'501-415' is the first single from 'Worship The Sun', the highly anticipated follow-up to the Allah-Las' self-titled debut.

Recommended for fans of: Temples, Mac DeMarco, War on Drugs, Black Angels, Kurt Vile, The Animals, The Byrds, Love

Praise for Allah-Las:

-- “It’s all wonderful stuff here” 4/5 Mojo

-- “A meticulous and sensational new garage rock band” 8/10 Uncut

-- "exotic, avowedly post-milennial, and extra-hot... dreamy Rickenbacker pop" Q

-- "Cramming as much guts and passion as possible into three and a half minutes or less" The New Yorker

-- “exquisite” NME

-- "wonderfully authentic... a late arrival in 2012's albums of the year list" The Times

-- "fresh and addictive" 4.5/5 The Sun

-- "Allah-Las manage the neat trick of narrowing the gap between 1966 and the present day" 4/5 The Independent

-- "full of garage rockin' jams [and] filled to the brim with shiny pop nuggets" Time Out

Masaaki Yoshida aka Anchorsong has been winning friends here in the UK and internationally throughout Europe with his live shows, and yes we do mean live: Yoshida’s music is created with a sampler and a keyboard, from scratch at his gigs.

Sometimes these sounds are augmented by a string quartet. With a couple of releases for Lastrum in his native Japan, Anchorsong relocated to London and soon hooked up with the Brighton-based Tru Thoughts label, who put out a four-track CDR called the 'Darkrum EP'. That, an appearance on Boiler Room TV last year, and support from Radio 1’s Huw Stephens have all helped this young man begin to garner attention. We are hoping this release for BBE will be the one that transforms him from a name bandied round by the electronic music cognoscenti, to a high-profile artist/producer.

Previously characterised as being a maker of downtempo beats, the 'Mawa EP' is an altogether more upbeat affair. The opener rattles along with African tribal chants, dense percussion and a fuzzy near-analogue ambience; the African vibe is continued on track 2 with a looped marimba before we suddenly switch to some sparse, dreamy 4/4 stuff that wouldn’t have sounded out of place on Nu-Groove way back when. The third track is altogether busier, interweaving more chanted vocal snippets and tinkling percussive figures over a sensuous bassline, and the closer increases the bottom-end action with some near sub-bass anchoring layers of shifting, swirling bleeps. This release puts Anchorsong firmly in ‘minimal’ territory and demands attention from electronic music DJs everywhere.


10" Info: Clear vinyl pressing.


Dog Hobbies USA

    Arndales consist of four men whose ages range from 42 to 51. Notable bands / artists with which they have been / are involved: Country Teasers, Thrilled Skinny, Badgewearer, Gag, Montana Pete, Pregnant Neck, Collapsed Lung, Zuno Men and Jad Fair. They’re menacing, menacingly good, regional treasures, stalker, very dangerous stretches of road, and I hate noise and scandalous handmade postcards. This is good, black crosses for eyes. Frantic, frenetic, edgy, disturbing, scratchy low-end menacing new wave. The whole presentation is something to be desired. John Peel would have played this lots, I guess we still miss him, when will they replace him? This band should be on your list, these songs should be on the list, that line should be on your list. Time to kill in your office? Listen to this.

    Angular but not in that obvious way, solid, national statues more Fall than Franz. They’re from the Three Counties, where ever that is, somewhere in Southern England, sounds more like a regional bus company. I’m out of milk again, and famous things in history. Great songs, menacing songs, new wave with excellent benefits and reading books, shared common interests, ancient Greeks, iced tea. Definitely not Ice-T. Plunged in to lots of things, they do a lot of things, they hope that bothers you. Arndales have things to say— pop that’s wrong, Wrong Pop. Before we ask the question and ask of selfsustained adventure (like John Wark in Escape to Victory). Not a bad song on here, just answers to the new town problem, national airline meals and oriental murder mysteries. This is very good, menacingly good and rather recommended and you won’t have to wear a suit.

    Daniel Avery

    All I Need / These Nights Never End - Roman Flugel / Ricardo Tobar Remixes

    Remarkably, even as we reach the final stages of the Daniel Avery remix series there's still no drop in quality! I'm gonna put it down to the fact that the original material is totally ten men (as we used to say in school- 'very strong' for those with better educations) and that Phantasy have been round the block enough times to know a killer remix when it leers at them on a strobe lit dancefloor. This time round it's a transatlantic affair with production talent coming from German legend Roman Flugel and Border Community's resident Chilean Ricardo Tobar. Roman takes the controls on the A-side stripping "All I Need" down into a super sleazy backroom techno cut (you can practically smell the poppers) before building it back up into an insanely funky dark discoid workout which peaks into a totally tropical synth explosion (you can practically smell the Lilt). On the B-side Ricardo Tobar transforms "These Nights Never End" into the kind of magical and ethereal techno soundscape you'd expect from a member of the Border Community. Get this on the decks somewhere with a system and a strobelight and you're gonna change lives. The rattling drum beat is topped by layer upon layer of transcendental synth line (I can only begin to imagine that logic session!) as Ricardo sculps the track into a swirling and disorientating sonic spell filled with cascading incantations and pulsing sequences. If you don't have the luxury of an A-grade soundsystem in your living room, turn the lights off, stick the headphones on and kiss your loved ones goodbye.

    Throughout the late 70s and early 80s Indian artist Babla & His Orchestra created a musical revolution throughout India, and then the western world. Covering famous Bollywood movie title tracks of the time and giving them the new disco touch, Babla created the 'Disco Dandia' movement which saw him tour the world and become a household name in India. Pressings of this album have become incredibly rare over the years as they were never seriously collected or preserved in India… you can rarely find this album for under £150! Babla's famously diverse musical arrangements, heavy sitar funk and moog bleeps have won him a whole host of fans from breaks collectors to modern disco beardo's. Metro Area used "Ghar Aya Mera Pardesi" on their recent Fabric mix CD!

    Beach Day

    Native Echoes

      Beach Day – the name’s more about attitude than genre. It’s about the ease and breeze of their modern wall of sound. Their tall, bright merge of garage rock, surf pop and girl group sounds is inspired by nostalgia but powered by fresh verve, sitting pretty alongside contemporaries like Cults, Tennis, La Luz, Those Darlins and Dum Dum Girls. And while their native Florida may be in a state of perma-vacation, Beach Day isn’t. On August 19, 2014, the band will release Native Echoes on Kanine Records, their second album in two years.


      Beatconductor Reworks

      KAT Records celebrate their 20th release in wicked wild style by welcoming Sweden's Beatconductor to the fold with this fresh to death white vinyl 10" that sounds even better than it looks. Probably best known for his work on GAMM, here Beatconductor keeps up his impeccable record of delivering immaculate reworks with this movin and groovin two tracker. First up we have 'A Message Of Love', a gospel tinged disco stormer of a track that's largely based on Ashford & Simpson's fantastic live outing of 'The Boss'. Crisp conga led beats, piano hooks, horn sections, that in-famous vocal hook and more break downs than your average AA man can shake a spanner at all add up to this being an epic 8 minute gospel dance floor experience. On the flip we have 'Boogie Love', a cheeky reworking of Lulu's finest moment (yes Lulu) 'I Love to Boogie', which when released as a single in 1979 failed to get in-to the Top 75. There is a seriously infectious (84 bpm) groove going on here making this a contender for the sassiest release of the year. Beatconductor beefs up the break, stretching and teasing before the rather ace vocal comes in and takes hold. Brilliant stuff from Beatconductor and KAT and here's to the next 20 releases !


      10" Info: Limited White Vinyl 10"

      The new Bishop Allen record, 'Lights Out' is here at last. Here's what went into it: ten years, three full-lengths, twelve EPs, thousands of shows, a move out of Brooklyn, a new home in the wooly wilds of Kingston, NY, time off to score the films Bully and Mutual Friends, as well as an Anderson Cooper 360 special, months of demos, drum tracking in a sweat-lodge attic studio during a July heat wave, a wet Fall arranging guitars, bass, and synths in a now-chilly attic studio, the coldest December on record spent mixing, a close call with a frozen pipe and flooded hard drives, and a photo found on a friend's refrigerator.

      Here's what you do with it: Check the weather. If you live in the Northern Hemisphere, you've still got some summer left - the bittersweet tail end of it. Get yourself invited to some cookouts, or throw one, and if you still have it in you to get a little drunk or otherwise shut off any sense of responsibility, go for that. Play this record at that event. You don't have to listen too closely - it sounds great & you're going to have fun with it and feel good. Hey! you'll say, I wish we had this record at the beginning of the summer!


      Ltd LP Info: Vinyl limited to 100 copies.

      A hypnotic, sludgy and seductive slow motion groove led along by one of Italo disco's most swooningly understated yet affecting vocal performances. Another cult classic delivered to us this week; caring, catchy and welcoming. Juxtaposing thick, tape saturated drums along with wobbly pitch bent bassline against the sugary sweet vocal was a stroke of genius! Ridiculously infectious. If ever there's been a record crying out for a proper reissue it's this one. Asteroid bunny!

      The Blues Brothers Band

      The Blues Brothers OST - Blue Vinyl Edition

      Comic actors John Belushi and Dan Aykroyd rightfully get credit for exposing many people to the music of blues, soul and R&B veterans. The soundtrack to their hugely successful musical comedy The Blues Brothers was released on June 20, 1980 as the second album by the Blues Brothers Band, which also toured that year to promote the film.

      The rollicking remake of the Spencer Davis Group’s “Gimme Some Lovin’” was a Billboard Top 20 hit, featuring an arrangement notable for the horn section that replaces Steve Winwood’s rumbling organ work. Ray Charles has a good time with “Shake a Tail Feather,” and he’s helped out by Jake and Elwood Blues (Belushi and Aykroyd, respectively). The cover of Solomon Burke’s “Everybody Needs Somebody to Love” is a lot of fun, thanks to the great overall rhythm and Elwood’s lightning-fast stage rap, while James Brown and the Reverend James Cleveland Choir provide a blast of gospel music on “Old Landmark.” Aretha Franklin’s “Think” is explosive, and Cab Calloway’s “Minnie The Moocher” is slyly irresistible.

      Esnard Boisdur Vs Frankie Francis & Simbad


      The ever reliable Sofrito come correct once again with this superb spiritual groove courtesy of Guadeloupe legend Esnard Boisdur and London duo Frankie Francis and Simbad. The production partnership make their return to the imprint after 2009's essential zouk refurb "Fiesta Angola", and have somehow bettered their previous effort. Pairing the melancholy tone and tribal rhythms of the Gwo Ka master's 1991 release "Soufwans" with metallic Detroit pads and a techy bassline, Messrs Francis and 'Mbad have created the best spiritual house track I've heard in a long time; dense, deep and as dope as you like.

      Boogie Down Productions

      Criminal Minded - Deluxe Edition

      In listing the greatest albums in hip-hop history, one title never seems to stray from the upper echelons, no matter how many years pass: Boogie Down Productions’ undisputed classic from 1986, Criminal Minded. Released amidst a battle between BDP and MC Shan that would redefine the New York rap landscape as it was then known, the album, which features the songs “South Bronx,” “Criminal Minded” and “The Bridge is Over,” captures the excitement, urgency and raw power that embodies hip-hop culture as we know it, with KRS-One’s aggressive yet intelligent lyricism backed by Scott La Rock’s hard-hitting, stripped-down beats. A true classic, Criminal Minded has been recognized by Vibe Magazine, The Source and Rolling Stone as one of the most important albums of all time. Traffic Entertainment Group and B-Boy Records are proud to present Criminal Minded, presented for the first time ever in a double-LP pressing with a new digital transfer from the original analog master tapes. The album is packaged in a gatefold “paste-on style” jacket, featuring extensive liner notes from journalist Brian Coleman and KRS-One, full colour printed dust sleeves with vintage B-Boy Records graffiti artwork, full-color 24” x 36” poster and the bonus track “P is Free (Original 12” Version).”

      Benjamin Booker, Rough Trade Records’ exciting new signing, releases his debut, self-titled album.

