Stephen O'Malley


Barry Says : Stephen O' Malley, formerly involved in all the projects dedicated to all the subgenres of drone/classical/dark ambient (Sunn o))), Aethenor, KTL, Khanate, etc) presents this, his latest incarnation. 

Gruidés is a collaboration with the French improv orchestra, ONCEIM and is very much a longform drone piece dedicated to texture and weight. 

Overtly sustained notes on all instruments ( special shout-outs to Xavier and Louis, clarinet and trumpet respectively) build atop each other slowly, sometimes dissonantly to create an increasing magnitude to the piece. Though the notes themselves are not changing, the organic sway of breath, or hand on the instrument lends it a living feel. 

The second side presents a slightly more airy and spacious affair (within reason), clangs of wood and surpringly small sounding, yet strangely jarring bells pierce the washing pulls of strings. Shockingly candid, and visceral, this piece even more than the last displays a fragility and finity not often seen in classical music, and to stunning affect.  

Through classical methods (and instrumentation), and the intensity of drone, Gruidés presents an initially bleak outlook, but glints beneath the surface. Shining and stunning, this is a modern classical masterpiece, a fascinating and life-affirming journey, and is one further notch in the extensive musical bedpost of Stephen O' Malley.

Sarah Williams White

Of The New World

'Of The New World' is the debut album from South London singer and producer Sarah Williams White. Sarah is part of a new wave of artists from her corner of London that includes Mo Kolours, Henry Wu as well as her brother Paul White. A multi-instrumentalist and vocalist, Sarah cites influences including Jamie Lidell, Erykah Badu and PJ Harvey as well as more contemporary acts such as Hiatus Kaiyote, Jamie Woon and Thundercat. Her sound mixes soulful, intricate vocals with subtle beats and layered harmonies.

Across 12 tracks (7 songs and 5 interludes / soundscapes), this mini-album showcases Sarah's range of abilities. Tracks like 'Hum' and 'Winter Sun' highlight her delicate yet powerfully soulful voice, whilst 'Rainmaker' and 'New World' show her ear for unusual beats and deft musicianship. Elsewhere the hypnotic interludes ('Arrival', 'Adrift) would not be out of place in the more abstract work of her fellow South Londoners over at the 22a label.


Includes MP3 Download Code.

Born at Scotland's postpunk crossroads in 1979, Boots For Dancing kicked down the boundary walls of a played-out scene and introduced the UK to a more funky way of doing Punk. Hugely popular as a live act, often wiping the floor with the bands they were supporting, Boots was something genuinely ahead of the epoch's curve and played an important part in the vanguard of the burgeoning Post Punk and Punk-Funk movements. Sadly, Boots For Dancing's light shone brightly but briefly, though the band had connections with, and cross-pollinations between, better-known acts such as The Rezillos, The Human League and Josef K. Their boundless energy and undeniable talent never proved quite enough for great success. Great songs, even bolstered with good looks, are no guarantee of success in the fickle music business. Ultimately, business got in their way and the group disbanded in 1982 with just a few single releases in its canon, though a wealth of potential hits had been put to tape. Athens of the North is proud to present the band's 1982 album-that-never-was - an album that surely would have made them. It still sounds as fresh as it was when recorded.

- The holy grail lost scottlish post punk LP - Extensive Sleeve Notes by Music and Theature writer Neil Cooper'

- Additional Sleeve notes by Jo Callis (Human League /Rezillos) and Mark Hagen (BBC Radio)

Two more official edits from Mukatsuku. Kiki Gyan from Ghana goes disco for first time on a 7 inch single whilst on the flip we travel to Nigeria for an edit of a rare album only track from Tunji Oyelana for a slab of afro funk. The track was commissioned by Soundway Records a couple of years ago but never came 45.

After a successful summer of Church White releases gathering support from Session Victim, Move D, Galcher Lustwerk and a host of others, Church returns with it's next offering from Peckham via Auckland brothers Chaos In The CBD.

Fresh off the back of the Juno number one seller EP 'Midnight In Peckham' on Rhythm Section, they delve into deeper territory with emotive title track 'Constraints Of Time Travel'. The B-side is a more familiar affair with trademark swingy percussion and expert use of samples providing that deep warm house sound we've come to expect from the pair.

Amidst much anticipation from collectors, record stores, DJs and producers alike, Gloria Ann Taylor’s musical output on Selector Sound finally gets an official reissue.

Soul singer Gloria Ann Taylor has no rags to riches tale to tell. Her story is one of personal sacrifice, failed relationships, and missed opportunity. She was leading a hard knock life before being swept-up by the flash and promise of a marriage and business partnership with a successful record producer. She would be nominated for a Grammy, rub shoulders with James Brown and Bootsy Collins, and turn heads from Motown. But in the end she rejected professional singing, the music business, and the lifestyle that came with it. Thankfully for music lovers, before Gloria closed the doors on her singing career, she left us with some amazing soul songs. Deeply shaded by gospel roots, her haunting sound clearly comes from the gut. Gloria did not fake the funk.

Gloria was a partial owner of the Selector Sounds label, along with her husband/producer Walter Whisenhunt (previously a right-hand man to James Brown), and her brother Leonard. They released five Gloria Taylor singles between 1971 and 1977. They also released the three-song Deep Inside You EP, under the name Gloria Ann Taylor and Walter Whisenhunt’s Orchestra. In the studio Whisenhunt would work up a unique musical brew that mixed northern soul with exotic percussion and fuzzy psychedelic guitars. He moved Gloria through a range of tempos and stylings from ballads to disco. Her gritty vocal performance was set to orchestral arrangements creating a juxtaposition of grandeur and solace. The pinnacle of their collaborations has to be the jaw-droppingly epic EP version of “Love Is a Hurting Thing”; a chugging, string-laden disco track, that sounds like proto-Theo Parrish. (excerpt from liner notes by Andrew Jervis)


2xLP Info: Deluxe triple-gatefold double LP package complete with photos and extensive liner notes.

Kid Congo & The Pink Monkey Birds

Bruce Juice / El Cucuy

    Kid Congo & the Pink Monkey Birds will be dropping their latest and strongest album in early 2016. To prime the pump, they present this new single featuring two brand new tracks not featured on the upcoming full length.

    Soledad Brothers

    Human Race Blues

      What do the Soledad Brothers sound like in 2015, navigating a crazy hazy post-apocalyptic netherworld of the United States? Updated and improved in all the right ways without compromising anything. Don't you kinda hate it and kinda love it when a band takes a break, and then comes back better than ever? That's exactly what happens here. Classic three piece line-up with Johnny Walker(medical doctor), Brian Olive (Greenhorne) and Ben Swank (Ultras S/C) killing it in bleakly beautiful ways. Get hi-fi!

      Jon Spencer Blues Explosion

      Human Obscene / Shake That Bat

        In The Red presents installment number seven in The Jon Spencer Blues Explosion jukebox singles series. As with the previous six, the 7-inch features two exclusive tracks that lean towards the band’s more rocking and spastic side.

        The Wolfmanhattan Project

        Smells Like You / You Are My Glue

          The Wolfmanhattan Project is a brand new band featuring Mick Collins, Kid Congo and Bob Bert. Their debut single sounds like the sort of trashy, swampy, sleazy, damaged music one would expect from the gentlemen involved. An album will follow soon(ish).


          No EP

            Down the road, South of Witch Mountain and across the pond, there’s an uproar in the distance, a sonic demolition of sorts, and it is—what else?—GLORIOUS rock ’n’ roll. We’re thrilled to introduce the thunderous, bruise-blue, screeching dissonance of YAK to the Church of Third Man, who have already whipped up totally frenetic and drastic yelp all across the UK.

            This November we will be releasing their latest EP (produced by Pulp’s Steve Mackey) stateside, featuring the sloppy, sludgy, searing single “No” with MASSIVE guitars, cantankerous drums, and a defiant, vox maelstrom. It’s gonna gnarl through your speakers and bludgeon you with pure nihilism fuzz. Following “No” on the A-side is “Alas Salvation” a song so chewed up and spit out it could pass for The Upholsterers covering DNA. The B-side ditches the bulk of the grit and instead keeps things icy, mellow, and lonely with “Out on a Limb.” It’s a stately and necessary respite till you flip the wax and strap back in for the A-side.

            PLUS noted artist and photographer Nick Waplington has copiously tackled the cover art. It’s beautiful and violent use of color are a welcome and complimentary addition to this package.

            So sit tight and take hold. Yak is poised to make noise and it’s in your best interest to get on board early and maybe JUST MAYBE you could be the coolest kid at school.

            3 Song EP w/ locked groove.



              Stabs is the debut LP of the Swedish garage rock act HOLY, the project of Hannes Ferm. Released via Stockholm label PNKSLM Recordings and Ny Våg Records, the label of Dennis Lyxzén from Refused, it’s a mix of lo-fi production and instantly catchy, and expertly crafted, songwriting. HOLY is without a doubt one of the most exciting new acts in Scandinavian, mixing the sound of sixties psych pop with the past decade’s Californian garage rock scene to create his own distinct brand of home-recorded pop and HOLY’s already picked up attention from Stereogum, DIY, The Line of Best Fit as well as toured the UK around Liverpool Psych Fest.


              Caballo Negro

                Formed a couple of years back when they were all working and hanging out at the same bar in Stockholm, Sudakistan quickly drew attention for their chaotic live shows and frantic sound - a mixture of Latino rhythms and garage rock, brought together with psychedelic guitars and multilingual chants.

                Their debut album 'Caballo Negro', out in late 2015, is the sound of a band with a couple of years on their backs, secure and confident in their stride for the perfect song.

                Useless Eaters

                Live In San Francisco

                  Announcing a white-hot entry into Castle Face’s Live in San Francisco series: Useless Eaters, recorded in the basement of vintage clothing store Vacation.

                  “This show was bananas. When we set up to record a live set, we always hope the band will just murder it and the people will go all crazy. I’d say that crosses over onto the tape and makes the record shine… This was one of those magic moments. All the elements in place for a memorable evening—BYOB, a basement, in the tenderloin of San Francisco, a wicked goddamn band slaying their songs, and a perfect essence in the air. Everyone falling over each other, spilling beer, smiling screaming and sweating. A fucking mess. When everybody leaves and you look at the muddy, hot, trashed, and disgusting room you think, ‘yes, something good happened here tonight.’

