Antenna Happy

Pinto / Fallen

A twenty year break away from making music is almost unheard of especially within electronic music circles, but that is where Antenna Happy finds himself with "Pinto". Clocking in at 9.09 "Pinto" draws from psychedelia and techno set straight for the sun. This kaleidoscopic sonic excursion has all the makings of a cult classic, trippy arps, circular sequences and decaying lead lines. Perfection. Taking lead on the B-side an entirely different affair in the shape of "Fallen". This is benchmark electronic music, as arpeggiators take flight mirrored against hypnotic acid bass, for a journey into the outer house territories. The EP title track takes its name and inspiration from paintings by Antenna Happy's three-year-old daughter, whose birth inspired him to return to making music. Close-ups of these paintings can be seen in the artwork for the release.


Tattletale Pts1 & 2

“Tattletale” can mean many things. It can be the kid brother who tells mom and dad that you were somewhere you weren't supposed to be. It can be a classmate telling the teacher you were chewing gum. Or, it can be the whistleblower that points out corruption, injustice and wrongdoing in a corporation, government, university, or army.

Composed by the prolific keyboardist / producer Victor Axelrod aka Ticklah, "Tattletale" has been a sinister, funky flute-driven live staple for Antibalas for many years, drawing from musical inspirations of Ethiopian funk and jazz masters Mulatu Astatqe, Wallias Band and Mahmoud Ahmed of the the mid-1970s.

After years of performing it to audiences across the globe, the band recorded "Tattletale" at the Daptone House of Soul several months back during the album sessions for their self-titled 2012 LP.

Ólöf Arnalds returns with a brand new album, ‘Palme’, her fourth, released via One Little Indian.

‘Palme’ represents Ólöf´s most collaborative effort to date and also perhaps her most profoundly sensual and affecting. Musically, it offers up an astonishing wellspring of fresh ideas and playful experimentation that move the sound on from the acoustic approach that predominantly defined her first three records, ‘Við og Við’ (2007), ‘Innundir Skinni’ (2009) and ‘Sudden Elevation’ (2013).

On ‘Palme’ Ólöf is sensitively backed by two trusted collaborators and friends; Gunnar Örn Tynes (founder of electro-folk collective múm) and once again, long-term musical foil Skúli Sverrisson (who has also worked with luminaries Laurie Anderson, Ryuichi Sakamoto and Blonde Redhead).

The constant here, of course, is Ólöf’s effortlessly distinctive vocal. A voice “that can silence a room, such is its sweetness,” as a bowled over Time Out NY once opined. Here on ‘Palme’ it has never been so poignant nor powerfully intoxicating.

“Extraordinary voice, at once lilting and weighted with emotion… The drama here is all in Arnalds’ delivery, which would be remarkable even if she were singing from the Yellow Pages” - Q

“Innocently nostalgic and powerfully feminine” - Uncut

The Arrogants


    The Arrogants have delved into the sounds of mod, garage rock, psychedelia, and blues, first as a 14-year-old duo, then as a 15-year old trio . . . and now with an organist, as a quartet, they are ready to be heard by the wider world. Whilst digging the sounds of the past, they have successfully developed their own repertoire, writing their own songs and gaining recognition in their home town by playing as support to their heroes The Pretty Things and appearing at the Lille Vintage Weekend in front of 15,000 strong crowd.

    Produced by French Londoner Healer Selecta Londoner (aka Yvan Serrano) and mastered by Pete Maher (who has worked for U2, The Killers, Rolling Stones, and Jack White, amongst other famous names), these tracks are intended to introduce the band to a wider audience prior to them putting together a full album. And having been touring extensively throughout the second half of last year and with a full schedule already lined up for this year they have both the songs and the chops.

    Serrano remembers seeing the sixteen-year-old Arrogants on stage for the first time, “It was a strange feeling, as though I was watching an original garage band. Their garage sound is pure, minimal and wild. To make true sixties garage, it should have this youthful energy and not over-do the technical ability to make for a real musical experience.”

    Max Graef's Box Aus Holz imprint returns for a ninth edition of unremitting dancefloor devastation, this time thanks to kindred spirit Glenn Astro and Imyrmind. The EP gets up on the good foot from the off with the swinging house hit of "Tanz In Theo's Beat Bar", a floor filler if ever I heard one. As good an example of the trademark BAH sound as you'll find, the track packs plenty of funk in the grooving bassline and drunken synths while the syncopated percussion is certain to get those shoulders rolling. "Stimmung, Ne" bounds along in a similar fashion, but reduces the heat from boiling to a soulful simmer, adding a little spoken vocal to the pot for extra flavour. The A-side closes with the woozy hip hop bump of "Herrmann", a potent hit of drunken funk with a killer bassline. On the flip "Wukie" takes us deeper into the realms of qualuude funk, prescribing heavy medication to all concerned, before breaking out into the best MPC soul snippet Dilla never thought up. Garth Be, you've got company g! "Hermaine Remix" takes us back into bumping house territory, updating the Raw Cuts template of 'rattling percussion and jazz sample' with a little Boz Aus Holz synthetic sparkle. EP closer "Freheit Fur Die Oma" is a massive Mingus sampling hip hop cut, that's sending shivers up my spine. Shit, you need the EP for this track alone! Mind blowing.

    Highlife deviate from their usual globe trotting explorations on this release, instead making like Icarus and heading straight for the sun. Highlife chief Auntie Flo steps away from the edits and hits us with an original winner in the form of "Sun Ritual II", which shifts up a couple of gears from its earlier counterpart on Kompakt. The London based producer sets hearts racing with a thumping intro of hard hitting percussion and a roving two note bassline before bathing all before him in the warm glow of synth laden euphoria. It's a truly blissful piece of dancefloor weaponary.

    On the flip, it's the turn of Miajica, one third of Alma Negra to do his solo thing on Highlife with a heartwarming dancefloor version of a delightfully familiar summer treat, "Let The Sunshine In". The passion and glory of the original is extended, updated and expanded without losing any of its charm or finesse. If you thought summer was over, think again; these two cuts are gonna bathe you in warmth all year round.


    Order Of Operation

      Jake Robertson and Billy Gardner started Ausmuteants in late 2011 in Geelong, Australia, after having played since teenagers in trad garage bands (The Frowning Clouds and The Living Eyes, respectively). Per the norm for good-looking rebels who play by their own rules, they cracked the shits, broke loose with just a synth and drums and, in early 2012, knocked out the Split Personalities tape. The addition of Melbourne’s loose-unit Marc Dean on bass followed, and soon after, ex-Canberran hardcore non-guitarist Shaun Connor on guitar.

      Their second album Amusements (note: not self-titled) comes from this fledgling time as a full band, with a heavy dose of the duo’s songs. Since the runaway international success of that record and playing every second weekend in Melbourne, they’re rocked-out full-tilt with all four members writing and singing new songs—23 of which were recorded live with vocal overdubs in the basement of an old ice cream factory by Mikey Young, then mixed and mastered in his idyllic coastal abode. Again the band and their Australian label Aarght! Records strained the friendship with song picks, agreeing on thirteen to make up Order of Operation.

      This record is better than Amusements any way you cut it: songs, lyrics, delivery and sound. It opens with Connor’s forehead- and thigh-slapping musical and lyrical debut, “Freedom of Information.” From there, songs range from balls-to-the-wall punkers (“Felix Tried to Kill Himself”; “Boiling Point”), well-considered workouts (“Family Time”; “Tunnel Vision”) and unguarded tenderness (“Wrong”; “Looney Bin”).

      Even people who couldn’t stand their earlier juvenile bullshit are now onboard. The toilet humor has been ditched, the band has gotten nasty and written songs about other people’s problems, terrible bands, fighting crime and trading sex for porn. Young was heard to say after one particular vocal take: “You deserve to be bashed for that.” The song’s on the record; you guess which one.

      Order of Operation is now their defining moment. If you don’t like this record, you pretty much won’t ever like Ausmuteants.

      Reissue of woefully underrated debut album from Illadelph MC Bahamadia. 'Kollage' boasts production from Gang Starr's own DJ Premier and Guru, DJ Evil Dee and Mr. Walt of da Beatminerz, Rap-A-Lot vet NO Joe, Ski, and the Roots. Goddamn, is that a sweet list of producers or what?! Everybody gives 'Kollage' a cohesive sound of slick urban smoothness. This is some laid back ish, but that doesn't mean that the beats don't bang because they do!

      And of course the master of ceremony here is Ms. Bahamadia herself. The moment you listen to her, it'll come as no surprise that she is a student of Guru. Her voice is a low monotone, her flow is incredibly smooth, her delivery is relaxed, and she has an affinity for similes. Her technique is sharp and precise and she flows just like clean water.

      Only a single LP on its original 1996 release, this reissue spreads the 15 tracks over two LPs for a nice loud sound.


      On & On & On & On / Missive - Inc. HNNY / Neville Watson Remixes

      The ever restless Baio will make his Club Mod debut very soon in the shape of a two-pronged pitchfork that is 'On & On & On & On' / 'Missive'. Ethereal, melodic electronic house music that appeals as much to the head as it does the heart and hips, it’s another fascinating evolution in the work of Vampire Weekend bassist Chris Baio. Baio’s nightlife shows a more personal, cerebral yet similarly ecstatic side of the now London-based producer. Baio’s Club Mod EP mines a similarly deep dancefloor spirit to the likes of Caribou (especially as Daphni), Four Tet, Luke Abbot et al, one which sounds just as inspired in the club as it does in the headphones. Remixes come from house mainstay Neville Watson and playful Swedish producer HNNY.

      Born Bad Records present 'Psychedelic Sanza 1982-1984', a thrilling collection of material from Cameroonian artist Francis Bebey. A follow-up to 'African Electronic Music 1975 - 1982', this release focuses on music built around the sansa, a traditional African 'thump piano'. Combining his own global interests and electronic pursuits with the traditional sound of the sansa, he fashions an irresistible body of work for full immersion. 'Sanza Tristesse', with its lilting tempo and creaking vocals, could fit in any 80s disco set, while 'Forest Nativity' is an earthy nature walk. This collection is not to be missed.

      "The first time I saw a sanza (a type of African thumb piano), it was just sitting there on a piece of furniture in my family's living room - a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. We knew our father loved to collect anything that could produce a sound. I don't know where he got this sansa. It was rather crude, clearly handmade, with only a few "keys" or "tines". I don't think he really played this one. The sounds it produced seemed particularly bizarre; to my young musician's ears, trained in Western classical music, it sounded out of tune. That's because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father's passion for "unusual sounds" did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my "serious" English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept "world music." Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like "Agatha" and "La condition masculine." But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: "Let's see what you can do with it!" That's when I really discovered something. Exploring the instrument and playing, I transcended the "imperfect" aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his "laboratory." Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don't become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" - Patrick Bebey

      Eric Bell

      Your Love - Inc. Frankie Knuckles Remix

      An amazing, rare beauty of a track from deep within the Trax vaults, Eric Bell's "Your Love" originally rocked floors back in 1987, featuring a stellar instrumental version courtesy of the late, great, Frankie Knuckles. Since it's original release this heavily sought after wax, has caused a ruckus amongst collectors, often changing hands for hundreds of pounds on-line. This cult classic pairs Bell's lovelorn vocal with a killer jack and wall shaking bassline; no wonder this one packed the floors back in the day. As for Frankie's instrumental mix, when I heard Jamal Moss drop it at 5am in a warehouse, the place went ballastic in true tops off fashion, which is the only recommendation you need really. Re-mastered and re-pressed here for the first time, "Your Love" is an unmissable re-issue complete with original Trax label artwork, utterly essential.

      The long out of print debut album by The Bevis Frond from 1987, the first re-issue featuring seven additional tracks.

      Acclaimed in Rolling Stone by David Fricke as “a Hendrix devotee every bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies.”

      Covered by Teenage Fanclub and Dinosaur Jr among many others, this is a psychedelic pop masterpiece with gorgeous pop overtones.

      • The first of a lengthy re-issue campaign also available as limited edition double vinyl with different bonus tracks.
      • Issued in its original sleeve.
      • Remastered from the original sound sources with sleevenotes by MOJO magazine’s Dave Henderson

      Before signing to London Records and scoring hits such as ‘Young At Heart’ and ‘I’m Falling’, the band recorded an album’s worth of independent recordings and demos, most of which remained unreleased.

      Compiled by Robert Hodgens (Bobby Bluebell) with the involvement of the rest of the band, EXILE ON TWEE STREET finally reveals the band’s roots in the indie scene of early 80s Glasgow.

      The Bluebells actually demo’d songs for Alan Horne’s Postcard label, recently the subject of a critically acclaimed book by Simon Goddard entitled Simply Thrilled.

      Only the track ‘Happy Birthday’ has been issued before – on a rare flexidisc!

      Haley Bonar releases her debut UK album, a nine track collection as relentlessly catchy on the surface as it is alluringly complex underneath.

      Haley Bonar was first discovered by Low’s Alan Sparhawk who spotted her at a local open mic club in Duluth, Minnesota and was so impressed he immediately invited her to join them on tour. Which is how, a week later, nineteen year old Haley Bonar, was transformed from college student to ambitious dropout, crammed into a Honda Civic with a guitar and a drummer for company, touring the US opening for Low.

      But there is more to this story. In the decade since Haley has released a succession of recordings, each of which have garnered more praise the last, and has seen her collaborate with the likes of Andrew Bird (with whom Haley occasionally plays live) and Justin Vernon (who features on the new album). That’s not to mention the company she keeps in a rotating cast of premium band members including Jeremy Hanson (Tapes ‘n Tapes), Luke Anderson (Rogue Valley), Jeremy Ylvisaker (Andrew Bird, Alpha Consumer) and Mike Lewis (Bon Iver, Alpha Consumer). Now, with her new album ‘Last War’ Haley looks set to find a wider audience.

