Slumbering over decades, awoken by the call of screaming hordes, ‘Los Trasgos Muertos’ were born in blood. The blood running through 5th chords, trashy cymbal crashes and broken amps. Taking Garage/Psyche Rock and twisting it to their own devices with their fleshless skeletal fingers they traverse the wilderness, the holy trinity, savaging audiences and all in their path.

Made up of a rag tag collection of the Manchester music scene, what started as a fun project to blow off steam in between recording sessions quickly became a serious(ly fun) project. Recorded at live to tape at Eve Studios in Bredbury, which seems to be Manchester's best kept secret (BC Camplight did his recent album there) and at our own Herne's Oak studios.

It’s loud music for bodies in small hot sweaty rooms, it’s physical music.

Influenced by Billy Childish / Deep Purple / Ty Segall / Black Sabbath / The Beatles / R.E.M / Thee Oh Sees / Prince / Iron Maiden / Night Beats / The Who.


Andy says: Psych magik from Manchester. Recommended.

Black Sonic Revolver

Black Sonic Revolver

Black Sonic Revolver's self titled debut studio album sees the Manchester 4 piece capture all the madness of their live shows, usually characterised by tambourine wielding stage invaders, with a splash of psychedelic ambience for good measure over these initial 10 tracks. Tackling issues that the band believe that everyone as people go through, the lyrics are searching and truthful, set to a back drop of psychedelic blues rock. 
"The Spirit of Rock 'n' Roll is very much alive and well on 'Black Sonic Revolver'" - A Joyful Noise

Unshaken in his vision, Keith Tenniswood is an artist whose emotive electronic music, and ethos has seen him lorded as an innovator and machine funk specialist. As long term collaborator to Andrew Weatherall in their now defunct Two Lone Swordsmen guise, and with his continual sonic experiments as Radioactive Man he mans a landscape of music without rules or boundaries.

Opening the his debut release on Reinhardt, lead track 'White Light Monochrome' channels a mechanical rhythm, with a tip of the hat to electronic music founders Kraftwerk. Intensively building to the 3 minute plus mark, before haunting keys lead the way, descending into a cybernetic electro workout.

Future driver 'Space Ranger' takes to the audio freeway, mainlined for Detroit. Imprinted with Tenniswood' unmistakable style, finely honed snares layer up around distorted low end frequencies, coursing in a hypnotic expedition towards the outer districts.

Channeling the tendencies of Bauhaus and Joy Division, the warping 'Transponder documents the ever prevalent post-punk influence within the output of Radioactive Man.

In close pursuit EP closer 'Mechanical Music Menace' levels the floor. Beaming into the stratosphere, live bass pulsates through the system as man and machine fuse, xylophone keys take front and centre taking us beyond the stars.

Back in stock Cover of Things Fall Apart - Double Vinyl Edition (CLEAR VINYL PRESSING) by The Roots.

The Roots

Things Fall Apart - Double Vinyl Edition (CLEAR VINYL PRESSING)

The fourth album by The Roots was recorded at Jimi Hendrix’s Electric Lady Studios and released in 1999. One of the cornerstone albums of alternative rap's second wave, 'Things Fall Apart' was the point where the Roots' tremendous potential finally coalesced into a structured album that maintained its focus from top to bottom. If the group sacrifices a little of the unpredictability of its jam sessions, the resulting consistency more than makes up for it, since the record flows from track to track so effortlessly. Taking its title from the Chinua Achebe novel credited with revitalizing African fiction, 'Things Fall Apart' announces its ambition right upfront, and reinforces it in the opening sound collage.

The backing tracks are jazzy and reflective, filled with subtly unpredictable instrumental lines, and the band also shows a strong affinity for the neo-soul movement, which they actually had a hand in kick-starting via their supporting work on Erykah Badu's "Baduizm". Badu returns the favour by guesting on the album's breakthrough single, "You Got Me," an involved love story that also features a rap from Eve, co-writing from Jill Scott, and an unexpected drum'n'bass breakbeat in the outro. Other notables include Mos Def on the playful old-school rhymefest "Double Trouble," Slum Village superproducer Jay Dee on "Dynamite!," and Philly native DJ Jazzy Jeff on "The Next Movement." But the real stars are Black Thought and Malik B, who drop such consistently nimble rhymes throughout the record that picking highlights is extremely difficult.



Back in stock Cover of Mama's Gun - 180g Vinyl Edition (YELLOW VINYL PRESSING) by Erykah Badu.

Erykah Badu

Mama's Gun - 180g Vinyl Edition (YELLOW VINYL PRESSING)

• 180 gram audiophile vinyl
• Gatefold sleeve
• Insert

'Mama's Gun' is the second studio album by neo soul singer Erykah Badu, released in 2000. Recorded at Electric Lady Studios in New York City, the album incorporates funk, soul and jazz styles. Covering themes of insecurity, social issues and personal relationships, Badu delivered a highly intimate and personal album that reached Platinum two months after its release. 'Mama's Gun' features substantial contributions from several members of the Soulquarians outfit, of which Badu was a member. It also features guests such as soul singer Betty Wright and trumpeter Roy Hargrove.

The album contains the single "Bag Lady" which, with its colorful, artsy music video, shot to #1 on the R&B charts, and also into the Top 10 on the billboard charts. "Bag Lady" was nominated for the Grammy Award for Best Female R&B Vocal Performance and for Best R&B Song. Also the song "Didn't Cha Know?" was nominated for Best R&B Song.

Rolling Stone magazine applauded her for taking "chances the way Stevie Wonder or Nina Simone did in their prime" and went on to say "she has taken her art to the next level." Entertainment Weekly called the album a "'70s soul homage featuring live musicians and a smooth-funk sound that wouldn't be out of place on a CTI record."



Back in stock Cover of OST - 40th Anniversary Edition (ORANGE VINYL PRESSING) by The Wicker Man.

The Wicker Man

OST - 40th Anniversary Edition (ORANGE VINYL PRESSING)

For this 2010 release ALL the songs from the cult classic 1973 soundtrack are included. Many years this was a holy grail among soundtrack aficionados, this release has been prepared from recently discovered master tapes with a clarity and presence that gives the late Paul Giovanni's haunting music the showcase it has so long deserved. This is definitely the stuff that myths are made of! Containing exclusive material from the later, longer version of the film, including the song "Gently Johnny", which was not available on early LP issues.

Paul Giovanni, together with Magnet, has created a mysterious and sinister world that has a life of it's own nearly 30 years after the film's release - flutes, lyres, harmonicas, and guitars, mixed in with original and traditional folk material makes each song totally different, summing up the atmosphere of the movie brilliantly! The Wicker Man is a stunning soundtrack which all you movie buffs and traditional British folk music fans are advised to snap up for your collection!

With its 40th Anniversary just about to happen, and the film version about to go in cinemas once more, Music On Vinyl have decided to repress The Wicker Man LP edition again. This is a straight repress of 500 copies on black vinyl.

For this 2013 release ALL the songs from the film are included. Containing exclusive material from the later, longer version of the film, and including the song "Gently Johnny". This release has been prepared from the original stereo master tapes. Packaged in a lavish gatefold sleeve with extensive notes and stills from the movie.


Ltd LP Info: Limited 180g ORANGE vinyl LP in gatefold sleeve with NUMBERED outer celophane wrap. WE HAVE 3 COPIES FOR SALE. Please note: celophane wraps are a bit scuffed.

Joyce With Nana Vasconcelos, Mauricio Maestro

Visions Of Dawn (Paris 1976 Project)

"Visions of Dawn" is the original 'lost' Brazilian acid-folk album recorded in Paris in 1976. This stunning, previously unreleased project by three Brazilian music legends has now been rescued and set free by Joe Davis' Far Out Recordings. Led by the sharp lyrics and gorgeous, expressive voice and guitar of Joyce the trio is completed by the expert musicianship of her close friends Nana Vasconcelos (percussion) and Mauricio Maestro (electric bass, vocals, guitar and producer) who were both crucial in creating this masterpiece. These beautiful, hazy and understated recordings, which took place among the charming artistic 1970s Paris scene, offer a unique chance to sit in on the original jamming sessions of tracks that later became Brazilian cult classics. With Andy Votel's stunning psychedelic designs dripping from the cover the Paris 1976 project is utterly essential.

Back in stock Cover of Phantom Actors by Jonny Nash.
Melody As Truth is a record label run by Jonny Nash, primarily as a vehicle for his personal output. Perhaps best known for his work on ESP Institute, Nash has been noticeably quiet since the acclaim for 2012's Land Of Light collaboration between himself and Kyle Martin, even for someone who has always placed quality far above quantity. His last recorded output was a recent retrospective by Japan's Snaker (which sold out in days). Jonny has spent the last twelve months playing live and experimenting in the studio with artists such as Gigi Masin,Young Marco, Thomas Bullock, Suzanne Kraft, Black Merlin and Tiago, studying, honing and developing his sound. This development is evident on Melody As Truth's first release, a five track E.P. entitled "Phantom Actors". Citing Modern Classical and Detroit ambience as an influence, simplicity and subtraction are key themes, with Nash's distinctive melodic approach still central. Silence is balanced with noise, light with dark, in a refined first release for the label.

“This new music is the consequence of me wanting to slow things down, to give more space to things. To allow them to breath. To give more importance to silence. It was the result of me being really honest with myself.”

"This music has the power to make you dream eyes wide open." - Gigi Masin

"A serene and beautifully crafted world of melodies.. emphasises his search for beauty and human feelings in music more so than he's ever done before. This is pure matured bliss." - Tako Reyenga (Red Light Records / Music From Memory)

“The music expands my imagination and opens my mind, leading me to understand deeply...silence is beautiful.” - Chee Shimizu (Organic Music, Tokyo)

Back in stock Cover of X by X.
Terekke, the man responsible for a couple of our favourite L.I.E.S. releases appears on Rush Hour's irregular military arm 'No' Label with four 'lessons from a spiritual dimension'. As you'd imagine, hardware house, blown out frequencies and rattling rhythms are on the menu for this limited 12" platter. We begin with a deep and dark acid techno excursion which sees the young producer place a layer of pitched shifted, chopped, skewed and backmasked vocals over a corrosive acid line, sending heads spinning and bodies contorting in the process. From there we're hit with hiss drenched house sounds, as Terekke pushes a skitterish garage beat and deep house pads through a thickly saturated mess of distortion. He keeps it deep on the B1 with a rolling house cut worthy of a Murk classic, but infected with his vaped out tape aesthetic. Under that thick layer of dust and grime you can make out warm Rhodes licks, a buoyant bassline and a sweet jazz vocal. Terekke closes the EP with a heads down cut of raw and uncompromising, MPC bashing, funk chopping house which sounds like Soundstream playing far too loud on a knackered system! Another unique stormer from a rising star in the house world!

Back in stock Cover of Down To The Sea And Back by Various Artists.
In these computer-enhanced days anyone can build themselves an instantly ‘cool’ record collection via the click of a mouse, without even having to leave their homes. Record collecting wasn’t always like this. You had to put in the hours going through the racks in record stores, checking the ‘cheaps’ in second hand shops and being unable to walk past a charity shop without just having a quick peek in the cardboard box on the floor under the shelf of videos. Balearic Mike and Kelvin Andrews are two such record-buying enthusiasts who have built up vast and varied collections of music. Luckily for us they’re prepared to share their enthusiasm, selecting obscure favourites and secret weapons from their vinyl archives for this compilation. The set combines slinky disco, post-punk electronics, 70s pop, folkie meanderings, Balearic anthems, sing-along end-of-nighters and sleazy funk, and will have you checking the tracklisting to find out what the cuts are. And then re-checking to make sure it did say ‘The Osmonds’ and ‘The Sweet’...

'The first thing you need to know is there’s Balearic and there’s Balearic. The first one everyone with a Geography GCSE and Thomson’s 2010 holiday brochure will know, of course. The second is harder to define. It’s perhaps more of a state of mind among a certain type of man (you know the sort: mainly bearded, often with a paunch that says, 'I know where the bar is', possibly with long hair and maybe working in a library). Kelvin Andrews and Balearic Mike are two such men. It’s no surprise that they do, indeed, know where the bar is, but perhaps more pertinently for the task at hand, they also know where the location of all the good record stores, irrespective of whether they’re walking down Wilbraham Road in Chorlton (the magnificent King Bee) or on a romantic weekend with a lover in Prague (Music Antiquariat).

