Brian Auger - lauded and loved by everybody from Herbie Hancock to Mose Allison, from the Brand New Heavies to The Beastie Boys, his tracks have been sampled by Mos Def, Common, Air and Kid Loco, his original compositions covered by Sarah Vaughan, Richard 'Groove' Holmes and The Main Ingredient. This anthology is the most comprehensive ever released - it covers of 50 years of this legendary artists career - from his early 60's jazz piano trio, his famous bands The Trinity and The Oblivion Express and comes up to date with new material recorded in 2013. It combinmes some of his classic tracks with some rare and even previously unreleased material. The 15 tracks selected for the gatefol double vinyl Lp version were selected to appeal to DJ's/club audiences.

The Get Go

Typically English

    Steeped in Mod roots, The Get Go are a 3 piece Soul, Blues and Rock band from South East London. Founded by pals, Stuart Farnham {vocals, guitar} and Brian Hall {vocals, bass} and a line up completed by drummer Richard Metcalfe, they make an exhilarating Blues Rock. The kind that would've got the audience in a lather down the Marquee and The Crawdaddy, back in the 60's

    Limited to just 300 copies.

    After delivering two of my favourite releases of the last 12 months courtesy of Stump Valley and Max D, Jordan GCZ’s Off Minor imprint completes a fine hat-trick thanks to this latest release from the many monikered Willie Burns. ‘Doesn’t Feel Right’ dextrously nestles into the sweet spot between minimal electronics, EBM and electro while ‘2nd Try’ clangs and bangs its way through experimental electronics. On the B-side, the squirming leads and wintery synth washes of ‘Single Life’ and ‘Still Water’ express a depth of human emotion from the furthest reaches of the machine world.

    Blackbelt Andersen / Christian Engh

    Dolphin Sandwich / Kyllingsmak

    After growing tired off waiting for producers (a notoriously workshy bunch) to get round to finishing off the tracks for full solo EPs, Prins Thomas takes a nifty lateral step and launches Full Pupp Splits, uniting tracks by two different artists on a side of wax each. Not only does this mean that the good stuff will be sooner in our bags, but also the nature of the double A-side format lends itself well to the 'all hitter, no shitter' blueprint championed by Manchester's own Randall Marsh. Volume one kicks off in the seasoned hands of Full Pupp mainstay and Karate champ Blackbelt Andersen, who gives Mr Hermansen his blessing to unleash CDR classic "Dolphin Sandwich" on the masses. Already a firm favourite amongst the movers and shakers of the nuovo Italo and Scando disco scenes, this sequencer driven disco house bomb powers into the heart of the peaktime blazing a trail of cosmic texture, milky way melodies and funked up bass. Killer! On the flipside, debutante and Full Pupp protege Christian Engh treats us to a wonderfully chuggy bit of motorik-acid worthy of the label head himself. Set to the same circular rhythm as much of Prins Thomas II, this 303 laced groover opens a wormhole to a distant dancefloor dimension and locks you in its tractor beam. I can't wait for more of these double A-side slammers to emerge, quality stuff.

    One of the rarest, and greatest, horn instrumental dub albums of the seventies featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, 'The Rhythm Master', is finally given a legitimate release.

    The original title for this long playing release was initially advertised on the label of the seven inch release of 'Determination Skank' as 'The Sannic Sounds Tommy McCook', however the album was released in Kingston in 1974 in very limited quantities on a white label in a plain recycled cover rubber-stamped 'Tommy McCook Dub'. Three years later the set was released through Grounation in London, once again on a white label and without a cover, where it was known as 'Horny Dub'. It gave music lovers a fascinating opportunity to compare and contrast the work of Tommy McCook, one of the architects and builders of the Jamaican sound, with Glen Brown's role in taking and breaking it into pieces.

    Salem's Pot



      These are jackets and labels from the first pressing they found while cleaning out the garage. 35 minutes plus, two tracks… oh my, this is for fans of Electric Wizard, Rise Above, Uncle Acid & The Deadbeats. Dooooom from Scandinavia, pressed onto wax by a label in California… 

      Boasting a sales record worthy of a young Jordan Belfort, Tee Mango follows a string of instant sell-out 12"s with the second instalment of his Tribute series. Wearing the Theo Parrish quote which inspired this project like a badge of honour, Monsieur Mango turns to the stylings of another Detroiter for the first track here. "Throw" sees the producer loop a vocal refrain and bass lick from THAT Candy Staton anthem and transform it into a long forgotten Moodymann MPC jam. A taut Detroit string line raised the tension in the background, M1 vamps add a body shaking rhythm and occasional bursts of organ take us to church here, while the skipping snares, bouncing tambourine and infectious bassline combine to drive the peaktime crowd mental! On the flipside, "Need Your Love" is a heads down sample house stormer with no messing whatsoever. The looping vocal, tight drums, woozy chord stabs and sirens power out the speakers like the result of a hazy post-Sound Factory studio session between a 90’s dubbed out Louie Vega & man-like Switch (before he went feral in the haze. The last #Tribute release sold out in under a week and these won't hang around either.


      12" Info: Strictly Limited to 500. Hand stamped and numbered with no repress.

      Mighty Baron III / Sun Runners 女神の恋人達

      Screwe'd / The Finest

      7 inches of heat from the Apron camp: Mighty Baron III & Sun Runners 女神の恋人達!! Mighty Baron III contributes the aptly titled - "Screw'd". Playing at 45rpm but sounding distinctly sloowwwed down, this is the very epitome of the Apron blueprint - uncompromising sonic filth for the floor and the 'phones alike. This bad boy displays sludgy drums and squelchy b-line (possibly a boogie loop pitched and twisted to oblivion) while a slo-mo vocoder croons occasionally across the top. The kind of head scratcher that'll garner a huge following when the youtube crew get involved in its madness. Keep one step ahead of the pack and bag this beauty NOW! On the flip the Sun Runners utilize the SOS Band's huge streetsoul banger, "The Finest" and dress it up with additional kicks n snares. A sun-blushed stroller which oozes style and sophistication, female led vocals praising the object of their desires. Great stuff.

      After "Diggin' Disco Deep Vol 1" sold-out in just a couple of days and a subsequent repress was snaffled up just as quickly, anticipation for this follow up is pretty high! There's not a hint of disappointment in sight as the DDD family keep us the fire burning from the first to the last on a DOUBLE PACK (oh yeah) of builders and burners. Boasting the production talents of a who's who of contemporary dancefloor freaks, this second instalment sees Closed Paradise, Luvless, Saine and Buzz Compass side by side on record one, delivering an all killer selection of innovative deep-disco and inspired deep house. The second disc serves up essential lat-in-spired funk from Junktion and Funkyjaws which sits comfortably next to up-tempo house magic and lost disco power from Martin Hayes and label head VinylAddicted. Mixed and mastered the old fashioned way, this 180 pressing sounds as fat as it gets, so give it a spin in your next set.

      In one of the most anticipated releases of the year, Harmless issue the soundtrack to the film, Northern Soul directed by Elaine Constantine. Early viewings confirm that Northern Soul is the most accurate portrayal yet of this legendary musical movement which started in the north of England in the late 1960s and has now spread around the world and become a huge international scene. 

      Every one of these tracks has been a floor-filler on the Northern Soul scene throughout its history and many of the original U.S. releases still command a huge value. In fact the cumulative value of all the original pressings in the set comes to an astounding £35,260 (as valued by John Manship in July 2014). A ‘must-have’ purchase for anyone who is interested in British musical culture, US soul music and collecting serious Northern Soul music.

      Matt Valentine

      Before It’s Gone

        Next up on The Great Pop Supplement is the ace new 45 from Matt Valentine- temporarily dropping the MV+EE tag for a solo 45 where he’s joined by the likes of J Mascis, Woods’ Jeremy Earl, Magik Markers’ Pete Nolan and the always great Mick Flower.

        “Before It’s Gone” began in earnest back when the Icelandic volcanic ash cloud of 2010 prevented Mick returning to the UK after a stint as part of Matt’s THE GOLDEN ROAD backing band. An intense period of jamming produced the embryo to the track here from which MV then recruited first Pete Nolan (featuring his previously unheralded backing vox savvy) then on visits to Vermont, Jeremy and J to fill it out and slow cook those edges. (The full story is expertly told by MV on the record’s insert…)

        Beautiful, killer, stoned out soft psych released in perfect time for tail end of summer as a ltd one time pressing of 500 only. Cool sleeve as ever from the GPS and on tasty white wax….


        Ltd 7" Info: White vinyl pressing of 500 copies only.

        Cosmic Ground

        Cosmic Ground II

          Following May’s instant two day sell out of the mighty “Deadlock”/”Decay” extended 12” on Deep Distance; Dirk Jan Muller releases his incredible second full length under the COSMIC GROUND solo moniker away from “main band” Electric Orange.

          An utterly magnificent double LP comprising four side long, beguilingly stellar pieces, straight outta’ the Berlin School, and the subsequent decade whereby the use of sequencers came richly to the fore. To these ears -and without exaggeration- this is absolutely unequalled in terms of truly having and getting “IT” within the current crop of kosmische synth movers and shakers. Schnitzler / Kluster, Schulze, early Tangerine Dream are heroes to artist and label here so the pair up is pretty much perfect.….

          Recorded at the Fleisch studio, Aachen in Spring 2015, Dirk has once again gone MIDI free in creating four incredible pieces of music, utilising an almighty arsenal of analog equipment. The album acts as a perfect companion to last year’s “Cosmic Ground” (CD only) debut- yet is perhaps more powerfully infused with propulsive, sequenced passages that are both crisp and dynamic and almost absorb you into their often exhilarating, grasp. An incredible, beautiful record released as a double vinyl only LP expected to sell out rapid style.


          Ltd LP Info: 500 pressing double LP.

