MAGIC MIX

ALL GENRES

WEEK STARTING 21 Apr

Fresh from remixing Asusu on Livity Sound Dave Huismans (also of 2562 fame) gets top billing on this new EP for Will Bankhead'sThe Trilogy Tapes imprint. Opener "Fortress (The Hague, 2005)" strips Chicago house back to the bare bones of a kick drum, syncopated 808 percussion and a grumbling acid synth line. "Caustic Network" tumbles out of the speakers before the bleeping intro gets nailed down to another dull thud of a kick drum. "Kovaxxxt" ups the pace, sets the shaker on reverse shuffle mode and kicks it with a nasty taut machine drum. "Situation" borrows a vocal snatch from the Thin White Duke and rubs it up against a four-to-the-floor techno banger. Another TTT for the left of centre dancefloor.


"An album simmering with background chaos worthy of prime-era Buttholes or Royal Trux. The real surprise is how Derry Legend clears room for pop chops, making it possible to see the Axemen's relation to bands like the Clean and the Gordons. A wonderful testament to the power and limits of form-bloat. Ahoy! -- Byron Coley.

Long overdue re-issue of this cracked pop classic and Flying Nun rarity, Derry Legend was one of Kurt Cobain's top NZ platters and a staple of his mix-tapes.

Once I saw this band play live and thought "Ugh! What is this crap?!" I tried to listen to their truly awful "Three Virgins" album, but just couldn't see (hear?) the point. So the other day when a flatmate bought this "new" album (it appears to have been recorded in 1987, actually), I just shook my head and thought "so some people still buy records just because they like the cover art."

Then a strange thing happened: by accident I heard the last song first and thought "Hey that's quite good." I played the first side next - better still! - then the whole second side - FAR OUT! Since then I've been playing this over and over and it just cracks me up how good it is.

The music is like childhood memories of the first time you ever heard rock 'n roll; the first time you ever heard slushy-pop; the first time you ever heard rap (!). Listen to "He's Leaving Home" and wonder what George Benson LP the band sat around and assimilated; hear "The Wharf With No Name" and wonder why the Beatles never thought of it first; hop on one leg to "That's Finland, Dear" and understand why Acid House was just a nine-day wonder while Chuck Berry's rhythms still cascade like thunder. - Bevandra's Ears.

FORMAT INFORMATION

LP Info: * 100% analog remaster from the original tapes.
* Licensed and produced in full co-operation with the band.
* LP includes digital download of entire album.
* Two newsprint poster inserts w/ bonzo photos and verbiage.

Despite his busy schedule recording and touring as the bass player for Dirty Projectors, Nat Baldwin found time to write and record his most soulful and ambitious collection of songs to date. After recording the initial tracks at Machines With Magnets in Pawtucket, RI, Nat recruited Otto Hauser (Vetiver, Lia Ices, Espers) for drums and percussion, and Rob Moose (The National, Antony and the Johnsons, Bon Iver) to write string arrangements.

Much of the album was written while Nat was training for a marathon at his home in Maine. Blending autobiographical details with fiction, the songs cover a wide range of topics including boxing, drowning, bodybuilding, target practice, will power, Steve Prefontaine, competition, separation, isolation, devastation, manipulation, conflagration, intoxication, and suicide. Immersive, athletic, and often profound, In the Hollows represents his clearest and most consistent album-length statement, melodically, structurally, and lyrically.

Albums by Nick Drake, Judee Sill, Joanna Newsom, Antony & the Johnsons, and Bill Callahan, to name a few, provided inspiration in balancing that intimacy with minimal, but powerful, adornments." Nat explains that "I hope it is as unsettling as it is beautiful. I want it to make people feel things they can't describe."

Beaty Heart

Kanute's Comin' Round / Yassie - Pink Vinyl Edition

Beaty Heart was formed in 2010 as a four-piece video-art and music collective based in Peckham, South East London. After a year of bedroom recordings and strange and wonderful live sets, the collective has now developed into a band. With their organic percussive sound clash, its use of lush samples and vocal loops they have been described as a mixture of Battles, Panda Bear, Gang Gang Dance, Flying Lotus and Konono No1.

New single 'Kanute's Comin' Round' is the second to be taken from their album 'Mixed Blessings' due May 2014. The track combines an effervescent vocal interweave with plentiful percussion and highlife guitar licks making for an energetic sound. A lovely youthful early summer fizz!


FORMAT INFORMATION

7" Info: Pink heavyweight vinyl pressing.

Chuck Berry

One Dozen Berrys - Coloured Vinyl LP + CD Edition

'One Dozen Berrys' was Chuck Berry’s second LP, and - like its predecessor, 'After School Session' (1957) - contained a mixture of songs which had already been released on singles and EPs, mixed in with new material. Its tracks were drawn from recordings laid down at four one-day sessions, from January and May 1957, and January and February 1958 - the latter being only weeks before the album release. Five out of the 12 songs were previously unreleased - or rather, four of them, since 'Low Feeling' is the master from 'Blue Feeling', slowed down. The album appeared in March 1958, just as Chuck’s new single 'Johnny B Goode' / 'Around & Around' was climbing the charts, but those songs would have to wait till the July 1959 release of his next album to appear in the long playing format. Most artists would think it insanity to leave off such all-time classics from their new record, but Chuck was red-hot that year, and 'One Dozen Berrys' rode in fresh on the heels of his previous double-sided smash 45, 'Sweet Little Sixteen' / 'Reelin’ and Rockin'’, which kicked off each side of the album.

FORMAT INFORMATION

LP Info: Deluxe coloured vinyl and CD package. Designed by Sophie Lo. Liner notes by rock & roll author, musician and mojo writer Max Decharne.

The Breadwinners

Far As I Can See / Mr Landlord

Horus Records is proud to bring to you our third release, one that we feel is very special indeed. From Stockport’s Breadwinners comes a discomix extravaganza featuring a number of guest vocalists / musicians. This is true roots music that harks back to the productions of 1970s Jamaica, so expect raw vocal cuts followed by well-crafted dub and instrumental versions that you’ll want to hear again and again! Al ‘Breadwinner’ is a one man band and studio owner, who created these tracks using vintage recording equipment, ¼” tape, spring reverbs and analogue delays, and all live playing!

On side A we get 'Far As I Can See'. This dark meandering, tumbling roots creation is raw, gritty, all-analogue music-making at its finest. Also bear in mind that this is a TRIPLE discomix; yes that’s right, three versions on one side! The first of which comes courtesy of vocalist City Culture - originally hailing from Manchester, Jamaica, now resident in Manchester, England. That is then followed by a soaring alto sax version from the mysterious Stally, and concluding with a masterful dub of the vocal side conducted by the mighty Breadwinner himself.

On side B 'Mr Landlord' is reminiscent of Lee Perry's productions from the mid-70s Black Ark studios. This discomix has an altogether different feel to the Side A. The mellow groove and vocals of fellow Manchester man Stevie carry you away as he sings about Al’s tormenting landlord. The dub once again comes courtesy of the Breadwinner, and this time it really gets crazy!

The second of April‘s pair of ace new 12“ singles features the third release for Tim Gane‘s killer post Stereolab project “Cavern of Anti-Matter“. Following an exclusive 12 for Rough Trade and last year’s amazing full length “Blood Drums” for Grautag Records in Germany.

Tim Gane, Joe Dilworth and Holger Zapf formed the band in Berlin in 2012. Essentially a power trio of sorts, the bands’ incredible full length was recorded in mono and electronically processed for stereo. Pulsing, geometric electronics with an industrial kraut edge….

The tracks here; “Interlude Music” (parts one and two) were recorded live to two track half inch tape in Berlin in January this year. The idea for which was to record something to run as a backdrop live -faded in and out via Tim’s guitar amp- to run between tracks yet able to offer interaction onstage. Clocking in at around an hour- Tim has edited the piece down to two parts here, so what you have here are two sides of around 22 minutes each…

A fabulous record which sits superbly well with “Blood Drums”- released on vinyl only in a beautiful Ivan Liechti sleeve, pressing of 500 only expected to move quick. A tasty companion piece to the likes of Umberto, JD Emmanuel, Expo 70 and Colin Potter in the sold out Deep Distance cannon. Get on it!

Chaos In The CBD drop down on Hot Haus Recs In Effekt with two outsider house bangers backed with a Legowelt remix. Having released records on Clek Clek Boom to much fanfare the New Zealand brothers have honed a more analogue houz sound for their Hot Haus 12" keeping with the Unknown To The Unknown spirit of “offf the wall bangers”. 'DeLorean Dreams' is a proper jacker with hissing cymbals, a a driving metallic rhythm and "Everyone's getting higher now" vocal loop. Peak-time or bust! On his remix Legowelt emphasises the industrial side of the track, pushing the swirling synth spookiness front and centre and stripping away the bass music elements. Lastly 'Okinawa Race 1' offers another banger, with Detroit style keyboard lines over a propulsive 4/4 pump.