They’ve both got history, see. Kelvin Andrews has been a member of various nefarious outfits over the years, from teenrave sensations Candyflip, to Sure Is Pure, Sound 5 and, lately, Soul Mekanik (he also helped Robbie Williams write his last two albums, in his spare time, like). Balearic Mike has been around just as long, firstly as part of the LuvDup crew and then lately as resident disco expert behind the counter at Manchester’s Vinyl Exchange. As collectors and conoisseurs they are pretty much unrivalled.

Between then, they are purveyors of what semiologists like to call ‘Balearic music’, which, 25 years ago in the record boxes of DJ Alfredo in Ibiza’s Amnesia club meant everything from Simply Red and Sade to Liaisons Dangeureuses and Farley Jackmaster Funk. These days it could mean a sneaky Jamiroquai B-side or, more worryingly, a European 12" adorned with a bleached-blond man dressed as a Space Pirate. Or, in fact, the twelve tracks you’ll find nestling snugly together here like dwarves at a Playboy orgy.

If it means anything, the Balearic state of mind is simply anything, anything at all, that sounds good on a dancefloor or, as dance music writer Frank Tope once put it, 'pop music that sounds good on pills'. In the hands of Mike and Kelv that means The Osmonds’ "I, I, I", which thanks to its Maurice Gibb's production, was begging for a frisky massage and / or rediscovery. "This Man" by the inscrutably-named Phil & His Friend’s Band remained a conundrum wrapped inside a mystery on several Daniele Baldelli mixes for a good while before the disco Enigma Code was cracked (and its price soared even more preposterously than ever). It’s so good, it’s worth the money – so long as you can sneak the credit card statement past your missus’ gaze.

Of course, "Down To The Sea" is firstly about great music not necessarily rare vinyl and Al Usher’s "Lullaby For Robert" and Chicken Lips’ mix of "Flame" by Bell XI are both recent examples of this. Modern disco? Balearic? Who cares, they’re both brilliant nuggets of dancefloor gold. Also included is the Willow Band’s "Willowman", about which little is known beyond Shirley & Company’s Jesus Alvarez’s involvement and a vague rumour of Joe Bataan’s presence. What we do know for certain is it’s an utterly fantastic piece of Latin-soul that lights up dancefloors on Croatian boat parties as well as knees-ups in Stoke-on-Trent.

So let Mike and Kelv take you on a journey, whether it be via the contours of the rocky outcrops of the White Isle or lost on a scarcely navigable barge somewhere on the Manchester Ship Canal. It’s a voyage of discovery. A voyage, if you will, of metaphysical beards. But it’s also a voyage filled with love, good times and, moreover, great music. A voyage down to the sea… And back!' (Bill Brewster, March 2010)


Philippa says: Two of our favourite customers dig through their record collections and pull out a bunch of Balearic / disco crackers. As essential as it gets!


2xLP Info: Limited 180g double vinyl in gatefold sleeve.

Madrid's Synth Alien returns with a fresh EP out on Cyber Dance Records entitled 'Stellar Walker' that shows off his spaced-out and italofied influences in just the manner we've now come to expect from that label - slow-motion chugging synth workouts that are rich in atmosphere, confident in pace and arrangement and most importantly jam-packed with heavy riffing and piercing melodies from start to finish. Side A of the EP opens with "Come With Me", a dreamy and spacey slow-but-hard rocker that warms the ears up nicely before the second track "Hotel Chameleon" seals the deal with epic feeling and soaring melodic lines that break into an all-out synthesised feast of a climax. Side B continues with a collaboration with Moscow's Dmitry Distant 'L'Amour Est Parti', a romantically-tinged odyssey of relentless octave basslines that reaches even higher into new realms of future funk courtesy of a guest vocal from AKA INK before the EP closes with a monster of upfront determined electronic rocking called 'Smoke Comet', ending the record with a fitting cosmic crunch.


Japan Live

    Cluster (Dieter Moebius, Hans-Joachim Roedelius) are considered pioneers of electronic music and key Krautrock protagonists. In the late 1960s, together with Konrad Schnitzler as the trio Kluster, they changed the world of music for ever with their radical improvisations. Having split from Schnitzler, Moebius and Roedelius continued as Cluster, releasing eight further milestones of electronic and ambient music up until 1981, two of them with Brian Eno. In 1990 they returned to the fray with their "Apropos" album. The tracks collected here are gleaned from live performances in Osaka and Tokyo in 1996. In technical terms, and all the more so musically, the recordings are on a par with meticulously prepared studio productions. The material thus provides an ideal opportunity to compare Cluster music of the past and the present (1996!).

    This reissue is a new, reworked version. Originally released 1997 on Captain Trip Records. New artwork. Liner notes by Asmus Tietchens. First time on vinyl.

    Back in stock Cover of Terminator 2 : Judgement Day OST by Brad Fiedel.

    Brad Fiedel

    Terminator 2 : Judgement Day OST

      A fabulously presented 7” single, the silver foil blocked and embossed sleeve enhances this first ever vinyl release for the Terminator 2 Main Theme

      Alongside a selection of the most popular themes from one of the finest action movie soundtracks ever written, Brad Fiedel’s iconic Terminator 2 Theme will be released on 7” vinyl for Record Store Day 2014.

      The claustrophobic layering of electronic sounds and orchestral instruments create a tense sonic landscape which has become synonymous with the film’s theme of the battle between man and machine.

      Hüsker Dü

      The Living End - Coloured Vinyl Edition

      'The Living End' is a Hüsker Dü live album recorded at various venues in October 1987 but not released until 1994. It spans the band’s entire recorded output, from “Data Control” off Land Speed Record, the band’s debut, to a healthy dose of songs from the band’s last studio album, Warehouse: Songs and Stories. There are also some unreleased tracks and a cover of the Ramones’ “Sheena Is A Punk Rocker.”

      Guitarist Bob Mould and drummer Grant Hart handled the overwhelming share of songwriting duties in the band. Of interest is “Everytime,” a rare solo credit for bassist Greg Norton. The track listing is reflective of the band’s set lists. “New Day Rising” was a common choice to open shows. As explained in the liner notes, the band preferred to group like-minded songs into what they called “packs of three.” Examples of these “packs” include “Standing in the Rain” followed by “Back from Somewhere” and “Ice Cold Ice,” as well as “Terms of Psychic Warfare” followed by “Powerline” and “Books About UFOs”.


      2xLP Info: 180g audiophile vinyl with insert. First pressing of 1000 numbered copies on mystery coloured vinyl. 250 ONLY in UK. Available on vinyl for the first time.

      Copenhagen’s Music For Dreams are on a roll right now with a non stop schedule of top-quality releases and with this latest missive they've done it again! Bar owner, producer, Balearic DJ and sublime record collector Peter Visti returns to the label with another vision for the open-minded dance floor - "Wanna Dance". The Dane pushes all the right buttons here, delivering his finest solo work to date with the clatter of percussion madness, blast of funky keys and the relentless ‘Wanna Dance’ hook making for a peak time killer of a track. The Kenneth Bager Experience’s "Creative Impulse" (recorded in Ibiza don't you know) delivers a Mr Fingers-inspired Calypso groove full of summer feel, beautiful strings, prominent hats, warm lush keys and cosmic moogs which border on the psychedelic. It might be snowing in Manchester right now but it's summer in my headphones! "Cotton Club" (edited by KBE) is flute player, programmer, producer, local Ibicenco and all round Mr Nice Guy Ingo Zen’s debut on Music For Dreams. The moonlit serenade employs twittering percussion, a rolling baseline, swirling synths, haunting keys and a live flute solo as it works its magic on you. Danish guitar virtuoso Jacob Gurevitsch has a love for Buenos Aires, Ennio Morricone and Italian soundtracks and has session work with Grace Jones on his resume. His gorgeous ‘Lovers In Paris’(The Tonovi Remix)  rounds out the collection with its combination of sensitive guitar over a sharp house groove sounding like a forgotten Balearic classic. Essential limited vinyl from Mr Bager & Co!

      Beastie Boys

      Hello Nasty - Remastered Vinyl Edition

      "Hello Nasty", the Beastie Boys' fifth album, is a head-spinning listen loaded with analogue synthesizers, old drum machines, call-and-response vocals, freestyle rhyming, futuristic sound effects, and virtuoso turntable scratching. The Beasties had long been notorious for their dense, multi-layered explosions, but "Hello Nasty" was their first record to build on the multi-ethnic junk-culture breakthrough of "Check Your Head", instead of merely replicating it. Hiring DJ Mix Master Mike (one of the Invisibl Skratch Piklz) turned out to be a masterstroke; he and the Beasties created a sound that strongly recalls the spare electronic funk of the early 80s, but spiked with the samples and postmodern absurdist wit that have become their trademarks.


      2xLP Info: 180g remastered audiophile pressing in gatefold sleeve with full colour inner sleeves.

      Beastie Boys

      Paul's Boutique - 20th Anniversary Vinyl Edition

      Derided as one-hit wonders, estranged from their original producer and record label, and in self-imposed exile in Los Angeles, the Beastie Boys were written off by most observers before even beginning to record their second album - an embarrassing commercial flop that should have ruined the group's career. But not only did 'Paul's Boutique' eventually transformed the Beasties from a fratboy novelty to hiphop giants, its sample-happy, retro aesthetic changed popular culture forever.

      With the considerable help of Los Angeles-based production duo the Dust Brothers, the Beastie Boys helped redefine what sampling could be with this record. Snatches of familiar music are scattered throughout the record - anything from Curtis Mayfield's "Superfly" and Sly Stone's "Loose Booty" to Loggins & Messina's "Your Mama Don't Dance" and the Ramones' "Suzy Is a Headbanger" - but never once are they presented in lazy, predictable ways. the Dust Brothers and Beasties weave a crazy-quilt of samples, beats, loops, and tricks, which creates a hyper-surreal alternate reality, evolving into a wholly unique record, unlike anything that came before or after. It very well could be that its density is what alienated listeners and critics at the time; there is so much information in the music and words that it can seem impenetrable at first, but upon repeated spins it opens up slowly, assuredly, revealing more every listen. Musically, few hip-hop records have ever been so rich; it's not just the recontextulations of familiar music via samples, it's the flow of each song and the album as a whole, culminating in the widescreen suite that closes the record.


      LP Info: 180g audiophile pressing in four panel fold out sleeve with full colour inner sleeve. Includes download code to access free bonus audio band commentary.

      Back in stock Cover of Drum Attack (Lost DJ Weapons From The 1990s) by Various Artists.

      Various Artists

      Drum Attack (Lost DJ Weapons From The 1990s)

      Optimo Trax 11 is ALL about the drums. This Illumination track from 1998 ("The Way Out Is the Way) has been a long time favourite of Twitch's that can instantly change the atmosphere in a club, sounds like very little else, is eminently mixable and great fun to mix with. It was only when the master arrived that the realisation came that for all these years he had been playing it at the wrong speed! It is meant to be slow but Twitch had always played it at 45 instead of 33. The vinyl version will be pressed so it can be played at either speed! It starts off soft and dubbed out until the almost overwhelming bass tones appear only to make way for apocalyptic drum cascades that on a good sound system truly sound like the end of the world. One for the Faktion and Gesamtkunstwerk soundsystems. Mr. Marvin's "I Want You" came out on R&S offshoot Global Cuts in 1993. Made by Italian, Marvin Sasha, who under the name Sasha made a great series of timeless EPs around the same time, this is a hypnotic tribal gem with seemingly random, panning vocal interjections. Great in the mix but much more than a mere mixing tool. Lastly is Fuel's "Rigid" which came out on the UK label SCR in 1995 at the time when Chicago's Relief Records were taking over the more discerning DJs' record boxes. This sounds like it shares some DNA with one of the many crazy tracks or remixes Green Velvet was making at this time; industrial strength, stroboscopic snare tattoos that will have you reaching out for the smoke machines on button every time. Optimo close 2014 in fine style - conquering dancefloors the world over. Look out for Mia Dora next up....


      Matt says: The relentless Optimo Trax enslaught continues. What with this closing 2014, and Mia Dora set to open 2015 - global domination of dancefloors will be fully achieved! I said it in 2013 and I'll say it again, one of the best labels of the year!

