MAGIC MIX

ALL GENRES

LATEST PRESELLS

Sun Glitters

Scattered Into Light

    Blisteringly beautiful sound” – BBC // It simply captures a nice moment, and that’s enough – Stereogum // Ferreira manages to unearth an elusive sweet spot left in the wake of chillwave and LA’s instrumental beat scene - XLR8R // It’s a gorgeous soundtrack to any trip - Exclaim! // Genre: Electronic. Scattered Into Light is the Mush debut from the Luxembourg based electronic act, Sun Glitters. The eleven-track album remains true to the glitchy r&b and deep tech-house sound that has blasted Sun Glitters into the consciousness of electronic music fans over the last two years. Stuttering beats and wobbling synths are soft-focused through a sun-bleached lens in a way that will appeal to synth-pop, ambient, and dustup fans in equal measure. Scattered Into Light is the first Sun Glitters release to completely integrate a vocalist, as Italian ingenue Sara Cappai lends her talents to over half the tracks. The result is awash with star-gazing melodies, bubbly bass, and textured beats that give equal nod to house and hip-hop. Scattered Into Light is an wonderful release and makes a compelling case for Sun Glitters as a refreshing new artist. Sun Glitters is the glitchy, summer obsessed, sun-drenched electronic project of Luxembourg musician Victor Ferreira. Debuting in 2011 with the acclaimed full-length, Everything Could Be Fine and a seemingly endless string of EPs, self-released tracks and remixes, Sun Glitters has quickly left a mark on the electronic music scene. In two short years, he has toured clubs and played festivals throughout Europe and received glowing coverage from Dazed & Confused, BBC, Resident Advisor, Earmilk, XLR8R, Pitchfork, The Guardian and a bevy of trend setting music outlets. Everything from the band name to the washed out pastels of the artwork to the engulfing visuals that supplement a Sun Glitters live performance screams nostalgia. With the release of his Mush debut, Scattered Into Light, Sun Glitters has taken on the added element of female vocals from Italian songstress Sara Cappai of the dream-pop band Diverting Duo. Sun Glitters combines an ocean of lush melodies, pitch-shifted vocal samples, digi-diva choirs, warm bass pulses, and ambient soundscapes into a blisteringly beautiful sound.

    The Upsetters

    'The Good; The Bad And The Upsetters

      Performer, producer, singer, mixer, sound alchemist, eccentric, The Upsetter Lee “Scratch” Perry born Rainford Hugh Perry in 1936 , Kendal, Jamaica, is one of the most recognisable and well known characters of the reggae world.

      The UK version of “The Good, The Bad and The Upsetters” was released by Trojan Records in 1970, and although it had the Upsetters name on it, Lee Perry had no hand in its conception or production. Angered that an Upsetters album was released without his involvement, Perry issued his own version of the album back home in Jamaica using the same Trojan album artwork but with totally different songs and a new stickered tracklist on the back.

      - Features brand new artwork and reissued for the first time with permission from Lee Perry himself


      Brian May (not THAT Brian May)

      Turkey Shoot Soundtrack

        The notorious 1982 Australian film, Turkey Shoot (Also known as Escape 2000 in the US and Blood Camp Thatcher in the UK) has long been considered the ultimate of Australian Video Nasties.
        Scored by renowned Australian film composer Brian May (Mad Max, Patrick, The Day After Halloween), the predominantly electronic soundtrack hints stylistically to brooding horror-synth of John Carpenter, the mutant patchbay of Gil Melle’s soundtrack The Andromeda Strain as well as some of the sonic characteristics found in Italian B-cinema (Fabio Frizzi & Goblin). Pulsing synth oscillations and pounding percussion together with inspired sound design all encapsulate the confused and claustrophobic human big-game hunt.

        Set in a dystopian future where a totalitarian regime imprison a group of ‘deviants’ to a high security prison destined for rehabilitation and social re-programming. The story involves the group of inmates fleeing from the camp controlled by the draconian warden, a sadistic alopecic henchmen and a bizarrely scripted lycanthropic carnival-mutant…shall we read on?
        Produced by Antony I Ginnane’s F.G films (Patrick, Thirst, Snapshot etc…) together with British actor David Hemming (Blow Up, Fragment of Fear, Deep Red), the film was aesthetically influenced by the brutality and savagery of Italian sub-genre cinema, (ie Umberto Lenzi’s Cannibal films and Lucio Fulci’s Zombie films), as well as borrowing the central theme from the 1932 film The Most Dangerous Game.


        Disco Patrick & Patrick Vog

        Disco: An Encyclopaedic Guide To The Cover Art Of Disco Records

          This 360 page deluxe hardback book - a massive 12x12” - features the amazing artwork of thousands of disco record cover designs from the 1970s up to the mid-1980s. The record cover designs amount to a unique visual history of disco culture. Featuring over 2,000 album cover designs
          (including many full-size covers) as well as over 700 12” sleeves, this book is truly an encyclopaedic document of disco music and its industry.

          As well as being a comprehensive visual document on the era, the book comes complete with interviews of a number of important disco figures, histories, biographies and discographies of all the major disco record companies. Sections on Roller Disco sleeves, Disco Instruction albums, 12” sleeves and a scrapbook of disco ads are all brought together in one stunning and stylish package.

          Artists featured include Chic, Grace Jones, Salsoul Orchestra, Musique, Cerrone, The Blackbyrds, Giorgio Moroder and thousands more. Interviews and label profiles include Ken Cayre (Salsoul Records), Henry Stone (TK Records), Casablanca Records, Marvin Schlacter (Prelude Records) and Mel Cheren (West End Records).

          Editors Disco Patrick and Patrick Vogt have previously put together the book ‘Disco Patrick Presents: The Bootleg Guide To Disco Acetates, Funk, Rap And Disco Medleys’.

          Sleater-Kinney

          The Woods - 2014 Remastered Edition

            'Sleater-Kinney is America's best rock band' - Greil Marcus, Time (2001)

            Sleater-Kinney is an acclaimed American rock band that formed in Olympia, Washington in 1994.

            The band's core lineup consists of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and Janet Weiss (drums).

            Sleater-Kinney were known for their feminist, left-leaning politics, and were an integral part of the riot grrrl and indie rock scenes in the Pacific Northwest.

            ‘The Woods’ is the seventh and final studio album from Sleater- Kinney, released on May 24, 2005 by Sub Pop.

            It was produced by Dave Fridmann and recorded from November 2004 to December 2004 at Tarbox Road Studios in Cassadaga, New York.

            ‘The Woods’ reached #80 on the US Billboard Top 200 chart and #2 on the Independent Albums chart.

            The album appeared at number four in The Village Voice's ‘Pazz & Jop’ critics' poll for 2005.

            “They bash Eighties nostalgia, tell a feminist fairy tale and even quiet down for a couple sensitive love songs – needed breaks from music so intense you wonder how they can contain its explosiveness” - Rolling Stone (100 Best Albums of the 2000’s).

            “To survive these days, you have to be either suicidal or superficial. Sleater-Kinney, meanwhile, get by simply sounding fucking supersonic” - Stephen Deusner, Pitchfork (9.0).

            The album has been freshly remastered for this release.

            Sleater-Kinney

            All Hands On The Bad One - 2014 Remastered Edition

              “Sleater-Kinney is America's best rock band” - Greil Marcus, Time (2001)

              Sleater-Kinney is an acclaimed American rock band that formed in Olympia, Washington in 1994.

              The band's core lineup consists of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and Janet Weiss (drums).

              Sleater-Kinney were known for their feminist, left-leaning politics, and were an integral part of the riot grrrl and indie rock scenes in the Pacific Northwest.

              ‘All Hands On The Bad One’ is the fifth studio album by Sleater- Kinney, originally released on May 2, 2000 by Kill Rock Stars.

              The album was produced by John Goodmanson and recorded from December 1999 to January 2000 at Jackpot! Studio in Portland, Oregon and John & Stu's Place in Seattle, Washington.

              Upon release, ‘All Hands On The Bad One’ reached number 177 on the US Billboard Top 200 chart and number 12 on the Heatseekers Albums chart.

              ‘All Hands On The Bad One’ appeared on several end-of-year lists and received a nomination for Outstanding Music Album at the 12th Annual Gay and Lesbian Alliance Against Defamation Awards.

              The Village Voice placed it at number 10 in its 2000 ‘Pazz & Jop’ Critics' Poll.

              “The band's most melodic, playful, sarcastic, and punchy album to date” - Brent DiCrescenzo, Pitchfork (8.3).

              The album has been freshly remastered by Greg Calbi for this release.

              West Nkosi Nabashokobezi / Stars

              Twelve Mabone / John Tate

              After the first AMC release which gained full support from a cast of music collectors and DJs including Dom Servini, Diesler, Paris DJs, Moonboots, Craig Charles plus many more Africa Music Corporation is back with another single ahead of the CD compilation release in October…

              Twelve Mabone conjures up images of dusty outdoor dancing, 100's of pairs of feet kicking up the dusty red soil of Africa in a manic outing of unbridled joy, check the rhythm and imagine a young Malcolm McLaren hearing this type of music and the inspirations that it led to…

              The flip is a lowdown groove fuelled walk through the sleazy sound of funk. More quality sounds from the 70s and 80s South Africa and re-released for todays audio pleasures…

              Following superb releases on Tartelet and Hypercolour-affiliate, Space Hardware, the promising German native, Glenn Astro, gets the EP off to a punchy start with the whacked-out rhythmic funk of 'Strings'. Big Bait & Flumo Recordings affiliate, Chocky and Rauld Dancesol both serve up languid, cut back tracks in 'Blow Down' and 'Too Much Saturday'. Utilising busy atmospherics and swollen bass to keep you hypnotically locked from start to finish, both tracks are rich, warm affairs. Leon Vynehall's rich vein of form continues with his remix of Glenn Astro's 'Strings'. Taking cues from the original's heavily swung, broken groove, the 3024 and Clone Royal Oak alumnus melts jazz licks and spaced out chords amongst the robust drums. The final offering from Gnork illustrates the diverse nature of this release with cosmic intonations, rapid rhythms and a submerged tone combining to form truly deep, late night techno.

              Greco-Romance. It's often been said that the early underground parties thrown by the Greco-Roman artist collective, party and record label were romantic affairs. Maybe it was the punch, maybe it was the music, but love was certainly in the air. And so the third solo EP from Hot Chip's Joe Goddard picks up where last summer's EP 'Taking Over's love affair with club basements left off.

              This EP spans five dancefloor inspired tracks of epic proportions, none more so than the 15 minute version of EP closer 'Carried Away'. 'Endless Love' follows his tradition of collaborating with other musicians such as newcomer Valentina for 2011's anthem 'Gabriel' or German house legend Boris Dlugosch for 'Step Together' by asking Betsy to provide the vocals for the title track and its sister 'Make It Right', the pair of songs lyrically entwined in a strange love ritual.

              As Joe himself whimsically says: "'This is another bunch of songs I have been making recently, surprisingly it consists mostly of House music! And a couple of other ones that aren't House - you can skip those"

              However, maybe don't do as the main man says. For once we give you permission to completely ignore Joe Goddard and do as you please: get loved up with 'Endless Love'.

              2014 repress! The best of Kenny Larkin's Metaphor material, originally released on R&S Records in 1995. Another slice of essential techno history on 12' for the first time. TIP!
              Rush Hour is proud to present this co-op with Kenny Larkin/Art Of Dance to release the best of his catalogue on remastered 12"s. He's recorded many classic tracks on many different labels under many monikers. We have picked, what we think, are the best tracks he made. Released on series of 6 separate 12"s.

              Kenny Larkin Presents Azimuth

              Azimuth EP

              2014 repress! The 2nd in our Art of Dance re-issue series. A selection of Kenny Larkin tracks under his Azimuth guise for Warp records in 1994. Tip!
              Rush Hour is proud to present this co-op with Kenny Larkin/Art Of Dance to release the best of his catalogue on 12". He's recorded many classic tracks on many different labels under many monikers. We have picked, what we think, are the best tracks he made. Released on series of 6 separate 12"s.

              2014 repress! 4 tracks of Kenny Larkin's 'POD' material, which was first released on the Belgian, Buzz, label in 1992. Recommended! Rush Hour is proud to present this co-op with Kenny Larkin/Art Of Dance to release the best of his catalogue on remastered 12"s. He's recorded many classic tracks on many different labels under many monikers. We have picked, what we think, are the best tracks he made. Released on series of 6 separate 12"s.

              Asha Bhosle / Bappi Lahiri

              Jab Chaye/Dance Music - Brother Cleve Re-Edits

                This special limited edition 12" is being released in conjunction with Cultures of Soul's forthcoming compilation, Bombay Disco 2. Bombay Disco 2 is the second volume of our Bombay Disco series. It is the story of disco in Hindi films from 1980 to 1992 and features selections excavated from the dusty bazaars of India by DJ Brother Cleve. Disco songs appeared in every type of film, from family dramas and historical epics to curry westerns and horror movies. Bombay Disco showcases the unique musical hybrid that is Bollywood filmi music. This 12" features two tracks, "Jab Chaye" by Asha Bhosle and "Dance Music" by Bappi Lahiri masterfully re-edited by Brother Cleve. Both tracks give you a great preview of what is to come from Bombay Disco 2 in a limited pressing of 500 copies.

                Freddie Gibbs & Madlib

                Knicks Remix

                  Following the launch of what most critics (Billboard, Pitchfork, NPR amongst them) are calling one of the best rap records (if not one of the best records) of the year, producer Madlib and rapper Freddie Gibbs reunite for a final EP – Knicks Remix. This EP contains exclusive tracks not available on the pair’s Piñata album. “Knicks,” in remixed form, now features a new verse by Gibbs alongside Action Bronson, Joey Bada$$ and Ransom. The B-side, “Home,” features BJ The Chicago Kid – the velvet voiced vocalist from the duo’s earlier “Shame” – and Madlib’s two-part soul-flip carries Gibb’s narrative about a traveling man’s disregard for his woman at home. Both sides are completed by previously unheard Madlib instrumentals.

                  Various Artists

                  Bombay Disco Volume 2

                    Welcome to our second celebration of the sounds of Bombay Disco, which digs deeper into the recordwallah shops in the bazaars of India. As fans of our first collection will recall, disco arrived in India in 1979, shortly after its mainstream popularity had peaked in the West. Disco songs remained in vogue throughout the subcontinent for a dozen years, in many ways because of the "cabaret scene" or "item number," a mainstay in South Asian cinema that dates back to the 1920s. Back then, these scenes depicted traditional courtesans or nautch (dancing) girls, but by the early 1960s dance sequences became much more surreal, with visuals inspired by Busby Berkley and music infused with jazz, Latin, and rock 'n roll. This tradition continued with an East-meets-West fusion of funk, disco and electro, to the hip-hop and EDM influences popular in South Asian films today. Disco songs continued to flourish after its early '80s ubiquity, often in the more tawdry films such as the horror movies that were immensely popular as the decade wore on. As the ‘90s continued, the cabaret sequences began to bear a closer resemblance to MTV videos. The music in these scenes changed to a similar style while the perennial love songs continued to entrance listeners. We haven't delved into the more massive film hits here, since the majority of those songs have been anthologized elsewhere. We prefer to dig deeper into the thousands of dusty, mold-encrusted records found in the back alley shops in India's teeming cities. For your dancing pleasure, we've cleaned off and polished up these vintage disco delites for your manoranjan (entertainment). Enjoy a cocktail and get on the dance floor! From the extensive liner notes, which by the way includes incredible cocktail recipes to enhance the Bombay Disco 2 listening experience.

                    Various Artists

                    Bay Area Retrogade Vol.1 & 2

                      Dark Entries have combined Bay Area Retrograde (BART) Volume 1 and 2 on a single CD! BART is Dark Entries’ compilation of underground music from San Francisco (and the greater Bay Area) made between 1978-1988. Towards the end of the 70s, San Francisco’s experimental music scene clashed with the aftermath of punk and gave birth to a vibrant underground. By the early to mid 80s the DIY music scene of the Bay Area was a hotbed for experimental and quirky new wave, post punk, and synthpop, quite similar to New York’s No Wave scene and Berlin’s Neue Deutsche Welle. This compilation connects the (transit) lines between these varied musical offerings and tells the secret story of eleven forgotten Bay Area bands. BART Volume 1 features a Korg-heavy assault from Danville’s utterly obscure Nominal State; two little-known left-field electronic dance gems from Batang Frisco and Quiet Room; Berkeley’s answer to darkwave, Necropolis of Love; a synth-driven drama fest from drag performance troupe Wasp Women; quirky lo-fi gothic pop from one man band Distant Thunder; a gay Hi-NRG anthem delivered by Danny Boy and the Serious Party Gods; two lesser know gems from SF synth legends Voice Farm and Los Microwaves; and the futuristic pulsing synth-punk of Standard of Living and the Units. BART Volume 2 features slow, dystopian horror from pioneering industrial group Factrix; crushing, motorik noise from acid punks Chrome; amphetamine-driven synth punk from Red Asphalt; an early demo, never released on vinyl, from legendary post punk band Tuxedoomon; chilling atmospheric drone from Ki Di Me; leftfield new wave from Indoor Life featuring Patrick Cowley on synths; Los Microwaves more sinister side project Baby Buddha; gay drag icon Timmy Spence delivering an unknown camp classic, a pure instrumental electro-pop workout from Human Being Men; TR-808 fueled synth pop from Menlo Park duo Wonders of Science, and a poetic yet somber and haunting song from the mysterious Zru Vogue. All tracks have been carefully remastered by George Horn at Fantasy Studios in Berkeley. Each CD contains a deluxe 12-page booklet designed by Eloise Leigh, featuring original photos and fliers from each band’s personal archive. BART is the acronym for Bay Area Rapid Transit, the main rail transportation system for the San Francisco Bay Area. This CD is by no means a definitive compilation but merely opens the tunnel to the underground of the Bay!

