MAGIC MIX

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Mr Scruff

Friendly Bacteria

    It’s a new Mr. Scruff album and you know what to expect, right? We widdle on about sexy potatoes and bouncy bacteria offering you a cup of tea, you have a little chuckle and actually make a brew, you stick on the album and… hold on. Because you see, quietly and without a lot of fuss (cos that’s not the way the Stockport Strepsil rolls) Mr. Scruff aka Andy Carthy has been evolving and developing his music.

    So yeah, you can still count upon a shedload of gritty funk and stony soul (not sure where this metaphor’s going..?) but the new record displays a stripped back musicality, a depth that maybe hasn’t been there before. It’s been coming across his last few releases, but this is the most complete, sustained exploration of where his music is at right now. In Carthy’s own pithy words it’s “tougher, sparser, less samples, more bass. More vocals and collaborations and shorter tunes.”

    If this record proves anything, it’s that there’s more, much more to the work of Andy Carthy than dancefloor grooves and funny cartoons.

    Don’t worry though - it is still one sexy potato.


    Various Artists

    Hyperdub 10.1

      In 2014 Hyperdub is 10 years old. Founded by DJ and producer Kode9, the label has grown from its humble origins as a left-field dubstep label, and spread out to function as a cross-genre hub, absorbing sounds and ideas, keeping listeners on their toes, and refreshing itself while still maintaining its core sensibilities. To celebrate, Hyperdub will release four compilations which cluster thematic highlights from the last five years, all augmented with new material, as well as staging a number of international showcase events across the year. First up comes ‘Hyperdub 10.1’, a double CD covering the label’s dance floor dimension. Disc 1 features almost all new material from Hyperdub regulars such as Kode9 & The Spaceape, Quarta 330 and DJ Rashad, along with old and new allies. Opening with the oddball groove of DVA's 'Mad Hatter', we move into young Detroit producer Kyle Hall's 'Girl U So Strong', a slow builder that culminates in a blissed-out g-funk groove, Mala's 'Expected', a rock solid, melancholy half-step bulldozer, Kuedo's 'Mtzpn', Morgan Zarate's recent martial snare anthem, 'Kaytsu' and Helix's club-ready remix of Kode9's 2013 'Xingfu Lu'. We also welcome back Flowdan, who appeared on early label hit ‘Skeng,’ with the malevolent, Footsie-produced 'Ambush'. The pace picks up on the second half of the CD with a volley of woozy and twisted footwork from most of the key members of Chicago’s Teklife crew. Taso & Djunya's Darwinian 'Only The Strongest Survive' descends into DJ Spinn's bombastic 'All My Teklife', DJ Taye's fizzling R&B jam, 'Get Em Up', the immaculate diva vocal cut-up of 'I'm Gonna Get You', DJ Rashad and Gantman's squiggly banger 'Acid LIfe', and the stone cold 'Icemaster' by Heavee. Earl, Rashad & Taye's 'Bombaklot' takes Hyperdub full circle with a yardcore bomb like a 2014 upgrade of the label's early days. Disc 1 closes with 'Chasing A Beast', a new gnarly hip hop track from Kode9 & The Spaceape, and Tokyo-based veteran ally Quarta330, who crafts in ‘Hanabi’ an epic, uptempo synthesiser jam. Disc 2 spotlights 17 high points of Hyperdub’s last half-decade, proven dance floor material from the grittier end of UK funky, grime, dubstep, hip hop and footwork. Artists featured include Burial, Cooly G, Champion, DVA, Funkystepz, Ill Blu, Walton, Ikonika, Kode9 & The Spaceape, Morgan Zarate, Mark Pritchard & Om'mas Keith, Terror Danjah & Riko, DOK, LV ft. Okmalumkoolkat, and DJ Rashad. ‘Hyperdub 10.1’ is more an ammunition belt than an album. Keep it locked for news of 10.2, 10.3 and 10.4 across 2014.

      Curtis Harding

      Soul Power

        Curtis Harding was born on June 11th, 1979 in Detroit, Michigan to a gospel singing mother, and a retired veteran father. As a young kid, Curtis Harding travelled all over the U.S. from State to State with his siblings, exposing him to all different kinds of music. Once Harding, settled down in Atlanta it seemed natural fit for his mix of Southern garage rock and R&B riffs and melodies. Inspired by Otis Redding, Sam Cooke, Bo Diddley and B.B. King, he is a guitarist, singer, and songwriter whose songs evoke the sound of soul from the sixties, with the nitty gritty of In die music of today. Curtis Harding has carved out a place for himself in Atlanta's underground rock scene on his own terms, setting the stage for what could be the brightest year of his career yet. Curtis Harding says that soul music, and his music, speak for themselves. It's self-evident on the Atlanta artist's debut, Soul Power. The driving sound of his electrified Stratocaster, the foot-stomping backbeat and the lyrics swimming in reverb -- with something this flourishing, it's almost reductive to just dig around the roots. Harding's style was born in Michigan and bred on the road, a restless childhood spent singing gospel alongside an evangelizing mother, then cultivated in Atlanta, where he sang backup for CeeLo Green and befriended the Black Lips (he plays with Cole Alexander in Night Sun).

        Traxman

        Da Mind Of Traxman Vol. 2

          The last few years have seen Chicago Footwork rise to international success, and Traxman’s debut album - ‘The Mind of Traxman’ on Planet Mu - played no small part in that. It showcased Cornelius Ferguson’s brilliant ability to synthesise the beat digging of classic hip hop with the high-speed abstraction of Footwork’s house-derived beat science. the selection of tracks on this second chapter show a slightly different take on Traxman's abilities. Instead of bringing in concepts from other genres, he simply creates a wider variety of Footwork, made with a minimal, reduced palette. Often just one or two samples are selected and diced into brain-blurring cubist puzzles that bear little relation to their original sources, or anything else for that matter. A number of the tracks here show off the high-speed micro-edited possibilities of Footwork, that end up bringing the sound closer to a faster, hands-on, mpc-punched version of micro-house, bringing out a jagged, fitful character that keeps you on your toes. Tracks like ‘Time Slip’ echo SND, but cut with hip hop breaks and flying snares, while ‘Blow Your Whistle (Tha Out Of Here Remixx)’ chops up a short vocal and whistle noise to ridiculously energetic effect. Other tracks pull on a techno edge, ‘Computer Getto’s galloping game of hide and seek with Kraftwerk, ‘Bubbles‘ electronic arcade game blips, or ‘Under Cover Jack‘s 303 groove, remind one of the house origins of this music, while ‘Can Nutin Hold Me Back’ has a leg in soul’s history, with its detached accapella chopped into twitchy choruses. Later on ‘15146’ cuts up barked numbers over sprightly woodwind while ‘Gone and Hit that Shit’ reduces words to rhythmic shapes, darting around meaning. ‘The Edge of Panic’ is an unexpected and incredibly aggressive detour into Footwork x Speed Metal that could be a micro-genre of its own. We catch our breath with ‘I Wanna Be High’ before the album ends with the gentle bass and chopped jazz drums of ‘U Got Me Running (Remixx)’. The mind of Traxman dazzles again. Traxman, a.k.a. Corky Strong, real name Cornelius Ferguson, is a Chicago Footwork veteran whose discography also includes many classic Ghetto House and Juke releases going as far back as the mid '90s with music on labels like the legendary Dance Mania. He's worked as a DJ for over three decades and was a member of the Geto DJz and Ghetto Teknitianz crews alongside two other Footwork scene leaders, DJ Rashad and DJ Spinn. He describes his style as "funky, soulful and a bit eccentric."

          Various Artists

          Voodoo Voodoo - Feisty Fifties Females

            Compiled by R&B and rock & roll authority Dave Penny, the 90-track 3CD set Voodoo Voodoo pays tribute to the distaff side of 1950s R&B music that would inform the rock ’n’ roll explosion of the latter half of the decade, from the last shout of the 1940s big band “thrushes” such as Ella Johnson and Dinah Washington, through the fearsome vocal power of the likes of R&B trailblazers such as Big Maybelle, Ruth Brown, LaVern Baker and Big Mama Thornton, to the early experiments of the mainstream pop singers such as Ella Mae Morse, Kay Starr, Peggy Lee, Lillian Briggs and Jaye P. Morgan.

            That ages old question, who cut the first rock ’n’ roll record?, will never be answered as the style evolved over several years, and in any case everyone has their own idea of what constitutes rock ’n’ roll. By contrast the question, who was the first white performer to successfully utilise the black R&B style and mould it into a sound that could convincingly be labelled “rock ‘n’ roll”?, sounds more straightforward: surely it was Elvis Presley or Bill Haley? But was it? There is a compelling argument that the women beat the men to the punch when it came to assimilating black music for white consumption in the 1950s and while it might not have been the TKO that history tells us was delivered by Presley or Haley, it was still a mighty blow that deserves to be better documented. Indeed, rather than the black vocal harmony groups that originated “Fool, Fool, Fool” and “Money Honey”, it is now suggested that Elvis was influenced to record these songs in his early years from the cover versions by Kay Starr and Ella Mae Morse…

            So prepare yourself for a whole lot of rhythm and rock from 65 feisty females on Voodoo Voodoo, a compilation that is happy to embrace singers from across a range of styles - R&B, big band and pop - just so long as they deliver the goods vocal-wise. Ice water at the ready! It’s a hot one, we’re tellin’ ya!


            Eddie C

            Want To Please

              Eddie C is back with excellent sleezy disco house on Endless Flight!




              Hollie Cook

              Twice

                The album is the follow-up to her fantastic eponymous debut album which was released to huge acclaim in 2011, with Q calling it "gorgeous late '70's style reggae pop" whilst the BBC named it as "one of the most enjoyable reggae albums of 2011". In 2012 a dub version of the debut album was released – "Prince Fatty Presents Hollie Cook In Dub". That same year Ian Brown asked Hollie to support The Stone Roses on one of their hugely anticipated reunion shows at Manchester's Heaton Park.

                The new album "Twice" sees Hollie's obvious love of reggae joined by other influences including Bond-like strings, Brazilian percussion, dark disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis. The strings on the album are the Macedonian Radio Symphonic Orchestra and Choir. The album was produced by Prince Fatty.

                Niconé & Gunjah / Split Secs

                Speicher 78

                  Starting out in 2001 to tie up some loose ends from our regulars, SPEICHER has since become a guarantee for vanguard dance sounds from all over the planet, allowing KOMPAKT to invite and support electronic artists that comfortably inhabit both the delicate and the more deliberate ends of the electronic music spectrum. For SPEICHER 78,
                  on the bench - befitting the imprint's reputation, these cuts jump right into the action.

                  than a decade - these guys rank among the hardest working DJs in the biz, relentlessly pushing the envelope as well as the audience. For the first time ever, they joined forces in the studio and brewed up DISKO 90, a spiritual successor to Gunjah's own “Disko '87“ from 2006, but also a sleek, contemporary cut ticking all the right boxes for today's clubbing requirements. A perfectly crafted primer for all sorts of late-night freak-outs, this cut enlists snappy beats and some pretty rad synth leads to keep the floor on boiling temperature.

                  SPLIT SECS are Travis Kirschbaum aka TK Disko and Alexandre Mouracade aka Sonns - the latter already graced our back catalogue with an awesome remix of The Field's “Cupids Head“ on CUPID'S HEAD REMIXE 1 (KOMPAKT 294). Here, we find the LA-based duo in full swing with MISSION 1, a propelling house jam that will keep your feet busy with its sharp percussion and a finely tuned bassline. Achieving an ideal balance between bouts of blissed-out dub and a slick techy boost, the track complements the A-side rather well and rounds of a package that infuses every set with much-needed debauchery.

                  Various Artists

                  10 Years Of Full Pupp - Selected, Edited And Mixed By Prins Thomas

                    Prins Thomas' Full Pupp label toasts it's 10 Year Anniversary with this excellent 2CD mix. 32 tracks of beautiful music, hand-selected, picked and packed, edited and mixed by Prins Thomas himself including 16 exclusive and previously unreleased tracks that where recorded especially for this project. This mix was recorded by Prins Thomas at home on a cloudy afternoon using vinyl only, 2 Technics 1210's, Rane MP2016 + XP2016 and Alpha Recording System 3 band isolator.

                    Additional overdubs, fx and edits done @K16 Studios Oslo In addition to plenty of artists who have featured on Full Pupp down the years - Andre Bratten, Blackbelt Andersen and Oyvind Morken - Thomas's production sparing partner Lindstrom also appears. The label boss is on hand to chip in an original cut ("Alpha Tanga Lama"), an edit of Skatebard and a Diskomix of Mental Overdrive's "Spooks."

                    Paqua

                    Akaliko

                      Back in 2012, a 12” slipped out with little fanfare that introduced a new transatlantic trio: Paqua. That record, the hazy, low-slung psychedelic rock masterpiece ‘Dinosaur Zappa’ was merely a taster; a year later, the trio followed it up with ‘Late Train’, a dub-soaked Balearic rock chugger that went on to become an anthem at open-air parties around the globe.

                      Three years on from announcing their attentions, Paqua are ready to unveil their debut album, 'Akaliko', a Buddhist word meaning “timeless”. It’s an apt description for an album that bristles with sun-kissed beauty, fuzzy guitars, impeccable instrumentation and far-sighted late night charm. It is, in essence, a perfect fusion of the renowned styles of its creators, British DJ / producer Paul Murphy (AKA Mudd, famed for his deliciously Balearic compositions for Rong Music and his own Claremont 56 label), longtime collaborator Alex Searle, and Quinn Luke from New York’s Phenomenal Handclap Band, an act renowned for their funk-fuelled, flash-fried take on disco-inspired rock. With these three at the helm, you’re in safe hands.

                      The supporting musical cast includes Phenomenal Handclap Band drummer Patrick Wood, percussionist Patrick Dawes (famed for his work with Groove Armada), and Faze Action’s Robin Lee, who provides cello on a number of tracks. It’s a thoroughbred consortium that helps provide Akaliko with a textured musical richness that’s never less than intoxicating.

                      Across the album’s eight tracks, Paqua run through a range of styles, from the Latin-influenced shuffle of ‘These Things Will Come’ and disco-flecked dancefloor stormer ‘Ruby Running Faker’, to the blissful Balearic rock shuffle of ‘We Are What We Are’ and stoned dub-rock-disco shuffle of the title track, which builds in layers towards a breathless climax. The band’s two acclaimed singles, ‘Dinosaur Zappa’ and ‘Late Train’, sound as resplendent as ever amidst such heady sounds.

