As one of the most exciting talents rising out of the UK, there is no better time for DC-10 resident Richy Ahmed to team up with New York’s seminal house imprint, Strictly Rhythm, and release "Can’t You See EP". Opening with a hard-hitting 4/4 beat ‘Can’t You See’ features a funk-laden walking bassline adding fluidity to the mix, calling on the sound of the 80s and bringing it in to the present day. Analog synth sounds are peppered amongst bluntly cut vocal samples, drawing inspiration from the clinical elements of techno, yet retaining the groove that Ahmed’s work is rapidly becoming synonymous with. The EP’s second track is Ahmed’s remix of Logic’s 1990 classic "The Warning". The original’s acapella has been repurposed by Ahmed, looming over the track’s driving percussive elements. With a low-slung bassline interchanging with sizzling hi-hats, the remix pulls the original away from its blissed-out roots and firmly into the warehouse, providing new meaning to one of the legendary Strictly Rhythm’s many classic club anthems.

All The People

Cramp Your Style / Watcha Gonna Do About It?

More killer funk from the Henry Stone's Miami vaults... To coincide with Athens Of The North's recent reissues from TK's lesser known labels comes this official repress of 1972 funk classic 'Cramp Your Style', which features authentic replica centre label artwork.

'Cramp Your Style' was included on the 'Ultimate Breaks And Beats' compilation LPs, sampled famously by KRS One / BDP on "Still #1" and others. The 45 also features a heavy funk B-side, just as sample worthy with Robert Moore providing the classic vocals on both sides.

Ambient Jazz Ensemble

Suite Shop

Eumir Deodato (arranger of Kool & the Gang "Good Times" and Roberta Flack "Killing me Softly") loves 'Suite Shop'. Mojo Magazine compared 'Suite Shop' to Air “Moon Safari”.

Ambient Jazz Ensemble is studio project of film and TV music composer Colin Baldry. Colin has been writing music for over 20 years, his work being on most TV channels around the world.

Ambient Jazz Ensemble’s electro-acoustic chill out sound is inspired by a mix of Brian Eno and Gil Evans with a touch of Bonobo and Cinematic Orchestra with Neil Cowley on keyboards. From the offset “Eyes Wide Open” takes us on a glorious orchestral, slightly jazzy direction. The horns, brass, strings and synths play off each other to create beautiful soundscapes. “The Journey”, showing the funkier side of Suite Shop, flirts with chorale music at its peak. The aptly titled “Quiet Hero” does exactly what it says on the tin: gorgeous tranquility in a Massive Attack “Teardrop” kind of way which then builds in booth mood and intensity climaxing in electronic orchestral heaven, definitely one for festivals, sunsets and rises, epic moments personified. And then we confidently exit the Suite Shop “Never In Doubt” and roll the credits. Writer, Colin Baldry, is not short of Genius!

'Suite Shop' features Adele's pianist Neil Cowley playing keys on all 10 tracks alongside strings and a brass section featuring Finn Peters who’s played with Bill Frisell, Sam Rivers and DJ Spinna and Dominic Glover on trumpet. His credits include Groove Armada, Orbital, Jocelyn Brown, Paul Weller and many more.

After taking the transatlantic flight from Cuba to Kenya, Esa closes out the Highlife World Series with a quick hop to neighbouring Uganda. During stints at the East Africa music conference DoaDoa in Jinja in 2014 and 15 Esa was exposed to a new breed of talent and ideas emerging from East Africa and beyond, meeting musicians from Burundi, Rwanda, Kenya and South Africa. Here, Esa unites the pan African producers for a superb four tracker which makes for a fitting end to the series. The EP begins with a collaboration between Christopher and Swahili Alley born out of the Doa Doa conference in 2014. This rhythmic cut hints at African jazz heritage with lithe bass and subtle rhodes licks, while the insistent percussion and passionate vocal are certain to raise the energy on the dancefloor. Esa takes control of the desk next with his extended dancefloor mix of Santuri's "Min Kula". Layered vocals, found sounds and organic percussion swirl around with immediacy before Esa's detuned synths and brooding bassline propel us towards the witching hour. The tempo takes a dip on the flip with the slow head nod of the Bantu Clan and Sarabi's "Africa Ni Leo", which sees the musicians merge the organic and synthetic via cascading synth lines and traditional strings while a smooth groove rolls along underfoot. Behr turns the track on its head with his remix, replacing the bassline with a juddering electronic shuffle and generally tripping things out in proper low slung fashion. 

Baby Strange

California Sun

Glasgow three-piece Baby Strange release their new single ‘California Sun’ through Ignition Records on limited edition 7” yellow coloured vinyl. ‘California Sun’ sees Baby Strange at their most broodingly confident. Nostalgic fuzz-fuelled guitars and driving drums combine with Johnny Madden’s dark and uncompromising vocals to create an anthemic plea for the sunshine.

The Bachs

Out Of The Bachs

    “Out Of The Bachs” was released in 1968 as a private pressing of 150 copies and it’s one of the rarest USA 60s garage / teenbeat albums ever.

    The band consisted of five young kids from Chicago, regulars at local teen dances, who decided to release an album as a testimony for their fans before splitting up. Recorded and mixed in just 10 hours at a makeshift studio, “Out Of The Bachs” offered 12 amazing self-penned songs with a sound ahead of its time. Pure teenage-angst vocals, crashing Rickenbackers, fuzz outbursts, killer moody tracks…

    Sadly, all previous reissues of the album failed to capture the true sound of the original, until the Time Lag label reissued it in 2011, remastered from a pristine original vinyl copy. Out of print for many years, we present a new vinyl reissue using the same audio master as the Time Lag edition.

    File next to Rising Storm, Fantastic Dee-Jays, The Savages…

    Best audio source just like the ultimate, OOP Time-Lag reissue

    Insert with detailed liner notes and rare photos

    “…One of the most legendary US garage-era LPs. Strong all through, in a crude garage folkrock style with some psychy edges and no covers, which is unusual. The band emits a rather unique, timeless vibe…” – Patrick Lundborg (Acid Archives)

    “…Quite simply the greatest 1960s private press side of all time. Much more than simply another garage punk album, ‘Out Of The Bach’s is the holy grail of post-acid teenage satori” - David Keenan (The Wire, Reverse Diorama)

    The Band

    Music From Big Pink

      "None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically. Tenor Richard Manuel's haunting, lonely voice gave the album much of its frightening aspect, while Rick Danko's and Levon Helm's rough-hewn styles reinforced the songs' rustic fervor. The dominant instrument was Garth Hudson's often icy and majestic organ, while Robbie Robertson's unusual guitar work further destabilized the sound. The result was an album that reflected the turmoil of the late '60s in a way that emphasized the tragedy inherent in the conflicts. Music from Big Pink came off as a shockingly divergent musical statement only a year after the ornate productions of Sgt. Pepper, and initially attracted attention because of the three songs Bob Dylan had either written or co-written. However, as soon as "The Weight" became a minor singles chart entry, the album and the group made their own impact, influencing a movement toward roots styles and country elements in rock. Over time, Music from Big Pink came to be regarded as a watershed work in the history of rock, one that introduced new tones and approaches to the constantly evolving genre." - All Music.


      Andy says: The album that changed the whole of rock music, when it was released in 1968. Even The Beatles grew beards and got all earthy, warm 'n groovy. Essential.


      LP Info: Back to black vinyl edition.

      The Band

      Stage Fright

        "Stage Fright, the Band's third album, sounded on its surface like the group's first two releases, Music From Big Pink and The Band, employing the same dense arrangements, with their mixture of a deep bottom formed by drummer Levon Helm and bassist Rick Danko, penetrating guitar work by Robbie Robertson, and the varied keyboard work of pianist Richard Manuel and organist Garth Hudson, with Helm, Danko, and Manuel's vocals on top. But the songs this time around were far more personal, and, despite a nominal complacency, quite troubling. Only "All La Glory," Robertson's song about the birth of his daughter, was fully positive. "Strawberry Wine" and "Sleeping" were celebrations of indolence, while "Time to Kill," as its title implied, revealed boredom while claiming romantic contentment. Several of the album's later songs seemed to be metaphors for trouble the group was encountering, with "The W.S. Walcott Medicine Show" commenting on the falseness of show business, "Daniel and the Sacred Harp" worrying about a loss of integrity, and the title song talking about the pitfalls of fortune and fame. "The Shape I'm In" was perhaps the album's most blatant statement of panic. the Band was widely acclaimed after its first two albums; Stage Fright seemed to be the group's alarmed response, which made it their most nakedly confessional. It was certainly different from their previous work, which had tended toward story-songs set in earlier times, but it was hardly less compelling for that." - All Music.


        Andy says: Todd Rundgren got involved (engineering) on their third, much more personal LP. Mega!


        LP Info: Back to black vinyl edition.

        The Band

        The Band

          "The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs. Though a Canadian, Robertson focused on a series of American archetypes from the union worker in "King Harvest (Has Surely Come)" and the retired sailor in "Rockin' Chair" to, most famously, the Confederate Civil War observer Virgil Cane in "The Night They Drove Old Dixie Down." The album effectively mixed the kind of mournful songs that had dominated Music from Big Pink, here including "Whispering Pines" and "When You Awake" (both co-written by Richard Manuel), with rollicking uptempo numbers like "Rag Mama Rag" and "Up on Cripple Creek" (both sung by Levon Helm and released as singles, with "Up on Cripple Creek" making the Top 40). As had been true of the first album, it was The Band's sound that stood out the most, from Helm's (and occasionally Manuel's) propulsive drumming to Robertson's distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson, all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies. The arrangements were simultaneously loose and assured, giving the songs a timeless appeal, while the lyrics continued to paint portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor." - All Music.


          Andy says: Just as good as the first, maybe without the same impact. Includes the world-classic "The Night They Drove Old Whiskey Down".


          LP Info: Back to black vinyl edition.

          William Basinski

          The Deluge - White Vinyl Edition

          'Cascade' and 'The Deluge' are variations on the latest tape-loop and delay composition from the inimitable William Basinski. 'Cascade' is the CD variant, and 'The Deluge' is the vinyl LP companion. In 'Cascade', a single ancient lilting piano tape loop repeats endlessly carrying one along in its tessellating current. In 'The Deluge', the same loop is processed through a series of feedback loops of different lengths, creating a spiraling crescendo of overtones that eventually fades away to silence. In the denouement, a series of limpid piano loops leads to an urgent orchestral theme that builds and gradually dies. 

          BEAK> < KAEB

          Split EP

            Invada Records release a brand new four track ‘double B-side’ EP, featuring two tracks from BEAK> and two from their ‘alter-ego’ < KAEB, who differ in the aspect that < KAEB can have an ever expanding and floating membership.

            The 4 track EP features ‘The Meader’ and ‘The Broken Window’ by BEAK> and ‘When We Fall’ and ‘There’s No One’ from < KAEB, the latter featuring vocal contributions from Californian based artist Jonwayne.

            Bell Boys

            Sweat The Detail / Big Roll

            Intergalactic new age electro funk out of Chicago. A blinder of boogie-inspired juicy goodness with a blend of futuristic boldness and analogue quality. The Bell Boys are Garret David and Adam Rowe and work at one of Chicago's best record stores, Gramaphone. They also know their way around a studio as this debut release so aptly demonstrates. "Sweet The Detail" is one of those suspended pieces of floaty space-boogie that completely envelops a room. It doesn't really go anywhere, other than introduce sparse, interstella elements intermittently through a beautifully warm, radioactive glow. A brilliant way to kick off any session or equally useful to break up period of intensity with blissful respite. A real beaut. "Big Roll" on the flip plays with rhythm and groove to create an intoxicating yet pleasurable blend of synthetic boogie. Great stuff for fans of PPU, Dam Funk, Moon B, Hidden Groove, Wet Play record etc.


