Ablaze! fanzine to be relaunched after 22 year hiatus For the first time in 22 years, there is gonna be a new edition of the notorious Ablaze! fanzine! Ablaze! operated in Leeds and Manchester between 1987 and 1993, and made an impact on the UK’s very healthy fanzine scene by being bigger, more colourful and cheekier than its peers. in 2012 the zine’s story was told in The City Is Ablaze!, a book that could have been subtitled The Art Of Upsetting Popstars. Here are some quotes about Ablaze! from that time: There are other people to condemn, Karren – aren’t there? – Morrissey I forgive and hope for Karren A - Thurston Moore Fuck off! - Ian Brown Editor Karren Ablaze! is now feeling sufficiently inspired by what’s going on musically to bring back Ablaze! as a real live paper magazine.

    This special relaunch edition will include features on Sleaford Mods (cover stars) , Viv Albertine (The Slits), The Chills, Peaches, Jeffrey Lewis, Conrad Keely (And you Will Know Us By The Trail of Dead), Laetitia Sadier (Stereolab), Katie Harkin (Sky Larkin, Sleater Kinney), Slum of Legs, Esper Scout, Trepàt, Hysterical Injury, and maybe even The Dismemberment Plan, Cowtown and Joanna Newsom! Plus: Indie music in India!, Barcelona scene report, DIY versus austerity, Riot grrrl and spirituality, Behind the scenes at Norman Records, record reviews, book reviews, live reviews and more.

    Stone cold funky techno gold here on EPM with four variations on one amazing theme - "Rise & Shine" by Esteban Adame. Whilst the OG vinyl edit is a beatless, meander into optimistic dreams of future industry and bubbling pools of plasma, we're soon thrust onto the dancefloor via the 'Beat Mix'. Utilizing those dreamy synthetic textures but pairing them to a powerful, forward-propelled groove. One of those tracks I'd imagine sound great in Fabric - undeniably future-proof and glistening with hi-technology. Next up we get the trip of our fantasy through the Underground Resistance (!!!) mix. Yes - what a coup - the UR legends providing a rare as hen's teeth remix; and this has slipped relatively under the radar so far! Unbelievable. Anyway, all the trademarks are there from the unbeatable stalwarts of techno - nagging little synth licks, jusst the right amount of neo-organic soul and of course a hip-shaking 4/4 that's impossible to ignore. It's a proper job done and worth the entrance fee alone. Finally, Mark Flash actually gives the Detroit militia a run for their money on his remix - another take on funky techno but using a different groove and sound palette from UR. It's another belter you might catch Rob Hood's Floorplan alias utilizing on the terraces. Four storming versions all with their own unique characteristics and nuances. Go figure! 

    “My last record was a break up record and if I had to label this one I would call it a make up record. I’m making up with myself. making up for lost time. making up for everything I ever did and never did.”

    So says Adele about her new long player '25'. "Highly anticipated" doesn't quite cut it, with the video for lead single 'Hello' clocking in at 404,293,556 views the last time I looked (and undoubtedly more by the time you read this). '25' might be the event record of 2015, but really it's a continuation of the sound that brought '21' 9 x platinum global sales. The intimate piano ballads, epic swelling choruses, R&B pop hints and BIG production are all present and correct on '25', along with the emotional catch in Adele's voice - the thing that lifts her head and shoulders above all the melisma-ing X-Factor wannabes. The album features co-production from Greg Kurstin, Tobias Jesso Jr ('When We Were Young'), Danger Mouse ('River Lea') and Swedish pop svengalis Max Martin & Shellback ('Send My Love (To Your New Lover)') 

    The crisp sound of golden age hip-hop is enjoying something of a renaissance these days with Kendrick, Freddie Gibbs and Homeboy Sandman all repping the classics in their tracks. Grand Central producer AIM has always held true to his underground hip-hop roots and a new project finds the beat-maker working alongside like minds. Long Island’s dynamic duo Q Ball & Curt Cazal (QNC) work the rhymes on new album "The Habit of a Lifetime", a project that owes its roots to 1999 LP cut "The Force". Four years in the making "The Habit Of A Lifetime" features eleven Aim produced future classics and is a triumphant return for a true hip hop artist.


    2xLP Info: Limited red vinyl pressing.

    Jimmy LaValle, perhaps known best for his work in the contemplative dream-rock outfit Tristeza and San Diego’s The Black Heart Procession, began releasing delicate, progressive instrumental work as The Album Leaf in 1999 (the name comes from a Chopin piece).

    After years of labor-intensive touring and tinkering with complex tracks in his cramped bedroom studio, LaValle was repeatedly offered a rare invite from Icelandic phenoms Sigur Ros and Mum to record his newest solo opus in their Mosfellsbaer studio. He finally accepted and flew overseas to compose and record “In A Safe Place.”

    With the addition of vocals (absent from previous Album Leaf releases) from The Black Heart Procession’s Pall Jenkins, Sigur Ros’ Jon Thor Birgisson, and LaValle himself, the songs on the new record are chillingly delicate and more pop-based than ever before. “In A Safe Place” masterfully negotiates the spaces between minimal electronica and neo-instrument rock.


    Barry says: This is one of the albums most instrumental (pun partially intended) in shaping my music tastes of the last 20 years. Originally released in 2004, In A Safe Place is a beautiful example of unashamedly melodic but subtly mournful post-rock / electronic.
    performed with a variety of electronic instruments, and the ever-present and achingly beautiful Rhodes electric piano. Triumphant, but thoughtful, filled with beauty but never too optimistic. This is a worthy and essential reissue for any fans of post-rock. Stunning reissue.

    Amateur Best

    They Know - Inc. Richard Norris Remixes

    “Glistening synth-pop number” - Dummy

    “This track is the highest grade of electronic pop” - i-D

    'They Know' combines pop vocals, synth textures and clipped garage beats, while exclusive track 'White Noise' shuffles along on electro rhythms. Richard Norris is brought in for the remix, utilising his know how as the Grid for a house remix of 'They Know'.

    Amateur Best is the alias of Birmingham-based “personal pop” musician, songwriter and producer Joe Flory.

    His second album ‘The Gleaners’ was released via Brille Records (The Knife, Gwilym Gold, John Wizards).

    ‘They Know’ follows the release of single ‘Marzipan’ which picked up radio support from Radio 1’s Annie Mac and Huw Stephens and XFM’s John Kennedy and Eddy Temple Morris.

    An Ultimate DJ

    An Ultimate DJ?

    A fusion between Maoupa Mazzocchetti, DJ Coquelin and PD Cloarec...Dark, guttural, noxious analogue filth and noise experiments here loosely held together with some kind of nod to the dancefloor. Think Ron Hardy at his most sherm-stick-fuelled craziness and you're only half way there. "Sondages" has clipped cowbells riding overdriven kicks and toms while an incomprehensible German vocal weaves its way through the thick, saturated haze. "Go Nuts!" has an urgent tempo and a Lil Louis style bleepy acid line. Thunder clap snare bursts and tape distorted drums rumble on through this real stream train beast of a techno banger. Essential for fans of Jamal Moss, Analogue Cops, Rawmance, June records, Trenton Chase etc. Sounds for demented dancefloors and technoid freakz.

    Horace Andy / King Tubby

    You Are My Angel / Version

    Sleepy is in fine voice on 1973 cut ‘You Are My Angel’, his distinctive sweet soul vocal floating above a killer roots riddim. Produced by Bunny Lee and recorded and mixed at King Tubby's studio. This 7" issue comes backed with a rocking King Tubby dub cut from the same session. Superb.



      Arca’s 2014 album ‘Xen’ was an angular and, at times, insular record driven by aggressively queer juxtapositions. It served as a study of the self that refused categorisation and embraced erraticism; employing confrontational clashes of style and sound to emphasise a morphing dynamic between obscurity and vulnerability. At times anxiously self-reflexive, at others beauteous and calm, it was intermittently personal and withdrawn.

      ‘Mutant’ is about sensuality and impulsiveness as escape routes out of rigidity: “softness as a weapon when the mind attacks itself.” Anxieties are harmonised by selfconfidence in the optimism and inclusiveness of transformation. Mutations expose the resonances and malleability of identity. This album takes pride in deformity, innocence, distortion and vulnerability: traits traditionally ostracised as undesirable and regressive.

      'Mutant' is released on CD and a special limited edition triple gatefold, double red vinyl edition.

      Tresor deliver the definitive Juan Atkins Detroit techno / electro record label Metroplex, featuring compositions by Atkins under various psuedonyms; Cybotron, Model 500, 3mb, Infiniti etc. Featured here are ground-breaking early works such as "Alleys Of Your Mind", "Clear", "No UFO's", "The Chase", "The Passage" and "Off To Battle" - electronic compositions that will always be counted as foundation blocks for a music style that endures to the present day. Inspired by the European computer music of Kraftwerk and Depeche Mode, and the US P-Funk of Parliament / Funkadelic, Juan Atkins delivered a new sound that changed the face of electronic music forever.

      Founded on the concept of permanent crisis and continual refinement, Italian trio Aucan seams together hypnotic live rhythms and moody electronics using a precise, minimalist post-rock approach. Much evolved from their origins as a math-rock outfit, Aucan's gear and synth collection expanded over the years informs the band's current incarnation which is most notorious for their striking 100% hardware live shows.

      While Aucan experiments with new forms admiring an array of soundsystem music/club genres, the band's creative approach remains the same as day-one: to make their music as direct and honest as they could, setting rules on gear having to be played live and imposing limits on the number of tracks and overdubs to maintain the original, raw live constructs. With over 300 live shows under their belt, Aucan has shared the stage with Matmos, Fuck Buttons, Chemical Brothers, and Placebo, and along the way has made quick fans of fellow artists collaborating with the likes of Shigeto, Otto Vob Schirach, Scorn, Zu, and Dalek.

      Declaring themselves as more of multi-disciplinary collective than just a band, Aucan formed on their kinship sharing similar ideas on music, art, and contemporary philosophy. Just like a singular aesthetic presents itself in their music, the band is focused on making the same compelling impression in their visual work (live A/V and artwork) and lyrical content.

      On their debut full-length for Kowloon Records, Aucan present the sprawling 'Stelle Fisse' which translates to 'fixed stars'. An eerie outer space ambience remains constant throughout the diverse journey thanks to arresting synthwork and detached sampler-pitched vocals. An ode to these 'fixed stars', the album is said to conceptualize "a symbol of the permanent things in life, points of reference that never move away".

      PRESS FOR “Stelle Fisse”:

      “Furiously imaginative, the fusion of live instrumentation and electronics blurs the line between man and machine.” CLASH

      “Aucan beacon of black light extends well beyond music” Life and Times

      “Aucan, a band apart...” Noise

      “They Huddle in a triangle. A single eye who searches beyond the common perceptions. The headlights wrap them. A sort Electric mysticism fills the air.” Rolling Stones

      “Aucan has made a true effort, that gives its results, bordering with sublime.” Tsugi

      "There is a new authority rumbling from the city of Brescia, in Northern Italy. It’s called AUCAN..." DJ MAG

      John Barry

      Diamonds Are Forever

        Following the forgettable OHMSS, featuring a truly awful George Lazenby in the role of Bond, United Artists lured Connery back to the spy franchise for a then record fee, aiming to recapture the glory of Goldfinger in their latest film, Diamonds Are Forever. As Bond charms, disarms and drinks his way through another battle with arch nemesis Ernst Blofeld, finally foiling his foe's city levelling plans, John Barry delights our ears with a flawless string of sumptuous instrumental pieces incorporating elements of the Main Title and recurring Bond theme. Boasting the classic, pop standard "Diamonds Are Forever", which finds Bassey in powerhouse form, this is a fine edition to any collection.


        Includes MP3 Download Code.

        John Barry

        From Russia With Love

          While later Bond films were launched with a chart topping pop theme, (we're ignoring Madge's attempt there) the second film in the evergreen spy series, kept things a little more subdued, though no less brilliant. Baton in hand, John Barry, with a little help from Lionel Bart and Monty Norman, perfectly captures the intrigue, suspense, sophistication and sex appeal of the big screen hit. Romantic ballads, eerie orchestral works and light hearted exotica slot together seamlessly as we live out our M16 fantasies.


          Includes MP3 Download Code.

          John Barry


            “Thunderball” was the third James Bond score composed by John Barry, after “From Russia With Love” and “Goldfinger”. The original main title theme to Thunderball was titled “Mr. Kiss Kiss, Bang Bang”, which was written by John Barry and Leslie Bricusse. The title was taken from an Italian journalist who in 1962 dubbed agent 007 as "Mr. Kiss Kiss, Bang Bang". The song was originally recorded by Shirley Bassey but when there were problems with Bassey's performance, it was later rerecorded by Dionne Warwick and featured a longer instrumental opening designed so the lyrics would not be heard until after the title "Thunderball" appeared in Maurice Binder's title. The song was removed from the title credits after United Artists requested that the theme song contain the film's title in its lyrics and Barry teamed up with lyricist Don Black to write the new "Thunderball" in a rush. Tom Jones, who sang the new theme song, fainted in the recording booth after singing the song's final, high note. Adding to the delay issues, Barry had written large amounts of the score around the original theme and woven it throughout the score, along with the recurring underwater "Search For Vulcan" motif. After "Thunderball" was written, Barry wrote, orchestrated, and recorded several new pieces interpolating it. Barry's scores always included a track which gave the film's theme song a full statement in the form of a sensitive, slowed-down instrumental ballad, often played over a romantic moment or a scene set in a nightclub or casino and he re-arranged "Thunderball" as a lush, subtly jazzy orchestral piece in the easy listening style that was popular at the time. Though "Mr. Kiss Kiss Bang Bang" was dropped as the theme song, some of the pieces which included its melody remained part of the score, and it receives full statements twice: by full orchestra and jazz rhythm quartet with bass, drums, guitar, and vibraphone in the track "Café Martinique" (immediately followed by the "Vulcan" cue), and as a wild, bongo-laden cha-cha-cha in "Death of Fiona." The scene which includes the latter, it should also be noted, takes place at Club Kiss Kiss. Because Thunderball's score had, essentially, two main themes to work from, as well as the "Search For Vulcan" cue and the "James Bond Theme," it is arguably the richest of the early Bond scores.


