Laura Groves

Thinking About Thinking EP

    Laura Groves, lead singer of Nautic and original Bradford girl. Her EP 'Thinking About Thinking' includes the first songs she's written since moving to London from her hometown. Self-producing for the first time (with additional production from Bullion), Laura places her exquisite voice at the heart of lavish harmonic arrangements, synths and guitars. 

    Back in stock Cover of Kime Ne - Ricardo Villalobos Versions by Insanlar.
    London's Honest Jon's deliver something mind expanding, other worldly and frankly fantastic here, bringing together Turkey's foremost supergroup and the master of minimal techno on a beautifully packaged double pack. Side A introduces us to the Insanlar sound with "Kime Ne", psychedelic, arabic and exotic music which fuses the organic and synthetic into a deep desert trance. The brainchild of Baris K, Cem Yildiz and Hogir, Insanlar is a modern fusion of Baldelli's cosmic sound and the psychedlic folk and disco of Erkin Koray, Derdiyoklar and a host of other musical visionaries from Istanbul's past. The expansive track sees the musician glide through frazzled solos and brain twisting drones over a stripped back machine beat before dropping into prophetic words from 16th and 17th century Turkish poets. It's simply sublime. Over on the flipside, Ricardo Villalobos delivers the first of his two mixes, upping the tempo, concocting one of those percolating rhythms he's made his own, and distilling the original ingredients into tense and terse snatches of esoteric sound which perfectly compliment his loose machine funk. On the other vinyl, Ricardo delivers his second mix, a deep and dislocated minimal techno version with all manner of sonic artefacts scattered freely throughout the course of the track. I've got a sneakying suspicion that this is gonna blow plenty of minds late on in his sets. 

    Back in stock Cover of Three Versions by Kassem Mosse / Simone White.
    In a typically bold Honest Jon's collision, chanteuse Simone White gets remixed by German techno producer Kassem Mosse over three tracks on this limited EP.

    Leon Ware

    Why I Came To California / Rockin' You Eternally

      To coincide with Expansion’s release of Leon’s two iconic Elektra albums, back to back on one CD, two signature tracks have been brought together here on 7” single. Outside of all the great work Leon contributed to other artists, notably Marvin Gaye, both “Why I Came To California” and “Rockin’ You Eternally” are songs he is best remembered for as a solo artist. The love of Leon and both these songs keep Leon performing through to this dates, including nights at Ronnie Scotts in London last year. Leon continues to record beyind these 80s records, and Expansion have been honoured to represent his music over the years with reissues, compilations and new recordings.
      Two classic tracks back to back

      No Ditching


        No Ditching are the latest offering from the hot bed of DIY pop that is Pity Me, Durham. Featuring members of Martha, the all female line-up of No Ditching deliver sardonic and infectious pop punk tunes that aim to have a great time whilst purging gripes along the way. Released on 7” vinyl the record is supported by a UK tour and video for the track “Dickhead” directed by Martha’s Nathan Stephens-Griffin.

        "Twilight Peaks" is a formal reissue of Robbie Basho's last recordings. “Twilight Peaks” was originally issued in 1984 on a tape label called "The Art Of Relaxation", and never got any reviews and little attention at the time. For this new (and proper) release it was mastered by Glenn Jones (of Cul de Sac fame) and Matt Azevedo, from the original demo tapes, provided to Glenn Jones by Basho himself, as he was working on the album.

        The CD has two extra live tracks, culled from the original demo tapes tapes as well. Amazing liner notes by Glenn Jones and Rich Osborn. 

        Following the launch of his limited multi edition 'F O R M A T' project in February, Trevor Jackson releases a collected triple LP edition via The Vinyl Factory featuring 13 tracks including an exclusive bonus cut not available on any of the initial releases.

        'F O R M A T' is the first album from Trevor Jackson since his acclaimed Playgroup album back in 2001. His recent "Metal Dance" compilations reinvigorated interest in early industrial and experimental electronic dance music that’s clearly had a powerful influence on much of today’s leftfield club music, Jackson's included. Curated from an archive of over 150 tracks Trevor had built up over the past two decades, the inspiration for the producer's music has come from “the times and places where genres weren't quite formed.” While his synth and beatbox workouts might touch on proto-house, on new wave, on Italo and techno, on ambient and psychedelia, they are at the same time none of these things.

        'F O R M A T'’s initial limited edition release in February consisted of 12 separate physical releases each featuring a different track, available on 12”, 10” & 7” vinyl, CD, mini CD, cassette, USB, VHS, minidisc, DAT, 8 track + reel to reel. This was no ordinary release - it charted the legacy of the physical music format, in a characteristically beautiful and uncompromising way. An accompanying installation at The Vinyl Factory space at Brewer Street Car Park in London offered people the opportunity to listen to the album as a unique audio-visual experience.


        3xLP Info: * 13 album tracks including an exclusive bonus cut
        * Pressed on three 180g heavyweight vinyl records
        * Housed in a bespoke clear sleeve
        * Screen printed artwork by Trevor Jackson

        CD Info: CD comes in clear printed jewel case

        Breakfast In Fur

        Flyaway Garden

        Breakfast In Fur began as a recording project between Dan Wolfe and Kaitlin Van Pelt in the burgeoning music scene of New Paltz, NY. With the inclusion of friend and guitarist Michael Hollis, Breakfast In Fur was truly born.

        The band’s first release was an eponymous EP that came out on 10” vinyl on Analog Edition Records in 2011. Sonically the EP is a self-contained universe of jangly guitar, children’s toy sounds, layered percussion, droning accordion and Wolfe and Van Pelt’s soft, whispered vocals.

        Flyaway Garden marks Breakfast In Fur’s transition from the quiet bedroom folk of their first EP into the experimental psychedelic rock of their new album. Now performing live featuring Dan Wolfe (guitar/vocals), Kaitlin Van Pelt (synths/vocals), Mike Hollis (lead guitar/bass), and Chris Walker (drums).

        While maintaining elements of the pastoral folk of their first EP on songs like “Portrait" and “Whisper,” Flyaway Garden also sees the band moving into more aggressive, punk influenced territories with tracks such as “Shape" and "Setting Stone.” British IDM and ambient music play a significant role on their new album, most notably in the electronic textures that accent, and occasionally envelop these recordings. Largely self-produced in Van Pelt and Wolfe’s home, Flyaway Garden presents a nuanced, idiosyncratic production. As Pitchfork wrote in their review of the album, “Flyaway Garden makes an airtight case for Breakfast In Fur’s atmospheric allure and mastery of mood.”

        Commenting on the lyrical content of their latest album in the Miscreant Fanzine, Breakfast In Fur noted that “the new record has a lot of songs about time and identity— like when you look at a photograph of yourself as a child... how are you that person? There’s a lot about that kind of feeling.” These questions of identity and the passing of time crop up all over Flyaway Garden. Tellingly, the cover art (created by Van Pelt) features a small child engulfed in a stream of flowing colors, an image that conjures Breakfast In Fur’s psychedelic vision, as well as layers of stratum that depict the passing of geological time.

        “But unlike so many My Bloody Valentine acolytes, Breakfast in Fur whip up a wondrous, otherworldly sound without relying on effects-pedalled guitarchitecture, embellishing their acoustic folk-song foundations with ambient synth swirls, chimes, programmed beats, overlapping melodies, or, in the case of "Lifter", flute-powered jams straight out of the Kraftwerk '71 playbook. Theirs is a form of dream pop that recognizes dreams don’t necessarily come to us in a soft-focus haze, as they’re so often rendered; when you’re inthe thick of one, dreams are disarmingly vivid, high-def experiences that can shift abruptlyfrom ecstatic to ominous. It’s a sensation best conjured by Flyaway Garden’s cover of "Cripple Creek Ferry", which revamps the Neil Young standard into a phantasmagorictropical fantasia that feels like riding through Disney World after downing a bowl of ayahuasca.” Pitchfork 7.6.

        Recorded at home over the course of a year, Nature evolved as a collaboration between Honey Owens, Fauria, and drummer/bassist/keyboardist Mark Burden. The album finds the trio crafting enveloping layers of guitars, synthesizers, and reverb to create a shimmering, wide open sound.

        It's a restrained, direct style, but tying it all together is a lulling, dreamy melodic sense that is distinctively Valet. At the center stands Owens' ethereal voice, which has transitioned from evoking trippy fantasies to creating space for honest contemplation. 

        Informed by Honey Owens early musical life in the 90s Bay Area underground music scene, Nature slyly synthesizes the DIY spirit of punk, the expansive guitar whirl of shoegaze, and the propulsive rhythmic drive of dub.

        For Valet, Nature's sound is a change in style, but not substance. From the haunted blues of 2006's Blood is Clean to the Fourth World free fusion of 2008's Naked Acid, Owens and company have always demonstrated a mastery of bringing together disparate musical genres into a unified musical whole.

        Giorgio Tuma

        Giorgio Tuma With Laetitia Sadier

          Following Giorgio Tuma's collaborations with Lena Karlsson (Komeda) the Italian musician pays homage to another of his musical muses, the ex-singer of Stereolab, one of the groups that most inspired Giorgio to begin writing his own songs. Here are three songs on limited edition 7", as a taster from their forthcoming album collaboration.

          Clear vinyl, numbered limited edition of 500, with download.

          Various Artists

          A New Life - Private, Independent And Youth Jazz In Great Britain 1966 - 1990

            Rare, obscure and esoteric UK jazz!

            Thought you knew about British jazz? Think again. Diving into the unknown world of the private pressing, Jazzman Records presents some of the rarest and wildest British jazz ever recorded!

            The major stars of British jazz such as Stan Tracey, Michael Garrick and Joe Harriott are now rightly recognised as the giants they were, and the legendary Brit jazz recordings of the 1960s are amongst the most highly prized of all collectable records. But what happened to jazz in the UK when the recording industry lost faith in it?

            A New Life is the first survey of British jazz labels and musicians that went their own way in the 1970s, bringing to the light the unknown indie gems and outsider private pressings that let jazz musicians keep the faith into the 1980s. From the time-bending spirit music of London's Lori Vambe to the psych-jazz of Birmingham's Poliphony, via Spot The Zebra's jazz dedication to David Attenborough and Indiana Highway's modal Christmas carolling, A New Life chronicles a compelling selection of lost and obscure jewels of the British jazz underground.

            Compiled by Francis Gooding and Duncan Brooker (the team responsible for the acclaimed Next Stop Soweto series), and coming with extensive sleevenotes based on interviews with the musicians, A New Life is the first major British jazz collection since Gilles Petersen's Impressed series, and the first ever to shed light on the forgotten legacy of independent, regional and experimental Brit jazz.