            History Of Touches - Kramfphaft Remix

            As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

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

            Björk ‘History Of Touches (Kramphaft Remix)’:
            “Krampfhaft is someone I have been listening to for few years adoring his hyperbeauty, orchid techno I nickname it in the vein of plaid and others: brave enough to take joy on in the often rather apocalyptic environment of electronic music” - Björk

            “I was very honoured to be part of this, although it was a pretty daunting task to rework a song with such an intimate topic! As the original is very stripped down, all I could think of doing was adding in [even more] tension and drama. So I layered the whole track on to a bed of heavily compressed cloth movement and gradually built up the tension from there.” - Kramphaft


            Lionsong - Kareokjeijd Version By Mica Levi

            As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

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

            Björk ‘Lionsong (Kareokjeijd Version By Mica Levi)’: “Mica is someone I have been following growing since 2008, like a proud aunt, I might even have been at her first concert? Sooo exciting to witness her grow into a full on composer and carry the weight of such things as ‘Under The Skin’... And I still adore her upbeat stuff with Tirzah too !!!” - Björk

            “I did a karaoke version more than a remix, because I love her string arrangements and thought it would be an opportunity to draw attention to them. I hope Björk isn’t offended that I took her voice out, [but] you can hear it in your head - or sing along.” - Mica Levi

            As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

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

            Björk ‘Notget (Lotic Keptsafe Version)’: “Lotic is the one of the first musicians Alejandro introduced me to in Autumn 2013 with piles of enthusiasm: I got immediately obsessed enjoying how always total nature he was!! The most clublike flamboyant anthems of his always seem like shrieks of beasts, dark insects and pagan birds displaying their feathers in a territorial way: a colourful celebration!! The reason why I asked him to do ‘Notget’ was there are certain suspension-like elastic gravitydefying beat structures that him and Alejandro share (each in their total idiosyncratic way though) that Notget has and I had a gut feeling he would take further. Which he did.” - Björk

            “When Björk sent over the original track to review late last year, I couldn't believe how well she had intuited that ‘Notget’ was the perfect selection for me. Perhaps it was a bit of coincidence, but I was very much still tending to the scars left from my previous relationship while at the same time nurturing my current one. ‘Notget’ is both the mourning and the eulogy; I knew this meant remixing the song would be difficult, both technically and emotionally. In the end, I felt I had to attempt to amplify both the desperation the song expresses as well as the inspired, reminiscent joy.” - Lotic

            Release no.9 for Fear Of Flying's deeper house offshoot. Black Dynamite bustin' out a 4 tracker of fine house music. "Busted Loop" is a stripped down, low slung infectious grind; incomprehensible vox looped across a seriously subby bass glide. "Mother's Love'" is a slo-mo burner with sampled vocal snatches of a classic soul singer. Steadily but precisly concocting up something really quite beautifully which could easily soundtrack a fiery red sunset on any number of daytime outdoor stages. On the flip, "Wayback" takes things deep and nocturnal. Cascading snare echoes rippling through a tantalizing fug of forward-propelled pad pulses and cavernous bass. "Block A" is a funky, sample-led number complete with flanging guitar loops and big B-line, nailing that heady, filter-house vibe down to a tee.

            British Sea Power

            The Decline Of British Sea Power - Limited Box Set Edition

              The Complete Illustrated British Sea Power - this extensive box-set features four CDs (the original Decline album; B-sides; a CD of rare/live/alternative material; a CD of demo recordings). The DVD of rare and unseen BSP footage is also included, alongside a double-vinyl version of the Decline album (featuring the original Decline album plus B-sides).

              There is a glossy, visual-led large-format book featuring compelling and unseen photos, plus visuals and artefacts from the Decline period. These images are accompanied by extensive all-new text from British Sea Power and Roy Wilkinson. The book also features testimony and anecdotes from the BSP audience.

              Bulldog Breed

              Made In England

                Originally issued by Deram Nova in 1969, this album is an unheralded English prog / psyche classic. Featuring members of The Flies, Please, T2 and Gun, the Bulldog Breed sound a little out of time, this lost gem was issued in 1969 but sounds more like the psychedelic prog of the 66 / 67 period. There's phased vocals, great guitar lines and lots of tasty wierdness.

                John Carpenter

                Escape From New York - Expanded Vinyl Edition

                  Originally released on CD in 2000, the expanded soundtrack edition of John Carpenter’s classic 1981 thriller included over 20 minutes of previously unreleased music plus music from scenes deleted from the final print.

                  The masters were re-mixed from the original multi-track session tapes by long-time John Carpenter associate Alan Howarth.

                  This is the first time the expanded edition has appeared on vinyl in its complete form,

                  including original dialogue highlights.

                  Kingsley Chapman And The Murder


                  As frontman and creator of northern English artrock band The Chapman Family, Kingsley flirted continuously between success and failure for a number of years before finally calling time on the group in the summer of 2013.

                  From becoming the first ever unsigned band to play the coveted NME Radar Tour in 2009 to performing in Japan, mainland Europe and the USA in 2011 (on the back of releasing their debut album "Burn Your Town") the band were unrelenting, angry and loud. They went out with their heads held high and dignity still intact - releasing a single on the day of their final sold out show in their home town of Stockton-on-Tees in the North East of England. Job done.

                  But those days are gone and after a prolonged period in hibernation Kingsley is back with a brand new band and an exciting new sound to take on all comers and attempt to battle the 21st Century disease of apathy once again.

                  Taking references from the mythology of iconic rock and art The Murder are a dizzying mix of thundering Viking warrior drums, sparkling avant garde pianos, ominous romantic strings and barbed wire guitars all underpinned by Kingsley's savage croon.

                  FORMAT INFORMATION

                  Ltd 7" Info: Limited edition - 150 copies only.

                  One of the most rare Cosmic tracks ever finally repressed with full picture sleeve in extra limited run. One of Baldelli's most played anthems from the golden age of Cosmic Disco! It's hard to do this odd-ball, hyper slice of interstellar synthesizer disco justice, but the fact that one of the world's greatest DJs turned it into a stone cold anthem at one of the coolest underground club cultures in the world in testament to the quality of this record. Hi-NRG, popper-fuelled super-octane madness wobbling and swaying drunkardly as it swigs 70% proof synth jizz bareback from the bottle. So in-demand OGs have been known to go for as much as £135!! This high quality re-issue should be a welcome gift for Italo, Cosmic and synthesizer disco fans the world over. Vinyl only, limited 200 copies.

                  "Vitamin C" is a perfect introduction to this four-piece from Liverpool. It’s a three-minute slice of jubilant art-pop, armed with a triumphant chorus and a gliding, undeniable groove.

                  Clean Cut Kid are Mike Halls, Evelyn Halls, Saul Godman and Ross Higginson. “Soulful pop ballads, washed in Mersey water” is how Mike describes the band’s sound.

                  FORMAT INFORMATION

                  Ltd 7" Info: Limited edition orange scented 7"!

                  The latest trip into the KMS vaults has yielded a treat for true techno fans everywhere, collecting together a trio of Carl Craig remixes from early in his career. Spread across a few 12"s in the mid 90s, these three remixes of Kevin Saunderson, under both his Inner City and Esser'ay monikers, hark back to a golden era in Detroit techno history and what some would call Craig's 'golden years'. "Ahnnonghay" blends those tribal African drums prevalent in much of his works with technoid dischord and thumping kicks. Lacking any obvious hook or melody for the first 4 minutes, the drums take centre stage and begin a deliberate, steady ascension, building up tension and drama until the wicked breakdown, which introduces the lead vocal from the OG and strips everything back to just analogue juices, thumping kick and dubby shards. Excellent. Esser's "Forces" may just be one of the all time greatest Detroit techno anthems and words simply will not do this stone cold banger justice! Carl Craig's remix is suitably narcotic and hypnotic, elevating this already most spiritual of connections to even great heights - worth the entrance fee alone! Finally, Inner City's "Till We Meet Again" gets beefed up with rotary arpeggios, tough kix and sensual female vox. Sexy and sophisticated and tailor made to blow the roof of the sturdiest of rave bunkers. Classic Detroit techno! Recommended.

                  Samantha Crain

                  Under Branch & Thorn & Tree

                    Following 2013’s critically-acclaimed album Kid Face, singer-songwriter Samantha Crain sees her fourth album, Under Branch & Thorn & Tree, released on Full Time Hobby.

                    The new album was recorded and mixed at Tiny Telephone Studios in San Francisco, and produced by John Vanderslice, (The Mountain Goats, Spoon) who also helmed Kid Face. The album’s intimate vignettes are marked by Crain’s smoldering vocals and lyrics that call attention to the details of everyday life that often escape us, supported by the subtle musical settings she crafted with Vanderslice and the backing musicians. They brought in engineer Bernie Grundman, who worked on Michael Jackson’s Thriller, Dr. Dre’s The Chronic, Prince’s Purple Rain and Carole King’s Tapestry to do the mastering.

                    Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy / Roc-AFella era of nihilistic excess in the late ‘90s, Dead Prez also signed to a major label (Loud / Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing - using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself - consisting of MCs and M-1, who produced or co-produced most of the duo’s music - was formed in Tallahassee, Florida in the early 1990s. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, 'Let’s Get Free'. The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One. 'Let’s Get Free' was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.” But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000s peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

                    The Declining Winter

                    Home For Lost Souls

                      Richard Adams and his The Declining Winter project return to Home Assembly Music with an impressive second album for the label, ‘Home For Lost Souls’. Taking it’s name from a hostel that Syd Barrett was alleged to have stayed at in the early ‘70’s, the album’s title points to the subject matters that preoccupy Adams in his songwriting. From the cost to one’s sanity at just making it through another wearisome 9-5, to the ominous beauty of the North Pennines landscape, and love in a time of austerity. But far from being austere, the 14 songs presented here are generous, warm, deceptively simple, multi-layered compositions.

                      From the upbeat openers, ‘This Sadness Lacks’ and ‘Home For Lost Souls’, to whimsical instrumentals, ‘Golden Terrace’ or ‘When Things Mattered’, all the way through to the outrageously catchy ‘Hurled To The Curb’ or the melancholy introspection of ‘The Wild Girl Laughed’ and the quietly epic ‘The Right True End’. As you might expect from Adams, he wears his heart and his influences on his sleeve. At times it feels like listening to a glorious combination of Disco Inferno and Talk Talk, Robert Wyatt and even Felt, with occasional smatterings of Radiohead as well as a brief hint of PiL on the rustic, ‘The Summer Circuit’ and ‘A Field Defunct’. But really it’s none of the above. It’s Richard Adams. It’s The Declining Winter. Only it’s better this time, that’s all. The Declining Winter is the brainchild of Hood co-founder Richard Adams. ‘Home For Lost Souls’ is his fourth full length album following the earlier ‘Goodbye Minnesota’ (2008), ‘Haunt the Upper Hallways’ (2009) and ‘Lost Songs’ (2014).

                      Though utilising a band moniker, Adams now records alone in his North Yorkshire hideaway and describes The Declining Winter as “just the stuff that comes out of me, the sound of tinkering around and ideas forming”. He also plays in chamber folk trio Memory Drawings.

                      “Alongside his brother Chris as the motivating force behind English pastoral rock outfit Hood, Richard Adams extends that group’s late-period move into gentle electronica, warping and glitching minimal folk-pop melodies played on bedroom guitars and drums. The quietly resigned tenor gesturing toward emotional troubles that remain just out of focus”. UNCUT.

                      Django Django, or Django² as they're lovingly known by maths readers, pluck a standout track from their triumphant second album and dish the stems out to some handpicked production talent for this club-ready remix 12". The combination of snapping beats and chunky piano on the original mix makes for a remixer's dream whilst their trademark Beach Boys inspired vocals float serenely above keeping the indie kids hooked. Rising star Happa lets loose on his remix, delivering a distorted house remix packed with the quirk, glitch and aggression which have made him an overnight sensation. Turn the disc over and you'll find a younger, thinner version of yourself neon clad on the dancefloor, reliving the mdma fuelled haze of the nu rave era thanks to a bleeping and squealing version which could have graced Ed Banger in their prime. On the B2, Leith finds the emotional heart of the track on his Waterworld remix, reworking the original around a post-dubstep rhythm with chill-inducing results.

                      DMX Krew

                      Funk Steps / Space Fonk

                      Two brand-new hard electro-funk jams from label boss Ed DMX. Sure to be popular with funk and boogie revivalists as well as electro and breakdance fans. "Funk Steps" features a sparse, handclap-heavy beat, an arabian-style synth hook, some very greasy guitar playing and a vocoder lead vocal imploring the listener to get down and do their thing on the dancefloor. "Space Fonk" is an uptempo synth-funk number with squelchy synth bass, vocoder hook and live tambourine and guitar. Moogs and lazer zaps all over this one.Ed DMX continues to DJ & perform live around the world: recent bookings include Bloc Weekend, Batofar in Paris, Berghain in Berlin and many more while Fresh Up continues to cement itself as the go-to label for all things relevant in new boogie and funk music. Tip!

                      Dolomite Minor

                      Girl Of Gold EP

                        A brain-rattlingly loud live proposition, Dolomite Minor combine the heavy blues riffs of The White Stripes, with the sheer raw power of Nirvana or Queens of the Stone Age. Singer Joe Grimshaw’s unmistakable vocals cut an other-worldly drawl amongst Dolomite’s thick, swampy, fuzz and Max Palmier’s drums incessantly drive their tracks forward. Lead track Girl of Gold will be backed by live favourites Let Me Go, Talk Like An Aztec and When I’m Dead.

                        "Dolomite Minor make a furious but soulful racket” - NME

                        “Thick, sludgy blues, this is Jack White lost in a Louisiana swamp, it's the Black Keys with some dirt underneath their fingernails” – Clash “Some of the loudest rock you’ll hear this side of a volcanic eruption” - Kerrang!

              , the newest label from Christian Gerlach, enlists the delectable technoid delights of one Edit Select - possibly the coolest guy in deep space techno right now! "Hi Line Extraction" has all the traits that are making this cat so in-demand right now. Pummeling kick and bass patterns mix and mastered perfectly for optimum soundsystem buzz and hum. Hats burst from the tops and the discordant, druggy mid-range lead lines fly out of the stacks at a million miles and hours, sweeping all in its path into its thruster-powered groove. Most excellent. Another sound veteran and Edit Select collaborator, Mike Parker, provides the first mix; instantly stamping his identity on the track with his highly charged, machine-code version; screaming of dark, barren industrial wastelands. Finally, Claudio PRC takes us out to the very edge of the wormhole with his rub down; stripping things down to just red-shifted bleeps and space-station squelches; totally in keeping with Jeff Mill current obsession with all things from the outer cosmos. Breathtaking stuff to kick off the label - more of this please!