            Includes MP3 Download Code.

            John Barry

            You Only Live Twice OST

            It's 1967, the charts are in the grip of an exotica fever and the cultural trade routes from the Far East are beginning to kick into gear with the global success of Kyu Sakamoto's "Sukiyaki" and the rise of Eleki and Fluxus. The world's favourite spy meanwhile finds himself battling ninjas, piranha, double agents and SPECTRE all the way from Tokyo to Kobe, before landing at a secret volcano lair. Incorporating the sounds and textures of the Orient into the classic Bond sound design, Barry delivered one of the finest scores of his career, boasting the sublime Nancy Sinatra sung title theme, the melancholy beauty of "The Death Of Aki" and the oft used gravity of "Capsule In Space". Flawless from start to finish, this is an essential record for soundtrack fans, Bond fanatics or anyone with an interest in exotica. 

            As featured in the Piccadilly Records End Of Year Review 2015 Top 20 Reissues/Collections, this comes with a free Piccadilly End Of Year CD sampler. Click HERE for more info.

            “The biggest thing ever to happen to indie pop in America... Most of what's written about this band is all about that sweet pop and those childish affectations, but that misses the substance at the core: Their music was dark, damaged, full of fright and sex and death and vulnerability-- just like any real childhood...their hopscotch stories felt punker than Black Flag tattoos ever could.” - Nitsuh Abebe, Pitchfork

            Exploding the teenage underground into passionate revolt against the corporate ogre since 1983, Beat Happening formed at Evergreen College in Olympia, Washington by Calvin Johnson, Heather Lewis and Bret Lunsford. The band combined a modern primitive pop sound with the D.I.Y. ethos of ‘anyone can do it’ and inspired countless bands and labels along the way. The music community that arose around the band and their label, K, may have seemed the sonic antithesis of their Seattle neighbors (and friends) but was no less influential.

            The legend of Beat Happening, and of K, the label that Calvin Johnson founded, is full of big names they worked with before they were stars (Beck! Modest Mouse! The Gossip!), and big names they influenced (Kurt Cobain! Sleater-Kinney!) Less acknowledged, however, is that Bret Lunsford, Heather Lewis, and Calvin Johnson created some of the most original and surprising music to come out of the often deliberately weird American punk rock tradition. Working from a sonic template of the Cramps, Trouble Funk, Young Marble Giants, and messianic blues, Beat Happening confounded and often incited violence from audiences weaned on hardcore punk. In the place of macho aggression, Beat Happening confronted the all-ages scene with Heather’s low-key delivery and Calvin’s fey theatrics, topped off by his trademark dance move: rubbing his tummy. For a supposedly cutesy band, Beat Happening was adamant about asserting its right to exist, carrying itself with a punk as fuck attitude that would become a key inspirational lodestone for the generation of D.I.Y. bands that followed, including Bikini Kill and the Nation of Ulysses.

            30 years since the release of their self-titled debut album, Look Around is a remastered, career-spanning double album anthology, handpicked by the band and a great starting point for the uninitiated as well a refreshing reminder to those who caught the wave the first time around. The 23 tracks range from their 1984 debut single, “Our Secret” b/w “What’s Important” (originally sold directly for $2.50 to individuals, but $4 to institutions) to “Angel Gone,” a single released in 2000 after eight years of inactivity.


            2xLP Info: Includes a free EOY 2015 CD sampler. 180 gram virgin vinyl.

            Includes MP3 Download Code.

            CD Info: Includes a free EOY 2015 CD sampler.

            Cassette Info: Includes a free EOY 2015 CD sampler. Limited-edition royal blue cassette.

            2xIndies Exclusive LP Info: Includes a free EOY 2015 CD sampler. Includes a free EOY 2015 CD sampler. Gatefold double 180g virgin vinyl LP bundled with a limited edition light yellow 7” of “Indian Summer” and “Foggy Eyes”.

            Includes MP3 Download Code.

            Ashley Beedle / Lay-Far / Darren Morris

            The Slope EP

            Ever since the 'Communication EP' which marked the label's 50th release, Alexander Lay-Far has a special place in the Local Talk family.

            Since then things have been going well with plenty more releases, tours, the launch of his label In-Beat-Ween Music plus a new full length album done.
            With so many things on the go we're of course very happy to welcome Lay-Far back and with him this time, two UK house legends that need little introduction, Ashley Beedle and Darren Morris. Together the trio produced an EP that embraces the charms of both disco and house and we think it hits on every level.

            The A-side is dedicated to 'Doctor Feelgood', which is a delicious disco house cut that will make you feel good. Extra bonus points for the wonky bassline.

            On the flip, you'll find two versions of 'Slope'. The first one is an easy / breezy number built around jazzy drums, warm chords to catch your breath for a minute or two, lovers of rhodes should lend the track an extra ear, it's pure bliss. After those 5 minutes and 14 seconds has ended Lay-Far steps into the remix arena, turns up the tempo and sends the track straight to the dancefloor.

            No need to fiddle around too much, he just sprinkles some extra touches of Lay-Far magic to the original and voila, it's done.

            Whether you’re familiar with Matt’s Live shows or want to understand what they are like, this album takes you there! From the excited audience chatter to the clarity of his pulsing KORG, each element resonates with perfect clarity. Berry and The Maypoles' musical prowess shines through their prog-folk excursions and trombone flairs which are reminiscent of an early Acid Jazz release, all with the a nod to Berry's surreal and panoramic world-view.


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

            Includes MP3 Download Code.

            This French psychedelic masterpiece by Philippe Besombes and Jean-Louis Rizet, originally released by Pole Records in 1975, is a stunning piece of work created with synths of various kinds (VCS 3 AKS, Synthorchestra Farfisa, Mellotron 400, etc.), occasionally backed up by drums and other sounds. Lauded by artists like Julian Cope and Etienne Jaumet (Zombie Zombie) and diggers around the world, "Pole" takes the listener on a trip like the gods of psychedelic music intended, from IRCAM's laboratories to German krautrock; from Faust to Cluster & Eno. The original double LP release is reissued here as a single LP (including download code for original album track "Synthi Soit-Il," absent from this LP). 'Pole' is ideal for a thorough shamanic journey - the perfect time to rediscover the dark and fuzzy side of unknown 1970s French avant-garde music.


            Includes MP3 Download Code.

            Christopher Bissonnette

            Pitch, Paper & Foil

            Christopher Bissonnette is a Canadian musician/sound artist/designer living and working in Detroit and Windsor. He has released three full-length albums for Kranky and a collaborative recording with David Wenngren (Library Tapes) on Home Normal.

            Continuing the explorations of the analog synthesizer first revealed on his last album, Bissonnette's deft touch in recording and mixing is a joy to experience. While most contemporary analog synth slingers find themselves unable to not overload the sound-field with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control.

            Since his first full album release, Periphery, ten years ago, Bissonnette has been expanding his aural vocabulary and production techniques incorporating elements of concrete, field recording and modular synthesis.

            This new series of works reflects an evolution of my adeptness with modular synthesis. As with my previous release Essays in Idleness, Pitch, Paper & Foil was constructed from a range of synthesis and compositional techniques. The goal with this album was to form a collection that exhibits more restraint than previous works.

            Modular synthesis can be an unruly medium and taming it in order to produce delicate or subtle tones can be challenging. As with Essays..., I have allowed the artifacts of the process to find their way into the finished product. Tape noise, distortion and by-products of the random sequencing method all contribute to the character of the final recordings.


            Black Lake - Bloom Remix

            As Björk continues to make waves in the electronic scene, we are now presented with exclusive remixes by boundary-pushing artists and DJs selected by the Icelandic artist.

            The ‘Vulnicura’ remix project will be released in very limited quantities for collectors only, as a series of single-sided etched translucent 12” records, each with their own unique etching & die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

            “When i DJ’d for the Tri Angle birthday party i did a mashup of Bloom and Abida Parveen . i wanted the peak of his extrovertsy to meet abida at her most visceral . i kinda asked him if hed do a similar thing for black lake and was thrilled he was up for it . i really adore his beats and i feel hes got a strong signature on his noises that are really his . he choose himself to take on family in an impressive way!” – Björk.

            "I couldn’t believe it when I heard Björk had been playing my stuff at her gigs and I loved Vulnicura so it was an honour to be able to work on remixes with her. With the first one ("Family") I just went in and pretty much created the whole thing in one intense session. I knew she’d want me to do my thing no-holdsbarred so I just went crazy with it, processing the vocal using it like an instrument. I’ve been thinking about making more freeform stuff lately, less club friendly, so this was a perfect opportunity. The second one ("Black Lake") was more of a collaborative process, she emailed me saying she’d envisaged the track reworked like some of my earlier stuff so I pulled out the Quartz bass pulse and we bounced a few ideas back and forth, keeping the vocal track more dominant. It’s been amazing to work with such a visionary artist, so inspiring." – Bloom.

            Available exclusively to independent retailers.


            12" Info: One sided etched clear vinyl pressing in die-cut sleeve.

            Includes MP3 Download Code.


            Family - Bloom's North Remix

            As Björk continues to make waves in the electronic scene, we are now presented with exclusive remixes by boundary-pushing artists and DJs selected by the Icelandic artist.

            The ‘Vulnicura’ remix project will be released in very limited quantities for collectors only, as a series of single-sided etched translucent 12” records, each with their own unique etching & die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

            “When i DJ’d for the Tri Angle birthday party i did a mashup of Bloom and Abida Parveen . i wanted the peak of his extrovertsy to meet abida at her most visceral . i kinda asked him if hed do a similar thing for black lake and was thrilled he was up for it . i really adore his beats and i feel hes got a strong signature on his noises that are really his . he choose himself to take on family in an impressive way!” – Björk.

            "I couldn’t believe it when I heard Björk had been playing my stuff at her gigs and I loved Vulnicura so it was an honour to be able to work on remixes with her. With the first one ("Family") I just went in and pretty much created the whole thing in one intense session. I knew she’d want me to do my thing no-holdsbarred so I just went crazy with it, processing the vocal using it like an instrument. I’ve been thinking about making more freeform stuff lately, less club friendly, so this was a perfect opportunity. The second one ("Black Lake") was more of a collaborative process, she emailed me saying she’d envisaged the track reworked like some of my earlier stuff so I pulled out the Quartz bass pulse and we bounced a few ideas back and forth, keeping the vocal track more dominant. It’s been amazing to work with such a visionary artist, so inspiring." – Bloom.

            Available exclusively to independent retailers.


            12" Info: One sided etched clear vinyl pressing in die-cut sleeve.

            Includes MP3 Download Code.


            History Of Touches - Rabit Naked Remix

            As Björk continues to make waves in the electronic scene, we are now presented with exclusive remixes by boundary-pushing artists and DJs selected by the Icelandic artist.

            The ‘Vulnicura’ remix project will be released in very limited quantities for collectors only, as a series of single-sided etched translucent 12” records, each with their own unique etching & die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

            “Was so blown away when i heard him first , just the amount of character in the beats , adore his spartan fierce some sort of texan techno teddy boy thing : you can always tell its him !! have so much enthusiasm to witness him grow , his best def yet to come ...... " – Björk.

            "The situation around this remix posed so many new questions for me. Björk wants to work with me? Is this for real? What could *i* do with a song from that album...and would it ever be good enough? How would I know when it's done, and mostly, how am I going to do this sitting in my chair at home, don't *real* musicians use studios? By the time my track was done, most of my questions had been answered. I just went with my instinct and trusted the results. I tried to find that thing that she recognises in my music, turn to it, and let it out. I hope people feel it." – Rabit.

            Available exclusively to independent retailers.


            12" Info: One sided etched clear vinyl pressing in die-cut sleeve.

            Includes MP3 Download Code.


            Lionsong - Juliana Huxtable Remix

            As Björk continues to make waves in the electronic scene, we are now presented with exclusive remixes by boundary-pushing artists and DJs selected by the Icelandic artist.

            The ‘Vulnicura’ remix project will be released in very limited quantities for collectors only, as a series of singlesided etched translucent 12” records, each with their own unique etching & die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

            “le1f texted me from a sweaty club a clip of juliana doing a mix of lionsong so i contacted her and asked her to make it into a proper remix . its her first remix and i think its incredible !!!” – Björk.

            “I really just fell for the album in general but ‘Lionsong’ specifically went straight to this really guttural and spiritual place for me. I was dealing with a lot at the time - doing a lot of healing after a really difficult love and this song brought me through. I started playing it in my club sets and it works take people to this really insane to place. Even after I've mended, it's one of the most powerful songs I've heard in so long and when Björk asked if I'd like to do a remix I naturally freaked out. I tried to think through what elements would take the song to a 'catch the holy ghost' experience in the context of a body in motion - dancing or exorcising. I worked with my friend and frequent collaborator false witness in the studio to really perfect the vision I had for this track and I hope that it does it honor.” – Juliana Huxtable

            Available exclusively to independent retailers.


