Mulatu. Original copies of his vinyl releases have been sold for enormous amounts. For this release we combined the strongest tracks from his releases with a selection of unreleased material straight from the family's archive.

                                    Introduction: I still remember the first time I heard Ahmed Malek. It was 2012. Back then I didn't know much about Arabic music, but I was about to leave Berlin for a couple of weeks to go to Tunisia. I was working as a project manager for a music recoding session which ended up being released by Jakarta Records as the "Sawtuha" release. I knew I would have some time off during my stay and I was certain that I would dedicate some of this time to diggin. I askesome people whether they knew of any titles that I should look for. Roskow, who also ended up re-mastering this release, told me about an Algerian composer called Ahmed Malek whose music was also released in Tunisia.

                                    Fast forward three years: Arabic records have become my number one hobby and luckily I got my hands on a copy of Ahmed Malek's "Musique Originale De Films" album. I already knew some of the tracks but listening to the music the way it was originally released, and not as a crappy Youtube version, made me fall in love with Malek's compositions all the more. It manages to create this very special mood: melancholic and reflective, emotional and touching, but never depressing. Even without having seen any of the pictures created for this, it immediately brings visuals to one's imagination. Around that time I became captivated with the idea of reissuing some of Ahmed Malek's music. I knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to this record. I had a DJ gig in Beirut playing old Arabic records and I mentioned my passion for Ahmed Malek's music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek's family. Two weeks went by before I heard back, and what I got was incredibly good news. Her Algerian friend was the neighbor of Ahmed Malek's daughter! I'm not a spiritual person, but it felt like the universe wanted to see this release happen.

                                    FORMAT INFORMATION

                                    LP Info: The vinyl edition comes with a 8 page 12" size booklet.

                                    CD Info: The CD version with a 16 page booklet with lot of unseen photos, an interview with the artist from 1978 and an introduction to Algerian cinema.

                                    Manic Street Preachers

                                    Everything Must Go: 20 - Box Set

                                      The super-deluxe 12"x12" box-set contains the original 12 track LP vinyl, the original album CD with 'B sides & alternate versions (x20 trks total), a second CD of 'B sides & alternate mixes (x17 trks total), the Nynex Manchester concert live on DVD (x21 trks), a second DVD featuring x4 promo videos for the singles on the album, plus a documentary/film, shot by Bafta award winning director Kieran Evans. 

                                      FORMAT INFORMATION

                                      FREE SHIPPING This item has FREE UK shipping!

                                      Manic Street Preachers

                                      Everything Must Go: 20th Anniversary 2CD Edition

                                      To celebrate the 20th anniversary of this classic album, Sony Music CMG announce a very special reissue of the Manic Street Preachers 4th album "Everything Must Go". The original x12 trk album has a bonus disc of x20 live songs, recorded at the iconic Nynex Arena show in Manchester, in front of 20k fans in May '97.



                                        Brighton in 2016: a town brimming with fuzzy, scuzzy rock bands, the long-haired boys in bands drawing on nineties noises to inspire their output. In stark contrast to this come MarthaGunn, a band named after the Brighton folk heroine known as the “priestess of the bath”, whose sound is centred around the voice of frontwoman Abi Woodman but fleshed out by a band of close friends who draw more from the seventies songwriting craft of Fleetwood Mac or the Eagles. Classic, but never retro, MarthaGunn deliver their debut single Heaven which articulates these sensibilities in a modern voice, augmented by the production of Ian Grimble (Benjamin Francis Leftwich, Mumford and Sons, Peggy Sue). Heaven will be released via Jazz Life, the artist-run label established by Blood Red Shoes, available on limited-edition single-sided 7”, and download.

                                        Billie Ray Martin describes herself as “a kid from Hamburg’s red-light district, who wanted to be a soul singer, but ended up playing repetitive machine music, while still trying to be a soul singer".

                                        Billie has never been easy to categorise. Clearly a soul singer, her career however has seen her mostly as a pioneer of house and electronic music, most notably her groundbreaking work with Electribe 101 and her seminal hit 'Your Loving Arms'.

                                        'The Soul Tapes' is the natural conclusion and a ‘first’ for Billie: no electronic music this time. Billie realised her long-held dream of recording an album that is equally influenced by Hi-Records (Al Green, Ann Peebles, Willie Mitchell) as it is by ’60s garage records. It is also not devoid of a certain country twang, and even Bo Diddley peeks through the door on one song.

                                        Booked into New York’s 900 Broadway Studio, Jon and Billie were thrilled to find themselves working where Keith Richards had recorded his first solo album. Under this omen Jon Tiven brought the musicians in, not least world famous drummer Simon Kirke. Jon’s credits include albums produced for Wilson Pickett, Bobby Womack and Willie Nelson as well as numerous awards and Grammy nominations.

                                        The results are convincing and powerful and show once again Billie’s refusal to conform to trends, preferring as she does, to create them. On 'The Soul Tapes', with the help of Jon Tiven on guitar, Sally Tiven on bass, Simon Kirke on drums and mix engineer Steve Honest, and a variety of guest musicians, Billie journeys through all things soul and rhythm & blues. A soul tour de force 

                                        Methyl Ethel

                                        Oh Inhuman Spectacle

                                        New to 4AD, Australian trio Methyl Ethel’s celebrated debut album is being given a worldwide release. Hailing from the remote fringes of Perth in Western Australia, band linchpin Jake Webb - like 4AD peers Grimes and Bradford Cox before him - wrote, played and recorded everything on ‘Oh Inhuman Spectacle’.