                        Danny Elfman

                        Nightbreed (Original 1990 Score)

                          * 180 Gram “DECKER” colored vinyl (Burlap Mask with Blood Clot Splatter)
                          * Super Heavyweight Tip-On Gatefold Jacket
                          * Printed Inner Sleeve
                          * Full Package Artwork by Rich Kelly
                          * Re-Mastered for Vinyl

                          Waxwork Records and Morgan Creek are proud to present the deluxe LP re-issue of Danny Elfman’s score to CLIVE BARKER’S NIGHTBREED. Long out of print and prohibitively expensive, the original soundtrack release of NIGHTBREED has become a sought after collectable LP for horror fans and vinyl soundtrack enthusiasts alike.

                          Waxwork Records and Morgan Creek have partnered to release the NIGHTBREED soundtrack as a deluxe re-issue vinyl LP package featuring re-mastered audio, incredible full package artwork by Rich Kelly, 180 gram colored vinyl, and high quality packaging.

                          Fans of Clive Barker, horror, soundtracks, and vinyl can now look no further for an overpriced, out of print version of this remarkable, classic score by the legendary Danny Elfman. This is the attainable, super high standard real deal straight from the depths of Midian.

                          Jake Evans releases his debut album, ‘Day One’. The album sees the former Bad Lieutenant co-writer strike out on his own for the first time with a little help from friends he has made along the way. The album features contributions from former Doves frontman Jimi Goodwin whilst the download and limited vinyl formats include an alternative take of ?? featuring lead vocals from Bad Lieutenant bandmate and New Order vocalist Bernard Sumner.

                          Over the ten tracks the album hints at gospel (‘Easy On My Soul’), dips a toe into psychedelia (‘Sun Goes Down’), flirts with the dancefloor (‘Telephone’) and nudges up against Augustus Pablo (‘Last One Standing’) but, at heart, is about Jake and his guitar.

                          ‘Day One’ was recorded and mixed in Jake’s studio facility, Big Red, in his hometown of Macclesfield in between detours to play guitar for the newly solo Jimi Goodwin. A hub for the local music community, Big Red was instrumental in Jake making the record.

                          FORMAT INFORMATION

                          Ltd LP Info: limited edition vinyl album with extra four track CD.


                          Open Season - Open Season - Remixes And Collabs

                          This 15-track album features songs, remixes, collaborations and songs that were recorded around the Let It Die sessions and either appeared as B-Sides or promo only releases. Highlights include, version include, 'The Buildup' (with Kings of Convenience), 'Elle Aime' (with Albin de la Simone), 'Mushaboom' (Solo/Red Demos), 'Tout Document' (Let it Die-French/UK album version), 'Gatekeeper' (Alternate Version) and 'Lovertits' (with Gonzales - Peaches Cover).

                          Feist's new album "The Reminder" was written and conceptualised on the way. Recorded in just two weeks in a 200 year old manor house on the outskirts of Paris, it's players include Gonzales, Jamie Lidell, Mocky and Erik Glambek Boe of The Kings Of Convenience. They filled the dining room and parlour with a piano, vibraphones, organs, guitars, amps…shoves two drum kits against the stained glass windows and scattered microphones like mousetraps around wood-floored rooms. It's hard not to be floored by the breadth and depth of the material on "The Reminder". "My Moon My Man", with it's sucker-punch melody tumbling over hard-soul piano chords. The jangly "Dusty In Memphis" teen dream paean "1234". Live fave "Sea Lion Woman", the traditional chant famously covered by Nina Simone, got propelled into the stratosphere with cell phone sounding synths, handclaps and a backing mini gospel choir. "I Feel It All", with it's joyous gusto, and finally, the shimmering, plaintive "The Park", showcasing Feist's stunning vocals, in this beautiful reflection of London's green haunts.

                          KAT revive their KAT45 offshoot for a seventh release, but this time in the form of a delightful 10" featuring four superb tracks from French ace Florent F. The producer starts the party with a sundrenched refix of Yumi Arai's "Anata Dake No Mono", opening with that uber dope break much loved by DJ Muro before removing the vocal to transform the track into a blissed out jazz-funk instrumental groover. The summer vibes shine through A2 cut "Sunday Mornings", as Florent delivers  an amazing down-tempo string led, deep soul stormer of an Akira Inaba classic. The B-side opens with the slightly bonkers "At The Zoo", an infectious amalgam of disco, funk and Balearic which dances to the beat of its own drum. Plucked from the Shogun Funk Band's fourth LP, this mother sucker's had its choruses removed to ensure the groove keeps on rolling. Finishing things off we have "Jazz Orchestra", a rather splendid instrumental jazz-funker and taken from the "Jazz Orchestra 75" LP which was originally released on the prolific Japanese Jazz label, "Three Blind Mice". The central break has been removed to transform the track into a crescendo weighted ambience builder. Highly recommended to played on a large soundsystem!

                          “’7 of diamonds’ started from a glass of tea with too much sugar. I was pushing down my spoon into the sugar till the bottom of the glass. It was creating a really nice atmosphere and I thought I needed something different like bigger grains, I took a empty glass and I used water and cooking salt the result was amazing so I jumped into the studio to record it and ‘7 of diamonds’ was born.”

                          Originally hailing from the northern Italian province of Verona, florestano – aka producer and multi-instrumentalist Leonardo Salvaro - spent a majority of the last five years traveling nomadically through Asia, Europe and South America, which, he says, has vastly influenced his creative process. "When you travel the way I used to you have a lot of time in which you’re alone; being alone and far from home could help a part of your artistic expression obligating you to look more into your emotions and what really matter for you."

                          Employing both analogue and digital recording techniques, almost all of florestano’s compositions start at his old black piano and his drums before he moves into more experimental territory with synths as well as field recordings. Often taking cues from renowned avant-garde composers Bernard Parmegiani and Iannis Xenakis, florestano’s electronic soundscapes and compositions show a natural affinity for oriental cinematic scores, classic lieder’s music especially Hugo Wolf and 90s US west coast experimental scene.

                          Limited vinyl reissue of this classic '92 LP, the third album from hip hop's favourite jazz cats. On 'Step In The Arena', DJ Premier and Guru hit upon their mature sound, characterized by sparse, live jazz samples, Premier's cut-up scratching, and Guru's direct, unwavering streetwise monotone; but, with 'Daily Operation', the duo made their first masterpiece. From beginning to end, Gang Starr's third full-length album cuts with the force and precision of a machete and serves as an ode to and representation of New York and hip-hop underground culture. The genius of Daily Operation is that Guru's microphone skills are perfectly married to the best batch of tracks Premier had ever come up with. C'mon, you know you want it! 

                          FORMAT INFORMATION

                          Ltd LP Info: Respect The Classics vinyl edition with 3D lenticular sleeve image.

                          Absolutely massive festival banger here from Geeeman (aka Gerd) backed with a killer remix from Alden Tyrell. "Wanna Go Bang" has that huge soundsystem tickling quality that much of the Aus Music records possess. Coupled with that growling bass and rib-shaking drums is this mind-bending and truly intoxicating vocal line, chopped and hacked to oblivion and set to cement itself firmly into the memory banks for eternity. A real tasty number from Geeeman certain to be one of the big tunes to see off the summer. A handy instrumental version is also included for the more creative DJ to use while Alden Tyrell's remix heads for the strobe-light driven mainroom techno vibe that he's known to frequent when not purveying his neo-Italo / house music hybrids; huge! Again, an instrumental is included which in this instance brings more attention onto the intensity and rabid energy contained within the track. Head for the bunkers!


                          Misty Flats

                            * First ever vinyl reissue
                            * First time ever on CD/Digital
                            * Essay by Peter Relic interviewing Goldberg, including unseen archive photos
                            * 180-gram remastered album housed in a deluxe gatefold “tip-on” jacket
                            * LP includes download card for full album

                            Barry Thomas Goldberg was 23 in 1974, the year his Minneapolis power pop group, The Batch, split up. Rudderless, he set about recording solo album Misty Flats, and though few would hear it in its day, he hit on something very special indeed.

                            “In 1974, the world was weary, the Vietnam War was ending, America was at this place where it didn't know where it was heading, it was the fumes of Watergate days,” says Goldberg now. “I'd just left my band, and I didn't know where I was heading either. And that's what Misty Flats represents: neither high road nor low, but somewhere in between."

                            Where The Batch were a harmony-drenched power pop band in the mold of Big Star and The Rubinoos, Misty Flats was an album of ecstatic desolation, an unhinged loner-folk gem that came from a unique place: "I wanted to make the first punk rock album, and if I'd recorded those songs with a band, maybe that's what it would've been," Goldberg says.

                            The album was, instead, recorded in mono in a two-day recording binge on a two-track Ampex tape machine. It features just Goldberg and his friend Michael Yonkers, author of the cult 1968 LP Microminiature Love, playing guitar, bass, harmonica, and vocals between them.

                            In it, we hear echoes of Goldberg’s childhood in Las Vegas, where trips to the movies were surrogate babysitters for his single mother. “Hollywood" and "Stars In The Sand" dream of LA life, where "Pop And Ice" has a narrative straight from hard-edged '70s cinema about a drummer who’s drafted into the army. "Never Came To Stay" details his return to Minneapolis, where he remains to this day, working as an administrator for the Minnesota Twins baseball team.

                            Back in ’74, Yonkers had crushed several vertebrae at work and used his payoff to fund five albums: four of his own and Goldberg’s Misty Flats, which was pressed in a run of just 500. “We were into art, not commerce,” notes Goldberg now, but at the time he was frustrated his album was allowed to drift off into obscurity. Goldberg forged ahead to record a 24-track rock album called Winter Summer which languishes in the vault to this day; Misty Flats, however, is finally widely available in this deluxe LP, CD.

                            Music For Dreams continues to roll out the Balearic goodies with this superb mini album from Golden Ivy. Known to his nearest and dearest as Ivar Lantz, the Malmö based composer, producer and co-founder (along with Prins Emanuel and Gucci Jehova) of esteemed Swedish record label Fasaan, has several great releases under his belt, and his first solo record "Sketches Of Golden Ivy" sold out instantly on its release last year. "To Elvira From Ivy With Love" is the beautiful follow up - a birthday love letter to his girlfriend. Originally recorded on cassette and with a live feel, this timeless six tracker is dripping with deep grooves of pure emotion. The mini LP kicks off with "Elvira’s Theme" already a firm favorite of Manchester’s Moonboots, followed by "Levitera", another winner full of hypnotic percussion and ethereal synths and finally the gorgeous "Samba" with heavy layers of keys, drum machines and bells. The B-side continues to flow along the same path of elegant summery vibes with "Vernissage", "Time Out" and "GT Salong" but ups the dancefloor pressure introducing shades of 80s boogie and electro while still showcasing Golden Ivy’s taste for sublime chords. This is a true artist expressing his innermost self - in the words of label boss Kenneth Bager “a future classic”. Get this while you can...

                            "A Birmingham power trio given to insistent but agile rhythms and psychedelic interpretations of standard rock muscle, GT self-released two excellent EPs in 2013. Spurred by the enthusiasm of Alabama label and recording studio Communicating Vessels, who signed on to produce and release the band's debut LP, the trio doubled down to make their best work yet-the thrilling, anthemic, addictive eight-song debut, Beats Misplaced. It's a rock 'n' roll thrill ride, full of pumping beats and plangent guitars, howled vocals and hooks that past. For these eight tunes, the blues commingle with noise rock, and a righteous boogie pulsates beneath shoegaze distortion.

                            Think Japandroids or No Age being born in and embracing the humid and strange American South, and you start to hear GT through the haze. Front man and lead guitarist Scotty Lee had tinkered with various incarnations of "GT," the unifying acronym of his one-man arts-and-music project alternately known as Green Teeth, Get Tryin' and Ghost Traveler. He's been playing in bands since high school, from early cover acts and sets of instrumental brooders to post-hardcore crews and straight-ahead rock acts. But GT was a chance for him to separate himself from the frustrations of band life and start an outlet that would be forever his. With Byron Sonnier on bass and Mark Beasley on drums, both respected veterans of the music community themselves, Beats Misplaced represents the fulfillment of self-determination and the start of a great new rock band from the depths of the South."

                            With The Strokes fresh off their first European show in four years, guitarist Albert Hammond Jr. is focused on breaking an even longer seven year lull between solo LPs. ‘Momentary Madness’ is his third album after ‘Yours To Keep’ and ‘¿Cómo Te Llama?’.

                            The ten track album includes the singles ‘Born Slippy’ and ‘Losing Touch’.