            12" Info: One sided etched clear vinyl pressing in die-cut sleeve.

            Includes MP3 Download Code.


            Mouth Mantra - The Haxan Cloak Remix

            As Björk continues to make waves in the electronic scene, we are now presented with exclusive remixes by boundary-pushing artists and DJs selected by the Icelandic artist.

            The ‘Vulnicura’ remix project will be released in very limited quantities for collectors only, as a series of single-sided etched translucent 12” records, each with their own unique etching & die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

            “After bobby ( the haxan cloak ) had mixed vulnicura ( and made one beat ) i was kinda keen asking him if there was any song he´d be up for taking further as a remix and he said mouth mantra ... it was humbling for me to see one person take on like a whole album of mine like that , listen to it like thousand times and curious after him being soaked in it for months , where he thought he could take it further? I am enjoying extremely this version live now as he is playing it w me on this summers festivals: it just takes off rocket style ha ha ha ha ha i almost forgot singing last time we played it" – Björk.

            “I’ve always loved ‘Mouth Mantra’ since the time I heard the first version when we were doing the mixing - there’s something so satisfying about that goth breakdown section in the middle. We went through a few different iterations of it when we were mixing the record. Some where the beats were super loud and bombastic, some where the strings took more centre stage (we ended on a wonderful compromise of all these things). There’s something about ‘Mouth Mantra’ that really appeals to my sensibilities, so I always flirted with the idea of remixing it. When it came time to start thinking about prepping for the live shows, Bjork asked me if there were any songs I’d like to remix for playing live - instantly I thought of this one. I wanted to keep the core of the song but just really amp up the drama and intensity to 11 (surprise surprise). I then decided to refine the live remix for a more studio/headphone listening environment, so that’s what you hear now. I actually finished it on a plane last week and was texting Björk while I was finishing it. We were having a laugh about eschewing time zones and being ‘off-grid’ in all senses of the phrase, so at one point we came up with, “Mouth Mantra - ‘Haxan Cloak acid grid dissolve international time zone mix,’ but, ‘The Haxan Cloak remix’ just rolled off the tongue a bit easier.” – The Haxan Cloak.

            Available exclusively to independent retailers.


            12" Info: One sided etched clear vinyl pressing in die-cut sleeve.

            Includes MP3 Download Code.


            Stonemilker - Patten Rework

            As Björk continues to make waves in the electronic scene, we are now presented with exclusive remixes by boundary-pushing artists and DJs selected by the Icelandic artist.

            The ‘Vulnicura’ remix project will be released in very limited quantities for collectors only, as a series of single-sided etched translucent 12” records, each with their own unique etching & diecut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

            “patten sent me a mix he did of stonemilker through robin and i loved it so i asked him if we could put it out” – Björk.

            “[insert yin/yang symbol here]” – patten.

            Available exclusively to independent retailers.


            12" Info: One sided etched clear vinyl pressing in die-cut sleeve.

            Includes MP3 Download Code.


            Miss World

              “Uncynical in a way that only a really young band can be.” - NME

              “Tightly wound, instantly accessible alt-pop that soars in all the right places.” - The Line Of Best Fit

              “Buoyed with the sort of searing, soaring chorus most bands take a lifetime to perfect.” - Clash

              With every member of the band having now finished school and a record deal with Transgressive signed, Blaenavon release their new EP ‘Miss World’.

              Produced by David Pye (Wild Beasts, Egyptian Hip Hop) and mixed by Dan Grech (Radiohead, Wolf Alice, Circa Waves), the boys recorded the EP during a half term and first single ‘Hell Is My Head’ continues a run of evermore committed, detailed and powerful work. A rancid portrayal of mythical love and lust, it’s an impressive return from a band all grown up and ready to take on the world.

              Bob And Earl / Mel And Tim

              Harlem Shuffle / Backfield In Motion

              Bob and Earl have perhaps made more impact on the UK northern soul scene than any other duo or individual performer. During their respective careers they have recorded as Bob Relf, Bobby Garrett, Bobby Valentino, Earl Nelson and Jackie Lee. The duo wrote “Harlem Shuffle” in ’63 and it was arranged and produced by West Coast luminairies Barry White and Fred Smith. Mel And Tim were cousins and were signed to Mel’s mother’s label, Bamboo Records (managed by Gene Chandler), when they hit with “Backfield In Motion” in 1969. The disc went to No.3 R&B and No.10 Pop on the Billboard charts selling over one million copies. 

              Booker T &The MGs / The Mar-kets

              Green Onions / Balboa Blue

              Booker T & The MGs will be forever synonymous with the sound of Memphis soul, as defined by Stax Records for whom they were the house band. In 1962 they made it to No.1 in the R&B charts and peaked at No.3 in Billboards Hot 100 with “Green Onions”. The classic 12-bar blues anthem features Steve Cropper on a Fender Telecaster and Booker T Jones’ rippling Hammond M3 organ. It's the ultimate R&B / mod soul instrumental, and one of the most recognisable tracks ever.The Mar-Kets (later The Marketts) were a California instrumental surf band best remembered for their 1963 million-selling album 'Out Of Limits'. “Balboa Blue” features on their debut LP 'Surfer’s Stomp' and first appeared on the northern soul scene at Manchester’s Twisted Wheel club.

              Basia Bulat


                First new music from Basia’s new album, "Good Advice"

                On both the album and this single, Bulat teamed-up with friend and collaborator Jim James of My Morning Jacket, driving 600 miles from her home in Montreal to La La Land recording studio in James’ hometown of Louisville, Kentucky.

                “Nods to Fleetwood Mac and early Joni Mitchell.”—The New York Times

                David Cavanagh

                Good Night And Good Riddance: How Thirty-Five Years Of John Peel Helped To Shape Modern Life

                  Goodnight and Good Riddance: How Thirty-Five Years of John Peel Helped to Shape Modern Britain is a social history, a diary of a nation's changing culture, and an in-depth appraisal of one of our greatest broadcasters, a man who can legitimately be called the most influential figure in post-war British popular music.

                  Without the support of John Peel, it's unlikely that innumerable artists - from David Bowie to Dizzee Rascal, Jethro Tull to Joy Division - would have received national radio exposure. But Peel's influence goes much deeper than this. Whether he was championing punk, reggae, jungle or grime, he had a unique relationship with his audience that was part taste-maker, part trusted friend.

                  The book focuses on some 300 shows between 1967 and 2004, giving a thorough overview of Peel's broadcasting career and placing it in its cultural and social contexts. Peel comes alive for the reader, as do the key developments that kept him at the cutting edge - the changes in his tastes; the changes in his thinking. Just like a Peel show, Goodnight and Good Riddance is warm, informative and insightful, and wears its enthusiasm proudly.

                  FORMAT INFORMATION

                  Book Info: Paperback edition. 640 pages, 15.2 x 4.4 x 23.5 cm.

                  Rob Chapman

                  Psychedelia And Other Colours (Hardback Editoon)

                    In the summer of 1965 the informal parties that Ken Kesey was holding at his house in Palo Alto California were about to evolve into what became known as the Acid Tests. These spontaneous anarchic gatherings spread their tentacles far and wide until an entire generation seemed to be under their spell. Fifty years on from the Merry Pranksters multimedia mayhem, acclaimed author Rob Chapman explores in crystalline detail the history, precedents and cultural impact of LSD, from the earliest experiments in painting with light and immersive environments to the thriving avant-garde scene that existed in San Francisco long before the Grateful Dead and the Fillmore Auditorium. In the UK, he documents an entirely different history, and one that has never been told before. It has its roots in fairy tales and fairgrounds, the music hall and the dead of Flanders fields, in the Festival of Britain and that peculiarly British strand of surrealism that culminated in the Magical Mystery Tour.

                    Sitars and Sergeant Pepper, surfadelica and the Soft Machine, light shows and love-ins - the mind-expanding effects of acid were to redefine popular culture as we know it. It's a story that you think you know, but no one has laid out the narrative quite like this before. Chapman documents psychedelia's utopian reverberations - and the dark side of its moon - in a shimmering day-glo portrait where the sublime, the sinister and the just plain silly co-exist in imperfect harmony.

                    Includes a foreward by Andrew Weatherall.

                    FORMAT INFORMATION

                    Book Info: Hardback edition. 656 pages, 16.5 x 4.1 x 24.1 cm.

                    Chicos De Nazca

                    Blowing Inside

                      "Chicos de Nazca is a super band formed originally by La Hell Gang guitarist Pancho Cabala and Delta 21 drummer and vocalist Cucho Avendaño, also a famous Chilean skater. It’s roots mixes up hip-hop, rave rock and samples giving birth to a very eclectic record that was only released on CD-R, ‘Far and Close’, with very popular youtube videos and the first European tour of BYM bands ever. By it’s second formation, the band evolved into a more live band outfit, with shoegaze influences and punk flowing thorugh their veins. This captured the attention of Hozac Records who were to release their second album, by the time the band reformed again to become a power trio with a remaining steady drum section but on a more bluesy-drone style.

                      Chicos de Nazca are yet another psychedelic product of Santiago’s underground movement, formed in 2010 by guitarist and vocalist Francisco Cabala to run alongside his full time band La Hell Gang. As part of Chile’s prolific BYM Records collective, Chicos De Nazca benefit from a fluid line-up of musicians who appear across the band’s different albums: Ignacio Rodriguez (La Hell Gang), Juan Pablo Rodriguez (Föllakzoid), Martin Avendaño (Delta 21) and Carlos Cabala have all been part of the Chicos clan at various points.

                      Chicos De Nazca have released three official albums (on BYM Records and Hozac Records) and two unofficial ones, utilising tape recording, analog effects and endless layers of guitars to build their atmospherics sounds. The group’s characteristic gentle and psychedelic repertoire – in which the rhythm and keyboards are essential to keep the songs afloat – owes a bedt to the generation of rock bands that sprung from the post-acid house fever of 1988 in Chicago and England. A soundtrack for a trip to a place of dreams." - BYM 

                      Gene Clark


                        This is the final solo album released before Gene Clark's untimely death at age 46, showcasing his talents as a superior singer and songwriter, demonstrating his range and versatility as a sensitive, soulful songwriter.

                        Newly available on 180 gram vinyl and remastered from the original.

                        Johnny Clarke / U Roy

                        Creation Rebel / Version

                        Johnny Clarke sings the Burning Spear classic ’Creation Rebel’, lifted from his 1976 album 'Put It On'. Featuring backing from the Aggrovators and mixed by King Tubby. This 45 also includes a King Tubby deejay / dub version on the flip that includes toasting from DJ legend Mr U Roy.

                        Honey Soundsystem is proud to present an unreleased disco 12” by San Francisco-based musician and producer, Patrick Cowley. Perhaps one of the most revolutionary and influential people in the canon of disco music, Cowley created his own brand of Hi-NRG dance music, “The San Francisco Sound.” During the 70s, Patrick was the lighting technician at The City disco in San Francisco’s North Beach neighborhood. This was SF’s largest Gay entertainment complex, where everyone from Grace Jones to Sylvester would perform. Frank Loverde was performing there with his band Loverde when Patrick asked if the band would like to do backups on some songs he’d been working on. Frank, Linda Imperial and Timmy went to Patrick’s studio and laid down vocals for songs, most of which were never released and remained buried in the Megatone vaults.

                        In 2007 Honey Soundsystem was contacted by the former owner of Megatone Records John Hedges. Hedges’ was moving to Palm Springs and invited us over to his basement to collect over 2,000 records from his collection. Among the archives we noticed three moldy boxes of quarter inch reel to reel tapes. Included was the final mixed down reel for “Kickin’ In”, an epic 12-minute journey through disco, that Patrick recorded with Loverde in 1978. From the two minute plus drum solo that builds up to the introduction of a bouncing arpeggiated Prophet IV and the harmonized vocals, all transport the listener to another realm. The song encapsulates the Hi-NRG dance music that Patrick became known for. It was an “up” sound for the gay disco scene, music that would compliment and sometimes enhance all night dancing. On the flip are two earlier songs produced between 1975-77 featuring basslines by college classmate and studio mate Maurice Tani. Both songs feature Patrick narrating erotic gay sex fantasies inspired by San Francisco’s leather bars, back rooms and bathhouses. These songs show the sleazy side of Cowley’s slow burning, oozing electronic creations with layers and layers of synthesizer, guitar, drum machine and vocoder.

                        All songs have been mastered by George Horn, who originally mastered all of the Megatone Records releases at Fantasy Studios. Each 12” comes housed in our custom Honey Soundsystem die-cut jacket featuring an illustration of the San Francisco skyline. Also included is a 8 inch square postcard of the original “Kickin’ In” reel to reel box with Patrick’s handwriting on the front and lyrics on the back. “Patrick parted the veil and entered a dark world of forbidden vices, wondrous musical panoramas and bold, strident, hopeful possibilities. Patrick brought the future to us and laid it at our feet.” – David Diebold ’Tribal Rites’


                        Chicago Edits

                        Showing off an undeniable midas touch with killer tracks on Lumberjacks In Hell, Kat and Tugboat, Cratebug has found his way into the arsenal of many of the most respected and well known players in the game. Now the Chicago DJ, producer and remix returns to his Bug imprint with a pair of storming edits which embody the anything goes attitude and energy of his hometown. Repping Ron Hardy from the get go, Cratebug serves up "Acid Train", an incessant, head down house groover, alive with acid lines, raucous crowd vocals and galloping percussion. If all that wasn't enough to fully wet your whistle, the genius inclusion of the train horn sound synonymous with the Warehouse and Music Box should have you ripping the roof off the joint. Over on the flip, "Clock Beats" delivers an edit of the Sparks classic much loved by Derrick Carter, Ron Hardy and Piccadilly's own Martin Evans. This version makes an instant impact and generates immediate response with those familiar with the original as well as with those with new ears. A sureshot if there ever was one. 