      Rollo Jackson

      Tape Crackers: An Oral History Of Jungle Pirate Radio

        ape Crackers: An Oral History Of Jungle Pirate Radio. Rollo Jackson is a London-based filmmaker who grew up immersed in the city's dance music culture of the mid-90's. His films, whether for the likes of Hot Chip, Man Like Me, or Warp Records bare the traits of someone whose formative years were spent clad in the brash hues of a Versace print shirt and the bright white of a fresh pair of Reeboks. Whatever his subject, the spirit of too many late nights spent doing homework to the crackling sounds of pirate radio, or of weekends spent in booming, sweaty warehouses on the outskirts of London is always threaded throughout. Rollo presents a documentary DVD entitled Tape Crackers, an oral history of Jungle music and an affectionate, touching, and, at times, incredibly funny, tale of bedroom obsessiveness. Told through Michael Finch’s tape collection which he recorded while growing up in Islington, North London, it’s also an untold (or more accurately unheard) history of UK underground music of the last 10 years – Jungle, Garage and Grime are all knitted into the story through the MCs and DJs who manned the decks and mics. Movers of the underground today such as Riko Dan and B Live are on some of the tapes played in the film. The D90s might be dusty but this music still sounds ultra-crisp. Warning, may contain: late days of Dream FM, middle days of Kool FM/MC Ruff and DJ Uproar on Dream FM/MC Fize and DJ Swiftly/Riko Dan on Pressure FM/Evil B on Rude FM/DJ Target and Maxwell D on Rinse FM/DJ Brockie, MC Five-O and MC Moose on Kool FM in 1993/DJ SL with Strings, Koji and Flinty Badman (Ragga Twins) + Demon Rockers.

        After dropping hard hitting technoise tackle on In Paradisium and L.I.E.S. Low Jack drops by The Trilogy Tapes HQ with an expansive six track EP of skewed sonics. The titular "Imaginary Boogie" gets us off on the good foot, pushing a sweet and simple drum track through the usual mist of tape saturation, while oddly groovesome synth tones interject. Rough and ready, "Imaginary Boogie" is reminiscent of a Pepe Bradock vintage, no bad thing in my book. Next up, "Scratch Variation" takes us into the deranged world of sonic warfare, while "TTT Beat I" is a bonkers beat and bleep track for the adventurous jocks out there. On the flipside "FM Field (Swing Mix)" and "Mallet Theme" drop us into a dystopian soundscape of modular experimentation and cavernous drones, while "TTT Beat II" enters the wonky world of DOLO Percussion! Includes hand silk-screened inner sleeve.

        Refreshing, rootedly odd, mostly unaccompanied four-part-harmony singing recorded in Govan Old Parish Church, Glasgow, by members of Trembling Bells and Muldoon’s Picnic. Elements of Sacred Harp, Gregorian chant, medieval madrigal and English folk, with poetic influences including Maya Deren, Saint John The Divine and Dennis Potter - a unique blend of the visionary and the earthly, the intimate and glorious. Silk-screened sleeve.

        Quality reissue of the highly sought-after promo 12” of the legendary Idris Muhammed’s incredible 1977 soulful disco classic ‘Could Heaven Ever Be Like This’ - eight and a half mesmerising minutes of hypnotic slow-building jazz-funk huge on the early NYC disco scene which became an anthem at Mancuso’s Loft parties and is still in high demand today. On the flip, ‘Tasty Cakes’ is a nice lighthearted disco bubbler but the clear go-to track on this side is the awesome hot funk groove of ‘Turn This Mutha Out’ as sampled by to great effect by Moodymann for his ‘Amerika’ KDJ release. Essential!

        Myth Music is a new label formed by Lando and Baron Castle (Aaron Castle), who also helps run Boiler Room Berlin and Hotflush Recordings. On this debut release Lando runs solo across 3 tracks of upfront techno for the clurrb. "I Can See It In You" is a freaky and cavernous number, the demented vocal refrain repeating through a plethora of machine-code drums and jarring electronic stabs. "Altered Maze" is a dark rolling banger, synonymous with the new school of techno producers (Midland, Blawan, Pariah etc) but looses none of that famed Lando funk! B-side's "Purple Home" is a discordant technoid attack with strong Millsian influences throughout while the Will & Ink remix of said track takes us into a stomping main room jam with off-kilter flair and smoke-n-strobe tailored beats. Excellent stuff. Recommended.

        With previous solo releases on Hotflush, Rush Hour and Icee Hot, it felt like the perfect time for Lando to release on his own label. The debut Myth release from Lando is his first original release this year, and highlights his shift towards the Detroit side of techno. The lead track ‘I Can See It In You’ is a freaky & cavernous one, which bounces along to a demanding tension. Whereas A2. ‘Altered Maze’ seems to contrast that as a rolling, deeper number, but without losing the funk that Lando’s sets are famous for. The B-Side ‘Purple Home’ features Lando’s signature work on the 909, along with a remix from the Dutch duo Will & Ink, who turn it into a big room peak time stomper with off-kilter flair.

        Joe's Bakery

        Moton Records Inc. Presents Joe's Bakery

        After popping up with an edit selection on the up and coming Joe's Bakery imprint a couple of weeks ago, the Moton boys repay that famed Yorkshire hospitality and invite Craig & Joe to showcase their production prowess on their own edit institution. Joe's Bakery dig deep into those well informed crates and pluck out four choice obscurities, ripe for a new dancefloor reinvention and perfect for turning heads at the boys' own Outlaws Yacht Club. Our journey begins in muscular fashion with the sleazy cosmic rock of "Tiger In The Night", stomping cut boasting overdriven guitar, squealing synths and poodle-permed vocals about the titular tiger. That coke sniffing thrust is soon dubbed out down to the killer bassline and augmented by the best cowbell you've heard since LCD Soundsystem were in their prime, prompting all manner of freaked out contortions on the floor. "Hovoyds" meanwhile is the kind of low tempo, late Italo chug we're used to hearing on the "Diavol" edit series. Underpinned by a slow and steady bass sequence, the track makes perfect use of the full array of 80s synth sounds to swoon and sway with cinematic grandeur from start to finish. Over on the flipside we find ourselves on the starlit beaches of the White Isle, drinking in the heady sounds of "Aerobic". Craig & Joe deploy a well rounded bassline and killer castanet led rhythm track, pushing the bright Spanish guitar strumming and playful piano right to the centre of the Balearic dancefloor. Perfection! What better way to finish than with a whole heap of Phonk!? Huh! Powered by a low slung bassline, fizzing synths and massive drum track, the dub funk of "Working Harder" manages to sound like no-wave, new wave and ropey Italian pop at the same time as knocking back a Tequila Slammer and coercing the whole dancefloor into the "Oops Upside Your Head" routine. Impressive I think you'll agree.

        'Inspired by a journey of a man, who is not afraid to leave everything behind and travel far beyond the stars, Vakula sets off for the exploration on new sound magnitudes. Written by David Lindsay in 1920, a story of a fearless traveller who is exposed to sublime energies and unknown spheres concurs with Vakula’s perception of reality and his personal voyage to unknown dimensions. Claimed to be a soundtrack to A Voyage To Arcturus, the album is an attempt to expend beyond conventions of the modern house music and dedication to daring ventures.'

        Well it seems like we've been waiting for the Linkwood album to drop for an eternity, while he’s been slacking the cheeky Ukranian's nipped in before the Scot to bring us another expansive long player! And if you ask us here and Picc HQ, he's on his best form to date! None of that lysergic magic has been lost, and you can still here those analogue swirls and fractured grain delays, but Vakula seems to have digested an entire encyclopedia of musical genres and styles since his last excursion; and we see him exploring, with confidence, the realms of Kraut-rock, psychedelia and ambient atmospheres alongside his trippy disco and psycho-active house. You always feel like you've been on a journey after a Vakula release concludes, and if "Welcome To Konotop" was Vakula showing us around his immediate surroundings and inner consciousness, then "Voyage To Arcturus" is a cosmic excursion to his outer most realms, Vakula driving the mothership deep into his sub-conscious and bursting through into other dimensions entirely. Completely essential, beautifully presented and immaculately mixed and mastered. You need this!


        Matt says: Holy shit look at that tracklist! His biggest work to date? (and that's saying summat). This journey takes us far and wide to places yet unchartered by the Ukranian explorer. A proper long player, touching on numerous styles but remaining cohensive throughout. Vakula explores kraut, psyche, coastal atmospheres and his usual lysergic blend of disco, jazz-funk and soul-fused house. Possible early contender for electronic album of the year!


        2xLtd CD Info: Includes 4-page booklet

        3xLtd LP Info: Gatefold with printed inner

        Bonnie Prince Billy


          Bonnie 'Prince' Billy continues his endless march to the Singer's Grave with a third single from last Autumn's, Singer's Grave a Sea of Tongues, in which the same material that had been gathered to build 2011's Wolfroy Goes To Town was used, in a different time and under different circumstances, to make a different record, allowing the songs to impact in new ways upon the singers and the players - and, in time, our listening ears and restless minds.

          Aus continue the house heat with another offering from Berlin based Youandewan. Consistently modest in his ascent, Youandewan has steadily built his reputation behind releases on Secretsundaze, Hypercolour and Simple Records as well his release on Aus last year. "Stak Poly Looms" features though neon-tinged xylophone melodies firing on all cylinders as a concentric broken beat powers forward. Big vocal washes trigger eyes-wide-shut breakdowns and anthemic drops. "Isabel" turns down the lights for a dark, backroom burner, full of big angular square leads ricocheting against a steady pulse. "Fool Be Cool" is a groovy deep house number pairing delicate 303s with lush piano chords and moody organs; finally elevating the track to impressive heights by use of a seductive female vocal. Marquis Hawkes gets his dirty street-trodden mits on the parts for "Fool Be Cool" and turns out one of his atypical rolling ghetto-house versions. Massive!

          Del Shannon

          The Further Adventures Of Charles Westover

            Back on vinyl for the 1st time since its original release in 1968 with remastered audio & restored artwork! Upon hearing Shannon's misunderstood masterpiece for the 1st time, you gotta wonder - how was this album NOT a HUGE hit? Perhaps it was the changing times, music listeners were turning on to heavier sounds, or unwilling to embrace an "older" artists new output, but tunes like the haunting "Silver Birch" & "Gemini" & the cinematic popsike of "Colour Flashing Hair" & "Magical Musical Box" (not to mention the rockin' "Runnin' On Back" with it's scorching layered lead guitar solos!) found their way into the eardrums of collectors everywhere & the album became an absolute cult classic.

            3rd chapter from this breathtaking label, and it’s a various artists EP. Neel's "Snow In The Tube" kicks things off with delicate pad swells accompanied by a clear woodblock rhythm and bubbling bass. Hi-hats sway beautifully as the track swaggers forward unhurried, taking everything in its pace. Rawmance quickly switches up the mood with the stark, ice-cold distorted beats of "United Balieues", recalling crystalline nights spent under Aurora Borealis-lit skies. J. Alvarez concludes with what could well be the most beautiful thing you'll hear this winter, a steadily progressing, emotive acid workout which should have goosebumps slowly rising below the surface of the skin just waiting to explode in a controlled crescendo. Limited to 250 copies, hand-stamped, vinyl only. Cult following.

            Third instalment in the Stargazer series of unearthed classics from Italy’s 80s ‘Afro Funky’ scene. Neatly packaged on two loud-pressed vinyl 12”s, this compilation includes a raft of in-demand and hard-to-find cuts which found cult status in legendary clubs such as Cosmic and Typhoon. The first 12” boasts Brian Bennett’s seminal oft-sampled space funk odyssey ‘Solstice’, synth-crazy future disco from Methusalem, cerebral electro jazz-funk from Weather Report, plus big Baldelli play ‘West Coast Drive’, an Arpadys-produced slo-mo disco-funk holy grail, finally closing with a very useful DJ-friendly extended edit of Manfred Mann’s Earth Band’s heavy pounding tribal LP cut ‘Somewhere In Africa’. Disc 2 keeps up the pressure with the savage heavy drum funk of Dogs Of War’s classic ‘Future Jungle’ and John Ozila’s searing disco anthem ‘Funky Boogie’. Flip over for the highly sought-after proto-electro funk workout ‘Was Dog a Doughnut’, an ahead of its time B-Boy anthem from the unlikely source of Cat Stevens, followed by ‘All You Want Is More’ - a captivating tabla-driven chugger from world-pop icon and ex-Grange Hill star Sheila Chandra, and finally Rosebud’s incredible disco version of Pink Floyd’s ‘Money’. Great package of essential Afro Funky classics!