          The unstoppable A&R Edits returns with this floor-aimed double-header from Hot Digits head honcho Fingerman. The Brighton producer grew up listening to his parents enviable Steely Dan record collection and for his comeback outing on A&R has retouched the De La Soul-sampled classic, "Peg". A tight circle of DJs have road tested this rework over recent times, igniting the dancefloor with this tasteful extension of a beautiful groove. For the flipside, Fingerman treats the lucky vinyl masses to one of his personal cdr blinders which has quickly become an anthem at his Casablanca Jazz Club residency. Once again, the Fingerman shows a subtle touch and a keen eye for a loop, seamlessly shifting the arrangement and stretching the groove for a full length floor pleasing rerub.

          For the second release on his recently minted Bobby Donny label, Frits Wentink hands over to fellow Dutchman San2, aka Geert Schilder. Hailing from Eindhoven in the south of the Netherlands, Schilder takes his production name from the building which houses his studio, on the second floor of the SAN building where the legendary radios and tape recorders were built by Philips. With this in mind, it seems to follow suit that his music is mainly produced with an analogue set up of Roland TR-606, SH-101, SBX-1 and AKAI MPC 2000XL. The EP opens with the title track, "Impartial Perspective" which sees a marching beat gradually form into a raw and funk-fuelled machine groove. From there, Geert playfully traverses into "Distinguishing Bias", a manic bubbler which sits perfectly alongside the kind of wonky house manoeuvres Mr Wentink specialises in. And talking of Frits, the B-side belongs to his skewed remix of "Impartial Perspective", which twists up the original into a deep and trippy, lo-fi journey, while still maintaining the raw groove of the original. It's another essential release for fans of the OYE records sound, perfect for slipping into the mix beside Money $ex, Box Aus Holz, Wolf, Dirt or Heist releases.

          Tamaryn’s first two full-lengths (2010’s The Waves and 2012’s Tender New Signs) stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful, gorgeous, thrilling tapestries of guitar-based textures) as what they weren’t (simplistic, trendy, disposable signposts made to be broken). With Cranekiss, Tamaryn emerges from her past in a way that’s inviting, warm-blooded, and shockingly direct. She’s made a big record, loaded with samples and synth triggers, the result of long nights grinding it out at the Brooklyn studio Gary’s Electric,on her own and with Weekend’s Shaun Durkan, and producer Jorge Elbrecht (Violens, Lansing-Dreiden).

          With Cranekiss her sonic palette has exploded with maniacal abandon, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear, drawing influences from the feelings that fell out of her. Lyrically, this is Tamaryn’s most personal collection of songs to date, and Elbrecht has placed her voice front and center across the entire record. Cranekiss explores dark rock, dance pop, and glistening melancholy with a uniformly commanding presence across it all, in stormy, unsettled brushstrokes that apply pressure behind Tamaryn’s words.

          Cranekiss represents a long journey, and a new phase - a blood-red kaleidoscope of desire and late night abandon, a bold step forward.


          Indies Exclusive LP Info: Indie exclusive LP version on high quality virgin black vinyl, includes 24 page booklet with lyrics and photos.

          The Kitchen Cinq

          When The Rainbow Disappears: An Anthology 1965-68

          * Compilation and notes by Alec Palao
          * Includes The Kitchen Cinq’s complete LHI sessions, comprising the Everything But album and non-LP singles as well as rare sides by the act’s earlier incarnations as The Illusions and The Y’Alls
          * Fully remastered audio with three previously unissued cuts
          * Extensive liner notes featuring interviews with Cinq members Jim Parker, Mark Creamer, and Johnny Stark, along with manager Tom Thacker and producer Suzi Jane Hokom

          Lee Hazlewood’s LHI flagship group, The Kitchen Cinq, had everything but one elusive factor: success.

          Formed as The Illusions (and briefly The Y’alls) in Amarillo, Texas, the group blended garage punk with killer harmonies and a slight sense of the absurd. Picking up steam locally in the mid-‘60s, the members started to think about cracking it on a bigger scale, and, in 1966, moved to LA. “Almost immediately upon arrival, we auditioned for Lee,” says guitarist/vocalist Mark Creamer. “He said, ‘Deal.’" Another of Hazlewood’s coterie, Suzi Jane Hokom, was charged with producing the group, making her a de facto female pioneer in the industry.

          By 1968, The Kitchen Cinq issued a total of five impressive singles and one album, Everything But. They recorded a surprisingly vast amount of material, all of which is collected here. Their version of The Beau Brummels' "Still In Love With You Baby" was a regional hit in many cities, but they were still chasing a big hit, and the LA dream was wearing thin. In the end, the industry burned them out: the endless gigging, the radio spots, the long journeys–including an ill-fated East Coast tour that required them to drive from LA to Florida in three days. “I think LA ate the Texas boys; I really feel that way,” says guitarist/vocalist Jim Parker.

          The group split in ’68, and the members spread off into bands including Them, rock outfit Armageddon and, eventually, careers in studios. One–temporary member J.D. Souther–has a recurring role on the popular soap opera Nashville. The Kitchen Cinq was just a springboard for each of them, but listening to these overlooked works of beat-pop brilliance, you can’t help but wonder why it didn’t work out for the Texans at the time. Their songs–all of them–live on in this anthology.

          Cultishly adored purveyors of sanctioned club artillery, All Caps, present the "Phenomena EP" by Florist - an elegy to the spirit of the Sunrise Midsummer Party held at White Waltham Airfield, aka Ecstasy Airport, in June of 1989. Channeling the energy of Raul Orellana and the hordes of enraptured dancers, it goes out to the hundreds of Youtube commenters who can still recall with vivid clarity their personal experiences (in spite of altered states). "Final Bounce" goes off on a druggy, Ron Hardy inspired drum workout, flanging hats and snares meeting vocal ooh and ahs while rumbling dub stabs echo through the mix with ferocity. Neo Image's 'In Contact' mix recalls the spine-tingling era of 90s breaks; warm, goosebump inducing pads with classic breakbeats layered atop. Proper. "Marine Drive" utilizes the 'think' break with sophisticated aplomb, slowing it down to a house friendly tempo and smothering the whole thing with delicate keys and more euphoric organ sounds. Adding just a fizzle of that tape saturated distortion that’s so in vogue right now (along with a 'Spastik'-era snare roll) you're bound to hear this bad boy provide the ever-so-important money shot for a plethora of Boiler Room / NTS big hitters over the next few weeks - you heard it here first! So good you get two versions, the latter of the reducing it to its most essential of elements but still retaining that glorious main hook. Absolutely killer.


          Matt says: Glasgow proving once again why it's integral to the history of dance music culture with this new amalgamation of all things rave related.

          The 5th offering from my favourite San Fran dance club label comes from LA-based producer Sage Caswell. "Sleep Quarters EP" evokes the paradoxically rushed-yet-laidback duality of his hometown; it's a four-track release equally split between music for the dancefloor and music for dreaming. The title track merges compressed percussion sounds with a chiming synth stab before banging out a tough 4/4 across the mix. It’s a heads-down house attack which should tick all the right boxes for the outdoor festival crowd. "Paper USB" heads into the club for a pumping tech-house session, all white noise hats and filtered melodies competing for attention over the electric groove. "Shiny Dog" opens the flip with a more dreamscape outlook, slowly introducing bubbling filtered synths and wide-eyed washes while tripped out perc artifacts repeat through the tape echo - a beautifully purple velvet ode to San Fran Bay sunsets. Finally "Forerunner" expands on this theme as deep emotive drones penetrate deep into our consciousness and hold us close to the setting sun, surrounding by thick haze and lapping waves. Another beauty from Spring Theory and a real doozy for Caswell. Great stuff.

          Nearly 6 years in the making, this new 12" marks the return of Echospace's critically acclaimed Intrusion project. The first incarnation of "A Gentle Embrace" came in the form of three extended reshapes from cv313 & Variant and now they offer the original work on beautiful crystal clear 160 gram wax. This new release was engineered and mixed down from 1/4" analog tape and mastered by Bazza (Abbey Road Studios, Thom Yorke / Radiohead) at Alchemy, London. The usual cushiony-soft layers of synthesized audio cotton wool and fluttering birds-on-a-wing drifting melodies - sheer beauty! OG mix contains a gentle forward propulsion in way of a soft kick and floating shakers while the reduced mix exists in a timeless vacuum, existing omnipresent from the beginning and until the end of time; accessed via this sonic wormhole that is this record. Essential elevation! You need this.


          Matt says: Echospace's intriguing Intrusion project drops this gorgeous floatation device of sound.

          Back in stock Cover of Trouble by Hospitality.
          The first thing you might notice about Hospitality's second album Trouble is what you don't hear. The process of completing Trouble was, for the band, one of learning to accept silence, to let that empty space exist no matter what it might awaken or evoke. You could catch glimpses of these dark and unexplored places in the margins of Hospitality's 2012 self-titled debut, but they are at the very heart of Trouble. If you listen closely, you can hear a band pushing against their own boundaries and limitations until they find the very air around them subtly but perceptibly changed. The trio of Amber Papini (guitar, vocals), Brian Betancourt (bass), and Nathan Michel (drums) approach Trouble with the force and unity of a well-rehearsed touring rock band. They supplement their performances with strategically placed strings, synthesizers, and drum machines. But silence is an inescapable force on Trouble, an invisible fourth player that draws you into the unexplored corners of familiar sounds: the full, ghostly decay of a reverb tail, the round pluck of a bass string, the exact syllables where a doubled vocal line diverges. In its lyrics and its musical construction, Trouble is an album that wonders about the mysteries that lurk just beyond our field of vision. Slyly and sympathetically, Papini ponders a Saturday afternoon fishing trip as a wrenching interplay of life and death, the perfect blue sky at an air show as a setting for a soured romance.

