The Residents

Intermission - Transparent Vinyl Edition



    Intermission: Extraneous Music From The Residents' Mole Show is an EP by The Residents, originally released in 1982. It featured music from the opening, closing and intermission portions of the Mole Show. It was the first in a line of albums that would bear the warning that it was not part three of the Mole Trilogy.

    Punk band NoMeansNo covered "Would We Be Alive?" twice: once on an EP of the same name, then again on their In the Fishtank EP.

    180 gram audiophile vinyl
    Limited Record Store Day edition
    1000 numbered copies on transparent vinyl

    Ray Charles

    Modern Sounds In Country & Western Music

      Ray Charles really broke the mould with this Grammy winning record. He made these songs his own with his bluesy, gospel inflections and enlisted top jazz arrangers to handle the band and strings. Original LP with one bonus track

      Julie London

      Julie - 180g Vinyl Edition

        The languid chantoosie is backed by the Jimmy Rowles Orchestra on this long player released in 1957, a year in which she was again named by Billboard as the most popular female vocalist. Original album with one bonus track.

        Thee Oh Sees

        Mutilator Defeated At Last

          Here we have a new batch from Thee Oh Sees for your absorption - nine muscular tunes primed to pummel to. Last year’s Drop was more schizophrenic, ranging from heavy to whimsical and back - Mutilator Defeated At Last has more in common with the monolithic hugeness of Floating Coffin - with only two slight reprieves in heaviness this is a record made to be played loudly and that demands bodily sacrifice inherently.

          Despite the plutonium heavy feel, Thee Oh Sees continue to be omnivorous - synths and acoustic guitars expertly wind their way throughout like veins of gold through granite - any and all that stands in its way will be devoured and assimilated. This is the sound of a band doing what they do best, and it’s out on Castle Face Records.

          Zefur Wolves

          Zefur Wolves

            Mexican border crossings, the traditional ceremonies of surviving Native American communities and lunar eclipses all form the lyrical rock bed of the laid-back, guitar driven debut single and album of new Welsh five-piece, Zefur Wolves.

            Sin Fronteras (No Borders) is just one spellbinding shot of fuzzed-up alt-rock on the emergent, self-titled album from Welsh five-piece Zefur Wolves, released on Strangetown Records on Monday 13 April 2015. Led by singer-songwriter Estelle ios, Sin Fronteras shows solidarity with Mexican communities forced to challenge the world’s busiest border crossing - communities that the band became immersed in while writing and recording in California.

            Opener, Fading Out pays its dues to legendary songwriter, Jason Pierce, following Estelle’s 24hr binge on Rated X from Spiritualized Amazing Grace album, transporting her to a clear starry night in the redwood forests of Northern California. The album and resulting tribute evokes the band’s very real experiences on their autumn writing retreat, exploring largely uninhabited areas on the edge of the Pacific.

            Having immersed themselves in an ‘off the grid’ adventure in the emerald triangle, Zefur Wolves debt to the wilds of Mendocino, Northern California are equal to the sunshineflecked, West Coast vibe of Mazzy Star and 4AD stalwarts, The Breeders.

            Following Sin Fronteras’ call to dissolve borders for the sake of humanity, Accept What You Feel calls on love to find a route through difficult times, by learning to leaving the past behind. It forms nearly four minutes of surging, heartfelt grunge-pop, made to pour from the radio on lazy journeys down deserted American highways.

            The album was recorded and produced at Strangetown Studios by producer and co-writer Cian Ciaran (Super Furry Animals).

            Courtesy of producer Jeedo under the alias Church Boy Lou, this 4-track Weep EP is steeped in the evolution of slave spirituals into gospel music. It is songs from the field meeting the trinity of Chicago house, Detroit electro-tech and disco. The voice of producer Paul Randolph accompanies the wails and moans from Southern plantation laborers on “Alright!” and the companion “Paul-a-pella.” The title track “Weep” is seven and a half minutes of haunting vocal chops and raw four-on-the-floor drums.

            Husker Du

            Flip Your Wig

              Spot -- SST's house producer who manned the boards for Zen Arcade and New Day Rising -- didn't produce Flip Your Wig, Hüsker Dü's second album of 1985, and the difference is immediately noticeable. Everything on Flip Your Wig is cleaner and brighter than on its two immediate predecessors, which is appropriate, considering that Bob Mould and Grant Hart have only increased their debt to '60s pop. The hooks and melodies are on the surface, right from the kick-start call-and-response of the title track. On paper, it might sound as if Hüsker Dü have watered down their hardcore ideals, but it doesn't play that way. Flip Your Wig is pop played as punk, as if this is the only time these songs could ever be heard. Which means Hart's love song "Green Eyes" and Mould's pure pop single "Makes No Sense at All" are delivered with the same rage and passion as Mould's blistering "Divide and Conquer" and Hart's "Keep Hanging On," or the pair of surging, neo-psychedelic and noise-wracked instrumentals that close the album. Flip Your Wig would be a remarkable record on its own terms, but the fact that it followed New Day Rising by a matter of months and Zen Arcade by just over a year is simply astonishing.

              Husker Du

              New Day Rising

                For New Day Rising, the follow-up to their breakthrough double-album Zen Arcade, Hüsker Dü replaced concept with conciseness, concentrating on individual songs delivered as scalding post-hardcore pop. New Day Rising is not only a more vicious and relentless record than Zen Arcade, it's more melodic. Bob Mould and Grant Hart have written tightly crafted, melodic pop songs that don't compromise Hüsker's volcanic, unchecked power.

                Trammps / Bobby Caldwell

                Rubber Band / The Light - Jim Sharp Edits

                  Dusty Donuts once again comes with two remixed soul stompers courtesy of London’s Jim Sharp. Side A sees Trammp’s classic ‘Rubber Band’get treated with that MVP flavour, hate it or love it (as sampled by The Game & Mary J Blige) Side B gets a little too smart and sheds light on a Bobby Caldwell classic “Open Your Eyes”making it a Detroit gem (as used by Common for ‘The light’)

                  Invisible Inc launches with this 4-track 'sampler' 12”/EP from four artists that we plan to be releasing music by over the coming year – Secret Circuit, Higamos Hogamos, Tim Love Lee and The Poncho Brothers. Packed with modular synthesizer funk, psychedelic wonk, kraut-rock infused space opera and downtempo analogue “balearica”, the 12” is due to be in shops in early May.

                  Already getting praise from Soft Rocks (ESP Institute, Endless Flight), House Of Traps (Firecracker, Unthank, Sacred Summits), DJ Kaos (Rong Music, DFA, Jolly Jams, Astrolab), José Manuel (Eskimo, Kinfolk, Disques Sinthomme), Bobby Beige (Pork, Garden Zadar), Chuggy (Emotional Response/Especial) and Gavin Hardkiss (Hardkiss, Siesta, Sunburn) here's what's they say:

                  “All very cool but really feeling the epic cosmic balled of Tim Love Lee. Like his recent Peace Feast 12s ... long, polyrhythmic, slow burning, synth chuggers. Eddie's acid boogie thing is nuts too. Belter of a first EP!” House Of Traps - Firecracker/Unthank/Sacred Summits

                  “Have to admit being fairly wearied by digital promos BUT this one is actually fucking great. I’d genuinely buy it. Tim Love Lee & Secret Circuit jams were the immediate faves but all sounding killer!” Piers Harrison - Soft Rocks

                  “Very Strong EP with a little bit of something for everyone here but the track that really stands out for me personally is Tim Love Lee's 'Trip Triangular' which flows and moves along rather beautifully...very nice.” Bobby Beige/Garden Zadar/Pork

                  “What a way to start a label!!! Some genius once said I wanna see all my friends at once and this EP pretty much achieves that!!!” Chuggy (Emotional Rescue / Emotional Response / Especial)

                  We're proud to announce our second 12" single in 2015 which features never-before-heard (on any medium) rare live performances from cv313.

                  The first track is a rare reversion of the classic "dimensional" piece released back in 2007 (Echospace 002), recorded live in Tokyo at Club AIR.

                  For the B side we've done our best to restore one of our favourite live moments captured at ARMA17 in Moscow, Russia, a deeply moving affair somewhere between the clouds above and the water below, spaced out sonic submersion...


                  Divine Times

                    WETDOG are Rivka Gillieron, Sarah Datbylgu and Billy Easter, three female individuals with an expertise for chasing down melodies across their songs. Previous albums on Angular and Captured Tracks have indicated their interest with the minimal palette of post punk and whilst that remains a glowing core to their coals over the last five years

                    WETDOG have evolved in their approach to making music. Whereas their debut album ‘Enterprise Reversal’ was overflowing with melodic clatter, their follow up ‘Frauhaus’ seemed decidedly darker and disparate. Since that release WETDOG have become a transatlantic proposal. Separated by an ocean, the trio have had to work harder than ever to rope together their instincts.

                    This commitment to staying in touch with each other as well as in touch with their sound can be heard throughout their new album ‘Divine Times’, released by Upset The Rhythm on May 4th. Keen ideas swirl, each afforded the luxury of time and due process. Contrasts and flights of fancy that sounded haphazard before are now as enmeshed and integral as the band’s close-knitted mix of venturesome drumbeats, sinewy guitar lines and bass anchor. Songs like ‘Message’ and ‘Chocky’ almost levitate with exuberance, their overlapping vocals pinned down by the propulsive rhythms stoked, the effect is delirious and pulse-quickening. ‘Small Talk’ makes for dizzy terrain with a spry cluster of chords and dub-dipped quavering. ‘Ridgway Crash’ echoes a similar music hall sensibility, its keyboard phrase weaving amidst a preset bongo beat, radio static and eldritch choir. WETDOG have had time to let these flowers grow into something a lot more poignant and pointed. There’s something lasting being reached for here if you listen closely.

                    ‘Divine Times’ is a distinctive album, hatched slowly, long distance. The band’s effortless style of song-writing has been given room to develop, with some of the more measured tracks on the album like ‘Twilight’, ‘Jym Fingers’ and ‘Divine Times’ making greater strides over time than the more immediate danceable material. Tumbling drums, folk-horror backing vocals and an elastic bassline provide an uncanny setting for guest vocalist Russell Walker’s drowsy narrative on ‘Jockey Slot’, all the makings of a disquieting dream. In fact the whole record leaps and dives through your subconscious very much like a waking dream.

                    It’s fitting that the album takes its name from album track ‘Divine Times’ as this best represents where WETDOG have arrived with this record. ‘Divine Times’ starts with an ominous drone and rattling change in pocket drumbeat before Rivka’s voice climbs up on a thermal. “In Divine Times, a thousand decorations fall down from the sky” she sings. The songs on this album feel similarly like spontaneous gifts from on high, as plentiful as rain, as miraculous as a swarm of locusts. There’s an Old Testament nuance with the song that lends a vastness to the band’s vision. The bass is the only other instrument that joins the dauntless vocal and keyboard rumblings and that only kicks in after the two-minute mark. There is no rush to the pay off, only well considered choices that pack an even greater punch when they are left stark in such a sparse context.

                    ‘Divine Times’ is an uncompromising album, it’s an assured album that’s been waiting for us to catch up. It has all of the tropes of what you’d expect from WETDOG, the characteristic fervor, deadpan humour, falling-to-bits willfulness, yet ‘Divine Times’ transcends the band’s love of all things disjointed and accidentally happy. It’s the sound of WETDOG confident out there on their own limb. There’s no looking down, only soaring upward.

                    Record flippers be damned! Trouble in Mind proudly presents the long-awaited (& often requested) compilation of The Limiñanas out-of-print singles & compilation tracks, some making their first appearance on vinyl! Ever y non-album track you need is here, from the OOP Hozac single, to the TiM 2011 limited tour single to their appearances on various compilations & tributes, all in one handy place.

                    While singles collections can sometimes be dodgy, mismatched affairs, “(I’ve Got) Trouble In Mind” flows like a proper album, & that stands as a testament to the unwavering vision of core members (and husband & wife team) Lio & Marie. The band’s fusion of traditional French “ ye ye” stylings with the cigarette-smoking cool of the New York underground of the late-Sixties has dazzled listeners since it ’s inception making the live unit the toast of concert stages worldwide.

                    Between stunning originals like the black-laced banger “I’m Dead” & the Suicideesque organ grinder “Je m’en vais” are stunning comp tracks like the band’s cover of tunes by the Beach Boys (from a MOJO magazine covermount cd), The Troggs (“Tu es a moi” from the 2012 RSD 4-way split), Jay Reatard (”An Ugly Death” from a French tribute album) & more! In addition, we get to hear unreleased tunes like the band’s cover of the Phil Spector tune “Christmas” originally performed by Darlene Love & the smoky, instrumental “A Dead Swan”.

                    FORMAT INFORMATION

                    LP Info: Vinyl repress.

                    The Limiñanas are back on Trouble In Mind (where they belong) with their third album, “Costa Blanca”! Once again recorded at their home in the south of France by Lio himself, “Costa Blanca” pushes the envelope of their signature Franc-o-phonic sound; the coloeur café cool of Gainsbourg, the hypnotic drone of 'VU'era Cale, and the spiky fuzz of Davie Allan.