Stanton Davis And The Ghetto Mysticism Band

Isis Voyage: Unreleased Music & Alternative Mixes From The Brighter Days Sessions

The original spacey jazz-funk sound of the Brighter Days album by Stanton Davis' Ghetto Mysticism Band has been championed by everyone from Gilles Peterson to Andrew Mason of Wax Poetics to hip hop producer and rapper Madlib. Isis Voyage is a collection of unreleased music and alternative mixes from the Brighter Days sessions. Many of the tracks on Brighter Days were shortened to be more accessible to the listening public. Isis Voyage contains the original, longer versions of many of these songs including "High Jazz" and "High Jazz Reprise." Back in October 2012 Stanton Davis and Cultures of Soul Records' label head, Deano Sounds, went into the studio to mix down tracks from the original multitrack reel to reel tapes. Two unreleased tracks, "Odwalla" and the title track "Isis Voyage," were among the material discovered while mixing down the music. Also included are extended instrumental versions of "Things Cannot Stop Forever" and "Funky Fried Tofu." Bonus tracks include remixes of "Things Cannot Stop Forever" and "High Jazz" by UK disco remix expert Al Kent.

Willie Burns and Entro Senestre team up for their second release on L.I.E.S. under the Daywalker & CF moniker and make some serious leftfield techno moves. Picking up right where last year's release left off, the title track 'Supersonic Transport' turns out to be their most dancefloor driven effort to date. Doing exactly what the title states, it moves in beautifully epic territories throughout its almost 8 minutes long course, taking you where you need to go. The B-side turns the floor vibes down a notch, as both tracks are left alone to breath in their own worlds, each with equal space and unique sonic character. "Bulldog Named Carl" takes us way back to the gloomy stylings of first wave Detroit techno, with brooding synths, sampled spoken word vocals and a dark bassline all riding that electro rhythm. "Untitled" takes us into an introsepctive world of insular arpeggios and serrated synth lines; sci-fi techno at its deepest. 

Kim Deal

The Root / Range On Castle

Both tracks written by Kim Deal & Morgan Nagler.

FORMAT INFORMATION

Ltd 7" Info: Very limited - black vinyl white label/white sleeve.

Five years after the second life of Death was started with the release of their revelatory 1976 album, ‘For The Whole World To See’, Death’s ‘III’ slams the door on the vault with a powerful set of songs that bring equal amounts of rock and ethereal soul-searching, in high-fidelity, rich bottomed, studio-grade sound.

Alongside songs from 1975, 1976 and 1980, ‘III’ contains two songs from 1992, as the Hackney brothers reconvened nearly a decade after they’d stopped playing together. ‘III’ serves as a companion piece of sorts to the ‘A Band Called Death’ documentary, tracking the band’s movement from spiritual young rockers to older and wiser, bruised-but-undefeated brothers, in pure musical terms.

David Hackney’s visual representation of Death was a triangle, where ‘spiritual’, ‘mental’ and ‘physical’ formed the three angles. With this in mind, ‘For The Whole World To See’ is clearly the physical corner, with its undeniable proto-punk power. ‘Spiritual-Mental-Physical’ explores the mental axis, with Death working through some of their influences - including The Beatles, Jimi Hendrix, The Who and even ELO - in their practice space. ‘III’ is the spiritual end of the portrait, bookended by the dreamlike rock visions of David Hackney that created and propelled the band called Death.

‘III’ starts with David inside a deep 1975 guitar improvisation, rising up through atmospheres and prehistoric guitar murk to coalesce in jagged monster-riff-dom. The whole exercise recalls Funkadelic’s great Eddie Hazel while reflecting the pure essence of David Hackney’s guitar style. This jump-cuts perfectly five years into the future, with the funky staccato of ‘North Street’, which finds the band’s punkish approach at its most aggressive. From there, the album moves back and forth from 1975 and 1976 (including two songs recorded at Groovesville in Detroit with the other ‘For The Whole World To See’ songs) to 1980, showing the band streamlining their frenetic core and maximizing the power.

The lyrical focus of the songs ‘Open Road’, ‘We Are Only People’ and ‘Free’ is more in the spirit / soul side of Death as heard on ‘Let The World Turn’ and ‘Where Do We Go From Here???’ - sensitive, searching, reflective.

‘We Are Only People’ is an epic journey that begins with another Funkadelic-styled spoken-word moment, progressing through a spacious solo-guitar-with-harmonies section and into the inevitable rock conclusion. Dark hues are generated by the relentless and speedy ‘Restlessness’, while remaining at a philosophical remove, and ‘Free’ is a heavy duo piece with Bobby and David exploring the meaning of the word.

The album’s climax is provided by a trio (once again, the triangle) of David songs, two of which hail from 1992. All three pieces together form a release of the soul of Death from its dark origins, building optimism upon the harsh realities they’d experienced in their lives, more relaxed without losing the spark and bite of those former times. The unaccompanied guitar instrumental ‘First Snowfall In Detroit’ is David Hackney at his most soulful, which gives way to ‘We’re Gonna Make It’, first featured as an emotional climax to the documentary and no less powerful here. With these songs, ‘III’ pays final tribute to David Hackney’s thoroughly original voice and vision, now stilled, but captured forever as a part of the remarkable story of Death.

The album’s cover was created in 1976 by Don Schwenck, working from David’s design and intended to be the cover of the album they were recording. Once that album failed to materialize, the brothers forgot about the commission, and when ‘For The Whole World To See’ was eventually released, Bobby Hackney Jr.’s distinctive image fronted the design. However, when Death returned to Detroit to play in 2010, Don Schwenck was there, with the artwork he had created 35 years earlier. Bobby Jr. added the logo to the image and it was ready to go. With the release of ‘III’, the final record from the vault, all things come full circle for Death.

Donato Dozzy & Tin Man

Acid Test 09

Acid Test completes a nonet of releases with this ultra deep three tracker from Voices Of The Lake's Donato Dozzy and Californian acid warrior Tin Man. The pair got together for a late night session in a studio in Rome on a Saint's day, and soundtracked the candlelit procession outside. "Test 7" runs over the course of the A-side, taking us into the subterranean depths with twilight synth lines and emotional 303 rolls. Dozzy creates one of his most immersive soundscapes for those trilling lines to permeate. Acid house at its most meditative, and already a winner with Balearic legend Moonboots. On the flip, "Test 2" is a tense cut which combines an unsettling synth prickle in the treble region, while a womping square bass wobbles about with malicious intent in the track's guts. Set closer "Test 3" is a complete change of mood as the duo raise us up into the daylight with a bright soundscape punctured by insistent acid lines and subtle percussion.  


Eels

The Cautionary Tales Of Mark Oliver Everett - Deluxe Edition

Eels’ new album, ‘The Cautionary Tales Of Mark Oliver Everett’, is an extraordinarily vivid and intimate document of a personal struggle.

“It's inspired by something I went though,” Everett (Eels’ lead singer, songwriter, guitarist, keyboardist and sometime drummer) says. “Someone I lost, by choice, and later came to regret losing. It wasn’t until I started to look at my role in it that it began to feel like I was getting somewhere worthwhile. The experience transformed me. This is the musical version of that experience. I’m hoping it could maybe serve as some sort of example for others. To learn from my mistakes.”

FORMAT INFORMATION

2xLtd LP Info: Limited edition clear vinyl includes download code.

Aww yeah. Get ready to take the vinyl time machine back to Chicago, '86, where ESP are on stage, in the mix, and tearing the roof off the place. ESP only released two records, but the collaboration of Tommy Thumb and Daniel Ellington seemingly favoured quality over quantity, as both releases are total classics! This official reissue of house music anthem "It's You", which has recently reached a whole new generation of fans through FCL's cover on We Play House and Defected, features all the original mixes, arrangements and acapellas as they were meant to be heard, but with added mastering boost for the modern sound system. Get on of these in your bag asap, it's completely essential for any fan of real house music.


Ooof! Get in. Underground reissue and remaster a complete belters from all the way back when. ESP were there at the very dawn of house music, and this their second of two singles, is a complete stormer. Stripped back to the bare essentials, "Let's Move" comprises of nothing more than a bassline, simple drum machine loop, sleazy male vocal (in that typical Chi-Town style) and occasional haunting synth line. Despite this simplicity, "Let's Move" is an unstoppable dancefloor monster that must have blown people away in those primitive days of house music. Across the four mixes, the parts are removed and added, played in isolation or muted completely, offering variation depending on the crowd you're working with. 


Essex Rascals make a seamless segue from podcast (Wayback Wednesdays) to wax with this bumpin' five tracker of peaking edits. This edible-looking orange vinyl 12" (the perfect colour to match the Alphabetti Spaghetti centre label), gets off on the good foot with "My Life",  a pre-disco dancefloor soul number so peaking it could have been a Sneak B-side. Driving rhythm, live playing, enthusiastic vocals - uplifting or what!? "Lovin' Music" is a speeding disco / jazz-funk cover of the O'Jays "I Love Music" with a female vocal and frantic playing. It's soulful and super extended so you can whack it on from start to finish and pull a Theo on those EQs. "Autumnal Soul" chops, loops and soups up the raw and raucous psychedelic soul of The Crow's "Your Autumn Of Tomorrow" letting loose on those passionate vocals and hot horns. "Break Out" is a, wait for it, break heavy rework of a fierce instrumental of "Reach Out, I'll Be There", with plenty of rough and tumble between the simmering soul of the chorus. "I'm Coming" closes the EP out in extended, expressive, wigged out Northern Soul fashion with an almighty rework of a Wigan Casino classic by Lou Pride which has last tune written all over it. The Rascals loop the intro and verses, expertly building the tension before letting loose with that mighty emotional chorus. Massive, massive rework on an exceptional debut.


FORMAT INFORMATION

12" Info: Limited to 150 copies worldwide. Pressed on orange vinyl.