      The album is produced by Andrija Tokic (Alabama Shakes, Hurray For The Riff Raff). Described as “a well-mixed musical cocktail of punk, folk, and New Orleans blues,” Benjamin Booker cites his influences as The Gun Club, Blind Willie Johnson and T. Rex.

      The young singer-songwriter plays as a two-piece with drummer Max Norton, both of whom are based in New Orleans.

      Having already gained fans including Tame Impala, toured with Hurray For The Riff Raff and played a string of sold out shows in London, Booker and his drummer Max Norton have been hand-picked to open for Jack White on his US July tour, which will be followed by a series of summer US dates with Courtney Barnett.

      “Benjamin Booker blasted a raw brand of blues / boogie / soul,” observed the Chicago Tribune’s Greg Kot in his SXSW wrap-up. “He likes to leave the rough edges intact, bringing to mind the houserockin’ records that Hound Dog Taylor once did for Alligator Records in the 70s.”

      American Songwriter said “The 22-year-old New Orleans guitarist / songwriter - joined live by drummer / mandolin player Max Norton - took the stage as an unknown and… stepped off the stage a conqueror.”

      “It might look like just two people onstage but Benjamin Booker’s voice surely counts as a band member in its own right. Soulful and sandpaper-rough…” noted The Guardian, while NME said “he takes the ripped, raw racket of The Dirtbombs and smothers it in fuzzy, inherently moody-sounding riffs that recall The Gun Club and T Rex in equal measure.”


      Can - Remastered Edition

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

        ‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

        The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

        ‘Can’ was originally released in 1978. Lost on its initial release amongst the punk explosion, ‘Can’ features the classic ‘Sodom’ and ‘Can Be’.

        The album sees Holger Czukay take more of a back seat and would be Can’s last album before they reformed one more time with Malcolm Mooney on ‘Rite Time’ in 1986.


        Delay - Remastered Edition

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

          ‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

          The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

          ‘Delay’ was originally released in 1981. This is the classic ‘first album’ that was stuck in the vaults until 1981 when Holger Czukay edited the archived tapes and formed the album.

          ‘Delay’ is a compilation album of early outtakes of Can’s work with singer Malcolm Mooney, including some of the band’s earliest material. It contains the song ‘The Thief’, which was later covered live by Radiohead.


          Out Of Reach - Remastered Edition

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

            ‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

            The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

            ‘Out Of Reach’ has been unavailable in any official format since its original release in 1978.

            ‘Out Of Reach’ is one of Can’s rarest, less-known albums. This is due in a large part to the fact that bassist Holger Czukay left the band and drummer Jaki Liebezeit has a reduced role, leaving most of the rhythm duties to percussionist come-lately Reebop Kwaku Baah.

            As on the group’s proper swansong, 1977’s ‘Saw Delight’, new bassist Rosko Gee largely leads the group, and his jazz-inflected playing is marvellous, especially on the centrepiece improvisations ‘November’ and ‘Serpentine’.


            Rite Time - Remastered Edition

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

              ‘Out Of Reach’, ‘Can’, ‘Rite Time’, ‘Delay’ and ‘Unlimited Edition’ are the third wave in the series, following ‘Monster Movie’, ‘Soundtracks’, ‘Tago Mago’, ‘Ege Bamyasi’, ‘Future Days’, ‘Soon Over Babaluma’, ‘Landed’, ‘Flow Motion’ and ‘Saw Delight’.

              The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.

              ‘Rite Time’ was originally released in 1986. Can got back together with original vocalist Malcolm Mooney to record again.

              Revaluated as one of the classic Can albums, they show again how everything changes yet remains unmistakably Can.

              Bob Carpenter

              Silent Passage

                Bob Carpenter came close to being a major star. He received a glowing mention in Rolling Stone in 1970, recorded an album for Warner Brothers and had his songs recorded by Emmylou Harris, Billy Joe Shaver and others.

                However, ‘Silent Passage’, his lone solo album recorded in 1974, was pressed and ready to ship when contract negotiations shelved the record indefinitely. By the time things were resolved it was the end of the 70s singer-songwriter boom and Warner had moved on.

                He died in 1995 and the last decade of his life was spent in religious devotion. He joined a Buddhist monastery shortly before his death.

                The album saw release on the Canadian Stony Plain label in 1984 but has been out of print until now.

                It’s a tragic story of one that got away: if things had gone differently perhaps ‘Silent Passage’ would be considered a country-rock classic - slotted somewhere between, say, Gene Clark’s ‘No Other’ and Neil Young’s ‘Tonight’s The Night’. Perhaps it’s not too late for that - Carpenter's songs are timeless, magical and waiting to be discovered.

                There’s a talented backing behind, featuring a lot known session players from the era and soon to be famous singers (Emmylou Harris, Anne Murray) but it's Bob Carpenter's voice that takes the lead here and it soars.

                Following last years determined studio double LP, Euporie Tide, Causa Sui returns to improve with a third round of mindbending jams feat. Ron Schneiderman! The savage, kaleidoscopic improvisations of the quintet's previous two volumes instantly gained reverence among fans of free flowing krautrock and detuned stoner rock, and this brand new addition, recorded in the late summer of 2013, fullfills the group's potential entirely. The krautrock grooves, the low-end heavyness and the sprawling furor is still very much present - but this set is also permeated by a rare free jazz-sensibility, at times recalling American masters of improvisation such as John Coltrane and Don Cherry in spirit. Ferociously experimental, yet absolutely welcoming and corporal. One eye looking back to the golden age of improvised music, the other looking straight ahead, into the future.

                ”Incipiency Suite”, which takes up the entire B-side of this record, stands as the high pinnacle of what this group is capable of with the inclusion of Ron Schneiderman: an afternoon of spontaneously recorded parts, cut-and-pasted into an abundant whole by studio wiz Jonas Munk, creating a unique interplay between in-the-moment improvisation and creative studio editing. History: Ron Schneiderman (aka Pewt'r) from American impro-rock collective Sunburned Hand of the Man first got together with Danish stoner/kraut/jazz ensemble Causa Sui in December 2006 for a loose, improvised gig at the old cinema at Christiania – Copenhagens autonomous, and notorious, free commune. A live recording of this gig was released the following year, under the curious bandname Pewt'r jjjjj, and became widely admired among fans of free-form psychedelic rock for its updated version of late 1960s/early 1970s freak-out bands such as Blue Cheer, Guru Guru and Ash Ra Tempel.

                In the early summer of 2009 Ron Schneiderman was back in Denmark, this time for a threeweek stay as co-curator of the art-and-music event Festival of Endless Gratitude in Copenhaagen. During this period the group was united again for a few shows and a couple of recording sessions in Causa Sui's studio in Odense, which resulted in Pewt'r Sessions 1 and 2 The group got together again for a performance at 2012's Roskilde Festival and later again at Festival of Endless Gratitude in the summer of 2013. It was during the latter sojourn that Pewt'r Sessions 3 was recorded.

                Living legends from Baltimore’s thriving music scene, Celebration return with ‘Albumin’, a seismic slice of psychedelic rock ‘n’ soul.

                Albumin is the band’s first album since 2010’s acclaimed Electric Tarot: Hello Paradise, and their first for Bella Union, initiating a new chapter in a story marked by triumph and disaster, struggle and redemption. Albumin is also Celebration’s finest record to date, the album the quintet has been leading up to. From the anthemic opener ‘Razor’s Edge’ to the pop levity of ‘Tomorrow’s Here Today’ and the shape-shifting centrepiece ‘I Got Sol’, these are their strongest melodies, most dynamic arrangements and singer Katrina Ford’s most impassioned incantations, drawing on years of studio know-how and emotional ballast.

                Castle Face announces a loogie-shined re-release of Coachwhips’ Get Yer Body Next Ta Mine on CD and vinyl!

                Following last year’s reissue of Hands on the Controls, the label continues dusting off the vaults, unearthing another screeching, swaggering beast. The tracks have been re-tweaked to taste (a pinch of capsicum) and what a picture emerges—the scuzz and squall cracking ever so slightly and revealing a coffee-can full of earworms underneath. The zombie-shuffle come-on of the title track is worth the price of admission alone, but there’s adrenalized bludgeoners here as well: “1000 Years,” “UFO, Please Take Her Home” and “Yes, I’m Down” all capture the band at their sweat-soaked best.

                Written and recorded in part in Montmartre by Courteeners’ talismanic singer-songwriter Liam Fray last autumn, ‘Concrete Love’ is the band’s most rounded and satisfying record to date.

                The album’s release coincides perfectly with the moment that the band are reaching the peak of their live powers. ‘Concrete Love’ comes off the back of three massive UK Top Ten albums.

                The album sees the band working again with regular collaborator / producer Joe Cross (Hurts / Chloe Howl).

                FORMAT INFORMATION

                Ltd LP Info: Limited white vinyl edition.

                Written and recorded in part in Montmartre by Courteeners’ talismanic singer-songwriter Liam Fray last autumn, ‘Concrete Love’ is the band’s most rounded and satisfying record to date.

                The album’s release coincides perfectly with the moment that the band are reaching the peak of their live powers. ‘Concrete Love’ comes off the back of three massive UK Top Ten albums.

                The album sees the band working again with regular collaborator / producer Joe Cross (Hurts / Chloe Howl).

                FORMAT INFORMATION

                2xCD/DVD Info: Deluxe CD & DVD package featuring ‘Live At Castlefield Bowl’ DVD.

                San Francisco's first and only rock n' roll band, CRIME loomed over the entire Mabuhay Gardens scene with their blistering 1976 single "Hot Wire My Heart."

                CRIME's loose, damaged rock n' roll was as immediate as it was controversial. They were Punk by any definition, yet shunned the label with a guttersnipe sneer. Their meticulously cultivated aesthetic of S&M graphics and police uniforms produced some of the era's most indelible imagery. One of their finest moves was playing in the San Quentin prison yard. Formed by guitarists/vocalists Johnny Strike and Frankie Fix, CRIME enlisted bassist Ron The Ripper and drummers Ricky "Tractor" Williams (later of The Sleepers), Brittley Black, and Hank Rank. Joey D'Kaye later joined on keyboards and bass duties.

                For the first time, this LP release collects the sick energy of CRIME's three singles along with nine previously unreleased studio recordings from 1976 to 1980. The visceral churn and unwieldy leads on tracks like “Frustration" and “Piss On Your Dog" make Murder By Guitar the definitive statement from this prescient American underground band.

                A short while removed from his acclaimed Brothers Fowl album, released in late 2012, Dam Mantle returns as part of the Free Association collective with a new three-track 12” on NOTOWN Recordings.

                A loose collective of musicians from his Glasgow home, this EP showcases, according to Tom Marshallsay AKA Dam Mantle, ‘a small glimpse of what's been getting made in the studio recently. There's quite a few other folks who feature on some of these tracks, so it's a demonstration of the collective attitude behind all this’.

                The EP is a glimpse of the moods being explored in his live sets, where his diverse productions converge in a fervent sonic assemblage. The A side gives two heads-down hip shakers which explore a diverse sound palette, while the flip-side adds urgency and steady syncopation with a streak of dark intent and an anticipatory glimmer.

                Since the release of his Brothers Fowl album, Dam Mantle has been busy ‘mainly playing records and putting on parties, living life, working’. In addition, he’s spent a bit of time working on collaborative projects, mainly as General Ludd, releasing via the Mister Saturday Night banner, the NYC promoter and label.

                More sumptuous, glistening, liquefied deep house music on the inimitable NDATL here. Trackmode master Brett Dancer returning after a long hiatus to bring us this wonderful three tracker."Hybrid" typifies that NDATL sound perfectly, and would surely be a main stay in (label head) Kai Alce's tribal-informed, progressive sets. Beautiful darting synth repetition set within cushioned pads sweeps and firm percussion. Kai Alce & Phil Asher's "Someone" (released on Restless Soul in 2010) gets a dub treatment from Brett, urging the track down dark, techy roads littered with fractured vocal artifacts, tantalizing strings and more rich sonic textures. "Something" keeps this flawless form burning right till the end of the record, with another hypnotic jam encompassing infectious vocal snippets; with the light and uplifting key work coupled with that bouncing bassline showing Brett’s ability to keep it deep and bumpin’ well into the night. Highly recommended.