            Dan Melchior

            The Souls Of Birds And Mice

              Since 2011’s Assemblage Blues, Dan Melchior has proceeded to document the scope of vulnerability, carrying the torch of DIY through territory explored previously only in the wake of Pierre Schaeffer. The Souls of Birds and Mice isn’t composed of elements so much as it is composed of the composing of elements. This is the sound of the digital workflow, transparent composition; wrenching the processing of Muura or Doc Wör Mirran and dismantling the investigative passivity. One could draw a comparison straight to Cornelius Cardew or Li Daiguo, but that’s just because Melchior’s work is so laterally referential it slows down any pull to deconstructing the singular voice to simple candidness. And it all ends with some of the most perfect psychedelic guitar work ever paired with helicopter sounds. With the whole array of structural speculation drifting past, recall that all spatial language betrays - but who needs translation when the instinct purifies? However unreliable this container, it’s a given that this is Melchior at his most impassioned.

              Letha Rodman-Melchior

              Shimmering Ghost

                This posthumous release, following last year’s Handbook for Mortals, presents the peak of Letha Rodman-Melchior’s compositional work. Traversing landscapes of affective registers with the organizational ability of Christine Sun Kim and the diversity and intimacy of Throbbing Gristle, Rodman-Melchior re-categorizes objects to find the foreign in the familiar. Moving in and out of focus, her musical patterns themselves grow and become more and more self-aware.

                As a response to possession and the human / nonhuman interface, Shimmering Ghost recalls the most moving of performances by Roger Reynolds. It exposes the overlap between senses and suggests that resonance, as distinct from hearing, is a source for beauty beyond sense. And by the use of sense’s special effects, Rodman-Melchior crafts a language that is simply a pleasure. Mary Lattimore’s harp playing at times is reminiscent of Three Musicians’ Music from the Rochester Folk Art Guild, but with urgency heard nowhere else.

                The strain of synthesizer cosmosis harvested by Bristol-born Europe-roving psycho-maestro Antoni Maiovvi tends towards the longform and texturally opulent. Past dalliances in horror giallo and intergalactic disco have demonstrated his capacity for mood sculpture as well as dancefloor pleasure nodes, but his latest Mini LP / EP, 'Avrokosm', assumes an almost ethno-musicological perspective of a distant desert planet. Swirling sand dunes of sound, cold tonal winds, and veiled loops sweep in across pulsing, runic techno patterns.

                Begun in Berlin but finished in Madrid, the record shares some of the sprawl and mysticism of certain unclassifiable Warriors Ov Gaia sides, a neo-tribal fantasy of rhythmic cave-painting, fires flickering in ancient caves under twin blood moons - the 'Avrokosm' as microcosm for man the animal. Six processions bound for the same horizon. Mastered by Alek Stark at Fundamental Audio. Sci-fi landscape sleeve artwork by Annita Rivera; layout by Eric Lee. Edition of 250.

                Boduf Songs

                Stench Of Exist

                  England / Ohio’s Mat Sweet presents his latest album under the Boduf Songs moniker via The Flenser! Stench of Exist is at once his most accessible and most esoteric work to date; from the opium flow of the tracks, running headily into one another like tributaries to river, to the muted-industrial-electroniceffected drums underscoring the spiraling melodies and fluttering drones, to the clean and rich guitar, abstracted cycles and feedback walls, its whispered doom metal masquerades as a lullaby.

                  Stench of Exist unfolds languorously, laced with mysterious electronic filigree. Gorgeously intimate, it transforms the minimal into maximal with layers of electro-detritus wreathed in lush guitar strums, street-side field recordings, reverberating pianos and softly crooned vocals. It is a record of rain and cities and nighttime. The collision of arabesque tonalities with electronic sound and ambience brings to mind the promise of Blade Runner—half-asleep at 4:00 A.M. and slightly medicated, with pyramids and flame-spewing cityscapes in downpour glowing against the fluttering eyelids in the almost-dreaming consciousness. A record for saturnine commuters, on headphones, after sunset.

                  Swami John Reis & The Blind Shake

                  Modern Surf Classics

                  Death by kowabunga bunga! Swami John Reis and The Blind Shake pay tribute to the classic surf and rock ’n’ roll instrumentals of the 1960s and update the genre for today’s more extreme, modern surfer. Thirteen original modern surf compositions create this tidal wave of booming tom toms, skronking saxophones and a chaotic surge of guitars. Let this south swell topple you, and may you be pinned in its undertow of reverb. Swami John Reis uses a similar aggro guitar approach to his playing in Hot Snakes and Night Marchers but allows the influences of Omar Khorshid, The Ventures, Link Wray, Randy Holden’s Fender IV and forgotten instro combos rise to the surface for air. Joining Swami is Minneapolis’s The Blind Shake (Goner Records, Castle Face), a bombastic power trio consisting of guitar, baritone guitar and drums whose sound has been described as “muscular psych punk.”

                  This collaboration generates a symphonic wall of twang, amplifying the cinematic sense of drama and tension with the addition of saxophone, doumbek, piano, riq, vibraphone and piano. To capture the essence of this vibe, some of the initial tracking was recorded under Crystal Pier (San Diego) by Ben Moore utilizing a mobile recording VW van. Because of the intense rhythmic velocity achieved on many of these tracks, Modern Surf Classics can also be recommended to those interested in BMX, roller skateboarding, snowboarding / toboggan, fighting, yoga, car racing, military and most other water activities (with the exception of SUP).

                  By now you should know what you’re in for here: an eardrum-toasting take to tape of the mighty Ty Segall Band, captured during two nights in San Francisco at the barely-pushing-medium-sized venue The Rickshaw Stop. Rowdy crowd, meet stacks of amplifiers—Ty, Charlie, Mikal and Emily came to singe your ears off. There have been live recordings of Ty before, of course, but never so crisply and fully realized as this scorching platter of fuzz.

                  As always, the cover artwork showcases beautiful black and white photos shot to film at the venue by Castle Face’s favorite lensman Brian Pritchard. As always, the tape takes are tweaked and saturated to perfection by their incredible crack team of engineers and knobgoblins. Live in San Francisco features jams from throughout Mr. Segall’s torrential output of the past few years, including a take of the first single “Feel” off his great new record Manipulator. It’s the next best thing to getting in to the show, which is getting harder and harder with Ty these days…

                  We all want the world to be beautiful. We want scribes and songbirds to tell us so - and sometimes they do and then it is. They point their pens and focus their lens where they will and surprise us to our soul. ‘On Your Own Love Again’ is a record that does it to us, with songs from a spine-thrilling new place and a gifted young singer with her own musical logic.

                  Jessica Pratt’s self-titled 2012 debut has been much-murmured about. People respond to the austere, pristine clarity of the performances, the gentle strength, marvelling at how much comes from so little: just a voice and a guitar or two. They remark on the timeless nature of the songs and the voice, scrupulously informed by the folk rock of ages past but sung without bags (none in hand, nor beneath eyes). They speculate on just who is the personality behind this Jessica Pratt? It is hard not to respond to the sound of her music, not to want more right away.

                  Two years on and Jessica’s very new ‘On Your Own Love Again’ is here for us, playing her further adventures in different pastures. If they feel removed from the first songs, it may help to know that the recordings of the first album were made some years back with no expectation of making an album. They sat quiet on the shelf for a long time, appearing on the internet eventually. It all seemed harmless but when Birth Records honcho Tim Presley rolled up in his long white limousine and began to spin tales of folk rock glory, who was she to say no?

                  The nice part about learning that people dig your sound is that it gives you the chance to think of what else you’d do. After deep consideration, Jessica found new songs within her and an urgency to make another record, marked with a strong sense for rendering it exactly the way she heard it in her head, spending time with her tunes and crafting the smallest details. In this way, she truly was able to inhabit her own skin as a singer of her songs - and make ‘On Your Own Love Again’ the first Jessica Pratt album constructed to be an album.

                  What makes ‘On Your Own Love Again’ new? Everything and yet everything woven so subtly into the presentation leaves you unaware that you have been modulated upon. The album was recorded entirely by Jessica in the fashion of ‘Night Faces’ and ‘Dreams’ from her first album, mixed in collaboration with Will Canzoneri.

                  Touched lightly with additional instrumental and vocal parts, the songs ripple beneath the surface with lyrical details that morph almost subliminally from the personal into fantasy. When Jessica’s playful nature bubbles up, she sends her voice travelling into strange places to see what it finds there. The music too is deceptively accomplished, providing subtle hallucinatory nuances to the tunes: the orchestral organ stop working in the shadows of ‘Wrong Hand’; the reverberant percussion floating through ‘Game That I Play’; the clavinet panned out on the side in ‘Moon Dude’; Jessica’s sudden vocal dip into her lower register on ‘Greycedes’; all pulling at the ears, highlighting her unique pop sensibilities with craft and humour, giving the album’s inherent romance a greater heft.

                  Perhaps most significantly, ‘On Your Own Love Again’ was recorded at home, at places in Los Angeles and San Francisco, over the past two years. This process sands the surface of her more active multi-tracking approach, allowing a sound as delicate and singular as her former recordings.

                  Back in stock Cover of Tuff Cut #6 by Late Nite Tuff Guy.
                  Life as an international disco sensation can get reel tuff sometimes; spending months on the road, wowing crowds from Lisbon to London and Leipzig to Lucerne, holding down Ibizan residencies and still finding time to sharpen the scalpel is a tiring business. Lucky for us then that our superstar DJ is the Tuffest mother in the business and makes multitasking look as easy as whistling dixie. On his latest delivery of floor filling treats he picks out four total tonkers to retool and send back out into the game, proving once again that nobody does it better. First up our disco doctor schedules some table time for Aretha Franklin's "Get It Right", hooking it up with a quick facelift, zapping it with 1000 volts and boosting the bottom end til it rivals Kim Kardashian. Next LNTG tackles Diana Ross' breezy but cheesy, "My Old Piano", extending the instrumental breaks, dubbing the vocals out and revamping the bassline into one of his classic licks, ensuring the floor is full from start to finish. On the flipside, he gets super loopy with Revelation's groovy "Feel It", letting the Chic-esque guitar move your body while the soaring strings take care of your soul. Last but not least he smuggles some A-grade dancefloor dynamite into the set with a long, strong and stomping rework of The Jackson's "Shake Your Body (Down To The Ground)". Get ready to rock, roll and lose control y'all.

                  The first thing the listener will notice about Ricked Wicky is that it is the most musically adept project Guided By Voices' mage Robert Pollard has undertaken in some time, at least since late period-GBV (Half-Smiles of the Decomposed, for instance), or even Boston Spaceships. "[Ricked Wicky] is a sophisticated arena rock band," says Pollard, and I Sell The Circus offers in evidence a series of ball-peen hammers to the brain-pan ("Piss Face" with its James Gang-era slide guitar and the proto-punk stomp of "Intellectual Types," for example) alongside more delicate, prog-tinged frippery ("Cow-Headed Moon" features "Court of the Crimson King"-esque mellotron, while the acoustic guitar mastery displayed on "Even Today and Tomorrow" recalls the mellow-era ELP of "Lucky Man").

                  Credit the players: bolstering the easy mastery of a dizzying array of song writing forms one naturally expects (and receives) from Pollard are the impressive instrumental prowess of fellow Daytonian Nick Mitchell ("no blood relation to Mitch," Pollard stresses), who can otherwise be found in near-weekly performance at Wings, an important Dayton sports bar, multi-instrumentalist and producer Todd Tobias, and "the worldly Kevin March," (Pollard again) who does double duty these days in Guided By Voices. These guys can play, and on I Sell The Circus, they play the fuck out of the songs. "The band named Ricked Wicky is significant in that it is the very first name I created for a non-existent band in my early teens," explains Pollard. Fourteen of its fifteen tracks were recorded at Cyberteknics in Dayton, a studio Pollard has come to use with increasing frequency due to its profusion of vintage analogue gear.

                  Used to great effect on ISTC: "Rotten Backboards" is as gorgeous and melancholic a tune as Pollard has ever written, and lyrically sounds a note of wistfulness that long-time fans will not find unfamiliar. "She can run, 'cause that's what I did," sings Pollard over a sublimely-textured background of synth-strings, arpeggiated guitar, piano, and clattery drums, and while it's tempting to read real regret into the content ("rotten backboards" as a metaphor for the debris of the past), it's always dangerous looking for autobiography in Pollard's mostly-fictional constructions. And anyway the misty wistfulness is cleared away immediately by the sharply propulsive prime-Who swagger of the next -- and final -- track "A Real Stab." Which seems to be about needles, or the messengers of Oz, or paper bags. It's one of the best songs on an album of standouts. "Some may wish to refer to us as a 'super group,'" says Pollard, tongue practically poking through his cheek, but as with a lot of the pronouncements made by the oracle of Huffman Prairie, as no one has ever called him or ever will, he's joking, but he's not joking. Ricked Wicky may not be a super group as the term is too-commonly used, but there's no real doubt they're a super group.


