Aleph Null


    Hazy German doom trio Aleph Null have recently released their debut album ‘Nocturnal’ .

    After forming in Düsseldorf in 2012, Aleph Null quickly made a name for themselves amongst doom and stoner rock connoisseurs with their first EP ‘Dale’, and its 2013 follow-up, ‘Belladonna’. The band’s thick, groovy sound and keen songwriting skills are sure to endear them to fans of bands like Sleep, Down and Clutch, and ‘Nocturnal’ finds the band on fine form, busting out all manner of deep, fuzzy anthems in style.

    Armando was nothing short of a Chicago House & Techno pioneer and many producers since have been inspired by his raw punchy style. His seminal classic EP 'New World Order has now been remastered from the vaults of Trax Records for your jackin' pleasure…


    Jane's Lament

    Sydney's Au.Ra, a duo composed of Tim Jenkins and Tom Crandles, are set to release their new full length Jane's Lament, a work which carefully envelops the listener in dreamy hues of sound. Made over the course of two years, the LP was birthed from improvised jams the pair play over droning guitars and looped drum beats. Tracks like “Sun,” and “Pyramid” emerge slowly out of interplays between simple melodies and layered, reverbed instrumentation.

    Au.Ra's “emotive soundscapes” perfectly encase their nontraditional pop songwriting, like on highlight “Morning,” where shimmering guitar riffs transport you to a serene, meditative realm. Their repetitive lyrics belie this easy transcendence, sometimes even verging on incantation. These songs evoke a languid drive along a bending highway in autumn, the scenery and light shifting ever so slowly out the windows. As the sun sets earlier, this is an album to savor with the dying light.

    Baby's Gang

    Challenger - 180g Vinyl Edition

    'Challenger' is the first and only album from disco project Baby's Gang - one of the most talked about items among collectors of Italo disco. Their first hit tune, "Happy Song", appeared in 1983 and was so beloved by Boney M producer Frank Farian that he included a cover version on their LP "Kalimba De Luna". When it arrived a couple of years later, the full album was a whole platter of hits. After a few more years, in 1988, their final single was the hit "Disco Maniac", after which the creative activity of the project ended.

    This Mirumir LP, in addition to new mastering and high-quality printing, includes two additional tracks that were not on the original album: the original version of "Happy Song" and a maxi-version of "Disco Maniac".

    Nothing Can Hurt Me is a feature length documentary about the beloved and influential 70s rock band Big Star. The award winning film, initially shown in UK cinemas in the summer of 2014 is available as a deluxe package featuring the band’s first two albums; No.1 Record & Radio City on CD, along with the DVD of the film.


    Andy says: Superb janglin', rockin', (60's) Brit-obsessed pop from early 70's Memphis. Best word-of-mouth cult band (that should have been huge) ever!

    David Ivar aka Black Yaya is a new singer and a new songwriter, although he’s not new to the world of singer-songwriters. Indeed, he used to write, record and perform under the name Herman Dune. He travelled the seven seas and beyond with Herman Dune, and recorded more than ten albums with this name.

    One morning in November of 2012, David Ivar woke up with the strange feeling that he could not be in a band anymore, at least for the moment. For „Black Yaya“. David Ivar wanted to go back to recording everything himself, far from the recording facilities he had got used to with Herman Dune. He wanted to feel like he had when he was using four track tape recorders in High School, free to try anything with no pressure in terms of time spent working, or cost. His heroes were Chuck Berry, Bob Dylan and John Lennon he loved them with all his heart, he loved them more than anything in the world, they were singers, writers and guitar players, and that was all he cared for...


    Ltd LP Info: Limited edition LP includes 7".

    In anticipation of Bosq's second full-length album, "Bad For Me" paves the way for more of his signature dancefloor goodness that he's been steadily cultivating from his work with Whiskey Barons to his full-length album debut "Bosq Y Orquesta De Madera". This time around Nicole Willis lends her talents to the tune, revisiting her dance and house roots where she made a name for herself in the 90s. Bosq originally reached out to Nicole to do a slow burning soul track he'd been working on, but after listening to his album she was set on doing a dance record. The result is the most straight up dancefloor disco in the Bosq catalogue thus far. The track is dense with that afro-Latin-disco percussion you would expect, bubbling with thick funky bass lines, rhythm guitar from "disco" Tom Noble himself, and a wide open piano driving it all. Nicole's perfectly nonchalant vocals sit just right in the groove effortlessly tying the track together and repeating the phrase we've all uttered at least a few times. The late night dub version expands on the deep chorus groove and allows each piece of the track to really stretch out, highlighted by a killer solo from Boston's piano wizard Yuki Kanesaka. In keeping with Bosq's hometown crew love theme, he enlists the Soul Clap production duo to have their way with a remix that packs a punch with its pulsating drums and expertly placed synths complementing the vocals, percussion, hand claps, and keys from the original tune.

    Breast Massage

    Heavy Metal

      This 7" from Nashville - based Breast Massage is the second release on the Too Pure Singles Club this year. The band features Jeff The Brotherhood axeman Jake Orrall as well as members of Diarrhea Planet and No Regrets.. speaking about the single the band said "Breast Massage belies what folks think they *know* about Nashville and the music emanating from it. The shit is heavy, it pulls no punches and fails to come off like a bunch of know-nothing rubes blazed on dirt kush. The inteli-stoner rumble flows forth with heft of a legitimate conscience. Solid dudes making even more solid jams."

      Yes yes y'all! Brother J in the house! The funk soul brother gently eases Superbreak into the vinyl frontier with three stone grooves for all the deep disco jocks out there. The A-side gets underway with the wah fuelled disco funk of "Round Corners", a block party rocker driven by a relentless low slung bassline and rippling percussion. As the track rolls on, elements of jazz-funk pop up here and there in the form of cosmic clavinet and airy rhodes riffs, adding another texture to the solid cut. On the flip, "International" keeps the party moving at that same mid tempo shimmey, as Brother J applies expertly selected loops, full frequency filtering and wild bass boosts to a live party viber with horns at the highs and a whole load of funk in the trunk. Off the hook yo! Brother J takes us home with the brassy refrains of "Journey", an uplifting cut which bursts into flames to light up your warm up or end of night. It's a welcome return to the halcyon days of beatdown house and the deep and gritty world of slo-mo disco.

      Brötzmann / Haino / O'Rourke

      Two City Blues 1

        Peter Brötzmann: alto/tenor-saxophone, tarogato, clarinet
        Jim O‘Rourke: guitar
        Keiji Haino: guitar, voice, shamisen

        Recorded by Yasuo Fujimura, 23/11/2010, Shinjuku Pit Inn, Tokyo
        Mastered by Martin Siewert
        Photos by Mark Rappaport
        Drawing & Artwork by Brötzmann, Design: BRÖTZM/UNTIET

        A giant two day meeting of three outstanding musicians!
        German legend Peter Brötzmann is one of the outstanding saxophone players in the current international free jazz scene, continuing to go on tour and release with various musicians.

        Eric Burdon & The Animals

        The Twain Shall Meet - 180 Gram Vinyl - STEREO EDITION

          Burdon and the group returned in April 1968 with The Twain Shall Meet, continuing their psychedelic journey. “Monterey” chronicled the previous summer’s seminal festival while “Sky Pilot” reflected the growing anti-war sentiment as the Vietnam Conflict escalated. Steeped in a dense, layered sound full of electric guitars, sitars, strings, brass and washes of phased vocals, the album served notice that Burdon and company were totally in-step with America’s youth movement. From blues revivalists to cultural torchbearers in four short years? Believe it!

          Meticulously mastered from the original MGM Records reels - cue up these platters and let them take you back to a time when minds were being blown open at an astonishing rate!

          Eric Burdon & The Animals

          Winds Of Change -180 Gram Vinyl - MONO EDITION

            Reeling from poor management decisions and inter-band strife, The Animals fell apart toward the end of 1966. Seeking a rebirth, lead vocalist Eric Burdon relocated from London to California. There, Burdon assembled a new Animals lineup, retaining only drummer Barry Jenkins from the previous incarnation. Now known as Eric Burdon and The Animals, the group immersed themselves in the psychedelic culture of San Francisco and their sound followed suit. Informed by his inaugural acid trip, Burdon led his bandmates through a fresh, decidedly lysergic interpretation of American blues. While the original group had largely performed songs written by others, The New Animals began composing as a group.

            The prophetically titled Winds of Change, released in September 1967, offered ten stellar examples of this new songwriting approach, along with a heavy cover of The Rolling Stones’ “Paint It Black.” Lead single “San Franciscan Nights” encapsulated the Summer of Love in what became a top ten hit for the new band (and helped get them on the bill for the seminal Monterey Pop Festival).

            Meticulously mastered from the original MGM Records reels - cue up these platters and let them take you back to a time when minds were being blown open at an astonishing rate!

            Nick Cave & The Bad Seeds

            Abbatoir Blues / Lyre Of Orpheus

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

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

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

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


              2xLtd LP Info: Vinyl transfer approval overseen by Mick Harvey during Summer 2014, cut at Abbey Road studios.
              Vinyl is heavyweight 180 gram.

              Don Cherry

              Where Is Brooklyn?

              Trumpeter Don Cherry, an Ornette Coleman soulmate and a world musician decades ago, became one of jazz’s many early losses 10 years back. But saxophonist Pharoah Sanders, who joins him on this fizzing 1966 set, has since ascended to cult status, and he is still around to admire. In the 1960s, he knew no melodic fear at all, in which respect he was aptly partnered with Cherry. This is a quartet set, strongly influenced by the melodic approach of Coleman, but with a fierce abstraction of tone quite different from Coleman’s playful lyricism.

              Moreover, the rhythm team of Ed Blackwell on drums and Henry Grimes on bass provides a scintillating underpinning for the music that is worth listening to all on its own. Sanders’ mix of Coltrane’s yearning long notes, Ayler’s ghostly, fluttering wail, Coleman’s fast, bumpy phrasing and his own manic bagpipe screams certainly separates the faint-hearted from the stayers on the opening 'Awake Nu'. But the conversation between Sanders and Cherry is light, lyrical and engaging on 'The Thing', and the saxophonist even gets into a stubborn, Sonny Rollins-like repeating Latin vamp on 'There Is The Bomb'. An unflinchingly quirky classic.

              Following the extended year-long gestation of his 'Who Am Eye' EP, Clarence Clarity ups his game with this hotly-tipped debut long player for Bella Union. 20 tracks long, 'No Now' is a chaotic melange of sounds that will have your head in a spin. Prince-tinted electro-funk, Michael Jackson in a psychotic state, alt-alt-R&B, hints of Ariel Pink's more bonkers moments, but remade as synth-pop, sampled vocals against Clarity's own vox, micro beat mash-ups... It's a fascinating collection of tracks, an album that takes pop experimentation into the outer reaches of the Galaxy...

              “Clarence Clarity’s electro-soul sleaze is unlike much you’ll hear this year, or any other year for that matter… Think Prince trapped in the wiring of a dusty Sega Mega Drive.” - NME


              2xLtd LP Info: LP format is pressed on gold vinyl and packaged in
              a gatefold sleeve with digital download.

              Lyn Collins

              Think (About It) - Bonus 7" Edition

              James Brown had several incredibly talented “funky divas” in his late 60s and early 70s revue stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hit maker of that JB era. Her strong voice and commanding stage presence - which earned her the nicknames “The Female Preacher” and “Mama Feelgood” - quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky “Think (About It)” hit the R&B music world like a ton of bricks. Thanks to its timeless, relentless groove and powerful vocals, “Think” gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash “It Takes Two,” by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a One Hit Wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Brown’s new People Records label - the imprint’s second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers’ “Ain’t No Sunshine”; the socially progressive “Women’s Lib”; the Gamble & Huff-penned “Never Gonna Give You Up” (originally done by Jerry Butler); and even a daring, muscular take on the song “Fly Me To The Moon,” made famous by, among others, Frank Sinatra. All throughout 'Think (About It)', Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown-assembled musical crew that included Pee Wee Ellis, Fred Wesley and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did.


              LP Info: Includes 22”X 22” poster of the sleeve artwork along with bonus 7” 1973 People single, “We Want To Parrty, Parrty, Parrty” with the B-side “You Can’t Beat Two People In Love” which is unavailable on any Lyn Collins full-length.


              Crybaby Demon

                The first single from Crocodiles’ forthcoming album Boys offers a gaze into the salsa-punk existence the band lived while recording in Mexico City. It is the sound of helado and cervezas; bottles smashing against heads in Cuauhtémoc bat-caves.

                Charles Rowell’s psychedelic guitar swirl starts “Crybaby Demon,” immediately followed by an infectiously repetitive bass line and Latin trashcan percussion. Brandon Welchez’s sneering vocal floats above, telling the tale of a fallen angel, head still in the clouds, abusive and abused. The flip side is a joyously noisy retelling of Hot Chocolate’s 1975 disco classic “U Sexy Thing” and adds to their ever growing collection of oddball influences.

                Imagined as a sharp contrast and complement to Funn City’s trashy vintage vibes, Darshan Jesrani’s new Cylinder moniker sets out to explore the more streamlined, forward-facing side of the Startree vision while sacrificing none of the warmth or funk of its classic influences. “Disco Engine” is a futuristic joyride which draws upon late 80s and early 90s techno vibes as much as it does disco and R&B to produce a groove which is warmly insistent, buoyant, sexy and a little menacing. Ruthless, detuned 808 toms and a punchy, round analog bass synth provide a floor you can push the gas pedal to. A greasy, giddy synth rhythm holds the middle down like a session guitarist when rent is due, and ecstatic choral synth pads and vocals by Chelsea Adewunmi soar just above the horizon. Underground dance music with the top way down. Side B’s “4-Stroke Dub” works a more DJ-oriented angle around that 808 and juxtaposes parts which do not play together in the original, creating a track which is subtly driving and every bit as engaging. The gorgeous, understated vocal refrain in the middle is a destination you will have been happy to go the extra distance to reach. More retro-facing, forward thinking dance music from the former Metro Area man.