                      Mr. Mitch

                      Parallel Memories

                        Mr. Mitch is one of a small group of producers who in the last few years have been re-imagining the decade-old genre of Grime. Miles Mitchell, a 26 year-old South East Londoner, started his own Gobstopper label back in 2010 after having his debut release on Butterz. Last year he started the flourishing Boxed 'Instrumental Grime' night alongside producers Slackk, Logos and Oil Gang. For Mr. Mitch, Grime has "…always been an experimental and progressive genre, taking elements of what came before it and pushing those boundaries to create something new".His debut album is called 'Parallel Memories' and Miles has an intriguing story that explains that title. When listening to his tracks, he sees the same vivid scenes in his head each time he replays the music, often repeated snapshots of his life in various impossible scenarios or distorted situations. This made him think "What if the images I'm seeing are memories from an alternative version of me in a parallel dimension?" A question which reflects his vision of Grime too, as his instrumentals are informed by a quite personal and emotive alter-life, where Grime's famous minimalism gives way to a gentle subtlety and is imbued with a very different feeling to the brash aggression associated with the genre.The album intro 'Afternoon After' is the bleary-eyed sound of the club the night before, broken down into swirling child-like synth melodies, coiling over flattened, but airy kick drums. 'The Night' follows, sounding like something Boards Of Canada might do if they came from S.E. London, its gorgeous flute melodies opening up gracefully over minimal rhythms and shifting static tones. 'Intense Faces' marks a shift in the energy to bassline, synth swoops and sharp claps, a child-like bleep tune playing out over the top. 'Don't Leave' switches the mood to one of sadness, its rising chords evolving over a repeated, slowed-down acapella. Elsewhere 'Sweet Boy Code', a collaboration with fellow Gobstopper artist Dark0, lets spacey kicks propel its gentle relaxed melodies over airy sampled vocals. The midpoint track 'Wandering Glaciers' twists Grime into what sounds like a tense piece of early electronica. Meanwhile 'Bullion' chops up a lumbering sample that sound like a marauding giant. The album finishes on 'Hot Air', with its drum pattern sounding like a slow heart beat and strange, backwards synths, it feels like a voyage around a body.This is an album that deserves to find an audience who are willing to go on a journey into new areas with Grime.

                        Dinah Washington

                        Original Queen Of Soul

                          “I don’t really do any Dinah songs because she made them her own, it’s a bit like covering Aretha Franklin, it’s a bit like slitting your own throat, what’s the point?”
                          “She could do a jazz song and make it her own and then when she went back to what she knew, the blues, she could kill people, kill people!” Amy Winehouse (2006 BBC)

                          Dinah Washington was arguably the first Queen of Soul, having gained herself the soubriquet The Queen in music circles of the early 1950s through the volume of hit records and performance notices achieved in the first decade of her career. She rose from the clubs and bars of Southside Chicago in the mid-1940s to enjoy a wealth of hit singles - some 40 reaching the Billboard R&B charts through the 1950s as Mercury Records reaped the value of her talent with almost as many albums.

                          It wasn’t until 1959 that Dinah scored her first major Hot 100 hit, with What A Diff’rence A Day Makes, a turning point which also brought about hit duets with label-mate Brook Benton. With the new decade came a move to Roulette Records, where producer Henry Glover, as well as recording her on classy ballads and standards, also turned back to the blues and forward to the emergent soul market. Just as her career was about to take another step on the ladder of success in the new style, on the evening of December 14, 1963, Dinah took several sleeping pills after a heavy drinking session and didn’t make it to the next morning. Soul music writer and broadcaster Clive Richardson presents Original Queen of Soul, an overview of the recording career of Dinah Washington, which also serves to commemorate the 50th anniversary of her death. The 80 tracks include hard-to-find club-blues recordings from the 1940s, album tracks and singles in a range of styles and moods from the 1950s, and a selection of her later work under the guidance of Henry Glover from the early 1960s.

                          The 3CD set features many of her hits including Baby Get Lost (R&B #1 1949), Cold, Cold Heart (R&B #3 1951), I Don’t Hurt Anymore (R&B #3 1954), What A Diff’rence A Day Makes (R&B #4, Pop #8 1959), Baby (You’ve Got What It Takes) (R&B #1, Pop #5 1960), A Rockin’ Good Way (R&B #1, Pop #7 1960) and September In The Rain (R&B #5, Pop #23 1961). Among the eminent bandleaders and arrangers collaborating with her are Lionel Hampton, Lucky Thompson, Cootie Williams, Jimmy Cobb, Hal Mooney and Quincy Jones. What A Diff’rence A Day Makes was nominated the Best Rhythm & Blues Performance at the Grammy awards in 1959, and posthumously she has been inducted into the Blues Hall of Fame and the Rock & Roll Hall of Fame (as an early influence). Her celebrated version of Mad About The Boy was a UK hit following its use in a Levi’s commercial in 1992. Accompanied by an illustrated 20pp booklet annotated by Clive, Original Queen of Soul is a fitting tribute to the talent and career of the first Queen of Soul.


                          Berto Pisano And Jacques Chaumont

                          Kill OST

                            Fuzz guitars, go-go beats, weird exotic soundscapes and Doris Troy (of ‘Dark Side Of The Moon’ fame) screaming about gizzards. Only in Rome, only in 1971. Brilliant but overlooked composer Berto Pisano and (we suspect) his no less talented brother Franco (working under a pseudonym) to craft the perfect score for this drug-fuelled piece of cinematic mayhem. Recorded at the Orthophonic Recording Studio, Roma 1971 and remastered in 2014 from the original stereo album master tapes this LP includes 2 previously unreleased tracks (one a haunting vocalization from ill-fated star Jean Seberg).

                            Featuring extensive and exclusive liner notes by Alvin Lucia (documenting the largely unknown and quite incredible history of the making of Kill!) plus original artwork and rare photos/ephemera.

                            Ennio Morricone And Gruppo D'Improvvisazione Nuova Consonanza

                            A Quiet Place In The Country OST

                              The missing link in the Morricone / Gruppo discography. Their originally unreleased avant / cacophonic score to Elio Petri's manic Artsploitation masterpiece was the first and last time Morricone and Il Gruppo would co-sign an OST/session.

                              Conducted by Bruno Nicolai with vocalisations by Edda Dell’Orso and drums by Vincenzo Restuccia, A Quiet Place In The Country is an historic (and quite forgotten) recording that sees Il Gruppo in their key gestational phase just prior to recordings for Deutsche Grammophon, RCA Italiana (The Feed-Back) and the magnificent unreleased session, Niente.

                              Featuring Gruppo di Improvvisazione Nuova Consananza members Franco Evangelisti, Mario Bertoncini, Egisto Macchi, Ennio Morricone, John Heineman and Walter Branchi and recorded at Forum Studios Roma 1968.

                              Remastered 2014 from the Original Stereo Album Master Tapes (originally prepared by Morricone for a 1968 LP release but for reasons unknown not issued at the time).

                              Extensive and exclusive liner notes by Andy Votel, original artwork and rare photos/ephemera.


                              FORMAT INFORMATION

                              LP Info: Deluxe 180g gatefold limited edition LP with printed inner sleeve.

                              Reel Houze

                              Optimo Music Disco Plate Two

                                Following on from the summer hit that was Noo's Optimo Disco Plate one, we are delighted to present the second plate, this one an archival release from London's Reel Houze. Reel Houze are/were Dominic Dawson and Rob Mello, and these two tracks were originally released in 1996. Big with Twitch at the time, he dug out “No Difference“ again last year and started playing it once more and then did the same with “The Chance“. They felt and sounded timeless so it seemed a good idea to make these Dub Disco wonders available again to a new generation.

                                'The Chance“ is based on a sample form Dinosaur L's “Go Bang“. It is nearly 11 minutes of dubbed out disco madness featuring one of thee all time greatest Moog solos, played live by Rob Mello. DJ Harvey gets frenetic on the percussion (he's playing a toilet seat!). It's loose, it's a little debauched and is further proof that disco music can be out there, wild, modern and any tempo it goddamn wants to be.

                                “No Difference“ is the closest thing we can imagine to Basic Channel doing disco. Loose, long, extremely dubbed out and mesmeric, in the right hands it is swinging, sexy club hypnotiser.


                                Shambok Feat. David Sion

                                Waiting For The Heaven

                                  Waiting For Heaven is one of the cult releases by Discomagic in early time of Italo Disco.
                                  Written and produced by Ricky Persi and Stefano Previsti, vocals by Australian singer David Sion.
                                  Three decades later Italian Records proudly presents David an Ricky together again with the Dutch duo Shambok and their updated versions of this fantastic song.
                                  A real floorfiller for all italo disco lovers.


                                  Mark E

                                  Avion EP

                                    Producer Mark E hails from the West Midlands, an area of the UK that was at the heart of the industrial revolution and was also hit hardest by the decline of UK industry in the 1970s, and again by the economic crisis of our own time. It's an area with a distinct sound and atmosphere, one that manifests in the music of artists as diverse as Black Sabbath and The Specials, and one that plays into many of the ideas behind Mark E's 2014 full-length, Product Of Industry.

                                    Following that release, Mark E presents a late-year surprise with AVION EP. Featuring two new tracks from the producer plus remixes on two Product Of Industry highlights: “Bog Dance“ and “Being Hiding“. First up, White Material affiliate Alvin Aronson brings his minimal ambient productions to “Bog Dance“ while the collaborate duo of Leon Vynehall and Christian Piers aka Laszlo Dancehall fire things up on “Being Hiding“ to close out the EP.


                                    Deadbeat

                                    LPs 2002-2005 - Vinyl Box Set

                                      Ever since launching his production career at the turn of the century, dub-techno auteur Scott Monteith has been nothing if not deeply prolific. The Canadian-born, Berlin-based producer’s nine Deadbeat albums and nearly two-dozen singles represent one of most prolific and consistently rewarding catalogues in 21st century electronic-music canon.

                                      It’s a spectacular run of records that continues to hit new heights, as witnessed with the widespread acclaim that met his most recent album with Paul St. Hilaire, The Infinity Dub Sessions. Continuing the reissue campaign of his early output that began with 2001’s Primordia last year, Monteith’s BLKRTZ imprint is now set to release a massive 6-vinyl box set of his most iconic Montreal albums: 2002’s Wild Life Documentaries, 2004’s Something Borrowed, Something Blue, and 2005’s New World Observer.

                                      2002-2005: The Montreal Albums
                                      Taken together, these three Montreal albums capture the Deadbeat project at its most contemplative and intimate, as far from the club speakers as it would ever get and tuned inward instead. Released a year after moving to Montreal, the roots-reggae revisionisms of Wild Life Documentaries proved to Monteith’s international calling card. This sophomore Deadbeat album was the first to see release on Stefan Betke’s (aka Pole) ~scape imprint, which in 2002 was considered the premier venue for dub-directed electronic music in the world. The album pitted the Montreal producer alongside contemporaries such as Jan Jelinek and Kit Clayton. Two years later, Monteith returned with Something Borrowed, Something Blue, the most introspective album of the entire Deadbeat catalogue, and also the album from this early period to attain the most critical acclaim. With the international success of these two ~scape albums under his belt – Deadbeat and Jan Jelinek proved to be the label’s biggest sellers – Monteith quickly turned the corner and released the bristling, politically charged New World Observer album in 2005. A year later, the producer would make the move to Berlin, joining a generation of Canadian producers who’d launched careers at to become frustrated with the limited growth potentials of the North American market at the time.
                                      Certainly the city of Montreal played an outsized role in the sonic depths of these recordings. “I worked a desk job for a music software company, but would come home every evening and quite literally lose my self in sound until late into the night,” he remembers of this period in his life. “When I eventually left the company in 2003, this became a full time affair and I often didn't even bother to get out of my pyjamas for days at a time. My good friend Robert Henke recently said, in an interview, that the only thing an artist truly needs to create is the space and time to do so. By that measure, this period in my life was a golden age, providing glorious amounts of both. My studio at the time was very meagre, a little grey room with a half-rotten balcony, some not very good speakers, even worse computer and a not very comfortable chair. It was my first full-time studio though, and I made things in that little room each and every day that made my heart race and left my mind reeling at the seemingly endless possibilities the simple act of making sounds and music opens up.”

                                      Outside his tiny studio, Monteith was surrounded by a community of electronic musicians who were in the midst of putting Montreal on the international techno circuit. The producer lived above Marc Leclair (aka Akufen), whose Perlon EP “Quebec Nightclub” and 2002 Force Inc. album, My Way, would become an instant classics of the burgeoning micro-house sound that was synonymous with the city. The cut n’ paste technique can be heard bubbling up most clearly in passages of New World Observer, which followed Monteith’s fruitful collaboration with micro-house producer Stephen Beaupré as the duo Crackhaus. Fellow Kitchener-native Mike Shannon had also moved to the Quebec metropolis and was responsible for releasing several of Monteith’s early EPs via his labels Cynosure and Revolver. Ambient powerhouse Tim Hecker also got his start in the Montreal of those years, and was never too far from this tightly knit web of like-minded producers. Creativity and, more importantly, productivity, were in the air, and those underpinnings helped set the tone

                                      Deadbeat, Dub, and Techno

                                      Few producers have bent the dub-techno template to suit the demands of the moment as successfully as Scott Monteith. And whereas his most recent BLKRTZ albums have been defined by Berlin’s ever-morphing club culture, these long out-of-print early albums that first elevated the Deadbeat moniker to international recognition are reflective of another time, another place, and ultimately another context than the one familiar to a new generation of electronic-music listeners. Listening back to these three albums in hindsight, almost a decade after New World Observer’s release, also begs for a re-evaluation of their original cultural context.

                                      It’s nearly impossible to overestimate the long shadow cast by dub-techno’s originators over the work of the second-wave generation of producers who began using the template in the first years of the 21st century. For North American producers such as Deadbeat and Detroit’s DeepChord, the challenge of overcoming that set of preconceptions proved even more difficult. They were, after all, taking on a form that was being created, consumed and thus evaluated by largely European audiences. In the miscast blanket of critical thought, they would be forever indebted to the pioneering work of the Chain Reaction/Burila Mix/Basic Channel families to one side and Stefan Betke’s Pole recordings to the other. This context was further cemented by the fact that Monteith’s introduction to the larger electronic community came via releases on Betke’s ~scape label.

                                      But shorn of that originating context all these years later, Deadbeat’s Montreal albums reveal a different picture. There’s a degree of depth and texture to these recordings that simply bypasses any notion of minimalism that was all the rage in discussions of the meeting ground between Kingston’s dub low-ends and Berlin’s fin-de-siècle avant-garde electronics. Looping repetitions swirling out ad infinitum are simply not part of the Deadbeat aesthetic at this juncture. Instead, the listener finds an inordinate amount of attention being placed on narrative and musical storytelling. The low-end mindset definitively draws from dub and the technology employed is part and parcel with techno but, beyond that, these albums are also deeply melodic affairs that borrow from a wide-ranging palate of musical ingredients.

                                      These albums are dubby, yes, and not quite techno at all. There are refractions of Krush, Vibert, and Vadim-like trip-hop pacing at work here – a deeply unfashionable position to take back in the early-2000’s but an era of music that’s gaining traction once again now. There’s the moodiness and syncopation of Warp-era IDM at work here too. Micro-house collage techniques emerge in the sampling. All of this is to say that, in hindsight, the Deadbeat at work on these three albums is a synthesist, not a purist. His vision of dub-techno was less keen on sonic formula and more open to narrative concept than the standards set by the pioneering dub-techno of the mid- to late-90s. Removed from the timeline that defined them within the footsteps of dub techno, listeners shouldn’t be surprised if they hear something altogether different at work here. - Dmitri Nasrallah


                                      FORMAT INFORMATION

                                      LP Box Set Info: 6xLP box set.