                    This time around the band laces the tunes with a dramatic flair of French New Wave soundtracks & the percussive sonic accents found in Morricone’s work in Il Gruppo, particularly “The Feed-Back ” whose funk-laced tracks incorprate elements of avant-classical and experimental sonic elements. Fans of the band will no doubt hear familiar passages; melodic themes that appear & disappear not only over the course of this album, but that also reference The Limiñanas entire ouevre - melodic “jump-cuts” that are sonic echoes of previous tunes & future melodies. Thematically, “Costa Blanca” is an insular record, with subjects that reference Lio’s youth growing up in Spain in the 1970’s near the Mediterranean Sea & lyrics which are nostalgic odes to the music, films, girls, books & cars that shaped his world.

                    FORMAT INFORMATION

                    Ltd LP Info: Vinyl repress.

                    Trouble In Mind drop their first album, full length release.. Getting their start in October of 2009, The Limiñanas are the brainchild of Lio and Marie Limiñana. Beginning as a home studio project the duo spent much time flipping through John Barry and Ennio Morricone LP's and books on Victorian era architecture, watching Noir films, and basking in the sun of southern France seeking inspiration. Their first single came by way of Chicago's venerable Hozac Records in March 2010, followed up by a single 7" release, “Je-ne-suis-pas-tres-drogue”, on the fledgling Trouble In Mind label in April 2010. It's been noted that their are traces of Serge Gainsbourg, Beck, Stereolab, Gospel, Yeh-Yeh, guitar fuzz freakouts, and Nugget's-era stompers in the Limiñanas music. All of which may be true, but Limiñanas sound is irreverent and singular.

                    This LP has a cinematic feel, with it's reoccurring themes, lyrics and instrumentals taking cues from influences like Gainsbourg’s great "Histoire de Melody Nelson" LP, as well as the 1960’s soundtracks they've become enamored with. Within the groovy and melancholy tracks, further listens (and a little quick translating) expose both the biographic and the fantastic in these songs. Partly the fictional adventures of "Cold Princess" and partly a musical document of Lio and Marie’s reflections on love, loss, and new beginnings. Keeping one foot firmly planted in the sounds of the past, and one foot in the now sounds of today, the Limiñanas debut self-titled LP lives up to the promise they've made on their initial releases and then some.

                    'If the Velvet Underground had written songs with Serge Gainsbourg' - VICE.

                    FORMAT INFORMATION

                    Ltd LP Info: Vinyl reissues!

                    And here it is folks, the sophomore LP outing from the French breakthrough underground sensations, The Limiñanas, who are embarking on an even darker journey on this voyage into the stickiest, most vulnerable parts of your brain. After triumphantly completing their maiden US tour last year and proving to the world how effortlessly they capture their recorded essence in a live setting, they have returned with Crystal Anis, an LP brimming with perfect, humming, fuzz-filled effervescent pop so alluring and seductive in it's most intimate points that it's easy to get lost as the heavenly sounds rush over your soul.

                    It's a perfect slice of modern French Ye-Ye gone underground, conjuring a dimly-lit atmosphere where the long lost transcendent sounds of The Factory intersperse with modern noir nuances to unbelievable effect. This is the Limiñanas hitting their compositional peak stride, with lush instrumentation, building on their signature thick-accented tension, all properly enveloped within their monumentally textured songwriting style. 'Heavenly' doesn't even begin to describe it, but it's a great place to start.

                    STAFF COMMENTS

                    Darryl says: Ace sassy garage-pop from this French duo. Shimmering fuzz bombs with seductive vocals, you need this in your life!!

                    FORMAT INFORMATION

                    LP Info: Vinyl repress.

                    Alabama Shakes

                    Sound & Color - Limited Clear Vinyl & 7" Bundle

                      Limited edition clear vinyl, etched on side 4, bundled with limited edition 7".

                      Since the release of the Athens, Alabama group’s critically acclaimed 2012 album ‘Boys & Girls’ which has sold over a million copies worldwide, the band have been nominated for a Brit and Q Award, contributed music to the Oscar-winning films ‘Twelve Years A Slave’, ‘Dallas Buyers Club’ and ‘Silver Linings Playbook’, performed at The White House alongside Mavis Staples and Justin Timberlake for Barack and Michelle Obama, and become one of the most celebrated live acts in the world having delivered unforgettable performances everywhere from Jools Holland to the main stages of festivals including Glastonbury. They have also just been announced as the Friday night headliners of this year’s Great Escape Festival.

                      ‘Sound & Color’ demonstrates the tremendous strides made by a group of twenty-something musicians who had only been playing together for a few months when they recorded their first album. From the gently swaying, chiming title song to the garage-rock freak-out on “The Greatest” to the psychedelic space jam “Gemini,” ‘Sound & Color’ builds on Alabama Shakes’ soulful blues-rock base and maps a surprising, innovative new direction.

                      “We took our time to write this record, and I’m really glad we did,” says lead singer/guitarist Brittany Howard. “We were able to sit down and think about what’s exciting to us. This record is full of genre-bending songs.”

                      ‘Sound & Color’ was recorded at Nashville’s Sound Emporium studio. The band co-produced the album with Blake Mills—a young guitar wizard who has played alongside Lana Del Ray.

                      Harry Manfredini

                      Friday The 13th Part II (1981 Original Score)

                        * Features include 180 gram colored wax housed in a heavyweight old-style tip-on jacket
                        * Full package artwork by Rich Kelly, and a fold out poster of the album cover art.
                        * 180 gram Mrs. Voorhees Sweater with Blood Splatter

                        Waxwork Records proudly presents the original motion picture score to the 1981 horror genre defining slasher sequel, FRIDAY THE 13TH PART II, directed by Steve Miner and Sean S. Cunningham. Working closely with composer Harry Manfredini, Waxwork Records brings the newly remastered score to vinyl for the first time, ever. The original master tapes were discovered in the Paramount Pictures vaults by Manfredini and have been faithfully restored, edited, and mastered for vinyl to create the definitive FRIDAY THE 13TH PART II LP release.

                        The Nightingales

                        Mind Over Matter

                          The "misfits' misfits" the Nightingales new album 'Mind Over Matter' is released on CD and as a limited edition 180g vinyl, gatefold sleeve LP by John Robb's Louder Than War label on Monday 11 May.

                          Like the band's last three albums 'Mind Over Matter' was recorded in Germany at Hans-Joachim Irmler's Faust Studio and produced by the 'Gales bassist and Faust Studio house engineer Andreas Schmid.

                          The Nightingales were formed by former Prefects (Clash's 'White Riot Tour', Peel favourites, etc) vocalist Robert Lloyd and recorded a bunch of albums and 45s in the 1980s - as well as playing shows throughout Europe as headliners and supporting acts as diverse as Bo Diddley and Nico - but stopped working when Lloyd decided to combine a 'solo career' with money earning manual labour.

                          Around a decade ago Lloyd chose to revive the 'Gales but not as a nostalgia act performing old material for the entertainment of the affluent and ageing ex punk/indie brigade but as an uncompromising, confrontational contemporary group. His idea of what the band should be doing has taken time to come to fruition largely due to the coming and going of various mercenary, starry eyed, wastrel &/or part time musicians but during the recording of the 'Insult To Injury' album in 2008 Lloyd met Schmid who joined the band and at last the group "got good" (R.Lloyd).

                          The Nightingales then "got great" when former Violet Violet drummer Fliss Kitson joined the group a year or so later prior to recording the Cooking Vinyl album 'No Love Lost' in 2012. The Violets had been a regular support to the 'Gales over the years and Lloyd had always been an admirer of Kitson's playing so when that band split up and she agreed to become a Nightingale he was "made up" and finally the group was "proper".

                          This line up (completed by original Prefect Alan Apperley on guitar) became a top notch live unit and following the sold out, self released 'For Fuck's Sake' LP in April '14, the streamlined four piece Nightingales embarked on their most successful UK tour to date before writing the new album and recording in September at the end of a short tour of Germany and Austria.
                          The Nightingales were formed by former Prefects (Clash's 'White Riot Tour', Peel favourites, etc) vocalist Robert Lloyd and recorded a bunch of albums and 45s in the 1980s - as well as playing shows throughout Europe as headliners and supporting acts as diverse as Bo Diddley and Nico - but stopped working when Lloyd decided to combine a 'solo career' with money earning manual labour. Mind Over Matter' is a short, sharp blast of melody, rhythm, irritation and humour. The group might play around but does not fuck about. They may indulge themselves but do not waste your time. They could be mad but are most certainly diligent.

                          William Basinski


                            First New Album in over Two Years. Includes Bonus Download: “The Deluge (Live at Issue Project Room). “

                            Cascade and The Deluge are variations on the latest tape-loop and delay composition from the inimitable William Basinski. In Cascade, a single ancient lilting piano tape loop repeats endlessly carrying one along in its tessellating current. In The Deluge, the same loop is processed through a series of feed-back loops of different lengths creating a spiraling crescendo of overtones that eventually fade away to silence. In the denouement, a series of limpid piano loops leads to an urgent orchestral theme that builds and gradually dies away. William Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California.

                            Employing obsolete technology and analogue tape loops, his haunting and melancholy soundscapes explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. The Temporary Residence deluxe LP box-set reissue from 2012 was awarded best re-issue of the year and a score of 10 on Pitchfork. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold out crowds around the world.

                            Basinski was chosen by Music Director, Antony Hegarty to create music for the Robert Wilson opera, The Life and Death of Marina Abramovic which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013. Orchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and La Batie Festival in Geneva, Switzerland. Basinski is currently touring the world in support of Cascade and The Deluge, his latest works, TO BE released in Spring 2015 on 2062 & Temporary Residence Ltd. 

                            Andy Shauf

                            The Bearer Of Bad News

                              There’s an innate stillness and depth to Andy Shauf’s music—a quiet, riveting strength that subtly steals its way into a listener’s bones. He’s a storyteller: a singer of heartbreak and regrets, isolation and loneliness, small-town legends and smaller-town killers. Throughout his forthcoming album The Bearer of Bad News he studies the universal through two to five-minute microcosms, spinning tales as few others can, where accidental, redemptive victories (“Hometown Hero”) stir alongside evocative, heartrending tales of self-doubt and lost loves (“I’m Not Falling Asleep”).

                              The Saskatchewan native’s tender, singular tenor guides the way over muted instrumentation of softly-strummed guitars, dampened drums, weathered piano, and clarinet, which lends its unique timbre to frequently brighten—or hauntingly underscore—the songs’ darker undercurrents. Meticulously written over four years and recorded over one in a makeshift studio set up in his parent’s basement, Shauf, whose delivery at times reminds of Elliott Smith or Paul Simon, plays nearly every instrument on The Bearer of Bad News. The album was crafted on his grandfather’s timeworn guitar and heavily influenced by the aforementioned—and newly learned—clarinet, which was a Christmas gift from family. In spite of his modest recording set-up, Shauf imbued The Bearer of Bad News with an enduring warmth and redolence that lingers long after the album ends. The Bearer of Bad News may be a sad, introspective album, but Shauf's lyrical poeticism and multidimensional musicality are what sets it apart from others of its ilk.

                              “As one of the most outstanding talents we’ve heard in quite some time, Canada’s Andy Shauf offers up a timeless mix of melody, voice and lyrics that as comfortable as it is impressive. The mature-before-his-years cliche might very well have been invented for Shauf and long-player The Bearer of Bad News engenders the same feelings in us as Fleet Foxes’ first record.” - Line Of Best Fit.

                              The Lovely Eggs

                              This Is Our Nowhere

                                The Lovely Eggs return in 2015 with a new single, album and two UK tours. The oddball D.I.Y punk rock pair have been selling out venues across the country without the help of management, booking agent or record label support. And true to form they return with their fourth self-produced and self-recorded album 'This is Our Nowhere': a title which sums up their celebration and love of a scene which doesn’t exist in the eyes of the manufactured mainstream.

                                The Lovely Eggs have been relative outsiders to the music industry since 2006 with their unrelenting touring, single and album releases. But their “fuck it” attitude and DIY punk rock spirit has won the hearts of many fans, gaining them an increasingly loyal live following as well as huge support from DJs at BBC 6 Music, Radio One and XFM where they have recorded sessions for all three stations. 'This Is Our Nowhere' cements their reputation as one of the most exciting, innovative and genuine bands on the Great British Underground scene. With songs firmly set in the hum drum of everyday life, The Lovely Eggs turn normality on its head, squeezing it through their peculiar surreal mincing machine and blending it with fuzzed out guitar and crashing drums. For Holly and David being in a band is a way of life. And they approach it in a unique way laughing in the face of life's absurdities. They are a rallying point for anyone that sees life for what it is. A mess. A wonderful, car crash of experiences, greeting each new chance with a cheeky grin, a sneer and a big fuck you to the pricks.

                                Released on the band's own label Egg Records on May 4th (with a special black and white coloured vinyl limited edition release for Record Store Day on April 18th) 'This Is Our Nowhere' brings an essential addition to an already impressive discography, with lead single from the album ‘Magic Onion’ providing a raucous punked up psyche trip of nonsensical perfection. The band will head out on a 10 date UK tour on March 19th before embarking on another set of UK dates at the start of May.

