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Seminal Chicago Acid house compilation fully remastered and spread over 2 x 12" for the first time. DJ Pierre... Maurice Joshua... Lidell Townsell... Jack Frost... Mr. Lee classics all here... Re issued in conjunction with Trax 2015.

ORS (Orlando Riva Sound)

Moon Boots / Body To Body Boogie

Another huge seminal release from Salsoul. Contains the original Bobby "DJ" Guttadaro and Tom Moulton exnteded 12" remixes of these fully fledged disco nuggets.

Front the roots of I Records comes the very first and original release of Somore "I Refuse (What You Want)". The vocals resonated by Damon Trueitt as his bridge of "What You Want" has gone on to strike chords in people's hearts almost 20 years later. This first release came with NY deep remixes by Wayne Gardiner (best known for his work on Strictly Rhythm & Nervous Records). It also featured production work by the original "Filthy Rich". Released in 1996, the record went on to spawn a list of UK influenced remixes.

West End kicks off its new series of "Disco Boogie Essentials".

4 dancefloor killers from Boogie's golden age. Volume 1 sees Debbie Trusty's "Searchin For Some Lovin", Bombers "Let's Dance", Ednah Holt's "Serious, Sirius Space Party" and the twisted dub mix of Stone's "Girl I Like The Way You Move".

All beautifully re mastered and released in conjunction with West End / Verse 2015.

Glorious re issue of this classic soul LP from the Brunswick vaults.

Impossible to find on vinyl (£170+ on discogs) this album gets its first ever vinyl re issue since its original release in 1976. Fully re mastered for 2015 and released officially in conjunction with Brunswick Records in its original artwork.

Next up in the KMS Remixes series Kenny Larkin steps up to the plate.

3 seminal remixes from the mid 90's from one of Detroit's true pioneers. Re mastered and re released in conjunction with KMS 2015.

‘Feelings’ is the next single to be released ahead of Tim Deluxe’s highly anticipated LP The Radicle, a deep and jazzy cut which includes two distinct versions. With its deep jazzy reprise and classic French house-influenced tone, the Club Edit pairs a shuffling groove with freeform trumpet courtesy of renowned instrumentalist Jay Phelps with whom Tim has worked extensively. The ICE CREAM Dub throws back to Tim’s garage-roots, with the name directly referencing the highly influential record label he founded back in the 90s. Tim skilfully blends the techniques of his heritage with the more modern, garage-influenced house sounds, creating a bubbling, low-end monster.

Ghost Culture

Lucky (Audion Remix)

‘Lucky’, the third single from Ghost Culture, is a distinct slice of haunting vocal performance and psychedelic electronica. Co-produced by Erol Alkan, it is also perhaps the strongest showcase yet of Ghost Culture’s burgeoning prowess as not only a natural studio experimentalist but also as a confident and compelling songwriter, creating music that’s both instantly memorable and yet always intriguing.

Complimenting the original recording of Lucky is a remix from the pioneering Matthew Dear in his Audion guise, whose celebrated talent for bridging esoteric elements of techno, pop and dub lends itself perfectly to exploring the detailed and subtle layers of Ghost Culture’s unique vision. The remix drops on vinyl and via digital stores in mid September, just head of Greenwood’s hotly anticipated next London headline show at Corsica Studios on the 23rd. Don’t miss it.

On the heels of last year's "Moon Temple" EP, Throne of Blood co-founders Vito & Druzzi return with the two floor-ready vocal house jams featuring Xavier, a veteran vocalist best known for his brilliant version of "Gimme the Night" by George Benson released on erstwhile NYC disco imprint, A Touch of Class Recordings.

Road tested everywhere from Brooklyn clubs to Electric Elephant festival, "It's EZ" and "Deep Into It" deliver the goods, from hands-in-the-air hooks to speaker rattling bass and emotive keys. This is modern dancefloor house music rooted in classic 90s vibes.

Longtime friend of the label and Delft Records founder LA-4A strips "It's EZ" down, dropping short loops of Xavier's vocals over a massive acid line. With precious little of the original instrumental in evidence, he delivers some straight-up machine funk for big dance floors. For her remix of "Deep Into It" Mexican upstart Lokier builds upon recent releases for Have A Killer Time and Viall as well as her new collaboration with Morgan Hammer as She Makes Monster. Her version is a dislocating miasma of synths and drums, amping up the psychedelia and drug chug atmosphere.

The digital version of "It's EZ" also features a dub version of "Deep Into It" courtesy of Druzzi that pitches down Xavier's falsetto and transmutes the track into a raw cut reminiscent of Motor City Drum Ensemble's best productions.

With Toby Tobias’ debut LP for Delusions Of Grandeur dropping on the 16th October we wanted to give you a little taste of what to expect with a couple of tracks plus a brilliant remix from DOG regular Franc Spangler.

Kicking things off we have the twisted machine funk of The Wonder featuring vocals from Atwell. 808 beats bringing the vintage electro vibes whilst Atwell’s vocal hints at the golden era of Chicago house, adding a soulful touch to the rigid groove. Next up is Only Getting Better, diving into deeper waters with bubbling pads and pulsing bass line. Finally, we have Franc Spangler getting busy on the remix, turning in a floor focused jam which brings the vocal to the fore and a big beefy bassline to bounce to.

Various Artists

(Cease & Desist) DIY! (Cult Classics From The Post-Punk Era 1978-1982)

    Esteemed Glasgow selector JD Twitch has put his formidable knowledge of music into practice once again, compiling a selection of cult post-punk classics for release on his Optimo Music label in July.

    Now That’s What I Call DIY! Cult classics from the Post-Punk era (1978 – 1982) digs a bit deeper than your average post-punk compilation, highlighting 16 7″ singles from the period that didn’t get the attention Twitch feels they deserved. The artists range from the brilliantly named Tesco Bombers through to Industrial Records act Dorothy and Rough Trade-signed The Prats.

    “I’ve always loved music that doesn’t try to fit in a particular genre, that is anti-canonical and doesn’t care what else is going on in music at that time, that takes risks and is full of imagination and ideas that may or may not make any logical sense but that resulted in something unique that ignores conventions about how a record SHOULD be produced and that was created simply because its creators felt the urge to express themselves and share the results with some other people,” Twitch explains of the selection process in a press release.

    Kwabs

    Love + War

      Kwabs’ hugely-anticipated debut album Love + War is released on Atlantic Records. Having been tipped by - among others - the globally-respected BBC Sound Poll 2015, Kwabs has spent this year perfecting his debut offering; harnessing the emotional ups and downs of a less-than-conventional route to where he is today, resulting in an open-hearted record, full of soaring confessional soul. Recently revealed new tracks Look Over Your Shoulder and Forgiven are perfect examples of his stunning vocals and delicately-crafted lyrics, highlighting the breadth and originality of his debut.

      Various Artists

      Tighten Up Volume 2

        Defiantly diverse, the second volume of Trojan's legendary "Tighten Up" series has something for everyone and hits galore. Instrumentals were popular in the day, and this set boasts three: a pair of Upsetters classics, "Return of Django" and "Live Injection", and Clancy Eccles bouncy "Fire Corner", a showcase for DJ King Stitt. The Soul Sisters' "Wreck a Buddy" provides a tart reply to Prince Buster's "Wreck a Pum Pum", with both songs abusing the melody from "Little Drummer Boy". Clancy Eccles, showeres his affection on a jumbo-sized lady on the infectious "Fattie Fattie". Dandy Livingstone, meanwhile, gave a whole new suggestive meaning to the term reggae with his anthemic "Reggae In Your Jeggae". For those of a more romantic nature, Joya Landis offered up the sultry "Moonlight Lover", while the Bleechers showed off their seduction technique on "Come into My Parlour". The Pioneers and the Soulmates offered up equally fabulous harmonies on the classic "Long Shot Kick De Bucket" and the exuberant "Them a Laugh and a Ki Ki", respectively. The Kingstonians were just as dulcet on "Sufferer," a suitably sufferer's song, but still set to a ludicrously upbeat melody. Rudy Mills' "John Jones" is just as jaunty, but his suffering is caused by a bully, not by poverty.

        Various Artists

        Tighten Up Volume 1

          In the late 60s and early 70s, Trojan Records dominated the UK Reggae market. Between 1969 and 1974, the company released over thirty singles to breach the UK pop charts and of these, almost half made the top ten, with two reaching the number one spot. But despite the success of Trojan's 45s, there were no such guarantees for it's album releases. Jamaican music had always lent itself to the singles format and until now LPs had always been regarded as something of an unnecessary luxury. Trojan however devised a simple, yet effective strategy to overcome such prejudices. Early in 1969, they put together their first budget-priced compilation, made up of some of the most popular recordings recently on the UK Reggae scene. Entitled "Tighten Up", after The Untouchables' favourite which opens the collection, the LP featured some of the best sides to have been issued on the first 27 Trojan singles throughout 1968. The series proved immensely successful and ran for another four years, during which time a further seven volumes saw issue, although few were to match the incredible popularity of the inaugural set.

          Various Artists

          100% Dynamite! Ska, Soul, Rocksteady & Funk In Jamaica (Remastered Edition)

            This is the new digitally remastered 2015 expanded edition of Soul Jazz Records’ biggest ever selling release, ‘100% Dynamite! Ska, Soul, Rocksteady & Funk In Jamaica’.

            Since the album’s original release nearly twenty years ago, ‘100% Dynamite’ has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.

            The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.

            ‘100% Dynamite’ features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw’s ‘Woman Of The Ghetto’, Aretha Franklin’s ‘Rocksteady’, Syl Johnson’s ‘Is It Because I’m Black’, William DeVaughan’s seminal ‘Be Thankful’ and more.

            ‘100% Dynamite’ also features revolutionary tunes such as Johnny Osbourne’s ‘We Need Love’, Sound Dimension’s ‘Drum Song’ and Lloyd Robinson’s ‘Cuss Cuss’, songs that helped define a unique sound for Jamaican music in the Sixties and Seventies.

            These influences went both ways - check Brentford All Stars’ massive ‘Greedy G’, the basis for Boogie Down Productions’ ‘Jack of Spades’, or Willie Williams’ ‘Armageddon Time’, later covered by The Clash.

            This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.

            Various Artists

            Fabriclive 83 - Logan Sama (4xLP Instrumental Version)

              Rising to prominence on Rinse FM and ruling for a decade at Kiss FM, Logan Sama has been at the forefront of presenting the best grime has to offer since the genre’s inception, lending a helping hand to the careers of such names as Wiley, Dizzee Rascal, Tinie Tempah, Wretch 32, Skepta, Ghetts, Jme, P Money, Preditah and many hundreds more.

              Early DJ inspirations EZ, Karl Brown, Mike Lloyd and Fonti saw him gravitate from Brentwood, Essex to the capital with a growing obsession with the experimental productions of Oris Jay, Zinc, Zed Bias, Wookie, Steve Gurley and Groove Chronicles transitioning into the earliest appearances of grime. His notoriety on the grime-centric Uptown Records web forum caught the attention of Dugs and Slimzee on Rinse who granted him a prime time slot before Roll Deep on the then pirate station. Stationed alongside legends like EZ, Rodigan, Hype and Hatcha, his celebrated Kiss show broadcast to a dedicated audience, his final show in 2014 witnessed the crème de la crème of grime dropping in to pay due respect. Logan Sama has been a fabric regular over the years, from Run The Road to Playaz nights in room 2, Tropical and Butterz Room 1 takeovers and any number of FABRICLIVE events.

              Far from a traditional DJ mix, FABRICLIVE 83 is an intricately curated album of exclusive beats and bars featuring contributions from luminaries and future stars of grime. Mixed with the enthusiasm, energy and passion his sets are known for, Logan Sama hasn’t just set the bar high for FABRICLIVE - he’s clean smashed it into orbit. 24 brand new and exclusive instrumentals from the likes of Wiley, Jme, Jammer, Terror Danjah, Rapid, Faze Miyake, Preditah and Kahn & Neek have been blessed in the mix with acapella bars from no less than 66 MCs including Novelist, D Double E, Ghetts, Flowdan, Merky Ace and Scrufizzer (and rarely is this phrase so apt) to name but a few.

              For the first time in the long history of the series, FABRICLIVE 83 is also available on vinyl format. The heavyweight vinyl pressing contains all 24 exclusive instrumentals presented as a quadruple-disc LP, strictly limited to 500 copies worldwide.

              Various Artists

              Fabriclive 83 - Logan Sama

                Rising to prominence on Rinse FM and ruling for a decade at Kiss FM, Logan Sama has been at the forefront of presenting the best grime has to offer since the genre’s inception, lending a helping hand to the careers of such names as Wiley, Dizzee Rascal, Tinie Tempah, Wretch 32, Skepta, Ghetts, Jme, P Money, Preditah and many hundreds more.

                Early DJ inspirations EZ, Karl Brown, Mike Lloyd and Fonti saw him gravitate from Brentwood, Essex to the capital with a growing obsession with the experimental productions of Oris Jay, Zinc, Zed Bias, Wookie, Steve Gurley and Groove Chronicles transitioning into the earliest appearances of grime. His notoriety on the grime-centric Uptown Records web forum caught the attention of Dugs and Slimzee on Rinse who granted him a prime time slot before Roll Deep on the then pirate station. Stationed alongside legends like EZ, Rodigan, Hype and Hatcha, his celebrated Kiss show broadcast to a dedicated audience, his final show in 2014 witnessed the crème de la crème of grime dropping in to pay due respect. Logan Sama has been a fabric regular over the years, from Run The Road to Playaz nights in room 2, Tropical and Butterz Room 1 takeovers and any number of FABRICLIVE events.

                Far from a traditional DJ mix, FABRICLIVE 83 is an intricately curated album of exclusive beats and bars featuring contributions from luminaries and future stars of grime. Mixed with the enthusiasm, energy and passion his sets are known for, Logan Sama hasn’t just set the bar high for FABRICLIVE - he’s clean smashed it into orbit. 24 brand new and exclusive instrumentals from the likes of Wiley, Jme, Jammer, Terror Danjah, Rapid, Faze Miyake, Preditah and Kahn & Neek have been blessed in the mix with acapella bars from no less than 66 MCs including Novelist, D Double E, Ghetts, Flowdan, Merky Ace and Scrufizzer (and rarely is this phrase so apt) to name but a few.