      Much of the joy of Bonar’s songwriting is in the tension between her sparkling melodic sensibility and her deeply ambivalent lyrics. Album opener ‘Kill the Fun’ positively crackles with traces of the Bangles and the Cure at their most pop, as Bonar chronicles her travels with a lover, taking some moments to reveal the nature of the relationship: "You'll be here till morning / You will get back on the plane / Go back to work / where you never knew my name." On ‘No Sensitive Man’ (which features the most Clem Burke drums outside of a Blondie record), she claims "I don't want no sensitive man / I don't want to talk." While on the captivating ‘Heaven’s Made For Two’ Bonar’s daydreaming vocal drifts ethereally as the instrumentation builds from stripped-back beginnings into a country-meets-shoegaze wall of sound crescendo.

      On ‘Last War’, the complexities hit as hard as the hooks, a smart, careful balance achieved through equal doses of mystery and charm.


      Ltd LP Info: Limited edition white vinyl.

      Bonnie Prince Billy

      Singer's Grave A Sea Of Tongues / Barely Regal - Deluxe Edition

        This very limited deluxe edition packages together the "Singer's Grave A Sea Of Tongues" album with an exclusive 8 track compilation of songs from his itunes only "Barely Regal" series.

        We've only got a handful of these, and when they're gone, they're gone, so jump in quick if you want a copy.

        Bonnie ‘Prince’ Billy’s new album ‘Singer’s Grave A Sea Of Tongues’ is released on Domino. 

        At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonnie sings for who he was and will be and for all of us, in time. 

        Bonnie Billy has been quoted as saying that one of the songs on the album is a conceptual track that’s about “one day in 1973 when only two people died in the whole world.”


        Idle Hours

          With the release of his debut EP ‘Idle Hours’, Tri Angle Records are very excited to introduce Boothroyd, aka 21 year old, Mancunian native Peter Boothroyd. Since moving to London less than a year ago for school and off the back of a handful of MP3s that have slowly circulated amongst musician friends and industry people alike, Boothroyd has been creating quite a stir for himself within the electronic music scene.

          Despite this being a debut release by a relative newcomer, ‘Idle Hours’ feels oddly anticipated within certain quarters. There are probably two reasons for this; a growing reputation for being one of the most oddly charismatic producers out there (interviews will undoubtedly be very illuminating) and of course the music itself, which is pretty much impossible to easily explain or classify.

          Setting out to create something that felt beautifully wide in scope but also disfigured and jarring, Boothroyd wanted his music to sound cinematic whilst aesthetically mirroring his own regular music listening experiences, via the saturated, ultra compressed world of YouTube. Purposefully recorded using the most basic of set ups and mixed with (in his words) “cheap, sh*tty headphones,” ‘Idle Hours’ feels like the most battered state of the art record you might hope to hear in 2014. It also makes clear Boothroyd is an artist to keep a serious eye on.

          “I grew up in North Manchester, in a sh*t little working class town where nothing has happened for about 400 years... if you don’t hear a follow up to ‘Idle Hours’ then it’s because I moved home and chucked myself under the Metrolink... I don’t really know where the inspiration comes from when I make music to tell you the truth, I just enjoy being creative. I have a ton of ideas floating around in my head, I don’t know why. However I do have this quite big poster of John Lennon up in my room which I do, if I’m being honest, spend quite a large amount of my time staring at.” - Boothroyd

          Braen Raskovich

          Abnormal Sensations

          Collectively known under their production pop group moniker The Pawnshop, Italian Giallo / Spaghetti legends Alessandro Alessandroni, Giuliano Sorgini and Giulia De Mutiis (using their Giallo-psych alter egos of Braen, Raskovich and Kema) would reconvene behind the curtain in 1973 to craft this lost full-length LP as a mythical addition to their tiny group discography.

          Pin-pointing a bona fide crossroads between the composers’ individual library grails 'The Underground' and 'Living Dead At The Manchester Morgue', this previously commercially unreleased slice of abstract Giallo stoner funk combines Alessandroni’s inimitable twang-happy growling fuzz and desperately inquisitive guitar / harp / dulcimer manipulations (akin to his work on 'All The Colours Of The Dark', 'Marquis De Sade' and 'Danger Diabolik') with Sorgini’s eery industrial scrapes, moaning echoes and face-slapping percussion grooves (found on his rare TV soundtracks like Zoo Folle or the undercover work he did for library labels like Leo, Leonardi, National and Lupus). The inclusion of Alessandroni’s wife Giulia De Mutiis on groaning wordless vocal duties not only completes The Pawnshop trinity but adds the essential Giallo sheen popularised by Morricone regular Edda Dell’Orso (evoking clear comparisons to that of Lizard In A Woman’s skin and Veruschka). For fans of Giulia’s work on Bruno Nicolai’s The Night Evelyn Came Out Of The Grave (dir. Jess Franco) and most notably Morricone’s Sospiri Da Una Radio Lontana (from Henri Verneuil’s The Night Caller) and Venus (on the Nereide label), the distinction glistens in the detail.

          These twelve tracks were circulated amongst TV and cinema production houses in the mid-70s for potential film synchronisation by library label Octopus under the title Judicial Inquiry (Inchiesta Giudiziaria) in what was perhaps an effort to capture the imagination of directors of the growing trend in Italian crime cinema. Track titles such as 'Abnormal Sensations' and 'Psychic Getaway', however, indicate the trio’s natural penchant for the absurd and supernatural, rendering this particular beast quite specific and unique as its own dedicated non-release. For fans of extrovert Italian freak funk, avant garde pop and European horror sountracks this LP should sit comfortably in the company of your Bruno Nicolai and Gruppo Improvvisazione Nuova Consonanza records and draw striking comparisons to international horror soundtracks by Don Gere, Pierre Raph and Andrzej Korzynski while exposing another secret hiding place for some of Italy’s finest A-List composers making rich experimental noise for B-Movie masterpieces.

          James Brown / Percee P

          Make It Good To Yourself / Lung Collapsing Lyrics

          The Originals is back once again, this time getting down with the Godfather of Soul himself and the super funky 'Make It Good To Yourself' which appeared on the Black Caesar soundtrack in 1973 but has never before been released on a 45. Loaded with breaks to sample, the label pair James Brown with one of Percee P’s dope early releases, 'Lung Collapsing Lyrics' from 1992, which takes the funky break and slows it down to a hip hop beat. This one's also on 45 for the first time!


          Our Love - Inc. Daphni Remix

          Caribou follows up the blink-and-you'll-miss-it "Can't Do Without You" 12" with limited single from his forthcoming album; this time hitting us with the title track "Our Love". As you'd expect, the track is a lesson in production for the rest of the mortals out there, as Snaith balances programmed rhythms with a live kit, seduces us with the wooziest synths out there and plays pitch shifted vocals with virtuoso skill. Ostensibly a tale of two halves, this one builds into the kind of peak time monster the dancefloor was made for. The introduction is a emotional affair which sees the producer balancing those trademark ingredients which made "Swim" a classic with a couple of jazzy new additions, while the latter segment of the track is a floor burning rave assault featuring a tasty interpolation of Inner City's "Good Life". It's massive in other words. On the flip, Snaith partakes in a little split personality partying, switching into Daphni mode to mix the shit out the A-side. This one means business right from the off, hitting you with a one-two combo of bubbling analogue basslines like a long lost Virgo Four record before unleashing a full scale percussion assault. Gradually the spectral synthlines and pitch shifted vocals of the original float through the sound field prompting a little hands in the air excitement. This is total floor flaying madness; 100% essential!

          Second limited 12" from Caribou. Title track from album plus Daphni Mix.

          "The Breaks is an album of staggering neo-classic rock ambitions" - Uncut - 7/10 October 2014.

          Martin Carr was the main songwriter of The Boo Radleys. He was the force behind their position as stars of Alan McGee's Creation Records, their chart hits and NME front covers, and also retains an indelible pop sense and great song craftsmanship.

          Daniela Casa

          Sovrapposizione Di Immagini

          In an alternate universe the Rome born female synthesist Daniela Casa would be a household name. A genuine pioneer of experimental pop music, abstract electronics, Giallo jazz and even heavy drone rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia De Mutiis (later Giulia Alessandroni), Doris Norton and Suzanne Ciani while retaining one of the most individualistic and diverse composing styles of an advanced mechanical musician regardless of their nationality or gender. This LP compiles, for the first time, a multifarious selection of previously commercially unavailable instrumental music composed at her home studio in the late 70s before her untimely death at the age of 42.

          Originally designed for use in radio, film, TV and other industry specific applications, these seldom heard selections combine ingenious homemade and hi-tech disciplines, providing scores for Italian thrillers, nature documentaries, educational projects and commercial sound installations. Mastered from the vaults of the sought-after Deneb / Flirt / Canopo library labels (home to some of the rarest records by Fabio Frizzi, Giuliano ‘Raskovich’ Sorgini, Gerardo Iacoucci, Alessandro ‘Braen’ Alessandroni amongst others) these rare tracks reveal Daniela Casa in her most fertile environment (composing as a young mother) in both a solo capacity and alongside incredible Italian session musicians, often sharing release schedules and track lists with her maverick maestro husband Remigio Ducross. These multi-layered musical images remain as vibrant and authentic today as they did thirty-five years ago. Close your eyes and unravel the Sovrapposizione Di Immagini…

          Pewt'r sessions 1-2 collects two limited vinyl-only Causa Sui albums originally released in 2011. The two albums, released in April and August respectively, both features American musician Ron Schneiderman and both sold out immediately after release. This is the first time this material is released on CD.

          Ron Schneiderman from American impro-rock collective Sunburned Hand of the Man first got together with Danish stoner/kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania – Copenhagens autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt'r jjjjj, and became widely admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel.

          In the early summer of 2009 Ron Schneiderman was back in Denmark, this time for a three-week stay as co-curator of the art-and-music event Festival of Endless Gratitude. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui's studio in Odense, which resulted in the Pewt'r Sessions albums. These records consists of loosely structured sun- and beerfueled jams that were later edited and mixed by Causa Sui guitar player and producer Jonas Munk. While all the psychedelic fury from the Christiania live recording is still very prevalent on these studio sessions, they also see the group channeling into new territories, such as pieces heavy on analog electronics and motoric grooves.

          Pewt'r Sessions 1 and 2 are albums that could only be recorded in an impulsive mode. Yet there is an alternative kind of structure taking place in almost every piece – some intuitive, almost psychic connection, which moves the sounds from one place to another. The centerpiece from these sessions, 'Garden of Forking Paths', gloriously sees the band fully exploring the potential of free rock, all participants working at the height of their ability, slowly jamming a gentle bass-groove into a psychedelic beast that sounds like the missing link between Electric Ladyland and Can's Tago Mago.

          Tracks such as Streams of Gratitude and May Sun are more delicate pieces where the group explores the hazy, sensual side of cosmic rock, while the 12 minute pulsedriven Gelassenheit sees the group paying hommage to the sound of Düsseldorf. -Ron Schneiderman has been a prime mover in the so-called new weird America movement for decades, especially as member of Sunburned Hand of the Man and as head of Spirit of Orr Records. He lives in Brattleboro, Vermont. -Causa Sui consists of Jakob Skøtt, Jonas Munk, Rasmus Rasmussen and Jess Kahr, and have released five albums since 2005 – most notably the trilogy set Summer Sessions that saw the band move away from the heavy-psych of their two first albums to more abstract, instrumental sounds that owes as much to electric Miles Davis or Can as to american stoner-rock.

          The Como Mamas

          Out Of The Wilderness / Well, Well Don't Worry Bout Me

          Led by Ester Mae Smith’s unmistakeable voice, the Como Mamas have found their place at the gospel end of the Daptone table alongside a legendary stable of soulful musicians.

          However, as stirring as their music is, up to now, all of their recordings have been a capella. With this record they join forces with the boys of the Menahan Street Band (billed pseudonymously here as The Radiant Rhythm Band) to lay bare the funkier side of gospel music. “The rhythms we all play were already right there in their vocals,” explains drummer Homer Steinweiss, “so it felt natural to lay down the grooves behind them.”

          Thomas “T-N-T” Brenneck, the up-and-coming producer who brought us both Menahan Street Band and Charles Bradley, presided over the collaboration, which took place in the old Dunham Studio in Williamsburg, Brooklyn.


          Skeleton Soul

            Jack Sandham and Wednesday Lyle have been playing together as Cowbell since late 2009 when they got together for a late night jam session and things took off from there. Three 7” singles followed over the next 18 months and they signed to Damaged Goods in 2012. Two years on from their debut album Beat Stampede, the rockin’ duo branch out into a more spooky atmospheric sound across the 11 tracks on the new album. There's a definite dark, New Orleans R&B vibe to Skeleton Soul. Kicking off with the spaghetti western intro of the album's opening track, ‘Cry Wolf’ the duo cover plenty of new ground while retaining the urgency and excitement of their earlier work. Though what makes this new album so special is the evocative mood the band created with Ed Deegan at Gizzard Studio.