          Papini elaborates: "Most of the songs are about everyday environments that arouse anxiety or unease. The ocean isn't meant for people; we aren't supposed to be there, and some of the animals that live there are much bigger and faster than we are in the water. I think a lot of the songs deal with this 'out of place' kind of theme, feelings of unease and the questions of what is under you or what surrounds you." Trouble creates a space where conflicting sentiments and experiences are given room to coexist, where small and seemingly mundane observations pose big questions that hang in the air, unanswered and unanswerable. With a title referencing the artist's endless struggle in the battle between creativity and outside forces, Trouble also explores the universal themes of loss, love, and loneliness with Papini's trademark wit. Lines like "And if I'm lost and low / And need you / I'll disconnect the line" from "Inauguration" somehow make the ultimate kiss-off seem charming, while nature makes clear the loneliness felt when leaving someone you love behind in these lines from "I Miss Your Bones": "And all the stars will / Twinkle in the midst of a sea / Of black and lonely /An everlasting loss lack abyss." It's fitting that the album was hashed out in band practices that blurred the boundaries between work and leisure, darkness and light, creative collaboration and friendship.

          Foregoing the usual night-time hours kept by musicians, the band chose to work on these songs during daily morning rehearsals that proved in many ways more demanding than characteristically relaxed night-time gatherings. Through these sessions, the band sought to take their music as far as they possibly could as a three-piece, to make sure that every small gesture fell into place and played a vital role in constructing the shape and feel of the songs. The band carried this daylight-infused clearheadedness with them into the studio with chief arranger Nathan Michel and engineer Matt Boynton acting as co-producers. Nathan describes the process: "We really wanted to avoid the ornamental, but I always like to add more sounds. Matt was helpful in keeping the arrangements as simple and direct as possible. We all wanted the record to have a warm and open sound." When put to tape, some of the songs for Trouble worked better than expected as fierce and focused trio performances, while others called for more substantial re-imaginings. "I Miss Your Bones" emerged almost entirely from a live performance, while "Inauguration" found the band ripping apart their live arrangement and reconstructing the song with drum machines and synthesizers. The album unfolds like a walk on the beach or a journey to a place you didn't know you were going. Perhaps a darker sound overall, but Trouble begins with the trademark Hospitality pop then unfurls to reward the listener with the more expansive stripped-down instrumentation of side B. And here, again, is that distinctively present silence, creating a space where an undulating synthesizer feels as alive and mysterious as a single voice in a room.

          Soul Jazz Records

          12” Record Bag (Powder Blue & Black)

            Fantastic new season colours in Soul Jazz Records’ classic 12” record bag.

            Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 30 LPs / 12"s.

            As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

            Soul Jazz Records

            7” Record Bag (Classic Navy Blue & White)

              Fantastic new season colours in Soul Jazz Records’ classic 7” record bag. 

              Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 50 7" singles.

              As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

              Soul Jazz Records

              7” Record Bag (Powder Blue & Black)

                Fantastic new season colours in Soul Jazz Records’ classic 7” record bag. 

                Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 50 7" singles.

                As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

                Soul Jazz Records

                7” Record Bag (Red & Blue)

                  Fantastic new season colours in Soul Jazz Records’ classic 7” record bag. 

                  Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 50 7" singles.

                  As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

                  Soul Jazz Records

                  12” Record Bag (Marine Blue & Orange)

                    Fantastic new season colours in Soul Jazz Records’ classic 12” record bag. 

                    Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 30 LPs / 12"s.

                    As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

                    Soul Jazz Records

                    12” Record Bag (Black & Yellow)

                      Fantastic new season colours in Soul Jazz Records’ classic 12” record bag. 

                      Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 30 LPs / 12"s.

                      As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

                      Soul Jazz Records

                      12” Record Bag (Sage Green & Black)

                        Fantastic new season colours in Soul Jazz Records’ classic 12” record bag. 

                        Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 30 LPs / 12"s.

                        As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

                        Soul Jazz Records

                        12” Record Bag (Red & Blue)

                          Fantastic new season colours in Soul Jazz Records’ classic 12” record bag. 

                          Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 30 LPs / 12"s.

                          As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

                          Soul Jazz Records

                          12” Record Bag (Royal Blue & Yellow)

                            Fantastic new season colours in Soul Jazz Records’ classic 12” record bag. 

                            Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 30 LPs / 12"s.

                            As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

                            Soul Jazz Records

                            12” Record Bag (Classic Navy Blue & White)

                              Fantastic new season colours in Soul Jazz Records’ classic 12” record bag. 

                              Great for record shopping trips, DJ use, or just carrying stuff. Holds approx 30 LPs / 12"s.

                              As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.

                              Planet Mu is a label that has always survived on its own very independent terms. For 20 years it's existed both on the fringes and in the centre of emerging electronic music, from IDM and breakcore to dubstep and grime and lately to footwork, which it took a chance on, opening it up to the world through the two Bangs & Works compilations. It also has a strong history of connecting the dots in between those genres by supporting idiosyncratic artists, from label stalwart Venetian Snares to Kuedo, Machinedrum, Boxcutter, Vex'd, Falty DL, Luke Vibert, Ital, Jlin and Mr. Mitch to name just a few. Run by Mike Paradinas, who under the name µ-Ziq was one of the first wave of producers pushing the musical envelope in the wake of house and techno's initial burst of inspiration, Planet Mu is an established engine of creativity and enquiry, with one foot in the pop world, and a sense of fun that never lets its experimentation disappear into exclusivity and snobbery. To celebrate their 20th Anniversary, Planet Mu have organiseda 32 track double CD.

                              The music on this double CD edition is mainly from the current decade, with contributions from Kuedo, Machinedrum, John Wizards, Ital Tek, Remarc, Boxcutter, RP Boo, John T. Gast, Jlin and new signing Herva to name but a few. They're colourful, broad and adventurous rides across the roster that will impress and excite any fan of electronic music and are a strong reminder of the consistent quality and broad mindedness of the label too.

                              Cubical frontman Dan Wilson finally releases his first solo album. It’s a major musical departure from his previous work, with a more introspective and lyrically orientated sound in the classic alt folk tradition of Leonard Cohen, Johnny Cash, Nick Cave & Nick Lowe. Drawing on the musical talents of producers Kal Ross and long-time Cubical producer Keith Thompson, All Love is Blind walks the fine line between the raw and the refined. This mixture of genres that blend folk, old blues and country along with a little rock n roll, all serve as wonderful settings for Wilson’s debut . The album utilises the evocative and purifying sound of cello and violin to create a perfect backdrop in which Wilson’s voice and lyrical prowess can feature.

                              Title track “All Love is Blind” is a rich absorbing ode to the futility of love in which the fine production work of Kal Ross comes to the fore, with an intricate use of backing vocals and percussion that work in unison with the strings and Wilson’s vocal to tug at the heart strings. “The Waves” on the other hand is a rumbling whirl of intense brooding and rhythmic convulsion that speaks of a dark world of judgment and is hurried along by the frenetic violin of Rod Leung and the primordial percussion of Cubical rhythmical stalwart Mark Percy. Add to this the backing vocals of Laura Campbell (Mulu/Legends of Flight) and the fine production work of Keith Thompson and what results is a cacophonous track of raw and spellbinding power.

                              “Lonely Drunk” is a boozy country folk ballad well versed in the tradition of late night crooning and tears in one’s beer. The double bass and then trombone solo of musical genius and theatre composer Andy Frizzell (Wizards of Twiddly) is worth the fee alone and works wonders with Randy Newman and Nick Lowe –esque lyrical introspection that verges on the ridiculous. “5 Nights Long” is raw Wilson, in Cubical mode, beset with jealousy and growling. This rough and ready blues stomp is driven by the wonderful slide playing of Cubical lead guitarist Alex Gavaghan. The penultimate track on the album “Where Did All The Love Go?” is a lullaby best enjoyed with a late night whisky, a gentle and tender piece that mixes the fragile vocal and acoustic guitar of Wilson with the luscious and sorrowful tones of Siofra Ward’s cello. A wonderful way to end such an absorbing journey. More than simply a break up album this is more like a get back together and then break up again album. Try saying that after you’ve had a few.

                              “Wilson makes Waits sound like Tiny Tim." - THE GUARDIAN. 

                              DFA Records are proud to announce the new album from Slim Twig.

                              ‘Thank You For Stickin’ With Twig’ is to date the most sonically immersive album in Twig’s discography.

                              Where some records have focused explicitly on sample-based songwriting, while others have been completely live-recorded, the new album arrives at a perfectly produced fusion of fidelities. Twig flirts here with a variety of vibes, most often opting for a three-dimensional approach whereby a warped tape aura is overlaid with colourful laser-cut keyboard and guitar melodies. A fetishization of analogue texture is married to a digital approach.

                              It's a fuzz-heavy psych-pop fest with hints of early Syd Barrett era Pink Floyd. 

                              Silicon is Kody Nielson, a songwriter, producer and visual artist from Auckland, New Zealand, formerly of cult Flying Nun band The Mint Chicks, a group he started with his brother Ruban - now of Unknown Mortal Orchestra.

                              ‘Personal Computer’ is a seductive electronic pop record that pits Nielson’s brilliant soul, funk and disco influenced songwriting against a backdrop of extra-terrestrial noir sonics, calling to mind the varied likes of Flying Lotus, Panda Bear and Portishead in the process.

                              FORMAT INFORMATION

                              Indies Exclusive LP Info: Exclusive deluxe LP edition features a bonus 28 page book of original art prints including material from a forthcoming international exhibition by Kody Nielson.



                                The latest addition to El Paraiso Records growing catalog of Impetus series releases, Shiggajon, is a Danish collective based around musicians Mikkel Reher-Lanberg and Nikolai Brix Vartenberg. Much like the music itself the collective is in constant flux, sometimes performing in the form of a small ensemble, other times appearing on stage with as many as 15 persons, depending on the situation.

                                It's tempting to categorize Shiggajon as a spiritual jazz ensemble, since their music is able to induce a heightened, spiritual euphoria much similar to that of Pharoah Sanders, Don Cherry or Alice Coltrane. But any narrow definition of their sound would be misleading. While there's an element of ritualism present, there's also a post-modern tendency to absorb everything from sufi music to krautrock and contemporary electronic drone. Heavily modulated guitar pedals and processed vocals accompany layers of flutes, strings, bells and percussion as the most natural thing in the world. It's the kind of music that demands openness and surrender. Every time the ensemble performs improvisation is fundamental - it’s a journey into the unknown.