                Cultishly adored with a small but highly astute following, Aconito's 'Seed' series continues with release number 4. A merging of titans, the record is a collaboration between Informa head Deepbass, and nAX Acid - head of Aconito. This pair practically defined the new deep techno sound and along with Edit Select, Silent Servant and Mark Broom, keep pushing the scene darker and further into the wormhole. With track titles inspired by Greek mythology and thoroughly spiritual take on the techno blueprint, these are tracks for mind elevation and body stimulation and will make very little sense farting out of an i-pod dock in a field in Camden. "Hesperis" kicks off with a glorious urgency, Detroitian sonar bass bleeps cementing a groove while a shower of metallic shards and radioactive synth elements rain down on the mix. "Erebus" is pure body music, subtle polyrhythms working their way into the flatlined 4/4 causing the body to contort and wiggle in ways previously unknown. Subtle lashings of acid give this track xxxtra bite and when the brutal 909 comes steaming through the track it'll take some serious willpower to not succumb. "Nyx" is the concentric, broken beat number you've been waiting for; a trademark style for nearly every release on both Informa and Aconito. The kind of jam that Surgeon would make his own mid-set, it's that disconcerting, triplet rhythm kick drum that just screams of excessively hedonistic nights spent entirely behind the speaker stacks, cloaked in blankets of smoke and strobe. An immense collaboration - highly recommended!

                Deetroit returns with "The Voyage Underground". Opening with the title track, a cleverly manipulated loop from one of the first inceptions of music software package, Reason (yes music tech geeks I can go that deep! - Matt). Deetroit works this radiant loop into a tough and raw drum set. Bouncy and syncopated, almost touching on a broken beat vibe but keeping the house flame burning bright. "The Secret Meeting" is up next, firing up the synthesizers for an sophisticated exercise in sound manipulation. Deetroit gets his hands around all the important knobs on his keyboard and works an already catchy riff deep into our cerebrum until there is no escape! "The Celebration" is a skitty, garage flavoured number with a clever xylophone refrain, looped female vox and a tough beat. "On Another Mission" in another fine display by a man who understand synthesis. I might know my Reason patches but unfortunately I'm struggling to identify the man's hardware on this outing (answers, as usual, on a postcard) but "On Another Mission" is a bubbling acidic number, with flurries of rampant 303-sounding instruments running riot throughout. "Exploratory Findings" in the speaker (and face) melting track that should set the club truly on fire. Tape distorted kick drums, plenty of swing but the killer is this rubberband, elasticated synth riff that morphs and twists its way through the whole track with aplomb. Finally, "Discovery Of A Deeper Galaxy" finishes on a high note with deep rumbling techno vibes the dish of the day! Definitely one for fans of Levon Vincent, Dj Qu and Fred P, this powerful last blast is should completely level the dancefloor with its sheer sonic force! Six tracks....from Detroit?! And only eleven quid... next you'll be telling me Levon Vincent's releasing his new album online for free... oh wait.

                Detroit Swindle

                The Punch Drunk EP

                Heist kicks off the new year with the first ep of Detroit Swindle since they put out their album "Boxed Out" back in march '14.

                The Punch Drunk EP is the result of a series of jam sessions in their studio, experimenting with their ever growing studio setup.

                Allright (we'll be) is an uptempo affair at its 128 BPM, with an irresistably sexy hook that just makes you wanna give free hugs for its full 7:10 minutes. Pursuit has that classic Detroit Swindle vibe with an almost acidy synth rolling on in the background, giving the track the core of it's energy.

                Heads Down is the deepest of the 3, where a particularly shuffling set of offbeat toms create the groove and a set of warm synths give you a simple dancefloor choice to go hands up, or heads down.

                The new year of Heist after "The Round Up Part 1? comes with a lovely new minimalistic design by Amsterdam based artist Baster. Sincerely yours, Lars & Maarten

                After finding their way into the record box of pretty much every Balearic DJ worth their salt with their debut release, Dos Palos have been reworked and remixed by Seahawks, Neil Diablo and in-house label musical lynchpin, B.J.Smith. The Seahawks mix of "I've Been Around" dives right through the looking glass into the psychedelic ocean hidden below to create a truly tripped out version with fractured vocals and a cantering groove reminiscent of Quintus Project's "Night Flight". The yacht-rockers add elevating synth chords and subtle brass to coax the listener in and lift the track towards heaven. Next up, Neil Diablo flips "Lady of the Westway", creating a deep and dense vision for the track, underpinned with tougher percussion this has the 'Lady' walking the empty streets of Manchester at 4am on a Spring morning as the sun is rising. Neil works well with Robin's cello arrangement and enhances it with powerful accompanying chords, chopped vocal refrains and a solid bassline. Last but not least we have B.J. Smiths 10m + excursion, built with the DJ in mind and those twilight Adriatic dance floors at its soul. Ben adds Chris Rea guitars and warm hammond  vibes to lend an edge and chugging throb that builds before dropping off for that 'calm before the storm' moment. After it's peaked and reached its crescendo the fade out is pure DJ heaven, the haunting vocals continuing for the mix out… Lovely.

                Emotional Rescue's latest reissue project sees them collect three separate EPs of collected material from Dunkelziffer, one of Germany's best - if most underrated - bands. Arriving at the end of the Krautrock explosion of the 1970s, Dunkelziffer was formed out of the original sessions that created the classic Phantom Band, and was centred around Dominik von Senger (Golf Channel), Reiner Linke and Helmut Zerlett, but with a cast of floating members that included Jaki Liebezeit, Damo Suzuki, Olek Gelba, Wolfgang Schubert, Stefan Krachten and Matthias Keul. Making four ground breaking albums over a 6 year period, the took their cue from the classic Krautrock triumverate of heavy repetitive drumming, intricate, overlapping melody and sonic intonation, Dunkelziffer added dub, soul and jazz elements to expand the sound into the new decade. The first part features four tracks all fully licensed and remastered; "This Is How You Came", "Q", "Klein Python" and "Network", which all perfectly introduce the group's expansive sound to the uninitiated.

                This second part of Emotional Rescue's Dunkelziffer reissue project sees the underrated Krautrock Supergroup formed of Dominik von Senger (Golf Channel), Reiner Linke and Helmut Zerlett, and the rotating cast that also included Jaki Liebezeit, Damo Suzuki, Olek Gelba, Wolfgang Schubert, Stefan Krachten and Matthias Keu get a second EP of carefully selected material, fully licensed and remastered. "Trailer II" comes from their 1986 album III, and is a proto psyche-disco number with a healthy does of live bass funk, while "Blieb Nicht So Lang Im Schatten" is a more frenetic number from the 1983 album Colours and Soul. On the flip, "Dark Number" provides a dubbed out combination of tribal rhythms and light synth textures, while "Oriental Cafe" is a dark, motorik jam with arid Middle Eastern melodies simmering to the surface.

                This third part of Emotional Rescue's Dunkelziffer reissue project sees the underrated Krautrock super group formed of Dominik von Senger (Golf Channel), Reiner Linke and Helmut Zerlett, and the rotating cast that also included Jaki Liebezeit, Damo Suzuki, Olek Gelba, Wolfgang Schubert, Stefan Krachten and Matthias Keu get a third EP of fully licensed and remastered material from the six year career. The A-side is given over to the 13 minute "Retrospective" from 1984's In The Night, an improvisational Krautrock jam with elements of dub and jazz, while the B-side sees the smoother, Balearic tones and soulful vocals of "See It" from their final album, 1989's Songs For Everyone. Finally, "Colours and Soul", the title track from the group's 1983 debut provides a fitting end to the three EPs, its almost pop sensibility encapsulating just how wide ranging Dunkelziffer's music was.

                E-Versions #4

                Sitting Here Alone / Childstar

                The E-Versions E-xpress rolls back into town, as Mark E lends his edit expertise to another pair of overlooked and underplayed staples. The first three volumes sold like hotcakes and filled floors all over the globe as people lost their shit to Mark's reworks of Jean Carne and Madonna. Number four in the much loved series provides further proof that no one flips a track like the mighty Midlander. On the A-side, "Sitting Here Alone" sees Mark weave an extended and irresistible groove out of a simple bassline and the polyrhythmic clatter of conga led percussion, creating a solid base for the kraut synths and clipped vocal refrains to take us away. As ever with the Merc boss, it's hypnotic, subtle and perfectly arranged. B-side cut "Childstar" sees Mark kidnap a disco ball for some reinforced rollerskating tackle formed out of the groovesome ingredients of a lost disco classic. The producer loops up about four bars of the original and sets to work beefing it up for modern club play, augmenting the bassline and clavinets with a hard hitting drum track and a breathless arrangement that'll keep the crowd peaking for the whole seven minutes. Vinyl only and limited to one pressing, I'd suggest you act fast on this one. 

                Echo Lake

                Era - Bonus Disc Edition


                Debut album 'Wild Peace' was released in June 2012, after the then five piece had surfaced 18 months prior to a flurry of blog attention. The record is a near-perfect encapsulation of their early sound, with critics calling it “dazzling, hypnotic and deliriously seductive” and “truly magnificent”. However loud the acclaim, the release was inevitably overshadowed by the shock death of drummer Peter Hayes a few days before release.

                The band recovered in private. The songwriting pair of guitarist Thom Hill and vocalist Linda Jarvis would spend two years working on the tracks which would form Era in East London’s Holy Mountain Studio, the first time the band had spent in a professional studio. The album is a result of this experience; far maturer, denser and considered than the band’s home recorded debut. Points recall the textures and expansive ambition of Spaceman 3, Neu! and Deerhunter yet the album is never stylistically referential to any particular period or style.

                Winston Edwards & Blackbeard

                At 10 Downing Street - Dub Conference

                A brilliant UK dub set recorded by Winston Edwards and Dennis 'Blackbeard' Bovell back in the late 70s. Featuring tracks with names like "Downing Street Rock", "Who Made the Prime Minister's Honour List of 1975", "Airport Smuggling" and "Shake Buckingham Palace Down", this is a set that brings a local flavour to the whole dub scene.

                Fresh Leeds' based label Slipstone return after the spaced out "Moonwalk EP" from Kesper with a new release courtesy of young producer Einerlei. As the name may suggest, Einerlei trades in a teutonic brand of techno, specifically the melodic and proggy style long associated with Kompakt. "Sind Wir Echt Frei?" opens the EP with a dramatic flourish as Einerlei layers wintery pads and kosmiche sequences over a clipped beat alive with rattling Villalobian percussion and subtle echo. The rising chords and stretched out vocals provide the track with a dynamic arrangement which lifts it above the predictable tonk of 90% of minimal techno. From the restrained melancholy of the opener we head to "Berg", a peak time number which thumps along with a certain vorsprung durch technik before Einerlei launches the first of a duet of hypnotic, space age sequences. Trippier than an evening with Border Community in the fancy dress tent at Bestival, this one's gonna pull people deep into the music. Hold up, B-side bomb alert! "Ensnared" balances a light and airy melody with a deep and moody bassline to form the perfect basis for the yearning lyrics and cinematic strings as Einerlei marries his obvious knack behind the desk with some major songwriting chops. It falls to Kesper to close the EP out with his stripped back and melodic rework of "Berg", which tones down the peak time thump a little in favour of that 8am afterparty vibe well suited to the moment when the feeling returns to your extremities. An absolute beauty from the Leeds label intent on putting musicality ahead of big names. 

                FORMAT INFORMATION

                12" Info: Limited to 300 copies. Screen printed sleeve.

                Formed just over a year ago by guitarist Ross Dolan, vocalist Laura Dolan, Nick Vogelpohl (bass) and Nate Wagner (drums) Electric Citizen have had a busy year turning heads and ears onto their dark and esoteric style of haunting and unhallowed ’60s West Coast rock, and decidedly British-influenced heavy psychedelia.

                Like records by similarly late 60s/early ’70s-possessed anti-modernists Blood Ceremony, Wolf People and Uncle Acid and the Deadbeats, over nine tracks Sateen provides a blueprint for long term appreciation. Recorded and produced by fellow Ohioan and local stalwart Brian Olive (The Greenhornes, Soledad Brothers) the album draws on sounds synonymous with the roots of early ’70s proto-metal from groups such as Sir Lord Baltimore, Pentagram, Cream and the daemonic spirit of Amon Düül. Not to mention the comparisons it draws with the rock ‘n’ roll ceremony of forgotten acts like Frumpy and Shocking Blue when held up against the spellbinding light of high priestess Laura Dolan’s enigmatic voice and live presence.

                From the cloudy and mystical swirl of ‘Hawk Nightingale’ to the shades of folk metal on ‘Shallow Water’, Electric Citizen pitch scholarly interpretations of the old guard in new and electrifying ways and not always from the vaults of forgotten masters. Take new single ‘Light Years Beyond’ with it’s swirling and ferocious concoction of guitars and drums or ‘Magnetic Man’ with its unabashed nod to Heart and classic Black Sabbath. Just a handful of many songs here that showcases just how good the band is at dropping sonic needles into the grooves of records that all serious rock ’n’ roll lovers hold dear.

                After performing recent shows with Dead Meadow, Spirit Caravan and The Sword the band are currently on the road as official support to stoner rock Gods Fu Manchu on their North American tour.