                      Those who’ve been waiting for Akaliko won’t be disappointed. If you’ve yet to succumb to Paqua’s charms, dive straight in - it is timeless, after all.

                      NDATL continues with new tracks crafted by Brett Dancer known for his deep productions and being the creator of seminal label Trackmode. After a long hiatus he returned about year ago with the highly sought after Euphonic Moods EP.

                      Now he he comes with three stormin deep tracks that encompass the Dancer sound. The title track “Hybrid” is a hypnotic journey that dance!oor will enjoy taking. “Someone” is a lost dub of the hit by Kai Alce & Phil Asher feat Kayenne released on Restless Soul in 2010. Here his rendition takes a very warped sublime approach and with a little help from Glenn Crocker aka Glenn Underground this one will definitely set a mood. Now “Something” rounds out the 12” with straight dancefoor mover! The light & uplifting key work & bouncin bassline shows Brett’s ability to keep it deep and bumpin."

                      Nancy Wallace

                      Home / Pockets

                        2014 sees the launch of a new singles club from Stone Tape Recordings. Entitled You.Must.Listen., the series will consist of twelve 7" singles, each containing two exclusive tracks and packaged in a hand assembled generic sleeve with bespoke inserts and a download code. Each single will be a numbered limited edition of no more than 200 copies.

                        The first single is from Southend-based folk duo Crafting For Foes. Departing from their usual self-penned material, CFF have recorded a pair of traditional arrangements for their YML release, namely Greenwood Laddie and The Trees They Do Grow High. The former recalls Philly psych-folkers Espers, while the latter is the bucolic sound of the early '70s English underground; think Spirogyra, Dulcimer, Shide & Acorn etc; unaffected vocals, shimmering guitars and just the right amount of psychedelic whimsey.

                        Second up is Nancy Wallace. The pure-voiced folk singer from Suffolk, now based in Hackney, came to prominence as a member of The Memory Band, singing and playing on their first two albums. She has been part of alt. folk collective The Owl Service since 2007, and is also an occasional member of Owl Service splinter group Greanvine. Her two previous solo releases, Young Hearts (Spinney, 2005) and Old Stories (Midwich, 2009) won much acclaim culminating in a nomination in the 'Horizon' category for new upcoming artists at the 2010 BBC Radio 2 folk awards.

                        These two new recordings show Nancy at her best; beautiful songcraft, exquisite arrangements, perfect execution.

                        No Babies

                        Yo No Soy Como Tu

                          No Babies are a free-punk five piece from Oakland, California. Since forming in 2008, they've worked tirelessly to develop a unique 'new punk' sound influenced by jazz, art music and hardcore, not unlike Old Skull playing Schoenberg, while Magma heckles from the audience. In 2011, Upset The Rhythm released their debut self-titled album to rabid acclaim, they have since followed that up with a number of tours and singles released through Isolated Now Waves, Gilgongo and Folktale.

                          Now the band return with their "Yo No Soy Como Tú" EP, featuring new members and new instrumentation, but with the same joyous and chaotic intensity that has long been the band's signature. This new five song record for Upset The Rhythm (and Gilgongo in the US) rapidly shifts between catchy melodies and jarring atonality, creating a sound that is simultaneously chaotic and controlled. Happy and angry, beautiful and abrasive.

                          Recorded and mastered by Jack Shirley (Comadre) at the Atomic Garden, "Yo No Soy Como Tú" is No Babies' best sounding recording to date. It eschews studio polish in favor of a punk sound but retains a clarity required by the music's sonically dense nature. The record condenses a love of jazz, hardcore punk and no wave into nervous thrashy fun that serves as an invitation for you to embrace your anger, sadness, and frustration and to collide that with your joy into something that gives your life movement and meaning.

                          FORMAT INFORMATION

                          Ltd 7" Info: Screenprinted sleeve, coloured vinyl, limited to 200 copies for Europe.

                          Tomahawk

                          M.E.A.T.

                            What’s for dinner? M.E.A.T.! Looking for more Tomahawk to feed the belly? Fret no more hungry people. Turns out there are two extra tracks from their Oddfellows release, begging to see the light of day!

                            "M.E.A.T." will be released as a limited edition 7" on May 12th. The only M.E.A.T. vegans can enjoy!


                            Various Artists

                            Viper 100 - Celebrating 15 Years & 100 Releases

                              The Viper Label started trading in January 1999. To celebrate our 100th release and 15 years at the forefront of Liverpool music, it is our pleasure to mark the occasion with the release of Viper 100.

                              This album features favourites from various Viper albums and compilations- illustrating the inspired, dynamic and varied work of some twenty Liverpool Groups and Singer Songwriters.

                              Artists included here are Viper founders Mike Badger and Paul Hemmings, (The La’s & The Lightning Seeds), The Stairs, (featuring Edgar Summertyme), Tramp Attack (featuring Dave McCabe of the Zutons), Tommy Scott (Space/The Floatation Project), the Hokum Clones and many more….

                              Sean Nicholas Savage

                              Bermuda Waterfall

                                “Montreal's best kept secret (...) sparkles like Elliott Smith hopped up on Arthur Russell's happy pills.” – NME.

                                “Much of the words to Bermuda (which I feel are the center piece) were written whilst travelling between one place I loved and another place/people I loved, and trying to describe my most potent dreams related to my most potent life experiences. There was a feeling of disappointment in communication with the people that I'm calling out to connect with through my performances and travels in the last year, a feeling of loneliness. I had to have faith with the meanings of the poetry because more then ever it was lifted from my life often without being understood, only knowing that they were events, truths I admired, truthfully complex as anything so haunting can be interpreted in so many ways, like any dream funny or sexual, or horrifying. Not so much knowing the reasons, but just the experiences as mysterious as they are to me. I promise that I was as straight forward with the words as possible in describing these nuances. Full of yin and yang, and just sitting back and taking a look at my life, something I'm happy with, and came naturally in the words of which I intended for the first time nothing. I'll have to wait a few years before I understand exactly what's going on in the record, in this time in my life, and I'm alright with that, cos I'm into mystery." – Sean Nicholas Savage.

                                Grenier, Archie Pelago

                                Grenier Meets Archie Pealgo

                                  Archie Pelago, formed by Greg Heffernan, Zach Koeber and Dan Hirshorn in 2010 and with releases for much-loved NYC club-cum-label Mister Saturday Night under their belt, spent much of 2013 making some of the most contorted, intriguing live electronic hybrids out there. Melding their on-paper incongruous arsenal of woodwind, horn, strings, turntables and digital software together, they created some of the most gorgeously smooth tipped electronica around.

                                  After years DJing and operating in a unique space beyond dubstep, techno and club music, Dean Grenier was moving onto further plains still, injecting a more soulful take on his comparatively synthesized sounding Voids project, focusing on deep textures, playful melodies but retaining a dose of rhythmic ballast.

                                  On a hazy, early spring afternoon in the basement of an art gallery in San Francisco, four musicians met with nothing but the goal to produce ideas. The Brooklyn trio Archie Pelago and the then San Francisco based producer Grenier had been introduced to each other’s work by proxy, and though there was an inherent synergy underlying their aesthetics, they could not have known the profound results of their union; a plaited, sweeping work, gestalt in its exploration of the dynamics between the electronic and organic.

                                  Combined, though, Grenier Meets Archie Pelago pushes both parties into the unknowns of their sound, bringing together the hallmarks of their recognised traits, and creating something altogether more singular still. “Working with Dean allowed all of us to feel comfortable departing from a more rigid dancefloor structure stretching everything out and letting it breathe better,” says Hirshorn. “The limitlessness was empowering.”

                                  The record was put together out in San Francisco over one long week, and its creators admit there is something of the west coast’s warmth in its contrastive blend of glottal beats and soft-edged instrumental strains. It’s a record that you can almost jump into, swimming among the lapping current of its crystalline mix of analogue and digital sound, drawing parallels to the likes of Bonobo, The Cinematic Orchestra and even Pantha Du Prince, but never once losing it's uniqueness along the way. This hive of recording took place in 2012, but the seeds of the collaboration came about earlier than that.

                                  The album recording session in San Francisco, which took place in the basement of an art gallery, saw Grenier meld the sketches and skeletons of Archie’s work together, his production work giving the record its intimate, personal feel. Each crackle and creak of instrument can be heard, almost alien on music that, like the liquid grooves and subtle drops of ‘Navigator,’ or the more hard-lined minimal ‘Phosphorent,’ felt like it had been taken off the dance floor.

                                  Individually and as a trio, Archie Pelago are no strangers to sonic journeys; all picked up various instruments from clarinet, to trumpet, to cello and saxophone from as early as eight years old, their transgressions into electronic music coming through hip-hop or, as Dan points out “just wanting to branch out and explore other musical forms, both academic and performative.” Forming after Greg met Dan at party he was DJing in 2009, the two joined up with Zach and took off on a journey that’s already seen stylistic twists and turns together on the path to meeting Grenier.

                                  It's a rare collaboration that results in a body of work as rich, varied, dynamic, and as simply beautiful as Grenier Meets Archie Pelago. But perhaps the most stunning element is the singular nature of their combined output. It's a work that began with a chance meeting, and culminated in utter harmony.

                                  FORMAT INFORMATION

                                  2xLP Info: First 300 LPs Include CD Version Of The Album.

                                  Lewis

                                  L'Amour

                                    “The album’s entirety will make fans of David Lynch’s Twin Peaks feel nostalgic. The synths retain a faintly ominous, albeit frequently playful, quality to them that casts a lush shadow on the other instrumentation – much like Angelo Badalamenti’s early work with Lynch. Lewis tends to let the synths evolve around brooding acoustics, unlike Badalamenti’s heavier emphasis on the low-pitched twangy bass. Essentially, L’Amour sounds like Springsteen collaborating with Badalamenti in the late ‘80s." - OBSCURE SOUND.

                                    In 1983, a man named Lewis recorded an album named L’Amour, which was released on the unknown label R.A.W. And that’s about all we know.

                                    The record itself is a delicate, whispered album, reflecting the way the artist himself – spectral, movie star-like – almost disappears into the grey of the cover. It should come as no surprise that it failed to shout loudly enough to be noticed, another private press album that sank without trace.

                                    The ingredients are simple: smooth synthesizers, feather-light piano, ethereal, occasionally inaudible vocals and the gentle plucking of acoustic guitars. But the effects are arresting: a spine-tingling, sombre album that echoes Springsteen’s Nebraska or Angelo Badalamenti’s atmospheric soundtracks. Later, Arthur Russell would grasp for something similar on the epochalWorld Of EchoLP.

                                    L’Amouris a true discovery of the blog age, uncovered in an Edmonton flea-market by collector Jon Murphy, passed on to private press fanatic Aaron Levin, shared on the internet and speculated over by lovers of curious LPs. There’s almost no information about Lewis or the album on the internet. There’s precious little on the sleeve: a dedication to Sports Illustrated supermodel Christie Brinkley, a photo credit for Ed Colver, the noted L.A. punk rock photographer, and credits for engineer Bob Kinsey and synth player Philip Lees. All that was known of Lewis is conjecture: a rumor that he was a con artist who fled after not paying forL’Amour’sphoto-shoot and a dubious theory that he was not actually of this earth.

                                    When Light In The Attic looked to release the album, they set out to investigate the mystery. They found some answers, but more intrigue too. Colver was able to fill in some blanks. Firstly, Lewis is a pseudonym. The man the photographer met was named Randall Wulff. He stayed in the Beverley Hills Hilton, drove a white convertible Mercedes and dated a girl who looked like a model. He paid for his photo session with Colver with a $250 check, which bounced.

                                    Eventually, the trail led to Alberta, Canada, where that first LP had been found. Liner notes writer Jack Fleischer along with master detective Markus Armstrong found Randall’s nephew, who remembered Randall as a stockbroker. His vague recollections include a visit to Randall’s apartment, with all-white furniture and that beautiful girlfriendin situ. Crucially, he offered another name – another of Randall’s pseudonyms – which led to a Vancouver studio and the revelation that Lewis had recorded three or four albums of “soft religious music” there. Alas, even the new nom de plume led only to dead ends.

                                    Lewis remains a ghost, a total mystery, but the music will be heard. The album is being pressed for the first time in more than 30 years, and widely distributed for the first time ever. Lewis’s royalties will be placed in escrow until he makes himself known. Perhaps you know Lewis. Perhaps Lewis is you. The only certainty is this: Lewis is about to find a whole bunch of new fans.

                                    FORMAT INFORMATION

                                    LP Info: LP housed in deluxe Stoughton “Tip-On” gatefold jacket.

                                    Yamantaka // Sonic Titan

                                    Uzu

                                      NME SXSW REPORT: “THE COLLECTIVE WHO BLEW OUR MINDS – IMAGINE YOKO ONO FRONTING BLACK SABBATH. IMAGINE EACH MEMBER OF THE BAND DRESSED LIKE A MEMBER OF KISS, FACEPAINT AND ALL. IMAGINE THEM PLAYING THE DRIVING MOTORIK RHYTHMS OF NEU! OR CAN, BUT SPEEDING THEM UP UNTIL THE WHOLE CROWD IS POGOING LIKE THEY DO AT THE BEST PUNK SHOWS”

                                      The rock opera generally references the ambitious and occasionally bloated concept albums of seasoned big name artists. Rarely is it used to conjure a Pynchon-worthy fusion of high and low culture or a blurring of the lines between theater and music. But in the case of Toronto/Montreal art partnership YAMANTAKA // SONIC TITAN, rock opera carries all the latter connotations of the nexus between tradition and irreverence, performance art and unbridled noise. The duality of fusing Old World classicism with New World innovation goes to the very core of the group-their name is a melding of the Buddhist "terminator of death" deity with a song title by seminal stoner doom band Sleep. They describe themselves as "Noh-wave", a nod to both classical Japanese drama and the nihilistic art-punk scene of a pre-Giuliani New York City.