                                        Crafted in isolation, the album’s understated psychedelic pop quickly drew plaudits, leading Webb to recruit Chris Wright (drums) and Thom Stewart (bass) - friends from the tight-knit and thriving music scene in Perth - to help realise the songs live as a full-fledged band.

                                        Having gained notable success in Australia including being nominated for the prestigious Australian Music Prize and taking Laneway Festival by storm, Methyl Ethel are now poised to take their music overseas with the worldwide release of ‘Oh Inhuman Spectacle’ and a huge run of touring in both Europe and North America to coincide.

                                        STAFF COMMENTS

                                        Barry says: Like a modern, indiefied iteration of Syd Barrett with the melodic intonations of the ghosts of post-punk. Woozy rhythms and fuzzed-out basses, twirling arpeggios meet chugging guitars and soaring strained vocal melodies. Definitely one to keep an eye on.

                                        Francis Monkman

                                        The Long Good Friday OST

                                          Francis Monkman’s dazzlingly crafted score to one of the truly great British gangster thrillers appears in stereo on vinyl for the first time, newly remastered for this release.

                                          After graduating from the Royal Academy of Music the accomplished composer and multi-instrumentalist formed Curved Air in 1970, one of the defining British progressive rock bands. In 1979 he joined the ‘super session-men group’ Sky, a line-up of outstanding musicians that included John Williams on guitar, Herbie Flowers on bass, Tristan Fry on drums and Kevin Peek on guitar. The first two albums from this virtuoso stellar line-up delivered a number nine and number one album respectively. These musicians remained an important element for this soundtrack, all bar John Williams featuring on the December 1979 recording sessions. The result is timelessly cool, with a theme that still graces DJ decks today.

                                          The Monster Squad

                                          Rock Till You Drop

                                            Mondo is delighted to bring you for the first time ever on vinyl two completely iconic songs from The Monster Squad , Fred Dekkers much loved 80’s monster mash up featuring dracula , Frankenstein , the mummy , the Creature battling a bunch kids from their treehouse , written by Shane Black featuring dialogue that is whip smart and a story that is so much fun it’s hard to find anyone thats doesn’t outright love The Monster Squad.

                                            This 7’ is a precursor of the forthcoming full length soundtrack album to be released this Halloween (also marking the first time the soundtrack has had a vinyl release)

                                            Side 1 is Michael Sembello’s complete ear worm of a theme tune , which is so 80’s we are not held responsible for any uncontrolled dancing during school detention that takes place during listening , the flip is the all time classic Monster Squad Rap with rhymes so fierce it had Run DMC running for the back door .

                                            This version featuring the CREATURE/FRANKENSTEN on the cover is a UK/USA exclusive to our Mondo retail partnership stores and will not be for sale on the Mondo website.

                                            FORMAT INFORMATION

                                            Ltd 7" Info: MONSTER SQUAD UK Exclusive Gillman cover (Clear Green and white splatter).

                                            Ennio Morricone


                                              No need to introduce Ennio Morricone, the greatest film composer of all time! The man who made film music become a true art as important as classical music and cinema. Whether for Sergio Leone’s spaghetti westerns, his timeless themes (Le clan des siciliens, The Mission, Lolita) or the latest film by Tarantino The Hateful Eight, Ennio Morricone has lasted through the years as the film composer of many cult soundtracks, legendary melodies and brilliant orchestrations. This is what this album is about. 

                                              FORMAT INFORMATION

                                              Includes MP3 Download Code.

                                              Last summer, John Dwyer came back from an Oh Sees tour talking about a fantastic band he’d played with in Detroit called Mountains and Rainbows. What followed him home was a double-LP’s worth of shopworn weirdness and a delightfully loose attitude that must have something to do with the ecstasy of a Midwestern summer. These backyard freaks jam into the twilight, led by a vocal quaver belted to the cheap seats, a groove and a grin and a heaping spoonful of “damn, aren’t you glad we came out tonight?” Vibrant and confusing like the insane-o cover artwork that appears to be constructed of many layers of fluorescent duct tape.

                                              Careening from the mellow chugger vibe on “How You Spend Your Time” to the tightly wound twitch of “Dying To Meet You,” Mountains and Rainbows stretch their legs deep into the strange, with a dark oddness lurking in the corners of tunes like weirdo highlight “With Beefheart.” Particles is a great addition to a little journey of one’s own, perhaps, and just in time for the sunlit afternoons to come.

                                              Mrs. Magician


                                                Bermuda is the latest effort by San Diego’s dismal-pop outfit Mrs. Magician and their second full-length release on Swami Records. The album offers a concise collection of punk songs inspired by the big sounds of classic ’60s pop and rock ’n’ roll, with structures more associated with ’70s and ’80s power pop. Thomas Garcia’s blissed-out backwash guitar tones and fuck-it fuzz attack juxtapose the band’s dry and thudding foundation, creating a tropically depressed grog. Cutting through the lacquer with a glossy shimmer, producer Swami John Reis (Drive Like Jehu, Rocket From The Crypt, Hot Snakes) coaxes a tightly wound, rigid backdrop for vocalist Jacob Turnbloom’s morose-pop delivery.

                                                Lyrically far more non-linear than their 2012 debut album Strange Heaven, Bermuda echoes the familiar selfdeprecating humor that is heavily present in the band’s prior work, but focuses less on interpersonal relationships, favoring broader inspirations of alienation and melodrama. Themes of gentrification, addiction, religion and the intoxicating aroma of modern day conspiracy theories wrestle against a bright and tight sonic terrain. This is the ghetto of Kokomo. Bermuda has a boozy and breezy island malaise on the surface. But once submerged, the listener is exposed to confusion, nihilism and the notion that even with all of our technology and omnipresence of big brother, essentially we are all still very lost.