                                      Andrew Thomas Wilson

                                      The Chain Reaction Soundtrack

                                        Composed by unsung composer Andrew Thomas Wilson, the soundtrack is a forgotten piece of 1980s electronic film scoring. A clash between driving electropop and the ominous dirge of John Carpenter's The Thing and The Fog soundtracks. Layers of icy modular Synth and proto techno rhythms serve as the backdrop to the explosive biological-apocalyptic meltdown.

                                        Described as 'Mad Max meets the China Syndrome', the 1980 Australian film The Chain Reaction is an often overlooked entry in the highly venerated Ozploitation Genre.

                                        A nuclear disaster themed thrill ride into early 80s Australiana and industrial paranoia. Sitting alongside Night Of Fear (1972) and Turkey Shoot (1982) in the outlandish canon of Australian B-cinema from the 1970s and 80s The Chain Reaction includes its fair share of gratuitous nudity, ocker attitude and souped up vehicular carnage, but also carries a skilled visual style and strong environmental message that sets it apart from its less cerebral counterparts.


                                        Various Artists

                                        Brownswood Bubblers Eleven - Compiled By Gilles Peterson

                                          Gilles Peterson and Brownswood Recordings return with the latest instalment of the much loved Bubblers Series... Brownswood Bubblers Volume 11.

                                          Known as something of a musical clairvoyant Gilles Peterson has built an unparalleled reputation for unearthing hidden gems and new and exciting talent over the course of his amazing career.

                                          Bubblers has established a great reputation over the years for providing a platform emerging talent from the Worldwide underground.

                                          Bubblers Alumni include ...Flying Lotus, Tall Black Guy, Mayer Hawthorne, Lone, Bullion, Floating Points & Fatima, New Look, Dam Funk, Jamie Woon, Electric Wire Hustle, Flako, Nick Mulvey, Submotion Orchestra and many many more...


                                          Daniel Grau

                                          Reworks Vol. 2 - Box Aus Holz Remixes

                                            After Daniel Wang and Jules Etienne set the bar very high with their remixes for Robot Magico and Disco Fantasy“ by Daniel Grau (SK280), it's now time for the next three songs by the forgotten Venezuelan Cosmic Disco producer to come under the knife. With his debut „Rivers Of The Red Planet“(just out on Tartelet Records) 21-year-old Berlin based Max Graef is making massive waves right now across all borders. Still he found a slot in his busy schedule to enhance three songs out of Daniel Grau's elusive archive – together with befriended DJs/producers from the Oye Records entourage. Upgrading all of them in a state-of-the-art cutting-edge fashion. That's how Tren Del Espacio“(originally released on the 1978 album El Sonido Magico De Daniel Grau“) suddenly becomes a straight forward slamming house track with added Caribbean spice mid-in. A completely different approach is applied by Graef and Labuzinski on the remix for „Nunca Conocí Amor Igual“(of the album 440 Toker“from 1982). The vocals by Laurye McGregor are stifled by a menacing dubsteppy killer beat and only slosh to daylight occasionally. An impressive and aweinspiring deconstruction maybe also Madlib or The Alchemist would come up with if stuffed with enough medication. Make sure you serve this cold!

                                            And then there's the collaboration of Graef with Oye Records honcho Markus Lindner aka Delfonic. Also with this remix of „Delirio En Fa Menor“(off the 1976 LP Mas Alla De Las Estrellas“) you can literally feel the affinity towards what we used to call leftfield hip hop. A badass beat framework binds the ever collapsing samples of the original. It's like Graef and Delfonic hold a picture of the original tune in their hands and then tearing it in half, just to piece it back together again back-to-front. This is adulteration by permission. Or to put it in another way: This is how you get away with murder. Another milestone in Max Graef's still juvenile career!


                                            Franco Micalizzi & The Big Bubbling Band

                                            Cinema A Mano Armata

                                              There are two categories of artist: the ones who follow trends and show an ability to integrate them and the ones who create trends; Franco Micalizzi is one of the latter. Composer, arranger and orchestra leader, Micalizzi has contributed more than anyone else in Italy to the birth and formation of what has come to be known as pulp music.

                                              This LP is a summary of the musical soundtrack cult of the 70s reimagined with great new arrangements written by the maestro for his group, The Big Bubbling Band. La Banda Del Gobbo - Italia a Mano Armata – Napoli Violenta - Il Cinico, L’infame, Il Violento and many more, concluding with trinity drawn from Lo Chiamavano Trinita’ and reclaimed by Quentin Tarantino in Django Unchained.

                                              The strongest abilities of Franco Micalizzi? An amazing band, spacey grooves, a bit of jazz atmosphere, the timeless brass-crescendo of Micalizzi, the charm of 70’s funk and... the untameable talent of the maestro! Deluxe reissue on LP, remastered with audiophile quality.

                                              Ennio Morricone

                                              Il Prefetto Di Ferro OST

                                                The Maestro Morricone’s Mediterranean sounds for the cult movie “Il Prefetto di Ferro” - directed by Pasquale Squitieri and starring the Italian cinema legend Giuliano Gemma – are sometimes warm, sometimes hard and sharp. With this score we can easily understand how much the Italian composer know about Sicilian folk music; the wonderful ballad “La Ballata del Prefetto Mori”, with its sad lyrics written by Ignazio Buttitta, is magistrally interpreted by one of the most important voices of Sicilian folk music: the legendary Rosa Balistreri. Deluxe reissue on LP, remastered with audiophile quality.

                                                Riz Ortolani

                                                Il Consigliori OST

                                                  Il Consigliori is a varied mix of elements, approaches and methods, and it will satisfy collectors searching for depth and emotion in their soundtracks. Ortolani bravely experiments with a certain successful pop sound. There are devastating moments of love and explosions of brass to represent the violence and the action. Light hearted at some moments and brooding at others, Il Consigliori serves up prime Riz for cult Italian soundtrack fans, while also serving as a great reminder of Ortolani’s seldom-matched musical greatness on the silver screen. Deluxe reissue on LP, remastered with audiophile quality.

                                                  Rhyton

                                                  Kykeon

                                                    Rhyton are the Brooklyn based trio of Dave Shuford (D. Charles Speer And The Helix, No Neck Blues Band), Jimy SeiTang (Stygian Stride) and Rob Smith (Pigeons).

                                                    Rhyton take ancestral forms, instrumentation and scales, primarily sourced from Middle Eastern and Greek traditions and incorporate them into the context of scorching improvised rock.

                                                    ‘Kykeon’ was recorded at the legendary Black Dirt Studios (Jack Rose, Steve Gunn, The Black Twig Pickers, etc) in upstate New York with their longtime engineer Jason Meagher.

                                                    “Rhyton is going to take you somewhere you’ve never been... Undulating rhythm throbs and plate shifts; sun spots that flash right between the ears; melodies that come, go, return, vanish, and never really existed – this is all Rhyton at work.” - Jambands

                                                    “...smoke-belching psychedelia, like Eternal Tapestry getting spanked by Blue Oyster Cult, only more throbbing and fried.” - Magnet

                                                    FORMAT INFORMATION

                                                    LP Info: LP version pressed on virgin vinyl with free download card.

                                                    CD Info: CD version limited to 300 copies with hand-applied
                                                    wrap around artwork.

                                                    Various Artists

                                                    The Deeply Vale Box Set

                                                      272 page A4 book + 6 CDs (and a pack of incense).

                                                      Andy Kershaw “I attended the Deeply Vale Festival in 1978 and went on to work with some success in war zones- thank you Chris Hewitt”

                                                      Stuart Maconie “Deeply Vale- the crucible of North Lancashire’s anarchistic counter culture around the mid 70s and beyond”

                                                      Mark E Smith “Deeply Vale was great to play, It was just up the road for us. I don’t like festivals but I loved Deeply Vale”

                                                      Finally after 18 years of research, The Deeply Vale Box will be released. This beautiful book and box set will be limited to 500 copies. The 272 page A4 book is mainly colour and is housed in a box with 6 CDs and a pack of incense. Put on one of the CDs, open the book, light an incense stick to burn and transport yourself back to the mid 70s Deeply Vale Festivals, as well as the Rivington Pike Festivals and the Manchester Rock Against Racism Concerts. Deeply Vale was important as it was the first of the free festivals to open its stage to Punk & New Wave bands and it was also intertwined with the Manchester Rock Against Racism movement. Long before any other festival it crossed the hippy punk divide; its where Planet Gong/Here and Now met The Fall and hippy soundman Grant Showbiz would strike up a 35 year relationship as producer for The Fall. Here and Now would take The Fall, Danny and the Dressmakers (inc future 808 State man Graham Massey), Wilful Damage and Alternative TV on their anarchic tours after Deeply Vale. The Ruts were formed in a tent at Deeply Vale in 1977 after two members of London Funk band Hit and Run saw the The Drones perform a punk set on stage. The 1978 Festival not only included Steve Hillage, Here and Now and Nik Turner but also The Fall, Durutti Column and The Ruts.

                                                      The book features interviews with and/or written contributions from Andy Kershaw, Stuart Maconie, Andy McCluskey of OMD, Martin Coogan and Steve Cowen of the Mock Turtles, Mark E Smith of The Fall, Marc Riley, Spizz Energi, Boff Whalley from Chumbawamba, Graham Massey of 808 State, Vini Reilly, Graham Clark of Gong, Grant Showbiz, Steve Hillage , Jimi Goodwin (Doves),Ian Brown, Andy Rourke, Mark Hodkinson, Mick Middles, Luke Bainbridge and more.

                                                      Bands that have biographies/info pages in the book include Steve Hillage,The Fall,Wilful Damage, Mudanzas ,Murmo Schultz,Aspell, No Change, Danny and The Dressmakers Aqua (Inc Graham Clark of Gong), Leviathan,Nik Turner, Visitor 2035, Whitefire, Durutti Column, Body, Physical Wrecks, Cry Tough, The Ruts, Drive By Night, China St, Fast Cars, Victim, The Trend, Picture Chords,Tony Crabtree, Trigger/Childs Play, John Keegan/ Silver Hill String Band, Here and Now, SFW, Crispy Ambulance, Howard The Duck, Movement Bannned , Alchemist, Trevor Hyett, Misty in Roots, Pete Farrow, Alternative TV, Tractor, Elti Fits, Free Ride, Bashful Alley, Drones, Accident on the East Lancs, Roll up Rock, The Tunes, Victor Brox Blues Train, Rivington Spyke, Frogbox, Vibrant Thigh, Emergency / Foreign Press, Spike, The Out, Tiger Tails, Welcome, Snapper, Salford Jets, Bill Pod and The Stocks, Victor Drago, Not Sensibles, Pegasus, Distractions, Stuffed Badgers & Konstipated Poodles.

                                                      Audio contributions for the 6 CDs include Steve Hillage, Nik Turner’s Sphynx, The Fall (unreleased tracks live at Deeply Vale), Visitor 2035, Danny and The Dressmakers (full sets from the festival) , Aqua, Here and Now, Wilful Damage, The Ruts, SFW, Salford Jets, Victim, Free Ride, Durutti Column, Brenda and The Hot Dicks, Red Eyes, Aspell, Andy T, Blue Midnight feat Grant Showbiz, George Borowski, Tony Crabtree, Accident on The East Lancs, Victor Brox Blues Train, Howard The Duck, Rockslide (forerunner of the Drones) Movement Banned, Elti Fits, The Tunes, Trevor Hyett , Whitefire, Victor Drago, The Trend, Drive by Night, The Out, Fast Cars, Mudanzas, Vibrant Thigh, NotSensibles, Stuffed Badgers, Rivington Spyke, No Change, No Mystery, Murmo Schultz, Bill Pod and The Stocks, Trevor Hyett, Alchemist, The Joint Rolling Contest, & John Keegan.

                                                      Andy McCluskey (OMD) “I performed there with my early band Pegasus in 1977, there was a real all help together hippy vibe which was wonderful”

                                                      Luke Bainbridge “Most of of those who were there seem to have slightly hazy memories of events… but others like myself were inquistive 5 year olds taken to this other wordly place on our doorstep”

                                                      Boff Whalley- Chumbawamba “Deeply Vale was my first exposure to festivals. Deeply Vale was both a summer escape and an eye opener. A great place for growing up”

                                                      Bob Harris – “Deeply Vale definitely has a place in rock history, because here in the late 70s were held the best loved and silliest rock festivals of all time”

                                                      Jimi Goodwin (Doves) “My first festival was Deeply Vale, I was eight years old I was bursting with excitement”

                                                      Graham Massey (808 State) “I am always harking back to Deeply Vale as a blueprint for festivals”

                                                      Mark Rogers & Mary Byrne

                                                      I Line My Days Along Your Weight

                                                        Brooklyn duo Mark Rogers & Mary Byrne recorded their debut, I Line My Days Along Your Weight, as a true duet: facing each other inches apart, intent upon listening. They wove together archaic instruments – baritone acoustic, tricone resonator, golden-era flattop, space-age lap steel, upright piano, and hundred-year-old mandolin – into a new and vibrant third voice.

                                                        All the songs were recorded live to two-inch analog tape, the studio equivalent of tightrope-walking without a net. Mark and Mary later added minimal touches of lap steel, piano, and electric guitar, but essentially what you hear is what they performed together, start to finish. With Mark's deeply expressive, contextual fingerstyle and Mary's emphatic, unaffected singing, this striking debut invites listeners into a space most intimate, and most human.

                                                        Mark and Mary each grew up on opposite sides of Central Pennsylvania's Susquehanna River, but their paths did not cross until years later in the explosively creative East Atlanta music scene. From there, the two moved to Brooklyn, where they married, and where Mary earned her MFA in writing from Brooklyn College and Mark quickly became an in-demand stage and session player and music instructor. Their collaboration began in earnest in the days after Hurricane Sandy hit New York in November 2012; with the city at a standstill, the two sketched many of the songs now on I Line My Days Along Your Weight.

                                                        Before this, Mark played with Brooklyn indie-folk band The Loom, with whom he toured and performed as part of Brooklyn Academy of Music's 'Next Wave' series and at Pop Montreal and CMJ. He was also multi-instrumentalist and songwriter with Atlanta's renowned alt-Americana quartet, Myssouri, whose 'War/Love Blues' was selected by Pitchfork as a top album. Mary was lead singer, songwriter, and guitarist for Atlanta trio Hot Young Priest, which toured nationwide; their 'Fiendish Freaky Love' (Two Sheds Music) garnered critics' praise in Magnet, Amplifier, The Big Takeover, Time Out New York, and NPR's 'All Songs Considered'.

                                                        Motorpsycho

                                                        Demon Box

                                                          Still the favourite with many Motorpsycho fans, the iconic "Demon Box" was also their breakthrough album and is a testament to their most drastic period of transition, from being a relatively, but not entirely, straight rock band largely met with indifference, to becoming a band where "shit definitely falls in place", to quote Tommy Olsson´s liner notes. It´s also, notably, the only album in their vast catalog where Deathprod was a permanent member of the group. This re-issue follows those of "Timothy´s Monster" and "Blissard" and has been possible with the kind permission and co-operation of Voices Of Wonder.

                                                          Spread over five discs we get the following:
                                                          Disc 1 and 2: "Demon Box" as it appears on the double vinyl edition and as it was envisaged by the band at the time. But the label only wanted to release it as a single CD, meaning that a couple of tracks, much to the bands regret, had to be left out. So this is actually the first ever CD release of the full "Demon Box" album.
                                                          Disc 3: The two EPs that followed the album, plus "Home Of The Brave", a live recording previously available on a long deleted compilation.
                                                          Disc 4: Various outtakes, live recordings and other rarities, mostly unreleased until now.
                                                          Disc 5 (dvd): Something of a curio that will have the fans wetting their pants, for sure. A previously uncirculated, one-camera video documentation of the full gig at the Vera venue in Groningen, The Netherlands, September 19, 1993. Dark, shadowy, chaotic, loud, energetic and primitive, this is still the best audiovisual recording of a complete show from this period. The original 2LP edition of "Demon Box" is being released at he same time. This has been out of print for many years, and now fetches unhealthy prices on the net.

                                                          Wreckless Eric

                                                          Wreckless Eric Presents : The Hitsville Houseband's '12 O'Clock Stereo'

                                                            12 O’Clock Stereo is Wreckelss Eric’s town and country album, a strange and at times uneasy mix of garage, pop, country and old time rhythm ‘n’ blues. Urban songs set in a grim, concrete world where the beer is flowing like piss, and abandoned lovers cry themselves to sleep between nylon bed sheets, Kilburn Lane, Camden Girl, Murder In My Mind, Palace Of Tears.