            Imagine Dr. John meets the BBC Radiophonic Workshop. The sound is still a stripped down affair, though this time round the drum 'n' guitar bones are fleshed out with a few enhancing overdubs such as the Doors-esque spiky psychedelic organ on 'She's All Over You', and some soulful saxophone on the funky, strutting 'Dirt'. The band show they're equally adept at intimate ballads with 'Darkness In Your Heart', perhaps the best song Richard Hawley never wrote. Wednesday takes the lead vocal on 'Heart On The Line' a track which recalls the cream of '60s girl singers such as Sandie, Dusty et al. Fans of the group's earlier sound will not be disappointed either, there's still the bone-shaking garage blues numbers such as 'Oh Yolande' and 'Baby It's Your Love' along with the swampy mambo-blues groove of 'The Fear'. Imagine a band with the guitar twang of The Cramps over jungle-tribal drums, covering The Zombies and you're somewhere close.


            Vinyl Cleaner (Black)

              You don’t have to be an audiophile to know that the key to maintaining any vinyl collection is to keep it clean. With Crosley’s Vinyl Cleaner, cleaning your vinyl has never been easier. This self-contained record cleaning system features Crosley’s own Vinyl Shine record cleaning solution and two adjustable rollers to clean all of your favorite 33 1/3, 45 and 78 RPM records. The double-sided microfiber brush system applies the perfect amount of pressure to delicately remove unwanted dirt and grime from both sides of your vinyl - simultaneously. Use the microfiber drying clothes to polish records to a dustless shine after cleaning. In a few simple minutes, you will add years back to any record collection.


              Hi-Tech ABS Construction
              Adjustable Roller System - Accomodates 33 1/3, 45 and 78 RPM Records
              Dual Microfiber Brush System - Cleans both Sides of Record Simultaneously
              Includes 4 oz. Record Cleaning Solution
              Microfiber Polishing Cloths
              Fitted Lid


              Unit (L x W x H) = 6.25 x 16.5 x 5.5
              Unit Weight (Lbs) = 1.5
              Shipping (L x W x H) = 7 x 17 x 6
              Shipping Weight (Lbs) = 2


              The Light Brigade

              Like his mythological namesake, Daedelus - otherwise known as Alfred Darlington - is an inventor, a creator of sonic labyrinths combining sounds from an eclectic palette into an innovative genre all his own. With 'The Light Brigade', Daedelus returns to Flying Lotus’ Brainfeeder, a fitting home for the Los Angeles electronic pioneer. The album recalls the Crimean war of 1853-56. The music was written and recorded before the recent troubles broke out in the region, a turn of events which lends an air of requiem to the album.

              Opening with 'Until Artillery', an elegiac voice invokes the conflict as glorified in Lord Alfred Tennyson’s infamous poem, backed by electronic swells that build into a poignant climax, contrasting the simple melodies that are the distinction of the album. 'Onward' is a haunting lament; layered, melancholy vocals provided by previous collaborator Young Dad wind their way through treated pianos and deep textures creating a mournful ballad of noise. In 'Shot And Shell', a cavalcade of fingerpicked guitars are embedded in warm synths, and closing track 'Country Of Conquest' is a heartbreaking string composition that recalls Shostakovich.

              'The Light Brigade' is a musical interplay of light and dark, soft and heavy, beautiful and frightening. The ghosts of war reverberate into the present in this deeply moving meditation on mortality.

              Hailing from Chicago's South Side, the duo Dar Embarks (Ken Zawacki & Dan Jugel) live in a world of underground techno and evil machinery. Their debut release, the "Fleer EP" was born out of the crackle of electricty and concrete grit of their underground bunker. Don't get it twisted, this is 100% machine music, recorded live on hardware, without a computer in sight. Dar Embarks hit you with ten cuts of pitch black acid filth, thunderous techno kicks and needling lead lines, aimed straight for the cerebellum. Gathering its inspiration from records on the shelf, sci fi and comics, Dar Embarks remains steadfast in technotic efforts to interpret the future…our future.

              NYC edit masters Duane Harriott and Sean Marquand are back in the motha fuckin house y'all. After blowing Chi-town, the Midwest, NYC and the whole planet up with the killer "Feel So Wrong" EP a couple of years back, the duo return to Stilove4music to make us lose our shit all over again. "Get To It" is a gritty three tracker of bumping disco grooves and crunchin' house rhythms which feel like Brooklyn on a hot summer day. The title track sprawls over the A-side dishing out the good stuff with wild abandon; driving disco bassline, killer clavs, and a scratchy soul vocal. You'd be forgiven for confusing these cats with Detroit's finest, that is until the break comes in and we're transported straight to Harlem '79. If you're in the market for floor fillers then this is as good as they come. On the flip Devin Dare head underground with a dubbed out rework of Bionic Boogie's 1978 single "Chains", which takes us deeper and deeper with an extended intro before unleashing the latin disco brilliance of the original. Closing the EP out in style is the raw and raucous soul stomp of "Alright", a distorted gospel groove featuring Ugly edit styled MPC action. 

              Some rather memorable moments in the catalogue of Jimmy Tamborello, aka Dntel, feature collaborations with neatly paired guest vocalists such as Ben Gibbard, Jenny Lewis, Baths and Mia Doi Todd, to name a few. Tamborello has always paid a good deal of attention to picking these singers carefully, with his backing a perfect complement - the producer humbly stepping out of the spotlight, allowing the guest to shine.

              Ironically, then, 'Human Voice', the producer’s latest album on the consistently evolving Leaving Records, is atypically bereft of any featured guests. Tracks are instead festooned with largely computerized and disembodied voices, lost somewhere in an ether of circuitry and possessing that plaintive emotion which sounds unmistakably like Dntel. An interesting thing happens - even without lyrics and the personality of a vocalist attached to them, the 8 tracks here still manage to convey the same depths of emotion, despair, longing, hope, and optimism. Human Voice demonstrates that the real complexity and driving emotion has always been emanating straight out of the machines, effectively communicating as competently as human language. Music is a language all its own, able to convey emotional complexity with the same deftness as words - and without the immense frustration of language barriers.

              The Drums

              I Can't Pretend

                Second 7" taken from The Drums new album 'Encyclopedia'.

                The Dwarves

                The Dwarves Invented Rock & Roll

                The new album from The Dwarves out on Burger Records. This playlist contains 17 tracks, total time: 29:20. Invented Rock was written and recorded extremely quickly with little thought as to the effect the songs would have. Instead of pondering a song's result, the band just felt the tunes while they were recording them. The result is an album that shows that when the Dwarves surrender completely to their id, their collective ids love violence, love, and rock in its purest sense. Instinctually, (and in contrast to the exhibition of styles that was Born Again, the last album) the band seems to gravitate towards their opposite poles. Fitting that both poles reference the genesis of rock'n' roll itself. On one hemisphere is classic hard charging, berserk Dwarves hardcore.

                Dahlia himself seems to come from the same place as he did on the classic drug addled Blood, Guts, & Pussy. On tracks like "Get up and get high," where he breaks into a room and pulls someone out of her bed for the sole purpose of gaining a drug pal, it seems he's still dealing with paranoia and poverty that is born from being an addict. "Gentlemen Blag" continues in the great tradition of self-promotion via James Brown, Chuck Berry, and Little Richard. Blag spends the 73 second song talking about how great he is while whipping out his wiener. It's the frantic, wild rock song in its purest form. But, on the other hemisphere, the band salutes the other great rock n' roll tradition- the love song. The Salt Peter penned "Trailer Trash" follows in the tradition of post-doo wop: Sweet melodies driven by a bouncing backbeat. That's something Frankie Valli made millions off of. Even "Sluts of the USA," despite its ode to cheap thrills, sounds like a soda fountain sock hop 45. Though, while these songs seem to be born from instinct, the band is smart enough to go back over them and add a secondary level. Referencing the album title, the band hides references to the classic rock n rollers throughout, shifting the album into an Easter Egg hunt of history. There are Screamin' Jay Hawkins references, Van Halen references, and I think even a nod towards the Beatles. Blag Dahlia also mentions that his lyrics are the result of meticulous work and, in fact, that's what elevates these songs from just rock n' roll (which is certainly a fine thing to be) or just nasty punk, to something more rewarding. The aforementioned "Get up and get high" is as much a character study as it is a party chant. Rex Everything's (aka Nick Oliveri) "Love is Fiction" is a little more than just "I hate everything." It seems to not be the argument that title suggests, but rather, a plea from the speaker to the listener, begging the listener to prove that the title is wrong.

                In a click-bait driven music scene, it's rare to find an album that stands the test of time, but Toronto-based synth duo Electric Youth may have managed that rare feat with their spectral, stunning debut album Innerworld. "We wanted to make something that had the sense of being timeless," says Austin Garrick, the band's instrumentalist alongside vocalist Bronwyn Griffin. "Our ultimate goal is to make a record that will be the favourite album of people that aren't born yet."

                With their swooning collaboration with College, "A Real Hero", featured in Nicolas Winding Refn's universally acclaimed neo-noir Drive, a place in the history books is arguably already theirs. The song was used twice in the Ryan Gosling-starring film, with its touching refrain "A real human being / And a real hero" soundtracking the scene where Driver (Gosling) and Irene (Carey Mulligan) take an idyllic daytime car journey down the LA river, and then appearing again during the final scene and end credits. "We didn't get to see the film until its premiere at Toronto international film festival," explains Bronwyn. "We sat down on the balcony to watch it, and honestly it almost felt like I was floating, it just washed over me. It was very surreal and dreamlike."

                After cracking the Top 10 of the iTunes dance charts in 15 countries, the band stepped back from the limelight to take their time to work on a full-length. "We get asked a lot 'how have guys not already put out an album – that would have been a good time to do it'", admits Austin. "But at the end of the day, more important for us than capitalising on timing is really making sure that we would have the record that we wanna have."

                Recording took place between the duo's Toronto studio and their home studio in LA. Each space served its different purpose – in Toronto Austin was able to make use of his extensive vintage synth collection, making up what he estimates is 80% of analogue sounds on the album. In LA meanwhile, the pair recorded Bronwyn's vocals, of which they share writing duties for -- in their space -- which includes a film projection room. Fritz Lang's boundary-breaking twenties classic Metropolis was a favourite. It's easy to see how the vast scope of Lang's movie inspired the wide-eyed vistas of Innerworld, where soundscapes bleed into vocals and songs take you on journeys into roads unexplored. Other tracks wear their cinematic influences rather more on their sleeve. "Our song 'Runaway' was inspired by the Peter Jackson film Heavenly Creatures," says Austin. "It's a true story from the 50s about these 2 girls in New Zealand who are in their early teens, who have this sort of fantasy world together, and their parents and everyone try to keep them apart. Eventually in an extreme effort to stay together, the girls plot and carry out the murder of one of their mothers." On the track, Bronwyn chants "Maybe we could just run away for good / 'Cause we're both misunderstood."

                "A Real Hero" germinated back in 2009. The band uploaded a number of tracks, including a shimmering cover of Clio's 1985 Italo Disco track "Faces", where Bronwyn delivered the gently melancholic lyrics with her signature heartfelt intonation. "It was just an experiment," recalls Austin. "We made 4 demos and put them up, and from there it just snowballed. Most of the reaction was coming from France and England. We were introduced to David Grellier – College – and came to find that we really had a lot of shared interests with film and music and that was how that all came together." At the time, College was heavily involved in Valerie Collective, a blog and artistic network that he had founded in 2007. Bronwyn and Austin had found a supportive ecosystem – always invaluable for artists.

                The lyrics of the song were in part inspired by Captain Sullenberger, the pilot of Flight 1549 which was infamously downed in New York's Hudson River in 2009. Sullenberger guided the plane down with no fatalities, leading to the event being termed the "Miracle on the Hudson". "My grandfather is a retired philosophy professor who writes poetry," explains Austin, "He had written this poem where he was inspired by the captain and his heroism, which he brought it to me and asked me if I could make it into a song. And then when David sent me his instrumental called A Real Hero - it was like 'wow, let me see if I can connect these things'. It was meant to be."

                The pair met in sixth grade, when Austin's family moved from Toronto to Bronwyn's nearby hometown of Hamilton. "We became friends around that age, and I asked her out in 8th grade," says Austin. "She was my girlfriend from that time on." Austin came from a household where his parents listened to anything from his Mom's beloved 80s synthpop to his Dad's Level 42 and reggae, while Bronwyn's religious family favoured church songs and classic songwriting from the likes of James Taylor and The Beatles. The band officially formed in 2009. Bronwyn says: "It's the only band I imagine I'll ever be involved in."

                The artwork for Innerworld is similarly starry-eyed, with British artist Paul Roberts painting Austin and Bronwyn as intrepid children for the cover. "He was in a group called Sniff 'n' the Tears who had a big hit in the 70s with their song "Drivers Seat", which we came to know through its use in Boogie Nights. We loved his album covers which he would paint and from there we discovered he went on to incredible work as an artist" says Austin. "The initial intention was for it to be more about the landscape, but we liked it and it did make sense to us, going back to the concept of Innerworld... Bronwyn and I have known each other since we were 10 years old and a lot of the time we're still the same kids in our mind, in our inner world. And so for us you could say, in our inner world that's what we look like - those two kids." With their music's unquenchable sense of wonder, perhaps they're not too far from those kids today. "David Lynch never wants to define the meanings of his films," says Austin. "Similarly, we don't like to get too specific about the meaning of our music." When it sounds this good, who needs to put their music into a box? Let their inner world wash over you.

                FORMAT INFORMATION

                LP Info: Limited edition coloured vinyl pressing.

                Elk Blood


                  Elk Blood's debut album is indebted to experimental groups like Wire, This Heat, PiL, Throbbing Gristle, Swans and Xiu Xiu. Incorporating screamed vocals, analogue synths, sound collage, drum machines and vocal processing with the guitars and drums of hardcore punk and emo. With lyrical themes exploring death, loss, sexuality and Catholicism, the Manchester-based band attempt to come terms with the suicide of a friend. The album was recorded in the house where the band lived and their friend died.