                  “Seth Sutton’s lineup is in peak form here, from touring and being general road-dog bad-asses. His guitar is slanted and choking with intermittent echo—just raw-vibes awesome. Miles Luttrell’s drumming is honed to a point and drunk with hi-hat countdowns. Brendan Hagarty’s bass sounds like it smells bad and is the perfect accompaniment to Seth’s treble-burst guitar, and the at-the-time new edition of Jacob Olsen on keyboard pulls even more of the dystopian spirals from the studio recording out into the live world.” - John Dwyer.

                  Family Fodder

                  Sunday Girls (Director's Cut)

                    "Family Fodder exude an exhilarating sense that everything was possible, that there weren't any limits to imagination and humour. The scope of their musical range remains as dizzying and exciting as it once was." (Time Out New York) Staubgold proudly presents the legendary first 12" EP from 1979 by UK underground heroes Family Fodder, for the first time reissued on CD and vinyl. "Sunday Girls (Director's Cut)" comes as a lovingly assembled full-length album compilation. It features the complete "Sunday Girls" EP, the very first Family Fodder 7" single "Playing Golf" (1979), the "Debbie Harry" 7" from 1980, the 7" A side "Warm" (1980) and last not least two tracks from the rare "Te Deum" 12" (1979) by Alig Fodder's pre-Fodder project Frank Sumatra. Family Fodder was originally formed in 1979 by Alig Pearce - with a cast of thousands over three decades. They emerged from the melting-pot of 70s/80s London alongside This Heat, The Flying Lizards, The Pop Group, Slits and many others. The original formula consisted of psychedelic and new wave influences, incisive song-writing, improvisation, experiment and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on-stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling, now collectable singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities", they were best known for indie-chart hits such as "Debbie Harry", "Playing Golf (With My Flesh Crawling)" and "Savoir Faire". More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire. Family Fodder also appear on the infamous Nurse With Wound list. "Their music was generally playful, a hint of dub and reggae mixed with absurd, blissful pop, with synthpunk and sometimes experimental instrumentation. Most of the lyrics were also sung in French, courtesy of original vocalist Dominique Levillain, a combination rumored to be of some significant influence over Stereolab." (Systems of Romance) 

                    Originally released in 1964, Zulu is among the most popular of John Barry’s early soundtracks, and the main theme is still frequently heard on radio, conjuring up images of the British army’s courageous defence of (and the Zulus’ equally fearless assault on) Rorke’s Drift during the Anglo-Zulu War of 1879, as depicted in Cy Endfield’s memorable film.

                    John Barry (1933-2011) was one of the best known composers of film music in the world. His early career found him working as in-house arranger for EMI, leader of hit instrumental combo the John Barry Seven, and composer, arranger and conductor on the first UK soundtrack album (the Adam Faith vehicle Beat Girl). After Barry’s involvement as arranger on the first James Bond film Dr No in 1962, he was appointed as primary composer for the film franchise. In 2002 he received the GoldenEye award, courtesy of the Ian Fleming Foundation.

                    The BAFTA-nominated Zulu (1964) was directed by Cy Endfield with a cast including Stanley Baker, Michael Caine and Jack Hawkins. Originally released in 1964 on the British indie label Ember, the LP comprises soundtrack music (with two of the tracks incorporating narration by Richard Burton), followed by “A Selection of Zulu Stamps”, which are essentially beat instrumentals flavoured with southern African influences, performed by the John Barry Seven.

                    Ember initially pressed the album in mono, switching to stereo for a 1972 reissue (same catalogue number), although a stereo pressing had previously surfaced in the USA. Long unavailable on vinyl, Zulu is now reissued by Fantastic Voyage as a 180g pressing, mastered from original stereo tapes. The vinyl is housed in the original Ember sleeve artwork, and bears the label design prevalent at the time of the stereo pressing.

                    Hugh Mundell

                    Blackman's Foundation

                    Blackman’s Foundation is one of the great roots albums of the classic reggae era. Hugh Mundell, who was tragically murdered at the age of 21, was one of the most talented young roots reggae artists on the Jamaican scene.

                    A protégé of dub legend Augustus Pablo, Hugh recorded the legendary roots-classic album "Africa Must Be Free (By 1983)" at the age of 16. Blackman’s Foundation, is one of only three Hugh Mundell albums ever released. As such it is a precious artifact of Mundell’s prodigious talent as it features Mundell’s keening, hypnotic declamatory vocals over deep, powerful reggae riddims. Highlights of Blackman’s Foundation include the hit single "Can’t Pop No Style," the extended 12” version of the title track featuring Jah Bull and the classic single "Stop Them Jah."

                    Form and orderly queue please! The buy-on-sight Apron records comes strong with this killer release from Funkineven and the mighty Shanti Celeste in what could be the biggest coup for the label yet! Shanti Celeste's "SSS" is both dreamy and direct, floating on a similar bliss-cloud as Aphex Twin's electro fantasies but with a sense of immediate urgency and great synthesizer interplay. Glorious pads wash over the Detroit-electro beat, enveloping all while fizzing, weaving lead lines permeate through the kaleidoscoping atmospheres. Funkineven's "90s" cut has longer breakdowns to reflect the XTC-induced euphoria of the time while his tape saturated beats are present and correct. Flanging pads and woozing synth-organs add life and colour with various melodies peppering the mix with an eyes-wide-shut joy. Clever, stimulating and fun in equal measure and perfectly in keeping with Apron's fully established (and highly sought after) aesthetic. A classic for the label and another hit you'll need to bag quickly if you want a copy. Recommended. 

                    Brawther and Alixkun present a collection of 15 underground Japanese house tracks from the early days of electronic dance music, back when the genre was sweeping across the globe. Ahead of a related documentary project titled 'HOUSE' in Japanese characters, the compilation is the first to showcase the works of Japanese house on an historical and global level, with classics and rare as a hen's teeth tracks. Carefully selected by Brawther and his sidekick Ailxkun, this is a nectar of deep grooves and blissful melodies that form the blueprint of the Japanese house sound. Legends like Soichi Terada, Yukihiro Fukutomi or The Ecstasy Boys are back to back with unsung hearoes like Takecha, Magic Ware or Katsumi Hidano. Aimed at the house music lover and overall music enthousiasts, this compilation is the one stop shop of all things early Japanese house, unveiling the mystery behind it all and shining a brand new light on it, dusted and remastered, for your listening pleasure.

                    Supported by: Deepbass, Slam, Riva Starr, Meatrik/Maceo Plex, Matt Cooper, Signal Deluxe, Angel Molina, Mord, Pascal Feos, Raphael Dincsoy, Single Man, Joseph Capriati, Markantonio.

                    In the words of one Leon Paddock - 'got any acid tekno ket bangers mate?!'

                    Yes we have. A madness.

                    One side - 4/4. T'other: cyclical, broken machine-code beat, a la Surgeon, Chain Reaction, Female, Hessel etc. Functional club weapons for DJ's on the front lines. Tuff. 

                    Back in stock Cover of All Kinds Of You by Ryley Walker.
                    Ryley Walker is a 24 year-old singer/songwriter and guitarist from Chicago. His debut album, All Kinds Of You, will be released worldwide via Tompkins Square. Having kicked around Chicago's experimental free/noise music scene for several years, Ryley recently turned to a folk-rock sound inspired by some of his heroes, among them Tim Hardin, Tim Buckley, and Bert Jansch. The result is a poised and accomplished debut album, recorded in Chicago by Cooper Crain (guitarist/keyboardist in Cave).

                    "With the charming swagger of jazz-folk troubadour Tim Buckley and the resonant, full picking style of Bert Jansch, 'The West Wind' comes from Walker's first widely available release, a three-song 12". With acoustic guitar in hand and a voice like browned butter, Walker swings and sways in a lush string-and piano arrangement right out of Buckley's 'Starsailor'; it slowly picks up to a swirling gallop without bucking the rhythm." - NPR Music.

                    Mistakes Are Ok return to the delectable Hivern Discs, Barcelona's finest purveyors of left-of-centre dance music. A label adored by those who follow it and who's artist roster always introduces new talent and never rests on its laurels. Mistakes Are Ok is Franc Sayol, one of the men behind this iconic label. "Forgiven" is weighty, slow motion trance music; thick, chunky beats galloping through effervescent pads and vivacious keys. Direct and succinct in its arrangement, there's little chance for respite bar a small but spine-tingling breakdown almost exactly halfway through the track. Great stuff. Completing the package, we get two very interesting remixes courtesy of a producer simply going by the name of Edward (who's actually got quite an impressive discography, linked to Giegling and Dubplates and Mastering). The first: "Alternate World" remix flips the track completely and sends us plummeting into an enchanted rainforest. Loose conga rhythms accompanying ethereal sound fx and gushing celestial winds. Psychotropical to the very last beat this is some out-there craziness that no home should be without this festive season. Flip and we get Edward heading in a new direction - the mainroom! A full frequency rub-down of the highest order, this is one of those hi-tech tracks that sound amazing across the Funktion1 / Void soundsystems. Urgent, repetitive, and very, very techy, the epitome of fine club science. The 12” comes wrapped in beautiful artwork by Australian via Berlin illustrator Elliot Beaumont. Hivern Discs always sell out super quick so move fast if you want a piece of the pie...

                    FORMAT INFORMATION

                    Ltd 12" Info: The 12” comes wrapped in beautiful artwork by Australian via Berlin illustrator Elliot Beaumont.

                    Freaky and seductive club studies from NYC producer Via App on the freshest label to come out of Vancouver's THC-laden streets, 1080p. Disparately-sourced vocal samples, twinkling synths, and creeping basslines converge and tangle on this unique producer's cutting table. "Baby K Interaction" takes an almost-recognizable vocal snippet and basically fucks the shit out of if (if you'd pardon my expression) while pouring lashings of analogue goodness, deep bass and fizzing percussion into the mix. "7 Headed" takes cues from Detroit's burgeoning sludge scene and rolls out some gritty, sub-110BPM house dirg. Mainframe glitching melodies, dark buzzsaw bass, and glacial, ghostly vox all joining in the demonic la danse macabre. Flip and "Sunkissed" powers up the pistons for a more high speed ride into chaos. Torn apart vocal delays and penetrating sine tones layered over an uptempo and tuff-ass beat. "Poison" gives Rustie a run for his money as Via App displays an uncanny prowess for head-mangling electronics and disorientating soundscapes, finally bursting into a pummeling 4/4 power-romp towards the end. Finally, "Set You" takes the dark, technoid blueprints of LIES and Trilogy Tapes and sets about making something equally as disturbing. Mechanized, cyclical, foreboding sounds from this out-there-on-his-producer. 1080p have scorched out another belter. Recommended. 

