Actress continues to keep us on our toes here at Piccadilly, dropping another limited EP with no forewarning much to our postman's chagrin. Much like 2013's "Grey Over Blue" EP, "Xoul" arrives with no information, sporting a sleeve and label as black as Kubrick's monolith. Since "Ghettoville" found Cunningham in tranqued out heroin house form, I'm guessing this continues in the same vein, playing at a stately 33rpm. "Xoul" emerges from a hiss and fizz of scratchy white noise like a lullaby from a dystopic future. The ozone layer's gone and nuclear war has reduced the planet to an arid plane of scorched earth. The chirps and tweets of the rainforest fauna have been replaced by the electrostatic feedback, and battered electroncis are the only form of sound. Actress picks up the pace a little on the "Dark Chamber" variation, and rearranges the parts into a spot welded collage of industrial filth and qualude house fug. Disorientating and danceable, this mix has taken all the drugs in world at once. And just when you thought it couldn't get any weirder, Cunningham flips the track into reverse for the second half. I need a sit down and thankfully the "Xoul Particles" mix is there to offer a soothing bed of ambience for me to rest on. With the more abrasive elements of the track reduced to a mere murmur, there's plenty of time to fall into the hypnotic melody. Now, although lazy comparisons should be avoided, the similarities with "Drukqs" are as high an honour as I can bestow. If "Particles" was Cunningham's "Dreamscape", then "Pharoah Moon Rising" is the soundtrack to a particularly grim nightmare. While unnatural hats hiss away marking the time, a growling bassline snakes away in the depths creating a tone of true menace. A plaintiff clarinet holds long and reedy notes above the synthetic rumble as Actress soundtracks the paranoia and tension of a futuristic film noir. Another remarkable release from Darren J Cunningham; if he keeps going at this rate they'll be no boundaries left. 

Aerial M

Aerial M

    Back in 1997, David Pajo was a little over a half decade removed from the future sensation known as Slint.

    Their second album had been released in 1991 when the band themselves were already defunct. During the next five years, David worked with Palace Brothers, King Kong, Tortoise, The For Carnation and Stereolab. During that period the idea of his own music was slowly simmering, building flavour like a good rage. He and former Slint-ite Britt Walford had discussed a band called M - the significance lying in the letter’s position in the middle of the alphabet. A single under that name was released on Palace Records in 1996 and upon hearing it there was no doubt that this was one of the Slint boys.

    Drag City were big fans of Tweez and offered Dave a deal he couldn’t refuse - if he made a record, they’d put it out. The rest is not only history but somewhat out of print. · David changed the name to Aerial M and made an LP and two singles, then changed the name to Papa M and made a couple of double albums, an EP and five or six singles. At the time of those singles, he joined another band and then another and another and… no more Papa M. There were two Pajo records in 2005 and 2006 and, since then, nothing else along these lines. And so, Aerial M and Papa M things have slowly gone out of print.

    Now seems like a perfect time to re-inject Aerial M into the world’s music veins and the ‘Aerial M’ album presents an initial step in what was a hot ten-year evolution of sounds and songmaking.

    "We argue sometimes, but we never argue about Big Bill Broonzy," says Dave Alvin when explaining why he and brother Phil, who haven't made an album together in almost 30 years, were inspired to record ‘Common Ground’. The Alvin brothers, who founded seminal early LA punk roots band The Blasters in 1979, have shared a fascination with Broonzy since childhood. After an illness nearly took Phil's life in 2012, they resolved to return to the studio and pay tribute to the blues legend. Common Ground includes 12 songs that capture a 30-year cross section of Broonzy's canon, performed by the Alvins' in their signature style of rollicking roots and stomping country blues.

    Comprised of Molly Rankin (lead vocals / guitar), Kerri Maclellan (keys / vocals), Alec O’Hanley (guitar), Brian Murphy (bass) and Phil MacIsaac (drums), Alvvays take the template laid out by the likes of Scottish stalwarts Teenage Fanclub, The Vaselines and Belle & Sebastian and fuse it with a strong sense of self and a unique personality.

    Each shimmering track on their debut full-length frames Rankin’s melancholic melodies and unwavering voice with meticulous arrangements and needlepoint guitars.

    Bear's Den


      Bear’s Den are Andrew Davie (guitar, vocals), Joey Haynes (guitar), and Kev Jones (drums, bass). Since forming in 2012, the London based trio have built a fervent fanbase through their live shows and a dedicated DIY aesthetic that originally saw them self-fund tours and sell hand printed CDs direct to fans at gigs. In two short years they quietly went from pub shows to a jaw dropping headline gig at the Brixton Electric in front of 1500 people.

      The Black Angels

      Clear Lake Forest

        New EP of seven new tracks, from Austin Texas Psych Rock band.

        It follows their album Indigo Meadow (2013) where once again The Black Angels proved themselves the undisputed avatars of contemporary psychedelic rock, simultaneously exalting the genre’s kaleidoscopic past as they thrust it further into the future. the band brought new focus to their wide-ranging songcraft, the righteous riffs and dogmatic drones gaining increased power as they fuel a more expansive emotional terrain. A 21st century trip as transcendent as any in the canon.

        “Imagine tossing bands from the pantheon of American psychedelia like The Electric Prunes, Count Five, 13th Floor Elevators and The Seeds into your blender, adding a splash of Sabbath and a dollop of early Soundgarden or Mudhoney, and you’ve got Austin’s The Black Angels.” Associated Press.


        Mini LP Info: Limited edition clear vinyl.

        Blest Mess Is A 3 Piece Female-Fronted Old School Punk/Hardcore Band From New York & New Jersey - U.S.A. Heavily Influenced By British Punk & American Hardcore.

        Charles Bradley & LaRose Jackson

        Luv Jones / Change, Change, Change

        It was the annual Charles Bradley memorial day BBQ throw down, when Charles finally introduced LaRose Jackson to Tommy. "Tommeyy! This is the lady I was telling you about. You gotta hear her sang!" To which LaRose said, "This is the guy you were talking about? He don't look like no funky producer to me. He look like one of them rock & rollers."

        Well, our friend TNT invited LaRose and CB back to the old Dunham Sound Studio and set out to prove just how funky he could be. "What if I told you that curly haired dude over there was the baddest drummer you ever heard?" asked TNT to Rose. "Him? You guys are weird." The duets that unfolded that night are on this seven-inch piece of wax: Two instant funky pizza party classics. Dig it.

        Kate Bush

        Sensual World

          "Sensual World" took Kate 4 years to make and the songs elevate sexuality, romance, politics and emotion to an all together higher, more mystical and more poetic level.

          The album includes the classics "The Sensual World", "Never Be Mine" and "Rockets Tail". The songs and the music are further enhanced by the stunning guitar work by David Gilmour of Pink Floyd. The album also features "This Woman's Work", which was a smash hit by Maxwell.


          Ltd LP Info: 180gm Audiophile vinyl repress.


          Flow Motion - Remastered Edition

            Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

            The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 


            Future Days - Remastered Edition

              Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

              The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 


              Landed - Remastered Edition

                Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

                The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 


                Saw Delight - Remastered Edition

                  Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

                  The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 


                  Soon Over Babaluma - Remastered Edition

                    Following the release of the Can Vinyl Box – the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the CAN studio albums individually on vinyl. 

                    The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. Remasters and vinyl processing was coordinated by long time collaborator, Jono Podmore. 


                    Can't Do Without You

                    After a four year hiatus Dan Snaith makes his triumphant return as Caribou, picking up exactly where 2010's Piccadilly record of the year "Swim" left off. He was hardly idle in that period, ruling the leftfield techno world as Daphni, and touring extensively, either alone or with the all star Caribou Vibration Ensemble. Returning from his travels refreshed and with another four years of boundary pushing production in his locker, Snaith calmy took the intimidating task of following up a classic, and smashed it out the park. "Can't Do Without You" combines his ear for an emotionally charged melody with his perfectly mixed live drums, trademark analogue synths and yearning vocals. This extended arrangement adds a little extra dancefloor oomph to what's certain to be the alternative pop single of the year, weaving skyscraper sized peaks that lift you way up high. Soundwise, there are similarities to "Sun", but with the former's frenzied intensity replaced with a melancholic and lovelorn drama that hits all the emotional sweet spots. Remarkably, Snaith has managed to equal the lofty heights he reached on "Swim", and with more to come, his latest work may also be his greatest. 

                    The Carpenters

                    The Singles 1969-1973 - Back To Black Vinyl Edition

                      Universal Music are proud to present the next batch of Back To Black reissues. Presented as exact reproductions of original LP artwork to retain authenticity, but now on 180 gram heavyweight vinyl.

                      Greg Cash

                      Party Chat

                      A rare warehouse find for you lucky buggers from way back in 2000. Pressed by no other than Moritz Von Oswald, this bangin’ little blighter is the very essence of bumpety Chicago house music. "Party Chat" contains rough-as-a-bear's-arse drums, overwhelmingly infectious piano hooks and this microphone rocking vocal delivery by Terrence Wagner and Adrienne Thomas; meaning this is pure alchemical house magic; guaranteed to ignite the floor wherever and when it is dropped. The second record this week you'd expect Moodymann to have on dubplate for months before its release, it's actually Future Times hero Max Dunbar that's been championing the track ('Despite being the ruggedest track, the vocal gets everybody's attention. The moment when 'Oh hell yeah' gives way to the bass drum gives me goosebumps'). "I Got Your Love" doesn't let up, letting the rolling drums prevail at the start before opening up the lowpass filter on this gorgeous horn-driven hook. Surely one for the terraces and beaming sunshine, watch you don't spill your Mojito as everyone rushes to the booth to get an ID on this one. Sublime. Get your skates on folks!

                      STAFF COMMENTS

                      Matt says: Pure, peakin' Pigeon tackle from 2000. A lucky warehouse find means you get the chance to own this stone cold house classic. With Moritz putting his name to it, you know the quality is gonna be tight.

                      Chain And The Gang

                      Never Been Properly Loved

                      The new single form CHAIN AND THE GANG is the dancefloor smash “Never Been Properly Loved”, taken from their critically acclaimed new album MINIMUM ROCK N ROLL and due out on Fortuna POP!

                      Featuring the snotty-nosed vocals of Katie Alice Greer of Priests the song is a demand for love and affection set to an insistent disco beat and with a killer chorus that's going to be stuck inside your head all summer long. Led by the remarkable Ian Svenonius, prime mover behind two of the most essential bands of our time, Nation Of Ulysses and The Make-Up, Chain And the Gang deal in a new genre called CRIME ROCK. As Ian himself puts it: “If asked about it by a prospective fan, I would say "Watch out; it might hurt your feelings." Or "Be careful … there's no telling what might happen if you put it in your ear." Why? Because Chain & The Gang isn't for everyone. It's not designed for the victims of Ikea who rely on robots to choose their background muzak. But it can also prove to be addictive and has some disturbing side effects.“ A gang with a fluid and floating active core, Minimum Rock N Roll was recorded in Portland Oregon with Ian and Katie Alice on vocals, Brett playing the electric guitar, Chris on electric bass guitar, and Fiona driving the drum kit and then mixed down in DC by Brendan Canty. More minimal and more ferocious, more lean and more mean, Minimum Rock N Roll is Chain & the Gang looking for food, hungry and intent on devouring the known world, once they find its tender underbelly.

                      "Crunches in with impeccable musical economy, a grimy R&B groove propelled along by cuffed dreams and Svenonius' sultry vocals laying out the terms of social dissemblance in a pouting drawl." Mojo

                      "Svenonius' charisma is unflagging, and his commitment to the theme can thrill, too." Uncut "A true one-off, you're either a believer or your'e not." Q

                      FORMAT INFORMATION

                      Ltd 7" Info: Blue coloured Vinyl 7" with jukebox hole.

                      Anthology serves as a celebration of The Clean, a band whose influence extends so far beyond their New Zealand home that even if you have never heard of The Clean before, you have surely heard of some of the bands (Pavement, Yo La Tengo, and Superchunk, to name a few) who have been influenced by their unique blend of homemade garage rock, hook-filled melodies, and psychedelic experimentalism.

                      The album is a compilation from across The Clean’s legendary career, which began in 1981 and continues today. Merge originally released the 2-CD Anthology in 2003, but in celebration of our 25th anniversary, we felt the time was right to release this essential collection on quadruple LP.

                      Anthology kicks off with The Clean’s call-to-arms debut “Tally Ho!”; the story of the infectious track’s $60 recording bill is now legendary. It continues with the early EPs Boodle Boodle Boodle and Great Sounds Great in their entirety. The hits—“Billy Two,” “Anything Could Happen,” “Beatnik,” and “Getting Older”—and live favorites like “Point That Thing Somewhere Else” and instrumentals “Fish” and “At the Bottom” all serve up memories of the joyous noise that characterized The Clean of that time. These recordings, mostly made by the band with Chris Knox and Doug Hood at the helm of the 4-track, capture the bright, raw sound of a classic garage band.