                  Estrogen Highs

                  Hear Me On The Number Station


                    2 years removed from "Irrelevant Future", Estrogen Highs return with "Hear Me On The Number Station", an 18 cut LP. The New Haven, CT band have always had one foot in the musical waters of New Zealand & the influence of kiwi-pop forefathers, but the band incorporates more of the avant textures of the Xpressway discography this time around. Comes complete with inner sleeve with lyrics and download.

                    Junior Fairplay

                    Sugar Puss

                    Junior Fairplay or Timothy J Fairplay, if indeed that is his real name, steps up to Crimes Of The Future with a single sided dancefloor hand grenade for the darker fringes of the modern disco scene. "Sugar Puss" marries the dark and doomy synth-tones we expect from a fully paid up member of the ALFOS Axis with an M1 bassline that'll have you back at Legends sipping a brandy to the sounds of Baby D. But hold the phone, is this the concrete proof of the latest strain of the viral ALFOS scene? "Sugar Puss" is the third track I've heard in the past few weeks featuring a killer hardcore break. In this instance, it's the irresistible sound of the 'Think Break' (Lynn Collins, Rob Base & DJ E-Z Rock, thousands of others) that drives the track endlessly forward to a point in time when sweaty middle age men go tops off at Islington mill. It's time to clean up that copy of "Cubik" I reckon.

                    FORMAT INFORMATION

                    12" Info: Limited purple vinyl pressing.

                    Marianne Faithfull

                    Give My Love To London

                    Marianne Faithfull’s new album Give My Love to London will be released in September 2014. The album is produced by Rob Ellis & Dimitri Tikovoi and mixed by Flood. The band: guitars by Adrian Utley (Portishead), keyboards by Ed Harcourt, Rob Ellis (drums), Dimitri Tikovoi (bass) + string quartet, and special guests Warren Ellis and Jim Sclavunos (Nick Cave and the Bad Seeds). Marianne has written most of the lyrics and the music was written by Nick Cave, Anna Calvi, Roger Waters, Pat Leonard, Tom McRae, Steve Earle.

                    The Fall


                      Single vinyl LP of highlights from a Fall gig recorded live at King Georges Hall Blackburn on 22nd September 2002.

                      The Gino Fontaine

                      Revnorev / Konkondo

                      The mysterious Gino Fontaine is unmasked - a nom de plume for non other than that Chicken Lipped, Emperor Machinist himself, Andy Meecham. Time and again the synth master has proved his mettle, and it's safe to say that he delivers another absolute killer here. In fact esteemed gentleman of dance music, Bill Brewster has already picked out lead cut "Revnorev" for his acclaimed "Late Night Tales - After Dark (Nightshift)" compilation. And quite right too, if you can find a better example of an anthemic light / dark chug-fest, we'd be happy to hear it! This exclusive 12" mix bounds out the speaker with scorching bass pulses and atmospherics, jet propelled by synthesized drums and the trademark Meecham synthwork. Soon enough ice cool Chic-esque guitar and YMO style top lines emerge to create an epic space-disco finale. On the flipside we're greeted with "Konodo" which starts life like  a mysterious early 80s Cosmic holy grail (think Tangerine Dream or Richard Schneider Jr) with its gentle wave washes before gradually unfurling into an undulating bass driven chugger perfect for an ALFOS party. A stunning release then, limited and lovely as ever - don't sleep!

                      Freekwency Feat. Sarah Bates

                      Do What's On Your Mind

                      Gulf Point is happy to announce the latest from Benny Badge at Secret Heat Studios. Following his cracking "Seal The Deal" album and remix pack for ISM Records, Benny has re-laced his boots once again as the drum machine romantic Freekwency and the results are in. Another notch in their private press endeavours, Gulf Point's third release is a street soul record in every sense, with busy Mancunians Sarah Bates and session sax player Chris Nelson (whom we met busking in the city's renowned Northern Quarter) bringing their own fire to the single.

                      Fruit Tones / Pink Teens

                      Hamlovers Split Tape

                        Press the gas pedal, open the window to let the summer breeze in and turn up the volume on these awesome garage-pop tunes from the UK.

                        Perhaps still most widely recognised for ‘Dreaming With Alice’, his 1972 psych-folk debut for RCA Italy as a 19-year-old art student-troubadour, Mark Fry has been turning his creative gaze on the world, and alchemising its elements into shimmering, quietly visionary works of art, ever since.

                        A series of concerts in Japan and Scandinavia, and a widely reported 'supergroup' London showcase, featuring members of Mercury Rev, Super Furry Animals, Tunng and Lemon Jelly, further evinced the subtle but inexorable diffusion of the Mark Fry legend, something abetted by BBC Radio 4's Today programme airing an interview with Mark.

                        All of which brings us to Mark Fry's latest, most exquisitely realised musical offering to date, South Wind, Clear Sky. Sung with that now familiar alloy of cool restraint and wondering innocence, and passingly reminiscent of the kind of English pastoralism associated with the likes of Kevin Ayers or Bill Fay, the album's leanly arranged yet immersive songs are propelled by Mark's glinting, plangent guitars and deliciously embroidered by John Parker's double bass, Angèle David-Guillou's piano and backing vocals and Katie Lang's French horn, all bound together by producer Guy Fixsen (My Bloody Valentine, Stereolab) into a delightfully iridescent whole.

                        For all its finely honed arrangements, and the translucence of its recording, South Wind, Clear Sky is still very much the work of the man who made Dreaming With Alice; the mature Mark Fry's feeling for wonderment and magic, for the dreamlike and the innocently surreal, is just as pervasive, and persuasive here, only more focused, and etched against a more luminous, even heavenly canvas.

                        Fumaça Preta’s hard hitting, free-wheeling debut LP brings together elements of tropicalia, psychedelic rock, fuzz funk, musique concrete, acid house, radiophonic electronics, hair metal, voodoo and African, Brazilian and Latin rhythms. Beaming down from another planet and sonically stretching across decades, ‘Fumaça Preta’ is released on Soundway Records.

                        Fumaça Preta (pronounced Foomassa Pretta, meaning Black Smoke) started as a studio experiment when Alex Figueira, a Portuguese-Venezuelan producer and percussionist, invited some old friends to join him in the tiny analogue studio he built on the back of his house in Amsterdam.

                        After producing 2 critically acclaimed 45s, Fumaça Preta continued to work in the Barracão Sound Laboratory, swiftly producing their debut album. All musical boundaries collapsed during recording as the band drew upon their vast array of varied influences.

                        Live, Fumaça Preta becomes a quintet that swerves in and out of endless musical avenues but never loses the rock solid heavy psychedelic groove that drives them.

                        Function and Vatican Shadow have combined forces on ‘Games Have Rules’ for Hospital Productions, simultaneously stripping back each producer’s more prevalent production elements - the dancefloor-focused techno structures of Function; the experimental cassette-roots of Vatican Shadow - to create an album of dynamic electronic ambient music, equal parts rhythmic and atmospheric.

                        As befitting what began life as an ‘emotional acid’ album best suited for an after-hours home listening experience, 'Games Have Rules' was created in the early hours at New York’s Hospital Productions and Berlin’s Inanimate Objects studios, helping imbue the record with a sense of night turning into day, and the shifting contrasts of dark and light the music evokes.

                        Although not created as the result of improvisation the album retains an effortless, free-flowing structure, while simultaneously introducing the traditional techno drum kit over the course of the record, deconstructing the ever-changing, looming presence of New York City’s skyline.

                        Ambient in the most traditional sense, 'Games Have Rules' omits the top-heavy reverb saturation of so many modern releases and builds from the ground up with an arsenal hi-fi and lo-fi production techniques / equipment with a cinematic sequence over the arc of the record. But whereas New York City has so often been depicted in film as a prison, 'Games Have Rules' is an embracement of the city’s endless possibilities: the LP’s gatefold black and white image of The Empire State Building lit up at night from the inside; the ongoing stories of rise and decline lived out at its base.

                        The 'Environment' series originally began as an archive of previously unreleased recordings but Environment Five features thirteen all new songs recorded in the first half of 2014.

                        Following on from the themes of the first four 'Environment' albums, 'Environment Five' explores the space / time / dimension that exists when we die. The moment of departure from this mortal coil. The album includes brand new recordings by The Future Sound Of London. Part electronica, part progtronic complexity, part Balearic-friendly psychedelic ambience, the album mixes synths and tablas, organic and synthetic sounds to create a meditative whole. It includes appearances from Daniel Pemberton (BAFTA nominated / Ivor Novello winning composer), Raven Bush (Syd Arthur) and Riz Maslen (Neotropic).

                        Daniel Grau recorded eight albums between 1974 and 1983; none of them available outside of Venezuela. Born 1948 in Caracas the musician was one of the most sought-after studio engineers in his country. Almost all respectable artists in Venezuela (Vytas Brenner, Aldemaro Romero, Aditus, La Misma Gente etc.) could be found in the El Palacio De La Musica-Studios taking advantage of Daniel Grau's mastery.

                        Just for fun Grau asked some of the musicians who frequented the studio on a regular basis to use the free studio time to record his own  compositions, which were then compiled and released on LP. The first two albums from 1974 and 1976, released under the La Orquestra De Daniel Grau moniker, already displayed what an adept composer, arranger and multi-instrumentalist (guitar, bass and keyboards) Grau was and still is. The influences and references, which characterize his entire, short and Venezuelan-only career, are unmistakeable: North American fusion jazz, orchestral bossa nova and Latin American funk in the style of Eumir Deodato and Sérgio Mendes. At the end of the 1970's Grau moved more towards disco and incorporated with his tracks becoming big on the cosmic scene.

                        Sonar Kollektiv member Class Brieler was aware of Grau's work when he visited Caracas in 2012 as part of the cultural exchange programme by the prestigious Goethe Institute. Together with Venezuelan DJ Trujillo all the stops were pulled out to bring Daniel Grau's music to a wider audience. Compiled in close collaboration with the by-now 66 year-old Daniel Grau this album will do just that.

                        As a CD release it encompasses 27 of the best tracks from Grau's archive. The vinyl edition confines itself over two LPs to the 15 tracks that are the most danceable. On both formats you find a new composition ('To Night'). More than thirty years after his last official release Daniel Grau returns with 'To Night' and looks ahead confidently.


                        Soon Away

                          With Soon Away, GRMLN veers from the pop-punk-rooted road the band traversed with last year’s Empire; it’s an aggressive album, darker and heavier than what’s come before. While it carries these characteristics, there is also a certain peace to Soon Away, thanks to songwriter Yoodoo Park’s personal growth.

                          The teachings of Krishna were an inspiration to Park while writing the record and it’s a force that helped define his perspective in these songs. The singer-guitarist sees the constant changes of life allowing people to embrace the true nature of living. Still, there’s intensity to these guitar-driven tracks. On the opener of the album “Jaded” Park sings, “Go, but you're breaking without me / When days can crawl around / To waste myself away,” which is built around one of GRMLN’s catchiest riffs to date.

                          The album grapples with letting go and getting used to good-byes. “Find a way to be wanted and here for someone else / Break away from the notion, the poison in my head,” Park sings on the cathartic “Faux.”

                          After writing the songs in Japan and whilst on tour in the U.S., Park went back to Different Fur Studios in San Francisco with engineers Patrick Brown and Sean Paulson, who worked on GRMLN’s previous album Empire. On Soon Away, Park is joined by his brother, Tae San, who assisted with bass parts and arrangements; with the addition of long-time drummer Keith Frerichs providing a rhythmic backbone.

                          GRMLN is the musical project of 21 year old, Yoodoo Park. He was born in Kyoto, Japan and moved to southern California at a young age (though he still goes back to Japan every summer). Yoodoo started playing music at the age of 13 when he was given a bass guitar and released his debut album Empire in 2013, preceded by the debut EP Explore.

                          The Growlers have announced details of the release of their new album. Chinese Fountain will be released through Fat Cat Records. Having demoed the tracks at guitarist Matt Taylor’s Topanga home, the 11-track album was recorded quickly in a week-and-a-half at Sea Horse Sands Studio in downtown Los Angeles. Produced by JP Plunier.

                          Self-describing their music as “Beach Goth”, sunburned and salty, the term perfectly describes their distinctive melding of reverb heavy surf guitar and Bakersfield-style honky tonk with ‘80s post-punk. Chinese Fountain, their fourth long-player having formed in Dana Point, California in 2006, is their most confident album to date.

                          “The band played better than they’ve ever played,” says Brooks Nielsen. “We’ve got the process down now. There’s less screwing around to get the songs laid out and we weren’t waiting around for take after take. We knew it and we played without much time to spare.”

                          FORMAT INFORMATION

                          Ltd LP Info: Ltd edition Magenta coloured vinyl.

                          The mighty Marquis Hawkes is one prolific mother fucker, following up recent sell out releases on Creme Organisation and Clone Jack For Daze with some upfront, legit house bizznizz on Fabric's in-house imprint, Houndstooth. "Fifthy Fathoms Deep" collects four diverse cuts each demonstrating a different side to Hawkes’ production talent, taking in jazz-inflected deepness, disco flavours, quirky cyberpop through to futuristic funk. Think Prince meets Neneh Cherry, held hostage by Gene Hunt’s relentless 909 selections. "Can't Find A Reason" takes the hectic sampling heritage of Dance Mania, drops the tempo to a playable pace and goes in hard with a Cajual bassline resulting in a killer groove. "The Way" drops deeper into the house spectrum, repping Chicago with a Larry Heard bassline while rattling percussion adds a nice organic texture. Stee Downes' Prince style vocals are the perfect match for Hawkes' mournful pads, connecting the past and present into a perfect after hours cut. Flip the disc and Hawkes keeps it deep on "Fifty Fathoms", topping a rolling bass groove with jazzy keys and the occasional vocal snippet. Marquis changes it up for EP closer "Fat Man", bringing his house rhythms to a stone cold slice of machine funk madness, alive with soaring strings, RnB vocals and buzzing synths. Despite the variety of influences on display, a coherent thread is maintained - something also reflected in his DJ sets, their all-encompassing yet coherent nature winning over fans far and wide.