            · All tracks fully licensed and digitally restored

            · Only 1000 double vinyl gatefold LPs pressed

            · Comprehensive and detailed liner notes with pictures and information on each track direct from our interviews with the musicians involved

            · CD with 24 page booklet packed with pics & extensive notes based on our original research

            The Reality Band And Show

            Gangsterboy / All You Need Is Time To Mess Around

            - Possibly the rarest soul / disco 45 in the world.

            - Last copy sold on eBay for $7000

            - B-Side is brilliant funk 45, unknown because of its rarity.

            If you are not a top end disco collector with deep pockets you won't know this record, it's as rare as its gets. The last clean copy went for $6373. My 'Gangster boy' odyssey started for me around 12 years ago, soul collector and D.J David Ripolles played an acetate at Prestayn soul weekender and it blew me away, I asked dave what it was, he said the acetate was credited to Wanda McDaniels.

            Myself and Malcom Catto (Drummer in excellent band the Heliocentrics ) started tracking the record and eventually got it touch with Co-Producer Ronald Crawley. We had the opportunity to do the record but the sticking point was nobody had a clean copy of the record to make a recording from and there were no tapes. Roll on 10 years and I secured a mint copy and got perfectly clean recording so here we are.

            The record was not performed by Wanda McDaniel's & Ultimate choice as it has been credited up till now. The sand was 'The Reality Band And Show' from Newcastle Pennsylvania. The backing band was Ultimate Choice and the backing singer was Wanda McDaniel's (Producer Ronald Crawley sister). The lead singer was called Gladys, what happened to her we don't know but what a voice.

            It was recorded in 1977 at Asterix Studios in Wilkinsburg Pennsylvania, 300 copies were pressed up to test the market response which surprisingly was lacklustre. So as these things go it was forgotten about and everyone moved on to the next thing.

            The Label owner of 'Appleray' and its parent 'Pittsburgh Music Industry's' Ray Mitchell is no longer with us and we did not manage to find any more members of the band or uncredited chief engineer Ralph Camino. Ray recorded a couple of other decent 45s on Appleray but nothing quite touches this Disco Soul Perfection.

            What a record, top of the stack, a perfect 10. Just Buy it.


            Here And Now 2

              Funky and abstract atmospheres, dark and dramatic moments, exotic solutions and soul drifts - everything contributes to create a unique music soundscape - 70s library music by the Italian soundtrack composer Paolo Renosto, who released his library music compositions under the alias "Lesiman".

              "Here and Now Vol.2" was originally releasesd on Vedette Records in 1974.


              Here And Now 1

                Funky and abstract atmospheres, dark and dramatic moments, exotic solutions and soul drifts - everything contributes to create a unique music soundscape - 70s library music by the Italian soundtrack composer Paolo Renosto, who released his library music compositions under the alias "Lesiman".

                "Here and Now Vol.1" was originally releasesd on Vedette Records in 1973



                  The album Premonition is a masterpiece of spiritual jazz, and reflects the spiritual awakening of a natural musical genius, Umlah Sadau Holt.

                  In the 1970s, Holt was involved in all kinds of jazz, reggae and world music projects in the San Francisco Bay Area. Over time he absorbed the global rhythms that can only come from extensive involvement with a variety of international musicians, and he integrated them into his own developing ideas of jazz. When his friend Emmanuel Nado returned from Africa one day, Umlah was fascinated by his pictures and stories and was inspired to learn more about his heritage - even to the extent of learning to play football! He was also inspired to use his skills to create music that would bridge the spiritual gap between the continent in which he now lived and that of his ancestors. Drawing upon his close friends and a varied selection of session musicians, the concept for an album developed, and eventually 'Premonition' was born.

                  Umlah composed and arranged all the songs on Premonition, his first and only album, and released it on his own private label. Yet despite an enthusiastic response from jazz aficionados and favourable reviews by the critics, as is often the case with independently produced records, sales were poor. Today the original LP remains an elusive - and expensive - collectors item.

                  We intend to give Premonition the exposure it deserves. Here is an album that is the sole representation of a inspired jazz artist whohad the talent and dedication to see his dreams materialise. We believe it's significant and important enough in the heady realms of Spiritual Jazz to be rescued in its entirety from obscurity. Another exceptional album in the Jazzman Holy Grail series.

                  Piero Umiliani

                  To-Day's Sound

                    One of the best work by Piero Umiliani - double LP + poster 48x48.

                    Although he is best known for lounge-oriented film scores like Svezia Inferno E Paradiso and Angeli Bianchi...Angeli Neri, Italian composer Piero Umiliani was also a prolific composer of easy listening pop. His finest effort in this vein was To-Day's Sound, a 1971 instrumental double album. This adventurous undertaking manages to justify its length by dishing up 21 tight, punchy instrumentals that mix lounge, jazz, easy listening, and pop hooks in equal measure.

                    Marcos Valle

                    1985 / Prefixo - Theo Parrish / Bloodfire Remixes

                      A 12” single featuring two tracks by Marcos Valle - one of Brazil's most accomplished artists and composers - remixed by underground dance music pioneers and long-time label friends, Theo Parrish and Bloodfire (aka Daz I Kue). Both tracks are taken from the forthcoming Brazilka compilation: a 20th Year anniversary CD on Far Out Recordings. Throughout his six decade career, infiltrating pop, bossa nova, delicate psychedelia, jazz and funk, Marcos Valle, ‘the original Rio beach boy’ has consistently shown a dogged determination to transcend the traditions and structures of bossa nova, whilst never veering away from the movement’s inherent, fundamental spirit. It’s fair to say that the ever boundary pushing Theo Parrish can be seen in a similar vein with regards to house and techno, but his musical creativeness reaches far beyond Chicago and Detroit, as he demonstrates with this re-work of a modern Brazilian classic.Theo Parrish remixes often equate to an archaeological excavation of the entire sonic constitution of whatever it is he’s remixing. It seems, however, that in the case of "1985", Marcos Valle’s funk infused, minimal Synth and Rhodes duet, worked as more of a blank canvas for Theo to build one of his inimitable drum patterns around. The result is a warm, syrupy, thudding groove, littered with hissing hats and deepened by a growling off-kilter sub-bass, designed (as many of Theo’s productions are) with the high-spec club system in mind. The B side sees West London broken beat don, Daz I Kue return to his Bloodfire alias with a remix of Marcos Valle’s classic, "Prefixio". Core member of the world respected Bugz In The Attic collective, Daz I Kue’s Bloodfire mix draws upon the heritage of the bruk movement he pioneered, which drew its own influence from jazz, hip hop, soul, reggae, house and more. The "Prefixo Bloodfire Remix" re-appropriates Marcos Valle’s beautifully melodic masterpiece for the dance floor, reinforcing the samba rhythm with a shuffling 4/4. Squelchy synth bass and looped flute parts work around samples of Marcos Valle’s lush piano chord structures in a way that keeps the original melody in-tact in its new heavier, club focused context. A club-ready, samba weapon to top off the 12”!

                      Octave One

                      Burn It Down

                      Octave One are Lenny Burden and Lawrence Burden (with revolving members of Lynell Burden, Lorne Burden, and Lance Burden). Their recorded output has come exclusively on influential labels Tresor and their own 430 West and has very much defined the techno trends of the day. From hard edged to tripped out, futuristic to soulful, they have done it all and then some.

                      Made using a fine collection of hardware including bits by Roland, Moog, Dave Smith Instruments and much more besides, it follows 2008’s ‘Summer On Jupiter’. Kicking off with the rooted kicks and sci-fi, slo mo techno of ‘Eighth Wonder’ the album unfolds through elastic and triumphant diva house on ‘ Jazzo / Lose Myself’, cosmic soundscaping on ‘Afterglow’ and melodically enriched grooves and funky guitar licks on ‘A Better Tomorrow (O1 Remake)’. Elsewhere there is breezy and anthemic fair with ‘Believer’, soul kissed sounds and lush pads on ‘Whatever She Wants’ and then shapeshifting, industrial tinged beats and twisted techno in the later half.

                      Things unfold on ‘Burn It Down’ with a real sense of narrative, though, and despite being a techno album never do things grow to stern or serious. Instead the mood and tempo switches up knowingly, just like an Octave One live set, and really transports you to another place entirely in the process.

                      Albion makes a triumphant return to Macadam Mambo with an edit quartet of weirdo disco obscurities, plucked right from the dustiest crates of the continental flee markets. Up first, "Pyramids" sees the Swedish producer get his goth on, revamping a gloomy but glam euro disco stomper which marries hair metal histrionics, horror movie melodies and a pop chorus under the killing moon. "Kabala" sees our geezer leave Giza, heading East to a land of milk, honey and naive synthesisers. Amid mystic melodies, exotic tones and shades of Andy Votel compilations gone by we find a snake charming disco oddity glowing golden with jazz fusion riffs and punk-funk attitude. On "Mambo Steel", Albion takes us on a breakneck journey through Cerrone's "Supernature", a desolate factory, late night jazz bars and the drug addled mind of a young Baldelli. It's madder than Matt Ward wrapped in ley lines and should not be missed! If you're still clinging onto the finally shreds of your sanity after all that lunacy, then "Seara"'s certain to send you to Winwick. Albion takes one Japanese synth funk original, blows the shit out of it with laser fire, deconstructs it with dub effects then pushes the saturation to Ste Spandex levels, leaving us totally mindfucked in the middle of the cosmic dancefloor. If it were even in doubt, here's further proof that Albion's the man!

                      What happens if you take one of the UK's most respected record dealers and an Idjut Boy and lock them in a room with beer, crisps and bud for the best part of a week? They come up with a plan, and every plan needs a mission - in this case a Record Mission! Dan Tyler and Nick The Record get collaborative on this limited, single press 12", feeding some dusty old wax through their collective consciousness and coming up with a trio of mindblowing edits. "Imperial Squelch" (I assume Dan was in charge of naming duties) takes care of business on the A-side, leading us planet hopping through the solar system on the wings of a one note bassline and disco drumbeat. The intergalactic groove is filled out with wild moog solos, wah organ magic and funked out riffage perfect for taking the dancefloor lord knows where! On the flip "S-Hit Machine" sees the duo extend and expand Nostromo's 70s space funk masterpiece "Around The World In 80 Seconds". Originally appeaing as the B-side to car boot classic "Alien", this synth heavy cut would sit very nicely next to Demis Roussos'' "I Dig You" or anything of Psychemagik's "Magik Cyrkles". Last but not least, "Frack Off" delivers a percussive punch in true Noid style, pairing an infectious rhythm section with whirring synth fx, laser fire and occasional blasts of discoid guitar. Don't mess about, just get it bought!