Farewell JR

And Still

    To be openly honest, delicate and overwhelming in one swell swoop is not something that is an easy task, let alone simple to create, but in just little over eighteen captivating minutes this is exactly what Cambridge’s Farewell J.R illustrates in the form of new EP, and still..; the first material since the release of debut EP ‘Health’ in March 2013. ‘and still..’ Farewell J.R perfectly cultivates the haunting darkness that can resound behind a moment of serenity. Recalling Daughter or the luscious, ambient textures of Julianna Barwick or Jónsi & Alex, the EP's four tracks pristinely evoke the internal struggle so often hidden behind a public front. Opener 'Slow Breath' more than lives up to its title in form and function, conjuring that moment at the height of a deep inhalation in which all seems to fall silent, eventually building to a tumultuous, orchestrated climax that cuts through its carefully constructed still.

    Meanwhile lead single ‘Skin Pieces' sees wilting strings and glittering pianos interlocking to stunning effect, but it's on EP closer 'Held by a Shiver' that Farewell J.R. hit closest to home. Announced by somnambulist piano chords and mournful cellos, it sees Nick at his most earnest and forthright. Eventually overtaken by swathes of celestial choirs, it's a poignant, elegiac culmination to And Still…; one that's entirely fitting to the EP's process of relieving our deepest tensions and anxieties!

    Brighton, based Fear of Men is pleased to present their much anticipated debut album “Loom” for release in April 21 Kanine Records.

    The title of the album both alludes to the interweaving textures that run throughout the record and references the darkness that hovers above much of Fear of Men’s output. Rather than simply marrying a handful of influences, Fear of Men designs their music from an almost uncomfortably personal place. Weiss broadcasts crippling disconnection, boredom and sexual dread with all the dour verve of a young Morrissey.

    The band flit between dire philosophical observations and listless melancholia, riding melodies so carefree that anguished sentiments come off more like lazy sighs. The songs owe as much to the writing of Anais Nin or Fassbinder's films as they do to the cold sonic atmospheres of the Chills or Broadcast. Classical instrumentation appears throughout “Loom”, warped and distorted alongside musical saws and backwards guitars, giving a sense of the imperfect to the album’s pristine pop melodies.

    Ghost Town

    Riverrun / All The Way

      Ghost Town drop their eighth apparation courtesy of body & soul resident Andi Hanley, and label head Citizen Kane. On the A-side, Andi takes his scalpel to a couple of rich and organic soothers, transforming them into Balearic movers. "Riverrun" is a folky obscurity, which beguiles with 70s Laurel Canyon tones and circular marimba patterns. "Zulu" is a sunkissed Afro groove, which Andi covers with swathes of echo and delay, dubbing the track out in a shimmer of heat haze. On the flip, Ghost Town's mayor, Citizen Kane gets his freak on with the sleaziest disco rock groove, perfect for a 70's Detroit biker club. Neat synths, major guitar riffage and plenty of rhythmic wah combine to make this a winner for the likes of Harvey and Felix Dickinson.


      God Damn

      Shoe Prints In The Dust

        Hailing from the heart of the Black Country, God Damn fuse ‘Bleach’ era Nirvana, Jesus Lizard, ‘Surfer Rosa’ era Pixies and At The Drive In influences whilst swearing allegiance to the ‘Seven Js’ of their Holy Bible: Hendrix, Homme, Cash, White, Page, Bonham and Jesse ‘The Devil’ Hughes (Eagles Of Death Metal).

        Formed in the summer of 2010, 2013 was a year of both extreme highs and lows for God Damn - it saw their most intensive touring yet and the release of the ‘Heavy Money’ EP brought them kudos at NME, Guardian, Artrocker and Radio 1, but their guitarist Dave also suffered injuries in an accident that left him fighting for his life.

        Following earlier single releases via Distorted Tapes and Gravy, the band’s first One Little Indian release is the devastating new single ‘Shoe Prints In The Dust’ / ‘It’s A Pity’, two new songs recorded at the legendary Toe Rag studios that are testimony to the band’s explosive alchemy.

        Onstage, God Damn - Thom Edward (guitars / vocals) and Ash Weaver (drums) - are pure attack: molten pop hooks galvanized in a blaze of bludgeoning riffs and furiously propulsive percussion. Previously supporting the likes of Superfood, Wet Nuns, Icarus Line and Gay For Johnny Depp, the band have been out playing packed headline shows all year and are fresh from a UK tour which included dates with The Wytches.

        FORMAT INFORMATION

        Ltd 7" Info: Limited edition coloured vinyl.

        One of Larry Heard's most under-rated albums finally remastered and available as a full vinyl release for the first time! Known for his classic late 80s releases as Mr Fingers, Larry Heard's productions always hinted at deepest outer space, but it took until 1996 and the 'Alien' album for him to release his first actual science-fiction record. It's as polished as his most club-aimed productions, and just as sublime as any music coming from Detroit over the previous decade. Heard's house roots often show themselves, while the chords and shimmering production make this an album almost on par with Heard's mid / late-80s peak. The project was a recording and sound-development experiment that was mostly constructed around a Korg O1/W workstation keyboard that was left at Larry's studio to check out by Victor “Melodious Myles” Houston along with some of the staple kit of his studio, including the Roland d550 and Oberheim Matrix 1000. Mr Fingers magic touch can be heard all over the album, and this showcases the incredible musical talents of the man, whose name surely has to be included any hall of fame when you're talking music innovators from the last century!

        FORMAT INFORMATION

        2xLP Info: Limited clear vinyl pressing.

        Following a spur-of-the-moment cross-country trip with a pair of fiery European girls, Vikesh Kapoor left school for a brief yet inspiring stint as a mason’s apprentice. The America he had previously known resided narrowly between his childhood home in rural Pennsylvania and the New England university he left home for. Alongside his parents’ own immigrant struggles, these experiences quickly witnessed Kapoor to the scope of the American dream.

        A few years later, Kapoor performed at Howard Zinn’s memorial service in Boston, in front of Zinn’s family and colleagues (including Noam Chomsky). Roused by Zinn’s lifelong battle against class/race injustice, Kapoor spent the next two years in Portland, Oregon working on his full-length debut record. The Ballad Of Willy Robbins, a concept album loosely based on a newspaper article, chronicles the brutal but hopeful story of a working class man who slowly loses everything: ambitions, health, family and shelter. It’s a worker’s tale, less specific to the blue-collar life as it is about anyone struggling to make something of themselves.

        Co-produced by Adam Selzer (M. Ward) and features Nate Query (Decemberists, Black Prairie), Jeff Ratner (Langhorne Slim) and Birger Olsen (Denver).

        THE NEW YORKER: “a series of sharply etched portraits of struggling Americans that points back along a road of socially conscious songs. Woody Guthrie is standing at the head of that road”

        Kelis

        Food - Deluxe 2xCD Edition

        Kelis describes her sixth album as “a kind of unspoken lovefest”, involving two unlikely partners.

        On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit "Got Your Money". This was the visually and sonically compelling 20 year-old whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic R&B that dominated the charts in the early Noughties, as exemplified by her global hit, "Milkshake".

        On the other there is Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio and producer to a certain kind of smart, indie band (the Yeah Yeah Yeahs, Foals and Liars to name a few).

        Food is a startling combination of Kelis’ most frank and vulnerable vocals to date, and Sitek's inimitable sonic imprint. Littered with transcendent, Spector-esque lift, warm bottom ends and vast depth, the music is the perfect backdrop for Kelis’ unique voice. The latter has only improved with time and experience, and the album candidly explores pain, happiness and everything in between.

        Recorded at Sitek’s house in LA (and entirely produced by him), Kelis’ new album, Food, mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now.


        FORMAT INFORMATION

        2xCD Info: Deluxe double CD featuring alternate artwork, a bonus CD of remixes by Mount Kimbie, Breach, Ben Pearce, Actress, Machinedrum, Will Saul and more, and a 20
        page booklet.

        Kelis describes her sixth album as “a kind of unspoken lovefest”, involving two unlikely partners.

        On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit "Got Your Money". This was the visually and sonically compelling 20 year-old whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic R&B that dominated the charts in the early Noughties, as exemplified by her global hit, "Milkshake".

        On the other there is Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio and producer to a certain kind of smart, indie band (the Yeah Yeah Yeahs, Foals and Liars to name a few).

        Food is a startling combination of Kelis’ most frank and vulnerable vocals to date, and Sitek's inimitable sonic imprint. Littered with transcendent, Spector-esque lift, warm bottom ends and vast depth, the music is the perfect backdrop for Kelis’ unique voice. The latter has only improved with time and experience, and the album candidly explores pain, happiness and everything in between.

        Recorded at Sitek’s house in LA (and entirely produced by him), Kelis’ new album, Food, mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now.


        Last Waltz make their Is It Balearic? debut with two diverse moods hitting sweetspots on either side of the Balearic spectrum. On the A-side they don they get on board the junk and get in full CSN mode with the help of vocalist Smoove (presumably of Smoove & Turrell fame). "Just Hold On" is a pastoral rolling (hills) chugger, with heartfelt vocals over a deep bassline, folky guitar strumming and shimmering keys. On the remix Ess O Ess raise the tempo a little bring out the electric guitars and increasing the chug to almost Krautrock levels. On the Flip side Last Waltz give us "Tribute", a deep atmospheric acid affair. Mellow electric keys and percussion lull you into a false sense of security before the heavy kick and acid bassline drop with dark cello notes. Machete Savane take on the remix. Replacing acid for guitar and adding some machine groove this slowly builds and builds into a top bubbler that'll work wonders with the Japanese jocks on the Balearic scene. 