                  The Dub Album They Didn't Want You To Hear

                  Totally killer previously unreleased dub companion to Flick Wilson's "School Days" is now on CD for the first time ever. Jah Life was no slacker when it came to mixing dubs, and sat in with Scientist at King Tubby's for the mixing of many of the classic Junjo / Radics / Scientist albums. But more importantly, they also mixed a ton load of dubs for Jah Life himself, many of which, like this album, remain unreleased ...until now! Nine out of ten tracks from the Flick Wilson album are dubbed here, and one track from the Wayne Jarrett "What's Wrong..." album. Classic Scientist 1980 style mixing, nothing else like it, hard stuff. Cover features a fantastic previously unseen photo from Beth Lesser.

                  Hiss Golden Messenger

                  Southern Grammar

                    Very Limited edition 12” release, includes coupon for full digital download. This three-song collection that we're calling Southern Grammar is good for a few good reasons. It gives the song "Brother, Do You Know the Road?" a proper physical home. It also offers up a song called "He Wrote the Book" that was a near-casualty from the Lateness of Dancers sessions. Incidentally - and this I didn't realize until we had gathered the material for this record - "Brother, Do You Know the Road?" and "He Wrote the Book" share a lyric that goes: “And though the storm's passed over And the sun is in its place, It's been a long time, And the rain, how I know it” Sometimes that feels just about as close to a summation of the HGM philosophy as I can get at. And this is the first and only time that I have ever shared words between two songs.

                    Finally, this version of "Southern Grammar" shows off the HGM road band, which includes Scott Hirsch, Phil Cook, Matt McCaughan, Matt Douglas, and Alexandra Sauser-Monnig, who are all friends and inspirations. The fine, fine crew at WXPN in Philadelphia engineered the recording of this song and graciously agreed to let us use it for this record.

                    Formed in Melbourne in late 2008, Twerps enjoyed immediate success, releasing a series of vinyl singles and cassettes on various labels around the world. Their 2011 self-titled debut album was recorded with producer Jack Farley at Head Gap, marking the band’s first foray into a “bona fide” recording studio. The release of Twerps led to appearances at SXSW and CMJ and tours with Real Estate, Mac DeMarco, and others. Not wanting to wait until 2015 to unleash new songs on present and future fans, Twerps quickly recorded the delightful Underlay EP, which Pitchfork described as “songs fraught with universal, emotionally familiar sentiments.” And now, Merge brings you Twerps’ second full-length album, Range Anxiety.

                    Also recorded with Jack Farley, its title refers to a debilitating fear of running out of gas—both literally and metaphysically. As singer-guitarist Julia McFarlane explains, “The title Range Anxiety is both descriptive and comic. The album at times feels like it was built on uncertainties; some purely practical and some emotional obstacles were present around the start of writing.” Twerps are a very collaborative band, with most songs being written in rehearsal rooms. “Obviously, we write the lyrics separately, but the band is best when everyone is being creative,” muses Julia. “Rick and Alex are big voices in the stylistic direction of the band. Rick is a genuinely curious mind and also a vast library of musical reference. As a graphic designer, he has a much more sophisticated ability to interpret and articulate ideas than most people I know, and he has introduced Martin and me to some of Twerps’ most coveted influences. Bringing Alex to the band also meant introducing another songwriter. He probably has made ten more records than us collectively and has been a real burst of energy in the band due to his militant work ethic and enthusiasm for productivity.”

                    'Range Anxiety' is a worthy showcase of the creativity and vitality Twerps bring to their music. At first listen, nods to The Go-Betweens and the band’s beloved Flying Nun influences are clear, but upon closer examination, Twerps expand into a sound uniquely their own.

                    Matana Roberts

                    Coin Coin Chapter Three: River Run Thee

                    Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid avant-jazz practitioners of the 21st century. Her multi-chapter Coin Coin work, which Constellation began documenting in 2011, has placed her at the forefront of stylistic innovation and radicalization, while confirming the deep substance and soul that guides her compositional agenda.

                    Following the critical accolades that the first two Coin Coin chapters have thus far received, the past year has been marked by further career-defining recognition for her body of iconoclastic work: Roberts was a recipient of both the Herb Alpert Award in the Arts and the Daisy Duke Impact Award in 2014. Roberts has long employed the phrase “panoramic sound quilting” to describe the process surrounding her Coin Coin work. The third chapter in her Coin Coin series finds Roberts implementing this metaphor most explicitly, constructing a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee could arguably be considered first and foremost a vocal work, and notwithstanding its experimental and esoteric structure, a deeply narrative work as well.

                    Not unlike 2013’s Coin Coin Chapter Two: Mississippi Moonchile, the new chapter unfolds as an uninterrupted album-length flow, this time in what Roberts calls “a fever dream” of sonic material, woven in surrealist fashion. Fragments of traditional song act as the main touchstones on the album, with Roberts’ singing voice riding atop waves of radiophonic texture, layered spoken word and an often dislocated, wandering horn. Working once again with engineer Radwan Ghazi Moumneh, and returning again to Montreal's Hotel2Tango studio (the location for her Chapter One recording in 2010), Roberts ran the river run thee tape back multiple times, adding new layers in real time, from start to finish (as opposed to calculated, isolated overdubs). The result is a visceral audio document that combines structure and improvisation in the fullest sense: not just in the playing and performing, but in the very marrow of the work's compositional DNA.

                    It is also, for the first time in the Coin Coin cycle, a solo work, emerging from a lengthy solitary road trip Roberts took through the American South in early 2014, amassing historical and documentary information through interviews, site visits and field recordings. Coin Coin Chapter Three: river run thee signals yet another highly adventurous and socially engaged definition of what Jazz can mean in this day and age, and a fascinating extension of the Coin Coin cycle, where rather than surfacing and reactivating through the group dynamics of a musical ensemble, history is inhaled and exhaled through a solitary practice seeking to evoke and echo its tangled thicket of febrile strands.

                    FORMAT INFORMATION

                    LP Info: 180g vinyl pressing. Includes art print poster.

                    Triumvirate is the highly anticipated third full length from Lewis & Clarke. It's an album of seasoned confidence and meditative song-craft with a vision of clarity and conviction; a seventy-five minute journey through lush and brooding passages nestled in a canopy of strings, melancholic melodies and warm, world-weary beauty. Complex, fragile arrangements mix with unexpected but natural elements to create a tapestry of intricate yet strong compositions. Lyrically rich and musically gorgeous, Triumvirate is well worth the wait. Lewis & Clarke is the musical alias of Pennsylvania-based artist Lou Rogai, the voice and vision resonating through the long form art-pop / avant-folk compositions that have become a signature sound.

                    For close to a decade, Lewis & Clarke has steadily and quietly built a devout following by releasing several acclaimed recordings while skirting mainstream currents. Rogai's slow-burning process is as much of a mission statement as an authentic stance in a corporate age. He makes music as an antidote, an unaffected experience. The moniker itself references the fellowship and correspondence between C. S. Lewis and Arthur C. Clarke rather than the 19th century explorers. In the same way, Lewis & Clarke songs tend to shift depth of field and mood as unexpected layers of sound and lyrics unfold.

                    Rogai has a strong history of collaboration; he's credited as producer / arranger / multi-instrumentalist on Leave Ruin, the debut LP by Strand of Oaks, as well as having contributed to the Two Suns album by Bat For Lashes. Most recently, Rogai scored The Wreck, the short which premiered at Cannes 2014 directed by Kevin Haus. Haus also directed A Map of A Maze, a 13 minute short film depicting the inspirations and meditations of Triumvirate.

                    Triumvirate takes its title from the political term for the classic power struggle between three entities as well as a cliff face of the same name in Delaware Water Gap. "If you equate the act of climbing a mountain as solving a puzzle, the album name is also a metaphor for solving a moving puzzle and moving forward". Listening to demos of the record, though, one gets the sense that the true triumvirate Rogai is exploring is one within himself; the outward-facing philosopher, the introspective songwriter, and the old soul whose oneness with the natural world can't help but permeate his work.

                    FORMAT INFORMATION

                    2xLtd LP Info: Double white vinyl pressing. Includes full album download code including bonus track 'Sojourn Sam'.

                    Hailu Mergia

                    Musicawi Silt / Tche Belew

                    Musicawi Silt is the best known Ethiopian song from Addis Ababa's golden era of 1970s pop music. The insistent drive of the rhythm and the mighty blast of the horns - a sublime, angular burst - are unmistakable. Hailu Mergia's concept for the Walias first LP "Tche Belew" was to include compositions by various band members. Since Girma Beyene, a member of the Walias, wrote this addictive song in the mid-70s and the Walias band began including it in their sets, it has spread around the world, receiving cover treatments by bands of all kinds. The legendary track has never been available in its original form on a 7-inch single until now.

                    E. Myers


                    As Toyah once sang: "It's a mystery, oh it's a mystery, it's a mystery to me", and so it is with this limited release from a well known Manchester producer cloaked under the guise of E. Myers for this first in a series of "uncovered box bangers" - and we're not talking sausages here either.

                    Opening with a fidgety acid gurgle 'Home' leaps onto the dancefloor with a mighty Chi-town kick / snare combo, sealing the deal with some uplifting synth chords inspired by everything from post-punk minimal wave electro-dance to Mr Fingers by the sounds of it. If that wasn't enough, those classic 1986 808 drum machine sounds all join the party halfway through: the whistle! The tippy-tappy bongos! The rinky-dink cowbell! By the end the crowd will be begging for more.

                    With its tough (proto) house vibe this track could line up alongside everything from a Shep Pettibone mix to modern house and techno. There's plenty more to come from Mr Myers as well. Limited edition one sided white label.

                    Ronny Kae

                    Swinging Drums / Swimming Drums

                    Ronnie Kae - Wigged out craziness from drummer Ronny Kae. Swinging Drums is the name of the track, but Demented Drums might be more apt as Ronny rolls the toms to a twanging one string guitar riff and a suitably crazed voice interjects with dance instructions for the hepped up teens at the sock hop - simple enough commands such as 'Go Go Go - Go Everybody!' On the flip side, a variation on the winning formula with 'Swimming Drums'. Not sure what swimming drums are, but the effect is just as great!

                    Fred Williams

                    Tell Her / The Dance Got Old

                    Essential Soul Reissue!!! I'll leave it to Athens Of The North Boss Fryer to explain...
                    "This record is as good as soul gets, no argument, more than the sum its parts, the perfect moment captured. Few records are coveted by so many rare 45 collectors as Fred Williams only outing on Solo records, hence a clean copy recently changed hands for £3000 I first heard this in the early 2000's when hardcore US Collectors Dante Carfange & Chad Weekley (Memphix records) came to Edinburgh to D.J at our weekly club 'Motherfunk'. After their U.K tour many deepfunk collectors went after the single but the record has remained elusive. Dante Carfange went on to compile the amazing Numero Group Compilation 'Eccentric Soul: Smart's Palace' which included both these sides. After meeting Rob and Ken from Numero Group in Edinburgh last year they kindly agreed to licence Fred Williams to 'Athens of the North' as a single so here we are at last, this amazing piece of music is finally affordable on vinyl. Just buy it."

                    Little Richard

                    Rip It Up / Ready Teddy

                    Stone cold essential twin spin from the real King of Rock & Roll - none other than Richard Wayne Penniman, aka, Little Richard. Seminal, piano bashing, high octane New Orleans screamers back to back! Not much left to be said about these landmark recordings, except throw on either side of this double sided stick of vinyl dynamite and watch the dance floor erupt!