                    More superb tracks by K Alexi from the depths of the Trax vaults circa 1994. "Medusa" kicks things off with a wailing and squealing acid jam; surely inspired by the great Steve Poindextor and that rampant Chi-town '89 flavour. Drum machines work in overdrive as a concentric 303 gurgles on through the track. "MCM Club" contains THAT synth refrain from Lil Louis' "Y U Call" and again, unloads a plethora of frenzied drum machine abuse onto the mix. The whole thing sounds like Jamal Moss has gone all Members Only on the Lil Louis OG but this predates Jamal by some years and is pure fire for the floor. "Get The" utilizes some great Chicago booty samples included that instantly recognizable floor tom pattern. Tracky and infectious it's one of those great tunes that doubles as a wonderful DJ tool. "Don't You Want A Remix" bases itself around a well known disco sample whilst adding a serious air of urgency and high energy. Sexy female vox are layered up over the hook alongside beefed up drums and occasional bursts of echo. Just one of those pioneering disco-house blueprints which went onto inspire a whole plethora of copycats. Storming stuff from Mr. Shelby.

                    Back in 1991, the mighty Steve Poindexter introduced Kareem Smith to the world via this four track co-production on Saber. The duo dropped a fearsome EP packed with mechanised aggression and dancefloor precision. With the full array of Roland kit taking care of the rhythm section, Poindexter and Smith take aim at the dancefloor via the stripped back jack of "NB Battle Track", a heads down stomper driven into the redzone by some swirling static and a distorted bassline. "Digital Clubhouse" offered a change of pace, injecting deep soul, neat strings and rubbery bass into the saturated sound palette, near enough setting the blueprint for the most on trend producers around today. Over onto the flip and "America's Most Wanted" blasts off into the stratosphere with a "French Kiss" style sequence and some precision engineered percussion laying the foundations for the kind of spacey lead lines you'd expect from a Prescription classic. All that remains is for EP closer "To The Motherland" to absolutely slay us with a booming tribal groove, spine tingling organ line and concentric bassline. Arguably the most musical of Poindexter's releases (I imagine that's down to Kareem Smith), this falls right into the secret Chi-town weapon category.

                    Made by Mark Imperial & Vinnie Devine as Laurent X, "Machines" was conceived in a 16 track studio with the perfect set up of Roland TB-303, TR-808, TR-909, a Juno 106, some FX and a bucket of rib tips. According to Mark Imperial, he and his friends (specially Vinnie Devine) had a mad fun playing with gear. This 'thinktank' approach saw the young producers on the Chi-town scene become acquainted with a vast array of gear in a laid back environment. The approach worked, and "Machines" is a total acid house classic, backed with innovative and unusual drum patterns (check out those syncopated snare rolls), growling synth parts, and of course a heavyweight 303 line. Next up, action packed jacker "Whatcha Tryin' T' Do T' Me", sees Mark and Vinnie let loose on the 808 and 909, putting it all out there while a simple bassline rolls on. Chuck in some chopped and dropped vocal samples and we're in classic Chicago territory. As far as I'm concerned, if you call your track 12 AM, you're making a promise for the peaktime, and luckily Laurent X deliver. Solid drum programming supports a beefy bassline and cinematic synth lines, putting this in the same deep and danceable realm as those early Frankie Knuckles/Jamie Principle collaborations. Finally, "Drowning In A Sea Of House" takes us as deep as the title suggests, laying down a storming bassline, lethal percussion and spooky, siren synths. If you dug on Legowelt's 'House Of Jezebel' version of "Love & Happiness", then you'll recognise and love this bassline!

                    Daniel Avery

                    Sensation / Clear

                    With two years having passed since 2013’s hugely acclaimed "Drone Logic", Daniel Avery returns to Phantasy to offer a much anticipated taste of his restless studio experimentation. "Sensation" projects Avery’s distinctive feedback and engrossing modulations onto his widest canvas yet. Surges of noise link the track to artists such as Cortini and Basinski in its ability to echo purposefully across vast halls, yet proving to be just as absorbing in more intimate circumstances. Tough drums amid the shifting atmospherics nonetheless hint at Avery’s continuing stride towards techno’s more relentless facets. While "Sensation" floats freely, "Clear" continues Avery’s occasional forays into unapologetically trippy realms. Revisiting an evolved but no less addictive form of the acidic psychedelia touched on throughout the duration of "Drone Logic", "Clear" spirals seamlessly into both paranoia and euphoria.

                    Various Artists

                    Buried Treasure Volume 2

                    Those perfect pirates at Buried Treasure are back with more booty for your disco delectation here, as they run the saber and cutlass through a couple of long lost soul jams. Strutting its funky funky stuff across the A-side, "Trying To (Get Ya)" hits us with a low slung bassline and deep guitar groove before hitting us with swirling strings and red hot horn licks. Throw in some full blooded lead vocals, cooing backing vox and well aimed FX use and we're in sunset disco heaven. If the A-side was all about heads down sexuality, swinging hips and bump and grind, then the flip delivers some much needed euphoria as our edit admirals drop a looped up lick of sweetest soul and work it right to the bone. Proper hands in the air magic with no messing around.

                    The Keeper

                    Golden Round Circus / I Couldn’t Fool Around No More

                    This fifth release from essential imprint Universal Cave is music for sideways times when down is up and up is down. The brainchild of mysterious Swedish producer The Keeper, "Golden Round Circus" and "I Couldn't Fool Around No More" are spiritual kin to Michael Wynn Band's "Dark Night" and Straight Shooter's "Frame of Mind" - chugging, cosmic AOR made by heads for heads. "Golden Round Circus" takes your breath away from the off, sucking you into a zero gravity groove before the metallic synths, reverb soaked snares and trippy sequences make lights and colours swirl before your eyes. Weird delayed vocals and snaking synth lines take things to the next level, turning your brain inside out while your limbs move of their own accord. B-side cut, "I Couldn't Fool Around No More" dons its boat shoes and gets stuck into a tasty yacht boogie, soaring into the sunset on open drum breaks, guitar solos and multitracked harmonies. One for cosmic heads and Balearic beards alike, this offering from the Fasaan man is another essential release for Universal Cave.

                    LNTG (Late Nite Tuff Guy)

                    I Get Deeper - Inc. Cassian Rework

                    For the ninth instalment of his unstoppable Tuff Cut series, Late Nite Tuff Guy goes back to the start and the track which kicked the whole thing off. Originally released on TBot's All Nite House Party imprint in 2007, this simple, but devastatingly effective rework of Roland Clark's house classic took on a life of its own, infiltrating the digital realm via a wealth of dodgy rips and finding its way into all the playlists which mattered. Eight years and countless killer edits later, LNTG takes pity on the 470 people on Discogs (and however many less savvy collectors) and represses his masterpiece, this time round releasing more than 100 copies. For the uninitiated, or those who need a refresher, our main man looped up an irresistible bassline, laid down and solid drum track then topped the whole thing with the essential accapella from Roland Clark's "I Get Deep" - and it's ruddy brilliant. The LNTG original has be remastered for 2015 and arrives alongside a brand new remix from Sydney's Cassian, who amps up the drums and goes harder on the fx for 2015. 

                    Circus Devils

                    Girl In Space / Sunflower Wildman

                      Exclusive A-side track "Girl in Space" backed with "Sunflower Wildman" from Circus Devils 'Stomping Grounds' full length. Edition of 500 total. 

                      GOD Double Vinyl Reissue LP features the seminal Melbourne band's 1987 mini-album Rock Is Hell and For Lovers Only (1989) together for the first time on full waxy goodness!

                      "GOD was a giant exploding quagmire of a calamity of a band, but they had their bad days as well. At their best, which was neither live nor in the studio - maybe it was during band meetings - GOD sounded like a ten train smash-up in Tin Railroad Town, which was hilarious, because they were trying to encapsulate stadium rock at least half of the time and the "monster riffs" - and they had those, and some sneakily grabby songs as well ? often sounded like a kids' playgroup had broken into the bottle recycling bin combined with that siren song of crap amps buzzing and wheezing you sometimes hear just before they blow up. You just looked at those guys, and even listened to them, and you just knew right away they were the coolest thing going - a buncha hairy brat kids doing KISS meets punk, heads down and blasting away like a mining company that's just been given the green light on a few hectares of unexploited desert. Tim Hemensley, Joel Silbersher, Sean Greenway, Matty Whittle - in the annals of rock history, these are names that will never mean anything to anybody, no matter how good they were in GOD or how much great stuff they recorded separately after they broke up. The annals of rock history are fucking stupid, that's why. Thanks to my telcom company sending me a magazine subscription I never wanted instead of cutting their prices down to something a human being might be able to afford, I just got a copy of Rolling Stone today. It eulogises all those great artists whose albums you supposedly rilly need to hear this year, dude. From the front cover photo of 2007's leading fat rock chick Jack White, through to the rock'n'revolutionary mobile phone ad on the back, there's not one single human gazebo in there who, in the broader artistic scheme of things, deserves to scratch the crust off GOD's underpants. There's only one album rock lovers need this year. That's GOD. Same as last year, only now it's on vinyl. Like Radar from "M.A.S.H." once said, "Put a new fang in your tone-arm cobra", and blast it today." - Leaping Larry L. 

                      STAFF COMMENTS

                      Darryl says: Featuring one of my favourite singles ever, "My Pal", this is superb double lp round-up of their career.

                      FORMAT INFORMATION

                      2xLtd LP Info: 300 copies world wide of this on deluxe 2LP / gatefold sleeve.