                        FORMAT INFORMATION

                        12" Info: Blue vinyl

                        Ian Curtis

                        So This Is Permanence: Joy Division Lyrics And Notebooks (Hardback Edition)

                          So this is permanence, edited by Jon Savage with a foreword by Deborah Curtis, presents the intensely personal writings of one of the most enigmatic and influential songwriters and performers of the late twentieth century, Joy Division's Ian Curtis.

                          The songs of Joy Division, infused with the energy of punk but steeped in a resigned longing, were born of Manchester in the late seventies - a once flourishing industrial city in decline. They were the songs too of Ian Curtis's inner tragedies, as he battled depression, epilepsy and debilitating stage fright. Ian Curtis committed suicide in 1980, on the eve of the band's first American tour.

                          Interspersed with the lyrics are previously unpublished facsimile pages of Ian's notebooks, which throw his highly emotive lyrics into fascinating relief and cast light on the creative process of this singularly poetic songwriter.

                          FORMAT INFORMATION

                          Book Info: Deluxe cloth-bound hardback edition. 304 pages, 21 x 3 x 28.8 cm.

                          Miles Davis

                          A Tribute To Jack Johnson - Mobile Fidelity 180g Vinyl Edition

                          Audiophile reference sonics: Mobile Fidelity LP presents lean, stripped-back, and open sound with startling immediacy and realism.

                          Miles Davis’ A Tribune to Jack Johnson is the best jazz-record ever made. Equally inspired by the leader’s desire to assemble the “greatest rock and roll band you have ever heard” as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he’d pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. Mobile Fidelity’s sterling reissue brings it all to fore with unsurpassed realism.

                          Mastered from the original master tapes and pressed at RTI, this collectable audiophile vinyl version of A Tribute to Jack Johnson joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. The most prominent difference longtime fans will notice is how much more aggressive and immediate the music sounds, aspects central to the composer’s desires. Amazing degrees of instrumental separation and imaging allow you to focus on singular musicians and the roles they play.

                          Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin’s ripping performances, Mobile Fidelity’s 180g LP showcases the headliner’s white-hot trumpet solos like never before. Bristling with exuberance, Davis’ high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimension bass lines emerge amidst an ink-black background.

                          The least-well known true masterpiece of Davis’ career, the 1971 record - like Bitches Brew, seamlessly assembled from sessions by producer Ted Macero - was a victim of scant promotion. But to those that heard it, among them critic/musician Robert Quine and renowned writer Robert Christgau, A Tribute to Jack Johnson surpasses everything that came before. Davis treated it as a personal manifesto: An opportunity to salute the championship boxer admired for his threatening image to the establishment and taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson - a stance revealed in the music, which simultaneously hits with a prize fighter’s brutal force and reflects the graceful elegance with which a pugilist navigates the ring.

                          Producer and journalist Michael Cuscuna may have summed up the record’s significance in 2003: “The dense textures introduced and developed the prior fall on the Bitches Brew recording sessions gave way to a lean, stripped-down, guitar-heavy sound. There was now only one drummer, and that kept the groove more pronounced and defined. The three-keyboard configuration appears only on the last session; the rest have none, one, or two, and they are used sparingly.”

                          By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would’ve wanted you to hear it.

                          After tearing the roof off with the restless majesty of his debut LP "Universes", the mighty Seven Davis Jr recruits two close friends and kindred spirits to rework a couple of killer album cuts. The men in question are US house music titans Karizma (in his Kaytronik guise here) and Osunlade (under his Yoruba Soul moniker), so you know you're in for a real treat! Basement boy Karizma takes the lead with two distinct and diverse remixes of "Sunday Morning", working sizzling percussion, chopped and dropped vocal samples and great synthwork for his peaktime Ruff Kut Mix, before getting properly choppy with the horn led B-more club stomp of the Love Break Dub. Over on the otherside, Osunlade works his magic on "Welcome Back", serving up a suitably spiritual mix complete with eerie, discordant piano and upfront synth work. Exquisite and unusual, this mind altering mix comes in both vocal and instrumental versions to suit any taste. Seven Davis Jr, Karizma and Osunlade on one record? Sounds like a must-have to me!

                          Day Wave

                          Come Home Now

                            Day Wave - the solo project of Oakland’s Jackson Phillips - releases his new single ‘Come Home Now’, the inaugural release on new U.K label, House Arrest Records.

                            Drenched in a glorious, sun-kissed haze the new single from this promising new artist / producer offers another glimpse at Day Wave’s lo-fi, surf pop charm, and for those who are unfamiliar, as the perfect introduction to the up-and-coming artist.

                            Aïsha Devi

                            Of Matter And Spirit

                            Continuing from the highly-praised ‘Conscious Cunt’ EP, Aïsha Devi’s debut album ‘Of Matter And Spirit’ sees the Swiss-Nepalese producer, vocalist and label owner resume her dark and intricate self-journey and investigation of the disconnection between matter and spirit in society, commenting upon media and consumerism, collective mental and spiritual resistance, and finding inner peace.

                            The album is a moving landscape of interconnected themes and experimental techniques. Using sound and vibrations to create a sense of healing and awareness, Devi’s production dilutes and skews traditional formats. Crafting vortices of haunting sounds from her vocals and production, her work is deeply self-reflective, yet simultaneously taps into the collective consciousness in order to awaken our senses.

                            Disco Deviance Presents

                            Mr Mendel Edits - On The Way / Higher

                            After blazing through Lumberjacks In Hell, Basic Fingers and Street Edits leaving a trail of hot disco wax in his wake, Mr Mendel arrives at Disco Deviance, ready to rock a set once again! Styling it out to the max, the Dutch boogieman drops two killer jams for the evergreen imprint, demonstrating a clean and tidy approach to editing which makes the magic of the original track the star of the show. As such he owes much to his Chicago mentor and good friend Rahaan whose influence and sound can be detected in these reworks. Smoother than a Cuban shave or French waiter, "On The Way" slinks into your life with a laid back swing, taking the very finest elements of disco, soul and boogie and running with them. Rolling piano chords, a simmering bass groove and sweet syncopated drums form the perfect foil for the loving, caring, crooning vocal. We stay in the soulful end of the disco universe for B-side banger "Higher", throwing up spirit fingers to an uptempo gospel groove ripe with righteous vocals, walking bass and funked up guitar. Deep, danceable disco from Mr Mendel that's certain to put a smile on your face and a spring in your step!

                            Unxposed boss and MPC master DJ Aakmael arrives at Kolour LTD with a killer quartet of deep, underground house for the true connoisseurs. I've long been a devotee to his swinging, soulful house sounds and this latest release, a rare appearance outside his usual imprint keeps his immaculate record intact. The warm, rich and jazzy sound of "Roses" opens the EP, teasing us with a luxurious piano and trumpet duet over a sturdy beat before the deep and emotive vocal tugs hard at the heartstrings. We're in afro-futurist territory for "Fourpoint-5", as Aakmael dances over the ivories and plastics, merging delicate piano solos with muted synth tones, deep pads and crunchy bleeps for a more sedate cousin to UR's "Hi Tech Jazz". Kicking the B-side off nicely, "Equinox" sees Aakmael pay homage to those spiritual jazz fusion cats of the 70s, marrying celestial Rhodes and groove perfectly. Keeping the MPC well oiled, Aakmael does it dope for the climax, topping a sizzling rhythm with cascading vibraphone and swirling strings while the subby bassline keeps the floor moving nicely. 

                            FORMAT INFORMATION

                            12" Info: Yellow vinyl edition

                            DJ Shadow

                            Reconstructed - The Best Of DJ Shadow (Vinyl Edition)

                              DJ Shadow releases his career-spanning retrospective collection 'Reconstructed: The Best Of DJ Shadow'. The collection showcases the greatest DJ Shadow tracks throughout his 23-year long career as a producer / artist including tracks from his five studio albums as well as his collaborative UNKLE album 'Psyence Fiction' with James Lavelle. Alongside some of Shadow’s biggest singles, the collection features two new tracks, 'Listen' (featuring the legendary Terry Reid) and 'Won’t You Be'.

                              Coming to prominence with his inspired 'Entroducing' album for Mo'Wax back in 1996, Shadow carved a niche for himself in the sample-based hip hop / trip hop scene, building left-of-centre beats and never going for the easy option. His MPC creations breathed new life into the underground hip hop scene and caused a buzz round Bay Area outfits. Shadow has continued release highly anticipated long players and singles alike.

                              STAFF COMMENTS

                              Philippa says: "Midnight In A Perfect World", "High Noon", "This Time (I'm Gonna Try It My Way)", "Stem", "Organ Donor", "Dark Days Theme"... Loads of classics and two BRAND NEW tracks!

                              Bob Dylan

                              Planet Waves - Mobile Fidelity Sound Lab Edition

                                Edgy Personal Album Captures Legendary Artist Straddling Line Between Romance and Suspicion: Includes Beloved Favorites “Forever Young” and “You Angel You”

                                Bob Dylan’s Planet Waves became an event even before the album was released and revealed itself as an understated masterwork. His first studio recording in nearly four years, the homespun 1974 effort finds him reuniting with the Band, by then firmly established as virtuosos. The chemistry is obvious on every song. And the modest and spare production only magnifies the honesty and purity of the collaboration. Mobile Fidelity’s 180g LP deepens the music’s emotional connection and rustic warmth to the fullest possible extent.

                                Recorded in just three days time, Planet Waves is at its core an exhibition of the inimitable folk-rock honed by Dylan and the Band. Recalling the Americana spirit of The Basement Tapes while adding a domesticated edginess and subtracting a degree of wildness, the set personifies simple charm and scraggly sweetness. Couched in the context of Dylan grappling with the chasm between family life and the road, Planet Waves fittingly encompasses myriad moods and contradictions, with tunes ranging from unquestionably devotional to overtly dark. In between, the singer attempts to navigate peace, catharsis, and resolve.

                                Per Dylan’s hallmark, many tunes on Planet Waves involve twists and subterfuge. Not, however, the best-known offerings—the often-covered wish “Forever Young,” celebratory roll-and-tumble “On a Night Like This,” devotional “You Angel You,” which spark with love, romance, and prayer-like tenderness. Yet the seeds that blossomed into 1975’s traumatic break-up album Blood on the Tracks are also planted here. Complex feelings and deep-seated personal confusion surface on “Wedding Song,” the hardscrabble “Tough Mama,” piano-centered “Dirge,” and knocking-on-heaven’s-door darkness of “Going, Going, Gone.”

                                Throughout, Dylan’s voice supplies subtle hints about his mindset and intent as the Band shadows him step for step, adding to the thematic ambivalence and contributing to a debate over meaning that continues today. Indeed, such relevance confirms the significance of Planet Waves 40 years after its original release.

                                FORMAT INFORMATION

                                Ltd LP Info: Numbered Limited Edition 180g LP.

                                Duane Eddy & The Rebels

                                Have Twangy Guitar Will Travel

                                Duane Eddy brought the electric guitar centre stage as a solo rather than an accompanying instrument. Playing melody on the bass strings of his hollow body Gretsch with adroit use of the Bigsby tremolo unit combined with Lee Hazlewood’s studio production gave him a distinct sound and a natural nickname - the Man with the Twang.

                                Original LP with 2 bonus tracks

                                FORMAT INFORMATION

                                LP Info: Limited edition high definition 180g vinyl LP.

                                Includes MP3 Download Code.

                                Danny Elfman

                                Tim Burton's The Nightmare Before Christmas - Picture Disc Edition

                                  Emilie & Ogden is Emilie Kahn along with her harp, Ogden. Emilie discovered the harp when The Barr Brothers harpist, Sarah Pagé, played along with her school choir, driving her to find an instructor on Craigslist the next day. Emilie explains, “I had never felt this way toward an instrument.” Lithium Magazine further adds how Emilie makes the harp “seem like an extension of herself rather than an instrument.”

                                  Emilie wrote all the lyrics and music for 10 000, then teamed up with longtime accomplice and producer Jesse Mac Cormack and her drummer Francis Ledoux to finalize the songs’ construction. The music was recorded in Studio B-12 nestled in the woods of Valcourt in Quebec, CA. 10 000 includes two deconstructed and reconstructed tracks, Babel and Long Gone, from her previous EP, in addition to completely new compositions.


                                  Crushing Leaves

                                  A second release from the mysterious Eye. 'Crushin' Leaves' is the name for this rustic-toned piece of six-string motifs wrapped up with rustling R&B percussion, psychedelic bass licks and a husky vocal that you're likely to hear more of…

                                  FORMAT INFORMATION

                                  Ltd 12" Info: Limited one-sided pressing in hand-drawn sleeve with hand-drawn centre label and blank side of record.

                                  Scott Fagan’s debut album, ‘South Atlantic Blues,’ is a genuine lost classic - a mystical, mythical and deeply soulful masterpiece.