                                                            Tales of ne’er do wells and country hicks, The Guitar-Shaped Swimming Pool, Friends On The Floor, a ramshackle and nightmarish world, the village band play on raggedy and tuneless as the residents of a local retirement home zone out on valium (The Twilight Home). Creepiness and social dysfunction – life in remote rural France where dissatisfaction and incomprehension rule supreme and a trip to the doctors is a day out, You Can’t See The Woods (For The Trees); and in The Marginal the neighbours ask him in to laugh at him as they get drunk with backing provided by a showband on hallucinogens.

                                                            And meanwhile, back on the home front the Camden Girl juggles forming a band with self-help, astrology and Tai Chi.

                                                            Eric had initially formed The Hitsville House Band with drummer Denis Baudrillart and bassist Fabrice Lombardo, two trash and garage virtuosos, bad boys from the south suburbs of Paris, as a backing band for ex Action, Mighty Baby and 101ers guitarist Martin Stone. They didn’t last long as a backing group – Eric had songs and then Fabrice and Denis wanted to record them.

                                                            “I was asked to record a track for a love-themed compilation album with a lifebelt on the cover – love and a lifeline, some foggy and fuzzy half thought out concept to do with love. The lifebelt looked for all the world like a toilet seat to me. We did the track for hard cash and used the money to buy tape to record an album.”

                                                            The album was recorded at Eric’s home, a dilapidated village dance hall seventy miles west of Paris, in the heart of rural France. Since his last album the Donovan Of Trash, Eric had upgraded his studio with the addition of a 1” Studer eight track tape machine. The stereo possibilities were limited by the further addition of an all-valve Telfunken one track 1/4” mono mastering machine which had apparently previously been used in a jungle expedition, as borne out by the carcasses of large and weird looking insects reclining in the machinery.

                                                            On its release in 1996, 12 o’clock Stereo was championed by the few, including John Peel and Mark Radcliffe who both played tracks. In spite of constant touring throughout Europe and the UK, 12 o’clock Stereo soon found its place in the pantheon of obscure and uncompromising post-Stiff Records Wreckless Eric releases. The title fooled some of Eric’s detractors into thinking he’d finally caught up with the modern world and made a stereo record. The clues were all there – the word STEREO flanked by inward facing arrows…a lino cut illustration of a mixing desk with all the pan controls in the centre position… that’s right: MONO – the title, 12 o’clock Stereo, means mono.

                                                            Containing 5 extra tracks, including 3 radio session, Lawrence Of Arabia On Ice, a b-side from ‘The Girl With The Wandering Eye’ CD single, and ‘Ugly & Old’, the first track ever recorded by The Hitsville Houseband, specfically for a Love Song Compilation.

                                                            FORMAT INFORMATION

                                                            LP Info: 12 track Vinyl LP with download card including bonus tracks.

                                                            Craig Safan

                                                            Warning Sign O.S.T

                                                              Invada Records proudly presents the release of a Synth-Heavy Score from one of the Industry's most creative composers; Craig Safan's music to the 1985 20th Century Fox Science Fiction Thriller WARNING SIGN. Famous for his score to the timeless classic The Last Star Fighter, as well as A Nightmare on Elm Street, Part IV and (amazingly) the hit series Cheers! Safan's film music is notable for its clever use of electronics, and Warning Sign is no different. Recorded using a Synclavier Synthesizer - an incredibly expensive piece of kit at the time - the score is fully electronic but no less effective than his orchestral work, and provides an entertaining and futuristic soundscape for the story of a man-made virus that is accidentally released into its laboratory, turning its workers into zombies.

                                                              Due to the science fiction and horror overtones, the Synclavier creates an appropriate atmosphere, which Safan layers with different effects, from an electric piano that illustrates a desolate location in the film's early stages to the use of metallic effects as percussion for the chemically-affected staff. Safan weaves dissonant sounds to suggest chaos and paranoia, and innovatively synthesises human voices to convey a sense of tortured souls to those infected. What follows is an intense score where the foreboding turns to reality with an eerie and uncomfortable texture, broken only by a beautiful and warm melody for the resolution and end credits, where all is well.

                                                              This special edition that features an expanded version of the original 1985 LP program, along with 15 unreleased cues presented as bonus tracks. The release features new artwork by Marc Bessant, liner notes by Safan himself plus George Ginn presenting a comprehensive package befitting one of the scores that was an important part of the 80s craze of electronic film music.

                                                              Brian Reitzell

                                                              Hannibal O.S.T Season 1 Volume 2 - Amarone Grape Coloured Vinyl

                                                                Invada Records are proud to announce the vinyl release of two volumes of music from season 1 of hit NBC television series HANNIBAL by Brian Reitzell. Spread across two double gatefold LPs with each volume available as 140gm and colored variants. Accompanying the release, director David Slade has provided rare photos from his personal collection for the artwork. Each double LP is housed in a gatefold sleeve and comes with a download card. The music has been sequenced in the chronological order they appears on the show itself, allowing for an essential listening experience as dictated by the music’s creator.

                                                                Over the last decade and a half, multi-instrumentalist, composer and producer Reitzell has created his own unique method of scoring films, drawing equally from his experience as a recording and touring musician with bands such as Redd Kross and Air, and his massive knowledge of recorded music. His vision is to create a seamless landscape of songs, score, and found music for each soundtrack. Brian’s explorations of new sounds add unique character to visual images.

                                                                Brian's past films include The Virgin Suicides, Lost In Translation (For Which He Received A Bafta Award Nomination), Cq, Friday Night Lights, Stranger Than Fiction, Thumbsucker, Marie Antoinette, The Brothers Bloom, 30 Days Of Night, Beginners, And Red Riding Hood. His video game credits include his critically acclaimed score for THQ’s Red Faction: Armageddon and the upcoming Watch Dogs for Ubisoft.

                                                                Brian Reitzell

                                                                Hannibal O.S.T Season 1 Volume 1 - Tannum Brown Coloured Vinyl

                                                                  Invada Records are proud to announce the vinyl release of two volumes of music from season 1 of hit NBC television series HANNIBAL by Brian Reitzell. Spread across two double gatefold LPs with each volume available as 140gm and colored variants. Accompanying the release, director David Slade has provided rare photos from his personal collection for the artwork. Each double LP is housed in a gatefold sleeve and comes with a download card. The music has been sequenced in the chronological order they appears on the show itself, allowing for an essential listening experience as dictated by the music’s creator.

                                                                  Over the last decade and a half, multi-instrumentalist, composer and producer Reitzell has created his own unique method of scoring films, drawing equally from his experience as a recording and touring musician with bands such as Redd Kross and Air, and his massive knowledge of recorded music. His vision is to create a seamless landscape of songs, score, and found music for each soundtrack. Brian’s explorations of new sounds add unique character to visual images.

                                                                  Brian's past films include The Virgin Suicides, Lost In Translation (For Which He Received A Bafta Award Nomination), Cq, Friday Night Lights, Stranger Than Fiction, Thumbsucker, Marie Antoinette, The Brothers Bloom, 30 Days Of Night, Beginners, And Red Riding Hood. His video game credits include his critically acclaimed score for THQ’s Red Faction: Armageddon and the upcoming Watch Dogs for Ubisoft.

                                                                  Githead

                                                                  Waiting For A Sign

                                                                    Githead are Colin Newman (Wire), Malka Spigel and Max Franken (Minimal Compact), and Robin Rimbaud (Scanner). But who they are is far less important than what they are: a band, rather than just a collaboration between individuals, each with their own highly regarded creative résumé. Githead formed in 2004, for what was initially intended as a one-off performance at the Swim record label's ICA-hosted 10th anniversary event. Over the course of preparations for the gig, though, it quickly became obvious to all involved that there was a natural and rare chemistry between them, one that held the potential for significant organic development.

                                                                    Waiting for a Sign marks the return of Githead after a five-year break from recording and pushes further than their previous records, underscoring the band’s commitment to pursuing new directions. Fans will recognize many of the classic Githead tropes here: the hypnotic, motorik repetition, the weighty bass lines, and the dreamy melodicism that have come to define the band’s aesthetic. But Waiting for a Sign isn’t about sticking with a proven formula: Githead are forward-looking musicians, committed to reinvention rather than recycling. As previous releases such as Art Pop (2007) and Landing (2009) show, Githead’s forté has increasingly been to bring the synergy and inventiveness of their live performances to bear on the studio process.

                                                                    For this album, however, they upped the ante, arriving at the studio without any written material and trusting that their response to each other’s ex-temporization, as well as to the mood and the surroundings, would get the creative juices flowing. “Slow Creatures” is a good example, kicking off in an almost heretically bluesy mode, although this flavour eventually dissolves into a larger hypnotic groove as the track builds. There’s a similar effect on “Air Dancing,” its introduction combining Kala bass and acoustic guitar. Most memorable is “For the Place We’re In,” whose melodic structure makes it Githead’s first bona fide folk song. Approaching the project as something of a blank slate, their minds free of predefined ideas and open to creativity makes this their most accomplished release thus far.

                                                                    Bis

                                                                    Return To Central (Deluxe)

                                                                      2001's "Return To Central" sees bis rip up their own rule book and start stretching their wings. From the shouty pop-punk-disco of 1997's "The New Transistor Heroes" to the shiny, slick pop of 1999's "Social Dancing", not even the most fanatical bis fan could have envisaged the leap to "Return To Central". Spending most of 2000 in a basement with banks of synthesizers, samplers and Brian Eno records, Manda Rin (now with whispered vocals), Sci-Fi Steven and John Disco created the cinematic "What You're Afraid Of", the sweeping My Bloody Valentine indebted "The End Starts Today", the Moog-heavy disco of "Protection" and the sad euphoria of great-lost-hit "Silver Spoon". The massive sonic departure divided the remaining fanbase and was the band's last album until 2014's "data Panik etcetera", but many consider "Return To Central" the band's masterpiece. Now in expanded form with un-released tracks of the era, remixes and the "Fact 2002" EP, including the famous cover of Joy Division's "Love Will Tear Us Apart”.

                                                                      Bis

                                                                      Social Dancing (Deluxe)

                                                                        1999's "Social Dancing" saw Manda Rin, Sci-Fi Steven and John Disco, having been ostrasized by the UK music press, return with a bigger, shinier and cohesive sound. Produced by Gang Of Four's Andy Gill and mixed by Pet Shop Boys engineer Bob Kraushaar, the blend of 1979 New-Wave riffs and 80's Electro-Pop synths shine on hit single "Eurodisco", the sped-up Gary Numan of "I'm A Slut" and album opener "Making People Normal". An expanded sonic palette saw a liberal use of samples, a diversion into trip-hop ("Detour") and even a real string section on "Theme From Tokyo". While "Social Dancing" didn't have the impact of debut album "The New Transitor Heroes", it's most fans favourite - a solid body of songs which has a confident band at the top of their game. Now here in deluxe form, including 2000's self-produced (and band favourite) "Music For A Stranger World" mini-album.

                                                                        Bis

                                                                        The New Transistor Heroes (Deluxe)

                                                                          "The New Transistor Heroes" is the youthful Manda Rin, Sci-Fi Steven and John Disco's energetic 1997 debut album, now fully expanded with b-sides and rarities of the era. It's an explosion of colourful influences ranging from quirky New-Wave to 80's Synth-Pop and Riot Grrrl with hints of Disco and Two-Tone, the sound of an excitable band without pretences. The album went massive in Japan, "Starbright Boy" and "Sweet Shop Avengerz" hit the UK charts while the digital Motown of "Tell It To The Kids" introduced bis to the kids of the US. The anti-body fascism disco anthem, "Monstarr", remains a fan favourite to this day while the synth-heavy "Skinny-Tie Sensurround" pointed to the next, 80's indebted, album "Social Dancing". It's a bold and innocent attempt at creating the definitive bis document, and it's catchy as sin to boot.

                                                                          Zennor

                                                                          Never In Doubt

                                                                            I've done the coast walk from St Ives to Zennor. It's hard work.


                                                                            It doesn't get any deeper than this! A classic, overlooked EP from Wayne Gardiner aka Classic Man from 1993 on the legendary Nervous Records label, "No More Mind Games" is up there with the classics of it's era. That sparse, jazzy, soulful, early 90's NYC edge is present in all the tracks here and the whole EP is solid from start to finish, all killer, no filler!

                                                                            Kicking things off, "Rapid Winds" is a vibe heavy, pad laden beauty that rolls along gently and touches all the right spots while the following 2 mixes of "Keepin On" chop up D-Train and Raw Silk vocal snippets into a bouncing organ driven banger, keeping the Disco spirit alive in true Garage fashion! Rounding out the EP is 2 storming alternate mixes of "No More Mind Games", built around a vocal sample lifted from the accapella version of Quests classic "Mind Games", used here to devastating effect alongside Gardiners deep vibes and choppy drums. Serious business.

                                                                            "No More Mind Games" has long been a sought after EP by discerning House lovers and is a true underground classic.
                                                                            Re-mastered and re-pressed here, for the first time, in conjunction with Nervous Records, NYC. Now's your chance to own a copy of a forgotten club classic from the golden era of NYC House music.

                                                                            Farley Jackmaster Funk & Jesse Saunders Feat. Darryl Pandy

                                                                            The Complete Love Can't Turn Around

                                                                            "Love Can't Turn Around" is a Chicago House ANTHEM! A true classic of the genre. Universally recognized and loved, it made history as the very first House record to reach the UK singles charts in 1986 and continues to find new fans today.

                                                                            Inspired heavily by Isaac Hayes' underground Disco smash "I Can't Turn Around", a record that was very big in various Chicago clubs getting plays from DJ's like Ron Hardy, Frankie Knuckles and more. With "Love Can't Turn Around" Farley and Jesse re-appropriated Hayes' Disco vibe and updated it with drum machines, synths and of course, Mr.Darryl Pandy's unique vocal performance centering around the desperation of a lover who has been wronged. A truly influential track that opened the doors for many producers and DJ's in the decades to follow.

                                                                            Here, for the first time, the definitive mixes of this all time classic record are available in one place.
                                                                            Re-mastered and re-issued in conjunction with Trax Records this essential Chicago record lives on.

                                                                            "Now this is how it started"

                                                                            Various Artists

                                                                            Acid Thunder Sampler 1

                                                                              Sampler 1 includes select tracks taken from Terry Farley's recent Chicago Acid House retrospective for Harmless.

                                                                              These samplers are geared towards the DJ's and vinyl lovers who may have missed these tracks first time around or to the new fans who have just discovered the windy city's own unique brand of machine funk and want to dig deeper!

                                                                              This sampler features DJ Rush's "Lookin' For Excitement", a frantic, snaking jack track of the highest order, one for the slam dancers - watch out for those snare drums! Also featured is Terrance McDonald's "Mind Over Matter", a deep, rolling electronic workout with building, epic synth lines and a jagged bassline that won't quit. Rounding out the EP in fine style is "To The Motherland", a tribal-esque percussion heavy cut from Steve Poindexter and Kareem Smith from '88.

                                                                              An excellent addition to any seasoned House fans record bag, or the perfect starting point for those who are new to the genre, "Acid Thunder Sampler 1" contains rare and out of print tracks carefully selected and re-mastered for maximum effect.


                                                                              Various Artists

                                                                              Jerome Derradji Presents - The House That Jackmaster Hater Built (Part 2)

                                                                              "I want them to hate me for putting this out" says Jackmaster Hater, referring to tracks once possessed by a mere handful of Chicago House DJs. These recordings, traded secretly on tape, were exclusive to the likes of Ron Hardy and Frankie Knuckles.

                                                                              Here is the new compilation by Jerome Derradji with Kevin Starke, aka the infamous Jackmaster Hater and owner of Kstarke Records in Chicago. 
It is one of the sickest slice of Chicago House Music ever released.

                                                                              This compilation features ultra rare and lost Chicago classics paired with a nice selection of newer tracks produced by Jackmaster Hater and his friends, all nicely laid out on a DCD and 2 DLPs. The DLPs come with a killer poster and the DCD features a booklet about Kstarke records and Kevin Starke and a few more surprises.

                                                                              It includes rare tracks by Ron Hardy, James "Jack Rabbit" Martin, Terrence Woodard, Traxmen and many more.

                                                                              This is the real sound of Chicago.

                                                                              Various Artists

                                                                              Jerome Derradji Presents - The House That Jackmaster Hater Built (Part 1)

                                                                              "I want them to hate me for putting this out" says Jackmaster Hater, referring to tracks once possessed by a mere handful of Chicago House DJs. These recordings, traded secretly on tape, were exclusive to the likes of Ron Hardy and Frankie Knuckles.

                                                                              Here is the new compilation by Jerome Derradji with Kevin Starke, aka the infamous Jackmaster Hater and owner of Kstarke Records in Chicago. 
It is one of the sickest slice of Chicago House Music ever released.

