Bass Music . Future Beats . Nu Garage


Genre pick of the week Cover of Angels & Devils by The Bug.
2008's 'London Zoo' is where the Bug's Kevin Martin found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music.

Martin's latest offering, 'Angels & Devils', escapes the 'London Zoo' cage, drawing on it for influence yet blowing it up into a world-view now seen from Kevin Martin's new Berlin home. A record that simultaneously draws on 'London Zoo', completes a triptych cycle which started with his Bug debut 'Pressure', and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie / Eno classic 'Low', or Can's 'Tago Mago', the album is split into two distinct themes and explorations of light & dark. Bringing the angel & devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there's a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) and Death Grips and make it seamless. 'Angels & Devils' stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path / vision.

With the 'Angel' side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is "Void". Followed by contributions from ex-Hype Williams half copeland ("Fall"), the blissed out patois of touring partner Miss Red ("Mi Lost"), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on "Save Me". It's a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils...

'Devils' leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with "The One". Roll Deep's Manga steps up next with the instant Bug classic "Function", which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with "Fuck A Bitch". Flowdan & Justin Broadrick come back for the cinematic death crawl of "Fat Mac". Warrior Queen steps in for hands down the nastiest vocal she's ever delivered (which is saying a lot) for "Fuck You", and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts "dirty, fuck that murky...".

The concept is completed by the artistic expression it's packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings.

Brighton-based producer Leo Marcus aka High Lucia presents his debut release on Lex Records with the majestic Wash EP. Formerly known as Pále, High Lucia presents a six-piece collection of sweeping, organic ambient statements, with ‘Dark Ages’ offering deep, lush bass lines and shimmering voices. In a breakaway from the usual instrumental configurations, final cut ‘Opal / Forever’ brings in vocalist Joshua Idehen in addition to Shanaz Dorsett who add their vocal touches to High Lucia’s rich ambient production.

Predominantly instrumental, 'Wash' is a lush 6 track EP with sweeping ambient instrumentals underpinned by minimalistic bass lines alongside Joshua Idehen (Benin City) and Shanaz Dorsett's vocal contributions which pin point the London influence. His productions don’t just stir morose vibes, instead they engage in creating an abstract sense of beauty. His synths and vocal parts cling like fog to his crisp percussion. A young talent growing from strength to strength - for fans of Clams Casino, MBV, Benin City, Massive Attack, The XX / Jamie XX.

Jamie XX

All Under One Roof Raving

After softening us up with the Freeez sampling outsider house of "Girl", Jamie XX returns for a single sided tribute to rave, 'ardcore and good old Blighty. Homesick on a particularly lengthy XX tour, Jamie took comfort in the sights and sounds which reminded him of home, particularly Turner Prize winner Mark Leckey's "Fiorucci Made Me Hardcore", and was inspired to make his own tribute to London's rave heritage. Rather than opt for the 'sampled vox and pianos' template Joy Orbison employed to devastating effect on "Ellipsis", Jamie delivers a shuffling and atmospheric walk down memory lane, decorated with snapshots of forgotten nights on too many drugs. The London producer utilises pizzicato (plucked mate) strings and a rippling marimba to lead us out of his deep soundscape and onwards to the lights up moment which awaits. *Comes complete with sportswear roll call outro!!!


12" Info: One sided 12" with etching on the B-side. Comes in die-cut sleeve.

Underground electronic talisman Kutmah doesn’t often release new music. That’s an approach that runs counter to the paradigm; unedited, under considered, unfinished songs being constantly flung up onto blogs and Soundclouds - and that alone makes him stand out. More so though, the quality of his music does. Remember that first, visceral thrill you felt at hearing music made electronically? The sort of thing that came out Germany in the late ‘70s and early ‘80s, the weird, hypnotic, gripping meld of soul and machine? That’s the sort of shock of the new you hear in Kutmah.

'Our Mannequin' conjures up the spirit of early electronic music in more ways than one. His funk-ridden drums and bass, synths that drench over the ear like waves, and filtered, robotic vocals hark back to German synth-wave and post-punk. The difference is the in the tempo, which clearly demarcates Kutmah's roots in the LA-via-London, leftfield beat scene.