                      After a storming debut on Germany's Baroc, the mysterious L Neils brings his stripped back techno sound to Echovolt for four tracks of uncompromising dancefloor energy. Opening cut "7th Chapter" sets the tone immediately, delivering the producers' trademark combination of tape saturated toughness and unique musicality. The cascading keys and vintage drum sounds hint at an early nineties euphoria which is deflected only by the gloomy menace of the bassline. On the A2 we're treated to an untitled cut which sees Neils infecting his sombre soundscape with a vicious acid bassline and heat treated drums. Flip the disc and "MKMKMK" aligns a deep, round bassline with an infectious rhythm section and a top melody of unsettling warped chimes, before "Beta" sends a crew to explore the wreckage of raves gone by. Spacey melodies sneak around a techy breakbeat and glowing synth, harking back to a forgotten youth of crumbling warehouses and chemically enhanced dancefloors. It's two out of two for the young producer.

                      Beau Wanzer

                      Untitled 2

                        Beau Wanzer returns to his self-titled imprint with four more electro influenced tracks for the future freaks and cyber dancers across the globe. Operating in his own universe, Wanzer leaves the technoise to someone else here, applying his tried and trusted tape aesthetic to a totally different sound. "Beefhearts" is the sound of a Sakamoto riff played backwards and forwards at the same time while a robo crab assualts a drum a K-hole. Drug addled madness. Things get no saner on "Drew Is A Dogeater", which sees Beau top a stuttering electro rhythm with a constantly detuning synthline to create a decidely queasy atmosphere. On the flipside, "Seedless Grins" sees the producer incorporate a steady kick into his electroid overture, utilising the thumping 4/4 to propel his Dopplereffekted sequence through the thick filth of distorted drone. Closing cut "Beaches Of Leeches" takes the technofunk template into a deep and dark realm, slowing the groove down and firing it through a whole load of distortion on the way to your next warehouse rave. Sure to get the floors shaking and everything else along with it...

                        It would have been easy for Jose to have made a chill-out album, but instead he has worked together with four forward-thinking producers to create a modern album, moving across the genres snuggled together under the Balearic umbrella.

                        Jose Padilla is loved by many for his work soundtracking sunsets at the Café Del Mar and compiling the seminal Café Del Mar compilations which sold over six million copies. His fans are wide and varied, on one end of the spectrum you have Madonna or Karl Lagerfeld, and on the other DJ legends such as Harvey and Andrew Weatherall.

                        The four aforementioned producers Padilla worked with are; Mark Barrott of Sketches From An Island and founder of International Feel; Telephones, a man making serious waves right now with his deep house sound; Dusseldorf based and natural beat maker Wolf Müller aka Jan Schulte; and Australian Tornado Wallace of Tim Sweeney's Beats In Space label.

                        All four are known for differing styles and sounds, though their work together with Padilla runs naturally as a cohesive whole. Barrott brings a deep oceanic mellowness, Tornado the electronic synthesized melodic beats and grooves, Wolf Müller welcomes the afro end of town and Telephones has produced three tracks of beautiful dream-like house music.

                        Each producer was flown to Ibiza to work at Jose's home in Santa Agnes, set up their studios in the house overlooking the one of the islands most beautiful valley's and spent a week collaborating with Jose immersed within the feeling of the island. Each found their own sound within the walls of Jose's villa, but ultimately it is all extremely Balearic.

                        'Day One', 'Lollipop' and 'Blitz Magic' produced by Telephones pay heed to the newly revived dream house sound - expect an underground sleeper hit from one of these this summer. Mark Barrott produces 'Solito', as well as the beautiful album closer, 'Remember Me', and the acoustic guitar vibes of 'Mojame'. Muller brings Brazilian afro beats to 'Whistle Dance' and 'Afrikosa', and the album wouldn't be complete without Tornado's 'Maybe The Sunset' - a ride on Ibiza sunshine - and the widescreen 'On the Road'.

                        Jose Padilla has created an album for dancing wildly, relaxing wholly in nature, and losing yourself in. It is a true musical journey covering all angles of the balearic scene and reminiscent of one of the classic Cafe Del Mar compilations but in one artist album, and that artist is Jose Padilla.


                        Wants A Piece Of You - Vinyl Edition

                          In the litany of all-girl 1960s garage bands, there cannot be a more powerful and compelling entry than She. 14 of their best recordings, pressed on 180g cerise vinyl.

                          100% authentic, She played their own instruments, sang and wrote their own striking original material and copped one hell of a bad attitude that would put most self-proclaimed rebel boy bands to shame. Appealingly crude in their early incarnation as the Hairem, by their later years She was truly a force to be reckoned with, and as unusual and significant as any punk band, male or female, from the golden era of the mid-to-late 1960s.

                          The constants in She were Nancy Ross and her younger sister Sally. It was after attending a Beach Boys concert inSacramentoin 1964 that Nancy flashed on forming a band. Sally was only 13 but immediately elected to play bass. School friend Karen Kochie joined on rhythm guitar, Kathy Pennison became the drummer, and Piper Minas was added on lead guitar. The Hairem’s music was crude, forthright and remarkably original. The songs ‘Not For Me’ and ‘Like A Snake’ are pure insolence, while ‘Come On Along’ and ‘Hey You’ are alternately innocently childlike or spookily seductive.

                          By late 1967 the line-up had changed to the Ross sisters, guitarist Kathy Rice and drummer Ginny Revis. While they played occasional gigs at parks and love-ins, the band found more work on the club and college circuit. Joann Claudianos joined and duetted lead vocals with Nancy, adding an Airplane-ish element, as evidenced by a demo cut in early 1969 with new drummer Reesha Scarborough and Karen Luther on organ. The group were now known as She, after Henry Rider Haggard’s book. ‘Feel Like Giving Up’ and the outrageous ‘Bad Girl’ date from this period.

                          In 1970 She finally made a record, for Los Angeles’ Kent Records. The single featured ‘Outta Reach’, a tour-de-force of femme-psych with Nancy’s defiant vocal, Karen’s weaving organ fills and an insistent chugging bassline from Sally. Shortly afterwards, the final She sessions showed considerable musical prowess without losing any of the rough edges that characterised the group as far back as the Hairem. ‘Roll On’ and ‘Piece Of You’ both have the assured arrogance of a female Stones, whereas the more introspective ‘Braids Of Hair’ demonstrates their versatility.

                          She finally came to a natural end in 1971 as the members got older and pursued other interests, although most of them continued in music in one form or another. When their recordings were first issued in 1999, girl garage aficionados marvelled at the intensity these young women had displayed in their youth. The interest coaxed a knowing smile from Nancy, who sadly died a few years ago. Her spirit, however, is very much alive with the remarkable sounds on this album.


                          Boogie Beats Records open their account with a reissue of a real disco rarity here, polishing up the master tapes of "Mystery Man" for a fresh pressing. Penned by the little known outfit Bourbon And Maxx, and released back in 1981 by New Jersey's Esscore Records on a limited 12", the cut is the kind of rough disco-funk epic Tom Noble uses to blow minds on a regular basis. Clocking in at over ten minutes, "Mystery Man" transitions effortlessly from the vocal jazz leanings of the beatless intro into fist pumping, chest beating live disco of the highest order. Tight drums, yearning vocals, thumping bass, killer guitar work and tinkling ivories each take their turn to shine as the track develops into a red hot jam that's sure to get the floor burning. Seriously, this is the kind of disco magic you'd expect to hear Harvey drop at Sarcastic, Jim spin at Horsemeat Disco and Sadar Bahar bang out at Southport Weekender. If you're keen to dive straight into the action with no preamble, MadDisco goes deep on the flip with his edit, cutting the intro and diving straight into the disco gold. The producer applies a few choice loops to keep the groove going strong and lock us into the track's raw power. 

                          Tucked away on the southern tip of the island, in the paradisiacal Ses Salines natural reserve lies La Escollera, an exquisite eatery owned by Dani González, son of the Spanish actor Gaspar 'Indio' González. Next to the magical pine forest is the restaurant's beachfront terrace, where resident DJs soundtrack sweltering summer afternoons with an authentic Balearic selection of undiscovered musical gems and left-of-centre audio delights. Phil Cooper and Gavin Kendrick return for the new season with a record bag full of treats and treasures, distilled here to perfection in the much-requested “La Escollera Session Two”, the connoisseur's choice and the musical gem in the heart of the island. The bearded duo take a CD each, leading us through horizontal grooves and hazy moods from a who’s who of the modern Balearic scene, including Dos Palos, A Vision Of Panorama, Seahawks, Africaine 808 and the Fasaan posse. Alongside these contemporary treats are deep dug rarities from Javier Bergia, Linda Perhacs and Woo, which help keep the whole collection in context. Time to float away I reckon.

                          The tenth release on Public Possession comes from the one and only Bell Towers. Over the last two years the Australian has played a major role in shaping the sound of the label and his latest release continues the journey. On this “highly conceptual” release by Bell Towers, A and B are scrapped in favour of  ME and YOU sides as we're given a brief glimpse into the romantic mind of Bell Towers. Side one features the bumpy dance cut “Hyper - Realised - Self”, which sees BT rework previous PP single "Lightrail" into a highly strung synthetic house track dosed up with a whole load of acid. On the YOU-side Rohan teases our feet and eases our heart with a soul stirring club cut. “Jumpin’ Off Into The Sea Of Your Love” is an emotional joyride, carried into thick clouds of dreamy bells on the back of a powerful bassline. Make sure to make eye contact with a person of your choice before slipping this record on. 

                          2 Bitches From Queens

                          HOT Records 002

                            2 Bitches From Queens this time in two different corners of the ballroom. “E 4 Love” replays two monuments of sheer joy simultaneously. Inspired by the creative mixing brilliance of the late and great DJ John Robinson. NYC zero gravity. “Video Fear” knocks that elegance off the table and substitutes it with slackness and a whip.This is the sound of yesterday for today! Warehouse find, vinyl only.

                            2 Bitches From Queens

                            HOT Records 001

                              Apparently made by, for and with DJs in mind, 2 Bitches From Queens present tracks for your personal runway or Junior Vasquez’ dance floor in ‘92. Featuring four bass-heavy, vocal-friendly, percussion-happy and vogue-valid tracks that could have been produced yesterday for today - and probably were. Warehouse find, vinyl only.