                Dennis Brown

                Just Dennis

                  Although released in 1975, the tracks on 'Just Dennis' cover the 1973 - 1975 period, starting with his smash 1973 hit 'Westbound Train', recorded with Winston "Niney The Observer" Holness, who had worked with Brown on the original version of soon-to-be-huge 'Money In My Pocket'. Brown's star status was confirmed when he was voted Jamaica's top male vocalist in a poll by Swing magazine the same year.[13] Brown followed this success with "Cassandra" and "No More Will I Roam", and tracks such as "Africa" and "Love Jah", displaying Brown's Rastafari beliefs, became staples on London's, as well as Jamaica's sound system scene.

                  Darkstar

                  Foam Island

                    ‘Foam Island’, the third studio album from Darkstar, is a beautiful contemporary electronic pop album that deals with powerful themes of ambition and hope against the odds in the 21st Century.

                    Since their early dancefloor 12”s on Hyperdub from 2008 and through two vocal-led albums in 2010 and 2013, Darkstar have been an influential force in the UK’s electronic scene.

                    During trips to visit family in Northern England, founder members Aiden Whalley and James Young noticed a change in the area’s social atmosphere. This climate began to increasingly influence the duo’s writing sessions and they began a three month project of documenting this by talking to local young people in nearby Huddersfield. The lyrics and the sound palette for ‘Foam Island’ were shaped by the people and emotions they encountered and their recordings of interviewees’ speech have been compellingly woven into the tracks.

                    CD in printed wallet with 24 page booklet in 3mm spine outer wallet.

                    LP in printed inner sleeve with 8 page 12” artwork booklet in 3mm spine outer sleeve.

                    For fans of Jon Hopkins, Zomby, Four Tet, Mount Kimbie, Roisín Murphy, Actress, Floating Points.

                    Mungo Jerry

                    In The Summertime / Baby Jump

                      45th anniversary reissue of this classic Number 1.

                      Now includes Mungo Jerry’s other Number 1 hit ‘Baby Jump’.

                      Menace Beach

                      Super Transporterreum EP

                        Some bands don’t mess about. Having released their debut album, ‘Ratworld’, in January of this year, Menace Beach’s fizzing, over caffeinated creativity needed another outlet. So, in between touring with the likes of Drenge and The Cribs and becoming one of Johnny Marr’s new favourite bands, Menace Beach found time to head into the Suburban Home studio with Hookworm’s MJ to record a brand new EP.

                        With its title coming from a flu-fever hallucination Liza experienced while on tour, the title track ‘Super Transporterreum’ perfectly sums up Menace Beach’s off-kilter approach, all effervescent melody and hurtling fuzzed up guitars, not to mention the juddering half-speed choruses that, according to Menace Beach, feature “three bass guitars simultaneously doing a Bryan May riff.”

                        ‘Hey Toupe’ is an adrenaline fuelled arpeggiated thrash that Ryan says is “about a guy in London that made my skin crawl so much that it left my body and started heading back up the M1”.

                        ‘Ghoul Power’ cranks up the grunge in a tale about a pocketsize alien ghoul who soaks up your darkness and anxieties, who ends up a sweaty pale wreck after Menace Beach take him to too many parties and shows (“It isn't meant to be as cheaply metaphorical as it sounds” says Ryan).

                        ‘The Line’’s big hearted Big Star inspired melodicism was written after spending the afternoon doing a Geri Haliwell workout video in Rotterdam with a pensioner.

                        ‘Radiate Me’ is either about being so fed up “I was praying for a nuclear missile to smash straight into my stupid face” (Ryan) or “A nice song about the sun” (Liza).

                        The ‘Super Transporterreum’ EP is a distillation of what Menace Beach have previously called their “own grubby little ‘Ratworld’”, this time with added technicolour. With band leaders Ryan and Liza’s unmistakable vocal interplay coming to the fore, their lopsided surreal and esoteric creativity means they have created a sound that is unmistakably their own.

                        180g vinyl with digital download.

                        “Joyfully captures the exhilaration of alternative’s recent past” - Pitchfork

                        “Like ‘Bleach’ era Nirvana tanked up on candyfloss and ketamine” - NME

                        “If Menace Beach were from Brooklyn or Seattle the hype would be deafening” - DIY

                        Wand

                        1000 Days

                          Wand launch their third album, ‘1000 Days’, in what can only be called the relative blink of an eye.

                          August of 2014 was ‘Ganglion Reef’, Wand’s debut album release, on the GOD? label, revelling in their dark circuits and three-ring modulations. Following that, they ranged from their south-Cali base, towing their sound around this maze of interstates and state routes. Shows of all kinds were playing, plenty of people to meet up with on the way. Europe got booked and suddenly it was March of 2015 with a second album entitled ‘Golem’ (this time on In The Red) trailing Wand’s sound farther down the road, past the sky, into storm and casino food.

                          Recorded in Los Angeles and San Francisco in between tour days, ‘1000 Days’ finds Wand searching in corners. Where have all the people gone? Where have they put them? Panoramas of the body history are viewed through Wand’s spy-glass as it sweeps the horizon. · Never shy of a new machine, Wand found extra texture during ‘1000 Days’ via synthetic animation. Songs compelled them to reach across lifestyle, relying on broadcast to find out who might need the sound. The atmosphere is quicksilver and the space acoustic; as a beacon sparks electric, a cascade of hifi noises for everyone’s ear moles - raucous, impassive, inevitable musical expressions.

                          US Girls

                          Half Free

                            U.S. Girls is Illinois-born, Toronto-based artist Meghan Remy. A captivating musical force, Meg has evolved from the raw, corrosive 4-track fidelity found on her early records to the more unabashed art-pop of recent works ‘U.S. Girls’ on KRAAK (2011) and ‘Gem’ (2012); the latter managing to “widen and universalise her music without losing a drop of what previously made it so special and personal” - Pitchfork.

                            ‘Half Free’ is the next step in this impressive transformation, an honest and lyrically jarring exploration of emotions, drenched in a bath of raw beats and loops that have become the hallmark of her work with producer and frequent collaborator Onakabazien.

                            Other album guests include Slim Twig (DFA), Ben Cook (Fucked Up, Young Guv), Amanda Crist (Ice Cream) and Tony Price.

                            Featuring recent singles ‘Damn That Valley’ and ‘Woman’s Work’, ‘Half Free’ is Meg’s first album for 4AD. Again emerging as a vital voice among the noise, ‘Half Free’ is an enchanting document of life at the point when it feels most on its knife-edge.

                            “She’s the fast-rising exponent of luscious lo-fi DIY pop.” - The Guardian

                            “With each successive release, you’re never quite sure which Girl you’re going to get: the avant-pop deconstructionist, the 1960s traditionalist, the basement R&B diva.” - Pitchfork

                            Julia Holter

                            Have You In My Wilderness

                              Have You In My Wilderness is the fourth full length album by Los Angeles artist Julia Holter and her most intimate album yet. Recorded in her hometown over the last year and once again crafted with Grammy-winning producer and engineer Cole Greif-Neill, the album follows 2013's Loud City Song and two much-lauded previous titles - Ekstasis (2012) and Tragedy (2011).

                              Have You in My Wilderness was written from the heart - warm, dark and raw - and explores love, trust, and power in human relationships. While love songs are familiar in pop music, Holter manages to stay fascinatingly oblique and enigmatic, with some of the most sublime and transcendent music she has ever written. Like Holter'sprevious albums, Have You in My Wilderness is multi-layered and texturally rich, featuring an array of electronic and acoustic instruments played by an ensemble of gifted Los Angeles musicians.

                              Have You in My Wilderness is also Holter's most sonically intimate album, with her vocals front and centre in the mix, lifted out of the layers of smeared, hazy effects. The result is striking: clear and vivid, but disarmingly personal.

                              Fever The Ghost

                              Zirconium Meconium

                                Transmitting cosmic narratives and inventive song structures, Fever The Ghost’s sprawling pop saga ‘Zirconium Meconium’ sleekly marries the group’s esoteric tendencies with an inescapable melodicism.

                                Described by the band as a “collection of songs musically interpreting the third dimensional integration process from the perspective of vital force energy incarnating into the physical world” the album combines interstellar vibrations and a sense of youthful wonder into an unparalleled pop sound.

                                Elliot Moss

                                Highspeeds

                                  Debut album from 21-year-old multi-instrumentalist, singer-songwriter and visual artist Elliot Moss. Hailing from upstate New York, Moss recorded the record himself as well as the bulk of the mixing and production.

                                  ‘Highspeeds’ has been acclaimed by the likes of Fader, Stereogum and Spin, and Moss has garnered comparisons to James Blake, Bon Iver and Chet Faker.

                                  Moss draws on electronic, jazz and ambient influences resulting in a truly immersive soundscape.

                                  First single ‘Slip’ has received considerable attention due to its selection by noted choreographer and former ‘So You Think You Can Dance’ star Philllip ‘Pacman’ Chbeeb as the accompaniment to an emotionally charged dance video. The viral nature of this (over 25 million views across Facebook and YouTube) led to posts from the likes of Buzzfeed and Metro.

                                  Elliot Moss played at Fader Fort at this year’s SXSW and toured the US with Cold War Kids. He makes his European live debut headlining the [PIAS] Nites event at The Lexington supported by labelmate Lisa Mitchell and Holly Macve (Bella Union).

                                  Velvet Underground

                                  Loaded: Re-Loaded - 45th Anniversary Edition Deluxe 5CD/1DVD Boxset

                                    One of the greatest albums of all time, Velvet Underground’s Loaded will return as a six-disc collection that includes:

                                    - The original album remastered in both stereo and mono
                                    - A generous selection of demos, early versions and alternate mixes from that era
                                    - A newly remastered/re-edited version of Live At Max’s Kansas City
                                    - Two high resolution mixes, plus a surround sound mix in DTS and Dolby Digital
                                    - An unreleased May 1970 concert recorded in Philadelphia

                                    Remastered stereo and mono versions of the album fill out the first two discs, along with various outtakes, and the mono mix for the unissued single: “Rock & Roll” b/w “Lonesome Cowboy Bill.” The third disc explores the creative process behind many of the songs on the album with more than 20 demos, early versions and alternate mixes.

                                    Fans will be excited to hear the unreleased club performance featured on the fifth disc. It was recorded on May 9, 1970 at the Second Fret in Philadelphia by Bob Kachnycz, a fan who hitchhiked to the show and recorded it on reel-to-reel. The band was down to a trio that night: Lou Reed, Sterling Morrison and Doug Yule, who alternated between bass and drums to fill in for Moe Tucker, who was pregnant at the time. Loaded, which came out six months after the show, is well represented with seven songs, including: “Cool It Down,” “Oh! Sweet Nuthin’” and “Sweet Jane.”

                                    The final disc is an audio only DVD that features three different mixes of Loaded.

                                    Big Black

                                    Atomizer

                                      Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. ‘Lungs’, the first Big Black release, was recorded by Steve on a borrowed 4-track. He played everything on the EP himself, except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass and Santiago Durango (also Naked Raygun) joined them on guitar.

                                      In 1983, together with live drummer Pat Byrne, they recorded the ‘Bulldozer’ EP. By 1984, the band had done some touring and recorded the ‘Racer X’ EP and the start of the ‘Il Duce’ 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley.

                                      In 1985, Big Black recorded their first full-length, ‘Atomizer’, as well as finishing the ‘Il Duce’ 7”. ‘Atomizer’ was released in 1986 along with the release of the ‘Hammer Party’ compilation CD.

                                      In 1987, the ‘Headache’ EP and ‘Heartbeat’ 7” were released. That same year, the band recorded and released the 7” of ‘The Model’ / ‘He’s A Whore’ as well as their second full-length album, ‘Songs About Fucking’. They toured extensively (for Big Black) and they broke up.

                                      Available again on vinyl, now including digital download coupon.

                                      Dan Shake

                                      Shake Edits 1

                                        Limited to 250 copies, Mahogani Music's Dan Shake launches his label 'Shake' with two infectious edits.

                                        Brian Auger

                                        Back To The Beginning: The Brian Auger Vinyl Anthology

                                          Brian Auger - lauded and loved by everybody from Herbie Hancock to Mose Allison, from the Brand New Heavies to The Beastie Boys, his tracks have been sampled by Mos Def, Common, Air and Kid Loco, his original compositions covered by Sarah Vaughan, Richard 'Groove' Holmes and The Main Ingredient.

                                          This anthology is the most comprehensive ever released - it covers of 50 years of this legendary artists career - from his early 60's jazz piano trio, his famous bands The Trinity and The Oblivion Express and comes up to date with new material recorded in 2013. It combinmes some of his classic tracks with some rare and even previously unreleased material.

                                          The 15 tracks selected for the gatefol double vinyl Lp version were selected to appeal to DJ's/club audiences.

                                          Floating Points

                                          Shadows EP

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

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


                                            Supergrass

                                            I Should Coco

                                              To celebrate the 20th anniversary of Supergrass' chart-topping platinum 1995 debut full-length, I Should Coco, Parlophone Records reissues the time honored classic on 180g vinyl with remastered audio complete with a coloured vinyl copy of the 7” single "Stone Free" / "Odd?" which was originally released with the album.

                                              FORMAT INFORMATION

                                              Ltd LP Info: Limited edition LP & bonus 7".

                                              Basil Poledouris

                                              Robocop OST

                                                Cult ‘80s action movie RoboCop, directed by Paul Verhoeven (“Basic Instinct”, “Total Recall”…), and starring Peter Weller, “RoboCop” tells the story of a terminally wounded cop in a dystopic and crime-ridden Detroit who returns to the force as a powerful cyborg haunted by submerged memories.

                                                “RoboCop” features an amazing score by Basil Poledouris (“Conan The Barbarian”, “The Hunt For Red October”…). This re-release of the soundtrack features the entire score remastered from the original tapes!

                                                Lilies On Mars

                                                ∆GO

                                                  Following the lead single 'Dancing Star' co-produced with Tom Furse of The Horrors, described by Thump as "the perfect cosmic jam", Lilies on Mars announce their full length album '∆GO', due for release by Lady Sometimes Records via Cargo Records on 25th September 2015. Born and raised in Sardinia, a magical island in the middle of the Mediterranean Sea, a place that recalls mystical legends and the strength of a population that has fought throughout history to keep traditions alive and never be fully conquered, Lisa and Marina moved to London 13 years ago. Some time later Lilies on Mars emerged, the result of many long nights spent listening to music and jamming with every imaginable instrument at their home studio in Hackney, from guitars to vintage organs, synthesizers, effects and drum machines.