                                                                              This compilation features ultra rare and lost Chicago classics paired with a nice selection of newer tracks produced by Jackmaster Hater and his friends, all nicely laid out on a DCD and 2 DLPs. The DLPs come with a killer poster and the DCD features a booklet about Kstarke records and Kevin Starke and a few more surprises.

                                                                              It includes rare tracks by Ron Hardy, James "Jack Rabbit" Martin, Terrence Woodard, Traxmen and many more.

                                                                              This is the real sound of Chicago.

                                                                              Roy Comanchero

                                                                              Lucid Memory EP

                                                                                Roy Comanchero is a DJ / producer. He doesn’t like modern tool like laptop, but loves cheap and vintage machine instead. He is traveling and looking for golden shiny beach like Cancun, Miami, Gold Coast and Nice… to make music everyday.

                                                                                An idea who’s time has clearly come, MOON ROCK VOLUME 1 struck a nerve upon release last spring. A collection of deeply atmospheric ambience, cosmic, and chillout techno, it was the opening salvo in a much longer-term effort by NYC-based THRONE OF BLOOD RECORDINGS to establish a platform for a diverse collection of friends and musical fellow travellers to explore composing music for folding time and exploring innerspace. Now, just months after Vol. 1 hit shelves, MOON ROCK VOLUME 2 is upon us…

                                                                                An evolutionary step further into the ether, Vol. 2 evokes a familiarly offkilter and contemplative vibe. But it is also more sonically diverse than Vol. 1, presenting a more expansive view of chakra-stimulating spacemusic straddling techno, strange acoustic instrumentation, and Balearic flavors.

                                                                                In addition to artists that have released on Throne of Blood before, like Bunker New York’s Ulysses, Tel Aviv’s Red Axes, producer/visual artist Pixelife, studio maestro AKA JK, and the inimitable Pittsburgh Track Authority, Moon Rock Vol. 2 features contributions from Tempelhof & Gigi Masin, Jonah Sharp (Reagenz) and DJ Spun (Rong Music) in their Loose Control Band guise, Balearic Gabba Soundsystem feat. peeDoo, Toronto’s Arthur Oskan, Margot (Les Disques de la Mort), Ima Cliché boss Cosmo Vitelli (Bo’tox), and two contributions from Cologne Tape’s Jens-Uwe Beyer/Popnoname.

                                                                                This is music for comedowns, meditation retreats, and adventures beyond the Ultraworld. Tune in and space out…

                                                                                Talamanca System

                                                                                Balanzat - Inc. Tuff City Kids Remix

                                                                                  The first (and perhaps only) release from Talamanca System has been one year in the making. A single track with four interpretations, all at the hands of a new creative connection between International Feel founder Mark Barrott, German scene veteran / Running Back boss Gerd Janson and his production partner Phillip Lauer aka Tuff City Kids. The story begins at a late dinner party at Barrott's Ibizan hideaway in the Summer of 2013, when, in keeping with his 'if you're not using it, give it away' approach to life, Mark gave Gerd his Studio Electronics 'Boomstar 303' synth. Gerd was so determined to repay this lavish gesture that he offered to do a remix of a track Barrott was working on. After plenty of back and forth, one remix became a full collaboration and four different versions later (gotta love German productivity), the Balanzat EP was born.

                                                                                  'Balanzat' is a record that will instantly transport you to a nostalgic dream like state. A lush medley of warm chords, soft rolling percussive strokes, and a retro bassline groove, it's a floating balearic house gem, yet rooted in a classicly groovy US leaning framework. Also included in the package is the twisted Acid Reflux, a stomping Tuff City Kids Remix and an ambient reprise in the Beat Box Mix.

                                                                                  Mark Barrott, only recently out of hiding behind the anonymity that his cult label International Feel afforded him, has revealed himself to be the creative force behind much of the closely followed imprints' back catalogue. With releases under guises such as Parada 88, The Young Gentleman's Adventure Society, EFeel and of course 'Unknown Artist', Barrott is a truly free spirited producer with an A&R eye for rich talent and an ear for real music across many different styles, often falling under the very loose term of Balearic'. Barrott's debut eponymous album 'Sketches From An Island' was unsurprisingly met with widespread critical acclaim this summer.

                                                                                  The "quintessential DJ's DJ" Gerd Janson coowns the much revered label Running Back and holds a residency at two of Germany's biggest club institutions, Robert Johnson and Panorama Bar. Together with fellow scene heavyweight Phillip Lauer, the duo releases music under the alias Tuff City Kids, remixing the likes of Azari & III, Osborne and Erol Alkan's Future 4 Project as well as releasing on labels such as Osgut Ton offshoot Unterton and Dutch mainstay Delsin.

                                                                                  Ennio Morricone

                                                                                  Lizard In A Woman's Skin

                                                                                    180gm vinyl
                                                                                    Disc 1 Transparent Green
                                                                                    Disc 2 Transparent Blue
                                                                                    Includes poster & sleeve-notes by Andrea Morandi
                                                                                    Cover art by Jay Shaw
                                                                                    400 for UK

                                                                                    "It is a proud day for Death Waltz Recording Company as we prepare to release a score by one of the biggest composers in film music history. Ennio Morricone (ONCE UPON A TIME IN THE WEST, CINEMA PARADISO, ORCA: KILLER WHALE) has produced masterpiece after masterpiece, but none so creatively unsettling as his score to the 1971 Lucio Fulci giallo A LIZARD IN A WOMAN’S SKIN (aka UNA LUCERTOLA CON LA PELLE DI DONNA). Like many of Fulci’s movies, LIZARD blurs the line between dreams and reality, with hedonistic nightmares featuring narcotic-fuelled orgies leading to real murder that may or may not have been committed during one of the dreams.

                                                                                    Morricone’s music is as unhinged as the film itself, mixing post-sixties funk and jazz with increasingly uncomfortable effects to provide a haunting and biting backdrop for the turn of the century thriller. As always, elements of the maestro’s music are beautiful, with ethereal vocals by regular collaborator Edda dell’Orso, and this works even better in stark contrast with the harsher sections, with eerie woodwinds, the requisite whistling, wind instruments that sound like coyote howls, and low rhythmic bass that hits your head and your stomach at a point where you start to wonder if someone else is if the house with you. Still, if you’re going to be graphically murdered, A LIZARD IN A WOMAN’S SKIN is the soundtrack to have it done to you by." - Death Waltz

                                                                                    FORMAT INFORMATION

                                                                                    2xLtd LP Info: Double album set featuring 24 tracks clocking in at 90 minutes including a host of Previously unheard cues uncovered especially for this release.

                                                                                    Bruce Springsteen

                                                                                    The Album Collection Vol. 1 - 1973-1984

                                                                                      Boxset containing remastered versions of the first x7 unforgettable albums recorded & released by Bruce Springsteen for Columbia Records between 1973 & 1984. Albums:- "Greetings From Asbury Park", "The Wild, The Innocent & The E Street Shuffle", "Born To Run", "Darkness On The Edge Of Town", "The River", "Nebraska", "Born In The U.S.A.". Box-set has meticulous recreations of the original packaging & is accompanied by a beautiful book, featuring rarely-seen photos, memorabilia & original press clippings.

                                                                                      The follow-up to the acclaimed 'West Ryder Pauper Lunatic Asylum', Velociraptor! was recorded in Leicester and mixed in San Francisco. Written and produced by Sergio Pizzorno, 'Velociraptor!' is a major leap forward from "Britain’s biggest band".


                                                                                      FORMAT INFORMATION

                                                                                      2x10" LP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                                                                      Written by Serge Pizzorno and co-produced by Serge and Dan the Automator (Gorillaz, DJ Shadow), "West Ryder Pauper Lunatic Asylum" was recorded in Kasabian's hometown of Leicester and Dan the Automator's recording studio in San Francisco. It's the third chapter in Kasabian's magnificent journey so far, which began in 2004 with their debut self-titled album. The new album is a mash-up of towering melodies, electro-punk riffs and psychedelic lullabies, fused with Tom Meighan's searing vocals, Serge Pizzorno's bar-raising musical vision, Chris Edwards' driving basslines and Ian Matthews' galloping drums. 'It's about people escaping somewhere else. It's a place of opposites, where paupers can become princes. The way things are at the moment, it seems like a good place to be,' concludes Serge.

                                                                                      FORMAT INFORMATION

                                                                                      2x10" LP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                                                                      Eagerly anticipated second album from Kasabian, released on the back of the hit single "Empire".

                                                                                      FORMAT INFORMATION

                                                                                      2x10" LP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                                                                      With scuzzy beats, trippy keyboard squiggles and vocals 100% full of attitude and belief, these Midlanders seem to have the lot. Like a more brazen Beta Band (similar 60's references, similar use of beats) or prime-time Happy Mondays, some of these songs are like chants or mantras that get right under your skin. It's powerful, low-slung-funky, effortlessly catchy fun!

                                                                                      FORMAT INFORMATION

                                                                                      2xLP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                                                                      Ltd CD Info: The limited edition CD features the full audio CD on one side of the disc, and 45 minutes of DVD footage on the otherside of the disc. The wonders of modern technology eh?!

                                                                                      Kindness

                                                                                      This Is Not About Us / Perc Restart

                                                                                        The lead single from Kindness’ second album ‘Otherness’.

                                                                                        ‘This Is Not About Us’ allows a circular, sticky piano figure played by Kindness’ Adam Bainbridge to slowly melt into this gorgeous choral haze.

                                                                                        Limited edition of 500 copies worldwide.

                                                                                        Akkord

                                                                                        HTH030 - Haxan Cloak / Vatican Shadow Remixes

                                                                                          Sacred geometry, complex polyrhythms and clinical sound design all collide in the work of Manchester outfit Akkord, who selected two of their favourite artists to reinterpret their ‘HTH020’ EP. The results are breathtaking, powerful and utterly ferocious.

                                                                                          Tri-Angle Records’ The Haxan Cloak dissected elements from all four tracks on ‘HTH020’, reassembling them into a 10-minute masterpiece, a wall of sound that defies classification.

                                                                                          Meanwhile, fabric’s Room 2 inspired Hospital Productions label boss Vatican Shadow (aka Prurient) to arrange parts of ‘Typeface’ and ‘Greyscale’ along with his own sounds, to create an intricate, ominous techno trip.

                                                                                          Mastered by Matt Colton at Alchemy and pressed on 180g vinyl, the ‘HTH030’ 12” is a companion piece to the ‘HTH020’ EP, with a reversed colour scheme, debossed cover and postcard insert.

                                                                                          Various Artists

                                                                                          Disco: A Fine Selection Of Independent Disco, Modern Soul And Boogie 1978-82 LP 2

                                                                                            The latest release on Soul Jazz Records is a fantastic new album of disco, modern soul and boogie from 1978-82.

                                                                                            This album is released to coincide with the massive new 360-page deluxe hardback book ‘Disco: An Encyclopedic Guide To The Cover Art Of Disco’, featuring over 2,000 album cover designs as well as over 700 12” sleeves, including sections on roller disco, disco instruction albums and more. There are also interviews and introductions by Tom Moulton, Nicky Siano, Mel Cheren (West End Records), Ken Cayre (Salsoul), Marvin Schlachter (Prelude) and more. The book is compiled by Disco Patrick and Patrick Vogt, text by Claes Widlund.

                                                                                            ‘Disco: A Fine Selection Of Independent Disco, Modern Soul And Boogie 1978-82’ is an amazing collection of rare and independent tracks from disco’s halcyon period - 1978 to 1982 - expertly compiled by Disco Patrick, who also compiled the new deluxe book. Blurring the musical lines between disco, modern soul and boogie, this double album features many exclusive and hard to find records from the era.

                                                                                            Included here are in-demand classics such as The Fantastic Aleems featuring Leroy Burgess, John Gibbs and the US Steel Orchestra, rare Patrick Adams and Peter Brown productions, Jessie G, The Eaton Assassin (a 12” given out free at boxing matches!) and much more.

                                                                                            The album comes as a double CD, two separate volumes of heavyweight double vinyl (with free download codes)

                                                                                            Various Artists

                                                                                            Disco: A Fine Selection Of Independent Disco, Modern Soul And Boogie 1978-82 LP 1

                                                                                              The latest release on Soul Jazz Records is a fantastic new album of disco, modern soul and boogie from 1978-82.

                                                                                              This album is released to coincide with the massive new 360-page deluxe hardback book ‘Disco: An Encyclopedic Guide To The Cover Art Of Disco’, featuring over 2,000 album cover designs as well as over 700 12” sleeves, including sections on roller disco, disco instruction albums and more. There are also interviews and introductions by Tom Moulton, Nicky Siano, Mel Cheren (West End Records), Ken Cayre (Salsoul), Marvin Schlachter (Prelude) and more. The book is compiled by Disco Patrick and Patrick Vogt, text by Claes Widlund.

                                                                                              ‘Disco: A Fine Selection Of Independent Disco, Modern Soul And Boogie 1978-82’ is an amazing collection of rare and independent tracks from disco’s halcyon period - 1978 to 1982 - expertly compiled by Disco Patrick, who also compiled the new deluxe book. Blurring the musical lines between disco, modern soul and boogie, this double album features many exclusive and hard to find records from the era.

                                                                                              Included here are in-demand classics such as The Fantastic Aleems featuring Leroy Burgess, John Gibbs and the US Steel Orchestra, rare Patrick Adams and Peter Brown productions, Jessie G, The Eaton Assassin (a 12” given out free at boxing matches!) and much more.

                                                                                              The album comes as a double CD, two separate volumes of heavyweight double vinyl (with free download codes)

                                                                                              Various Artists

                                                                                              Disco: A Fine Selection Of Independent Disco, Modern Soul And Boogie 1978-82

                                                                                                The latest release on Soul Jazz Records is a fantastic new album of disco, modern soul and boogie from 1978-82.

                                                                                                This album is released to coincide with the massive new 360-page deluxe hardback book ‘Disco: An Encyclopedic Guide To The Cover Art Of Disco’, featuring over 2,000 album cover designs as well as over 700 12” sleeves, including sections on roller disco, disco instruction albums and more. There are also interviews and introductions by Tom Moulton, Nicky Siano, Mel Cheren (West End Records), Ken Cayre (Salsoul), Marvin Schlachter (Prelude) and more. The book is compiled by Disco Patrick and Patrick Vogt, text by Claes Widlund.

                                                                                                ‘Disco: A Fine Selection Of Independent Disco, Modern Soul And Boogie 1978-82’ is an amazing collection of rare and independent tracks from disco’s halcyon period - 1978 to 1982 - expertly compiled by Disco Patrick, who also compiled the new deluxe book. Blurring the musical lines between disco, modern soul and boogie, this double album features many exclusive and hard to find records from the era.

                                                                                                Included here are in-demand classics such as The Fantastic Aleems featuring Leroy Burgess, John Gibbs and the US Steel Orchestra, rare Patrick Adams and Peter Brown productions, Jessie G, The Eaton Assassin (a 12” given out free at boxing matches!) and much more.

                                                                                                The album comes as a double CD, two separate volumes of heavyweight double vinyl (with free download codes)

                                                                                                Various Artists

                                                                                                Fabriclive 78 - Illum Sphere

                                                                                                  It's easy to trace Ryan Hunn (aka Illum Sphere)'s impact on the Manchester music scene. Hoya:Hoya, the night he started with Jonny Dub back in 2008, quickly became noted for its eclecticism and open-minded booking approach, with artists ranging from The Gaslamp Killer to Ikonika and James T. Cotton. Soon spotted by the keen eyes at fabric, the collective were invited to host Room Three in 2011, and following its immediate success they moved to Room Two, where they now hold their quarterly residency. Illum Sphere's skill at bringing together disparate sounds as a DJ is bolstered by a formidable production talent, which has seen him release on a series of respected labels, including Ninja Tune, Young Turks, 3024, Fat City and Tectonic, whilst his remix credits include Radiohead, Martyn, Kuedo and Zed Bias. Constructed in the comfort of his own home, his FABRICLIVE mix is inspired by the sounds one might hear during his DJ sets in Room Two.

                                                                                                  "I decided to stick to more electronic-based music, from new wave, dub, techno, acid, etc. In terms of range I think the oldest thing is probably late 70s and the newest thing came out this year." - llum Sphere

                                                                                                  Kicking off in the 80 BPM range, EMAK’s spaced out ‘Sein Und Schein’ (a segment of which appears later as an interlude) makes way for dub echo drenched tracks from Soul Syndicate and Carl Meeks. From there the mix explores the many subtle (and not so subtle) facets of electronic music, from the lo-fi experimentalism of Tapes and Powell to analogue synth-driven jams from Musumeci, Streetwalker and Grauzone. Illum Sphere is effortlessly flexible on tempo to the point where the shifts are barely noticeable, with the mix midway pace subtly ramping up into Das Ding’s technicolour ‘HSTA’. From there, spaced out synth textures of Legowelt and Demdike Stare are contrasted with machine-like grooves from Charles Manier and Propaganda. The exceptional ‘Gershwin’ by Actress shifts into Illum Sphere’s own ‘Bullet’, before Nine Circles’ 1982 track ‘What's There Left’ signs off a mix that is engaging as much as it is unexpected.