                                                ‘Skip A Sinking Stone’, by Mutual Benefit (aka Jordan Lee), is released via Transgressive Records.

                                                This new album is a two-part meditation on impermanence that also acts as a portrait of growing up. Mutual Benefit’s work has been praised as being vulnerable and warmhearted. This release has a similar sensibility, patiently built from carefully chosen lines illustrated by lush astral folk and intricately composed arrangements that manage to appear effortless.

                                                “I kept coming back to how nice that was, throwing these stones against the water,” says Lee. “I thought it was a fitting metaphor for the endeavours I have in my life - sometimes they work out and sometimes they don’t. I think it’s a good exercise in accepting impermanence and failure and these things that are constant, and yet the activity of skipping stones is really relaxing and beautiful.” Each stone ultimately sinks but, as Lee sings on the album’s zenith, as the cycle ends and repeats again, all we can do is maintain the hope that it’s ‘Not For Nothing’.

                                                FORMAT INFORMATION

                                                Indies Exclusive LP Info: Exclusive grey / blue splatter vinyl.

                                                Includes MP3 Download Code.

                                                For more than 12 years Marissa Nadler has perfected her own take on the exquisitely sculpted gothic American songform. On her seventh full-length, Strangers, released 20th May on Bella Union , she has shed any self-imposed restrictions her earlier albums adhered to, stepped through a looking glass, and created a truly monumental work.

                                                Today Nadler has shared “Janie in Love”, one of her most texturally rich songs to date and one that updates her signature sound with some of the most prominently featured drumming of her career. Her talent for powerfully juxtaposing the ominous and the beautiful is on full display. 

                                                In the two years since 2014’s elegiac, autobiographical “July”, Nadler has reconciled the heartbreak so often a catalyst for her songwriting. Turning her writing to more universal themes, Nadler dives deep into a surreal, apocalyptic dreamscape. Her lyrics touch upon the loneliness and despair of the characters that inhabit them. These muses are primal, fractured, disillusioned, delicate, and alone. They are the unified voice of this record, the titular “strangers.”

                                                Once again partnered with July producer Randall Dunn (Sunn O))), Earth, Black Mountain) Nadler has created an album equal in sonic quality to the apocalyptic lyrical tone that covers its 44 minutes. In places her voice and guitar play off subsonic synths, while elsewhere, a pulsing drumbeat launches the songs off into an intense, confrontational place. 

                                                STAFF COMMENTS

                                                Barry says: Following 2014's 'July' is this outstanding offering from Marissa Nadler. Seamlessly segueing between melancholic off-kilter pop and plucked acoustic anthems without skipping a beat, this is an accomplished and startling stylistic journey, and a formative expansion of Nadler's already breathtaking musical palette.

                                                FORMAT INFORMATION

                                                Includes MP3 Download Code.

                                                Mister Saturday Night have had a thing for Nebraska ever since his "Displacement" LP on Rush Hour in 2011. Last year they released "Stand Your Ground" and now we see the London-based producer back with three more tracks for our favourite Brooklyn dance institution. The title track is a lush, mid-paced deep house roller based around some balmy Rhodes chords, an infectious vocal hook and a smooth live bass line. The arrangement swells and breaths with all the turbulence of a British summer's day, and will sit well amongst other outdoor house music for the next few months. On the flip, "Sos Dub" revisits Nebraska's rigged, stripped back dub-house sound. Smokey, sweaty and tailor made to make bodies move, without a single forced element in ear-shot. "Done My Best" concludes the set with a strong sample-based number, sizzling hot right from the off with funky guitar and keyboard licks, organic disco percussion and a b-line that'd make Moodymann blush. Nebraska works the filters like a pro during an inspired mid-section before dropping back into the rampant hook and wild keyboard licks - absolutely delicious deep house flavours! Totally recommended.

                                                With releases on Rush Hour, Mister Saturday Night and Delusions of Grandeur, Nebraska is a man who needs little introduction. Here, he delivers an amazing EP for Heist, showcasing his talent for finding those catchy, but hard to pin-down samples. The "Soften The Wireless EP" expertly navigates the divide between disco and house with three originals and an amazing Tom Noble remix. "Khan's Bargain" will be the go to track the more disco minded listeners out there, with a catchy-as-hell synth line that you wish you'd made up yourself. The remix, courtesy of NYC's finest disco selector Tom Noble, goes on a clubbier path, turning the silky smooth original into a distorted house jam full of delays and filtered drums. The B-side finds Nebraska turning towards the housier side of things himself, with "The blues" a perfect example of minimalistic house. Here, he uses only a small amount of elements to create an intoxicating and intense groove. "It Won't Be Long" breezes through lighthearted arpeggios and dreamlike vocals to create a more emotional vibe in line with the heady euphoria of a Luv Jam release. As usual, Nebraska has thoroughly brought it with this release and Tom Noble might just have stolen the show with his bumpin' remix of "Khan's Bargain".

                                                Ngozi Family

                                                Day Of Judgement

                                                Proto-punk and garage Zamrock: the celebrated guitarist Paul Ngozi’s essential debut album. Featuring Chrissy Zebby Tembo. Guitarist / vocalist Paul Ngozi’s debut album – under the name Ngozi Family - is an important record: not just in the Zamrock genre, but in the global rock canon.