                      Ananda Shankar / The Savages

                      Jumpin Jack Flash / Born To Be Wild

                      From rocking Bombay to swinging London: what a terrific trip! in the 60s, young Indians and young Brits struck up an unlikely relationship that resulted in some truly amazing music.

                      For this generation, culture was currency. hip young Indians rocked up in London. ‘Beat’ bands in Bombay belted out versions of the latest rock’n’roll hits. Indian musicians dreamt of making it big in the West, while British bands were eager to explore mystic, exotic India. Despite their very different upbringings, both Eastern and Western youth revelled in their opposing cultures. 'Slip-disc - Dishoom's London Bombay Grooves' is the sound of this cross-Continental youth revolution and a long-distance love affair.

                      Dave Jackson & The Cathedral Mountaineers

                      Red Fin Sunset

                        For fans of; Tom Waits, Nick Cave, Johnny Cash, Leonard Cohen, Velvet Underground. Red Fin Sunset by Dave Jackson & The Cathedral Mountaineers follows on from his critically acclaimed first solo album Cathedral Mountain. This time, he’s reunited with Benny Profane and Dead Cowboys guitarists, Robin Surtees and Greg Milton, and augmented by Andy Wilson on keyboards and the celestial Cathedral Mountain Choir.

                        The album contains six new songs and five re-imagined ‘covers’ of Benny Profane classics, all stripped back to the atmospheric, two guitars, no drums mood of the previous album but making wider use of heavenly choir and keyboard textures to create a more expansive sound. The songs give prominent place to vocals and continue in the storytelling vein of yore: Having seduced the mother by stealing her Mojo Hand, a Saltspell Man swaps their first-born for a Changeling Girl. A Jekyll & Hyde style drug fiend dances through Victorian London, accompanied by his Pet Ape and wielding his Dragon-headed Cane. The spirit of Vlad Impaler visits a Tory Tax evader at his Andorran mountain retreat. A man on life-support contemplates the cosmos through palliative bliss. An estranged lover watches his paramour diminish from the gondola of an airship.

                        Dave Jackson has been writing, recording and singing with his bands The Room, Benny Profane, Dust and Dead Cowboys since the early 1980s and has toured in the UK, Europe and the USA with The Fall, The Birthday Party, Bauhaus, The Violent Femmes, Tom Verlaine, New Order, Echo & the Bunnymen, Aztec Camera and The Wedding Present. Tracks by The Room and Benny Profane are included on Cherry Red’s Scared to Get Happy: the Story of Indie Pop Box Set and C86 Deluxe Box Set. Jackson’s first novel is due out this winter, accompanied by the micro-budget feature film he adapted from it and co-produced. Violet City was shot entirely on green screen, by director John Maxwell and has been in post-production for 5 years.

                        Brian Harnetty

                        Rawhead & Bloodybones

                          Rawhead & Bloodybones deftly spins together sampled Appalachian folk tales and field recordings with newly composed music. The album focuses on folk tales mostly told by children and recorded in the 1940s. The tales are humorous, gruesome, and full of meaning and character. They are weaved together with archival samples and newly composed instrumental parts. The combination of the youthful voices and often-grisly tales offer a striking contrast. 



                            Herva is the artist name of Hervè Atsè Corti. He lives in relative seclusion from the dance music world in the Italian countryside around Florence and is one of the most intriguing producers to work in house and techno for a while. His early musical life as a drummer, plus his extra-musical interests in engineering and electronics has informed a unique, freeform, and very tactile approach to dance music. It’s house and techno that doesn’t adhere to the usual influences of Detroit, Chicago or Berlin. The album he’s made called ‘Kila’ (the Swahili word for 'everything') was put together using software and hardware that he often modifies, with a mixture of beats and samples punched in like old-school hip hop and synths and effects that give his tracks the feeling of dance music that's been teased apart, smudged and smeared. The music is relaxed and warm but simultaneously abstract and punctuated with ragged detail and gritty disruption. He’s been in demand as a producer for a while now and has recently remixed Berghain resident Nick Höppner’s latest release. "You hear my music, you get to see how my brain works" he says. The album moves across tempos, from the floaty upbeat disco of ‘All Good On Your Side’ to the full throttle electro of 'Seat Behind Mirrors’ which gently gives away to a looping Burundi vocal. Then down to the old-school hip hop and wonky ooze of ‘Mistakes Dealer’. The track ‘Fading Above Smoke’, is held in place by a repeating drum pattern while synths and samples scrape and wrap themselves around the rhythm. ‘Dust Cover’ approaches the sound of early Pole, as if it had been described to him but never heard, sending digital grit and glitches across a low-slung bassline and opaque dubbed-out chords. The album finishes on the overloaded climax of ‘Fog’, which runs awkwardly edited samples over a loose drum tattoo, with enough restraint to keep the track flowing.

                            Based in Californian Humboldt County, Brian Pyle is Ensemble Economique. On his by now eleventh album and fourth Denovali release "Blossoms In Red", Pyle combines and perfects elements of his previous output into a cohesive narrative. The opener ""From The Train Window, Red Flowers On The Mountain"" is a surprisingly scarce ambient piece, which feels like an almost infinitely stretched precious moment of time. Despite being austere, it is warm, sublime and incredibly captivating and after listening to its full 8 minutes, one cannot help but to rewind and replay. Having barely escaped this seductively infinite loop, one encounters the title track "Blossoms In Red" featuring Portland electronic duo Soft Metals. Starting off with a characteristic sluggish programmed beat, one is immediately overpowered by the onset of the towering combination of a warm bassline and a shimmering synth ambience. As the track flows, these elements writhe around each other in a delicately beautiful fashion, absorbing the materialising wailing guitar which almost sounds like an ethereal voice, as well as the occasional melodic and rhythmic accents. The next track sees this guitar return in a rather pure form. ""On The Sand"", featuring jack-of-all-trades Peter Broderick, is essentially just reduced analogue drums, electric guitar, a simple vibrating bassline and hoarse almost spoken vocals. Slowly and methodically, these constituents form a captivating erotic ritual, much like a beguiling and hypnotic mandala procession of imperturbable blissful individuals on the beach. As proven on numerous occasions, Pyle can easily lead all his trumps in the presence of female lead vocals, and "Blossoms In Red" makes no exception. Indeed, "You, By Candlelight" is easily the best Ensemble Economique track with female vox to date. Pyle manages to embed the vocals just in the right minimal amount of instrumental layers, making the track radiate an elusive tranquility. The fifth and closing track "Nothing Is Perfect" is a classically tinged piano piece with only very little processing and sparse field recording samples. Ensemble Economique's most minimalistic album, but at the same time - or maybe just for this reason - his most skilled work. 

                            STAFF COMMENTS

                            Barry says: Ensemble Economique's Brian Pyle once again expands his already venerable sound palette on his latest release for ambient/synth/post-rock titans Denovali. Near-gothic sounding drums hammer over echoing guitar and cavernous reverb, backed up on the third track by Multi-instrumentalist Peter Broderick's hoarsely whispered vocals. This is a haunting and stunning addition to the label's ever expanding domination over the ambient field.

                            FORMAT INFORMATION

                            LP Info: 180 gram vinyl.

                            Includes MP3 Download Code.

                            Judy Dyble

                            Anthology: Part One

                              Earlier this year, Judy Dyble (Fairport Convention, Trader Horne, Giles, Giles & Fripp) issued her 'Gathering The Threads', a 3CD anthology of all the fragments that make up her - frankly extraordinary - career. Here, the first disc of the triptych is released as a deluxe vinyl compilation of her earlier work, as 'Anthology - Part One'. Compromising rare, unreleased and hard-to-find tracks - many of which have never before been issued on wax - these 15 songs bring together Judy's most prolific period as a musician. Deluxe linen-finish sleeve. Limited to 1000 copies worldwide. Comes with high-quality download featuring two additional tracks (full 12 minute version of ‘Improvisation’ / ‘Mirror Master Tape Advertisement’). 

                              Circuit Breaker

                              My Descent Into Capital

                                ) "My Descent Into Capital" represents the most ambitious recording from this London-based duo to date. Even if they're taking influence from minimal synth, post-punk or early industrial sides, Circuit Breaker are unmistakably contemporary with their delivery. Forging together metallic drum machines, propulsive synth lines and stark guitar degradation into bold , simple and effective songs about down-trodden themes of isolation, discontentment and the true horror of work. This album transgresses any simple nostalgia for its musical forefathers and showcases a band with their eyes fixed firmly on the future. Any obvious reference points are contorted and stretched to the point where they are transformed into something new. After ten years of obscurity and a refusal to go away, and after two well-received records on Tombed Visions, this album is their first full-length album, and first for abstract-punk imprint Harbinger Sound. After many shows with supporting Harbinger Sound mainstays Sleaford Mods, the duo are about to embark on an extensive tour with new label mates Consumer Electronics early next year.
                                The album was mastered by Barry Grint at Alchemy.

                                Bersarin Quartett


                                  Melancholia. Longing. Melancholia is a mood which we like to invoke and to maintain, we like to envelop ourselves in it like in a warm blanket. Our brain and our sensory systems appear to be made for perceiving and emotionally responding to music in a very immediate fashion. Consequently music is the obvious drug for all of us melancholia-addicts. However, there is a thin line between melancholia and sadness, and music which is meant to be melancholic too often crosses this line by far. Only very few artists succeed in avoiding this crossing, and in creating music which is melancholia in its most pure form. It is safe to say that BERSARIN QUARTETT - the electronic music project of Thomas Bücker - is one of them.

                                  After his successful self-titled debut in 2008 and the sophomore 'II' in 2012 - album of the month in many magazines and in numerous "Best of the year" lists - Bücker returns with his third. Much like his two predecessors, III is a pure paradox. It is the creation of a perfectionist, an adamant control freak. Every element, be it a note, an ambience layer, a string arrangement, a field recording, a baseline, a vocal (Clara Hill on Track 11) or a beat, is meticulously modified and then assigned its place in Bücker's vast but still minimalistic arrangements. Thus, superficially Bücker's pieces seem to radiate a certain mechanical bleakness. However, there is a unique reduced warmth and liveliness emerging from these stainless compositions and transcending them. This transcendence is precisely the point where Bücker ironically looses control over his creations.