                                                  The contrast of living between these two places has had a profound effect on Lilies on Mars' music. It became a way to navigate their experience, gently incorporating all the information that inspired them, becoming notes and melodies but more precisely a sound. Delicate, surreal and sometimes disturbing, like a lily growing on a red planet. This is the imagery within which they are suspended, where time does not exist. Collaborations with Italian pop experimentalist Franco Battiato also dramatically influenced and inspired the project in its early stages.

                                                  Lisa and Marina began writing '∆GO' immediately after returning from an extensive tour of Europe and America. Filled with inspiration, excitement and with overwhelming changes in their lives post tour, they searched for shelter at Lisa's beach house in Sardinia. Here they set up a studio and found the perfect space and freedom needed to create and experiment with new sounds. All songs on '∆GO' were written from edited improvisations and immediately recorded, whilst post production is also a key element in the whole creative process. Retro-futurist, psychedelic and cosmic pop elements are accentuated on this record. At times uplifting, at times drone- and Kraut-like.

                                                  They are strongly influenced by primitive electronic experimentalists and pioneers such as Delia Derbyshire and Daphne Oram of The BBC Radiophonic Workshop. The title '∆GO' symbolises the retro-futurist concept; without context the word becomes abstract and helps to weave together the past and future (AGO also means needle in Italian). It can be read as AGO as used in story telling of times 'long ago' or as A GO, as if giving a go at something new in the future. Equally, the lines of Lisa and Marina's distorted silhouettes on both album cover artwork and 'Dancing Star' video, inspired by Rutt-Etra-Izer, provides a visual representation.

                                                  "'Dancing Star' is a pulsing, sensual piece of ethereal synth pop with dreamy, trippy textures created with vintage analogue equipment including space echo (just like King Tubby!), ancient, dusty organs and the duo's lysergic vocal tones..." – Louder Than War.

                                                  "Lilies on Mars' 'Dancing Star' Is the Perfect Cosmic Pop Jam..." – Thump .

                                                  'Dancing Star' is a blissfully kissed slice of cruise controlling Kosmiche über-pop, sending forth love notes from an unspecified solar outpost through the galactic slipstreams on vapour trailing ice cream vans." – God Is In The TV.

                                                  "Lilies on Mars are two very talented girls, I really love this song." – Lauren Laverne on 'Dancing Star' (selected for 6 Music Recommends 30/06/2015).


                                                  Sleaford Mods / Sudden Infant

                                                  Split

                                                    Limited copies of the tour-only 7" featuring "You're Brave" by Sleaford Mods & an exclusive track from Berlin's Noise rock trio Sudden Infant – “Fat Nipple Upright”.

                                                    Hatcham Social

                                                    The Birthday Of The World

                                                      Hatcham Social are set to return with a new album of their very own art-pop, post-punk, and rock ‘n’ roll sound on Crocodile Records on the 2nd of October 2015. ‘The Birthday of the World’ is the follow up to last years ‘Cutting Up The Present Leaks Out The Future’, described by Q Magazine as “a thrilling long dark night of the soul”, and features ten new tracks including the recent download release ‘Bucket Of Blood’.

                                                      Since the release of their debut long player ‘You Dig The Tunnel, I’ll Hide The Soil’ in 2009, Hatcham Social have never been a band to fall neatly into a scene or formula. From lo-fi bedroom pop cassettes, to post-punk shards and poetry, short films, girl-boy rock 'n' roll, and drug fuelled dark folk tinged psychedelia they have constantly reinvented and evolved with each release.

                                                      The atmospherics, lyrical heart, and energy are carried through to this new album: a science fiction themed art-pop odyssey titled ‘The Birthday of the World’. Inspired by the stories of Isaac Asimov, Ursula K Le Guin, and Arthur C Clarke, the new album is an exploration of Earth’s last days and the colonisation of Mars and is without doubt their finest collection of songs to date. 

                                                      The Spook School

                                                      Try To Be Hopeful

                                                        The Spook School return with their brand new album. Try To Be Hopeful is brim full of noisy, tuneful and triumphant queer pop songs about identity, sexuality and being awesome. The Spook School are Anna Cory (bass/vocals), Adam Todd (guitar / vocals), Nye Todd (guitar / vocals) and Niall McCamley (drums). Since forming in 2012 they’ve become increasingly involved with the DIY queer punk scene, taking inspiration from the passionate, like-minded people they’ve met along the way, and from bands such as Martha, Joanna Gruesome, Trust Fund and Tuff Love.

                                                        Citing influences including Buzzcocks, T-Rex and the noisier end of C86, the new album is louder, bolder, fuller-sounding and captures more of their live sound—aided and abetted by producer MJ of Hookworms. It follows The Spook School’s critically acclaimed debut “Dress Up” which received plaudits from the Guardian, Uncut (“a rewarding, multi-layered debut”) and Loud and Quiet (“this is music for the young and disillusioned, but identifiable to anyone who’s ever been frustrated by the grievances of identity and growing up.”) The Spook School have since seen their music used on TV, having recorded the theme tune for BBC 3 series “Badults”. They have also toured the US, where they became the subject of a Rolling Stone documentary and met Laura Jane Grace of Against Me!

                                                        Lyrically, its more direct than their debut, exploring issues around gender and identity, the destructive stereotypes that are generally accepted as the norm, and the difficulties of fighting them and building alternatives. Nye was undertaking his own personal journey during the making of the record too, beginning to really embrace his trans identity and starting testosterone therapy, a side effect of which meant that his voice kept changing throughout the recording process. The Spook School are a band in the most communal sense of the word. Songwriting is split between all 4 members, giving a different perspective and energy to each song. “Richard and Judy” talks about conservatism and how easy it is to accept that this is what “normal” is and how schools are “such horrible little places of enforced heteronormativity”.

                                                        The opening track, “Burn Masculinity” (on a new Plan-It-X Records comp), is an empowering anthem for our time that challenges male privilege. The first single proper, “I Want To Kiss You”, captures the excitement and anticipation of meeting someone, thinking they’re the most interesting person ever and not wanting to wait to see them again. “It’s totally about kissing people,” concludes Nye. Perhaps the standout track is “Binary”, a song about questioning gender norms, something that Nye’s experience of coming out as being trans has forced him to think about..”I’m so proud and fortunate to know quite a few amazing people who openly identify as non-binary, genderqueer or other non-binary identities - they exist in the world on their own terms and consistently challenge something that so many people just take as read. This song has quickly become a live favourite, prompting massed choruses of the “I am bigger than a hexadecimal” line. Try To Be Hopeful is the sound of a band growing up, embracing their identities, and taking charge at the world. The Spook School are the shot of optimism we’ve been hoping for. 

                                                        FORMAT INFORMATION

                                                        LP Info: Heavy black & white coloured gatefold LP.

                                                        CD Info: Gatefold CD.

                                                        Happy Mondays

                                                        Pills ‘N’ Thrills And Bellyaches

                                                          Happy Mondays formed in 1980 and were signed by Tony Wilson to Factory Records.

                                                          While their first album 'Squirrel And G-Man' had been all ramshackle ramblings and jarring grooves, by their second album 'Bummed' they were already showing signs of what was to come on 'Pills and Thrills' with off kilter funky grooves carrying Sean's sneering nonsensicle lyrics. 

                                                          By 1990, 'Madchester' was in full swing, this was the time of the indie-dance crossover. Previously there had been a very distinct line drawn between these two genre's which was rarely (if ever) crossed, but rave culture and Ecstacy had erased such rigid barriers and with DJ Paul Oakenfold more dancefloor orientated production, the Mondays embraced this change and added loose (ok, yes, baggy) psychedelic grooves to their uncompromising lyrics and shady tales. This album (along with Primal Scream's 'Screamadelica') came to defined this indie-funk-psych-rave melding of genres and hedonistic scene perfectly. 

                                                          The Unknown Cases

                                                          Masimbabele '15 - Justin Van Der Volgen / The Durian Brothers Remixes

                                                          Especial is proud to announce a special release with 2 official remixes of the seminal afro-cosmic classic. With a nod to both the future and past, remixes come from NYC's drum-loop champ, Justin Van Der Volgen and is backed perfectly with Dusseldorf's mysterious tribal exponents, The Durian Brothers. When given the original masters by founder member Stefan Krachten, the conundrum was how to handle music that is a timeless classic. Most associated with the afro-cosmic scene, Masimbabele has actually been staple of DJs across the globe, so the remixes should look forward not not just back. Added to this, the recent sad passing of both Stefan and vocalist Reebop Kwaku Baah and the project has added poignancy. Therefore, the two artists asked to do 2015 remix updates were personal favourites of the label and also, capable of doing justice some 30 years after it was recorded. As a DJ, producer and remixer wunderkind, Justin Van Der Volgen's releases on the likes of Golf Channel, ESP Institute and TBD, plus killer remixes of !!!, Soft Rocks and most recently his doubleheader Todd Terje reworks, meant it was a must to have him involved on this project. Harking the original in many ways, his remix is a perfect homage. A crucial key change, plus subtle loops and arrangment make the right moves, allowing the instruments to build and build to the infamous horns and scat vocals interplay and on to crescendo. As a double A side, bringing The Durian Brothers in was the perfect foil. An art-music project, the band has released a series of EPs on their own Diskant label to cult appreciation. A big influence on how parent label Emotional Response was formed, the secretive trio have been drawn out to work with on their only ever remix, for a song that is an influential and important song in their own make up. To this end the band wanted to create a version that sees them jamming live with the original musicians, including a young Dominik Von Senger on guitar. Eschewing the vocals, the remix merges the Brothers poly-rhythmic percussion with the African influenced swing, guitar chops and horn stabs of the original. A perfect jam between the bands, but some 3 decades apart. Hope you enjoy.

                                                          Tensnake

                                                          In The End - Inc. Tiger & Woods / Lone / Shan / Prins Thomas / Pete Herbert & Dicky Trisco

                                                            Tensnake’s standard 'In The End (I Want You To Cry)' release gets not one, but seven remixes. A nod to the good old remix double pack craze of the nineties, you will find them spread out over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone’s happiness, two versions by Shan, the timid DJ Oyster as well as Pete Herbert’s & Dicky Trisco’s respectful re-arrangement, this one has it all: disco, techno, jungle (alomost!), house, cheese & chocolate!

                                                            Terepa

                                                            Terepa EP

                                                              In alphabetical order, Terepa is no less than: Rashad Becker, Charlotte Collin, Lucrecia Dalt, Laurel Halo, Julia Holter, Kohei Matsunaga, and Grégoire Simon.

                                                              Lead Review in Wire Magazine: 'Across the disc as a whole, however, trying to isolate the artists gives way to astonishment and delight, as the whole takes on the air of a miraculous composition. Whatever sorcery was involved, this is one of the most impressive group improvisations in recent memory.'

                                                              Following a method conceived by Kohei Matsunaga (aka NHK’Koyxen) years ago out of a desire to collaborate with people living distantly, the seven artists recorded two sessions in disparate locations across Los Angeles, Berlin, Osaka, and Paris, the only creative parameter being that they all begin recording simultaneously for a twenty-minute period and that they use no means of communication or monitoring outside of their own telepathic capacities. The recordings were later gathered, layered, and mixed, resulting in two lucid, essentially chance-based compositions that Other People is thrilled to present pressed to two sides of white vinyl. The septet repeated the process for a drawing session, the result of which is printed directly onto the surface of record.

                                                              Side-one begins with murky piano, soft-plucked strings, delicate, high-pitched drone, and the sound of distant brass, all working in remarkable counterpoint. The whole slow-cooks and smears over fifteen-minutes, with recognizable timbres melting away and pooling into a milieu of pitched face-relations. Side-two is lighter, aerated by faint voice, subby purr, dull chimes, and bulbous trombone accents. While one artist’s signature may simmer to the top for a moment, the gravitas lays in how all seven voices fold together, warping into a swampy, mist-brushed ecosystem that, value of parts given, is more than the sum.


                                                              FORMAT INFORMATION

                                                              LP Info: Limited edition picture disc.

                                                              Lusts

                                                              Illuminations

                                                                Lusts have announced the release of their debut album. Entitled, ‘Illuminations’, the album will be released on October 23, 2015 on 1965 Records.

                                                                Produced by MJ from Hookworms in his Leeds studio, it combines distorted organs and synths with fuzz guitars and a driving chorus of ‘uplifting misery’.

                                                                Lusts are brothers Andy and James Stone from Leicester evoking both the classic woozy chorus’ and reverb laden guitars of Echo and the Bunnymen and the new wave pop sensibilities of Beach Fossils.


                                                                Rita Furstenhof

                                                                Hadron Collider EP

                                                                  Who is/are Rita Furstenhof? We have no idea who she/he/they are. The A1 track, the mighty “Hadron Collider“ was sent to Optimo Music HQ about 18 months ago. Normally sending one track is not much use to a label, but this was so good that we instantly replied to say we wanted to release it. Rita Furstenhof works in mysterious ways, and it was 18 months until the other tracks for the EP arrived. Along the way there were a few times when we thought they had completely vanished, and we were never going to have a complete EP, but finally, here it is. 

                                                                  And well worth the wait!

                                                                  This 12“ is pure trance. Do not fear those words.


                                                                  Visionist

                                                                  Safe

                                                                    On ‘Safe’, Visionist makes his most personal statement yet. Distilling his influences down to a sparse palette of manipulated folk, pop and R&B acapellas, icy synths, and metallic drum samples, he plays off ever-present anxiety and his own battle not to let it overwhelm him. “Comfort, protection, salvation—this is what we search for,” he says. “We are taught that a life of no worries is better for us, and therefore we try to create one that is ‘Safe.’”

                                                                    Since 2012, Visionist has toured extensively throughout Europe, Unites States and Asia, appearing at industry standard clubs and festivals like Fabric, Berghain, Sonar and Unsound and as well as various underground venues.

                                                                    He has scored music for Kenzo, Liam Hodges and Roxanne Farahmand in the world of fashion, and remixed Kelis, Ghost Poet and Glasser. In 2014, he supported FKA Twigs on her first-ever UK tour.

                                                                    Having recently partnered with Bill Kouligas to relaunch his Lost Codes imprint as Codes, Visionist takes a defining step forward with the release of his PAN debut album, ‘Safe’.
                                                                    The South London artist born Louis Carnell broke during a period of experimentation in UK music when, with the disintegration of the dubstep scene, emerging producers began looking to juke and Chicago house for inspiration.