 ‘Light Years Beyond’ is released on 20 May 2014 and paves the way for Sateen which will be officially released via RidingEasy Records on 1 July 2014.
 The artwork for the album has been created by acclaimed artist Neil Krug who has previously worked with The Horrors, Lana Del Ray and Boards Of Canada). This is the 2014 album by ELECTRIC CITIZEN. Taking its name from a song by the legendary Edgar Broughton Band, this outfit is the brainchild of guitarist Ross Dolan, enigmatic vocalist Laura Dolan, Nick Vogelpohl (bass) and Nate Wagner (drums). The music is powerful hardrock, with a '70s retro sound and influences from late '60s psych rock. Fans of Satan's Satyrs / Uncle Acid & The Deadbeats take note, this ones for you!

                “Electric Citizen have barely been together a year and this gnarly cut [‘Burning In Hell’] melds 60s organ-stoked psychedelia with a fuzzed up 70s stomp. Meanwhile singer Laura Dolan’s witchily layered vocals set Electric Citizen apart from other retro-revivalists.” VICE Noisey

                “They take cultish cues from European acts like The Devil’s Blood and Mansion, but strip away the religious iconography to leave behind an earthy psychedelic swirl. The retro-style production, especially one so ably done, is a rarity among American acts, who usually bring such influences to bear with a modern feel, but Electric Citizen sound like old pros on their first outing.” The Obelisk

                This is the 2014 album by ELECTRIC CITIZEN. Taking its name from a song by the legendary Edgar Broughton Band, this outfit is the brainchild of guitarist Ross Dolan, enigmatic vocalist Laura Dolan, Nick Vogelpohl (bass) and Nate Wagner (drums). The music is powerful hardrock, with a '70s retro sound and influences from late '60s psych rock. Fans of Satan's Satyrs / Uncle Acid & The Deadbeats take note, this ones for you!

                The Electric Peanut Butter Company

                Trans-Atlantic Psych Classics Vol 1

                The dynamic duo of Shawn Lee and Adrian Quesada are back with Vol.1 of their 'Trans-Atlantic Psych Classics' masterpiece! Adrian Quesada is a man on a mission! He has been killing it in both the recording studio and on the live stage. While on his ‘Brown Sabbath (Brownout)’ and ‘Spanish Gold’ albums he found stolen moments in hotel rooms whilst on tour to send musical compadre Shawn Lee tracks for the second Electric Peanut Butter Company album. The band of brothers created the music in the same fashion as their debut but with a noticeably fuzzier, dirtier edge. The album starts with 'Flexi Funk', where the drums were recorded straight to Flexi disc on a 1950s tube machine which sounds otherworldly and crusty as f#@k!!! Other highlights include the psych-pop gem 'Spread The Jam' which declares the duo's intentions (to spread jam?). The album has a more heavy psych vibe than its predecessor but deftly continues a logical progression for Los Hermanos Adrian Quesada & Shawn Lee. Two of the hardest working musicians in show bidness and from the looks of it, just getting started!

                FORMAT INFORMATION

                2xLP Info: Sun-Pat coloured vinyl!

                Apollo Records is proud to present "SOL" the highly anticipated second album from Los Angeles based producer / composer Eskmo AKA Brendan Angelides. Inspired by our life giving planetary body, "SOL" is a masterful meditation on human emotional plane as effected by planetary bodies. Angelides has delivered perhaps his strongest musical statement yet.

                Written, produced and recorded over the course of a year on the Eastside of Los Angeles in his home studio, SOL’s epic grandeur bears the traces of Angelides’s recent work composing orchestral pieces for live performance with the LA based Echo Society.

                "From the moody cinematic opening of ‘SpVce’ and exhalting synth melodies of 'Combustion', to the touching delicacy of the watery ballad ‘Blue And Grey’ to 'Mind Of War’’s tromping existential digi-funk, the heartbreaking piano paen of ‘Tamara’, to the snarling drone saturation of the title track, to the beaming, epic euphoria of ‘The Sun Is A Drum’ it’s clear that this is a record that is a truly cinematic experience."

                FORMAT INFORMATION

                2xLP Info: Limited marbled vinyl pressing.

                Evans the Death return with their second album. Recorded again with producer Rory Atwell (Test Icicles, Warm Brains), the album bristles with an underlying tension and veers from rip-roaring noise to quiet contemplation, underpinned by Katherine Whitaker’s extraordinary voice. Still barely out of their teens, there’s a tremendous sense across Expect Delays of a band coming in to their own, honing a plethora of influences to make a sound that is uniquely them.

                Each song on the album has a different feel to it: some of them are melodic and pretty; some of them heavy and dissonant; and some of them are, to quote guitarist Dan Moss, “a bit strange”. While retaining the post-punk and 90s alt-rock inspired elements that peppered their debut, the music is more expressive, heavier and more experimental, and the lyrics more nuanced, the sense of despair leavened by sharp wordplay and humour. The unsettling undercurrent of melancholy and hopelessness that pervades the record has its roots in the last three years, spent eking out an existence on the poverty line in Cameron’s Britain.

                On the cusp of finishing school when their debut was released, the band rejected the opportunity of higher education in favour of focusing on music, a decision that backfired when the album failed to take off in the way they’d expected, leaving them with a succession of McJobs and unemployment benefits interviews. As guitarist Dan Moss relates, the album is about “being in London and feeling hopeless and a bit lost. Not having any money, relationships falling apart, things just not connecting or going anywhere and getting absolutely wasted all the time.”

                Named after the undertaker in Dylan Thomas's Under Milk Wood, the band’s 2012 eponymous debut saw critical acclaim from the likes of Q, Uncut and Artrocker as well as radio play on BBC Radio 1, BBC 6Music and XFM. Following the departure of bassist Alanna McArdle to Joanna Gruesome and the sacking of drummer Rob Mitson the band regrouped around the core of brothers Dan and Olly Moss and singer Katherine Whitaker for the recording of Expect Delays. Previously songwriting duties had been the preserve of the elder Moss brother, Dan, but with Olly now bringing his own songs to the table, the brothers resolved to switch between guitar and bass on a song-by-song basis. Drummer James Burkitt was recruited from Leeds’ band The ABC Club to complete a new lean and taut four-piece.

                Exploding into life with live favourite Intrinsic Grey, its incessant rhythms and squalling guitars a feral cry from the heart, Expect Delays contains more than its fair share of heart-stopping moments. The ebullient Sledgehammer is following by Idiot Button (named after the buttons at street crossings that don’t actually do anything) and what is perhaps the key lyric on the album of “I can’t explain these gaps in my employment record / I’m an idiot for trying”. As if they were demonstrating their virtuosity and versatility the Stereolab-esque title track Expect Delays is followed by the grunge-heavy Enabler, which in turn is followed by the achingly beautiful ballad Waste Of Sunshine, while elsewhere the (late) Beatles-y Don’t Laugh At My Angry Face deals with alcoholism and a relationship at its absolute bitter end. The album ends with a “secret” track Don’t Beat Yourself Up (“we would have listed it but I didn’t want to have 13 tracks” – Dan), written on the night Lou Reed died. More ambitious and focused than their previous record, whilst sacrificing none of their spontaneity and vitality, Expect Delays is a supremely inventive and intelligently crafted album from a band who have suffered for their art, and used that experience to inform and nourish their work. Expect no more delays, Evans The Death have arrived.

                FORMAT INFORMATION

                LP Info: Limited vinyl pressing with art print.

                After recent stormers on International Feel and Gomma, Argentine producer Fernando finds himself washed up on the shores of Tsuba with three tracks of precision engineered Balearic house complete with a remix from the relentlessly brilliant Legowelt. "Sometimes" opens proceedings with a buoyant bassline, crystalline melodies and a metronomic rhythm track, propelling us into a shimmering jetwash of cinematic Italo disco and euphoric house. "Life Super 8" takes us down, down, deeper and down with its combination of thick cut off chords, KID-esque sequences and moody bass weight. This retro dancefloor beauty drives convertible down a mountain and off to the shore, where those cinematic guitars ring out clarion in the sunset. On the flipside, Legowelt enters the fray with his psychoactive rework of "Sometimes". Sending the original through his organite powered array of hissing hardware, the Dutch producer creates a forceful bit of synthetic house set inside a swirling maelstrom of reflective pads. Fernando wrestles back control for the finale, serving up a dubbed out bit of sunset disco in the form of "Creciente". Echo drenched vocals and tripped out fx weave a trippy web in the background whilst a stone bass groove and taut synths dominate the scene. An assured label debut from the Argentine producer, and a slight detour for the Tsuba camp. 

                Finch & The Moon

                From Sea To Sand

                  From Sea To Sand' is the début EP from acoustic folk duo Finch And The Moon (Caitlin Gilligan and Lee Parry). The 4 original songs feature strong harmonies and laid-back tempos, with a mixture of full-band and simple acoustic guitar tracks, giving the record variation. The EP is entirely homemade and was recorded in Caitlin's kitchen over 4 days in late October 2014. The record has
                  received extensive airtime on radio stations across the North-West and acquired local critical acclaim amongst the Manchester independent music scene. 

                  "Rob Glassett aka FOLD has been playing his trade of quality house music for over 10 years now. With a seemingly bottomless record bag, his varied and soulful sets at Panorama Bar and on NTS have seen him gain increasing recognition.
                  His return to ManMakeMusic sums up what he's been perfecting over these last years: timeless house music. From the disco echoes of Mr W00d to the dubbed-out thump of Keif Chugwin, this is one versatile EP which we're proud to have on the imprint."

                  DJ Feddback:

                  Ben Pearce- 5/5 -Always on heavy rotation when Fold releases tracks, these are top class!
                  Will Saul - 5/5- Been playing out Mr Wood in nearly every set since Rob gave me the track over the summer - absolute killer.....the rest of the EP is also ACE x
                  Xxxy - 5/5 - Some real quality stuff from the Foldmeister
                  Ben UFO- 5/5 - support
                  Tom Demac - 5/5
                  B Traits - 5/5
                  Jacques Renault - 4/5
                  Ed Billion - 5/5


                  Eyes Closed EP - Inc. The Revenge Remix

                  Frederick is the alias of a DJ and producer known for releases on labels like Local Talk and Soundofspeed. Emotive, cinematic, epic and space are some of the words used to describe his approach to deep house music production and also in his versatile DJ sets.

                  Most recently he has been recording for Berlin imprint Miseriedits, a blink-and-you've-probably-already-missed-it spin-off label from Ewan Pearson & Klas Lindblad and also on his dwelling-label Fifty Fathoms Deep on which he recently released his stunning debut long player 'Disruptive Pattern Material' earlier this year.

                  So it's time for the next chapter in the Frederick story. It all began with his opening statement in the form of an album back in March 2014 but this time he turns to the man behind the label Roar Groove to offer a different take on things… The Revenge. As we look forward to Graeme's long awaited debut album due for release in Spring 2015, here he's given us a superb sounding and intelligent take on the original… Damn… It's so good!

                  Whilst Sasse was mixing down the original project over at Blackhead Studio's, Berlin he sent some thoughts upon completion; "I'm in love with the tune, such a wicked song… Looking forward to hear this baby on a some good systems! This will definitely be a sunrise/sunset hit of mine". 

                  Fulgeance & DJ Scientist

                  The Soviet Tape Vol. 1

                  'The Soviet Tape' is a new collaboration between Fulgeance & DJ Scientist. Their debut single 'Moscow Nightlife' is the perfect introduction to their sound: heavy instrumental hip hop culled exclusively from Scientist's un-rivalled collection of vintage Soviet-era records. Scientist, one of Germany's most prolific record collectors (check out his incredible 'Soviet Grooves' mix for Solid Steel) dug out a slew of samples from his archives, enlisting Fulgeance (MPC virtuoso and one half of Souleance) who transformed the source material into a truly unique and original album.

                  Taking forgotten records from Russia to Moldavia, The Ukraine, Georgia, Lithuania, Latvia and beyond, the duo have interspersed the largely instrumental album with skits culled from 60s CIA documentaries as well as vocal cuts featuring Blu, Open Mike Eagle and DistantStarr. This all adds up to a release that is both a throwback to the uncertain times of the Cold War and a tribute to the great depth of music that the former Union was responsible for. Standout tracks include the aforementioned 'Moscow Nightlife', the synth-heavy menace of 'Vendetta', and DistantStarr's laid-back rhymes on 'You Know'. With high-concept artwork from Emile Sacre, taking it\'s cue from original Soviet records, the album is in turns jazzy, psychedelic and soulful, but with hip hop at it's core. A follow up is already in the works - keep 'em peeled comrades!

                  Noel's second studio album finds his song-writing in supremely fine fettle, but then you'd expect that from the master-craftsman. This time he has self-produced and included a song which actually pre-dates Oasis, and one from the aborted Amorphous Androgynous sessions. There' a slightly funky vibe left-over from said collaboration and whilst most of the album is choc-full of Noel's classic sounding melodies (albeit with some fairly obvious cribbing) "The  Right Stuff"and opener "Riverman" are the most unusual cuts here, one a spacejazz freakout , the other a seventies acoustic groover inspired by a night out with Morrissey (namecheckin' fact fans!) The remainder of the LP isn't too dissimilar to Noel's debut, but perhaps with a more discernable bottom-end as  gloriously displayed on Noel-by-Numbers  (and therefore superb!) lead single "In The Heat Of The Moment", and the one-of-the-best-things-he's-ever-done follow-up "Ballad Of The Mighty I". All in all, a splendid record.

                  STAFF COMMENTS

                  Martin says: He's still got it!

                  FORMAT INFORMATION

                  LP Info: 180 gram vinyl.

                  What Happens Next, the title of Gang of Four’s thrilling and unsettling ninth album, refers both to the world outside and the band itself: an emphatic commitment to the future.

                  On the album, as on the band’s rejuvenating 2013 tour dates, founding guitarist and songwriter Andy Gill has constructed a new Gang of Four: John “Gaoler” Sterry on vocals, Thomas McNiece on bass and Jonny Finnegan on drums. What Happens Next is a work that is aware of Gang of Four’s past but not beholden to it, and finds a band that is empowered to explore new tones and narratives.