                              Following a stunning (and sell-out !) EP last year, the North East's answer to Michigan's finest, steps up to the Shadeleaf plate again, with probably his strongest work to date. Over the space of a few low key, but expertly realised productions for the likes of Glenview, Lumberjacks In Hell & Diner City Sounds, Manmademusic established himself as a rising star in the scene. This EP sees him continue wearing his influences proudly, but re-imagine them in an altogether rawer framework. Samples are woven together, augmented and redefined, sometimes following the classic KDJ blueprint but more often laid out in a style that's all his own. Opening track "Under" immediately acclimatises us to the tone of the EP, reinforcing some smooth loops from Curtis Mayfield's "Underground" with a bubbling synth sequence and MPC percussion to get the early doors floor dancing. Next up, "Rethink" takes a leaf out of the KDJ playbook, topping a bumping drum track with simple but deep chords from the one and only Donald Byrd. Manmademusic keeps things interesting with some tasty percussion tweaks, before introducing a classic Moodymann break. Jump to the flip and head deep into the music with the deep and dope "Dream Of You", an immersive concoction of deep house keys, machine funk bass, and jazz brass and piano samples, all layered over thumping percussion. It's as close to Pepe Bradock as you're gonna get this side of the channel and totally bumping. "You Are" drops the tempo down to a beatdown strut and works its way deep into your cerebral cortex. Looped vocals and broken piano melodies sit on top of a Pittman-esque bassline while the constantly shifting MPC percussion locks you into a pensive headnod. If the B2 was for food for your brain, closing cut "Kofi And Cream" is a feast for your soul. Manmademusic switches back into Bradock mode and decorates a filtered drumbeat with emotive guitar licks, organic reeds and brass motifs, locking us into a heavenly frequency. The Mackem is on fire at the moment, and this latest EP is an all killer no filler collection of proper deep house vibes peppered with sharp sampling, innovative drum programming and floor moving basslines. Mega!

                              Shana Cleveland & The Sandcastles

                              Oh Man, Cover The Ground

                                ‘Oh Man, Cover The Ground’’s softly-stated melodies and breezy air operates on its own sense of time. Though the songs still settle comfortably into threeminute parcels, their gestation bucked at the convention of pop music’s stringent time format.

                                “I’m really into meandering, fingerpicked open-tuned acoustic guitar, like John Fahey and Robbie Basho,” says Shana Cleveland. “I started playing guitar in that style during a year right before I moved to Seattle when I was lonely and bummed out in the San Fernando Valley and found solace in spending long afternoons fingerpicking slow moving improvisations.”

                                This casualness is evident in the music - you can hear it in the airy ambience of album opener ‘Butter & Eggs’, the gentle piano and strings accompaniment on the title track, the particularly Fahey-esque explorations of ‘Itching Around’ and ‘SPATM’. Even the timeline of the album’s development seems to defy the ephemeral haste that permeates so much contemporary music.

                                The bulk of ‘Oh Man, Cover The Ground’ was recorded in Shana’s basement. “I wanted it to sound casual and kind of loose like my favorite folk albums, so we didn’t practice much before recording and a few of the musicians were playing the songs for the first time.”

                                FORMAT INFORMATION

                                Ltd LP Info: The LP is available exclusively to independent retailers on limited edition lake blue coloured vinyl (90 copies for the UK & Eire). A digital download card is included.

                                Various Artists

                                Studio One Story

                                  ‘Studio One Story’ is a documentary this is both a staggering slice of musical history and a definitive guide to Studio One, Jamaica’s greatest ever record company, and its legendary founder, Clement ‘Coxsone’ Dodd. Often described as the Motown of Jamaica, or ‘The University Of Reggae’, Studio One is where the careers of literally hundreds of reggae artists began: Bob Marley And The Wailers, Alton Ellis, The Heptones, Ken Boothe, The Skatalites, Burning Spear and Sugar Minott, to name but a few. Studio One is the ‘foundation’ label of Jamaican Reggae.

                                  One and a half years in the making, ‘Studio One Story’ is a truly unique documentary in which the late Clement Dodd gave unprecedented personal access to tell the previously untold story of how Studio One literally shaped the rise of reggae music from the 1950s onwards through to the late 1970s. This is the true story of reggae music and its Jamaican roots told from the inside: From the rise of Kington’s sound systems in the 1940s and 1950s, through to the evolution of a Jamaican music industry (and Studio One’s dominance) in the 1960s and the worldwide success of reggae in the 1970s.

                                  Various Artists

                                  Studio One Sound

                                    Soul Jazz Records continue their journey into the vaults of the mighty Studio One with this next instalment, featuring everything from classic ska and rocksteady to the deepest roots, heaviest dub and dancehall roots.

                                    As ever, the album includes incredible reggae artists such as The Heptones, Ken Boothe, The Skatalites, Johnny Osbourne and Wailing Souls, all of whom launched their careers at Studio One, 13 Brentford Road, under the guidance of Clement ‘Sir Coxsone’ Dodd.

                                    This album features some of the most in-demand and collectible Studio One tracks over the years, all digitally remastered. The sleevenotes are by Rob Chapman, author of the celebrated books about Studio One Records, ‘Never Grow Old’ and ‘Downbeat The Ruler’.

                                    STAFF COMMENTS

                                    Philippa says: Soul Jazz Records continue their journey into the vaults of the mighty Studio One with this next instalment, featuring everything from classic ska and rocksteady to the deepest roots, heaviest dub and dancehall roots.

                                    Various Artists

                                    Studio One Rude Boy

                                      Rude Boys are synonymous with Jamaican dancehall culture from the present day going back to the very early days of Clement 'Sir Coxsone' Dodd and Duke Reid's first sound-clashes in Kingston. "Studio One Rude Boy" features artists and songs about rude boys and rude boy culture from all periods of Studio One's history. The album features ska, rocksteady, deejays, roots, dancehall and dub. It includes classic tracks from Jamaica's finest singers and groups such as The Wailers, John Holt, Wailing Souls and Dennis Brown alongside super-rare tracks from artists such as Mr Foundation, Dudley Sibbley and The Soul Brothers, all recorded under Clement 'Sir Coxsone' Dodd's supervision at his legendary recording studio and record label. All the eighteen tracks have been newly digitally re-mastered for this release and the album comes with full sleevenotes, photos and text, making this another essential Studio One reggae release.

                                      Various Artists

                                      Studio One Rub-A-Dub

                                        In the 1970s Clement Dodd's legendary Studio One Records went through an amazing period of re-birth, embracing the now well-established post-rocksteady sound of reggae, and working with new artists such as Willie Williams, Lone Ranger, Michigan and Smiley, Horace Andy as well as continuing to work with classic artists such as Alton Ellis, Freddie McGregor and others. Re-versioning the previous decade's classic Studio One rhythms in a reggae style became the order of the day in the 1970s, not just with Studio One boss Clement 'Coxsone' Dodd, but with every Jamaican producer of note employing their own in-house musicians to copy the music emanating from Brentford Road. The music on "Studio One Rub-A-Dub" features classic and rare tracks from this amazing period, from the likes of Cornel Campbell, The Heptones, Johnny Osbourne and many other legendary artists.

                                        Various Artists

                                        Studio One Dub 2

                                          This album collects some of the finest dubs of tracks like Marcia Griffiths "Feel Like Jumping", The Gladiators "Watch Out", Otis Gayle's "I'll Be Around" and many more alongside super-rare dub outings and classic versions. From the late 60s Sir Clement Coxsone Dodd began including an instrumental version on the flip-side of Studio One 45s, enabling soundsystem deejays to toast over original rhythms. Incorporating dub, echo, reverb and heavy on the bass and drums, these versions have come to be as collectible as many of the original tunes. At the start of the 1970s Coxsone Dodd (and sound engineer Sylvan Morris) also released a series of classic dub albums, featuring innovative dub and mixing techniques. These albums were originally released with very-limited special silk-screen covers, again making them treasured collectors' items. "Studio One Dub 2" brings together the best tracks from both these original albums plus many rare and classic versions from Studio One's original 45's.

                                          Various Artists

                                          Studio One Disco Mix

                                            Superb new collection featuring the cream of reggae artists from the legendary Studio One Records. Studio One's music in the 1970s took the label to new heights, with the new style of 'Disco Mix' bringing many areas of Reggae together. Roots, lovers, disco and dub all converged in extended forms, re-versioning classic hits, experimenting with new studio technology, over-dubbing, syn drums and more, producing what many fans describe as the most creative and innovative phase in the history of the legendary Studio One Records. This "Studio One Disco Mix" album includes many sought after classic tunes only ever released in very small quantities (on Studio One's very first 12" records as well as its infamous Music Lab 10"s out of New York) and consequently many of these tracks have been unavailable since their day of release. The compilation features many of the classic Studio One artists such as Alton Ellis, Sugar Minott, Jackie Mittoo, Norma White's ace cover of Chic's "I Want Your Love" and Willie Williams (with the classic re-versioning of his own "Armigideon Time"), alongside less well known artists such as Doreen Schaeffer, Judah Eskender Tafari and George Dudley, and many more.

                                            Circuit Des Yeux

                                            In Plain Speech

                                            Haley Fohr’s music strikes a unique balance between the personal and universal. As Circuit des Yeux she creates music that embodies the complexity of human emotions, juxtaposing tenderness and grief, ecstasy and horror, using sounds as representations of the emotional spectrum that we all experience. Fohr’s striking voice, an impassioned baritone, is the music’s centrepiece and guiding force.

                                            On ‘In Plain Speech’ Fohr is joined by some of the most progressive musicians in the Chicago music community; Cooper Crain (Cave, Bitchin Bajas), Whitney Johnson (Verma), Rob Frye (Bitchin Bajas), Adam Luksetich (Little Scream), and Kathleen Baird (Spires That In The Sunset Rise). Fohr cements her reputation as a fearless songwriter and inventive arranger with this stirring collection of songs that are both gorgeous and emotionally potent.

                                            ‘In Plain Speech’ represents the start of a new, more collaborative chapter for Circuit des Yeux. While previous works were solo affairs, not only in performance but emotionally tied to a sense of confinement and place, these new songs were composed after a move to a collective living space, giving Fohr an opportunity to break free of the isolation that informed her previous albums.

                                            ‘In Plain Speech’ continues her collaboration with Crain but it is her first recording with a full band, who are all leaders in Chicago’s new wave of creative musicians. Her songs, while always potent when delivered solo, shine in this new band context.

                                            Extensive touring after Circuit des Yeux’s acclaimed 2013 album ‘Overdue’ (praised by NPR, Pitchfork and Tiny Mix Tapes among others) influenced the making of the album in several ways. On that tour, which stretched for months throughout Europe and the US, Fohr toured solo, no band, no tour manager, no driver and in that solitude learned to commune with the audience in a way that she hadn’t ever before. That connection sparked in her mind a conversation with the audience, and many of the lyrics on ‘In Plain Speech’ are directed at you, the listener. She also became acutely aware of disquiet, a pervasive anxiety, which permeated society in almost every city she visited. “I felt an uneasiness that superseded phonetic communication,” she writes. “Something dim is in the air, and it is looming large.” This anxiety crept into songs like ‘A Story Of This World’, which is a call for change of priorities and values among the world’s leadership.