        "We need bands like Led Bib to make the world safe for dangerous music." - Observer Music Monthly

        Mercury Prize-nominated, UK electric jazz group LED BIB greet 2014 - their 10th anniversary - with two new releases.

        The People In Your Neighbourhood is the group's sixth studio album, continues their avant-jazz/euphoric-rock explosions that have gained them worldwide notice. The album was recorded under the watchful eye of Grammy winning engineer Richard Woodcraft (Radiohead, Neil Young).

        The band experienced widespread acclaim following the release of their 4th album Sensible Shoes when it was announced as an Album of the Year in the Barclaycard Mercury Prize. The ensuing media storm saw them reach in excess of 20 million people as they performed on TV & Radio sessions throughout the UK.

        The band has performed at festivals and venues all over England and Europe and is continuing to do so throughout 2014.

        'Debut album from Little Matador. Founding member and frontman is Nathan Connolly (Snow Patrol) but don't let that fool you! This music channels the scuzz and potency of Queens Of The Stone Age, has the knowing way with a melody of Arctic Monkeys and even the twisted darkness of Girls Against Boys - Little Matador join the likes of Band Of Skulls and Royal Blood in championing a new breed of raw rock music full of swagger and integrity.

        Lord Tusk makes his vinyl debut with “The Natural Partnership EP” on the esteemed Levels eries. A veteran of London’s underground as a selector, Lord Tusk’s influences run deep: electro, hip-hop, old jack swing, film scores, P-funk, roots and culture and dub. A devotee of sound system culture and martial arts, both are reflected in his approach to music making which is free of restrictions. There are no specific tempos, genre limitations or fixed methods he works by. With Lord Tusk it is all about sensation, emotion, stimulation and inspiration from the sounds, instruments and effects. These are raw sounds for the big speakers, with early support from Benji B (Radio One), Lakuti and Tama Sumo (Panorama Bar).

        Michele Mininni is from Southern Italy where he says people are not interested in his type of music so he was forced to reach out to Glasgow where it turns out some people most definitely are. Citing his influences as kraut, post rock, new wave and electronic amongst others, this is his debut release and most accomplished it is too. Lowering the tempo somewhat compared with previous OT releases, "Tupolev Love" is a sub 100bpm cosmic trancer while "Telekomdisko" raises the tempo, adds some hardware drums and heads off into lazer-guided drug-chug. The EP is completed by Michele's fellow countrymen, Boot & Tax's great acid-inflected remix of "Tupolev Love".

        The Moles

        Flashbacks And Dream Sequences : The Story Of The Moles

        The complete collection from Australian band The Moles. The work of songwriter Richard Davies, who moved to the States and went on to join Eric Matthews in Cardinal, the story of the Moles is told through the release of ‘Untune the Sky’ and ‘Instinct’, which is now reissued on vinyl and CD along with a comprehensive CD containing bonus material from various EPs and singles including, the ‘Tendrils And Paracetamol’ EP, ‘The Moles EP’ and the ‘Propeller’ 7inch single, which brings the track “Propeller” to digital format for the first time, and finally ‘Odds and Ends’.

        Formed in Sydney in the late '80s, The Moles debuted in 1990 with the EP ‘Untune the Sky’, followed a year later by another EP, ‘Tendrils and Paracetamol’. After the 1992 release of their first full-length release -- also titled ‘Untune the Sky’ -- the group relocated to New York, where they released a pair of seven-inch singles (packaged together as the Double Single EP). A move to London followed, and although they garnered great acclaim from the British press, the band nonetheless broke up around the beginning of 1993. In 1994, however, Davies resurrected The Moles again for the album Instinct; a band effort in name only, it essentially marked the beginning of Davies' solo career, although he did not make his formal bow until 1996's ‘There's Never Been a Crowd Like This’.

        Moniquea

        A Certain Way / I Don't Wanna Get Used To It

        Evoking memories of iconic groups like Mtume, SOS Band, and Midnight Star, this single is the next step in a new direction for Moniquea, one which is fueled by a revamped version of the classic 1980's boogie funk sound. A-side cut "A Certain Way" sounds like it's been lifted straight out of 1984 with its crisp drum machine rhythm and squelching boogie bass. Added to that Moniquea is a strong vocalist, and the actual song is really catchy as well. So far, so top dollar, and "I Don't Wanna Get Used To It" makes it an all winner, no filler 45,  channeling the spirit of Zapp, Cameo, Jam & Lewis and Janet Jackson for some electro-funkin' grooves. The hard-hitting claps and crisp, chunky synth lines that back Moniquea's silky lead vocals and hard-edged vibrato. Without a doubt the best release yet from the nu-boogie scene.


        Another classy Mood II Swing reissue for you! the five track 'Scenic Route' EP comes from Nite Grooves circa '94, and is another example of the duo's deep, funky house sound. Opener 'Nafara' pairs tabla and bongo percussion patterns to a simple organ line and then gets funky with the crisp garage rhythm. It's so infectious I'm doing sat-down dancing while typing this review! 'Chicago Blues' dips a toe in minor key melancholia, lush synth pads and honking sax (possibly synth sax!) for a touch of garage blues. 'Sunlight In My Eyes' has rising and falling chords, sliced vocals and quivering strings over more of those funky house beats. Lastly 'Freaky Funk Feeling'  sets the shaker to the stun position and shakes some booty. There's also a mix without the horns or vox. Remastered for 2014 from original files. Released in conjunction with Nite Grooves and featuring original label artwork.

        Alt-rock superstars Hüsker Dü called it a day on January 28, 1988, but the band’s Bob Mould would reappear in May 1989 with his fi rst solo album—the incredibly impassioned and personal Workbook.

        In addition to writing and producing the entire album, Mould sang all the vocals and played many of the instruments, sharing duties with The Golden Palominos’ Anton Fier on drums, Pere Ubu’s Tony Maimone (bass) and cellist Jane Scarpantoni from Tiny Lights. While always recognized as an astonishing guitarist, Mould’s fretwork on Workbook traveled to levels yet unheard or imagined.

        The album has since taken on iconic status, and Omnivore is proud to present the 25th Anniversary eddition; Workbook 25. In addition to the original album’s 11 tracks, this collection adds “All Those People Know,” originally issued as the B-side of the single “See A Little Light.” 

        As innovative as Hüsker Dü was, fans had to wonder if Bob Mould could take them on another journey as rewarding. Workbook not only proved he could, but did.

        FORMAT INFORMATION

        2xLtd CD Info: The second disc of this 2CD set is Bob’s complete 1989 performance at Chicago’s Cabaret Metro. 13 of the 17 tracks are previously unissued and the show contains music from the then, two-week old, Workbook, Hüsker Dü favorites and a cover of Richard & Linda Thompson’s classic “Shoot Out The Lights.”

        2xLtd LP Info: The album is available on vinyl for the first time since its original release and is pressed on 2 LPs for sonic superiority.

        500 copies on, pure vinyl first pressing (clear). Amid the current industry of cool, Mount Carmel’s lack of gimmick is a welcome anachronism. The trio’s third album “Get Pure” is full of swagger, packed with great songs and inspired performances. This is true rock music like you haven’t heard in years. Crank it up!

        “Like the blues, traditional rock ‘n’ roll remains a great musical building block and form. It’ll never be out of date. Mount Carmel shows their devotion to the crunchy riff on “Back on It”, a smokin’ tune from their upcoming album, Get Pure” Pop Matters.

        “Plenty of bands drink from the well of tribute, allowing their vision to plateau in service of authenticity or Good Time Charlie-ism, because it’s fun and familiar, and for some quite easy to achieve. Mount Carmel is that rare band that takes an existing concept – here, British-influenced blues-based rock circa 1966-69, the times that bore Hendrix, Led Zeppelin, Fleetwood Mac, Cream, the Steve Miller Band, and above all, Free – and steers it so that they become a continuation of that earlier dialogue” Roadburn.

        FORMAT INFORMATION

        LP Info: Limited clear vinyl pressing.

        Bruno Nicolai

        All The Colours Of The Dark

        As part of a devoted series of releases focusing on Bruno Nicolai’s soundtrack music to the films of Edwige Fenech, Finders Keepers proudly unveil what is perhaps the crowning moment for both actress and composer with the film that inaugurated them (alongside director Sergio Martino) into the critical Giallo royal family in the early 1970s. Presented here with previously unpressed tracks as an alternative to the extremely rare 1973 Gemelli library edition, this Finders Keepers special release includes the recently uncovered 1972 hard-hitting left-field psychedelic pop themes that unified yet another unholy trinity comprising of sitar wielding Alessandro Alessandroni (in true Pawnshop Braens Machine mode) and Italian cinematic songbird Edda Dell’Orso to create (under Nicolai’s gaze) what is regarded by many unified euro horror video collectors and vinyl detectives as the cream of this well furrowed crop.

        Recorded in January 1972 at Morricone’s Ortophonic studio in Rome (home of Goblin’s Roller and Alessandroni’s Sangue di sbirro amongst many others) Bruno Nicolai balances psychotic free jazz, aggressive bass driven beats, schizoid Eastern motifs and childlike lullabies - the latter exacerbating director Martino’s proud Rosemary’s Baby influences in this Giallo tale of a rehabilitated relationship plagued by recurring nightmares and vague memories of a religious cult that teeter on the edge of Fenech’s consciousness. To claim this score as Nicolais’ all time best is perhaps a little ambitious for a versatile composer of such acclaim and widespread appeal, but for fans of that unique window of unhinged musical opportunity which came with the Giallo boom of the early 1970’s you’ll be hard pushed to find a record that covers all bases from an alternative universe where Fabio Frizzi, Goblin and Walter Rizzati were (haunted) household names.