                  Gaoler is a shape-shifting, charismatic singer able to slide under the skin of Gill’s narrators, sometimes cruel, sometimes vulnerable, sometimes a neutral observer of how society operates. He is joined on What Happens Next by Alison Mosshart (of the Kills and the Dead Weather), Robbie Furze (of the Big Pink), Gail Ann Dorsey, Japanese guitarist Tomayasu Hotei and German musician and actor Herbert Grönemeyer. What Happens Next contains the intellectual muscle you would expect but this plenitude of voices also makes it Gang of Four’s most richly emotional album yet.

                  International in scope as well as personnel, What Happens Next grapples with ideas of identity, religion and capitalism, and how individuals are led astray by ideology and received wisdom. It does so with music that is heavy, dynamic and often moving in ways that Gang of Four haven’t explored before. The consistent thread is Gill’s unmistakeable guitar-playing, as restless and probing as his lyrics.

                  With a tough, radical new sound, Andy Gill has constructed a new entity for exploring enduring fascinations, which makes What Happens Next Gang of Four’s boldest, most self-interrogating album since Entertainment! As ever, Gang of Four takes nothing for granted.

                  Ghostpoet is pleased to announce his forthcoming album ‘Shedding Skin’.

                  The first fruits of the album, the track ‘Off Peak Dreams’ has already been premiered on Zane Lowe’s Radio One show and sees Ghostpoet, London-based Obaro Ejimiwe moving on from the cathartic musings of 2013’s ‘Some Say I So I Say Light’ album.

                  ‘Shedding Skin’ is the manifestation of a new challenge of fresh thinking and a brave confident stride into previously uncharted waters. Ten songs that embrace, unite and narrate observations that are designed to sit beside each other through bright peaks and dark shallows.

                  Unlike his previous albums, ‘Shedding Skin’ was recorded with a traditional live set up with what has become his touring band; Joe Newman on guitar, bass player John Calvert and John Blease on drums.

                  The self-produced album also features guest vocals from Nadine Shah, Etta Bond, Melanie De Biasio, Lucy Rose and Maxïmo Park’s Paul Smith, amounting in a collection that sets a new precedent as his very best work yet.

                  All-day / night cultural entertainment center and Athenian place-to-be, six d.o.g.s, comes correct with their second release: Glacial’s “Entropy EP”. Glacial are the joint project of renowned Greek techno / house producer Giorgos Lemos, known usual as Lemos; and saxophonist / experimental artist Ilan Manouach. Their debut was a self-titled LP on the Hotel Costes series, released to critical acclaim in the beginning of 2012. Ricardo Villalobos called it 'the album of his dreams'! Today, almost three years later they return - taking a more dancefloor-friendly direction, but retaining their Maurizio-style and Balkan-jazz tastes. On side A we are greeted by an epic fifteen-minute-long dub techno monster. Don’t let that sweet jazzy intro misguide you, as the track builds and builds to reach monstrous heights of energy, full screaming horns, squelchy technoid beats and forward propulsion. Side B is deeper, moody and minimal with a Villalobos-friendly groove and that cavernous, warehouse-tuned element which the recent Sylphe records have nailed down. Both moody and sexy, with that eyes-down aesthetic; when the break comes Ilan’s saxophone shines through like a blister in the sun. Voodoo techno for the dark frEaKz!

                  FORMAT INFORMATION

                  12" Info: Comes in jazzy, 'vacuum-sealed' factory snap-bag. Could be cheese, could be drugs, or just a snazzy record.

                  It may be seven years since he released a solo record, but José has been anything but idle in that time. He’s delivered two albums with the band Junip, his more fulsome, electronic-edged, pop project and has toured with both the Berlin/Göteborg String Theory orchestra (in 2011), co-performing 11 reworking’s of his songs, Sidi Touré and played with Malian desert blues troupe Tinariwen (both in 2012). In 2013, Hollywood came calling when Ben Stiller commissioned José to work with Theodore Shapiro on the soundtrack to his remake of ‘The Secret Life of Walter Mitty’ and most recently, he’s contributed his version of ‘This is How We Walk On the Moon’ to the Red Hot charity compilation honouring Arthur Russell. Community and collaboration are obviously satisfying in their own ways, but now José is again stepping centre stage solo, with Vestiges & Claws.

                  Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist’s compellingly intimate vocal style and intricate playing technique, but it’s often strikingly rhythmic in nature and cohere’s perfectly, with hand claps and taps on the body of his instrument underlining the songs’ mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

                  The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the “claws” of modern life.

                  Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. “There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.”

                  As José sees it, the record is his personal, “zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have – after birth and before death.”

                  Sonar Kollektiv's Daniel Grau remix spectacular reaches its third stage with this pearling 12" featuring the production talents of British disco king Ray Mang, leaders of the new school Soul Clap and Australian newcomer Debonair. On the A-side, Mangled main man Ray Mang handcrafts a bass driven, dub disco slammer out of  Venezuelan six-piece combo Los Amigos Invisibles cover of Grau's 1980 cut "El León Bailarín”. As is standard with Mang's supreme productions, "El León Bailarín" comes correct with a deep bass groove, hypnotic keys and a whole load of funk. It's the music the most beautiful girls in town want to wiggle their hips to! On the flip, Soul Clap and Bosq turn in an anthemic disco house reshape of Grau's brand new track "To Night". Uplifting piano chords and choral vox add a celestial bent, while the killer funk breakbeat and scratchy guitar keep your feet moving. Australian Debonair comes to the party with his remix of '79 track "Atlantis", a housed up revision complete with a stellar filtered bassline, sustained strings and rattling percussion. The hits keep on coming from this Sonar Kollektiv series.

                  Colleen Green

                  I Want To Grow Up

                    Growing up.
                    As a prospect it can be terrifying, sad, and worst of all, inevitable. But on I Want to Grow Up, her second album for Hardly Art, Colleen Green lets us know that we don't have to go it alone.

                    This latest collection of songs follows a newly 30-year-old Green as she carefully navigates a minefield of emotion. Her firm belief in true love is challenged by the inner turmoil caused by entering modern adulthood, but that doesn't mean that her faith is defeated. With a nod to her heroes, sentimental SoCal punks The Descendents, Green too wonders what it will be like when she gets old. Throughout songs such as "Some People," "Deeper Than Love," and the illustrative title track, the listener has no choice but to feel the sympathetic growing pains of revelatory maturation and the anxieties that come along with it.

                    Sonically the album is a major change for the LA-based songwriter, who has come to be known for her homemade recordings and merchandise. Her past offerings have been purely Green; testaments to her self-sufficiency and, perhaps, trepidation. This time, she's got a little help from her friends: the full band heard here includes JEFF the Brotherhood's Jake Orrall and Diarrhea Planet's Casey Weissbuch, who collaborated with Green over ten days at Sputnik Sound in Nashville, TN.

                    I Want to Grow Up is an experience, not unlike life: questioning, learning, taking risks. And in true CG fashion, a quote from a beloved 90s film seems the perfect summation: "Understanding is reached only after confrontation."

                    Jonny Greenwood

                    Inherent Vice OST

                      This is a heavyweight, double disc 140 gram high-performance vinyl on Nonesuch for Jonny Greenwood’s soundtrack to Oscar-nominated filmmaker Paul Thomas Anderson’s new feature film, Inherent Vice. In addition to nine compositions by Greenwood, the soundtrack features ‘Spooks’, an unreleased Radiohead tune performed by members of Supergrass, as well as other recordings from the movie’s era. Additional performers include The Royal Philharmonic Orchestra, Neil Young, Can, and The Marketts, among others.

                      Matthew Halsall & The Gondwana Orchestra

                      Journey In Satchidananda / Blue Nile

                      Over the course of five albums, Manchester-based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His label Gondwana Records is home to GoGo Penguin and his own albums have found Halsall exploring the modal jazz of John Coltrane, paying tribute to the hard bop of the late 50s and early 60s or most recently on "Fletcher Moss Park" and "When The World Was One" drawing on Eastern influences in his most personal statements yet. But perhaps the most profound influence on Matthew Halsall is the spiritual jazz of Alice Coltrane and this 12" finds Matthew exploring her music with an all-star band performing two of her best known compositions: "Journey in Satchidananda" and "Blue Nile". Featuring Matthew Halsall trumpet, Lisa Mallett flute, Rachael Gladwin harp, Taz Modi piano, Gavin Barras bass, Gaz Hughes drums and Nat Birchall percussion. Originally recorded for BBC Radio at the legendary Maida Vale Studios and broadcast on Jamie Cullum's show they are released here for the first time on vinyl and download.

                      Happy Refugees

                      Beyond Moth And Rust

                        HAPPY REFUGEES were regarded as one of Post Punk’s most obscure bands for many years. But recently they became a reference point for cult US groups such as Crystal Stilts and Cloud Nothings. In 2011 the highly respected New York re-issue label Acute Records re-released their original recordings under the title “Return to Last Chance Saloon”. HAPPY REFUGEES resurfaced in New York to promote the album and play live. The album received plaudits across the world, particularly in the US, drawing comparisons with many other Post Punk artists, but also in recognition of HAPPY REFUGEES’ unique sound and idiosyncrasies. Their original album was nominated in NME’s ‘100 GREAT ALBUMS YOU’VE NEVER HEARD’. Fresh from the New York episode Happy Refugees embarked on recording a new album, ‘BEYOND MOTH AND RUST’, in Newcastle with Producer Robert Blamire from Penetration. The six piece line up reconvened, but with the addition of Clive Williams on bass taking the place of Paul Lamb who, sadly, died in 2007.

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

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

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

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

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

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

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

                        The mysterious Marquis Hawkes returns to Dixon Avenue Basement James for more raw, ghetto tactics - his last effort, "Higher Forces At Work" becoming a certified BANGER in recent months seeing numerous outings across the house music network. This EP kicks off with "Big Papa" - a bright-eyed, cheerfully tainted joint with New York flavoured pads 'n' keys complimenting a light, bouncy groove. "Acid Snowball" soon submerges us in the ways of the underground - relentless 303s and vocal 'AH's attacking the senses from all angles with a menacing intent. Of Course, no Marquis Hawkes DABJ release would be complete without the now obligatory raw, thumping ghetto track, and we reckon "Get Yo Ass Off My Grass" is the best one yet. The flanging, spring-delayed vocals ricocheting perfectly against the raw club beat. The 12" closes out with "Hold On", roping in the some of the better elements of classic garage (and an absolutely massive male vocal sample) and adding a dollop of dusty cowbell action and Hawkes' loose, sloppy drum programming. A storming effort, excellent work from the urban warrior. Don’t sleep!

                        FORMAT INFORMATION

                        Ltd 12" Info: **DIXON AVENUE OFFICIAL LIMITED REPRESS**

                        Hello Sailor 001

                        Muko Wapi - Inc. Joakim Remix

                        Hello Sailor is a party and record label based in Brooklyn, NY founded by Brazilian-born, New York based Renata Do Valle. Since 2012, the label has been staging events with an array of local and international artists.
                        Hello Sailor Recordings debuts with the focus on releasing only 7" records and building its collection of significant disco, funk, afro, and Balearic music.

                        The energy of the tropics, sunset, and the beach informs the feel of this music.

                        Hello Sailor Recording's first 7" release is a remastered African jam called Muko Wapi and an edit by French musician Joakim. 'Brazil meets Africa via France'!

                        Bernard Herrmann

                        Psycho (The Original Film Score)

                        A classic soundtrack to one of Alfred Hitchcock’s masterpieces: Psycho, scored by one of the greatest composers to ever grace the silver screen, Bernard Herrmann (Citizen Kane, Taxi Driver, Cape Fear, etc.) Herrmann began writing scores for Alfred Hitchcock in 1955, but the apex of this collaboration came undoubtedly with the scoring of 1960’s Psycho, where Herrmann’s amazing ability to set the mood has made the soundtrack to Psycho perhaps the most memorable in the history of cinema (who can recall the shower scene without recalling the sound of shrieking violins?). Do not miss your chance to own this classic on vinyl!

                        Ryan Kennedy has been making music ever since he was a young teenager. Now in his early 20's, his dreams and desires have finally been distilled into this, his debut album. Written over the space of a year, but recorded in a fortnight, straight to tape, in Ryan's central Manchester flat, 'Horsebeach' is a gorgeous journey through Northern, jangly, dreamy guitar pop. From as far back as The Wake, through the now de rigeur C86, this is bedroom introspection gone widescreen.
                        Gorgeous songs of love and longing, this music has a lilting, drifting quality, sometimes reminiscent of Felt, or of a meandering, jangle-tastic Real Estate, of whom Ryan is clearly a fan. Chiming guitars, brooding melodies, thoughtful words. 'Horsebeach' is a very lovely record indeed.

                        STAFF COMMENTS

                        Andy says: ‘Horsebeach’ is a self-released, recorded-in-a-bedroom (but hardly lo-fi) labour of love by local lad Ryan Kennedy. With no press to speak of and just a handful of spins on 6 Music, the album managed to become the Piccadilly Records surprise smash of the summer. It is a gorgeous journey through old-school, jangly, dreamy guitar pop. From as far back as Factory Records' The Wake, via Felt, the DIY ethic of C86 and right up to the present day (the kind of wistful sounds heard on Captured Tracks) this is lovely, considered, melancholy music where guitars chime, words provoke, and melodies meander beautifully. There's quite a few bands mining this peculiarly English sound right now, most of them Stateside, and a first listen to Horsebeach could well put you in mind of the best of them: Real Estate. It's in the ringing, shimmering guitars and sense of longing, but it's also in a shared love that's not like any other love. This one is different because it's The Smiths! Nothing is implied, Kennedy's heart is emblazoned right upon his sleeve. It's been 30 odd years so why not? Geographically and spiritually it's there in his blood, so to jingle like Johnny and murmur like Moz is clearly the most natural thing in the world. The boy can't help it! That's probably what's made the album such a hit in our shop. That and an accidental kinship with the burgeoning Mancunian Balearic collective. The tranquil, breezy drift of a number of tracks coupled with those hazy echoes of Smithsonia. That gentle sound, coming round again.