                                            FORMAT INFORMATION

                                            LP Info: LP pressed on virgin vinyl and packaged in an old tyle tip-on jacket with artworked inner sleeve and free download coupon.

                                            CD Info: CD version in 4 panel mini-LP style gatefold package.


                                            Killah Tape EP

                                              Denmark’s deadliest riddim construction duo is back with a vengeance and a fresh 6-track EP, filled with strictly original riddims that have been jammed live onto a Sansui multitrack cassette deck for that special extra grit. Side A finds the Parisian father and son team of Colonel Maxwell and Junior Roy in top form –with Roy's youthful melodies gracing the stone cold killer "Tuff Like We" and Maxwell issuing a gruff warning to all those who favour badness on "Bad Bwoy Style". On side B fast chat originator Peter King is vaguely recalling the lyrics from his forgotten classic "Bad Memory", first penned for Fashion Records back in 1985. With this new voltagedriven riddim, the Maffi version won’t be forgotten anytime soon. UK sound system legend Asher Senator then joins the fray with a self-titled lyrical lesson straight to the head of all those who fail to show due respect to the veterans. With disrupt on dubbing duties and a jaw dropping hand-drawn sleeve by Kanato, Killah Tape is a crucial acquisition for any discerning selector or collector.

                                              • Two ‘high octane radio concerts from Husker Du one from 1985 when the band were enjoying an upsurge of interest globally not just locally due to the success of the byrds cover single 8 Miles High and the albums New Day Rising & Flip Your Wig . The other concert is a rare glimpse into an early performance from 1981 when the band had only one single out on a local indie label. 

                                              • Features 4 singles “Makes No Sense At All”, “Celebrated Summer”, “Don’t want to know if you are lonely” & “Sorry Somehow”.

                                              • Extensive liner notes by author Dick Porter. 

                                              • Presented in gatefold card sleeve with art by Sophie Lo. Two-thirds of the way into their nine year existence, Hüsker Dü had hit the first phase of their popular and creative peak. The January 1985 release of the band’s third studio album, New Day Rising, saw the trio transcend their hardcore origins with a set of material that simultaneously referenced rock’s pasts and futures. By moving away from the American hardcore scene that was increasingly withering between its rigid, conformist straight edges, the trio drew predictable criticism from those who remained unwilling to progress with them.

                                              So Stressed

                                              The Unlawful Trade Of Greco-Roman Art

                                                The first release from Honor Press, a label founded by Meredith Graves of Perfect Pussy. Packaging includes lyric sheet insert and full color inner sleeve So Stressed initially began in Sacramento, CA as a largely improvisational noise project that included the band’s three members (Morgan Fox, Andrew Garcia and Kenneth Draper). Over time, the lineup was refined and their sound coalesced into what's heard on 'Unlawful Trade,' a technically meticulous but anxiety ridden and sometimes terrifying cry which calls to mind everything from Q and Not U to No Trend and the Minutemen.

                                                At times, Fox's lyrics bring to mind the emotional distress and social reservation seen in Wire and Wall of Voodoo. The fact that their sound is so violent and tense as to be physically disarming is almost deceptive; the members of So Stressed are kind, conscientious and smart young men. Writing this album took more than two years (and recording took more than six months) due to a common habit of throwing away fully formed songs deemed to be even slightly less than perfect. All this was done with no goal in mind - if no one wanted to release it, Fox says, "we were just going to delete it." Honor Press could not be more pleased to offer this as our first release. 

                                                Back in stock Cover of Originals 2008-2013 - Vinyl Box Set (FREE UK P&P) by Various Artists.
                                                Having always done well with Claremont 56 releases, label boss Paul 'Mudd' Murphy's idea of a series of CD compilations from lesser known, perhaps more underground and unsung DJs seemed like an inspired idea here at Piccadilly Records. Especially as the whole shebang would kick off with a selection from the coveted record bags of local Balearic (bæliˈærɨk) reprobates Moonboots and Balearic Mike (he's so Balearic they named a Spanish archipelago after him...).

                                                Since that 2008 opener Paul has hit us with comps from Mark Seven, Sean P, Matthew Burgess & Jolyon Green, Felix Dickinson, Phil Mison, Rong Music, Lexx, Yozo and Alex From Tokyo. All the DJs involved have dug deep in their collections, bringing us a diverse range of music loosely covered by the catch-all Balearic umbrella; disco, boogie, bossa nova, psyh-rock, jazz-funk, new age, house, downbeat, cosmic, pop... All have become Piccadilly favourites, being played on the shop CD player for the few weeks we still have copies (each release has sold out faster than the proverbial hot cake), and having us nerdy spotters checking Discogs for originals of the tracks, only to decide, after clocking the prices, that a CD compilation will do just fine thank-you very much.

                                                Now we get the 'Originals 2008-2013 - Vinyl Box Set', which features two of the best tracks from each CD release - 20 in all (yep, even I can do the math), quelling the need to empty our Paypal accounts chasing vintage 12"s. Needless to say Claremont 56 have gone to town on the packaging of this box set, with five colour-coded gatefold sleeves housing each 12" (featuring new writing from each participating 'Originals' selector), and the whole lot in an embossed outer heavyweight BLACK cardboard slipcase. Mmm, nice.

                                                We've already sold over 100 copies of this box set (which is all gone at Claremont 56 already), so you'll need to get your skates on if you want one.

                                                FORMAT INFORMATION

                                                12" Box Set Info: 5x12" box set. 5 12"s in gatefold sleeves housed in a black thick card box with a hot foil Originals logo embossed on the front. 1000 copies only.

                                                JD Emmanuel

                                                Ancient Minimal Meditations

                                                  Re-issue of the AMM tape recorded between 1981 and 1985 by JD Emmanuel, a new age composer who has received a lot of praise from people like Lieven Martens and John Olsen. These recordings signify Emmanuel's praise to the course of the day. Starting off slowly, with morning synth meanderings, walking through midday, running in the evening, and closing the day with midnight meditation.

                                                  "Somewhere hidden in the deepest part of the Self is that special place, where one can go within to the most ancient part of one's Self and connect with the origin of Self. Ancient Minimal Meditations reaches into that special place of creation of the Self and its Oneness with the Creator of All."

                                                  Recorded using three Sequential Circuits Pro-One synthesizers and a Yamaha SK-20 Poly-Synthesizer. Limited to 400 copies on 180 gram vinyl. 

                                                  Sheepy / Lucy's Diary


                                                    London indie label Blang is pleased to announce a 7” vinyl release of two 2 minute outbursts of infectious pop-punk with a His’n’Hers twist on the themes of growing up and relationships. He (Liverpool) - “I wish I could learn but I don’t have the time.. sometimes I get hurt when I step out of line” and She (London) - “Maybe you’re strange and strong.. baby you’ll see you’re a siren”.

                                                    Sheepy’s 'Don't Know Much' is a speedball of buzzing guitars and melody worthy of any Buzzcoks or Jam playlist while Lucy’s Diary - 'Pieces of Me' has Lucy Joplin pouting woozy promises and regrets wrapped in a blanket of circular psychobilly guitars and loose beats.

                                                    Reviews.. "‘Don’t Know Much’ is a collision of Kinks infused pop mixed with Glasgow twee creating an ideal summer vibe...... a kaleidoscopic mix of pops finest reference points, blended with humour and self-depravation..... Sheepy have crafted a melodic, hook laden classic – a slice of real independence, so adverse and unconcerned as to what is current, to what is gracing the pages of the NME…. (Louder Than War LP review)

                                                    “Apart from The Fall I’ve been into listening to Lucy’s Diary. One of my favorite things is ethereal female vocals over dirty guitars, they fit that category well” ( Frank Skinner interview in Mojo)

                                                    "You instantly know that Lucy Joplin’s junior Kim Deal stance has been achieved by repeated attendance at the school of hard knocks rather than through affectation "(Whisperin' And Hollerin'). 

                                                    Thee Tsunamis

                                                    Saturday Night Sweetheart

                                                      For fans of: the Trashwomen, the Shangri Las, the New York Dolls, the Ramones, the Bobbyteens, the Mummies, Girls in the Garage, and John Waters More street-grit than surfside, Thee Tsunamis are a rock’n’roll joyride with hellcat weed queens at the wheel.

                                                      On their debut full-length Saturday Night Sweetheart, the Midwest-turf trio—Betsy (guitar), Jenna (bass) and Sharlene (drums)—blend girl-group bubblegum with feral punk, hugging every hairpen turn of Kim Fowley’s twisted, trashbucket heart along the way. RIP.

                                                      Saturday Night Sweetheart, with its jagged harmonies over fuzz-crusted pop hooks, marries the New York Dolls’ gutter-glam attitude with the sound of Brill Building teen-sploitation, to a much bloodier effect. From heart-in-a-blender tales and drag-race party anthems to the title track’s proto-punk pyrotechnics, these 12 tunes are as catchy as they are cutting and together they tell a story as old as time: what the men don’t know, the little girls understand.

                                                      Like Thee Tsunamis’ demo release A Goodbad Man Is Hard To Find (2013) and horror-concept EP Delirium and Dark Waters (2014), Saturday Night Sweetheart (May, 2015) was recorded to tape in the basement of Magnetic South and has the signature fidelity of a subterranean rock’n’roll echo-chamber. Plate reverb and tape delay spin some witchy doowop atmospherics between slasher guitar riffs and nerve rattling rhythms. Saturday Night Sweetheart is a date you don’t want to break. 

                                                      Action Bronson & Statik Selektah

                                                      Well Done

                                                        Album features guest appearances from Nina Sky, Lil Fame of M.O.P. & more. Previous collaborations with Wu-Tang Clan, Ghostface Killah, Freeway, Freddie Gibbs, Saigon, Mac Miller & many more. What do you get when you combine the best hip-hop producer in Boston with one of the best upcoming lyricists in NY? “Well Done.” This album couldn’t have a better fitting title, as it will surely fill the void hip-hop fans around the world have lived with for years. In the style of classic producer & MC albums, Statik & Bronson deliver intricate rhymes and head-nodding beats on this noteworthy release. Coming straight out of Flushing, Queens, NYC, Action Bronson personifies the golden era of East Coast, New York hip-hop. Repping Boston, New York & New Hampshire Statik Selektah is known as the “east coast boom bap ambassador” and holds down weekly radio slots on Eminem’s Shade 45, JAMN 94.5 Boston. He has produced & worked with Akon, 50 Cent, Jadakiss, John Legend, Nas, Bun B & many more. Check out “Well Done” and get reminded of how good rap used to sound

                                                        FORMAT INFORMATION

                                                        2xLP Info: Red vinyl pressing.