                When Sonar Kollektiv is presenting musical diggings you can be assured some real gems show up. And what a revelation is the Cosmic disco by Venezuelan producer Daniel Grau! An elusive monographic showcase of his very productive creative period between 1978 and 1982 will be released as a double CD on the Berlin quality imprint later this year. Now, prior to the showcase compilation, a handful of selected remixes see the light of day – as a proof of how relevant Grau's music is still today. The opening of this firework is a real stunner on its own: One of the innovators of nu-disco, Daniel Wang himself, is returning after a brief sabbatical!

                Together with also Berlin based Jules Etienne (one half of Egyptian Nipples) Danny “The Dancer” Wang takes two tracks of Daniel Grau's comprehensive back catalogue to task. “Robot Mágico” off the 1978 album “El Sonido Magico De Daniel Grau” does sound in its reinterpretation by the two disco aficionados as if it was recorded just yesterday. In the same smooth and sophisticated way comes the renovation of “Disco Fantasy” off the album of the same name from 1979. Still, the Non Disco Remix somehow reminds of Wang's groundbreaking releases on Environ and is funky and catchy to such an extend that DJs probably would love to play it three times in a row. Well, the bar is set very high for the upcoming Daniel Grau remixes. But Sonar Kollektiv wouldn't be Sonar Kollektiv if you wouldn't already know exactly that there are more hot irons in the fire.

                After blasting us with a plethora of late 80s and early 90s house reissues from across the pond, we're heading east and to the Med now, to early 80s Italy as we find ourselves slap bang in the middle of a massive Italo disco revival! One of many hard to find and generally very expensive records; in the pre-discogs days, travelling to Italy on holiday with the missus was actually a covert way of digging for new material; with DJs like Il Bosco, Balearic Mike, James Holroyd and Kelvin Andrews all making frequent visits to the country and taking illicit, highly secretive steps to cover their tracks (often spinning said partner a line like - 'you relax by the pool my dear, I'll go get us a nice bottle of plonk' - whilst feverishly hitting the €1 bins). "On And On" by Decadance is regarded by many as the pinnacle of Italo disco, with aficionado's citing the space age, lovelorn lyrics and the coldwave darkness mixed with pure emotional energy combining to make the ultimate dancefloor bomb. Classico!! Strictly limited.

                DJ Nature

                Let The Children Play EP1

                Following a brief hiatus from the world of original material following 2012's flawless "Return Of The Savage" (Record of the year for me and Dave Walker) I'm buzzing to see that there's some new material on its way. For those who don't know, non-native New Yorker Milo Johnson has been operating at the top of his game since his involvement in Bristol's Wild Bunch Soundsystem in the eighties. Since then he's been the world's foremost expert in rough house, packing his jazzy productions full of gritty soul to the delight of true heads. This new 12", the first of two taken from the CD only "Let The Children Play" album is no exception. A-side cut "Let The Children Play" balances fragile and emotive horns and guitars (think Miles' "Sketches Of Spain") with a murky bassline and those raw and organic drum sounds we've come to expect. Rhythmically intricate, warm, jazzy and impossible to keep still to, this is gonna get a hammering from all the jocks that matter. On the flip, "Why Not?" picks up where the A-side left off, but this time Milo pairs up the cool sax with some nasty little funk licks, while the sound is filled out by expansive pads and tumbling percussion. If you like your house musical, soulful and bumping, then this is the record for you. 

                DJ Nature

                Let The Children Play EP2

                Jazzy Sport do the do and release the second 12" plucked from DJ Nature's wicked (but sadly CD only) "Let The Children Play" full length. Setting the mood on the A-side is "No Talk", which gets you grooving immediately with a heavy foot and rattling snares. Soon enough that old ivory's tinkling above long rhodes notes and we're in full basement soul mode. If you were one of the lucky ones to have grabbed a copy of his Groovotica Mix then this might ring a few bells.  On the flip is the chunky and bumpy "Fool 4 Love", which reprises the vocal sampling style of "Return Of The Savage" above an onslaught of shaker, conga, bongo and chimes. A funky bassline wriggles away down south, while some proto house synth strings take you to the dancefloors of your youth. Quality stuff!

                Helix returns to his DJ Vague moniker to drop 3 techno explosions on Unknown To The Unknown. Three bangers which scream of 90s techno production, with massive 909 kicks, rampant stabs and grating hats. Think Dave Angel, Oliver Ho, elements of Chain Reaction and "Purpose Maker"-era Jeff Mills; plus new luminaries like Ben Sims and Kirk Degiorgio - IE uncompromising techno bangers for club play only! Tailor made to work in tandem with a skilled lighting engineer, get the spots and the strobes sync'd with these super-repetitive rhythms and you'll really set the floor on fire. Recommended.

                Downbeat Feat. F-On

                Downbeat Black Label 03

                3rd release of Downbeat black label, the sublabel of Downbeat. The owners of the label, Jose Rico, Urtzi and F-on present us two long slow motion tracks with field recordings, whirring melodies and voices from beyond the rave. Two dense experiments which show us the less kind side of Downbeat and continue along the path opened up by "Solaris". "Moskitos En Siberia" explores the barren sonic wastelands which Juju & Jordash are too scared to venture through. A thick haze of ghostly vocals, opiate-soaked percussion and eerie drones. "Smog" on the flip has sounds from a distant metal works clanging away while radiant pads open up and bursts of white noise give us an indication as the origin of the sound source. More ghostly artifacts sweep in and out of the mix indiscriminately while unfathomably subtle melodies drift in and out of focus as the track progresses. This is some really unique stuff, perfect for creating atmosphere in unusual spaces (I can personally imagine this sound tracking Neil Robbins' exhibitions in the old Olklahoma basement here in Manchester) but also great for long drawn out druggy after hours wind-downs, taking us deep inside outself through undeniable introspection and detail. Wonderful stuff.
                Only 200 copies pressed.

                Donato Dozzy

                In Bed - Tin Man Remix

                Since this gem was originally released back in 2011, voice from the lake Donato Dozzy has come a long way, winning a lot of fans with his deep and earthy acid odes. It seems fitting then that Absurb repress this beauty for more general consumption. The third edition of the imprint's 'Acid Test' series, "In Bed" is a spaced out ambient acid tune recorded for the Labyrinth festival. This introspective cut marries fragile melodies and broken percussion with a driving bassline to create a living and breathing mass of synthesis. On the flipside, label mate Tin Man reworks the track into a dark tripped out acid journey with the addition of some round bass sounds, bleeping leadlines and his own sinister crooning. The remix packs a whole heap more punch for the floor, setting its sights squarely on the pitch black paranoia of the post peak session.

                Originally released on Tresor back in 99, Drexciya's debut LP "Neptune's Lair" sent waves through the techno cognoscenti and wiped the floor with everything else released at the time. Thanks to the heavy shroud of mystery the group wore with pride, details behind the production of the record are scarce, but rumour has it that Stinson created this masterpiece single handedly having split with Donald at some time in the previous year. The album opens with the moody chant and blurred tongues of "Temple Of Dos De Aqua", immediately transporting us into the deep waters the Drexciyans call home. From this threshold we're begin our journey to the heart of their world on the electro rhythm and crystalline synths of "Andreaen Sand Dunes". Stinson balances the deep and metallic bassline with the pattering of hi hats while the sounds of submerged transports powering down reverberate through the dark. "Running Out Of Space" takes a dizzying ride through machine funk, careering from eddy to whirlpool while a Parliament bassline rips through the lower frequencies. As the album plays on, Stinson incorporates echoes of first wave techno, boogie, sci fi noir, John Carpenter sequences and cosmic funk into the Drexciyan lexicon, blending all these ingredients together into a cohesive narrative. The result is an immersive listen, the sonic equivalent of an hour in an isolation tank, floating free in the trippy waters of the Drexciyan dreamscape.

                Reissue of 2012 EP.

                Leeds based progressive punks Eagulls follow on from a slew of limited cassettes and 7” releases, with a five track EP. Pile-driving into the UK’s DIY scene with their 'Council Flat Blues' single on Moshi Moshi imprint - Not Even Records in Feb 2011, Eagulls followed it up with a split with Fat Cat’s Mazes, on East London's Italian Beach Babes' Records, in Oct 2011.

                Since then Goldy, Liam, Tom, Henry and George have been touring relentlessly supporting the likes of US legends - Flipper, Milk Music, Ceremony, Iceage and Pulled Apart By Horses in packed out shows all over Europe. Somehow finding the time along the way, to stop off in their hometown to record their longest and most melodic work to date, they’ve teamed up with Leeds staple; Matthew Johnson (Spectrals, Hookworms, etc) at Suburban Home Studios for a masterclass in indie/hardcore crossover. The five tracks - 'Coffin', 'Moulting', 'No If's, No Buts', 'Cripple (Hypokalemic Periodic Paralysis)' and 'Still Born'; bring to mind melodic slacker rock such as Sebadoh, Dinosaur Jr and Sonic Youth amalgamated with Eagulls earlier more brutal sound, influenced heavily by The Wipers, Rites of Spring and Black Flag. This is all delivered with a mischievous Blur-esque charm and The Replacements sense of reckless abandon.

                Electric Wurms is the new side-project from Wayne Coyne and Steven Drozd of The Flaming Lips.

                This is the first of what could be endless communicated sound stories. It is titled Musik, Die Schwer Zu Twerk, which predicted this modern day dance move by almost forty years ago. Some of it is indeed hard to twerk to but some of it, is not. There is a particular track called Transform!!! that closely resembles a drug fuelled boogie freak rock track by Miles Davis. Another verse Heart Of The Sunrise sounds vaguely like a song by the prog folk group Yes. Of course Yes also turned themselves into space ships so it's no wonder these songs share a similar vibe.

                The ensemble leans toward a hypnotic mood for most of the space bible readings. It is a scary truth that we are hearing and then forced to ponder. The pulsating poem Living states… "live as if you were living already for the second time. And that you had acted wrong the first time". So they call themselves Electric Würms after the greatest of the super freaks. But they are not a super-group. They are like Sherpas climbing with you. To help you. To love you. All the secrets that they know they tell you. That's what love is.

                FORMAT INFORMATION

                LP Info: Special edition lilac coloured vinyl. Vinyl also
                includes a copy of the album on CD.

                London producers Jamie Blanco and Chris Stoker launched their Ess O Ess project with a sell out debut on the up-and-coming Love On The Rocks imprint. For their second release the duo traverse to Japan's refined Ene bringing their psychedelic swelter with them. "Re-Enter" summons you through the dense darkness of the jungle undergrowth into a moonlit hollow for a star strewn ritual soundtracked by brooding bass, chunky percussion and twinkling melody. A transcendant and immersive experience for the Adriatic crowds I reckon. On the flip the mysterious and anonymous engineer Man Power applies his expertise to transform "Re-Enter" into a driving, almost progressive house monster, which sheds a few of those crystalline melodies in favour of a stuttering synth tone. 

                Nathan Fake / Wesley Matsell


                  Nathan Fake and Wesley Matsell launch new imprint Cambria Instruments.

                  “A highly expressive, lysergic trip and one of his finest productions to date. All in all, you couldn't hope for a stronger start from a new label.” - Bleep

                  One of the most consistently excellent artists within the Border Community fold, since impressing them with his simultaneously reflective, dance floor jams when just out of his teens in 2003; Nathan Fake is stepping out on his own. With his friend, fellow producer and DJ, Wesley Matsell, Fake has announced the launch of his new imprint, Cambria Instruments, with the first release set to be a split release between the pair.

                  In some ways the title of the imprint follows Fake’s interest in exploring the heritage of Britain – most notably on his 2012 record Steam Days, its tracks’ titles referencing several historical areas around his native Norfolk. “Cambria is a reference to both Wesley and I,” Fake explains. “He’s from Wales, and Cambria is an ancient English/Latin name for Wales, so we thought that summed up where the label was coming from.”