The first clubs Kutmah went to were goth industrial nights, where he heard "weird shit that you can dance to." That clearly shows on this latest EP. It’s easy to forget the funk you could hear in early industrial music; can still hear in the long-living pioneers like Richard H Kirk. "No one was chatting, they were just dancing" Kutmah says of clubs such as Kontrol Factory in Hollywood. If he loved the music, he was less keen on the scene.

His early musical axis ran between Suicide and NWA, influences that go some way to representing the originality you hear in his music. It was after he was deported back to the UK from LA that he "locked himself in a room and made this dark record." He brought the EPs collaborators into the shadows with him. "Zackey Force Funk usually make’s thug dance music," Kutmah says, "and Seven Davis JR will never do a record like this again."

The EP "represents the third member of a relationship," he says, cryptically. One thing is for certain, this is music of rare quality, and it entrances the ear from a first listen. Kutmah’s inspiration may have been darkness, but that locked room was vibrantly fruitful.

It speaks volumes for how long we’ve been waiting for the debut Brainfeeder album from Mono/Poly that when Flying Lotus first got in touch with him about doing something for the label, it was via Myspace. The wait, though, has been worth it. Specializing in a kind of beat-driven cosmic soundscape which he describes as “electronic-classical-alchemy music,” Mono/Poly aka Charles Dickerson has drawn on the lessons he’s learned from collaborating on last year’s Thundercat album as well as the Flash Bang Grenada hip hop project with Busdriver and Nocando, and made a beautifully realized, endlessly expansive record.

From the first orchestral trills of “Winds of Change” you know you’re in for something special. As the track builds the listener notices not only the content but also the production chops – this is a record which sounds exactly as big, glossy and up front as its creator wants it to. Rebekah Raff adds scintillating harp work to “Transit to the Gold Planet,” but it’s the way Dickerson integrates it and builds on it which is really special. “Ra Rise” sounds like sunbathing in space, Niki Randa’s abstracted topline vocal warming you right through. Title track, “Golden Skies” uses a looping piano riff reminiscent of Bach, Thelonious Monk and Wu Tang on E, all at once, without sounding like any of them. Add sternum- thrumming bass to that and you know exactly what’s what. “Alpha & Omega” does something clever with slowed down D&B licks and tweaked vocal snips. “Empyrean” features Mendee Ichikawa (of the band Free Moral Agents), an ethereal, ghostly presence. “Night Garden” sounds like a drive through the dark streets of an alternate LA. “Euphoria” uses a simple, military-style snare and then twines keyboard lines over it until it’s lifted into the sky. Thundercat joins in on last track, “Gamma,” and adds some perfectly-judged low-end riffing to anchor Dickerson’s keyboard swirls.

Mono/Poly has been a name to watch since his debut, 'The George Machine', back in 2009. His 2011 EP release for Brainfeeder, Manifestations, was supported by artists as diverse as Radiohead and Erykah Badu and his work on Thundercat’s 'Apocalypse' established once and for all the quality of his productions. With 'Golden Skies' he has laid down a marker to any other “beat maker” out there. Because with a genuine producer with this much talent, everyone else needs to aim a little bit higher - up towards the golden skies.

Piccadilly Records

Logo T-Shirt - Heather Navy

    The latest Piccadilly Records T-Shirt featuring our new logo, complete with snazzy 'PICCADILLYRECORDS.COM - MANCHESTER' sleeve print.

    Printed on a Gildan Softstyle Adult Ringspun heather navy T-Shirt.


    L Info: To fit chest size 42/44".

    M Info: To fit chest size 38/40".

    S Info: To fit chest size 34/36".

    XL Info: To fit chest size 46/48".

    With his new album ‘Green Language’, Rustie takes a confident leap forward, straddling references to hip hop, grime, R&B and pop, whilst remaining grounded in his playful, bombastic style of electronic production.

    The album includes contributions from Rustie’s friends and past collaborators. He teams up with Danny Brown, who he worked with on Brown’s 2013 album ‘Old’, for the hyper-brash ‘Attak’. The album also includes Rustie’s Numbers label mate Redinho on ‘Lost’, seeing the pair tackle and perfect the craft of the pop hook.