                            ‘Momentary Masters’ features production from longtime Strokes engineer Gus Oberg. Unlike previous releases, Hammond called on the aid of a number of musicians for the recording sessions, including guitarists Mon Khmer’s Hammarsing Kharhmar and Bleachers’ Mikey Hart, bassist Jordan Brooks and drummer Jeremy Gustin.

                            FORMAT INFORMATION

                            LP Info: Initial copies pressed on white vinyl.

                            Michael Head And The Strands

                            The Magical World Of The Strands


                            New liner notes by Michael Head & 20pp booklet

                            CD version includes 2 bonus tracks: Green Velvet Jacket + Queen Matilda (demo), the B-Sides to the 1998 NME and Melody Maker Single of The Week

                            LP version comes in Gatefold, 180g vinyl with 20pp booklet

                            About “The magical world of the strands” :

                            “THE RAREST JEWEL OF THE 90S” (Q 2014)
                            - **** Q: "INCREDIBLY AFFECTING, A STAGGERING ALBUM.
                            - **** UNCUT: "Regarded by many as the equal of the STONE ROSES debut."
                            - **** THE TIMES : ’BIGGER THAN A LEGEND '.

                            2015 is a busy year for Michael Head:

                            His second record as ‘Michael Head and the Red Elastic Band’ has just been released on his own label, Violette - ‘Velvets in the Dark’ 7 inch single. Shack’s 1990 single ‘I Know You Well’ opens ‘Perfect Motion’, Jon Savage’s 2LP compilation as “a musical return-trip to these fondly remembered years spanning 1988-93”.

                            Plus, Megaphone is set to reissue ‘The Magical World of The Strands’ in its original form, with the addition of a 20-page booklet, including new liner notes by Michael Head himself and photographs testifying to the album’s sleeve work-in-progress.

                            The CD version will come with 2 bonus tracks – the B-Sides to the 1998 NME and Melody Maker Single Of The Week ‘Somethin’ Like You’. ‘Green Velvet Jacket’ is an acoustic solo piece by Michael Head. And Queen Matilda (demo) was recorded in early 1993 and produced by the band’s friend and live engineer Ian Eastwood on a 4-track Tascam cassette recorder.

                            Alongside this reissue comes ‘The Olde World’, an exclusive new album of recordings from the same sessions.

                            Last but not least, Michael plans his first gigs as ‘Michael Head & The Strands’ promising to play his classic album ‘The Magical World of The Strands’ in full.

                            After a couple of demos for the French promoter who paired him with his childhood hero Love’s Arthur Lee in 1992, Pale Fountains and Shack legend Michael Head entered a Liverpool recording studio the following year, with a new project in mind, ‘The Strands’. Michael teamed up with his brother and lifelong companion, John, his long-time drummer Iain Templeton and two new recruits, Michelle Brown on bass and Les Roberts on flute. The recording sessions would last two years and were only halted because Michael was offered a new major label deal. A deal, not for his current work, but for him to record as Shack again.

                            So it came to be that Stephane Bismuth, the French promoter, was left with 100 or so minutes of a thwarted project, only a third of which had made it to the mixing studio in Sheffield in the summer of ‘95.

                            Patch-working and weaving rough mixes and sketches – by engineer Steve Powell, made in Liverpool – with completed mixes by producer Mark Coyle who had hired an arranger and string section for sessions in Sheffield, Stephane Bismuth founded a new label Megaphone and finally released ‘The Magical World of The Strands’, in autumn of 1997.

                            This work-in-progress comprising sketches, rough mixes and fully orchestrated tracks, garnered great critical acclaim and is still rated by many as the "rarest jewel of the 90s", Q Magazine.

                            STAFF COMMENTS

                            Andy says: Timeless classic from Liverpool legend Michael Head. This really is a record to lose yourself in. There can't be a better re-issue in 2015.

                            Long-awaited meeting of the minds between production gurus Jay Dee and Madlib from 2003, rapping on each other's beats in alternation throughout the entire LP. They came up with the album's title by each choosing their favourite Northern English positive adjective - with J Dilla going for the Geordie classic and Madlib going for the Mancunian favourite.

                            When it came time to repress Madlib and J Dilla's 'Champion Sound' in 2007, Madlib quietly handed Stones Throw a disc of remixes he'd done for his half of this album - it was too good to pass up, so this deluxe reissue was born.

                            FORMAT INFORMATION

                            2xCD Info: 2xCD reissue contains the original album, 11 previously unheard bonus tracks and remixes alongside 15 instrumental tracks never before available on CD.

                            Johnny Moped

                            Ain't No Rock N Roll Rookie / Super Woofa

                              Johnny Moped are back with their first 7” since 1978! It’s a double A-side of ‘Ain’t No Rock N Roll Rookie’ and ‘Super Woofa’ and will be out on July the 31st followed later in the year by their new, long awaited album.

                              The band are currently back in the studio putting the finishing touches to their new album, their first since 1990’s ‘The Search For Xerxes’ and it’s the original line up of Johnny, Slimy Toad, Dave Berk plus Rock N Roll Robot and Jacko Pistorious.

                              Jessie Jones

                              Jessie Jones

                                In 2013, Jessie Jones gave up her possessions, vanished into the nothingness of farm country, and found herself on interstellar overdrive – far away from her Disneyfied home in Orange County. For three years, she had fronted Burger Records' Feeding People, OC's answer to Black Sabbath. The teenage byproduct of gloomy acid trips and gospel choirs, Feeding People released two albums, got signed to Innovative Leisure in 2011, and played Low End Theory with Radiohead's Thom Yorke.

                                The 19-year-old Jones, with her bluesy growl and whimsical melodies, was being compared to Jefferson Airplane's Grace Slick, Janis Joplin, and Screaming Females' Marissa Paternoster. In 2014, her voice returned to her with primal intent – like the caterwauling echoes of coyotes deep in the Hollywood hills. Earlier this year, Jones began singing with paranormal proto-punk outfit Death Valley Girls, which allowed her to release her demons and find salvation during what Jones describes as the "most cosmically ordained project" of her life.

                                Reveling in the quantum wobble of her own alternative reality, Jones is now releasing her self-titled debut on Burger Records by channeling the voices in her head; not quite the sanitarium blues of Roky Erickson, but a mélange of Jim Morrison mysticism; a more stripped-down MGMT meets early-Grouplove; and Syd Barrett reverie. Under the guidance of producer Bobby Harlow (The Go) and Burger's Studio B, Jones' debut this summer will include guest appearances by drummer Duke Mushroom, violinist Hannah Glass, and Studio B regular King Tuff.

                                Joy Division

                                Martin Hannett's Personal Mix

                                Discovered by friends of Martin Hannett recently and with input from one of his relatives, these recordings give a rare insight into his production ideas for Joy Division and his relationship with the band - the strange things, sound effects - they recorded in the studio together. The studio chit chat and interplay between Hannett, Gretton and Joy Division members is all here as Martin left his own tape machine running throughout studio sessions. On this album we have rare alternative mixes of Joy Division that were Martin's personal favourites and he had the forethought to get the band members to give him control of these recordings. Includes alternative mixes of "Autosuggestion", "Heart And Soul", "24 Hours", "Passover", "The Eternal" (2 mixes), "From Safety To Where" and "Decades" (3 mixes). An essential item for all Joy Division fans.

                                FORMAT INFORMATION

                                2xLtd LP Info: A repress of this long out of print album. 300 only LPs some on Yellow vinyl and some on Green vinyl randomly picked. Gatefold sleeves with 180gm vinyl.

                                Joy Division

                                Still - 2007 Remaster Edition

                                  'Still', first released in October ‘81 through Factory Records is a compilation consisting of Joy Division’s unreleased studio and live recordings. 'Still' includes a live recording of Joy Division’s last concert at Birmingham University, plus the only live performance of “Ceremony” which later become New Order’s debut single, and a cover of The Velvet Underground’s ‘Sister Ray’ recorded at the moonlight club in London April 1980. This new heavyweight double vinyl edition features audio from the 2007 remaster available on vinyl for the first time. 

                                  FORMAT INFORMATION

                                  2xLP Info: 2xLP 180 Gram Heavy Weight 12” Vinyl.

                                  Joy Division

                                  Substance - 2010 Remaster Edition

                                  Joy Division compilation ‘Substance’, first released in 1988 fills in the missing pieces of the band’s history with four non-album singles (‘Transmission’, ‘Komakino’, ‘Love Will Tear Us Apart’ and ‘Atmosphere’), plus their B-sides.

                                  LP Edition
                                  This new heavyweight double vinyl edition features audio remastered in 2010 for the +- singles box and for the first time on vinyl, the expanded tracklist from the original CD release, plus two additional songs: “As You Said” and the Pennine version of “Love Will Tear Us Apart.” 

                                  CD Edition
                                  This new CD edition features audio remastered in 2010 for the +- singles box. The tracklist matches the expanded original CD release, plus two additional songs: “As You Said” and the Pennine version of “Love Will Tear Us Apart.” 

                                  FORMAT INFORMATION

                                  2xLP Info: 2xLP 180 gram heavyweight 12” vinyl.

                                  PPU dip into their endless supply of boogie gold and serve up another essential reissue for the discerning collector and soulful DJ out there. This time round, the label take us to Gary, Indiana and the home studio of Willie Junei Lee Jr. In a wintery evening back in 1987, the guitarist, director, vocalist, songwriter, composer and producer hit the red button and laid down a couple of late night soul cuts, charged with the energy and exhuberance of the time. "Let's Ride" tops a smooth and sultry bassline with squealing guitar soloing and lithe jazz fusion synth leads, taking us for a cruise up to make-out point! When we get up there, the cassette pops and flips over to the sexy, soul roll of "You Must Go On", a soothing song of encouragement for a broken heart to love again (and give up the goods obviously). Another real deal slice of sensual boogie from the mighty PPU, rescued from obscurity and beamed directly into bedrooms worldwide.

                                  Busy bee Hans Peeman takes a break from A&R duties at Outplay to don his Junktion moniker and go solo on that ass with this brand new four tracker on the dignified and refined Razor-N-Tape Reserve. The Fouk man follows up his sell out smashes on Sleazy Beats and Outplay with a further evolution of his earthy, sampledelic sound. Opening cut "Hot & Bothered" does its thing with the kind of poolside nonchalance usually worn by unfeasibly attractive LA extras. Summery strings and flute licks shimmer in full filter bliss over a bouncy little beat, while the occasional vocal sample gives the hunks and honeys something to punch the air for. The summer breeze continues unchecked on the soulful "I'm Wishing", a peaktime cut that's as perfect a marriage of diva vocal and rolling bassline you're likely to hear, before "Fling Cleaning" drops the pace to a sensual disco chug on the B1. Well worked frequencies and the constant manipulation of fx shake things up nicely while the rough disco loop rolls on and on. What better way to bring the EP to a close, than with the cool, calm and collected groove of "Visions Of You", a slow motion soul roller with touches of hip hop in the percussion and plenty of sex appeal - proper BBQ tackle. If you're looking for a vinyl slice of summer, look no further!

                                  ‘Blood’ is an album that was inspired by Lianne’s family heritage, which is part Jamaican and part Greek. Once touring for her debut album came to a close, she headed to Jamaica with her mother for a holiday which evolved into an experience of self-discovery. Lianne enjoyed emotional reunions with long-lost relatives; embraced Kingston’s clubs; and even jammed in front of her family for the first time during a session with legendary dancehall / reggae producer Stephen McGregor. Discovering her heritage inspired Lianne to reflect on the connections between now and then, which in turn sparked the songs which would become her future. Simply, “everything seemed to have a lot more clarity, and I really wanted to speak about it.” Lyrically, the songs that feature on the album are almost all related to “the feeling of who you are and where you come from.” Sonically, ‘Blood’ is a collection that shakes, shimmies and swings with Jamaican grooves with Lianne taking inspiration from the nation’s love of grooves, rhythms and syncopation. In addition to Stephen McGregor, ‘Blood’ features a rich collection of collaborators. Produced by Adele / FKA twigs collaborator Paul Epworth and founded upon an instrumental recording by Ninja Tune trio The Invisible, the first single ‘Unstoppable’ is a song that Lianne wrote to help to repair a relationship that she had ended.

                                  Led Zeppelin

                                  Coda - Deluxe Remastered Edition

                                  Deluxe edition of Coda newly remastered by guitarist and producer Jimmy Page and accompanied by companion audio comprised of previously unreleased music related to the original release selected and compiled by Page. The appropriately titled Coda was Led Zeppelin’s final album of studio recordings. Released in 1982, it was comprised of eight unreleased tracks recorded between 1970 and 1978. It peaked at #6 on the album charts and has been certified platinum in the U.S.

                                  Coda is the only Led Zeppelin deluxe edition to include two companion discs, featuring 15 tracks recorded between 1968 and 1974. The oldest song in the collection is also perhaps the most interesting. The frenetic blues jam “Sugar Mama” was recorded in 1968 at Olympic Studios during sessions for the band’s eponymous debut. The song was completed but never officially released until now. “Baby Come On Home” from the same session is also included in the set. Also included is the previously unreleased “St. Tristan’s Sword,” a rollicking instrumental recorded during the Led Zeppelin III sessions in 1970. 