                    After a show stealing cameo on Cut Copy's "Ocean's Apart" compilation, Melbourne's heat beat originators are back with more sun-baked brilliance for your Balearic dancefloor. The many limbed ensemble follow in Andras Fox and Zanzibar Chanel's footsteps, hitting up Home Loan with a vibrant EP packed with the rattle of percussion and shimmer of heat haze. Over the course of five body moving cuts, Nic et al invoke the disco-not-disco spirit of ESG, Liquid Liquid and Kid Creole, the house energy of the mid 80s Chicago dancefloor and plenty of Antipodean charm, resulting in an ecstatic listening experience! EP opener "Greek Key (Heat Beat Mix)" pairs rattling cowbell with a dubby proto-house bassline, Aeolian strings and swooning sine waves as Margarita Strateas lends some sultry spoken Greek vocals. "Elation (Real E State)" drives us further towards the peak time as the many fingered Nic Oogjes conjures up another percussive storm around a solid drumbox beat and killer Burrell Bros bassline. There's bells, whistles, a vibra-slap, cowbells au go-go, tumbling conga and a few yelps and screams in there. Add some Shelter shaking scatting and wigged out synths. "Medusa Beat" closes the side in moody fashion as Margarita returns to add another batch of mystical vox, over a nice and slow wormhole bassline. On the flipside "Mystik-c (Medusa Mix)" is a righteous, piano house banger for the Balearic crowd. The squelching bass synth takes you all the way back to the start while the crunchy drum machines pack a lil' jack that's gonna make you sweat! Nic loads some vocal chops into the sampler and plays them up and down the octave in true Yello fashion, while the slightly discordant bursts of brass add a nice Holger Czukey element to proceedings. Big tune! Lest we forget the No Zu speaciality, they hit us with a deep, dense and massively polyrhythmic drum track to finish in the form of "Perfume (Percussion Head Mix)". A subtle bassline underpins the percussion madness, while echo drenched yelps and a techy synth create a trippy feel perfect for very late in the session. Another peach of a release from my new favourite band!

                    Various Artists

                    Soundsystem - The Story Of Jamaican Music

                      To mark the 50th anniversary of Jamaican independence Island Records are releasing a huge box set entitled ‘Sound System - The Story Of Jamaican Music’ on June 25th ’12. ‘Sound System’ will feature 8 CDs of glorious music and a deluxe hard backed book by acclaimed writer Chris Salewicz (author of biographies of Bob Marley, Joe Strummer and ‘Rude Boy - Once Upon A Time In Jamaica’) and featuring hundreds of photos by legendary photographer Adrian Boot.Compiled by Ramus (musical factotum at Chris Blackwell-era Island, Mango and Palm Pictures) and Paul ‘Groucho’ Smykle (dub producer who’s worked with PiL, Grace Jones, David Bowie, Jah Wobble, BAD and many more), ‘Sound System’ features 120 songs randomly programmed to ape the way a Sound System DJ might select his set on any given night. It features a wonderfully eclectic mix of R&B, mento, ska, blue beat, reggae, dub and funk and celebrates the incredible musical gift this small island has given to the world.From Althea & Donna’s global hit ‘Uptown Top Ranking’ to Eric Donaldson’s ‘Cherry O Baby’ via Augustus Pablo’s peerless ‘King Tubby Meets The Rockers Uptown’ and The Royals’ ‘Free Speech And Movement’.

                      STAFF COMMENTS

                      Philippa says: 128 track 8xCD box set featuring every Island reggae track you could ever want + a 100 page hardback book by Chris Salewicz and Adrian Boot, fully illustrated with photography.

                      FORMAT INFORMATION

                      CD Box Set Info: LP-sized 8xCD box set + 100 page hardback book by Chris Salewicz and Adrian Boot, fully illustrated with photography.

                      Jorge Ben

                      Ben è Samba Bom - LP + CD Edition

                      “Once in a while, an unexplained phenomena emerges in popular music. Other times, artists of real value are surprisingly swallowed by the abyss of anonymity. But what rarely happens is the emerging of a truly authentic talent - not only in popular preference - but also in selling records. In other words, someone with proven artistic ability to get beat in the music scene with full mainstream acceptance. This happened to Jorge Ben, he’s became one of the most prominent exponent of Brazilian music. This is his third legendary LP, and as usual features some of the best arrangers in the genre such as Meirelles. Nelson and Gaya”

                      Ennio Morricone

                      The Big Gundown (La Resa Dei Conti)

                      ENNIO MORRICONE’s legendary score for THE BIG GUNDOWN (Italian LA RESA DEI CONTI) is so densely packed with pathos and drama that run so deep into the listener’s mind. Using almost the same great talents shown on SERGIO LEONE’s “The DOLLAR’s Trilogy” with the orchestra conducted by fellow BRUNO NICOLAI and the mighty twangin’ guitar of ALESSANDRO ALESSANDRONI, the MAESTRO Morricone deliver similarly outstanding results!

                      The return of the spaghetti western sounds on Dagored!

                      - limited numbered edition of 500 copies
                      - Complete remastered edition
                      - Splatter Vinyl (black with sand Speckles)
                      - Free Poster Inside

                      Klaus Schulze

                      Official Klaus Schulze Boot Vol. 1: Stars Are Burning - Vinyl Edition

                        “(...)During his career Klaus has played 380 concerts, 119 as soloist and the others with guests or in a group such as Psy Free, Ash Ra Tempel, Tangerine Dream, or Stomu Yamash’ta’s GO. Some of these concerts were recorded and some of it was already released. The very first was the double LP album “...LIVE...” in 1980, and KS promised then, as it was printed on the cover: “This is my first and last live album.” Meanwhile, and gratefully, we have a few more concert recordings of Klaus Schulze released, for posterity ...and for enjoyment of the present listeners.

                        These historic concert recordings from the concert tour in 1977 were partly available before on an illegal bootleg. We had the obvious idea to make this album (and maybe others) finally “official”.

                        Recorded in Bruxelles, April 16, 1977 except * recorded at KS studio in Hambühren in November 2007. INVISIBLE MUSIK is available ONLY on this LP!


                        Hold On It's Easy

                          Cornershop reinvent their debut album. In 1993 Cornershop went into the studio to record their first album proper. Given the praise the album is getting now, especially in America, it’s hard to believe the group had to dispense with the producer half way through, but with the financial restraints of being based on a small label in the basement of the Rough Trade Record Shop off Portobello Road they had to persevere to get it finished. This was the Riot Grrrl era and Cornershop were the only all male band to be a part of it. With a few chords and a bag of political spanners they managed to create a standpoint of the UK as getting on the verge of getting it on – a lesson that went unheeded to its peril. The variety of melodies in this instrumental update is testament to the strength of sound and originality of vision which made ‘Hold On It Hurts’ a main contender of Cornershop’s back catalogue to be presented in a chiffon-swinging stride. Version.

                          Sit back and let life that can be difficult and at times hurt, become something that is instrumentally an easy listen. Clara Stafford Agnesi – Biographer and Head of Humanities, University of Chicago, Illinois.

                          “Think Henry Mancini, as well as the music of Johnny Harris” The Guardian.

                          “You never know what to expect from the ever inventive Cornershop” Matthew Horton, NME.

                          Back in stock Cover of Crooked Rain Crooked Rain (US Import) by Pavement.


                          Crooked Rain Crooked Rain (US Import)

                            Originally released in 1994, this was Pavement's second album, and it signaled the end of Pavement seeing themselves as a recording experiment and the beginning of Pavement as a full time touring band. One of the casualties of this change was the eccentric and usually drunk drummer Gary Young (included here are eight tracks of pre-album Gary Young sessions), whom was replaced by Steve West who bought a greater stability to the line up. The new line up recorded "Crooked Rain Crooked Rain" in NYC, and it proved to be an instant indie classic, packed with superb tracks including singles such as the awesome "Cut Your Hair", "Range Life" and "Gold Soundz".

                            FORMAT INFORMATION

                            LP Info: US import 120 gram edition, includes a free download code.

                            Packing enough aural black magic to give ol' Mother Demdike a run for her money; Manc dub-techno institution, JS Zeiter joins forces with meandyou co-founder and rising upstart, Herron for an exercise in pure sonic alchemy. This is possibly the most exciting tape we've had in for while (sorry everyone!) and for me, is the very essence of what the format should be used for. Punk as leather boots and delivered forthright with determination and vigour! No hype, no self indulgent press release, just amazing music. A mystic cauldron of sounds, synthesis and manipulation, each artist distils a full side (45 mins) onto the magical tape. We begin with Herron's side; slowly collapsing in on itself through the duration of the jam, held together by the thinnest fractals of time and constantly traversing between this and the 5th dimension. Dilapidated beats squashed by heady plumes of synth haze and ghostly murmurings casting spells from the dark recesses of the mix. Moments of blissful ephemerality are soon diffused by eerie washes of non-silence, causing claustrophobia and disorientation on the listener; the perfect collage for the witching hours. On the flip, JS Zeiter begins with the statically charged electroid rhythms popularized by his Analog~1 alias; unloading thick carpets of tape delayed synth compounds across a bouncy old skool rhythm. As we progress through the side it sounds more and more like Zeiter is a huge analogue beast, filling up his lungs with exponential amounts of air with each four bar refrain. Soon enough we're swamped by a heady, so-thick-you-can-taste-it haze of ricocheting pads sweeps, pummelling bass flumes and psycho-active frequencies. Those familiar with the artist will recognize his trademark synth patches instantly, and James makes sure to get them scorched beautifully onto the tape. A well executed mix of all his best styles and nuances, dynamically arranged over the 45 mins to take you on a proper journey. A proper relic, of both Manchester's DIY-attitude and a time and place in electronic music history. Almost more desirable and collectable due to its obscure and deteriorating format; this is as good as gets people!

                            STAFF COMMENTS

                            Matt says: Intoxicating mind-experiments from JS Zeiter and Herron, the sorcerer and the apprentice one might say....

                            FORMAT INFORMATION

                            Cassette Info: Super limited C90 cassette release with inlay.

                            The Wire

                            Issue 372: February 2015

                              Mica Levi
                              From underground pop star to acclaimed film composer, the artist also known as Micachu is a modern polymath. By Frances Morgan

                              Inside Red Bull Music Academy
                              In Tokyo, Derek Walmsley investigates the utopian ideals of the global music brand’s banner event

                              The Primer - Hiphop mixtapes
                              A user’s guide to the major playas in rap’s underground economy, from 50 Cent to Lil B. By Jack Law

                              Invisible Jukebox - John Carpenter
                              The veteran film maker and composer is spooked by The Wire’s mystery record selection. Tested by William Hutson

                              Word power from grime’s most literate. By Daisy Hyde

                              Javanese traditional music gets a refit. By Clive Bell

                              Heather Phillipson
                              Wayward narratives and beastly obsessions. By Nathan Budzinski

                              Global Ear - Florence
                              The avant garde makes some noise in the Renaissance city. By Alessandro Michelucci

                              Collateral Damage
                              Stewart Morgan calls on music documentary makers to sing more like their subjects

                              On Screen
                              New films and DVDs: footwork documentary I’m Tryna Tell Ya and Looking For Johnny: The Legend Of Johnny Thunders

                              Print Run
                              New music books: Bowie in Berlin, new perspectives on Christian Marclay, and an art rock masterpiece reassessed

                              On Site
                              Recent exhibitions: Yusef Lateef’s Towards The Unknown and Otomo Yoshihide’s Between Music And Art

                              On Location
                              Recent festivals, gigs and clubs, including Opal Tapes, Fire! Orchestra, GIOfest VII and more

                              The Inner Sleeve
                              Peter Strickland on Organum and The New Blockaders’ Raze

                              The journey from punk to improv collapses categories for Tony Rettman

                              Jim White Vs The Packway Handle Band

                              Take It Like A Man

                                Jim White's not your average singer/songwriter. His hallucinatory blend of country, folk and rock puts his music in its own category of cool. Drawing from years of itinerant rambling, working odd jobs ranging from New York Cab driver to Milan fashion model with countless stop-offs in between, his restless soul finally took root in Athens, Georgia where he has been living and creating his art for the last ten years. The Packway Handle Band is a high energy roots-grass outfit based out of Athens. Consisting of five members, the band has been recording and touring for over a decade, garnering awards, accolades and a fiercely loyal following along the way. When the band sought Jim White out to produce an album, the quintet learned he had a massive stash of bluegrass songs just waiting to be sprung on the world - and they would make the perfect slingshot. "When I'd heard 'em play a couple of years earlier," White says, "I muttered under my breath, 'I wish I could have that much fun playing music.' When they offered me the chance to produce, I thought, 'How can I undermine this?'" The answer is Take It Like A Man.