                                                                    A pair of EPs on Lit City Trax (and a collaboration with Fatima Al Qadiri) in 2013 and ‘14 introduced Visionist’s minimalist take on fractured R&B and liquid grime, establishing him as a leading voice in new-wave UK soundsystem culture.

                                                                    But while safe as a musical concept implies conformity, ‘Safe’ as an artistic statement is anything but. At a moment when the UK scene, once known for innovation, has settled into rehashing old tropes, Visionist continues to propel his sound into more experimental territory.

                                                                    The album traces the arc of an anxiety attack, from its onset through to recovery. Following the stately discord of brief opener “You Stayed,” the grimy, ballistic assault of “Victim” sends its targets diving into mirrored corners. “I’ve Said” is a brutal, almost militant advance, its sound cutting in and out as though transmitted via shortwave radio. “Too Careful To Care” trades in skittering paranoia, with the soporific “Sleep Luxury” closing out affairs. 


                                                                    Copenhagen label Music For Dreams is on fire at the moment with an excellent string of releases from 55 Cancri E, Golden Ivy, DJ Pippi, Leo Mas and Jacob Gurevitsch to name just a few and this new vinyl is no exception.
                                                                    Greek producers Bonnie & Klein established themselves last year with tracks such "Beautiful City" and "Total Blue", both well on the way to becoming new Balearic classics. Embracing Mediterranean influences, the duo have created their own distinctive sound - soft electronic rhythms blend with horizontal textures to create a fragile balance of space for the listener's mind while delivering beats for the beaches. The opener "Magnolia" shows their 90s Cafe Del Mar / Double Fantasy influence - slow percussion with cinematic strings on a relaxed beat make this a sure fire winner already receiving maximum support from the likes of Leo Mas, Moonboots and Jon Sa Trinxa. "Flaming Lights" follows the same route - another sunset chill-out gem with an Angelo Badalamenti feel - while "Give it A Try" is a rolling bass-heavy slo-mo White Isle dreamscape with gorgeous vocals by Rolly showcasing a new side of Bonnie & Klein. Finally big Moonboots play "Aquavivas" is pure romance - a real stand out with beautiful xylophones, dreamy pads, lush keyboards and attention grabbing flutes. So grab your Ouzo, Sangria or Pina Colada, bottoms up, eat your Balearic Biscuits, close your eyes and drift away to the perfect summer EP.


                                                                    The Dead Weather

                                                                    Dodge And Burn

                                                                      Born as a one-off collaboration between friends and tourmates, The Dead Weather has since evolved into one of the most vital and provocative bands in contemporary rock ‘n’ roll. Together Jack White, Alison Mosshart, Dean Fertita, and Jack Lawrence have created a dark magic all their own, a heady brew of melding heavy riffs, thick beats, and blues snarl with raw soul power and unrelenting sexual energy.

                                                                      Dodge and Burn – the band’s third album and first full-length release in five years – sees The Dead Weather pushing their creative line of attack to its very limits on ferocious tracks like “I Feel Love (Every Million Miles)” and the brutally beautiful “Buzzkill(er).” Recorded in Nashville during breaks in each member’s ever-busy schedules, Dodge and Burn was heralded back in October 2013 as the band and Third Man Records announced an innovative long-term plan that would see a series of Dead Weather 7-inch singles released via The Vault (Third Man’s one-of-a-kind subscription mail-order service) in the year and a half leading up to the album’s 2015 release.

                                                                      • The Dead Weather is Alison Mosshart (The Kills), Jack White (The White Stripes and The Raconteurs), Dean Fertita (Queens Of The Stone Age), and Jack Lawrence (The Raconteurs and The Greenhornes).
                                                                      • Dodge and Burn is The Dead Weather’s third studio album, following critically acclaimed albums Horehound (2009) and Sea Of Cowards (2010), and will feature eight brand new songs along with four previously released tracks remixed and re-mastered.
                                                                      • Dodge And Burn was cut analog to tape at Third Man Studio in Nashville


                                                                      The Bluetones

                                                                      Return To The Last Chance Saloon

                                                                        “Return To The Last Chance Saloon” is a hit packed, gold selling, Top 10 album that was originally released in March 1998. Featuring the hit singles ‘Solomon Bites The Worm’, ‘If…’, and ‘Sleazy Bed Track’ plus mail-order only single ‘4-Day Weekend’, this re-issue is augmented by the addition of standalone Top 10 single ‘Marblehead Johnson.’

                                                                        The bonus material included across this 2CD set includes each band member’s favourite B-side, plus a stunning gig recorded at BBC’s Sound City in Newcastle in 1998. A set packed with all their hits; it’s the sound of a band at the top of their game playing to a jubilant and adoring audience. The 2CD, 36 track package is completed by the addition of previously unreleased BBC session tracks from the era and all contained in a tri-fold sleeve with a new booklet containing brand new sleevenotes from Mark Morriss.

                                                                        "Return To.." is as fresh as your first outdoor breath on a crisp spring day, as adrenalising as a five mile freefall into neat vodka and as heartbreaking as finding an ex's hair on a long forgotten shirt.” Melody Maker, 1998 “At times better than anything they've ever done” NME, 1998

                                                                        Stornoway

                                                                        Bonxie Unplucked EP

                                                                          Though their latest top 20 album, Bonxie, was their most electronic release to date Stornoway are best known (and possibly best loved) for their compelling acoustic performances. Magic is conjured by their use of traditional instrumentation, the Steadman brothers' sibling harmonies; making up the four parts with Jon Ouin and the clear, true, spell of lead singer Brian Briggs' voice.

                                                                          The band's love for wildlife, the outdoors and of course Brian's PhD in Ornithology are at the forefront of their message, underlined by their recent tour of RSPB nature reserves: The Shags and Ducks and Rock 'n' Roll Tour. Combined with Stornoway's passion for playing unplugged shows, it seems completely natural, in every sense of the word, for them to produce a study of Bonxie that takes the listener back to its evolutionary beginnings.

                                                                          The Unplucked EP presents acoustic versions of five songs from Bonxie: Between the Salt Marsh and the Sea, Get Low, Man On Wire, The Road You Didn't Take, Lost Youth and a cover of Yazz's 1988 hit The Only Way Is Up. The songs are stripped of their plumage and their unadorned, skeletal simplicity is revealed. As the band extolled on one of their first ever releases The Battery Human, we need to unplug and "Fix our loose connection out in the natural world wide web". So tune in, turn on and drop out with Unplucked by Stornoway

                                                                          Various Artists

                                                                          Cosmic Country

                                                                            “Cosmic Country” looks at the beginnings of country rock in the late ‘60s and follows its trails through the heady days of the 1970s. It includes tracks both classic and rare from a stunning array of artists, including Gram Parsons, the Byrds, Emmylou Harris, the Band, Bob Dylan, the Grateful Dead, David Crosby, Michael Nesmith, Judee Sill, Gene Clark, Townes Van Zandt, John Prine and Kris Kristofferson.

                                                                            Sean Nicholas Savage

                                                                            Other Death

                                                                              Other Death was recorded in Santa Monica, Los Angeles as a collaboration with Agor, of Savage’s Arbutus labelmates Blue Hawaii, while Errhead of Doldrums plays on much of the record. Ramona Gonzalez, aka Nite Jewel, also makes an appearance, as do TOPS' Jane Penny and David Carriere. This is Savage’s highest fidelity recording to date, with daring, captivating, and as always minimal and soft production style. In contrast to his usual introspection, Other Death is immediately more upbeat, uptempo, confident, inspired and delivers more consistent pop singles than any of his previous records.

                                                                              The record begins aptly with ‘Death’, a brief instrumental in the Joe Hisaishi vein. This is followed by ‘Propaganda’, a ballad in 7/4 timing and less political as the title suggests, with a more philosophical message comparable to Radioheads' ‘Creep'. 'Casablanca' is a Prince-esque pop tune, perhaps the poppiest on the record, with a seemingly simple sentiment: a short-lived relationship that, though full of passion, is doomed by life. 'Dont B Sad', produced by David Carriere with guest vocals by Jane Penny of TOPS, is smooth and circular; a gentle pat on the necks of sad folk everywhere, with a disco beat. 'Suburban Nights' is one of Savage’s finest ballads to date, with a special new 6 time beat, fusing reggae, house and bossa nova rhythms. Other Death concludes with another bossa nova derived, and shamelessly sensitive, song titled ‘Young Again’. Epic with strings, and ending the record in a spiritually possessed skat, the principal lyric has Savage crooning: “You make me feel like something i’m not; young again, growing old again”.

                                                                              Savage is not playing to the middle. Here he gives his listeners, those who crave a harder SNS smack, the energy they crave. This is the release fans will turn to when they want to feel the sophisticated, delicate, and enchanted music of Sean Nicholas Savage at its most brave, free and loud. It’s as if upon being tossed a copy of Other Life, Savage reads the message; “Other Life?” and throws it back at us in blood red, “Other Death”.

                                                                              HeCTA

                                                                              The Diet

                                                                                HeCTA is the brainchild of Kurt Wagner, Ryan Norris and Scott Martin of Lambchop, but don't call it a "side-project"! HeCTA is rather an "expanded universe"!

                                                                                Exploring and experimenting with the idea of combining the notion of “song”, elements from stand up comedy, electronic music and a shared love of the electronic form and itʼs many permutations, HeCTA and the album ʼThe Dietʼ does not sound like anything these guys have done before.

                                                                                “We were looking for a new way of making songs incorporating these things, to make something concise on beat. The form is not such a surprise when you consider other electronic collaborations Iʼve been involved with: Zero 7ʼs remix of Lambchopʼs “up with people” and co writing X-press2ʼs “Give It”.

                                                                                "The results became “The Diet” and those songs are with us now. As HeCTA we take our approach seriously and are respectfully aware of the great electronic music created throughout it's history continuing into the present. So much so that when it came time to mix these recordings we reached out to some of the central figures of the genre. Such greats as Morgan Geist*, John McEntire** and Q*** all had a hand in shaping the refined sound we present to you.“ - Kurt Wagner

                                                                                FORMAT INFORMATION

                                                                                Deluxe LP Info: 180g red vinyl with download, packaged in a die-cut sleeve.

                                                                                Destruction Unit

                                                                                Negative Feedback Resistor

                                                                                  For two years now, the psychedelic Destruction Unit has been keeping the world waiting for a new album. And it’s not because they’ve grown up or gotten soft, rather because they’ve been in the streets and in your backyards, pushing the freek agenda and imminentizing the alien-eschaton. They’ve been up and down and all around this globe, battling the greedy club owners, show promoters and control pigs to bring the new American heavy underground through your back door. Now here we are, with the psychedelic Unit’s second album for Sacred Bones, Negative Feedback Resistor.

                                                                                  In the spirit of solidarity with the other revolutionary communities of our sisters and brothers, the psychedelic Unit urges you to use this album’s energy, energy your speakers can hardly contain, for its intended purpose: to break the chains which you, at the dawn of your understanding, have fastened around your hands and feet. And to see to it that the thrones of every despot erected within you are destroyed. This is crazed-psychedelic-freek-noise guerrilla warfare and these are our streets. The pigs of the law can use their system to manipulate and censor our messages. The control creeps can keep their airwaves safe and comfortable. But none of them have been able to make us turn our voices or our guitar amps down. Destruction Unit sacrificed their ears to make this album as loud of a statement as possible. Will you lend them yours? Negative Feedback Resistor was produced by The Ascetic House and Joe Cardamon in 2015, with the help of Adult Swim and Sacred Bones Records. It was recorded by Joe Cardamon and Greg Gordon at Valley Recording Company, mixed by Ben Greenberg at The Bunker and mastered by Alex DeTurk at Strange Weather.

                                                                                  Destruction Unit is R. Rousseau, J.S. Aurelius, N. Nappa, R. Rousseau, A. Flores with additional accompaniments by A.Z. Hungtai (Dirty Beaches, Last Lizard), D. Bolles, (The Germs), L. Rahbek (Lust For Youth, Posh Isolation) and J. Sanes (Hoax, Liebestod).

                                                                                  FORMAT INFORMATION

                                                                                  Ltd LP Info: Limited edition coloured vinyl edition.

                                                                                  John Zorn

                                                                                  Inferno

                                                                                    John Medeski, Matt Hollenberg, Kenny Grohowski.

                                                                                    The third CD from Zorn’s most extreme new ensemble is inspired by the work of Swedish playwright, poet, painter, philosopher, alchemist, occultist and novelist August Strindberg, whose dark brooding visions were a precursor to expressionism and surrealism, influencing artists such as Antonin Artaud and Ingmar Bergman. Inferno presents a variety of compositions touching upon metal, jazz, minimalism, atonality, ambient and more, all strung together with Zornian logic and intensity. Breaking new ground in the world of musical madness, Simulacrum is one of the most unusual and powerful organ trios ever created.

                                                                                    John Zorn

                                                                                    The True Discoveries Of Witches And Demons

                                                                                      John Medeski, Marc Ribot, Matt Hollenberg, Trevor Dunn, Kenny Grohowski.

                                                                                      The True Discoveries of Witches and Demons is the second release by Zorn’s heavy new organ trio of John Medeski, Matt Hollenberg and Kenny Grohowski. Described as Tony Williams’ Lifetime on steroids, here they are joined by special guests Marc Ribot and Trevor Dunn to make the music even heavier and more intense. This is white hot, mind bending music filled with heavy riffs, fiery solos and improvisational madness. Three generations of musical explorers come together to rip your mind to shreds in the second installment from Zorn’s heaviest new ensemble Simulacrum.

                                                                                      Batteries

                                                                                      Human Requirements

                                                                                        “Human Requirements” is the next single to be taken from Batteries, the debut solo album from Sci-Fi Steven from bis’ new band Batteries, which is out now via Do Yourself In. The single will come out on 25September and will be available as a double AA side single with the song “Softhead”, a new recording exclusive to this this 7”. As Sci-Fi Steven Explains, the song "Human Requirements" is a “thinly veiled political rant about the desperate inability of the electorate to fundamentally put collective welfare ahead of short-term selfishness. The "say-one-thing, vote-another" mentality that pervades and my frustration at conservative negativity. Somehow, it seems to have turned into a pop song with a skinny-tie sprightliness." 