                                  Recorded when Scott was just 21, virtually homeless and with pennies to his name, it was released in 1968 on Atco Records but remained obscure, confounded by a series of frustrating near-misses. From being mentored by Doc Pomus to being discovered by Jasper Johns, Scott’s incredible story and music unfolds on ‘South Atlantic Blues,’ remastered and reissued for the first time ever on CD and vinyl on Saint Cecilia Knows (the label that also released the acclaimed Mickey Newbury box set, ‘An American Trilogy) in association with Scott Fagan’s own lil’fish records.

                                  Steeped in delicate psych, soul and resonant acoustic guitars “that stroke and stone you to the core” (Shindig). It’s an epic song cycle about Fagan’s hard-scrabble life in the Virgin Islands, where he was raised and lived until 19 before returning to his birthplace of New York City. A teenage prodigy, mentored and managed by songwriters Doc Pomus and Mort Shuman, Scott recorded early material for Columbia and Bert Berns’ BANG label before signing with Atco. In 1969, artist Jasper Johns discovered ‘South Atlantic Blues’ in a cut-out bin, fell in love with the record, and used it as the inspiration for three artworks, known as ‘Scott Fagan Record.’

                                  The pieces are now housed in the permanent collections of MOMA, the Met and the Walker Art Center. Born on 52nd Street, Scott was the son of a sax player and singer who fraternized with jazz greats. That familial connection with music would come full circle when Fagan discovered he was the biological father of songwriter Stephin Merritt of the Magnetic Fields. They did not meet until the premiere of a documentary about Doc Pomus in 2013. A conversation between the two is included in the liner notes of this CD release. The initial pressing of the vinyl comes as a limited edition, hand-numbered, 180g vinyl with a reproduction of Jasper Johns’ 1970 lithograph, ‘Scott Fagan Record,’ as cover art, and includes a digital download.

                                  The CD comes with extensive liner notes, rare photos, and a download of five bonus tracks—the original 1965 demo for Doc Pomus as well as a recently-discovered acetate, the only copy in existence of a previously-unknown Doc Pomus song, All For The Sake Of Love, that only Scott Fagan recorded. 

                                  “As soon as I heard it…sold” Annie Mac
                                  “I love what these guys are building as brothers” Zane Lowe
                                  “One of the hottest prospects around” DIY
                                  “Channelling Bowie and Iggy for their house-y freestyles.” – NME

                                  The ‘Under The Tracks’ EP represents Formation’s first collaboration with Brighton’s house master / producer Leon Vynehall. Lead track "All The Rest is Noise" finds Formation harnessing their dual talents for insistent pop hooks and groove-orientated instrumental loops into their most immediately memorable moment to date. With a message that, you shouldn’t suffer alone, shouldn’t listen to those negative voices, shouldn’t put yourself down. It can change. The EP title track "Under The Tracks" drops the tempo as piano, cowbell and Will Ritson’s increasingly energised vocals flow together into a haze of rhythms; "Love" layers upwards from its pulsing bass into a blend of waves of new disco with a defiant lyrical message about social alienation and a call for Love and solidarity between all people; Whilst "Control" strips Formation’s sound right back to its core with its inventiveness. 

                                  FORMAT INFORMATION

                                  Includes MP3 Download Code.



                                    Long-awaited return from ridiculously inventive BAFTA-winning robot-makers, sound installation artists and 7” ‘vinyl’ chocolatiers FOUND.

                                    Fundamental changes have taken place since FOUND launched ‘factorycraft’, their first on Chemikal Undergound, in 2011. More than four years have passed. The trio are now a duo of Ziggy Campbell and Kev Sim.

                                    On ‘Cloning’, the group’s new album, the sound of FOUND is wreathed in a haar of analogue synthesizers where once it buzzed with brittle guitars.

                                    Campbell acknowledges his and Sim’s thoughts turned to matters apocalyptic as a means of defeating the monotony of touring ‘factorycraft’. At the same time they were plugging into Vangelis, Tangerine Dream and John Carpenter, electronic music pioneers Beaver & Krause and Tristram Cary and composers Alan Hawkshaw and Keith Mansfield.

                                    FORMAT INFORMATION

                                    LP Info: The LP edition is on 180gsm heavyweight vinyl and
                                    includes a digital download of the album.

                                    Fabio Frizzi

                                    Frizzi 2 Fulci

                                      Halloween night, 2013. Union Chapel, London. On this unassuming evening took place an event of special magnificence, one that saw a legend of film music take the stage to blow everyone away as he performed music from the films of one of the true visionaries of horror cinema. The composer was Fabio Frizzi, the director was Lucio Fulci, and Death Waltz Recording Company are proud to bring that concert to vinyl as Frizzi 2 Fulci. Frizzi’s track record speaks for itself, but his work with Fulci had a certain flavour to it that resonates to this day while his music is constantly devoured.

                                      The songwriting side of Frizzi is also on display here; while his film score work is incredible he also created some pretty amazing vocal pieces that are featured, such as ‘Silver Saddle’ from Sella D’argento, and ‘Movin’ On’ from I Quattro Dell’apocalisse. There’s also music from the crime thriller Contraband and even a cover of Nino Rota’s Amarcord. But his horror work is where it’s really at, and as such the cream of the crop is here: Manhattan Baby, City Of The Living Dead, Zombi 2, and of course, The Beyond. A beautiful live presentation with a few sneak peeks of things to come from Death Waltz – but for now enjoy this celebration of the genius of Frizzi and Fulci.

                                      Ever the eclecticist, Dave Maclean of Django Django follows releases from the UK rave legend Warlock, Baltimore rapper Rye Rye and Bullion, by bringing Horrors synth man Tom Furse to his Kick+Clap imprint. On "Run To Me" Furse has mapped out the EP as one opus divided into five cohesive parts. Referencing early techno, it has one foot in Cologne and the other in Detroit, with its tightly worked, precise machino-florescence, condensed and upfront, free of the pomposity that abounds in the genre. A sound enamored with Kraftwerk, Juan Atkins and Yello, it underpins a latent narrative on themes of love, machines and obliteration. Furse elaborated further on the inspiration behind the EP.

                                      “When I sit down in the studio I’m not always sure where it’s going to go, really I just have that drive to create and I use that to explore sounds that interest me. It’s a release of energy, no agenda, just expression. The driving visual idea behind this EP was very Sci Fi-based, I had this notion of robots being called to arms ("run to me") by a mother robot, in order to collect suns to build a giant engine powered by 20,000 suns. I know it's not really apparent in the songs, but visual ideas like that drive me forward when I’m making music, it just seems to make it easier, like putting sound to film. "

                                      ‘Versa Vice’ is the debut solo record by Joe Gideon, one half of the acclaimed sibling duo Joe Gideon & The Shark. After Joe Gideon & The Shark called it a day in 2013, Gideon called on the assistance of friend, neighbour and drummer Jim Sclavunos (Grinderman / Nick Cave & The Bad Seeds) to try out an arsenal of songs and to see if Gideon could even play the guitar again, after a wrist injury put him out of action for the best part of a year. (Jim and Gideon became friends after Joe Gideon & The Shark toured with The Bad Seeds on their ‘Dig Lazarus Dig’ tour back in 2008.)

                                      Together they laid down the foundations of ‘Versa Vice’, recorded by Rich Matthews and finished by Gideon at home, after further assistance by friends Ed Harcourt (piano / organ) and Duke Garwood (horns) on a handful of tracks. The album was mixed by Head (PJ Harvey, Smoke Fairies).

                                      ‘Versa Vice’ is a rollicking storytelling romp through themes of love (see ‘The Lady With The Metallic Voice’) and madness (see ‘Eugene Went Crazy’, inspired by photographer W Eugene Smith, or his cover of Porter Wagoner’s ‘Rubber Room’), executed sharply with a post-punk / new wave bent (‘Naked Eye’, ‘Heart Attack Girl’) or with meditative tenderness (‘The Past Is Never Over’).

                                      Opener ‘Eve’s Rib’ is a heralding cry of intent, pierced through with Sclavunos’ fierce drums which drag you out of your chair.

                                      Fans of Joe Gideon & The Shark will no doubt recognise and appreciate the same spirit of his previous output, with his genuinely eccentric and character-driven tales of falling apart at the seams but ‘Versa Vice’ is more than just Joe Gideon sans Shark. Let off the leash, instead of losing himself to feral abandon, Gideon’s music has become more succinct, the music more immediate, the voice louder and clearer.

                                      Kim Gordon

                                      Girl In A Band

                                        There are few artists who inspire such reverence as Kim Gordon. In Girl in a Band she tells with complete openness the story of her family, her work in the visual arts, her move to New York City, the men in her life, her marriage, her relationship with her daughter, her music and her band. It is a rich and beautifully written memoir, taking us back to the lost New York of the 1980s and '90s that gave birth to and nurtured Sonic Youth and the alternative revolution in popular music they spearheaded. But at its core, Girl in a Band is an examination of what partnership means - and what happens when it dissolves.

                                        Evocative and edgy, filled with the sights and sounds of a changing world and a remarkable life, Girl in a Band is the moving chronicle of an extraordinary artist.

                                        Guided By Voices

                                        Briefcase 4: Captain Kangaroo Won The War

                                          Presenting Briefcase 4: Captain Kangaroo Won the War, a single-platter set of “highlights” from Guided By Voices’ sprawling, 100-track Suitcase 4 collection. This limited edition LP features rarities, demos, alternate versions, outtakes and discards spanning over two decades of Robert Pollard’s career.

                                          FORMAT INFORMATION

                                          Includes MP3 Download Code.

                                          Guided By Voices

                                          Suitcase 4: Captain Kangaroo Won The War

                                            Presenting Suitcase 4: Captain Kangaroo Won the War, another astonishing installment of 100 Guided By Voices rarities, demos, alternate versions, outtakes and discards spanning over two decades of Robert Pollard’s career.

                                            Highlights are early versions of classic Pollard songs from Propellor (1992), Vampire on Titus (1993), Bee Thousand (1994), Alien Lanes (1995), Isolation Drills (2001), Earthquake Glue (2003), Class Clown Spots a UFO (2012), as well as 2015 demos previewing Pollard’s much talked about 2016 solo album Of Course You Are. Included here are versions of “Wished I Was a Giant,” “Postal Blowfish,” “Goldheart Mountaintop,” “Quality Of Armor,” “Motor Away,” “Hardcore UFOs,” “Echos Myron,” “Dirty Water,” “Tractor Rape Chain (Clean It Up),” “Queen Of Cans And Jars,” “Glad Girls,” “He Rises! Our Union Bellboy,” “Long as the Block Is Black” and many more.

                                            This limited-edition set is comprised of four CDs, a 24-page booklet with original artwork, a ten-panel digipack and a custom magnifying glass to view the back cover titles.

                                            Marvin Hamlisch

                                            The Spy Who Loved Me

                                            The tenth film in the enduring spy series, and third to star Roger Moore (the best Bond!), is a personal favourite packed with humour, intrigue and action. Our cinematic introduction to the villanous Jaws, Bond's aquatic Lotus Esperit and a love scene in an  escape pod, "The Spy Who Loved Me" saw Moore and Barbara Bach head through Egypt and Sardinia to the depths of the ocean, accompanied all the way by Marvin Hamlisch's dynamic and dramatic score. Reflective of its 1977 release date, the soundtrack sees Hamlisch incorporate disco and jazz funk into the stately orchestration and global influences which were by this stage a trademark of the series. If that weren't enough to get your pulse racing, the fact that the flick spawned sublime AOR masterpiece "Nobody Does It Better" by the wonderful Carly Simon should remove any reticence.

                                            FORMAT INFORMATION

                                            Includes MP3 Download Code.

                                            Harry Pussy

                                            Harry Pussy

                                              Harry Pussy emerged out of the Florida swamps in 1993. Formed by Adris Hoyos and Bill Orcutt, the duo became legendary for their volatile live shows, which often devolved into violent clashes with audience members. Obliterating the lines between hardcore, noise and free jazz, the unclassifiable Harry Pussy were at once all of these things and none of them.

                                              Originally released on Siltbreeze, their self-titled debut album reveals an antagonistic and visceral approach to music: Hoyos’ self-taught, wild-style drums and shrouded screams tangling with Orcutt’s high-tension blues guitar. As David Keenan writes in the liner notes, “Harry Pussy played at such a heightened speed-of-thought climactic future- primitive peak that they outstripped technique so completely that people thought they couldn’t actually play at all.”

                                              From the opening blasts of “Youth Problem” to the spasmodic, electro-convulsive take on Kraftwerk’s “Showroom Dummies,” Harry Pussy is an absurd and devastating statement. Twenty-plus years later, rock ’n’ roll’s collective ears are still ringing. This long out-of-print vinyl release is recommended for fans of The Dead C, Royal Trux and Mars.

                                              Hippo Campus


                                                Transgressive Records are proud to present ‘South’, the brand new EP from Hippo Campus, produced by Low’s Alan Sparhawk.

                                                Hippo Campus are four Minnesotan boys, yet to hit legal drinking age, making music that is infectious, joyful and thematically soaked with the sense of cynicism accompanying the youthful search of selfmeaning.

                                                On ‘South’ Hippo Campus delve deeper into their transcending journey into adulthood and the playful elasticity of singer Jake Luppen’s voice amplifies the bands bright, optimistic and emotionally resonant sound.

                                                Hippo Campus

                                                The Halocline EPs

                                                Transgressive Records are proud to present ‘The Halocline Eps’, a combination of Hippo Campus’ first EP ‘Bashful Creatures’ and latest EP ‘South’.