                      After a brief breakup, the band recorded Vehicle in 1989. Vehicle was made in three days and engineered by Alan Moulder (Smashing Pumpkins, Nine Inch Nails, My Bloody Valentine). The sounds of Vehicle and the two albums that followed it, Modern Rock (1994) and Unknown Country (1996), make up the bulk of discs 3 and 4 of the vinyl Anthology. In addition to selections from these full-length recordings, Anthology includes two songs released only on an American 7-inch and two that appeared on a bonus flexi-disc with the Modern Rock LP.

                      FORMAT INFORMATION

                      4xLtd LP Info: 4xLP box set.

                      Cretin Stompers

                      Looking Forward To Being Attacked

                        Recommended If You Like: Magic Kids, Barbaras, King Tuff, R. Stevie Moore, Ween, Jay Reatard, Hawkwind, Styrenes.

                        "Cretin Stompers landed in our lap on an other-worldly afternoon one day, sent directly from the future and completely ready to bury your past and everything you've ever held dear. Not even a fully formed embryo upon their first recording, the interstellar project began as a long-distance collaboration between past members of the ethereal Barbaras, Magic Kids, Boston Chinks, (and later, Jay Reatard Band/Wavves) in Memphis, and their mysterious cohort, (who had never been met or even spoken to while making the record!) BIG MUFF RADIO, living up north in Brooklyn, and has reached it's fully-developed final mutation in the form of the Looking Forward To Being Attacked debut LP. And just like a Xenomorph wrapping its way around your head right before that inevitable lobotomy, the Cretin Stompers infectious oozing pop slime will find its way into any of your exposed orifices, so be sure to wear a tight belt as this is one debut album with the power to entrance and eviscerate like never before...

                        With as many studio tricks and alien-like pop moves Cretin Stompers conjure, it will become obvious by the first few tracks that this is unlike any other album you've heard before, a true pioneering and sublime step into the iridescent pop dreams (and nightmares) of the not-so-bleak future. But don't be afraid of what's ahead, that's just part of who we are, and more importantly, who you are, as someone who doesn't let uncertainty cloud their ambition to make new discoveries or hold back your enthusiasm for the unknown. For this, you will be rewarded with a dynamic explosion of space punk filtered through a clogged toilet of remarkable pop hooks and impeccable melodic surges that hit such wavering heights, you just might need some orange slices to keep your eyes on the road. And as if Cretin Stompers couldn't give you any more ear candy to clean out your cavities with, they have culled two superb covers from The Styrenes and Dave Brock (of Hawkwind) to knock you back to summer school with another research assignment, always the true sign of real innovators of any era of music. So don't keep taking the same route to rock'n roll salvation when there are so many exciting ways to live, and get ready to have your mind thoroughly blown, because the future sounds fucking unreal. Also features exclusive artwork from the legendary Memphis fine art photographer WILLIAM EGGLESTON (known for his BIG STAR album cover photos)!"  –


                        Record Player CR8005A - Cruiser (Tweed)

                          Love the rich, warm sound of vinyl, but wish it was a more moveable music format? Put down the iPod and mobilize your music with the Crosley Cruiser 3-speed portable turntable.

                          Constructed of wood and bound in a leatherette material, the briefcase-styled record player is lightweight and easily transported from place to place. It features built-in stereo speakers so you can listen to your music without having to connect it to a speaker system.

                          Cruise over to a friend's house and experience vinyl's superior sound together.

                          - Belt-driven turntable mechanism 33 1/3, 45 & 78rpm.
                          - Dynamic full-range stereo speakers
                          - AC power adapter RCA audio out
                          - Dimensions: 15.50in X 14.00in X 6.10in

                          After annoucing their arrival in 2010 with the mind bending analogue psyche of "This City Never Sleeps", the collaborative project between Gavin Russom and Viva Ruiz (with the later addition of Matt Thornley), have been pushing their own brand of transcendental noise at the forefront of the game ever since, culminating with the release of their debut LP last year. This latest leg of their spiritual synth journey features four wildly engaging stripped down mixes of album standouts "Rain", "Paradise", "Ascension" and "We Came To". Inspired by the pounding functionality of 12" dance mixes and a desire to reward the beating dancing heart of the club, rather than the restrained cool of the VIP booth, the trio set to work cutting back on the song elements and filling up on the buzzing synths and punchy drums. The deep mix of "Ascension" opens the pattern with the electro rhythms of a Juan Atkins classic, underpinning those moody synths Crystal Ark made their own. Next stop is the "Space Mix" of "Paradise", which rolls on and on driven by that growling bassline and syncopated hats. The ritualistic soon enter the fray, mirrored by a huge warping synthline as the song begins tp power up into sonic overdrive. The second disc opens with the classic DFA groove of their XXXtended mix of "Rain", a percussion (and more cowbell!) heavy throbber with detached and cool pop vocals, spiraling synths and a fuked up bassline. Topped by buzzing electronics, this could easily pass for a lost Soulwax mix of LCD; it's that good! The double pack closes with the Factory Floor style tribal minimalism of the house mix of "We Came To". Stuttered and resampled vocals, rattling percussion and stiff drum machines and a simple synth bassline all combine to make up the twisted sister of "Two Different Ways". Another future classic from the DFA camp, and an essential for fans of Factory Floor, LCD Soundsystem, John Talabot and the Optimo Trax series.


                          Dear Diary (Exclusive Signed Edition)

                            EXCLUSIVE SIGNED EDITION!!

                            “Dear Diary” is the third single from Darlia and follows the success of previous singles “Queen Of Hearts” and “Candyman”. Their last single “Candyman” was played over 35 times by Radio 1 despite not being added to the station playlist. It was heavily supported elsewhere including an addition to the daytime list at Xfm. The band were invited guests on the Radio 1 One Big Weekend in Glasgow and were also invited to play a Live Lounge session for Fearne Cotton.

                            FORMAT INFORMATION

                            Ltd 7" Info: 500 only.

                            Whenever Dego releases a 12" change occurs. Music changes. Producers switch gears. Panic sets in. Tidal-wave size ripples echo throughout time forcing shapes to be thrown and bodies to be bounced. Where words alone can not convey emotions, Dego speaks through his music, healing all that are willing to open their ears. His Blueberry Records debut is a serene prism alone in space, waiting to unlock your heart and mind. Opening with "Nuts!" the 4th quarter addition to the EP, Dego lines up the dance floor in his sights, takes aim and slays you. The play between rhythm and synth is so cold yet so hot, it's the tiger balm your dance partner has been aching for. "Could Murder A Burger" has featured in taste makers' sets for a while now, finally landing on this EP with it's thoughtful piano movements and load bearing bass. Could power a steam engine and serve a cup at the same time. Machine funk of the highest grade, this is future music for the present day. Flip side opens with "Celestian Ditton" a possible ode to the hifi of yesteryear, slow burning, ever charming and romantic. Warm and embracing, analog and rolling. Truly out of sight intergalactic-electronic-psychedelia in the same vein as Panoram. Closing out the EP is a remix from FaltyDL "The force is strong with this one" a quote from Dego himself. Paying respect to the master, maintaining integrity with added funk and scatting. Yes, scatting.

                            Sandy Denny

                            The North Star Grassman And The Ravens - Back To Black Edition

                              Sandy Denny’s 2nd solo album from 1971 has been mastered from the original analogue master tapes by Paschal Byrne at the Audio Archive Company, London. The album is pressed on 180grm vinyl and comes complete with a free Digital Download Voucher.

                              The North Star Grassman and The Ravens album is much more assured than her debut album and is co-produced by Sandy Denny, her husband Trevor Lucas and her old Fairport Convention guitarist Richard Thompson. Engineered by John Wood.

                              Die Roh & Okee Ru

                              Beam Boom Bum EP - Inc. Lucretio Remix

                              Die Roh are the legendary DJ Octopus (Enlightened Wax / Hypercolour) and the mighty Sagat (boss of Noho Records). For the fourth release on Muscle Records they have hoisted into Brenta studios a talented musician known as Okee Ru (Enetrbt / Deependence). "Non E La Rai" opens proceedings with a pumping techno track, inflected with a little bit of that Dave Angel / K-Hand flavour. Flanging pads, tight hats and a clever arrangement tailor-made for heavy strobe light abuse and rampant dancing. Lucretio remixes the former, adding gritty undertones and a rolling bassline before hitting us with the most ridiculously infectious vocal hook you're likely to hear all year! Coming to every Boiler Room set for the next 3 months this is a SURE FIRE anthem pop pickers and worth the entry fee alone. Flip for the after-party, ket-fuelled banger "Xanax". A big one for the Berlin lunchtime crew, this is dark, dirty and dangerous. "Sensory Overlead" closes off this essential EP with a deep, eyes-down throbber, full of intricate bleeps, vocal murmurings and techy wubs before a chunky beat fires up the pistons. Big.

                              STAFF COMMENTS

                              Matt says: Ireland's best purveyors of hardware dirg return with this amazing EP from Die Roh & Oke Ru. Watch those tape heads as these trax run red hot!

                              17 Steps is the new record label from UK act Dusky, aka Nick Harriman and Alfie Granger-Howell. This storming inaugural release leads with a unique title track that represents Dusky's hybrid approach to production perfectly. Drawing on dark, hypnotic melodies that reference classic jungle vibes, soulful vocal samples, and tough, intricate grooves, "Love Taking Over" also hits with a gritty percussive edge; making for a fresh and distinctly Dusky production. Second track 'Inta' connects even more directly with Dusky's formative jungle and rave influences growing up in London - taking its title and key sample from the classic 'Inta' by Grooverider's Inta Warriors alias. Archetypal of Dusky's genre-merging approach, "Inta" blends sub heavy bass pulses with dark synths and vintage rave motifs to form an unflinching and heavy dancefloor sound. Completing the EP in style, 'Expectations' is a track that has been on heavy rotation in Dusky's DJ sets over the year. A tough, no nonsense, floor burning house jam, "Expectations" instantly strikes a groove with its simple bass line and quirky jazz-inspired lead. Again summoning dark, D&B-inspired bass on its cavernous breakdown, "Expectations" is loaded with the texture and detail that Dusky are renowned.

                              Originally released in 1994, the album turns 20 this year and can be considered to be one of the defining albums of the Britpop era, making the end of year lists in Melody Maker, NME, and Select that year. It is home to the hit singles ‘Insomniac’, ‘Close... But’, and the anthemic ‘I Can’t Imagine The World Without Me.’

                              EGO is the album that saw Echobelly land a major label deal, tour the world, sell out gigs from Japan to the US, build up fervent fanbases and famous followers including Morrissey, REM (who asked them to be their support band) and Madonna (who wanted to sign them to her label).

                              The bonus material includes the “Bellyache EP” from 1993, plus the b-sides from the singles and a previously unreleased Steve Lamacq BBC Radio 1 session from 1994.

                              The set is packaged with brand new sleeve-notes by Sonya Madan and unseen and rare photographs.

                              On is Echobelly’s second album and followed hot on the heels of their debut, Everyone’s Got One, to become their most successful album. It is now re-issued as a 2CD set with B-sides and unreleased tracks compiled by the band.

                              The album, produced by Slade and Kolderie (Radiohead, Hole, Pixies), is home to the hit singles ‘Dark Therapy’, ‘King Of The Kerb’ and their defining track, ‘Great Things.’ On its release in 1995, the band hit the road with their sensationally energetic live shows and no shortage of critical acclaim saw it peak at No.4 in the UK Charts.

                              Einsturzende Neubauten

                              Alles Wieder Offen

                                Neubauten's new release "Alles Wieder Offen" ("All open again") is released on their own Potomak label. Working outside the usual confines of the record industry, Neubauten recorded this album in their own studio funded by pre-payment by a world-wide network of subscribing supporters via their website It is possibly Einstürzende Neubauten's most fully and perfectly realized album yet. Alexander Hacke's bass has never sounded warmer, Jochen Arbeit's guitar more graceful, the metal of Rudolf Moser and the percussion of N.U. Unruh more unsettling and diverse. Blixa Bargeld's vocals are mercurial and powerful.

                                Reissue of Einstürzende Neubauten's seventh album from 1996 "Ende Neu" (Ending New), one of the most important turning points in the band's history, not only because of the important musical developments but also the resultant changes in band members. Although the four composers leafed through their archives of the industrialization of modern music for this album, Einstürzende Neubauten's compositions were never before as harmonious and lyrical as on "Ende Neu". "Stella Maris", a ballad performed in duet by Blixa Bargeld and Meret Becker accompanied by opulent string instruments, is probably the best known song that resulted from this re-orientation. Probably the most sensational evolution of Einstürzende Neubauten since their debut "Kollaps" in 1980, "Ende Neu" is now reissued on the band's Potomak label with reworked artwork and enhanced by bonus material.