                                                                                        Yung

                                                                                        These Thoughts Are Like Mandatory Chores

                                                                                          There’s a concept in Scandinavian society called the Law of Jante, which says individuals should downplay their achievements, blend in and support the group. The music of Danish band Yung serves as an urgent, screaming retort to that idea, the sound of young iconoclasts fighting against apathy. Led by 21-year-old frontman and songwriter Mikkel Holm Silkjær, the group hails from Aarhus, Denmark’s second city, a huge port, university town and ideal place to find like minds amid the industrial grit.

                                                                                          On the forthcoming EP “These Thoughts Are Like Mandatory Chores,” out on Tough Love, they show themselves to be ambassadors of their country’s increasingly vital underground music scene. Anthemic guitars, coarse feedback and driving rhythm, insistent to the point of impatience, show angst acting as a powerful fuel for self-expression, gasoline poured on a fire already fed by youthful energy. More than buzz, Silkjær, along with bandmates Frederik Nybo Veilie (drums), Tobias Guldborg Tarp (bass) and Emil Zethsen (guitar), has built a cottage industry. He writes songs, handles the artwork for every release and even does much of the production himself.

                                                                                          The resulting self-made music on “These Thoughts Are Like Mandatory Chores,” raw, snarling corkscrews of feedback, find the Danish rockers branching off from the same family tree that birthed The Replacements and Cloud Nothings. It’s the band’s DIY call to arms, singular and authentic songs that won’t remain unknown very long. 

                                                                                          The Orange Revival

                                                                                          Futurecent

                                                                                            The album was anticipated by the single Saturation, released in July and remixed by Sonic Boom (founding member of Spacemen 3 and Spectrum), who also collaborated with the band on their previous 7inch single, Lying In The Sand. Defined a rumbling space-rocker by US’s Under The Radar Magazine, the single is also the opening track of this seven-tracks record, out on Thursday the 1st of October.

                                                                                            Their adventure started in 2008, when Eric Strand founded the band with organist, guitarist and violinist Christian Eldefors. They are the only other permanent member of The Orange Revival. With just a demo they embarked upon a European tour by train, rambling around the capitals and sleeping at street corners most of the nights. In 2011 they released their first LP, Black Smoke Rising, and ever since they ended up playing two editions of Austin Psych Fest and toured Europe and USA for two years.

                                                                                            During their European tours, they supported the likes of The Warlocks, White Hills and Spectrum, starting a solid relationship with Peter Kember. As anticipated by the single, Futurecent is a collection of doomsday drones, stirring up Blues, Punk and a touch of Desert Rock in a lysergic pot. Echoing some of the wildest chapters of Rock & Roll history, from The Stooges to Brian Jonestown Massacre and early Nebula, the record has a 60s hypnotic flavour, spiced up with hammering drums, organ buzz and fuzzy guitar riffs. 

                                                                                            FORMAT INFORMATION

                                                                                            LP Info: 180 gram orange coloured vinyl.

                                                                                            Various Artists

                                                                                            Excavated Shellac: Reeds

                                                                                              Reed instruments are capable of some of the most impassioned music on the planet, all due to the malleability of the reeds, themselves—historically made of plant tissue - which vibrate when air hits them. The origin of most reed instruments is steeped in rural, pastoral culture. Many insistent, loud, often joyful, reed instruments have always been played outdoors as traditional accompaniment for dancing and celebrations.

                                                                                              This compelling album is the second volume in the Excavated Shellac release series, featuring rare, never-before issued 78rpm records from around the world, centered on a unique theme. The previous volume (Excavated Shellac: Strings) focused on stellar stringed instrument performances. This release examines some of the most intense and hypnotic music set to disc during the early years of international recording, all featuring reed instruments. 

                                                                                              Various Artists

                                                                                              Excavated Shellac: Strings

                                                                                                Mesmerizing performances from the four corners of the world played on stringed instruments and recorded and released 78rpm records circa 1920-1950. Featuring fiddles, shamisen, charango, Paraguyan harp, Indian vina, Lebanese oud, Persian violin, Vietnamese moon guitar, and more. All previously unreleased on CD, with three bonus tracks not available on the now out-of-print LP. All records have been carefully transferred and mastered and are presented with extensive liner notes by Jonathan Ward.

                                                                                                Elephant9 With Reine Fiske

                                                                                                Silver Mountain

                                                                                                  It´s not often a "jazz" band take the big step from the club scene to a 1300 capacity rock venue like Oslo´s Rockefeller. But then again, Elephant9 is not your ordinary jazz band, often being named as Norway´s best live band - surely quite rare for an instrumental band - they are equally popular in jazz and rock circles. On this, their fourth studio album, Elephant9 once again join forces with Reine Fiske - the quite excellent Swedish guitarist from Dungen and The Amazing - for an epic slice of mindblowing modern rock´n´jazz prog psychedelia.

                                                                                                  "Silver Mountain" is their finest album so far, where all the parts fall into place. The core trio is still Ståle Storløkken, Nikolai Hængsle Eilertsen and Torstein Lofthus, three of Norway´s finest musicians. Guest Reine Fiske brings another dimension to the band and is now so integrated that he might as well be considered a permanent member."Silver Mountain" is an epic double album containing five tracks between 10 and 22 minutes, four tracks being originals in addition to the most spaced out version of "You Are The Sunshine Of My Life" you´re likely to encounter.

                                                                                                  Ståle Storløkken (Hammond Organ, Fender Rhodes, Minimoog, Prophet t8, piano) is widely considered to be the most inventive keyboard player from the fertile Norwegian jazz scene, his playing with bands like Supersilent, Humcrush, Motorpsycho, Terje Rypdal and countless others being firm testament to this.

                                                                                                  Nikolai Hængsle Eilertsen (bass, acoustic guitars) is since long a member of popular rock group Big Bang as well as Ketil Møster´s quartet Møster!

                                                                                                  Torstein Lofthus (drums) is a most versatile drummer who has done a lot of session work as well as playing in jazz, soul and rock bands, most notably blackjazzers Shining.

                                                                                                  Reine Fiske (electric and acoustic guitars) is a member of Dungen and The Amazing and has guested on two recent Motorpsycho albums. He is also heavily involved in the fine Swedish record label Subliminal Sounds. 

                                                                                                  Michael Chapman

                                                                                                  Fish

                                                                                                    In recent years, the revered British guitarist and songwriter has seen his classic Harvest records from the 70's reissued by Light In the Attic, and he's toured with Bill Callahan, Kurt Vile, Thurston Moore and Bonnie "Prince" Billy. On the eve of the Fully Qualified Survivor's 75th birthday, 'Fish' finds Chapman vital as ever. Tompkins Square also released Chapman's 2010 double CD 'Trainsong : Guitar Compositions 1967-2010' and a tribute album, 'Oh Michael, Look What You've Done : Friends Play Michael Chapman' featuring Hiss Golden Messenger, William Tyler, Lucinda Williams and Thurston Moore among others.

                                                                                                    "The footnotes and legends that line Chapman's 40-year career are the stuff of thick biographies and fireside storytelling sessions." – PITCHFORK 

                                                                                                    Fay Hallam

                                                                                                    Corona

                                                                                                      Following ‘Lost In Sound’, Fay Hallam’s acclaimed collaboration with The Bongolian, Fay returns to Blow Up Records for a new solo album ‘Corona’. Fay wrote the majority of the songs in a two day whirlwind writing session after returning from a tour of Italy, which ultimately inspired this atmospheric eclectic album. ‘Corona’ has absorbed Fay’s love for the Bossa Nova of Antonio Carlos Jobim and Astrud Gilberto, the experimental productions of the Carpenters and the eclecticism of Beck. There’s even a nod to the 50’s pop of Frankie Laine with ‘Giving Myself Away’ and a sole cover: Paul McCartney’s classic ‘Maybe I’m Amazed’ joins the new set of songs.

                                                                                                      With thoughts still fresh of driving through the Alps and soaking up the ambience, the songs took on a reflective mood displaying a softer, more atmospheric side to Fay’s music. An almost nocturnal feel prevails at times, exemplified by album opener ‘Se mi Ami’, perfect for late night listening, whilst her love for Soul and Rhythm & Blues still shines through on songs such as ‘Let Me Into Your Soul’ and ‘Sunny’ Originally from Wolverhampton, vocalist and keyboard player Fay Hallam has performed over the years in acts such as Makin' Time (with a pre-The Charlatans Martin Blunt), The Prime Movers, Phaze and The Fay Hallam Trinity. She has worked with Billy Childish, Graham Day, Alan Crockford and other luminaries of the Medway Scene where she has lived for many years. She has toured the UK and Europe extensively. 

                                                                                                      FORMAT INFORMATION

                                                                                                      LP Info: Heavyweight 180 gram vinyl.

                                                                                                      Stanley Brinks And The Wave Pictures

                                                                                                      My Ass

                                                                                                        Stanley Brinks is joined by The Wave Pictures for their new record ‘My Ass’, the follow up to last year’s ‘Gin’, and their fourth album together. After ‘Gin’ Brinks wasted no time in taking The Wave Pictures straight back to the studio, bright and early, the morning after the final show of their tour, to ensure they lost none of the fire still burning in their hearts from the final night’s drinks. Three playful days and twelve loose, jazzy, tracks later, with Brinks making salubrious use of his new penny-whistle and the assembled studio choir of friends hanging out, embraced into the recordings, he had his camel, ‘My Ass’.

                                                                                                        ‘My Ass’ is an album born out of Brinks’ life on the road, life as an outsider. It is a celebration of new drinking companions, in new bars, in new towns, every night. The memories of loved ones left at home, of places you can smoke inside and drink warm beer through the night. The shows that you wish could last forever. That island in the sun that keeps bringing you back ‘Wakefield’, the first single has a jazzy flowing bass driving a day in the life of Brinks on tour: a sense of togetherness, a touch of sax and the knowledge that love will act as a shield against all evil. ‘Berlin’ is yet another anthemic Brinks sing-along. Its airy ambivalence celebrates both the freedom and the ensuing pressures of his beloved adoptive hometown.

                                                                                                        Stanley Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singersongwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin.

                                                                                                        The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

                                                                                                        The Wave Pictures are David Tattersall, Franic Rozycki and Jonny ‘Huddersfield’ Helm. Formed in 1998 when Franic and David lived in a village called Wymeswold, the band played with several drummers until Jonny became a permanent member in 2003 replacing Hugh J Noble. In the beginning the band learned to play together by covering Jonathan Richman songs but soon David was writing lots of original material.

                                                                                                        "...an interesting and occasionally excellent collection." Drowned In Sound.

                                                                                                        "....lo-fi delight, with cutesy low-key ballads and pop classics.." - The Line Of Best Fit.


                                                                                                        FORMAT INFORMATION

                                                                                                        LP Info: Camel coloured vinyl with download.

                                                                                                        Hey Colossus

                                                                                                        Radio Static High

                                                                                                          Initially lurching from the UK noise underground in 2003 like a bedraggled audial creature rendered from toxic waste in a VHS horror movie, the musical growth rate of Hey Colossus has been quite a spectacle to observe. Yet from the nightmarish murk of early driller-killer works such as 2004’s debut ‘Hates You’ and 2008’s ‘Happy Birthday’ to more recent nuggets of perversity like 2013’s ‘Cuckoo Live Life Like Cuckoo’, this beast has mutated and evolved into something uncommonly alluring.

                                                                                                          The six-piece London-via-Somerset troupe began 2015 with February’s release of ‘In Black And Gold’ - in which the brawny repetition-driven raunch they built their sound on was furnished and burnished by dub-derived spatial awareness and cinematic drama, making it both a bold reinvention and an uncommonly compulsive avant-rock document. Yet not content with this, the band immediately set about following it up with their second album of the year, and one that further ups the ante on their savagely graceful assault.

                                                                                                          ‘Radio Static High’ is the sound of a confident outfit honing their attack to become a veritable force of nature.With the band citing - tongue presumably firmly lodged in cheek - inspirations as diverse as Jane’s Addiction, Fleetwood Mac (Tango In The Night era) and Cypress Hill, songs were constructed at a fierce rate of knots, yet with a focus and intensity partly instilled by band members living hundreds of miles apart, and partly by the relentless passage of time.

                                                                                                          “We have noticed a small wave of incredible goodwill towards us. We want to give as we receive.” notes guitarist Jonathan Richards, whose chiming lead guitar plays a notable role in the album’s Paris,Texas-esque midday ambience..”Maybe the knowledge of our 12 years together makes us aware of our mortality. Time is limited. A band’s purpose is to create”

                                                                                                          Songs took shape from demos, exchanged riffs and drunken text messages alike -one such from guitarist Bob Davis to Richards demanding an homage to Neil Young’s ‘Cortez The Killer’ resulted in a demo to that effect a mere 20 minutes later. which eventually became album centrepiece ‘Memories Of Wonder’.

                                                                                                          Elsewhere, ‘Hop The Railings’ takes the powerfully propulsive groove of Can and cross-pollinates it with Beefheartian interweaving triple-guitar skronk to make a heat-haze-dwelling juggernaut of intimidating proportions, whilst the closing double-drop of ‘Hesitation Time’ and “Honey’ hits like Joy Division re-purposed for the soundtrack to True Detective. “After 12 years functioning in a Noiserock/Doom/Kraut/whatever scene of sorts and being aware of unwanted repetition, we feel it is more subversive for us to compose songs with rigid song structures than it is to absent mindedly clang off another riff-athon.” Richards adds. Indeed, with all the bulldozing primal drive of heavy AmRep-style rock and none of the cliches, and a sound infused with leftfield sleight-of-hand yet hitting home like hammer to anvil, Hey Colossus prove themselves as potent as they are prolific. What’s more, ’Radio Static High’, in all its sunkissed widescreen glory, is set to leave most all their contemporaries eating their dust. 

                                                                                                          Pins

                                                                                                          Dazed By You

                                                                                                            Manchester all-female four-piece PINS have announced the release of new single ‘Dazed By You, which will be released through Bella Union.

                                                                                                            ‘Dazed By You’ is a fast-paced and harmonious track with a prominent drumbeat and an alluring chorus backed by hand claps and a distinctively addictive guitar line, which descends into a culminating frenzied musical discord of guitar, recorder and howling vocals. The B-Side ‘Live & Let Go’ is a brooding sombre track that has not been heard before and features producer Dave Catching on backing vocals. 