                                  In contrast to the first two BERSARIN QUARTETT albums, 'III' offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without losing the characteristic grandeur of Bücker's sound. Whereas BERSARIN QUARTETT's debut was merely a description of melancholia in its most pure form, III maybe even goes as far a defining what melancholia really is. It is the only emotion in the vast spectrum of human states of mind which one can bear forever. 

                                  Back in stock Cover of Ambivalence Avenue by Bibio.
                                  Following a trio of albums on the Mush imprint, Bibio (aka Stephen Wilkinson) now makes his long playing debut for Warp, the totally enchanting "Ambivalence Avenue". Bibio is a purveyor of wonderfully warm, melodic music that shines like the late summer sun through stained glass windows, refracting beams of shimmering colour across the room. Unlike many of his contemporaries however, as well as producing lovely, but ultimately superficial soundscapes, Wilkinson has a keen ear for melody and actually knows how to write a good tune. An antidote to the often clinical and soulless nature of current laptop-made music, "Ambivalence Avenue" is an endearingly messy patchwork of sun-dappled west coast style psychedelia, Dilla-esque beatsrumentals, de-tuned woozy pop and electronica, folk whimsy, dreamy madrigals, and intimate acoustic guitar songs – with each song a standout. A permanent fixture on the Piccadilly Records shop stereo, "Ambivalence Avenue" comes highly recommended, and is an essential album of 2009!

                                  FORMAT INFORMATION

                                  Includes MP3 Download Code.

                                  The subject of Music From Memory’s latest compilation release is the elusive and mysterious Philadelphian musician Napoleon Cherry (aka Cool Waters). In the late 80s and early 90s Cherry privately released two LPs and an EP which form the basis of this retrospective, alongside an unreleased cut "When You Had The Chance" which was recently released on 12” in collaboration with US label PPU. Recorded with a very DIY aesthetic and a strong presence of gospel and RnB, Cherry’s unique take on soul and funk music, reflect a rawness that stands in contrast to the slick, over-produced soul of that era. With appearances by jazz musicians such as the late celebrated saxophonist Byard Lancaster, who coincidentally played with MFM’s previous compilation subject Vito Ricci, Napoleon’s music seems to defy any clear categorisation. From cocktail jazz funk to intergalactic synth workouts to melancholy bedroom soul, Napoleon’s use of synths and drum computers, though perhaps unknowingly, also seem to strongly echo elements of early house music. 

                                  Back in stock Cover of Sudden Edit 001 by Napoleon / Hristo.
                                  Maximum swelter on this special 7" straight out the Tropics! Costa Rica's first ever vinyl only disco edits label takes its first steps thanks to this edit double header from label boss Napoleon and Honey Disco's own Hristo. Napoleon digs deep in the crates and comes up for air with a dusty Island groover, sexed up and ready to get hot and heavy in the undergrowth. On the flip, Hristo gets real smooth on the all out lovers' groove "Deja Vu". Looped to perfection, this midnight mover soon relaxes into the heat and intimacy of a night of wild yacht bound passion. This 7" may be diminutive compared to the larger format, but it's all about the motion of the ocean baby.

                                  Wah Wah 45s' 14th Dubplate in the series sees young recruit Bopperson step up to the plate for the very first time. His unique approach, recording 45s at 33 RPM and then editing from there, delivers dancefloor friendly results. Side A sees Harry Coade's version of Michael Jackson's "Remember The Time" get the slow and synthy treatment. While on the flip, country legend Dolly Parton gets deep as her voice and those strings are slowed and stretched by Bopperson for a cunning take on the heart wrenching "Jolene". Kinda like funky soul on Quaaludes...

                                  Frank Turner

                                  The First Ten Years - Vinyl Box Set

                                    This 7LP box set comprises The First Three Years, The Second Three Years and The Third Three Years on double gate-fold coloured vinyl as well as an additional single gatefold coloured vinyl titled Ten For Ten – featuring previously unreleased music. The four albums are presented in a beautifully designed box, together with an exclusive print and will include a download code for all the songs.

                                    This is the first time that The Second and Third Three Years have been released on vinyl, with The First Three Years only being previously available on a limited run vinyl in USA. These albums collect a huge selection of non-album tracks — live sessions, unreleased demos, covers, out-takes, alternative versions and other exclusive songs. 

                                    For Ten For Ten, Frank has hand-picked 10 tracks previously unavailable on a physical release including the 'Old Flames' featuring Billy the Kid, the original demo of 'The Ballad Of Me and My Friends' and 'Atlanta Curse'. - 

                                    FORMAT INFORMATION

                                    FREE SHIPPING This item has FREE UK shipping!



                                      Gurgles are a three piece (Bass, Keys, Drums) brother-and-sister plus Bradley Cunningham Bradford progpopband. Songwriter and Fender Rhodesman is Augustin Bousfield of Mucky Sailor and ex of Nope. Also promoter of Saltaire's Pleasure Grounds night, synthpop bon viveur Lord Adonis and writer of TV music.

                                      The album was lovingly recorded by MJ from Hookworms and features artwork of the destruction of Shipley Clock by famed illustrator Kenn Goodall.

                                      'Gurglefirst?' is a multi-hued Fender Rhodes driven pop-trip whose influences include Jim O'Rourke, Steely Dan, High Lamas, Deerhoof Prefab Sprout, Cardiacs, Kraftwerk, Yellow Magic Orchestra, Robert Wyatt, Chicago, Pink Floyd and Van der Graaf Generator.

                                      Andrew Wasylyk


                                        Andrew Wasylyk is the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell. Cinematic nostalgia, elements of baroque pop and the influence of classic 1970s songwriters come together in a diverse collection of ten songs which comprise debut album Soroky.

                                        The record is the ninth to date on which Mitchell has featured; he joined cult Scottish favourites Idlewild in 2014, and has released six albums with ongoing indie pop group The Hazey Janes along with the acclaimed debut of psych duo Art of the Memory Palace. Previous tours supporting Wilco, and as a session player with Electric Soft Parade and School of Language further add to the rich mix of influences which shape his first proper solo work.

                                        Soroky, the name of the village his grandfather Iwan Wasylyk hailed from in Western Ukraine, explores a range of themes – from the disillusion and anxiety of “Last Of The Loved” to the playful riposte “Mr White, It's No Trouble At All”. The songs convey warmth, but at the same time a spaciousness that makes them seem at home in the still of night: a feeling particularly apparent in "The More I Believe, The Less I Really Know”.

                                        Recorded on the Isle of Mull in just five days, orchestral layers weave in and out of traditional guitar, piano and drum arrangements, creating a sense of haunting unease which is punctuated by Mitchell's powerful yet fragile vocals: reminiscent at times of early Scott Walker, Randy Newman or the late Billy Mackenzie.

                                        Post War Glamour Girls

                                        Feeling Strange

                                          "Feeling Strange couldn’t be a more apt title for this new album from Post War Glamour Girls, the follow up to 2014’s excellent Pink Fur. Most albums tend to have an overall mood, an atmosphere that leaves one dominating emotion be it happy, sad, excited, angry, content etc. Feeling Strange is no different. It carries a sense of despair and doubt, it’s uneasy in many places in a similar way to the soon-to-be-renamed Viet Cong’s album from earlier this year or Protomartyr’s excellent The Angel Intellect album. However, it’s heavy guitars that dominate those records. Post War Glamour Girls don’t necessarily rely on rock to achieve their tone of voice. Despite all this I just can’t help feeling that there’s something else working its way into my subconscious on this record. There’s some kind of uplifting feeling, a bizarre sense of hope as the uneasiness dissolves." - Overblown.

                                          FORMAT INFORMATION

                                          LP Info: Limited first pressing of 200 blue and red splattered vinyl.

                                          The Deep

                                          Psychedelic Moods

                                            Expanded deluxe edition of The Deep's one and only album, originally released in 1966 and now well-established as a psychedelic classic. One night in a darkened Philadelphia studio, the Deep (Rusty Evans, songwriting partner and producer Mark Barkan, the legendary David Bromberg, whose credits include playing with Bob Dylan and many others, plus a bevy of talented musicians) laid down tempestuous garage punkers, sweetly-twisted ballads and ambiguous weirdness, all rife with hyper-psychedelic lyrical flashes of a rolling midnight expressway through the subconscious mind. A perfect representation of the psychedelic sound: free-form poetry, infectious drum beats, fuzzed out guitar, and playfully plucked bass (and vibes and tympani and so on), swirl together, coalescing into some of the most impressive psychedelic rock you'll hear. Cuts like 'Your Choice To Choose,' sound very Seeds-like or proto-Velvet Underground, Lou Reed snarl and all; others like 'Shadows On The Wall' and 'Wake Up and Find Me' are haunting acid ballads: the whole point of the album was to thoroughly explore the hallucinatory agony and ecstasy of a 12-hour Technicolor dream... although the end result is more amphetamine edgy than acid-soaked trippy. The Deep "Psychedelic Moods" pre-dates its closest kindred sprit in sound and energy (albeit not subject matter): “The Velvet Underground and Nico" came along five months later, and the world of music shifted on its axis—but too late for the Deep.

                                            This 3xLP release of “Psychedelic Moods” is taken from the original four-track master tapes. In addition to the superlative master takes, there are three sides of out-takes and alternates from the Deep original four-track session tapes. This set also marks the vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro), another LSD trip project produced by Mark Barkan in 1966. Tip-on gatefold art has liner notes detailing the mysterious rise and fall of this New York City band. Made with full co-operation of original Deep producers, Mark Barkan and Rusty Evans. A definitive example of the psychedelic sound.

                                            "Something of a psych fan's dream, this LP was recorded in August 1966, when the idea of a conceptual acid album was completely uncharted territory. Consequently, Rusty Evans and his NYC ex-folkie pals managed to create an LP that sounds fresh many decades later. The twelve tracks are essentially a series of musical trip reports covering the whole emotional spectrum, from chaos and euphoria to introspection and melancholy, with an intense, challenging atmosphere." —Patrick Lundborg, Acid Archives

                                            •Remastered from the original four-track tapes—including three sides of alternates

                                            •Vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro)

                                            •Housed in an old school "tip on" gatefold jacket

                                            Les Rallizes Denudes

                                            Live 1977

                                              LES RALLIZES DENUDES are one of the earliest and most revolutionary Japanese psychedelic rock bands, and have existed off and on through four decades. Formed in November of 1967 at Kyoto University, inspired by Exploding Plastic Inevitable-era Velvet Underground as well as the over-amplified rock of Blue Cheer and Mario Schifano’s avant garde ensemble Le Stelle.