                                And So I Watch You From Afar


                                  And So I Watch You From Afar have applied to their fourth album the same rigorous work ethic that has seen them touring nearly non-stop all over the world in recent years -- including less common tour stops like China, Russia, India and Africa. Heirs is both the band's most painstakingly created album as well as its most personal and meaningful. "Its central theme is about the inheritance of ideas," the band says. "In that we're all heirs to other peoples' passion, which in turn inspires ourselves." "We started making the album while touring in 2013," guitarist Rory Friers explains. "We would be recording demos in our hotel rooms, back stage and we would even hire out rehearsal rooms during days off." Being the first album with new guitarist Niall Kennedy (who joined as a touring member in 2012), the band grew increasingly productive taking half a year off from the road and working nearly every waking moment together in their rehearsal room. Friers and Kennedy, along with drummer Chris Wee and bassist Johnathan Adger amassed about 30 new songs. Only 10 songs made the final cut, carefully selecting those that best represented the ideas and feelings the band wanted to express with the album. "Its called Heirs as a tribute to a lot of new people who came into all our lives during the writing and recording of the album -- lots of nephews and Johnny had a daughter, Eisa," Friers explains. "It seems like the songs soaked up all those feelings we had during the writing. Because making the album was such an intentionally intense and full time experience none of us where listening to much other music or even experiencing much else outside of it. So, it feels like a very pure representation of what happens when these four people decide to make music together. It was a very intense time and the record has been shaped by that."

                                  Mac Mccaughan


                                    On May 4, Superchunk frontman Mac McCaughan will release Non-Believers, his first solo album under his own name. McCaughan wanted to use the album to explore his attraction to that early-’80s era of music when punk evolved into something more introspective, focusing on themes of isolation and eventually turning into post-punk and new wave. As he puts it, he was thinking about a time when bands were “using keyboards and drum machines to relate through their music a disaffection or alienation” from society, school, whatever. The record is about a fascination with art that could only be made by someone far from where you are, but who maybe shares the frustrations and awkwardness of youth. It’s about “the irony that comes with being 16 and having a car but not knowing where to go in it, or having a keyboard or a guitar and not knowing how to play it.”

                                    McCaughan’s songwriting isn’t limited to sheer nostalgia; it’s also about the more relatable theme of the point when people who grow up feeling isolated have to choose if and when they are going to join the mainstream, and about the emotional journey tied to weighing those options. “What appeals to me is songs that deal with the messiness and ambiguity that come with any transitional period,” says McCaughan. Given that McCaughan comes from the indie and punk rock worlds, he’s always shied away from the perceived hubris of putting out a record under his own name. “There’s something about it that’s way too ‘look at me,’” the singer and songwriter admits. However, given the fact that Non-Believers explores a very personal set of influences, putting out an album as simply Mac McCaughan for the first time just makes sense. 

                                    Les Big Byrd

                                    Stockholm Death Star

                                      After 2014 which saw the band supporting Goat & the Brian Jonestown Massacre on their European tours . This 4 track EP runs at over 24 minutes . Their new EP is Stockholm Death Star which is recorded in the band's own studio in Sweden's capital and consists of four new tracks. Those of you who are already familiar with the group will probably recognize their trippy spacerock over pulsating motorik beats from their earlier releases, and their feel for melodies is still very much present in the four songs. Produced by the bands guitarist, singer and main songwriter during the dark months of the Scandinavian winter, the music still has an ethereal light glimmering through the blissfully stoned vocal harmonies and chiming twelve string guitar riffs.

                                      "If you live in a dark and cold city covered in snow and the times around you are dark as well, you have to look extra hard and try to find a little spark of light inside yourself" as Joakim Åhlund puts it. Three of the tracks have that typical almost danceable groove that we have come to expect from this band and there's even a sort of ballad ending the EP, the almost dubby, seven and a half minutes long, spaced out "Vapour RIP", which though its rather dark lyrics deal with a misspent life and futile regrets, ends in an uplifting almost religious crescendo with fuzz guitars and mellotron strings. 

                                      Death And Vanilla

                                      To Where The Wild Things Are

                                        Cargo Collective stores exclusive - all formats come with a 4 track CD bonus EP (1. Erté 2. Reality From Dream 3. From Above 4. Lux).

                                        Whether their muse lies in 60s sci-fi soundtracks, The Radiophonic Workshop, the prototype electronic sounds of The United States Of America, the retro-futuristic edge of Broadcast, the dream pop ambience of Angelo Badalamenti/Julie Cruise, or the shimmering shroud of Mazzy Star, will doubtless be raised in countless interviews. But what matters more is that Death And Vanilla have woven a stunning tapestry that envelops all that preceded them, into a literally head-turning album, of kaleidoscopic proportions...

                                        Formed in Malmö, Sweden by Marleen Nilsson and Anders Hansson, Death and Vanilla utilise vintage musical equipment such as vibraphone, organ, mellotron, tremolo guitar and moog, to emulate the sounds of 60s/70s soundtracks, library music, German Krautrock, French Ye-ye pop and 60s psych. They revel in the warmth of older analogue instruments to create a more organic sound, each loose wire and off-kilter noise adding to the rich atmosphere. After a handful of successful releases including a debut EP in 2010, their self-titled LP in 2012 – which sold out on pre-order – and a beautifully designed 7” single, the experimental pop duo were invited to compose a live soundtrack for the classic horror film, Vampyr (1932), for the Lund Fantastisk Film festival in Lund. Now, newly signed to Fire, the band return with ‘To Where The Wild Things Are.’

                                        Named after the Maurice Sendak children’s book, the album is comprised of pop music with a wild, dreamy and experimental edge, celebrating imagination and the ability to travel to stranger recesses of the mind. ‘Where the Wild Things Are’ starts off with some of the most “pop” songs they’ve ever recorded, typified in the sweet and melodramatic “Arcana”, and the classic pop inspired “Time Travel”. Like Sendak’s book of the same name, the album then proceeds into stranger and stranger territory, resulting in some of the most experimental material Death and Vanilla have produced, such as the six minute “Something Unknown You Need to Know” and the machine-like, surf-guitar track “The Hidden Reverse”.

                                        The band recorded the new album themselves in their rehearsal space, using just one microphone – a 70’s Sennheiser – which they bought at a flea market for a tenner. It is this unconventional recording process that gives Death and Vanilla their unique personality; using a trial and error approach to recording has rewarded the album with a strangeness that would not have otherwise been achievable. Creating deliciously enticing soundscapes, full of moody moogs, swirling melodies and breathless vocals, their influences on ‘To Where the Wild Things Are’ are apparent and diverse, ranging from Ennio Morricone to Scott Walker, Tom Dissevelt to Norman Whitfield, The Zombies to Sun Ra, and Bo Hansson to The BBC Radiophonic workshop. 

                                        FORMAT INFORMATION

                                        LP 1 Info: One of two vinyl edition - this one is the orange vinyl edition. Both are the same apart from the colour difference; 160 gram with a download code.

                                        LP 2 Info: One of two vinyl edition - this one is the blue vinyl edition. Both are the same apart from the colour difference; 160 gram with a download code.

                                        Lord Funk

                                        Global Warming EP

                                          Another 4 slices of a 10" hot boogie pizza, right out from the Boogie Butt Records’ oven and cooked with love by DJ Lord Funk!

                                          Back in the day of G&P Funk style, “Your Body Next To Mine”, with his high bass synth, got the way to make you dance body to body.... “Global Warming” is the track which gonna bring you in higher degrees, your music forecast today: Hot, Hot, Hot!!!!!

                                          On the B-Side, “Let Me Be The One” is a mid-track with a raw bass synth, which will move your feet to the beat. For closing this package is another downtempo track with killer synth waves, get lay next to your doll and do it “All Nite”!!

                                          Johnny Clarke

                                          Poor Marcus / Version

                                            Johnny Clarke tells it like it is,the story of Marcus Garvey...‘Dem never loved Poor Marcus’. The B-side backed in a Fine Dub Style.

                                            Leroy Smart

                                            Mr. Rich Man / Version

                                              Leroy Smart’s ‘Mr.Rich Man’...Trurh and Rights..Mr Rich Man,You’re Living Too Rich...Alongside it’s Dubbed B-side Version.....

                                              Cornell Campbell

                                              Natty Dread In A Greenwich Farm / Version

                                                Cornell calls all the dreads to the dance in Greenwich Farm...All will be there. Backed up with its Version B-side.

                                                Eccentrics Edits

                                                System, New York, The Beginning, The End

                                                The Eccentrics parties started some three years ago by Will and Mark, have been a monthly staple of the eclectic nightlife scene in Peckham since its’ inception. The party has hosted many great guests over its’ three years, such as Andi Hanley, Piers Softrocks, Toby Tobias, Phil Mison, Frank Tope, Bill Brewster and many more. This 12” is the culmination of Mark and Will saving their hard earned gig money so they can present the sound of Eccentrics to a wider audience. These edits were put together along with another local hero Sanky (a regular guest) whom has kindly provided the ‘System’ edit and the artwork for the jacket.

                                                ‘System’ is a sleazy European synth pop killer with a laissez- faire attitude apparent in those Simmonds drums and quirky analogue keys. Sanky and Mark have added very slight additional production to extend and deliver a great version of this soon to be classic.

                                                ‘New York’ takes us on a journey of weird magical melodious intrigue that wouldn’t sound out of place at a Dominic Strauss Kahn European sex party.

                                                ‘The Beginning’ is a balearock groove that drops into an extended dubbed out island breakdown before coming up for air again.

                                                ‘The End’ is a downtempo slap bass funk rock head nodder that your university professor probably jumped around to in his teens.

                                                Don’t waste any time picking this up as it’s likely to be gone very quickly

                                                The anonymous Man Power makes his debut on Throne of Blood with the label’s first release in 2015. Closely affiliated with Jennifer Cardini’s Correspondant Records, he’s been making waves across the underground over the past couple years with remixes and releases on labels including Hivern Discs, Eskimo Records, ENE, Infiné, Rothmans, and Is It Balearic? With a debut LP in the can for Correspondant and 12”s due on Voyeurhythm, Renate Schalplatten, and Discos Capablanca, this unknown producer and DJ is definitely one to keep an eye on in 2015.

                                                With “Trans” Man Power turns in a peaktime monster with soaring, frankly uncharacteristic optimistic rushes. Berlin’s Discodromo strips things down a bit delivering a version reminiscent of something that would have smashed up a Wicked party in San Francisco circa ’96. Man Power returns to familiar dark and driving analogue territory on the flip with “Blue Suite.” WT Records mainman Willie Burns closes out the 12” with tearing, arpeggio-heavy mix that pumps things up for the dancefloor. Hotly-tipped newcomers Bird of Paradise round out the digital package with a slow motion acid remix of “Blue Suite.”

                                                More Nervous gold from the classic labels dusty vaults.

                                                A lesser known highly collectable gem from 1992 from The D.A.T. Project.

                                                4 stone cold killers here... with 'C'mon Sweat' a particular highlight.

                                                First ever vinyl repress... released in conjunction with Nervous Records NYC!

                                                Jac Berrocal, David Fenech, Vincent Epplay


                                                  Antigravity is a new trio album from legendary trumpeter Jac Berrocal and two fellow travellers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock ‘n roll The Berrocal/Fenech/Epplay trio’s first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece ‘Rock 'n Roll Station’, which first appeared on his ’77 LP Paralleles with chain-wielding, leather-clad wildman of British rock ‘n roll, Vince Taylor, singing the lead, and Berrocal on mic’d up bicycle; here, the Frenchman takes the vocal reins. A barely recognisable interpretation of Talking Heads’ ‘The Overload’ pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum machine rhythms, humid electronics and jagged guitar phrasing, while ‘Where Flamingos Fly’ reroutes the Gil Evans Orchestra’s classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio’s reading of ‘Kinder Lieder’, the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker’s Climate of Hunter. Originals include the agitated Iberian psychedelia of ‘Spain’, and ‘Panic In Bali’, which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered ‘Lonely Woman’ quotations. ‘Solaris’ is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal’s trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay – like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humour pervading: see the anarchic cross-hatch of ‘Ife Layo’, or ‘L’essai des Suintes ou le bal des Futaies’, Berrocal’s poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow and the ReR axis will find much to chew on. Play, as we know, is a serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let’s go.

                                                  Pat Thomas & Kwashibu Area Band

                                                  Pat Thomas & Kwashibu Area Band

                                                    “I’m an afrobeat drummer but Pat Thomas is highlife. That is what he does so well.” -Tony Allen

                                                    Coming in June, we are proud to announce the brand new studio album by one of Ghana’s all-time great vocalists, “The Golden Voice Of Africa”, Pat Thomas, in conjunction with the Kwashibu Area Band led by multi-instumentalist Kwame Yeboah (Cat Stevens, Patrice) and saxophonist Ben Abarbanel-Wolff (Ebo Taylor, Poets of Rhythm).