                                  STAFF COMMENTS

                                  Andy says: Who'd have thought that Leppelin's least alluring album of the day, would end up being the most interesting release in this deluxe/remastered series. Includes the hallowed Indian version of "Friends". For proper fans: essential.

                                  Led Zeppelin

                                  Coda - Standard Remastered Edition

                                  The appropriately titled Coda was Led Zeppelin’s final album of studio recordings. Released in 1982, it was comprised of eight unreleased tracks recorded between 1970 and 1978. It peaked at #6 on the album charts and has been certified platinum in the U.S. 

                                  STAFF COMMENTS

                                  Andy says: Something old, something new, and then there's "Bonzo's Montreaux" which is a John Bonham drum piece (with extra electronics by Jimmy Page) that is the only drum solo ever worth hearing!

                                  Led Zeppelin

                                  Coda - Super Deluxe Box Set Edition

                                    Deluxe edition of Coda newly remastered by guitarist and producer Jimmy Page and accompanied by companion audio comprised of previously unreleased music related to the original release selected and compiled by Page. The appropriately titled Coda was Led Zeppelin’s final album of studio recordings. Released in 1982, it was comprised of eight unreleased tracks recorded between 1970 and 1978. It peaked at #6 on the album charts and has been certified platinum in the U.S.

                                    Coda is the only Led Zeppelin deluxe edition to include two companion discs, featuring 15 tracks recorded between 1968 and 1974. The oldest song in the collection is also perhaps the most interesting. The frenetic blues jam “Sugar Mama” was recorded in 1968 at Olympic Studios during sessions for the band’s eponymous debut. The song was completed but never officially released until now. “Baby Come On Home” from the same session is also included in the set. Also included is the previously unreleased “St. Tristan’s Sword,” a rollicking instrumental recorded during the Led Zeppelin III sessions in 1970. 

                                    • Super Deluxe Boxed Set – This collection includes:
                                    o Remastered album on CD in vinyl replica sleeve.
                                    o Companion audio on CD in card wallet.
                                    o Remastered album on 180-gram vinyl in a sleeve replicating first pressing.
                                    o Companion audio on 180-gram vinyl.
                                    o High-def audio download card of all content at 96kHz/24 bit.
                                    o Hard bound, 72+ page book filled with rare and previously unseen photos and memorabilia.
                                    o High quality print of the original album cover, the first 30,000 of which will be individually numbered. 

                                    STAFF COMMENTS

                                    Andy says: The ultimate version of Led Zep's posthumous odds'n sods collection, impeccably presented, as all these super deluxe boxes have been.

                                    Led Zeppelin

                                    In Through The Out Door - Deluxe Remastered Edition

                                    On its release in the summer of 1979, In Through The Out Door topped the U.S. and UK album charts and has since been certified six-times platinum. Sadly, it would be the last album that Led Zeppelin recorded prior to drummer John Bonham’s passing the following year. Among the seven album tracks are “Fool In The Rain” and “All My Love,” two songs that remain rock radio staples to this day.

                                    Deluxe edition of Led Zeppelin’s In Through The Out Door newly remastered by guitarist and producer Jimmy Page and accompanied by companion audio comprised of previously unreleased music related to the original release selected and compiled by Page.

                                    The album’s companion audio disc features an unreleased rough mix of every track from the original album, including early versions with working titles such as “The Hook” (“All My Love”), “The Epic” (“Carouselambra”), and “Blot” (“I’m Gonna Crawl”). 

                                    STAFF COMMENTS

                                    Andy says: A lighter touch came to play on the final Zeppelin album, with keyboard player John Paul Jones more prominent than ever before, certainly in the writing process. The extra disc brings a fascinating insight into how this all went down.

                                    Led Zeppelin

                                    In Through The Out Door - Standard Remastered Edition

                                    On its release in the summer of 1979, In Through The Out Door topped the U.S. and UK album charts and has since been certified six-times platinum. Sadly, it would be the last album that Led Zeppelin recorded prior to drummer John Bonham’s passing the following year. Among the seven album tracks are “Fool In The Rain” and “All My Love,” two songs that remain rock radio staples to this day.

                                    STAFF COMMENTS

                                    Andy says: Their final LP in their lifetime featured a greater contribution from keyboard maestro John Paul Jones but it's Jimmy Page's thunderous opener "In The Evening" which ultimately steals the show.

                                    Led Zeppelin

                                    In Through The Out Door - Super Deluxe Remastered Box Set Edition

                                      On its release in the summer of 1979, In Through The Out Door topped the U.S. and UK album charts and has since been certified six-times platinum. Sadly, it would be the last album that Led Zeppelin recorded prior to drummer John Bonham’s passing the following year. Among the seven album tracks are “Fool In The Rain” and “All My Love,” two songs that remain rock radio staples to this day.

                                      Deluxe edition of Led Zeppelin’s In Through The Out Door newly remastered by guitarist and producer Jimmy Page and accompanied by companion audio comprised of previously unreleased music related to the original release selected and compiled by Page.

                                      The album’s companion audio disc features an unreleased rough mix of every track from the original album, including early versions with working titles such as “The Hook” (“All My Love”), “The Epic” (“Carouselambra”), and “Blot” (“I’m Gonna Crawl”). 

                                      • Super Deluxe Boxed Set – This collection includes:
                                      o Remastered album on CD in vinyl replica sleeve.
                                      o Companion audio on CD in card wallet.
                                      o Remastered album on 180-gram vinyl in a sleeve replicating first pressing.
                                      o Companion audio on 180-gram vinyl.
                                      o High-def audio download card of all content at 96kHz/24 bit.
                                      o Hard bound, 72+ page book filled with rare and previously unseen photos and memorabilia.
                                      o High quality print of the original album cover, the first 30,000 of which will be individually numbered. 

                                      STAFF COMMENTS

                                      Andy says: Stunningly presented, ultimate version of this, Led Zeppelin's final proper LP.

                                      Led Zeppelin

                                      Presence - Super Deluxe Remastered Box Set Edition

                                        Originally released in 1976, Presence was recorded during a whirlwind 18-day session at Musicland Studios in Munich, Germany. The album—which peaked at #1 in both the U.S. and UK and was certified triple platinum—crackles with energy on Zeppelin classics like “Nobody’s Fault But Mine” and “Achilles Last Stand” and delivers powerful jolts of the group at its visceral best.

                                        This deluxe edition of Led Zeppelin’s Presence newly remastered by guitarist and producer Jimmy Page is accompanied by companion audio comprised of previously unreleased music related to the original release selected and compiled by Page. The companion audio disc that accompanies Presence has five unreleased reference mixes from the sessions, which reveal works in progress. Along with alternate incarnations of “For Your Life” “Achilles Last Stand” and “Royal Orleans,” there is also the previously unheard instrumental curiously titled “10 Ribs & All/Carrot Pod Pod (Pod).” 

                                        • Super Deluxe Boxed Set – This collection includes:
                                        o Remastered album on CD in vinyl replica sleeve.
                                        o Companion audio on CD in card wallet.
                                        o Remastered album on 180-gram vinyl in a sleeve replicating first pressing.
                                        o Companion audio on 180-gram vinyl.
                                        o High-def audio download card of all content at 96kHz/24 bit.
                                        o Hard bound, 72+ page book filled with rare and previously unseen photos and memorabilia.
                                        o High quality print of the original album cover, the first 30,000 of which will be individually numbered. 

                                        STAFF COMMENTS

                                        Andy says: Fall into this Led Zep boxset and you'll never get out alive! Everything you could want from the band's last LP before their powers waned.

                                        Led Zeppelin

                                        Presence - Deluxe Remastered Edition

                                        Originally released in 1976, Presence was recorded during a whirlwind 18-day session at Musicland Studios in Munich, Germany. The album—which peaked at #1 in both the U.S. and UK and was certified triple platinum—crackles with energy on Zeppelin classics like “Nobody’s Fault But Mine” and “Achilles Last Stand” and delivers powerful jolts of the group at its visceral best.

                                        This deluxe edition of Led Zeppelin’s Presence newly remastered by guitarist and producer Jimmy Page is accompanied by companion audio comprised of previously unreleased music related to the original release selected and compiled by Page. The companion audio disc that accompanies Presence has five unreleased reference mixes from the sessions, which reveal works in progress. Along with alternate incarnations of “For Your Life” “Achilles Last Stand” and “Royal Orleans,” there is also the previously unheard instrumental curiously titled “10 Ribs & All/Carrot Pod Pod (Pod).” 

                                        STAFF COMMENTS

                                        Andy says: A previously unreleased instrumental is the draw for Zep completists on this deluxe version of their last truly great LP.

                                        Led Zeppelin

                                        Presence - Standard Remastered Edition

                                        Originally released in 1976, Presence was recorded during a whirlwind 18-day session at Musicland Studios in Munich, Germany. The album—which peaked at #1 in both the U.S. and UK and was certified triple platinum—crackles with energy on Zeppelin classics like “Nobody’s Fault But Mine” and “Achilles Last Stand” and delivers powerful jolts of the group at its visceral best. 

                                        STAFF COMMENTS

                                        Andy says: A harder, leaner sound features on this unique Zeppelin LP. Jimmy Page has his magnum opus guitar epic "Achilles Last Stand" which hurtles along, but elsewhere this record still swings deep and heavy.

                                        Lone Wolf


                                          Just who is LONE WOLF aka Paul Marshall? In 2010 Bella Union introduced a storyteller dressed in black, pedaling ballads of murder on critically lauded album ‘The Devil and I’.

                                          At this point there was barely a night that Marshall was not to be seen playing live, being asked personally to tour and perform with the likes of Wild Beasts, Bat For Lashes, St Vincent, John Grant, Broken Bells, Jose Gonzales and Radiohead’s Philip Selway to name a few. He was even chosen by Richard Thompson to perform a set at his Meltdown Festival.

                                          His video for lead single ‘Keep Your Eyes on the Road’ was a homage to Peter Gabriel’s seminal ‘Sledgehammer’, and was both approved and complimented by Gabriel himself.

                                          By 2012, the story started to take a different turn when Marshall parted ways with his label Bella Union, and decided to crowd fund his next record ‘The Lovers’. Gone were the acoustic guitars and huge grandiose soundscapes one had come to expect from ‘The Devil and I’, and a new synth led, art-pop sound was introduced. Also gone was the
                                          narrative based blood soaked lyrics, in favour of what seemed to be a listener’s personal insight into Marshall’s sleep anxiety and depression.

                                          Though the record gained significant critical acclaim, Marshall was barely to be seen on the live circuit, playing only two UK sell out shows at the Brudenell Social Club in Leeds, and The Lexington in London.

                                          But as time went on, it was starting to seem that Marshall was becoming disenfranchised with the music industry, and even his own desire to create or perform. In one spit of bile on social media, he described his desire to make any new music as ‘terminally ill’. Marshall withdrew himself from the public eye, got married, went back into full time employment and took up the challenge of scoring his first motion picture, a film by Tunisian director Nejib Belkadhi entitled ‘Bastardo’.
                                          The film went on to be selected for multiple respected film festivals worldwide including Toronto, Palm Springs, Milan
                                          (where it won best picture), Abu Dhabi and many more. It seemed that Paul had opted for an alternative career in music.

                                          In July 2014, out of the blue, Marshall posted a blog on his website speaking openly about how his diagnosed anxiety had finally gotten the better of him, and was now the thing that pretty much determined his decision making process. He spoke of locking himself away in his house and almost trying to shed the ‘musicians skin’ he had been living in.

                                          He spoke about the strong feelings he had previously had about never releasing a record again but now due to a significant event in his life, the tables had turned and he now felt the need to make a new album more than ever.

                                          Paul found out that his long time producer and band mate James Kenosha’s studio ‘The Lodge’ in Bridlington was soon to be no more. ‘The Lodge’ is a small converted barn in the middle of nowhere, and the location in which pretty much all of Paul’s material up to now has been recorded, and the one room in which Paul feels like the veil of anxiety becomes lifted.

                                          Paul decided to lock himself in The Lodge for six days with only Kenosha and trumpet player David Wärmegård, as a swan song to the room in which so much of his music has been created, to see what sounds and personal lyrics would emerge. He specifically wanted ‘no studio trickery’ on this album and wanted a record that captured the very essence of performing in that room, most significantly the piano.

                                          There are no acoustic or electric guitars on this album.

                                          Every note on this album was recorded in that room.

                                          Marshall performs every instrument, except the trumpets.

                                          Most importantly, nothing is processed.

                                          Paul did the most important thing to him, and that was to lock the door, wear his heart on his sleeve and make the record he wanted to make in The Lodge before it was no more.

                                          So who is LONE WOLF? You are about to find out. 

                                          Next up on Deep Distance following quick fire sell outs of all it’s previous output this year comes the killer new full length from Brooklyn based Long Distance Poison. Following releases across esteemed US labels such as Foxy Digitalis, Ecstatic Peace and Steve Moore’s VCO, the band unleash “Human Program” -it’s debut full length for the UK- for Deep Distance in late July.