                        FORMAT INFORMATION

                        LP Info: Clear vinyl repress.

                        Ash Hunter is a fantastic singer / songwriter with a folk storytelling style - an English Gentleman with attitude. His debut album captures some beautiful performances and has a unique view his songwriting; he delivers his stories with humour and personal feeling and has a gentle voice - some great guitar picking too.

                        Girl Unit's club-dwelling Hysterics alias makes his first appearance on the Night Slugs main series. His opening statement via "Club Constructions Vol 5" introduced a dungeon world of hydraulic rhythm tracks driven by primal exertion. "Hysterics EP" offers a first glimpse of colour from the artist (mainly oxidised bronze!). "Club Life" is built of gated amp feedback and a pummeling beat like a hardcore re-edit that rewinds on itself every 8 bars. It approximates the effect of rave, 90s tribal bangers and MAW rhythm tracks, with an added 2015 aggression inspired by the Vogue scene (apparently reciprocated, with "Club Life" receiving regular plays from MikeQ). "HTRX9" is a stuttered bass rhythm that opens up into a delirious bright pads & noise. A filter house sports theme that submerges into deep tribal house before re-emerging for an elevated final round. "Eye Mask" is heroic 8-bar filter house, the constant organic movement of the filter over the resampled chords, like slow breathing, inducing a strange and disorientating euphoria. "Empty" - the comedown from "Club Life" - closes the EP on a moment of rare afterhours poise, beautiful pianos submerged and frozen in time, steam jets filling the air and club kicks bumping. Four stone cold killers for the club, dictating the future of the soundsystem right before your very ears.

                        James Holt is a 21 year old singer/songwriter from Manchester. Music has been his life from a very early age. He is a classically trained pianist (since 6), guitarist (since 9) and cellist (since 12), and also has grade 8 theory. He achieved four grade 8s and then went onto graduate from the University of Salford with a First Class BA Honours Degree in Music, majoring in composition and arrangement. He is now studying for a MA in Music Composition at Salford University. He was also awarded the Derek Scott Composition Award at his graduation ceremony.

                        His song 'Whatever Happened to John?' was chosen by Brian Eno. Brian Eno, a world-renowned producer, said of the track: "Brisk, funny, exciting. Great drumming. This track feels fresh and exciting to listen to". James is particulary pleased because he recorded and produced the song himself. Brian Eno chose the song via the NOISE Festival 2014.

                        With his unique blend of folk and alternative rock, James performs regularly at venues and festivals in towns and cities accross the UK including Manchester, Liverpool, Leicestershire and Bolton.

                        He has a love of composing and arranging and a desire to write lyrical songs in many styles. He records, writes and produces all his own music and is inspired by The Beatles, Bob Dylan,Tame Impala, Radiohead, Miles Davies and Bill Evans. 

                        The ultra collectable Invisible City Editions returns to the 12" market with more delights from music's deleted history. ICE kingpins Brandon Hocura & Gary Abugan travel the globe in search of lost gems and Holy Grails, devouring long closed warehouses and rickety record shacks like a couple of disco locusts. Following on from their gorgeous reissues of Michael Boothman, Stephen Encinas and Witch, the label serve up a split 12" of rare and exotic audio delights. On the A-side we get lost deep in the groove with "U Turn Me On", an 808 driven Haitian-Canadian dubbed-out disco boogie anthem that's sure to drive crowds manic. The raw 808 rhythm and endless bassline form the perfect rhythm section for hypnotic movement, while those dubwise vocals put this in the same league of proto-island-disco-house as those killer Tapper Zukie 12"s we've been treated to recently. After the dancefloor pressure of the A-side, Brandon and Gary offer some soothing frequencies on the flipside by way of Astarius' "Ancient Times Part 1 and 2". The Hawaiian mystic displays his mastery of circular breathing and polyphonic overtone singing across two hypnotic mantras, soaked in reverb and twisted in pitch. It's sure to melt brains into a dervish twirl before opening the doors of perception.

                        “Cry 4 U” b/w “Cry 4 U Melody” (DTR05) is the third offering of imaginary 21st century R&B group Jeedeci. As said by Benji B upon its premiere on BBC in 2012, “Real drums are back.” Jeedeci is Jeedo's intepertation of 90's classic R&B with some hip-hop slap and contemporary influences. “Cry 4 U Melody” carries his avant-garde DIRT TECH sound, while “Cry 4 U” offers a smoother touch.

                        The cover features works by Spanish fashion photographer Sergio del Amo and Russian model Nastya Kovaleva, and is designed and illustrated by Jeedo using mixed medium. A combination of spray paint and silkscreen on chipboard creates the final result, combining chic and street art.

                        FORMAT INFORMATION

                        7" Info: Black vinyl with kraft sleeve

                        Ltd 7" Info: DTR05A Vinyl Details:
                        . 7.5 X 9.5 Original hand silkscreened print.
                        . 7-inch red vinyl in a protected polyvinyl sleeve.
                        . Hand numbered and signed.
                        . Certificate of Authenticity.
                        . Only 65 copies available worldwide.
                        . Digital download card.

                        Clone Classic Cuts take us on a journey through time and space to early 90s New York and the hayday of the NY and NJ house scene. While heavyweight labels such as Nu Groove, Nervous, Strictly Rhythm and Henry Street hogged the limelight, Jovonn was busily working away on a small but sensational catalogue of music that somehow got overshadowed by the populist releases on those labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) transported the genre into a more musical, more spiritual place, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of house music, Jovonn was always a name to watch, whose tracks combined raw energy with a sincere human touch and pure underground house vibes. Now after almost 25 years since his first release, the man's small discography on his own Goldtone label and Emotive records are collected here for the benefit of us jocks too young to have been there first time round. "Erson's Keys" and "Where Did House Go (Did Goldhouze Mix)" open the record with the timeless New York sound we all hold dear to our hearts; skipping percussion, warm and jazzy basslines and an airy and uplifting flute/synth melody soaring skywards. On the flip NYNJ sees Jovonn break out the M1, for some hands in the air organ vamps, a deep and dense bassline and euphoric strings which are certain to give you goosebumps. EP closer "Pianos Of Gold" is a, well, piano-led banger that may as well be the template for every US house rip off ever since. Jovonn's smooth vocals enter the arrangement every now and again, but it's the blissful marriage of the bassline and keys that do the damage here. Dope.

                        Ata Kak's cassette 'Obaa Sima' fell on deaf ears when it was self-released in Ghana and Canada in 1994. The music on the recording - an amalgam of highlife, Twi-language rap, electro-funk and disco - is presented with the passion of a Prince record and the DIY-bedroom-recording lo-fi charm of early Chicago house music. The astute self-taught song craft and visionary blend of sounds and rhythms has made the album a left-field cult favorite among adventurous listeners worldwide. Awesome Tapes From Africa founder Brian Shimkovitz found the tape in 2002 in Cape Coast, Ghana - one of only a few ever pressed - and later made it the inaugural post on the Awesome Tapes From Africa blog. Hundreds of thousands of downloads, YouTube views, music video tributes and remixes, as well as years of mystery regarding Ata Kak's whereabouts, culminate in this remastered release featuring rare photos and the full back story of one of the internet age's most enigmatic musicians.


                        Silver Apples Of The Moon

                          Medical Records continues on it’s exploration of seminal 1990s reissues with the 1994 masterpiece “Silver Apples Of The Moon” by England’s Laika. Originally released on the iconic Too Pure label in 1994, this record has long been out of print on vinyl.

                          The members of Laika hailed from various interesting places. Margaret Fiedler was actually born in Chicago but relocated to London to pursue musical interests and was one of the vocalists and songwriters for Moonshake (also on Too Pure) as well as a previous member of Ultra Vivid Scene. Guy Fixsen was (and still is to this very day), a renowned audio engineer and producer.

                          In fast, he was involved in the infamous production of My Bloody Valentine’s “Loveless”. The bass player John Frenett was also in Moonshake and left that band the same time as Fiedler after their first USA tour. The drummer, Lou Ciccotelli, had previously played in Kevin Martin’s band God. The band also had a saxophonist, Louise Elliot.

                          “Silver Apples Of The Moon” was Laika’s first album and is almost unclassifiable. Taking a very forward-thinking approach, the sound is the result of a very unique equation of live drums/percussion, layered guitars/samples, and diverse analog tones that all fuse together to form a hypnotic polyrhythmic combination that was truly original.

                          Too Pure was known for it’s cutting edge roster including Seefeel, Mouse On Mars, and Pram. Laika was certainly no exception to these game-changing artists. The opening track “Sugar Daddy” explodes from the first note into a percussive frenzy that is quite dizzying before it smolders a bit and is layered with various samples that propel the track. “Coming Down Glass” exudes a more mutated trip-hop form with thick powerful bass lines. Other standout tracks include the intense “Red River” and the harder track “44 Robbers”. While it is exceedingly difficult to draw any similarities of this album with other artists, one can make loose associations (or at least influenced by) some of the most challenging percussive experiments of Miles Davis, the brilliant exotica of Martin Denny, and the gut churning bass magic created by Jah Wobble in early PIL.

                          Fans of the crucial and long lasting mark left by the Too Pure artists such as Pram and the like will definitely need to own this album if they have never heard it. For most fans, the original vinyl LP was not available or accessible (especially in the USA).

                          - The masters for which this reissue is sourced were directly transferred from the vinyl master source material courtesy of Beggars Limited with the utmost care and quality.

                          - The LP jacket features similar original artwork, and the LP contains a bonus insert with an engaging interview and write up by Segal featuring exclusive interviews with Guy Fixsen and Margaret Fiedler.

                          - Presented on high-quality 180gram heavyweight colored vinyl.


                          Understudy EP

                            Over the course of 2014, fast-emerging singer, songwriter and producer Holly ‘Låpsley’ Fletcher has become one of the most hotly-tipped new UK artists around.

                            Through beautifully crafted songs such as ‘Station’ and ‘Painter (Valentine)’, the eighteen year old, Southport-raised artist has created a unique sonic identity, mixing solo piano and sparse, minimal electronic production with gorgeous, emotive songwriting. Adele produced by James Blake? That's my lazy (ballpark) comparison of the day!

                            Now, following a deal with XL Recordings, Låpsley releases her debut, ‘Understudy EP’, available on 12” vinyl and featuring three further brand new tracks.

                            Ken Laszlo

                            Ken Laszlo - 180g Vinyl Edition

                            Gianni Coraini, better known under the pseudonym Ken Laszlo, released only one album in the eighties but that has not prevented him from being one of the more beloved artists of the Italo disco scene. Ken Laszlo can be compared with such bright stars of the 80s disco scene as Savage or Fancy. The first release in Europe became a hit single. "Hey Hey Guy", was released in 1984 under the pseudonym Ken Laszlo. His songs "Tonight", "Glasses Man", "Don’t Cry", and "1,2,3,4,5,6,7,8", all published under the same pseudonym, also became big hits in discos across Europe and beyond. His self-titled debut album which includes all those tracks and more is reissued here on LP!

                            In-Beat-Ween Music continue their series of remixes from Lay Far's much loved debut album So Many Ways with a second 12" featuring the high profile talents of Ashley Beedle, Peter Oakden & Craig Smith, Tommy Rawson and Aroop Roy. It's Ashley Beedle who calls shotgun, rewiring the vocal hook from "Yes You Can" with infectious drum breaks, mellow organic chords, piano solos and synthetic bass lines. Typical Beedle funk on this one! Fifty Fathoms Deep Label bosses Craig Smith & Peter Oakden focus on "We Are The Drum" teasing out a truly irresistible afro-influenced house groove, whilst Tommy Rawson adds some classic house flavour to "Let Me Fly Away". London-based master of reworks and a true nomadic soul, Aroop Roy instils some notable Latin spice to the Sarah Winton featuring "So Many Years" for a superb finale to this round of remixes.

                            Man, what's in das wasser at the moment? A new crop of German producers, headed up by Max Graef and the Box Aus Holz crew, are going against their nation's long held relationship with metronomic techno, opting instead for their own woozy take on classic US house grooves. With "The Art Of Loving", Frankfurt's Le Rubrique adds his name to that cohort, delivering a sampledelic house bomb containing three dope originals and an unexpected but trademark Ugly Drums version. The title track gets us underway with rising string samples, warm textures, woozy keyboards and delicate filter action. Intricate and mesmerising depite a heavyweight kick bump. Next up, Le Rubrique gets his collab on with a couple of deep cuts coproduced with Barcelona's BfAM and Paradice. For "Stoya", Le Rubrique and BfAM drop the pace a little, lay out a rattling percussion track and get their groove on with a superb subby bassline. Hypnotic keys and dislocated vocal samples fill the frequencies and lull you deeper the basement. On the flip, "Back To Back", a co-production with long term friend, music colleague and sound wizard Paradice, is an uptempo house monster, driven along at a peaktime pace by a rubbery bassline and taut strings. If you closed your eyes and double dropped, you could easily be forgiven for mistaking this for a classic Henry Street release. Ugly Drums' version of the main title track fits perfectly in the context of the whole EP. It gives a perfect thematic frame, reworking the original parts in a warm and organic vibe perfect for the Body & Soul crowd. Flavoured with some concise Ugly Drums moments, genially arranged cuts and a killer live bass line, this is the perfect start for a warm up set. A very classy selection on a label that's a cut above.