                          The Heads

                          Everybody Knows We Got Nowhere - Remastered BOX SET Edition

                            The Hardcover / full colour boxset is limited and numbered to 1000 copies only: it features the remastered original double album in its gatefold sleeve, the double album of extra material from the time - also in a deluxe gatefold sleeve. A single live album "bootleg" (pressed on neon yellow vinyl) from the 2000 USA tour called "California Jams", and a 70+ minute CD of material that is previously unreleased, culled from the dozens of rehearsal / demo archival CDrs that Simon Price has from this time. Various items of ephemera are also included in the box. a full size 8 page booklet will be inserted in album one with sleeve notes, pictures, track information, in the live album will be a full size 8 page photo /tour diary attempting to detail some of the USA 2000 tour. a huge 4 foot by 2 foot folded poster with the classic blue/red girl tshirt image, a vinyl sticker of same image, and a Download code postcard with a link to Download the two LPs as MP3. The box itself with then be wrapped in a specially printed Heads tote bag.

                            The 2nd album in The Head’s impressive canon, was originally released on Sweet Nothing Records in July 2000; now, 14 years later “Everybody Knows We Got Nowhere” has been repackaged with a full compliment of bonus material from that period (7” tracks, B-sides, Mans Ruin 10” / CD tracks, Radio 1 session tracks, and compilation tracks). All the tracks have been fully re-mastered by Simon Price and Shawn Joseph.

                            Broken hands, lost Rickenbackers, and sliced tendons aside, The Heads – Simon Price (guitar, vocals), Hugo Morgan (bass), Wayne Maskell (drums) and Paul Allen (guitar) - hit many highs during this time. The first British band to release records on Frank Kozik’s famed Man’s Ruin label, (the ‘Delwyn's Conkers’ and ‘Mao Tinitus’ 10”s) recorded two Radio 1 sessions (Mark Radcliffe and their second John Peel session), featured on various “scene-defining” compilations and toured Europe and US West Coast.
                            Everybody Knows We Got Nowhere is the bands favourite album. It represents the full force of the Heads’ psychedelic pummel, their trippiest most psyche collection, brutal yet beautiful.

                            Strap in. Let go.

                            This long awaited and meticulously put together reissue of Everybody Knows We Got Nowhere will be available as a lavish 5 LP boxset, a double CD package, a double LP as well as the obligatory MP3 download.

                            FORMAT INFORMATION

                            LP Box Set Info: 5 LP+1CD box set, limited to 1000 numbered copies. Numbers 1–500 will have LP1 on red vinyl. ORDER NOW TO SECURE YOUR RED VINYL EDITION.

                            The Heads

                            Everybody Knows We Got Nowhere - Remastered Edition

                            The 2nd album in The Head’s impressive canon, was originally released on Sweet Nothing Records in July 2000; now, 14 years later “Everybody Knows We Got Nowhere” has been repackaged with a full compliment of bonus material from that period (7” tracks, B-sides, Mans Ruin 10” / CD tracks, Radio 1 session tracks, and compilation tracks). All the tracks have been fully re-mastered by Simon Price and Shawn Joseph.

                            Broken hands, lost Rickenbackers, and sliced tendons aside, The Heads – Simon Price (guitar, vocals), Hugo Morgan (bass), Wayne Maskell (drums) and Paul Allen (guitar) - hit many highs during this time. The first British band to release records on Frank Kozik’s famed Man’s Ruin label, (the ‘Delwyn's Conkers’ and ‘Mao Tinitus’ 10”s) recorded two Radio 1 sessions (Mark Radcliffe and their second John Peel session), featured on various “scene-defining” compilations and toured Europe and US West Coast.
                            Everybody Knows We Got Nowhere is the bands favourite album. It represents the full force of the Heads’ psychedelic pummel, their trippiest most psyche collection, brutal yet beautiful.

                            Strap in. Let go.

                            This long awaited and meticulously put together reissue of Everybody Knows We Got Nowhere will be available as a lavish 5 LP boxset, a double CD package, a double LP as well as the obligatory MP3 download.

                            FORMAT INFORMATION

                            2xLP Info: Black vinyl, gatefold sleeve: the album (remastered) in the format it was originally released, with full download postcard.

                            2xCD Info: Double CD, with 12 page booklet (same as the first LP booklet), CD has the album, CD 2 has all the bonus tracks from LP two in the boxset.
                            Wrapped in a full colour O-Card.

                            Jimi Hendrix

                            Rainbow Bridge

                              These two classic Jimi Hendrix albums were released in 1971 & have been unavailable for a long time, before being remastered, with original artwork for these 'Legacy Recordings' releases.

                              "Rainbow Bridge" is an eight trk album that is often misconstrued as being a live album, but was actually part of the same project as "Rainbow Bridge" & put together after Hendrix's 1970 death.

                              The History Of Apple Pie

                              Feel Something

                              'Feel Something' is the follow up to last year's 'Out Of View' debut, which saw the London five-piece propelled into the spotlight - hitting No. 8 in the UK Indie Breakers Chart, No. 2 in the UK Record Store Chart and winning fans the world over with their infectious fuzzed-out candied pop sound.

                              The new album features ten brand new tracks including the piano-laden lead single 'Tame' and last year's surf-rock referencing 'Don't You Wanna Be Mine?' – originally released on limited edition clear 7" vinyl. The LP edition also includes bonus track 'Shake' featuring guest vocals from Gary Jarman of The Cribs.

                              Recorded over the last few months at Sublime Studios in London, like it's predecessor, it was again produced and engineered by the band's Jerome Watson with additional engineering by Joshua Third of The Horrors and Charles Reeves.

                              Formed three years ago, The History Of Apple Pie line up is centered around the songwriting partnership of Stephanie Min (Vocals) and Jerome Watson (Guitar) together with James Thomas (Drums), Aslam Ghauri (Guitar) and new recruit to the band Joanna Curwood (bass).

                              FORMAT INFORMATION

                              LP Info: Limited edition blue / clear LP also includes bonus track 'Shake' featuring guest vocals from Gary Jarman of The Cribs.

                              Hud'Mo returns with the ultimate trap banger! You might recognise ‘Chimes’ as it's used on the latest MacBook Pro advert, which premiered in the UK on primetime Saturday night television. The perfect spot for it, obviously, as it's become the most Shazamed advert in the world since its international roll out. ‘Chimes’ features raindrop-like synth chimes, who-let-the-dogs-out style gruff man barks, a trumpet fanfare and heavyweight trap-hop riddim that will be shaking a set of car boot subs near you soon. 'Brainwave' sets the choral vocal presets to ethereal and anthemic, getting the little grey cells aquiver with some frenzied prog synth work on top. Keeping things in the rock arena, 'King Kong Beaver' is another surefire stadium monster, dropping ELP-like keyboard bombast over crunching breaks. Closing the EP DJ Gammer gives 'Chimes' a hardstyle makover.

                              Ichisan is Slovenian Igor Skafar, and Igor´s trademark sound emanates from the celestial realm, delivering blissed out cosmic house laden with hypnotic grooves and healing vibrations. He's already spread his message of love to all humanity via releases on Airtight and Under the Shade and now he brings his bag of tricks to the Internasjonal stable. On the A-side, "Kristina" is the kind of playful, wonky, wobbly synth disco which usually graces Full Pupp wax. It's one part Philly to two parts Scando and it'll have you shaking it like vodka martini. On the flipside, "Hoppsa" beams us forward into the gleaming future we dreamt up in the 80s, with a mesmerizing synth hook and a cinematic arrangement. The new kid on the Internasjonal block doesn't disappoint with this interstellar release!

                              Stujammer James

                              Allotments (Vol.1 And 2)

                                Both volumes of Allotments by stujammerjames dubbed straight, one to one, onto cassette. A cornucopia of aural delights recorded between the years of
                                1989 to 1993.

                                This extremely limited edition cassette of 20 (inc. 10 promo/friends and family) is recorded on Ferric type 1 tape housed in a very rare bi-colour yellow / blue cassette box with individual hand made sleeve and insert artwork from Mundo Secreto.

                                Jamie T releases his third and much-anticipated new album “Carry On The Grudge”, his first album since 2009’s “Kings & Queens” and reintroduces one of the most distinctive voices in British music over the past decade.

                                The album announcement follows the incredible reaction to “Don’t You Find”, the first piece of music Jamie has released in over four years. It received it’s world exclusive first play on Zane Lowe’s Radio 1 show as Hottest Record In The World. A bold, brave return, it sets the scene perfectly for “Carry On the Grudge”.

                                “Carry On The Grudge” is a big step forward. Musically and lyrically, it’s a boiled down, intense listen, with not a word or note wasted. The likes of “Zombie” recall the urgency of Jamie’s past records but it’s balanced with the likes of “They Told Me It Rained” and “Mary Lee”. The old influences of punk, folk and reggae are all still here, but reshaped into something new whilst still defiantly the work of Jamie T.

                                FORMAT INFORMATION

                                Ltd LP Info: 180g vinyl.

                                King Tuff’s new record is called ‘Black Moon Spell’. It was produced and recorded by Bobby Harlow at Studio B in Los Angeles, California, in the hot winter of 2014.

                                There were many strange occurrences during the recording session - Dracula landlords, flashes of mysterious light, haunted microphones, songs that mixed themselves, demonic vortexes swirling in coffee cups, etc. Under the ‘Black Moon Spell’ you may experience euphoria, demented visions, wet dreams, bouts of backwards laughter, and dazed confusion resulting in primordial dancing.

                                Los Angeles, full of its screaming coyotes and creeping helicopters, surely slathered its sexy, twisted, hairy, polluted spirit all over ‘Black Moon Spell’.

                                Listen to ‘Black Moon Spell’ and give your ears what they’ve been begging for all year; a heavily weird, heavenly dark, hysterically magical rock & roll sexperience.

                                Ah yeah, this is where it's at! Endless Flight come through with the goods and whack the finest moment of KZA's recent "Dig & Edit 2" collection on a 12", backed by an Eddie C remix! Say whut! "Vous Dansez" seduced absolutely everyone in the shop with its perfect combination of steady rhythm, timeless acoustic strum and soaring strings. A totally blissed out sister to "Les Fleurs", "Vous Dansez" is a simply timeless arrangement of tone and texture that you'll be listening to until your dying day. Perfection. As well as the album version, KZA gives the beards a real treat with the horizontal beauty of the drumless mix, undoubtedly a future Nado classic. On the flip, Japan's esteemed musical astronauts, Cos/Mes dive into "Transaction" and reshape it as a psychedelic head nodder, phat with hip hop breaks and subtle acid. The coastal sounds of chiming guitars and drifting vocals safely usher us into distinctly Balearic territories, where the killer percussion gets us shaking our shit. Dope. It falls to Canadian edit master Eddie C to bring proceedings to a close, and he takes to the task with trademark aplomb with his floor friendly remix of "Vous Dansez". The Red Motorbike man breaks the track down and reassembles it into the kind of dubby disco house groove Nuphonic and Discfunction used to dish out in their prime. All in all, this is a pretty fucking sublime release!

                                “On Le Butcherettes' sophomore effort Cry is for the Flies, Teresa Suárez's high-pitched yowl omits debauchery. But it's not the same kind of blood-soaked garage rock from 2011's Sin Sin Sin. This time, the L.A.-based trio have settled for a beautiful narrative that's grounded in sadness and guilt, channeled through Suárez's venomous punk poetry. Add in guest appearances by Garbage's Shirley Manson and Henry Rollins, and Cry is for the Flies is flat out bitchin” LA Weekly – Best Indie Album of the Year (So Far)

                                “This is an amazing band, Gender Bender is rapidly heading to Karen O territory with her vocals and stage presence, and you should listen.” NPR

                                Le Butcherettes have joined Ipecac Recording's roster and will release their sophomore release, Cry Is For The Flies, on Sept. 15 via the Bay Area label in conjunction with Nadie Sound.

                                Cry Is For The Flies was recorded at Infrasonic and Kingsize Studios in Los Angeles. The album features guests Henry Rollins ("Moment of Guilt") and Shirley Manson ("Shame, You're All I've Got").

                                "Since I created Le Butcherettes in Guadalajara, I've always yearned for the band to be part of a label/community that helps and supports artists to act fearlessly and help serve the music." explained fiery Le Butcherettes' frontwoman Teri Gender Bender. "So happy beyond words that we've found a family in Ipecac. Dream come true."

                                The eleven-song release had previously been available exclusively as a digital download via producer Omar Rodriguez-Lopez's label Nadie Sound's website but, as of Sept. 16, will be made available on physical formats (CD/vinyl) as well as through various digital service providers including iTunes.

                                In a recent interview with the Los Angeles Times, Teri said of the subject matter on Cry Is For The Flies: "There are so many demons I have inside - they're little gods. There's a god of evil, the god of good, the god of sex, the god of lust. With music, I tape into those god demons. It's therapy."