                                Einsturzende Neubauten

                                Funf Auf Der Nach Oben Offenen Richterskala

                                  Vinyl reissue of their 1987 album.

                                  Einsturzende Neubauten

                                  Halber Mensch

                                    Vinyl reissue of their 1985 album.

                                    Einsturzende Neubauten

                                    Haus Der Luge

                                      Vinyl reissue of their 1989 album.

                                      Einsturzende Neubauten

                                      Silence Is Sexy

                                      Re-issue of the band's 2000 album, formerly available via Mute Records and now on the band's own label.

                                      After 20 years together, Einsturzende Neubauten had changed. Gone was the purgatorial clamour of old. In its place are textures and dark humour. Gone, too, was the brittle anger. On Silence Is Sexy, Blixa Bargeld is laconically louche, with a love for subtleties. The title track of album is an unbending, confusing spiral of sound--voices chanting, music forbidden, sometimes as sweet as trickling honey. "Zampano" is more familiar to old school fans, but "Sonnenbarke" invokes the boisterous atmosphere of ghostly beer halls while "Musentango" is self-descriptive. Sometimes chilling, sometimes life-affirming, never dull, Silence Is Sexy is a turbulent document of the times--much like Neubauten's beloved Berlin.

                                      FORMAT INFORMATION

                                      2xLtd LP Info: Vinyl re-issue of the album originally released in 2000. This double album contains the track Pelikanol”, first available as a bonus track with the 2000 release of the album and now for the first time available on vinyl.

                                      Einsturzende Neubauten

                                      Zeichnungen Des Patienten OT

                                        Vinyl reissue of their 1983 album.

                                        Electric Eels

                                        Jaguar Ride / Splittery Splat

                                          "This is still hard to even fathom, let alone anywhere near realistic, but HoZac Archival Records is proud to present a little piece of history for you here, which, if you are still unexposed, will knock your "punk clock" back a few years, resetting your concept of what punk evolved from, where punk germinated from, and how unhinged the Midwest (Ohio in particular) was in comparison to the East & West Coasts in the days before the Ramones & Sex Pistols records littered the land. The Cleveland-based (and formerly Columbus) electric eels were unrivaled in terms of sonic mayhem for 1974/1975, especially for the Midwest, where extremities in music were very much unwelcome and were not given the opportunities that the art scenes of the coasts got to foster. Despite the fact that this band was the starting point for not only Nick Nox, later of THE CRAMPS, it must be understood that this was not composed, blues-based Stooges-style grunt, gorgeous VU-type noise, glammy Alice Cooper-style grime, or high-frequency bombast like the MC5. This was an entirely new species emerging from the primordial ooze of the fertile crescent of a cesspool that birthed the 70s version of punk as we know it, this was true madness captured on tape, catchy and infectious insanity flowing through the air that never, EVER had a chance during it's time, and this is one of the reasons the eels have such creedence. It's no surprise that it wasn't until worldwide punk was in full swing three years later that the debut electric eels single finally came out of the gates, oddly enough on the Rough Trade label, as it's certain stillborn death in 1975 wasn't even conceivable, even to the Metal Mike and Lester Bangs-types lighting up the underground. The electric eels were the nexus of outsider noise at a time when there might have been several isolated antecedents in random basements in the early to mid 1970s, but none as stripped, bleeding, and almost too-cleverly-convulsing, and none more intimidating or more enigmatic considering how long it took their material to surface. This is the real deal, and there isn't anything more we can say, but there isn't much more than the electric eels when it comes to punk evolution, and the creatures much lower on the evolutionary scale than the currently accepted "godfathers of punk" music, wo will someday inherit this rotten corpse. And did we mention the B-side is the brutally beautiful comp-only track "Splitterty Splat" also recorded in 1975? Surely the planets have aligned, and this is our ticket into heaven, or madness, and yours as well, and we could not be more excited, proud, and genuinly scared to host these sacred recordings on our imprint, AMEN". -

                                          Recommended for fans of Captain Beefheart, Debris, Kim Fowley, Lou Reed's Metal Machine Music, Victoria Vein & The Thunderpunks, George Brigman, Bold Chicken, Stooges, Rocket from The Tombs, Alice Cooper Band, Roky Erickson, Mike Rep & the Quotas, and general insanity

                                          Electric Moon

                                          Innside Outside

                                            Following the rapid fire sell out of the label’s last release in May (Eat Light Become Lights), The Great Pop Supplement follows up quickly with another real treat. The first outright UK release by German Acid / Psych legends ELECTRIC MOON.

                                            Two epic sidelong jams recorded Sept 7th 2013 at PMK Innsbruck, Austria. Extraordinary slow building psych blowouts kicking off with bubbling understated moogs offering no hints to the freakouts that follow- huge swathes of feedback and fuzz punctuate both sides here; incredible stuff and possibly the finest pointer on wax to the intensity and extrasensory overload of their incendiary live shows. (The LP is released to coincide with a UK tour for June incl. headline shows at The Underworld London as well as the Berlin Psych Fest).

                                            The band were formed in 2009 and comprise Sula Bassana on Guitar, Organ & Synth; Komet Lulu on Fuzz Bass & Effects (and also responsible for the bands’ artwork) and Marcus Schnitzler on Drums.

                                            Sure to follow the paths set by both label and artist by selling out quickly, this one’s a beauty on multicoloured wax, reverse board sleeves and released in an edition of 500 only.

                                            For Fans of: HTRK, Tim Hecker, Tamaryn.

                                            “Melt Into Nothing” is Ensemble Economique’s most lucid seance to date. The prolific Humboldt County musician has stripped layers off of his trademark haze but retained the beautiful desolation that’s earned him a rabid fanbase. The solo project of former Starving Weirdos member Brian Pyle, Ensemble Economique has crossed a land bridge from apocryphal world music and dusty soundtracks to gauzy 4AD-style atmospherics. Trellises of guitar embolden Pyle’s whispered, threadbare lyrics.

                                            On “Hey Baby”, the itinerant tone feels like an update on Neil Young’s stark and beautiful soundtrack for Jarmusch’s “Dead Man”. “Melt Into Nothing”, like that beautiful film music, evokes the great American expanse. Field recordings slip in and out of the mix. On “Fade for Miles”, Pyle’s adroit effects and backwards tape manipulation make the long trail on his vocals fade into waves on a rocky beach. Pyle combines minor-key organ and spacious string synths on “Never Gonna Die”, recalling the grey grace of the releases on Factory’s gothic cousin, Benelux. Thunder accentuates the dubbed-out machine drum programming as Pyle’s dulcet tenor floats in storm clouds.

                                            The full-length also features contributions from Toronto artist DenMother and Parisian artist Sophia Hamadi, also of dark-wave Opale. This music is not excessively dark or severe. Rather, the record explores the internal dialogue of solitary walks. “Melt Into Nothing” is for making sense of humanity in nature’s unforgiving face. Ensemble Economique has made his most accessible record yet, but the complex emotion behind these tracks remains resonant and ultimately mysterious.

                                            Fairport Convention

                                            Liege And Lief - Back To Black Edition

                                              Fairport Convention’s 4th studio album has been mastered from the original analogue master tapes by Paschal Byrne at the Audio Archive Company, London. The album is pressed on 180grm vinyl and comes complete with a free Digital Download Voucher.

                                              Liege and Lief was produced by legendary producer Joe Boyd and is widely considered to be the definitive Folk Rock album. It also boast the classic Fairport Convention line-up of Sandy Denny – Vocals, Richard Thompson – Guitar, Simon Nicol – Guitar, Ashley Hutchings – Bass, Dave Mattacks –Drums and Dave Swarbrick – Violin and Viola.



                                                Famy unleash their latest single, Ava: a heart-breaking lament, complete with a bona fide colossus of a chorus, which acts as another dizzying taster of their forthcoming début album.

                                                The sky-scraping atmospherics of the track can be drawn from the shared cultural experiences of the band; from growing up in Southern France, through their shared and varied musical influences, and the key choice to retreat to a church in Wales to record their first full-length album. FAMY approach their song-writing with a unique formula. Pairing haunting echo-drenched gang-vocals and a loose sense of natural reverb they carve out a sense of mystic and wonder that engulfs Ava. The band picked legendary, now retired, Radio 1 Maida Vale live engineer Miti Adhikari, to capture the vastness of their leftfield pop songs.

                                                It can’t be easy gathering 28 of Northern Europe’s finest jazz and improvising musicians in one place at the same time, which is why Sweden’s Fire! Orchestra has been one of the continent’s best kept secrets so far. After playing rare shows a handful of times a year, this incredible mass ensemble is getting ready to unleash its full power with Enter, its first studio recording. This isn’t jazz: this is Nordic dynamite. Fire! originated as the trio of Swedish improv masters Mats Gusfasson (sax), Johan Berthling (bass) and Andreas Werliin (drums). None of them are what you could call jazz purists; they all play in many different groups and contexts, including The Thing (Gustafsson), experimental folk-electronica outfit Tape (Berthling), and skewed pop unit Wildbirds And Peacedrums (Werliin).
                                                Around 2011 the idea sprang up to expand a massive orchestra around the core trio, featuring the cream of Scandinavian jazz, improvisation and avant rock players and vocalists.

                                                Key contributions come from keyboardists Sten Sandell, trumpeter Goran Kajfes (Oddjob, Subtropic Arkestra, Nordic Music Prize winner 2012), drummers Raymond Strid (GUSH, Barry Guy, Martin Küchen Ensemble) and Johan Holmegard (Dungen, The Amazing), guitarist David Stackenäs, electronicist Joachim Nordwall (Skull Defekts, iDEAL Records) and Fender Rhodes player Martin Hederos (Soundtrack Of Our Lives), to name just a few. Adding a crucial, soulful presence are the three vocalists Mariam Wallentin (Wildbirds And Peacedrums), Ethiopian born singer Sofie Jernberg and Simon Ohlsson (Silverbullit). But Fire! Orchestra is a collective effort, with Gustafsson directing a tight, disciplined ensemble that enjoys its moments let off the leash.

                                                Following last year’s live debut Exit (Rune Grammofon), Enter is Fire! Orchestra’s first time in the studio, and might surprise you with its slow, treacly funk dynamics, running through a kaleidoscope of moods, rhythms, textures and dynamics. Muscular rock rhythms flesh out texts written by singer Mariam Wallentin, inspired by the legendary free jazz saxophonist Joe McPhee, and sung in soured blues moans by the Orchestra’s three-headed vocal team. Recalling the righteous big band jazz of the late 60s by figures such as Charlie Haden, Sun Ra, Mike Westbrook and Chris McGregor, there are also echoes of Matana Roberts’s recent jazz tapestries and the steamy psych-funk of Brightblack Morning Light. Part Two opens on a groove ripped from The Beatles’ psychedelic classic ‘Tomorrow Never Knows’. Using collective riffing at its finest, this is an epic suite that undergoes constant scene-shifts between relentlessly building rhythms, rising in emotional intensity as the furnace is stoked.

                                                Enter is about following your instincts, having the courage to step forwards into the unknown when the door is open. Death might be an exit, but it’s also an entrance – to a new, unimaginable state of being. The music acts out this cyclical pattern of living and dying, entering and exiting, and the finale winds down to the same reflective, introspective keyboard motif as it started with. You’ve got to enter to exit. Keep looking straight into the light.

                                                Michael Flower & Neil Campbell

                                                Wharf Cat

                                                  Second outing on Golden Lab for the pairing of Michael Flower & Neil Campbell (following a limited, instant sell-out double cassette in 2011). Best known for helping to establish the entire British underground psychedelic noise/drone scene as members of legendary unit Vibracathedral Orchestra, they are today, quite rightly, two of its most lauded proponents. This release - a beautifully packaged CD/7"/book set with stunning silk screened print work by Manchester artist Lucy Jones - pays reverence to that fact. The music was recorded spontaneously at live shows at Leeds' Wharf Chambers and Hebden Bridge's Trades Club, as well as at Michael Flower's home, and it demonstrates a more mellow, major scale bliss out version of the Sister-Ray-inspired endless web of intricate psychedelia that appeared on their previous release. It is, needless to say, utterly without peer.

                                                  FORMAT INFORMATION

                                                  CD & 7" Info: Full-length CD + 7" single + silk screened art book by illustrator Lucy Jones. Limited to 250 copies.


                                                  The Wirral's enigmatic Forest Swords make a textured, gauzy music as indebted to the Liverpool region's rich musical heritage as it is the windswept-yet-beautiful coastal environment from which it was born. The result is something completely organic, sounding like a mix of Mogwai's more luscious soundscapes, Burial's sample strewn claustrophobia, with touches of Ennio Morricone's legendary reverbed guitar soundtracks.