                                              By 1968 they were gigging live and even began a regular collaboration with an avant-garde theater troupe, which ended the next year because of Les Rallizes’ penchant for extreme volumes of sound. Not only did they use massive amounts of feedback at loud volumes, their stage shows used strobe lights, mirror balls, and other effects for a live experience that was a total sensory assault. This historic performance recorded in Tachikawa is a document of the band’s sound: extreme feedback, distressed guitar with detached vocals laid over languid rhythms, unbelievable in intensity.


                                              Polaroïd/Roman/Photo - 30th Anniversary Edition

                                              Ruth's "Polaroid/Roman/Photo" is one of the most extraordinary archival discoveries to resurface thanks to a groundswell of vintage 1980s coldwave / darkwave / synth-pop.

                                              Angular included it as part of their awesome "Cold Waves & Minimal Electronics" compilation, and now give the full original album a well warranted reissue 25 years after the drop. The fact that the original only sold 50 copies back in 1985 means it exchanges hands for over £300 these days, which should tell you something about its cult status in the annals of underground synth pop.

                                              Parisian graphic artist and photographer, Thierry Müller, drew upon his inspirations from Eno to Neu, Kraftwerk and the Velvets to create seven tracks of darkly sexy French synth music, from the noirish, wiry collage of "Thriller" to that unmistakable "Polaroid/Roman/Photo", via a cover of Can's "She Brings The Rain" and the Afrobeat-disco-spiked "Mabelle" or the brilliantly odd "Tu M'ennuies". Like the most outstanding artifacts of this era,
                                              Ruth uses the same instruments as everyone else, yet manages to create something so distinctly characteristic and with such a strong personality that it would always eventually get the attention it deserves. 

                                              STAFF COMMENTS

                                              Patrick says: The finest of all French synthwave releases is back in a gorgeous gatefold repress. A classic for me back in my Barbed Wire Kisses days, "Polaroid/Roman/Photo" typifies the dark wired sound.

                                              Jono McCleery


                                                Jono McCleery’s ever growing fanbase will be thrilled to hear that the Rotterdam-based singer songwriter has produced his definitive album. Pagodes is the deepest, most powerful work to date by a musician whose work has been described as like “Miles Davis, Massive Attack, John Martyn, Fink, and Radiohead wrapped up in one exquisitely produced sound.”

                                                His second album 'There Is', released in 2011, began his association with Counter Records, and brought him widespread critical acclaim. New album 'Pagodes' is a collaborative release with London record store If Music.

                                                Several years of hard work making 'Pagodes' has paid off in spades. It’s an album that’s difficult to turn away from, full of beautiful melody, futuristic production flourishes and lyrics that don’t shy away from darkness, but always alight on uplifting conclusion.

                                                Opener "This Idea of Us" is a smouldering torch ballad, its string arrangement lending it gripping drama. Robert Wyatt’s "Age of Self" comes off as a song McCleery was born to sing, its lyrical content as relevant today as it was 30 years ago. The album moves into infectious percussive swing and melodic loops with "Ballade," a song that could have come from the LA-jazz hotbed surrounding Flying Lotus.

                                                'Pagodes' marries all of this thrilling diversity via McCleery’s existential musings and his startling voice and playing. It’s unlikely you’ll hear an album of such power from another singer songwriter anytime soon.

                                                Fumaça Preta

                                                La Trampa

                                                  Tortured organ derails your mind as the Funana drums force your feet to move. Soon we dine with the devil; Fumaça Preta are leading the conga line to hell. La Trampa’ is a Venezuelan slang opera. A dancefloor tsunami.

                                                  B side ‘Apelo’ offers up a twisted Fumaça Preta arrangement of Paolo Begunca’s lost classic, mixing sabbath rock, tambu, voodoo and fado. Lose your soul to the impossible cocktail that is Fumaça Preta.

                                                  Action Pact

                                                  Singles 81/84

                                                    From Stanwell, in Middlesex Action Pact’s singer George Cheex was 15 years old when their first single ‘Heathrow Touchdown’ was released, in October 1981. Two of the band's contributions to the EP, "London Bouncers" and "All Purpose Action Footwear", got the attention of BBC Radio 1 DJ John Peel. He played the single many times and wanted the band to record their first session, which they did on 22 February 1982.[1] They recorded "People", "Suicide Bag", "Mindless Aggression", "Losers", and "Cowslick Blues". The resulting demo tape caught the attention of the fledgling label Fall Out Records, which signed the band as the first act on its roster. !Action Pact!'s label debut, the Suicide Bag EP, was released in July 1982 and rocketed to the top of the British punk chart. Limited to 500 copies, this retrospective on one of the hidden gems of early british punk is a must-have. 

                                                    FORMAT INFORMATION

                                                    LP Info: Comes complete with 8 pages 30x30cm booklet with pictures and liner notes.

                                                    Israel Nash

                                                    Israel Nash's Silver Season

                                                    Cosmos-wrangling Americana upstart Israel Nash returns from Texas Hill Country with his Silver Season, a deeply gorgeous and wholly immersive nine‐song set that plays less like an album, and more like a cross section of time and space. The man’s fourth LP ventures farther down the acid‐soaked trail blazed by 2013’s Rain Plans, arriving in lush and expansive territory. Here, this Missouri son sounds more assured than ever, supported by his highly capable band and production inspired by psychedelic greats. Israel Nash’s Silver Season is best played loudly, and sounds wonderful in headphones.

                                                    FORMAT INFORMATION

                                                    Deluxe LP Info: 180g LP + download, limited initial copies in gatefold sleeve with custom windows.

                                                    Al Lover

                                                    Zodiak Versions

                                                      San Francisco-based producer Al Lover has spent the last several years evolving a unique approach to psychedelic music by way of exploring the common threads within it’s various genres. His newest effort, ‘Zodiak Versions,’ sees Al exploring what he views as two musical styles that have defined modern underground music culture, Jamaican Dub Reggae and the German experimental “Krautrock” from the 1970’s. Sketching out repetitive dub baselines and leads using only the keyboard of his laptop as a musical device, Al formulated the basic structures of the what would become these versions. Reminded of what artists like Kraftwerk and Neu! attempted to portray with the driving motion with their motorik beats and expansive washes of analog synthesis, Lover felt compelled to write music directly within the environment that had once inspired the original ‘Krautrock’ sound.

                                                      Once back in the states Al teamed up with good friends Burnt Ones in LA to add some touches of guitar and synth drone to the sketched out songs. At this time he was further introduced to the some of the lesser known efforts of Kraut pioneers that would later influence the rise of Ambient music. Returning home completely inspired, he added even more layers of analog Moog synthesizer, tribal percussion, and vintage rhythm box drum sounds before sequencing and mixing all the elements through a vintage Roland RE-201 Space Echo. The end result is is what you have here in Zodiak Versions. With his last few projects, Al Lover has been bouncing back and forth between a more sample based remix approach and actual synthesized music composition.

                                                      You can hear elements of his earlier works - Distorted Reverberations (of Reverberating Distortion), Vodun Moon, Goat Remixes, Sacred Drugs, Cave Ritual (& Redux) - in Zodiak Versions, but the music is heading in a more textured, droned out direction. An experiment in maximized minimalism. Subtlety and nuance hidden within an intense wall of sound, as if the psychedelic aspects of everything that influenced the record have been extracted and reconfigured to produce the sonic dub version of a bad trip. 

                                                      We've been waiting ages for this! After a 2 year hiatus, Jay Simon's Must Have Records (now based out of Atlanta) returns following the success of Seven Davis Jr's debut "One EP" with the debut EP from another new artist. Renato P is a 23 year old self taught musician from the Boston metro area. Hip-hop, soul, Brazilian and house influences meld to create a sound all its own. 6 songs ranging from sample based hip hop, to deep jazzy house. Fans of Kyle Hall, Al Dobson JR, Theo Parrish, Floating Points, BE etc are probably already over this; and if not - they should be! But this is no inferior effort to mimic said artists, Renato P's got some skills of his own. What was it Tim Sweeny said? 'Unique sounds for unique individuals' - well I'm sure 'ol Tim will be beating his drum in space when he hears this amazing EP. Brimming from start to finish with MPC greatness, xylophone lines Roy Ayers'd be proud of and some lush keyboard work that recalls the west coast prowess of Dam Funk. There really is something for everyone. Most recommended.

                                                      Kejeblos Feat. Momo Love

                                                      Just Me No You / Autobahn Dub

                                                      As the days are getting colder and the nights become longer we receive this call for perseverance from Phantom Island. The fifth release of the still young and fresh Zurich based label lives up to the expectations its highly acclaimed predecessors (by Lexx, Foster and Kejeblos) induced. On “Just Me No You” its Kejeblos' longterm favourite ally, Momo Love aka MoreEats, whose voice, lyrics and guitar playing takes us back to spring 1997 on a highway driven by a thunderous bassline and a laid-back sublime production and arrangement. When you play the B side, “Autobahn Dub” you will find yourself in one of those unblemished moments you can enjoy anywhere and anytime; in your car, on your headphones on a bike, at home in the kitchen or even in the club – when you know that everything will be perfectly alright tonight. 

                                                      In what's sure to prompt a feeding frenzy amongst our Balearic customers (mañana piranhas?) Lexx hooks us up with a super limited repress of this three tracker of Balearic brilliance on his own Phantom Island imprint. At this point it's basically a fact that the Swiss maestro never puts a foot wrong behind the desk or the decks but this beautifully presented EP takes the piss! "Turning Tides" does its best to send those baubles bouncing with the weighty combination of a solid kick and wall shaking bassline forming the perfect foil for the midtempo hi hat shuffle. As the hypno-house groove takes over, Lexx introduces echo drenched vocal snippets, scratchy disco guitar and bursts of clavinet energy, fusing all those disparate elements of a night under Adriatic stars into one sublime track. "Mahogany" follows the opener in a more subdued but no less cheery fashion, like a well mannered in-law at Christmas dinner. A sophisticated piano line rides the dubby bassline, scratchy guitar and swelling synthline, setting the scene perfectly for the gorgeous chimes to seduce all before them. On the flipside Lexx delivers the appropriately blissed out groove of "Serenity", a horizontal odyssey which glides effortlessly through exotic textures and rhythms marrying the organic and synthetic with ease. The low slung disco bassline and clipped guitar are reminiscent of early Norwegian excursions into the realm of space disco, while the exultant vocal samples and tuned percussion transport you to the swelter of a distant shore. Lexx just doesn't make bad records does he?!