                                                    A regular collaborator with Ebo Taylor, Thomas was mainstay of the ‘70s and ‘80s Ghanaian highlife, afrobeat and afro-pop scenes, hitting big with the Ghana Cocoa Board-sponsored Sweet Beans band. Thomas’ new album marks over 50 years making music and reunites him with old friends: Ebo Taylor provides horn arrangements, Tony Allen contributes drums to several tracks, Osei Tutu (Hedzolleh Sounds) plays a memorable trumpet solo and prolific 1970s bassist Ralph Karikari (The Noble Kings) also features. Younger generation stars appearing include bassist Emmanuel Ofori, percussionist “Sunday” Owusu and Pat Thomas’ daughter Nanaaya, an acclaimed vocalist in her own right.

                                                    Kerrier District


                                                      Kanaku Y El Tigre

                                                      Quema Quema Quema

                                                        STRUT in partnership with Tiger's Milk present Quema Quema Quema the first international record from famed Peruvian Band Kanaku Y El Tigre.

                                                        'The only people for me are the mad ones, mad to live, mad to talk, mad to be saved and desirous of everything' Jack Kerouac, 'On The Road' (1957) I f 'On The Road' lead characters Sal Paradise and Dean Moriarty were modern day beatniks, they would find spirited company in Kanaku y El Tigre, a Peruvian collective who release their sophomore album (and first internationally), 'Quema, Quema, Quema', on Strut / Tiger's Milk in May 2015.

                                                        'Quema Quema Quema' ('Burn Burn Burn' in Spanish) is the product of two years honing the Kanaku sound at the band's Lima studio. The result is a record feverish in its intensity which screams with joy and cries for help in the same breath.

                                                        Back in 2010, their debut album 'Caracoles' (2010) brought Kanaku's creative duo Nico Saba and Bruno Bellatin considerable success in Peru with a set of quirky songs inspired by American folk. Five years on, 'Quema Quema Quema' has a whole different atmosphere - euphoric, unapologetically feel-good hooks littered with electronic jitters, ghostly delays, serene Hawaiian slide guitars and a chorus of other-wordly vocal harmonies.

                                                        Featuring ten songs including two sung in English, 'Quema Quema Quema' is led by the tortured, Impassioned vocals of lead singer Nico Saba and the musical relationship between he and Bruno is key. 'With the new album, we have focused consistently on the melody and the song despite a multiinstrumental approach,' explains Bruno. 'We have always shared this process of dreaming up ideas - we both bring light and darkness into the room and use each other as creative mirrors.'

                                                        'Quema Quema Quema' features some illustrious guest vocalists adding to the Kanaku palette: Almodovar actress Leonor Watling (star of 'Talk To Her'), Peruvian singer-songwriter Pamela Rodriguez and Cecimonster frontman Sergio Saba.

                                                        Their strong musical partnership stems from the '90s, when, in their early teens, they were kicking the dust together in a punk band in downtown Lima. Now in their late twenties and both now bilingual having lived for periods in the UK and the States, their sound owes much to western music forms. Despite being very different characters with near opposite tastes in music, as life-long friends, they see the fruits of their creative partnership as a mutual appreciation living life charged, intense and always ready to 'Burn, Burn, Burn'. The lyrics of lead single, 'Si Te Mueres Manana' encapsulate the Kanaku philosophy: 'if you die tomorrow, make sure you you've done everything you ever wanted'.

                                                        To complement the fluid production and sonic oddities peppering 'Quema Quema Quema', Argentinian graphic artist and cartoonist Ricardo Liniers brings his unique childlike surrealism to the album artwork.

                                                        Various Artists

                                                        Late Night Tales Presents After Dark - Nocturne

                                                          The Italians call it notturna, the French nocturne, in Spanish it’s nocturno, while the Estonians say öine. (Trust the Estonians to be different.) A nocturne is a French term to describe a musical composition that is inspired by or evocative of the night, which seems apposite. The most famous modern nocturne is, of course, ‘Harlem Nocturne’, as recorded by countless jazz musicians. If you like, you can just call it the night. The point is it’s when the fairies come out to play and the bass is at its loudest (the two are not necessarily related).

                                                          We’re back in the low-tempo, high-octane zone. Our tempo might be slow, but the quality control makes Louis Vuitton look like Poundland. We’ve gathered together some of the hottest new material, with some judiciously chosen old gear, an edit or two and blended them together like a disco nutri-bullet.

                                                          Among the exclusives is the amazing Lindstrøm remix of Charli XCX’s ‘You (Ha Ha Ha)’, alongside a pair of exclusives from Emperor Machine and Hugh Mane and two belters from Hotel Motel.

                                                          And there are the rarities. We’ve got Rudy Norman with the brilliant ‘Back To The Streets’; there’s also the amazing ‘Chained To The Train Of Love’ by Coalkitchen and our traditional curveball, this time furnished by Plastic Bertrand delivering one of the best ever early rap tunes.

                                                          Bill Brewster comes armed with a sensitivity and sense of occasion that few other DJs possess – and as go-to scribe of liner notes for every Late Night Tales release since day one, his association with the series is symbiotic. Originally a chef, a football pundit (co-editor of fanzine When Saturday Comes) and record collector, Bill began DJing in in the late 80s, but he cut his teeth playing Low Life warehouse parties in Harlem and the East Village and anyone hearing Bill today can see how these New York ‘roots’ shine through. For eclecticism, surprises, amazing unique music and sheer long-haul dedication to the dancefloor; Bill’s your man. His other life is as a writer. Together with long-term pal Frank Broughton, Bill is author of the definitive history of DJing, ‘Last Night A DJ Saved My Life’, the uniquely sardonic DJ manual ‘How To DJ (Properly)’ and has contributed his acid Grimsby wit and encyclopaedic knowledge of music to just about every dance rag there is, not to mention The Guardian, Independent and Mail On Sunday.

                                                          Various Artists

                                                          Keb Darge & Little Edith's Legendary Wild Rockers Volume 5

                                                            There’s not too much to say about this, the 5th volume of Keb Darge & Little Edith’s Legendary Wild Rockers that you won’t know already: it’s the final instalment of an acclaimed series that picks up where vol. 1-4 left off, with more raw, rootsy rockabilly and surf sounds, many rare as the proverbial hen’s teeth.

                                                            An infamous part of Britain’s club culture since the heyday of the Northern scene in the 1970s when he first gained a reputation for the rugged physicality and athleticism of his dancing, Keb made the transition to DJ with his legendary residency at Stafford’s Top Of The World club at the beginning of the ‘80s, where he became known for breaking ‘newies’ at a time the scene was wallowing in nostalgia.

                                                            That set a pattern for Keb, always pushing against the grain. At the end of the decade he relocated to London and established himself as a funk DJ with a residency at Soho’s famous Wag Club, while the rest of the capital was basking in the second and third summer of love. From that came the Deep Funk night at Ormond’s with Snowboy and then, with a compilation on the same theme, began his long association with us.

                                                            Keb’s Deep Funk compilations really brought him international attention and a globetrotting DJ career. But never one to rest on his laurels, Keb has shown a propensity to start a new scene whenever he gets a bit bored with the one everybody else is just catching up with! He went back to the roots of soul playing vintage R&B, and then, in a step that was really quite radical for a soulboy, the rockabilly and early surf music discoveries that have made up this latest compilation series.

                                                            Crazy P

                                                            Walk Dance Talk Sing

                                                              Various Artists

                                                              DJ Kicks - Actress

                                                                British techno-related visionary Actress joins the DJ-Kicks series this May with a singular hour-long set, following his acclaimed fourth full-length effort, Ghettoville, a recent re-release of his debut LP Hazyville, and a limited-edition black label project Xoul on his own Werkdiscs label.

                                                                For Actress (aka Darren Cunningham), the process of selecting tracks was fraught with meaning on a number of levels. “When I’m selecting music I’m not always thinking about the music alone,” Cunningham explains. “I’m thinking about the names of the artists, tracks, and labels, and what they mean to me. I often base my tracklisting purely on how well the track titles work together in a poetic sense.”

                                                                “I’ve tried to keep space between tracks, allowing them to speak,” he continues. “I tried not to force BPM shifts and to let the programming remain choppy and quick.”

                                                                Of course, the DJ-Kicks wouldn’t be complete without an exclusive production from the author himself. “Bird Matrix,” a track he made just after he finished writing Ghettoville. “My studio was going through a transition, so I was testing all the equipment, and that was one of the first tunes that came out of those experiments,” he explains. It’s a fittingly exploratory tune for a mix that balances traditional functionality with dance music’s cutting edge.



                                                                  Debut studio album by the American recording artist featuring the singles 'Brain', 'Goddess', 'Drowning', 'Beggin' for Thread' and 'Someone New'.

                                                                  6 tracks from Armando vaults. This time on Housetime - a lesser known Trax sub label.

                                                                  Minimal and raw jacking Chicago house in all forms. Check 'Dance With Me' for Armando's take on filtered house.

                                                                  Original pressings from 1989 were pressed terribly and popped and crackled. This 2015 re issue has been re mastered and released in conjunction with the rights holders.

                                                                  Mungo's Hi Fi Feat Charlie P

                                                                  You See Me Star

                                                                    Charlie P is a raggamuffin rudeboy youth with a natural talent for music. He first appeared on stage at the age of 5 and there are some grainy youtube videos of him performing as a child. He started out singing motown and blues but reggae was in his blood since he grew up surrounded by UKJamaican culture. He started singing with the Goldmaster Allstars at the age of 11, but was soon drawn to soundsystems which is where he feels most at home. His uncle had been running a sound in Southend on Sea and it was his mother who encouraged him in his career. Charlie first came to Glasgow in 2010 for one of Mungo’s Hi Fi’s legendary nights at the Artschool. This was the beginning of their working relationship which has seen countless recording sessions and continuous touring around every corner of the globe. This album is the culmination of this ongoing relationship and brings together the best tracks across the styles that he loves, from roots reggae and dancehall to modern bass music. Some are surprised to see a young white guy with a Jamaican accent, but it is his musical language and Charlie is not pretending to be anything but himself - a man with a passion for good ganja and reggae dancehall.

                                                                    Various Artists

                                                                    Popcorn Exotica - R&B, Soul & Exotica Rockers From The 50s & 60s

                                                                      On Bob Stanley’s label, following up the acclaimed Popcorn Girls (“this enchanting… enlightening collection is an indispensable window on a rarely celebrated scene” – The Arts Desk) here is a truly exotic mix of soul R&B doo wop and atmospheric instrumentals.

                                                                      This is Croydon Municipal’s third retrospective of the Popcorn scene that has run parallel to Northern Soul since its inception in Europe in 1969. It’s a delicious and unique blend of sounds from the US, France, Italy based around a moody, shuffling cha cha beat that has recently developed an international following on the mod and soul scenes.

                                                                      • Most tracks available for the first time on CD
                                                                      • Thorough sleevenotes by Saint Etienne’s Bob Stanley
                                                                      • In demand mod, soul and 60s club favourites
                                                                      • Along with a glass of brandy, the perfect accompaniment for a Spring evening in.

                                                                      Robert Aiki, Aubery Lowe & Ariel Kalma

                                                                      FRKWYS Vol.12 - We Know Each Other Somehow

                                                                        We Know Each Other Somehow is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by Robert Aiki Aubrey Lowe and Ariel Kalma. In the four decades since Ariel Kalma’s debut album, the privately pressed Le Temps des Moissons, the French-born Kalma musician has circulated corners of culture now legend: intrepid excursions as a spiritual explorer through India and New York in the 1970s, a studio staff position at the Groupe de Researches Musicales (Pierre Henry’s famous music concrete laboratory at INA studios), and training with music / mind / meditation institute Arica. The genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowe’s first release under his own name, the widely regarded full length Timon Irnok Manta, released for Type in 2012. The album paired two strobing, drone-oriented pieces in an uncategorizable combine of ambient synthesizer-music and pulsing rhythms. Lowe also performs his vocal-based compositions as Lichens and is a frequent collaborator with Om and Nurse With Wound. Chance travel landed Lowe and Kalma in San Francisco at the same time shortly after the collaboration idea was seeded. Upon meeting, Kalma was endeared by Lowe’s unique set-up, a portable modular synth unit housed in a vintage luggage case. Kalma recalled his own adventures when he traveled with just a Revox tape-delay machine and saxophone. Plans were soon settled to record in Kalma’s home studio in Main Arm, a remote community on the eastern Australian coast, around Lowe’s serendipitous tour dates with Om. The pastoral life that Kalma had settled into eons earlier vastly informed the character of the recording. Similarly mined by Ariel Kalma in his 1978 album Osmose, itself a collaboration with sculptor Richard Tinti, field recordings are embraced throughout We Know Each Other Somehow as a key harmonic and timbral element with which to adorn. Described by Lowe in the liner notes as the “collective voice,” these birdsongs, creeks, tributaries and other ambient sonics of Main Arm appear throughout the album in processed and pure form. Wind instruments and signal sources are modulated, modified and sustained ad infinitum, cohering the choir of mother earth with the collaborators’ own. We Know Each Other Somehow is accompanied by a feature length exploratory documentary based on the collaboration. Titled Sunshine Soup and directed by multitalented designers / artists Misha

                                                                        Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma. Following up his 2014 archival collection An Evolutionary Music (Original Recordings 1972 - 1979), Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, We Know Each Other Somehow shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.