        Nine Black Alps

        Candy For The Clown

          With core members Sam Forrest (vocals, guitar), David Jones (guitar), James Galley (drums, vocals) and bass player Karl Astbury, the band had retained their distinctive and energetic sludge, grunge-rock sound albeit with a tighter and more dynamic style.

          The band were formed in 2003 in Manchester, UK and were quickly signed by Island Records after just a handful of local shows and an almighty scramble amongst the music industry. The rest, as they say is history…. Recent single ‘Novokaine’ released at the end of last year to coincide with their 10 year anniversary, and championed by Edith Bowan, (6 Music), John Kennedy (XFM) and Frank Skinner (Absolute Radio) was the first taster of the new record. It’s a far more distorted and rockier affair that harks back to their earlier albums Everything Is and Love/Hate.

          Other tracks such as their upcoming single ‘Supermarket Clothes’ capture a more British sound for the band but overall ‘Candy for the Clowns’ is an addictive balance of summer college rock and surf-pop. It will be the first album to be released on new Leeds label Hatch Records.

          Nine Black Alps

          Candy For The Clown - Deluxe Edition

          With core members Sam Forrest (vocals, guitar), David Jones (guitar), James Galley (drums, vocals) and bass player Karl Astbury, the band had retained their distinctive and energetic sludge, grunge-rock sound albeit with a tighter and more dynamic style. 

          The band were formed in 2003 in Manchester, UK and were quickly signed by Island Records after just a handful of local shows and an almighty scramble amongst the music industry. The rest, as they say is history…. Recent single ‘Novokaine’ released at the end of last year to coincide with their 10 year anniversary, and championed by Edith Bowan, (6 Music), John Kennedy (XFM) and Frank Skinner (Absolute Radio) was the first taster of the new record. It’s a far more distorted and rockier affair that harks back to their earlier albums Everything Is and Love/Hate. 

          Other tracks such as their upcoming single ‘Supermarket Clothes’ capture a more British sound for the band but overall ‘Candy for the Clowns’ is an addictive balance of summer college rock and surf-pop. It will be the first album to be released on new Leeds label Hatch Records.

          Johnny Osbourne And The Sensations

          Come Back Darling

          180 gram vinyl reissue of classic 1970 album from Johnny Osbourne and the Sensations, who is joined by Boris Gardner and the Love People as well. The sound is definitely on that jaunty early reggae tip, with lively basslines, chirpy organ licks, horns and melodica. The album is produced by Winston Riley, and intersperses Osbourne's vocal cuts with instrumentals.  Comes complete with a full colour insert of pictures, biography and track by track breakdown.

          Talented Chicago producer Chris E. Pants presents his disco credentials for inspection on his debut release for File Under Disco. "1981" is a dubby slice of post disco that shimmeys out of the speakers like a Patrick Adams, Shep Pettibone and Chaz Jankel jam session with Larry at the ones and twos. Chicago upstart The Black Madonna continues an impressive hot streak with a late night remix marrying the disco elements of the original with a little dub house attitude, inviting Francois K and Danny Krivit to the studio party. On the flip, those Disco Deviants, Pete Herbert & Dicky Trisco, drop a couple of garys and serve up a Balearic inspired, hands-in-the-air disco trip by looping the piano riff up and delaying the breakdown. It's only on this rework that you notice the guitar line's similarity to Richie Havens' "Back To My Roots", which gives a pretty good indication of the vibe we're rocking here. 


          Transatlantic Balearic supergroup Paqua return from their brief hiatus (the band took time out from the studio to concentrate on live shows and sandal making) with a flurry of action. Not only is there an intriguing "Dubs" 10" on the horizon, but also a debut LP slated for release sometime over the summer. Thankfully Paqua have taken pity on us and eased our hunger with this tasty remix double pack of a couple of their big hitters. Up first, those Idjuts come back for more with their frazzled and wiggy dubbed out version of "Late Train". The more alert of you may remember Th'Idjuts were behind the 12" edit of "Late Train" first time round, and this mix is a reinvention of that edit, with the Idjut factor turned up to 11; expect echo, delay, phazing and flanging as things get more Balearic than a south Manchester picnic. On the flip, Idjut associate and UK disco don Ray Mang drops in to work his magic on the blissfully horizontal "The Visitor". Taking on the unenviable task of reworking my favourite Paqua number, Ray extends the glory of the original, stretches out the groove and adds the subtle flavour of rattling percussion and mellow synth sequences to the track, succeeding in creating a hazy dub which soars along atop a thermal. The closest comparison I could make is to Mudd's version of "Open Rhythms" on Nado002, it's that strung out. On the second disc, Stafford's synth maestro Andy Meecham puts on his Emperor Machine space suit and sets about creating a stomping Moon-boogie version of "Late Train", complete with a text book EM bassline. Staccato sequences stretch out into infinity, while boogie synth leads take us to an upmarket dancefloor on the far side of Venus. This cosmic disco groove will have you dancing in all sorts of peculiar ways, especially when Andy introduces one of his trademark zero gravity breakdowns. If vocals aren't your thing, but galactic grooves are, then you'll be mad about the Instrumental version on the flip. 

          Great majestic Americana record a la Red House Painters, Lambchop, Lanegan from pedal steel journeyman.

          Seattle-based singer/songwriter Bill Patton finally steps out of the shadows with his full-length debut. Bill has played guitar and pedal steel for the Fleet Foxes, Jesse Sykes, J. Tillman (Father John Misty), and many others over his storied career as an in-demand session player and sideman.

          Never one to play it safe, the new album from the essential Seattle chanteur contains head-turning radical re-workings of both "Jenny From the Block" and "I Want To Hold Your Hand," adding layers of intrigue to this already-rich tapestry.

          Far from a side-note, A New Kind Of Man proves that Patton can more than hold his own and hang with the big dogs as a songwriter and studio-smith. It's the quiet ones, again and again.

          FORMAT INFORMATION

          LP Info: Limited edition opaque red vinyl with die-cut jacket and glossy inner-sleeve.

          Pearson Sound

          Untitled / Footloose

          Pearson Sound presents his ‘Untitled’ tune - first heard on the Boiler Room. Combining the hyper ridims of footwork / grime with a delicious soulful vocal and simple descening keyboard line makes for one massive tune - as seen in the clamour for copies we had in the shop last week! It's about time someone took the juke sound to another level, and Pearson Sound has done just that. On the flipside "Footloose" looks back for inspiration. Not all the way to the US high school dance flick which shares the track's name, but to old school rave, as Pearson Sound shuffles the breaks and drops subsonic bass depth charges. Simple, stripped-down and incredibly effective. Support from Ben UFO, Jamie xx, Benji B, Jackmaster, Loefah + more. Please Note "Footloose" is exclusive to this release.


          Purling Hiss

          Dizzy Polizzy

            The Purling Hiss sound is revered by discerning listeners for its devastational waves of guitar rock crashing atop sweet melodies and pile-driving rhythm tunes alike. The effect of these contrasts - in the hands of Mike Polizze - touches buzzing pleasure centres for these listeners with every lick; people who like rock songs and like to sing along and don’t mind a little dirt for their trouble. No matter what the resolution is for Purling Hiss, the devastational waves come on with the same warm, cracked obsession they’ve had from the start.

            Mike Polizze bought his tape machine in 1999 (rumoured to be a Sam Ash floor model) and immediately ran himself around the bases. Skipping towards home he wound up in the outfield, crafting sounds, songs, and fragments to cassette for the next several years, never to be the same. It was when he moved to Philly around 2004 and joined up with Birds Of Maya that he was crowned Dizzy, and things began to focus. He had access to all the instruments needed, Birds’ Ben Leaphart drummed on a couple of songs and in 2006 a CDR called ‘Dizzy Polizzy’ came together. Mike made around 50 copies, just for friends, lovers, and the occasional hater, with a cover he silkscreened himself. A few beers and two years later, Purling Hiss became official and took off with three berserk albums released in quick succession. Capitalizing on the newfound demand, Mike made a tour-only cassette of ‘Dizzy Polizzy’ in 2011, combining those original six CD-R songs with some well-fitting additions circa 2007–2009.

            Discerning ears will link ‘Dizzy Polizzy’ to ‘Public Service Announcement’ (recorded in 2007) since they were made more or less back-to-back - sweet songs and mini-ragers, a baby version of the squalor that would soon grow too much hair in all the right places. ‘Dizzy Polizzy’ serves up the beginnings, going all the way back to 2004, building off solid, breakfast-of-champion prototypesounds from the likes of Van Halen and Neil Young and head-butting them in a more Purling Hiss direction.

            This album reissues the cassette compilation on LP for the first time ever, to tide Hiss-heads over while Purling Hiss work on their next album.

            Principal Records return for their third outing with another superb EP from S&M featuring vocals by D'Nae!

            S&M is the collaborative guise of Danimal Swainger aka Daniel Swain and Thatmanmonkz aka Scott Moncrieff, the duo launched Principal Records with their 'In My Mind' EP in 2013. Here we see them return to the imprint to deliver more of their gritty house sound, again employing the vocal stylings of Jamaican born vocalist D'nae.