                                                  Debut release "Dagger Paths" is eight tracks of slow release Satori and soulful ambiance marred with chasmic guitars and dread soaked percussion. "Hoylake Misst" - named after the one of the peninsula's river-facing towns - is a thick, chanting clifftop epic and a ghostly cover of Aaliyah’s "If Your Girl Only Knew" threatens to get funky. Closer "The Light" is the record’s most radiant moment - hazy, offbeat and littered with errant strings. It's clear Forest Swords' influences are as wide and varied as the landscape his music is created in. The record's clattering dub, thunderous grooves and cavernous guitar licks rub shoulders with R'n'B shuffles, primitive drumming and heady drones to create music that sounds as weighty and chilling as it is triumphant and thrilling.

                                                  "Dagger Paths" includes remastered versions of the acclaimed out-of-print cassette singles "Miarches" and "Glory Gongs", tracks from March’s US LP release on Olde English Spelling Bee and both sides of No Pain In Pop’s "Rattling Cage" 7” single in August.

                                                  STAFF COMMENTS

                                                  Darryl says: Take the pop minimalism of the XX and add massive shards of treated guitar noises, metallic percussion, occasional vocals plus a huge throbbing dubby-swamp groove, and you get one superb album. Immense!!

                                                  Four Tet

                                                  Beautiful Rewind Remixes - Inc. Jay Daniel / Seven Davis Jr Remixes

                                                  With those two recent Percussions 12"s demolishing mainrooms from Fabric to Berghain, it seems that the Four Tet of 2014 is well into his house music. It's fitting then, that for this remix EP for 2013's jungle leaning "Beautiful Rewind" should feature two of the hottest names in the business right now, in the form of rising stars Jay Daniel and Seven Davis Jr. At 24 and with sell out releases on Theo's Sound Signature and Kyle Hall's Wild Oats behind him, native Detroiter Jay Daniel is on an astronomic trajectory right now, and this deep and mature remix of "Aerial" is another giant leap to the stars. As you'd expect from a talented drummer, Daniel's percussion stands out a mile from his competition, and here he marries the natural feel of a live kit with effortless Detroit bump for a perfect rhythm section. A circular bassline that could have rolled along out of Theo's unused "First Floor" sessions joins the party, making for a pretty irresistible rhythm section. From there, the young gun shows a restraint a maturity as he arranges crystalline melodies and expansive pads into a subtle and deep track you could spend your life in. Breathtaking stuff. From the Motor City we head to the coast and catch up with LA dwelling Prince loving house don Seven Davis Jr, who takes Four Tet's skitterish "Buchla" and injects a healthy dose of lysergic machine funk. He keeps Hebden's rumbling bassline and rhythmic sequences, but sheds most of the other typical Four Tet sounds, opting for his own gritty drums and funked up church organ. Seven knows how to work a groove, and once he's got you hooked on this jam, there's no getting away. Just sit back and wait for the additional hats to carry you away. Ph0t0machine carries the EP home in techy fashion with his mindbending rework of "Crush". The first half of the track builds from twinkling arps and disjointed bleeps into an ambient techno groove in the Border Community vein, thumping along through a soundscape of whirring electronics and malfunctioning keys. But the Brixtonian soon flips the script and takes us back to his early years at the forefront of the capitol's bass scene by dropping a massive speaker wobbler in the second half of the track. The contrast is perfect and will deliver guaranteed destruction on any mainroom system. Ooft!

                                                  John Foxx

                                                  The Virgin Years (1980 - 1985)

                                                    This 5CD box set covers the 4 albums John Foxx released between 1980 - 1985 - Metamatic, The Garden, The Golden Section & In Mysterious Ways - plus B-sides and out-takes from the sessions which have been added as bonus tracks after each original album, and on a fifth CD, Fusion/Fission.

                                                    The Virgin Years includes a new analogue master of Metamatic , along with re-masters of the B-sides - 'This City', 'Film One' etc. The black box also houses five postcards with the artwork for the singles 'Underpass', 'No-One Driving', 'Europe After The Rain', 'Endlessly' and 'Stars On Fire'.

                                                    Get Hot

                                                    Party / Drugs

                                                    Get Hot is the brand new collaborative project between established electronic producers, FTSE and Jakwob.

                                                    After meeting each other 6 weeks ago to try concocting beats, they birthed something much more ballistic than they could have expected. Connecting instantly, like perfect circuitry, the two discovered they shared a punk love, as well as masses of mutual friends, from when they were both playing in hardcore bands. Within an hour of meeting they were in Jakwob's live room, feeding keyboards through amps like guitars, Jakwob letting loose behind the kit, and FTSE screaming his heart out. The results a fully-charged love letter to their lineage.

                                                    Gruppo D'Improvvisazione Nuova Consonanza

                                                    Gli Occhi Freddi Della Paura OST

                                                    In 1971 for the great soundtrack of Enzo Castellari’s Gli Occhi Freddi della Paura, Morricone called on the services of Gruppo d’Improvvisazione Nuova Consonanza, the legendary avant garde and improvisational combo of which he was a founding member.

                                                    Not only a classy soundtrack but also a classic of the experimental and free jazz genres.

                                                    Neil Hamburger

                                                    First Of Dismay

                                                      Drag City invite you to celebrate Dismay Day with America’s hardest working funnyman in show business, Neil Hamburger.

                                                      A sombre work from a seasoned entertainer clearly carrying the weight of the world on his shoulders, ‘First Of Dismay’ is being issued in answer to many who have applauded for “More! More!”

                                                      Specially-chosen stand-up comedy recordings from Neil’s recent appearances at coveted nightclubs in London, Savannah and Los Angeles are interspersed with musical cries for help as Neil emotes with the purely professional panache of the Too Good For Neil Hamburger Band in support.

                                                      Song highlights include ‘Endless Roll’, a disco complaint letter aimed at Kirkland Signature trash bags (featuring guest spots from members of The Germs and Jefferson Starship) and ‘Nickel Candy’ - societal decline set to music. Although Neil was strongly advised against the risk of merging side-splitting comedy segments with melancholy musical numbers, the exciting potpourri that resulted has enhanced his sparkle into a veritable milky way of entertainment.

                                                      ‘First Of Dismay’ effectively captures the excitement of the popular comedian’s nightclub presentation, featuring ruminations on history and the bible that, besides provoking laughter, will also be educational for the whole family.

                                                      Neil’s 10th full-length album is his first since 2012’s muchloved ‘Live At Third Man Records’.

                                                      Françoise Hardy

                                                      Canta Per Voi In Italiano - Clear Vinyl Edition

                                                      Growin’ up in the ninth arrondissement of Paris, daughter of an unmarried mother, receivin’ a guitar on her sixteenth birthday as a reward for passing her Baccalaureat, Françoise Hardy answered a newspaper advertisement looking for young singers she signed her first contract with the record label Vogue in November 1961. In April 1962, shortly after finishing school, her first record “Oh Oh Chéri” appeared, written by Johnny Hallyday’s writing duo. Her own flip side of the record, “Tous Les Garçons Et Les Filles” became a success, riding the wave of yé-yé music in France, with two million sales. Françoise Hardy "Canta Per Voi In Italiano" is an album issued shortly after the debut with some of its songs and additional numbers re-recorded in Italian. While the original album is a classic of French pop, 60s AM magic, and of course a forerunner of the yeh-yeh (aka yé-yé) sound, the additional tracks in Italian are a sweet counterpart.

                                                      Audiophile Clear Vinyl is made using the highest quality co-polymer available and processed without any carbon additive in order to dramatically reduce the “electrical distortion” often found on records. By itself the co-polymer of vinyl is transparent. In order to make the record black in color the plant must use a carbon additive with trace metals that can become magnetized. This is what causes electrical distortion during playback.

                                                      That is the reason why we choose to offer our records in the following manner:
                                                      - Audiophile Clear Vinyl (ACV)
                                                      - 140gr
                                                      - 25 minutes maximum per side

                                                      A previously unreleased Doctor Who score mastered from the original tapes. Includes additional electronic tracks from Don Harper’s catalogue and music featured in George Romero’s Dawn Of The Dead.

                                                      A collection of horror-electronics, supernatural soundscapes and sinister library muzak from Australian composer Don Harper. Centering on a previously unreleased score for the 1968 Doctor Who series The Invasion (a dark otherworldly sci-fi jazz suite) Cold Worlds is also a focus on the electronic music of this largely unsung composer. Like many Australian film composers (Ron Grainer, Dudley Simpson, Don Banks) Don Harper based himself in the UK during the 1960s and subsequently found employment at the BBC and other British film and library companies.

                                                      Probably best known for his BBC scores for World of Sport, Sexton Blake and The inside Man. Harper also immersed himself in the world of electronics. Acknowledged as a virtuoso jazz violinist, he notably produced a 1974 electronic/altered jazz session for Lansdowne Studios titled Homo Electronicus (featuring Norma Winstone and other progressive UK jazz musicians).

                                                      In addition to cutting a number of library sessions for Joseph Weinburger’s Impress label, in which several tracks were later famously sampled by MF Doom, he also co-wrote the music (alongside Delia Derbyshire and David Vorhaus) for the essential Radiophonic KPM recording Electrosonic. Also featured on this compilation are his nightmarish cues used in George Romero’s cult zombie classic Dawn of the Dead.

                                                      STAFF COMMENTS

                                                      Philippa says: Includes amazing Radiophonic dub-reggae synthtronic sleaze version of the Dr Who theme!

                                                      Relish head honcho and leftfield disco don Headman's been busy of late, locked up in his Zurich rave cave finely tuning his forthcoming LP "6". For this latest project Robi decided to shake things up and experiment out of his comfort zone on collaborations with friends and family from the nu disco world. This first EP features four tracks from the album featuring an all star cast of Brassica, Red Axes, Emperor Machine and Sam from Piccadilly Records' favourites Gramme. The EP opens in gloomy fashion with the warped electro of "Work", a cybernetic chugger that'll tickle your ALFOS fancy with its industrial atmospheres and prickly sequences. "Barbarism" follows on in the same vein, with Tel Aviv's Red Axes dropping by to help create a doomy electro dirge, complete with fuzzing guitars, circular basslines and arpeggiated melodies. On the flip, "Der" sees Robi and UK house legend Emperor Machine delivering a zero gravity slice of acid tinged Italo, that stands up there with the likes of Gino Soccio, Kano or Rago & Farina. Closing the EP in disco-not-disco fashion is the ket addled ESG groove of "Sleep Red!" featuring Sam Gramme on vocal duties. Driven by a "Moody"-esque bassline and rattling percussion, the druggy sequences form the perfect space for Sam's dubbed out vocals to take effect on your brain. Grab one while you can and watch this space for Volume 2!


                                                      Deluxe Tote Bag (Ecru)

                                                        Heavyweight deluxe ecru tote bag with folded gusset that expands to hold approx 25 LPs / 12"s. Printed with Horsebeach logo.


                                                        Horsebeach T-shirt (White)

                                                          The Horsebeach logo printed on a Gildan Softstyle ring spun t-shirt. As modelled by Horsebeach frontman Ryan...

                                                          Akira Ifukube

                                                          Godzilla - Original Motion Picture Score - Japanese Original 60th Anniversary Edition

                                                            Re-mastered for vinyl from the Toho Archives. Exclusive original art by Cheung Tat. Contains locked groove.

                                                            Death Waltz Recording Company are proud to be unearthing the legendary monster of our time and bringing him to vinyl in the shape of Akira Ifukube’s score to Godzilla. Starkly different to the usual view of The Big G as the ultimate monster wrestler, Ifukube’s music is intense, dark, and reflects Ishiro Honda’s film as a pure horror film. While the score opens with the jaunty riff that would eventually become Godzilla’s Theme, the majority of the music alternates between pounding brass and mournful strings as we witness the death and destruction that comes in Godzilla’s wake.

                                                            Ifukube uses low string notes as a sinister motif to herald the arrival of the creature, and then turns up the brass to eleven, creating an atmosphere of pure apocalypse. More horrifying still are the piercing strings that score the oxygen destroyer, the device that would destroy Godzilla. Big laments are used as the characters question the use of the machine as a weapon of mass destruction, and it’s this remarkable human quality that infuses the score with its unique feel. Help us celebrate the sixtieth birthday of the greatest monster to walk the earth, and the powerhouse musical experience that is Akira Ifukube’s Godzilla.