                  Teaming up with Matsell – himself a Border Community club staple – the pair’s first release on Cambria Instruments will be Fake’s nocturnal groove-laden track ‘Black Drift’, coupled with Matsell’s similarly crisp mixture of shifting percussion and submerged oscillations, ‘Bismuth’. Both tracks have a similarly hi-fidelity feel to them, coupled with – as Fake puts it – "new esoteric melodies and textures previously unheard from both artists”.

                  Details are yet to be confirmed on future releases from outside artists, but solo EPs from the co-founders can expected in the future. With Matsell’s far-reaching tastes in everything from fifties electroacoustic, acid house and early Detroit, through to hardcore and rave, nineties techno and noise, the thought of him joining up with Fake’s own naturally eclectically-informed mind is an exciting one indeed.

                  Richard Fearless

                  Gamma Ray - Inc. Legowelt Remix

                  After getting us nicely zoned out with "Higher Electronic States" on DRONE001, Death In Vegas shaman Richard Fearless returns to the label to transport us on a cosmic trip with "Gamma Ray". The sprawling track is an obsessively observed techno seance of the highest order, brimming with stark minimal magic in every prickly synth tone. On the flip, the irrepressible Dutch master of gloomy analogue house brilliance, Legowelt, pops up with a stunning remix, taking the original track to a distant dancefloor dimension. This deeply atmospheric rework is thick and woozy with distorted textures and subaquatic depth. Cerebral and febrile, this two tracker makes for an exceptional second release from Drone.



                    Flamingods are a five piece multi-instrumental experimental band originally started by Kamal Rasool in late 2009, now comprising of Kamal, Charles Prest, Sam Rowe, Karthik Poduval and Craig Doporto. Their sound has been described as ethnic pop, with elements of noise, tribal and freaked folk. They use a number of percussion instruments, some of which were collected during Rasool’s travels to places like Tanzania and the Amazon. The album was written after new Visa laws forced founding member Kamal Rasool out of the UK. The album deals with themes of identity, belonging and alienation whilst also day dreaming of leaving to foreign far away lands such as the mythical island of Hyperborea. The album was made with none of the band members in the same room, sending audio files back and forth across the internet.

                    Already receiving BBC6 radio plays from Lauren Laverne, Tom Ravenscroft, John Kennedy, Huw Stephens Stuart Maconie and press reviews:
                    “The London/Dubai soundclashers create global-minded psychedelia with their dance-party-ready new album Hyperborea” DAZED
                    “African rhythms and soundscapes cribbed from across the world music remit" 8/10 NME
                    “A record of superb scope, vision and energy” 8/10 Loud & Quiet
                    “An eclectic mix of tribal-esque chants and hypnotic harmonies” The Line Of Best Fit

                    The Flies

                    In Her Eyes / Turned On

                      "Like the Velvets on a David Lynch set" - NME.

                      New single from Bristols 'The Flies'. Comprises of Emmy Award winning soundtrack composers The Insects (Bob Locke and Tim Norfolk) with vocalist/musician Sean Cook (Spiritualized / Lupine Howl) and Damon Reece Spiritualized / Lupine Howl).

                      Floating Points

                      Sparkling Controversy

                      Start your engines people! Those ever generous folks at Eglo help us all through the recent dip in the weather with an essential slice of super limited, single sided Floating Points goodness. Sam Shephard's been pretty busy of late, dropping one of the 12"s of the year last month with "King Bromeliad" and lending his production expertise to the stunning nu soul of Fatima's debut LP and Lay's debut EP. It's commendable then that he should have found time to take one of the many gems from his back catalogue on a dubbed out version excursion! "ARP3" was the standout track on the "Shadows" double pack for many people and here, Floating Points reworks it into a more direct and concise arrangement perfect for peaktime detonation. For the minor sacrifice of a little of the original's tension and drama, we get a jazzy house groove like no other primed and ready for your set.

                      Following on from DJ Stingray's 2013 "Weaponized EP" (TSAR001), Swedish hardware veterans Frak Step up for TSAR002, delivering a record of analogue black acid magic. "Lightpeople" has control voltage-controlled bleeps and sweeps merging together in a concentric manner, sure to twist the cranium inside out and get you stumbling into minute alien dwarves as you plummet deep into the vortex. "This Is Lance" applies the breaks while a thick kick drum digs in hard. A suspended, undulating drone rides above an ever-growing acid chug, cementing this deep into the moon's surface with unshakable foundations. Rock solid. "Twinhead" is a machine-fire acid attack typical of Frak and the Swedish hardware militia; head for the rave bunkers people! "Drumcometrue" sees Frak get the most twisted and deep inside their machines; splurting and spitting out some truly unique and mind-bending sounds like only they can. Ace.

                      Hot new release from Sunkissed Recordings celebrating Italian synth pop hero Mike Francis aka Francesco Puccioni. Back in the 80s, Francis’ elegant electronic style and smooth rich vocals provided a perfect backdrop to nights dancing on the sand and in clubs throughout the Mediterranean and his popularity continues today amongst the Balearic cognoscenti. This EP features the fantastic in-demand Club Mix of ‘Features of Love’, a funky pop-soul opus washed with lush synths, lazy guitars and dreamy vocals plus the sought-after long 12” cut of ‘Survivor’, a gorgeous slice of blue-eyed soul with a strong dancefloor sensibility. Flip over for big Cosmic play, the magnificent 12” version of ‘Body Thrill’, a bass-heavy chunky instrumental with an Art Of Noise feel followed by Francis’s beautiful laid-back cover of the Bill Withers’ classic ‘Lovely Day’ and lastly the heavenly hypnotic ‘On and On’, a little-known gem from the B-side from a rare 12”. A great package!

                      STAFF COMMENTS

                      Matt says: Mike Francis features on Kelvin and Mike's upcoming "Down To The Sea And Back Vol. 2" complilation, so the Balearic seal of authenticity is present an correct.

                      Fuzzy Duck

                      Fuzzy Duck - Vinyl Edition With Bonus 7"

                        Killer early 1970's psych/progressive, with burning hammond organ and searing lead fuzz guitar with some great funky beats for discerning DJs!

                        FORMAT INFORMATION

                        Ltd LP Info: Limited vinyl that comes with bonus 7" single and booklet insert.

                        New Jersey rockers The Gaslight Anthem return with their eagerly-anticipated new album ‘Get Hurt’. Recorded at the legendary Blackbird Studios in Nashville with producer Mike Crossey (The 1975, Arctic Monkeys and Jake Bugg), ‘Get Hurt’ sees The Gaslight Anthem pushing their raw, stripped back rock ‘n’ roll into new territory, drawing on a fresh palette of influences ranging across folk, punk, and Americana. It is an album that is heavier, and yet at the same time more intimate, than anything they have produced to date.

                        FORMAT INFORMATION

                        Ltd CD Info: Deluxe CD edition includes 3 bonus tracks.

                        After spending a long and strange career as the legendary ‘Tambourine Man’ for the Brian Jonestown Massacre, Joel Gion has emerged with an armload of his own music done his own way.

                        As might be expected, there are plenty of classic 1960s sounds, but the sonic palette spans every decade since, coloured with timeless touchstones of Joel’s record collection – shoe-gaze, post-punk, psychedelia, alt-country and mod/beat music, it’s all there.

                        Co-produced by current BJM members Collin Hegna and Rob Campanella, Apple Bonkers also features contributions by Jonestown members Daniel Allaire and Matt Hollywood, along with former BJM members Jeffrey Davies and Miranda Lee Richards. Also along for the ride: Pete Holmstrom of The Dandy Warhols, Ryan Van Kriedt of The Asteroid #4/Dead Skeletons and Jason ‘Plucky’ Anchondo of the Warlocks/Sprindrift.
                        Much more than getting by with a little help from his friends, Apple Bonkers sees Gion leading the trip to a psychedelic land of honest-to-goodness rock and roll. 

                        Grumbling Fur’s ‘Preternaturals’ is the second release on the label run by The Quietus, the UK’s leading independent online music magazine. The label’s first release was East India Youth’s ‘Hostel’ EP, the release which launched East India Youth’s career.

                        ‘Preternaturals’ is Grumbling Fur’s follow-up to the acclaimed 2013 album ‘Glynnaestra’ (Thrill Jockey).

                        Contemporary sun-kissed psychedelia with a strong pop edge - Depeche Mode in a stone circle - recalling Brian Eno, Penguin Café Orchestra, Beta Band, Super Furries, Coil, Talk Talk, Harmonia and Boards Of Canada, amongst others.

                        The album features Tim Burgess (The Charlatans) on ‘Lightinsisters’. Burgess is a strong supporter of Grumbling Fur and they will be working with him on his next album.



                          Allez-Téia, the second album by French guitarist Richard Pinhas under the Heldon moniker, was originally released in 1975 on the artist’s own Disjuncta imprint. Far from the band’s prog-tinged trio lineup, Allez-Téia features a menagerie of guitars, Mellotron and analog synthesizers. While opening track “In the Wake of King Fripp” pays homage to King Crimson in its title, the album’s heady textures and rhythmic meditations are more reminiscent of the German Kosmiche movement (Cluster, Harmonia, et al.) and post-rock experimentalists, such as Jim O’Rourke and Gastr del Sol. Acoustic guitar even makes a rare appearance - on the beautiful and melancholy “Aphanisis.” With front cover artwork depicting the events of May ’68 in Paris (by renowned photojournalist Gilles Caron), these dark ambient sounds make Allez-Téia perhaps the most revolutionary release in Heldon’s influential catalogue, foreshadowing Pinhas’s incredible solo work for decades to come.

                          The Hempolics

                          Green Line / News Readers

                          The Hempolics are out to put those organic rootsy vibes back into electronic music and bring something altogether different to the table, 'Green Line' is just the beginning…

                          Some of you will recognize 'Green Line' as a song originally voiced by the late, great Garnett Silk over Jackie Mittoo’s 'Hot Milk' riddim. Here Grippa Laybourne has kept the classic rhythm to the fore, with echo and rewinds all punctuating the vocal delivered by members Nubiya (also of Leeds-London Afrobeat / hip-hop pioneers Nubiyan Twist) and Dandelion (frontman of mercurial UK-reggae outfit The Drop), complete with a toasting interlude. The sensibility, right from its opening Barrington Levy-esque ‘bongo-didddly-ooooooaahh’, is early digital dancehall, but as you’d expect from Grippa, well-known for his work with Cheeky Records, it also has an effortless commercial sheen.

                          Overly capable B-side 'News Readers' is no sideshow. Kicking straight in with “News flash, there ain’t no cash, s’all gone on the wall”, it is a poignant statement of disaffection with the negative buzz created by modern media or the “blues feeders” as it’s better put by the song. Featuring the smooth and ear-pleasing soul Sony signed and extended Hempolics crew LSK (AKA Leigh Steven Kenny) who also provides artwork for the upcoming album. Produced with Grippa’s own unique rhythm, this is an unashamedly a bouncy, upbeat number whose positive step belies the scathing political commentary within.

                          Previously JJ have been almost anonymous - few live shows and short missives with little information. The music spoke for itself. A Pitchfork Best New Music for debut album ‘jj no. 2’ and rave reviews for the follow up ‘jj no. 3’ but almost radio silence since, save for a couple of mixtapes and one single.

                          Now, evidently at the top of their game with ‘V’, JJ are ready to - in the band’s Joakim Benon’s words - “communicate with the world,” quite unlike they’ve ever done so before.

                          From the initial announce of this record (with one of the best trailers of 2014), the music world has been anticipating this release. Sure to be one of the most buzzed about records of the summer.

                          FORMAT INFORMATION

                          Ltd LP Info: Limited edition coloured vinyl, exclusive to indie retailers.

                          Tyrannosaurus Dead announce split single with Joanna Gruesome, unveil brand new track 'Post Holiday Dead Song'. The Brighton scuzzy indie pop fivesome will release the Rory Attwell-produced song on a split 7" with the Cardiff punks through London DIY label Odd Box Records.