                                      The yin-and-yang philosophy permeates every facet of YAMANTAKA // SONIC TITAN. The project centers around Alaska B and Ruby Kato Attwood, two art students with a mutual love of opposing forces-heavy metal's brutish assault with Japanese manga's cartoonish appeal, Boredom's experimentalism with Chinese opera, lofty schemes and low budget endeavors. The duo started out by building instruments out of found objects-once again highlighting their paradoxical nature by turning trash into art and rendering structured beauty out of detritus. Their performances veered more towards theater, with Alaska and Ruby constructing elaborate stage settings out of cardboard pasted with industrial-sized Xeroxed designs and donning elaborate Kabuki-style costumes and make-up. Such unorthodox ventures could repel the rock crowd, but YAMANTAKA // SONIC TITAN's debut album YT//ST dispelled any concerns that Alaska and Ruby didn't know how to lay siege with their instruments. Anchored by Alaska's unrepentant drumming-a blend of Melvins drummer Dale Crover's signature stomp and Einsturzende Neubauten's proto-industrial thud-and Ruby's soaring soprano, YT//ST took the narrative arc and keyboard foundation of Genesis' rock opera The Lamb Lies Down On Broadway and injected the psychedelic doom of Boris' Pink.

                                      With their sophomore effort UZU, Alaska and Ruby continue their exploration of cultural dualities. While YAMANTAKA // SONIC TITAN has always provided an outlet for the core duo's celebration of their Asian heritage, the inclusion of auxiliary musicians and artists into the fold has reinforced one of the most crucial defining dualities of the group: the merging of diasporic and indigenous perspectives. This meeting of East and West is perhaps most visible in UZU's lead single "One". As the first YAMANTAKA // SONIC TITAN song to extend the songwriting credits beyond the core duo, "One" incorporates the indigenous upbringings of the extended group by leading off with a traditional Iroquois song. The introductory chant is a social song calling all people together, and is performed by people of the Mohawk tribe. From there, the band kicks into a driving guitar line and a vocal hook as sweet as any J-pop hit. Metal riffing, free-jazz cacophony, and meditative Eastern percussion patterns accentuate the song. In the hands of lesser visionaries, this kind of cross-pollination would sound like a schizophrenic genre mash-up. But YAMANTAKA // SONIC TITAN's appropriations never sound forced. Rather, it sounds like a celebration of the cultural collision of Alaska and Ruby's upbringing. The hybridization is evident throughout UZU--you can hear it in the operatic piano-and-vocal opener "Atalanta" segueing into the dynamic prog of "Whalesong", the Eastern melodies seamlessly melding into the synth arpeggio and guitar dirge of "Windflower", the musical storytelling tradition of "Seasickness Pt. 1" juxtaposing with the Heart-like classic rock gallop of "Seasickness Pt. 2", and the closing choir passage of "Saturn's Return" descending into Merzbow-esque white noise.

                                      FORMAT INFORMATION

                                      CD Info: CD digipak includes printed lyrics sheet.

                                      Ltd LP Info: LP deluxe packaging including printed inner with lyrics.

                                      Cosines

                                      Commuter Love

                                        London’s Cosines are back with Commuter Love / Disclosed Stories 7”, the follow up to their debut single Hey Sailor Boy! / The Answer. As with their debut, Cosines’ schizophrenic nature is their strength, with being able to float above the current indie pop crop by infusing elements of baroque pop, krautrock, sunshine pop revival, glam rock, and synth-driven new wave while never taking so much from any genre to bog themselves down and lose sight of crafting perfect pop hits.

                                        The A-side Commuter Love is the tale of someone who spends their days commuting to work set to a glam rock and romp. It’s an icy cool song about train commutes with nods to Blondie’s pouty pomp and Goldfrapp’s sultry stomp. Lyrics we can all relate to set to verse chorus verse, it’s a hit all the way to the top to help ease your working week and those daily travels. You know the moments where you are sitting there and you slip into your mind and you realize you are stationary and your life is passing you by. Time wasted in transit from station to station all to sit stationary at work at a desk or monitor only to get home to be so tired you are sat stationary again flipping from yet another type of station to station. You have more knowledge about the characters on TV and their lives than those of your friends. The B-Side Disclosed Stories walks the line between sunshine revival, motorik krautrock-isms and stoic soul, and features a guest appearance from Apples In Stereo’s Ben Phelan. It’s like if Camera Obscura was influenced by Neu! and fronted by Kirsty MacColl. The song recalls a place we’ve all been at some point where you have that one friend which is so close you think maybe it could work out, but you can’t ruin what you have. You are there for each other sharing those stories and times that are pure frustration watching each other make mistakes. You think if the person you were with was like them, but you know it will end it heartbreak if you did. What you maybe would get if you mix Love, United States of America and Stereolab. As a band they are constantly trying to find the perfect meeting point between clean synths and fuzz guitars.

                                        FORMAT INFORMATION

                                        Ltd 7" Info: Limited edition 7” vinyl single (300 copies) includes MP3 download.

                                        Giuda

                                        Yellow Dash / Kukulcan

                                          Yellow Dash 7” with exclusive B-Side ‘Kukulcan’ A limited edition 7” single taken from their second album ‘Let’s Do It Again’ The B-SIDE is a brand new instrumental about the Mayan Snake God! AND IT’S ONLY YELLOW VINYL TOO!

                                          Jeff Burch

                                          Jeff Burch

                                            Jeff Burch's first solo full-length album is comprised of two expansive instrumental compositions anchored by beautiful old acoustic guitars and a modular synthesizer. He hoists his sounds up through the remnants of the 60's downtown drone spirit, through the fetid fruits of post-war central Europe and the scattered output of present-day suburban outsiders. The arrangements shift gracefully from floods of lush string texture to driving guitar and drum motif, from ebbs of brass and deep electric sine wave to thick hazes of clanging din and steely whine.

                                            Composed, recorded and mixed between 2010 and 2012. Recorded with Casey Rice/Designer (Tortoise, Dirty Three) at Classicx, Melbourne and Jamie Kennedy (of Surf City) at Henry Street Studios, New York City Featuring guest percussion by Stephen James (Songs, Rand and Holland), electric guitar by Tres Warren (Psychic Ills, Compound Eye, Messages), tenor saxophone by Marcus Whale Mastered by Patrick Klem (Sonic Youth, Six Organs of Admittance, The Dead C) at Klemflastic Sound, Phoenix.

                                            Originally from the crystalline shores of northern New Zealand, Jeff now resides in New York City's torrid Lower East Side. Head of imprint The Spring Press, he has also founded numerous groups in both New Zealand and Australia.

                                            He Wasn't Just A Fifth Member Of Joy Division

                                            A Film About Martin Hannett

                                              For the first time an in depth examination of how the life of a Manchester boy growing up fascinated with sound equipment and records would lead to the making of some of the defining Manchester albums such as Joy Division's Unknown Pleasures and Closer,and the Happy Mondays' "Bummed".

                                              Advance reviews have said : "As in the best biographies, it’s almost as if the persona comes to life" Get Ready To Rock
                                              "This is no flash expensive BBC documentary, it's a gritty warts 'n' all tale of experimentation" Flipside

                                              The film features interviews with the following: Tony Wilson, Bernard Sumner- Joy Division and New Order, Peter Hook- Joy Division and New Order, Bruce Mitchell (Durutti Column/ Albertos), CP Lee (Albertos), Tosh Ryan, Lawrence Beedle, Tom McMaster, Steve Hopkins (Invisible Girls keyboards), Susanne Ohara (Hannett’s girlfriend during Music Force), John Hurst, John Scott ( guitar Invisible Girls etc), Dave Formula (keyboards in Magazine), Lindsay Reade ( Tony Wilson’s first wife), George Borowski, Kevin Hewick, Paul Adshead ( Engineer- Pennine Studios,Oldham), Dave Lunt, Mick Middles, Victor Brox ( Aynsley Dunbar’s Retaliation etc ), Bob Dickinson, Paul Burgess ( drummer 10CC and Invisible Girls), Mike Smith, Julia Adamson, Mike King, John Cooper Clarke, Reni (Stone Roses), Andy Couzens (Stone Roses), Pete Garner (Stone Roses), Andy Spearpoint (New FADS), Wendy Hannett –wife (interviewed 1996 and 2013), Neil Pointon, Tina Simmonds, Vini Reilly, Pete Farrow, Stuart Nevison (manufacturer of AMS delay), Graham Fellows (JiltedJohn –John Shuttleworth), Mike Litten- teenage gang member/schoolfriend, Pete Roberts- teenage gang member/schoolfriend, Ed McDonnell (Grateful Dead fan and union activist)
                                              Audio quote on Hannett – Bono, Audio interview with still photos only -Chris Nagle (Strawberry Studios), Short film interview quote 2010 -Mark Radcliffe, On screen quotes from Martin’s sister Julie.

                                              FORMAT INFORMATION

                                              DVD Info: 3 hours 47 minutes dvd / NTSC region 0.

                                              Martin Hannett

                                              Pleasures Of The Unknown

                                                204 page book by Chris Hewitt. The first factual book on how a Manchester boy into Biggles and William books and visiting bus garages would become a world renowned record producer who produced John Cooper Clarke, Joy Division, New Order, U2, Pauline Murray, Stone Roses and Happy Mondays and many more. Hannett's weird ways of studio working are examined in detail. Pleasures of the Unknown reveals new details of Hannett’s life on almost every page. Many are surprising, and all of them intriguing. The book covers a wider remit than the film, with more in depth interviews and discussions of Hannett's production techniques in the studio from a wealth of musicians and friends. Includes quite a lot of quotes from Hannett himself and quite a few rare photographs. Already receiving great advance reviews.

                                                The Brian Jonestown Massacre

                                                Revelation

                                                  Revelation is the first album that was fully recorded & produced at Anton’s recording studio in Berlin. It is the 14th full length release from the Brian Jonestown Massacre recorded from late 2012 to early 2014. With Anton Newcombe refining the 13 tracks that appear on the album.

                                                  Featuring Ricky Maymi an original member of the band playing on this album. It also features Joachim Alhund (Les Big Byrds), Constatine Karlis (Dimmer), & Ryan Van Kriedt (Asteroid #4). Plus vocal performance in Swedish by Joachim Alhund (Les Big Byrds) on the opening track.

                                                  This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe.

                                                  FORMAT INFORMATION

                                                  2xLP Info: 180 gram translucent and opaque coloured vinyl double album.

                                                  Her Name Is Calla

                                                  Navigator

                                                    Navigator is the third album by Her Name is Calla and their first through Function Records. It follows on from their critically acclaimed album The Quiet Lamb. Written over the course of the last three tumultuous years as life, death, distance, divorce and everything else in between tried its best to pull the band apart. It retains the bands own personal sound of soaring strings, and crescendos with footing equally in rock, electronica and folk.

                                                    The album was written largely by Tom (Vocals/guitar) and Adam (Drums/keys) sending countless demo’s to each other over several years. Navigator is a story of dreams that fail and do not materialise as youth slips away. It is the story of leaving one life behind and heading into the unknown of another. It is a story of losing love, life, faith and identity, and the great depression that brings. More importantly, it is about finding the way back home again.

                                                    Various Artists

                                                    Too Slow To Disco - Volume 1

                                                      "Soft rock, vanilla funk, yacht rock... they're all different names for the same thing. Gone are the days when people laughed at the LA sound from the late 70s / early 80s era with its super-smooth, lavish, luxury-laden excesses. This sound is everywhere these days, echoing down the years, influencing the likes of Midlake, Haim, Gonzales, John Grant, Ariel Pink, out to the more discofied sounds of Chromeo, Breakbot, and Todd Terje. And what was Daft Punk’s "Random Access Memories", if not an album entirely dedicated to late 70s LA? Our friends at the label How Do You Are? unearthed some of the lesser-known but still beautiful mood music of this period, by people who were often still starting out, or would write their biggest hits years later, but who surfed the West Coast wave penning some total gems. With this first volume of "Too Slow To Disco" they want to share some of the great acts and songs that made the mid-late 70s California scene so awesome. Even though this is not officially a City Slang release, we helped the guys who curated this gem. Because we love the stories behind the music and we love the chills these tunes send down our spine."

                                                      Shawn Lee

                                                      Golden Age Against The Machine

                                                        Golden Age Against The Machine is a total passion play. A living audio love letter to The Golden age of hip-hop. For Shawn this spans the early 80s to mid 90s. Like many other musicians, sample based production effected him deeply. It permeated the how and what of his musical performances. The sonic qualities of his productions, the arrangements and his drumming, in fact his whole approach.

                                                        Hip-hop at it's best was fresh raw and unconventional. There is something magical about grabbing a loop from an old funk record and layering it with some strings from an easy listening record and pitching down a horn stab from a jazz record and a guitar lick from a psych rock Record and then pinning it down with a fat beat!!! Shawn loves the pick and mix aesthetic of hip-hop music. His personal connection goes back to the early 80s, playing live accompaniment on drums vamping on Chic's Good Times while budding rappers would pass the mic doing their bedroom rhymes. A year or 2 later, playing Rufus’ Ain't Nobody while b-boys break danced to it. From there, he moved on to programming beats on Linn drums, Dmx's, SP 12 & 1200's and MPC drum machines. Not to mention, he is the same "Shawn Lee" that made all those drum break records back in the 90's. So he’s not new to this, simply true to this!!!

                                                        In terms of inspiration, Prince Paul and De La & and his old friends The Dust Brothers producing the Beastie’s Paul's Boutique, laid down the gauntlet/blue print for sample based productions. 3 Feet High still stands tall for him after all this time. For Golden Age he employed a similar mind set for much of the album except for not using samples. He played everything from scratch, this includes every one note stab, lick and drum beat. Every little nugget a production in it's own right. It certainly kept him busy and was a rewarding process. “There ain't no school like the Old School Y'all “… This is Golden Age Against The Machine. Sure shot!!!!


                                                        Cannonball Adderley

                                                        Somethin' Else - Remastered Vinyl Edition

                                                          Recorded in March of 1958, Cannonball Adderley’s 'Somethin’ Else' was recording during the era when Adderley was part of the Miles Davis Sextet. Featured on the album are Adderley on alto sax along with Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass and Art Blakey on drums. Of note, this is one of the few post-1955 appearances of Miles Davis as a sideman.