                                                            The Faust Studio is situated in a spacious factory building right on the bank of the Danube river. Here, 2670km past of the river’s mouth at the Black Sea, the current seems relatively weak, however past accounts of severe flooding are enough to dispel any doubts of its power. One can spend hours staring out from the studio’s wood-panelled windows at the current, pondering the fact that you never observe the same water twice Jochen Irmler and Jaki Liebzeit met in the town of Scheer last July to prepare for an upcoming concert at the slaughterhouse in Sigmaringen as well as for a subsequent appearance in the Kammerspiele in Munich. However, they quickly decided to stop rehearsing and instead record FLUT - an album that regroups six improvisations between organ and percussion.

                                                            FLUT adds another chapter to Irmler’s collaborations, which aim to explore, whenever possible, the hidden potential that lies dormant in the clash between prepared organ and drums. The series includes previously-published collaborations with Gudrun Gut (programmed beats), with FM Einheit’s percussive bass-string playing, and with Christian Wolfarth’s uncategorizable drumming, pushing the limits of harmony and tuning to ever more complex results. A special energy is released through the clash between Irmler, one of Krautrock’s main driving forces ever since his work with Faust, and his sparring partner Jaki Liebezeit, the living legend from Can, whose unrivalled hypnotic drumming has earned him a reputation as one of the most avant-garde percussionists, and as a human drum machine. Says Jochen Irmler: "I started jamming with Jaki as a means to play the organ very differently. On one hand he challenged me, on the other we shared an almost ESP-like non-verbal communication. A new horizon had opened up (before us)."

                                                            One hears elements of this statement in the piece "Sempiternity" and in the subsequent "Washing Over Me", where organist and drummer create a synergy greater than its parts; a trio rather than a duo seem to be at work. The effect is partly conjured by Irmler’s touch; his distorted right-hand melodies often sound like electric guitar, while his left hand finds unusual ways to elicit organ-like chord structures. Irmler’s relentless sonic clusters crash spectacularly against Jaki Liebzeit’s drums. Always stoic at their core, Liebzeit’s rhythms are struck with playful outbursts of groove, especially on the cymbals. Here we see a minimalist with an extremely controlled love of collisions at work. Repetition and its minute refinements are transferred with great discipline in a stream of consciousness that both sets the stage and upstages his opponent. "We play without notes. In places where notation systems do not exist, the rhythm holds a much more dominant role in music, for example as is the case in Africa. Here people make music differently than those who think in terms of notes and bars. Musical bars are like prison bars. Playing without notes means that you must play repetitively, and repetition is rhythm. At the same time repetition does not really exist here, because you never (quite) play the same thing (twice)." (Jaki Liebzeit) Through three consecutive days of noon-to-night sessions in July 2013, Irmler and Liebzeit recorded a hypnotic maelstrom of an album. They contemplated the Danube between takes, and felt the sun sink daily over their endless improvisations. Always another stream, never the same river.

                                                            Leeds' finest purveyors of underground music, Joe's Bakery, present undiscovered Balearic beats, cosmic curveballs and obscure oddities from around the world, collected and road tested at Outlaws Yacht Club. The first two releases feature edits on an Italian theme by a mysterious collective of music enthusiasts and record diggers by the name of Diavol. Volume One begins with the heartfelt and emotional 80s pop of "Controllo Totale", which features a choral chord progression the Breeders would have been proud of topped by crystal clear Italian vox. Perfect for early doors or the end of the night, this slow smoocher is one of those cinematic beauties that makes you feel like you're starring in your own film. "Bailando" takes us into the midst of a cocaine fuelled night poolside at the Ku. This is 80s pop in an entirely different sense, with sleazy synths and funky guitar licks making you move while the male vocal deadpans away. On the flip, "Subway At Night" is a heavy riffing disco rock peaker with soaring female vocals the perfect counterpoint to the thrusting guitars below. I'm imagining Harvey working the system with that vintage hi-fi and guitar pedal working together to blow your mind. Next up, Diavol give us the low slung bass groove of "Una Splendida Giornata (Nassau Balearic Edit)", the perfect example of Balearic beat rippling with sunkissed horns and a lilting rhythm. "Conejito" closes the set in a darker mood, pairing a prickling sequence with orgasmic female spoken vocals and rattling percussion. It sounds to me like it's been plucked from the soundtrack of a long lost Dario Argentino flick and given a healthy dose of virgin's blood to really get it going. Diavol announce their presence with music to be played by the pool or under the discoball, keep a look out for Volume Two.

                                                            To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

                                                            But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

                                                            Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon.

                                                            Composed of eleven stunning and emotive tracks, ‘From Scotland With Love’ was written by King Creosote and produced by music supervisor and guitarist David McAulay, with additional production by Paul Savage, in Chem19 Studios in Glasgow.

                                                            The record features King Creosote accompanied by his band - Derek O’Neill (keyboards), Andy Robinson (drums), Pete Mcleod (bass) and Kevin Brolly (clarinet) - as well as an additional string section (arranged by cellist Pete Harvey) and a choir of backing vocalists.

                                                            ‘From Scotland With Love’ was created in collaboration with director Virginia Heath and producer Grant Keir as an audio-accompaniment to a poetic documentary film of the same name, to be released for the Commonwealth Games this summer. Featuring archive footage but no narration or interview, the film works around themes of love and loss, war, resistance, emigration, work and play and is driven as much by the music as it is the images. For the first time King Creosote found himself being able to write from other people’s perspectives, such as the female characters found in the archive (the ‘fisher lassies’ inspired the moving track ‘Cargill’, for example). The result is ‘From Scotland With Love’, one of King Creosote’s most widescreen cinematic and finest pieces of work to date.

                                                            King Creosote

                                                            From Scotland With Love - Independent Stores Exclusive Vinyl

                                                            Composed of eleven stunning and emotive tracks, ‘From Scotland With Love’ was written by King Creosote and produced by music supervisor and guitarist David McAulay, with additional production by Paul Savage, in Chem19 Studios in Glasgow.

                                                            The record features King Creosote accompanied by his band - Derek O’Neill (keyboards), Andy Robinson (drums), Pete Mcleod (bass) and Kevin Brolly (clarinet) - as well as an additional string section (arranged by cellist Pete Harvey) and a choir of backing vocalists.

                                                            ‘From Scotland With Love’ was created in collaboration with director Virginia Heath and producer Grant Keir as an audio-accompaniment to a poetic documentary film of the same name, to be released for the Commonwealth Games this summer. Featuring archive footage but no narration or interview, the film works around themes of love and loss, war, resistance, emigration, work and play and is driven as much by the music as it is the images. For the first time King Creosote found himself being able to write from other people’s perspectives, such as the female characters found in the archive (the ‘fisher lassies’ inspired the moving track ‘Cargill’, for example). The result is ‘From Scotland With Love’, one of King Creosote’s most widescreen cinematic and finest pieces of work to date.

                                                            FORMAT INFORMATION

                                                            2xLtd LP Info: Available exclusively to independent retailers on heavyweight double vinyl in a gatefold sleeve featuring eight bonus tracks, making up the entire film score.

                                                            Days of Being Wild was recorded over the course of six weeks in the summer of 2013 with Paul Oldham in a small detached shed in Los Angeles. The album art features original drawings by Max Markowitz.

                                                            “I had worked with Paul on the last record I did, 2013’s Double Exposure, and I was lucky because he decided to move to LA right after that record was finished. My friend Brian Cosgrove has this house in the Echo Park hills, kind of a punk house where everyone who lives in it plays in bands. It’s got a front porch with a refrigerator on it and it’s got a one room shed in the back where bands rehearse. A lot of bands have rehearsed there over the years. Paul and I started meeting there over the summer and I would buy Paul beer. We drank whiskey on the first day, but I think we both got too drunk to do anything productive - well, at least I did, Paul’s from Kentucky, so he has an even higher threshold-so we switched to beer and things went smoothly from then on. I played most of the instruments, Paul played bass, and my friend David Kitz joined in on drums for two of the harder songs. Paul told me some great stories about all of the musicians he’s worked with over the years. He even told me the secret to I See a Darkness - Bunny Wailer’s ‘Blackheart Man.’ Supposedly he and Will were listening to that a lot when they made that record - one of my favorites. So, I started listening to it myself. It’s fantastic. “When I wrote these songs I was trying to do something that felt more social, something that reached out a little bit more to other people and that’s why there are more drums on it. People like to rock! I also wanted to use more electric guitar. I was listening to the radio a lot at this time. I was really sick of my record collection and I started listening to the classic rock stations and for the first time I really started enjoying that music - Led Zeppelin, Tom Petty, The Cars, Fleetwood Mac - I was really feeling that stuff. My friend Eric Deines told me that some of the songs feel like ‘super-minimal, outsider transmissions of “Jesse’s Girl”’ and I kind of like that. Todd Ledford from Olde English Spelling Bee was also very helpful after the recording was done. He was the first person I sent these songs to and he gave me a lot of good advice about mixing and recording and life. He thinks there are a few potential hits on this album … but which ones? I guess we’ll have to watch the Billboard charts to find out.” - Matt Kivel.

                                                            Thru Me Again is the 2nd release from Chilean trio La Hell Gang and their first with Mexican Summer. Hailing from Santiago, which plays host to an ever growing psychedelic scene (Holydrug Couple, Follakzoid, La Banda, etc), the band create a remote and wild brand of rock ‘n' roll. The eight tracks across Thru Me Again weave seamlessly, channeling heat, light and endless desert dunes.

                                                            Despite the heavy context, there's a real clarity in the production, making the blistering guitar solos and mirage-like vocals all the more potent. Tracks like "Inside My Fall" and "Last Hit" recall bands like The Black Angels and BRMC, but some of the more lucid moments ("Sweet Dear", "So High") feel like a grittier Brightblack Morning Light. The soundtrack for your heat swept summer.

                                                            La Roux makes her eagerly-awaited return with the release of new album ‘Trouble In Paradise’ on Polydor Records. The album features nine tracks, each written and played by multi-instrumentalist Elly Jackson with Ian Sherwin on co-production.

                                                            With the rapid rate of change in pop music, you'd think the five years that have elapsed since the release of La Roux's self-titled debut would have left the singer marooned on a long forgotten backwater, quaintly plodding away at brittle, shiny, 80s obsessed electro-pop. Pointing equally in the direction of Difficult Second Album syndrome were the reports about the new LP's gestation being beset with problems (Jackson suffering from anxiety attacks that stopped her singing, acrimoniously splitting with co-writer Ben Langmaid etc).

                                                            So you'd expect ‘Trouble In Paradise’ to be the stuff of future bargain bins, but actually it's really rather good, packed with a whole set of brand new sparkling, catchy songs. That half decade seems to have shifted Elly's musical inspirations further into the decade, sprinkling her pop cuts with post-disco, pre-house electronic (but funky) dance stylings (think Grace Jones with Trevor Horn, David Bowie with Nile Rodgers).

                                                            So, remarkably, La Roux has pulled off the trick of coming back, back, back from pop's dumper, and sounding even better than before!

                                                            La Roux

                                                            Uptight Downtown

                                                            The lead-off single from La Roux's 'Trouble In Paradise' album gets solo billing on this 12" - so solo in fact that this it's a one-sided piece of wax... Just as well that the track is such a killer isn't it? A two stepping drum rhythm is shadowed by a fluid bassline, while a funky Chic-like guitar riff gets reverbed and a hooky keyboard line joins the fun. Perched on top is Elly Jackson with cool vocal and a seriously hooky track that's part disco-funk, part 80s pop. A sizzler.

                                                            We're celebrating 50 release on Local Talk and what better way to do it than welcome Alexander Lay-Far, the Moscow-based DJ and producer to the family.
                                                            We've been following Alex for some time now. Being a driving force behind soulful and eclectic music scene in Russia, releasing lot's and lot's of fantastic music on 4Lux, Tru Thoughts, City Fly, Glenview and gaining constant support from the likes of Jimpster, Laurent Garnier, Osunlade, Joey Negro, Move D & Recloose just to name a few.

                                                            Communcation EP contains three original tracks and a remix from Daniel Leseman and Hans Peeman aka Fouk.

                                                            The opening track Side 2 Side (I Just) with it's vocal sample cuts brings a unique mood and is a joyful disco and house jam, perfect for the summer.

                                                            Get On It! continues on the same vibe with its vocal samples, the punchy kicks, slapped claps and grooved percussions, this baby will drag you into a devilish dance in seconds.

                                                            Feel Like Making Dub is a late night groover that's both soulful and deep.
                                                            Last but not least is Fouk on remix duties. The dynamic duo rearranges the already familiar elements of the original from Side 2 Side and turns it into something that would fit perfect in any DJ set with a MCDE flavour.

                                                            * Legendary Australian Eco-jazz soundtrack
                                                            * Deluxe 180g gatefold.
                                                            * Rare photos and extensive liner notes.