                                As in John Coltrane's later works, Shiggajon establishes a unity between spirituality and improvisation - they embrace the paradox of seeking elevation and existential affirmation through sounds that occasionally verges on chaos and dread. These two long, multi-layered, cacophonous pieces occasionally come off as slightly abrasive and dissonant, but ultimately the music is a process resulting in joyful catharsis and healing.

                                Past praise for Shiggajon:
                                There is something creepy and arcane about the musicianship that unnerves and delights, in a way one might find in the practices of the occult. The result is a sensuous celebration of uncanny and archaic arts. -Foxy Digitalis. 

                       made with an emphasis on the communal experience and an urge towards the ecstatic, filtered through a post-Noise instinct for volume and white-out drones. Shiggajon's previous live tapes and CD-Rs made room for more overtly psychedelic electronic, but their debut on vinyl sticks closer to the methods of 1960s free jazz, John Coltrane's Ascension sessions being the obvious template for the flatlining cacophony of the set's more intensely sustained moments. Yet you wouldn't really call this free jazz, any more than you would suggest the Danes are trying to communicate the same feverishe, Southern Baptist Christian-inspired devotions that gripped Coltrane....Which isn't to say that this is a hollow forgery. Spiritual significance resides in the ear of the beholder. Ragged energy can plunge any soul that's ready into the light. If Shiggajon's joyous noise gets you there, why fight the feeling? –The Wire.

                                Phaedra´s debut album "The Sea" (2011) received fantastic international reviews in magazines as diverse as The Wire, Uncut, Shindig and Prog, drawing lines to Vashti Bunyan, Elizabeth Fraser and Nico. Chicago Reader said "this is one of the loveliest, most striking albums, unlike anything I´ve heard in years".

                                "Blackwinged Night" is the follow-up, and the second album in a triology, a lyrical and musical cycle with its own mythological structure. From the ethereal folk universe of the debut, "Blackwinged Night" dives into a darker dreampop underworld, where acoustic elements of woodwinds, strings and marimba are mixed with layers of analog synths, bigger drums and darker basslines. Vocals are as crystal clear and haunting as ever, with lyrics circling around themes like creation and collaps, time and falling stars.

                                Phaedra is Ingvild Langgård; singer, composer and artist. Educated from The Academy Of Fine Art in Oslo, she composes music for stage and screen as well as doing art projects with sound, video and installations. In co-operation with choreographer Ingri Fiksdal and scenographer Signe Becker she has made the acclaimed dance performances "Orchard Ballads" and "Night Tripper". "Night Tripper" won the Oslo Award in 2012 and has since been toured extensively in Europe, and had its US premiere in April this year. The Guardian wrote "an extraordinary piece, simple yet powerfully affecting".

                                "Blackwinged Night" is produced by Langgård herself, with contributions from Christian Engfelt, who also mixed the album. There are contributions from Ensemble Neon members Kristine Tjøgersen on clarinet and Yumi Murakami on flute. Last heard on Motorpsycho´s "En Konsert For Folk Flest", Kari Rønnekleiv plays violin and Ole Henrik Moe is on viola. Last but not least, we have Ingvild´s regular band; Gunhild Mathea Olaussen on violin, Jørn Tore Egseth on bass and keyboards and Ane Marthe Sørlien Holen on drums, percussion, marimba and vibraphone. Mastered by legendary Greg Calbi at Sterling Sound

                                Described as "powerful yet fragile, devastatingly beautiful and beautifully devastating" by The Founder Magazine, UK-based quartet MIDAS FALL have carved a distinctive and captivating sound, fusing elements of electronica, post-rock, shoegaze and alternative rock with progressive and gothic undertones to create taut, shimmering soundscapes led by the hauntingly melancholic vocals of Elizabeth Heaton. Forged in Edinburgh, Scotland and now based in the north of England, the eclectic collective – founding members Heaton and Rowan Burn (guitar, piano) with Steven Pellatt (drums/percussion/piano) and Chris Holland (bass) – has spent the past year composing the follow-up to their 2013-issued Wilderness full-length.

                                Titled The Menagerie Inside, MIDAS FALL’s third long player was captured live at Red Wall Studios, mastered by Seattle legendary engineer Ed Brooks (Pearl Jam, Caspian, Fleet Foxes et al) and offers up ten sprawling tracks of sonic enormity. From the sorrowing echo of wilting violins in “Counting Colours,” to the emotionally gutting close of “Circus Performer,” the forty-six-minute epic is as heavy sonically as it is cerebrally. An introspective journey through dark and light, The Menagerie Inside is at once graceful, urgent and star-gazingly compelling. Cascading riffs ebb, flow and surge into rich, ethereal piano crescendos, the weight of Heaton’s delicate angelic resonance adding depth to her every echoing word. With The Menagerie Inside, MIDAS FALL manifests a sound and atmosphere that’s organic, emotionally stirring and habitually awe-inspiring, further verifying the strength of their songcraft and musicianship. 

                                FORMAT INFORMATION

                                Ltd LP Info: Limited edition 180-gram vinyl LP some just black vinyl and some in translucent purple with black splatter, both with a free album CD and poster inside.

                                Magic Castles are a five-piece band from Minneapolis MN. Their sound has been described as droney psychedelic pop, combining the organ drenched hazy atmospherics of mid/late 60s with sun-drenched west coast folk-rock. Magic Castles toured with Brian Jonestown Massacre in 2012 and released a beautiful 12″ split single with BJM on Record Store Day spring 2014. Their 2014 sophomore release “Sky Sounds” (‘A’ Recordings) and successful West Coast tours sees the rapidly improving band reaching new heights.

                                FORMAT INFORMATION

                                LP Info: Available on Lilac opaque 180 gram vinyl limited to 1,000 units.



                                  “Stubbs was England’s answer to Bob Mould, writing songs with similar sneaky demonstrative impact and stirring pulse” Jack Rabid

                                  “The most powerful band in the world” Popmatters / “Leatherface have a penchant for finding melody in a dense forest of cacophonous guitars and punk energy.” Exclaim.

                                  Taking their name from the cult classic horror film, 90s underground punk icons, Leatherface, were stalwarts of the UK scene, arriving at a time many thought that brand of brash songwriting had had its day. Re-writing the rule book when it came to punk requisites; passion; angst and power combined with undeniable songwriting and technical prowess. Led by the impassioned and emotive wordsmith Frankie Stubbs, it made them one of the most exhilarating bands of their time. Hailing from the industrial town of Sunderland, Leatherface formed in 1988. With a line-up consisting of Stubbs, guitarist Dickie Hammond, bass player Stuart Schooler and drummer Andrew Laing. Stubbs’ rasping vocals complimented the explosive hooks and thrashing guitars, which quickly became their trademark. Following on from 1989’s ‘Cherry Knowle’, 1990 saw the band sign to Fire and release the fierce and defining, 'Fill Your Boots’. With Stubbs and Hammond beginning to collaborate more on songwriting, it also introduced new bassist Rob Turnball. (Breaking in a new bass player every album would quickly become a trend for the band.) From this album ‘Razor Blades And Aspirin’ and ‘Peasant in Paradise’ would remain in their repertoire for over twenty years. With ‘Fill Your Boots’ proving a success, later that year they would go on to produce the Smokey Joe EP.

                                  However it was 1991’s follow-up ‘Mush’ that’s continually been regarded as an absolute punk classic. Teaming up with engineer Paul Tipler (who also worked on Stereolab and Chapterhouse), ‘Mush’ was recorded in Greenhouse Studios in North London (owned by Pat Collier of The Vibrators). Following praise from the music press, they soon found themselves doing John Peel and Mark Radcliffe sessions. Fully re-mastered, this collection includes extensive liner notes featuring interviews with Frankie, as scribed by The Big Takeover’s Jack Rabid, leaving no stone unturned.

                                  The release includes remastered bonus material via download, including a unique cover of ‘Message in a bottle’ and ‘Trenchfoot’ from the Not Superstitious 7” and ‘You Are My Sunshine’ and ‘Dreaming’ from the I Want the Moon 7”. 



                                    Taking their name from the cult classic horror film, 90s underground punk icons, Leatherface, were stalwarts of the UK scene, arriving at a time many thought that brand of brash songwriting had had its day. Gaining attention throughout the UK and with popularity in the US on the horizon with ‘Mush’, ‘Minx’ was released in 1993. Arriving at the peak of their powers it would also be on the brink of their first hiatus. Channelling Stubbs’ love for Joy Division, the new album had a more emotional direction, in contrast to the group’s earlier recordings. Recorded in Stubbs’ home studio, ‘Minx’ came with the addition of their much loved fourth bassist, former Snuff band member Andy Crichton.

                                    The album has since been considered a lost classic by the band’s rabid followers. Fully re-mastered, this collection includes extensive liner notes featuring interviews with Frankie, as scribed by The Big Takeover’s Jack Rabid, leaving no stone unturned. The release includes remastered bonus material via download, including a unique cover of ‘Can't Help Falling In Love’ from a limited edition promo 7”, released initially as a limited bonus with the album, along with tracks from the ‘Do the right thing EP’ and ‘Compact and Bijou EP’. The Fire Archive reissues important records from the past, prepared with loving care for existing fans and new audiences. Each release receives special attention to audio and packaging as we strive to provide the definitive version for decades to come.

                                    In bowling’s hallowed alleys, a strike is the minor miracle of all ten pins falling at once. Back-to-back strikes make a double. Do it a third time and you’ve got yourself a turkey. History will decide which sports metaphor to apply to Mike Krol’s first two records, I Hate Jazz (2011) and Trust Fund (2013). But as needle meets groove on Turkey - Krol’s first record for Merge - there is no ambiguity.