                                                It’s another exciting step for a brilliant young band that are quickly becoming darlings in the UK. Previous efforts ‘Suicide Saturday’ and ‘South’ have seen them named as Huw Stephens’ Single Of The Week and led to sessions for BBC Radio 1 and XFM, whilst The Guardian, NME, DIY and Q have all marked Hippo Campus out as a band to keep a serious eye on.

                                                Hippo Campus are four Minnesotan boys making music that is infectious, joyful, and thematically soaked with the sense of cynicism accompanying the youthful search of self-meaning.

                                                The band met in High School and are still yet to hit legal drinking age but following an explosive SXSW - which marked their first shows outside their native town - the four teenagers signed to legendary indie label Transgressive Records.

                                                ‘Violet’, from the band’s new single, also marks something of a milestone in a year that has seen Hippo Campus evolve from playing packed shows in their hometown of Minnesota to touring both sides of the pond with the likes of Modest Mouse, Walk The Moon, Real Estate and My Morning Jacket.

                                                Explosive performances at SXSW (the band ended the festival with a live appearance on US talk show Conan), The Great Escape and Reading & Leeds festivals have further set the band out as ones to watch for 2016.

                                                Alfred Hitchcock And Jeff Alexander

                                                Alfred Hitchcock Presents Music To Be Murdered By

                                                British auteur Alfred Hitchcock appeared on only one album, 1958's 'Music to Be Murdered By', which was released at the peak of his massive popularity. Propelled by the sinister arrangements of Hitch's musical director, Hollywood veteran Jeff Alexander, songs like "I'll Never Smile Again," "After You've Gone" and "Body and Soul" intermingle with The Master of Suspense's sly monologues making for one unique and harrowing listening experience. Continuing with its soundtrack reissue campaign, UMe will be reissuing this classic back on the vinyl format for which it was originally intended!

                                                While thirteen might be unlucky for some, Bokhari reach their baker's dozen in fine form, enlisting Hiver and Stephen Lopkin for four impeccable cuts of deep dancefloor delight. Kicking the package off with aplomb, Hardware fanatics Hiver illustrate the power of simplicity on "Pillowhead", submerging us in deepest tech-house joy through globular bass, hypnotic stabs and immersive textures. "Whatsoever" ups the pace a little and loses a touch of the rubbery bottom end, flying free with celestial pads, sweeping synths and emotive chords. Essential for fans of Giegling and Workshop, this nails that European deep house vibe perfectly. Over on the flipside, Lopkin's "Theme from SAPL" sounds like a missing cut from Autechre's classic "Incunabula", pairing Miami drum patterns and beefy bass with moody vocoder and chirping synths for a healthy dose of machine funk. Lopkin closes the set with the Garnier approved "Speedbird Heavy", a perfectly realised excursion into deep and moody techno that's just waiting to bounce of those warhouse walls.

                                                Billie Holiday

                                                Lady Sings The Blues / Best Of

                                                Taken from a pair of sessions taped during 1955-1956, 'Lady Sings the Blues' finds Holiday in top form and backed by the sympathetic likes of tenor saxophonist Paul Quinichette, trumpeters Charlie Shavers and Harry Edison, pianist Wynton Kelly, and guitarists Kenny Burrell and Barney Kessel. And while these autumnal sides bear some of the frayed vocal moments often heard on Holiday's 50s Verve sides, the majority here still ranks with her best material. This is especially true of the cuts from the June 1956 date, which produced unparalleled versions of "No Good Man," "Some Other Spring," and "Lady Sings the Blues." See why many fans prefer the "worn out" Holiday heard here to the more chipper singer featured on those classic Columbia records from the '30s.

                                                ‘With few exceptions, every major pop singer in the United States has been touched by her genius. It is Billie Holiday, who was, and still remains, the biggest influence on me’, Frank Sinatra’s words still ring true today.

                                                This album pairs her original ‘Lady Sings The Blues’ LP Recorded in 1954-1956 with a ‘Best Of’ LP that reaches back and forward through the decade to gather more late gems from her catalogue.

                                                Holy Sons

                                                Fall Of Man

                                                  Emil Amos, the mastermind behind Holy Sons, returns with his second Thrill Jockey Records release, ‘Fall Of Man’.

                                                  The multi-instrumentalist (and member of Om, Grails, and Lilacs & Champagne) carves out new territory on his most diverse release to date, adding more hooks and sweet pop balladry to his songs while still retaining the intimacy and psychological depth of his earlier records. 1970s classic rock has always been a touchstone for Amos, and on ‘Fall Of Man’ he filters those influences through his modern looking-glass to create a deliberate, melancholy album of epic scope, a sonic universe tinged with a soft, slight sadness.

                                                  ‘Fall Of Man’ features Amos’ most beautifully produced, endlessly listenable songs of his career. ‘Mercenary World’ walks the line between pop hit and the darker, sample-based recordings Holy Sons is known for.

                                                  ‘Out Of Sight’ shows him providing his fans more inviting songs without abandoning his outsider ideology that has made Amos such a respected cult figure.

                                                  The classic rock influence seeps into ‘I Told You’ with Deep Purple-styled organs and guitar solos that bring to mind Rush playing in a stadium with the lights down.

                                                  Amos’ North Carolina roots show through in songs like the Pavement-tinged, stoner-rock track ‘Being Possessed’ or the mid-60s southern AM radio ballad ‘Boil It Down’.

                                                  Amos plays every instrument on the record himself, except on the rollicking ‘Aged Wine’, which features Dommengang’s Brian Markham on bass and Adam Bulgasem on drums, who have played live with Holy Sons at recent gigs with Sleep, The Mountain Goats and more.

                                                  A home-recording pioneer, Amos delves into a fuller, more lush sound on ‘Fall Of Man’. The album was recorded between Portland, Oregon and Brooklyn with producers Brandon Eggleston (Mountain Goats, Swans), Al Carlson (Oneohtrix Point Never) and Jeff Saltzman (Grails).

                                                  This is yet another dimension in the astonishingly diverse sonic arsenal that Amos deftly wields. ‘Fall Of Man’ brings together many of those sides of Emil Amos; the rocker, the silk-voiced singer, the pessimist, the meticulous producer and the lost child of the 1970s.

                                                  FORMAT INFORMATION

                                                  LP Info: LPs packaged in a heavy stock jacket with spot UV printing and a free digital download coupon.

                                                  CD Info: CD version packaged in a four panel mini LP style sleeve.

                                                  I Am Super Ape With Mark Lanegan


                                                    I Am Super Ape is a noise-pop band based in Malmö, Sweden. The project started in late 2011 as a stoner-rock trio but quickly evolved into a psychedelic-rock band a la Brian Jonestown Massacre. After self-releasing two EPs and playing around a hundred shows in Europe, the band started working on their debut album, (due for February 2016), and dropped most of the psychedelia in favour of what could be seen as a mix of 90s noise-rock and psych-pop. American multi instrumentalist Damon Tutunjian (Swirlies, MEW) joined the band in 2014 and stands behind the production of Monki and the upcoming album.

                                                    On this very limited gold coloured vinyl they are joined by none other than Mark Lanegan on vocal duties.

                                                    “Ilaiyaraaja’s music is anachronistic in the best possible way: were it not for its glorious low-fidelity, one would be forgiven for thinking his psychedelic funk was recorded recently, with forty years of global groove studies under his belt” - Egon (Stones Throw).

                                                    Ilaiyaraaja, Ilayaraja, Ilayaraaja, Isaignani, The Maestro... The undeniable prince of Kollywood cinema, India's second largest film industry, Ilaiyaraaja is more than equal to his forward thinking contemporaries in Bollywood and Lollywood in both productivity and experimentation.

                                                    However, once you have exhausted all possible leads using his various names (and the numerous misspellings) you're faced with the unenviable task of sifting through a 34-year career spanning more than 900 film scores in Tamil, Hindi, Telugu, Malayalam and Kannada in order to unearth some the heaviest dancefloor friendly electronic pop to ever emerge from Southern India.

                                                    This not-so-modest collection of lesser-spotted electronic Tamil pop features many tracks previously unavailable away from their original rare as hen’s teeth vinyl pressings.

                                                    Includes the viral Kollywood / Bollywood classic ‘Solla Solla’. Previously released in two separate volumes, Finders Keepers have brought both volumes together in one package for the first time to mark their 10th birthday.

                                                    · Features tracks not available on the CD counterpart of the same name.
                                                    · Lovingly remastered and repackaged.
                                                    · LP includes digital download codes.

                                                    Gregory Isaacs

                                                    Don't Believe Him / The Village

                                                    Originally released as a 7" on Soul Sound in 1975, Jamaican Recordings now reissue these two killer Gregory vocal tracks back to back. Produced by the hitmaker from Jamaica Bunny ’Striker’ Lee, both sides feature the Cool Ruler in wonderful form. 

                                                    Grace Jones


                                                      Originally released in 1981, "Nightclubbing" was actually Grace Jones fifth studio album, but the first that really saw her crossover from club-friendly disco diva to full-blown pop sensation. Sly & Robbie's Compass Point electro-reggae and disco-not-disco backing tracks (not to mention the odd Argentinian tango!) and Jean-Paul Goude's new androgynous image for Jones proved to be a winning combination, with "Nightclubbing" considered a classic of the post-punk, post-disco era. Includes a great set of covers, from the Bowie and Iggy title track, via Flash And The Pan's "Walking In The Rain", The Police's "Demolition Man" (which Sting wrote especially for Jones) and Ástor Piazzolla's "I've Seen That Face Before (Libertango)", plus originals like the massive "Pull Up To The Bumper". An essential album!

                                                      FORMAT INFORMATION

                                                      Ltd LP Info: Back To Black edition.

                                                      Includes MP3 Download Code.


                                                      Swept EP

                                                        Following on from their Record Store Day "Looped EP" release, which featured remixes by Dauwd and Lubomyr Melnyk, Kiasmos – made up of Ólafur Arnalds and Janus Rasmussen – return with three new tracks and a remix by Tale Of Us. Recorded in various locations including Reykjavík and Berlin, the EP opens with "Drawn", a four-minute percussion fuelled track with gentle piano motifs. "Gaunt" features the addition of ambient synths and a drum loop, underpinned by slow-moving chords. Title track "Swept" which the duo offered to fans as a surprise gift in form of a free download card at previous show dates, showcases a more club-oriented beat structure alongside Kiasmos’ signature emotive instrumentation. Closing the EP is a remix from Berlin-based duo Tale of Us who met Kiasmos in London and twist the original downbeat title track into their distinctively dark aesthetic. Pulsating hats and a driving bass loop add pace as the track builds toward an epic breakdown.

                                                        Richard King

                                                        Original Rockers (Hardback Edition)

                                                          Richard King's account of the several years he spent working in a Bristol independent record shop in the early 90s is destined to become a classic of music writing. We live in an age when the most beautiful of recording formats, vinyl, is back in vogue and thriving. In the early 90s, with the march of the CD and record company disinterest in the format, vinyl was looking like an anachronism. And with its demise came the gradual erosion of a once beautiful and unique landscape known as the independent record shop.

                                                          Richard King, author of How Soon is Now, blends memoir and elegiac music writing on the likes of Captain Beefheart, CAN and Julian Cope, to create a book that recalls the debauched glory days of the independent record shop. Chaotic, amateurish and extravagantly dysfunctional, this is a book full of rare personalities and rum stories. It is a book about landscape, place and the personal; the first piece of writing to treat the environment of the record shop as a natural resource with its own peculiar rhythms and anecdotal histories.

                                                          FORMAT INFORMATION

                                                          Book Info: Hardback edition with outer dust jacket. 256 pages, 16.1 x 2.2 x 21 cm.

                                                          Geoff Krozier & The Generator


                                                          Imagine a coven of Jodorowsky, Daevid Allen, Mr. Crowley, Rameses and Arthur Brown, then combine them into a one-man mutant magician and add the finest Australian synth duo since Cybotron. BEHOLD Geoff Krozier & The Generator.

                                                          This faithful reproduction of one of Australia's rarest synthy post-prog vinyl artefacts bequeths the only recorded fruits of the precious magick months before Geoff Krozier’s untimely death in 1981. Combining shamanic spoken word with nodding kosmische instrumentation this album is fuelled by ARP / Roland / ETI (Aussie synth) technology and leaves fans of synthetic soundtracks, electronic experimentalism and stubborn synth pop salivating for more (and more there is).

                                                          Meet this Ex Kongress (NY punk band) collaborator, Sydney’s official 1980 Magician Of The Year and “the high priest of exorcism-rock” and watch him, and his trusty studio wizards, provide fans of Bruce Haack and Doris White with one of the most absurd electronic private press LPs to come from either end of the pointed planet.

                                                          Welcome to the House of the Sun.

                                                          The second L A N D album ANOXIA sees Daniel Lea return alone with an outing that marks a shift from the industrial inflected jazz noir of the previous album into distinctly new terrain. Mixed by Ben Frost at Greenhouse studios in Reykjavik and mastered in Berlin by Rashad Becker at D&M.

                                                          Featured artists: Daniel Lea with Rupert Clervaux, Jamie McCarthy, Clive Bell, Leo Abrahams, Mark Wastell, Dom Garwood. On the title track 'Anoxia' cello harmonics swing their head and screech like prancing komodo dragons, marking the entry to the final track, the 'End Zone', where Lea carries out his own initiating ritual, a dance between those edifices left beneath the growing millennial weeds and forests. Monuments that will long outlast their creators.