                          The south coast five-some's charming new song is set to join Joanna Gruesome's 'Anti Parent Cowboy Killers' (taken from last year's excellent 'Weird Sister' album). The brand new track from the band (Billy Lowe - Guitar & Vocals, Eleanor Rudge - Vocals, Thomas Northam - Bass, Martin Edwards - Guitar, and Rupert Willows - Drums) hears them continue to hone their fuzzy indie pop sound - packed full of excellent guitar hooks and a charming chorus. The split follows a handful of EPs and singles from an increasingly impressive band with an ever-growing back catalogue of fuzzy, scuzzy, catchy indie pop. 2014 looks set to be a big year for the band with new, big news forthcoming.

                          FORMAT INFORMATION

                          Ltd 7" Info: Limited to just 300 copies.


                          Second Of July

                            July's legendary previously unreleased second album of demos from 1968.



                              Kasabian release 2 x 10" singles simultaneously from their recent number 1 album '48.13'. Both massive tunes which featured in their recent Glastonbury headline set and their huge homecoming show in Leicester's Victoria Park.



                                Kasabian release 2 x 10" singles simultaneously from their recent number 1 album '48.13'. Both massive tunes which featured in their recent Glastonbury headline set and their huge homecoming show in Leicester's Victoria Park.


                                Can You Feel My Love / Whatever It Takes

                                The Expansion label's new 7" series begins with Khemistry’s “Can You Feel My Love” from the genius team of Willie Lester & Rodney Brown (writers of Sharon Redd “Can You Handle It” and Bobby Thurston “Check Out The Groove” among others)

                                Khemistry were a Washington group assembled by Lester & Brown. Both the great songs on this 7” come from their 1982 self-titled debut album for Columbia Records.

                                “Can You Feel My Love” has been one of Lester & Brown’s most enduring soulful dance records since its first release but has never been released as a single... until now!

                                David Kilgour And The Heavy Eights

                                End Times Undone

                                End Times Undone, the latest album from David Kilgour and the Heavy Eights, was recorded in his native New Zealand between 2012 and 2014, but that’s a bit misleading. The album took so long to finish only because Kilgour assembled his bandmates every four or five months, and then only for a couple days at a time. And when they convened, the tape was rolling almost from the start. It’s the perfect way for Kilgour to operate these days, more than 30 years into a career that is equally compelling, consistent, and influential. From his first recordings with The Clean, the iconic band who remain active and whose legend deservedly grows mightier every year, Kilgour has had a distinct sound that has inhabited all of his albums and sounds fresh with every new release.

                                Over just ten songs, End Times Undone offers a robust sampling of all the various styles Kilgour has mastered over the last three decades. For an album that comes so late in one’s career, it’s a surprisingly convenient entry point into Kilgour’s body of work. After a psychedelic intro, opener “Like Rain” immediately identifies itself as vintage Kilgour, with shimmering guitars that gracefully swell and secede. “Lose Myself in Sound” will appeal to fans of The Clean who favor songs where the band chugs along on a blissful straightline path. While the album has its share of abstract lyrics, this title is one to take seriously. And like many songs here, it draws to a close with an extended instrumental passage, the sound of four people finding their own rhythm together. “Dropper” is a psychedelic romp with some serious bite in its guitar. “Some Things You Don’t Get Back” is a hypnotic strummer that builds a head of steam without overheating. “Christopher Columbus” balances some country-ish licks with sparkling little guitar runs.

                                And to talk about a Kilgour album without talking about the guitar playing would be irresponsible. He has always been an understated guitar hero, playing with an efficient elegance, equally adept at heady drones or twinkling solos. The interplay with de Raad accounts for highlights on every track. End Times Undone will be released shortly after a reissue of The Clean’s Anthology, a 46-track set that serves as the band’s defining document that can attest to their pantheon status. End Times Undone is a perfect companion piece to that collection that left off in 1996, and in many ways feels like it could have simply been the next album helmed by Kilgour instead of one that comes nearly 20 years later. That’s what happens when you have an artist so comfortable with his sound and approach that you just turn on the amps and start playing.

                                King Gizzard & The Lizard Wizard

                                Float Along - Fill Your Lungs / Oddments

                                King Gizzard & the Lizard Wizard crank up the fuzzbox and set the Memory Man delay on infinity, assembling a cosmic force field that draws their sonic creations of the recent past into one unified, throbbing whole. Housed in a gatefold jacket for special re-release, this compilation features the truly intergalactic Float Along – Fill Your Lungs (dateline September 2013) together with its sister album Oddments (dateline Match 2014).

                                The Melbourne, Australia, seven-piece just finished their maiden North American tour, including a run of club dates along with appearances at Austin Psych Fest, Canadian Music Week and a slot at Northside Festival alongside Thee Oh Sees, Mac Demarco, Omar Souleyman and more. The remainder of King Gizzard’s American vacation saw them holed up in Sky Lodge in the Catskills for a month, recording what will be their sixth LP (tentatively scheduled for early 2015 release). They have also just recorded their fifth LP at Daptone in Brooklyn, due out at the end of 2014. The band return to Australia for the rest of the summer before heading back Stateside in October to open a White Fence tour, and then a European tour in November, including a slot at the Iceland Airwaves Festival. In short, there is no slowing this band down. Float along and fill your ears.


                                Korn - 180g Red Vinyl Edition

                                  Korn is the eponymous debut studio album by the American Nu-Metal band Korn. It was released in 1994, right after the band toured with Biohazard and House of Pain. The album’s themes mainly consisted of both drug and child abuse. Korn was well received by music critics. The band stormed the alternative scene virtually overnight, and is said to have established Nu-Metal.

                                  Bands like Coal Chamber and Limp Bizkit were inspired by the album’s rage, emphasising similar grooves and song structures, including some Hip Hop elements. Slipknot, Machine Head, and Sepultura were also inspired by the album. The album launched the career of record producer Ross Robinson, who later produced albums such as Three Dollar Bill, Yall by Limp Bizkit and Slipknot’s first two albums.

                                  A little more than a year after release, the album went Gold in the United States. The album spawned 4 singles; “Blind”, followed by “Need To”, “Shoots and Ladders” and “Clown”. The album has now sold over 10 million copies worldwide and was never before issued on vinyl.

                                  FORMAT INFORMATION

                                  LP Info: 180 gram audiophile vinyl with 6-page insert. First pressing of 2500 numbered copies on red/black transparent vinyl. Available on vinyl for the first time!

                                  Live and raw biz from the Crow Castle Cuts Crew. Llangollen’s Dinas Bran Boys invited secret acid voodoo people LAHJ for a sonic alchemy session and the results were swiftly distributed via black magic vinyl. "Miller SC" is an excellent exercise into how to twist craniums inside out but still keep the dancefloor alive. Solid, bouncy grooves accompanied by an inspired arrangement and topped off with breakthrough doses of lysergic energy. "Womb" is a low-slung, bass heavy rumbler with subtle acidic inflections. Growing steadily and with intent over its extended course, the track develops into slow burning monster, tailor made for late night club play. "The Tinley Effect" takes the synthetic blueprints that both the Crow Castle Cuts and Dream House crew drew up and applies them to a fast-paced, funky techno romp, floating gently on the edge of the atmosphere where gravity is at a minimum. Excellent stuff. Finally "Gears & Greas" is an apt title for a very mechanical sounding track which churns and jerks in all directions before splurting machine phlegm directly into our ears. Great stuff. Black vinyl, black label, black bags, limited edition.

                                  LAY gracefully steps to the fore of London's bubbling scene of soulful and jazzy electronics with this gorgeous debut on Arale Records. The young producer, songwriter and multi instrumentalist delivers four cuts of warm, warped and buzzing soul to ease you through long nights and early mornings. Opening track "Seeds" combines the jazzy drums and strung out atmosphere of a lost Gil Scott-Heron cut with smooth, swooning synths and fragile guitar, while "Origin" is a introspective cut which marries gossamer sound design with a fat analogue synth melody. The EP is closed out with two cuts featuring co-production from Eglo maestro Floating Points, who offers some trademark keys on the brooding slow burner "Mankind" and lends an Arp to the aquatic rattle of "Still". This standout debut's already picking up radio play thanks to Benji B and Gilles Peterson, and has been a regular feature on forward thinking station NTS, expect big things for LAY.

                                  'Lectric Workers

                                  The Garden / Robot Is Systematic

                                  A fantastically frantic Italo-disco bomb with all the ingredients and hallmarks of a true dancefloor gem of its era (male vocal, female sensual vocal in foreign language, driving bassline, space aged synth and hard energy). Combining two hits from this cultishly adored band, "Robot Is Systematic" rides fast and hard and screams of coming up off strong drugs right in the middle of the dancefloor, spinning round in circles and generally getting right at it. Apparently the drug of choice at Baldelli's Cosmic club was heroin but this reeks of a huge PCP toke or massive wiff of popper's and is hard to deny its erotic flavour. "The Garden" continues with the sexualized theme and high energy vibe, utilizing octave bassline, squelchy lead lines and a chorus that leaves nothing to the imagination to create another slice of camp dancefloor magic. Massive!

                                  Philadelphia, PA’s Literature features Kevin Attics, Nathaniel Cardaci, Chris Schackerman, and Seth Whaland. Attics, who’d written for numerous music trades as a teen, Cardaci and Whaland both operated at a house venue in Austin, TX & ran separate small imprint labels, the trio decided to form a band, moving to Philadelphia the group befriended Schackerman who joined the fold.

                                  Autumn of 2013, the band began work on their second album, Chorus, with lauded engineer Gary Olson (whose work includes records by Crystal Stilts, Mad Scene and The Beets) at his Marlborough Farms studio in Brooklyn, NY. As a beautiful autumn turned into one of the harshest winters in recent memory, Olson and the band began stretching out, enhancing the album with studio techniques dating back to the late 60s including true-tape flanging, sending vocals through Leslie speaker cabinets, and the same analog style of automatic double-tracking created at Abbey Road Studios. The result is an album that is as immediate as it is timeless, full of effortlessly catchy and well-crafted tunes that echo pop legends like Smiths and Orange Juice. All of that time in the studio has resulted in a rich, considered sound that puts the band's arranging and playing front and center. Chorus is one of the most exciting pop records in years, and marks Literature at true contenders.

                                  Lord Of The Isles

                                  Greane / Gigha

                                  The prolific Lord Of The Isles (aka Scotland’s Neil McDonald) has had a
                                  a perfect start to his innings, with a string of well-received 12" on labels such as Unthank, Shevchenko, Mule, and Permanent Vaction. Here he returns to Phonica (who put out his "Year Of The City EP") for a double header of stunning electrified house music. The 10 minute+ "Greane" bursts into life after an long intro of kicks, white noise hi-hats and darting synth lines. This burst of life is categorized by a key-shifting, all encompassing bassline which instantly shifts the mood and elevates the track to euphoric heights. Dizzying stuff! On the flip, a swirl of orchestral strings introduces "Gigha" in a manner that brings to mind Rhythm Is Rhythm’s legendary "Kao-Tic Harmony" before the drums and infectious acid-line flip the script entirely. Over the following 8 minutes they continue to interweave and play off each other while the orchestral strings that played at the start rejoin the mix and merge perfectly into a emotive, string-led acid jam. Wow. Artwork by Jack Featherstone, the designer of a number of sleeves for Border Community, Electric Minds, Warm and Phonica. Recommended.

                                  Having recently relocated from Guadalajara to D.F., LMTO's debut album is titled 'On Welfare'. The album brings the listener on this migration. The opening track, “Traveler,” brilliantly sets the tone. However, should you see "The Obsolete Man" stumble and fall over himself through space and time repeatedly, doomed to echo his mistakes as though cast in some Sisyphean musical, would you lend him a hand? Perhaps you might take pause at the street corner and breathe: inhale, exhale: repeat, as "Waitin' on the Orange Sunshine" blooms, expanding, encompassing everything you relate to, having your brain pan seared by the itchy, repetitive jam "The Means of Production." Not to worry. Delicately plucked notes, like the petals of so many flowers, begin to shimmer radiantly, cymbals hearkening a light at the end of the tunnel; truly "These Days." Having travelled this far you will no doubt recognize "This Plain City," if only for the effigy that LMTO have created by setting it on fire merely to watch it burn. Take these remnants and do with them what you will. Like a hulking synesthetic lurching newly born unto this world, you will cobble together your own reality wherein the songs shall be part and parcel of a spectacular edifice containing a stark simplicity equal parts achingly beautiful and fantastically haunting mixed with a roaring psychedelic sound bound to bifurcate, yet in so doing, mend your soul.