                                                            Remastered from the original master tapes. Scored for Vince & Carol Serventy’s 1966 Australian Television series Nature Walkabout, Sven Libaek’s pioneering soundtrack has long been considered the landmark recording of the unique genre, eco-jazz. (Impressionistic modern jazz composed for Television documentaries, library music, educational and travelogue films). Creating a singular vision of his adopted homeland, Libaek composed conceptual themes and moods depicting the magnificence, the mystery and the sometimes brutality of the Australian rural environment. Similar to his legendary score for Ron and Valerie Taylor’s TV series Inner Space, Nature Walkabout also stands as an important recording of modern jazz used in film.

                                                            Featuring many of the top Australian jazz musicians (Don Burrows, John Sangster, Errol Buddle etc) his deeply evocative style of jazz waltz, hypnotic flute/vibraphone rhythms and gorgeous Bossa Nova conceptually represent the grandiose of the Australian landscape as well as the whimsical sound of animal behaviour. Nature Walkabout is similar in approach to other notable nature scores such as Edward William’s Life on Earth, Francois de Roubaix’s psychedelic score to Jean Painlevé’s Transition De Phase Dans Les Cristaux Liquides, and the specifically Australian strand of visionary ‘nature jazz’, John Sangster’s score to the Australian Museum’s wildlife films (Compiled on the 1971 album Australia and All That Jazz).

                                                            Sven Libaek

                                                            The Set OST

                                                              * Cult Australian Sexploitation soundtrack
                                                              * Deluxe 180g gatefold LP.
                                                              * Fully remastered.
                                                              * Rare photos and extensive liner notes

                                                              Based on the novel written by Australian actor Roger Ward (Mad Max, Stone, Turkey Shoot) The Set was a highly controversial film upon its release in 1970 in which it's alternate attitudes towards sexuality challenged the traditional mores of the mainstream society. The film, now regarded as a lost piece of Australian genre cinema, is considered the precursor to the OZ Sex-Wave films of the following decade (Fantasm, Libido, Naked Bunyip, Felicity etc.)

                                                              Scored by the highly respected and unique jazz original Sven Libaek, the music has also been unjustly overlooked from any recent focus on Australian cinema. After scoring several television scores and documentaries in the 1960s (Nature Walkabout, To Ride A White Horse, Man and A Mural) The Set was Libaek's first commission to score a feature film soundtrack. Incorporating elements of Baroque and sunshine pop as well as moody mod jazz, The Set is an incredible time-piece of Swinging Sydney.

                                                              Featuring Libaek regulars and top rank Australian jazz players, (Don Burrows, John Sangster, Errol Buddle etc) the music to the The Set was once a long forgotten piece of Australian B-cinema which has now been fully restored and presented again in all its original glory. Including rare photos, original newspaper cuttings and extensive liner notes from Australian cult cinema expert & Mu Meson archive curator Jaimie Leonarder.

                                                              Gnod and Michael Holland's Ono Tesla imprint continues to bring more out-there and unique sounds, conjured up from the witch's cauldron that is Islington Mill. Although Lightning Glove are from the Czech Republic, it's undeniable that this sound falls perfectly into the post-rave-industrial ethos from which the label, and most of the music emanating from 'the Mill resides. "Brave New World" kicks things off with a firm favourite with myself (Matt) - huge air raid sirens! Can't go wrong with a bit of siren action, and over this they spread a collage of reverb-heavy ghostly artifacts, similar in vain to LA Vampires first LP with Zola Jesus but much more aggressive and demonic. Sounds fragmented and distorted through the very essence of space time and delivered by some evil spirit cyberpunk. "Dream On (Ketamin God)" strips things back to something resembling New York's dark-wave scene or perhaps Suicide if he'd had the opportunity to consume the drugs in which the song is named after. The tranquilizer element cannot be ignored, with lonnnng delays and grainy sounds characterizing this haunting piece. "Highway To Nowhere" is about as 'dancefloor' as the A-side gets, with big squelchy bass notes coinciding with a broken post-grime / industrial beat while the nasty ass front man does more of his idiosyncratic, Mark E Smith-inspired gratings. "Europe" allows waves and waves of electrostatic hum and buzz through the noise gates, sweeping sine tones and clattering drums joining the melee for a celebration of discord. "Go Away" is another evil ballad, comprising of a sharp sawtooth and the vocalist's frightening meanderings before "When I Shut My Eyes" closes off with an almost legible dance groove. A tangible 4/4 and light, airy hats lull us into a false sense of security before more pitch-black vocal abuse attacks with dark strings and ricocheting percussion hits as wingmen, not to mention the piercing monosynth melodies. The whole EP plays like Atari Teenage Riot on an OD-inducing level of opiates; essential for anyone with a penchant for dark-wave, industrial punk, cybernetic goth or electronic noise. And another piece of Manchester's complex musical jigsaw.

                                                              STAFF COMMENTS

                                                              Matt says: There's a reason why Islington Mill and the current Manc / Salford scene's been getting so much press recently: it's because they simply DO NOT GIVE A F**K. Michael Holland and Paddy throw caution to the wind with this masterpiece of musical marmite. Love it or hate it you gotta give credit to the balls-out nature of this label. Historical.

                                                              FORMAT INFORMATION

                                                              Ltd 12" Info: Wrap-around risograph sleeve designed by Michael Holland, mastered by Stephen Bishop. Strictly limited.

                                                              In a world where instant gratification is the norm, patience has become a rare commodity. For Zoë Randell and Steve Hassett, who make up indie-folk duo Luluc (pronounced Loo-LUKE), letting things unfold in due time not only defines their career trajectory, it also works as a pretty good description of their approach to making music. Music that Sub Pop co-founder Jonathan Poneman describes as “bracing, subtle, tender and magnificent.”

                                                              So while it may seem like Randell and Hassett’s history is littered with all kinds of good luck - from their initial meeting to their relationship with The National’s Aaron Dessner to opening slots with artists like Lucinda Williams, Fleet Foxes and José Gonzàlez; to their deal with Sub Pop; to grabbing the attention of Nick Drake’s producer - being in the right place at the right time isn’t just about fate. It’s about knowing when something feels right and having the confidence that people will respond when they’re ready.

                                                              There’s no question that everything these Australians (who split their time between Melbourne and their adopted hometown of Brooklyn) have done in their lives has been leading up to this summer’s ‘Passerby’, their second album overall and first available worldwide. Passerby is a gorgeously crafted 10-track album full of beautiful, slow-burning melodies and delicate harmonies, which drip out of their mouths like honey. The attention to detail is unmistakable and highlights like ‘Reverie On Norfolk Street’ and ‘Early Night’ are as haunting as they are hummable.

                                                              Unadorned guitars and voices make up the bulk of the dreamy sound, though the power of the added instrumentation can’t be overstated, with well-placed piano, percussion, double bass, sax, trumpet, trombone and more adding colour to the cosmopolitan atmosphere. Band favourites like Simon and Garfunkel and Gillian Welch (and of course Nick Drake) can be felt throughout ‘Passerby’, while the poignant restraint aligns them well with labelmates Low.

                                                              Co-produced by the band and Dessner, ‘Passerby’ shows off all of Luluc’s best qualities, retaining the gentle beauty of the duo’s debut while adding textures built with a cadre of impressive players. It’s the trophy celebrating Luluc’s airtight case that good things really do come to those who wait. The wait is over. The world is ready to hear Luluc quiet and clear.

                                                              Sacha Mambo / Keeto

                                                              Les Disques Superfriends

                                                              The keen eyed out there might have noticed a flurry of Macadam Mambos recently, but the label were keen to push this one through regardless, for the sake of your summer. Even if the weather deserts us, this 12" of warm disco, upbeat Latino and grooving electro-funk packs enough sunshine to keep our vitamin D levels sky high for the next 12 months. As far as we know, the tracks here are obscure and hard to find, selected by Sacha Mambo (honcho at Macadam Mambo) and Keeto (honcho at Les Disques Superfriends) then edited by the Macadam man. The project began after the pair shared a gig at Telephone Rose in Annecy last winter and precedes a second “Les Disques Superfriends” EP is schedule for next winter. But for now, this record is the ONE you really need to bring joy and happiness everywhere, playable night and day. "Midnight Run" sets the ball rolling with a heavy duty percussion break before progressing into an exotic disco jazz roller with a great slap bassline, 80s synth leads and  funk rhythm guitar. Dope. "Santo Chrystal" is an uptempo slice of latin jazz-funk which packs an irresistible melody you'll find yourself singing the wrong words to in no time. The vibe that I'm on here is the Spanish equivalent of Club Tropicana, which sounds pretty pretty good to me. On the B-side, our intrepid duo send us a UPS delivery of groove filled electrofunk; complete with slap bass, massive pads, pitch bent synths and  cut up vocals. All in all, it's another unmissable release on Macadam Mambo.

                                                              The Man

                                                              Carousel Of Sound

                                                              "ARE YOU WIRED TO GET HIRED? Let’s get this straight, nobody likes to be pushed around by THE MAN. With all of the corporate involvement in the music industry these days, it’s finally time to grab those smug CEOs and thrust them onstage and see what comes out when you really stick ‘em. And nothing is more satisfying, both financially and fiscally responsible, than to let THE MAN do their thing, because they will walk all over you and you will love every minute of it. With a panicky/riveting/down-sizing guitar crunch, merging with the heavy dose of anxiety-riddled bass throb, over-worked, stress-wrenched drumming, and all slathered in “workplace harassment”-style vocals, your long-term relationship with THE MAN is one “meeting” you just can’t opt out of and still come away with your promotion intact. Resistance is futile, projections seem grim, and your mental and fidooshiary well-being depend on nothing more than your complete and utter submission to THE MAN, in all of it’s holdings and territories, as declared in their mission statement, thumbtacked to your forehead." -

                                                              Recommended for fans of Baseball Furies, Wire, Reatards, Persuaders, Guilty Pleasures

                                                              FORMAT INFORMATION

                                                              Ltd 7" Info: 1st pressing 375 copies black vinyl.

                                                              John Martyn

                                                              London Conversation - Back To Black Edition

                                                                John Martyn’s debut solo album from 1967 has been mastered from the original analogue master tapes by Paschal Byrne at the Audio Archive Company, London. The album is pressed on 180grm vinyl and comes complete with a free Digital Download Voucher.

                                                                London Conversation was recorded when John Martyn was only 18 years old and was produced by Folk maverick, Theo Johnson.

                                                                This is the one and only solo LP released by the Roy Ayers Ubiquity guitarist / keyboard player (he played on the "Lifeline" LP and Ayers' classic "Running Away"), but what an LP it is! Originally released in very small numbers on the tiny New York label Chiaroscuro, this LP became a holy grail item for jazz-funk collectors, mainly because it includes the CLASSIC track "Sweet Power Your Embrace", which is a total anthem. But this ain't just a one track pony! Elsewhere, the fucking insane Theo Parrish play "Free" brings an uptempo spiritual vibe to any DJ set, and the hyperactive title track which killed it for Kruder and Dorfmeister back in the day. It was as rare as hens teeth for the longest time, but luckily for us Soul Brother reissued the LP with its original artwork (apart from the Soul Brother logo and barcode on the back) in 1999. It's taken long enough to get another pressing, but you're in for a treat.

                                                                “The first time I heard Dan Melchior I felt betrayed that no one had turned my ear to his strange sounds before then. The LP was called Hello, I’m Dan Melchior and it starts with the line ‘I once did mushrooms with Björk…’ Goddamn, he had me at mushrooms.

                                                                “Since then, I’ve been blessed with unearthing several of his masterpieces from LP bins all around the world. Dan has made mighty and copious marks upon the world of wax. Every record is a wade through the primordial poem- brain that is Dan Melchior’s creative force.

                                                                “What we have here is a fabulous collection of classic Melchior und das Menace. We asked, he let us dig through the archive, and lo and behold: Hunger, a grip of unreleased Melchior gold. It will take less than ten seconds for the high to kick in after the rush of greasy guitars consume you at the get-go of ‘A Wizard Doesn’t Need a Computer.’ And yes, he’s taking the piss. “I’ve also been lucky enough to do some touring with him and his lovely wife and co-conspirator Letha. They may be the only white cats I know who don’t look weird in dashikis. I wish I was kidding…quite comely. Letha has been duking it out with a heavy illness, and although strong as ever, the bills are piling up and they could always use a hand. A portion of the proceeds from the sales of this record will go to aid them in this fight. Here’s a link to the website, should you feel the urge to donate otherwise: http://melchiorfund.

                                                                “So please dig in with open ears and hearts. Let Dan melt your brains as he has ours at Castle Face.” - John Dwyer.

                                                                ‘Come On Die Young’ was - and remains - a hugely accomplished, elegant and important album, setting a benchmark for the fierce intelligence that would characterise Mogwai’s future body of work.