                                                                                                  Robert Wyatt

                                                                                                  Different Every Time - Benign Dictatorships

                                                                                                    Domino are proud to release ‘Different Every Time’, a new compilation album of the works of Robert Wyatt.

                                                                                                    Curated by Robert together with Domino and biographer Marcus O’Dair, the two volume (available as a double CD and two separate double LPs) album features ‘Ex Machina’, the ideal introduction for the Wyatt novice, compiling tracks from Robert’s entire career to date and acting as a companion to O’Dair’s new biography, also titled ‘Different Every Time’(released by Serpent’s Tail on the 30th of October).

                                                                                                    Volume two brings together the best of Robert’s collaborations and guest appearances or, as Robert has it, ‘Benign Dictatorships’ (this LP), including some very special oddities and rarities available here for the very first time.

                                                                                                    Starting out as a drummer for Soft Machine, sharing bills with Pink Floyd and Jimi Hendrix, Robert Wyatt blended Bohemian and jazz and brought it to the 60s rock scene. Focusing on singing and songwriting, he embarked on a unique solo career which earned him a loyal European following. Admired by his peers and with a career spanning five decades, he has collaborated with Bjork, John Cage, Brian Eno, Scritti Politti, David Gilmour and Hot Chip to name but a few, many of which are featured here.

                                                                                                    FORMAT INFORMATION

                                                                                                    2xLP 2 Info: Double heavyweight 180gram vinyl pressing in a gatefold sleeve with a limited print and download card.

                                                                                                    Robert Wyatt

                                                                                                    Different Every Time - Ex Machina

                                                                                                      Domino are proud to release ‘Different Every Time’, a new compilation album of the works of Robert Wyatt.

                                                                                                      Curated by Robert together with Domino and biographer Marcus O’Dair, the two volume (available as a double CD and two separate double LPs) album features ‘Ex Machina’ (this LP), the ideal introduction for the Wyatt novice, compiling tracks from Robert’s entire career to date and acting as a companion to O’Dair’s new biography, also titled ‘Different Every Time’.

                                                                                                      Volume two brings together the best of Robert’s collaborations and guest appearances or, as Robert has it, ‘Benign Dictatorships’, including some very special oddities and rarities available here for the very first time.

                                                                                                      Starting out as a drummer for Soft Machine, sharing bills with Pink Floyd and Jimi Hendrix, Robert Wyatt blended Bohemian and jazz and brought it to the 60s rock scene. Focusing on singing and songwriting, he embarked on a unique solo career which earned him a loyal European following. Admired by his peers and with a career spanning five decades, he has collaborated with Bjork, John Cage, Brian Eno, Scritti Politti, David Gilmour and Hot Chip to name but a few, many of which are featured here.

                                                                                                      FORMAT INFORMATION

                                                                                                      2xLP 1 Info: Double heavyweight 180gram vinyl pressing in a gatefold sleeve with a limited print and download card.

                                                                                                      Robert Wyatt

                                                                                                      Different Every Time

                                                                                                        Domino are proud to release ‘Different Every Time’, a new compilation album of the works of Robert Wyatt.

                                                                                                        Curated by Robert together with Domino and biographer Marcus O’Dair, the two volume (available as a double CD and two separate double LPs) album features ‘Ex Machina’, the ideal introduction for the Wyatt novice, compiling tracks from Robert’s entire career to date and acting as a companion to O’Dair’s new biography, also titled ‘Different Every Time’(released by Serpent’s Tail on the 30th of October).

                                                                                                        Volume two brings together the best of Robert’s collaborations and guest appearances or, as Robert has it, ‘Benign Dictatorships’, including some very special oddities and rarities available here for the very first time.

                                                                                                        Starting out as a drummer for Soft Machine, sharing bills with Pink Floyd and Jimi Hendrix, Robert Wyatt blended Bohemian and jazz and brought it to the 60s rock scene. Focusing on singing and songwriting, he embarked on a unique solo career which earned him a loyal European following. Admired by his peers and with a career spanning five decades, he has collaborated with Bjork, John Cage, Brian Eno, Scritti Politti, David Gilmour and Hot Chip to name but a few, many of which are featured here.

                                                                                                        Machinedrum

                                                                                                        Vapor City Archives

                                                                                                          Electronic music's Renaissance man Travis Stewart, better known as Machinedrum, brings his Vapor City project to a close with this final chapter in the sprawling epic – Vapor City Archives. Paying close heed to the spirit of the Vapor City community he forged and nurtured, Stewart chose to announce this new record via the global community created when he invited listeners into his personal dream world dubbed “Vapor City”.

                                                                                                          Constructed around his vision of an imaginary city with fully-realized districts, the year-long Vapor City project was founded upon Machinedrum’s critically acclaimed album of the same name and supplemented with a worldwide live tour, a string of satellite EPs, remixes and free download drops to subscribers to the Vapor City Citizenship programme. This final installment sees the talismanic producer deliver 10 brand new, exclusive productions alongside fresh artwork from the project’s art directors: LuckyMe’s Dom Flannigan and Éclair Fifi.

                                                                                                          Once again experimenting in soundscapes between footwork ("Safed", "Only 1 Way 2 Know"), hip-hop and jungle / drum&bass ("More Than Friends", "Boxoff") to forge a unique sound that he has come to own, Stewart creates a subtle homage that nods to the past while staying firmly future-facing.

                                                                                                          VEYU

                                                                                                          VEYU

                                                                                                            "Like Wild Beasts, Liverpool's VEYU imbue neo-gothic northern rock with bookish sensuality." Q

                                                                                                            "There's something indistinct and transportative about "Running" that reminds us of The War On Drugs at their rambling best..., "Running" seems to gallop along like Mr Granduciel's epics; it sounds like the perfect cassette to have stashed with you if you decided to hitch a ride across America. It poses more questions than it answers",-Not Many Experts Blog

                                                                                                            For some, this will be their idea of heaven up there; others can hear the Smiths in its sombre acoustica, but it's way less arch than that. As for the guitar, can we describe it as "shimmervescent"? We can? Thank you. Paul Lester The Guardian

                                                                                                            VEYU are a five piece from the city of Liverpool consisting of Chris Beesley  (vocals / guitar, Adam Bresnen (guitar), Ash Hopkins (bass), Tom McCabe (drums), and Donovan Collins (synths).

                                                                                                            The band have signed to Liverpool Label Baltic Records to release there new EP which features 2 new brand new tracks and 2 previously self released. The tracks Running and Everlasting will be released on vinyl for the first time.

                                                                                                            Joshua Rainhorn / Paulinho E Beatriz

                                                                                                            Wine And Cigarettes / Você Tem

                                                                                                              Another two of Fred Armisen’s disco-recoveries: LA piano-popster Joshua Rainhorn and Brazilian bossa wonder twins Paulinho e Beatriz.

                                                                                                              Originally from Columbus, Ohio, Joshua Rainhorn moved to the Silverlake area of Los Angeles in 1998, packing only a portable electric piano and lyric notebook into the back of his Honda Civic. His ragged / formal style required little upkeep: white suit jacket with dusty black jeans and a reddish mop of messy hair. He found a studio apartment behind a corner cervecería and immediately got to work, writing as many lyrics as he could. He filled pages and pages with his thoughts, sometimes falling asleep while his hand continued to write into the early morning hours - literally words from a dream state. At the time, he was so prolific, that he would sometimes write lyrics on top of other lyrics, right on the same page. To his friends, the pages in his notebook looked like tangled scribbles, often completely black with ink. To him, it was the encyclopaedia of his subconscious. This was a statement he repeated many times in interviews and later on stage.

                                                                                                              Joshua’s imagery evoked a world of old wine bars and coffee-stained book covers. Honky tonk music and worn out shoes. Elusive, mysterious lovers. His plan was to become a locally-revered lyricist and it wasn’t long before his dream came to fruition. Booking a Tuesday night residency at a piano bar called Marla’s, his audience grew steadily, to the point where after only a few months of playing at the club, a line would form down the street. Fans could often be overheard saying “I hope we get to hear some of his new lyrics” and “I love his lyrics so much.” Since then, Joshua Rainhorn has never strayed far from his adopted home city. Apart from a few two-week tours up and down the Los Angeles / San Francisco corridor, he continued and still continues to play venues all around town. He is respected and sometimes quoted by some of the newer singers / lyricists and his fanbase remains as loyal as ever: the very definition of a Hometown Hero.

                                                                                                              Paulinho e Beatriz foram uma dupla musical da cidade de Niterói, Brasil. Eles começaram a tocar juntos em 1969, cada um vindo de ter sido artistas solo locais. A cena musical em Niterói era vibrante. Os grupos foram experimentando com jazz e música tradicional brasileira, e o público audiente estava por dentro de tudo. Paulinho e Beatriz trouxeram uma tranquilidade íntima com a paisagem, e eles se viram tocando para salas lotadas. Muitas pessoas dançavam, enquanto outros se levantavam e admiravam, perdidos em suas belas canções simples.

                                                                                                              All We Are

                                                                                                              I Wear You / Honey

                                                                                                                All We Are are a global gathering made up of Ireland’s Richard O’Flynn (drums, vocals), Norway’s Guro Gikling (bass, vocals) and Brazil’s Luis Santos (guitar, vocals), who met at university in Liverpool.

                                                                                                                The slick, falsetto harmony-driven ‘I Wear You’ will be released as the new single from the Liverpoolbased trio. Written initially in a cabin in the isolated Norwegian mountains with follow-up sessions in a secluded cottage in North Wales, All We Are’s forthcoming album was finished and perfected in their studio in a disused school in Liverpool. The record was then recorded in London with producer Dan Carey (Bat For Lashes, M.I.A, Hot Chip).

                                                                                                                Ya Ho Wa 13

                                                                                                                Savage Sons Of Ya Ho Wa

                                                                                                                  Now that the story of The Source Family is out there, as the subject of an acclaimed book and documentary film (as well as an ongoing series of rare, never-before-released recordings), it’s time to turn the focus back on the records that made this whole thing a story in the first place. In the 1990s, it was a revelation to discover that there was a series of records made by a hippie cult led by a big Santa Claus-looking guy named Father Yod. It was of further interest that these records weren’t simple, predictable light-rock recitals about Jesus. Instead, they were darkly psychedelic, stream-ofconsciousness jams, with Father and the members of his band (usually The Spirit Of ’76 and Ya Ho Wa 13) reaching together for divine transformation and often finding it, as Father screamed, pounding kettle drums ecstatically, while the band erupted with coils of enlightenment rock, over and over.

                                                                                                                  Records like ‘Penetration, Contraction, To The Principles For The Children’ and ‘I’m Gonna Take You Home’ were amazing homerecorded documents, adorned with hand-drawn phrases and logos and grainy colour shots of what appeared to be truly magical everyday cult life with Father.

                                                                                                                  ‘Savage Sons Of Ya Ho Wa’ is a record that Father doesn’t appear on. Well, he doesn’t play on the record but look on the cover - Yahowa is still in the driver’s seat. Musically, Ya Ho Wa 13 go it on their own, with Octavius, Sunflower, Djinn and Rhythm collaborating with Electron, who supplies powerful lead vocals.

                                                                                                                  What’s here is a collection of powerful rock songs that will echo in your consciousness, like the opening track ‘Edge Of A Dream’ and the refrain “I want to see / What’s going on.” The guttural nature of Electron’s vocal sound may recall the name of Beefheart to some and Electron is occupying the same unconsciousness, free in the communal slipstream, with less blues and more country gospel in his soul.

                                                                                                                  This is its first LP pressing of ‘Savage Sons Of Ya Ho Wa’ in decades. The album features all of the original artwork, including a far out inner sleeve.

                                                                                                                  These emanations from the original Source are pure, uncut spiritual visions from the mid-1970s, not to be missed.

                                                                                                                  This release coincides with another Source Family reissue on vinyl - Father Yod And The Spirit Of ’76’s ‘Kohoutek’.

                                                                                                                  Sound Of Yell

                                                                                                                  Brocken Spectre

                                                                                                                    El Hombre Trajeado co-founder and erstwhile Arab Strap and RM Hubbert collaborator Stevie Jones takes the spotlight with mesmerising collective of his very own.

                                                                                                                    ‘Brocken Spectre’ - named after the immense, halo-crested shadow cast by hill climbers on faraway clouds when backlit by the sun - is the first album on which Jones places his typically participatory ethic aside and assumes responsibility for writing, arranging and producing every note of its eight entirely acoustic songs.

                                                                                                                    Jones corrals the talents of around a dozen musicians with whom he has previously worked, including Stevie Jackson (Belle And Sebastian), Norman Blake (Teenage Fanclub), Alasdair Roberts, Alex Neilson (Trembling Bells), Aby Vuillamy and sound artist Kim Moore.

                                                                                                                    A feast of flute, violin, cello, woodwind and the results are irresistible, ebbing and flowing like the swell of the ocean.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    LP Info: The LP is pressed on 180g vinyl and comes with a
                                                                                                                    digital download.

                                                                                                                    Savages & Bo Ningen

                                                                                                                    Words To The Blind

                                                                                                                      Bo Ningen and Savages announce a collaborative recording to be released by Stolen Recordings.

                                                                                                                      ‘Words To The Blind’ comprises of one 37-minutes long track. Taking their cross fertilisation a step further, following occasional live appearances together and Savages’ Jehnny Beth guesting on Bo Ningen’s current album ‘III’, ‘Words To The Blind’ is an astonishing piece of work, a ‘sonic poem’ inspired by the Dadaist concept of the ‘Simultaneous Poem’.

                                                                                                                      Paul Smith & Peter Brewis

                                                                                                                      Frozen By Sight

                                                                                                                        Drawing inspiration from disparate musical and poetic sources, two Mercury Prize nominees have come together in a playful departure from their respective work with Field Music and Maximo Park. Based around text from Paul Smith’s travel writing and Peter Brewis’s chamber-band arrangements, the pair have collaborated on a suite of songs, creating a restrained yet richly descriptive soundworld.

                                                                                                                        ‘Frozen By Sight’ evolved from a festival commission for new work which saw the pair employ the skills of a string quartet and double bass player. Smith says, “We allowed the words to guide where the music was going in order to break free of more traditional pop structures.” Brewis also adds, “We wanted to touch on a point somewhere between composition, songwriting and improvisation, but we also wanted to keep a sense of humour and a sense of the everyday.”

                                                                                                                        After performing the work at the inaugural Festival Of The North East in late 2013, Smith and Brewis began work at the Field Music studio in Sunderland with David Brewis - Peter's brother - acting as co-producer. Integral to the sound of the record are the distinctive performances of the band: David’s dynamic push and pull on the drums, John Pope’s wandering, melodic bass playing, the precision and drama of Ed Cross’ string quartet and the sonorous palette of Andrew Lowther's tuned percussion. Brewis reinforces the arrangements with smatterings of piano while Smith features as a highly individual singer / guitar player.

                                                                                                                        The music wraps itself around the words and the places they chronicle. The locations become tangible; from their home towns in North Eastern England to more far-flung destinations. Characters appear, such as the diminutive L.A. streetcleaner going about his work in the song of the same title, or the romantic old couple “digging their forefingers in freshly-soaked sand” in ‘Santa Monica’.

                                                                                                                        The notion of discovery is everywhere in these songs, with ‘Trevone’ being a perfect example of a visual journey where the wanderer can take a “sidestep and the whole world appears.” Its uncanny Cornish imagery is mirrored by the unusual musical touches that coax the song from a sparse beginning to an uplifting, magical conclusion.

                                                                                                                        ‘Frozen By Sight’ is a rare piece of music that quietly announces the arrival of a potent new collaboration.

                                                                                                                        The LP features 180g vinyl in a gatefold sleeve with digital download code.

                                                                                                                        Nick Cave & The Bad Seeds

                                                                                                                        Nocturama

                                                                                                                          ‘Nocturama’ is the twelfth studio album by Nick Cave and the Bad Seeds, released in 2003.

                                                                                                                          To date, it is the last Bad Seeds album to feature founding member Blixa Bargeld.

                                                                                                                          This album reunited Nick Cave with Nick Launay, who had produced The Birthday Party’s groundbreaking ‘Junkyard’ 21 years earlier.