                                                          Blue Note President Don Was says, “Two years ago, we began remastering the jewels of the Blue Note catalogue in hi-def resolutions of 96k and 192k. In order to develop a guiding artistic philosophy for this delicate endeavor, we donned our lab coats, ran dozens of sonic experiments and carefully referenced every generation of our reissues. Ultimately, we decided that our goal would be to protect the original intentions of the artists, producers and engineers who made these records and that, in the case of pre-digital-era albums, these intentions were best represented by the sound and feel of their first-edition vinyl releases. Working with a team of dedicated and groovy engineers, we found a sound that both captured the feel of the original records while maintaining the depth and transparency of the master tapes... the new remasters are really cool!

                                                          While these new versions will become available in digital hi-def, CD and Mastered for iTunes formats, the allure of vinyl records is WAY too potent to ignore. This year, Blue Note - along with our friends at Universal Music Enterprises - is launching a major 75th Anniversary vinyl Initiative that is dedicated to the proposition that our catalogue should be readily available, featuring high quality pressings and authentic reproductions of Blue Note's iconic packaging. Although this program begins in celebration of Blue Note's 75th Anniversary, our catalog runs so deep that we will faithfully be reissuing five albums a month for many years to come!”

                                                          Herbie Hancock

                                                          Maiden Voyage - Remastered Vinyl Edition

                                                            Arguably one of Herbie Hancock’s greatest album from the ‘60s, 'Maiden Voyage' is his fifth album, recorded by Rudy Van Gelder in 1965. Featuring five original Hancock compositions, 'Maiden Voyage' features Freddie Hubbard on trumpet, George Coleman on tenor sax, Hancock on piano, Ron Carter on bass and Anthony Williams on drums.

                                                            Blue Note President Don Was says, “Two years ago, we began remastering the jewels of the Blue Note catalogue in hi-def resolutions of 96k and 192k. In order to develop a guiding artistic philosophy for this delicate endeavor, we donned our lab coats, ran dozens of sonic experiments and carefully referenced every generation of our reissues. Ultimately, we decided that our goal would be to protect the original intentions of the artists, producers and engineers who made these records and that, in the case of pre-digital-era albums, these intentions were best represented by the sound and feel of their first-edition vinyl releases. Working with a team of dedicated and groovy engineers, we found a sound that both captured the feel of the original records while maintaining the depth and transparency of the master tapes... the new remasters are really cool!

                                                            While these new versions will become available in digital hi-def, CD and Mastered for iTunes formats, the allure of vinyl records is WAY too potent to ignore. This year, Blue Note - along with our friends at Universal Music Enterprises - is launching a major 75th Anniversary vinyl Initiative that is dedicated to the proposition that our catalogue should be readily available, featuring high quality pressings and authentic reproductions of Blue Note's iconic packaging. Although this program begins in celebration of Blue Note's 75th Anniversary, our catalog runs so deep that we will faithfully be reissuing five albums a month for many years to come!”

                                                            40 Thieves

                                                            The Sandpiper / The Sky Is Yours - Psychemagik / Cantoma Remixes

                                                              With the debut 40 Thieves album already on the shelves Leng follows up with some high quality remixes from Psychemagik and Cantoma.

                                                              Remixers and producers of the moment, Psychemagik, jump into one of the albums mellower cuts, ‘The Sandpiper’ beefing up the drums and taking the cosmic elements into a new dimension making it one of their finest remixes to date.

                                                              Cantoma aka Phil Mison takes a break from his trademark laid back style and revisits the classic house sound for his remix of ‘The Sky Is Yours’. He reworks Alona’s vocals over a throbbing bassline, old school keys and piano breakdowns. One for the dancefloors.

                                                              Paqua

                                                              The Dubs




                                                                FORMAT INFORMATION

                                                                10" Info: Limited white vinyl pressing.

                                                                Jack White

                                                                Lazaretto

                                                                  Ralph Jones

                                                                  The Slumber Party Massacre - Original Score

                                                                    Death Waltz Recording Company would like to extend to you a very special invitation: a first-class ticket to THE SLUMBER PARTY MASSACRE and its energetic electronic soundscape. Ridiculed on release but later celebrated by some as a feminist parody of slasher films, the picture is fueled by Ralph Jones’ synth score that remembers the first rule of comedy: never let the audience know you’re in on the joke. Away from the film, the music retains a sense of wit and playfulness amidst the tension that makes it a riot to listen to.

                                                                    Jones’ score wears its influences on its sleeve, with nods to the giants of the world of musical horror – JAWS and HALLOWEEN – as well as a more gothic sensibility, with parts sounding like they should come from an electric organ in an ancient cathedral. He ramps up the tension using rhythmic pulses and atmospheric electric piano, with shrill background parts that sound like a field full of electronic crickets. And his talent for creating catchy melodies is certainly demonstrated here, with not only upbeat and bouncy tones but also haunting motifs that make you uncomfortable with the greatest of ease. Another synth spectacular that will guarantee you have a great time, whether you’re slumbering, partying, or massacring.

                                                                    FORMAT INFORMATION

                                                                    Ltd LP Info: 180gm coloured vinyl housed in a bespoke tip on jacket featuring all new sleeve notes from composer Ralph Jones and artist Luke Insect. Also include a fold out poster and 10 x 12 booklet.

                                                                    Then Thickens

                                                                    Death Cap At Anglezarke

                                                                      Recently joining stablemates Nine Black Alps as the latest addition to Leeds-based Hatch Records (ex-Brew Records), Chorley-based six piece Then Thickens are pleased to announce that they will be releasing their debut album Death Cap At Anglezarke on 5th May. The band have already revealed the first song taken from the album ‘Restart Your Heart’ and after sharing their new single via highly respected new music blog Gold Flake Paint, the Vice magazine music channel Noisey have just premiered the video for ‘Tiny Legs’ featuring Joe Gilgun, star of Shane Meadows’ film This Is England. The band have been championed heavily by Steve Lamacq while fellow BBC 6 Music DJs Jarvis Cocker, Gideon Coe and Huw Stephens collectively lost their marbles too. Those with keen observational powers may remember front man Jon-Lee Martin from the vaguely terrifying masked noise-mob KONG who released their one and only album ‘Snake Magnet’ in 2009 on Brew Records. Originally starting life as a home studio project from Martin, after some encouragement from close friend Jorma Vik from The Bronx a series of lo-fi recordings appeared online, which proved to be a prototype for the current Then Thickens incarnation. Now years later and with a full band behind him, which includes former Rolo Tomassi member Joseph Thorpe on bass, Then Thickens are now ready to take things further and in a very different direction to previous outifts with their blend of lo-fi slacker pop and college rock. Following support slots with Biffy Clyro (whose Simon Neil recently praised the band’s “Dirge-y pop music” in NME) and Mariachi El Bronx, the sextet will be hitting the road hard in 2014 with more tour dates and festival appearances to be announced.

                                                                      Satisfaction

                                                                      Three Ages Of Man

                                                                        Whilst poruing though twenty or so unmarked reel-toreel tapes Derek Griffiths, formerly The Artwoods, one of the most revered and in fact the highest paid 60s band, Art Woods brother is Ronnie of The Rolling Stones (cf. a big deal). Derek and Rich Searle (Acid Jazz) came across a red tape box… Artist - Satisfaction. Date - 28.4.71. ‘A jazz-rock album,’ Derek explained, ‘a cross between Blood Sweat And Tears and early Chicago but without organ. Hammond organ smothers the horns.’ The studio engineer carefully cued up the forty-year-old quarterinch tape and pressed play. As we listened, arms goosed, neck hair bristled, we fell silent, it was a trip. Derek endeavoured to shed more light. ‘It’s a concept album, written on the road about the road.

                                                                        This album is a lost gem, a forgotten chapter from the British Rock Chronicles, a diamond in the rough. Three Ages Of Man marks the three influences fused within the group’s musical DNA. Strong and inventive jazz arrangements, a horn section at its creative peak. The acoustic testament of melodic song writing, hearts rinsed from the treadmill of touring. And finally, a solid rock ’n’ roll foundation that betrays the early blues roots of its players. This album is a journey that ends where it begins, tour madness, ecstatic melancholy and the soaring highs that thrill and counter the heady abstractions and repetition of life on the road. A lost concept album, from the combined talents of some of Britain’s most influential R&B musicians, might arguably elevate that cardboard box to Holy Grail status.

                                                                        What time is it Mr. Terje? “It’s Album Time”. Indeed it is. In the course of the last decade, Terje Olsen has ascended from trainee astrophysicist, acclaimed balloon artist and occasional cocktail critic to be crowned Prince of Norse Disco, without even having to release an LP. His exceptional “Eurodans” on Full Pupp announced his arrival on the beardo disco scene, and killer remixes of the likes of Lindstrom, Antena and Studio made it clear he wasn’t a one hit wonder. Next came the slew of classy disco edits, which spread across the web like a low bitrate fire, saving many a DJs life in the process, and soundtracking every decent bar in the Western World for about five years. Since then our Todd has risen to the top of the disco world with a string of flawless original productions which have dominated end of year charts in recent years.

                                                                        And so now we come to his debut full length, which sees Terje taking a step away from the club to offer a refined home listening experience. The producer marries the louche charm of exotica with a synthesizer obsession, pairs Latin rhythms with Fjord melodies and does it all with a great sense of humour. Old classics “Inspector Norse”, “Swingstar” and “Strandbar” all feature, with the latter segueing beautifully into the rampant Carpenter-esque “Delorean Dynamite”, lending their expansive melodies and driving pulse to the record. Elsewhere, “Leisure Suit Preben”, “Preben Goes To Acapulco”, “Svensk Sas” and “Alfonso Muskedunder” take us on jazzy diversions into an alternate reality of 60s hula bars, with scatting vocals and meandering solos. The hotly anticipated Bryan Ferry collaboration, a cover of Robert Palmer’s “Johnny and Mary” is the only vocal cut on the LP and provides a moment of sentimental beauty as the Roxy Music man’s vocals sit perfectly on Terje’s arpeggiating synths. Mr Olsen has given us that rare gift, an electronic music LP which works perfectly as home listening, and comes fully realised as the complete package; “It’s Album Time” more than lives up to expectations. 

                                                                        Danny Brown

                                                                        Old - Deluxe 4xLP Box Set

                                                                          Danny Brown is a true rap original. His songs are as profane as they are profound, mixing heartfelt personal narratives and razor-sharp social commentary with hedonistic party beats and hysterical, pitch-black punchlines. His latest opus, Old, is an emotionally-charged concept album mixing hip-hop grit with electronic club sonics and much more. Featuring guest spots from A$AP Rocky, Schoolboy Q, Freddie Gibbs, Purity Ring, Charli XCX, and more over production from the likes of A-Trak and Rustie, Old was universally praised on its release by the Guardian, Rolling Stone, Pitchfork, NME, Mixmag, the New York Times and everywhere in between and it became a staple of 2013 Best Of lists. Now the acclaimed album is available on vinyl for the first time ever cementing Old’s classic status as a psychedelic portrait of rap's most vital and exciting new star.

                                                                          FORMAT INFORMATION

                                                                          LP Box Set Info: The Deluxe Box Set includes: 180 gram 4 x 12” pressing (full album + exclusive instrumental LP) / full lyric booklet with liner notes / 24” fold out cover art poster / collectors box with individual 12” sleeves.

                                                                          Danny Brown

                                                                          Old - Vinyl Edition

                                                                            Danny Brown is a true rap original. His songs are as profane as they are profound, mixing heartfelt personal narratives and razor-sharp social commentary with hedonistic party beats and hysterical, pitch-black punchlines. His latest opus, Old, is an emotionally-charged concept album mixing hip-hop grit with electronic club sonics and much more. Featuring guest spots from A$AP Rocky, Schoolboy Q, Freddie Gibbs, Purity Ring, Charli XCX, and more over production from the likes of A-Trak and Rustie, Old was universally praised on its release by the Guardian, Rolling Stone, Pitchfork, NME, Mixmag, the New York Times and everywhere in between and it became a staple of 2013 Best Of lists. Now the acclaimed album is available on vinyl for the first time ever (in gatefold 2xLP version) cementing Old’s classic status as a psychedelic portrait of rap's most vital and exciting new star.

                                                                            Hidden Orchestra

                                                                            Archipelago Remixes Part 2 - Inc. Dam Mantle / Mungo's Hi Fi

                                                                              The second in the Archipelago Remixes EP series brings more stunning new versions of tracks from Hidden Orchestra’s second album, ‘Archipelago’. Established and rising stars - Dam Mantle, Mungo’s Hi Fi, Floex and submerse - work their magic on producer and band-leader Joe Acheson’s original productions, across two 10” records in a hand-stamped and numbered sleeve, limited to 500 units worldwide.



                                                                              Stephan David Heitkotter

                                                                              Black Orckid

                                                                                Deluxe Reissue Of The Legendary ’70s California Bedroom Psychedelic Album. Restored/remastered transfer and never-before-heard demos. 32-page booklet contains dozens of unpublished photos and images and a thorough investigation into this exceedingly rare artifact. “… banging garage downer LP from the twilight zone … raw & wasted.” Paul Major. Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publisher’s reject bin, with nothing more than that word scrawled across a plain white jacket. Now-Again Records embarked some years ago on what seemed like a fruitless crusade – to find out more about this Heitkotter, his music, his story. In the process, we’ve visited the house where this confounding album was recorded, found Heitkotter’s musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. It’s safe to say the world has never heard something like Heitkotter – it is a unique piece of art unlike anything that came before or has come after it. The bizarre LP known as Heitkotter – recorded in around 1971 and pressed in a run of less than twenty five copies - was the culmination of one Stephen David Heitkotter's artistic career. Ross Dwelle, Stephen’s childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio “trying to play five songs written by a man losing his mind… probably stoned the whole time.” Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it - is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as “outsider” art. It’s a rare and vital look at 60s and 70s American rock through the sad story – and incredible music – of an untethered soul. And as we hope to show in enlightening more of Stephen’s backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephen’s music is as close to the sublime as American rock has ever ventured.