                                                                The reissue of ‘Come On Die Young’ - fifteen years after it originally hit the shelves - recognises the vital role this album played in Chemikal Underground’s development as the label approaches its 20th anniversary in 2015.

                                                                This deluxe edition of ‘Come On Die Young’ has been painstakingly put together by the band and label, unearthing more than an hour of bonus material.

                                                                Previously unreleased takes from early Chem19 sessions of ‘Waltz For Aidan’, ‘Christmas Steps’, ‘Rollerball’ and ‘7-25’, which featured on ‘Zidane: A 21st Century Portrait’.

                                                                Seven remixed and remastered album tracks from CAVA sessions pre-dating the final Tarbox recording sessions.

                                                                Two previously unreleased tracks - ‘Satchel Panzer’ and ‘Spoon Test’.

                                                                Rarities ‘Nick Drake’, ‘Hugh Dallas’ and the three track ‘Travels In Constants’ EP.

                                                                The original, previously unreleased version of ‘Helps Both Ways’.

                                                                ‘Mindwaves’ is the new long player from The Moons. A rich sounding, 21st century, psychedelic space odyssey, it’s full of well-crafted songs and infectious rhythms, steeped in love and destruction, peace and paranoia. Classic pop melodies brim with tight harmonies and layered guitars resulting in a rich and varied collection of songs.

                                                                Formed in Northampton 2008, The Moons is the ideas of singer/guitarist/songwriter, Andy Crofts. With two critically acclaimed albums to date, ‘Life On Earth’ (2010) and ‘Fables of History’ 2012 The Moons are purveyors of the great British pop song. Crofts’ songwriting craftsmanship deals with typical modern day life. With a mixed melting pot of melody, texture and influence, The Moons are honest songwriting personified with exquisite arrangement and glorious production which harks back to a golden era in classic songwriting.

                                                                Ennio Morricone

                                                                Le Foto Proibite Di Una Signora Per Bene OST

                                                                Morricone’s soundtrack to the obscure 1970 Italian thriller, Le Foto Proibite Di Una Signora Per Bene, is a very nervous listening experience. In film, the atmosphere created by the effect of a disturbing soundtrack causes much of the tension. A percentage of this score has a very sinister ambience, highlighted by Morricone’s sublime usage of the human voice. Italian soprano Edda Dell’Orso’s cascading vocal tones mix unsettlingly with the stabbing Morricone strings, befitting the movie’s Hitchcockian moments. Genius.

                                                                Ennio Morricone

                                                                Veruschka OST

                                                                Ennio Morricone’s famous soundtrack composed for the 1971 Franco Rubartelli documentary “Veruschka, Poesia di una Donna” about the legendary Veruschka the world’s first supermodel, a real 60s / 70s icon, who appeared in several cult movies including Blow Up, Salome and Coleur Chai.

                                                                In the Rubartelli movie we follow the beautiful model in a shockingly surreal journey through the rural countryside of Italy on a downward spiral of self-discovery that leads her through so many whacked out head trips; heavily dark and sad with some of the most stunning psychedelic eye candy you can find from the freak out era of filmmaking perfectly tuned with one of Ennio Morricone’s best scores.

                                                                A true one of a kind of experience!


                                                                She Is There / Special Day

                                                                "She Is There", new 7 inch of Russian indie rock band Motorama, with B-Side 'Special Day'. Two brilliantly catchy songs that remains sunner despite Vlad's deep and dark voice. A new Motorama album is expected later this year.

                                                                7 inch includes free mp3 coupon.

                                                                It's the kind of thing that record labels dream of: they fantasise that one day they'll open a cupboard and discover a set of master tapes that the world thought had long since vanished. Preferably by someone good. And though it may well sound like an Invisible City editions sized PR fiction, this is exactly what happened to Shabby Doll boss Matt Swift recently when he unearthed a dusty-looking DAT dating back to... well, the age of the DAT. But what was on it? Fortunately for Shabby Doll, it did indeed turn out to be by someone good. In fact it was revealed to be a set of eight blinding house tracks by the artist who graced the very first Shabby Doll release last year - namely cult Nottingham DJ and producer Neil Tolliday, better known as Nail. The DAT had been in hiding since 1997, when Nail was producing delicious uplifting house music firmly in the tradition of Nottingham's celebrated party scene, pre-dating his globe-trotting career as one half of Bent. It's quite a find. Only one of the eight tracks has previously seen the light of day: 'Brothers & Sisters' appeared in edited form on Matt Swift and Charles Webster's Remote Records back in 1998. But now we can get our hands on the full version, together with another seven mid-nineties beauties that glow with glitterball glory. Firmly believing that music this good mustn't remain hidden, Shabby Doll have released the whole set, limited edition and individually numbered, as a must-have double pack, finally unleashing this long lost chapter in Nail's continuing house story, and giving his devoted dancefloor following another reason to throw their hands in the air. So grab a copy and get out there: it's time to lose it all over again.

                                                                STAFF COMMENTS

                                                                Patrick says: Unlike some Lost Trax I can think of, this isn't a hastily cobbled together grab bag of rough out takes and drugged up meanderings, it's a relentlessly peaking collection of dancefloor joy ranging from the hazy fug of dream house to sampler bashing disco house magic.


                                                                Midwestern Family Values

                                                                  Recommended If You Like: Jesus Lizard, Flipper, Grong Grong, Aluminum Knot Eye, Toupee, Negative Trend, Puffy Areolas, Von Lmo, MX-80 Sound, migraine headaches!!

                                                                  Chicago is luckily a large enough city to engulf a multitude of polarizing bands, and one of the best and most ominous of the darker side of the spectrum is the powerhouse known as NONES. Originally forged as an exact opposite blueprint of the archetype female-fronted punk group, this band is a fully-BACKED female force of contention with one deranged and sufficiently blurred frontman slashing forth and breaking the stereotype into micro shards of glass you will never be able to completely pick out of your fine upholstery. As far away from the over-flogged "garage" tagged sound as possible, thereby wrecking the career opportunities of budding music critics, NONES are a riveting, throbbing, mutating single-celled organism growing fins as you read this, constantly evolving into the next life form, yet reliably antagonizing with each live performance. As their two 7" EPs had first signaled within their soiled grooves, this debut LP is an anthropomorphic anomaly of audio art, shedding it's skin and eating it's young between pummeling chord changes, it grasps at the real desperation and de-evolution around us all, churning all that bad karma into a screaming wall of damaged reality.

                                                                  And even as the death's knell tone of the saxophone emerges as the background noise subsides momentarily, it's only mere seconds before your chest is thrust back again with a hideous wallop of incessant rhythm coerced with the most agonizing vocals from someone that's not being quartered by a group of horses for heresy. The debut LP from NONES is no joy ride, and it's nothing you want to relax with after a hectic day, but more of an instant agitator, a tool for stirring up your inner turmoil and a safe place to keep your paranoid thoughts where they can drift around in a contained space. It's the best kind of death trip we've found in a long while, and while nothing sounds quite like them, it's kind of like the soft lullaby accompanying a celebratory castration on a summer day, or maybe even a high-end hysterectomy on a fancy yacht. No smiley faces, hearts or flowers, just crying babies, broken dreams, fever sweat, double-vision and boiled-over belligerence, cooked down into a thick mess of vengeance and insanity. Whatever you do, this album is already laying eggs under your skin, so it's time to take a deep breath and dive in before the peripheral blackness of your fears are truly inescapable. –

                                                                  FORMAT INFORMATION

                                                                  LP Info: First pressing 400 copies black vinyl.



                                                                    John Hegre: Guitar Kjetil D Brandsdal: Bass Jan Christian Lauritzen: Drums.

                                                                    “Although heavy they have a deftness of touch most bands playing this style of music lack. There is subtleness at work during their long song workouts and an almost jazz perspective to some of their low-end rumblings which means they are never less than exciting to hear.” (Supersonic Festival) After an extended hiatus, NOXAGT return with two new LPs - both on Stavanger-based screen printing/record company DRID MACHINE.

                                                                    BRUTAGE is the band's fourth album and the first to feature John Hegre (also of Jazzkammer) on guitar. John’s guitar work is predominantly textural -providing an intense, yet soothing counterpoint to the brutal rhythm section. The album contains four lengthy tracks which are a natural continuation on the band’s penchant for repetition and heaviness. As with all previous NOXAGT albums, the album cover features a photograph by world-renowned photographer Torbjørn Rødland.


                                                                    Collection 1

                                                                      John Hegre: Guitar Kjetil D Brandsdal: Bass Jan Christian Lauritzen: Drums. “Although heavy they have a deftness of touch most bands playing this style of music lack. There is subtleness at work during their long song workouts and an almost jazz perspective to some of their low-end rumblings which means they are never less than exciting to hear.” (Supersonic Festival) After an extended hiatus, NOXAGT return with two new LPs - both on Stavanger-based screen printing/record company DRID MACHINE.

                                                                      COLLECTION 1 is a compilation of unreleased material from 2001-2004. The band then consisted of Nils Erga on viola alongside the current rhythm section. COLLECTION 1 contains tracks from the first, unreleased NOXAGT album recorded in 2001. It also includes a live recording featuring producer Billy Anderson on vocals, a track from a 2004 Peel Session and much more. The LP comes in a 4-colour screen printed cover and the LP itself is split black/clear vinyl.

                                                                      We're gonna need Manchester's roughest door team to fight off the riot that ensues when peeps here this has dropped in store. Detroit's understated wonder kid, Ob Ignitt kicks off his own label with this storming first release. "Sweaty Dancefloor" is the kind of celestial techno-house hybrid that elevates dancefloors to dizzying heights. Phosphorescent leads and licks intertwining perfectly and complimented by a grooving drum palette. "Chocolate City (Uncle James Mix)" is patented Deetroit bounce with infectious soul samples layered over a groove which you'd hear Kenny Dixon drop years before its release causing more hype and anticipation than news of a Skrillex assassination. "Ignitt Techno" does what it says on the tin as Mr. Ronsil says, but this beast requires a much more God-like pedestal. Pumping, flanging and totally future-proof, this kinda shit will blow the balls off clubs like Fabric and Sankeys, tailor made for high spec soundsystems and impressive lighting displays. Completely essential - move FAST!

                                                                      STAFF COMMENTS

                                                                      Matt says: Massive, varied three tracker from one of the more understated Detroiters. First on his label, a sure fire collectable make no mistake.

                                                                      Yuji Ohno

                                                                      Captain Future

                                                                        Yuji Ohno, is a Japanese jazz musician born in 1941. He’s principally known for his musical scoring of Japanese anime-television series, of which Lupin III and the feature film The Castle of Cagliostro are his most well known works. Ohno is also well-known as a member of a jazz trio with bassist Miroslav Vitous and drummer Lenny White.

                                                                        Later anime series scored by Ohno include Shingu: Secret of the Stellar Wars, the 1982 series Space Adventure Cobra and this Captain Future: A rare & legendary soundtrack performed by Yuji Ohno & his You & The Explosion Band featuring Takao Naoi, Eiji Arai, Takeru Muraoka, Jake H Concepcion and Pepe Anai.

                                                                        Produced in the late seventies, the famous Japanese Space Opera animated series had great success around the world. This series is based on stories of Edmond Hamilton which were published in the Pulp Magazine between 1940 & 1951. Space Jazz Funk, Smooth Jazz & deep grooves served by the Korg Synthesizer and its particular sound. Titles include Space Jazz Funk tunes Andromeda No Kanata Ni & Kirameku Inner Space, opening & ending theme (Yume No Funanori,Poplar-Doori No Uchi), the songs Oira Wa Sabishii Spacemen & Ok! Captain with the chorus from Sendai.

                                                                        FORMAT INFORMATION

                                                                        Ltd LP Info: Single cover with 10” gatefold insert. Originally released in 1978.

                                                                        Hot on the heels of Redshape’s bone-shattering “Bonuz Beatz Vol.1″, Ypsilanti’s whiz kid (or grown man for that matter) Todd Osborn serves some beat tools of his own for Running Back’s official unofficial Bonus Beats sublabel. "T-Rhythm Trax Volume 1″ contains five of the finest DJ helpers you always dreamed to possess. From the frantic “Beat B” to the frenzy “Beatapella” and the up-tempo “Beat A” or the house inclined rest, the man also known as Osborne lightens the heavy load that comes with the monotony of everyday DJ life. Ain’t no rocket science? Surely enough to take you and your audience over the moon. For DJ use only!