                                    A shiny black ball tumbles past the suburban strip malls of a polyestered Wisconsin and veers precariously close to an East Coast gutter before gathering momentum in a physics-defying sprint for the Pacific. California is where the headpin falls—the right velocity, the perfect geometry, the bowler’s intent beautifully realized in a noisy moment of awesome destruction. Mike Krol got his bike stolen and his heart broken. He bailed on graphic-design-as-career. He kept playing drums and guitars, and he kept writing songs about the stuff he hated and the stuff he loved. Leaving Milwaukee for Los Angeles, he took a few years’ worth of wrong turns. But when he showed up at a studio in Sacramento in March 2014, he had his affairs in order. Plug the vocal mic into a guitar amp. Plug the guitar into an overheating box of vacuum tubes. Put the computer in the closet. Roll the tape.

                                    “This record will beat you like you owe it money. Flawless and epic unhinged power pop! Mike Krol rules! Don’t be a dope, buy it!” Tom Scharpling (The Best Show).

                                    FORMAT INFORMATION

                                    LP Info: LP is jacket + printed sleeve + newsprint poster insert + album download.

                                    CD Info: Digipak with folder.

                                    Radwan Ghazi Moumneh ret urns wi th a second full-length album from his acclaimed Jerusalem In My Heart (JIMH) project, conceived and recorded in his dual homes Montréal and Beirut. Known for his production and engineering work with artists as diverse as Matana Roberts (all 3 chapters of her Coin Coin recordings to date), Aids Wolf, Ought, Eric Chenaux and Suuns. Moumneh has been firing on all cylinders over the past few years.

                                    He has brought JIMH to mesmerized live audiences in Canada, Europe and the Middle East since the release of his first album in 2013, following many years during which the project was a strictly Montréal-based live/theatrical happening. While JIMH continues to expand to includealarger cast of players for select engagements and commissions, the group is currently animmersive and performative audio-visual duo at its core, with Moumneh responsible for all sound / composition and filmmaker Charles-André Coderre creating 16mm visuals and live projections/installations . Moumneh expands his compositional palette on If He Dies, If If If If If If, exploring new deconstructions and juxtapositions of both traitional and popular Arab musical currents, with an album that oscillates between powerfully emotive vocal tunes and instrumental works that primarily make use of Radwan's expressive acoustic playing on buzuk and zurna as a point of departure.

                                    “A daring act brimming with promise.” – Tinymixtapes. 
                                    “[JIMH] has a mature and unbridled energy that defies classification, and I cannot recommend it enough.” – A Closer Listen.
                                    "Compelling, confounding, deeply moving." – All Music Guide. 

                                    FORMAT INFORMATION

                                    LP Info: 180 gram LP includes art print poster.

                                    CD Info: CD In 100% recycled gatefold paperboard jacket.

                                    Brian Ellis Group

                                    Escondido Sessions

                                      There’s something brewing in Southern California these days, besides the world’s finest Pale Ale and crystal clear surf rolling up the shore along the Interstate 5. Recently there’s been a pour of mindblowing prog-, psych- and free-rock in impeccable form out of San Diego County: Seamlessly merging jazz tendencies and extraordinary jam-abilities with crushing heaviness, electronics and a general out-there-ness. Bands such as Psicomagia, Earthless and Joy has earned SoCal it’s own unique spot on the worldwide map of psychedelia. At the heart of all this, is one young Escondido native, Brian Ellis. A guitar virtuoso in Astra, saxophonist in Psicomagia as well as keys- and synth-wiz. For years he’s been cutting his teeth as a grade A session player in heavyweight funk-outfits such as Egyptian Lover, as well as a studio owner gradually turning into an esteemed recording engineer. It was only a matter of time before he was gonna get his own group of local offbeat heroes in the same room and crank out a spectacular piece of prismatic, electric free-form jazz. And here it is.

                                      Along with members from Radio Moscow, Corima and Psicomagia, Brian has cooked up two vinyl sides of seriously vital jazz-rock, taking up where Miles Davis, Tony Williams and Donald Byrd left off in the seventies. This music is a far cry from the self-absorbed European free-jazz or academic noodling one is likely to meet at any given jazz festival - no, this music is earthy, like, say, Hendrix at Woodstock, or Miles’ Live Evil - a pinnacle challenge of the past that has never met any really satisfying response from contemporary music. There’s that unique sense of percussive drift that characterized Can’s records in the first half of the seventies - somehow extravagant, yet also subtle at the same time. The warmth of Brian’s sun-dried Rhodes and cosmic Moog-lines intertwine with Patrick Shiroishi’s Coltrane-inspired soprano arabesques. Trevor Mast’s thick bass lines and a multitude of tribalistic percussion keep it together along with a naturalistic crisp-sounding recording. It all adds up to a soulful tour de force of everything that’s great about the current San Diego scene. To be played loudly.

                                      File next to: Miles Davis, Tortoise, Marion Brown, Joe Henderson, Can, Donald Byrd . 

                                      Shaun Fleming is a member of Foxygen. The album features Felcia Douglass of Ava Luna and Sam France of Foxygen. In December of 2012, former Disney actor and didgeridoo craftsman Shaun Fleming moved from his hometown of Agora Hills, CA to aManhattan apartment. The move took its toll on Fleming, who soon fell ill with the flu. Fleming holed up in his apartment writing and recording songs everyday, a process that gave birth to the alter-ego Diane Coff­ee, and her first album My Friend Fish.

                                      My Friend Fish was an album born out of sickness and nostalgia for the sunshine and solitude of California. Sweet, gritty, and full of life, the songs were our first glimpse into Diane's vibrant and pleasantly twisted world. According to Fleming, it was "a documentation of my new east coast existence. My acceptance and embrace of Diane. It's not surprising that after visiting the charming midwest town of Bloomington, IN (home of Foxygen's label) Fleming decided to make yet another spontaneous move.

                                      "I might just like new surroundings. Naturally the move and the return to a small town got his creative juices flowing again. Just as the move from sunny California to New York inspired a dark album with relatively optimistic lyrics, his move from New York to Bloomington inspired the new album Everybody's a Good Dog, a bright energetic album with relatively dark lyrics. Unlike the production limitations that defined the sound of My Friend Fish (recording drums on an iPhone, using a detuned guitar in lieu of a bass, etc) Everybody's a Good Dog was recorded in proper studios with a full band, horns, and a string ensemble, finally bringing to life Fleming's deep well of talent and ideas.

                                      The album opens with the dynamic "Spring Breathes", which erupts from sweet acapella into bursts of full band mayhem as Fleming croons about a new love. "Mayflower" with its big brass and Motown swagger is a contender for party jam of the year, while the head-bobbing "GovT" explores "politics involved in the music business, and the struggle to govern and be governed." "Too Much SpaceMan", a psychedelic trip into the eyes of a jaded defense attorney, is followed by "I Dig You Baby" on which Fleming comes unhinged as he channels early New York Dolls. The album closes with the bittersweet "Not That Easy", which finds Fleming coming to terms with the fact that he'll never been an ordinary partner, "I will always be the lover coming home," he says. The album's unstoppable grooves and melodies were written with live performance in mind. When you hear him pouring every bit of his two decades of experience as a performer into these songs, it's clear that Diane Co­ee is not a side project, it's THE project Fleming has been working towards his whole life.

                                      FORMAT INFORMATION

                                      LP Info: LP features deluxe packaging including embossed text and printed inserts.

                                      The Brian Jonestown Massacre

                                      Thank God For Mental Illness

                                        Available on 180 gram yellow coloured vinyl with download code for Sounds Of Confusion. This the first time this title has been available on vinyl .

                                        At the risk of further belabouring a rather obvious point, with "Thank God For Mental Illness", their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning — rarely are bands quite so productive, or quite so consistently amazing. "Thank God" is the BJM's down-and-dirty country-blues outing, all 13-odd tracks supposedly recorded on a single July day at a cost of just $17.36.

                                        Back in stock Cover of The African Dream by The African Dream.
                                        This legendary 1994 double-pack on Eightball has long been an object of desire for proper house heads and vinyl junkies worldwide. We should count our lucky stars then that 2014 is the year that it gets its first full reissue! Featuring deep house classics "Making A Living" (as heard on Phil Mison's awesome 'Originals' comp), "Young And Free", "All In The Same Family" alongside a host of dancefloor weapons, "The African Dream" embodies the true spirit of classic club music at a time when disco and house collided in the melting pot of NYC. An absolutely essential release from a classic era of New York dance music that captures the deepness, rawness and soulful edge of the people who made it. Timeless house sounds for the true connoisseur made available once again. It's a beautiful thing baby!

                                        Various Artists

                                        Give It To Midnight EP

                                        Giant 45 are back on a regular sized 7" with another pair of tasty reworks set to get dancefloors salivating all over the globe. On the A-side, the edit crew pull apart a blue eyed soul gem before reassembling its composite parts over a funked up filter disco groove. Space echo, cowbell, beat repeats and French house loops all feature heavily, while the cooing female vocals are perfect for hands in the air peaking! The flipside takes us deep into the Tokyo underground thanks to a phat and funky edit of The Keiko Project's 1985 version of Japanese Boogie standard "Midnight Shuffle". A skillful bit of EQ use gives this banger bumps in all the right places, while the new arrangement should have the dancefloor rocking from first to last.

                                        Extraordinary new LP from a group comprising Carla dal Forno (Tarcar), Samuel Karmel and Tarquin Manek (Tarcar, LST). Deeply drugged, synth-daubed death-folk and DIY electronics: acutely psychedelic, inscrutable but emotional, sunken but prone to soaring, with flashes of horror too. Beautifully conjures the mirth and murk of childhood summers...a relatable surburban gothic...grazed knees, hide-and-seek, nettle-stings. Trampled flowerbeds and failing light. Ghouls in your neighbour's garden. Think Nico meets Dome or YMG's Alison Statton wandering The Pickle Factory after dark...If you dream you die, you die.