                                          Their sound has been described as offering up “deeply sonorous, dense buzzing drones and psycho-active electronic materials. Somewhere between Acre, Phil Niblock, Expo 70, 3 Leafs and Popol Vuh with an obvious synthedelic-neoshamanic musical purpose”; as well as possessing “god-like genius” by Julian Cope!

                                          "Long Distance Poison present an irresistible concoction of convergent psychedelic and analog electronic energies, everything from a love of nature, and Rothko-like visual aesthetics, to musical influences like Sky Records, John Carpenter soundtracks, minimalism, and a less-hyper Mother Mallard or post “Phaedra” Tangerine Dream. Also of note is the unusual male / female dynamic of the record, itself an unusual occurrence in modern electronic music.

                                          With modular synthesizer systems and both contemporary and vintage analogue keyboard synthesizers, LDP uses random and pseudo-random clocking, gating, triggering and frequency sequences “that create the appearance of static and unified 'songs' from a series of random, chance, intuitive events bound by various contexts.”

                                          A wonderful LP (recorded by Brendon Anderegg of Mountains) and released as a clear vinyl pressing of 300 late July, the set offers up a killer insight and introduction to this increasingly acclaimed band and is destined like output from both artist and label here to sell out rapid style. 

                                          STAFF COMMENTS

                                          Barry says: Sure to be a rapid sell-out, this limited release from Long Distance Poison combines the dark wistfulness of horror film scores and spacey drones of VCO alumni and label boss Steve Moore. A tour-de-force of synthesiser worship and calculated songwriting. HIGHLY Recommended!

                                          FORMAT INFORMATION

                                          Ltd LP Info: 300 only clear vinyl LP.

                                          Fourth and best album from this London combo. The Maccabees make powerful indie-rock with incendiary guitars, the perfect backdrop to Orlando Weeks' poetic lyrics, which on this record are sometimes politically motivated too. It's very much an urban band, and the gentrification of the area around their studio (in the Elephant and Castle) is a particular bugbear. But ultimately we're here for the tunes, and just like on their last, Mercury Music nominated effort,  "Marks To Prove It " does not disappoint.

                                          STAFF COMMENTS

                                          Martin says: Politics take centre stage on The Maccabees' best LP so far.

                                          FORMAT INFORMATION

                                          Deluxe LP Info: Limited Dark Blue vinyl pressing.

                                          Harry Manfredini

                                          Friday The 13th Part II (1981 Original Score)

                                            * Features include 180 gram colored wax housed in a heavyweight old-style tip-on jacket
                                            * Full package artwork by Rich Kelly, and a fold out poster of the album cover art.
                                            * 180 gram Mrs. Voorhees Sweater with Blood Splatter

                                            Waxwork Records proudly presents the original motion picture score to the 1981 horror genre defining slasher sequel, FRIDAY THE 13TH PART II, directed by Steve Miner and Sean S. Cunningham. Working closely with composer Harry Manfredini, Waxwork Records brings the newly remastered score to vinyl for the first time, ever. The original master tapes were discovered in the Paramount Pictures vaults by Manfredini and have been faithfully restored, edited, and mastered for vinyl to create the definitive FRIDAY THE 13TH PART II LP release.

                                            Joe McPhee

                                            Solos: The Lost Tapes (1980 - 1981 - 1984)

                                              In 1976, Joe McPhee recorded the landmark album 'Tenor', kicking off a solo period of finding and refining the distinctive voice that continues to inform his music to this day. 'Solos : The Lost Tapes (1980 – 1981 – 1984)' is a collection of material from McPhee’s personal archives that shines new light on the legendary multi-instrumentalist’s work during this time. “Wind Cycles,” for tenor saxophone, explores the permutations of breath on reed and brass, from quiet whispers to full-throated cries and back again. With “The Redwood Rag,” McPhee takes a jaunty melody and gives it a swinging workout with Steve Lacy-like precision. The free-blowing alto excursion “Ice Blu” is, in McPhee’s words, “a sound which evokes an image, which asks a question ‘What is that?’ and the answer is, a sound which evokes an image which asks a question.” “Voices,” one of his signature compositions, gets a particularly haunting treatment here on soprano, with McPhee incorporating various electronics to mesmerizing effect. All together, 'Solos: The Lost Tapes (1980 – 1981 – 1984)' is the distilled essence of one of the most important creative improvising musicians of our time. Cover art by Judith Lindbloom. Includes a download coupon for the full album plus a bonus interview, conducted at the New Music America Festival in 1981.

                                              “Zero Set” represented a milestone in latter-day Krautrock, created in 1983 by a hugely authoritative triumvirate of the German avant-garde: Dieter Moebius, Conny Plank and Mani Neumeier. The musician, producer, remixer and self-confessed Krautrock fan Richard Fearless has dismantled the outstanding track “Speed Display” and bequeathed two new versions to Bureau B.

                                              Dieter Moebius was a member of seminal bands like Cluster and Harmonia. He was active as a solo artist and in various collaborations (with Conny Plank, amongst others). Conny Plank is seen as the definitive Krautrock producer, having worked with Kraftwerk, Neu!, Cluster and Ash Ra Tempel. Last but not least, Mani Neumeier, Guru Guru founder, figurehead and drummer.

                                              Delving into Conny Plank’s tape archives, Bureau B came across the original “Zero Set” multitracks. Having just meticulously curated 'Kollektion 4' for the label, Richard Fearless seemed like the perfect remixer. He once described his love of Krautrock and related movements as follows: “I always listen out for music with a sense of space; where compositions are stripped down to the barest components while retaining the power to conjure emotion. If you can trigger emotion with the most minimal amount of sound, that’s job done as far as I’m concerned.”

                                              The original was powerful enough, driven forwards by Mani Neumeier’s machine-like drums and incessant bass synths, yet Fearless has managed to crack up the energy levels even further. On the A-side he has grafted rhythmic patterns onto a four-to-the-floor beat and compelling bass signature. Feedback, echoing voices, a sprinkling of synth - only the most essential elements, nothing which risks overloading the mix. Meanwhile on the B-side, the original track is barely recognisable. Fearless has plucked just a few notes from the bassline and crafted a fine slice of hypnotic electro-dub with minor chord echoes.

                                              Mark Morriss

                                              The Taste Of Mark Morris

                                              Shortly after an exciting announcement of a Bluetones reunion tour coming this September, Mark Morriss is set to bring you his second solo album released through Acid Jazz Records.

                                              “The Taste of Mark Morriss” is a covers album which delivers an intimate insight into the Bluetones singers’ eclectic musical tastes, giving listeners an insight into the mind of one of Britain’s finest songwriters.

                                              Featuring covers from The Sisters of Mercy to Madonna, each of these 12 tracks have been picked apart and put back together again with a touch of Mark Morriss flair!

                                              Taking a break from his tyrannical rule of Gabon, President Bongo extradites the stems for Róisín's "Exploitation" to his Bongomachine Studios in Berlin and serves up a speaker busting rework. The dramatic strings of the original sweep through the stereo field over the steady boom of a powerhouse kick, while sonic artefacts tumble into a pool of reverb. As Róisín's eerie vocals whisper into your soul, a roving, rampant electro bassline builds and builds, tunneling straight for the peaktime. This WMD comes specially designed for mainrooms, primed to explode into a shower of strobe and smoke. Distributed once more through propaganda arm 'Radio Bongo', this limited dispatch will cause destruction wherever it's heard, so make sure it falls into the right hands.

                                              The Myrrors / Cult Of Dom Keller

                                              Fuzz Club 10" Split Single No. 7

                                                Number 7 in the Fuzz Club 10" split single series brings together The Myrrors (US) and Cult Of Dom Keller (UK).

                                                There is certainly something mysterious about The Myrrors. Their first album “Burning Circles in the Sky,” was recorded in 2008”, but only saw a physical release late in 2013 (Fuzz Club Records) after becoming what can be considered a YouTube "hit" in the underground scene with millions of views. Their critical acclaimed second album "Arena Negra" was released on Beyond Beyond and Beyond in 2015 and the band was invited to play “Levitation Austin 2015" the incarnation of Austin Psych Fest.

                                                Nottingham based DIY sonic alchemists Cult Of Dom Keller have been creating whacked out soundscapes and songs that appear to have been born from another universe, all from the confines of their sonic bunker. The group have gained most ground in the past year after a line-up change in December of 2013, at first being joined on bass by Jason Holt (lead guitarist in Pete ‘Sonic Boom’ Kember’s post-Spacemen 3 group ‘Spectrum’), and then later completed by Al Burns on drums. 

                                                FORMAT INFORMATION

                                                Ltd 10" Info: Edition of 500, 10" Vinyl (white vinyl, numbered insert).

                                                The saga continues as Undertones drop the second part of Nathaniel X's long awaited debut album, "Last Supplement", providing club kids everywhere with more raw and raucous, deep and dense house magic for their next party. The EP gets off to a dramatic start with the orchestral stomp of "Dr Vil'Kenstein & Monksta", a full bodied house track electrified with strings, flute and massive percussion. On the A2, "Thee Illusionatti" takes us down into the Heardean depths with the classic combination of feathery organic details and round, rib rattling bass. At the top of the flip, "All In A Day's Work" delivers the classic NYC house sound as jazzy double bass and a swinging beat bring the heat to your feet, while piano chords and big orchestral stabs dominate at the top end. The clue's in the title on EP closer "The Party's On The Way", a killer vocal cut in the vein of Chez Damier classics on KMS with lithe keys and plenty of live energy. I can't wait for part 3!

                                                FORMAT INFORMATION

                                                12" Info: Blue Vinyl Pressing

                                                Re-issue of the explosive 1996 debut by Neutral Milk Hotel. Jeff Magnum's songs are cryptic and crazed, his ideas fast and furious, and together they force the home-recording concept out of the basement and into a brave new world, a fuzzy masterpiece of experimental lo-fi recording. Full of rapid-fire wordplay with true and heartfelt experimentation, both ambitious and eclectic, it's not hard to see why this has been such an influential album. Part of the fabled Elephant 6 collective, Neutral Milk Hotel won over many a music critic with this cult classic.

                                                The band are recognized as one of the most influential alternative acts to come out of the mid-90s and sowed the seeds for everything from anti-folk to the likes of Arcade Fire, Caribou and even Franz Ferdinand. On its original release, this album ranked #35 in the annual Village Voice Jazz & Pop Critics' Poll. Also, Spin proclaimed this album one of the ten best "you didn't hear" of 1996. 

                                                FORMAT INFORMATION

                                                CD Info: Deluxe repackaging in new mini gatefold sleeve with TWENTY FOUR page poster booklet, this reissue includes the 'Everything Is' single and b-side 'Snow Song Pt.1' from the original 1994 7" release (also re-issued as a limited 500 copies only release).


                                                Nevermind - 180g Vinyl Edition

                                                  Released in September 1991, Nirvana's sophomore album and major label debut elevated Kurt Cobain, Krist Novoselic and Dave Grohl from a critically acclaimed Aberdeen, Washington, cult band to generational spokesmen who'd unwittingly created a cultural shift and musical touchstone. Rising to No. 1 the world over and ultimately selling over 30 million copies worldwide, Nevermind would come to be much more than one of the most successful and influential albums of its or any era. 

                                                  As the album that returned unaffected rock ’n’ roll integrity and passion to the top of the charts, Nevermind would prove a singular inspiration to fans and musicians alike over the last two decades-and will undoubtedly do so for generations to come.

                                                  “Virgin Mary” is the synth-induced followup single to Nots’ debut LP, We Are Nots. Recorded half on Natalie Hoffmann’s four-track in the industrial dazed storage unit where the band practices, and half in Burgundy Studios with Keith Cooper (the rock ’n’ roll warlock responsible for capturing the two previous Nots 45-RPM assaults), “Virgin Mary” delivers hellish synth and guitar that swirls around the hypnotic rhythm section as the band simmers into the sonic void.

                                                  “[‘Virgin Mary’] finds the band back in the studio with Keith Cooper, the guy who recorded their first two singles. While it certainly sounds like a Nots song, there’s a significant departure from We Are Nots: Alexandra Eastburn’s synthesizer isn’t centrally responsible for the song’s melody. Instead, it burbles in the background, giving the track an unsettling and celestial undertone. And Natalie Hoffmann’s voice howls, her ever-unsteady and unpredictable guitar needles into the frame. Here, the rhythm section, Charlotte Watson and Madison Farmer, come off as the track’s ever-churning center. Nots aren’t exactly reinventing themselves—it’s familiar, but feels new. If this is a portent of their next moves, though, the impending chaos ought to be interesting.” - Pitchfork.

                                                  A longtime collaboration between Natalie Hoffmann (guitar) and Charlotte Watson (drums), Nots has evolved into its wildest incarnation yet. Now featuring Madison Farmer on bass and Alexandra Eastburn on synthesizer, the Memphis band follows up their first two singles on Goner Records with their guitar-driven, synth-laden debut LP. We Are Nots was put to tape over the summer by Doug Easley and arrives just in time to land a spot on your Top Ten of 2014.