                                Full-length debut from the elusive Shinichi Atobe, known for an incredible 12” on Chain Reaction almost 15 years ago and never seen or heard from since. Audio mastered and cut by Matt Colton. Shinichi Atobe has managed to stay off grid since he made an appearance on Basic Channel’s Chain Reaction imprint back in 2001. He delivered the second-to-last 12” on the label and then disappeared without a trace, leaving behind a solitary 12” that’s been selling for crazy money (theres a copy up on Discogs at the moment for $600 - go figure) and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12” has also been a longtime favourite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whomever he turned out to be. A lead from the Basic Channel office turned up an address in japan and - unbelievably - an album full of archival and new material that after a lot of hard work has been assembled and compiled by Demdike for this debut album. And what a weird and brilliant album it is - deployed with a slow-churn opener that sounds like a syruppy Actress track, before working through a brilliantly sharp and tactile 9 minute Piano House roller that sounds like DJ Sprinkles at his most bittersweet, before diving headlong into a heady, Vainqueur inspired droneworld. It’s a confounding album, full of odd little signatures that give the whole thing a timeless feel that’s completely detached from the zeitgeist - like a sound bubble from another era. This is only the second album release on Demdike Stare’s DDS imprint following on from Nate Young’s ’Regression Vol.3’ last year, who knows what they might turn up next.

                                John Gibbs And The Unlimited Sound Of Steel Orchestra

                                Steel Funk

                                Following the appetizer of the two 12" singles "Trinidad (Disco Mix)" and "J'Ouvert," EM Records now serves up the main dish, the fine 1977 album 'Steel Funk' by John Gibbs And The Unlimited Sound Of Steel Orchestra, a new addition to the "EM Steel Pan Series". Trinidadian steel-pan player John A. Gibbs studied science at the University of the West Indies in Jamaica where he earned his undergraduate and graduate degrees and formed The Jamaica All Stars Steel Band. This was the start of a dual career in science and music that eventually took him to the United States. He moved to Philadelphia in the mid-70s and met Philly arranger / producer Louis A. deLise, with whom he collaborated to create a new steel pan music, welding Trinidadian steel music to Philly soul. He researched and advocated a new style of steel pan music, describing the steel pan as an "omnivibraphone" in his 1978 book The Unit Steel Band, in which he combined his scientific and musical backgrounds to illuminate the physics of the steel pan. Gibbs' innate musicality comes to the fore on 'Steel Funk', where he compiles several years of experience with deLise into an appealing Trini-Philly groove union, with the five steel pan players of the Unlimited Sound Of Steel Orchestra working in sync with a 30-piece studio orchestra of brass, strings and rhythm. The songs range from Calypso to film theme to pop standard, covers and originals, but Steel Funk is not a chintzy pastiche, it's a glorious unity. EM Records offers this re-release as "the 2014 version," newly remastered, with improved sound quality, a different track order, and new cover art drawn by Yoshihiro Tsuyama / 2Yang.

                                Leeds' finest purveyors of underground music, the mighty Joe's Bakery return with another essential selection of undiscovered Balearic beats, cosmic curveballs and obscure oddities from around the globe. This time round, Craig and Joe hand over to Italian DJ, collector and producer Jose Manuel, who continues his cracking run of releases on 'Lectric World, Tusk Wax and Let's Get Lost with a trio of tribal, exotic and leftfield tracks here. Kicking the record off in a truly intoxicating fashion is "Mantra", a glittering trance from the east, born out of the droning sitar, hypnotic tambura and spiritual vocals. Underpinned by the taut rhythm section of subby bass and synthesised tabla, "Mantra" rolls on and on until you're reduced to a whirling dervish in the dust. For the A2, the Joe's Bakery boys get together behind the desk to offer their own remix, slowing the tempo to your resting heartbeat and dubbing the track out into a sparse, bedouin groove. Over on the B-side, Jose takes us right through the looking glass with the otherworldly sounds of "Ganas" and "Orgasmico". The former combines the organic exoticism of hindi vocals, tabla and the snake charming melodies of pungi with a thudding drum machine kick and warped electronics, providing the perfect companion to his outstanding "Samsara" on Lectric Sands. Last but not least, Jose delivers the sensual, eastern acid of "Orgasmico", a late night head turner which pairs a bubbling 303 line with the chirrups and whistles of the subcontinent, and deranged, super sexualised male vocals. If this doesn't get dropped at peak time in Croatia this summer then I'll eat my solar topee!

                                For their latest excursion into the land of horizontal dancing, Timm & Ampo welcome the Clandestino crew aboard the good ship Is It Balearic? with their "Crack In The Sky" EP. The title track gets us started with plenty of continental drift as Clandestino fire up the synths and fire off some deep and spacey sequences at a mogadon induced pace. The stately jack of a battered Roland keeps time while spritely pianos emerge from beneath the rolling thunder and atmospheric pads to clear the way for the lysergic hit of acid lines at the track's conclusion. For remix duty, Coyote reach out to Californian dreamer The Beat Broker, who takes "Crack In The Sky" for a night out in San Fran's famed deep house scene. Melodic, majestic and deeply transportative, Beat Broker's "Dream Dub" could easily be mistaken for a lost Naked Music cut. On the flip, Clandestino get their groove on with a little disco-tinged house for the Balearic crowd. "Twilight Feeling" sees the producers conjure up a buoyant Chicago bassline, sharp proto-house claps and hats and swelling synths, delivering an irresistible dancefloor moment at the finish with a choice Willy Wonka quote (Gene Wilder chanelling Arthur O'Shaughnessy). Last but not least comes the deep and ambient bliss of "Beyond The Sun", a mellow, Eastern tinged sundowner featuring a sample you may have heard somewhere before (it's Rickie Lee Jones describing the Arizona skies again!) which perfectly joins the dots between the two generations of Balearic producers.

                                Speeding through the neon sky and hunting replicants everywhere... Deckard makes his debut on To Rack & Ruin.

                                First up is 'Sean Lives' which stomps along with enough guitar twangs and honky tonk piano chords that would make this cut sound right at home at a James Brown after party. A catchy vocal throughout before an almighty breakdown that sneaks in one of the finest saxophone solos heard since that guy in The Lostboys.

                                On 'Rustic Rage' Deckard joins Paper Recordings' debauched debonair of disco Flash Atkins taking in a lesser known cut from "The Man In Black" himself. We start things off with a solid 4/4 kick alongside a guitar loop that build and builds and builds like a dancefloor locomotive albeit one that's draped with squelchy synths and popping percussion before dropping with vocals that are guaranteed to cause hand blisters from a serious clap along...

                                FORMAT INFORMATION

                                12" Info: Limited hand-numbered, hand-stamped 12" pressing.


                                Apex Of The Sun's Way / Solar Poise

                                London-born DJ / producer Braiden returns after a two year silence, inaugurating his new label Off Out.

                                Since debuting on Joy Orbison's Doldrums in 2010, the RBMA alumnus has gone on to remix the likes of Jacques Greene and SBTRKT, hold covetable radio slots at both RinseFM and NTS, with influential Dutch imprint Rush Hour issuing his well received 'Belfry Tower' / 'Paganini' 12" in 2012.

                                After a change of location last year, the Berlin transplant has decided the time is right to establish his own outlet and does so with 'Apex Of The Sun's Way' / 'Solar Poise'. Having always cited a desire to balance "groove and rhythm and a strong atmosphere," he succeeds here with his own take on dancefloor music; crisp drums cutting through swathes of saturated synths and gauzy textures.

                                'Apex Of The Sun's Way' / 'Solar Poise' is available on 12" vinyl with artwork by Braiden via Off Out.

                                FORMAT INFORMATION

                                12" Info: 12" comes in plain black sleeve with insert.

                                Arthur Russell

                                World Of Echo - Audika Edition

                                  Arthur Russell’s most extraordinary work, “World Of Echo” is reissued in this remastered vinyl edition by Audika Records.

                                  18 tracks are featured including drumless versions of his Disco classics “Let’s Go Swimming”, “Tree House”, and “Wax The Van” along with four previously unreleased tracks. Originally released in 1986, “World Of Echo” is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty.

                                  Arthur’s aim was to achieve what he calls “the most vivid rhythmic reality”, with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear.

                                  FORMAT INFORMATION

                                  2xLtd LP Info: Double limited US import re-issued on Audika with extra tracks and remastered.

                                  From the land of Blah Blah comes this new 12 inch consisting of two brand new KBE edits and a couple of unreconstructed original gems. The fun and games begin with an old Bert Stride track from 1983, originally recorded at Compass Point in Bahamas and mixed by FK no less! Mr Bager starts off with the actual song before dropping deep into dub territory. An irresistible steel drum hook combined with that authentic Island feeling and the unmistakable voice of Bert Stride makes for a true Balearic winner. Next in line is "Thanks But No Thanks", one of those great warm up records heard in bars around Ibiza, hugely popular in Italy and completely ignored everywhere else. This beauty is in fact an 80s jazz-funk cover version of THAT Devaughn record from the early 70s, which was made even more famous by Massive Attack on their debut album. Flip over for a little diggers’ delight in the form of "Baateside", a funky obscure library music gem full of sunshine and beach feeling, lush keys, ambient guitars, wobbly bass, floating pianos, edited and with added guitars from KBE - a guaranteed Shazam free ‘Cafe Del Mar’ vibe. Last but not least is "Leo's Diner", a mid 80s Ibiza classic (It's Immaterial's "Ed's Funky Diner" no less) built out of pounding drums, groovy organ, strumming guitars, dubbed out indie vocals, memories of hierbas and madness.

                                  There I was, keepin' on truckin', when I heard the coolest sounds this side of Saturn by the side of the funk highway trying to hitch a ride downtown. Man, these Roadside edits are far out.... I'll take them anywhere they wanna go. But listen close suckas, 'cause it's you and me who are getting taken on a trip! Roadside Edits gets a repress, this time with added swamp funk courtesy of Clandestine's "Moonshine"! Essential barn-dance tackle. Bossing the A-side, this wonky honky tonky romp reworks the same original as In Flagranti's "Hallow Disco" from a few years back but puts the focus squarely on the live funk rather than the subtle sleaze.  On the flip, "Olmec Disco Special" is a deep and dense journey into the massive centre of the nearest blackhole. Jazz-funk, boogie, disco and soul are drawn together and merged into a maximal groove alive with rhodes, wah wag guitar, sumptuous strings and heavy laser fire! Thick and thumping, this is certain to cause a supernova on the floor. "Discomonica Instrumental Edit" plots a direct course for the loft party dancefloor, boasting an infectious arrangement filled with sweet harmonica solos, tight bass and soaring strings that lift the track and the crowd to cloud 9. Dope!

                                  STAFF COMMENTS

                                  Patrick says: Roadside Edits gets a repress, this time with added swamp funk courtesy of Clandestino's "Moonshine"! Essential barn-dance tackle.

                                  Enfant Terrible of the disco scene, Gallic genius Young Pulse returns to GAMM with the second instalment of his "Paris Edits" series. If you copped the first volume then you'll know exactly what's on the menu; funk, soul and disco grooves and no messin' around! We head straight to the club on the A-side with "Enjoy & Relax", as Young Pulse reworks (or is that remixes?) Rhyze's soulful disco stomper to perfection. The re-EQed kick and bubbly bassline are as meaty as your local charcuterie, while the uplifting chord progression adds a subtle hint of fromage to get your tastebuds working overtime. Don't be put off though, I'm thinking more the mild flavour of Brie than the hefty pong of a Pont l’Eveque. On the B-side, the dynamic Frenchman zooms us far across the ocean to the shores of Brazil (perhaps he can say hi to Piccadilly staffer Martin while he's at it) for a smooth and jazzy bossa edit of soul classic "It's A Shame". Closing the EP in feel good fashion is Young Pulse's driving disco funk edit of GQ classic "Shake". As you'd expect, the bassline is king here, powering the Chic-esque strings and sunny vocals from the top to the bottom. The up-and-coming Frenchman delivers classic GAMM material here, no fuzz whatsoever! 

                                  Pablo and Shoey kick off the new year with four new bits for the front of your box. The Irish boys get the party started with two tequilas and fat line thanks to "E-Man Groove", a massive disco-rock jam that could have been sprung from the minds of dem Idjut Boys. We're in proper wig out mode here as wild guitar riffing, muscular basslines and thundering conga rolls vie for position in the rock hall of fame, ensuring the dancefloor is worming, squirming and poodle perming! Looking for something completely "I love you mate - let's start a commune - peace, love and harmony - I'm gurning my f**king nut off" euphoric for your next DJ set? Well look no further as Pablo and Shoey deliver all that and more with a funky, hammond organ led version of "Let The Sunshine In"; certain to change lives if used at the right time. On the flip, "Disco Treat" is more of a modern floor-burner, closer to straight production edit with a bouncing bassline, moog madness and all manner of whacked out disco sounds in the mix; not to mention breakdowns for days. Rounding off the package is some classic funky soul breaks as the lads tear a chunk off Bettye Lavette's 'Soul Tambourine' (sampled on Stezo's golden era hip hop rocker 'To The Max') to make 'Play It, Break It On Down!', a breaker and shaker that'll have you digging the old lino out in no time.