                                                'Day Of Judgement' is an introduction to the most intense, raw and inimitable golden era Zamrock recorded, as it paved the way for a dozen Paul Ngozi and Ngozi Family releases (the most famous being drummer Chrissy Zebby Tembo’s 'My Ancestors') that straddled the line between funk and punk, of driving hard rock and Zambian folk melodies and rhythms. 'Day Of Judgement' was released in 1976, the same year as other, now famous, Zamrock albums, from WITCH’s 'Lazy Bones'!! to Rikki Ililonga’s 'Zambia'. But it sounds like none of its counterparts. Part of that stems from its frenzied primitivism, the Ngozi Family’s attempt to overcome a lack of musical acumen with sheer force of will. That will allowed Paul Ngozi to overcome a humble upbringing to become the most unlikely combination: Zamrock’s most beloved star in its brief but now-well chronicled arc; the only musician to maintain his fame and recording prowess in the dark ages of the ’80s; an inspiration to not only aging but young Zambians - and now others, beyond Zambia’s borders. But one cannot imagine Paul Ngozi without this album, a full-on aural assault that sounds as wild nearly forty years after its release as it must have sounded in the developing Zamrock landscape from which it emerged. We listen to this anachronistic yet prescient album now as a wholly original, completely unpredictable album in line with those from mavericks from across the world – from the Ramones to the Sex Pistols to Death. And, though it’s been over two decades since Paul Ngozi’s passing, his voice and vision still seem exciting, powerful, unique, unvarnished, new.

                                                This was more a project than an actual band formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger and gained fame in the German jazz circuit of the 60s and 70s. His 1971 output with Niagara was the result of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there are no regular melody instruments to be heard on this album, the two lengthy compositions are arranged in such an enthralling way that they have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, this icon of German rock and pop started as a drummer!) and session hero Keith Forsey. Both compositions offer an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds which enchant and hypnotize in equal measure. Open your mind for the ultimate rhythm experience and join in if you dare.



                                                  Rhythm master Klaus Weiss knew he had a good thing going with NIAGARA. The first album was a gathering of every outstanding drummer and percussionist he could get hold of and despite the fact that there were only rhythm instruments featured , it became quite a memorable and unique record. Now for the second album "S.U.B." he felt he had to go other ways, and recorded with a complete rock outfit plus the one or another brass instrument. „S.U.B.“ is definitely worth being traded for 180,00 Euros and more among collectors for a clean original and when the needle hits the groove you will realize why. There is a tightly woven web of rhythms from drums and percussions, as the solid and ever pulsating base with a laid back but really present bass guitar adding more depth and power to the beats and clean rhythm guitars with a nifty wah wah effect for the extra kick. From time to time the guitars fire off a memorable steaming riff on top of the rhythm pulse and the horns answer the call for arms. You really have to look at the backcover to find out that this is a German outfit instead of one of these utterly hot and hip US funk rock cult bands of the time. NIAGARA aka Klaus Weiss waive the vocals so it is an instrumental record you face with „S.U.B“, but then this band goes so wild in some of the compositions, that you will be left breathless on your knees by all these simmering performances. Each musician participating in this project is a professional, but they all let the music erupt into a climax of sound you can only achieve, when you put your whole heart and soul into it. A masterpiece of funky and utterly unleashed rock music from the early 70s.

                                                  Christa Päffgen aka Nico was a femme fatale extraordinaire; a woman always searching for and always running from something. She began her career as a model and actress, but soon fell in love with music. A few months prior to her untimely passing due to a bicycle accident on the Spanish isle Ibiza in 1988, she performed her last show with mostly new and unheard tracks, plus one classic tune from her proto-gothic album “The End” (originally released in 1974). If you are familiar with her avantgarde music you may guess what awaits you here but you'll be surprised by the scope and scale of this work. She had one of the most captivating and outstanding voices in the whole music scene during her active years, with an utterly dark and manic expression even while performing her vocals absolutely flawless. Supporting her unique voice perfectly, her backing band The Faction created a thick carpet of pulsating melodies and rhythms, overwhelming their audience with a spacey feel and a morbid atmosphere. Peter Murphy of Bauhaus once called Nico's albums “The Marble Index” (1968) and “The End” (1974) the first ever true gothic records and he was right. Even twenty years after her first records Nico still had this gloomy but majestic charm and the older she got, the better and more intense her music became. With these accessible but still mind twisting songs on “Nico's Last Concert: Fata Morgana” we get a rough idea where she wanted to go. All in all this is one of those cult albums from the 80s dark psychedelic music scene, which certainly deserves to be heard by current generations for it easily stands the test of time. Just phreakin awesome.

                                                  FORMAT INFORMATION

                                                  LP Info: First time ever on vinyl!

                                                  Occult Orientated Crime (Legowelt)

                                                  Just A Clown On Crack

                                                    New Dekmantel release that features Danny Wolfers AKA Legowelt's ambient project Occult Orientated Crime.

                                                    It's for the first time ever that this moniker of the prolific Dutchman will have a physical release. Wolfers: "The OOC sound is an accumulation of twenty years of musical training and research and what effect it has on the brain. Simply put it's electronic ambient music, which is more advanced compared to the music I’m creating with my Smackos alias. OOC is deeper and more melodic, less loose and vague but perhaps more intense. It can bring the listener into a completely different state of mind, you can almost call it ritualistic neuroscience music."

                                                    The six tracks are recorded around the same time, using coherent recording techniques. "Let's say I was in a flow, or something like that. But I rather think it's the music itself that gives it a distinctive sound: the way the music was composed, the notes and the sound palette. I haven't used any sharp sounds for example, but everything is very round so your brains will soak it up as something smooth."