                                                        Roger Robinson

                                                        Dis Side Ah Town

                                                          One night in 2011 King Midas Sound's Roger Robinson returned to Brixton from touring and inadvertently walked into the centre of the London riots. Through the flames and smoke he felt compelled to tell the stories of the people he saw rioting on the street that night. With disrupt's dub soundtrack highlighting the triumphs and tribulations in the lives of the people of Brixton, the album unfolds like a documentary film, extending from the epicentre of the riots and rippling out from there. Roger showcases all his poetry and singing styles over the sonic tower blocks and underground caverns of disrupt's dub soundscapes, evoking the golden era of dub poetry of the likes of Prince Far I, Big Youth and Linton Kwesi Johnson - a time when dub poetry made you dance in the club but also made you think on the way home. Done with lots of voltage, old school samplers, DIY synths, home made delays, dictaphones and even onboard computer mics this gritty disc will take you straight to Brixton's streets. Cover artwork by Elen G. / MyLord

                                                          Melbourne's premier party imprint Butter Sessions returns with their fourth release here, teaming label bosses Sleep D with Norwegian nutjob DJ Fett Burger and Vancouver groover Jayda G. It's the latter two who take control of the A-side, teaming up for the neo-tropical dub house of "Steel D Flanger Mix". Circular sequences combine and unwind over a bed of primitive drum programming, taking us deep into the undergrowth before the dub fx deconstruct the very ground we're stood on. On the B-side, Sleep D head further into the tropics on "Rainforest Version", a totally psychedelic swirl of snapping percussion and headspinning melodies which is certain to get a spin at the next wet play party. By way of a bonus beat, Sleep D chuck in "Bud Dub" on the B2, a sombre stepper riddled with cannabis psychosis, bringing the package to a blunted conclusion.

                                                          Two of the Black Madonna's most sought after early tracks return to circulation alongside one burning new jam on "Goodbye To All This", the latest release from Stripped & Chewed. Drawn from the Chicago label's 2012 compilation "Livin' For The City" EP, the piano dappled joy of "Exodus" luxuriates across side A, spreading the good word with a pounding beat. "We Don't Need No Music (Thank You, Rahaan)" from SCRS004 takes another whirl around the dancefloor, its pinwheeling horns and infectious vocals pulling even wallflowers into the fray. And in case two remastered sure-shots aren't enough, the brand new "Who Do You Need" closes the record with a soulful thwack: half uplifting house, half blistering techno -- all peak-time fodder. A fine addition to the Black Madonna's discography alongside records for Argot, The Nite Owl Diner, Hometaping Is Killing Music, and of course Stripped & Chewed. 

                                                          Eddie C

                                                          The Day Will Come / Moonrings

                                                          After revving and rocking at the Hells Angels disco for the "High Road" compilation, the Red Motorbike tears off down the highway for another 7" excursion. Main man Eddie C is at the controls, seducing us with two chopped and dropped loopers designed with the dancefloor in mind. On the A-side, "The Day Will Come" packs a proper emotional punch, marrying soulful vocals, soaring strings and subtle piano over a solid MPC beat. It's proper head nodding, hands aloft tackle for the tail end of the night. "Moonrings" sees Eddie switch it up a little, submerging a strangely circular bit of jazz fusion under a whole load of filters and dub fx to lock us into the wonkiest dancefloor groove you've ever heard. If you like your disco dubbed and skewed, this is the beat for you!

                                                          Likely one of the most keenly anticipated reissues of the year so far. An under-the-radar favorite for some time, it's steadily become known outside the realms of dedicated house classicists thanks to a placement on Joy Orbison's 2014 Essential Mix. Exact reissue of the original with the following exceptions: B1 is an version of “Fannie Likes 2 Dance” updated by the artist to reference his wife, rather than his ex, with a new vocal; B2 is previously unreleased. "2000 (And Were Still Here)" is a catchy, vocal led jacker with the title repeated through a barrage of tough, jacking drums and funky stabs. Very DJ Sneak, Todd Terry friendly, as is "You Make Me Laugh", another jacking roller with intricately placed synth interplay and highly infectious! Merwyn Sanders is the very definition of Chicago swing! Putting those drums through the tumble drier before unleashing them on our contorting bodies. "Forever Yours" is a powerful uptempo number with Syvestre-esque vocals riding across a frenetic disco-house groove. "Mimi Likes 2 Dance" gets incredibly sensuous as the EP draws to a groove with a sublime trip into a late night sheen, sexy as hell and intoxicating to the last drop. Finally, "Beautiful" concludes the set with another vocal number, liquid vox dripping over a cushiony soft soundbed of dreamy pads, hypnotic, driving synth stabs and swirling textures. Absolutely incredible EP, now available again for a limited time - move quick!
                                                          Released in a kraft paper single cutout jacket with a stamped inner sleeve and insert sheet, hand numbered out of 400. 

                                                          Original recording of 1982 released by Moon Records Association. Blackway's own interpretation of Italo disco - dark and catchy, with this AM frequency male vox guiding us through the narrative. "New Life" graces the A-side, a perfectly executed piece of tension-release Italo excess. Big long drum fills break into flurries of rampant, arp-led choruses, flanging hats and snappy snares keeping us locked to the beat throughout. Electronic clavs, congas and live bass make up the rest of the sonic palette. Flip for "Follow Me", with a similiar selection of instrumentation and also working long drum sections into big wide-eyed drops. Another gem! OGs of this regularly fetch over the £200 mark - move quick on this handy re-pro!

                                                          Newcomer Mosey drops a beautiful debut for the irrepressible and essential Future Times! The three tracks on the EP have an intangible, melancholy lift to them, primed for fans of lovers rock techno and 16-Bit new wave. "Tuff Times" is a perfect nu-romantic piece of dance music, a simple straight line of emotional resonance that makes you wanna look up at the lights and zone. With a sound bank somewhere between PPU garage love, Sega Genesis, and glossy-eyed techno, the entire EP comes correct for the sweethearts. "TC Midi Labs", the B-Side opener, is an awesome Sakamoto-style display of abstracted synthetic flourish, perfect between two songs for the DJ knuckleheads out there, and even more perfect for home zoners. B2 cut "Live A Little" closes it out, sounding like Section 25 distilled to a simple, elegant assault.

                                                          Boddika & Joy Orbison


                                                          Hold onto your underpants pop pickers its Joy O and Boddika back with another of their super limited, super good, not on label limited white label 10 inches! Yowzers! "TMTT" sees the pair exploring deep space house music with a strong 4/4 beat supporting the track from the offset. Soon enough the main riff comes gliding in on a wave of sublime grace. Slightly pitch bent, the synth heads amongst us should quickly identify it as a big Juno 106 or summat similar. Sharp stabs accompany this life-changing riff as the drums rattle on and on. Simple, yet devastatingly effective, and sure to soundtrack more than just a wide-eyed smile through the all night dance parties of the Summer. Essential tackle - you heard it here first.

                                                          STAFF COMMENTS

                                                          Matt says: Boddika & Joy O keep their credentials intact as they drop yet another dancefloor slaying, not-so-secret weapon on their mysterious white label imprint. Caution: Summer club B O M B!

                                                          Jim Linderman

                                                          The Birth Of Rock And Roll

                                                            Jim Linderman has arranged a storyboard of sorts that dramatizes the spirit, if not the chronology, of rock and roll. Poetically, the photos evoke without naming, and have little to do with conventional iconography of the birth of rock and roll. Instead they document, and celebrate, the pure but indefinable essence of rock. Wherever there is an urge to make acoustic or electric music—whether helping at a rent party, busking in front of a crowd, or testifying in the name of Jesus—there’s an uncredited photographer there to snap an image. Thankfully Jim Linderman has shared these one-of-a-kind photos from his collection so we can explore one of the most transformative times for American music.

                                                            “We have this notion that rock ’n’ roll started in Memphis in 1955, and it really didn’t. Bob Wills was playing in the ’30s and ’40s in Oklahoma, and Chuck Berry modeled ‘Maybellene’ on a Bob Wills song. The roots of rock go back a lot further than we realize. It came from the church, from vaudeville, from the music played in after-hours clubs, from juke joints. Some of it came from Ireland. It’s such a conglomeration, and that diversity is the real back story of rock ’n’ roll. Without any trouble at all, I was able to include people of all races in this book. I was able to show the melting pot in America, which came together to create this phenomenon. I was especially happy to be able to include so many women performers, because they never got their due. Which is why we don’t know who they are now. I love being able to illustrate how broad the music used to be, because now it’s so narrow and pigeonholed. It seems we’ve lost some of the breadth that used to be there.” – Jim Linderman speaking to Lisa Hix, Collectors Weekly

                                                            FORMAT INFORMATION

                                                            Book Info: Description: Photographs from the collection of Jim Linderman plus a conversation with Joe Bonomo
                                                            Hardcover book with 134 photographs
                                                            Size: 160 pages, 12″ x 9.75″ format

                                                            The Stark Reality

                                                            Discovers Hoagy Carmichael's Music Shop

                                                              The Stark Reality’s legendary album, '...Discovers Hoagy Carmichael’s Music Shop', is a funky, jazzy, fuzz-toned cult classic, is a very original interpretation of a children’s album written by Hoagy Carmichael and was originally released on Ahmad Jamal’s boutique label, AJP Records. For years, the album made the rounds in underground hip-hop circles (being sampled along the way by the likes of Large Professor, J-Live, Madlib, and Black Eyed Peas), trading hands for ridiculous sums on the second-hand market -- even after it saw a reissue on Now Again as part of the 'Acting, Thinking, Feeling' 6xLP boxset which gathered other recently discovered, previously unreleased material from the band’s career. Now, ...Discovers Hoagy Carmichael’s Music Shop is available on vinyl for the very first time since its initial 1970 release in a deluxe 3-LP release including 56 page booklet with never before seen photos, extensive liner notes by Egon of Now Again Records with commentary by AJP founder Ahmad Jamal and annotation and an interview with Monty Stark, the band’s frontman.