                                Le Butcherettes is Teri Gender Bender (vocals, guitar, keys) and Lia Braswell (drums).

                                Formed last year in Brighton, Lutine (Heather Minor and Emma Morton) are already establishing themselves are a mesmerising live act through a handful of shows (for the likes of Joseph Stannard’s The Outer Church and recent supports for Kristen McClement and unlikely bedfellows Stephen O’Malley) and have now translated their minimal, fragile and evocative sound onto record for the first time. And we are very excited about it.The album reflects a shared love of traditional folk and modern classical, distorted through a lens of medieval and baroque music, traditional Indian and Chinese music, dream/synth pop, minimalism, experimental music and 60s/70s folk. Both familiar and uncanny (inspired equally by Thomas Hardy and The Twilight Zone), Heather and Emma have produced a startling set of songs exploring classic themes in a unique and bewitching way.

                                “Flawless harmonies, layered across both traditional and original songs that frequently seethe with a honeyed menace.” Joseph Stannard, The Wire.

                                FORMAT INFORMATION

                                CD Info: CD first edition limited to 300 copies.

                                Maceo & The Macks / Gang Starr

                                Parrty / Who’s Gonna Take The Weight

                                Originals #23 brings us the killer pairing of Maceo and Gang Starr. If ever two tracks were made for this label then these are they - you're gonna need doubles of this! On side B Primo tears shit up on the classic 'Who’s Gonna Take The Weight' from 1991. “Guru with the mike and Premier is the anchor”! On side A we get Maceo & The Macks’ 1973 original funk bomb 'Parrty'. Contrast, compare, get on the dancefloor.

                                Man Power here on the delectable Hivern Discs - fast becoming a one-stop-shop for all things new and tasty in that hard-to-pin-down scene of 'Balearic-house' (cough). "Renamed" kicks things off with a nice warm 303 line paired with lush organic drums and an exotic weaving lead melody. The whole thing's wrapped up in a lovely outdoor terrace sheen, perfect for shaking and shuffling around in the sun at all the best coastal resorts. "Taronja" continues with a slightly exotic, otherworldly theme as xylophone melodies interact with machine-code drums and ethnic percussion. Atmospheric to the max, a great tool for slipping into your extended DJ set to turn heads and get the crowd locked into your vibe. "Song With A Name" concludes with a smooth, low-slung groove and plenty of tape-delayed goodness cascading through the mix. A bit of a Compass Point vibe runs throughout as vocal fragments echo through a dubby, stripped down backline of bass, drums and delicate guitar licks. Exceptional stuff I'd expect the Balearic Mafia to be all over by now....



                                  Originally from Birmingham, now based in Reykjavik, MASS are drummer Jonathan Baker and Guitarist Clyde Bradford. This debut EP establishes a unique, dark and noisy take on hardcore, with almost indecipherable vocals, powerful crash cymbals, intricate rhythmic riffs and bassy digital processing. The influence of Noise and Black Metal is apparent in their intelligent approach to abrasive volume. The band’s self-described aims are to 'explore the inner extremes of music, aggression and anxiety.' For each of the four loud, aggressive songs, there is an equal measure of space left for noise, drones, loops, ambience and feedback.



                                    VINYL ONLY RELEASE LIMITED TO 300.

                                    Originally released on an extremely limited cassette by the Digitalis label, the album makes a welcome debut to the vinyl format. Matchess is the solo project of Whitney Johnson, singer & keyboardist for Chicago band VERMA. Johnson's minimalist sensibility owes as much to the Berlin school as it does to early industrial & minimal synth pioneers like Throbbing Gristle & Cabaret Voltaire. Matchess places Johnson in league with counterparts like Zola Jesus & Liz Harris (Grouper), carrying the torch of female experimental & electronic musicians in the 21st century.

                                    Midland's non stop assault on sweatsoaked basements, mainrooms and radio playlists continues unabated with this latest stormer on Aus, which picks up right where the Graded boss left on the recent Autonomous Africa release. "Duster" kicks the EP off in style with its balanced combination of shuffling percussion (dusty hats included) and warm analogue bassline ensuring the floor's packed long before the string led breakdown. "Reflex" offers a seismic mix of bass led house and African rhythms, carefully decorated with blasts of static and a trembling lead line. The EP closes on a moodier vibe with the detuned synths and dubby rumble of "Pitch Shift", a late night bass weapon which is already a favourite for Benji B. With Jamie XX playing ‘Reflex’ on both his recent Boiler Room and BBC Radio 1 Guest mix, this release is sure to be an ever present on discerning dancefloors this Autumn.

                                    Berlin's Slow Life posse return for a mighty third instalment, which sees their Spanish selector S. Moreira on devastating form, channeling seriously deep grooves laced with astral Detroit electro, sultry house music and staggered techno. "Empty Your Mind" fills the Detroit electro quota, as Moreira combines a rattling breakbeat with grainy bassweight and a superb sample from "Enter The Dragon". As the track rolls on, the producer showers us with cosmic rays via emotive pads and hints of acid. "As High As It Can Go" is a timeless example of ascendent dance music, pairing euphoric pads with hardcore breakbeats and the gentle undulation of lysergic sequences. If you've been keeping up with the trippy house sounds of Gnork, Route 8, and Dorylus then this blissful haze will more than tickle your fancy. Flip the disc and prepare yourself for the smooth and sexy sounds of late nineties London in the form of "Just A Little Beat". Sitting somewhere between the jazzy dub house of Ministry of Sound era Harvey or the Idjuts softer releases and the symphonic beauty of the finest broken beat, this is the perfect tool for providing a change in rhythm and mood on the floor. Moreira enlists Italian chum Saverio Celestri to close the EP in style with the shimmering dub techno of "Mostros At Work", a hypnotic journey into an immersive nebula of calm.

                                    FORMAT INFORMATION

                                    12" Info: 180g pressing!

                                    The latest special delivery from Poste Italiane is a killer Italo reissue from those folks at Archivio Fonografico Moderno which is certain to vanish into thin air in no time. Bolstered by the lofty pedigree of the production powers responsible for BWH's "Stop / Livin' Up" and voiced by the mysterious Cosimo Ciccone, an Australian expat who spent much of the eighties living it up in Rome and providing uncredited vox on many a club hit. The production from Blackway and Galante is strong as you'd expect, all crisp percussion and driving bass sequences, while the vocals have just the right amount of cheese to add to the overall flavour. Dark and catchy, "Dog In The Night" has been a longstanding classic with all the jocks in the know, from Metro Area and I-F to Paris' Les Yeux Orange.



                                      MUSK is the new flesh, or at least what’s secreted from the glands located under the skin. Frontman Rob Fletcher is the last guy in the world you’d think had pheromones; they might work on him, but his voice is definitely in the “let’s get the fuck away from this guy” category, with his undeniable ability to growl, spit, shriek and wretch while the band attacks. Drummer Brendan Leonard is a total canbasher, and bass-player John Laux is sublime. He’s not even there at times, but he is, like the whispers of forced air you heard when you were listening to Tical on wet that one time. Like, is that really there? It feels like it’s been there forever.

                                      The weird thing about MUSK is that on top of all this malign beauty—what sounds like the six movies John Saxon made in Italy that nobody except the biggest creeps in the world know about, or Beefheartian blues lurch juxtaposed against that lost ’80s pigfuck clangor—guitarist Chris Owen bleeds reverb everywhere, as if his amp had a heart to be stabbed, but it’s just a cone about to rupture. His leads give off a sick, dusty twang, pained as if in their death throes (which is saying something, because the guy looks like the dad from The Family Circus). Each dying twitch and every belligerent throb was captured by engineer Chris Woodhouse (Oh Sees, Fuzz, Ty Segall, Intelligence).

                                      Whether working the muggy Southern Gothic angle or treading knee-deep in NYC’s pungent sewers, all routes on Musk lead to a cold, shuddering finality. Long live the new flesh!

                                      “… a Scientists-infused dip into the swamp… the only band even close to the scree they unleash is Sicko Inside Me-era Necessary Evils mixed with a bit of the first Horrors LP and dare I even say some of the nastier Hunches efforts. Absolutely ferocious guitar sound that’s going to have some people jealous. With Woodhouse on the deck, it’s of course a real stunner… giving ’em the perfect ratio of reverb-to-spit, trash-canning the drums perfectly and a bass tough enough to stand up to the nastiest guitar sound since… shit, I dunno. It’s pretty bad ass. Watch out for these maniacs.” — Rich Kroneiss, Terminal Boredom “Primitive sludge with an ample amount of weirdness, MUSK’s music is deft combination of Flipper, later Scientists, various AmRep swamp dwellers and DEVO if the Akronites were forced to play in a tar pit.” —Scott Soriano, S-S Records

                                      The Myrrors

                                      Solar Collector

                                        Cardinal Fuzz are proud to present The Myrrors - Solar Collector. A limited 350 pressing presented in a hand screen printed sleeve.

                                        The Myrrors debut album - Burning Circles In The Sky, although recorded in 2008, only saw the light of day (other than a ltd self released cd) late in 2013 as psych aficionados hailed it as being an undiscovered gem - needless to say it sold out before most knew anything about it.

                                        Solar Collector (another release Cardinal Fuzz has plundered from the great Sky Lantern Records) is their first release since their self imposed exile which shows how the bands taste evolved over that five year period with a release that not only better reflects the bands true live sound but also acts as an unpolished Kodachrome of this new stage in their evolution as a band.

                                        This is something akin to 60s losers The Index with its heavy basement like vibe that permeates these recordings only they have drafted in members of Parson Sound and Terry Riley in that basement (on Organ) . On these four garage raga jams (clocking in at just under 40 minutes) circular mantric movements build and build with guitarist Nik Rayne adding some of the snarliest fuzz heard this side of a Heads recording as each track acts as a guide to achieving the meditative states normally only accomplished by Zen practitioners.

                                        FORMAT INFORMATION

                                        Ltd LP Info: 350 Press.

                                        Welcome aboard Transatlantyk, a new imprint brought to you by the same man who put Polish music back on the map. Zambon, the inspired editor, collector and selector took the world by storm with The Very Polish Cut-Outs, the home of diverse edits of forgotten and obscure tracks from Poland's past and now this new undertaking is devoted to releasing original material from fresh talent from all over world. Where better to begin though, than his native Poland with the precocious talent of Naphta, a Wrockaw based RBMA alumni who loves weed, video games and Sun Ra's cosmic jazz. He blends his varied influences with not-that-obvious attitude, creating four slices of heavy exotica house aimed directly at the dancefloor. All cuts are filled with voodoo drums, rainforest darkness and pure tropical heat. "Age Of Sun" has you hooked right from the start with its beautiful combination of tribal flutes and chimes with an irresistible machine groove. "Shoji The Shaman" hits harder with the full force of demented drum machines and free jazz tonalities, while "Boulevard Touch" is the kind of rainforest brilliance we're used to hearing Dresvn, Sotofett or the Soviet house kids unleash. Naphta closes the set in dark and dense fashion with the gloomy bump of "Cirlces", a percussive thumper layered with a heavy fug of pitched down vocals and chopped up samples. Imagine a lost RZA house cut and you'll be on the right path.

                                        If you're one of the horizontally minded, possibly bearded (or not if you're a woman), designer clobber wearing folks of the world, then chances are you spend an inordinate amount of time immersing yourself into the online world of Test Pressing. Test Pressing is a one stop shop for all things Balearic, be it previews, reviews, mixes or retrospectives, and now they've finally got their arse in gear and launched a record label. For their inaugural release, the label team up with Balearic supergroup Nautic, whose recent "Navy Blue" EP caused a drifting weather movement through numerous record collections. Kicking the release off groovy fashion, band member Bullion goes solo with a rework of "Freedom Of The Floor", the B-side bomb from their last single. His remix is an upbeat collage of kraut rhythms, glacial synths, loose disco basslines and plenty of off the wall funk, which ups the tempo of the original and drags it sweaty palmed to the nearest dancefloor. Next up, Womack & Womack get the Nautic treatment, with our coastal crew covering the duo's 1989 hit "Missing Person's Bureau", transforming the limber electronic soul classic into a heavenly vision of dubbed out beauty, richly textured with overlapping vocals.

                                        On the flip, "Freedom Of The Floor" gets another rework, this time from new outfit Open Space, the production handle of TP's Apiento and Andrew Hale of Sade group fame. The polar opposite of Bullion's scurrying ADHD dancefloor take, Open Space's translation is a soulful slow jam perfect for deep relaxation. Imbued with the same sensual rhythms as Sade's finest moments, the mix blooms into life with fragile acoustic guitar, immersive pads and soothing keys. Undoubtedly a future classic, this one steals the show for me; great stuff!

                                        L Neils


                                        Germany's Baroc launch their imprint with two slices of tough, analogue house and techno from fresh faced production talent L Neils. The newcomer showcases melodic expertise and sonic prowess which belie his years over the course of two trailblazing untitled cuts. On the A-side Neils explores the outer realms of the analogue house universe, following the shifting coordinates of saturated sequences. Heat treated drums crack and thump underneath layers of ethereal synths and a rolling bassline as Neils takes us to the stars. We get a fleeting glimpse of the young producer's techno side on the flip, that is until we find ourselves plunged into the unfathomable blackness at the edge of the galaxy. This is the sound of 5am at Bohemian Grove when the boys bring their UR records out to play. The crisp clatter of percussion and the hiss of hihats form the perfect counter balance for the bubbling bassline, while the queasy synthlines in the midrange give the whole track an air of menace. L Neils goes in hard on his debut - nothing but the deep, black hit of space here.