                                                                                K. Leimer

                                                                                A Period Of Review (1975-1983)

                                                                                  For the third installment in RVNG Intl.’s archival series, the tape is wound back to 1970s Seattle, home place of ambient music savant K. Leimer. A Period of Review (Original Recordings: 1975–1983) unearths unreleased portions of Leimer’s vast archives and highlights the work of a self-taught visionary whose use of generative compositions ferried his music to infinite resonance. Kerry Leimer was born in Winnipeg, Canada. He was raised in Chicago before his family permanently settled in Seattle in 1967. Kerry’s teenage interests and artistic experiments blossomed from the seductively strange tendrils of Dadaism and Surrealism. In the early 70s, Leimer found musical parallels to these visual movements by studying import copies of NME and Melody Maker and inquiring with local record store clerks about the exotic descriptions he read of Can, Neu! and Faust - innovators who were bringing the wild dictates of 60s artdiscourse
                                                                                  into music. The tape-manipulated serenity Leimer experienced with Cluster’s II was a key revelation. Leimer realized the potential to compose with minimal training and scoured pawnshops for cheap instruments and recording equipment to transpose his wayward musical instincts. Leimer’s sound palette and composition soon refined and heightened with the accessibility of dynamic equipment such as the Micromoog and TEAC multi-track tape machines. Synchronously, the Terry Riley indebted loop-based compositions of Robert Fripp and Brian Eno’s No Pussyfooting inspired Leimer to form recursive musical passages of bare timbre and melody that would become hallmarks of his sound. “The loop provided an instant structure—a sort of fatalism,” recollects Leimer in A Period of Review’s liner notes. “The participation of the tape machine in shaping and extending the music was a key to setting self-deterministic systems in motion and held a clear relationship to my interests in fine art.” The underground music scene of Seattle/Olympia in late 70s was small but seeded. The vestiges of prog rock pompously pummeled the few clubs and record shops before punk and New Wave became the rage. Leimer sought to support a growing community of experimental composers by launching the Palace of Lights record label in 1979 with his wife Dorothy Cross (this was years prior to the birth of regional titans K Records and Sub Pop). Leimer rarely performed live, averting the litmus of instant appreciation for his solitary studio pursuits. Tellingly, the “K.” that abbreviated Leimer’s first name was a nod to Kafka’s doomed pariah Josef K (from The Trial and The Castle). This gives a sense of the reclusive and literary realm Leimer was fond of working in. Despite his reticence, Leimer’s debut 1980 album Closed System Potentials would reach a receptive audience, and eventually sell more than 3,000 copies thanks in part to Cross’s persistent advocation to independent distributors and magazines. A Period of Review focuses on unheard material outside of the work Leimer offered on Palace of Lights, though even that music could be considered relatively “unheard.” The thirty tracks of A Period of Review may have remained a mystery on moldy reels until now, but Leimer’s entire catalog of generative music remains pristine in its absolute power. Liner notes were crafted by Seattle writer David Segal. Top-tier mastering was done by Greg Davis, who produced the compilation with Palace of Lights artist Robert Carlberg, RVNG and Kerry Leimer himself, who continues making music to this day.

                                                                                  FORMAT INFORMATION

                                                                                  2xLP Info: Double LP packaging features unique reverse flap exterior, full color Eurosleeves, 16-page booklet and download card

                                                                                  CD Info: CD packaging features unique reverse flap exterior, full color inner sleeve, and 20-page booklet.

                                                                                  To Rack & Ruin comes thundering your way slap bang in time for Summer courtesy of our Italian disco brother in arms DJ Rocca and his compardre N2B.The usual high standard of sounds are as present as ever on the 6th instalment of our edits and reworks imprint.
                                                                                  "Get Up" hits you with a rolling bassline that brims with plenty of pant flapping groove & wah wah guitar licks before that ever so familiar vocal kicks in for a full on Reggae Disco workout. "Weird Safari" certainly lives up to its name - a stripped back, dark & almost Techno sound, alongside tinkering percussion and spaced out wild animal noises surely make for a weird safari. "Dubby Pino" has you from the off, all the foot stamping & money shaking elements are present - hooky guitar, fat bass loop, infectious percussion, soulful vocal licks and a gorgeous little piano break.
                                                                                  "Mr Rossi's Backpain" starts off by getting the award for the best song title we've ever had on Rack & Ruin, but as well as that it's in the proper groovy dance floor tackle category with a bassline & guitar that commands your respect and then when the 4/4 kicks in at 1 min, well just have a listen.

                                                                                  Following on from the massive Finger Edits release in October last year we're thrilled to welcome back Reverend P for another home run on Basic Fingers.
                                                                                  The A-side 'Angels In Africa' is a deep and soulful uptempo number. The smooth percussion infuses softly with its modern synth textures and provides the perfect backing to bumping in your '85 Pontiac parisienne. On the flipside the good Reverend is offering another rework so tasty your dancefloor will be munching out of the palm of your hand , 'Just In Strawberry'.

                                                                                  Beginning in 2011 with a series of white label releases, Dense & Pika’s few but astutely plotted steps have propelled a rapid rise to prominence.

                                                                                  A heavy focus on analogue equipment, releases on Hotflush and the recent development of a live performance have enabled them to stamp an indelible mark on modern Techno with their success being largely attributable to the clarity and consistency of their output.

                                                                                  Brash hats, concrete kicks and febrile breakdowns form the foundations of their productions. In a natural progressive step the duo are now channeling focus towards using their own imprint to explore the wider potential of their canon in amongst the company of others.

                                                                                  Introducing ‘Kneaded Pains’ - an outlet allowing Alex and Chris to bring new and established artists together under a shared love of bullish and brazen Techno.

                                                                                  Stepping in for the inaugural release is Sheffield born James Welsh. The Hypercolour affiliate follows up a slew of successful releases and engineering work for Reverend and the Makers with his ‘Gentinetta’ EP.

                                                                                  Due for release on the 5th of May the EP sees James detach himself somewhat from his habitual sound as he clings to the remit and delivers three cuts as bold as they are banging.

                                                                                  KP001 shows Kneaded Pains beginning as they mean to go on. With the introduction of the label, shows across the U.K and Europe and Dense & Pika appearing as guests on Skream’s Radio 1 show there’s no sign of upward momentum slowing.

                                                                                  Rodrigo Y Gabriela

                                                                                  9 Dead Alive

                                                                                    Acoustic rock maestros Rodrigo y Gabriela are back with their new album: “9 Dead Alive”, recorded and produced by Rod & Gab at their studio in Mexico. Mixing was handled by Andrew Scheps (Black Sabbath, Adele, Metallica, Lana Del Rey). “9 Dead Alive” sees Rodrigo y Gabriela playing face to face, guitar versus guitar, bursting with melodic energy and rhythmic invention.

                                                                                    Recorded at their Pacific Coast hideaway in late summer, the album captures the warmth and spontaneity of two great musicians riffing and jamming together; perfectly distilled into 9 new songs teeming with desire, elegance and gusto. Each of the songs on the album is a personal celebration of individuals who have passed on, but through their deeds and words still resonate in the 21st century.

                                                                                    Going as far back as Eleanor of Acquitaine (1122 – 1204) to Viktor Frankl (1905 – 1997), and including a tribute to one of Rod & Gab's enduring touchstones – animals and nature. This diverse and fascinating list will strike a chord with anyone familiar with the duo's passion for human rights, literature, history and philosophy.

                                                                                    FORMAT INFORMATION

                                                                                    2xCD/DVD Info: DVD includes The Making Of / Live At Red Rocks / Live In Studio tracks and a 30 minute guitar tutorial!

                                                                                    Broken Twin

                                                                                    May

                                                                                      Broken Twin releases her debut album ‘May’ through ANTI-. Self-produced and mixed by Ian Caple (Kate Bush, Tindersticks, Tricky) and Brian Batz, Broken Twin is the synonym of 25-year-old Danish songwriter Majke Voss Romme - she recently supported Daughter on their European tour, and followed it with a special guest tour slot to James Vincent McMorrow. Press quotes include:

                                                                                      “Broken Twin is the most arrestingly beautiful songwriter we’ve heard in aeons.”- NME

                                                                                      "Piano, violin and subtle loops form a minimalist soundscape of songs full of longing (...) One is reminded of the great Hope Sandoval." - ROLLING STONE (DE)

                                                                                      "Her music is sparse, expansive and centered around delicate, affecting vocals.(...) It captures the sense of Nordic loneliness through a fragile piano line and softened vocal harmonies.” - PASTE Mag (US)

                                                                                      Franz Ferdinand

                                                                                      Fresh Strawberries

                                                                                        Fresh from their UK tour, Franz Ferdinand release the latest single from their acclaimed fourth album ‘Right Thoughts, Right Words, Right Actions’.

                                                                                        The single, featuring Roxanne Clifford of Veronica Falls on guest vocals, was produced by Prince House Rabbit and features B side ‘Erdbeer Mund’, a new German language track.

                                                                                        Limited to 350 copies in the UK and Eire on 7” heavyweight vinyl.

                                                                                        Balthazar

                                                                                        Leipzig

                                                                                          New single from the Belgian quintet, written while on the road across Europe with labelmates Editors in 2013.

                                                                                          Limited edition 7” (100 units for the UK).

                                                                                          Features acoustic B-side recorded for Studio Brussels, released physically here for the first time.

                                                                                          ‘Leipzig’ serves as a taster for the band’s hotly anticipated third album, currently in production.

                                                                                          Various Artists

                                                                                          Punk 45: Sick On You! One Way Split!

                                                                                            Soul Jazz Records’ new ‘Punk 45’ album is a collection of tracks of twisted, raw and energized proto-punk music from the early 1970s, ahead-of-its-time music which led the way for the birth of punk in the second half of the 1970s.

                                                                                            ‘Punk 45: Sick On You! One Way Spit! After The Love & Before The Revolution: Proto-Punk 1969-77’ is the third volume in this series, following on from two earlier albums as well as Soul Jazz Records’ massive 400-page ‘Punk 45’ cover art book (compiled by Jon Savage, author of the seminal punk book ‘London’s Dreaming’, and Stuart Baker of Soul Jazz Records). This new album is compiled and has extensive sleevenotes by Jon Savage.

                                                                                            While the first in the series, ‘Punk 45: Kill The Hippies! Kill Yourself!’, focused on the rise of underground punk in America, and the second album, ‘Punk 45: There Is No Such Thing As Society’, did the same for punk and post-punk in Britain, this album draws upon some of the stripped-down hard garage and post-glam sounds of mainly obscure bands that existed in the early 1970s - that were to prove the template for the forthcoming punk movement. · This new ‘Punk 45’ album is a unique collection of proto-punk tracks from across the USA - Cleveland’s Electric Eels, San Francisco’s Crime, Los Angeles’ Zolar X, Baltimore’s George Brigman and more - as well as from the UK, with Joe Strummer’s pre-Clash 101ers, the speed-induced R&B of the Count Bishops and others.

                                                                                            The album comes complete with text, biographies on each of the bands, exclusive photos and original record artwork.

                                                                                            The album is released on CD with outsize large booklet and thick slipcase and is also available as a limited-edition, super-loud, superheavy, double gatefold-sleeve vinyl edition, complete with full sleevenotes and free download code.

                                                                                            French duo from Paris. All ready support by Chloé, David Shaw, Tim Paris, Dombrance among others.

                                                                                            Three tracks : Scandale, Lame de Fond & El Topo mixed by Black Joy

                                                                                            Artwork : handmade by Apollo Thomas

                                                                                            HOT!!!

                                                                                            Pure X

                                                                                            Angel

                                                                                              On their third album, ‘Angel’, it’s clear that Pure X have - and always have had - an uncompromising musical vision. Over the course of each full length the band has tirelessly reinvented themselves, opting to stay true to their own sensibilities rather than placate expectations or regurgitate a ‘successful’ sound. After wooing both critics and audiences alike with their seductive, submerged in-reverberation debut ‘Pleasure’ the band pulled an about-face on their sophomore album ‘Crawling Up The Stairs’, crafting a follow up that emphasized textural clarity and raw emotionality over its predecessor’s intoxicating soundscapes.

                                                                                              Now on their third album, their first as a quartet, the internal upheaval of ‘Crawling Up The Stairs’ has fully dissipated and given way to a new found serenity, a calm which finds the band in its most potent, refined, and elemental form yet.

                                                                                              “Sophisticated and self-aware” - Pitchfork

                                                                                              “Brilliance explored in a space of fragile ambience and mottled sonic adornments.” - Dummy

                                                                                              The Icypoles

                                                                                              My World Was Made For You

                                                                                                The Icypoles grew out of a soundtrack to an experimental film. During the recording Isobel Knowles discovered a love for 60s girl group garage bands and film music that creates a particular dark ambience. She started the band with her best friends Tara Shackell and Kim White and together they became The Icypoles.

                                                                                                Tara and Isobel were invited to join Architecture In Helsinki soon after The Icypoles started playing to audiences and there was a long pause in the development of the band while AIH toured the globe. However, the idea stayed strong and more songs showed their faces over the years.

                                                                                                The time came to take The Icypoles more seriously. The band found a new drummer, Lani Sommer, and together went into the recording studio (a kitchen in a temporary house). The recordings were interspersed with shows around Melbourne and small tours (Sydney, Stockholm and New York City!). A cassette came out in London with Sexbeat zine in 2010. UK label Kooky Discs invited the Icypoles to release a limited edition 7” in 2011.

                                                                                                Then came a more serious stint in the recording studio with producer Haima Marriott (Architecture In Helsinki, Still Flyin’) and the mixing process began. Isobel and Haima had worked together on those first soundtrack recordings and revisited their recording experiments.

                                                                                                Gentlemen! Put down your 909s! This is CLAIRE and she is hitting it way harder than you. "PERFUME" is a techno that sucks the air out of the room and charges the void with an inescapable atmosphere of enchantment and control. Distilled from smoke and mirrors and spun from the hypnotist's lyre, her machinery leaves its trace everywhere, as fragments of desire dissolve into the presence of total submission. An intoxicant of the most refined beauty. Absolutely deadly!

                                                                                                Osunlade

                                                                                                Peacock

                                                                                                  Osunlade returns with his latest full length album, 'Peacock'. Recorded in homage to the Orisha Ochun, an album about love relations, the heart, acceptance, vulnerability and change.

                                                                                                  While love is the reason, funk is the cause. With the exception of the albums two electronic explorations the album is fully realized in classic analog soul funk with Osunlade taking the reigns of all or most instrumentation and vocals. A very personal one indeed, yet this 8 song continuous play takes us back to the beauty of music listening.