                                                    Apart from the track 'Just a Clown On Crack', the release lacks kick drums. "Most or nearly all music from PC doesn't have a beat because it is often unnecessary, it distracts from the melody or what should be processed in the mind of the listener. The melodies, sounds and structure itself are enough to bring the listener into a certain mindset: a beat there would almost sound cheap, tacky. 'Just a Clown On Crack' has a trip-/hip-hop feel to it and was craving for a beat. It’s also the last track of the album and, in a rather fluent way, brings the listener back to the misery and tragedy of the normal, everyday world. It’s like returning from the OCC dimension with a soft landing." 

                                                    Josefin Öhrn + The Liberation/ Gnoomes

                                                    Repetitions EP

                                                      Sweden’s Josefin Öhrn + The Liberation and Russia’s Gnoomes released two outstanding albums at the tail end of 2015, and we are pleased to be bringing you this special split EP entitled Repetitions. Josefin Öhrn + The Liberation’s side starts with a radio edit of their live favorite Green Blue Fields - a great slice of psychedelic disco pop that calls to mind a psyched out Blondie’s ‘Heart of glass’. Then for the first time on vinyl we have Lucid Sapphire – a punked up, motorik driven, rock stomper that first appeared as the bside of their digital only single Sunday Afternoon. The side is finished with a stunning cosmic-dance remix of their ‘hit’ single Take me Beyond by label mates Gnoomes . That leads us nicely into Gnoomes’s side which starts with Myriads Of Bees – a new version of the track Myriads which featured on their debut album Ngan! This new version sees the band strip the song back to a minimal kosmiche pulse with repetitive mind altering effects. Then we have for the first time on vinyl the radio edit of their ‘hit’ single Roadhouse, this is the version of the track that got them noticed by countless BBC 6 Music DJs. Then the final track of the EP sees Josefin Öhrn + The Liberation return the ‘remix’ favour pushing the original motorik groove of Roadhouse into an addictive heavy kraut groove beat, overlaying it with head spinning synths and fuzz guitar.

                                                      You haven’t heard them like this before but you may already know the band. One is James Chapman, better known as Maps, whose critically acclaimed debut ‘We Can Create’ was nominated for the Mercury Music Prize and whose latest album ‘Vicissitude’ came out on Mute. The other is Polly Scattergood, the electrically charged artist who has released two solo albums on Mute.

                                                      The seeds of Chapman and Scattergood’s creative partnership were sown in 2011, at Mute’s Short Circuit festival, a special event at London’s Roundhouse. The night saw different collaborations with Mute artists and Polly and James paired up to perform each other’s songs.

                                                      On Dead Waves launched their debut track, ‘Blackbird’, at the end of 2015. Q said “… a world of smeared mascara and trailer-park heartache, there’s something wonderfully cinematic about this debut single,” while The Guardian wrote, “‘Blackbird’, their debut single, somehow nods to both shoegaze and country, with a David Lynchian creepiness to both music and lyrics.”

                                                      On Dead Waves’ debut album is heavy of atmosphere, rich in melody and rippled with an air of malice and flowing female and male vocals.

                                                      FORMAT INFORMATION

                                                      LP Info: Includes signed print while stocks last.

                                                      Includes MP3 Download Code.



                                                        Next up on Deep Distance following the rapid fire sell out of the epic, first time vinyl issue of Colin Potter’s seminal “The Scythe” last month, comes the mighty new full length from Norm Chambers’ revered PANABRITE.

                                                        The ten track LP has been planned for what seems an eternity since it was granted a Deep Distance catalogue number two years ago. But to say the wait was worthwhile is understated here, this is an incredible set. It features four tracks from two long out of print 2014 cassette only releases; all of which are firm favourites with fans who have bugged Norm to commit to vinyl upon release two years ago.

                                                        Emerging from a love of early electronic, concrete and tape music, soundtracks and early new age, Panabrite attempts to create worlds of sound that touch on many elements and moods, from more spatially motivated ambient to aspects of cosmic synth, minimalist composition and improvisation.

                                                        In Norm’s own words, he describes “Transfer” as:

                                                        “Collecting material that was composed and/or improvised and produced between 2012 and 2014, comprising many tracks there were initially destined for other projects, which then found their way aiming toward a new idea. My thought around the time was to utilize the then-new Magic Echo Music PALette V2 - a rich, powerful analog synth with very expressive characteristics – and incorporate it into my existing synth set up. I wanted to use this synth to really animate and bring out a certain quality in the sound, which ultimately led to a slightly warped synth pop sound, tempered by more ambient interludes and experiments. I ran it through a vocoder, used it as a filter bank for other synths- or just let it do its thing, unhinged. A few of these tracks made it onto cassette releases at the time, however I feel their true home is on this album and in this order. It is somewhat the antithesis to 2014’s “Pavilion“, which was driven by more spacious, subtle and melancholic tendencies. Here the mood favors claustrophobia and propulsion.

                                                        The music of “Transfer” is the sound of uninhibited sound blobs being haphazardly shaped into form, sometimes emanating a song-like structure, other times getting stuck on a repetitive pattern, but hopefully creating a cohesive zone”.

                                                        A wonderful full length destined like all other work on both label and artists’ back catalogues to disappear super quick. Beautiful clear as glass vinyl in top loader sleeve in an edition of 300 copies.

                                                        “Hendrik Weber is one of the leading figures in modern techno.” - Pitchfork • “A gift for generating heavily melodic mazes of sound.” - BBC

                                                        German techno auteur Pantha Du Prince (aka Hendrik Weber) releases ‘The Triad’, his first proper studio album since his 2010 breakthrough ‘Black Noise’ and 2013’s collaboration with The Bell Laboratory, ‘Elements Of Light’.