                                                                        FORMAT INFORMATION

                                                                        LP Info: LP+DVD.


                                                                        Viaggio Nel Domani - Blue Vinyl Edition

                                                                          A daring experimenter and former student of Karlheinz Stockhausen, GUIDO BAGGIANI AKA RUSCIGAN crossed the door of PIERO UMILIANI’s legendary SOUNDWORKSHOP STUDIOS to create together VIAGGIO NEL DOMANI an album that still surprises the listener with its clarity of execution and the sense of musical research and adventurous sound.

                                                                          - FIRST EVER REISSUE
                                                                          - LIMITED EDITION OF 500 COPIES
                                                                          -TRANSPARENT BLUE VINYL

                                                                          Piero Umiliani

                                                                          L’Uomo Nello Spazio - Blue Vinyl Edition

                                                                            “I have dedicated these compositions to the spaceman, this new, modern Ulysses going adrift on the galaxian oceans...” (P.Umiliani, 1972)

                                                                            The words of the great PIERO UMILIANI describe perfectly the soul of this record, a long awaited reissue of one of the most rare releases of the legendary OMICRON Label.

                                                                            - FIRST EVER REISSUE
                                                                            - LIMITED EDITION OF 500
                                                                            - TRANSPARENT CLEAR BLUE VINYL

                                                                            SHADELEAF continues, with a strident 7 out of 7 on the scoreboard !

                                                                            Following a stunning (and sell-out !) EP earlier last year, the North East's answer to Michigan's finest, steps up again, with probably his strongest work to date.

                                                                            Mannmademusic became known very quickly, over the space of a few low key, but expertly realised edits releases for the likes of Glenview, Lumberjacks In Hell & Diner City Sounds.
                                                                            This EP sees him continue wearing his influences proudly, but re-imagine them in an altogether rawer framework - Samples woven together, augmented and redefined, some of it following the classic KDJ blueprint but laid out in a style that's all his own.

                                                                            Those familiar loops submerged and unfurling, rubbing up against altogether more off-kilter but coherent workouts, sat alongside perfectly measured electronic jams all combining into an EP that stands head and shoulders above the competition.

                                                                            Another Shadeleaf sureshot ! 

                                                                            Aroop Roy

                                                                            Brazil Breakdown Part 3

                                                                            UK jazz head Aroop Roy is back with his highly successful series of Brazil infected reworks.

                                                                            Like on the previous volumes he sought out his fave tunes from Brazil and fine tuned them for your DJing pleasure. Its all very classy and well produced but most important, its very good dance music! 

                                                                            The next communication from Butter Sessions is here!

                                                                            Label heads Sleep D team up with DJ Fett Burger & Jayda G to wow you with a wide range of sonics recorded via the Velvet Vortex between Vancouver and Melbourne.
                                                                            Something for the pure late night bliss, early morning ecstasy or Sundays on the couch!

                                                                            Masanori Ikeda

                                                                            Afro Tipsy - Inc. Almunia Remix

                                                                            The third release on Palms & Charms comes from Tokyo club stalwart Masanori Ikeda (Mansfield, Ikeda X), who has had previous releases on the legendary Flower Records and Cos/Mes imprint Snaker.

                                                                            A resident DJ at London club Wag in the early 90's, Masanori returned to Japan later in the decade and has since provided the soundtrack to many a Tokyo night-time adventure, most recently with his continuing residency at Shibuya institution Oath.

                                                                            With Afro Tipsy, Masanori offers up a monster of rolling percussion and pulsating synths. Feel the stress of the day fall away, your veins flowing as if with the very energy of a thousand suns. Moving confidently to the dance floor, your head and limbs begin to move in new and unexpected rhythms. Don't be alarmed - you feel good.

                                                                            On the flipside, the remix from Almunia (Claremont 56) takes you deeper than deep. The sound envelops you as you enter the club. The continental winds and low pressure lift you aloft and you circulate around the dance floor, carried far as if on a warm jet stream. The rhythm drives, dubbed-out guitar echoing through the night.

                                                                            Leonardo Ceccanti and Gianluca Salvadori taking you to new places. 

                                                                            A very warm welcome to Los Angeles based record label VINYLS ON WAX, run by Daddy Differently (Dublab's Things Of Life) and Tommy Moye (Rong Music). 
                                                                            This debut 12 comes courtesy of PHARAOHS, whose previous musical outings under this alias include stunning releases on revered labels like ESP Institute & 100% Silk! Multi-instrumentalists, alongside the mighty Diego Hererra (Dude Energy, Suzanne Kraft, Odd Numbers) result in something of a Californian super group! Rinse Dreams begins with the title track, easing into a mid-tempo and slowly unfurling epic, which could quite easily be the sound of a peyote trip condensed into 9 glorious minutes...

                                                                            Flip for Mr Fontel, a much livelier workout that's all humming circuitry and pulsing rhythm track, whose metronomic drive never undermines the 'live performance' and organic feel of this irresistible jam. Finally El Datil is as sweet and sticky as its name would suggest, another pulsating, syncopated sonic journey that blows through like the Sundowner winds. 

                                                                            This limited cassette is a special bonus / pre-release item for the forthcoming 2 X LP 'HIGH ROAD" forthcoming on RED MOTORBIKE!

                                                                            LOW ROAD contains unreleased music from EDDIE C which won't be appearing on the vinyl version, and also features cuts from KKOOSH, DANE & KHOTIN and CEM G

                                                                            Lightly 'mixed' by Eddie... 50 Copies worldide !!

                                                                            Various Artists

                                                                            Above Machined Volume 2

                                                                            Above Machined return after their extra special debut 10" outing (and something of a secret weapon !) just over a year ago

                                                                            Here we have another mighty 10" platter featuring A Side cut 'Bad Runner' A Nicola Bruni rewire featuring Luca Cacciatore on sax.
                                                                            It's an irresistible Mediterranean groove, which is far more dirty cocktails & dark corner deals than it is vest and linen slacks - think Don Carlos meets the Vincent Montana Orchestra

                                                                            On the flip we're treated to the dazzling slo-mo 'Communication Breakdown' where Twisted Tongue takes on a Library rarity and transforms it into a Balearic masterpiece !

                                                                            The Above Machine stamp of quality all over this one - limited 10" release 

                                                                            Passion Pit



                                                                              I Like It / Please

                                                                              Two pieces of snarling filter house from NYC heavyweights Robbie Busch aka DJ McBoing Boing - record dealer to the stars, digger extraordinaire, & DJ of sweaty underground parties around the world, and Josh Dunn - one part of the sorely missed 100 limousines, and one third of the holy trinity that put on New York's legendary Foreal People party.

                                                                              For two guys so deeply immersed in the rich history of urban dance music, from the Blues & Gospel through deep Disco, Soul, Chicago and Detroit sounds, you could be forgiven for expecting to hear a rich homage to the sounds of the past.
                                                                              Instead we get the future ghost of Ron Hardy playing the record backwards on a janky turntable with a quarter for a counterweight and fucking shit up in every conceivable way.

                                                                              These two are chiefly concerned with moving things forward, having some fun, and taking no prisoners along the way.

                                                                              They're back!
                                                                              San Francisco's very own pagan anarchist acid rave sons DJ Spun and Jonah Sharp team up with skate punk legend Ray Stevens II and Liquid Liquid / Fist of Facts' Sal Principato for their sophomore release on Golf Channel.
                                                                              A short sharp shot to the head, 'It's Hot' is a fast & vibrant piece that evokes bygone, punk, no wave, genreless days - and at a fair clip at that.
                                                                              The bonus beats strip it down to the skeletal for some voodoo business while the Columbus Hotel mix is a version that sounds like nothing else you will hear this year... industrial Techno tribal goth dub vibes for 2075 and beyond!

                                                                              Golf Channel every time !

                                                                              The illustrious Jasper James graces Leftroom with the superb ZTRK1 single, complete with two vinyl-only Optimo remixes by JD Twitch!

                                                                              Jasper James is a 24 year old DJ & producer hailing from Glasgow who has from birth been immersed in Glasgow’s rich and vibrant music scene. Taught to DJ at just 13 by his father, Sub Club’s Harri, Jasper has grown up with access to an impeccable and wide ranging record collection of thousands from the day he was old enough to cue up a record.

Jasper has already featured on BBC Radio1’s world renowned Essential Mix radio show more than once. Not only has Skream played his productions in his mix, but Jasper took the reigns to provide his own Essential Mix in May 2014.

                                                                              In the same year, Jasper has made various appearances on Rinse FM with both guest slots and show takeovers. As a result, Rinse FM have now given Jasper a monthly residency.

His debut release ‘Sneaky E.P’ on Optimo’s Optimo Trax label went down a storm on dancefloors over the summer with backing from the likes of Bicep, Jackmaster, Eats Everything, Richy Ahmed, Skream and 2 Bears to name a few.

                                                                              ZKRT1 is a fantastic slice on unadulterated techno; Jaspers original has been going a treat with crowd of late. Featured on this 12” only are these two brilliant remixes by JD Twitch, a mesmerizing Optimo mix and heavy head-spun Live Jam for those darker floors!

                                                                              Various Artists

                                                                              Fabric 81 - Matt Tolfrey

                                                                                Matt Tolfrey’s musical roots lie in Nottingham where he regularly attended DIY events as well as the infamous The Bomb nightclub, the latter being a home to authentic British deep house via the likes of Kelvin Andrews and Dave Congreve. Soon after these formative years, just after the turn of the century Tolfrey found himself behind the decks at The Bomb - and later, Stealth - where he began to carve out a reputation for himself as a varied and adept house selector. Craig Richards, also a Bomb regular, spotted Tolfrey’s skills and invited him to play at fabric in 2004 which marked the beginning of a long relationship with the club and its auspicious resident.

                                                                                After a move to London around this time, Tolfrey kicked off Leftroom and signed his debut EP to the burgeoning Crosstown Rebels, two moves which fully drew him into the music industry. Since then, Tolfrey’s productions have cropped up on the likes of Cocoon, Culprit, Phonica, Rekids and, most recently, Skream’s Of Unsound Mind while stewarding Leftroom to drop releases from the likes of DJ Bone, Laura Jones, Huxley and Kate Simko.

                                                                                The result of eleven years of playing and attending fabric (Tolfrey can be seen regularly at the club when not he's travelling himself), fabric 81 is a distillation of his experiences and musical memories rather than a straight up trip through the latest promos and hot cuts.

                                                                                Across Tolfrey’s mix we’re treated to a broad selection of styles and compositions old and new, all tied together in the DJ’s bumping, energetic and sometimes idiosyncratic dancefloor style, with tracks frequently weaving in and out of the mix or laid over others throughout their full duration. Nods to the past come from Nail (‘I Think It’s Love’) on Tolfrey’s beloved DiY Discs and Soichi Terada’s ‘Tokyo XXX’ while contemporary offerings come in the shape of cuts from Genius Of Time, Jon Convex and a number of Leftroom exclusives. Tolfrey, ever the slave to his record collection, also drops in bonafide classics such as Doc Martin & Eddie Amador’s take on Aaron Carl’s ‘My House’ and a Derrick Carter re-rub of 2nd Shift’s ‘Somethin’ Else’.

                                                                                fabric 81 stands as a radiant presentation of Matt Tolfrey’s knowledge and background as one of the UK’s finest purveyors of electronic music.


                                                                                Speicher 84

                                                                                  Starting out in 2001 to tie up some loose ends from our regulars, SPEICHER has since become a guarantee for vanguard dance sounds from all over the planet, allowing KOMPAKT to invite and support electronic artists that comfortably inhabit both the delicate and the more deliberate ends of the electronic music spectrum. For SPEICHER 84, Danish mastermind and global fan favorite KÖLSCH returns to the label that started it all (or at least his best-known monicker), delivering two heroic techno cuts whose electronic grandeur is only rivaled by the sweetness of their melodies.

                                                                                  The fifth SPEICHER release from Rune Reilly KÖLSCH comes after the face-twisting madness of “Loreley“ (KOMPAKT EXTRA 68), the piano-driven melancholy of “Opa“ (KOMPAKT EXTRA 70) or the bestselling chords from his collaboration with Gregor Schwellenbach (KOMPAKT EXTRA 79), somehow paying tribute to all of these within the confines of one admittedly massive two-tracker. Rune's first new original material in a while, these cuts follow much-acclaimed remix work for artists from the whole gamut of contemporary music, from high-profile pop stars like Coldplay to purveyors of fine house Monkey Safari or bass music aficionado Henry Krinkle.

                                                                                  With a particularly brimming event schedule in the last few months (including much-lauded performances at DGTL Amsterdam, Fabric London or Miami's Winter Music Conference) and no evidence of this train stopping any time soon, it's a bit of a miracle that KÖLSCH still finds the time for actual producing - but with new tracks like the epic DERDIEDAS or the immersive TWO BIRDS, there's certainly no need to worry for future prime times. When Rune's bias for cosy, playful melodies collides heads-on with the stirring thrust of his beats, there's magic to be had. For fans of his highly praised long-player “1977“ (KOMPAKT 276 CD 107), it should be noted that these cuts also serve as primer for upcoming album “1983“ - another modern classic in the making.