            Kicking off the single is the original mix of title track 'Too Much Not Enough', a raw, Detroit style deep and soulful house number, built around ethereal analogue textures, sub bass licks and crunchy rhythms. D'nae's heartfelt vocal lines instil a further charm and character to the track resulting in a smooth and skilfully crafted composition.

            Following is the second original from S&M entitled 'Mmmm', the duo throw vocal murmurs uttering the track title into the mix alongside looped Rhodes chords, rumbling sub tones and dusty drum samples to again create an elegant and understated piece. Beatdown but upbeat.

            On the flipside is Magnus Magnusson's interpretation of 'Too Much Not Enough'. The newcomer strips back the vibe of the original with sparse percussion, dubbed out snippets of the vocal and sporadic synth and bass melodies, generating a stunning, contrasting mix against the original piece. 


            FORMAT INFORMATION

            12" Info: Limited red vinyl pressing.

            Sometimes it's best to let the music do the talking, and this is one of those occasions. Local Talk's 46th release comes from exciting debutant Sameed.

            Slotting neatly into Local Talk's rough and funky garage / house niche, "Spend (Money)" opens the EP with dubby chords, vocal snippets and a wonky bassline, all slathered over crisp, swinging beats. "Still" goes for a raw acid house sound, but with plenty of funk in the trunk and, well, it sounds like waves crashing on a pebble shore... Flip it for "Getyoself", and equally stripped-to-the-bone 808 / 909 jammer recalling Todd Terry's late 80s Latin freestyle sound - snapping drum machine syncopation and a dull thudding bassline. There's also "Spend (Money Fo Dub)", taking the original mix a little bit deeper.


            Sepiatone is the collaboration between Hugo Race (Nick Cave & The Bad Seeds) and Marta Collica (John Parish Band) - a languid, retrovisionary European trip into cinematic atmospheres, vintage pop and electronica exotica. Echoes On fuses musical genres and global timezones, bittersweet emotions and hallucinatory moodswings. These songs subtly evoke Marta and Hugo's joint experience of deep, abrupt life changes. Four years in the making, Sepiatone juxtaposes nostalgia with modernity through classic songwriting and inventive production.

            Editainment welcome a couple of new faces to their exclusive club and are repayed with this hefty four track of killer sounds, housed in a neon stamped sleeve. Shangri & La befriend us with a pick n mix bag of roto acid, bongo boogie, future reggae and sleek house that'll have you throwing shapes like a child at a family function in no time. "Paracelsus" is a sprawling acid rework of a Euro synth number (I'm thinking Propaganda or Liasons Dangereuses) which twists and turns throughout without ever losing its tight grip on the dancefloor. On "Percacelsus", Shangri & La loop, splice and dice about six different drum tracks to create an exceptional percussion monster that goes above and beyond a mere tool. On the flip "Rudeacelsus" is a lilting island groove pairing a thick reggae disco bassline with off beat keys, synth stabs and the occasional hint of dub. Lastly, "Padacelsus" is an emotional house groover for late in the club session, or cocktail party ambience when the carkeys have gone in the bowl. Massive emotive pads and sampled and replayed female vox take you out of your self and let you run free as a child again. Inspired by a club and a scene that never was, Shangri & La deliver great sounding music for good looking people.


            6th Borough Project

            Borough To Borough Remixes - Inc. Fantastic Man / Ben La Desh Remixes

            They like a good remix at Delusions Of Grandeur and here the label present not one but three very different takes on three of the 6'Bo LP tracks. Opening up the A-side we have rising star Cuthead serving up his trademark scratchy, swinging MPC beats with clattering percussion and stabbing chords on his excellent remix of 'Back 2 Black'. Perfect, leftfield house music with depth and flair and a perfect example of why the Uncanny Valley regular is picking up so much praise right now. Next up Fantastic Man gets to grips with 'Read My Mind', bringing a lovely bit of proto-house flavour to the release on this James Mason ‘Nightgruv’ inspired remix. Chiming DX7 synths and lush pads are the order of the day here, creating a lovely warm up vibe before going heads down and dubby for the final 3 minutes. Flipping over we’re treated to some lush, slo-mo / lo-slung vibes on the Ben La Desh remix of 'Walk Away', the Dutch producer teasing things out with a chugging 7 minute workout which will sound dreamy and creamy on a big system.

            Space Age Recordings are pleased to announce the long awaited re-issue of ‘Spectrum’ the debut album from Sonic Boom.Spectrum was the most high-profile and straightforward of the projects undertaken by Pete "Sonic Boom" Kember after the demise of the trance-rock avatars Spacemen 3. As his work as a member of the Experimental Audio Research coterie allowed Kember the opportunity to explore ambient textures and tonal constructs, Spectrum satisfied the singer/guitarist's more conventional pop leanings, while never losing sight of the hypnotic otherworldliness which became his music's trademark and legacy. The name Spectrum initially appeared as the title of this first Sonic Boom solo album, released in 1990 before the break-up of Spacemen 3; a collection of ethereal, nearly formless songs, Spectrum openly acknowledged Kember's debt to Suicide with its cover of the duo's "Rock 'n' Roll Is Killing My Life."

            This is the first in a series of Spectrum re-issues: the albums ‘Soul Kiss (Glide Divine)’ and ‘Highs, Lows and Heavenly Blows’ are due to follow shortly.

            LA duo Split Secs make their return to Machine Unlimited with the deep cave dwelling gloom of "I Stand Alone". Don't be confused by those psychedelic spaceman lyrics about 'the temple of the sun', this is deep, disorientating house for troglodytes and gremlins. Secret Circuits fire up the hardware for a warped and twisted remix of misfiring machines and fizzing synths. Synthetic house for the outsider crowd I reckon. Detroit's Monty Luke goes deep on the flip, transforming the original into a paranoid acid nightmare of a city submerged. Italians Do It Better boss Mike Simonetti cuts off all the excess and strips this one back to the bone to deliver a house remix which focusses on those intricate marimba parts and bonkers ravey basslines.


            Sonny Til & The Orioles

            Hey! Little Woman / Sugar Girl

            Jazzman's Popcorn imprint unearth long established R&B essential floor-packer 'Hey! Little Woman' that has somehow not been reissued until now. From Sonny Til's long running Baltimore based vocal group The Orioles, this was cut in 1962 and carries that nascent early soul sound that still sounds so fresh all these years later. On the flip Sonny gets seductive on the doo-wop tinted smoocher 'Sugar Girl'.


            Toy

            It's Been So Long

              The second 7” to be released from the album ‘Join The Dots’.

              Screen printed 7” of 500 copies. Also available as a digital download.

              As with their debut album, ‘Join The Dots’ was recorded mostly live with Dan Carey at the helm, although increased studio time has enabled the band to experiment more with Carey’s laboratory of effects and pre-amps, and embellish their swirling, psychedelia, Krautrock indebted tracks with overdubs.

              A hugely popular cut in it’s edited form on Matt Hill’s 1st LP “From The Grave…” in 2009, the full length version (clocking in just short of 12 minutes) appears here for the first time. As does the flip, a remix by ‘Silvio’ which is far more beat driven and aimed at the dance floor; imagine some hybrid Daft Punk / Kraftwerk collision and you get kinda close…

              The original in it’s unedited form is a classic. Heavy on that uniquely chilling atmosphere present over Umberto’s back catalogue, and drawing on a more percussive take to the fright night / Carpenter / Giallo / Goblin sounds commonly associated with Matt’s previous output.

              A beautiful record on the eye and ear. Killer Tim Goodwillie sleeve art and a pressing of 500 on white vinyl ready for the latter stages of the current Umberto European tour (Including UK legs in the last week of April, first 2 days of May). Be quick…

              The Upsetter Revue / King Scratch

              Play On, Mr. Music / Dread Lion

              Japanese label Drum & Bass / Rock A  Shacka dig deep once again and come up with two essentials from Lee Perry's Black Ark studio. On side A The Upsetter Revue, which features The Heptones, The Congos and Junior Murvin on vocals no less, drop the totally sublime 'Play On, Mr. Music'.  The result of an impromptu studio jam, captured on celluloid for Jeremy Marre’s Roots Rock Reggae documentary in May 1977, the track celebrates the undeniable pull of Perry’s musical artistry, with both musicians and onlookers enhanced by the uplifting qualities of a spliff. With the Heptones’ rousing harmony given extra depth by backing from the Congos, the rhythm is given its melodic anchor by bassist and bandleader Boris Gardiner, rhythmically tied to the pounding of foundation drummer Mikey Boo. And we’ve got Robbie Lyn on the keyboards and Junior Murvin picking out some intricate guitar licks, seated on the studio floor, to counter-balance the treble spectrum. Roping everything together with heavy swathes of trademark phaser and delay is the mastermind himself, Lee ‘Scratch’ Perry, with one of his magnetic mirror master mixes, dubbing the track to oblivion, and back again. The flipside is a rare alternate mix of the Upsetters’ ‘Dread Lion,’ a song that had an unusual genesis: saxophonist Dean Fraser came to the Ark in 1975 to record ‘Concrete Castle King,’ which he sang as vocalist, for the song’s composer, guitarist Lloyd ‘Gitsy’ Willis, who had been a member of the Wailers backing band during their formative period with Perry. The song was recorded at the Ark with bassist Aston ‘Family Man’ Barrett, drummer Robert Stevenson, who had been playing with Fraser and Willis in Sonny Bradshaw’s band, along with Willis on guitar, Fraser on tenor sax, and Calvin ‘Bubbles’ Cameron on trombone.