                                        FORMAT INFORMATION

                                        12" Info: Limited to 300 copies. Free sticker included!

                                        NYC reaches across the pond to the Golden Ghetto of Hoylake, UK for this journey through sifted samples, vetted vocals and borrowed beats. Hip Hop royalty Paul Nice meets Bohemian B-Boy Pooky uptown for this epic 4 tracker of chopped and dropped vocals and beats. Heavy latin influences on "Times Up" from Paul Nice sit nicely alongside Pookys "Appreciate' cut", sampling heavily from Claudio Jorges "Trem Da Central". On the flip, the kid comes back hard with the Clube do Balanco sampling brilliance of "Mistakes Of A Woman", a red hot dancefloor filler if ever I've heard one. King DJ Paul Nice completes the package with the grab-your-lino B-boy dopeness of "The Business". Full scale DJ support from Daddy G, Chris Crates and Nightmares On Wax pretty much guarantees this as one quality product.

                                        ‘Legendary’ is the kind of description that gets slapped on artists far too often these days but in the case of Nick Nicely it, for once, feels justified. Bursting onto the UK’s music scene at the start of the ‘80s nick’s debut single ‘DCT Dreams’ was a remarkable slice of ‘synth-pop on acid’ (FACT Magazine) perfectly fusing the electronic sounds of Neu and Kraftwerk with the psychedelic lyricism of Sgt Pepper-era Beatles and Syd Barrett’s Pink Floyd. Soon signed to EMI, nick’s second single, 1982’s ‘Hilly Fields’, took us even further down the rabbit hole with a heady mix of synthesizers, cello and the first recorded use of ‘scratching’ in a non-Hip-Hop record. Hailed by the NME as "the best psychedelic record made since the '60s” it set nick up to be a star and to this day remains one of the most collectable records from the period.

                                        Sadly though, as is all too often the case, it wasn’t to be and despite the critical plaudits heaped upon nicely’s head and the interest of various labels, and even legendary producer Trevor Horn, nick’s debut album wouldn’t make it to the shops until 2004 when Tenth Planet Records finally released ‘Psychotropia’, a collection of recordings from 1978 to 2004. Since then though nick’s reputation has continued to grow with critically acclaimed releases on US labels Burger Records and Captured Tracks, contemporary psychedelic acts like Bevis Frond and Amorphous Androgynous citing him as a key influence and following his live debut in 2008 appearances on bills alongside artists such as Ariel Pink and John Maus.

                                        As a fresh wave of psychedelic sounds spreads across the globe nick’s music is more relevant today than ever before and now we have ‘Space of a Second’, 14 songs that range from the “prime shoegaze bliss” (Pitchfork) of ‘Wrottersley Road’ and ‘HeadwindAheadwind’ through to a brand new imagining of ‘Hilly Road’ that reveals nicely to be once again at his bewilderingly creative best.

                                        Bringing to the fore nick’s unique take on lo-fi baroque psychedelia, Space Of A Second bends influences from across time and space into an exhilarating construction that evades easy definition, indeed perhaps in the end the best description comes from The Guardian’s Alexis Petridis who simply hailed nick as “Unique, almost inexplicable”.

                                        Stop press! - New UR records on the horizon! Nomadico leads the charge after almost a year of tense excitement, fans salivating at the bit for fresh new high tech jazz and machine funk from the masters. "The Singularity" opens the release, an analog bass driven track with dark atmospherics and acid elements that can only truly be appreciated in a dark sweaty club come 5am. Next up is "Rooted", a bouncy, funky jam bridging Detroit's house and techno camps with aplomb whilst both displaying the future-proof sounds emanating from the city and its inescapable addiction to the groove. Add to this a spirally, hypnotic drone that constantly rotates around the track and you'll see why this'll be a big secret weapon in the club. The B-side features "Yaxche", a discordant, corrosive number that typifies that Deetroit grit. With vocals courtesy of Naheedence, the track unloads its elements slowly and deliberately; showing you the full contents of its trophy cabinet in a clear and concise fashion. The closer, "New Baktun" is a slower, more gentile number, with arpeggiated synths, glistening percussion artifacts and a polyrhythmic twist. Great stuff from this relatively new addition to the UR barracks.

                                        STAFF COMMENTS

                                        Matt says: First in the recent salvo of fresh new Underground Resistance firepower.

                                        Kenny Dope and Louie Vega's Nu-Yorican Soul project was responsible for some of the biggest underground club hits to come out of NYC throughout the 1990s; their collective vast musical knowledge, impeccable taste and legendary status as DJs in the city only helped elevate them to the highest level. "The Nervous Track" is a fine example of the duo's deep musical heritage, originally released on Nervous Records in 1993. Its deep pads, subby bassline and solid as a rock breakbeats captured the ears and minds of any self respecting DJ or dancer who came within a hundred miles of it, the very definition of a classic! Fusing the worlds of jazz, Latin, hip hop and house MAW set the blueprint for generations of DJs and producers to come correct with records like this. Here, re-mastered and re-issued from the original DATs in conjunction with Nervous Records NYC is a piece of dance music history, "The Nervous Track" is available again and still sounding as vital and groundbreaking as it did on its original release.

                                        Another essential release from the Nu-Groove vaults, "Dyckman House" is an amazing love letter to NYC from Rheji Burrell in the form of 6 tracks of raw late 80s garage house. This is real underground house from a golden period in music in NYC and its influence can still be felt today in contemporary dance music. "Dyckman House" has it all; late night deepness, raw drum machines and jacking rhythms all with a healthy dose of that Burrell Funk that we all know and love. Alongside percussive blinders like "Ravenswood House", sleaze assaults like "Tilden House" (check out the porno vocals!) and heads down ravers like "High Bridge" and "Fort Green", Rheji delivers a couple of trademark grooves in the form of the title track and melancholic EP closer "Forty House". Re-mastered, re-pressed in conjunction with Nu-Groove and with all the original artwork intact.


                                        (What's The Story) Morning Glory? - Remastered Deluxe CD Edition

                                        ‘(What’s The Story) Morning Glory?’ is Oasis’s biggest-selling album, with 22 million copies sold worldwide. On release in October 1995 it spent 10 weeks at No.1 and is the 5th biggest-selling album in UK Chart history. In their 14-year recording career (1994 - 2008) Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation.

                                        It was during the ‘Morning Glory?’ era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996 and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.

                                        Each edition of this album includes a remastered version of the original. The 3CD and deluxe digital formats include two CDs’ worth of bonus material including of all the B-sides plus rare and unreleased Oasis tracks from the ‘Morning Glory’ era.


                                        (What's The Story) Morning Glory? - Remastered Edition

                                        ‘(What’s The Story) Morning Glory?’ is Oasis’s biggest-selling album, with 22 million copies sold worldwide. On release in October 1995 it spent 10 weeks at No.1 and is the 5th biggest-selling album in UK Chart history. In their 14-year recording career (1994 - 2008) Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation.

                                        It was during the ‘Morning Glory?’ era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996 and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.


                                        (What's The Story) Morning Glory? - Remastered Super Deluxe Box Set

                                          Big Brother Recordings release ‘(What’s The Story) Morning Glory?’, the second in the new ‘Chasing The Sun’, following May’s hugely successful re-release of ‘Definitely Maybe’, which charted at No.5.

                                          ‘(What’s The Story) Morning Glory?’ is Oasis’s biggest-selling album, with 22 million copies sold worldwide. On release in October 1995 it spent 10 weeks at No.1 and is the 5th biggest-selling album in UK Chart history. In their 14-year recording career (1994 - 2008) Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation.

                                          It was during the ‘Morning Glory?’ era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996 and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.

                                          The deluxe box set includes:

                                          3CD - ‘(What’s The Story) Morning Glory?’ deluxe CD, meticulously remastered with B sides, plus unreleased and rare tracks including demos and live recordings.

                                          180 gram double LP in gatefold sleeve - Heavyweight vinyl of ‘(What’s The Story) Morning Glory?’, meticulously remastered from the original 1995 half inch tapes. Includes download code for B sides, plus unreleased and rare tracks including demos and live recordings.

                                          12” single - This 12” is a replica of the original promotional 12” sent to industry contacts as a promotional item in 1995. Tracklisting features A side ‘Cum On Feel The Noize’ and B side ‘Champagne Supernova (Lynch Mob Beats Remix)’, which has never been commercially available.

                                          7” single - This 7” includes demos of ‘Hello’ and ‘She’s Electric’, both of which were recorded in ‘Definitely Maybe’ producer Mark Coyle's studio. The ‘Hello (Demo)’ track is exclusive to the box set.

                                          Cassette - Exact replica of the original promotional copy of ‘(What’s The Story) Morning Glory?’. This rare cassette, only sent out to industry contacts, has never been commercially available. It includes ‘Step Out’ which was removed from the album prior to its release

                                          Collector’s coffee table book - This beautiful 56 page hardback book contains rare and unseen photographs documenting the ‘(What's The Story) Morning Glory?’ period by Stefan Batselier, Brian Cannon, Kevin Cummings, Grant Fleming, Jill Furmanovsky, Owen Morris and Tom Sheehan, plus private photos taken by the inner circle. Original artwork designer Brian Cannon explains the story behind each single’s cover art and sleevenotes are written by Neil McCormick.

                                          ‘Roll With It’ cigarette papers - These rolling papers were an original 1996 promotional item. They have been replicated solely for the box set and feature the lyrics for ‘Roll With It’ printed on the back.

                                          Postcards & art card set - 3 photograph postcards and a 12 x 12 inch art card.

                                          The return of a true legend: Together with Gary Louris he was the founder and frontman/singer/songwriter for The Jayhawks. Now he returns with perhaps his strongest string of songs ever. Americana meets Psychedelia, Joshua Tree as the new Laurel Canyon. A monument of an album by one the greatest musicians of the past three decades.

                                          Those generous chaps at Aficionado return with their tenth release, eager to extend your summer with a 12" ticket to the sun and fun of La Isla Blanca. As you should know by now, Messrs Moon and Boardman don't do things by halves, so rather than hastily booking a scattering of seats on an Easyjet airbus, they've plumped for the luxury and bliss of Club Class on Onyricon air; the airline that gives you Mas y mas. This pan European consortium, headed up by the production duo of Leo Mas and Fabrice (ably assisted by the writing talent of Italo legends Rago and Farina) formed with the aim of creating the perfect flying experience, and their triumph is presented in all its transcendent beauty on the A1. The "On Air Mix" of "Sweet Dream" coasts smoothly through the upper atmosphere on a bed of blurred new age pads and celestial vocals, pure as the sunlit white of the clouds below, tranquil as the heavens above. As you hit the strip of the Aeroport D'Eivissa, the hedonistic pulse of the Island begins to course through your body, driven by the hypnotic tribalism of Leo & Fabrice's "Balearic Militant" mix, carrying you back to an unremembered youth of faded club flyers and open air parties. You're in the mood for a dance, and man of the moment Andras Fox is on hand to take your bags and show you a good time. The antipodean tape peddler brings a dash of drum track exotica to his remix, leaving the Roland out in the sun long enough to fully harness the lilting patter of island rhythms. The fretless bassline is a white walled penthouse but no pavement as the Fox provides executive Balearic free from the dust of Ibizan streets. As you step into the realm of the senses mystical melodies, spiritual vocals and circular bassline swirl around that rattling rhythm like a Nu Groove B-side lost in Rheji's luggage back in '89. After all your danccefloor exertion, it's recommended you cool off with a dip in the pool to the echo drenched swelter of B2's "Sun Mix". The sweet fragrance of dub and shimmer of suncream on the water are all you remember as you drift gently away.

                                          Officially Aficionado.

                                          Christopher Owens releases his second solo album ‘A New Testament, a follow up to his debut, the critically acclaimed ‘Lysandre’.

                                          ‘A New Testament’ is full of sheer raw emotion and tears of heartbreak and joy.
                                          Already premiered tracks ‘Stephen’ and ‘It Comes Back To You’ stand as examples of Christopher’s poignant songwriting which has developed to create his definitive album. His incredible vocal performances lead a path through his own incredible, yet universal, life experiences whilst forming perfect pop hooks supported by lilting guitars as heard on ‘Never Wanna See That Look Again’.

                                          Papir is a young three-piece from Copenhagen, Denmark who has played together for years under various names while slowly, but surely, perfecting their unique brand of semi-improvisational psychedelic rock. Based around Christoffer Brøchmanns complex and powerful drumming Papir creates instrumental journeys – organic structures of sound that move forward with the hypnotic groove of Can or electric Miles Davis through euphoric peaks, thunderous riffs and beautiful cosmic dronescapes.

                                          Nicklas Sørensens guitar playing displays his love for fuzzed-out psychedelic rock from the 1960s and 1970s but also has a highly melodic aspect that reveals his admiration for German heroes Michael Rother and Manuel Göttsching. Similarly Christian Becher Clausen's bass playing covers a wide palette of ideas and sounds – sometimes using the instrument as a solid groove-maker and other times as a tool for creating spacy soundscapes and drones. As a unit the three members achieve what the great power trios of the 1960s did at their most fertile: the ability to combine each aspect of the band into a whole that surpasses the sum of its parts.

                                          Following their self-titled debut LP that came out on Copenhagen label Red Tape last year, Stundum is obviously an entirely different beast that sees the band channeling into a much more free and vital sound. Monday, which takes up the entire B-side on the vinyl version is the centerpiece of Stundum. Here the band demonstrates their ability to combine individual musical skills with a wide ranging pool of inspirational sources. The music builds, swells and evolves almost like an organic natural process – building something which is almost beyond categorization, not really belonging to any specific musical era or scene.