                            So what would the week be without one or two new Legowelt releases eh? But before you start your usual consumerist whining, consider this: this here selection was made by a team of experts after truly careful consideration and sonically enhanced with a plethora of experimental prototypes. It was chosen for its coherence, depth, otherwordly qualities and general PIZZAZZ. To call it a gripping, compelling, sweeping tour de force would be beyond lame right? You and me, we know better. But see how we weaseled it in here anyway with some advanced reverse psychology marketing techniques? It really is true, we know you better than you know yourselves. So if you make it a point to pick up, say, just one release per month off the top of the hipster pile, it better be this one. Just so you can tell your grandchildren you were there in the Satierian Moonrise, contemplating the Silent Sea while you vaporize the ounce of sherm you just copped from some Norwegian Crack Dealer that flew in with XYZ dig? See? that was easy. Riveting!

                            February 2014 saw the band release their “Back To Bagarmossen” EP on London/Stockholm indie label PNKSLM Recordings. The 10” vinyl received huge praise both internationally and at home, even picking up mainstream TV coverage on Sweden’s TV4. Following the EP, Les Big Byrd are now preparing to unleash their debut full length release, “They Worshipped Cats”, on Anton Newcombe’s A Records, Anton has co written & plays 2 tracks on the album.

                            When Anton recently visited Stockholm with his band The Brian Jonestown Massacre, the guys accidentally ran into each other at a local record shop, and started talking about music. Anton invited the band down to his studio in Berlin to record and jam for a few days and it was there that a big part of "They Worshipped Cats" was conceived and recorded. Les Big Byrd was formed in Stockholm by Joakim Åhlund and Frans Johansson a couple of years ago. They each eventually joined different rock bands that brought them out of Sweden and into a different world. Frans' band Fireside, got signed by Rick Rubin to his label Def American and Jocke had a taste of international success with 60's-influenced garage-pop outfit Caesars, as well as his other, more electronically flavored project Teddybears.

                            They decided that they still - in spite of everything - had their love for music intact, and the dream in common to get the perfect band together and give it one more shot. They recruited Jocke's former bandmate, drummer Nino Keller and keyboardist Konie and started jamming and rehearsing. Joakim had been running a recording studio in Stockholm, writing and producing for Swedish and international artists, including Robyn and Håkan Hellström, and had also directed music videos for prominent Swedish exports such as Bob Hund, Refused, Broder Daniel and The International Noise Conspiracy. Keyboardist Konie also runs a studio in Stockholm, where he's been recording a number of film scores as well as many of Swedens most interesting black metal acts.

                            FORMAT INFORMATION

                            Ltd LP Info: Green vinyl repress edition.

                            After receiving a mysterious 'whiskey notes' sales sheet nearly six months ago, there hasn't a week gone by in which we haven't been pestered about this new Linkwood LP over the shop counter! Now it's finally here, and boy is it hotly anticipated. For the uninitiated, Firecracker records is one of the most respected and sought after of the 'boutique' UK record labels - IE; ones that do limited vinyl runs (and actually stick to that limited quantity) with bespoke artwork and full creative vision in mind. When the first 10"s came in everyone knew something special was in the air and now, nearly 11 years later (!), the label still remains as feverishly adored as it ever was. Without Firecracker, you could argue the US would have retained the deep house crown for 30 years; but Firecracker brought the attention back to the UK, and surely inspired many an artist and record label to fire up their machines and start making music. Belatedly following up his Prime Numbers album "System", Linkwood finally returns home to the label that first put out his music.

                            Beginning with the liquid and languid textures and atmospheres we've come to expect from label cohort Vakula, the A-side soon drops into this infectious bass-driven groove on "Off Kilter", littered with completely unique percussion artifacts and juicy with analogue goodness. "Object" then supplies the first club-ready cut with a big chunky kick n' B-line alongside hypnotic arpeggios and velvety pads. After a lovely underwater refrain ("Coral"), "Tier 5" allows us to drift momentarily into outer space as Linkwood deploys a celestial floatation device of the highest order. The D-side is given to "Expression", the title track and obvious 'single' (sic). Powerful, soulful and HOUSE in every meaning of the word, its indisputably Linkwood through and through and should unite listeners in love and desire for the Scottish house cat. Onto the final disc and after another cleverly placed and executed 'refrain' we get "Ignorance Is Bliss" - another perfectly crafted club cut full of intricate nuances and peppered with emotion. It's hard to tell who's influencing who these days, but Linkwood and Vakula are out there on their own in terms of lysergic, rich production, and you can hear similarities between the equipment and effects used by both producers. Linkwood really goes to down on the meditative states on the last jaunt, bringing us slowly back down to Earth with a nigh-on-perfect downbeat number; cautiously inviting the listener into his arms and cuddling them to sleep in a cosy and sensitive fashion. If you've got this far you'll have realised how passionately I feel about this record, and it's those people who HAVEN'T necessarily listened to Linkwood (or Firecracker) before that I'm aiming for. Everyone needs this album in their life. A classic.

                            STAFF COMMENTS

                            Matt says: About a year on from slaying us with Vakula's expansive vision, Firecracker Recordings mainstay Linkwood offers up another fury of goodness. A meandering, lush presentation of liquid future-soul, celestial dreamscapes and the occasional dancefloor firework. All captured in a concise, space-age aesthetic inferior to our sublunary world.

                            FORMAT INFORMATION

                            3xLtd LP Info: * Eagerly awaited Linkwood LP
                            * Screen printed by House Of Traps
                            * Triple vinyl!

                            Lord Sausage

                            Funky River / The Devil Made Me Do It

                            This has to be THE rarest and most sought after funk 45 from the Virgin Islands. With only a small handful of original copies known in the collectors world, and changing hands for four figure sums, here at last is your chance to buy a fully licensed, remastered 45 reissue of this super heavy funk rarity. Lord Sausage or Al Sinclair aka Alvin S Hodge Jr was on a small budget when he cut funky river back in 1973 on St Thomas, Virgin Isles. There was only enough money to pay the musicians who were hired in for the session and to pay for 1,000 copies to be pressed. Alvin was given permission to use the Derbs label by a Crucian calypso friend of his, aptly named 'the Mighty Derby.The record sold out on St. Thomas but a copy was sent to WLIR-FM in New York.It wasn't very long they asked for another copy to be sent because they had worn it out due to the air play it received.After that unfortunately, Alvin just dismissed going any further with promoting the single. Basically saying the record was not sold anywhere else. Later, out of the blue, someone sent him a copy of Billboard Magazine where it showed Funky River at number 3 , He was also sent a chart with the song being promoted by Tri - State Distributers at #13, only 12 slots away from the ROLLING STONES with their song "Angie". Before long he received a letter from Tri - State Distributors telling him that it would cost about $10,000 to promote. In his own words Alvin stated "I didn't have the money nor anyone to advise me, therefore, I just dropped the matter." Here is an exert from the The Virgin Isles Daily News from Sept 25, 1973. "The nationwide popularity of Al Sinclair, a ST Thomas singer has been climbing recently. Sinclair, originally known as Alvin S. Hodge, Jnr has been hitting number 12 on the Disc Jockeys Popular Picks of the week with his record, funky river. He was formerly known as Lord Sausage. Funky River, promoted by Tri-State Distributor and promotion company, hit number three 10 months ago in the Brite Star Pick Hit of the Week in Billboard magazine, passing Lynn Anderson, the Columbia label country and western singer and Jimmy Osmond, of the Osmond brothers. He was told recently that he may now be slated for the top 45 chart, which features such stars as Aretha Franklin and Marvin Gaye.

                            In 2014, ‘Damsel In Distress’ a free mixtape album created by 23 year old J’Kerian Morgan, aka Lotic, garnered universal praise from all who heard it. Consisting of all original material and mind warping edits of smash hits like ‘Drunk In Love’ by Beyonce, the mixtape was lauded as an ‘important turning point’ in regards to where electronic music could go next.

                            Now based in Berlin but originally from Texas, Lotic has also attracted significant buzz as a member of the Janus crew, a collective of producers and DJs who have gained a reputation for throwing some of the most forward thinking club events in Europe.

                            Having already been profiled in The New York Times and The Fader, as well as by countless other independent music sites, the recurring message is that Lotic is at the centre of a new scene of musicians who are pushing boundaries and creating something uncategorizable and truly unique.

                            ‘Heterocetera’ is Lotic’s first official release since the unveiling of ‘Damsel In Distress’ and marks the producer’s debut on Tri Angle. Built on Masters At Work's influential 'Ha Dance', 'Heterocetera' takes the weird spiralling synth sound from MAW and deposits it in the centre of rhythms that sound like they've been dropped down a flight of stairs (twice!). Four tracks of experimental brain-frying beat confusion. Tomorrow's sound today!



                              Lusts are brothers Andy and James Stone from Leicester, presenting here their debut single for 1965 Records.

                              Mixed by MJ of Hookworms, A-side ‘Temptation’ evokes both the classic woozy choruses and reverb laden guitars of Echo & The Bunnymen and the New Wave pop sensibilities of Beach Fossils.

                              Sacha Mambo & Guillaume Des Bois

                              Ultima Sensazion

                              After "the age of the edit" saw producers devour the enirity of US disco like a bunch of scalpel wielding locusts, us groove loving jocks with a penchant for the unknown were left down in the dumps as the supply of club dynamite dried up a little. Sure, there were exceptions, but we were used to five essential edit 12"s a week, not one or two an month. It's lucky for us then, that an international band of edit experts emerged from the sidelines with a stack full of continental oddities to reshape for the modern dancefloor. Along with The Very Polish Cut Outs and Bordello A Parigi, Macadam Mambo have shocked the club world back into life with a steady stream of French pound bin reshapes, Italian rarities, Dutch doubloons and Deutsche delights. Now label heads Sacha Mambo and Guillaume des Bois hit us with an 11 track double LP of the finest weirdo disco, sunshine music and Italo grooves, lavishly presented in a cartoonish sleeve by artist Rémy Mattei. I'll hold my hands up and admit to not knowing a single track on here, but shaking my shit to all of them! From the percussion heavy, whistle led madness of "Spaghetti Dreams" to the sleazed up Italian funk of "Lolo La Pantera", via the silly Spanish disco of "Vamos A La Discoteca" and deep tribal groove of, erm, "Do You Like Banana", this collection marries irresistible dancefloor grooves with a sense of humour to hit you with 11 tracks of ear-to-ear joy, and what more could you ask for.  

                              Mat Skinner singer/songwriter delivers a blend of Folk/Americana wrapped in a gentle Northern voice, armed with guitar & harmonica he plays an acoustic ode to friendship, life, death and love. With influences from the likes of Nick Drake, Leonard Cohen and Jackson C Frank, Mat’s music combined with his beautiful filmic and soulful voice proves he is clearly an accomplished writer.

                              If we had to pigeonhole this EP then it likely deserves a genre of its own. Welcome to the world of ‘Cinematic Northern Folk’. On ‘…with the Power of a Thousand Suns’ Mat has created a body of songs that people will be choosing as the soundtrack to their lives for many years to come.

                              “This music holds such beauty, Mat Skinner warms my northern heart.” - Guy Garvey - Elbow.

                              Limited 8 track double 12" with some of the best tracks from now out of print Members Only 12" singles plus some tracks never released on vinyl previously. Compiled from cassettes and overdubbed. 

                              STAFF COMMENTS

                              Matt says: Wow. 10 years ago it was a young me enthusiastically rushing into Picc Records in anticipation of a new Members Only record. Now it's me getting them in! We all know what happened next - Jamal Moss played Faktion Manchester, became a global underground superstar, had Wire articles written about him, and now has the rep he rightly deserves. These were some of his early tape-edit experiments inspired by the halcyon days on Ron Hardy and, for me, are still his best pieces of work to date.

                              MF DOOM

                              Special Herbs Vol. 9 + 0 - Bonus 7" Edition

                              MF DOOM is the man in the iron mask. The most mysterious figure in hip-hop has also become one of the most popular, supplying beats and rhymes for Gorillaz, De La Soul, Madlib, Danger Mouse, and Wu-Tang Clan, and drawing praise from heavyweights like Just Blaze, Nas, and Mos Def. Since 2002, DOOM has released numerous volumes of 'Special Herbs', one of the longest-running instrumental series in hip-hop history. Now, the ninth and tenth volumes in the acclaimed series are available on vinyl for the first time in years. With obscure loops and dusty samples galore, 'Special Herbs Vol. 9 & 0' is a must-have for any DOOM fan or hip-hop head. Also includes a limited-edition bonus 7”, featuring two beats from DOOM’s days as a member of 90s hip-hop trio KMD.

                              The highest apex of psychedelia, be it art, music, drugs or literature, is to induce a prolonged consciousness shift that affects the consumer far beyond the time that they were privy to the act. Moon Duo‘s third full-length LP, Shadow of the Sun, was written entirely during one of these evolving phases. Working in a rare and uneasy rest period for the band, devoid of the constant adrenaline of performing live and the stimulation of traveling through endless moving landscapes, offered Moon Duo a new space to reflect on all of these previous experiences and cradle them while cultivating the new album in the unfamiliar environment of a new dwelling; a dark Portland basement. The effect was akin to the act of descending from a train after a long and arduous trip, only to see it (and all your subsequent realities) speed off into the horizon without you. It was from this stir-crazy fire that Shadow of the Sun was forged.