                                        The Host

                                        Esalen Lectures

                                          "Inspired by think tanks and floatation tanks, psychological research, 2012 mythology, 1960's social planning, stoned apes, elite transhumanism, and the counter-culture, the Esalen Lectures is an imaginary trip to a NorCal psychedelic retreat. Use the sounds to enter into a program of theory and practice, to accompany inward voyages, and for sunset induction rituals. And when the coloured dust settles, and the weird dreams have eased off, maybe your neural re- programming has just started? Drawing from a wide source of tranced-out musical legacies, the Esalen Lectures is pitched somewhere between Ash Ra Tempel and Steve Hillage at their most freeform, and more underground New Age artists like JD Emmanuel and Ariel Kalma. Using sweeping synthesizer patterns and subtle field recordings to create dramatic arcs across the record, spiralling guitar squalls meet blissed-out, motionless womb lullabies and digitally-enhanced nocturnes to tell a weird story of induction, hypnosis and psychic disturbance”

                                          On the cusp of 2012 Floating Points aka Sam Shepherd brings us possibly his most fully comprehensible and utterly impressive release to date. "Shadows" is a fully accomplished debut album (though billed as an EP), beginning with "Myrtle Avenue" which fans will instantly associate with tracks off his "Vacuum EP" - loose organic drums, fluttering and sublimely delicate keyboard phrases swirling in the background and a jazzy, Rhodes-led bottom end. "Obfuse" continues the jazzy, organic instrumentation but goes on a bit a US deep house tip. With those trademark FP droney synths constantly bubbling underneath the mix, some soulful vocals and a long, sparse jazzy breakdown this could soundtrack a million different feel-good moments. "Realise" is future jazz jam from the outer galaxies! Pads and synthesized wind instruments gently carassing an array of plinkety-plonk garage beats. "Realise" has the same drum template as "J&W Beat" - rattling retro drum boxes skewed and syncopated to oblivioun but somehow maintaing a groove. Disc two offers up whole side tracks "ARP3" and "Sais". "ARP3" must be the big main room club track with those euphoric, driving synth ascensions and expertly placed drops. Growing into a brooding, intense monster but still with those ridiculously funky keyboard licks that only a classically trained musician could achieve (he studied right here in Manchester at Cheetham's dontcha know?!). "Sais" concludes this future classic in dreamy, freeform mode. The beats are on the shuffled UKG side, while ghostly pads and natural strings envelop the mix like whispering angels from deep within your consciousness... this is some EMOTIONAL SHIT right here! Definitely able to jerk tears at certain moments and if this doesn't pull at your heart strings then I question if you are infact human! Sam Shepherd has presented a breathtaking and fully realized vision of his sonic world, and one that is so welcoming and beautiful yet so stunningly unique that you just can't helped be sucked right in.

                                          This EP is part of a collaborative project between FP and long term friend Will Hurt who has created a Max/Msp patch which studies drum machine and synthesizer activity to generate visuals in real-time.

                                          Playful and boyent electronics in a romantic den haagy type haze...right up our street.. 

                                          The label say: "I've know Billy Werner aka M/R now for about 20 years, him being from Whitestone, Queens myself right next door in Long Island.

                                          Through time i've seen him go through many different metamorphosis's in his musical life, his M//R project being the latest incarnation.

                                          Having previously released his debut EP on the amazing Great Circles label (as Werner has called Philly his home for the last 8 years..or more?) in 2014, those who heard it knew he was up to something serious. With this release for L.I.E.S. M//R delivers the goods through 4 stylistically diverse tracks we see him move through techno, electro, slow beat head nod cuts, and psychedelic broken beat UK cut ups. Usually a record of such would be a head spinning genre disaster of ransom note proportions but M//R pulls it off with style and power, each track strongly standing out on it's own, each with its own true character. A producer to watch out for, don't get caught out there."

                                          Garth Be, MPC-wizard and dusty-digitted-digger forges more timeless grooves and encourages further mindscape exploration on this second Sweetsticky full-length. Toying with rhythm and synthesis more than ever,
                                          "H I P N O T O N Y"'s ten new cuts delve deeper into our man's inner workings and self-perpetuating sonic sequences.

                                          Tracks "It's On My Mind", "Enna Gee" and "Sweetunder" introduce the record warmly and with calm precision; instantly giving the record a set and setting - late night, turn-of-the-millennium vibes in any of Manchester's incessantly dark and smokey backrooms; a time when 'backroom' residencies were as inspiring and as cultishly followed as anything going on in the mainroom. Just a red light and a feeling to quote one Mr. Kerri Chandler. BE's completely hardwired into his MPC on these first excursions, obscure soul samples and smoldered funk internally blended before pouring joyfully through the channel strips; his idiosyncratic sound in effect more than ever.

                                          "Ro-Ze-Bond" then changes tact, twisting our bodies and brains through its guttural backwards loops and THC-dipped craziness. Street-ready drums propping up this already most gangsta of joints. "Rachel" heads into familiar territory for BE; 5AM in some pitchblack rave cave with nothing but a smoke machine and a gentle, throbbing strobe for company. It's long, cascading synth washes the first in a series of hypnotic transmissions heading our way before the album's completion. Majestic stuff indeed, equally suited to exercising both cerebral and physical tendencies. "Butt-atoes" should bring back nostalgic sentiments of "Marquis", the opening track off BE's stunning debut LP. It's bouncy, playful drums caressing the ears while fluttering keys and gliding bass massage and tease our erogenous nether regions.

                                          Flip the wax and "From S - R" begins its technicoloured joy-ride floating on Mario's rainbow road; all star power and blue shells. A now trademark BE synth solo jotting delicate liquid funk upon this glowing, synthetic canvas. "Badum" appears out of nowhere, a spangled, pulsing arpeggio introducing the track before pure 90s deep house vibes ooze from every orifice. Sumptious, velvety strings encassing the most encapsulating of female vocal hooks alongside the very epitome of a deep house B-line; rich, warm and sure to fill the air of any sized dancefloor throughout the cosmos. Sheer bliss. "TNTN" creeps in with its dark jazz; smokey horns and espionage-themed piano licks rolling in serendipity side-by-side before the album floats back to harbour and draws to its natural, sleepy, medetive conclusion on "Bobbi". It's been another beauty from our man, as cohesive and expansive as his last effort and dripping with the same radiance throughout. 

                                          STAFF COMMENTS

                                          Matt says: Stonking follow-up to last year's breathtaking "The Seven Movements". He's lost none of that magic or flair for ingeniously crafted cuts.

                                          FORMAT INFORMATION

                                          LP Info: Limited vinyl only release in hand printed sleeves.

                                          The Balearic Blah Blah edition of hard-to-find unShazamable gems always brings the quality and number nine in the series is no exception. "Walk The Walk" is a superb uptempo electronic afterhours/sunset style edit from VH - a resident in one of Ibiza’s bigger clubs - of a fairly unknown track by 80s band Talk Talk. VH adds modern Dixon-esque production to the original and end result is a surefire winner for any openminded dancefloor. Sweden’s Dj Ri??olo serves up two excellent edits on this platter, the first being "Cool World", an amazing 80s drum machine-led reggaefied Balearic groover sounding exactly like one of those unforgettable hooky warm up or middle-of-the-night records played in Amnesia in '87 by Alfredo or Leo Mas. His second edit "Goonies" has ‘Why Can't We live Together’ style rhythms with repeated keyboard hooks showcasing his rare versatility blending together deepest 80s grooves with dreamy cosmic Balearica. Also on Side B we have "Summertime", a sublime KBE extended string-based edit of a bonus track on an old 80s B side - never released on any album but a firm favorite in the bars of Ibiza, sounding like an amalgamation of Sade and Swing Out Sister. Another vinyl-only collectable winner from the Balearic mountains of Blah Blah...

                                          Copenhagen's Music For Dreams dust off their sunday best and proudly present new Swedish signing 55 Cancri e (aka Sara Hausenkamp). Born in 1989 in Malmö, Sara started out learning classical guitar as a child before playing keyboard in different bands in her teenage years/early 20s. In 2013 she moved to Berlin and began playing keyboard/guitar/singing in electro duo Naftik. As well as music, she expresses herself through illustrations, collages, photos, writing, painting, fanzine-making etc. and studied at the school of Comic Art in Malmö. Hausenkamp's solo project 55 Cancri e started in the summer of 2014 with the creation and distillation of six tracks of perfect night music from outer space. Harnessing the power cosmic Sara specialises in tunes covered in diamonds - a melting pot of sensitive guitars, crying synthesizers, barking flutes, mellow wine glasses, combined with gorgeous organ/melodica and haunting voices. The end result is a beautiful, melancholic and stunning debut drawing comparisons to artists such as This Mortal Coil and Cocteau Twins... Limited vinyl with original sleeve by the artist - definitely worth investigating.

                                          Qnete joins the Lobster Theremin gang with this essential white label of hardware house and cosmic techno excursions. Channeling the spirit of Chicago, Detroit and New York in a dash through long-buried catacombs to find the lost pads of yore, Qnete imbues his sound with melodies so jacking yet so yearning that they belie his young age and short discography. EP opener "A Luv Jam" treats us to warm and comforting pads, zero gravity fx and a thick, Moroder inspired bassline, resulting in the perfect soundtrack to an all nighter on the observation deck. "I Might Be Wrong" takes a turn for the strangely psychedelic, guiding us down a rabbit hole to the sound echoing wood blocks, electroid beats. The rubbery bass rolls on for a lifetime while melancholic pads fill out the soundscape, taking us right into the smoked out darkness of the post peak. B-side cut "Dresden" packs an appropriately heavyweight percussive punch, laying waste to lesser soundsystems and headphones with a barrage of heat treated percussion. If your speakers pass that daunting test, their worthiness is repaid with a lovely, round bassline (imagine "Eurodans"), celestial pads and a healthy serving of swirling, lysergic phase. Play it loud and long.