                                                      FORMAT INFORMATION

                                                      12" Info: Silk-screen printed sleeves, repress limited to 250 copies.

                                                      House tag-team Siggatunez & Oliver Bernstein dive through the ropes and lay the smack down on their second collaboration, picking up exactly where they left off on the "Funkplace EP" with four raw, deep and funky cuts. "No Life Without Hustle" is a drifty and funky house groover which opens the EP with big chords and some sluggish claps before chunky guitar and rattling percussion blast us off into the future. On the surface "Dreamcatcher" seems to be a simple combination of classic deep house chords and sampled piano, but look a little closer and something stranger lurks beneath. A stomping kick drum and weird, dark and cosmic athmospherics lead into the first break where some piano chords appear from nowhere, and in the blink of an eye "Dreamcatcher" changes from a basement-stomper to a hopeful deep house track full of filigrane elements flying through the room. B-side opener "Gotzkovsky" is deep, soulful and meditative house born out of luxurious piano, drifty percussions and a deep sub bassline. EP closer "Chill My Hand Like That" is an ode to music and vinyl, composed out of samples recorded directly from vinyl into an MPC. It starts with the main pad/electric key sample which flows during the whole track. After some loops a very wise man, you might know, starts talking about what music and vinyl means to him.


                                                      Special Edition Volume 3

                                                      After moving our bodies nicely with strong releases on Disco Deviance and Manchester's own To Rack'n'Ruin, Dutch disco fiends SHMLSS return with a pair of killer reworks for the up and coming Special Edition. Taking their cues from the hey day of Italodisco, our dynamic duo drop a proper peaktime blinder on the A-side in the form of "This Night". Booming beats, driving sequences and the occasional acid line dominate lay a perfect foundation for the diva vocals, while a synth funk breakdown offers a neat change of pace. Imagine Debbie Jacobs, Patrick Cowley and good old Sylvester getting loose and lairy in a darkened booth at 54 and you're right on the money. B-side bomb "Call Me" continues the electro-disco theme, utilising another romping bassline to drive the scratchy guitar and swooning pads onwards and upwards. Rattling woodblocks and some freaky fx take us deeper into the sound before the track arrives at a seductive female vocal breakdown, lulling us into a false sense of security before the HUGE acid disco crescendo! Both cuts work the trackier and clubbier side of the discotheque and are 100% guaranteed to shake the dance floor.

                                                      After indulging in a little no nonsense house music via Henry Rodrick's mighty "Daybreak", Omena return with a lovely leftfield offering from mysterious newcomer Ishi Vu. Opening with the lush and verdant sounds of title track "Green Is The Colour Of Love", the EP immediately sets you at ease, wrapping you in deep bass and immersive textures before a chanted world vocal adds an extra element of otherness, which leads into "Plant Your Feet". Driven by tribal polyrhythms and lively market sounds, this floor friendly track utilises a filtered bassline and frenetic violin to make you trip the light fantastic - proper fireside ritual tackle. "Uhh, Your Heart Is Melting" continues the theme, looping a world vocal on some dreamy keys while rattling percussion moves your body. "Bi-Polar Nature" opens the B-side with playful sequences and lush Floating Points-esque lead lines, before opening out into a vivid and visual trip on a sonic safari. All that remains is for "Tem Per Malva" to close the set with sampled exotica, sweeping pads and subtle sequences, #lush. An assured debut which continues the recent revival of late 90s chillout we've seen from HNNY, Omena LTD and Saine.

                                                      Julien Dyne

                                                      Down In The Basement Volume 2

                                                      New Zealand based crate digger Frank Booker invites good friend Julien Dyne to drop the second release on his new imprint Down In the Basement. JD picks up where The Man Called Booker left off on Vol 1 and gets straight up to speed cutting up rare boogie, disco and Afro jams and employing his trademark raw cuts in an old school style, while lacing oodles of FX 'n stuff into the mix. The opening cut sees us thrust right into the throng of a Lagos dancefloor, shaking our stuff to a seriously funked up slice of Afro-disco. All key elements are present and correct (sweeping strings, hot horns, buoyant bass, thick wah guitar), and JD's crazy FX use blasts the whole thing off to a distant dancefloor dimension. The A2 sees the tempo drop to a midtempo strut as Dyne indulges in a fully freaked out head nodder complete with low slung bass, chunky piano and the occasional bit of strings. Making extensive use of echo, delay, filter and reverb, the Kiwi producer properly fucks with the groove, blessing us with a full grade psychedelic disco stormer. JD keeps it funky on the flip, running the fx unit over a symphonic and soulful bit of Blaxploitation funk before knocking our socks off with some seriously feel good boogie. Infectious, invigorating and eminently danceable, this essential EP sees Dyne trading in the playful and psychedelic style we're used to hearing the Idjuts exploit, and I can't get enough of it. 

                                                      The wonderful Black Ops sub label from the SLEAZYBEATS crew continues...

                                                      For the 9th and penultimate release in the series, the Sleazy Beats gang welcomes Bristol's Admin (Future Boogie, Banoffee Pies) aboard the Black Ops ship, which ventures beyond the trusted beatdown waters the label has been sailing since its inception in 2012 in search of exciting new pastures.

                                                      For his 'Super Lover EP', Admin commandeered an obscure record collection and cut up a cheeky trio of summery, sample-heavy disco delights that are rough around the edges but groovy like a drive-in movie.

                                                      The Black Ops dudes decided to leave the crackle, hum and imperfections intact as an ode to good old-fashioned art of sampling, a tip of the hat to the format's charm ('life has surface noise mate') and a polite middle finger to the non-descript clinical compressed deep House that seems to be so in vogue now.

                                                      As always, this is a limited, vinyl only release. It will not be repressed and will not be released digitally. Not now, not ever. 

                                                      Part Two of the Far East Transcripts series. Hhatri welcomes back more of the house rarities that Soichi Terada & Shinichiro Yokota masterminded in the early 90's.

                                                      'Under the shimmering diversions of the spectacle, banalization dominates modern society the world over and at every point where the developed consumption of commodities has seemingly multiplied the roles and objects to choose from. The remains of religion and of the family (the principal relic of the heritage of class power) and the moral repression they assure, merge whenever the enjoyment of this world is affirmed–this world being nothing other than repressive pseudo-enjoyment. The smug acceptance of what exists can also merge with purely spectacular rebellion; this reflects the simple fact that dissatisfaction itself became a commodity as soon as economic abundance could extend production to the processing of such raw materials.'

                                                      Steve Lyon's phenomenal Bitter Minnow project returns to Ono for another excursion into synthetic-organic sonic exploration. Lyon's guitar playing is spacious, ambient and experimental; often preferring singular harmonic resonances to full chords or scales. Comparisons could be drawn with Mark Mcguire as to the ethereal optimism contained within his frequencies and tones but Bitter Minnow sounds completely different to McGuire, instead floating on a Fuxa-esque wave of dreaminess. Absolutely sublime, from start to finish, and should keep you hovering above the heavens for some time after. Recommended. 

                                                      FORMAT INFORMATION

                                                      Ltd CD Info: Hand stamped, limited run CD complete with wrap-around Ono artwork sleeve. Exceptionally presented!

                                                      Austen and Scott fire up the Danse Club press for another batch of prime-time floor flayers, this time from the hands of Tuccillo and Tom Ellis, who snatch a side each to smash it out the park. The Italian stallion wins the toss and elects to kick off, taking us right into the beating heart of the peaktime throng with the solid gold groove of "Outbrain". Ticking boxes all over the place, the track boasts a killer bassline, infectious, ever changing percussion, freaked out samples and a vocal snippet which may well be an auditory hallucination (you guys will have to let me know if you hear it too). On "Globo" the percussion retains that ADHD twitch, while a subby and circular bassline lulls you into a deep trance state. There's a hint of NY house in the keyboard vamps but the muted and strained sound suggest a more lysergic influence. Over to the flipside and it's Tom Ellis who's manning the controls, pilfering the bassline from Gino Soccio's Italodisco classic "Try It Out" to create the MASSIVE "WDT". Ably assisted by some grooved up percussion, the superb bassline gets your body moving in all manner of ways while the wonky, funked up keys and lysergic details recall the likes of Minilogue and recent stars Alex & Digby. It's had us all dancing round the shop this morning, and I'm certain it'll garner similar results in the club. EP closer "Breaker Breaker" takes us to a deeper, but no less groovy place, as Tom tops a rolling bassline and swinging percussion with raspy sax licks, completely nailing that heads down after hours vibe when things get loose and loopy.

                                                      London brothers Austen & Scott, better known as fearsome production duo Brodanse, launch this new special ops branch of their Danse Club label with a quartet of heavyweight club bombs from John Jastszebski, Lauhaus and Polder. Young Parisian producer Jastszebski kicks the package off with the immersive and driving house sounds of "Berceuse". This wall shaking main-roomer pairs techy stabs and solid kick with rattling percussion and cinematic pads, delivering a body moving sound primed for Berghain and Concrete. Longtime label associate Lauhaus takes the controls for our next two trips into the smoke and strobes, taking all the best elements of minimal techno (ketty fx, twitchy funk, general heads down brilliance) and fusing them with the rather more dynamic sound of tech house. "Spoof" sounds like a hallucinatory excursion into a run down robotics factory while B-side opener "Dust Devil" is the deepest, funkiest downfloor roller you'll have the pleasure of dropping all year - seriously, this one is screaming out for a Funktion One. For the EP closing "Ambulate", Lauhaus is joined by compatriot David Labeij as the duo don their Polder moniker for a groove-heavy house excursion into the post peak which comes correct with frazzled sonics, subaquatic fx, rubbery bass and insistent percussion. Molto bene!