                              Evolving the sound of their critically acclaimed first two full length records, Mazes (2011) and Circles (2012), Ripley Johnson and Sanae Yamada have developed their ideas with the help of their newly acquired steam engine, Canadian drummer John Jeffrey (present on the band‘s last release, Live in Ravenna. Moon Duo used the creative process as a flickering beacon of sanity in an ocean of uncertainty while in these land bound months. The unchartered rhythms and tones of this album reflect their striving for equilibrium in this new environment, and you can hear that Shadow of the Sun is the result of months of wrangling with this profound, unsettling way of being. Exploring the record, a listener will perceive the song "Night Beat," with its off-kilter dance rhythm, as an attempt by the band to find meaning and acceptance in this new, shifting ground, while “Wilding" delivers a familiar Moon Duo sound, taking refuge in a repetitive, grinding riff-scape. Elsewhere on the record, the band recognizes that no journey is possible without being on the road, paying tribute to the cosmic trucker boogie saint in “Slow Down Low” and “Free the Skull.” From the narcoleptic dancefloor killer “Zero,” the record spirals perfectly into a resplendent daydream, the ecstatically pretty “In a Cloud,” which is a spectacular moment to witness.

                              In a nod to a great pop tradition, the lead single, “Animal,” will appear as the A-side of a 7-inch, packaged with each copy of the vinyl edition. The song has an early West Coast punk viciousness to it that is entirely unique to the Moon Duo catalog, and it will also appear as the last track on the CD.

                              To further coat the album with an air of uncertainty and tension, the duo decamped to Berlin to mix with Finnish beat-meister Jonas Verwijnen of Kaiku Studios. There in a counter-intuitive act of creative catharsis, they managed to dissolve the album’s formal technique into a cool and paradoxically sane sound of confusion.

                              The result, at the end of the trip, is the album Shadow of the Sun.

                              FORMAT INFORMATION

                              Ltd LP Info: Red vinyl edition that comes with a free 7".

                              Phonica's steady release of solid techno hits continues with this flawless four tracker from Slow Life mainstays S Moreira and Xinner. Based in Berlin, Slow Life is a multidisciplinary collective of Spanish and Italian creatives led by percussionist Sergio Moreira, whose production prowess first caught the ears of Phonica via a trilogy of highly impressive 12”s on the group’s Slow Life label. It seems only natural then that he should grace their label with a spellbinding journey through deep hypnotic techno, broken beats and submerged ambience. The EP opens in dense and dark fashion thanks to the quintessential Berlin cut "Communication Breakdown", an immersive twist on the dub techno formula certain to lock any crowd down into a trancelike state. Next up "Through The Rings Of Saturn" follows suit, but swaps Berlin's dub techno stylings for the intergalactic sounds of third wave Detroit, pairing syncopated rhythms with the sprawling sonics of cosmic sequences. On the flipside, "Orbiting Around" sees Moreira take his foot off the gas for a more relaxed venture into the textured world of broken beat. The celestial synths remain, but the organic sound of live drums grounds the track in an earthy realism. Last but not least, Moreira hits the remote and turns over to the Basic Channel with the wickedly dubbed out sounds of "Communication Breakdown (Space Dub)". Although he might have found himself in unusual surroundings, leaving the comfort and safety of his Slow Life community, S Moreira has released yet another refined EP of sophisticated techno sounds.

                              Prior to their second full-length "Calendar" (2012), Motorama was a wonderfully kept secret. From the port city of Rostov-On-Don, Southern Russia, the band was producing a Manchester-inspired cold wave, icy and hypnotic. Icy but not frozen, hypnotic but awake. Before long, their compositions gained in clarity, lyricism and assurance: the prominent rock of their first recordings now opening its doors to a romantic and melodic pop. The quintet visited many territories (continental Europe many times over, the vast and intimidating Slavic land, Peru, Mexico...) gaining praise from critics and audiences alike. The gems of their third album "Poverty" will reveal themselves in the midst of this winter, and to co-incide with this new release, Motorama will play shows both in and outside Russia in early 2015.

                              FORMAT INFORMATION

                              Ltd LP Info: Limited edition white vinyl.

                              Jonas Munk

                              Absorb / Fabric / Cascade

                                Second solo LP from Causa Sui guitar player/producer Jonas Munk. These three long pieces aren't defined by Munks signature guitar-approach, they are rather the fruits of a musical vision of vintage synthesizers, organs, piano and analog electronics elegantly weaved together to create extensive formations of pure sound. The harmonic simplicity and unrestricted dedication to sonic balance and texture is something of a first in Munk's body of work. This is pattern music, characterized by slow builds and subtle, but refined, transformations, where gradual tectonic shifts and tiny harmonic gestures generate vivid emotional responses. Instead of imposing any direct intention or meaning, it's an album that can create a mental environment for the listener to expand and open up into.

                                Absorb, taking up the entire A-side, is a piece of meticulous balance, structured from techniques recalling the classical minimalists: soft-glowing analog synthesizer patterns in perpetual motion, creating new harmonic content as each bar progresses. Gradually, randomized modular effects are introduced as well as layers of white noise and detuned, heavily tube-overdriven guitar drones, slowly bathing the piece in warmly filtered fuzz.

                                The B-side opens with two identical organ lines played against each other. After a few minutes the organs lock into a an effortless flow, gently rolling towards a pastoral peak several minutes later, where piano and various layers of electronics enters the soundscape, recalling the blissed-out spiritualism of Alice Coltrane or Popol Vuh.

                                The album's last track, Cascade, opens peacefully but soon enough crosses into an oscillating flood of sound – echoing the multi-textural psychedelia of Munk's previous solo album, Pan, released in 2012. Gradually the intertwined layers of sound rises to enormous billows of sonic saturation, where each drone harmonizes against layers of distorted pulses. Music like this is perceived as incredibly simple and free flowing, but, as is the case with the biological world, reveals textural minutiae and interweaved intricacy once studied close-up. Every tiny detail serves the bigger picture. It's music that's practically vibrating with possibility.

                                File next to: Terry Riley, Keith Fullerton Whitman, Brian Eno, Popol Vuh.

                                FORMAT INFORMATION

                                Ltd LP Info: LP limited to 500 copies, transparent ornage vinyl, includes download card.

                                No stranger to the house scene, Kiko Navarro is a DJ and producer whose productions, remixes and edits have appeared on an impressive list of labels over many years. It makes sense then that his good friends at Local Talk have snapped him up for a solo 12", backed with a sweet Glenn Underground remix. First up is "Dope High", a raw cut, funked up and full of percussion that gets your head nodding, feet tapping and body moving. You could play this track on any sound system in the world and within 90 seconds Kenny Dope would be there smiling and making moves. On the flip there's two versions of "Nea Kameni" beginning with a revamp by Chicago house champ Glenn Underground. Glenn's early musical atmosphere was soaked in Jazz, Soul, Funk and Disco and this remix proves all that. His 'Dance Fusion' remix is incredibly tight, soulful and uplifting with sublime synth leads and the jazziest bassline this side of the Midwest. Finishing the 12" is the original mix of "Nea Kameni", an end of the night anthem with it's dramatic build up, warm bassline, percussions and beautiful synth lines. Kiko has created something that's both atmospheric and haunting at the same time. If you've ever searched for a track to play when the sun goes down, here it is...

                                Never On A Sunday is one of many names used by Detroit's Burden Brothers, Octave One to you and me, a project that has been running since the early 90's. Fans of Detroit Techno and House will already be familiar with the brothers output over the last 20+ years and "Day By Day" has long been at the top of the wants list for lovers of the Motor City sound since it's 1992 release on 430 West. Clocking in at six tracks and straddling a more melancholic, garage house sound than the Burden's Techno outings, "Day By Day" is an expansive journey through the full repetoire of the brothers' diverse range. From the sax and piano jamming "Jackie's Theme" and the introspective and rolling "Carnal Pleasures" through to the airy, melodic groove of "In The Breeze" featuring frequent collaborator Lisa Newberry's instantly recognizable vocals, the whole record sits perfectly as one piece with each track complimenting the other beautifully. A real treat for Detroit lovers or those who have a fond ear for the deeper and more emotive side of electronic music. Re-mastered, re-pressed and re-released in conjunction with the Burden Brothers / 430 West Records, Detroit USA.

                                From just south of the Appalachian mountains, in the rolling hills of Athens, GA., comes the roaring young four-piece, New Madrid. Following the critical acclaim of their 2012 independently released album Yardboat, the band signed with Normaltown records and promptly began work on their sophomore album Sunswimmer.

                                Recorded during a cool, rainy july, under the direction of David Barbe (Deerhunter, Drive-by Truckers), the aural landscapes forged in sunswimmer become almost palpable. Combining reverb-drenched vocal harmonies, soaring underwater noise and floating, meandering melodies, the sounds don't exit the speakers as much as they condense and hang in the air like the humid athens summer that birthed them.

                                Bruno Nicolai

                                La Dama Rossa Uccide 7 Volte (The Red Queen Kills Seven Times)

                                Bruno Nicolai met Ennio Morricone when they were both studying at Rome’s Santa Cecilia music academy. Nicolai was the conductor on many of the maestro’s scores from For a Few Dollars More onwards. He also found himself with plenty of composing work of his own throughout the 60s and 70s. Nicolai became almost as prolific as Morricone himself, particularly within the western and giallo genres. The Red Queen… is a great example of his giallo work. It has a distinctive and memorable main theme, and a second ascending piano-led theme that accompanies some of the suspense sequences. The first instance of the main theme comes right at the beginning, hauntingly sung by a small child on ‘Preludio & Titoli’. In ‘Minaccia’ we find that heavy suspense / chase bassline that Nicolai so often used in his giallo and Jess Franco scores, lush, atmospheric, and decidedly ‘Euro’.

                                - First ever time on vinyl
                                - Exclusive remastering
                                - Exclusive artwork
                                - in collaboration with Beyond Horror Design
                                - Bonus poster (first pressing only)

                                Of Montreal

                                Aureate Gloom

                                  “A golden despondency” is how Kevin Barnes translates the meaning behind Aureate Gloom, the title he gave of Montreal’s thirteenth full-length album. The oxymoron is one Barnes says best describes the overall state of his life and mental outlook while working on the record — penning lyrics so personal they sound like entries ripped from a journal that should be permanently kept under lock and key.

                                  “A golden despondency” is how Kevin Barnes translates the meaning behind Aureate Gloom, the title he gave of Montreal’s thirteenth full-length album. The oxymoron is one Barnes says best describes the overall state of his life and mental outlook while working on the record — penning lyrics so personal they sound like entries ripped from a journal that should be permanently kept under lock and key. “I was going through a very stormy period in my life and felt like I was just completely trashed,” reveals Barnes. “I might be guilty of sharing or exposing too much of my private life, but to me the best albums are those that help people connect with an artist on a deep, human level and that do so without too much artifice or evasiveness.” Aureate Gloom was recorded directly to tape with musicians Kevin Barnes (guitar, vocals), Clayton Rychlik (drums), Bob Parins (bass), Bennett Lewis (guitar), and JoJoGlidewell (keys), plus the help of engineer Drew Vandenberg. The strength of the members’ musical rapport was instantly apparent. The group completed nearly a song a day and even wrote a brand new track on the spot, “Apollyon Of Blue Room,” whose title references a supposedly haunted bedroom in a hacienda on the studio grounds. With Aureate Gloom, of Montreal have created one of the most unflinching, confessional and starkly emotional albums in their career.

                                  "...grounded in samba, but with layers of psychedelic rock on top... the original numbers rock the hardest – 5/5." MOJO Magazine

                                  Rare and highly sought after in its original format, Os Brazoes self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r’n’b and rock ’n’ roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

                                  Os Brazoes formed in Rio de Janeiro in the late 1960’s. They backed Gal Costa during her Tropicalia period, yet apparently never recorded in the studio with her. Miguel de Deus, the bands front man, recorded the highly sought after ‘Black Soul Brothers’ LP in 1977, which became an important record in the ‘Black Rio’ movement. Mr Bongo released the title track from that LP, on the ‘Brazilian Beats: Brooklyn’ compilation in 2006 and recently as part of their Brazil 45’s re-issue series.

                                  ‘Os Brazoes’ features covers of Gilberto Gil’s ‘Pega a Voga, Cabeludo’ and Jorge Ben and Toquinho’s ‘Carolina, Carol Bela’.

                                  The Mr Bongo LP reissue is manufactured in Japan, presented in a super high quality card sleeve with replica original artwork. The CD is presented in a 4-page digi-pack.

                                  Kai Hugo works in two guises. Palmbomen is a group-oriented collaboration suited for live dynamics and instrumentation, while Palmbomen II is geared toward solitary production with an austere toolset: classic sequencers, time-tested drum machines and their contemporary counterparts. Hugo’s foray as ‘Palmbomen II’ makes its debut on Beats In Space Records with the eponymous full-length ‘Palmbomen II’. Guided by voices hardwired into machines of house productions past, Hugo found his footing on the road most travelled by pioneering dance producers by following a spontaneous ethos to create ‘Palmbomen II’. Recorded during a summer lockdown in his mother’s attic in their hometown of Breda, The Netherlands, Hugo monastically set forth making ‘Palmbomen II’ with tools of a seemingly distant trade: machines - to program and to play - and tape - to record the results.

                                  By reversing the perceived potential in hardware versus software production, Hugo returned to the creative core sometimes blinded by too much screen glow: make good music and the rest will follow. By virtue of Hugo’s reductive approach, ‘Palmbomen II’ is flagrant with moments that fall outside an “ideal” mix. The album is imbued with a literal human touch. One hears Hugo riding Oberheim DX faders in real time, improvising Arp 2600 patches at the turn of a track, and dripping sweat across Roland TR-909 keys. Beyond the process of ‘Palmbomen II’, the album maintains to two metaphysical atmospheres: his mother’s attic and The X-Files.A solitary binge of sorts, the 14 tracks of the album represent only a portion of the escapist trove Hugo yielded. Simultaneously, Hugo’s binge-watching of the 90s / early 00s sci-fi television show coloured characteristics in his music. ‘Palmbomen II’ possesses the qualities of an artist slowly slipping from one reality to the next, yet it welcomes listeners to experience this transcendence in tandem. By toeing the primal lines drawn in early electronic production, the base - and bass - from which Hugo explores the fringe remains musically bright and in sight.