                                          Alicia Bay Laurel

                                          Music From Living On The Earth

                                          Alicia Bay Laurel is well known as the writer and illustrator of one of the classic books of the back-to-the-earth movement, the 1970 Living On The Earth, a hand-written guide to living the good life, but she is also a very accomplished singer, songwriter and guitarist, the latter skill honed by studying with John Fahey. The songs on 'Music From Living On The Earth' were composed concurrently with the writing of the book, permeated by the sun and soil of the commune life, bright and earthy paeans to the natural world, featuring ABL's pure, strong and uplifting voice atop her fluid, confident and deft steel-string acoustic guitar fingerpicking, her style showing that she learned well from Fahey. She also collaborated with San Francisco Tape Music Center co-founder Ramon Sender Barayon, who contributes the 40-voice choral arrangement for the closing track. Although these songs were written as the sixties became the seventies, 'Music From Living On The Earth' was actually recorded in 2000 and first issued as a self-produced CD, then later issued in Japan on EM Records and is now out of print. This 15th anniversary first-time vinyl version, with new liner notes by the artist as well as English and Japanese lyrics, allows listeners to again hear ABL's blues, jazz and Indian music influences meld with folk roots to glorious effect.

                                          FORMAT INFORMATION

                                          LP Info: Includes fold-out lyric insert.

                                          CD Info: Japanese import CD comes with 24 page illustrated booklet with lyrics in English and Japanese.

                                          Waipod Petchsuphan / The Super Ranat Band

                                          Ding Ding Dong / A-Ba-Ni-Bi

                                          More rare Thai magic here, brought to us once again by those erudite musicologists at Paradise Bangkok. Thundering out of the traps in raunchy, raucous fashion the A-side plays host to a Thai funk masterpiece here from a true legend. Based loosely on the novelty song from the Italian sex comedy 'When Men Carried Clubs and Women Played Ding-Dong', Lae legend Waipod Petchsuphan laments the highs and lows of sexual pursuits while Ethio-style horns punctuate the rough R&B drum workout. Jump to the flip for a truly eccentric freakout that's a funky as curios come! Appearing for the first time on 45, this mental cover version of Israel's 1975 Eurovision entry by the unknown Super Ranat Band originally came off a library LP. Over the toughest grooves, it sounds like the group have thrown all their percussion and xylophones down the stairwell of an eight storey building - Mega!

                                          The Paradise Bangkok Molam International Band

                                          Kwang Noi Chaolay - Inc. Manasseh / Rabih Beaini Remixes

                                          Emerging from the vibrant excitement of Maft Sai and Chris Menist's globally celebrated Paradise Bangkok parties, The Paradise Bangkok Molam International Band have toured the world, including a support slot for the tastemaking Damon Albarn in Berlin and released a glorious sound of modern Thai fusion. Now for the third Studio Lam release The Paradise Bangkok Molam International Band, revisit LP cut "Kwang Noi Chaolay", which has been receiving both heavy radio and club play. Boasting a killer dub disco bassline and rippling afro influenced percussion this stone groove just rolls on and on, while a seesawing khaen (a Thai bambo harmonica) brings a kind of Southeast Asian gumboots vibe. Chuck in some thick wah licks and you're right in the pocket! This original track is followed up by a true slice of Deejay delight in the form of Nick Manasseh's sublime dub rework. Stripped back, stretched out and soaked in mind bending fx, the track zooms off into cosmic disco territory, landing in the middle of an early 80s Baldelli set. On the B-side, Rabih Beaini feeds LP opener "Sao Sakit Mae" through an avant-garde electronic looking glass, capitalising on the original hypnotic melody, and then peppering it with the sputters and pops of whirring machinery before it all heads off into space. The next step in the '21st Century Molam' project, this one's essential for fans of Goat's sublime debut LP. 

                                          Seven Davis Jr

                                          Beautiful Friends - Inc. Detroit Swindle / Krystal Klear Remixes

                                          Modern funk maverick Seven Davis Jnr stole the show last summer with a truly sublime 12" for the esteemed and venerated Classic Music Company. Now, the label set their sights on this summer's crown with a remix 12" featuring the production talents of Detroit Swindle and Manchester's own Krystal Klear. Now the Dutch duo are renowned for being particularly picky when it comes to remix work, and the fact they asked to remix this one shows how into the original they are. The minimalist funk majesty of the original is transformed into a day-glo acid stormer in the hands of Detroit Swindle, alive with additional percussion, gurgling 303 lines and red hot stabs. On the flipside, Krystal Klear strips "Beautiful" back to reveal the jacking monster within. Reducing the vocal to a looped snippet, the producer works in a warped synth squeal, recalling the lost warehouse magic of Lil Louis or John Rocca.

                                          As one half of LA duo Cosmic Kids, Daniel T. has been making waves over the past few years with releases on labels including Throne Of Blood, Let's Play House and DFA. A record collector and selector at heart, 2015 has seen him flesh out his solo productions with world-leaning contributions to Chit Chat's Brazilian tinged 12 and American Standard's African summer stunner. Young Adults brings Daniel into the fold for his debut "Tetrachromat mini-LP" spanning a sprawling spectrum of sounds, but unified by a signature West-Coast sheen. Opener "Mission Hill Morning" stretches its arms in the early AM mist and is greeted by smooth synths and African vocals, before "Tetrachromat" jogs steadily toward the horizon to a synthetic highlife rhythm and uplifting keyboard lines. A-side closer "Planetesimal" accelerates down the Pacific Highway in the drop top, revving the Roland and Moogs under the bonnet. On the flip, "Laced" drinks in boogie and Italo house, then breathes it out as synthetic funk fire before "Akkoussah" sprinkles some sultry spice over Daniel's superb synth work. Last but not least, "The Sun & The Sky" sits back while the sea sips up the last remaining daylight.

                                          Kaboom! Future Flash are back with a superb split EP of hardware madness, raucous acid and all out machine aggression. This single sided two tracker finds renowned gear obsessive Perseus Traxx in good company with the mysterious Operator Tracey, and between the two of them there's a whole load of analogue action going on. Operator Tracey delves into the world of weirdo acid on the A1, liquefying minds left, right and centre with a frenzied acid line. Gloomy digi-strings float over over inflated kick drums and bouncey percussion, setting the scene for the passionate Derrick Carter speech with gives this unusual yet super infectious, squelchy hardware workout its name. A rallying cry against the blasphemous practice of EDM, Carter's vocal fits perfectly on a track which is as far from Skrillex as it gets. Perseus Traxx drags the machines out and launches an arpeggiated, ethereal assault on "Across The North Sea". Progressive melodies and choking hi-hats smash into one another whilst a booming 707 kick rattles the bass bins and drives the techno berserkers into a frenzy. Undoubtedly inspired by the likes of Liaisons Dangereuses, DAF, Stratis and Pyrolator, this retro tinged blast of the dark wired sound is pitch black magic.

                                          After giving it a thorough smashing with a brace of club killers from Phrased, L.B. Produce are back on wax with the debut release from the mysterious Ron Obvious. If you're in the market for sweltering house bombs, packed with groove and primed to ignite a dancefloor, then this is your arsenal! The hissing hats, conga led groove and bloodless pads of opening cut "Group Mind" create a heads down vibe from the off, while looped soul vocals and dubby synth stabs bringing Detroit and Berlin together as one.  A masterpiece of sustained tension and post peak subtlety, this one keeps you moving with careful manipulation of levels and frequencies. Speaking of which, vocal duties (sampled of course) on A2 cut "The Highest Level" fall to spiritual entity and cosmic being Iasos. Ron goes deep and meaningful on this sublime house cut, combining classy stabs with a bassline you feel rather than hear and topping it all off with Iasos' rapturous chatter. Once again, Ron shows off his knack for subtlety, tweaking the hi hats and cymbals to keep the party peaking! After a brief message from our sponsors, "I Keep Down" kicks off the flip with a lighthearted, lightfooted brilliance. Paying maximum respect to Fingers Inc, Kerri Chandler and Chez Damier, this retro house gem sees Ron join the likes of Andras & Oscar, Zanzibar Chanel and Jack J, offering his own take on the vintage house sound without losing any of the camp majesty! EP closer "The Region" keeps things old school, but takes us deeper and darker into the NYC underground with moody pads, thick bass, chopped and dropped vocal snippets and a spooky synth line. Whoever he is, Ron Obvious deserves maximum props because you'll play all four tracks on this wax! Dope.

                                          Jackie House

                                          Stydive - Inc. Matrixxmann Remix

                                          Since 2010, Jackie House aka Jacob Sperber has been driving the A&R side of the San Francisco dance music troupe, running the HNYTRX label and producing remixes with other members under the Honey name. "Stydive" is Jackie's debut to wax and has as much house party playfulness as it does warehouse grit and filth. With a vocal sample nod to punk's past, “Stydive” pogo dances to dusty and stuttering analog drum rhythms and skips along a rude and infectious b-line. Certain to please numerous persuasions on the floor for its dub-esque qualities, instantly recognizable hook, and open relationship with house music, this tune begged to have it's own side. That said, there is always room for the delectable Matrixxman who takes "Stydive" to a strobe lit darkroom in his remix on the flip. Spurting erotic lazers around a cavernous kick and session-friendly metallics, this tune should take the floor careering firmly into the speaker stacks. Another essential addition to this fledging new label - recommended.

                                          Minimal wave / euro disco darkness from the San Fran dwelling Bézier; previously releasing under the Dark Entries label earlier this year ("Telomeres" EP). The title track "皆" (pronounced ‘mina’) translates from Japanese to mean ‘Everyone’. "Mina" is a hardware powered jaunt through sleazy, dark, Euro-disco. Squelchy B-lines supporting frantic drum machine workouts and weaving, Italo-esque synthlines. Recorded this year with Mark Pistel providing the mix down and featuring SF drummer Kevin Woodruff of Tussle fame providing live drumming for the last portion of the track. "Serengeti Drive" which appeared on Honey Soundsystem’s earlier HNYTRX compilation of queer dancefloor artists is the slow burner of the group. A slo-mo chugger with lashings of x-rated pleasure throughout. Finally "Mysteries of the Deep" appeared in the JACKTONE cassette compilation of Bay Area electronic stars is the soundtrack to an underwater expedition into the Drexciyian sub-aquatic caves. Get on your scuba gear and prepare to be fully immersed in this unqiue slice of bubbling synthetic joy. Both tracks were recorded, produced and mixed by Robert in his home SF studio in 2009. Exceptional stuff - highly recommended.