                                                                        Wolfgang Amadeus Phoenix

                                                                        We can all breathe now. The coolest band on the planet are finally back - and how! Phoenix have been firm Piccadilly favourites for a good decade now (eep!) and this album has been eagerly anticipated ever since the incredible "1901" streamed on their homepage a few months ago. You should all know the band's sound by now and, even if you don't, you're in for a real sonic treat. "Wolfgang Amadeus Phoenix" continues the Parisians' effortless ability to carve out achingly-hip sophisticated pop music. Indeed, the polished ambience on this LP actually brings to mind the genius production skills of Steely Dan whilst Thomas' vocals are thankfully sounding less and less cheesy! Worth the price of admission alone is perhaps the centrepiece of the whole album and probably the best and most ambitious song they've ever done: the unimpeachable near-instrumental "Love Like A Sunset Part 1 & 2". Deftly traversing several genres - from the ominous keyboard-heavy opening via hypnotic Carpenter-esque spacey plodding to the lush acoustic finale - and synthesizing them into a steadily building sumptuous whole, this is pure pop for NOW PEOPLE!

                                                                        STAFF COMMENTS

                                                                        Andy says: The record that finally made them! Super stuff.

                                                                        For Those Who Stay is PS I Love You's third album, and it was made after Paul quit Kingston for a different big smoke. It was encouraged by the girding strength of love but of course it's still dredging and confused, of course it's still resplendent in its churn. Of course the band had to go back to Kingston to record it - working at a place called the Bathhouse, the duo's first time in "a proper studio".

                                                                        As always, PS I Love You's songs were the result of collage and experiment: "Advice" and "Friends Forever" were still being written until the moments they were recorded. But in the studio, Paul Saulnier says, with "fancy gear" and tons of time, they could wait until they "really nailed" the perfect part. "And I think we made a very indulgent and decadent album because of it."

                                                                        FORMAT INFORMATION

                                                                        LP Info: Limited clear vinyl pressing.

                                                                        The Very Polish Cut-Outs start 2014 with another batch of perfectly crafted and hugely popular tracks presented in a form of label's Sampler Volume Two.

                                                                        For the spring season, they return to the 7" format with two brand new tracks by Warsaw duo Ptaki, the same guys who did much applauded 'Krystyna' last year.

                                                                        The Polish duo's next offering is another splendid journey through tons of samples lifted from obscure, disregarded and forgotten records from Eastern Europe (and beyond). On the A-side you'll find a wonderful summer jam - 'Jak Ptaki' all charming soulful vocals, heavily chopped-up Dilla style, fulfilled with a strong drum break, creating a Balearic slice of East European soul. Definitely one for the beach.

                                                                        On the B-side Ptaki take you on a trip through 'Ponure Miasto' It's a heavier, darker and dubbier affair, clocking in at just under 100bpm.

                                                                        Crisp, powerful drums create a pulsating backdrop for some tight bass line, spooky pads and a hypnotizing vocal loop. Dubbed horns and reggae piano increase the tension, exploding in the final part of the track.

                                                                        This moody, but never sleepy trip combines Caribbean and Polish film music influences with a club-ready groove.


                                                                        Reed Bombus LFO

                                                                          Next up on Deep Distance following mighty 12s from Umberto and Tim Gane’s new project, Cavern of Anti-Matter, comes this incredible full length from Brussels based duo RAZEN.

                                                                          Five extraordinary pieces from the duo of Brecht Ameel and Kim Delcour, who express their fascination for and knowledge of the unique timbral and drone characteristics of their chosen string and wind instruments in improvised, instinctive music that mixes pre-industrial, spectral and ethnic dreamtones with trance and medieval mysticism.

                                                                          Frequently collaborating with other musicians, RAZEN is known for playing intensely focused live shows. The duo have so far released albums on the Kraak label and across a variety of acclaimed international tape labels. Deep Distance felt this set (dedicated to Conrad Schnitzler) deserved the vinyl treatment and delve their toes once again into the revered Belgian underground having released killer full lengths from the likes of Kohn and Hellvete to name just two…

                                                                          The LP not only sounds incredible but looks just beautiful too- a gorgeous picture disc with hand numbered sticker art. A pressing of 300 sure to sell out double quick….

                                                                          Reese & Santonio

                                                                          Truth Of Self Evidence

                                                                          Sampling Martin Luther King speeches may have been done to death, but back in 1988 no-one had done it on a techno record (obviously), until Kevin Saunderson and Santonio Echols cemented their untouchable reputation with this kick-ass EP. The precursor to the later E-Dancer project, "Truth Of Self-Evidence" didn't even have to rely on MJK, because it had all those awesome sounds, copied to great effect by Altern-8. Next up is the intense and mind bending acid techno explosion of "Grab The Beat", powered along by wobbling sequences and sci fi synths. Topped off by a booming block party JB sample, this is heavy duty peak time tackle if ever I heard it. The whole of the B-side is given over to the synth insanity of Santonio's brilliant Yello sampling solo production "Structure". Ever changing and completely unpredictable this is proper off the wall techno for the messier end of the evening.

                                                                          Remember Remember

                                                                          Forgetting The Present

                                                                          Brand new studio album from Remember Remember, following on from their Scottish Album Of The Year shortlisted ‘The Quickening’ (2011).

                                                                          "Forgetting The Present shares all the essential DNA of its precursors; thick waves of emotive guitars, piano and synth are punctuated by lovely melodic through-lines and delicate trickles at the top end that, in their fragility, make the big sounds even bigger. But each element feels more in-synch than ever before, from the chilly, Tubular Bells-referencing flow of opener “Blabbermouth” to the final strains of echoing electronics on “Frozen Frenzy”, the distant but soothing lullaby that closes the album." - Best Of Line Fit.

                                                                          Recorded in Glasgow at Castle Of Doom Studios by Tony Doogan (Belle & Sebastian, Mogwai, The Pastels, The Delgados, Super Furry Animals) and mastered at Abbey Road by Frank Arkwright (Mogwai, Johnny Marr, Rudimental, Arcade Fire), ‘Forgetting The Present’ will be released on CD, heavy pressed gatefold double LP and digital download via Mogwai’s Rock Action Records label.

                                                                          Max Richter

                                                                          Max Richter Collection

                                                                            Cult composer Max Richter's "Fat Cat" Catalogue on Deutsche Grammophon - "The Blue Notebooks", "Songs From Before", "24 Postcards In Full Colour", "Infra" – a 4-CD celebration of the composer that brought us Recomposed.

                                                                            This special deluxe format compiles the four albums that form his “catalogue” from the 2000s, entitled "Retrospective". That’s what it is – a comprehensive look back at his achievement in the recording studio to date.

                                                                            “He closes in on reflecting the glowing consciousness of the composer, who is using music to keep alive the idea that there is somewhere to go next, a new place to think, and a new way to listen.” – Paul Morley.

                                                                            Rose Windows

                                                                            There Is A Light

                                                                            This single includes two new, previously unreleased songs by Seattle band Rose Windows.

                                                                            ‘There Is A Light’ was written near the end of the band’s sessions for their 2013 Sub Pop album ‘The Sun Dogs’ and it highlights the band’s talent for creating driving, psych-tinged pop.

                                                                            ‘Fix Me Another One’ the B-side was written under the influence of Curtis Mayfield, who was in heavy rotation while the band toured in support of The Sun Dogs.



                                                                            If you like the taste of pure, uncut, gnarly, full of fire fury and fun then you’ll dig running into Running.

                                                                            ‘Frizzled’ cuts thickly into the ears and breaks on through to the other mind, which is instantly oxidized by the penetration of their spinning wheels, plates, cones, strings, drumsticks, etc.

                                                                            Equal parts shamble-dance and noise-pop, Running drive relentlessly while shouting their hilarious lyrics with vigour from the bottom of a well of cheap reverb.

                                                                            Gavin Russom

                                                                            The Purge / Entropy

                                                                            Kompakt's Walls kicks off a brand new label focussing on experimental dancefloor sounds accompanied by limited edition artwork. The debut release comes from DFA's Gavin Russom (The Crystal Ark / Black Meteoric Star) with a titanic double-header . Recording under his own name for the first time since 2011's "Night Sky", this material finds Russom creating visceral and hypnotic dancefloor tracks. Fitting in perfectly with the current obsession with dark, voodoo-techno, Russom adds a touch more fidelity and detail than the also-rans and combines it with the flatlined aesthetic of the Zooloft and Acido cats. "The Purge" is a throbbing, corrosive number with a hypnotic arpeggio repeating throughout its course. "Enthroned" is a deeper affair, awash with undulating sub, sinuous lead lines and psychotropic grain delayed. Mind melting stuff, recommended.

                                                                            Stockholm native Sasac returns to Omega Supreme with an 8 song LP of shimmering boogie bliss. If you're hip to his style, you'll know that he specialises in transcendant jams that glide through the soundspace free of any genre constraints. The EP opens with the sunblushed smoocher "Bootman", a glittering nead nodder worthy of 80s Brit-funk pop legends Scritti Politti, before heading into the heat of the tropics on the lilting "Jaco Kelly". Not only is this the finest summer jam I've heard in years, but it features the best fusion keyboard solo since the hey day of the Headhunters. Sasac closes out the A-side with a couple of relaxed and soothing cuts, "Doris" and "Crash Site", which perfectly nail that late 80s soundtrack vibe we've heard from Young Marco and Suzanne Kraft recently. The flip opens with the cinematic sweeps of title track "Hyperion", a coastal jam with constant pads and rhythmic guitar. A strong contender for best Miami Vice soundtrack not written by Jan Hammer, this could have doubled as the instrumental to the best 80s ballad never made. "Dream After" is a laid back hybrid of boogie and jazz fusion with a playful musicality that instantly brings to mind Ryuchi Sakamoto and the Crusaders eating canapes on a yacht off the Florida keys. "Cloud Ascention" is a polyrhythmic island groove that sounds like a luxury holiday to every millionaire's playground on the globe. Well, it only follows that dusk should follow all that fun in the sun, and EP closer "Dim City" brings the stage lights down with it's melancholic chords and midnight bassline. Deep and immersive, this track sits at that crossroads between boogie rhythm and deep house mood. All in all Sasac has delivered an aquamarine vinyl with grooves deep enough to dive into, so lose your clothes and take the plunge.

                                                                            Washington DC may have become synonymous with the smooth sounds of boogie via PPU, and the synthetic house of Beautiful Swimmers, but 1432R are introducing a new player into the game, with a wild style of his own. Citing his influences as ER, Burial, traditional Ethiopian folk and Scott Storch, the newcomer has hit the streets ready to take over the electronic music world. His debut EP kicks off in atmospheric style with the rich and textured soundscape of "Dropleton". Crunchy noise and grainy synthlines call to mind the aformentioned Burial, or the dusty rumble of Pepe Bradock with the depth of DJ Sprinkles, but the tough and rigid beat shows off his love of hip hop. Despite all these influences, the opener retains a distinct individuality. "Darkness Iz" transports us to the thick darkness of Ethiopian night, as Seifu combines skipping rhythms with traditional folk song and a menacing bassline. He switches the beat between the syncopated shuffle of future beats and the straight groove of hip hop, and breaks the melodies up with digital distortion and garbled glitch, keeping the listener on their toes and breaking away from all genre constraints. On the flip, we're treated to the expansive and polyrhythmic "Wedagn", which balances the kind of smooth and shimmering pads we're used to hearing Dam-Funk drop with stuttering samples of folk chant and his tight drum programming. Rather than accelerating towards the peak time dancefloor, the track breaks into beatless ambience before coming back altered into an ethereal late night brooder in the Burial mode. The EP closes in cinematic form with the title track, a moment of end of night beauty with emotive and exotic melodies. A beautifully placed saxophone solo sets up the transisition from gloopy bliss to mountain top euphoria perfectly, and the only thing stopping this being Balearic record of the week is the thick fog of distortion it clouds itself with. One of the most interesting and exciting records of the year from a complete unknown? Lock this one down before they've all got a copy.

                                                                            Naomi Shelton & The Gospel Queens

                                                                            Sinner / Everybody Knows (River Song)

                                                                            Ladies and Gentleman, we’re about to take a flight on an airline called L-O-V-E. Don’t need no ticket, just get on board. Naomi Shelton is our faithful Captain, and the Gospel Queens our in-flight crew, ready to serve you soulfully to your highest elevation.

                                                                            The A-side, 'Sinner' showcases Naomi’s gritty vocals, coupled with the lush harmonies of the Queens creating a call and response melody of celestial proportions - and to top it off all of the aforementioned perfection is set to a raw groove provided by Brother Cliff Driver and his Band O'Plenty.

                                                                            On the flip is an adaptation of OV Wright’s BackBeat classic, 'Everybody Knows (The River Song)'. NSGQ plucks this tune from Texas and plants it firmly in the Caribbean, with a feel good rhumba and a chorus strong enough to crack coconuts.

                                                                            Much more than a single, it’s a sneak peek into their forthcoming ‘Cold World’ LP, which promises to be an essential part of your personal soundtrack this summer.

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