                                                                                  Bunny Lee

                                                                                  Bunny Lee's Kingston Flying Cymbals

                                                                                    Bunny Lee’s Flying Cymbals or flyers rhythms dominated the Dancehalls and the charts during 1974 and 1975. The style based around the Philadelphia disco or the Philly Bump, the sound of an open and closed hi-hat was not necessarily novel but Striker’s innovations of bringing a number of different elements into play most certainly was. Johnny Clarke’s interpretation of Earl Zero’s ‘None Shall Escape the Judgement’ not only opens this se but also opened the floodgates for the flyers style.

                                                                                    The story had begun the previous year with Lowell ’Sly’ Dunbar: "Sly played the flying cymbals first... I said to him that he played it on the Delroy Wilson tune for Channel One named ‘It’s a Shame’ and he also played it before that with Skin, Flesh & Bones on ‘Here I am Baby Come and Take Me’ the Al Green tune, when Al Brown sung it for Dickie Wong with the ‘tsk, tsk, tsk’ sound on the hi-hat. I named it "flyers" but they didn’t know what flyers was!!!” - Bunny Striker Lee

                                                                                    Before too long ”Every tune we put out we put the rhythm behind it” and every Kingston producer followed suit with their own variation of Striker’s Flying Cymbals rhythm.

                                                                                    Various Artists

                                                                                    Look What The Cramps Dredged Up: Rock’n’Roll Pearls From The Big Beat Deep

                                                                                      Limited Edition 2LP vinyl + Insert

                                                                                      32 classic cult originals covered by The Cramps

                                                                                      Compiled by rock’n’roll authority Lucky Parker

                                                                                      The wealth of Lux & Ivy’s record collection, revealing the roots of The Cramps sound

                                                                                      Over four sides of vinyl, Lucky Parker unearths nuggets from the rock’n’roll era, as resurrected by American band The Cramps. Formed in 1976, with singer Lux Interior and guitarist Poison Ivy, the two constants in their line-up, The Cramps were part of New York’s diverse CBGB punk scene. Favouring a stripped-down rockabilly/garage sound, their repertoire of originals and cover versions displayed a penchant for rock & roll and rhythm & blues, and a predilection for retro science fiction and horror imagery, which saw the band come to be regarded as pioneers of the psychobilly genre, although the tag woefully fails do them full justice.

                                                                                      As well as original songs, The Cramps’ albums habitually included cover versions, and Look What The Cramps Dredged Up features 32 of the tracks that were covered by the band. Although most fall into the loose category of rock’n’roll, they all possess a unifying deviancy; rock’n’roll at its most wildly primal and juvenile, the freakish teen music Lux & Ivy idolised and aspired to refashion. Despite their cohesive character, these discoveries vary widely in style, from the peerless balladry of Ricky Nelson to the abandoned rockabilly of Johnny Burnette and the frankly unhinged sound of Fat Daddy Holmes. Rhythm & blues numbers vary from Andre Williams’ greasy Bacon Fat to Little Willie John’s timeless Fever and The Top Notes’ pre-Isley Brothers original of Twist & Shout. Throw into the mix Link Wray’s sinister instrumental Rumble, the B-movie horror of The Frantics’ The Werewolf, plus classic sides by Carl Perkins, Richard Berry and Wanda Jackson, and you have a fantastic cross section of The Cramps’ jukebox.

                                                                                      Ihsan Al Munzer

                                                                                      Belly Dance Disco EP

                                                                                        Fortuna Records deliver two stone cold killers by Lebanese maestro Ihsan Al Munzer taken from his 1979 album, descriptively named, "Belly Dance Disco". Side A "Jamileh" emerges from a mindbending introduction of squeeling Moog lead, revealing itself as bubbling funk groover which perfectly fuses the cosmic stylings of the Italian scene with exotic Middle Eastern tonality is a Moog filled, heavy disco-funk belter. Jump to the flip for "The Joy Of Lina", a rapid paced belly dance beast layered with synths, strings, organs and a swaying rhythm which builds up to a heavyweight drop that'd stun the most avid EDM kid. Prepare to be transported to swinging Beirut at its wildest on this perfect limited press 12". Already gaining plays from The Gaslamp Killer, Acid Arab, Gilles Peterson and Kutmah, this gem's gonna fly!

                                                                                        In Flagranti

                                                                                        Spiritus Rector Vol. 2

                                                                                          After blowing us away with the chopped and skewed disco power of Volume One last summer, In Flagranti return with the second instalment of their "Spiritus Rector" series, delivering plenty more dancefloor grease and disco sleaze for you to get stuck into. Up first, the production duo take Clifton Dyson for a coke fuelled sortie through the dingy backstreets of Bern, as they slip his '79 cut "Body In Motion" under the chopping block and work their magic. Next up, we're hit with a dubbed out reggae disco roller flavoured with the sweetest Juju around. The distorted guitar line meanders over the top of a warm and buttery bassline, softening us up for the yearning organ. Hit the flip and find yourself at the mercy of the Funk, as Sasha and Alex extend The Inmates' modern funk masterpiece "Bread & Water" into seven minutes of heavy duty dancefloor intensity, now filtered through the dust and grime of vintage equipment to sound like a lost gem from '76 - killer! The duo take us home in style with the scratching guitars, insistent polyrhythms and vibrant horns of a hypnotic afro refix. Sunny, fragrant and totally danceable, it's the perfect end to a cracking 12".

                                                                                          Various Artists

                                                                                          Turkish Delights EP

                                                                                            Ostra Discos presents thisTurkish music compilation composed by Turkish and Israeli artists such as Kozmonot, Foc Edits, Dogu Civiciki, and Omri Smadar. For this record they have made amazing reworks of original 70's Turquey`s music. The "Turkish Delights" is as sweet as the name sugests.

                                                                                            Various Artists

                                                                                            Kiss U All Over EP

                                                                                              4 songs so good, they all deserve equal attention; Pontchartrain delivers, Lifesaver, an immaculate distillation of house and disco fused, buffed and polished. On the inside, Osmose has bottled pure disco fire with Broadway Kiss, a perfect party starter for any warehouse with disco leanings. Flipping to the AA, seasoned jock, Derek Kaye has reworked Holding On and in the process landed it (and a few others!) in Greg Wilson's top edits of 2014 chart. By now, you must know that we're VERY fond of a bit of cheese in our whiskey. Rulefinn sidesteps the usual elements of La Bionda's I Got Your Number to focus on the slick guitar, while retaining the vocals until the end for optimal impact.

                                                                                              Janko Nilovic

                                                                                              Soul Impressions

                                                                                                Recorded in 1975 and released on the legendary library music label Montparnasse 2000, 'Soul Impressions' condenses the entire mastery and inspiration of the brilliant Franco-Yugoslav composer Janko Nilovic into 12 generous tracks. Totally adept when it comes to bubbling studio sessions and gleaming arrangements, Nilovic worked incessantly on his music, throwing himself body and soul into the creation of one of the 70s most individual and coherent musical works. A chameleon of a composer, capable of adapting to practically all styles of music, he used the diversity of his inspirations to stoke his creative ideas which shape each of his compositions. On 'Soul Impressions' we discover an incredible kaleidoscope of influences which diffract musical perspectives: here pop dives into torrents of fuzz, funk takes on a psychedelic air, jazz flirts with rock, and easy listening contorts strangely into the baroque. Sitting somewhere between a joyful Blaxpoitation aesthetic (flute, wah-wahs and roaring bass), great surges of almost progressive acid (killer riffs and spiralling solos) and surprising breaks in tone and rhythm, Nilovic gets the balance right and gives what might have remained a simple library record the solid foundations of a coherent album. 



                                                                                                  Edizioni Mondo 004 - inside out sleeve - 180g vinyl - Mastered by Lupo at Calyx EDIZIONI MONDO The name MONDO has its roots in “MONDO MOVIES", an italian movie genre born in the 60’s. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). The Mondo label has the goal to produce music that is descriptive of concepts, images and environments. Mondo is inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period. Production music libraries typically offer a broad range of musical styles and genres describing everything ranging from deserts to war and sports. Library music composers and session performers had no constraint at all. They typically work anonymously, have rarely become known outside their professional circle and they have produced what probably is the most creative music catalogue ever. The Mondo productions start with four releases dedicated to seascapes; scenarios range from sea fauna to poaching, from natural parks to sea dunes. Good listening!

                                                                                                  Various Artists

                                                                                                  French Disco Boogie Sounds

                                                                                                    After the Brazilian Disco Boogie Sounds compilation, Favorite Recordings follows-up with the concept, this time focusing on its homeland language. Digging into the mysterious Charles Maurice’s vinyl collection, the label and the DJ extracted 10 amazing hidden dancefloor hits, all produced between 1975 and 1984 within the French music scene.

                                                                                                    In the late 70s, like most part of the world, France was deeply touched by the influence of American music. The Disco sound therefore quickly reached the French Pop charts, and as always, a creative and prolific independent scene emerged in the shadow of this trend, with quite unequal results, but also some obscure real classics.

                                                                                                    Helped by a close connoisseur friend, DJ and collector Charles Maurice presents a fine selection of what he thinks represent best the amazing energy and quality of this specific movement and period. With 10 rare titles, he draws a perfect picture of the different styles and productions you could find in French record stores at that time;

                                                                                                    On one hand, tracks by Overdrive, Marché Noir, Didier Makaga or France-Lise, were mostly composed and produced by underground artists and labels from the French Caribbean and African community, and also filled with the raw spirit and power of this Tropical stamping. On the other hand, tracks by Beckie Bell, Kelly, Le Club, or Bernard Guyvan, were all released by major French labels such as Trëma, Carrere, Disques Vogue, or Pathé Marconi, and created by confirmed independent producers, acting not only in France, but also in Canada and the US.

                                                                                                    For example, Philippe “Honeyman” Renaux was the founder of Clever label and has credits for Grace Jones, Sheila & B. Devotion, or Gino Soccio to name a few. Canadian composer and producer George Thurston is internationally known as Boule Noire, with his worldwide success “Aimer d’amour”. And Pierre “Berjot” Jaubert was part of the famous Lafayette Afro-Rock Band, before becoming a prolific producer who revealed the Disco diva Chantal Curtis among others, collaborated on recordings for Motown or Tom Moulton, and even scooted the lead singer of Vladimir Cosma’s most famous hit, “La Boom”.

                                                                                                    With all this talent and “savoir-faire”, each of these 10 forgotten songs had nothing to be ashamed of compared to some majors’ Disco hits and productions, but unfortunately didn’t get the same fate. Today, Favorite Recordings and Charles Maurice are very proud to shed some light again on these gems, and hopefully offer them a new life on your turntable.

                                                                                                    IR103 "The Jazzy Grooves EP", was the 3rd release in I Records history. Having already struck a nerve in house music with two vinyl compilations called "The Avenue Project", the label enlisted the talents of the now legendary duo "Jazz N Groove" to provide it's first all original artist EP. Delivering the firepower, the release featured 5 tracks and included the long awaited "Open Up". First released in the mid 90's,it was featured as an exclusive vinyl with full color labeling. This release has become one of the hardest I Records back catalog to find.

                                                                                                    Another West-End sure-shot returns to the new releases in reissued form! This sublime piece of early electronic boogie-disco has always worn its classic badge with a relaxed sense of pride since its release in 1982. Perhaps it's the languid synthed out groove supplied by studio maestros Nick Martinelli and David Todd or Brenda Taylor's sublime vocals reminding us all that the game of love is always a two way street that are to blame? Whatever it is, this is a solid, classic slice of disco gold, more on the down to mid-tempo tip but still big enough to keep the dance-floors packed from the Garage to the Loft and beyond with ease! The production simply sounds years ahead of its time (still does!), has the FUNK in bucket-loads and is as essential as it gets-the real deal. Featured here are all the original mixes that were on the 1982 pressing, including that sublime dub mix! Re-mastered, re-pressed and re-released for 2015 with all original West End Records label artwork intact in conjunction and with the permission of all right holders.

                                                                                                    For Fasaan's third release, the label have unleashed their disco special number 1, and special it is indeed! On the A-side, "Midnight Cruise Part 1" comes rattling out the speakers with the hard hitting clatter of conga and some Walter Gibbons vs Arthur Russell organ stabs. Scratchy disco guitar, camp laser blasts and a gem of a bassline all follow in due course as the track unfurls into a super extended dub-disco workout extraordinaire. Honestly, this track is so hot and heavy, so real and living that it's sweating through its lycra.  On the flip, "Midnight Cruise Part 2", slows things down a tad and amps up the bass for optimum syncronized thrusting as the elements are taken from the dancefloor to the bedroom. Slinky, sexy and ready to keep you up all night. "Midnight Cruise Part 3" wraps an arm round you and lights a cigarette as you both ly back exhausted gazing at the stays. The yacht's drifting free right now, approaching the warmer waters of the Caribbean. 