                                                        Of the new album’s conceptual framework Weber says, “‘Black Noise’ was very much about me being alone in a small room in Berlin and composing. ‘The Triad’ opens the structure to more human ways of interacting, not digitized ways of interacting. It’s not about Facebook; it's about meeting up and jamming. I wanted to cut through the digital dust that surrounds us.”

                                                        Previously unreleased schizo post-punk / Moogy folk score to 1983 British TV Scouse-ploitation drama ‘One Summer’ from the vault of Kate Bush, Serge Gainsbourg and David Bowie’s bestkept secret session man, Alan Parker.

                                                        From the one-man studio vault of the guitarist who adorned 'Histoire De Melody Nelson', 'The Kick Inside' AND 'Diamond Dogs' comes a post-punk, 80’s TV soundtrack that aims to restore the unforgettable names of Billy and Icky in your nostalgic consciousness while liberating lost music of a significant unsung UK composer.

                                                        Bringing back fractured memories of Scouse teenage rebellion, sports casual weekend wear, chip shop violence and escape missions to the Welsh Valleys (where baby birds are fed Mars Bars and shoplifting is the local currency), the series One Summer made an indelible impression of gritty realism, tragic heartbreak and woeful hope in the hearts of a dumbstruck generation in 1983.

                                                        Inducing abject fear in protective parents and a street smart swagger amongst clued-up youths, this adaptation of a coming of age pastoral thriller by a reluctant Willy Russell broke new boundaries pinpointing a cultural teenage void between post punk activism and the acid house years while arguably giving Thatcherite telly addicts a tiny kick up the arse.

                                                        Scored by legendary KPM / De Wolfe library musician Alan Parker, a renowned session player for Serge Gainsbourg, Kate Bush and Bowie (amongst many more) this score retains a genre defying personality, pinpointing the stylistic essence of the era while successfully switching from barren Rumble Fish funk, pastoral Moog noodlings, Pentangular folk, 80’s post-punk rhythms with hints of dubby melodica/harmonica. Composed to cue for the short five-part series (that TV commissioners were too scared to revisit), Parkers bursts of self-propelled small screen scoring came in one to two minute spells allowing Finders Keepers to comfortably fit the entire soundtrack on one neat eleven track limited 7” EP thirty-three years down the train line.

                                                        First official reissue of this essential Zamrock album, painstakingly restored, remastered and pieced together from multiple copies of the incredibly rare original album. Contains extensive booklet with never before published photos, an overview of the Zamrock scene, and the history of Peace and Black Power. The Boyfriends, from Kitwe’s Chamboli Mine Township, supplied the founding members for Zamrock’s most famous band, WITCH, and kick started one of Zamrock’s best bands, Peace. Their sole Zamrock entry, 'Black Power', recorded at Malachite Film Studio circa 1973/4 and issued circa 1975, sounds like nothing else in the Zamrock canon: a lost message drifiting from the flower power era, imbued with a fiery Zambian voice. Essential garage Zamrock / soul / funk: the first official reissue of the celebrated band’s one and only album.

                                                        “The musical style that became known as Zamrock came to embody the economic despair that followed the 1973-1974 oil crisis, which flung Zambia into recession and exacerbated a wide range of social tensions. Much of Zamrock also captured the controversy of wider politics in Africa and the world. Perhaps the finest example of this is Black Power by The Peace”. - The Guardian 

                                                        Operating within the same realm as Pye Corner Audio, Pentagram Home Video's debut LP for Death Waltz Originals offers up a dystopian analog synth attack swathed in layers of distortion and heavy pounding drums, it works as an imaginary soundtrack in your headphones but also as a powerful beast on more adventurous dancefloors all the time being super melodic too.

                                                        Strictly limited edition of 400 copies (200 for the UK , 200 for the USA) 180g black vinyl housed inside a 425gsm single pocket jacket.

                                                        Robert Plant & Alison Krauss

                                                        Raising Sand

                                                          From its embryonic, conceptual stages - well before any music materialized - the mere idea of "Raising Sand" held infinite fascination for both its creators and those around them. As word spread of an impending musical collaboration between Robert Plant and Alison Krauss, imaginations ran wild. Two artists, each at the pinnacle of their respective pantheons, Robert and Alison have seemingly little in common. But just below the surface, an elemental understanding flowed between them, waiting to be tapped. Mutual admirers for some time, Plant and Krauss first performed together at a concert celebrating the music of Leadbelly. That great man's sound - spry and playful, yet marked by an undercurrent of torment and loss - is a keyhole into the sound world unlocked on "Raising Sand". After their initial collaboration proved promising, Plant and Krauss brought producer T Bone Burnett into the fold to help them investigate a more sustained, full-scale project. Charged with selecting both supporting musicians and material that would illuminate the connection between these two unique artists, Burnett succeeded wondrously. Built on a shared core of modal blues and country soul, filtered through alternating layers of unadorned tenderness and thick, shifting textures, the sounds on "Raising Sand" extend well beyond anyone's expectations.

                                                          There is an exciting resurgence of conscious, organic music in Jamaica Protoje is playing an important role in this roots reggae revival.

                                                          Leading the militant band - The Indiggnation - this powerful songwriter and philosophical thinker articulates the righteous anger of an emerging generation. Protoje reports for duty, re-establishing the standard for the decaying art of socially responsible, mentally stimulating lyricism.

                                                          "Protoje showcases the best of five decades of reggae on his new album" - The Guardian

                                                          Corinne Bailey Rae

                                                          The Heart Speaks In Whispers

                                                          'The Heart Speaks In Whispers' is rich in fresh ideas and full of emotional energy which surges through its songs like electricity. Recorded both at her studio in Leeds, and in Los Angeles, the album is co-produced by Corinne with Steve Brown, her collaborator on her critically acclaimed previous album The Sea.