                                                      Like Hawkwind on even more acid or Sunn O))) meets Butthole Surfers/P.I.L. with four bassists and droning powerful songs...

                                                      Those masked marauding architects of cacophonic, bombastic, psychedelic bass bothering rock have been at it again, by which we mean making another album of unrivalled and quintessentially unique rock music.

                                                      Everybody Come To Church is the new album from Evil Blizzard. To say it’s been eagerly awaited in many quarters is an understatement, something we reckon fellow North-West based musician Mr Mark E. Smith, who’s been heard to say of the Blizzard “I like Evil Blizzard, they give me hope that music is alive and kicking” will no doubt agree with. The Guardian are also huge fans of the band having featured them on their cover and describing them as“…afearsome collision of Hawkwind, krautrock, molten noise, dazzling psychedelic lights and weird, gnarly looking masks.”

                                                      The album was “recorded live in one day with minimal overdubs at Magnetic North Studios” “Everybody Come To Church is a fierce, spontaneous outburst of evil noise.” Like we’d expect anything less. They hadonly four songs written before entering the studio and the rest of the album just ‘happened’ around ideas they’d had knocking about.“Everybody Come To Church features eight tracks of brooding, sinister psychedelic rock that will melt your mind and soul. You have been warned” concludes the press release. Amen to that.

                                                      FORMAT INFORMATION

                                                      Ltd LP Info: Red vinyl repress - limited to just 300 copies.

                                                      Simon Fisher Turner

                                                      Shishapangma - Inc. DJ Sprinkles Remix

                                                      Unexpected, but totally in keeping with the open minded, art-informed ethos of the imprint, the latest release on Comatonse sees Terre Thaemlitz pick up an eleven minute epic from Simon Fisher Turner, backed with a subaquatic Sprinkles mix on the flip. Composed by Fisher in 2013 to accompany Captain John Noel's 1924 film "The Epic Of Everest", "Shishapangma" is a sublime and hypnotic journey into a distant dreamstate of ambient electronics. Underpinned by a rumbling sub bass, the track sees twinkling sequences dance around glacial synth drones while warm woodwind and eastern strings suggest a distant climes. On the surface, Sprinkles Deeperama mix retains the glacial majesty of the original composition, but dig a little deeper and you'll see the producer has lit a fire deep in its belly. Driven into the heart of the post peak haze by precise percussion and a typically deep bassline, this remix works itself right into your cerebral cortex, wrapping subtle sequences and jazzy woodwind around your brain stem and locking you into its endless rhythm. Simply put, this is sublime.

                                                      “This record is about cycles. From the tiny cycles of loops within songs to the broader cycle of the whole album, which is designed to take you away and bring you home again at the end. Loops within loops. Loops overlapping in different ways and shifting as they go can take you very far away. You hear it in lots of African music, in jazz and hip hop”.

                                                      Mo Kolours explores this theme through both music and lyrics. "Pass It Round" is about giving and receiving, and the importance of depending on others. "Orphan’s Lament" is named after a Mongolian folk song, and Mo Kolours' own words urge the listener to “fall to get up again” among a set of inescapably linked opposites. The message may be optimistic or otherwise, depending on the listener’s point of view. The theme also appears in his choice of cover versions as he reinterprets songs absorbed in his youth: "Harvest For The World" by the Isley Brothers and The Stranglers’ "Golden Brown", from which the album title is derived.

                                                      “The Stranglers are one of my earliest memories of music. I had an auntie who was a huge fan and my parents had all their records. ‘Golden Brown’ always gave me such a beautiful feeling, way before I knew what it was supposed to be about”.

                                                      “I've always admired producers who push your ear, who draw you into unexpected elements of a song. I like it when people use a minimal number of elements and find ways of making you re-engage with each of them. It can be subtle, just a drum or the repetition of a word. I was thinking about that in the arrangement of the whole album”.

                                                      Raised on the traditional sega music of his father’s Indian Ocean homeland alongside records by the likes of Jimi Hendrix and Michael Jackson, Mo Kolours adds hip hop, dub, soul and other electronic styles to his individual sound. His approach could find him placed alongside Madlib or The Gaslamp Killer but he would be equally happy in the company of James Blake, Erykah Badu, Theo Parrish or Moodymann.

                                                      Cin Cin, a series of split 12’s from Piccadilly favourite Fort Romeau and Warm Record's Ali Tillett. Each installment bringing together friends old and new in a spirit of collaboration and togetherness. Kicking things off is label boss Fort Romeau and ex Ostgut Ton honcho and Panorama Bar man Nick Höppner. “Untitled” sees Fort Romeau whip out the 909 for some bubbling, acid-tinged tech-house done in his fluid, glistening style. "Diana" follows with a more tranquil, dreamy vibe, FR's control of the filters allowing various levels of intensity and dynamics to break through the psychedelic hue bathing the track in technicoloured beauty. Nick Höppner indulges in some UKG influences with steppers “Stay” and “Splicing Hues”. The former utilizing Burial-esque coke-can drums that seem manipulated by bit-rate reduction while a woozy synthline drifts drunkardly through the track. The latter, "Splicing Hues" sees the producer go on a real London tip; sparse, deep and syncopated to the very last drop. Recalling the golden age of UKG but keeping the production tight and up-to-date. Proper.

                                                      Yes – This is actually happening! Legendary acid house / hip house innovator Fast Eddie’s masterpiece "My Melody" gets pressed to 12". To say this track is rare is an understatement. It never received a 12" release (unless you include a very rare bootleg in 1988) and only ever appeared cut very quietly on 1989’s "Jackmaster Phuture Trax" album. Well now Super Rhythm Trax (one of the most underrated labels of the year IMO - Matt) are very proud to present to you remastered and cut super loud for the first time ever, this amazing track.. But that’s not all! Also included are two further album cuts hand selected for their squirming acid lines and the fact that they’ve also never been available on 12" vinyl before (only on LPs). Then what better way to round it all off than with the freshly remastered banger “Hip House” that sees Eddie get lyrical over one of the most suggestive 303 lines ever. Don’t sleep on this one folks - we've warned you!


                                                      I'm Down With That

                                                        BOSS are Guro Gikling of All We Are, Theresa Wayman of Warpaint, Sarah Jones, who has previously drummed for Hot Chip and Yeasayer, and Speedy Wunderground head-honcho Dan Carey, who has recently been involved in the Sexwitch project with Natasha Khan and TOY.

                                                        In the time honoured spirit of the label, the single was produced in a day at Dan’s south London studio and is their first release, yet the inception of the band goes back to 2012 when Dan met Theresa at a festival in Slovakia (he would also later produce All We Are’s debut album).

                                                        “Being a Warpaint fan I found her backstage and told her I was the best psychedelic rock producer in the world,” remembers Dan.

                                                        “The exact words of her response were ’that’s the last fucking thing we need. See you later.’ “

                                                        Despite the inauspicious meeting, Dan would later be recruited to work on Theresa’s forthcoming solo album and having met Guro on tour, Theresa invited her to also work on the long-player.

                                                        Born out of these album sessions, the BOSS track came out of post recording jams and after recruiting drummer Sarah Jones, a 20 second snatch of an almost 15 hour jam was eventually worked into ‘I’m Down With That’.

                                                        Back in stock Cover of The Epic by Kamasi Washington.
                                                        The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life.

                                                        Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The Changing of the Guard has at long last been achieved.

                                                        But then the old man wakes up. He looks down at the dojo and realizes he’s been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared.

                                                        This is, in essence, both a true story and a carefully constructed musical daydream, one that will further unfold in a brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. 'The Epic' is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus who has featured Washington on his albums 'Cosmogramma' and 'You’re Dead!'.

                                                        'The Epic' is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly 10-piece band, each member of which is individually regarded as among the best young musicians on the planet - including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble.

                                                        The band are all from Los Angeles, mostly South Central, and its members - who call themselves variously “The Next Step” and the “The West Coast Get Down” - have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands.

                                                        “Nothing compares to these guys,” says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it… Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.”

                                                        And the story 'The Epic' tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as 'The Epic'’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning.

                                                        FORMAT INFORMATION

                                                        LP Box Set Info: Now available on three 180g discs in artworked 3mm spined sleeves housed in a rigid board outer slipcase with digital download codes. Half speed cut by Matt Colton at Alchemy, the package includes two 12” poster inserts featuring exclusive artwork by KC Woolf Haxton plus story adaptation and calligraphy by Kenturah Davis.

                                                        “My last record was a break up record and if I had to label this one I would call it a make up record. I’m making up with myself. making up for lost time. making up for everything I ever did and never did.”

                                                        So says Adele about her new long player '25'. "Highly anticipated" doesn't quite cut it, with the video for lead single 'Hello' clocking in at 404,293,556 views the last time I looked (and undoubtedly more by the time you read this). '25' might be the event record of 2015, but really it's a continuation of the sound that brought '21' 9 x platinum global sales. The intimate piano ballads, epic swelling choruses, R&B pop hints and BIG production are all present and correct on '25', along with the emotional catch in Adele's voice - the thing that lifts her head and shoulders above all the melisma-ing X-Factor wannabes. The album features co-production from Greg Kurstin, Tobias Jesso Jr ('When We Were Young'), Danger Mouse ('River Lea') and Swedish pop svengalis Max Martin & Shellback ('Send My Love (To Your New Lover)') 

                                                        Piccadilly Records

                                                        End Of Year Review 2015

                                                          Back in the day, confronted from October onwards by a raft of Christmas-related albums from the major labels, and barely a squeak of a release from the independents, we decided to compile our own top 50 albums of the year, and promote that over the festive season instead. 

                                                          Nearly two decades on, and with the arrival of the World Wide Web, Piccadilly Records Top 100 has become one of THE essential end of year charts to check out. Our End Of Year Review booklets have also become increasingly sought-after, and now come packed with our Top 100 albums, Top 20 compilations, Top 20 reissues/collections, staff charts and reviews of our favourite albums all wrapped in lush artwork (perfect bound this year!) by Piccadilly pal Mark Brown ( The perfect read for any music lover over Crimbo.

                                                          This booklet is free instore or just 1 pence (plus p+p) via the website. Or if you prefer, view a digital version below.

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