                                                                                                                          Featuring the singles ‘Bring It On’, ‘He Wants You’ and ‘Rock Of Gibraltar’, this album finds Cave moving away from ‘Murder Ballads’ and the gory fire and brimstone of yore, and exploring more personal themes.

                                                                                                                          More than twenty years into his career at this point, Nick Cave proved himself worthy of the comparisons made in the press on his behalf: now he could stand alongside the likes of Bob Dylan, Johnny Cash and Tom Waits, as a storyteller who could be unflinchingly honest in his work, whilst continuing to grow his fan base.

                                                                                                                          Vinyl transfer approval overseen by Mick Harvey during Summer 2014, cut at Abbey Road studios.

                                                                                                                          Vinyl is heavyweight 180 gram. Please note: this is a three-sided record.

                                                                                                                          This edition, approved personally by Nick Cave, is finally available again on it’s original format.

                                                                                                                          Nick Cave & The Bad Seeds

                                                                                                                          Dig, Lazarus, Dig!!!

                                                                                                                            ‘Dig, Lazarus, Dig!!!’ is Nick Cave & The Bad Seeds’ fourteenth studio album, and was recorded in June and July 2007 at The State of the Ark Studios in Richmond, Surrey, and mixed by Nick Launay at British Grove recording studios, in Chiswick, west London, and was released on March 3rd 2008.

                                                                                                                            It would also be the last album to feature founding member Mick Harvey, who left the Bad Seeds in 2009.

                                                                                                                            In several interviews Cave has stated that this album would "sound like Grinderman", his side project, who had released their debut album a year earlier. In line with this rough-and-ready approach, the album was recorded in about five days, an uncommonly short period for a full-length album.

                                                                                                                            Cave wrote on his inspiration for the album: "Ever since I can remember hearing the Lazarus story, when I was a kid, you know, back in church, I was disturbed and worried by it. Traumatised, actually. We are all, of course, in awe of the greatest of Christ's miracles—raising a man from the dead—but I couldn't help but wonder how Lazarus felt about it. As a child it gave me the creeps, to be honest. I've taken Lazarus and stuck him in New York City, in order to give the song, a hip, contemporary feel. I was also thinking about Harry Houdini who spent a lot of his life trying to debunk the spiritualists who were cashing in on the bereaved. He believed there was nothing going on beyond the grave. He was the second greatest escapologist, Harry was, Lazarus, of course, being the greatest. I wanted to create a kind of vehicle, a medium, for Houdini to speak to us if he so desires, you know, from beyond the grave."

                                                                                                                            Critical response to the album was overwhelmingly positive, with reviewers citing this as both a return to greatness and a new side of the band.

                                                                                                                            A review from NME described the record as a "gothic psycho-sexual apocalypse" and gave it 8/10, whilst Mojo magazine proclaimed it their album of 2008.

                                                                                                                            Vinyl transfer approval overseen by Mick Harvey during Summer 2014, cut at Abbey Road studios.

                                                                                                                            Vinyl is heavyweight 180 gram. Please note: this is a three-sided record.

                                                                                                                            This edition, approved personally

                                                                                                                            Nick Cave & The Bad Seeds

                                                                                                                            Abbatoir Blues / Lyre Of Orpheus

                                                                                                                              English guitarist and organist James Johnston joined The Bad Seeds for their thirteenth studio album ‘Abattoir Blues/The Lyre Of Orpheus’, which was released on September 20th 2004 by Mute Records, and produced by Nick Launay.

                                                                                                                              This masterful double album was produced by Nick Launay at Studio Ferber in Paris in March–April 2004 with Cave splitting drumming duties for the two parts, with Jim Sclavunos on ‘Abattoir Blues’ and Thomas Wydler on ‘Lyre Of Orpheus’.

                                                                                                                              The entire album was completed in twelve days, and notably, the last track on the album, ‘O Children’, was featured in the 2010 film ‘Harry Potter and The Deathly Hallows Part One’. The song is also referenced as an achievement in Lego Harry Potter: Years 5-7.

                                                                                                                              The album's release was supported by the ‘Abattoir Blues’ Tour, which travelled through Europe during November and December 2004.

                                                                                                                              The tour generated extremely positive reviews, as did the album with the All Music Guide commenting thus: "The first disc is a rock & roll record, a pathos-drenched, volume-cranked rocker, full of crunch, punishment – and taste" while the second "is a much quieter, more elegant affair. It is more consciously restrained, its attention to craft and theatrical flair more prevalent. But that doesn't make it any less satisfying”.

                                                                                                                              Vinyl transfer approval overseen by Mick Harvey during Summer 2014, cut at Abbey Road studios.

                                                                                                                              Vinyl is heavyweight 180 gram.

                                                                                                                              This edition, approved personally by Nick Cave, is finally available again on it’s original format.

                                                                                                                              Girlpool

                                                                                                                              Girlpool

                                                                                                                                Girlpool are Los Angeles based duo Cleo Tucker and Harmony Tividad. Their sound is comprised only of a guitar, bass and their striking vocal harmonies. This bare bones instrumentation accentuates their vulnerable yet powerful lyrics which tackle sexuality, lust, equality and empowerment with an unfaltering directness and honesty.

                                                                                                                                Their debut mini album seems destined to be a classic, packed with catchy and memorable two minute slices of bluesy lo-fi punk. It was originally released on local cassette label Big Joy in early 2014 and picked up acclaim from the likes of NME and LA Weekly. The EP will now get a full worldwide release on Wichita Recordings.

                                                                                                                                For fans of Honeyblood, Liz Phair, Bikini Kill, Cat Power, Joanna Gruesome, Waxahatchee.

                                                                                                                                "Armed with just two guitars, the duo reel you in with seriously catchy hooks and achieve more depth with these songs than any drum kit ever could." - NME

                                                                                                                                "Every angst-ridden moment of growing up, from falling in love to self-acceptance is all perfectly captured in Girlpool’s selftitled debut. No matter the age of the listener it’s hard not to relate to the acoustic-punk of the Los Angeles duo.“ - The Grey Estates

                                                                                                                                "If Cat Power and Courtney Love came together to wear jean jackets and write angsty campfire songs, it would probably sound something like this.“ - The Le Sigh

                                                                                                                                "Their raw, bluesy punk sound is incredibly simple, shaped only by the sounds of Tividad's guitar, Tucker's bass, and the two girls' aching vocals." - LA Weekly

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Ltd LP Info: The LP is pressed on 180g orange vinyl with a copy of the album on CD included.

                                                                                                                                Field Report

                                                                                                                                Marigolden

                                                                                                                                  “The body remembers what the mind forgets,” Chris Porterfield reminisces on his acclaimed Field Report sophomore record, ‘Marigolden’. A record strewn with references to the inevitable tolls taken by the passage of time and prolonged periods at a distance from home and loved ones.

                                                                                                                                  Spending two years roaming around the country playing tiny venues and sold-out amphitheaters alike, Porterfield was uncertain whether he was leading the charge toward an artistic epiphany or headed down a misguided path of self-destruction. ‘Marigolden’ reflects this, as he ruminates across homesick tension and an un-grounded anxiety - but rather than wallow in melancholy, Porterfield finds solace and inspiration through his songs, which reveal themselves as uplifting and celebratory. The album is brighter than their 2012 debut but somehow remains just as elegantly ominous.

                                                                                                                                  “Meticulous… gorgeous” - Esquire

                                                                                                                                  “Sometimes more is more” - Uncut

                                                                                                                                  “‘Marigolden’ is yet another triumph” - The 405

                                                                                                                                  “Drop dead elegant” - NPR

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  LP Info: Single LP in full colour printed sleeve featuring
                                                                                                                                  lyrics.

                                                                                                                                  CD Info: Full colour CD digipack with 10-page booklet featuring
                                                                                                                                  lyrics.

                                                                                                                                  Eiko Ishibashi

                                                                                                                                  Car And Freezer

                                                                                                                                    Eiko Ishibashi returns from her ‘Imitation Of Life’ album with the all new ‘Car And Freezer’. · Ever wondered if you could make an album twice, with completely different lyrics? It’d probably help if you had two completely different languages to draw from and for ‘Car And Freezer’ that’s exactly what Eiko did.

                                                                                                                                    In 2013, Drag City introduced Eiko to the world outside of Japan by way of her first US album release. At that time the label explained that Eiko was an instrumentalist and arranger who had come into writing songs somewhat accidentally. She’s been doing so without further accident since 2006, with a series of acclaimed albums in Japan. Her previous album, ‘Imitation Of Life’, was so developed lyrically that it was in essence a song cycle linked by a science-fiction narrative. This natural evolution in her writing notwithstanding, Eiko has often questioned her role as a creator of songs, seeking some way to be at peace with the song while wondering if it was right that she was the human singing them.

                                                                                                                                    Since each album requires its own approach, the session for ‘Car And Freezer’ provided another chance. In the Spring of 2013, Eiko convened with her band but in contrast with the previous album, she did not come prepared with arranged demos. Instead, she and the band stared unblinking at each other for days, seeking to divine the elusive communal flow for her songs. Actually, Toshiaki Sudo, Hatano Atsuko, Yamamoto Tatsuhisa and Jim O’Rourke all got it right away - make Eiko’s kind of pop music but bring themselves forward in their playing. In this approach, Eiko was drawing from her background of improvised music to inform the direction of her new songs. Guest musicians Shinpei Ruike on trumpet and Daisuke Takaoka on tuba added to this process by playing with sensitivity and focus along with the band. In the booth, O’Rourke also doubled as producer, providing directions for Eiko to choose from while moving forward in her unclear path.

                                                                                                                                    The new approaches clearly paid off: the sound of ‘Car And Freezer’ has a swinging openness, with looser, rolling rhythms that suit the mood of exploration and the sense of introspection that are so much a part of Eiko’s songs. The band’s expertly precise playing is contrasted by their intuitive choices within the songs, which are seized upon by Eiko for mood and colour. And Jim doesn’t hurt the sound a bit by focusing on interesting and unconventional sounds whose presence in the mix help define a sense of the unexpected.

                                                                                                                                    As songs came together, Eiko consulted with singer-songwriter Kenta Maeno for the Japanese lyrics: his words perfectly matched Eiko’s humour and humanity and eye for small details. However, the English words were another matter. A regular listener to music with English lyrics, Eiko recognized the pitfalls of translation and how many nuances could potentially be lost. So she worked on the English version herself with a mind toward solving this problem and in the process found a way to remove herself from the song while coming together with it - all it took was writing and singing in an entirely different language. For this release of ‘Car And Freezer’, we have combined the Japanese and English versions of the record, flowing in and out of the languages to make a unique edition in contrast to the Japanese CD release, which included the English version of the entire album.

                                                                                                                                    “In my hometown, cars and refrigerators were often abandoned and just left lying around. I have always remembered this as the image of a landscape that has inspired my music. I have had the image that even though abandoned, their souls, and those with no life, even with electricity running through them, only regain life when they accept death by throwing themselves into the sea. This was the image that ran through my mind in making this record.” - Eiko Ishibashi, 2014

                                                                                                                                    Antony And The Johnsons

                                                                                                                                    Turning

                                                                                                                                      “I would describe ‘Turning’ as some of the most significant work of my career. Charles Atlas and I spent seven years producing the film and another year and a half showing the film at select festivals. In the last three years especially, the recognition of transgendered people and the resurgence of feminist consciousness has exploded in popular culture around the world. We planted some seeds for this zeitgeist in 2006, when I travelled with thirteen courageous women across Europe and presented the concert ‘Turning’, exploring the intersection between images of contemporary trans-femininity and visions of pioneering future feminist artists such as Kembra Pfahler and Johanna Constantine. We shared this circle of modern femininity with the world, bringing it from the late night stages of NYC to some of the most highly regarded theaters in Europe.” - Antony, 2014

                                                                                                                                      ‘Turning’ is a concert film documentary captured during the critically acclaimed tour of Europe by Antony And The Johnsons and Charles Atlas during the Autumn of 2006, exploring the heart and experience of that series of performances. Through its synthesis of Antony’s songs and Atlas’ unfurling video portraiture of the 13 women who performed on stage, ‘Turning’ is an intimate and cinematic journey exploring themes of identity, transcendence and the revelation of a revolutionary feminine essence.

                                                                                                                                      Rough Trade now release a deluxe edition of the ‘Turning’ DVD to coincide with select screenings around the world. This package includes a CD of the complete audio recording of the ‘Turning’ concert, recorded live at The Barbican in London in November 2006. The concert contains songs from the first three Antony And The Johnsons full length albums - ‘Antony And The Johnsons’, ‘I Am A Bird Now’ and ‘The Crying Light’ - as performed by an ensemble of musicians including Maxim Moston, Rob Moose, Julia Kent, Parker Kindred, Jeff Langston and Thomas Bartlett. The CD also features two rare Antony And The Johnsons studio recordings from that period.

                                                                                                                                      Adrian Crowley

                                                                                                                                      Some Blue Morning

                                                                                                                                        Adrian Crowley returns with his seventh studio album, ‘Some Blue Morning’, which is the follow up to 2012′s Choice Music Prize-nominated ‘I See Three Birds Flying’.

                                                                                                                                        Crowley achieves a number of interesting and brilliant advances with this collection. The compositions move between sparse dreamstate ghost songs and song-stories to all-out epic numbers with tense nerve-ending strings.

                                                                                                                                        Long recognised as one of Ireland’s most evocative lyricists and gifted songwriters, Crowley’s latest album is irresistibly affecting, recalling at times the spare, reflective potency of Lambchop or Leonard Cohen.

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        Ltd LP Info: Limited edition gatefold 180g vinyl (limited to 600 copies) with a digital download.

                                                                                                                                        2:54

                                                                                                                                        The Other I

                                                                                                                                          From the expansive, tempo-shifting opener ‘Orion’ and the pining roots of ‘The Monaco’ to the ambient haunts of ‘Tender Shoots’ and the shapeshifting tour de force of ‘Raptor’, new album ‘The Other I’ widens significantly the net beyond the achievements of 2:54’s self-titled debut.

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          Ltd LP Info: Limited edition white vinyl.

                                                                                                                                          The Eagles

                                                                                                                                          The Long Run

                                                                                                                                            Following on from the “Eagles - The Studio Albums 1972 – 1979” vinyl box set released last October, the six albums are now being released individually. Each LP is pressed on 180 gram vinyl and replicates the original album packaging (which means that “Eagles” is reissued as the band originally intended.

                                                                                                                                            The Eagles

                                                                                                                                            Hotel California

                                                                                                                                              Following on from the “Eagles - The Studio Albums 1972 – 1979” vinyl box set released last October, the six albums are now being released individually. Each LP is pressed on 180 gram vinyl and replicates the original album packaging (which means that “Eagles” is reissued as the band originally intended. “Hotel California” includes a replica of the poster from the original issue with band photos by Norman Seeff in full colour.

                                                                                                                                              The Eagles

                                                                                                                                              One Of These Nights

                                                                                                                                                Following on from the “Eagles - The Studio Albums 1972 – 1979” vinyl box set released last October, the six albums are now being released individually. Each LP is pressed on 180 gram vinyl and replicates the original album packaging (which means that “Eagles” is reissued as the band originally intended.

                                                                                                                                                The Eagles

                                                                                                                                                On The Border

                                                                                                                                                  Following on from the “Eagles - The Studio Albums 1972 – 1979” vinyl box set released last October, the six albums are now being released individually. Each LP is pressed on 180 gram vinyl and replicates the original album packaging (which means that “Eagles” is reissued as the band originally intended.

                                                                                                                                                  The Eagles

                                                                                                                                                  Desperado

                                                                                                                                                    Following on from the “Eagles - The Studio Albums 1972 – 1979” vinyl box set released last October, the six albums are now being released individually. Each LP is pressed on 180 gram vinyl and replicates the original album packaging.

                                                                                                                                                    The Eagles

                                                                                                                                                    Eagles

                                                                                                                                                      Following on from the “Eagles - The Studio Albums 1972 – 1979” vinyl box set released last October, the six albums are now being released individually. Each LP is pressed on 180 gram vinyl and replicates the original album packaging, which means that “Eagles” is reissued as the band originally intended, with no glue flaps, so the cover folds out into a poster.

                                                                                                                                                      The Afghan Whigs

                                                                                                                                                      Gentlemen At 21 - Deluxe Edition

                                                                                                                                                        Mute are proud to present the 21st anniversary deluxe editions of The Afghan Whigs’ landmark album ‘Gentlemen’.

                                                                                                                                                        ‘Gentlemen At 21’ features the original album newly remastered along with bonus content consisting of rare Bsides, live performances and previously unreleased demos.