              Ryley Walker is a 24 year-old singer/songwriter and guitarist from Chicago. His debut album, All Kinds Of You, will be released worldwide via Tompkins Square. Having kicked around Chicago's experimental free/noise music scene for several years, Ryley recently turned to a folk-rock sound inspired by some of his heroes, among them Tim Hardin, Tim Buckley, and Bert Jansch. The result is a poised and accomplished debut album, recorded in Chicago by Cooper Crain (guitarist/keyboardist in Cave).

              "With the charming swagger of jazz-folk troubadour Tim Buckley and the resonant, full picking style of Bert Jansch, 'The West Wind' comes from Walker's first widely available release, a three-song 12". With acoustic guitar in hand and a voice like browned butter, Walker swings and sways in a lush string-and piano arrangement right out of Buckley's 'Starsailor'; it slowly picks up to a swirling gallop without bucking the rhythm." - NPR Music.

              Hmmm, a house producer called Luke who isn't Mr Solomon... Who could it possibly be? Let's just say he has a few Nuggets up his sleeve, on previous LP compilations, and also on this 12" for FaltyDL's Blueberry Records imprint. 

              Falty's imprint gives like-minded producers the opportunity to spread their wings a bit and try out different ideas. 'Daydreamin'' opens the EP in fine style, meshing a proto-R&B broken rhythm with sweet female vocals and Martin Luther King's "I have a dream" speech. 'Brockley Spears' brings hip hop and hip-house to the dancefloor, cramming as many old school samples as possible over classic funky breaks, then sliding in with some jazz horns as well. Amazing that a track with so many different elements doesn't sound cluttered. 'Instant Vibe' cuts up 80s / 90s house vocal samples and sets them in a swinging garage framework, with trademark acidic / electronica textures from Luke. 'Party Piece' is the perfect example of Mr Warm's work: funky breaks and analogue keyboard lines sounding like the BBC Radiophonic Workship dragged into the acid house era.

              Early DJ / radio support from Gilles Peterson, Mark Pritchard, Francois K, Anthony Naples, Brackles, Dorian Concept, Illum Sphere.

              Linda Willoby / Bobby Brookes

              Big Boy You're Through / Little Girl (Is It True)

              Linda Willoby's 'Big Boy You're Through' is a smooth and slinky minor key popcorn gem that oozes class. Down-tempo, sophisticated, jazzy and moody, this is the kind of sound which defines the popcorn genre. An obscure one for sure, and very scarce on its original release. The flipside, features 'Little Girl (Is It True)', a more upbeat mambo-tinted R&B mover from Bobby Brookes, and a cracker in its own right, making this another essential two-sider.

              D. Wilson & L. Carson

              Tracks From The Tapes

              Theo Parrish shows some serious hometown love and reminds us all that he's a true OG,  plucking a couple of gems from Chicago's thriving late 80s tape scene for Sound Signature #42. D. Wilson & L. Carson (who previously lit Sound Signature up with the smoking "Redlight Bulb Theory") hooked up on some heavy collabs back in the day, and these two previously unreleased acid tracks from '89 give a little insight into what the rest of the world was missing at the time. Bumping 808 programming, rattling 707 percussion and wriggling 303 lines nag away at your noggin, transporting you to worlds unknown where the party lasts forever.

              In Theo's words... "This was southside Chitown ‘89. If you werent there you werent there…. lots of underground unreleased music circulated on the southside on maxell and tonemaster tapes from walgreens - 2 dollars for a pack of eight"


              STAFF COMMENTS

              Matt says: If you liked Carson's "Redlight Bulb Theory" then this should keep you happy with more lo-fi acid tape experiments from a golden age of the Chicago underground.

              The Wire

              Issue 363 - May 2014

                The Compiler
                A 22 page survey of paradigm-busting compilations, anthologies, mail order lists, mixtapes and other collections

                Marshall Allen
                Val Wilmer reveals the true story of the Sun Ra Arkestra leader’s formative years in the Paris interzone

                Invisible Jukebox - Okkyung Lee
                The nomadic cello virtuoso gets strung up with The Wire’s mystery record selection. Tested by Kurt Gottschalk

                Inga Copeland
                Former Hype Williams vocalist doing it for herself. By Joseph Stannard

                Officer!
                The war’s not over for ex-Rock In Opposition campaigner Mick Hobbs. By Mike Barnes

                Nat Birchall
                The UK saxophonist is evangelizing for spiritual jazz. By Francis Gooding

                Jack Ruby
                70s New Yorkers who forged a path between punk and synth madness. By Edwin Pouncey

                Collateral Damage
                Neil Young’s Pono player simplifies the debate over digital sound. By Philip Brophy

                Global Ear - Delhi
                Josh Feola enters the Indian city’s electronica underground

                Cross Platform - Eric Chenaux
                The Canadian musician amps up his AV project with Eric Cazdyn. By Clive Bell

                The Inner Sleeve
                Peanut Butter Wolf on Prince’s Controversy poster

                Epiphanies
                Arto Lindsay lists his significantly other musical moments

                Print Run
                New music books: Serge Gainsbourg’s masterpiece, boring formless nonsense, knowledge for mutants, plus: Is It My Body? Kim Gordon’s critical writing. By Britt Brown

                On Screen
                New films and DVDs: Ernst Schmidt Jr’s Viennese action films

                On Site
                Recent exhibitions: Carole Schneemann plus Sexing Sound: Aural Archives And Feminist Scores

                On Location
                Recent festivals, gigs and clubs: AV Festival, North East England, UK; Evolving Music, New York, US; Nathaniel Mann + Dead Rat Orchestra, Oxford, UK; Monomania, Cambridge, UK; The Necks, London, UK

                Those scholarly diggers at Invisible City Editions make their first foray into the world of the long player with this beautifully put together reissue of Witch's most diverse record. 'Movin' On' was released after the Zamrock heyday, when the music of 80s Zambia came to be influenced by disco and rhumba from neighboring Congo. Bands that didn’t adapt sounded outdated. Thus even Zamrock’s greatest band, Witch, splintered, with a skeleton crew of core members embracing younger musicians to record and release two albums that found the band replacing fuzz guitars with whirling synthesizers and trying their hand at soul, disco and boogie. The LP explodes into action with the title track, an uptempo groover driven on by Gedion Mulenga’s heavy duty bass playing and set alight by Christine Jackson’s cut glass vocals. “Movin On” is swiftly joined on the dancefloor by the James Mason styled funk of “I’m Coming Back” and the powerhouse disco of “It Feels So Good”, a psychedelic disco bomb propelled into orbit by Patrick Mwondela’s swirling synths, which would undoubtedly been sampled by those French robots had they known about it. Elsewhere, Witch inject traces of the Carpenters (“It Was You Boy”), the Doobie Brothers (“You Are My Sunshine”) and Ned Doheny (“Let’s Get Together”). On paper this should be a disaster; at a push one could imagine an afro-psyche group managing a half decent disco-funk record, but the soft rock stylings of America’s west coast are surely a step to far. But in reality, the planets aligned and circumstances fell perfectly into place, as the combination of a band of talented musicians, at the height of their creative powers wrote eight perfect songs, each a snapshot of that era, but completely unlike anything else around.

                Various Artists

                CHALICE001 EP - Coloured Vinyl Edition

                After knocking the socks (well, sandals) off the Balearic bods with an impressive run of releases, Sweden's Fasaan launch a new imprint to cater for those boogie cats. The label, appropriately named Chalice (what else would you sip your brandy from?) celebrates catalogue number 001 with the help of Sasac, Witch Doctor and Fasaan favourite Golden Ivy. Sasac gets into his groove on the A-side, with the soulful sounds of "The Chase". Forget any ideas of cop shows or Moroder basslines, "The Chase" in question is most certainly amorous, and the thrill of it is all ours. Sasac lays a foundation with clacking drum machines and a phat ass b-line, then ushers the grooves into a smooth verse / chorus construction with bright keys, slick guitar and billowing pads. Rich and groovesome, you'd be forgiven for mistaking this for a D Train instrumental. On the flip, Witch Doctor's "Inner Vision" glows golden with soaring synth melodies and shimmering guitars while the punchy bassline stokes some fire in the belly. Golden Ivy steps up to close proceedings with one for the smokers, tokers, gang bangers and low riders, "Ivy's Dream" completely nails the Dam-Funk style of modern boogie with its sexy liquid groove. Warm as a summer afternoon and just as lazy, this is the type of cut I could listen to for days on end! All in all a slick and very well turned out three piece which could easily have been rescued from 1/4 inch tape tucked away in some early 80's mid-western recording studio. It's that good! 


                Various Artists

                Dallas Buyers Club OST - Gold / Blue Vinyl Edition

                  Dallas Buyers Club follows the Oscar winning performance by Matthew McConaughey portraying the ‘80s real life character Ron Woodroof, who's suddenly being diagnosed as H.I.V.- positive and given 30 days to live. Yet he will not, and does not, accept a death sentence. A crash course of research reveals a lack of approved treatments and medications in the US, so Ron crosses the border into Mexico. There, he learns about alternative treatments and begins smuggling them into the US

                  An outsider to the gay community, Ron finds an unlikely ally in fellow AIDS patient and transsexual Rayon (another Oscar Winning performance by Jared Leto). They establish a “buyers club,” where HIV-positive people pay monthly dues for access to the newly acquired supplies. With a growing community of friends and clients, Ron fights for dignity, education, and acceptance. In the years following his diagnosis, the embattled Lone Star loner lives life to the fullest like never before.