                                                              Sheik ‘N’ Beik are a NYC based cohort specializing in promotion, production and out letting left-of-centre slices of electronic music. With previous releases from family members Derek Marin, Voiski and Peter Corvaia their 4th release comes courtesy of Danny Wolfers (aka Legowelt) working alongside Rush Hour regular Xosar under their Xamiga alias. With this being Xamiga’s 3rd release, the pair draw for their trusted arsenal of analogue gear for the "Bohemian Grove" EP; a woozy brew of foggy textures, gently frazzled hats and Detroit-indebted grooves. The title track kicks things off with glassy pads sat atop a long tailed thud and a sandy shuffle. A distant bass groove wades in ahead of a passage of intricate, band-¬passed percussion and a circling synth line before ‘"Cumulus Versie" sets sheets of ethereal vocals and synth strings gently ducking under a taught analogue pulse. "Midwest" then sets hissing kicks and frayed hats alongside a rasping bass tone. Pitch ¬bent synth lines then bubble into focus before "Blizzard" sets a dystopian tone from the off. A stout kick drum thunders under minor-key chord shifts and a menacing sequence that works to round off another fine addition to the Sheik ‘N’ Beik series.

                                                              On the first release for Mannella on his own imprint, JT Series. On "Space Candyman" the icy tension is peppered by generous strings and bubbling synths; cruising on a deep night ride into pitch black euphoria. Revisiting “Space Candyman” with his distinctive stamp, Marieu blows up every emotion in a swirl of high spirited, disco-looped techno. Like Soundstream and the Analogue Cops meeting in the Relative studios and worth the entrance fee alone. The B side opens with the distorted intensity of "Letter From Mars", stomping along with cracked snares and fizzing leads. Lucretio's remix is an abrasive, wall-shaking vision of “Letters from Mars” with a dogged bustle of reverberated drums and drunken, filtered chords. Great stuff.

                                                              Montauk Boys

                                                              The Golden Horse Of 6037

                                                                Captured from top secret time travel interference pattern experiments, the audio has been magnetically restored to ferric tape from its original crystal recording format. Alongside the crystal recording devices and other psionic broadcasting weapons we found was a small white slip of card that read...

                                                                'In the year 6037 thousands of blond Montauk boys (teenagers, not children) were sent to see a city in ruins There was a golden horse statue with a clock in its belly in the middle of the town square. Weird inscriptions were written on the golden horse statue that the Montauk boys were suppose to view. Fact is this appears to be a training exercise.'

                                                                Cerberus Future Technologies continues to be the most important underground transmission in Manchester with the freebased lysegia of the Montauk Boys. Hallucinatory machine-dirg taken to the very extremes of our known universe, and beamed back to Earth through a series of red-shift interceptors and plasmionic radio devices. If Ron Hardy and Jamal Moss are currently occupying a distance space station, and are playing back2back in a fog of sherm stick haze and amphetamine soaked bliss then this is what the alien dancers are hearing on't dancefloor. Ste Spandex and friends have not only uncovered a brand new musical form, contextually keeping to Manchester's spirit of pushing things in sonically brand new directions, but they've housed the whole sound in a concept and art form so real and impacting that it feels like it's the start of a whole new cult movement. Possibly the freshest thing in our fine city right now. Highly recommended. 

                                                                STAFF COMMENTS

                                                                Matt says: Absolutely storming release from the Cerberus camp. Essential for Martian lovers, time bandits and interplanetary punks across the universe.

                                                                FORMAT INFORMATION

                                                                Cassette Info: 16 track C85 cassette album comes packaged in an anti-static protective re-sealable bag to mitigate negative external electrostatic effects.

                                                                Contains dropbox link to high-quality download of the .wavs on an inlay card.

                                                                The Germs


                                                                  THE GERMS' debut 45 is often cited as the first true Los Angeles punk record. "Forming," the first song written by Darby Crash and crudely recorded in guitarist Pat Smear's parents' garage, captures the band's cultish allure and crushing lack of musicianship. The B-side track, "Sex Boy," was recorded live on the set of Cheech & Chong's Up In Smoke. As Claude Bessy gushes in Slash magazine in 1977, THE GERMS are "beyond music ... mind-boggling ... inexplicably brilliant in bringing monotony to new heights."

                                                                  “Kyle Field, professionally known as Little Wings, is a living legend. He is the modern embodiment of the traveling bard and the singing troubadour. Kyle’s discography is vast and impressive, full of tunes plucked from the lexicon of great American songwriting. On his latest effort, Explains, he crafts melodies so haunting and familiar, it’s as if he’s not composing them at all. He is tapping into something greater, acting as a vessel for the collective unconscious that is folk music.

                                                                  “This is an album that is immediately accessible and also unfolds slowly, revealing greater depth with each listen. Kyle’s lyrics are direct yet poetic, funny yet sad. Explains is a fantastic record that celebrates the enduring spirit of a great artist. Its release on Woodsist is all too fitting - a label whose very foundation seems based on lasting creative integrity.”  - Alex Bleeker.

                                                                  Dawn Of Midi


                                                                  Channelled madness – the sound Dawn of Midi spent years shaping is culminating into their most mesmerising work yet.

                                                                  With Dysnomia, the Brooklyn-based group Dawn of Midi abandons improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, but when stepping back an undulating image reveals itself. “We didn’t want to create anything cerebral,” says Belyamani, “we wanted something visceral, something that would awaken our instinctive dance impulses.”

                                                                  Having met at California Institute of the Arts in Los Angeles in 2006, bassist Aakaash Israni, pianist Amino Belyamani and drummer Qasim Naqvi found their original rapport through late night tennis matches on the campus court. The chemistry they founded there eventually led them back indoors to improvise together; something they did in total darkness to deprive themselves of all their senses except the crucial one – their hearing.

                                                                  The manner, by which a trio of solely acoustic instruments ends up sounding like electronic music, has to do with the unconventional ways the group play their instruments on Dysnomia. The record comes to life in the trio’s critically acclaimed live shows, a test of endurance and trust that involves performing their hand-looped acoustic minimalism note for note, just as the compositions were recorded. Dawn of Midi’s sets are as energetic and rhythmic as a seamlessly mixed DJ-set, mesmerising fans in the same way the group’s favourite experimental and electronic acts have for decades.

                                                                  The album was recorded to 2-inch tape at Waterfront Studios in Hudson, New York - a former church that was purchased and transformed into an analogue recording playground by the great engineer Henry Hirsch. Once the band visited the studio and met Henry, an expert in analogue recording equipped with a vintage Helios console, 16 and 24-track tape machines and a superb collection of microphones, it was obvious they had to record there; it was miles ahead of anywhere else they had visited. Rusty Santos then mixed the album to make sure it would hit as hard as the group’s favourite electronic albums do in spite of it being entirely acoustic.

                                                                  “We wanted to make a record that sounded both musically futuristic and sonically vintage,” explains Israni, “and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting.”

                                                                  FORMAT INFORMATION

                                                                  Ltd LP Info: Limited clear vinyl edition.

                                                                  After a series of staggering albums, White Manna return to Earth with a new album of white hot solar rock on Cardinal Fuzz/Captcha. Named after the mischievous nature god from Greek mythology, Pan finds White Manna peaking, whipped into shape by touring a ferocious live set, as witnessed at Liverpool Psych Fest by many fans who joined the band in a head popping frenzy as they soaked in the intensity of White Manna.

                                                                  Pan is the next logical step for White Manna, as tracks flow from guitar blasting amplifier destroying worship to super-cosmische space rock epics and then comes back for more ferocious Stooges pounding fuzzed up Hawkwind inspired freak flag waving wildness. Inspired by the Northern Californian landscape, the natural mystic of Pan is informed by, as guitarist David Johnson states, “…the trees, beaches, and open spaces where we live are all integral parts of our approach to music.”

                                                                  The album recording was dialled in at the Compound Manila and laid to tape at Lucky Cat Recording by the legendary Phil Manley. The psychedelic mazes on the cover art are brought to you by the amazing, AP Shrewsbury. Pan is an album of a band at the height of their game. This spring, White Manna will put the pedal to the metal, hitting up the southwest of the States with Mugstar and sharing the stage with the likes of the 13th Floor Elevators, Thee Oh Sees and The Myrrors at Austin Psych Fest.

                                                                  FORMAT INFORMATION

                                                                  CD Info: The compact disc includes 2 bonus tracks that are not on the vinyl.

                                                                  Ltd LP Info: Splatter coloured vinyl housed in a 350 gram sleeve and including a download code - limited to just 200 copies!!


                                                                  In A Good Place / The Weather Up There

                                                                  Edinburgh’s Telfort quietly but firmly makes an entrance into the club, offering up a pressing of two sublime cuts showcasing a unique, signature sound and undeniable character. Currently causing a massive buzz in all things DANCE related - this record's already on heavy rotation from players such as Twitch, Bicep and Midland. We seem to be in a brilliantly experimental period of club music at the moment, the solid foundations of warm, organic sounds manipulated with heavy synthesis and littered with percussion spreading like wild fire from producers like Kieran Hebden and Joy Orbison to new blood like Niagara, the Dixon Avenue crew and now these fresh upstarts. From the colourful and ethereal "In A Good Place", with its fluttering and morphing flutes breezing against an ever-present warm thud, to the club-ready percussive stomper that is "The Weather Up There", Telfort etches out his own place as a producer to watch the every move of.

                                                                  The Slow Readers Club are a Manchester based four piece who specialise in dark and brooding indie electro. Their music has drawn comparisons with Interpol, The Killers and The National.

                                                                  Modest Mouse

                                                                  Building Nothing Out Of Something

                                                                    ‘Building Nothing Out Of Something’ is presented on vinyl for the first time in over a decade.

                                                                    Originally released in 2000 as a collection of singles.

                                                                    “Though ‘Building Nothing Out Of Something’ merely compiles old singles and rarities, it might be the best Modest Mouse release for newcomers’ initiation, as well as instant gratification for long time fans.” - Pitchfork

                                                                    FORMAT INFORMATION

                                                                    Ltd LP Info: Indie stores exclusive coloured vinyl.

                                                                    First new solo album in six years from founding member of pioneering chamber-rock ensemble, Rachel’s. Features members of Loscil, Rachel’s, Shipping News, Amsterdam Sinfonietta. RIYL: Rachel’s, Loscil, Max Richter, Johan Johansson.

                                                                    Rachel Grimes is a pianist, composer, and arranger based in Kentucky – most renowned for her work in Rachel's, the groundbreaking chamber-rock ensemble that introduced an entire generation of underground rock fans to the unexpected similarities and appeal of neoclassical music. Grimes has toured the world as a solo pianist, and as a collaborator with chamber ensembles such as Portland Cello Project, astrïd, Cicada, the Amsterdam Sinfonietta trio, and Orchestra Kandinskij. Unhurried, at times fleeting, and stretching into the sky, The Clearing is a winding path of transient moments exploring personal memory, relationships, and mystery from a deeply internal place. The music is a wide spectrum of textures in strings, harp, piano, woodwinds, and percussion.