                                                                                                  Chet Faker’s first EP release, 2012’s ‘Thinking In Textures’, marked the arrival of a truly unique talent and began a dream run for Australia’s freshest new artist. Two years in the making, his full-length debut brings together all of his influences, from house to R&B, and fuses it together with his smoky vocals. ‘Built On Glass’ is set to truly cement Chet Faker as one of the most unique artists of 2014.

                                                                                                  Hercules And Love Affair

                                                                                                  The Feast Of The Broken Heart

                                                                                                    Various Artists

                                                                                                    Horse Meat Disco Volume IV

                                                                                                      The globe trotting quartet of nightlife savants otherwise known as Horse Meat Disco has once again given the world an invaluable musical resource, in the form of the fourth installment in their compilation series. With more than two years having passed since the last collection, there’s been plenty of time to amass exciting tracks both new and old, and Horse Meat Disco Volume IV is brimming with quality.

                                                                                                      Ruf Dug

                                                                                                      Magnetic Atmosphere EP

                                                                                                        Spacey / synthy / dubby cassette-house from this Mancunian producer / deejay with releases on RUF KUTZ, PORN WAX, and more. Even dubbier version by the LECTRIC SANDS crew along with two 5AM cosmic-synth jammers: "RUFFY'S DAY OUT" and "LATE CRUISE". White label style in paper sleeves. Due June 14.

                                                                                                        J Dilla

                                                                                                        Give Them What They Want - Clear Vinyl Edition

                                                                                                          The Estate of James Yancey revived J Dilla’s PayJay Productions as a functioning imprint and announced its release of Dilla's long lost vocal album, The Diary. Thus far, two limited edition EPs - "Anthem" b/w “Trucks” and “Diamonds” b/w “Ice” – have seen release. “Give Them What They Want” is the last EP that will be released before The Diary is unleashed in full. “Give Them What They Want” is a special treat – an unheard J Dilla-produced vocal track that has never before been released. It is paired on this release with the Super Dave West version, entitled “The Doe,” and a second West-produced track, “No One’s Home.” “Give Them What They Want” was mixed by Dilla himself, and its component instrumental was mixed down to match Dilla’s vocal version by Dave Cooley, from Dilla’s original multi-track sessions. The first press of this 12” features clear vinyl atop a Jeff Jank-altered photograph by James T. & Karla L. Murray from their lauded book Store Front – The Disappearing Face of New York (Gingko Press) and an original label illustration by Denise Nestor. Subsequent runs will not have the clear vinyl or the fold-over plastic sleeve.

                                                                                                          Various Artists

                                                                                                          Decadubs 1 EP

                                                                                                            The first of the collective vinyl releases from the first of Hyperdub's 10th Anniversary compilations kicks things off with Mala’s ‘Expected (Level 10)’, a classic, rock solid, melancholy half-step bulldozer, with rich moog top melody. The second track is ‘Technical Difficulties’, an unusually dark and minimal piece from DVA, all swirling bass and punched in drums at a lumbering pace. Kuedo’s ‘Mtzpn’ is a downcast, rainy hip hop instrumental with splashy high hats and wavy chords. The EP finishes with Helix’s microedited take on Kode9’s ‘Xingfu Lu’, with the original track’s droney melody looped into tight repeating snippets over rugged 140 beats.

                                                                                                            Kyle Hall

                                                                                                            Girl U So Strong / Take Me Away

                                                                                                              Kyle Hall back on Hyperdub for our 10th Anniversary? - Yes please. In fact this is more or less a long delayed EP from the vaults, recorded around the same time as his 2010 ‘Kaychunk’ EP … which just goes to show how ahead of the curve the young Detroit producer is. Starting with 'Girl U So Strong', the track riffs on a distorted arpeggiating bassline, seasick organ and a dubbed out voice, and a flicking metronomic note, starting slowly before shuffling drums give the track some rhythmic focus. Soon a warm melody builds over some happy arpeggios, and the whole track feels like a product of brilliant spontaneous energy. 'Take Me Away' works an 8 bit bassline, bleeps and throbs into an off beat shuffle over a pulsing bass drum, loose and happy, dosed with sunshine and space.

                                                                                                              Various Artists

                                                                                                              Bosphorus Breaks Vol. One - Cassette Mix By Dom Thomas

                                                                                                                NN Tapes presents the first fruit in a series of vanity press mix tapes by Dom Thomas, each release strictly limited to 50 copies worldwide.

                                                                                                                For the label's second release they deliver 'Bosphorus Breaks Vol. One' which runs for an hour bridging the gap from sun drenched psychedelic folk to the untapped disco music of Turkey.

                                                                                                                Various Artists

                                                                                                                Discoid Bombay Vol. One - Cassette Mix By Dom Thomas

                                                                                                                  NN Tapes presents the first fruit in a series of vanity press mix tapes by Dom Thomas, each release strictly limited to 50 copies worldwide.

                                                                                                                  Beginning with two mixes from the hotspots of warped seventies sonic plagiarism; Bombay and Istanbul. Discoid Bombay Vol.1 features 55 minutes of acid drenched Disco Rock from India.



                                                                                                                  Various Artists

                                                                                                                  Disco Reggae Volume Two

                                                                                                                    Stix Records is a sub-division of Favorite Recordings specialized in the exercise of producing covers with a Reggae twist. Acclaimed in 2013 with a first official single by Taggy Matcher Birdy & Nixon (STIX033), quickly followed by the first volume of Disco Reggae (STIX035) compilation, Stix is back in 2014 with a scorching Disco Reggae Vol.2.

                                                                                                                    Following the success of its first volume, the Disco Reggae series also expands with this 9 tracks compilation, composed with 8 new and exclusive versions by artists such as Taggy Matcher, 7 Samuraï, Mato, or John Milk, and the classic cover of “Tainted Love” by Grandmagneto. But this time, if they still explore famous hits like “Watermelon Man” by Herbie Hancock or “Happy” by Pharrell Williams, they also dug within the home labels’ catalog, taking over some of the finest titles by Mr Day, Lee McDonald, Lucas Arruda or The Joubert Singers.

                                                                                                                    Again this time, their swaying renditions seem straight out of the smoky studios from Kingston or Montego Bay, while also remembering the 80s Pop-Reggae sound of artists like Grace Jones or the less famous Earons. Everything is mastered and cut at Carvery Records (UK), known for their expertise in Caribbean and Disco music. The vinyl LP comes in a deluxe version, housed in an old-school tip-on jacket.

                                                                                                                    Phantom Band

                                                                                                                    Strange Friend

                                                                                                                      Musically Strange Friend is the most straight-up set of recordings the band have put to wax. Fans of their previous critically-acclaimed albums, fear not; those burbling, fluttering electronics that drag their sound through a wormhole and out into the 70’s alongside the soundtracks of John Carpenter and the kosmische of Kraftwerk and Neu! remain; the elements of folk; the woozy organ sounds. The difference is now it feels as though an imaginary thread’s been pulled tight through it all; take Strange Friend's driving opening track and first single, ‘The Wind That Cried The World'.

                                                                                                                      Singer Rick Redbeard on the song "The verses have a kind of nursery rhyme musical naivety and we wanted the choruses to just sort of blast in. The lyrics were kind of stream of consciousness that alludes somewhat to the inherent meaninglessness and randomness of artistic creation. The whole track acts as a nice opener and first single; a sort of a statement of intent after being away for so long."

                                                                                                                      Strange Friend, like their previous outings, is the sound of six clearly distinct personalities attempting to inflict their will on the rest of the group – it’s no surprise the phrase “love/hate” is brought up repeatedly by all its members in an attempt to describe their relationship with the band as an entity – but it’s that fission between each other’s contributions that provides the intangible individuality of their music. “Like all true utopias it can feel impossible to maintain,” admits guitarist Duncan Marquiss. “But we'd have fallen apart long ago if any one band member took the reins, and that friction between people throws up music that no single person in the band would have imagined otherwise. I still hope our utopia will turn into whisky fountains and flying sandwiches.” It’s something that you can’t help but feel would be fully deserved for these most strange but wonderful returning friends.

                                                                                                                      The Mars Volta

                                                                                                                      De-Loused In The Comatorium - Gold Vinyl Edition

                                                                                                                        • 180 gram audiophile vinyl
                                                                                                                        • Printed innersleeves
                                                                                                                        • 60 x60 cm poster
                                                                                                                        • First pressing of 3500 numbered copies on gold coloured vinyl

                                                                                                                        De-Loused in the Comatorium is the debut full-length studio album by American progressive rock band The Mars Volta and was originally released in 2003. Based on a short story written by lead singer Cedric Bixler-Zavala and sound manipulation artist Jeremy Michael Ward, the concept album is an hour-long tale of Cerpin Taxt, a man who enters a week-long coma after overdosing on a mixture of morphine and rat poison.

                                                                                                                        The title of the album is taken from the lyrics of the song “Eunuch Provocateur”, which is included on the band’s debut EP, Tremulant. The cover artwork is by Storm Thorgerson, who also designed the artwork for the album Frances the Mute. The album is co-produced by Rick Rubin and The Mars Volta guitarist Omar Rodriguez-Lopez. As Eva Gardner, the original bassist, parted ways with the band, Red Hot Chili Peppers bassist Flea is featured at bass guitar player on the album.

                                                                                                                        The vinyl edition of the album was only released in the US in limited quantities and is a much wanted vinyl piece. Music On Vinyl is proud to reissue the album and to celebrate its release the first 3.500 copies are individually numbered and pressed on gold vinyl.

                                                                                                                        John Harrison

                                                                                                                        Creepshow

                                                                                                                          Waxwork Records is thrilled to announce their next LP release to the 1982 horror anthology classic, CREEPSHOW. The film was directed by George A. Romero and written by Stephen King. The score was composed and performed by John Harrison (DAY OF THE DEAD, TALES FROM THE DARKSIDE).

                                                                                                                          This definitive release of the film score has never before been released. The original master tapes of the CREEPSHOW film score were lost for over 30 years, but with the efforts of composer John Harrison and Waxwork Records, the tapes were located in the attic of Jeree Recording Studios in New Brighton, PA. The tapes remained in remarkable shape over the years and were re-mixed and re-mastered for vinyl. The CREEPSHOW score has never sounded this good.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          Ltd LP Info: 180 gram coloured vinyl (meteor shit green & ocean blue). Heavyweight casebound tip-on gatefold jacket with a satin coating. Director essay from George A. Romero. Composer essay from John Harrison. A built-in booklet featuring production stills, artwork, and liner notes. A satin coated 12x12 art print of The Creeper. Full album packaging artwork by Ghoulish Gary Pullin.


                                                                                                                          Naoki Shinohara entered the SPM universe via Earth Tones 3 along with Joey Anderson and Leonid Nevermind. Naoki's music is understated butt effective, and on the Dimensions EP He shows just how effective. Throughout the entire EP there is a quiet restraint that leaves the listener wanting more. Backed by a Reshape from the man himself Fred P delivers a laid back early morning piece of Nirvana. This is definitely one to have in your record bag...

                                                                                                                          USA Out Of Vietnam

                                                                                                                          Crushing Diseases And Incurable Airplanes

                                                                                                                            USA Out Of Vietnam have paired with Aurora Borealis to release their auspicious debut Crashing Diseases and Incurable Airplanes.

                                                                                                                            Their musical influences are both transparent and widespread, and include black metal, doom, drone, minimalist composition, sludge, noise, post rock, shoe-gaze, dream pop, nineties psychedelia and classic seventies radio dial pop. Particularly transparent is this love of pop music, dense seventies-style production, and harmonized vocals that swerves around hairpin turns. If you really wanted to try to harness this slippery eel you could say that the band's sound is as equally informed by the stacked production and pop savvy of Jeff Lynne's E.L.O. as it is by the crushing heavy drones of Sunn O)))).

                                                                                                                            On their debut, USA Out of Vietnam proudly boast of their love of lush harmony and infectious melody but also like to push past the 3 minute traditional pop format with 10 minute epics - psychedelic, in the truest sense of the word.

                                                                                                                            With over 15 guest musicians appearing on Crashing Diseases and Incurable Airplanes (including Montreal singer/songwriter Patrick Watson who contributes treated vocal loops on two songs here), their debut is vast in it's scope, and abundant with rich sounds. Brass sections elbow up to detuned and distorted Marshall stacked guitars, spoken word sections appear in unlikely spaces, vocoder vocals appear within breaths of angelic choir vocals, vintage synth and sampled noises hover over lush string sections while a piano beds down with crushing Swans-style pummeling. The lyrics across the album mirror the sound that surrounds them, with themes grasping towards redemption that search for a sliver of light hiding in the darkness.

                                                                                                                            Crashing Diseases and Incurable Airplanes slowly reels the listener in as opposed to attacking them with ballast and decibels. USA Out of Vietnam have created an enveloping and vivid piece of work - but flush that incense and peppermint flotsam out of your head because USA Out of Vietnam insist that this trip is for real.

                                                                                                                            "USA Out Of Vietnam is a four-piece Montreal band that doesn't fit neatly into any one specific genre. They combine elements of psych pop, prog rock, and drone pop so effortlessly that the resulting music is equal parts brilliant and confounding. The five track album is a heavy journey through various experiments with sound, making it a truly original project." - Noisey.com


                                                                                                                            Eat Lights Become Lights

                                                                                                                            Into Forever

                                                                                                                              Eat Lights Become Lights (ELBL) were formed in London in the winter of 2007 by Neil Rudd. The ELBL sound orbits around those of late 1970’s German electronica artists and more contemporary sonic explorers.

                                                                                                                              Gigging heavily since their conception, ELBL have steadily built up a reputation as a formidable live act, and the band have played numerous high-profile shows, including sold-out tours with New York electronic pioneers Silver Apples, acting as the backing band for Damo Suzuki of Can fame as well as being championed by BBC Radio 6 Music.

                                                                                                                              With the release of their debut single 'They Transmit' in May 2008, ELBL quickly gained critical praise from the likes of the NME, and record of the week slots from Manchester’s Piccadilly Records and Leeds’ Norman Records soon followed. The second single 'Klustered', released in April 2009 received a similar warm welcome. A third single 'Test Drive' was released in February 2011, the B side remixed by electronic music legends Silver Apples. The single was released on cult label The Great Pop Supplement and sold out in only 5 hours.