                                                                                                            The Chemical Brothers

                                                                                                            Go - Feat. Q-Tip

                                                                                                              A decade on from the mighty 'Galvanise', Tom & Ed have called on the talent of A Tribe Called Quest's MC Q-Tip to add the required hip hop to techy house cut 'Go', lifted from current LP 'Born In The Echoes'. 

                                                                                                              Opening with block party breaking bongos 'Go' rides on a solid 4/4 kit rhythm, while a staccato bassline stutter mirrors Q-Tip's rap. Just when you're happy on the dancefloor throwing shapes and swinging your hips, along comes the glow stick-waving electroid synth rave chorus that should have the whole crowd jumping - the Chems don't get to play peak-time at Glasto for nothing you know! On the flip we're treated to the 'Edge Of Control Dub', which adds extra bongos and synths and dubs Q-Tip's rap. 

                                                                                                              The Paradise Bangkok Molam International Band

                                                                                                              Roob Lor Pu Tai - Rootikal Re-Rubs

                                                                                                                Marco Bernardi returns to brokntoys for yet another rollercoaster of emotions. Switching between jittery house, lo-fi nagging electro and blissed out techno with nods to Detroit.

                                                                                                                Vinyl comes hand stamped complete with individual screen printed artwork unique to each copy.

                                                                                                                Dark Acid V features some of our favorite producers. Following the 12" we released with Shady P (Breed, How To Kill Detroit, Heated Heads) last month we hooked him and some of the How To Kill Detroit crew for this, Shady P contributes the gloriously fucked up "X Is A Whole" Marshall Appliewhite drops a total acid banger with "Prostate", and The Friend throws down the skewed acid tech of "How U R". Glasgow's Gregor Garnutsi (Upstanding Monk) changes up the vibe with the creepy electronica of "Access Granted" and France's Orphan Swords bring a killer mix of noise and techno with "Astaroth".

                                                                                                                P’Cock / Francis Lai

                                                                                                                Telephone Song / Young Freedom - Andi Hanley / Mudd Edits

                                                                                                                Two favourites from the Psychemagik's 'Magic Sunset' compilation gets the DJ friendly extension treatment from Body & Soul’s Andi Hanley and Claremont’s Mudd. Essential!

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

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

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

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

                                                                                                                The Mystery Lights

                                                                                                                Too Many Girls / Too Tough To Bear

                                                                                                                  Daptone Records is proud to present the debut 45 from a group of young fellas who are dominating theNOWsound in Rock N' Roll. That's right folks, Daptone Records, the world leader in today's soul music is now ready to take on the happenings of the modern rock 'n' roll scene. We present to you, on our newest subsidiary, WICK Records:The Mystery Lights.

                                                                                                                  Even though they may sound more like some lost outfit from the depths of mid-sixties Texas than a bunch of scruffy kids from the streets of 21st Century Brooklyn, The Mystery Lights combine relent- less enthusiasm, and a knack for a hook into an all-action rock n roll combo for the here and now. Their first single pairs a ridiculously catchy neo-teenbeat number "Too Many Girls" (our protagonist surrounded by a feminine throng he can't control) with the snaking psych-blues of "Too Tough To Bear", featuring the band dragging their squalling guitars deep into swampland.

                                                                                                                  Though it was recorded to 8-track tape at Daptone's legendary House of Soul by Daptone studio superstar Wayne Gordon and mixed by Bosco Mann, it was the cutting engineer JJ Golden who called it“the hottest record I ever cut.”.

                                                                                                                  Boysetsfire

                                                                                                                  Boysetsfire

                                                                                                                    BOYSETSFIRE are a phenomenon, and the latest chapter of their success story reads: FAMILY! FREEDOM! FORWARD!

                                                                                                                    Boysetsfire is not just any band, and its fans are not just any fans. Boysetsfire is perhaps the most successful example of how an uncompromising Heartcore sound, an irrepressible will and unbeatable stamina can move mountains and mobilize the masses.

                                                                                                                    There is a good reason why the new album, which will be released on September 25th 2015, is self-titled. It is the final result of a fight for freedom that lasted years and a reawakening of all the strengths within the band, combined with the power of the close bonds between its members. The focus is on their own abilities, something that was not always easy for front man Nathan Gray, Chad Istvan, Joshua Latshaw, Chris Rakus and their German bassist Robert Ehrenbrand. The captivating euphoria that has been building around the band from Delaware/USA for years has been channeled into thirteen songs that contrast with the rage of the previous album, with rousing optimism seeping from every pore. You could say that the eponymous album is the light-hearted sister of the brooding “While a Nation Sleeps”.

                                                                                                                    While he was in the studio, front man Nathan Gray was delirious with joy and sounded more enthusiastic than in any previous interview: “This album has quickly become one of my favorites we’ve ever done, and I am dying to get it out there. In albums past, we’ve talked a lot about all the terrible things going on in this world, and this time, we’ve focused a lot on sort of overcoming all of that. It’s a much more positive vibe. Musically, there are some incredible, huge sounds on this album. It’s very much us.”

                                                                                                                    And Boysetsfire haven’t missed the opportunity to accompany their rebirth with a new look. The snake, which gives the album’s artwork a touch of mystery, is a symbol of that renewal.

                                                                                                                    The first track, “Savage Blood”, opens the album with an unbelievable energy that breaks down barriers. It features the crushing sound the world has come to expect from Boysetsfire, but with a level of intensity the band has rarely achieved before. The anger that has defined many of the post-hardcore veterans’ albums is combined with catchy hooks: Typically atypical Boysetsfire!

                                                                                                                    “One Match”, the first single from the album and perhaps the most unforgettable tune since the band’s smash hit “rookie”, makes it clear that it is a blazing torch that will light a thousand others in dark times. Despite the track’s accessibility, its lovingly crafted details show that the band has the talent to take a huge step forward in terms of songwriting on their sixth album.

                                                                                                                    “Torches to Paradise”, which is an explosive force in a philosophical band like Boysetsfire, whose members have very different beliefs, has a very special meaning for bassist Robert Ehrenbrand in particular: “To me it is about freeing myself from the burden of dogma and the imposed slavery of illusions brought upon us by society, religion and mind control… setting fire to “paradise” (aka the illusion) we free ourselves and become what we truly can be, a self-empowered and free thinking, loving entity.”

                                                                                                                    This self-produced and released album deserves even more respect when you consider the band’s turbulent past: Originally formed in 1994, Boysetsfire was as good as dead about five years ago, when its members put the shards of an almost failed career back together, risking a reunion. The post-hardcore pioneers from Delaware/USA, who helped shape the genre with their albums “After the Eulogy” and “Tomorrow Come Today”, both released around the millennium, were victims of the music industry’s demise and the failed attempt to work with a major label affiliated record company.

                                                                                                                    That brave comeback in early 2013 was based completely on the principle of self-determination and culminated in the release of their most successful album to date, “While a Nation Sleeps”, on the indie label End Hits Records, which their closest confidante had quickly established in cooperation with the band. What followed should be entered in the encyclopedia of hardcore under “P” for “Phoenix from the ashes”.

                                                                                                                    The album was a sensation, entering the German charts at #22 in 2013, and was followed by sold-out tours, headline appearances at Rock Am Ring and Rock Im Park (together with Metallica in 2014), an anniversary tour that included three packed shows in major European cities, and finally the Family First Festival, which has been organized by Boysetsfire themselves and sold out in just a few weeks (August 21, 2015 in Cologne, capacity 4000).

                                                                                                                    Boysetsfire will release their eponymous album, “s/t”, on September 25 on the band’s own label, End Hits Records, followed by a tour of Europe’s biggest clubs. They will be supported by Silverstein and their label mates Great Collapse (made up of members of Strike Anywhere and former members of Rise Against). With their album and tour, Boysetsfire will again stand up to the established music industry, proving that absolute belief in your own abilities and the closest possible relationship with your fans are everything. Everything!


                                                                                                                    Paranoid London

                                                                                                                    Paris 1 Dub / Live At The Warehouse Project 2008

                                                                                                                      Paranoid London deliver three floor burning tracks of deep and cavernous house on their own imprint. Up first "Paris Dub 1" utilizes the classic Chicagan combo of the 808 and 303 (with a smattering of skitterish 707 hi-hats) to deliver a complete warehouse shaker. The bassline growls away with tapey distortion while Paris Brightledge's haunting vocal screams out of the tweeters and sticks you slap bang in the middle of a darkenend dancefloor. On the flip, Paranoid London provide an instumental mix of "Paris Dub 1" which fills the vocal void with squelching 303 lines, and ramps up all the dials to 11 - devestating. Finally, "Live at the Warehouse Project 2008", is a dial riding improvised acid track taken from their live performance at, you guessed it, the Warehouse Project. The sound established on the A-side is taken to deeper tracky territories and the twisted 303 lines are brought right to the fore. Dark and driving acid which sounds as good as anything else out there, tracks this powerful don't come along that often.


                                                                                                                      Various Artists

                                                                                                                      DJ Kicks - Seth Troxler

                                                                                                                        Over the past decade, Seth Troxler has become a visionary and authentic voice in dance music, his jovial personality cutting through the noise and continually playing by his own rules. Growing up between Detroit and Chicago, his musical education carries enviable credentials, with his stepdad a local radio personality who championed the early sounds of house music.

                                                                                                                        True to Troxler’s character, the mix has a whimsical nature and a thoughtful and timeless narrative, bearing a tenacious episode for the DJ-Kicks series that gives a true insight into the man behind the well-preened moustache and cowboy antics. “It might seem obvious but to be a successful DJ, you have to be really into music,” Troxler points out. “Collecting music is my life. This is a proper DJ mix – a house mix. It’s good music that works to listen to at any time.”

                                                                                                                        “For my DJ Kicks mix I wanted to do something that was honest,” he goes on. “I went out in the morning, micro-dosed myself and did all these errands around town. Then I came home at night and did the mix one take. I wanted to curate something for people to easily listen to, that was nice, and funny and got you in the mood to do your homework, or drive that hour long trip when you need to go somewhere. I see this mix as a gay man named Rodney. Or a big black woman named Birtha.”

                                                                                                                        Gold Class

                                                                                                                        It's You

                                                                                                                          There are few voices of meaningful dissent left in rock music. Even fewer play with the savagery, subtlety and melody of Melbourne-based newcomers Gold Class. Armed with only a handful of songs, Gold Class quickly drew heads to their live shows when they appeared mid-2014, just a couple of months after getting together. Characterized by attacking rhythms, bristling garage guitar lines and the deep vibrato of singer Adam Curley, the band were soon mixing art-space and basement gigs for their debut seven-inch, “Michael”. “Life as a Gun” and “Michael” will be included on Gold Class’ forthcoming debut album. Stay tuned for more details. Gold Class formed quickly. Guitarist Evan James Purdey recruited fellow creative-writing students Mark Hewitt (drums) and Adam Curley (vocals) to elaborate on guitar ideas he’d recorded to a Dictaphone over the course of a summer. Jon Shub, who worked late-night bar shifts with Purdey and Curley and who builds and fixes guitars out of a workshop, made an instrument for himself and joined on bass. The initial philosophy was simple: each member would write his own parts with reverence given to the whole. “We write everything together in a small room, which is a recipe for tantrums, but we also look out for each other’s interests and we’re pretty dedicated to that way of working,” Curley explains. “The album was intended to be a document of the live set we wrote in a short amount of time, recorded quickly and released soon after. It’s our opening statement as a band in a way.” In the autumn of 2015, Gold Class went into Melbourne’s Head Gap Studio for four days with producer Simon Grounds (GOD, Twerps) to record ten songs to tape. The result is the band’s debut album, It’s You, led by first single “Life as a Gun”, with its firing lyrical offering, “You can hold your finger on the trigger.”Elsewhere on the record, political protest meets Australian kosmische; proud perversion rubs against lo-fi jangle, and outsider longings become rallying choruses as Gold Class play out the push-and-pull of their first album’s title.

                                                                                                                          Sealings

                                                                                                                          I'm A Bastard

                                                                                                                            Sealings are a three-piece based in the dilapidated seaside resort of Brighton. Their debut LP I’m A Bastard follows numerous releases on UK independent lynchpins such as Italian Beach Babes, Tie Dye Tapes and Clan Destine Records. I’m A Bastard marks their first release proper on Brighton-based label Faux Discx, who have once again joined forces with the aforementioned Italian Beach Babes (as they did on Cold Pumas’ much celebrated 2012 release Persistent Malaise) to release the long-player.

                                                                                                                            Sealings are a band whose live show has been described as both “based more on confrontation than anything else” and “willfully abrasive”. To attempt to capture this mindset of total sonic annihilation Sealings recorded at home and in windowless ex-toilets, before handing over to like-minded peers MJ (Hookworms, Suburban Home Studio) and Mikey Young (Total Control/Eddy Current Suppression Ring) who mixed, and mastered the record respectively to both temper and bolster the group’s caustic tendencies.

                                                                                                                            The LP opens with live staple ‘My Boyfriend’s Dead’, a brooding drum machine-led seminar in despondency, which echoes The Jesus & Mary Chain, Rema Rema, Blessure Grave and other acts whose currency is misery offset by melody. ‘No Summer’ is an agitated post-punk assault, mordant guitars weave around reverberating vocals. This is followed by ‘Unnerved’, an unsettling noir workout that steadily builds in anxiety to noise-drenched completion. Elsewhere, ‘Malloy’ points to both the minimalist composition of Glenn Branca and the punishing assault of A Place To Bury Strangers. ‘The Ultras’ is a metallic and theatrical departure from the rest of the album, showcasing Sealings’ disparate influences which extend to both black-metal and rock & roll music, oblique blast-beats offset melodic rock structure. The album closer is an anomaly for Sealings in that it could be considered touching, that is, if it were not for the title; ‘I’m A Bastard’. Haunting blown-out synth by way of Warm Jets Eno or cold-wave pioneers Ruth. Inventive guitar dramatics and jittering drum machines make way for genuine emotion and the album closes on a sombre and melancholy note. I’m A Bastard is an LP that showcases the multitude of tricks that Sealings have mastered. Whether careering three-chord punk, industrial instrumental passages or fervent noise-rock, Sealings are beginning to carve their own individual place that owes much to each genre they mine from, whilst never being reductive of them.