    Rustie’s second album expands on ‘Glass Swords’ with more finely tuned and carefully constructed songs, like the smooth R&B melody of ‘Dream On’ featuring Musinah, rhymes from Face Vega (Gorgeous Children) in the downtempo hip hop jam ‘He Hate Me’ and the anthemic grime track ‘Up Down’ featuring D Double E.

    ‘Green Language’ is named after the nickname for ‘the language of the birds’. For Rustie, it echoes his attitude towards music, too. “It’s a language that’s non-dualistic, that speaks directly to your emotions without the mind interfering with the message,” he explains. “And music is like that for me.”

    For fans of Disclosure, SBTRKT, Childish Gambino, Lil Wayne, Tinashe, Jamie xx.

    µ-Ziq's new EP is a thing of joy and hazy childhood memories. The music of the future as it felt in the early eighties, filtered through the rhythmic shapes of more modern dance music innovations. From the twinkling breakbeat 'artcore' of opener 'Taxi Sadness' to the early '80s kids children theme via dubstep of 'Rimmy'. 'PRG' is beatless, full of gentle whispy coiling melodies through a distorted lens. 'Blem' mixes trappy snares and twilight atmosphere with big melodic brushstrokes that remind one of John Foxx. 'Smeester's gentle metallic melodies give way to a menacing hip hop style bass and drums, and chords that drift and decay.Closer 'Tambor' rolls slowly on metallic percussion, a sad melodic figure that repeats into despair, finishing the EP.

    As an artist, actor and musician, Goldie’s talents are vast and his music career undisputed. Having sold more than 3 million records worldwide to date, he is often cited as an in fluential contributor to the field of drum and bass. 20 years ago he spawned the successful drum and bass label, Metalheadz and created the far-famed Metalheadz Sunday Sessions club night, which achieved legendary status at London’s Blue Note club. Since then he has stretched his wings working on a range of projects including acting and writing music for an orchestra.

    For his addition to Ministry Of Sound driverse 'Masterpiece' series, Goldie divides his choices into 3 discs titled 'The Alpha' (a collection of influences and favourites from soul, reggae and boogie, including Maze, Soul II Soul, Teena Marie, Serious Intention, Junior Murvin etc), 'Journeyman' (the music that inspired him when he first started going out of the D&B scene; Top Buzz, Zero B, Nookie, A Guy Called Gerald etc) and 'Headzville', a showcase of some of the crème de la crème of producers signed to Goldie’s own label Metalheadz, including dBridge, Commix, Jubei and more.

    As an added way of saying thank you to all his fans, a selection of tracks are available on a triple vinyl LP, handpicked by Goldie.

    XL Recordings release ‘Pay Close Attention’, a label history-spanning compilation album. The album documents and celebrates the key releases and moments from the 25 year history of the London-based, independent record label.

    In the ‘Pay Close Attention’ sleeve notes, XL owner Richard Russell writes: “XL Recordings is a collaborative endeavour, and many people have contributed to its evolution. In the song ‘Out Of Space’, Liam Howlett of The Prodigy provided a blueprint when he sampled Kool Keith of Ultramagnetic MC’s rapping these words: “Pay Close Attention”. And whilst XL has never had any outside ownership, Gil Scott-Heron advised me not to even consider XL an “independent”, because everything is connected. Part 1 of this compilation are the roots of XL; underground music, made for DJs. These roots are still growing. Part 2 features some of the singular talents who have taken the label further than we ever envisioned. There is no unifying genre; hopefully the thread of originality is evident though.”


    2xCD Info: Two black polycarbonate CDs in a 6 panel digi wallet pack which includes poster insert.

    4xLP Box Set Info: Deluxe four LP lidded boxset that includes a poster and a bonus 10 track NTSC Region 0 DVD featuring such iconic footage as The Prodigy’s ‘Firestarter’ video, Michel Gondry’s ‘Fell In Love With A Girl’ (for The White Stripes) and Adele performing ‘Someone Like You’ at The Brits.

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