                                                          FORMAT INFORMATION

                                                          Ltd LP Info: LP pressed in an edition of 500 copies and packaged in a combination offset/screen printed jacket. CD is packaged in a combination offset/screen printed jacket.

                                                          L.A. Takedown

                                                          L.A. Takedown

                                                            Live, L.A. Takedown swells to a talented halfdozen bodies but the band is actually the creation of one mad scientist, Aaron Olson.

                                                            L.A. Takedown’s debut self-titled album on Ribbon Music creates many moods, scenes and stories over the course of one 44-minute piece (a suite, if you will).

                                                            Much like the movies that so inspire, L.A. Takedown build stories with each piece of music - in place of dialogue, the narrative is realized through layers of carefully constructed musical lines, played out on synths, guitars, bass and drums, with multiple searing guitar leads in tight harmony floating atop it all.


                                                            Lamb 5 - Silver Vinyl Edition

                                                            In 2009, the original plan for Lamb's Lou Rhodes and Andy Barlow was to play a handful of summer festivals. A year and a half and 33 shows later, they recorded a new album, "5", released on Strata Records in 2011. Eight years after "Between Darkness And Wonder", the inspirational fires were rekindled and fans reaped the benefits of Lamb's creative reawakening. The juxtaposition of beat driven programming submerged by an electronic framework and poetry set to transcendental singer / songwriter melodies is still at the heart of their sound, but the (solo) experiences of the years between albums have added greater depth and strength to their sound. A welcome and warranted comeback. 

                                                            With original Strata copies selling for £30+, this remastered 2LP silver vinyl reissue, containing two bonus tracks (one of which with Damien Rice) is a must-have.

                                                            Le Matos

                                                            No Tomorrow Feat. PAWWS

                                                              Essential slice of synth pop heaven from Le Matos with Pawws on vocal duties the song is featured on the Turbo Kid soundtrack due out in theatres , VOD and home video on Oct 5th "The French Canadian synthpop duo has combined their synth mastery with the Lucy Taylor's lovely vocals of PAWWS to create something truly memorable. Many fans of cinema and synthwave alike have been dying to hear the song in its entirety after hearing short snippets during the first “TURBO KID” trailer, and the song does not disappoint. Le Matos's yearning analog synth and drums weave perfectly with PAWWS pop vocals to create a bittersweet synth romp filled with nostalgia and bit of mystery. This track is produced and mixed about as well as they come

                                                              FORMAT INFORMATION

                                                              Ltd 7" Info: Black vinyl limited to 800 copies worldwide.

                                                              Lindstrom & Prins Thomas

                                                              Lindstrom & Prins Thomas - 10th Anniversary Edition

                                                              Eskimo celebrate a decade of off kilter, on point and in demand space disco sounds from these two Scandinavian wizards with a lavish reissue complete with bonus 7". Flawless from start to finish, the debut long player from these Norse gods was a complete game changer on its release, paving the way for a whole genre of Scandolearic fjord funk to please our ears. Universally loved by everyone of the Piccadilly staff, we're delighted that this modern classic is back on the racks. 

                                                              The opening track "Forelopig Bit" draws you straight in to their world, one occupied by delirious keyboard arpeggios, sluggish drums and escalating synthesizer tones. "Boney M Down" introduces a prog rock guitar solo into the formula for a discerning retro sound. But the innovation doesn't end there, as the temperature drops with the fully formed Balearica "Feel Am" and heart-stopping slow motion "Don O Van Budd", before switching back into the techno-informed punk funk idiom "Sykkelsesong". The thirteen track running order also includes single "Turkish Delight" plus B-sides "Claudia" and "Run" (the mystical Scandinavian epic off Feedelity).

                                                              FORMAT INFORMATION

                                                              3xLP Info: 180g vinyl in special edition gatefold, includes previously unreleased 7" + download code.

                                                              Heavy space rock outsiders Mammatus return with their fourth album, and most ambitious to date. Sparkling Waters is a double LP featuring four multi-movement pieces, each designed to recalibrate the shanga array in your mind. In order to achieve the highest levels of sensory clarity, the group enlisted Phil Manley (Trans Am, Life Coach) as their guiding light throughout the studio production. As a result, these tracks shimmer with a far out, casual glow, like an aural reflection of a Risan steam pool.

                                                              On Sparkling Waters, Mammatus expands upon the astral grooves and heady riffs of their previous compositions and set a course for the furthest horizon. Celestial arpeggiations of electric guitar ricochet infinitely across vast expanses of cosmic debris. Heavy riffs thunder with a rhythmic groove, like the exploding coast of Ornia spoken of in days past. Pastoral passages of mellow, slow-burning psychedelia give way to Native American flute melodies and the chanting of spiritual incantations filtered through canyons of delay. Heavenly dual guitar leads soar like a hawk gliding over a mountainside redwood canopy. Radiant synthesizers harmonize to create a shapeshifting formation of ambient space that envelops the rock and in some places completely takes over.

                                                              Sparkling Waters is bound to appeal to a wide range of discerning listeners, as it incorporates elements of heavy riff rock, prog and breath metal while it also features the enhancing textures of kosmische sound coloration, soaring synth leads and astral voyages through deep space. This amalgamation of tones is presented in a way that is wholly original, casting Mammatus as the solitary practitioners of a unique sound that was invented with the express purpose of making you feel... shanga. So breathe deeply, strap on those headphones, drop the needle and get far out.

                                                              Following a stand out release for Marcel Vogel's esteemed Intimate Friends imprint, London's soul-jazz genius Reginald Omas Mamode IV returns with a new extended EP for Five Easy Pieces. Wasting no time at all, Reggie gets deep into sweet, sticky dancefloor funk with "In This Case (Get Over Yourself)", a heavy duty dancefloor groover which sees Mamode top a killer clavinet line with stripped back bass and Prince-styled vocals - mega. "We Are The Universe" leaves the basement sweatbox behind and heads for the stars as the producer infuses spiritual jazz chords with bubbling bass licks and a heavily syncopated MPC beat. The A-side closes out in intimate style with the lo-fi soul of "Like I Do", a stripped back and sensual cut complete with jazzy double bass, breathy flute and Mamode's mellifluous one-take vocals. Hitting a sweet spot between D'Angelo and Cody Chesnutt, "Like I Do" is already a winner for Piccadilly staffers Dave Walker and Mike RJ. Over on the flip, "Can You Dig It" switches right back to funk mode, boasting a huge Theo-esque kick, rib rattling bassline and sweet, stripped back arrangement. From there we hop to the tailfeather-shaking percussion groove of "JumpWorkShakeMove", before "Stay With Me" gets all loose and limber with twinkling Rhodes, languid bass and hot horn samples. All that remains is for Reggie to channel his inner Stevie with the gorgeous and soulful "Music Is My Heaven", featuring the mighty Tenderlonious on the Fender Rhodes. You don't need me to tell you how hot the London beat scene is right now, and this EP turns the gas mark up another couple of notches. 

                                                              Shane Martin / Taj Mahal

                                                              I Need You / A Lot Of Love

                                                              Shane Martin (aka Neale Lundgren) first recorded for Columbia’s Epic subsidiary as a teenager in 1968 scoring a modest hit with his debut 45 “You’re So Young”. The record made its way to the clubs in the UK where the B-side was preferred and some 40 years on “I Need You” remains a northern soul anthem. Taj Mahal originally signed to Columbia as part of a 3-piece band, The Rising Sons, alongside Ry Cooder. The band split after one single leaving Mahal to reshape his blues sound and enjoy a long and prolific solo career. “A Lot Of Love” featured on his second album 'The Natch’l Blues' and first appeared on the rare soul scene at The Twisted Wheel.

                                                              Originally released on State Street in 1987, this second single from Master C & J (who later went on to pen the seminal "Face It") showcases the real sound of deep house, a million miles away from the glam, gliding pop pap taunted under the moniker today. The killer club cut is served in three different flavours on this remastered Trax reissue, ranging from the propulsive, percussive and hard hitting "Club Mix" through the deep and dreamy "Devil Mix" to the batshit jack of the "Insane Mix". Featuring the timeless vocals of frequent collaborator Liz Torres, "In The City" packs attitude and atmosphere into a relentless house groove which sets it head and shoulders above the competition. Still relatively slept on after all this time, this is a great opportunity to grab your new secret weapon. Buy on sight!

                                                              After furnishing a new generation of jocks with prime-time house cuts from Mood II Swing, King Street shift their focus to another pair of New York's finest, the mighty Mateo & Matos. Inspired and informed by Larry Levan, Tony Humphries, Shep Pettibone and Little Louie Vega, the disco influenced duo knocked out a steady string of solid gold throughout the mid nineties, and this first instalment of their "House Legends" series collects four of the best. The set opens with the swinging funk of "Feel Funky", a groove heavy house cut bursting with fist pumping vocal snippets, deep bass, and swooning synths. "Nite Groove" offers a change of pace and focus as the duo head deeper into the pocket, working a dope bassline with lithe flute licks, organic percussion and wah guitar for the perfect post peak shuffler - sublime. We're over onto the flip and I'm lost in the music, dancing round my deck to the infectious tribal sounds of "The Native Ritual", a stripped back roller alive with ear catching percussion, muted M1 and broken vocal lines. Bringing the package to a close in proper floor flaying fashion, "Feel It" pairs a synth led hypno-groove (a la "French Kiss") with a fat bassline, neat Peech Boys sample and an fx drenched vocal lick to set the club alight.

                                                              Joni Mitchell

                                                              The Hissing Of Summer Lawns

                                                                For many, the soft and crystal-clear voice of Joni Mitchell at the beginning of her career will remain indelible in their memory. The innovative style of her peaceful, folk guitar music caught the attention of David Crosby, member of the highly popular band Crosby, Stills, Nash & Young, and in 1968 he produced her very first album. Only three years later she became inspired by the cool flow of modern jazz and set off on new musical paths. "The Hissing Of Summer Lawns" represents a great leap away from the folk scene. Even the very first number, "In France They Kiss On Main Street", stands out thanks to its surprisingly unconventional melodic writing which is answered by powerful bass lines in a Jaco Pastorius-like style. Experiments with sound follow, such as the use of warrior drums of the Burundi and the growling sinus tones of the Moog synthesiser ("The Jungle Line") and then there is a whole line-up of minor-key songs behind whose jet-set foreground one finds a sophisticated jazz spirit. Even the final gospel-like singing ("Shadows And Light") contains little touches of the poignant melancholy which is found throughout the album. With her highly versatile, uniquely textured voice, which has often been compared favourably to that of Kate Bush, and her song texts whose lyrical depths are similar to Patti Smith's, Joni Mitchell has created a masterwork of the Seventies.

                                                                Ennio Morricone

                                                                Black Belly Of The Tarantula

                                                                  Death Waltz Recording Company in conjunction with Pentamusic and CAM records is proud to bring soundtrack fans a huge classic of Italian horror. With music by one of cinema’s greatest composers, Ennio Morricone, Paolo Cavara’s LA TARANTOLA DAL VENTRE NERO (BLACK BELLY OF THE TARANTULA) is considered one of the best gialli ever made. Starring celebrated genre actor Giancarlo Giannini, the terrifying film is about a homicide detective hunting down a psychotic killer who has been paralysing and slaughtering women just as the deadly Pepsis grossa – the Tarantula Hawk wasp – does to its own eight-legged prey.

                                                                  Ennio Morricone’s score is equally frightening, though you wouldn’t immediately believe it. The initial melodies of the score conjure up memories of the hits of Serge Gainsbourg, with an upbeat keyboard riff mixed with the breathy and seductive vocals of Edda Dell’Orso, and there’s some jazz fusion along the way. But from there it starts to spiral and spiral into the unknown, with disquieting atonal sounds, creepy insectoid strings, stabbing percussion. The mix of an unhinged piano and drums feels like the buzzing of the wasp, and the music gets so uncomfortable you feel paralysed – with fear - and that’s when it really starts to terrify you. Such is the power of maestro Morricone and BLACK BELLY OF THE TARANTULA.

                                                                  Back in stock Cover of Sudden Edit 001 by Napoleon / Hristo.
                                                                  Maximum swelter on this special 7" straight out the Tropics! Costa Rica's first ever vinyl only disco edits label takes its first steps thanks to this edit double header from label boss Napoleon and Honey Disco's own Hristo. Napoleon digs deep in the crates and comes up for air with a dusty Island groover, sexed up and ready to get hot and heavy in the undergrowth. On the flip, Hristo gets real smooth on the all out lovers' groove "Deja Vu". Looped to perfection, this midnight mover soon relaxes into the heat and intimacy of a night of wild yacht bound passion. This 7" may be diminutive compared to the larger format, but it's all about the motion of the ocean baby.

                                                                  The EP 'Don't Touch Me Now' features four melancholic and beautiful art-pop songs, packaged in a hand stickered heavy-weight card sleeve, complete with download card.

                                                                  The EP was mixed by DEEK head-honcho, Bullion. The vinyl EP was pressed at The Vinyl Factory and is strictly limited to 500 copies. Never will announce live shows in the coming weeks. The heavy-weight card sleeve, hand stickered by artist Tom Bush with four track title stickers across the sleeve - every copy is unique!