                                  Various Artists

                                  Ethos Series Vl. 2

                                  The second release on the Nous Ethos series serves up five tracks of synthetic house brilliance and bass-centric machine funk.

                                  Oooof! Strap yourself in tight and prepare for warp speed as Alexander Robotnick and Tulioxi hit the big red button and blast our asses through an Italo wormhole and into the galaxies beyond. Bordello A Parigi bring together two generations of Florentine hardware enthusiasts, cosmic commanders and dancefloor misfits for this release and the results are truly spectacular. The rampant electrodisco of "Roboxi" is a breathless thrill ride from start to finish, utilising killer synth drums and a driving bass sequence reminiscent of the Emperor Machine's finest to break through Earth's gravitational pull and explore the beauty of our solar system. Cascading synths, glittering arps and drifting cosmic melodies add heart to the irresistible body music and make for a spectacular dancefloor track. Flip the disc and there's no let up in quality as "New Interstellar 2600" draws us into its shoulder rolling jack with a killer space disco bassline, huge Jean Michel Jarre melodies, and expansive Arps. Without a shadow of a doubt Manchester's Il Bosco's gonna unleash this monster at a Red Laser Disco near you. EP closer "Alpha Tremila" takes us deeper into the post peak dimension of heads down dancing with sombre minor key melodies and a squirming techy lead line. Sexy space disco with the Italian touch on the superb Bordello A Parigi and an essential purchase for any Italo heads out there.

                                  In the uncertain world we live in, there are certain theories we haven't quite proved but are more than happy to take as fact. Gravity, The Big Bang, Einstein's theory of special relativity and England's incapability of winning a major international football trophy are all tricky things to argue against. Another rule we can hold more sacred than religion follows thus; all Italo releases after 1984 were complete shit. The weight of evidence behind this theory far outstrips any of its scientific counterparts, and yet, a certain Dutchman by the name of Otto has made it his mission to disprove the theory and open our eyes to a world of synthesizer joy. Yes, Otto, the man behind the excellent Italo imprint Bordello A Parigi has taken a small break from releasing killer originals from a who's who of international producers to reissue Magic Sound's 1986 epic "To Haldin". This tribute to the Italian Houdini, struts along with a Kano style bass sequence and cascading keys, boasting a rhythm track that emerges from the Apex of electro, Italo, boogie and proto house to lead the perfect dancefloor shuffle. Chuck some heartfelt vocals and a killer piano solo into the mix and you're on cloud 9. The straight forward dynamics of the B-side instrumental mix provide further evidence that we were wrong about late Italo all along and should dive into the Discogs pound bin immediately. Or perhaps this is simply the exception that proves the rule.

                                  Listen very carefully, I shall say 'zis only once! Versatile drop a red hot, red vinyl 7" to accompany the release of Vidal Benjamin's fantastic "Disco Sympathie" compilation. The master collector, digger and dj extraordinaire (recently heard blowing the roof off a Parisian nightspot with Les Yeux Orange) delved deep into his exensive collection to put together a dream playlist of early eighties obscurites, taking us back to a time when French producers were not afraid to tackle disco, american boogie, british and german synth wave, and offer their own version; french, poppy and above all… Fun! On this supplementary 7", Vidal invites a couple of his nearest and dearest to show off their scalpel skills, with Jeff Lasson and Jean-Marc Misère picking a track a piece to extend and expand for the modern dancefloor. Up first is Lasson, one half of the Get A Room duo, who takes Marc Chantereau's super groovy disco-funk diamond "Gibraltar" for a walk round the park with some killer dubwise fx, floor moving loops and bass boost. The result is the eurotrash of the highest order. On t'other side, things get real sleazy with Jean-Marc Misère's bass heavy edit of Raymonde Et Les Moutards synth-funk masterpiece "Y'en A Marre!". The producer trains his sights on the irresistible low slung groove and transfixes us with well chosen loops and spacey echo. This cosmic bomb is tried and tested for explosive results on the floor. Vive La France!

                                  FORMAT INFORMATION

                                  7" Info: Limited red vinyl pressing.

                                  Whiskey Disco stick to their rapid fire release schedule and drop another masterpiece for the modern disco jocks looking for the edge on the frontline. You've sampled the delights of many a Various Artists edit release before, but the "Disco Meze EP" offers a fatter platter packed with juicy flavours and plate smashing peaks! VinylAddicted and Jean Claude Gavri get their on with the abruptly titled "NYM", a digger's delight of uptempo disco brilliance born out of looped guitars and strings and topped by a heady synth solo from Gavri himself. On the A2 Pixelated drop the tempo and the microtab to deliver an LSD laced rework of Anita Baker's Smooth FM mainstay "Caught Up In The Rapture". Combining well chosen loops with mind bending fx, the duo set the scene perfectly for the thick acid line to blow minds. I strongly suspect we'll be hearing this one in Croatia this summer. On the flipside, Alkalino takes us right onto the beach for some hypnotic fireside dancing with "Day To Day". Coming on stronger than a big bag of flyogarics, this beauty trips you out with acoustic guitar licks, buoyant basslines and a steady rhythm section before taking you into heaven's disco with that screaming acapella. Top notch! The Silver Rider brings the curtain down with the meaty mid tempo house of "Hidden Rung", a spaced out, bleep heavy rework of Loleatta's "Hit & Run". The sparing use of the vocal and subtle bass loop allow the Metro Area styled pads and echo heavy piano to take centre stage, setting this edit apart from the plethora of "Hit & Run" reworks that have gone before it.

                                  Despite what Radio 4 might try and tell you, it's not all oil barons, lap dancers and propaganda videos in Moscow, there's in fact a thriving club scene in Russia's capitol at the moment and some of the hottest names in the game have come together for this debut release on their new label. "That's A Steal Volume 1" delivers a various artists selection of esoteric but floor assured edits pieced together by passionate music lovers, champions of rarities and party starters from a loose collective of Moscow based collectors, club bosses and record shop owners. After digging deep to conjure up the bounty here, these enthusiastic diggers behind "That's A Steal" are ready to roll out their debut - as ever, limited and ludicrously good. Arsenii get the party started in frazzled and freaked out psychedelic funk fashion with the west coast groove of "Miss Holy Holy". The irresistible rhythm section of bongo and backbeat get you dancing right from the off, while the chunky piano, blazing guitar solos and psychedelic organ make it their mission to move your soul as well as your feet. Shiny Boots take up the baton on the A2 with the bass led Russian disco of "Susekke", a must for any fans of Very Polish Cut Outs. New wave synths and chorus-heavy guitar parts add a Balearic tinge to the tune, while the radio DJ snippets provide all the sleaze you'll ever need. On the flip, Emotional Blackmail take us to the housier end of the Balearic spectrum, matching a charming thumb piano melody with italo house drums and pygmy polyphony before dropping in the vocal from a sunny 70s folk rock vocal. Last but not least, personal favourites Simple Symmetry (who are responsible for two of my favourite 12"s of last year) pitch down and beef up Santa Esmeralda's hispanic disco masterpiece "Don't Let Me Be Misunderstood", dubbing the track down to it's most integral parts (maraca led beat, spaghetti western bassline, vamping strings) before chopping in some sampledelic vocal cuts S'Express style. As brilliant as it is bonkers, this is a sublime label debut from the Russian crew.

                                  Wild is the hashtag for the third EP in the Acid Arab Collections series. Wild, because where can you step when the dancing area has been electrocuted by the essence of Eastern and Arabic music? Keywords: intense freedom and instant trance. Once more, Parisian band Acid Arab and the Versatile label have invited other musicians to share the experience of letting this timeless cultural fluid flow into the coldness of occidental electronic savoir-faire. Since Collections’ EP01 was released more than a year ago, it seemed fair that the music would evolve to a next level. What happened took everybody by surprise: producers jumped into vehemence! Acid Arab’s own track "Zhar" is an outrageous race, based on an epic merged rhythm the machine beats. Acid Arab keyboardist and producer Pierrot Casanova delivers an uncanny solo that moves body from mind to feet. Gilb’R took to the sanctity of Versatile’s studio to record more percussion from Shadi Khries, as well as his voice, and the frantic saxophones of Etienne Jaumet. He then proceeded to create the soundtrack of being a living drone in wasteland, flying from near the sun to a dry and mysterious sand. The song is haunted by an old Jordan poem that adds even more deepness to this timeless piece. Mysterious french duo Society Of Silence, whose live acts stunned anyone who luckily witnessed them, has been on Acid Arab’s wishlist for a while and already released 2 EP’s on Versatile. Worth waiting for "Baghdad" is furious, inventive and harsh on the dancers. Mean acid lines, possessed beatings and creepy voices come together on an in-your-face style that smells of danger and excitement. Berlin artists An-I and Hugo Capablanca have also chosen the path of wrath on "Farsi Farce". With a few Iranian words and a lot of keyboards, a punk beat and a ravy bass, they succeed in establishing a fine line between Middle East nightclubs and Flemish warehouses. If it makes you feel like being in the middle of a fight, which is probably a good thing.

                                  Fake Glasses / Noodleman

                                  Dancehall / Acid Ting

                                  Eddie C's ever reliable Red Motorbike is on the move again, packing a handy stash of Dragon Stout and 12"s in the sidecar for this 10th expedition. The Canadian disco expert hands over to a couple of his nearest and dearest this time with Fake Glasses and Noodleman each taking a side of Caribbean sunshine to warm us all up. "Dancehall" succinctly describes what's on offer on the A-side, as Fake Glasses knocks out a seriously heavy dubwise number for the swayers and one-foot skankers in the dance. The cut rolls along like a subby juggernaught while the producer drops echo-laced vocal snippets and scratchy guitar from the tweeters. As the track evolves, FG fires up his trusty hardware and drops a killer synth melody to take us home. On the flip Noodleman follows his acid tinged killer from the last 12" with another 303 laced gem for the spangled dancers out there. "Acid Ting" lilts out the soundsystem packing sun, sand and pure roots vibes, gently nudged towards the dancefloor thanks to a slo-mo house beat. By the sounds of the second half I think someone might have spiked the grape soda; a bubbling acid line riding the groove to the heart of the Carnival. Rev 'em up - next stop Kingston town

                                  Rebirth A&R, DJ extraordinaire and production whizz Corrado Bucci becomes the latest star in the Local Talk galaxy. Kicking the EP off with "It's Not Over", Corrado takes us straight into classic house territory, dropping mesmerising piano loops, bouncy basslines and a cheeky vocal lift from First Choice with wild abandon. Continuing our journey we find the deeper and more melodic title track "No One Can Stop Us", a lilting beauty featuring beautiful strings and old-school soul samples. The EP also includes remixes by Martin Patino and Turbojazz , who opt for a dark and gritty big room vibe,and Detroit(ish) jazzy feel respectively. Another winner from the LT mafia.

                                  Beastie Boys

                                  Check Your Head - Remastered Vinyl Edition

                                  "Check Your Head" brought the Beastie Boys crashing back into the charts and into public consciousness on its original 1992 release. Following "Paul's Boutique", the Beasties had repositioned themselves as a lo-fi, alt-rock groove band. They had not abandoned rap, but it was no longer the foundation of their music, it was simply the most prominent in a thick pop-culture gumbo where old school rap sat comfortably with soul-jazz, hardcore punk, white-trash metal, arena rock, bossa nova, spacey pop, and hard, dirty funk. On "Check Your Head" turned toward primitive grooves they played themselves, augmented by keyboardist Money Mark and co-producer Mario Caldato Jr. Music was the message, and the rhymes, which had been pushed toward the forefront on both "Licensed To Ill" and "Paul's Boutique", have been considerably de-emphasized (only four songs - "Jimmy James," "Pass the Mic," "Finger Lickin' Good," and "So What'cha Want" - could hold their own lyrically among their previous work). The focus is on the music, mood, and even the newfound neo-hippie political consciousness. As much as "Paul's Boutique", this is a whirlwind tour through the Beasties' pop-culture obsessions, but instead of spinning into Technicolor fantasies, it's earth-bound DIY that makes it all seem equally accessible - which is a big reason why it turned out to be an alt-rock touchstone of the 90s, something that both set trends and predicted them.

                                  FORMAT INFORMATION

                                  2xLP Info: Limited 180g remastered audiophile pressing in gatefold sleeve.

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