                                  Paper Dollhouse


                                    An exploration of warped, dream-like atmosphere and taught, noise-ingrained electronics, Paper Dollhouse has evolved from the solo work of Astrud Steehouder into an expansive, cinematic project now involving visual artist Nina Bosnic. Recorded with a stronger focus on electronic processes and with a deeper, light-starved aesthetic, Aeonflower’s emboldened use of crushed-noise dynamics takes the London-based group’s debut “A Box Painted Black” (2011, Bird/Finders Keepers) frame into darker, murkier and more thrilling territory.

                                    Aeonflower is the slow decent of a newly-discorporated spirit into a fogged, neon-lagoon, a drowned world still-lit. If the first LP was a box of raw secrets with hints of obscured folk roots, Aeonflower is the endless rain of expression, experience and change. On this outing both artists’ vocals are expressive, forgoing complex lyrical concerns for minimal text invested with emotive power. Opener Oracle bleeds into Stand, the first of Steehouder’s haunted vocals, a fragile minimalism augmented with barren guitar. Helios sees a drum-machine kick + ride cymbal pin down an dark, enveloping vocal duet until Psyche obliterates it all with billowing noise, a thrilling shock to the system. The swirling synths and suppressed emotion of Your Heart peak in the centerpiece Diane, a shadowy piece highlighting Steehouder’s minimalist approach. Side 2 acts as a mini-suite, with Diamanda Galas-inspired vocal abstractions and walls of sound coming down with stand out ambient track Black Flowers. Dark and light interplay beautifully on album closer Siren, a turbulent if ambiguous build -up of harmony and noise.

                                    A cinematic portrayal of an internal hinterland, Aeonflower is a complete, encompassing world.

                                    Hotly anticipated album from Paranoid London, after a slew of sell-out (and now rather expensive) 12"s from the last few years. Repetitive, machine bass music for DJs to play loud & dancers to freak to. Featuring vocals from Mutado Pintado (NYC), Paris Brightledge (Chicago) & DJ Genesis (Detroit). Leaning heavily on the pitch-black, dirty backroom acid vibe (not your stadium filling acid-techno-bangers), Paranoid London keeps things simple in terms of instrumentation and gear used, but pushes the classic formular deep into the darkest recesses of the club. The album sounds like its been squeezed out of some gunge-soaked hardware before being left to ferment in a LSD-filled swamp. Featuring the follow up to the cultishly adored "Paris Dub 1 and 2" with, yes you've guessed it, "Paris Dub 3", firing delicate rhythmic nuances through a plethora of sizzling hot drum machine bombardment. "Lovin U (Ahh Shit)" also needs a special mention, rolling out classic emotional Chicago house in a timeless style. Rightly hyped to be a huge album, we've been hassled loads about this already. Contortionists tackle of the highest order, this is real 'Electronic Body Music'; just don't tell beatport! Move quick…

                                    The Picturebooks

                                    Imaginary Horse

                                      On their new release, Imaginary Horse. the German duo kick out thumping, muscular riffs. At their core, the duo takes cues from the blues-based sledgehammering of Scott Asheton. But then, on the even nastier cuts like "Your kisses burn like fire," the band gets grimey and wallows in low, rumbling reverberations that would make any Amphetamine Reptile band proud. This is vicious, modern rock and roll. Like Royal Blood if they recorded for Am Rep in 1989. Heavy two piece rock action!


                                      Everything Else Matters

                                      Pinkshinyultrablast, a five-piece band from Saint-Petersburg in Russia, are set to release their debut album 'Everything Else Matters' in January. Hailing from a city more synonymous with the State Conservatory rather than a gang of shoegaze addicts, they've been compared to Lush. But this is no mere throwback tribute – due to their sharp, icy electronics and ability to subvert the genre, bringing something new to the table. They possess not only the spirit of late 80s/early 90s British bands like Ride, but also machine-made sounds of the same era from Sabres Of Paradise or Global Communication, not to mention wider vibrations like Cluster, Popul Vuh, Terry Riley and Philip Glass.

                                      This is an album brimming with playful melody and finely-crafted songwriting. Imagine the scope of a Caribou record, fronted by Elizabeth Fraser soundtracking a grizzly Raskolnikov crime. The band take their name from an Astrobrite album, an act who were, according to the band, instrumental in how they "researched spaces between ambient, heavy guitar and pop music" .The spaces are what stand out, the production creates a dream-like affair, while space to breathe and reflect on the beauty of the music is accommodated. There is a sparseness to the album that in turn gives spaciousness, even expansiveness.

                                      Post Industrial Noise

                                      The Official Anthology

                                      - The tracks on this collection have been restored from the original analogue tape reel for this reissue.
                                      - For fans of the previously reissued Near Paris and other synth outfits such as Chris & Cosey, early 80s new wave, and even more edgy artists such as Suicide. * Remastered by Martin Bowes at the Cage Studios, UK.
                                      - Presented on high-quality 180gram heavyweight colored vinyl.

                                      Medical Records in collaboration with Crispy Nuggets is proud to present a collection of tracks by Post Industrial Noise. PIN was an “audio artsemble” conceived in 1982 in Columbus, Ohio by the trio Robert Crise Jr, Gerald F. Nelson, and Dana Riashi Ritchey.

                                      They started on a drum machine, guitars, and vocals but quickly evolved to one member on synths and two guitarists on occasional synths. Robert Crise Jr maintained a studio titled “The Center For Contemporary Realism” where he conceived most of the lyrics for PIN. Gerald F. Nelson was a local performance artist, and Dana Riashi (OSU art student) claimed to be the “idea-mediator” between Robert and Gerald. Robert produced a flexidisc of PIN material through an Ohio Arts Council grant and distributed it through the OSU art tabloid “Dialogue”. The accompanying article from Cleveland’s Spaces Gallery noted PIN to have “redigested their input from influence bands such as Tangerine Dream, PIL, and Kraftwerk, to produce their own unique sound”.

                                      PIN performed mainly in galleries and occasionally clubs at the time. They produced a cassette release and were soon feeling the pressure to specialize towards more concrete art performance or club venues. It was this pressure that soon led all activity of PIN to a strangling halt unfortunately. Robert soon left Ohio for graduate studies in Detroit where he remains a “future archaeologist” today. Gerald and Dana then proceeded to form the outfit Near Paris (reissued on Medical Records in 2013). The output of PIN could be described a more experimental/minimalist offshoot of new wave with pleasant synth sequences blanketed in rich synth tones.

                                      Fans of Near Paris will obviously draw comparisons, but the overall feel of PIN is a bit darker and possibly more lo-fi in all aspects. The opening track “Sketch” has a definite cold wave vibe with slightly echoed vocals over a subtle drum machine beat and monotonous synth lines. “Prelude” is a deep instrumental cut with synth and sample interplay resulting in a hypnotic slab of brilliance.

                                      Regardless of the style he is working in, Sam Prekop’s music is always imbued with a sense of wide-eyed discovery and exploration. As the singer and guitarist of The Sea And Cake, Prekop has incorporated elements of traditional styles from around the world, expanding the public perception of what it means to be the leader of a pop band. In recent years, he has also established himself as a modular synthesist, building his instrument meticulously to find the perfect combination of oscillators, sequencers, limiters and filters to create a system that allows him to create sounds that are surprising and inviting.

                                      His new album, ‘The Republic’, is Sam Prekop’s latest synthesizer work, following 2010’s ‘Old Punch Card’ and showcases Prekop’s talent for creating expressive music through mechanical patterns, repetitions and chance.

                                      Prekop’s innate gifts of melodic turns of phrase that have made him a revered songwriter are transferred into new forms in his synthesizer work, aided by the unpredictable melodic capabilities of analogue sequencers and ‘The Republic’ is an exciting new chapter in his development as an accomplished synthesist. ‘The Republic’ moves Prekop’s synthesizer compositions further into the realm of the accessible without abandoning the experimental legacy of the instrument.

                                      The first half of ‘The Republic’ consists of songs that were originally created as a score for a video installation of the same name by David Hartt which was shown at the David Nolan Gallery in New York.

                                      Although Prekop has primarily only performed synthesizer sets in Chicago, in part due to the extensive process of setting up and dismantling the instrument, he plans to perform works incorporating elements of ‘The Republic’ throughout the US and Europe in 2015.

                                      Sam Prekop is not only the singer and songwriter of The Sea And Cake but also a well respected painter and photographer.

                                      FORMAT INFORMATION

                                      LP Info: LP version pressed on virgin vinyl and packaged in a high gloss jacket with artworked innersleeve and free download coupon.

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

                                      Prins Thomas

                                      Rainbow Disco - Inc. Force Of Nature Remix

                                      Norwegian disco king Prins Thomas continues his fruitful triumvirate with Mule Musiq and Japan's Rainbow Disco Club Festival with this deep and hypnotic scando-disco nugget. Following on from his superb mix cd inspired by the festival, "Rainbow Disco" sees Mr Hermansen celebrate his heady days and nights at the festival with one of those sprawling space disco epics he's made his own over the years. Fusing an intricate, organic and polyrhythmic drum track with a blissfully repetitive bassline, Thomas sets the stage for pulsating sequences, kosmiche melodies and intergalactic delays to blow us away. As the track nears its peak, the producer hits the big red button and injects a hefy dose of acid into the mix, driving us home on a bed of 303s. On the flipside, Japan's disco expert Force Of Nature takes us deeper into the post peak trance with a burrowing remix, soaked in dub fx and strobe lit with key stabs and bright sequences. 

                                      Private Agenda

                                      Deja Vu / Freefalling

                                      International Feel's newest signing Private Agenda are taking us back to that glorious time when soul first met synthesisers, shoulder pads were as vital as the right Berlin address and Sheffield met the sonic Caribbean playground of Compass Point. It was from this juxtaposed melting pot that the early seeds of Alfredo's Balearic Beat movement gathered pace and "Déjà Vu" is a cocktail of Linda Di Franco and a Roxy-esque aesthetic, bound together by elements of the inventive, contemporary production values of artists such as Todd Terje and Prins Thomas. "Freefalling" on the reverse proves a fitting reflection of Private Agenda's wider vision. Finding sonic roots in early Balearicism, the track sees the trio layer ethereal vocal lines over delicate percussion and a lilting island groove. Uniting their disparate tastes and talents for the first time, the trio's debut provides a wonderful introduction to their world.

                                      Purity Ring

                                      Another Eternity

                                      After sixty-five fortnights, Purity Ring have returned with their second album Another Eternity. The pair ventured home to the frozen industrial landscapes of their birthplace Edmonton, Alberta to document much of what was to become the album. For the first time, vocalist Megan James and producer Corin Roddick were able to create a record in the same room.

                                      Purity Ring’s first album, 2012's Shrines, was recorded separately in Montreal and Halifax, where Corin and Megan were respectively living at the time. Despite being a thousand kilometers apart, Shrines was a cohesive, beguiling and wholly unique universe of what the band called ‘Future Pop’. At the center of the amniotic swirl of Shrines was an undeniable nucleus of crystalline pop which presciently suggested both indie and popular music to come. They quickly amassed a rabid fanbase, toured relentlessly and sold out shows worldwide, earning ‘Best New Music’ from Pitchfork and praise from The New York Times, Rolling Stone, and NPR, among others.

                                      On Another Eternity, Purity Ring trade the gorgeously claustrophobic atmospheres of Shrines for wide-open, muscular vistas of sound and luminous, up-front vocals. Crafting a lyrical universe of “sweat and dreams” populated by seacastles, rattling spines, and weeping drawers, Megan James wields concrete imagery and metaphor with increasingly direct, startling resonance. Corin Roddick's gifts for evocative melody remain intact, but his drum work and use of space have been completely reforged: immaculately built and focused in service of the song.

                                      Though they are now working at a higher resolution, Purity Ring remain hands-on with every aspect of their project. As usual, the band produced and recorded Another Eternity entirely themselves. 

                                      FORMAT INFORMATION

                                      Ltd LP Info: Limited edition white vinyl in a gatefold sleeve.


                                      Bring / Curtains

                                      Limited repress in stock! Randomer supplies more vacuum sealed bass fresh from the Hemlock stocks. "Bring" is an icy, straight-up wall shaker. Thin, wavering leads all pumping with air as a bit crushed 4/4 pummels the innards. Grating hats and an infectious vocal 'AH' repeat every 4 bars elevating the track into the more techno-orientated realms. "Curtains" is a dark tribal steppah, touching on similar rhythms as Shackleton's "Music For The Quiet Hour / Drawbar Organ" LP. Randomer mixes up the influences in a cold, glacial fashion, imparting an extra layer of darkness on these menacing elements. All in all, two future proof cuts for the floor, guaranteed to turn heads and crush torsos!

                                      Ras G has been a fixture in the scene of forward thinking hip hop and experimental electronic music producers out of Los Angeles. Ras is a modern-day Sun Ra, whose output has been staggering to say the least, with over 10 LPs in the last couple of years, his creativity knows no bounds. On this release for (iN)Sect Records, he turns in five songs that are made up of chants, rhymes, 808 bass drums, the future, the past and most importantly a vision, that has remained true to itself from the very start, and the Brainfeeder / Leaving Records artist is most likely just getting started. This 45 is limited to 300 copies total.

                                      Max Richter

                                      The Blue Notebooks

                                        The Blue Notebooks was Max Richter's second solo album, a distinctive and adventurous work that is beautifully recorded and cinematic in scope. Opening with a text from Franz Kafka over a sparse piano melody, the album moves through heart-wrenching strings of “On The Nature Of Daylight” to lyrical piano pieces.

                                        Using piano, cello, violin and viola, alongside electronic beats (made using a variety of antique electronics and Reaktor), spoken word passages and the occasional field recording (including a very realistic crow that you probably think comes from your garden); other sounds were generated via old guitar pedals and vocoders.

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