                                                                                                                              2014 will see the release of the 4th album, 'Into Forever'. Taking the trade mark ELBL sound Neil has ventured further into the sonic stratosphere. Soaring melodies and a more organic feel are the order of the day. Neil approached the recording of 'Into Forever' from a different direction to previous works. Spending many weeks sampling percussive elements, thumb pianos, ethnic instruments etc in order to create a more grounded musical framework to hang his melodic synthesizer parts on. Exploring a more diverse set of influences has created a more adventurous sound allowing for space to breath and adapt the music to a new found love of differing time signatures and tunings. Citing minimalist composers such as Steve Reich and Moondog as big influences on the new long player Neil has produced a set of tunes that will have you accelerating to attack speed before easing back into Moog led melodic passages that are sure to please any sonic adventurer.

                                                                                                                              “Eat Lights; Become Lights mix Krautrock rhythms and celestial drones to heavenly effect” NME

                                                                                                                              Young Magic

                                                                                                                              Breathing Statues

                                                                                                                                Reigning in the melodic chaos of their previous works, the dystopian beats on Young Magic’s second release were conceived in a new series of experiments. Producer Isaac Emmanuel and vocalist Melati Malay pieced together the album over the past year while on tour – recording in Morocco, France, Czech Republic, Australia, Iceland and their home studio in New York.

                                                                                                                                As a result, Breathing Statues unfolds in labyrinthine fashion, its surreal lyrics and ghostly harmonies emphasizing the record’s otherworldly intimacy, growing darker as the album progresses from the agile “Fall In” to the lurching chants of “Mythnomer.”

                                                                                                                                In the spirit of the album’s spontaneity, the band invited a harpist to improvise over their songs, layering celestial fragments over the record’s cavernous beats. The album operates in these extremes, with the airiness of Malay’s vocals set in sharp contrast with the claustrophobic doom of Emmanuel’s warped percussion.

                                                                                                                                With Breathing Statues, Young Magic’s series of audio experimentations coalesce into a new holographic landscape, showing a band progressing with ambition towards a sound uniquely their own.

                                                                                                                                Young Magic is the sonic pairing between Indonesian vocalist, Melati Malay and Australian producer, Isaac Emmanuel. Although currently based in New York, the eclectic outfit has recorded music whilst traversing the four corners of the earth.

                                                                                                                                After debuting a series of 7” releases on Carpark Records in 2011, the band took the stage at Iceland Airwaves and began touring globally, including main support tours with Youth Lagoon and Purity Ring. February 2012 saw the release of their full length, Melt with the likes of NPR, BBC, New York Times, XLR8R and a plethora of other publications and blogs singing the album’s praises. The group’s immersive visual show continued to expand throughout 2012 and 2013 with performances at Berghain, Austin Psych Fest and The Brooklyn Museum.

                                                                                                                                This year, the duo present a new gift from their explorations in their sophomore release, Breathing Statues. The album navigates through a labyrinth of phantom harmonies and crystalline beats, with cover artwork by longtime collaborator Leif Podhajsky. Breathing Statues is a lush and distinctive collection that colors the world a new soundscape.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Ltd LP Info: Limited LP is a clear vinyl limited to 150 units in the UK.

                                                                                                                                Chalaque

                                                                                                                                Switching Center

                                                                                                                                  Brand new, super-limited LP from Nick M's free-rock psychedelic R&B burnout project CHALAQUE. With bass player Eric Hardiman permanently back in the US, the new version of the group features Dylan Hughes (Desmadrados Soldados De Ventura) slotting into the role while longtime collaborator Pascal Nichols (Part Wild Horses Mane on Both Sides) maintains his seat at the drums. This line-up, recorded to mobile phone, explores the nuances of endless, ecstatic crescendo, with blissed, slapdash, major scale solos skating across a sheet of 500-mph sunshine rhythmic chaos.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  Ltd LP Info: Silk screened art cover.

                                                                                                                                  Hunterchild

                                                                                                                                  Hunterchild

                                                                                                                                    A few years ago, an unknown group from an unlikely town began generating the kind of "next big thing" blog buzz that eventually leads to a big label bidding war, support slots on major tours, and unanimous praise. For Bloomington, Indiana's Dreamers of the Ghetto, it resulted in a divorce and a devastating break-up.

                                                                                                                                    "Someone I loved once gave me a box full of darkness. It took me years to understand that this too, was a gift." – Mary Oliver

                                                                                                                                    Singer/songwriter/multi-instrumentalist Luke Aaron Jones and fellow DOTG alum Marty Sprowles picked up the pieces and pared down the widescreen stadium-sized rock of Dreamers to the more intimate, introspective Hunterchild. Jones' vocals are more arresting than ever, indebted as much to vintage Peter Gabriel, Prince, and Depeche Mode as the rich well of electronic R&B explorations from a similar orbit as James Blake and The Weeknd in their most powerful moments. Hunterchild are comfortable in their own skin in a way that's almost unheard of for debut artists.

                                                                                                                                    Co-produced with Kevin Ratterman (My Morning Jacket, Wax Fang), Hunterchild's eponymous debut album is noticeably more eclectic than Dreamers of the Ghetto. From the beat-heavy sexploits of "Part Time" to the stark falsetto professions of "Aching," this is a story in 11 parts. Equally complicated, heartbreaking and revelatory, Hunterchild bares an emotional fearlessness that only comes from a devotion to the light in the face of total darkness.

                                                                                                                                    Secret Cities

                                                                                                                                    Walk Me Home

                                                                                                                                      In the wake of their 2011 album "Strange Hearts", the three members of Secret Cities branched off in different directions. Charlie Gokey delved into Roy Orbison's ballads about losers in love while becoming a civil liberties attorney in Washington, D.C. Alex Abnos locked in to New Orleans soul masters like King Floyd & Dr. John as he became a journalist in New York City. And Marie Parker became a teacher in the band's spiritual home of Fargo, North Dakota.

                                                                                                                                      Having met at band camp and on an internet message board, the trio had made music together for nine years without ever living together in the same city. After recording two albums and a handful of singles via email, they decided it was finally time to enter a real studio where they could play and record together in real time. They chose San Francisco's Tiny Telephone studio, where Jay Pellicci manned the controls for a week-and-a-half of the most spontaneous, democratic, and visceral recording of their lives. They emerged with Walk Me Home, an album that finally reflects their live chemistry and their diverging lives and musical tastes.

                                                                                                                                      "The bass is dewey. The harmonies are starlit. The theremin is ripe…The racket they're able to muster together in the process is enough to set them apart from the pack." PITCHFORK.

                                                                                                                                      Hiss Tracts

                                                                                                                                      Shortwave Nights

                                                                                                                                        Shortwave Nights is the debut album by Hiss Tracts, a new duo featuring David Bryant (Godspeed You! Black Emperor, Set Fire To Flames) and Kevin Doria (Growing, Total Life). The two met in 2004 and struck up a musical friendship that led to three Growing records being made at The Pines (Bryant's recording studio in Montreal) and a separate collaboration between the two, initially in conjunction with experimental filmmaker Karl Lemieux (also GY!BE's current 16mm auteur/projectionist). Rehearsal tapes from a set of sessions for a Lausanne Underground Film Festival performance in 2008 became the foundation and starting point for Hiss Tracts; David and Kevin continued working throughout 2009-2013, but much of the material from their earliest session is still present, in one state or another, within the tracks on this debut album.

                                                                                                                                        The sonic preoccupations of Bryant and Doria are well-known and well-documented across many highly acclaimed recordings over the past fifteen years, from the organic, group-based, semi-improvised collage albums of Set Fire To Flames to the glimmering, immersive minimalism of Growing and the more maximalist full-spectrum noise works of Total Life. David and Kevin are instrumental music practitioners of uncommon depth and intensity; Hiss Tracts opens new collaborative, procedural and narrative pathways for these fine musicians to continue exploring soundscape-based composition and production. Both are guitar players, and the electric guitar figures as both recognizable and unrecognizable source instrument on Shortwave Nights, but the deployment of a wide range of additional analog sources and signals ensures that there is no confusing this for a guitar-based drone, noise or post-rock record.

                                                                                                                                        Shortwave Nights defies categorization by terms like "drone" or "ambient" and it does not easily slip into any of the predominant subgenres that have proliferated around studio-based soundscape work in recent years. Insofar as drone is a touchstone, this has mostly to do with the approach to mixing, which tends towards a transcendent/trance-inducing integration of elements into a unified, saturated, wall-ofsound stereo field. The album contains no beats or programming and very little that is identifiably loop-based or overtly sampled and sampler-driven. Occasional deployments of digital signal processing remain firmly in the service of Hiss Tract's overriding framework and commitment to analog sources and human instrumentation. This is not an electronic record, nor does it sit comfortably at either the pastoral or spooky/sinister poles of any ambient or 'whatever'-wave spectrum; it can perhaps best be placed within the broad lineages of post-industrial and musique concrète.

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        LP Info: 180gram audiophile pressing includes art print
                                                                                                                                        poster and download coupon.


                                                                                                                                        Mirah

                                                                                                                                        Changing Light

                                                                                                                                          On her fifth solo album, Mirah breaks it down and builds it back up again with the street smarts that only years behind the wheel of love can inspire. Ready with the maps and driven to the rhythms on the radio dial, Changing Light’s ten songs carry us from heartbreak to wholeness and all the places in between. Uprooted from her home after a scorching break-up, Mirah spent four years rambling and recording. Tracks were laid down in almost two dozen houses and apartments — from the Northwest to Southern California to the East Coast. Sparse demos were recorded with co-producer Christopher Doulgeris in Portland and Los Angeles.

                                                                                                                                          Embellishments were then added by a slew of friends and collaborators, including Greg Saunier (Deerhoof), Mary Timony, Emily Wells, and Heather McEntire (Mount Moriah). In Philadelphia, Mirah and her sister Emily Zeitlyn (Divers) penned “LC,” an homage to childhood inspiration Leonard Cohen. Seattle-based composer Jherek Bischoff drew up intricate string arrangements which were recorded in the living rooms of each individual player. And Tune-Yards producer Eli Crews co-produced several tracks with Mirah in her new hometown of Brooklyn, New York.

                                                                                                                                          Changing Light’s reassuring compass is found in Mirah’s shimmering vocals and incisive descriptions. There is yearning (“Gold Rush” and “Fleetfoot Ghost”) and hot anger (“Goat Shepherd”), but no shortage of lyrical and musical playfulness. Whether it be the T. Rex-inspired rough edges of “Radiomind,” the rollicking lo-fi bang-and-pop of “Goat Shepherd,” or the lush pop balladry of “Turned the Heat Off,” the album corrals string sections and vintage synths with horns, a multitude of guitar tones and overdriven drums. With calm and clamor, Mirah brings us all closer together through her universal honesty and occasional use of the vocoder. “It’s a break-up record. It has some moments of darkness, some twists and turns, but ultimately, there’s a resolution,” says Mirah. So much can happen in four years, even forgiveness” While Mirah has been making independent pop records for well over a decade, Changing Light is the debut release on her new imprint, Absolute Magnitude Recordings.

                                                                                                                                          Papir

                                                                                                                                          III + IIII

                                                                                                                                            This 2CD set collects Papir's two latest albums, previously released on vinyl only. III originally came out in February 2013, IIII in February 2014. Papir from Copenhagen, Denmark have gradually developed their unique vision of instrumental psychedelic rock over the course of four albums. The band manages to transform heavy, psychedelic music into something new and relevant, something truly unique. Sure, Papir knows their kraut- and progrock history, but unlike the majority of bands in the present day psych-rock scene they venture far beyond mere pastiche.

                                                                                                                                            Guitarist Nicklas Sørensen and Bassist Christian Becher aren't afraid to explore sounds and styles usually associated with post-rock, minimalism or even shoegaze, and drummer Christoffer Brøchmann plays with a skill, ferocity and richness of ideas that is so rare. By now the bands concerts have become awe-inducing experiences, earning them slots at major European festivals including Roskilde (2012), and Roadburn (2014). It's stunning to witness how Papir pull numerous influences together with natural ease in their, often lengthy, excursions. It sounds inspired. These two albums perfectly encompasses everything the band represents – from explosive, guitar-solo driven peaks through motoric krautrock grooves to peaceful and atmospheric soundscapes.

                                                                                                                                            Recorded in two different sessions, one in Copenhagen and another out in the Danish countryside with Causa Sui's Jonas Munk, who also mixed and mastered both albums, producing them with an organic, but powerful, sound maintaining the full dynamic range.

                                                                                                                                            Praise for Papir: It takes a lot to stand out at SPOT...but Copenhagen's Papir are arresting. Their guitar, bass and drums mesh powerfully in an intense, jazz-inflected instrumental rock. Voyaging through post-rock Tortoise terrain, it nods towards Hawkwind's freak outs and employs liberal dollops of wah-wah pedal. The pieces – not songs - twist and turn like Dark Star Grateful Dead. From these jumping off points, Papir scurry off on their own path. - Kieron Tyler / MOJO.

                                                                                                                                            Bright melodies weave through intricate rhythms, like the warm, golden light of sunset sparkling on dark waves. - Aural Innovations.

                                                                                                                                            ...a Danish three-piece, with a psychedelic but very percussive sound that’s just amazingly infectious. - Justin Robertson.

                                                                                                                                            The heat the three generate can be, frankly, awesome...it would be easy to haul out the usual labels-postrock, krautrock, space-rock, and psychedelic rock among them—but, in this case, the trio's genretranscending playing would make doing so seem overly reductive. - Textura.

                                                                                                                                            The Clientele

                                                                                                                                            Suburban Light (Reissue)

                                                                                                                                              Merge Records reissue Suburban Light - the start of the label’s five-album, decade-plus relationship with The Clientele.

                                                                                                                                              Released as a double-disc (one-LP/one-CD set), this new edition will feature not only the album in its original European tracklisting but also a revelatory set of covers, rehearsals and B-sides that reveal the earliest iterations of The Clientele. And there’s the previously unreleased “Sarah’s Prelude,” too, the lovely, lonely and abandoned opener of an album that stuns, even without the strings.

                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              LP Info: 180 gram vinyl and a CD.

                                                                                                                                              Acid Mothers Temple & The Melting Paraiso UFO

                                                                                                                                              Astrorgasm From The Inner Space

                                                                                                                                                Acid Mothers Temple & The Melting Paraiso U.F.O.'s new album "Astrorgasm From The Inner Space" features their original vocalist Cotton Casino and is being released in conjunction with their two month tour of the USA beginning April 23rd 2014 at the Mercury Lounge in New York City. Available on CD and deluxe double LP.