                                  Nana Love

                                  Disco Documentary - Full Of Funk

                                  Though the iconic imagery of disco feels distinctly tied to the United States, the style had a wide-reaching influence that made it’s way to Africa. While Africa was already no stranger to the pulsing rhythms of funk, Afro-beat, and highlife, the rise of disco added a slick sheen to the music, with musicians from all over the continent incorporating elements of the genre into their sounds. Would there ever have been a Studio 54 in Ghana in late 70s, these would have been the recordings that would have packed the dancefloor with their deep root in disco, soul and funk!

                                  The third instalment of BBE's “Masters We Love” series, the label's crate-digging journey led them to the original producer Reindorf Oppong and what could possibly be one of the most ‘mysterious’ Afro-disco records produced in the late 70s; Nana Love’s “Disco Documentary – Full Of Funk”. The original master tapes were uncovered (and luckily in great shape) and in the process of restoring the tapes, un-released material was discovered, enriching this very special package. Nana Love’s work, is a testament to the music’s most redeeming qualities: great musicianship, funky basslines and killer breaks. As a singer / songwriter in the leading role throughout, she (with production by Reindorf Oppong) lends a wonderfully balanced approach to the arrangements. The result is a set of tracks that are positioned carefully at the forward thinking crossroads of disco, boogie and soul and funk… Her band included 6 of the original Boney M members as well as the legendary Harry Mosco and was recorded in London in 1978, in the same studio as Boney M recorded alongside David Bowie.

                                  This album makes us think; would there ever have been a Studio 54 in Ghana in late 70s? If so these would have been the recordings that would have packed the dance floor with their deep root in disco, soul and funk!

                                  Jimmy Lynch

                                  Tramp Time Vol. 1 - That Funky Tramp In A Nite Club

                                  Debut album by Jimmy "The Funky Tramp" Lynch, aka "Mr. Motion"! Having started and performed in several vocal groups since high school, Lynch spent many nights singing and dancing in clubs. One Halloween, a club owner needed someone to tell jokes. To cover up Lynch’s young age, he made himself up as a bum and the “Funky Tramp” was born!

                                  Taking the “Funky Tramp” character to vinyl, Lynch’s comedic persona would go on to sell over a million copies of his multiple comedy albums throughout the 1960’s and 1970’s.

                                  Useful for producers or perfect for fans of Rudy Ray Moore and Blowfly.

                                  These are original store stock from the 1970s and are still shrink-wrapped. Mmmm, they smell like every musty basement junk shop you've ever been record hunting in...

                                  Jimmy Lynch

                                  Tramp Time Vol. 4 - Funky & Funny

                                  The fourth album by Jimmy "The Funky Tramp" Lynch, aka "Mr. Motion"! Having started and performed in several vocal groups since high school, Lynch spent many nights singing and dancing in clubs. One Halloween, a club owner needed someone to tell jokes. To cover up Lynch’s young age, he made himself up as a bum and the “Funky Tramp” was born!

                                  Taking the “Funky Tramp” character to vinyl, Lynch’s comedic persona would go on to sell over a million copies of his multiple comedy albums throughout the 1960’s and 1970’s.

                                  Useful for producers or perfect for fans of Rudy Ray Moore and Blowfly.

                                  These are original store stock from the 1970s and are still shrink-wrapped. Mmmm, they smell like every musty basement junk shop you've ever been record hunting in...

                                  The Magic Numbers have returned with their most confident and compelling album to date, ‘ALIAS’, including their brand new single ‘Shot In The Dark'. ‘ALIAS’ augments The Magic Numbers’ signature vocal harmonies with a darker, electrifying atmosphere and captures on record the infectious energy of the band’s live performances. The result is a new, powerful sound for the band. From the dramatically poignant openers ‘Wake Up’ and ‘You K(no)w’ the album builds in intensity, opening out into the string-laden backdrop of the soulful, seductive ‘Thought I Wasn’t Ready’ and the majestic ‘Roy Orbison'. New single ‘Shot In The Dark’ is bursting with existential angst and animalistic guitars that echo Neil Young’s work with Crazy Horse. 

                                  FORMAT INFORMATION

                                  Ltd CD Info: Deluxe CD in a digipack with 4 extra tracks.

                                  2xLtd LP Info: Heavyweight double vinyl pressing in gatefold sleeve with insert. Includes bonus CD featuring 4 extra tracks.

                                  Niama Makalou Et African Soul Band

                                  Kognokoura - Inc. Daphni Edit

                                  Disco Mali! Sofrito present a unique slice of Afro-disco from the celebrated griot, Niama Makalou, recorded in the late 70s.

                                  Descended from a family of griots (traditional Malian praise singers), Niama Makalou moved to France in the mid 70s where she cut this, her one and only vinyl release. At the time Paris (like much the rest of the world) was swept up in disco fever, so along with a group of Malian musicians the date was set to cut a piece of disco, griot style. The resulting mixture of off kilter hand claps, raw string arrangements, Balafon flourishes and Bambara vocals combine with a heavy disco groove to produce a one-off piece of cross-cultural dancefloor mayhem.

                                  On the flip Daphni (aka Caribou) crafts an extended version that distills it into a stripped down and dubbed-out groove.

                                  STAFF COMMENTS

                                  Philippa says: Loving both sides of this Afro-disco 12", but especially Daphni's (Caribou) stripped-down flipside edit. Grab it while you can!

                                  Limited vinyl reissue of the amazing ‘Rock Africa’ album from 1977 by Malinga Five, a short-lived group made up of French, Caribbean and African artists. Released in France by Barclay, this hard-to-find afro-funk LP spawned a number of disco hits including an exhilarating up-tempo version of Black Blood’s ‘Marie-Terese’, plus the unstoppable bubbling funk magnificence of ‘Kalimbo‘ later remixed by Bob Sinclar and the superb ‘Kaloule Woman’, a beautiful joyous track laced with intricate guitars and percussion with a great soulful vocal. Standouts aside, the whole album is fantastic from start to finish including hi-octane percussion workout ‘Tambouye’, laid-back funk groover ‘Good Time’ and blissful sensuous ballads such as ‘Song For My Lady’, the elegant jazz-funk of ‘Vin Eve Nou’, afro bubblers such as ‘Kou Ma Ho’ and Mankchine DouDou’ and the synth-heavy ‘Malinga’.

                                  Reginald Omas Mamode IV burst onto the scene in soulful fashion last year with the jazzy bump of the "Do You EP", a favourite of Lefto, Lauren Laverne, Gilled Peterson and Piccadilly's own Patrick. Now the South London man returns for one-four with a deeper, bolder statement of artistic intent on the "As We Move" EP.  This second EP takes the earthy organic soul of "Do You" and twists it into the raw and dense 4/4 of "Fire Burning" or the deep and desperate boogie of "Hold It Together". Sonically, Reggie's music blends the bass heavy approach of Dam-Funk with the intimate 70s soul of Curtis or Marvin, adding a little Dilla shuffle for an extra kick of esoteric spice. "Know You Better" unfolds amidst the horizontal posturing of g funk synths and jazz percussion, whereas "Understand Me", already receiving heavy support from Gilles and Lefto, is a slow burning London soul jam about relationship communication breakdown. Elsewhere, Reggie hits us with a late night lovers jam in the form of the super sexy Funkadelic inspired "One More Time" and takes us for a skipping, stepping, rug cutting low ride on "The Hustler". With the likes of Al Dobson Jr and Andrew Ashong also making waves at the moment with their very modern take on soul, it seems like there's a burgeoning scene breaking out, and Reggie's at the forefront.

                                  Manse follows up that immense cassette EP for Opal Tapes and his standout contribution to Resin 002 with this punishing debut solo 12", a perfect choice to launch the new Lobster Theremin Black Label series. The Londoner delivers three heaving chunks of breathless techno that crush, stab and seethe their way to completion. The title track kicks the EP off with immediate intensity, colouring a thundering mainroom techno weapon with the faintest hue of dub techno tonality. The hissing hats and pounding kick occasionally lay a little lower in the mix to make room for some metallic off beat stabs as the track builds into a percolating monster worth of the Berghain floor. After that explosion of unrestrained aggression we're treated to a much needed moment of calm as Manse conjures and immersive sea of static on "Lighght". Washes of ambient sound, found samples and hazy chords wash over each other as the track floats along to the run out. Normal service soon returns with the totally unhinged industrial techno of "Threadbare". Unpredictable machine rhythms rattle along as pieces antiquated equipment groan and moan, ever carried forward by that massive, Shed-like kick. Be afraid, be very afraid.

                                  The dudes in the Meatbodies and Wand are buddies who go way back. Wand front man Cory Hanson and main Meatbodie Chad Ubovich have been friends since childhood and still remain musical allies. Cory sometimes fills in on lead guitar in the Meatbodies and both guys play together in Mikal Cronin's touring band. Both of their bands have full lengths coming out on In The Red soon! With all of that said, it only made sense to do a split single with the two. As a testimony to the musical psychic connection these sonic brothers have, when faced with the task to come up with a new song for this split on the quick they both wrote songs about the “void” without any knowledge of what the other was doing. The Meatbodies urge you to feed it while Wand wish to be taken back to it. Both sound like an excellent idea. Into the void – now!


                                  Rotten / Mud Gals

                                  Southern California's Meatbodies prime the pump for the release of their debut full-length with this single featuring two tracks. Both songs demonstrate the band's heavier, sludgier side and both destroy.

                                  Comes in a handsome full-color sleeve depicting real life Mudgals.

                                  The title 'Shelter' describes the listener’s perception and subsequent emotional response to a collection of sounds and motifs. If Moiré’s past releases provided fragments of his overall concept, 'Shelter' highlights his vision in its entirety, bringing themes from his earlier productions together with newer elements to form a complete concept. It finds Moiré experimenting outside traditional patterns to create something unexpected and raw, dynamic yet immediate, inciting us to engage in the experience both on a musical and physical level.

                                  Perceptual experience does not necessarily confirm individual sounds, as much as “Moiré” does not appear when looking at individual lines. It’s really about the combination and interaction of the minutiae that make the whole… the sum of the parts. What is important is how we perceive the resulting effect in the grey area or “twilight zone” materialising in the overlap between the lines or sounds in this case.

                                  Immersion into 'Shelter' creates a parallel situation between artist and listener, with one exploring the confines of his medium and the other interpreting the output, essentially resulting in an intensive and introspective experience. Simply put, Moiré is creating something personal and honest, and inviting others to get lost in the patterns.

                                  Perlon come correct with this massive repress of 2013's biggest underground bubbler, the mighty DJ Sprinkles mix of The Mole's "Lockdown Party". But before we get ahead of ourselves, let's start from the top with an A-side run down. The Mole kicks us off with "History Of Dates", a fine example of his ability to hit the elusive middle ground between disco and techno. The producer rolls out a shuffling off kilter rhythm, sticks a subby one note bassline under it and tops with a couple of ketty, techy sequences. So far, so wonky, and things only head further into the mindboggling land of offbeat clubbing as he filters in washes of crowd vocals and a forgetten disco chorus, buried low in the mix like a dislocated memory of dancefloors past. "Lockdown Party" reverts back to more standard dancefloor fare as The Mole pairs a playful bassline with off beat synth stabs and a partytime groove. As the track rolls along, dishing out some real disco hypnotism, the producer cuts in a few oddball movie samples which carries us home. Now for the main event! Non native New Yorker, forward thinking programmer and all round intellectual DJ Sprinkles takes "Lockdown Party", pulls it apart and reassembles it as an ultra groovy mid-tempo house roller with plenty of attitude. The Comatonse boss drops those individual elements in and out of his remix with expert timing and boosts the bassline EQ into a new dimension of sound. But we havn't got to the cool bit yet, this ain't called "Sprinkles' Crossfaderama" for nothing! As the track builds and evolves, Terre Thaemlitz goes wild on the fader, flaring and cutting the disco vocals like a block party legend,  while hooking us up with the occasional snippet of the "Can You Feel It?" bassline. This is off the hook, unhinged dancefloor brilliance from one of the only people in the scene who truly does not give a fuck about the rules. 