                                                          The album features a number of notable musicians including Pino Palladino (D Angelo, Erykah Badu, The Who), James Gadson (Marvin Gaye, Bill Withers), Marcus Miller (Miles Davis, Herbie Hancock), Esperanza Spalding and Moses Sumney (best known for his work with Beck).

                                                          "Groove Curse" is Rakei’s long-awaited follow up to highly-acclaimed debut EP "Franklin’s Room", his modern take on reggae-infused soul music. "Groove Curse" takes an evolved turn, with a sound Rakei describes as 'raw, vocal-driven, groove'. With the first single off the EP, "Street Light" featuring Gwen Bunn (vocalist and Grammy nominated producer of Schoolboy Q’s Collard Greens feat. Kendrick Lamar), the release celebrates the skills of upcoming young musicians who are writing, self-producing and taking full advantage of their vocal and multi-instrumentalist talents. It reminds us here at Piccadilly of that first time we heard Andrew Ashong, Fatima or Jesse Solomun. There's bits of Erykah Badu in there too. Yes it's that good!

                                                          'Jordan Rakei is one of those few and far between up and coming artists that is making music from a truly authentic place. I liked what I heard from the get go and couldn’t wait to play it on my 6Music show. It seems like he is consistently evolving and producing very impressive innovative music. I’m excited by where he is at, but even more so by the potential places he can go.' – Gilles Peterson (BBC 6 Music)

                                                          '…a bad ass artist, not to be slept on!' – Osunlade, Yoruba Records 

                                                          STAFF COMMENTS

                                                          Matt says: Jordan Rakei gives us here at Piccadilly the feeling of that first time we heard Andrew Ashong, Fatima or Jesse Solomun. There's bits of Erykah Badu in there too. Yes it's that good!

                                                          - Remastered from the original analog tapes
                                                          - Track notes by Terry Reid
                                                          - 6 never before heard Reid compositions, plus 5 very different alternate takes – all previously unreleased.

                                                          British musician Terry Reid is a relatively unsung legend. With his incredible voice (that earned him the nickname “Superlungs”), spot- on songwriting, and underrated guitar skills, Reid invented new sounds and others followed suit. His 1973 LP, River, is an under-the- radar but deeply loved album. Our special new release, The Other Side Of The River, features all previously unreleased material from the River sessions, including six never-before-heard Reid compositions and five very different alternate takes of tracks from River.

                                                          Over the decades, as River went in and out of print, there were rumors of a mythological double album’s worth of unreleased material. The rumors turned out to be true, as the entire album was recorded twice: once with British producer Eddy Offord and again with the legendary Tom Dowd. The sessions captured Reid’s free-associative mix of folk, blues, rock, jazz, bossa-nova, soul, and samba, recalling at times Tim Buckley and Van Morrison, while featuring some remarkable guests including Gilberto Gil on percussion, Ike & Tina Turner’s Ikettes on vocals, and David Lindley, of psych band Kaleidoscope, on violin.

                                                          The Other Side Of The River includes songs that even Terry had forgotten – rockers in the style of the River track “Dean,” Latin grooves with percussionist Willie Bobo, and beautifully sparse vocal material not unlike David Crosby’s If Only I Could Remember My Name and John Martyn’s Solid Air.

                                                          Reid’s vocal prowess earned him offers to front both Led Zeppelin and Deep Purple, but he turned down both opportunities to carve out a distinctive solo career. Instead, he rocked on the sidelines, ultimately touring with Cream and Fleetwood Mac, writing songs for CSNY, and opening for The Rolling Stones on their 1969 tour.

                                                          More recently, Terry’s songs have been covered by a number of younger artists including the Raconteurs, and his voice can be heard on DJ Shadow’s track “Listen”. This spring he will be touring the East Coast and U.K. Though his “superlungs” would have no doubt served Zepp well, perhaps his solo status allowed him to be more experimental and nuanced than he would’ve been able to be as a mainstream frontman, and for that we are grateful.

                                                          The Other Side Of The River stands alone as a fresh and utterly groundbreaking Terry Reid gem.

                                                          FORMAT INFORMATION

                                                          2xLP Info: Double LP housed in a Stoughton gatefold “tip-on” jacket.

                                                          Padre Himalaya's first release sees Renato step up to the plate: a young producer from Lisboa gracing us with his debut EP. The "Alo Alo" Ep contains 3 organic, groovy tracks with a slightly sense of humour which marks the identity of the Renato project. Super fresh sounds from Portuguese underground that comes HIGHLY RECOMMENDED! Portugal seems to be enjoying some of the dance music spotlight at present. Label Principe has become a highly sought after, cult project and this new label has the same feel and aura about it. These tracks don't instantly jump atop of the table announcing their arrival with a fanfare and a mini-skirt; rather, they grow on you slowly, never overstepping the mark and being conscious not to deflate too quickly either. "Alo Alo" has lots of intriguing, unique elements contained within its dancefloor friendly 4/4 swagger; rambunctious drums, space jazz effects, rich chords and tantalizing horns. "Marceneiro" is a sonically weighty, Portuguese percussion track but with some head-turning nuances, delays and reverbs. Finally "Ze Do Telhado" keeps us hooked from its mystical beginnings, exotic flute patterns accentuating the oddball house beat as plenty of shamanic, rainforest elements converge on the track. Frenzied, wild but with a cheeky smile on its face, this is Renato with all inhibitions removed; pure freebased spirit. Highly recommended first EP from this fledging label, sure to be as lauded as its predecessor, Principe records.