                                                  “There’s a constant post-mortem and excavation of the Memphis music underground by vultures of both the Euro and American varieties. Bands form, toil and scheme, mutate, play and record only to wither away in the seemingly unrelenting wall of indifference. Plod ahead a few years, label X or label Z discovers and excavates the musical rubble as much for autocratic as historic purposes. A gold star and a box of records to the winner.

                                                  “Nix the assertion Nots are a side project, a spin off, a revival of some fashionable subset of your record collection. Evolving headstrong, their white noise is without compromise or concession. Brass venom yelled atop a torrent of twisted guitar shards, so human, barbed and unruly. Obliterate the retroactive retreat; Nots are now.” - John Hoppe.

                                                  Ol' Dirty Bastard

                                                  Return To The 36 Chambers - The Dirty Version

                                                  It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut 'Return to the 36 Chambers'. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998.

                                                  Blackest Ever Black presents Red X, the debut release from Young Echo member Ossia. 10 unyielding minutes of noise-strafed, rootical techno backed with two more abstract, uncanny studies in reverb and delay. One of the Bristol underground’s most vital behind-the-scenes operators, Ossia runs the RWD FWD mail-order and oversees the Peng! Sound, No Corner and Hotline Recordings labels, among others. Though you may have clocked his appearances as DJ Oa$is on FuckPunk, the no-fi dancehall label he runs with Vessel, Red X is his first proper solo offering. The title track was made during the winter of 2014/15, inspired by Peter Tosh’s personal taped diaries: mysterious reel-to-reel recordings in which the reggae star documented his dissatisfaction with city life under Babylonian rule, and his mistrust of certain people around him, in the run-up to his shocking murder in ’87. Recorded using - among other things - samples, Roland synth, and a rowdy one-take session with the open spring reverb thundering through echo pedals, hard delays and distortion, 'Red X' brilliantly bridges dubwise, isolationist electronics and modern soundsystem dynamics, the stoic half-step of its opening section gradually hewn apart with a ruffneck 4/4 thump, warping sub-bass and a hellfire of high frequencies. Spacious, spry and airy, but with the threat of violence never far way, B1 'Ice & Blood' feels like something picked up on an ebbing pirate signal, with deep blue synths holding fast against stepping razor drum edits. The deep, dread ambience of B2 ’Blood & Ice (Version)’ was coaxed out of an acetate dubplate of ‘Ice & Blood’, and the crackly old 7” run-out groove of Tosh’s ‘Oh Boombaclat’, shot through ’70s Copicat tape-delay and an array of effects. It powerfully evokes the the last breath, or perhaps first gasp, after the rain, after the violence. Peace at last. Vinyl-only edition of 500 housed in beautiful screen-printed sleeve designed by Studio Tape Echo.

                                                  James Pants


                                                    James says it’s “inspired by Martin Denny flourishes, royalty free breakbeats, Gary Wilson and Hamburg’s infamous Golden Pudel club.” The record was composed solely via MIDI and a Yamaha Portasound PSS-480 and is an oblique homage to the Residents’ 'Commercial Album' - a 14-track record made up of sonic vignettes that sounds as good on a stereo set-up in the Amazonian jungle as it does coming through laptop speakers. Like Pants’ previous records, it sounds different to what has come before: In fact, there are more than 100 tracks that were considered for the release. As Pants explains, “Instead of laboring months over one song, I like to move quickly onto the next.” What’s emerged on this release is something full of (fake) emotion, set to an exotica beat.



                                                      Placebo is the eponymous debut studio album by English alternative rock band Placebo. It was released on 16 July 1996 by record label Hut. It is the only album recorded with drummer Robert Schultzberg before his departure from the group. 

                                                      FORMAT INFORMATION

                                                      LP Info: 2015 remastered 180g vinyl edition.

                                                      Conclusion of a triptych of new releases from Prefuse 73. It has been four years since Guillermo S. Herren released anything significant from his most famous and respected moniker, Prefuse 73 (though he did keep busy with live shows, collaborations, and remixes). That's a long time for virtually any artist, but it's an eternity for Herren, whose first three Prefuse 73 albums dropped in the span of four years. As if to make up for lost time, 2015 will see the release of not one, but three major works from Prefuse 73. After several albums that saw Herren progressively drift away from the beatmaking prowess that made him synonymous with emotionally resonant, damaged hip-hop, he's found himself reinvigorated - thanks in large part to an emotionally draining, creatively cashed few years. As Herren puts it, "I've come back to hyper focusing - immersing myself in the sounds, rhythms, and formations that created Prefuse 73 in the first place. Recently, I've found a new life in the whole process of refining what I've created over the years as "Prefuse". Right now I'm at my most confident and comfortable since 05/06." It shows. The conclusion of a triptych of new recordings, Every Color of Darkness basks in the darkest corners of Prefuse 73's world, finding an eerie romanticism in manic beats and damaged jazz. It's a record that showcases his uncanny ability to excavate and exploit a source of light buried in pitch black. For an artist who has played an undeniably integral role in the careers of so many influential artists - from MF DOOm to Battles to Flying Lotus - it's not just refreshing to hear him return to top's revelatory.

                                                      The Prodigy

                                                      The Night Is My Friend EP

                                                        Following on from their 6th consecutive number 1 album and taking the counter comment to the album's title track 'The Day is My Enemy', The Prodigy release a brand new EP entitled 'The Night is My Friend'.

                                                        The EP includes album tracks 'Get Your Fight On' (Re Eq) and 'Rhythm Bomb' feat. Flux Pavilion (Edit), two fresh remixes of album tracks 'The Day Is My Enemy' (Caspa) and 'Rebel Radio' (René LaVice) and the previously un-released, fan favourite 'AWOL'.

                                                        'AWOL' has been a track the band have played live since 2012 but as the album writing and recording process developed the band decided to hold 'AWOL' back . Now, after reworking it into a new unheard version they feel it's time to make it available on record, CD single... and cassette!

                                                        FORMAT INFORMATION

                                                        12" Info: Limited edition clear 12" vinyl pressing.

                                                        Public Enemy

                                                        Yo! Bum Rush The Show

                                                        With 1987's 'Yo! Bum Rush the Show', Public Enemy introduced a new kind of bravado that wasn't just directed at other players and sucker MCs but was an out-and-out middle-finger challenge to the whole world. PE, helped by Def Jam head Rick Rubin, crowd these tracks with disparate sounds that move your hips while they buzz from every channel. Despite Chuck and Flavor's serious posturing, you'll be grateful for the sloppy bass line in "Timebomb" and Terminator X's brilliant tone experiment (doffing its hat to Fred Wesley's 'Blow Your Head'), "Public Enemy No. 1."

                                                        Danny Moore aka Pvre Matrix is from a generation of young techno producers out of Brooklyn who come at the music without preconcieved notions or boundaries in their approach to production and playing live. He is the epitomy of the slash and burn blitzkrieg attitude of new producers popping up under the JMZ everyday. While very interesting to see the scene develop this way, few have executed in such a fashion as Pvre Matrix has. Impeccabily produced without losing its sense of urgency or brutality and clocking in at breakneck speed, Pvre Matrix is out for blood, and his three track debuts prove as such. While you might not catch Danny Moore in your local big room anytime soon, he is undeniably a force that is present and will crush you regardless.

                                                        Quantic Presents The Western Transient

                                                        A New Constellation

                                                        Quantic Presents The Western Transient is the latest project from Will "Quantic" Holland, bringing together a handpicked band of some of his favourite American musicians to realise a set of new compositions paying homage to the rich, lively and intimate quality of the classic soul and jazz recordings. 

                                                        The resulting album, 'A New Constellation', is out on Tru Thoughts; in characteristically mercurial fashion this new outing sees Holland following up the explosive, worldly electronic and vocal direction of his hugely acclaimed last solo album, 'Magnetica', with a suite of traditionally recorded pieces that capture the spontaneous beauty in the old ways of music making. His thirst for musical exploration has seen British born Holland release over 15 albums - ranging from electronic solo productions via the full live funk and soul bands the Quantic Soul Orchestra and the Combo Bárbaro to Latin, African and Caribbean styles - and become renowned as one of music's modern trailblazers. On moving to New York in early 2014, he started rediscovering his love affair with instrumental jazz and soul records in which the studio ensemble takes the spotlight. He has previously collaborated with Aloe Blacc, Alice Russel, Anita Tijoux and Sharon Jones. He decided to record a full length album paying homage to recording in this classic sense and also to collaborate with many of the musicians that he had worked with in the city of Los Angeles - these revered musicians included Brandon Coleman, Todd Simon, Sylvester Onyejiaka, Wilson Viveros and more.

                                                        FORMAT INFORMATION

                                                        LP Info: The Super Limited LP is housed in a deluxe handmade hardback gatefold sleeve with booklet and images from renowned photographer B+.

                                                        Hot on the heels of his recent Eddie Kendricks/Q Tip outing on the 2Dogs imprint, Redmo once again comes up trumps with this 2 tracker on the newly formed Felt Tip label. The all time Bob Marley classic 'Is This Love' get's stripped back to its absolute bare bones then strung back together resulting in a majestic dubbed out acoustic masterpiece. All the original parts...horns, guitar, piano and of course the vocals (both lead & backing) are brought back to life in an arrangement and version that's sure to raise pulses and eyebrows alike. On the flip we have 'Sadi Soul'.....A double bass led jazz-funk groover which we believe is based on a rather rare 70's Belgium jazzer that's worth a pretty penny or two! Redmo gets us instantly locked in with the drums underpinned by that walking bass line, vibes slip n slide effortlessly over the top resulting in mightily cheeky little dance floor gem. Keep 'em peeled.....Redmo is one to look out for!

                                                        Daniel Romano

                                                        If I've Only One Time Askin

                                                        Not quite country, Americana, folk, songwriter or pop, Daniel Romano’s exquisite and expansive new album - ‘If I’ve Only One Time Askin’’, released on New West Records - is pieces of each but ultimately the work of asingular mind.

                                                        As hailed by Rolling Stone, the 11 self-produced and largely self-performed new songs “lead their baritone-voiced creator down a path filled with countrypolitan crooning, honky-tonk heartache and midcentury melodrama.”

                                                        In the two years since his critically acclaimed third full length ‘Come Cry With Me’, Romano has toured North America and Europe extensively, collaborating with and supporting a wide spectrum of artists, including Old Crow Medicine Show, Wanda Jackson, Hurray For The Riff Raff and Caitlin Rose.

                                                        Following the release of her fourth critically acclaimed studio album “Tigermending”, British singer/songwriter Carina Round returns from a brief spell of touring and recording with her other musical endeavours Puscifer and Early Winters with a full-length remix album of its predecessor, the aptly titled “Tigermixes”. Collaborating with a host of talent from both her native England and resident US, “Tigermixes” is an exaggerated, re-imagination of Round’s skillfully crafted works, quite unlike any of her releases to date.

                                                        Boasting the remix and production efforts of an eclectic cut of standout acts including: Puscifer (Maynard James Keenan and Mat Mitchell), Curt Smith (Tears For Fears), Phil Mossman (LCD Soundsystem) and personally selected underground and breakthrough talents, including members of Carina's musical family who worked closely on the making and touring of Tigermending, features re-workings of all eleven tracks from the original album, together with the physical release debut of the fan favourite bonus track “Got to Go” [2000 Years BC Remix] Feat. Billy Corgan (The Smashing Pumpkins). 

                                                        Conrad Schnitzler

                                                        Kollektion 05: Compiled By Thomas Fehlmann

                                                        Things come full circle. In 1976 Thomas Fehlmann arrives in Hamburg to study art at the HfBK. In 1979 he attends a guest lecture by Conrad Schnitzler, who demonstrates to students how the 'extended definition of art' established by Joseph Beuys can be applied to music. This proves to be a crucial element in Fehlmann's decision to become a musician. And now, over 35 years later, he has compiled Bureau B’s fifth collection: 16 pieces from the early 1980s by the man who broadened his horizons, Conrad Schnitzler. The gateway to Schnitzler's sonic cosmos has been flung wide open.

                                                        Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. Thomas Fehlmann rose to prominence in the seminal band Palais Schaumburg with Holger Hiller. Their debut album in 1981 was a milestone in German post-punk music. In 1988 Fehlmann founded the Teutonic Beats label and in 1990 he became a member of The Orb. He has played an important role in Berlin's electronic and club scenes ever since, as a musician, producer, remixer and DJ.

                                                        Thomas Fehlmann on this Kollektion: "So the question is, are we talking about a 'mix' or what is the most accurate way to define this kind of compilation? If 'mix' overreaches slightly, the fact remains that I have strung together various pieces from Conrad Schnitzler's white period - the CON series - in a seamless arrangement which creates its own state of dramatic tension. The tracks retain their original form and tempo. This is not a study in montage. I have restricted myself to picking the right moment to move from one piece to the next, cross-fading. Okay, I did edit one track. Mixing implies a deeper incursion into the source material, dismantling and reconstructing it in new combinations. I would have found that too crude a method when each individual piece carries its own unequivocal message. The sound is the sound of Conrad Schnitzler. I was looking for a form which would condense Conrad Schnitzler's versatility, his inventiveness and wit into a single journey. The new running order adds a certain friction to the aura of each as new connections are made. My choices were musical, not chronological, bathing these works from the early 1980s in new sensuous light. It is quite remarkable to see how intensely the sparks still fly. Preparing this collection closes an elementary circle in my life, without which I may have followed a completely different path."