                                                                                                                            Traams

                                                                                                                            Modern Dancing

                                                                                                                              Following on from their 2013 debut success, Grin. The post punk trio TRAAMS announced their return later this year with their second album, Modern Dancing. By relocating to Leeds, the band were able to record and work alongside familiar producer MJ of Hookworms, at the Suburban Home Studios.

                                                                                                                              “As a band we felt more focused this time, we had a clearer idea of what we wanted." stated Leigh (bass) "Recording 'Modern Dancing' felt like making an album proper. We are very happy with everything we've put out but the structure of these sessions really helped us get stuck in and try new things. It was great working with MJ again too. It's generally a more positive record than our first, it's a bit brighter, and a tad more optimistic, ultimately it documents our first couple of years touring, new friendships and relationships.”

                                                                                                                              The first track offering from this forthcoming LP, released through FatCat Records, is Succulent Thunder Anthem.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Ltd LP Info: Limited initial LP copies on orange vinyl.

                                                                                                                              Weyes Blood

                                                                                                                              Cardamom Times

                                                                                                                                Cardamom Times was recorded onto reel-to-reel tape at Natalie Mering’s home studio in Rockaway Beach, New York. Like the area, which itself has recently been devastated by natural causes and is regaining its bearings, Mering has created a language of dystopian love. A place where hurt, comfort, past, and future are finding themselves together, not necessarily out of mutual affection, but because ‘this is the way things are.’

                                                                                                                                As with her past recordings, these songs echo her flirtatiousness with the classics and of the avant-garde; channeling the domestic hymns of Sybille Baer through the lens of Baltimore’s recent experimentalism; the devotional drones of Terry Riley accompanied by the voices of the Sacre Coeur; the confrontational words of Anais Nin along with the warm embrace of St. Augustine. Mering’s search for true, timeless love, is accompanied by her caravan of ancestors who channel through her like spectres caught on magnetic tape. Using DIY recording techniques with a horde of equipment, Cardamom Times alters tropes of classicist folk arrangements with echo chambers, flutes, keyboards, and manipulated tapes. On "Take You There" she performs a stark and deep call of longing over minimalist organ, on Cardamom a secret infatuation is addressed through delicate guitar playing and flute. The instruments are both vintage and contemporary, piercing and soothing.

                                                                                                                                Reverend And The Makers

                                                                                                                                Mirrors

                                                                                                                                  'Sounds like nothing I've heard since the great concept albums of the 60's' - Noel Gallagher

                                                                                                                                  'Mirrors' is a magnum opus. He's a seasoned melodic master too' - Carl Barât

                                                                                                                                  'Sounds amazing - enigmatic music out of Sheffield' – Zane Lowe

                                                                                                                                  Reverend & The Makers release their eagerly anticipated fifth album, Mirrors, through Cooking Vinyl, on Friday 9th October. The first song to be taken from the album, Black Widow was premiered by Steve Lamacq on 6 Music and has also had early plays from Zane Lowe on his new Beats 1 radio show and from XFM. Mirrors was recorded at 2 Fly Studios Sheffield and Geejam Studios in Jamaica and was produced by Dave Sanderson with additional production by Youth and Alan Smyth.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  Ltd CD/DVD Info: The DVD features a film by acclaimed director Roger Sargent, filmed in Jamaica to accompany each song on the album.

                                                                                                                                  Nino Rota

                                                                                                                                  The Godfather Part II - Red Vinyl Edition

                                                                                                                                    The Godfather Part II is the Academy Award Winning Soundtrack from the movie of the same name, first released in 1974. This original score was composed by Nino Rota and conducted by Carmine Coppola.

                                                                                                                                    Rota expands upon two of the three main themes from the first film: “The Godfather Waltz” and “Michael’s Theme”, while “The Love Theme” from the first film makes a brief appearance during a flashback sequence. There are several new themes, including one for Kay (Diane Keaton), and two for young Vito (Robert De Niro).

                                                                                                                                    In 1974, the soundtrack won the Academy Award for Original Music Score/Original Dramatic Score, and it was nominated for the Golden Globe Award for Best Original Score.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    LP Info: • 180 Gram Audiophile Vinyl
                                                                                                                                    • Gatefold Sleeve
                                                                                                                                    • First Pressing Of 1000 Numbered Copies On Red Transparent Vinyl

                                                                                                                                    Fila Brazillia

                                                                                                                                    Maim That Tune - 180g Vinyl Edition

                                                                                                                                      Fila Brazillia is the electronica collaboration of Steve Cobby and David McSherry from Kingston upon Hull, Yorkshire in North-East England. They play Electronica, Ambient, Techno, Rock, Funk and Dub, though the music is often described by others as ‘Downtempo’.

                                                                                                                                      Formed in 1990, their early releases include 'Old Codes New Chaos', 'Maim That Tune', 'Mess', 'Black Market Gardening', 'Luck Be A Weirdo Tonight' and 'Power Clown' soon followed. Later, after creating their own music label with Sim Lister (Twentythree Records) in 1999, they released further albums 'A Touch Of Cloth', 'Jump Leads', 'The Life And Times Of Phoebus Brumal', 'Dicks' and 'Retrospective'.

                                                                                                                                      'Maim That Tune' was released in 1995. This album was dedicated to the deceased stand-up comedian, satirist and social critic Bill Hicks. Fila Brazillia really mix it up on 'Maim That Tune', constructing various takes on Techno, including elements of hip-hop, house, African music and a continuous stream of luxuriously lush ambient funk.

                                                                                                                                      Gussie Clarke

                                                                                                                                      From The Foundation

                                                                                                                                        From one of reggae’s most successful producers comes a 38 song, two CD anthology from the vaults from his Music Works and Gussie labels. From The Foundation celebrates the legacy of Augustus ‘Gussie’ Clarke, the careers he launched and guided and the classic hits that resulted. The package also contains a newly produced documentary which includes vintage footage and rare interviews chronicling the highlights of an amazing musical career.

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        3xCD/DVD Info: 2CD+DVD.

                                                                                                                                        Various Artists

                                                                                                                                        Sources - The P&P Records Funk & Rap Anthology

                                                                                                                                          Sources is a brand new series which will examine the output of a number of extremely influential independent U.S. labels throughout the 1970s, 1980s and 1990s.

                                                                                                                                          In an age where corporate anonymity reigns supreme and music is being treated like aural wallpaper, the Sources series will go back to a time when record labels really meant something via their A&R policies, their ground-breaking releases, their everyday modus-operandi and their general philosophies. What made these operations unique? How did they manage to compete with the major companies? How did they protect their artist rosters? What sort of people ran these operations and how did they manage to survive in the cut-throat music business?

                                                                                                                                          Bill Brewster, co-founder of the influential DJ History website and forum and author of the acclaimed “Last Night A D.J. Saved My Life” will be compiling and writing the sleeve notes for the series. The first six releases will concentrate on 6 New York independent labels which have each been massively influential in the evolvement of Dance Music over the last 30+ years – Easy Street, Fresh, Sleeping Bag, Sam, Streetwise and P&P.

                                                                                                                                          Each 3 x CD package will be full of lovingly re-mastered original 12” mixes as selected by Bill. These will include many tracks which have never made it to CD before and you can be sure that a variety of ‘secret weapons’ will emerge from each of these packages! All notes and scans will be included in a 16 page colour booklet which fits beautifully within the 3CD superior digipack. The usual Harmless PR and Radio operation will support all Sources releases.

                                                                                                                                          The sixth Sources package also comes from one of the most collectible Black Music labels of all-time – the highly enigmatic and mysterious P&P Records. P&P Records was the company founded by Harlem based Peter Brown – an operator of the highest degree in terms of productivity and the sheer amount of releases which came out on a bewildering array of labels like P&P, Georgia Peach, Sound Of Gold, Gilyard, Queen Constance, Funk Groove, Land Of Hits, Heavenly Star, La Shawn, Sound Of New York, Fresher And Fresh and Today And Tomorrow amongst the ones which are known. Most of these releases were personally distributed by Peter Brown throughout Harlem and New York but most through the independent and ‘Mom & Pop’ stores which meant their distribution was limited and mainly within the New York area. Most P&P original releases are now highly collectible with many selling for several hundred pounds a copy, IF you can find one!

                                                                                                                                          P&P Records is such an enigma that untangling the releases, different labels and year of release is an ongoing task. Some P&P Records have only recently been discovered, some P&P releases have never been found and there will be several P&P releases that have yet to be unearthed. As of 2015, there is no accurate listing and releases like ‘Sources: The P&P Records Anthologies’ are probably more like works in progress.

                                                                                                                                          We divided the P&P catalogue that we know about into two different packages – ‘Sources: The P&P Records Soul & Disco Anthology’ and ‘Sources: The P&P Records Funk & Rap Anthology’ since the label spanned all these areas.

                                                                                                                                          The P&P Records Funk & Rap volume probably contains over £4000 worth of records at their current value, since P&P is pretty much the most collectible group of labels for Funk and Rap output, or, ‘Ghetto Funk’ for short. Plus the mostly crude recordings and mastering techniques are now in fashion as people search for more ‘earthly’ natural records rather than the highly polished records from the era. Having said this, ‘Sources: The P&P Records Funk & Rap Anthology’ has been extensively re-mastered so that these records can be heard properly for perhaps the first time. The collectors of P&P were right. The scope and diversity of P&P Records is testament to the hustling skills of Peter Brown – perhaps the ultimate Harlem hustler. Who’d have thought that a scuffling set of badly-distributed Ghetto records from the 70s and 80s, would become the most collectible labels in the world some 40 years later? P&P we salute you! "

                                                                                                                                          Niney The Observer

                                                                                                                                          Sledge Hammer Dub In The Street Of Jamaica

                                                                                                                                            Re-release of classic 1970's Dub album on 180 gram vinyl and CD. Released on the revitalised Burning Sounds imprint


                                                                                                                                            Music For Dreams are extremely proud to announce the first-ever vinyl release of "Cantoma", the debut album from legendary Café Del Mar DJ and collector extraordinaire, Phil Mison aka Cantoma. Left, right and center, Phil has been one of the key players in the chill out/Balearic scene and today is more in demand than ever playing festivals and clubs all over Europe - recent gigs include playing DJ Harvey’s birthday bash at Pikes in Ibiza and alongside NYC icon Justin Strauss. His first album, the self-titled "Cantoma", was originally released back in 2003 and quickly become a modern chill out classic selling over 15,000 copies with tracks featured on more than 150 compilations and supported by quality DJs such as Ross Allen, Idjut Boys, Moonboots, Harvey and many many more. This new vinyl edition is spread over three records and includes all the original cuts that have become modern Balearic, chill and lounge anthems: "Pandajero" with its dubbed out flamenco; the Indian vibes of "The Call"; "Rain" showcasing Phil’s fantastic guitar playing over electronic beats; the beautiful "Essarai"; "Overtime’s" dubby styling and the Mediterranean moods of "Etoile". On this album, every track truly is a winner. The 2015 vinyl release also features bonus tracks and mixes not available on the 2003 LP, including three tracks recorded during the original album sessions but only ever used on special limited Japanese versions and compilations: the summery ‘Bill Morgan On The Organ’; atmospheric ‘Trussevich’ and accordion-based ‘Katja’. We also have a previously unreleased gem discovered while digging in the archives of the Music For Dreams headquarters - ‘Mondo Christy’ is an uptempo Joe-Claussel-style stomper with a blend of beautiful violin and acoustic guitars which sounds as fresh as when it was first made. Another heavy-hitter is the highly sought-after Banzai Republic remix of ‘The Call’, a track DJ Harvey included on his legendary San Diego Mixes from 2004. And to top it all off, there’s a specially commissioned brand new Ruf Dug remix of the LP’s biggest track ‘Pandajero’. Manchester’s Ruf Dug slows down the original, bringing extra keys and his magnificent Compass Point style to create a perfect sunset tune. Triple vinyl release limited edition to 300 copies - no repress - don’t sleep ..

                                                                                                                                            Page One

                                                                                                                                            Rock-A-Dub

                                                                                                                                              Re-release of classic 1970’s dub album now on CD. Released on the revitalised Burning Sounds imprint. 

                                                                                                                                              Various Artists

                                                                                                                                              Northern Soul: The Film Soundtrack - LP Edition

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

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

                                                                                                                                                Corbi & Scott Gray

                                                                                                                                                Chapter Edits 1

                                                                                                                                                Chapter Edits is the brainchild of Scott Gray AKA Chapter (artist and DJ) and Corbi (producer, DJ and A&R at Fina Records) with the aim being to bring art and music together by releasing disco-funk re-edits in limited edition Chapter art sleeves. The first 50 of each release will be signed, numbered and stamped for extra exclusivity. Based in Ibiza, they will be collaborating with guest DJs and producers from with each new release as well as hosting their own parties under the name 'Melon Bomb' at various venues across the island.


                                                                                                                                                King Gizzard & The Lizard Wizard

                                                                                                                                                Paper Mâché Dream Balloon

                                                                                                                                                  Starting out in 2010 as a solid garage rock group, King Gizzard & the Lizard Wizard followed their collective muse wherever it chose to lead them. For their latest opus, Paper Mâché Dream Balloon, they initially thought it was going to be filled with the darker, heavier material that the band has been playing live of late. But front man Stu Mackenzie soon decided that it was time to put aside the longer, more conceptual pieces and go in a completely new direction.

                                                                                                                                                  On previous records King Gizzard has channeled many different sounds: From heavily distorted, kraut-driven rock on their 2014 album I’m In Your Mind Fuzz to expansive, almost jazzy, Dead-like head trips on Quarters! Or as Mackenzie puts it, “I always wanted to be a band where you would expect the unexpected each time, with each album being treated like a different phase.”

                                                                                                                                                  Hence, the band’s seventh album was recorded using nothing but acoustic instruments. Mackenzie elaborated on this with: “Acoustic guitars, flute, double bass, fiddle, harmonica, drum kit, clarinet. Whatever we could find really.” The result is a lovely, lilting pop masterpiece that still evokes the same intoxicating exuberance as KGATLW’s most recent work, but with a more pastoral, communal feel to it.

                                                                                                                                                  "Their songs are dense, intricately crafted, and most importantly, powerful … King Gizzard & the Lizard Wizard don't do predictability.” - Pitchfork”

                                                                                                                                                  “King Gizzard are on a dizzying trip to the center of psychedelia, cocooning themselves in spaced-out guitar lines and engorged melodies that demand to be viewed Disney-style, through a dodecahedral prism of light.” – The Guardian

                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  Ltd LP Info: Limited edition orange vinyl.