                                                                                                    Prins Emanuel & Golden Ivy

                                                                                                    Hidden Love / Mystic Trip

                                                                                                    Malmo's home of oddball disco, off the wall pop and accidental Balearic, Fasaan Records is back with another stunning 12" from label mainstays Prins Emanuel & Golden Ivy. The duo deliver two low slung grooves for all your beach party needs this summer, so sit back with a sangria in hand and let the music take you there. Lead track "Hidden Love" lollops off the blocks with a plodding beat and thick bassline strapped to its feet, loosening those hips up nicely. Sweet strings, funk guitar and a beautiful piano part enter the fray around the half way mark and we're dancing in heaven from then on. On the flip, "Mystic Trip" picks up the pace with a thick and fragrant groove perfect for sultry summer nights. Rolling piano, rattling percussion and sassy guitar licks swirl around with giddy energy as the track grooves along, reminding me of Mandrill or Kool & The Gang. Another winner from the latest in a long line of Scando-Med sensations.

                                                                                                    Various Artists

                                                                                                    CHALICE001 EP - Coloured Vinyl Edition

                                                                                                    After knocking the socks (well, sandals) off the Balearic bods with an impressive run of releases, Sweden's Fasaan launch a new imprint to cater for those boogie cats. The label, appropriately named Chalice (what else would you sip your brandy from?) celebrates catalogue number 001 with the help of Sasac, Witch Doctor and Fasaan favourite Golden Ivy. Sasac gets into his groove on the A-side, with the soulful sounds of "The Chase". Forget any ideas of cop shows or Moroder basslines, "The Chase" in question is most certainly amorous, and the thrill of it is all ours. Sasac lays a foundation with clacking drum machines and a phat ass b-line, then ushers the grooves into a smooth verse / chorus construction with bright keys, slick guitar and billowing pads. Rich and groovesome, you'd be forgiven for mistaking this for a D Train instrumental. On the flip, Witch Doctor's "Inner Vision" glows golden with soaring synth melodies and shimmering guitars while the punchy bassline stokes some fire in the belly. Golden Ivy steps up to close proceedings with one for the smokers, tokers, gang bangers and low riders, "Ivy's Dream" completely nails the Dam-Funk style of modern boogie with its sexy liquid groove. Warm as a summer afternoon and just as lazy, this is the type of cut I could listen to for days on end! All in all a slick and very well turned out three piece which could easily have been rescued from 1/4 inch tape tucked away in some early 80's mid-western recording studio. It's that good! 

                                                                                                    Box Aus Holz and their in-house star Max Graef have, over the course of six very special releases quietly worked their way into dancer’s hearts and the DJ's charts. Max Graef himself opens proceedings with "Kaese Schinken Floete" - a track that's hard not to reference the Detroit set with its rough disco sample use and bumpety groove. Graef being German however – it’s a cleaner, more polished affair than its ghetto-house counterparts; deploying some clever cuts and drops through the course of its arrangements. The Ivory Boy delivers "Rhythere" next; complete with grinding bassline, pitched nice and low while rolling percussion and filtered keyboard stabs provides the deep house flavour. A subtle but powerful little beast this one. Imyrmind tops off the A-side with "Chromed Out Beamerz" - a title so fitting once you hear its velvety, glistening cybernetic rude-boi pads and synth drones. Labuzinski & Graef open up the flip with "Vino Rosetto", showcasing an electro-tinged, arpeggio-led sensory assault which drops into some really futuristic bass-drum-synth interplay. Get this right on the right soundsystem and the whole floor'll be putty in your hands. Graef & Seibt return to the circular, hip-shaking house grooves on EP closer, "Kotschleuder" - chopping and twisting an infectious hook around an organic drum palette, working the filters and the noise gates to create a narcotic slab of funky, sample-based house music. Recommended.
                                                                                                    One limited vinyl press, 180g heavyweight vinyl.

                                                                                                    Various Artists

                                                                                                    Box Aus Holz & Oye Presents BAH006

                                                                                                      Eagerly anticipated reload of this Box Aus Holz early title. Max Graef and pals providing the blueprint for the sample-house new wave...

                                                                                                      Nils Frahm


                                                                                                        Nils Frahm reveals new ‘Solo’ album and the ‘Klavins 450’ piano project on the world’s first Piano Day!

                                                                                                        Berlin-based composer Nils Frahm has fast become know as a prolific performer and recording artist with the piano at the core. Piano Day is an official body created by Nils and his closest friends, and will house various exciting, piano-related projects. The first project revealed by the Piano Day team is the building of what will be world’s tallest piano: the Klavins 450.

                                                                                                        As the life-long dream of David Klavins, it even exceeds the currently largest upright piano there is, the Klavins M370. Situated in Germany, Tübingen, 1.8 tons in weight, 3.7 meters high, its longest strings are about 10 feet in length. And it was on this piano that Nils recorded eight improvised piano motifs in one sitting, which form his new ‘Solo’ album – available for free download on the world’s first Piano Day on the 88th day (March 29, 2015) from Once recorded, Nils began to think of ways to release the album as a gift to his fans, similarly to his 2012 release ‘Screws’, and that’s when Nils came up with the idea of Piano Day.

                                                                                                        With a target of 100.000 euros to reach, Nils eases his fans into sharing their money for the project with this free release. All direct donations and a portion from any record sales will go to the Klavins 450 project until the target has been hit.

                                                                                                        LINER NOTES:
                                                                                                        Situated in Germany, Tübingen, 1.8 tons in weight, 3.7 meters high: the Klavins M370 is probably the largest upright piano there is. Its longest strings are about 10 feet in length.
                                                                                                        This colossus was initially built to evaluate a useful maximum size of the piano. Driven by the assumption that pianos could sound better, David got to work in 1985 and finished his instrument 2 years later. Back then I was 5 years old, having no idea how much I would fall in love with it.
                                                                                                        When I finally met David Klavins and his enormous piano 27 years later, in the very beginning of 2014, I arrived with empty hands. I didn't know what music, what songs I was about to record in the next 3 days.
                                                                                                        Every piano has unique features and certain strengths. Some have more, some have less of them, but there is no bad piano out there, although I do moan about them almost all the time. Some simply hide their secrets better than others. These thoughts made me start to write music when I am with the particular instrument, the tape running.
                                                                                                        The 8 pieces featured on this album were selected out of hours of improvising, happy hours as I recollect. The joy of playing and listening to the sound of the instrument made me play slower and slower, softer and softer, as almost every new note was destroying the immense beauty and sustain of the previous note. I was preparing the instrument with parts of my felt collection, carefully tuning mic positions with the help of my dear friend and recording gear wizard Matthias Hahn and simply playing whatever came to my mind. In conversations about this I am still struggling for words in order to praise David’s instrument. Words simply don’t do it justice, so listen for yourself. With lots of love, Nils Frahm.

                                                                                                        Great Lake Swimmers

                                                                                                        A Forest Of Arms

                                                                                                          With a surging rhythm section, razor sharp violin, and flourishing banjo and guitars, Tony Dekker and his band mates have created some of their most dynamic songs to date.

                                                                                                          As with past Great Lake Swimmers albums, A Forest Of Arms was recorded in several locations over the span of several months, covering extensive new territory while remaining true to the group’s refined sound. One of these unique and unusual locations was the Tyendinaga Cavern and Caves in Tyendinaga, Ontario. A number of the vocal and acoustic guitar tracks were recorded amid the haunting acoustics, stalactites, and circling bats in the caves. A Forest Of Arms was recorded and engineered by their long time live sound technician Justin Shane Nace and was mixed by the talented Howie Beck (Feist).

                                                                                                          Reverend Horton Heat

                                                                                                          It's A Rave-Up! / Beer, Write This Song

                                                                                                            ‘It’s A Rave-Up’ / ‘Beer, Write This Song’ is a brand new 7” featuring two previously unreleased songs.

                                                                                                            Reverend Horton Heat have sold over 1 million albums in the US.

                                                                                                            Reverend Horton Heat had their highest chart position in their 25 year career with the release of ‘REV’ in January 2013.

                                                                                                            Reverend Horton Heat have been on the road nonstop since 1989 and will continue to tour heavily throughout 2015.

                                                                                                            Reverend Horton Heat have toured extensively with Motorhead, The Cramps, Social Distortion, Soundgarden, White Zombie, X and The Smashing Pumpkins and have supported Guns N’ Roses, The Misfits, Nine Inch Nails, Dolly Parton, Johnny Cash, Marilyn Manson, Bad Religion, Rancid and many more.

                                                                                                            Pressed on solid red vinyl with randomly selected clear pink vinyl copies.

                                                                                                            Includes digital download card.


                                                                                                            Too Little Too Late

                                                                                                              The first track from PINS’ second album ‘Wild Nights’, to be released through Bella Union.

                                                                                                              Recorded at the Joshua Tree at Rancho De La Luna with Dave Catching (Queens Of The Stone Age, Eagles Of Death Metal) and Hayden Scott and mixed in New York with Ben Baptie at Atomic Sound NYC (Mark Ronson).

                                                                                                              The B side to the 7” is a cover of The Misfits ‘Hybrid Moments’ - a track the band also perform live - recorded at Part Time Punks and mixed by Josiah Mazzaschi.

                                                                                                              Modest Mouse

                                                                                                              Intersate 8

                                                                                                                ‘Interstate 8’ is released here on vinyl for the first time.

                                                                                                                Includes Modest Mouse’s very first set of demos, ‘Live At Sunburst Montana’.

                                                                                                                FORMAT INFORMATION

                                                                                                                Ltd LP Info: Limited edtiion coloured vinyl exlusive to indie stores.

                                                                                                                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.


                                                                                                                  Royal Albert Hall

                                                                                                                    In May 2014 Eels embarked on an ambitious 53 show world tour. Starting in Phoenix, Arizona and crossing The United States and Canada before rolling through mainland Europe and Great Britain, the band performed spine-tingling shows at New York’s Apollo, Chicago’s Vic Theater, Los Angeles’ Orpheum Theater, The Montreux Jazz Festival and The Amsterdam Concert Hall, among many others.

                                                                                                                    On the night of June 30 Eels returned to London’s legendary Royal Albert Hall for the first time in nine years to play a stunning show that was filmed and recorded.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    3xLtd LP Info: LP format features purple vinyl and includes DVD, poster
                                                                                                                    and digital download.



                                                                                                                      Since the discovery of Death in 2008 and the release of the archival album ‘...For The Whole World To See’, the story has been often told. Three African-American brothers - David, Dannis and Bobby Hackney - tapped into the surging energy of their hometown rock-and-roll scene (mid-70s Detroit) to produce a style and a set of songs that, while completely unappreciated in their day, proved later to be a powerful missing link in the evolution of punk rock. All this was predicted by their leader, older brother David, on his deathbed, ten years before their rediscovery. His stubborn insistence on keeping the name Death instead of signing a record contract under a more palatable name is, in itself, a defining act of true rebellion. The power, precision and passion of the music says everything else that need be said.

                                                                                                                      It has been an epic time since 2008: Death began playing live again to large and grateful audiences, meanwhile issuing two additional archival records, ‘Spiritual-Mental-Physical’, and ‘Death III’. The release of the documentary ‘A Band Called Death’ took the band farther into the public consciousness than it appeared even the music could and Death followed the paths to more and more listeners, eventually bringing their explosive show all around the world. During this time, the question always asked was, “Will there be a new record?”

                                                                                                                      Inspired by the positivity brought to them by ever-increasing numbers of new fans, the current performing Death (Bobby Hackney, Dannis Hackney and Bobbie Duncan) completed several songs started back in the late 1970s by Bobby and David, as well as composing entirely new songs that continue the timeless vibe, feel and resolve of Death with remarkable drive and vigour. For many years after disbanding the original Death Bobby and Dannis played different styles of music but with the same deep spiritual investment. Bringing that spirit back to Death, their ability to make new songs in the same vein is fantastic.

                                                                                                                      ‘N.E.W.’ surveys the whole Death story, making a statement that screams to the soul, even when reviewing the tracklisting. That statement says: If you want ‘Relief’, ‘Look At Your Life’, it’s the ‘Story Of The World’ in ‘The Times’ that we are living in, things moving so fast. It’s ‘Playtime’, but remember we are ‘At The Station’ where we must ask ourselves ‘Who Am I?’ Well, ‘You Are What You Think’, preparing for a ‘Resurrection’, which will bring about ‘Change’.

                                                                                                                      American Wrestlers

                                                                                                                      American Wrestlers

                                                                                                                        Gary McClure’s dexterous, lo-fi project American Wrestlers began as an idle way to pass the time. McClure is a music industry veteran who’s been making music for 20+ years.

                                                                                                                        Now based in Missouri, the Scotsman’s journey is something of wonderment. Born and raised in Glasgow, he then found his way to Manchester. After his previous band (Manchester outfit Working For A Nuclear Free City) broke up, McClure tried his hand at a solo project under his own name, 2013’s ‘Wreaths’. He then recorded some demos under a different name and posted the songs online and it was as a result of his songs that his now-wife first got in touch. After becoming enraptured with one another, he moved across the Atlantic to get married. The move to Missouri saw American Wrestlers take form, recording in a tiny, remote house, on a Tascam 8-track and the cheapest pawnshop instruments he could afford.

                                                                                                                        The music of American Wrestlers is familiar. It recalls first love, twilight as the day turns to night, and the feeling of discovery that was, at one point, so precious to us; that moment when we are first shocked and beguiled by a melody that strikes us so acutely that our stomachs jump for joy into our chests.