                                  Kevin Morby is still in the early stages of his solo venture, but his work carries that intensely personal power of the humble beginnings of many classic American folk and indie singers. Having established his musical foundation in the trippy roots rock of Woods and rough-hewn Brooklyn party pop of The Babies, Morby stepped out on his own to release his lauded debut album Harlem River in 2013. His next offering comes in the way of a two-song My Name 7" EP courtesy of Suicide Squeeze Records. Both the title track and b-side "We Did It All Wrong" simultaneously conjure the haunting heartache of an Anthology of American Folk Music ballad and the reverb-and-smoke-drenched haze of his contemporary indie peers. The My Name 7" is available worldwide in a limited pressing of 750 copies including a download card for mp3s.

                                  Alanis Morissette

                                  Under Rug Swept - Blue Vinyl Edition

                                    180 gram audiophile vinyl with Insert
                                    First pressing of 2000 numbered copies on blue transparent vinyl
                                    Available on vinyl for the first time!

                                    The fifth album by Canadian singer-songwriter Alanis Morissette, Under Rug Swept, was originally released in 2002. It was the first album Morissette had written and produced all on her own, debuting at number one on charts in 12 countries, including the United States and Canada. The album produced the singles “Hands Clean” and “Precious Illusions”.

                                    Following up on the massively successful Supposed Former Infatuation Junkie [MOVLP1140], it was time for a cool change in making her next record. With Under Rug Swept, Morissette brought back the sound of Jagged Little Pill, a lush, dense layering of loops, guitars, keyboards, and vocals that makes her songs incredibly catchy. While sounding really good, the music flows, the production shines in its subtleties, it’s pleasingly melodic, tempering the extremities of Jagged Little Pill while retaining character.

                                    Amerigo Gazaway liberates the second installment in his highly praised Soul Mates blend project, bringing together Brooklyn rapper Yasiin Bey (aka Mos Def) and soul legend Marvin Gaye for a dream collaboration aptly titled “Yasiin Gaye” for a second hip hop soul outing. Building the album’s foundation from deconstructed samples of Gaye’s Motown classics, the producer re-orchestrates the instrumentation into new productions within a similar framework. Carefully weaving Bey’s dense raps and Gaye’s soulful vocals over his new arrangements, the producer delivers a quality far closer to Gaye’s famous duets than that of a “mash-up” album.

                                    'Yasiin Gaye. The Return: Side Two' gives us 18 new mash-ups of Mos Def and Marvin Gaye classics.

                                    Diesel and Jarvis return with a massive three tracker of off the beaten track edit goodness. Where they find them, who knows, but thank god they do. Our dynamic duo start the session with some gentle foreplay in the form of "Dreeme". This spacey Balearic roller is nothing other than a shimmering dub of Max Berlin's super sexy "Elle et Moi"! Diesel and Jarvis drop those pervy vocals leaving the funk pianos and coastal accordion line to do the talking, resulting in a sunkissed soother for warm summer days. On the flipside we kick things up a gear and head to the cocaine cool of a European discotheque circa 1981 thanks to "She & He", the kind of dusty disco rock Harvey sprinkles booger sugar on and eats for breakfast. Last but not least the ultra funky "Step" enters the room, slips something in your drink and takes you to bed with its slow motion charms. Emanating from the crossroads between Baldelli's thick and druggy cosmic sound and Larry's sexed up funk, this one will have you hooked in no time.

                                    Eclectic, eccentric and electric Porto DJ Rui Murka finally makes the transition from selector to producer with the sunkissed beauty of "Amigos". The intricate percussion wears the hint of heat haze through its dubby echo while the rhythmic pads and lilting bassline ensure there's enough groove to keep the Balearic floor moving. Rui adds a scratchy funk rhythm guitar and some Chris Rea soloing to create a stunning fusion of island attitude and jazz-funk style that'll find plenty of room in my sets as we head into the Indian summer. Rui's hometown homeboy Tiago drops by to lend a hand in the remix department, pushing the tempo to a respectible 120 bpm and suplimenting those smooth guitar licks with a head nodding low slung bassline. The result is a beefy platter of psychedelic disco which finds itself totally at home on Tokyo's Ene! Hot on the heels of his entry in the Telefonplan directory, Vahagn drops by to offer his own interpretation of "Amigos" and close the EP in style. The Portuguese producer opts to stick fairly close to the original, but adds deep and atmospheric pads and a laid back house beat to create a sunset gem worthy of any of the world's coastal bars.

                                    Laura Mvula With Metropole Orkest

                                    Laura Mvula With Metropole Orkest

                                      Brit Award nominee & Mercury Music Prize shortlisted UK diva Laura Mvula returns with a beautiful new recording and arrangement of her Top 10 debut album "Sing To The Moon", this time backed by the 52-piece Dutch Metropole Orkest, conducted by Jules Barkley and recorded at the world famous Abbey Road Studios.

                                      My Panda Shall Fly


                                      My Panda Shall Fly AKA musician and visual artist Suren Seneviratne, is set to release ‘Tropical’ via Soundway Records.

                                      A kaleidoscope of rainbow textures and rhythms disperse into the exotic soundscape of ‘Tropical’. Electronics, real folk instruments and noise-making objects feature here generously on this six-track concept album, blending together a sonic palette influenced by a rich variety of music, people and places.

                                      The material was initially written over the course of a few months during what Seneviratne called "a beautiful burst of inspiration". Working with veteran producer Asier Leatxe Ibanez d'Opakoa (Electric Lady Studios, NYC), Seneviratne then set about disassembling all the songs and re-working them meticulously, enriching the sounds by adding a huge range of live instrumentation, before processing the audio through vintage analogue studio gear.

                                      Without a doubt New York's Anthony Naples leads the pack in the burgeoning haze house scene, and off the strength of this four tracker on Will Bankhead's Trilogy Tapes, he's just picking up momentum. He's already rocked our socks off with rough and raw bumpers on Mister Saturday Night and Prohibito, not to mention his previous sonic assault on TTT, and "Zipacon" finds him at the top of his game as usual. The EP kicks off with the grainy bump of "Perro", a Bradock-esque exercise in deep house that rolls on all night long thanks to it's rattling hats and phasing pads. If you liked the RAD-AN1 release then this one's gonna groove its way right up your strasse. From the dusty murk of the A1 we delve deeper into the subaquatic realms of dubby electro with the melodic calm and fragility of the title track. A Drexciyan two step underpins the gentle refrain of synth chords and shimmering leads as we get as close to a lullaby as TTT's ever gonna get. On the flip Mr Naples kicks things back up a gear with the tops off peak time thump of "More Problem". The producer takes all the elements you'd associate with an old school piano banger (chunky vamps, synth mallets, hefty kick) and rearranges them into a slightly disconcerting and off kilter pattern, shedding the euphoria of old in favour of muscular aggression. Speaking of which, the EP closes in psychotic and psychedelic form thanks to "Crazy Spirit", a tense techno workout which sees Naples run a wriggling sawtooth line through all the outboard effects while gentle tweaking the resonator. All in all, this EP is another winner on TTT and yet another fine example of Naples' analogue expertise.


                                      The Marble Index - 180g Vinyl Edition

                                      'The Marble Index' is the second studio album by German musician Nico. She initially became famous as a Warhol Superstar in the 60s. Nico is known for both her vocal collaboration on the Velvet Underground's debut album, 'The Velvet Underground & Nico' (1967) and her work as a solo artist from the late 60s through the 80s.

                                      Originally released in 1969, 'The Marble Index' was produced by Frazier Mohawk. Critic Simon Reynolds described the album as "one of the most harrowing and death-fixated albums in rock history". The album was written by Nico and features musical arrangements by John Cale, who had worked briefly with Nico during her collaboration with The Velvet Underground. The music of the album was a new style for Nico, distancing herself from rock and pop. The album also unveiled Nico's songwriting, as her debut solo album 'Chelsea Girl' featured none of her compositions.

                                      The Music On Vinyl reissue of this critically acclaimed and influential album is pressed on 180 gram audiophile vinyl. A classic album indeed!

                                      Owl John, aka Scott Hutchison of critically acclaimed Scottish group Frightened Rabbit, releases his self-titled debut album through Atlantic Records. The record, produced by Andy Monaghan of Frightened Rabbit and good friend Simon Liddell of Olympic Swimmers, was recorded between the Isle of Mull in Scotland and the West Coast of America. The Owl John album was born of Scott’s desire to get creatively inspired ahead of the next Frightened Rabbit record. It showcases Scott’s trademark brutal honesty - raw, powerful, and often heart-breaking, “Owl John” will see Scott step out of Frightened Rabbit’s shadow.

                                      It's nice to see Mark Barrott's not gone all mañana on us since he decamped to the White Isle. The International Feel boss has seen his way to providing the soundtrack to the summer with his beautiful "Sketches From An Island LP", repressed the two biggest Balearic dancefloor smashes of recent memory (on one vinyl no less), and still found time to lure Cafe Del Mar legend Jose Padilla back into the studio for a sublime release. "Solito" marks three special moments; 40 years of Padilla as a DJ, his triumphant return to Cafe Del Mar after 15 years and the first sign of a new partnership with the forward thinking International Feel imrpint who will release a full length LP next year. Accompanying the original mix of the gorgeous and exotic "Solito" is this immersive double A-side of reworks from German producer Wolf Muller. On the A-side, the "Water Mix" sees the producer focus on the balmy heat of those North African influences, massaging the exotic vocals, gentle percussion and vibrant tonality into an extended intro of deep calm. Before you know it, a steady kick enters the fray, and the bassline resolves into a gentle groove you can't help but move to. The "Water Dance" mix on the other side heads even further into tribal mysticism, throwing dubby elements, desert incantations and souk percussion into the pot for a mind expanding sound akin to Jah Wobble et al's "Snake Charmer" or the more laid back moments on Japan's "Tin Drum". Another must have release from International Feel, and one that suitably whets the whistle ahead of Padilla's LP.

                                      Lobster Theremin's new white label series is inaugurated by the label's formidable golden boy Palms Trax. Rising from the vintage grooves of his in demand and deeply dope "Equation EP", Palms is on much more raucous form this time round. The title track drives directly to the peak time with its drum machine rattle and hyper resonated synth lines, referencing essential electro cats like Drexciya and Dopplereffekt, but remaining resolutely techy. From there we move to the bump and hustle of the NY aping "Raw Jam", a grooving sci fi house cut with some gangster vocal samples chucked in for good measure. On the flipside, Palms takes us to the other side of the spatial field with the glistening electro cut "Lost Control". If you find yourself on the observational bay of a interstellar craft, coping some rays and sipping a cocktail, then this is your soundtrack. For real. As if that isn't enough to blow the average disc jockey's mind, those kind folks at Lobster Theremin include a hazy heroin house overhaul of "Forever" by White Materials man Galcher Lustwerk. Celestial calm and intoxicated bliss reign on this spiritual cut.



                                        Given the tendency of popstrels to emerge fully formed from the ether, the development of North-Londoner Pawws (aka singer-songwriter Lucy Taylor) has undoubtedly been a much-needed breath of fresh air. Describing her sound as “upsetting disco”, her work details trials of love lost and won.

                                        Lucy started her career as a live session musician for Kele Okereke and also performed with the likes of MGMT. Her experiences with them led her to write her own tracks, recording them at home and posting them online under her adopted nom de plume. Her first releases gained her a huge amount of attention, heralding praise from the likes of NME and Billboard. Not long after releasing her debut single Time To Say Goodbye / Slow Love she signed a deal with Three Six Zero, a management company partnered with Roc Nation.