                                                                                                                                                  Sexwitch

                                                                                                                                                  Sexwitch

                                                                                                                                                    Sexwitch is the new project from Natasha Khan (AKA Bat for Lashes), producer Dan Carey and Toy.

                                                                                                                                                    The album is comprised of six covers of 1970s psych and folk songs from around the world - Morocco, Thailand, Iran and the USA. The songs were picked based on the power, rhythm and groove of the music rather than their cultural origin.

                                                                                                                                                    All tracks were recorded live to maintain a natural and instinctive feel.

                                                                                                                                                    “It’s scary, sexy, and definitely different from what Khan has given us in the past” - Noisey / Vice

                                                                                                                                                    “‘Helelyos’ is a dark-tinged Middle Eastern groove, its haunting melodies fleecing a propulsive bass and percussion groove.” - Stereogum

                                                                                                                                                    Manicured Noise

                                                                                                                                                    Northern Stories 1978-80

                                                                                                                                                      Manicured Noise were Manchester’s prime art / post-punk-funk act. They're woven deeply into the legendary Factory / Russell Club scene of the late seventies. Their friends and peers included the celebrated artist Linder Mulvey and the godhead Joy Division (with whom they shared a rehearsal space).

                                                                                                                                                      This restructured and restyled release features all-new artwork from Sardinian, Cagliari based, collagist and artist Andrea Floris. The album gathers together, the first time on vinyl for most of the tracks, almost all of their recordings including their two singles for Pre / Charisma Records, a BBC session and other archive material.

                                                                                                                                                      This enigmatic act formed in Manchester in 1978, the very early days of the band remain a mystery. Given their name by the aforemementioned prime Manc scenester and friend of Morrissey, Linder, the group peddled a form of spiky and angular Jazz Punk. Jeff Noon, acclaimed sci-fi writer (Vurt) was an early member of the group, adding to the particular retro-futurist edge they displayed, forged in the early 80’s musical melting pot that was the Hulme estate.

                                                                                                                                                      Inspired by New York, Television, Ornette Coleman, Talking Heads, August Darnell's Machine, French soundtracks and disco, along with a nod to northern soul and Moroder, the band cut a singular groove. Early hours inspiration from 70’s cop and kung-fu soundtracks were incorporated, a good 10 years or more before Massive Attack and Portishead did the same. In doing so, Manicured Noise created a sound that’s still difficult to pin down.

                                                                                                                                                      “Factory have expressed an interest in the Distractions, the Negatives and current musicians’ favourites, Manicured Noise. (Ask Vic Goddard, the Banshees; Wire what they think of M Noise. Politely of course”. (Paul Morley NME Dec 1978)

                                                                                                                                                      Guitarist and later MN frontman Steven Walsh was an ex member of the Flowers of Romance, a legendary pre-Pistols vehicle for a certain Sid Vicious, and also various members of the Slits and Banshees. A stringer for the NME and post-punk zine Zig-Zag, Steven bought an experimental and funky ethos to the band.

                                                                                                                                                      “Primitive funk learned by copying Chic singles played at 33 rpm” (Simon Reynolds on Manicured Noise in “Rip it Up”).

                                                                                                                                                      'Faith', one of two highly acclaimed 1980 Pre singles boasts a tough Northern backbeat acknowledging the Manchester debt. A BBC session followed. Julian Cope, the Arch Drood himself, suggested recently that Manicured Noise were fit for a residency at the fictitious Opposite Club which features in his latest novel One Three One. They’d be playing “Faith” no doubt, alongside Uri Gallagher and Spackhouse Tutti.

                                                                                                                                                      Almost written out of the Manchester story, this compilation will hopefully redress the balance, telling the tale of a band that were on the fringes of the Factory Records elite, (they generally shunned the Manchester scene inhabiting their own niche) but always creating their own script for the future. 

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      LP Info: Strictly Ltd Edition (500) Vinyl Full-Colour Deluxe Package. With one-off digital download card

                                                                                                                                                      Strange Faith

                                                                                                                                                      Love & Poverty

                                                                                                                                                        Love & Poverty is the debut album from Strange Faith, a new collaborative project involving country soul singer-songwriter Jeb Loy Nichols and jazz/soul/folk producer and composer Benedic Lamdin, acclaimed for his output under the Nostalgia 77 moniker alongside work with the likes of Valerie June, Jamie Cullum and Prince Fatty.

                                                                                                                                                        Strange Faith brings a rich and vibrant, breezy and jazz-inflected twist on the laid-back soul sound and earthy lyrical slant that has seen Wales-based American artist Nichols crowned the "high priest of country cool" by Rolling Stone magazine.

                                                                                                                                                        Although his voice is unmistakable, 'Love & Poverty' is a far cry from being a Nichols solo effort, and it shines with the essential and equal input of a talented ensemble: in attendance at the original session, held at drummer Antonio Feola's studio, were Jeb Loy Nichols on guitar and vocals, Feola himself on drums, Ned Crowther on bass and vocals, and Lamdin playing guitar.

                                                                                                                                                        The sound of this album is infused with the contrasting atmospheres of the inner London location where the sessions took place and the Welsh countryside, where Nichols lives and where the songs started their lives.

                                                                                                                                                        Aksak Maboul

                                                                                                                                                        Onze Dances Pour Combattre La Migraine

                                                                                                                                                          In the spring of 1977, two young Belgian musicians who call themselves Aksak Maboul (aka Marc Hollander & Vincent Kenis) set out to record an album, Onze danses pour combattre la migraine, in which they playfully fused and deconstructed all kinds of genres to create their own musical world. Three years later, Hollander founded the Crammed label. Many ingredients came in and out of the Aksak blender : fake jazz, electronics, imaginary African & Balkan music, minimalism... there were even pre-techno aspects such in as Saure Gurke and its characteristic keyboard stab pattern which will mysteriously find its way into many classic Detroit techno tracks some ten years later. Onze Danses became a cult album, and seems retrospectively to have mapped out the way for the various directions which have been explored by Crammed during the next two decades.


                                                                                                                                                          The album has been described as an assortment of musical sushis, which exudes peculiar charm and takes the listener through an wide scope of atmospheres, with mischievous winks to Thelonious Monk, Robert Wyatt, Satie, Ellington, Nino Rota, Eric Dolphy, Kraftwerk, Ravel and the American Minimalists; tributes to Pygmy, Berber and Romanian Gypsy music; primitive drum machines and demented "human sequencer" organ lines, along with assorted snatches of fake ethnic, fake jazz or fake classical music.



                                                                                                                                                          Aksak Maboul by Anna-Bianca Krause

                                                                                                                                                          These were tense times. The Sex Pistols were on tour. Rod Stewart and the Eagles were heading the charts, and people were either boring themselves stupid with Paul McCartney's Wings or drifting off to Berlin, as David Bowie had done. There was a feeling in the air that one had to risk doing something new, and some people started calling the resulting phenomenon 'New Wave'. Amidst the restless atmosphere of the 1970s, an LP emerged as if from nowhere that started as if it were a radio broadcast for children. Where did this music come from? From Europe or from far away? Was it a message from the future, that had been forgotten somewhere in the past? The instrumentation consisted of guitar, organ, saxophone and violin, but there were also instruments the use of which had hitherto been strictly taboo in contemporary productions. For example, an old-fashioned piano could be heard alongside a clarinet, an accordion, a xylophone or an electronic drum machine. The music was melancholic, sometimes sad, and yet it was refreshing, lively and made its listeners happy. A woman's voice came and went as if blown about by the wind, a singing child, melodies for eternity, and again and again little surprises as if with each piece one were unwrapping a small but precious present.

                                                                                                                                                          Lanterns On The Lake

                                                                                                                                                          Beings

                                                                                                                                                            Two years on from the critically acclaimed Until The Colours Run, Lanterns On The Lake return with their third full-length record Beings. It marks another leap in the band’s development as they expand their range, pushing the envelope of their signature atmospheric rock and scaling new heights of absorbing song-craft.

                                                                                                                                                            Work on Beings began in February 2014, hard on the heels of successful tours of Europe and North America. It proved to be a productive period. “The ideas came effortlessly and in abundance,” vocalist Hazel Wilde says of the writing process. “At first we had no expectations, no prescribed ideas of how we wanted the songs to turn out. We were just writing and playing together because that’s what we’d always done.”

                                                                                                                                                            This was made possible by their setup, working in splendid isolation; writing, rehearsing and recording in their Newcastle rehearsal room meant the results were undiluted by outside influence. Imaginatively produced and mixed by guitarist Paul Gregory, it’s also his experience that helped yield such compelling results. This allows Beings to move seamlessly from airy, chiming beauty to dense, forbidding soundscapes - sometimes in the same song - while still feeling like the product of a cohesive unit, retaining the band’s spark. “We wanted it to be more raw,” Wilde says of the record. “At its darkest points, we wanted it to feel like you’d dived into the deepest part our dreams and were taking a look around. At its lightest we wanted it to feel like you were coming up for air.”

                                                                                                                                                            Opening song ‘Of Dust and Matter’ strikes just such a balance. The band’s most sinister moment yet, it prowls out of a burble of radio static and feedback, propelled by ominous piano chords as its menacing pulse builds to a tumbling climax of almost discordant, warped guitar parts and the fractured drumming of Ol Ketteringham. “In my greatness I vowed to destroy all I am,” Wilde sings. “It brings out the best in me.”

                                                                                                                                                            It’s an interesting early lyric, and it soon becomes apparent that this is a braver, more headstrong Lanterns on the Lake, a band now less about floating on water than racing across land, eager and with points to prove. Often their melancholy necessarily turns to action. “Fractured lives like faultlines, unto the breach my friends if you will” is Wilde’s call to arms on ‘Faultlines’, a critique of austerity, as the band turn in a cavalry charge with her voice as the clarion call.

                                                                                                                                                            Wilde's lyrics also shudder with evocative and often surprisingly dark imagery in songs that attempt to understand the world around her, built from charged moments of universal insight. “There is a sense of the need to connect to something; the need to find meaning,” she says of the material. “There’s such frustrating injustice in the world, yet this feels like a time of disconnection where we’re encouraged to celebrate the shallow side of culture. This record carries that sense of yearning for something greater.”

                                                                                                                                                            This gives Beings immediacy, depth and resonance as it touches on community, love, culture, politics and self-examination, and our own place and limitations within each. “I want to walk with the brave, give me a good day, I want to feel human” Wilde sings on the graceful ‘I’ll Stall Them’, exploring the importance of connection, kinship and reconciliation.

                                                                                                                                                            Beings is the engrossing product of a band operating in total harmony to the point where their music creates its own idiosyncratic world whilst also distilling outside concerns into it. The horizons open to Lanterns on the Lake are now as broad as the sweep of these beautiful songs.

                                                                                                                                                            Thool

                                                                                                                                                            Thool EP

                                                                                                                                                              Thool make mystical dance music spiked with fun, funk and feeling. Their self-titled opener takes you down into the jungle to meet your maker. The rhythm is in the detail.

                                                                                                                                                              DEEK Recordings producer, Bullion, says, “Something so familiar about Thool, they seem like old family friends. Each track on the EP is rich with information and every part is relevant - nothing can interfere with the overall sense of brilliant movement!” 

                                                                                                                                                              Delusion Men

                                                                                                                                                              Phaser Train EP

                                                                                                                                                                Delusion Men were here before time started to flow and it seems they will stretch out their existence way beyond doomsday; which probably explains their archaic impulses reverberating in a foggy, lost future. What they deliver are pieces of straightforward punk plunged into disco depths, kraut derailment and swirling drum machine melancholia. If you are looking for retro-future dystopias with no space for healthy minded horizons, this is the thing for you. Delusion Men walked together since the inception of Future Nuggets, although for them the time will never come, we snatched their debut EP. It feels as if through them " the Old Ones" are channeling the last messages of hopelessness for dance floors and dining rooms.

                                                                                                                                                                Rahaan / Ted Templeton

                                                                                                                                                                Adjust Holdin On / Fly Robbin'

                                                                                                                                                                  Dessert Island Disc's 10th release features a brilliant disco gem from the mighty Rahaan on the A side while the B throws up another Aussie local with his own label but going under the pseudonym of Ted Empleton. Both tracks laid out for a friendly tour of any dance floor with a Disco Bent. They don't last long - no digital release either so grab a copy before they're all gone and going for ridiculous money on Discogs!

                                                                                                                                                                  Serge born in Russia came to the USA in the late 80s, got heavily in hiphop and digging in the crates for breaks and loops as well as production under dj supreme one moniker. He worked with such industry's heavyweights as Masta Ace, Edo G, Guru and many more. Serge is an avid vinyl collector of soul, funk, jazz, disco, boogie. Loads of good music is to come from Serge Gamesbourg.

                                                                                                                                                                  Coming hot on the heels of Khidja's return to the label with their Never Seen The Dunes EP, is a set of remixes by friends and family of the label and band, featuring no less than Discodromo, Inflagranti, Red Axes and Selvy on mixing desk duties. A proper Remix EP with all 4 tracks from the original EP getting a proper European flavoured rework. Starting with Discodromo, this dynamic Italian duo produce for the likes of Dissident, Internasjonal and Slow Motion Records, DJ around the globe and run the exemplary CockTail's d'Amour label out of their Berlin base. Their unique take on the modern discoid sound is perfect for the title track and taking right to the red zone. Adding pulsating bass, driving appegio, all while allowing the bump of the original to keeping pushing things on, it's a perfect introduzione.

                                                                                                                                                                  This is followed by Inflagranti's inspired retake of the deeper vibes of Aura. A huge favourite of the label, the Swiss team keep the bass and dam' funk, but head straight for the autoban to create an old school NYC electro-dub style remix. A matured cruiser that keeps the swing, it all leads to those strings and Eastern flavours gliding over for the perfect finale. Things head darker on the reverse, with Tel Aviv's shinning stars Red Axes, maning the controls for the scatter bounce of Indecis for the stand out remix. Twisted vocals, brooding FX and reversed guitar all atop a mesmeric kick, things just keeps going higher and higher. Finally The Quiet Before The Red Stop is passed on to a name for the future, Selvy. With appearances on Polish Cut Outs and a recent EP for Transatlantyk, here he takes the 'Balearic' grooves of the original adding some club bumpin' bottom end and kick while maintaining a lightness for the White Isles. A perfect way to round off. Watch the skies (and basements).


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