                                                        Scissor Sisters

                                                        Scissor Sisters - Pink Vinyl Edition

                                                          'Scissor Sisters' is the debut studio album by New York 5-piece band Scissor Sisters, first released in 2004. The album reached number 1 on the UK and Irish albums charts, and was the best-selling album of 2004 in the UK. Since its release it has gone 9× Platinum in the UK. In Ireland it has been certified 5× Platinum.

                                                          Their eponymous debut is a gleaming composite of epic, unabashedly pretty ‘70s songwriting and fancy-pants disco hedonism, reflecting the decadent dance-pop afterglow of all that George Michael wrought.

                                                          With music's obsession with the past and recycling itself, it only seemed a matter of time before someone would take 70s mainsteam pop and rework it for the 21st century. Scissor Sisters do just that, taking the feel of Elton John or Leo Sayer and giving the songs a nice new shiny electro-pop edge. Includes the singles "Laura" and "Comfortably Numb".

                                                          FORMAT INFORMATION

                                                          Ltd LP Info: 180g pink vinyl pressing in gatefold sleeve with insert. Individually numbered.

                                                          Tsuba follow on from the success of Sebo K's "Aquamarine" 12" with this bonus platter containing the unreleased Mr Fingers dubs. The Chicago house originator already blew us away with his deep remix on the first 12", but these three further interpretations showcase the unbridled creativity and diversity of the great man. The Acid dub sprawls across the A-side, dragging the original into the depths of the undergrowth with rainforest sounds, wriggling 303 lines and warm synth textures. On the flip, Heard serves up two versions of the "Raw Mix", submerging a hypnotic bassline within zero gravity pads and a rattling drum machine beat. Unsurprisingly, this has been flying out over the last few days, so grab a copy sharpish.

                                                          Sei A returns to the cooking-on-gas Aus record factory. Having released records on Turbo, Kompakt and Hemlock - the London via Glasgow producer marks his welcome return with "Gasp" - a muscular club track with distant traces of pirate radio attitude, arranged dramatically with some head-turning drops and high-end production sheen that'll keep the most clued up of club kids happy. "4ME2" deploys synthetic, 2ci-flavoured arpeggio shards raining and shattering through a suspended wall of radiance before a big ol' beat comes clunking through. Another completely unique number from this talented producer and surely one for the Beats In Space brigade. "Never Wander" then builds behind a seriously atmospheric and dreamy backdrop. Mournful chord shifts are spread overhead before alongside a catchy vocal refrain before a sharp electric bass pattern is driven in from underneath; the epic, angelic curtain of sound covering the whole thing in an ethereal cloak. Magic.

                                                          Semi Precious

                                                          When We Talk EP

                                                            Semi Precious is the production moniker of South East London based musician Guy Baron whose self-titled debut release appeared last September and was well received by the likes of The Guardian ("a six track EP of subtly dislocating beauty"), DIY ("gloomy intimacy in the midst of a big experimentation binge") and The Line of Best Fit ("unique mixture of techniques and stunning vocals that create mesmerising, unforgettable pop").

                                                            The 'When We Talk EP' takes Semi Precious’ reverb laden minimalist vocal and production style to an even more ethereal place of solitude. A self confessed architect of ‘bedroom pop’, Semi Precious explores ideas of false intimacy and longing through this short collection of brief explorations in celestial pop.

                                                            The Sex Pistols

                                                            The Great Rock 'N' Roll Swindle

                                                              The Julien Temple ‘documentary’ film on the Sex Pistols, "The Great Rock ‘n’ Roll Swindle" chronicled the legendary band’s fictional rise and subsequent break-up from the perspective of ‘The Embezzler’, manager Malcolm McLaren. Infamous, even upon its release, the film was shunned by John Lydon and his appearance in it was taken only from old archive footage. When it came to putting together the soundtrack a similar approach was taken, with Lydon’s vocals being taken from demo tapes and overdubbed with the rest of the band’s newly recorded instrumental tracks. What resulted was an eclectic mix of hits, covers and guest appearances, including The Sex Pistols' own versions of The Who’s "Substitute", Chuck Berry’s "Johnny B Goode" and Sid Vicious' take on Frank Sinatra's "My Way", all nestled amongst tracks sung by Edward Tudor-Pole (of Tenpole Tudor), "The Black Arabs" disco medley of the hits and a French version of "Anarchy In the UK" (complete with accordion). The album has now been fully remastered.

                                                              STAFF COMMENTS

                                                              Andy says: Lord God have mercy, it's The Sex Pistols!

                                                              FORMAT INFORMATION

                                                              2xLP Info: Includes poster & stickers.

                                                              Skip Bifferty

                                                              Skip Bifferty - 180g Vinyl Edition

                                                                Skip Bifferty might not exactly have been the Rolling Stones but they could have given the Idle Race or the Creation a run for their money. "Guru" is the trippiest number here, a tabla-laden piece of minimalist psychedelia that's all voices chanting and pounding percussion, and it works. In all, it's cheerful psychedelia with a hard edge and some great virtuoso playing, pleasingly heavy guitar, soaring choruses, and eerie psych-pop lyrics evoking variant states of mind, somewhat akin to Pink Floyd's early singles laced with the kind of heavy edge that the Creation brought to the genre.

                                                                The third studio album by Sonic Youth, originally released in May 1986 on SST Records, shows the first signs that the band was ready to transform their no wave past into a greater alternative rock sensibility.

                                                                “EVOL … mark[s] the true departure point of Sonic Youth’s musical evolution,” says Pitchfork, who place the album in the #31 slot of their Top 100 Albums of The 1980s.  “In measured increments, Thurston Moore and Lee Ranaldo … bring form to the formless, tune to the tuneless, and with the help of Steve Shelley’s drums…, [impose] melody and composition on their trademark dissonance."

                                                                Stereogum likewise praises the album as one that is “full of suspense…, the cornerstone [of] the Sonic Youth sound…, ground zero for the combination of chiming guitars and atonal skronk… [and] muggy delirium…. The virile ‘Tom Violence’ sounds less written than coaxed from a cauldron, the sort of song that fogs windows. The offkilter [droning love song] ‘Starpower’ … is sung [by Kim Gordon] in a frosty [Nico-evoking] monotone. ‘In The Kingdom #19,’ featuring Mike Watt on bass and … vocals [by Ranaldo]…, is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by … live firecrackers into the vocal booth.”

                                                                “EVOL slithers into the unconscious,” notes Popstache. “Once the [detuned melodies and haunting riffs and] final whispers of feedback [of ‘Expressway to Yr. Skull’] depart from the speakers…, the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.” “The seeds of greatness…” —Pitchfork.

                                                                “A near-masterpiece.” —Trouser Press.

                                                                “A stunningly fluent mixture of avant-garde instrumentation and subversions of rock’n’roll.” —All Music Guide. 

                                                                FORMAT INFORMATION

                                                                LP Info: Vinyl includes free download and the download include bonus track—a cover of Kim Fowley’s witchy masterpiece “Bubblegum”.

                                                                CD Info: CD include bonus track—a cover of Kim Fowley’s witchy masterpiece “Bubblegum”.

                                                                Speed, Glue & Shinki


                                                                  Ex-Foodbrain guitarist Shinki Chen, bass player Masayayoshi Kabe (also know as M Glue) and Phillipino Vietnam war veteran Joey `Pepe' Smith, who doubled as both the trio's drummer and vocalist, released two legendary albums in the early 70s. "Eve", the earlier of the band's two efforts, was probably the band's only 'real' recording as the self-titled 2nd release in 1972 was put together by Smith from studio outtakes of Chen's guitar playing and tracks omitted from "Eve".

                                                                  "Eve" is a bluesy, psychedelic album, with Chen's Hendrix-style guitar playing firmly underpinned by Smith's insistent percussion style modelled on the playing of his idol, Ginger Baker. The band dissolved immediately after the release of "Eve" as the other two members found Smith's drug-fuelled lifestyle (he was a huge fan of amphetamines and diligently applied himself to establishing a prodigious habit) decidedly unappealing. Chen decided he didn't want to record again, and became a successful live artist, Joey went back to the Philippines and started the power trio Juan de la Cruz Band, and Masayoshi Kabe would win fame with the band Pink Cloud. In spite of their short-lived activity, Speed, Glue and Shinki were important, first and foremost as pioneers of the Japanese psychedelic rock scene.

                                                                  STAFF COMMENTS

                                                                  Darryl says: This immense stoned psyche rock classic was joint first in Julian Cope's Top 50 Japanese album chart alongside the Flower Travellin' Band's "Satori" album.

                                                                  FORMAT INFORMATION

                                                                  Ltd LP Info: Pressed on 180g virgin vinyl.

                                                                  Speed, Glue & Shinki

                                                                  Speed, Glue & Shinki (Tiger)

                                                                    Following on from the gutsy blues-rock groove of the band’s first and probably only genuine studio release, Speed, Glue & Shinki’s second release, often referred to as “Tiger” brought together a number of tracks not included on "Eve", as well as some new recordings that took a very different musical slant. Joey Smith decided that as he could he handle himself admirably on drums, it was time to challenge a new instrument so he bought a synthesizer. Drafting in friend Mike Hanopol to take over the bass-playing duties from the departed Masayoshi “Glue” Kabe, Smith managed to produce an album of two halves, the first being some of the strongest SGS-esque material ever, the second being some fine electronic instrumentals in the Tangerine Dream mode.

                                                                    Following the release of the album Smith and Hanopol flew back to Manila to become Filipino superstars, while Shinki eschewed the recording of his music in preference to live recordings and Kabe found alternative employment in the highly popular band, Pink Cloud. However, the band’s legacy lives on in “Tiger”, a compendium of the sound of "Eve" and a taste of where the band might have gone had time, personalities and huge amounts of illicit drugs not exerted their influences.

                                                                    STAFF COMMENTS

                                                                    Darryl says: No.15 on Julian Cope's list of top Japanese albums.

                                                                    FORMAT INFORMATION

                                                                    2xLtd LP Info: 180 gram double vinyl.


                                                                    Amazing Grace - Vinyl Edition

                                                                      Jason Spaceman returns to the garage. It's not quite the drug'n'drone hypnosis of his early Velvets / Stooges infatuation but it was recorded live and the whole thing took only three weeks. The sound is raw, minimal and compared to "Let It Come Down" refreshingly lo-fi. But, don't worry, there's no less elegance here; there's just more urgency. And it's still crammed full of Jason's usual passions; gospel, blues, country, jazz and garage-rock. The more things change, the more they stay the same. Still awesome then!


                                                                      Songs In A&E - White Vinyl Edition

                                                                        'Songs In A&E' comes five years after Spiritualized's previous album - 2003's 'Amazing Grace' - and following Pierce's near death experience in 2005, after he had contracted advanced periorbital cellulitis with bilateral pneumonia. Indeed, the album takes its title from the long period Pierce spent in the Accident and Emergency ward during this illness and it is also dedicated to the staff at the Royal London Hospital where he was treated.

                                                                        However, most of the songs were written before Jason fell ill. The record was about a family that wasn't his, but when he revisited them Jason felt it predicted his near-death experience in some way. Musically the album marks a return to "the more expansive elements of Pierce's sound even though it features the fewest noise-scapes and most terse songs in Spiritualized's history.

                                                                        New songs such as "Death Take Your Fiddle" and, especially, "Sitting on Fire" - which sounds as if Pierce recorded the vocal from his deathbed - are eerily prescient, while "Don't Hold Me Close," a tender duet with film-maker Harmony Korine's wife, Rachel, recalls Gram Parsons and Emmylou Harris. Throughout the album there are interludes of church chimes, otherworldly beeps and odd noises. In places it could be mistaken for an album of elevator music made for funeral homes and released on electronic label Warp. It is quite a trip.

                                                                        John Swing returns to the arena with now trademark sound - big terrace rollers for the hedonistic party crowd. This is one producer who's really ringing my bell at the moment, with his insatiable loops and rough-as-a-bear's-arse drums. Just bad boy house tunes for the peak time. "I'm Here" rolls out a retro drum beat over looped vox and a disco flavoured octave bassline. Chopped and editted to perfection its certain to get the floor gyrating early doors. "Build It Up" continues the theme with more looped female vox. This animals got some serious bite when it drops though, with a bassline so fat it barely fits onto the master tape! Hi energy dancefloor saturation from Mr Swing - great stuff! "Groovin' Jazz" takes the crushed tape aesthetic even further, forcing funky jazz samples through his audio blender until we're flatlining in the red. "Run Out Jam" concludes this manic EP with a nice groovy number; a crazy air-horn sound introducing some funky as hell congas and bass, opening up the lo-pass filter to reveal some pumping house goodness. Most excellent stuff from John Swing, and one of a current plethora of bangers come our way from him and his amazing Relative imprint. One to watch!

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