                  The soundtrack to triple Academy Award winning feature film Dallas Buyers Club contains songs by Shuggie Otis, My Morning Jacket, T. Rex and actor/singer Jared Leto's Thirty Seconds To Mars.

                  The first 1000 copies of this double LP are uniquely pressed on gold and blue vinyl (each record a different colour!).


                  FORMAT INFORMATION

                  2xLP Info: 180g audiophile vinyl pressing in gatefold sleeve with insert. First pressing of 1000 numbered copies on gold & blue vinyl.

                  Maya Jane Coles, the multi-award-winning 26 year old British-Japanese producer / DJ, presents another new chapter in her remarkable career, following her critically-acclaimed debut album “Comfort” with Fabric 75.

                  The meditative propulsive house and techno for which Maya is renowned spurred Rolling Stone to include the young star as one of their top 25 most influential DJs on the planet, and secured her place at the top end of the Resident Advisor poll. It’s not hard to see why. Maya’s DJing highlights include a record breaking Boiler Room, much lauded Essential Mixes for Radio 1, a guest mix for XLR8R's hallowed 300th podcast, and live streamed mixes on Resident Advisor live from her residency at Richie Hawtin's Enter at Space.

                  Fabric 75 is a mix that avoids ornamental grooves in favour of fittingly percussive and musically rich simplicity; a raw house sound that is more mature and approachable than ever. The mix’s melodic qualities offer yet more wonderful insight into Maya’s music world, a rhythmic language spoken with the both the soft sonic variety and thunderous impact we’ve come to expect from Maya’s DJ performances. Wander with emotional caution, as deep chords dominate the mix and challenge the mere sight of mechanical beats.

                  Maya’s engaging atmospherics on Fabric 75 are esoteric to say the least, and the result clearly guides the listener through her own personal and fascinating approach to dance music.

                  On March 16, 2013, Jason Molina passed away of natural causes after a longstanding battle with alcohol. Jason’s death shook the world of many music-lovin’ souls and the music world as a whole. At 39 years old, he left behind a remarkable song catalog and lasting impression on anyone who heard his music with Songs: Ohia and Magnolia Electric Co. Starting as a heavy metal bass player from Loraine, Ohio, he became of the most influential and iconic singer-songwriters in indie music.

                  Farewell Transmission the Music of Jason Molina is a collection of Molina favourites performed by My Morning Jacket, Memorial Electro Company (featuring former bandmates of Molina), Catherine Iriwn, Wooden Wand, Communist Daughter, Enemy Planes & many more. Includes an original from Memorial Electro Company ‘Arm in Arm’ a tribute to their fallen bandmate and the beloved live favourite ‘Trouble In Mind (Fade To Blue)’, never recorded before.

                  Rock The Cause Records a music based nonprofit is donating all net proceeds to MusicCares. To learn more about the charitable impacts of this release visit irockthecause.org

                  Compiled and annotated by Lois Wilson (Mojo, Record Collector), Get On The Right Track brings together 90 magnificent recordings, mostly R&B, but with a smattering of jazz and ska, which reflect what mods would have been enjoying on the early to mid sixties club scene.

                  When Jamaican born Duke Vin, a former DJ on Tom “The Great” Sebastian’s Beat Street System, set up his own system in 1955, he got the place jumping. The sound system was like nothing London had witnessed before. It was loud, exciting and had no curfew. Duke Vin inspired Count Suckle, another Ladbroke Grove resident, who set up a rival system and the pair soundtracked the first generation West Indians’ blues parties with a playlist of US R&B 45s. Club Eleven and the Flamingo attracted newly settled Jamaicans too. Out of these clubs and sound systems, mod grew.

                  These mods were defined by their impeccable music taste and their smart clobber. They would dance their nights away at the Scene, to records spun by Guy Stevens, the UK Sue label manager and one of mod’s main pivots. They also frequented the Marquee and Count Suckle’s Roaring Twenties. The first two discs on 'Get On The Right Track' collect together the R&B, blues, soul, jazz and ska singles you would have heard at such clubs. Disc 3, meanwhile, captures the sounds from the same period (many of which were unreleased in the UK at the time) that light up the mod scene today.

                  'Get On The Right Track' has been carefully compiled to avoid track overlap with Fantastic Voyage’s previous mod collection 'Boogie Chillen', and is also available as a 2LP vinyl collector’s edition, featuring 32 of the most sought-after tracks and a colour insert.


                  FORMAT INFORMATION

                  2xLP Info: 2LP vinyl collector’s edition featuring 32 of the most sought-after tracks from the 90-track 3CD set.

                  Another album sampler of heavy aural riffing assault, from some of the newest and heaviest labels around, representing the harder, heavier, more abrasive end of the indie (ROCK) scene. Not metal bands but bands with gutsy guitar riffs to appeal to the Metal, Doom, and Hardcore fraternities who find themselves looking for something new. Likewise, bands accessible enough for the indie kid looking for a step towards a more solid, hard-rocking scene.

                  Various Artists

                  Schnitzelbeat Vol. 1 - I Love You, Baby!

                    New Digatone compilation of twisted Austrian pop ('Austropop') from the 1950s & 60s. Features oddities from the fringes of Austrian pop, 'popcorn', rock'n'roll, exotica, beat , raw proto-punk & trash.

                    500 only pressed.

                    Comes with insert & extensive notes.

                    'Soul City Los Angeles' presents recordings which served to establish the musical direction of LA and neighbouring West Coast conurbations in the late 1950s and early 1960s when R&B was evolving into the style that became known as soul. Compiled and annotated by soul music authority Clive Richardson, 'Soul City Los Angeles' is the latest in a series that has previously explored the nascent soul scenes in Detroit, New York and Chicago.

                    This instalment presents a selection from key independent labels of the area, including Sam Cooke’s SAR and Richard Vaughn’s Arvee, as well as choice items from Aladdin, Liberty, Imperial and Ebb, and collectable releases from more obscure imprints. Famous names on CD1 of this 60-track 2CD set include the Olympics, the Valentinos (aka the Womack Brothers) with ‘Lookin’ For A Love’, the Rivingtons with ‘Papa-Oom-Mow-Mow’, and Johnnie Morisette with ‘Meet Me At The Twistin’ Place’, while CD2 features ‘Ko Ko Mo’ hitmakers Gene & Eunice, both sides of a 1962 single on Rush by Don & Dewey, early recordings by future stars Johnnie Taylor and Johnny ‘Guitar’ Watson, and a young Sly Stone as a member of the Viscaynes.

                    Soul fans of the early 1960s could often figure out the geographic origins of new singles as much by the ‘sound’ as by any knowledge of sometimes obscure artists and labels, with the output of West Coast studios tending to have a ‘harder’ sound in comparison with some more sophisticated (for the era) productions from the opposite coast or the regions of the Great Lakes. Here we have music from the formative period of the soul era in Los Angeles.

                    Also available as 2LP vinyl collectors edition, featuring 28 of the most sought-after tracks and colour insert.


                    LEFSE records commissions artists to create songs from space recordings made by VOYAGER probes. 

                    ‘The Space Project’ features Youth Lagoon, Spiritualized, Beach House, The Antlers, Mutual Benefit, Blues Control and others. 

                    Last Thanksgiving, Matt Halverson, who runs the Portland-based label Lefse Records, was talking with his brother in law, Exogenesis President and Chief Scientist Sean Anklam, who described a trove of recordings the NASA-launched Voyager space probes had made in the outer solar system. Halverson was overtaken by an idea to commission imaginative artists to create songs and soundscapes out of the Voyager recordings. The interest among musicians was overwhelming. 

                    ‘The Space Project’ album consists of 14 tracks, seven pairs of songs, each based on a distinct celestial body: the planets Jupiter (Porcelain Raft, The Antlers), Neptune (Spiritualized “Mississippi Space Program”, The Holydrug Couple), Uranus (Youth Lagoon, Blues Control), Saturn (Beach House, Zomes) and Earth (Absolutely Free, Jesu), and the moons Miranda (Mutual Benefit, Anna Meredith) and Io (Benoit & Sergio, Larry Gus). 

                    Frisco disco imprint Voltaire hits us with its 'love potion number 9' in the form of the various artists "Viare EP". Featuring cuts from Jonas Reinhardt, Timothy J. Fairplay, PLAzA and Roche this thick wax hits you with knockout punches from all corners of the dancefloor. First up to the plate is Jonas Reinhardt, who clears the stadium with the starchasing "Virgo Cluster", a cosmic disco groover propelled like a Nasa shuttle by a irresistable bass groove. Expansive synth lines, the occasional echo of the Bee Gees and a scorching guitar solo courtesy of Phil Manley (Trans Am / Life Coach) all combine into a swirling nebula of dancefloor delights. Asphodell Timothy J Fairplay invites us to his souk and mixes up a gurgling sonic brew of dubby drug chug, zombie horror soundtrack and menacing slo-mo techno, perfect for any ALFOS fans out there. On the flip, "Guave" by PLAzA is a playful dancefloor workout, that employs a slow acidic line and some classic Italo house flavours to evoke the feeling of pilled up dancing in the summer sun. Space terrace vibes!  Lastly, "Back Outside" from Roche is druggy outsider house at its best, with an enormous subby bassline complementing an alien warehouse vibe.


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