                                          Had this album been released ten years ago one might have been tempted to describe it as psychedelic post-rock – but no genre tags, however inventive, does full justice to Papir's music. Neither does more traditional tags such as krautrock, prog, space-rock or stoner-rock, although none of them are completely off the mark. Whatever one feels like calling it there's undeniably something refreshing about Papir's rip-roaring psychedelia, with seething 10-minute guitar solos and their insistence on melodic beauty. The album was recorded with producer Jonas Munk (Causa Sui) during an intensive week-long stretch in a small secluded house on northern Zealand (Denmark's biggest island), with Munk giving the album a full-bodied and natural production, using the warm sound of the wooden house rather than artificial reverb and other after-treatments. Only few overdubs were added after capturing these stellar jams – aside from a few extra layers of guitars and percussion....and a phaser-treated coffee maker. This is music to lose oneself in - music to swim in.

                                          Detroit legend Terrence Parker lands on Defected with ‘Open Up You Spirit’, featuring four brand new mixes of one of the standout cuts on his ‘Life On The Back 9’ album.

                                          Kicking off proceedings is 'TP’s Deeep Detroit Heat Remix' which demonstrates positivity through Merachka’s powerful gospel vocal and an ever-grooving baseline that is mirrored by organ keys, highlighting why Terrence, and Detroit’s underground house scene, is very much in the forefront of soulful house being done the right way. 'TP’s Bangin Piano Remix' does what is says on the tin as classic piano chords and four-to-the-floor house beats build the track to almost cacophonic extreme before dropping into a warm bass synth to start the ride over again. On the flipside is 'TP's Deeep Detroit Heat Instrumental' and completing the pack is 'Merachka's Kreep Into Your Spirit And Open It Up Remix' which strips things back with 303-esque acid lines and thumping kick-claps.


                                          Lost On Me

                                            Ltd 7" vinyl release, backed with exclusive track "Fur".

                                            The brand new single from this Birmingham indie / pop band and the follow up to the hit single "Money".

                                            Swamp81 launch their new sub label 81 with this four track EP from Swamp dweller Mickey Pearce. 'Jam 01' combines a chest-rattling kick with machine gun snare rat-a-tats and a harsh 808 snaps for a perfect dubstep / trap intersect. 'Instructions' has loose, almost jazz-like cymbals flying over a double punch dubstep rhythm which evoloves with the nastiest, most insistent synth line. 'Loop For D' sounds like a recording of an augmented Victorian automaton - steam punk future (retro) beats anyone? Lastly 'Jersey' throws down the funk, rolling out a swinging break, rubberised, elastic bassline underpinning eerie synth wash atmospherics and slurred vocals.

                                            People Get Ready


                                            The new record by People Get Ready is called ‘Physiques’. It ramps up the band’s fierce, joyful, heedless interplay; their love of big pop songs and trancelike slow jams and songs that fall somewhere in-between and, above all, their devotion to pleasure.

                                            ‘Physiques’ was made during three months of tracking with Deerhoof’s Greg Saunier at the Clocktower Gallery in downtown Manhattan. Founded by Alanna Heiss, who also created what would become MoMA PS1, the Clocktower Gallery was one of the first entrants in New York's ‘alternative art space’ movement in the 1970s. Invited to the space by curator Joe Ahearn (Showpaper, Silent Barn), People Get Ready were among the very last artists to work at this pioneering art space, which is now being renovated into condos. It would not be wrong to take ‘Physiques’ as a kind of tribute to and last gasp from a more lovely time in New York, when art ran free in downtown Manhattan.

                                            People Get Ready consist of two Arizonans (Steven Reker, Jen Goma) and a Californian (James Rickman). Produced by Greg Saunier, the album began as a collection of deliberately incomplete sketches that they developed over three months of improvisation, revision and accidental magic. Steve Marion (Delicate Steve), Brian Betancourt (Hospitality, Here We Go Magic) and Ryan Seaton (Callers) guested on a few songs and former band member Ian Chang (Matthew Dear, Body Language) played drums. Booker Stardrum, the drummer for experimental outfit Cloud Becomes Your Hand, joined the band that autumn.

                                            People Get Ready came together in New York in 2009 while frontman Steven Reker was looking for new ways to combine his devotion to avant-garde movement and pop art after working with Miranda July and touring as a dancer and guitarist on David Byrne’s year-long Everything That Happens tour. The band took shape around a run of shows at The Kitchen, described in the New York Times as “an experience beyond hearing music in a club or viewing a dance... a moving meditation that suggests dreams.”

                                            Nurtured by and connected to several generations of America’s hypercreative bleeding edge of multi-hyphenate musicians / artists / makers, People Get Ready challenge what it means to be a band. NPR’s Bob Boilen, placing their performances among his Top 5 concerts two years running, put it best: “No single show took my breath away the way this one did - part rock concert, part performance art, part dance, all perfectly melded together. Having seen so many dudes with guitars... it was incredibly refreshing to find a group challenging and changing the norm.”

                                            Petite Meller

                                            NYC Time

                                              Following the sold out run of first single 'Backpack', Night Beach Records is pleased to announce the release of a limited run of 300 coloured transparent vinyl of Petite Meller’s new single 'NYC Time' along with a new remix of the track by US duo Betablock3rs.

                                              Backed with a haunting vocal from Brooklyn-born singer Merlin Bronques and built around a hypnotic wind up toy-like melody, NYC Time is a typically unique and catchy pop song from meller. "The music I used to listen to as a child carries me back to where it all really came from. I wanted to show this voyage from an empty suburbia a la Antonioni's "L'Eclipse" to the influential rhythm of magical NY."

                                              Still sounding like something from the distant future (1988 to be exact), "We Are Phuture" continues to survive and prosper. An all time acid house classic straight from Chicago, Phuture's mission statement still packs a heavyweight punch today, and gets regular spins from any true acid jock. The jacking beat and thumping bassline create the perfect home for the nagging 303 lines, twisted synths and flanging hats. Acid intensity if ever I heard it! If you like you're acid trax, deeper, harder and mostly instrumental, I'd suggest you go straight for the brain mangling "Slam!" mix on the flip, while electro / freestyle jocks will have a lot of fun with the sampler bashing "Spank-Spank". Repressed, remastered and reissued in conjunction with Trax Records and with all original artwork retained, "We Are Phuture" is an essential addition to any record collection.

                                              Dan Physics came up in the ranks of the early 90s Midwest & NYC dance underground, when record shops still existed and the club scene was still diverse and vibrant. Working at Sonic Groove Records alongside Adam-X and Frankie Bones, through the years Dan had gained an encyclopedic knowledge of house, techno, industrial music and many genres in between.

                                              What we have here is a document from his past recording archives which demonstrates his studio expertise and is an impressive take of high bpm, yet melodic techno. At points reminding us of Walt J at other junctures more tripped out, this will not be the last time we hear from Dan.



                                                "Limited edition" version of the full length album, You. Dusted Magazine said: The dread, the discord and ever-shifting parts can make this music as disorienting as a metal record, and Picastro achieves the effect without speed or volume.

                                                Sixteen years gives you time to hone your craft. Master it, maybe not, but there is a clarity of purpose and a confidence that can only be bought with time. Liz Hysen - along with her rotating crew of collaborators - has been making music under the name Picastro for 16 years and You is a brilliant distillation of the project’s aesthetic. With a voice that shifts shape from track to track, moment to moment, Hysen is alternately enchanting and harrowing. Fables, rituals and even the living dead provide fodder for her incantations and yet there is a dark warmth to it all. Playing lullabies and whispering in your ear like some spirits found deep in the wilderness, they want to guide you home.

                                                The Pine Hill Haints

                                                The Magik Sounds Of The Pine Hill Haints

                                                The Magik Sounds of the Pine Hill Haints [KLP254] ventures softly into the cool, dark whisper of the haunted south. Short, tight spun rhymes about silver quarters and vampires come from a late evening session in a small pink house in south Alabama, located next to an old Native American mound of shells and bones, recorded at low volume with red eyes and open windows. This is the 4th Halloween dance party long player the Haints have cut for K. "Mrs Pac-Man" sets the theme...although this record is quicker and faster, Buddy Holly pop driven than most other Haint efforts, the opening track places your mind in the smokey state needed to feel the Magik Sound vibe. The sad Queen of all truck stops and late night greasy spoons, the lovely Angel Mrs Pac-man hold her charm over the listener and keeps every loner in tune with midnight feeling. I used to work a lot of third shift jobs, serving crummy food to sweethearts, the day finished, done, another one in the books, and the great burden of living in a modern nightmare almost, almost felt like it had been lifted...the sweet early a.m. twilight hours, where all humans are brothers again, all hatreds and vices and ill wills are temporarily forgiven, folks smile and tell a little joke or two, and the haunted Mrs Pacman winks eternal in the background....

                                                Prince & 3rdeyegirl


                                                With his secret gigs creating enough excitement to power the National Grid for a few years, Prince now keeps the buzz in full flow by hitting us with not one, but two whole new studio albums. While album one, ‘Art Official Age’ harks back to Prince at his pop-funk / soul best, ‘Plectrumelectrum’ puts the funk back into rock music. Backed by his hand-picked all female band 3rdeyegirl (Donna Grantis, guitar, Hannah Ford Welton, drums, and Ida Nielsen on bass)., ‘Plectrumelectrum’ is packed with stadium friendly guitar riffs alongside the hooky choruses. This is a classic band record, recorded live and in analogue the album is an electrifying funk-rock statement, harking back to the days of Jimi Hendrix.

                                                With his secret gigs creating enough excitement to power the National Grid for a few years, Prince now keeps the buzz in full flow by hitting us with not one, but two whole new studio albums. ‘Art Official Age’ is a solo album and ‘Plectrumelectrum’ is by Prince’s new band 3rdeyegirl.

                                                ‘Art Official Age’ is a classic Prince album, produced, arranged, composed and performed by Prince and Joshua Welton. Sonically the record is a contemporary concoction of soul, R&B and funk. The melodies are immediate and prominent as ever and Prince’s vocals are rich and solid, taking full advantage of his vocal range with decidedly, seductive lyrics.

                                                The first thing that strikes you about the new Red Snapper album is how much the band have raised their game. There's no reason why bands shouldn't get better over time, it's just that a lot of names don't stay hungry and creative.

                                                To start with it's a great idea; an album inspired by the band’s recent soundtrack for cult 70s Senegalese road movie Touki Bouki - the first independent African film which was recently restored by Martin Scorcese and which is first and foremost an afro-funk odyssey in itself. Red Snapper have toured with the film for a year, playing the soundtrack live to audiences across Europe; themes from the score having been developed and extended to form "Hyena". Hitting the studio at the end of this long haul on the road has delivered a super-tight energized performance, reminiscent of a 1970’s approach to recording.

                                                And the 70's are all over this soundtrack, combining beautifully with a cutting edge futuristic musicality that sets Red Snapper apart. Hyena is a reflection of Red Snapper’s work over the last two decades. They don’t just pull it off, they make it sound easy, and that must be the result of touring hard before putting the tracks to tape. This is more than a soundtrack….. Hyena is a timeless, African influenced album which has as much to do with the future as it has the past.

                                                Max Richter / Daniel Hope

                                                Berlin By Overnight

                                                  To coincide with Max Richter’s Royal Albert Hall debut on 4th October, where he joins forces with Daniel Hope in one of the rare live occasions that sees them together on stage, DG is releasing an eclectic Remix EP. Berlin by Overnight by Max Richter is taken from Daniel Hope’s latest album Spheres (2013) and will now be released digitally and on vinyl together with 4 remixes by internationally acclaimed remixers, who were carefully selected and picked up on the nocturnal, minimal and repetitive atmosphere. The international line up of remixers includes Efdemin, CFC, Lorna Dune and Tom Adams.

                                                  Pete Rock & CL Smooth

                                                  TROY / The Basement - Jim Sharp Edits

                                                  Two Pete Rock & CL Smooth classics remixed and re-imagined by Jim Sharp. Side features golden era anthem 'They Reminisce Over You (TROY)', complete with Tom Scott sax sample, given a smoother, funkier groove and nice warm pads. On the flip 'The Basement' is transformed from reggae-tinted head nodder to low riding roller as Jim Sharp eases in Edwin Starr's Hell Up In Harlem groover 'Easin' In' as a new backing track.

                                                  Ruby Fray


                                                    After her debut album Pith [KLP239], released on K, Emily Beanblossom of Ruby Fray spent the next two years touring the U.S., selling her handmade soaps and working on the bare bones of her next album to be released this fall: Grackle [KLP251]. Coming a long way from her debut album, Pith [KLP239], Ruby Fray's upcoming release Grackle [KLP251] blends Americana sweetness with sludgy dissonance. Emily and long time collaborator Nick Botka, teamedup with Pith producder, Ben Hargett, to record the album at Dub Narcotic Studio in Olympia, WA. Their newest recording preserves the playful jangly genre-bouncing enervation found in their previous workwhile insisting on a more disciplined approach to songwriting.

                                                    The album opens with a slow synthesizer prelude "You Should Go", setting the tone for listless anthems characterized by Beanblossom's harmonies and hollers. "Vespers", a morning prayer, introduces a coy letter to a wayward sailor in "Photograph". Then, with a sharp twist of a post-modern dance beat paired with the tremolo of a Finnish lap harp, "Barbara" takes the stage to insert bitter anecdotes, and "Anthony" invokes a dark spaghetti western composition supporting Gregorian vocal harmonies. "It's Mine", with its trip-hop drum and bass vehemence, finishes into a chaotic degradation of off-kilter cello chords.

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