                                                                                                                        “Who knows what we’ll eventually find out about American Wrestlers… for the time being, the blinders are on and the glowing hooks of ‘I Can Do No Wrong’ effusively speak for whoever’s behind the curtain.” - Pitchfork

                                                                                                                        “The song is masterful and difficult to define: translucent lo-fi new wave laced with rustic strums and jazzy flourishes, sung with a gentle falsetto akin to Hot Chip’s Alexis Taylor but with additional whimsy.” - Stereogum

                                                                                                                        Early release on vinyl exclusively for independent retailers.

                                                                                                                        Iconic Deep House label Large Music returns to the vinyl market with a limited repress of the classic Kerri Chandler release Return 2 Acid. First pressed in 2005, this was the 100th release on Large and has been out of print for 10 years. The A side features Kerri's powerhouse tribute to the glorious days of Acid House laced with driving beats and an incessant 808 acid line. On the flip side Kerri goes old-school, this time with an electro Afrika Bambaataa influenced jam entitled Planet Sonic. Also included for this special reissue is the unreleased Acapella of Return 2 Acid solidifying this as a true collectors item.

                                                                                                                        Du Blonde

                                                                                                                        Welcome Back To Milk

                                                                                                                          Du Blonde is not a persona or a character, it’s Beth Jeans Houghton ripping it up and starting again. Welcome Back To Milk is the Newcastle-born and sometimes Californian based singer’s second album, but her debut as Du Blonde, and it’s a complete reinvention: new name, new sound, new band, new attitude – and attitude is the key word.

                                                                                                                          It started at the V&A. Two years ago, in the cavernous final room of the ‘David Bowie Is…’ exhibition, Beth had an epiphany. “When I was a kid, my idea of being a musician came from all these big characters – Bowie, Bolan, Beefheart” she says. “I had this moment in front of all these chapters of his life: this is what I want to do and I haven’t done it for all of these years. All this stuff that was really important to me in the beginning, all of the creativity, emotional expulsion, I’d just lost all of that. It was such a sad moment, but also good – because you can’t change it unless you realise.”

                                                                                                                          It was time for a revolution and to get back to what she’d always promised herself: to keep moving, keep changing, keep pushing art and sound and never be pinned down. Beth Jeans Houghton was dead, and Du Blonde was born.

                                                                                                                          Where 2012’s debut Yours Truly Cellophane Nose threw everything at a song, Welcome Back To Milk strips everything back and is one massive release of pent up aggression, captured perfectly by producer and Bad Seed Jim Sclavunos. Heavy riffs, loud drums and vocal snarls contrast beautifully with poignant balladry and tenderness that fans of Houghton’s previous work will recognise. Future Islands frontman Samuel T Herring also provides guest vocals on Mind Is On My Mind.

                                                                                                                          “What am I pissed off about? In no particular order: the free wheeling judgement of faceless accusers online, every man and his dog giving me advice on how to live my life, what to wear, what not to say, how to write songs. Being asked if I’m on my period in business meetings. Being told to ‘just deal with’ misogyny. It’s clear that the message for young girls, in music, business and relationships, is still ‘shut up, do what you’re told and be thankful’.”


                                                                                                                          The L-Shaped Man

                                                                                                                            Breakup albums mark a turning point for a band: the moment when their sound completely changes and reaches a new level of emotional clarity. All that heartbreak and malaise condensed into any single record often makes for a defining piece of work, no matter the genre. The best records explore the nooks and crannies of sadness, learning it inside and out - celebrating it.

                                                                                                                            Ceremony's fifth studio album, The L-Shaped Man, uses singer Ross Farrar's recent breakup as a platform to explore loneliness and emotional weariness, but it is by no means a purely sad album. Rather than look inward, Farrar uses his experience to write about what it means to go through something heavy and come out the other side a different person.

                                                                                                                            In order to tell Farrar's story, Ceremony have almost completely stripped back the propulsive hardcore of their previous records, turning every angry outburst into simmering despair. "We've always tried to be minimalists in writing, even if it's loud or fast or abrasive," says lead guitarist Anthony Anzaldo. "It's really intense when I hear it. Not in a way where you turn everything up to ten. Things are so bare, you're holding this one note for so long and you don't now where it's going-to me, that's intensity." That intensity is apparent on "Exit Fears," the first full song on the record. It meticulously pairs Justin Davis' loping bassline, which pulls the track along, with Anzaldo's icy, minimal guitar work. It brings to mind some alternate version of Joy Division that hasn't quite lost all hope. It gets close to exploding, but instead plays the shadows, never quite rising above a nervous simmer.

                                                                                                                            "A lot of the content has to do with loss, and specifically the loss of someone who you care deeply about," Farrar says. "There is no way for you to go through something like this artistically and not have really strong emotions of loss and pain. There's not really any way to hide that." Farrar, for his part, is singing with a new kind of intensity, his baritone swooping and retreating from stressed angst to unsettling near-mutter as he sings, "You told your friends you were fine/ you thought you were fine too..." and later, "nothing is ever fine/ nothing ever feels right/ you have to tell yourself you tried." It's the first of many lyrically direct moments, and it should be hard to listen to, but Ceremony have so effortlessly nailed the sound of sadness that it feels great to live inside for awhile.

                                                                                                                            The sound is abetted by producer John Reis, who honed his sound in seminal bands like Rocket from the Crypt, Drive Like Jehu, and Hot Snakes. Much of the gravelly aggression he experimented with in those bands is present on The L-Shaped Man.

                                                                                                                            There's a story behind the title too. "I was speaking to our driver Stephen while on tour," Farrar says. "We were talking about men in general and what shape they are...their body type. I said, 'I guess men are in the shape of an L. The torso is straight. Vertical. And then you have the little feet at the end.' There's this painter named Leslie Lerner who was living in San Francisco in the '70s and '80s and made these beautiful paintings. He died on my 21st birthday. A lot of the record is about the similarities in our ideas. In what we're trying to make. Things that have to do with love and losing love."


                                                                                                                            Deep In This Iris

                                                                                                                              Braids are a three-piece experimental pop band from Montreal. To record their third album, Deep In The Iris, Braids decamped to a series of retreats in the mountains of Arizona, Vermont, and upstate New York. Surrounded by nature in all its warm vitality, the longtime bandmates strove to shed the fabric of their day to day relationships, being bare and vulnerable before one another. What resulted is Deep In The Iris, their strongest record to date – powerful, yet fragile; immaculately sculpted, but deeply human.

                                                                                                                              Driven by roomy acoustic instrumentation and tasteful electronics, Deep In The Iris is easily Braids’ sunniest and most immediate record. While the icy, airless production of their second album Flourish // Perish suited the songs' inward gaze, the widescreen warmth and full-bodied punch of Deep In The Iris are the perfect complement to its unflinching lyricism. Raphaelle Standell has always had a formidable voice but rarely has it sounded as vital, focused, and powerful as it does here. True to the process that birthed it, the record explores a number of heavy subjects, including pornography, abuse, and slutshaming. Standell's emotional vulnerability becomes a triumphant weapon in its own right: scything through wrongdoing and shame with equal aplomb, and clearing the way for the many others who will find resonance in the bravery of these lyrics. Written from a place of inspiring strength and unblinking lucidity, the lyricism of this record is a cathartic gift.Longtime friends, Braids was formed in 2007 in Calgary, AB. After relocating to Montreal, the band released their critically acclaimed debut Native Speaker in 2011, and its 2013 follow-up Flourish // Perish. Consisting of Raphaelle Standell, Austin Tufts, and Taylor Smith, Braids are a collaborative whole, emphasizing a collective creative experience.

                                                                                                                              Hot Chip

                                                                                                                              Why Make Sense? - Deluxe Edition

                                                                                                                                This deluxe version features a bonus EP with 4 new tracks recorded during the album sessions.

                                                                                                                                Why Make Sense?, released on 18th May 2015, was recorded in Oxfordshire and London and produced by Hot Chip with Mark Ralph.

                                                                                                                                Due to a unique and bespoke printing technique which has never been used before, the album will come in one of 501 different colours. Combined with subtle variations of the design, this means that EVERY copy of the album, on both CD and LP, will feature completely unique artwork.

                                                                                                                                Hot Chip

                                                                                                                                Why Make Senses

                                                                                                                                  Why Make Sense?, released on 18th May 2015, was recorded in Oxfordshire and London and produced by Hot Chip with Mark Ralph.

                                                                                                                                  Due to a unique and bespoke printing technique which has never been used before, the album will come in one of 501 different colours. Combined with subtle variations of the design, this means that EVERY copy of the album, on both CD and LP, will feature completely unique artwork.

                                                                                                                                  Bitchin' Bajas


                                                                                                                                    This spring will mark the Bitchin Bajas debut for Hands In The Dark with the 12" EP Transporteur.

                                                                                                                                    Here is a little intro if you are not familiar with the project started in 2010 as solo side project for Cooper Crain, guitarist of Chicago Krautrock heroes Cave. Since then, Dan Quinlivan and Rob Frye joined the band and Bitchin Bajas have got the public attention thanks to a perfect, extensive discography on quality record labels such as Bathetic, Permanent and Drag City. The trio play warm, instrumental, psychedelic and melodic ambient music, mixing minimal 60/70's electronic with original acoustic elements: flute, saxophone, xylophone, woodwinds to name only a few.

                                                                                                                                    On Transporteur, Bitchin Bajas show multiple faces, introducing 4 new songs showing as many different forms of the modern ambient genres, all perfectly produced and heavily loop-based for an utterly pleasant 34 minute journey in a timeless and spaceless zone. Then only shortly after the listener can open their eyes again and return to the harsh reality of their own life.



                                                                                                                                      Crocodiles have always traveled their own particular road of excess; playing, recording, dreaming and scheming in various far-flung corners of the globe. For their fifth album Boys, the boys decamped to Mexico City where producer Martin Thulin captured this psych-pop masterpiece. Trashy in some places and beautiful in others, this colorful album sees the band revisiting familiar Crocodilian themes that have earned them worldwide acclaim while also cooking with many new flavors.

                                                                                                                                      Take the salsa-punk of tracks like “Crybaby Demon” or “Kool TV”; noisy guitars mesh with Latin rhythms to create a new sound that can only be described as “muy chingón!” Beautifully lush soundscapes on “The Boy Is a Tramp,” “Don’t Look Up” and “Blue” are sure to seduce the listener. “Foolin’ Around” is a bonkers car-crash of influences, something the punks can do The Hustle to. Crocodiles’ bizarro-pop craftsmanship shines brightly on “Peroxide Hearts,” “Transylvania” and “Hard.”

                                                                                                                                      Boys is an album for boys and for girls and for boy-girls and mutants, back-alley poets, thieves, space cadets and alien babes, righteous tricksters, sonic deviants, and everything in between. But most of all, Boys is an album for you.

                                                                                                                                      White Manna


                                                                                                                                        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!!

                                                                                                                                        Ricardo Villalobos / Oskar Szafraniec

                                                                                                                                        Rawax Aira Series Vol. 1

                                                                                                                                        AIRA EP Project Concept:

                                                                                                                                        Musicians are with huge imagination into their creations, but they must still call on new technologies, such as Roland AIRA, to express themselves through the sounds and fill up their music with soul, rhythm and melody, we seeks out this connections between the humans and those machines. We invite most talented musicians around the globe to let them provide new forms of music and sounds and we release it on special EP vinyl series. 

                                                                                                                                        Tuxedo is Mayer Hawthorne (Aquarius) and Jake One (Taurus). They are descendants of the one-word moniker family of funk, where you will find such groups as Chic, Change, Loose Ends, Shalamar and Zapp. Tuxedo emerged last year with three tracks of smooth, synth-heavy disco-boogie / electro-funk accompanied by no information about the group except a greeting: “Tuxedo is here! Stay classy.” Multi-platinum recording artist Pitbull loved the tracks so much he used one of them on his album 'Global Warming: Meltdown'.The duo is excited to release the upcoming album on Stones Throw Records, which also marks Mayer’s return to the label since the release of his debut 'A Strange Arrangement' in 2009.

                                                                                                                                        Roger Roger (5 August 1911 - 12 June 1995) was a French film composer and bandleader. His aliases included: Eric Swan, Cecil Leuter, the last being a pseudonym he used for his electronic productions. He was one of the first with Pierre Henry and Jean-Jacques Perrey to experiment with the Moog synth; his Pop Electronique album was released in 1969, five years after Bob Moog put his synth on the market. "Musique Idiote" Super rare experimental moogy LP by master Roger Roger, with beautiful cover art and a definitive collector item for any Dada/absurd/Monthy Python fans!. Its full of short analog synth compositions on the theme of "extremely annoying and devolved." Kinda like how total madness-seeming an album of circus calliope would be, but more circuit-bent. This is music to bash your brains out with a hammer to! Roger Roger was one of the kings of library music, and this album (1971) is part of the Neuilly series out of France (easily one of the best and coolest libraries, one which also employed library composer giants Janko Nilovic, Cecil Leuter, Yan Tregger, Jean Bouchety and Nino Nardini!)

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