                                                          Rhythm Based Lovers

                                                          Frequency Illusion / Number Games

                                                          Future Times is very happy to announce a new record from RBL, who we haven't heard from since his 7" for FT (the second-ever release on the label) about 7 years back (!) Once again the songs are split up into DANCE and ROMANCE sides, on the Dance Side we have "Frequency Illusion," a glorious slap of vibro-house for the deejay crew, coming in hot like a rugged Pal Joey tune, and on the Romance Side we have the slow hypnotic funk of "Number Games," complete with dope mantra vox and Italian slo-house chug. This one is a doozy!!

                                                          The Royal Sitars

                                                          Eloise / Distant And Vague

                                                            Australia's runaway success ROYAL HEADACHE are responsible for records that have resonated worldwide, and what more proof of this than a SITAR INSTRUMENTAL TRIBUTE to two of their biggest hits, ELOISE and DISTANT AND VAGUE? All performed by an anonymous, masked, groovin' Australian combo! Agitated managed to track these Sitar slingers down, and could not put their groove down. A 500 copy 7” release was brokered…and here ya haves it folks.

                                                            You'd be a complete IGNORAMUS to be able to sit still throughout the revolutions of this white-hot double hit platter.
                                                            250 copies for sale in the Europes alone.
                                                            Black vinyl, “company” sleeve, plenty of spicy shake goin on!

                                                            Re-issue on Heavy Vinyl. Last album”Distractions” on Upset the Rhythm has done very nicely so a repress here is timely.

                                                            An evolving band of young future humans making truly irregular punk not quite comparable to anything else; Sauna Youth release their debut long-player, ‘DREAMLANDS’, as a joint release between Gringo Records and Faux Discx. The band, attracted to the possibilities apparent within a DIY philosophy have been self-recording and self-releasing their own music since 2010, creating a number of seven inches, splits and cassettes. ‘DREAMLANDS’ will be the band’s first long-player, marking the mutation of their sound and a new line-up. 'Weird' is a meaningless platitude, and 'art punk' is a classifier that shouldn't be required.

                                                            Sauna Youth journey into the far-reaching wilds of the unfolding psyche and feast on the chaos within, quickly collapsing any pre-conceived notions within minutes of impolite introduction. The LP is a lyrical commentary on being addicted to the distractions preventing engagement with real life; unbreakable routines, relationships based on silence and mindless sex, repetitive and superficial interaction. This is not a dull lecture on disaffection, it is the dawning realisation in hundred-mile-anhour downstrokes, hypnotic samples going off like permanent alarms and competing vocals.

                                                            The 5 track offering, found on the B-side, commences with a furious and bracing rush of noise bearing a dissatisfied narrative. ‘PLANNED DESIGNS’ leads with the dissection of artistic conventions and a treatise on space, the space we inhabit and the space we can alter and form for our own needs and desires, a dual-vocal declaring, “Works of art of nothing/Works of art from nothing/Works of art of nothing but works of art.../We want somewhere to play”. A collective frustration reigns; it rings from the impulsive, fizzing spill of ‘SNAPBACK’, gathering in the blunt pace of ‘PSI GIRLS’; an eloquent reflection of the lost ability to communicate. The careering ‘VISCOUNT DISCOUNT’ chronicles the trap of enforced life choices (“Remits, Compromise, Boxes to tick/Straight, Narrow, Guidelines, rules cut to fit/There's a mind just disengaged”) and all accumulates with the knowing desperation of ‘HAIRSTYLES’, darkly delivered over the hardest unrelenting 4/4 backbeat.

                                                            The A-side carries ‘TOWN CALLED DISTRACTION’, a spoken-word short story written by Patrick Fisher (of Cold Pumas) and Sauna Youth’s own Harper Ecke, read by Martha Orchard (of Edible Arrangements) and Bobby Krlic (The Haxan Cloak), that serves as an introduction to the created world in which the characters and narratives of the band thus far have inhabited, gripped by an instrumental that careers with visceral energy. Artistic affinities are pledged to Eddy Current Suppression Ring, Pissed Jeans and The Intelligence, but as Kurt Cobain once asked “Why can’t we be both Black Sabbath and The Beatles?”, Sauna Youth consistently and urgently pose the question, ‘Why can’t we be both The Ramones and Steve Reich?

                                                            FORMAT INFORMATION

                                                            Ltd LP Info: Heavy vinyl reissue.

                                                            Paul Simon

                                                            Graceland - 180g Vinyl Edition

                                                              With 'Graceland', Paul Simon hit on the idea of combining his always perceptive songwriting with the little-heard mbaqanga music of South Africa, creating a fascinating hybrid that re-enchanted his old audience and earned him a new one. It is true that the South African angle (including its controversial aspect during the apartheid days) was a powerful marketing tool and that the catchy music succeeded in presenting listeners with that magical combination: something they'd never heard before that nevertheless sounded familiar. As eclectic as any record Simon had made, it also delved into zydeco and conjunto-flavored rock & roll while marking a surprising new lyrical approach (presaged on some songs on 'Hearts And Bones'); for the most part, Simon abandoned a linear, narrative approach to his words, instead drawing highly poetic, abstract, and satiric portraits of modern life, often charged by striking images and turns of phrase torn from the headlines or overheard in contemporary speech. An enormously successful record, 'Graceland' became the standard against which subsequent musical experiments by major artists were measured and continues to provide rewards to its listeners and remains a pivotal listening experience for writers, artists and fans. 

                                                              FORMAT INFORMATION

                                                              LP Info: 180 gram audiophile vinyl. Printed inner sleeve. Remastered audio.

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