                                                                                                                                                        ‘Gentlemen At 21’ presents the original record’s 11 tracks, updated but still retaining the 1993 album’s blistering swagger. The same 11 tracks that have made a visceral connection with fans over the last 21 years - the deeply dark and confessional lyrical content, the no-frills production qualities and Greg Dulli’s soul-baring vocal performances captured on tape. In addition, the album includes all the original demos for the album, which were recorded at John Curley’s Ultrasuede studio space in Cincinnati.

                                                                                                                                                        The bonus material also includes the original ‘Debonair’ single B sides, including ‘Mr Superlove’ and a cover of the southern blue-eyed soul classic ‘Dark End Of The Street’ along with three songs recorded live for KTCL in Denver, previously issued on the ‘What Jail Is Like’ EP. The set comes packaged with a faithful reproduction of the original sleeve art and its striking front cover image, an homage to Nan Goldin’s iconic ‘Nan And Brian In Bed, New York City’.

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        3xLtd LP Info: The 3LP edition is limited to 500 copies.

                                                                                                                                                        Kill It Kid

                                                                                                                                                        You Owe Nothing

                                                                                                                                                          There's a long tradition of young British musicians falling in love with the American blues. It started in the sixties when the likes of The Rolling Stones, Eric Clapton, Jeff Beck and Led Zeppelin became mesmerized by the sounds that emanated from the backwoods and bayous of the South. Continuing in this unspoken ritual is Kill It Kid vocalist and guitarist Chris Turpin, who fell under the spell of Robert Johnson and Blind Willie McTell. After reading Johnson's name in an early interview with The White Stripes, the budding guitarist took to Berwick St in London and combed record store bargain bins for the keys to unlock this legacy for himself. "I bought a Robert Johnson compilation for just a few pounds" he recalls. "I couldn't believe what I was hearing. It was the most potent, intense guitar music and single voice I'd ever experienced. I had never heard anything like it before. That's why I started a band. I wanted to capture that same essence."

                                                                                                                                                          So, like any good bluesman, Turpin took his acoustic guitar and started performing - constantly. Playing three times a week at open mic nights "for a pint", he developed impressive chops both instrumentally and vocally. Soon, other musicians began to take notice. Drummer Marc Jones approached him, followed by co-vocalist and pianist Stephanie Ward. In 2008, taking their name from a Blind Willie McTell tune, Kill It Kid was formed. Over the course of the next four years, they toured hard and grew a loyal following, releasing music via indie label One Little Indian Records. During that period, they rounded out their line-up with bassist Dom Kozubik. In 2012, Sire Records A&R legend Seymour Stein caught a show and signed the band. A year later, the quartet retreated to Los Angeles in order to cut their self-titled full-length debut for the U.S. with producer Julian Raymond [Cheap Trick, MUTEMATH].

                                                                                                                                                          Now, Kill It Kid arrive at a crossroads between unadulterated blues catharsis, tight rock 'n' roll song writing, pensive folk musings and distorted grunge attitude. Impassioned vocals give way to finger-splitting string bends and impenetrable riffs with unmitigated emotion. The end result is ‘You Owe Nothing’; an album that is meant to be experienced as one dynamic piece, like any timeless record. "We just want people to enjoy it and appreciate it," explains Turpin. "We hope you get a kick out of it. It's simple rock 'n' roll music. This was written as a record. You need to listen to it as a whole. That's the way to find some solace and release inside the music." New single ‘I'll Be The First’ slides from handclaps into a propulsive and powerful beat and an anthemic hook while ‘Don't It Feel Good’ and ‘Blood Stop Run’ sees Ward take the mic, adding an intensely sensual female edge to the music during its heaviest moments and nodding to the likes of Southern sirens Ma Rainey and Bessie Smith. "You could call it 'New British Blues', but there's an element of heaviness and even doses of Americana, folk, and country" concludes Turpin. "We started off with the ethos that we're doing this for ourselves and not to please anybody else. The modus operandi of this band is to create something honest and simple." 

                                                                                                                                                          Pink Floyd

                                                                                                                                                          The Endless River - Deluxe CD+DVD Edition

                                                                                                                                                            'The Endless River' has as its starting point the music that came from the 1993 Division Bell sessions, when David Gilmour, Rick Wright and Nick Mason played freely together at Britannia Row and Astoria studios. This was the first time they had done so since the ‘Wish You Were Here’ sessions in the seventies. Those sessions resulted in 'The Division Bell', the band’s last studio album.

                                                                                                                                                            In 2013 David Gilmour and Nick Mason revisited the music from those sessions and decided that the tracks should be made available as part of the Pink Floyd repertoire. It would be the last time the three of them would be heard together. The band have spent the last year recording and upgrading the music, using the advantages of modern studio technology to create 'The Endless River'.

                                                                                                                                                            'The Endless River' is a tribute to Rick Wright, whose keyboards are at the heart of the Pink Floyd sound. It is a mainly instrumental album with one song, ‘Louder Than Words’, (with new lyrics by Polly Samson), arranged across four sides and produced by David Gilmour, Phil Manzanera, Youth and Andy Jackson.

                                                                                                                                                            'The Endless River' is the first new Pink Floyd album for 20 years, and is a fitting addition to the bands stellar legacy.

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            2xLtd CD/DVD Info: 24-page photo/credit booklet in hard cover, including previously unseen photographs from 1993 sessions.
                                                                                                                                                            CD in full colour card wallet with full colour label.
                                                                                                                                                            DVD (NTSC) in full colour card wallet with full colour label.
                                                                                                                                                            3 x Collectors’ full colour postcards, one of which with 3D Lenticular design.
                                                                                                                                                            DVD contains ‘The Endless River’ album in 5.1 Surround (Dolby Digital and DTS), plus stereo version in 48kHz /24 bit.
                                                                                                                                                            DVD also contains EXTRA non-album audio-visual material (approx. 39 minutes): 6 video tracks and 3 audio tracks, unavailable elsewhere.
                                                                                                                                                            Includes archive video material and still photographs shot at the original 1993 recording sessions.

                                                                                                                                                            Glenn Branca

                                                                                                                                                            The Ascension

                                                                                                                                                              Glenn Branca’s first full-length album The Ascension is a colossal achievement. After touring much of 1980 with an all-star band featuring four guitarists (Branca, fellow composers Ned Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo) along with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell’s Kitchen to record five incendiary compositions. Originally released in the summer of 1981, The Ascension effectively tears down the genre-ghettos between 20th century avant-garde and ecstatic rock ’n’ roll.

                                                                                                                                                              On “The Spectacular Commodity,” chiming, shimmering tones unfold into sinister drone-territory à la Tony Conrad, while abrasive guitars and repetitive beats retain the raw primitivism of No Wave. The title track attains a densely packed, larger-than-life sound and (as author Marc Masters says best) “never stops climbing skyward.” With artist Robert Longo’s stark front cover that depicts Branca battling an unidentified man, The Ascension is a must-have record not only for fans of early Swans and Sonic Youth, but also of Steve Reich or Slint’s Tweez.

                                                                                                                                                              Electric Eels

                                                                                                                                                              Spin Age Blasters / Bunnies

                                                                                                                                                                Following their legendary punk-as-ever Agitated single, electric eels released their second posthumous single, Spin Age Blasters / Bunnies, on Mustard Records in 1981. Recorded in 1975 and taking the band’s free-form jazz and art rock alliances to dizzying extreme, the twin-guitar swirl of “Spin Age Blasters” sounds like Trout Mask Replica on paint fumes, while “Bunnies” features Dave E.’s relaxing Bob-Ross-like vocals and frantic clarinet bursts à la Roscoe Mitchell.

                                                                                                                                                                This first-time vinyl reissue includes original cover artwork by eels’ guitarist John Morton and is pressed in a limited edition of 1,000 copies.

                                                                                                                                                                Electric Eels

                                                                                                                                                                Die Electric Eels

                                                                                                                                                                  Cleveland’s electric eels (all lower case in homage to poet e.e. cummings) is America’s quintessential proto-punk band. Formed in 1972 by singer Dave E. McManus and guitarists John Morton and Brian McMahon, the group enlisted drummer Nick Knox (later of The Cramps) and producer Paul Marotta to record a flurry of catchy and genuinely fucked-up tunes. After only five legendary live performances - complete with Dave E. in black leather jacket covered in rat-traps and playing a gas-powered lawnmower on stage - the eels broke up in 1976 and posthumously released their classic single Agitated on Rough Trade in 1978, blazing a trail for high-art, low-concept rock.

                                                                                                                                                                  As Jon Savage writes in the liner notes, “There is something heroic about the eels’ isolation and uncompromising attitude: a fierceness that you can hear in these songs that still resonates in a different time and world.” This archival LP collects the eels’ best material from 1974-75. From the loud and snotty “Agitated” and its Bside “Cyclotron” (which Johan Kugelberg listed as #1 in his top 100 punk singles) to the anarchic anthem “Jaguar Ride” and the loose, bluesy sludge of “Anxiety,” the album exorcises the demonic power of the Stooges and Velvets and captures the mystique of these outsider artists inventing a new language. As the eels demand “Attendance Required” on their flyer for the infamous Special Extermination Music Night, listening is absolutely mandatory for this seminal band. Recommended for fans of Dead Boys, Simply Saucer and Pagans.

                                                                                                                                                                  Alain Goraguer

                                                                                                                                                                  La Planete Sauvage OST

                                                                                                                                                                    Animated sci-fi masterpiece La Planète Sauvage (a.k.a. Fantastic Planet), winner at Cannes Film Festival in 1973, is a bizarre and beautiful film. Towering blue-skinned figures, tiny humanoids in the midst of revolt, and druginduced Tantric sex transport viewers to a truly magical setting. Composer Alain Goraguer creates an equally hypnotic score from a palette of effects-laden guitars, flutes, Fender Rhodes and strings. While the lush arrangements are reminiscent of Goraguer’s collaborations with Serge Gainsbourg in the 1960s, space-age synth flourishes suggest a more psychedelic era.

                                                                                                                                                                    Moody vignettes flow together in tense, slow-paced funk rhythms and Baroque textures. It comes as no surprise that La Planète Sauvage has been cited as an influence on contemporary artists such as French duo Air and American hip-hop producers J Dilla and Madlib. Gorgeous, interplanetary soundscapes resemble the surreal meeting point between Pink Floyd’s Obscured by Clouds and Broadcast’s Future Crayon. This long out-of-print vinyl release features the original soundtrack recording and newly designed artwork. Recommended for fans of Ennio Morricone, Basil Kirchin and David Axelrod.

                                                                                                                                                                    • Classic 1973 space-age pop soundtrack from long-time collaborator with Serge Gainsbourg
                                                                                                                                                                    • Sampled countless times by J Dilla, Madlib and more
                                                                                                                                                                    • Newly designed artwork
                                                                                                                                                                    • Recommended for fans of Broadcast, Air and David Axelrod

                                                                                                                                                                    Secret Pyramid

                                                                                                                                                                    The Silent March

                                                                                                                                                                      Originally released in 2011 on cassette by the Canadian micro-imprint Nice-Up International, The Silent March is the precursor to 2013’s Movements of Night and can be viewed as something of a mission statement for Amir Abbey’s skyriding Secret Pyramid project. Critics have compared the Secret Pyramid sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack’s cherished fuzz devotionals, and indeed Abbey’s reverb-drenched songforms and titanic edifices of drone do feel at times as though they’ve been cut from the same cloth.

                                                                                                                                                                      Opener “Outside” might be best understood as the soundtrack to slow-motion video footage of a first-person plunge over some impossibly grand waterfall on an endless loop, as tumbling overtones fight for air among turbid plumes of distortion. “Still Return” finds acoustic guitar figures struggling to escape a blinding mist, their resolution finally arriving in the form of the sublime tranquility of the titular track which follows. Abbey weaves themes of birth, death, nostalgia and existential dread into an album as cohesive as it is all-consuming, a spell that seeks to simultaneously welcome and protect against darkness in its many forms. This edition of The Silent March features an improved mix-down by Abbey and a remaster by James Plotkin to insure maximum transport.

                                                                                                                                                                      Secret Pyramid

                                                                                                                                                                      The Silent March / Movements Of Night

                                                                                                                                                                        Students of Decay presents a specially priced double-CD issue of Secret Pyramid’s two albums, The Silent March and Movements of Night.

                                                                                                                                                                        Originally released in 2011 on cassette by the Canadian micro- imprint Nice-Up International, The Silent March can be viewed as something of a mission statement for Amir Abbey’s skyriding Secret Pyramid project. Critics have compared his sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack’s cherished fuzz devotionals, and indeed Abbey’s reverb-drenched songforms and titanic edifices of drone do feel at times as though they’ve been cut from the same cloth. Abbey weaves themes of birth, death, nostalgia and existential dread into an album as cohesive as it is all-consuming, a spell that seeks to simultaneously welcome and protect against darkness in its many forms.

                                                                                                                                                                        2013’s Movements of Night finds Abbey further develop and refine the haunting, faraway sound-world that earned the aforementioned release well-due praise. Deftly navigating the properties of sleep and unconsciousness, Abbey charts a course that is equal parts harrowing and funereal, tranquil and sublime. Juxtaposing the everyday with the obscured, the half-there melodies and arcs of hazy guitar histrionics dissolve into a more familiar, tangible atmosphere in which radiant drones are tethered to a driving bassline. With Movements of Night, Abbey casts his net into the abyss of the unconscious and returns with a potent paean to the dreamworld.

                                                                                                                                                                        Powder Monkeys

                                                                                                                                                                        Time Wounds All Heels

                                                                                                                                                                          Finally seeing the light of day again, and for the first time on vinyl, is the Powder Monkeys' classic album from 1995, Time Wounds All Heels. Originally released on the Dog Meat label and comprising the power-trio line-up of Tim Hemensley, TJ Ray and John Nolan, the band at this point were an absolutely unstoppable force, a powerhouse comparable to the finest moments from the MC5, Motorhead and Black Flag.

                                                                                                                                                                          Featuring 10 original tracks from the band, this is often considered the group's finest recorded moment, and one which has been out of print in any form since the 20th century. Our special edition on Desperate Records comes remastered for vinyl by Mikey Young and is pressed on 180-gram vinyl. The sleeve is on thick, reverse-board stock with a descriptive obi strip, download card, exclusive photos and liner notes and a 24" x 24" poster. It also comes in an all-new sleeve, the front cover being a stunning, previously unpublished shot of the band taken by renowned rock photographer, Liz Reed.

                                                                                                                                                                          The download card also features four bonus tracks (inc. Bored! and Motorhead covers), two of them previously unreleased, one of which is a fantastic original from drummer TJ Ray.The reissue of is a major deal for all Aussie rock & roll aficianados. There are only 700 of these being pressed!

                                                                                                                                                                          Fruit Tones

                                                                                                                                                                          Some Strange Voodoo

                                                                                                                                                                            Stolen Body’s first 7” release comes from Manchester garage'n'surf rock band Fruit Tones. The 4 track EP shows off the bands ability to morf garage rock, tropical pop and surf beautifully while keeping a raw rock'n'roll feel to everything.

                                                                                                                                                                            They have featured on several compilations which have been incredibly recieved. They have also previously released a split tape with Death Cats on Scottish label Fuzzkill Records which is now sold out. Stolen Body is happy to release the EP on limited edition colour vinyl. Limited to 500 copies (Coloured - Yellow with black splatter)


                                                                                                                                                                            next 100

                                                                                                                                                                            Just In

                                                                                                                                                                            97 NEW ITEMS

                                                                                                                                                                            Latest Pre-Sales

                                                                                                                                                                            189 NEW ITEMS

                                                                                                                                                                            JUST IN: The Present - World I See / Loaf Records http://t.co/7bIcMNiowX | https://t.co/9OCr7CKbTp
                                                                                                                                                                            Fri 31st - 10:19
                                                                                                                                                                            JUST IN: King Kennytone And His Western Toppers Band - Dancin... http://t.co/4RclQ3FEe7 | https://t.co/z3B04mD8Qv
                                                                                                                                                                            Fri 31st - 9:20
                                                                                                                                                                            JUST IN: Ella Fitzgerald / Muguette - These Boots Are Made Fo... http://t.co/wS5YToE0L5 | https://t.co/z3B04mD8Qv
                                                                                                                                                                            Fri 31st - 9:09
                                                                                                                                                                            JUST IN: Dan Bodan / Alexis Taylor - Under A Cancer Sky / MMW1 http://t.co/IpOUMFwOha | https://t.co/9OCr7CKbTp
                                                                                                                                                                            Fri 31st - 9:09
                                                                                                                                                                            JUST IN: Angel Corpus Christi - I Love Baby / Emotional Rescue http://t.co/slnnBNCxdR | https://t.co/9OCr7CKbTp
                                                                                                                                                                            Fri 31st - 9:09
                                                                                                                                                                            E-newsletter —
                                                                                                                                                                            Sign up
                                                                                                                                                                            Back to top