                                                                    Following Book of Leaves (2009), the Marion County 1938 DVD/EP (2011), the Compound Leaves EP (2013), and an album with King’s Daughters & Sons (2011), this new full-length album reveals a broad new chapter for Rachel Grimes. Several composed pieces evolved from improvisation, such as “In the Vapor”, “The Clearing”, and “Further Foundation”. Others include captured improvisation: album highlight “The Herald”, recorded live with Jacob Duncan on saxophone and Helen Money on cello, and “The Air at Night”, a late-night meditation at a recording session in Antwerp. The title track, “The Clearing”, was recorded with members of the Amsterdam Sinfonietta following a series of performances for CrossLinx Festival in spring of 2013. After the joy of working together, Grimes proposed a long-distance recording session.

                                                                    Evolving from a single repeated piano note, “The Clearing” begins tense and dissonant with the string trio and piano eventually arriving at a moment of relief and grace – a light in the forest – and then returning again to the material of the opening. “Transverse Plane” was designed for SITI Company of New York for an actor training stage exercise. In two sections, the piece uses a pre-existing architecture of tempo and underlying compositional structure. The first part – “Vertical” – is a driving, orchestral texture of strings, harp, piano, oboe and saxophone with Kyle Crabtree (Shipping News) on mixed percussion. The second half – “Horizontal” – unfolds from a mist of strings with slow-moving chords and features Christian Frederickson (Rachel's) in an angular and expressive viola solo. Inspired by the wind and sky, “The Airs” feature violinist Scott Moore. Written with a single theme and mode, the suite becomes a connective tissue for the album’s various textures. In perhaps the album's most vital collaboration, Scott Morgan (aka LOSCIL) provides the delicate processing and additional depth of field that invites outsiders to enter this fluid space for their own experience.

                                                                    Pre-empting the scorching summer we're almost certain to have (!), that man Basso swings by your local pool bar armed with audio Ambre Solaire to slather all over you lucky folks! Smooth, tropical and jazzy, these edits are the finest in Balearic fusion, suitable for bright mornings, lazy afternoons, hazy sunsets and sweltering nights. Peel back the stunning artwork by Jiro Bevis and prepare to dive into a dream of summers past, present and future. "That Look In Your Eyes" opens proceedings with a sensuous lilt, layering Pistorian bass, Fairlight vox, Yamaha chimes and billowing pads into a sublime island serenade. If you loved Basso's "Waking Up Late" on Nado last year, then this is most certainly your jam. Next up, the Hamburger delivers "Mischievous Whispers", a light and airy cut which floats freely on the titular breeze. Breathy sax and lithe xylophone dance away in perfect harmony over the buoyant bassline and steady beat, conjuring scenes of a starlit embrace in a lost Mondo movie. Meanwhile on the flipside, "Leisure Suit" is the sound of a stolen afternoon with your lover, a stroll hand in hand over warm, white sand to a secluded cove. The swaying bossa rhythm starts your hips swaying, while the stunning Spanish guitar line and swooning strings set the mood for amore and more. "The Lonely Cloud" brings the curtain down with shades of Sade, "Summer Madness" and James Mason, pairing languid Rhodes chords with somnolent guitar licks and bubbling bass. Let yourself go and live in suspended animation for a while. It's already getting plays from Moonboots, Mison and Andras Fox, so you know it's of the highest quality!

                                                                    STAFF COMMENTS

                                                                    Patrick says: That man Basso swings by your local pool bar armed with audio Ambre Solaire to slather all over you! Smooth, tropical and jazzy, these edits are the finest in Balearic fusion. Already getting plays by Moonboots, Bager and Mison, this is essential tackle for anyone of a Balearic bent.

                                                                    FORMAT INFORMATION

                                                                    12" Info: Properly limited, blink and you'll miss it tackle.

                                                                    The Gaslamp Killer Experience

                                                                    Live In Los Angeles

                                                                      At the beginning of November in 2013, a rather special event took place one night at the Mayan Theater here in Los Angeles. The Gaslamp Killer,with the aid of 14 immensely talented musicians, unveiled an incomparable live music experience, much to the mind blowing delight of those in attendance. This event was known as The Gaslamp Killer Experience. Electronics, strings, brass and percussion all came together to illuminate original productions of GLK, in a collaborative musical event that surely burrowed itself into the fiber of every person in attendance. For those of us not fortunate enough to have witnessed this special occasion in the flesh, GLK has compiled the sounds of that evening into an amazing live album.

                                                                      The Gaslamp Killer curated a 15-piece band of incredibly talented Los Angeles-based musicians including Amir Yaghmai of Jogger on guitar, Kamasi Washington from The Next Step on saxophone, one of LA’s most sought after musicians, Gene Coye, at the drums and trumpet player Todd Simon, founder of The Angel City All-Star Brass Band. The recording captures the collaborative performance in which The Gaslamp Killer acted as a modern age conductor, using his iPad to interact wirelessly with the band.



                                                                        “It’s Ash at their frenetic best” says drummer Rick McMurray. “A wall of guitars and a shot of adrenaline with a sweet melodic chaser.” A clear statement of intent, ‘Cocoon’ picked up immediate radio support from BBC 6 Music and XFM and served as a bold introduction to their forthcoming album. It’s been eight years since ‘Twilight Of The Innocents’, the album Ash vowed would be their last. The ensuing years saw the band embark on the ambitious A-Z singles series and its accompanying A-Z tour taking them from Aldershot to Zennor. The decision to put the album format to one side allowed Ash to explore a different dynamic to their sound across 26 tracks released over a year.

                                                                        “A-Z was a great exercise in creativity and we stand by our choice to do it but we still love the album format. Stepping away from it for eight years has given us a new found love for the format and it's been really exciting to get back to thinking about music in that way again”.

                                                                        On ‘Kablammo!’, they set out to capture the live essence of Ash, the closest sonic predecessor being 2004's 'Meltdown', they say, with the songwriting of the 'Free All Angels' singles. “We've stripped away the electronic overtones of the A-Z series and made a streamlined blazing guitar record.” “On every song you can hear what makes this band tick, our beating (atomic) heart. It's a visceral expression of what has driven us since 1992. Passion, melody and Ash.” The title itself – ‘Kablammo!’ - sums up the excitement Ash felt “to be in a room together making new music. You can hear that on every song.” And this renewed enthusiasm for playing together is writ large over the album’s 12 tracks, the ‘in your face’ quality” which has made Ash one of the UK’s best -loved bands.

                                                                        ‘Free’ and ‘Moondust’ provide two of the album’s most anthemic moments.
                                                                        “In the pool of half remembered dreams,” Tim Wheeler laments on ‘Free’. “How long have I been submerged in sleep?”, his soaring falsetto echoing above an impatient chug of guitars, a cry to cutting loose replete with an achingly emotive guitar solo.

                                                                        ‘Moondust’ captivates hearts with sweet pattering keys and the mournful grace of a string section, building to a mighty crescendo, Wheeler’s star -gazing broken heart lifted to the skies, “When you come home, will you stay for good?”

                                                                        It’s not all sky-high calls and midnight falls, ‘Shutdown’ takes us back to the trio’s roots. Its scrappy, teenage punk spirit sprinting hand in hand with a sweet ‘90s nostalgia and a three-line chorus destined to raise your pint into the air. Elsewhere, ‘Dispatch’ rides a college rock wave. Wah-oos and guitar dips that explode into a head-crashing power-chord shred, all the while bumping up to hooks so big we’re singing along before we know all the words.

                                                                        “We've finally bridged the gap between our live show and the recording” the band say. “Kablammo!’ is the proof.”

                                                                        FORMAT INFORMATION

                                                                        2xLtd CD Info: Limited 2 CD edition includes 4 bonus tracks.

                                                                        Back in stock Cover of Playground Love by Air.


                                                                        Playground Love

                                                                          THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                          This French duo gained inclusion into the late-'90s electronica surge due chiefly to the labels their recordings appeared on, not the actual music they produced. Their sound, a variant of the classic disco sound coaxed into a relaxing Prozac vision of the late '70s, looked back to a variety of phenomena from the period -- synthesizer maestros Tomita, Jean-Michel Jarre, and Vangelis, new wave music of the non-spiky variety, and obscure Italian film soundtracks. (via AllMusic)

                                                                          Both tracks from the Virgin Suicides LP.

                                                                          GUEST ARTISTS: Gordon Tracks (pseudonym for Thomas Mars, lead singer of Phoenix)

                                                                          Limited edition Record Store Day exclusive, available to independent retailers only, 8100 units worldwide.

                                                                          FORMAT INFORMATION

                                                                          Ltd 7" Info: 1 copy only left!

                                                                          Back in stock Cover of Compulsion by Crispy Ambulance.

                                                                          Crispy Ambulance


                                                                            THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                            Factory Benelux presents a new studio album by cult Manchester postpunk group Crispy Ambulance, issued in a limited edition of 500 vinyl copies to mark Record Store Day 2015.
                                                                            In many respects Compulsion is the second album Crispy Ambulance might have recorded in 1982 after the release of The Plateau Phase, with six of the eight tracks written and performed live at that time. To these are now added Rain Without Clouds, an outtake from The Plateau Phase newly restored from the original multitrack masters, and WMTP.2 with added synth lines by producer-cum fifth member Graham Massey, of 808 State and Biting Tongues.
                                                                            Almost uniquely, Crispy Ambulance has retained the same line-up since the group was originally founded in 1978: Alan Hempsall (vocals, keyboards), Gary Madeley (drums), Robert Davenport (guitars), Keith Darbyshire (bass).
                                                                            “There’s a sense of feeling compelled by irresistible forces,” explains Alan Hempsall. “Compulsion is an apt way to describe our constant urge to go back and make music with people we've known since childhood. While the world may have changed, our music continues to be the product of the same influences - the passing of time, the changing of the seasons, the content of our sleeping dreams, and the existence of space.”
                                                                            Cover art by Peter Staessens. The package also features a free digital download of the album.
                                                                            Praise for The Plateau Phase: "One of the best albums Britain's second city has unleashed" (Q, 03/2006); “Perfect, wonderful and with a compelling gravitational pull” (Record Collector, 03/2013); "17 years on The Plateau Phase sounds like what it probably always was: urgent, postmodernist psychedelia with less debt to Joy Division’s music than to the universal abstract existential tension that comes with being young" (Uncut, 12/1999); "Cold and ferocious, but with enough inventive melody to lighten the black abyss of the overall mood" (Les Inrockuptibles, 02/2012); "An enthralling glimpse at a moment in musical history when the DIY ethos of punk gradually gave way to experiments with electronics and song structures" (NME, 01/2000); "Mixes driving rock, gritty new wave and odd atmospheric stuff" (Option, 1990).

                                                                            FORMAT INFORMATION

                                                                            Ltd LP Info: 1 copy only left!

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