                                                                  New York Edits

                                                                  New York Edits 5

                                                                  It's time for some more mystery music from the city that never sleeps! New York Edits is right back in the house, ready to throw down at a second's notice. If you're not clued up on the name or skeletal centre label, then I'm sorry to say you're missing out on some spaced out slo mo disco brilliance. Don't worry though, you're within touching distance of a life changing experience, touch the needle to the groove and get astral! On the A-side, our unknown editor harnesses the power cosmic for a sleazy 2am groove, getting stuck into The Incredible Fly's "Want Your Body" to serve up low slung bass with Linn drum lasers, sustained synth strings, echo drenched vocals and all manner of psychedelic weirdness. Slow, trippy and totally whacked out, this is a proper room spinner. The flip takes a welcome turn for the kitsch as we're treated to an extended edit of David Keaton's properly obscure synth pop cover of Van the man's "Gloria". Falling somewhere between Talking Heads' "Take Me To The River", Duffo's "Walk On The Wild Side" and "Adventures In Success", this synth heavy, white funk oddity is the perfect headscratching groove. Another blinder from the big apple.


Melbourne based percussive dance collective NO ZU bring us their newest creation in the form of the “Hi Gloss” EP. NO ZU have been recently championed by the whole Balearic community, as well as being a featured track on Cut Copy’s Melbourne dance compilation, "Oceans Apart". The title track, “Hi Gloss” sets the tone for the EP - one of wild-abandon boogie and no-wave styled house that is at once uniquely NO ZU. Triple X funk and NSFW moods continue to flow and mutate throughout the EP with hedonistic freedom. "Hi Hypnomania" sees the group nodding to influences like Konk and Pigbag, but then swiftly takes them down into a smoked-out, dungeon basement at an un-godly hour to forget about time and space. Side B begins with a jam, "Do Deep Dee", recorded in NYC with Sal Principato (Liquid Liquid) during a session that went from 1am to 6am. The result is as gloriously zonked and dubby as you might expect - a true continuity in free-groove and abstract percussive joy. Finally, the last track sees infamous LA boogie-man, Moon B take NO ZU's "Ui Yia Uia" into a darker dub and bouncy minimalist realm. It's so sweet and fresh that it acts as the perfect after-dinner mint for the Hi Gloss EP. Let the "Heat Beat" posess you.


                                                                  We Are Nots - UK Reissue

                                                                  Memphis band NOTS announce details of the release of their debut album ‘We Are NOTS’ on Heavenly Recordings.

                                                                  Formed just over three years ago, NOTS recorded the album in the Summer of 2014 with Doug Easley (Sonic Youth, Tav Falco’s Panther Burns, White Stripes, Townes Van Zandt, Guided By Voices) at his studio in their Tennessee hometown.

                                                                  Clocking in at an urgent 27 minutes, this raucous and primitive 11-track album recalls some of the most thrilling and visceral lo-fi post-punk of the last few decades - The Cramps, Bikini Kill, The Fall, The Make Up, The Mummies, Teenage Jesus and The Jerks.

                                                                  “It’s aggressive, and it sounds like fun.” - Pitchfork

                                                                  FORMAT INFORMATION

                                                                  Ltd LP Info: The LP format includes a bonus 7” featuring two non-album tracks - ‘Virgin Mary’ and ‘Shelf Life’.

                                                                  Consouling Sounds is proud to be able to give the Noveller & thisquietarmy collaboration “Reveries” a new life. The album was originally released by Shelter Press in 2014.

                                                                  The album sold out in no time, is now available again on cd with new artwork and two bonus tracks from the Reveries recording sessions that didn’t fit the record release in support of Noveller’s EU tour. (See below for touring schedule) Reveries is the first collaborative effort of Noveller & thisquietarmy, two critically acclaimed lonesome composers welcoming us is an expanded guitar-based journey. Noveller is the solo project of Brooklyn-based composer Sarah Lipstate while Thisquietarmy is Eric Quach, unstoppable globetrotting musician from Montreal. Both use the guitar as their main instrument, creating some of the most impressive, hypnotic and rich-textured electric guitar works from the past years.

                                                                  Recorded in January 2013 at Electric Blue Studios in Brooklyn, this new long player finds Sarah & Eric at their most luminous and aerial state, writing together layers of blissful drones resulting of a highly meditative and emotional four-parts piece.Recorded and mastered by Brian Wenckebach.

                                                                  'Acabou Chorare' is the second album from Novos Baianos, or New Bahians, who formed in Bahia, Brazil in the 1960's. They are considered to be one of the most important and evolutionary groups in Brazilian music.

                                                                  The unique sound of this record is a result of the fusion of samba, MPB, rock 'n' roll and bossa nova, and strong influences from Joao Gilberto, who frequently played with the group, and bossa nova legend Gilberto Gil. The album was written by Moraes Moreira, Luiz Galvão, Jorginho Gomes, Assis Valente, Pepeu Gomes and Paulinho Boca de Cantor.


                                                                  Straight Outta Compton - Back To Black Edition

                                                                    'Straight Outta Compton' is the debut studio album from American hip hop group NWA, released August 8, 1988. The album is widely regarded as the pioneering record of gangsta rap; and with its ever-present profanity and violent lyrics, it helped to give birth to the then-new sub-genre of hip hop. Includes the global smash hit singles ‘Straight Outta Compton’, ‘Express Yourself’ and ‘Gangsta Gangsta’.

                                                                    Okzharp (pronounced “oh-kay-zarp”) is a project that pivots around South African born London producer Gervase Gordon, who still maintains strong links to Capetown and Johannesburg and the creative work coming from there. ‘Dumela 113’ - translated as ‘Hello 113’ - is a suite of house mutations that feature the vocals of Manthe Ribane, an artist who runs the creative studio in Capetown called Studio113 with her two siblings, while her own work spans dance (she toured as a dancer with ‘Die Antwoord’), modelling, styling, film and photography.

                                                                    ‘Dumela 113’ started to take form when the South African director and photographer Chris Saunders introduced Manthe to Gervase. Chris and Gervase had started making a film together, called ‘Ghost Diamond’, which Manthe styled, choreographed, and starred, in. Consequently two tracks on this EP, ‘Fede’ and ‘Sizzr’, are also from the film’s soundtrack. ‘Dear Ribane’s lyrics are sung in the language of Tshwana and are about being a performer and working on shoots, and the complexities of understanding different kinds of beauty and being a vessel for other people's ideas of beauty, mocking a row of models with the line ‘”Ostrich 1, Ostrich 2, Ostrich 3, 4, 5, 6, 7”, The lyrics open out slowly over a sharp kick drum as a minimal keyboard creeps around Manthe’s poised vocals. ‘Sizzr’, delivered in English, is a positive mission statement about living in the moment, standing up for what you believe and not letting bad vibes get to you, sung with vocoder over bittersweet but positive keys, flipping from beatless to heads-down house. Inspired by a childhood game, ‘Fede’s lyrics play with the question 'How are you?' and all the different ways this can be interpreted, Manthe’s voice glistening with android fx over driving toms and deep bass. The EP finishes with ‘Glonet’, an instrumental of dubstep-indebted house with a wistful oriental melody that shifts gears between half and double speed.

                                                                    On An On

                                                                    And The Wave Has Two Sides

                                                                    Sometime in the Spring of 2012 the musicians that would go on to form the Chicago & Minneapolis based trio ON AN ON found themselves at a tipping point. The three of them – Nate Eiesland, Alissa Ricci, and Ryne Estwing – had played music with one another in various capacities for the better part of a decade. Most recently, they had shared the stage and studio as three fifths of the indie-pop outfit Scattered Trees, which had seen its fair share of success. But with the band’s studio time only a few weeks away and the other members now spread out across the country pursuing other endeavors, they would chart their own course and come out stronger for it. What emerged was ON AN ON.

                                                                    For ON AN ON, the precariousness of breaking new ground only three weeks before recording with accomplished producer Dave Newfeld (Broken Social Scene, Super Furry Animals, Los Campesinos!) provided a jolt of creative energy. The musicians had become disenchanted with their past approach to songwriting and recording, finding the process of striving for polished pop both tiresome and constrained. Newfeld proved the perfect counterpart to their initial vision for the record, encouraging them to push boundaries and go with their instincts.

                                                                    According to Eiesland, the sessions were something of an exorcism: “We really wanted to get away from the sterility of our previous approach to recording.” Eieseland, Ricci, and Estwing embraced musical risks that in the past they might have shied away from. In the studio, the band members explored a natural chemistry and honed their sound; synthesizers, scattershot electro beats and ambient ear candy gave guitars, bass and drums a ghostly sheen.

                                                                    While the melodies might clue one in to the trio’s evolved sonic palate, it’s through the album’s themes that the group members’ respective evolution becomes most apparent. Eiesland wrote the majority of the lyrics, in the process coming to terms with death and the traps that life springs upon us. Whether letting his intuition guide him on “I Wanted To Say More” (“You are a saint and you’re the devil / Every word I spoke to you, I thought that they were wings / But they were only feathers”) or owning up to life’s inevitability on “All The Horses” (“A family tree will split in two halfway through its life”), there’s a tempered calm to the thought-provoking imagery he espouses through his words. Estwing offered up his own lyrical seance on his lead vocal track “Cops,” although the bassist says his message – that the police can be surprisingly corrupt – is more direct.

                                                                    After smashing everything they knew to pieces, they pulled themselves together around Give In, ON AN ON’s ten-track debut album – a dream-washed textural journey armed with a biting perspective on life, love, and the commonality of loss. It is an affair that sizzles with electricity and calls one in with its unnerved openness.

                                                                    FORMAT INFORMATION

                                                                    Includes MP3 Download Code.

                                                                    Mysterious Scottish producer Otherlover is out for 'revenge' with this tasty 10" slice of deepness for Razor-N-Tape Reserve. Showing the kind of looped up edit excellence we've been missing since the heyday of Instruments Of Rapture, our anonymous jock works an obscure Steve Winwood sample to the bone before leading us by the hand to a sweet synth boogie climax. The looped up synth brings to mind shop favourite "Transition" by UR, turning up the pressure Bar by bar until the fluid bassline, swirling synth and soulful vocal provide the perfect release. For those who steer away from the pump and pound of the peaktime, the dub mix offers a stripped back version of the same stormer, which simmers away nicely without ever reaching the boil. Massive!

                                                                    Out with a bang, "Blitz Magic" is the final release in International Feel's remix journey through Jose Padilla's superb "So Many Colours" LP. The Telephones' produced album cut is the perfect club track to follow the wondrous "Lollipop", calling to mind "E2-E4" or "Sueno Latino" on its dreamy ride into the Balearic sunset. Here, the track falls into the seasoned hands of Deetron and Tambien, who deliver a pair of quality reworks perfectly suited for very different dancefloors. Swiss producer and DJ Deetron keeps his soul in Detroit and his heart in warm techno with a stripped down remix which utilises a tight drum pattern to take the track back to pure club values. Easing off on the psychedelic elements of the original, Deetron puts the propulsive bassline front and centre, while the circular keys and Detroit strings offer deep and dark textures. Manning the controls on the flip are shop favourites Tambien, a Munich trio who seem to blow minds with each of their genre mashing releases. Comprising of Pollyester member Beni Brachtel and Public Possession pair Marvin and Valentino, Tambien have been pushing boundaries and filling floors for a few years now, and this remix is the latest in a long line of essential releases. Clicks, pops and glassy woodblocks weave their way through a stuttering drum machine beat as the trio bathe elements of the original in lysergic effects and celestial textures, creating an truly deep and hypnotic rework for the leftfield house heads all over the globe. As Autumn arrives it feels the perfect time to release this third single from Padilla, the last in a beautiful string of releases that for International Feel have perfectly encompassed the Balearic sound as it is now. Play loud and you'll get the benefits. 

                                                                    Paranoid London

                                                                    Paris 1 Dub / Live At The Warehouse Project 2008

                                                                    Paranoid London deliver three floor burning tracks of deep and cavernous house on their own imprint. Up first "Paris Dub 1" utilizes the classic Chicagan combo of the 808 and 303 (with a smattering of skitterish 707 hi-hats) to deliver a complete warehouse shaker. The bassline growls away with tapey distortion while Paris Brightledge's haunting vocal screams out of the tweeters and sticks you slap bang in the middle of a darkened dancefloor. On the flip, Paranoid London provide an instrumental mix of "Paris Dub 1" which fills the vocal void with squelching 303 lines, and ramps up all the dials to 11 - devastating. Finally, "Live at the Warehouse Project 2008", is a dial riding improvised acid track taken from their live performance at, you guessed it, the Warehouse Project. The sound established on the A-side is taken to deeper, tracky territories and the twisted 303 lines are brought right to the fore. Dark and driving acid which sounds as good as anything else out there, tracks this powerful don't come along that often. Recommended.

                                                                    Piccadilly Records

                                                                    End Of Year Review 2015

                                                                      Back in the day, confronted from October onwards by a raft of Christmas-related albums from the major labels, and barely a squeak of a release from the independents, we decided to compile our own top 50 albums of the year, and promote that over the festive season instead. 

                                                                      Nearly two decades on, and with the arrival of the World Wide Web, Piccadilly Records Top 100 has become one of THE essential end of year charts to check out. Our End Of Year Review booklets have also become increasingly sought-after, and now come packed with our Top 100 albums, Top 20 compilations, Top 20 reissues/collections, staff charts and reviews of our favourite albums all wrapped in lush artwork (perfect bound this year!) by Piccadilly pal Mark Brown ( The perfect read for any music lover over Crimbo.

                                                                      This booklet is free instore or just 1 pence (plus p+p) via the website. Or if you prefer, view a digital version below.

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