                                        Sugar, her debut EP, is coloured by a subtlety of emotion and lingering nostalgia that encapsulates the maturity of her sound, all the while exploring the tempestuousness of relationships. “I guess the main theme of this EP is the what happens when you continue loving someone, even when you know it is bad for you,” she explains. “Although the EP is generally about the pitfalls of love I still think it has an element of hope to it, because you only take risks and end up in those situations when you’re open with your heart.”

                                        Well, this one dropped in the shop with little info other than the artist is newcomer Phrased, and it's the inaugural release on the anonymous L.B. Produce imprint. Now we've cleared that up, let's get onto the matter at hand; what does it sound like? Well, since you ask, the mysterious Phrased has delivered three deep and driving house cuts perfect for those blissed out post peak dancefloor moments. On the A-side we get moving to the lightly acidic groove of "Blind", a rolling deep house cut with a limber bassline, Fingers-esque syncopated hats and lush keys. Blurred and echoed vocals sit above the whole lot as you're transported directly into that moment of tingling bliss when you first spent all night dancing to house music. On the flip, "S's Reality" heads even deeper into the next morning thanks to some spaced out sequences and a gorgeous analogue lead line. Once again our mystery producer delivers a killer riff for the bassline and locks that rhythm section down. The EP closes with the calm and spacey dubspace of "22", a drumless journey that'll soothe any come down.

                                        Elvis Presley

                                        Bossa Nova Baby - Green Vinyl Edition

                                          Originally featured in the Elvis movie (& soundtrack) Fun In Acapulco and released as a single in 1963, “Bossa Nova Baby” was recorded by Elvis with a legendary vocal group backing him up; The Jordanaires.

                                          Fast forward 47 years. In 2010, the third official posthumous album of Elvis Presley created from scratch was released: the Viva Elvis album [MOVLP233]. This highly energetic remix album of famous Elvis soundtrack songs was specially produced for the Cirque du Soleil show Viva Elvis, complete with dance, acrobatics, live music, and video clips.

                                          Another four years down the line, a large global beer company decided to feature the Viva Elvis remix for “Bossa Nova Baby” in one of their epic commercials.

                                          This calls for an exclusive Elvis Presley 45 on beer bottle green vinyl, featuring both the original and remix of “Bossa Nova Baby”! Strictly limited to 1500 numbered copies. Party on!

                                          FORMAT INFORMATION

                                          7" Info: 45 RPM 7” single with large dinked jukebox hole. Includes original and new remix. 1500 numbered copies on beer bottle green vinyl. Just 250 for the UK

                                          Taking inspiration from the world of espionage, most specifically spy rings, both artists provide four tracks each, creating a thrilling musical call and response between these kindred producers.

                                          Some of the greates world espionage stories involve Spy Rings. From the Rosenbergs, to the Cambridge Five and the Duquesne case, stories that have haunted the annals of the covert world and remain shrouded in mystery and fascination to this day.

                                          The clandestine spirits permeate these eight tracks of dreamlike industrial techno, impressionist synth burbles, fragmented post-modern ambient and cosmic sci-fi adventure.

                                          Front & Follow, in collaboration with The Outer Church, present a stunning new 12" from Pye Corner Audio, 'The Black Mist EP'.

                                          The EP features an extended mix of the title track 'Black Mist' (the original featured on last year’s Outer Church compilation), new track 'Bulk Erase' and a remix of 'Black Mist' by fellow OC collaborators Old Apparatus.

                                          The EP is released as a limited edition (of 500) 12” on 180g vinyl with a digital download code.

                                          Pye Corner Audio is the audio recovery project of the Head Technician, a mysterious and studious figure who has developed the ability to travel sideways through time and space via a) the use of rewired analogue recording equipment and b) the judicious application of moss and fog. Alongside the self-released Black Mill Tapes research series (recently collected on vinyl and CD by Type Records), the Head Technician has released music through Dekorder, Type, The Tapeworm and Boomkat Editions, not to mention a full-length album, Sleep Games, on Ghost Box. Earlier this year, he was coaxed out of the lab and indeed the British Isles to join Mogwai on their European tour, where he took considerable pleasure in sampling the lichen of foreign lands. The Head Technician claims not to know where the bodies are buried, but would be happy to show you his reels.

                                          Old Apparatus were specially selected by the Head Technician to remix Black Mist, and have turned in a distressed deconstruction in keeping with their rusted iron aesthetic. A collective of shady individuals most often found muttering obscure invocations in the low-rent drinking dens of North East London, their stubbornly uncategorisable sound debuted in 2011 with a hissing, creaking self-titled 12” on Mala’s esteemed Deep MEDi label. Their debut album, Compendium, was released on their own Sullen Tone label in 2013. The outfit has in addition birthed a number of intriguing offshoots such as Harem, Saa and Penny. One of them may be standing behind you right now, reading this over your shoulder. Don’t look.

                                          Much imitated but never equalled, The Outer Church is a shadowy Brighton-based organisation dedicated to the promotion of uncanny sound and vision. Its semi-human representative is music writer and persistent meddler Joseph Stannard (The Wire, Mojo, Red Bull Music Academy, The Quietus etc). Since its inception in 2009, The Outer Church has presented live audiovisual performances from Demdike Stare, Raime, Pye Corner Audio, Some Truths, Ekoplekz, Kemper Norton, Hacker Farm, Umberto, High Wolf, Grumbling Fur and many, many more. “Magnum Innominandum. A random access myth. The clarion signals the opening of the portal. Remember to take a reading. A hex and a pox and the land is ours.”

                                          After impressing bloggers, critics and most importantly dancers with the scuzzy techno of his TTT debut in 2013, Rezzett returns with another rough diamond on Will Bankhead's impressive label. The release, housed in a beautiful sleeve, and an even more beautiful inner sleeve (screen printed with the record inside for that seemless centre label match) somehow manages to sound better than it looks, taking the foundations of the producers debut and taking them on another level. Where the tough and grimy techno of "Firebomb" and "Yayla" were imbued with the sawtooth animosity of rave, "Zootie" marries its analogue filth and saturated sonics to the hyperspeed cut up of jungle breakbeats (in this case Bobby Byrd's "Hot Pants" break). Intense bursts of rhythm push through the distorted weight of the punishing synthscape. If those frantic breaks got a bit much, triggering buried memories of a strobe lit past, then unwind and ease your cares with the blissfull ambience of the Yavas mix on the flip.

                                          The Rolling Stones

                                          The Rolling Stones

                                            This is a compilation of the Rolling Stones studio sessions in chronological order.

                                            Brian Jones, Mick Jagger, Keith Richards, Charlie Watts and Bill Wyman started their sessions at I.B.C. Studios, 35, Portland Place close to Regent Street in London where the LP cover picture was taken in the early 1963. The first six tracks were recorded between the 28th of January & the 2nd of February. Come On / I Want To Be Loved is their first 7” recorded at Olympic in London on 10th May. In the hot summer of 1963, between July and August, they recorded at the Decca Studios Poison Ivy, It Should Be, Fortune Teller. On 14th and 15th September they were in Kingsway, London for their first EP with You Better Move On, Bye, Bye, Johnny and Money. Then they came back to the I.B.C. Studios on 5th October to record: Come On, Memphis Tennessee, Roll Over Beethoven and I Just Want To Make Love To You. Two days later, in Kingsway, they recorded the last two songs of this compilation.

                                            Royal Blood’s remarkable breakthrough year commenced with a BBC Sound of 2014 and has continued with a succession of highlights including shows with Arctic Monkeys at Finsbury Park, a place on the NME Awards tour and a scintillating debut performance on Later…with Jools Holland. Ahead of their eagerly-anticipated self-titled debut album (released 25th August) comes their third single, ‘Figure It Out’ - which was Zane’s Hottest Record on Radio 1 on 1st July.


                                            Sunday Afternoon / Touch Me

                                            What with all the Trax, KMS, Mood II Swing and Allivated records reissues we've had of late, it could have been easy to let this precious Italian gemstone slip through the net. We've all got Garth Be (of 'The Seven Movements' fame) to thank, highlighting this wonderful Atlantic repress to me the other week while we were DJing out in the field. Produced in '92(!) this is a truly special record, slightly underlooked and ever-so sexy for it. This is the only release Rudoulpho made, with Jerome Sydenham cleverly bringing it across the pond to his primed US deep house market. "Sunday Afternoon" undulated with all the smooth sophistication of any Larry Heard and Ron Trent number. Plenty of Rhodes, keys, strings and horns weaving in and out of the groove while that thick and chunky 90s production just grooves on and on. Flip for "Touch Me" - the real money shot for me (and surely the reason OGs got for £40+ on discogs). Timeless, with fluttering piano motifs, a soulful, masculine vocal with great lyrics about desire and lust. Add to this a perfectly constructed mechanical, basement buggin' groove and you can see why this is the perfect backroom burner, understated and cool as fuck. Highly recommended.

                                            STAFF COMMENTS

                                            Matt says: "Touch Me" is probably gonna be my house reissue of the year (if such a category were to exist in our end of year chart). Unbelievably under-the-radar, until now - sorry Garth x

                                            Ooof! Douglas Ruff Esquire dons his Tron suit and dives into the Lectric World, armed only with a modified tape deck, hardware backpack and narcotic vape stick. In between Disc Battles and the occasional joyride on a Light Cycle, our intrepid analogue explorer found the time to synthesise three cosmic cuts for the android club kids. First up, "Magnetic Atmosphere" sees the Mancunian producer in peak time haze house mode, pairing a shoulder rolling bassline with hissing hats and strung out pads for an immersive dancefloor trip. As the saturation express rattles along the redline we suddenly find ourselves onto a detour into the late night world of subdued and jazzy piano ruled by Ahmad Jamal. This one's already causing dancefloor chaos at the hands of Marcel Vogel, Beautiful Swimmers and Ruffy himself, so get onboard before you miss the chance. On the flipside Doug drops the pace and unloads a couple of 5AM cosmic-synth jammers for all the smokers out there. To start we're treated to the Radio 1 approved coastal groover "Ruffy's Day Out", which picks up right where the Ruf Kutz boss left off with "MV LOOK" and "Sorta Rican" on Porn Wax. Making excellent use of the Enya patch on the D50, our man takes us for a moonlit stroll on a tropical beach before getting hot and heavy in the undergrowth. And for dessert, what better than the deeply skewed boogie of "Late Cruise", a deep head nodder which serves its blunted funk nightdubbin' style resulting in a window rattling banger which sounds like a SNES robot battle between Dam-Funk and Wally Badarou. And that's not all folks, the Lectric Sands crew round the package off with their own echo drenched FXxx up of the title track, which will work wonders on the drug affected mind.

                                            STAFF COMMENTS

                                            Patrick says: Cassette crusader Ruf Dug drops by the Lectric World to cook up a trio of hardware hits ripe for the picking. Hissy, hazy and hot as they come, this is the real deal.

                                            Saint Pepsi

                                            Fiona Coyne / Fall Harder

                                            For his Carpark debut, Saint Pepsi takes a step away from the more genre-shuffling styles of his Internet releases to focus his skills on high-power pop.

                                            The title track of the "Fiona Coyne" 7-inch is an uplifting tribute to fantastical romance and the joyous dreams pop culture can provide. Mastermind Ryan DeRobertis lays down a funky guitar riff and bass line of Chic-quality to tease our senses before tickling us silly with the chorus' ecstatic horns.

                                            "My love's on the silver screen/ she's always playing make believe," sings the 21-year-old songwriter, playing a bit of make-believe himself. The song, named after a certain graduate of Degrassi Community School, acts out the fantasy of dating a TV star and plays with the idea that music can be something of a catalyst for romance.

                                            The b-side, "Fall Harder," is a lovelorn hit about a somewhat unattainable beauty. "You've got me under your spell/ and baby, I couldn't fall harder," DeRobertis sings over an Orange Juice-worthy riff and electronic subtleties like the sound of a Galaga battle.

                                            For this 7-inch, DeRobertis wrote danceable love songs with a nostalgic aesthetic to the production "I think nostalgia is inherently narcissistic and I'm currently very into the idea of exploring the connection between nostalgia and narcissism," he says.

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