                                          Early in 2014, Copenhagen’s Kenneth Bager asked Manchester's THC fuelled tape obsessive Ruf Dug if he would make an album for his acclaimed Balearic imprint Music For Dreams. That summer, Ruffy headed off to spend three months basking in the tropical climes of the island of Guadeloupe in the French Caribbean. Seizing the opportunity to live out his own Compass Point fantasy, he put together a portable studio that would fit into a suitcase - two half-rack synthesizers, a couple of effects units, his laptop and a 4-track cassette recorder. He set up the studio in the spare bedroom in a rented villa and spent the next 12 weeks watching the sun set and making the album. Album opener "Tendacayou" instantly transports us to the same humid paradise dreamed up by Andras Fox on "Overworld", but where the antipodean producer kept his LP calm and airy, Ruffy heads off on all sorts of musical adventures. "Speedboat" is a synth led stomper worthy of a lost Miami Vice finale, perfectly suited to an island which sees 80% of the world's Cocaine pass on through. "Dominica" and "Mangrove Dub" take their foot off the pedal (well, whatever the nautical equivalent is) and drop out into some seriously stoned dub, while "Mosquito" closes out the first disc with a blast of sunkissed future zouk! "Shoreline" opens the C-side (geddit?!) with the kind of immersive, cinematic Balearic you expect from Cantoma, while "Rasta Beach" takes the digidub approach to making you dance. As we head into the final side of this expansive journey through Ruf Dug's extended vacation, Mancunian troubadour Nev Cottee drops in to add his heartbreaking vocals to the sublime "Le Rayon Vert", before Ruffy takes us home with an instrumental tribute to the mighty Wally Badarou. This is music not only for sunsets, but also for late-night smuggling adventures; for tropical storms and rum-soaked afternoons; for pirates, playboys and people like you and me. The end result hopefully transports you to an island in the sun: neither Guadeloupe nor Ibiza particularly, but rather that island of the imagination, one we all escape to from time to time, no matter where we find ourselves. Welcome to "Island" - the nine track debut album by Ruf Dug on Copenhagen’s Music For Dreams.

                                          Back in stock Cover of Time Is Over One Day Old by Bear In Heaven.
                                          Bear In Heaven’s new album is aptly titled ‘Time Is Over One Day Old’. It’s a record with a visceral relationship to time and its processes. Where invulnerability and ambition can support you as you grow, at some point they become dead weight and being true to yourself means casting them off, starting anew. This plays out as a powerful analogy for the band across the arc of their career.

                                          They’ve always made intriguing records, here especially. It’s easy to see why musicians fall hard for this band. They entice and envelop you. Any ‘Bear In Heaven’ song will most likely greet you with a provocative beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely arranged and glistening. Jon Philpot’s high, smooth, strong voice is so tightly wound into the music that it can be easy to overlook the lyrics, Bear In Heaven’s capacious third dimension. Philpot is a centre seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives, the interactions with the world that are both difficult to express and anathema in daily conversation.

                                          While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007’s ‘Red Bloom Of The Boom’ is ambitious and experimental. ‘Beast Rest Forth Mouth’ (2009) was a pivotal record that still feels important, seductive and intense. On their 2012 album ‘I Love You, It’s Cool’ the structural and musical ideas are challenging and masterfully developed. For ‘Time Is Over One Day Old’, we witness the band once again turning their gaze inward and prioritizing their evocative abilities in line with or even slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It’s beautiful; it’s moving.

                                          Here Philpot and partner Adam Wills are more deeply collaborative than ever. This album is darker at times, louder than their others; it feels personal and direct. ‘If I Were To Lie’ places Wills’ bass groove front and centre, ‘Demon’ is riveting and propulsive in spite of its dark pointed lyric and ‘They Dream’ dissolves into three and a half minutes of deeply satisfying ambient synth work in its second half. Wills has always been the band’s anchor, providing rock solid, rhythmic bass lines and guitars that blur the boundaries of Philpot’s synth. Though in moments such as the final track ‘You Don’t Need The World’ Wills cuts through with an audacious, biting guitar hook. It’s a great culmination of the album’s sense of release. This album isn’t about being dark, it’s about releasing darkness and frustration.

                                          When bands age well, their vitality takes shape. They wear but with intention. They trim excesses. Throughout this album one can hear a band at peace with themselves. They’ve learned to cut back on that which is merely impressive and to concentrate on simply what is crucial. For Philpot this is about making something lasting. “A lot of shedding, getting rid of layers and preconceptions… breaking up with old ways of thinking, old ways of being, starting to look at this thing in a new way and finding something positive.” The result is a record that will stay with you.

                                          Mixed by Nicolas Vernhes (Deerhunter, Matthew Dear, Wild Nothing, War On Drugs).

                                          Marco Beltrami

                                          Carrie OST - Blood Red Vinyl Edition

                                          Carrie is the 2013 remake of the classic horror tale about Carrie White, a shy girl who is outcast by her peers and sheltered by her deeply religious mother. Carrie unleashes telekinetic terror on her small town after being pushed too far at her senior prom.

                                          Based on the best-selling novel by Stephen King, Carrie is directed by Kimberly Peirce with a screenplay by Lawrence D. Cohen and Roberto Aguirre-Sacasa, with top actresses Chloë Grace Moretz and Julianne Moore signing for the lead roles.

                                          The haunting classical score by Marco Beltrami vividly accompanies the eerie and terrifying scenes of the film. The dynamic soundtrack is wonderfully suited for a vinyl issue, making this without a doubt an audiophile collectible.

                                          • 180 gram audiophile vinyl
                                          • insert
                                          • gatefold sleeve
                                          • first 1000 copies numbered and pressed on bloody red vinyl!

                                          Back in stock Cover of Curiosities - CD Boxset by The Pop Group.
                                          After spending over a year collating original singles, albums and previously unreleased studio and live recordings, the Pop Group have created a limited box set containing albums 'We Are Time' and the brand new compilation 'Cabinet Of Curiosities' + 36 page perfect bound book + bookmark + badge.

                                          'We Are Time', named after one of their most infamous onslaughts was originally released on vinyl in 1980 a nd has been remastered from original tapes becoming available on CD for the first time and also reissued as limited vinyl. Of the early live and studio recordings that comprise 'We Are Time', frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

                                          'Cabinet Of Curiosities', the nine-track compilation includes the fractured future-funk single "Where There's A Will," described by Sager [guitar] as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."
                                          Also included is the original previously unreleased version of "She Is Beyond Good And Evil," probably the band's most infamous song. The set continues with BBC John Peel session tracks "We Are Time" and "Words Disobey Me," and rounds up previously unreleased songs, "Abstract Heart" and "Karen's Car," and other alternative versions.

                                          The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

                                          "It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" - Nick Cave on hearing The Pop Group for the first time.

                                          Second release from the relaunch of EM Records’ Thai music series. Paradise Bangkok, Soi 48 and EM have teamed up to deliver a series showcasing the extraordinary performances of some of Thailand’s greatest musical legends.

                                          For reasons unknowable, certain places in certain eras become hotbeds of music, fertile in their growth and flowering of musical talent. Thailand in the 1970s was such a place, and Dao Bandon is one of the enduring greats of that era. Born in the farm country of the Isan region, Bandon came from a poor family and was a monk during his teens, two great influences which shaped him, with his farm roots grounding the earthy heart of his lyrics, and his years of monastic chanting lending a unique resonance to his singing. After an apprenticeship with some of the greats of Thai music, Dao Bandon began to enjoy success leading his own band. The songs here, released in the 1970s, showcase the infectiously joyful Bandon groove, his mellifluous voice, and his captivating melodic sense. His lyrics deal with sex, love, marijuana, and the struggles of the poor, but no matter what he sings about, a sense of good cheer is always evident. Featuring parallel translations of the lyrics, in-depth liner notes, rare photos and of course great music, "Man on a Water Buffalo" is yet another example of Thai excellence from EM Records.

                                          + Newly remastered
                                          + First ever world release by the artist outside of Thailand

                                          FORMAT INFORMATION

                                          LP Info: Full-color inner sleeve incl. liner notes, pics & lyrics.

                                          Pioneering electroacoustic and tape music by Henk Badings assisted by Dick Raaijmakers (Kid Baltan) from the Hanover Opera Ballet production of Evolutions choreographed by Yvonne Georgi.

                                          Premiering in Hannover in 1958 then in Rome and Vienna in the following year the ballet Evolutions (Evolutionen) by Yvonne Georgi was the second of three groundbreaking collaborations with Henk Badings (bookended by Cain and Able aka Elektronisches Ballet in 1957 and Die Frau Von Andros in 1960) in which electronic tape music was combined with avant garde choreography, thus contributing to a vibrant global movement which drew a line between experimental dance artists and concrete / electroacoustic musicians such as Alwin Nikolais, Maurice Béjart (with Pierre Henry) and George Balanchine (with Remy Gassman) amongst others. Assisted by fellow Dutch electronic music pioneer and Philips sound laboratory technician Dick Raaijmakers (aka Kid Baltan), Badings, an Indonesian born musician of Dutch parents, would by the late 50s begin to expand his successful career as a composer of “romantic modernism” and develop electronic, polytonal and microtonal music which instantly attracted ballet mistress Georgi to his unique brand of musique concrète. As a key exponent of forward-thinking and conceptual dance, Georgi devised a narrative based on the evolution of technology and is agonising effects on mankind.

                                          Garnering mixed opinions amongst the classical ballet cognoscenti in 1959, the projects of Georgi and Badings were viewed as a part concert / part installation due to the radical sonic shifts and the physical deployment of large electronic speakers to replace the otherwise acoustic orchestral accompaniment. Utilising the entire apparatus of the studio at Philips’ physics laboratory in Eindhoven before committing to master tapes, Evolutions not only stretched the perceptions of modern ballet aficionados but also stretched the technical boundaries of electronic music at one of its most exciting and vibrant junctures in musical history.

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