                                                                                                                                                As usual, AMT delivers to Important their most scorching tracks. They've included, appropriately since Important is set to issue Grayfolded on triple vinyl, a brand new re-recording of Dark Star Blues with Cotton Casino. On Astrorgasm From The Inner Space, Acid Mothers Temple look towards their source (the band turns 19 this year) while also evolving towards their next stage.

                                                                                                                                                Young Widows

                                                                                                                                                Easy Pain

                                                                                                                                                  First new album in 3 years from highly influential noise-rock trio.. RIYL: Swans, Stooges, Nirvana, Unwound, Metz, Queens Of The Stone Age. Young Widows are a creatively restless bunch. Easy Pain is easily their densest, most disturbingly addictive record yet. The guitars are enormous, the drums are pummeling, and the trademark gut-churning bass is more jaw-dropping than ever. Evan Patterson's lyrics and vocal delivery are more expressive and dynamic, and the production is
                                                                                                                                                  absolutely massive. Disregarding all boundaries and pushing forward with a masterful command of post-punk, noise rock, pseudo industrial, experimental doom, and goth, Young Widows emit the intimidating force of a 10-piece with the heart and soul of a classic power trio. Young Widows' bruising 2006 debut, Settle Down City, introduced the Louisville, KY trio as an ugly force to be reckoned with. Two years later came Old Wounds, their sophomore stomp that inspired at least a dozen imitators of varying degrees of success. From there the band traded some of their trademark fury for the bleak, widescreen atmospheres of In and Out of Youth and LIghtness. Now, three years later, Young Widows meld the strengths of their past and their tenacity for the future to forge an album perfectly befitting their merciless moniker. Few artists can simultaneously summarize their entire recorded career while also undeniably expanding upon it. Young Widows have done exactly that, and have earned their reputation as a truly peerless group. In their constant pursuit of the the intersection of beauty and ugliness, Easy Pai

                                                                                                                                                  Kishi Bashi

                                                                                                                                                  Lighght

                                                                                                                                                    Violinist, singer, and composer Kishi Bashi is slated to release his new album on 12th May 2014. The album entitled “Lighght” (pronounced “Light”) continues and expands the sound of his critically acclaimed debut, “151a” - which earned Kishi Bashi the *title* of “Best New Artist” by NPR. Since the profoundly successful release of “151a” two years ago, Kishi Bashi has toured relentlessly, captivating audiences across the globe with his loop-based live show, and fostering a groundswell of devotees. “151a” was crafted over a four-year period while Kishi Bashi was touring and recording with Regina Spektor, Sondre Lerche, and of Montreal (where he was a full-time member and co-producer). In late 2012, after the success of “151a”, Kishi Bashi decided to focus solely on his own music and began composing the new material which has become “Lighght”. “Lighght” takes its title from the one-word poem by minimalist poet Aram Saroyan.

                                                                                                                                                    As Kishi Bashi explains, “The poem’s blatant assault on literary convention and classical form was attractive to me.” It is apparent that such an approach informed the new album, which has both broadened and redefined his classical foundations. “Though I have studied classical composition, I prefer to take an unconventional path when it comes to creating and thinking about music,” says Kishi Bashi. Though violin remains his primary instrument and songwriting muse, Kishi Bashi has expanded his palette to include more diverse and nuanced instrumentation. Bright and soaring avant-pop songs are prevalent, as are Eastern-tinged arrangements, gentle ballads, Philip Glass inspired improvisations, and more than a few moments that flirt with 70s prog (in the tradition of ELO or Yes). If this sounds jarringly kaleidoscopic, that’s because it is. But it works. Listen and see.

                                                                                                                                                    Guided By Voices

                                                                                                                                                    Cool Planet

                                                                                                                                                      Having been recorded mostly during the great Polar Vortex of 2014 it’s no surprise that the next Guided by Voices record, in their inexhaustible reformation, is titled Cool Planet. Here we have another wineskin full of great songs to listen to, recorded in a proper studio - Cyberteknics in Dayton, Ohio - for the first time since the reunion. There’s some unusually consistent and consistently awesome production on Cool Planet, thanks to the array of vintage equipment on offer at Cyberteknics. Cool Planet has a weighty crunch that will lay you flat, which is perhaps also in part due to the addition of ex-late-version GBV tub-thumper Kevin March on drums (after a short but lively internecine skirmish that left some people happier than others).

                                                                                                                                                      Pollard has talked in recent months about having refined his approach to songwriting (as if that was a thing that needed to happen) and the tunes he's written for Cool Planet stack up against the best he's ever done, including the hard hitting title track, which is just begging to be played live. Guitarist Tobin Sprout steps up with (among others) a Bowie-esque number ("Psychotic Crush") and a Beatle-esque number ("All American Boy") - it should be noted that Tobin recorded his songs for the most part at his home studio in Leland, Michigan, but they fit like Lego in the plastic palace of Cool Planet. Look what Guided By Voices have done for the world since reforming in 2010.

                                                                                                                                                      Six high-quality, full-length albums in less than four years. And that's not counting EPs, singles, tours, or solo records. If the sorry state of the present day indie- alt- or just plain rock landscape is the disease, GBV is the cure. Do not take in moderation.

                                                                                                                                                      Talking Heads

                                                                                                                                                      Performance

                                                                                                                                                        This 1979 Talking Heads tour, promoting the release of their Fear Of Music album, would be the last to feature the stripped down quartet lineup and the first to gain them significantly more exposure in America. They had established themselves in Europe, but outside of college radio or the New England and California regions, America was just catching on to what an intriguing and captivating live band they were. These excerpts are from their appearance at Boston's prestigious Berklee School of Music, which was one of the wildest and most memorable performances on this breakthrough tour. With the original B52's opening this show, there was plenty of momentum before The Heads even hit the stage. This, combined with playing before an intelligent and relatively home turf audience, ignited an inspired performance. These excerpts, originally broadcast via the King Biscuit Flower Hour, capture several highlights from this memorable night. The band's sound was clearly evolving, containing more complex rhythmic structures and song arrangements. The new songs had increasingly funny, yet even more thought-provoking lyrics. The overt awkwardness that frontman David Byrne often displayed onstage was just beginning to be perceived as the uninhibited expression that it really was, with many now dancing to it. His unusual vocal affectations were engaging and the music was clearly beginning to resonate more deeply, particularly in a live context. "Stay Hungry" begins the recording in a somewhat ominous style, with Jerry Harrison's keyboards adding even creepier textures than the album version. "Cities," a track from Fear Of Music follows. It's a galloping romp through Byrne's stream of consciousness thoughts about city life. The last three tracks are all classics and equally fantastic performances.

                                                                                                                                                        First up is a thoroughly engaging rendition of the non-album single side "(My Love Goes To A) Building On Fire." The "Psycho Killer" that closes this set is outstanding, featuring Byrne firmly in the land of no self-consciousness and the entire group ripping into a wild jam with Byrne and Harrison both blazing on guitars. (Think of the heavy psychedelic fuzz guitar jam in the middle of The Chambers Brothers "Time Has Come Today" and you wouldn't be far off.) Following an ecstatic audience demanding more, they return for an encore of their unique take on Al Green's "Take Me To The River." Originally a gospel number, Talking Heads completely redefine the song and in the process make it their own.shortly after this tour, Talking Heads would begin overtly expanding their musical parameters. Their studio recordings would soon reach an unparalleled intensity (and density) on their next album. They would make truly inspired choices at augmenting the stage band, without diluting any of their originality. With the help of MTV and its heavy rotation of the music video for "Once In A Lifetime" the following year, the band's music would reach a much broader audience. This recording, however, is a fine example of the original Talking Heads literally reaching the peak of their four-piece powers.

                                                                                                                                                        Patti Smith

                                                                                                                                                        Depravity (New York May 28th 1975)

                                                                                                                                                          Live at WBAI studio, New York May 28th, 1975. With Ivan Kral, Lenny Kaye and Richard Sohl, the original line up of the Patti Smith Group they helped make this a truly historic night.

                                                                                                                                                          "This recording is perfect! Everything you wanna hear and everything that's missing in music today, is captured on this disc. The spontaneity, improv and language packaged all together with the sound...it is utter perfection! This may not be hardcore, metal, or punk by the masses definition, but for me it doesn't get any more honest than Patti Smith. A true revolutionary."

                                                                                                                                                          The Patti Smith Group By 1974, Patti Smith was performing rock music herself, initially with guitarist, bassist and rock archivist Lenny Kaye, and later with a full band comprising Kaye, Ivan Kral on guitar and bass, Jay Dee Daugherty on drums and Richard Sohl on piano. Ivan Kral was a refugee from Czechoslovakia, fleeing in 1968 after the fall of Alexander Dubček. Financed by Sam Wagstaff, the band recorded a first single, "Hey Joe / Piss Factory", in 1974. The A-side was a version of the rock standard with the addition of a spoken word piece about fugitive heiress Patty Hearst ("Patty Hearst, you're standing there in front of the Symbionese Liberation Army flag with your legs spread, I was wondering were you gettin' it every night from a black revolutionary man and his women...").The B-side describes the helpless anger Smith had felt while working on a factory assembly line and the salvation she discovered in the form of a shoplifted book, the 19th century French poet Arthur Rimbaud's Illuminations. In a 1996 interview which discusses artistic influences during her young years, Smith said, "I had devoted so much of my girlish daydreams to Rimbaud. Rimbaud was like my boyfriend."

                                                                                                                                                          The Patti Smith Group was signed by Clive Davis of Arista Records, and in 1975 recorded their first album, Horses, produced by John Cale amid some tension. The album fused punk rock and spoken poetry and begins with a cover of Van Morrison's "Gloria", and Smith's opening words: "Jesus died for somebody's sins but not mine" (an excerpt from "Oath," one of her early poems). The austere cover photograph by Mapplethorpe has become one of rock's classic images. As the popularity of punk rock grew, Patti Smith Group toured the United States and Europe. The rawer sound of the group's second album, Radio Ethiopia, reflected this. Considerably less accessible than Horses, Radio Ethiopia initially received poor reviews. However, several of its songs have stood the test of time, and Smith still performs them regularly in concert. She has said that Radio Ethiopia was influenced by the band MC5. On January 23, 1977, while touring in support of Radio Ethiopia, Smith accidentally danced off a high stage in Tampa, Florida, and fell 15 feet into a concrete orchestra pit, breaking several neck vertebrae. The injury required a period of rest and an intensive round of physical therapy, during which time she was able to reassess, re-energize and reorganize her life. Patti Smith Group produced two further albums before the end of the 1970s. Easter (1978) was her most commercially successful record, containing the single "Because the Night" co-written with Bruce Springsteen. Wave (1979) was less successful, although the songs "Frederick" and "Dancing Barefoot" both received commercial airplay.

                                                                                                                                                          BadBadNotGood

                                                                                                                                                          III

                                                                                                                                                            BadBadNotGood is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future.

                                                                                                                                                            With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers.

                                                                                                                                                            Now, the inseparable friends are prepping to release their biggest project to dateIII on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless.

                                                                                                                                                            Quantic

                                                                                                                                                            Magnetica

                                                                                                                                                              The sum of many musical adventures, Will “Quantic” Holland’s new album ‘Magnetica’ sees him revisiting his electronic roots, blending cutting-edge and distinctive production with elements of folk, reggae, soul, highlife, cumbia and more; demonstrating the rare quality and artistry that has enchanted fans and tastemakers across the world, over more than a decade of releasing music on Tru Thoughts.

                                                                                                                                                              ‘Magnetica’ is the first studio album from Quantic under his main solo moniker since ‘An Announcement To Answer’ in 2006, so anticipation is running high. He has, of course, been far from quiet in the intervening years, with releases from many acclaimed side-projects including The Quantic Soul Orchestra, Quantic and his Combo Bárbaro, Quantic & Alice Russell, Flowering Inferno and Ondatrópica, and a host of thrilling and high profile live shows to match.

                                                                                                                                                              Jacques Greene

                                                                                                                                                              Phantom Vibrate

                                                                                                                                                                LuckyMe are very proud to present Jacques Greene’s ‘Phantom Vibrate’ EP. A three track club 12” of JG’s most sophisticated songs to date. ‘Phantom Vibrate’ explores themes of human interaction with technology as he embarks on a new hardware show and string of headline launch events in the three cities that helped model his signature blend of techno, house and contemporary R&B: Brooklyn, Montreal and London.

                                                                                                                                                                Now residing in New York, Jacques Greene is a producer helping define the next template for dance music - something not beholden to purist abstract language of what’s ‘real’ house music or techno. No, JG is singularly absorbing experimental influences, hip hop and R&B. It’s ironic then that should the old guard of dance music take notice of this artist they’d find an old head on young shoulders. Greene continues to write on analogue hardware - hiss DJ sets a journey through Chicago and Detroit, albeit ending up in the contemporary hubs of London and Atlanta.

                                                                                                                                                                Since his early releases ‘The Look’, ‘Another Girl’ and last summer’s massive ‘On Your Side’ featuring How To Dress Well, he has proven himself as an artist who doesn’t think in tracks. These are considered EPs with deliberate aesthetic themes.

                                                                                                                                                                ‘No Excuse’ sees JG dust off his trademark vocal phrasing but here there’s another layer of intensity to his previous tracks. The vocals aren’t central this time. This track is about hard shuffling taikos and owes more to hip hop production than his previous releases.

                                                                                                                                                                ‘Feel What’ is euphoric gospel house - the sample processed into a plate chorus that lifts a rhythm section of jacking hats and Prince-esque chords. It’s ascendant, reaching a hazy pinnacle before disappearing under sparkling synths. Modern gospel house withoutlooking back.

                                                                                                                                                                ‘Night Tracking’ is an ode to JG’s old club night in Montreal that was responsible for refining his tastes and cutting his teeth alongside many legends. The track is pure hardware work out - and yet it’s cinematic in its evocation of dark dancefloors and midnight car rides. Just like so much of Greene’s music, it’s alive and deeply visual.

                                                                                                                                                                Sd Laika

                                                                                                                                                                That’s Harakiri

                                                                                                                                                                  It isn’t often an artist seems to materialize from nowhere with a sound so disinterested in following any conventional rules that it inspires equal measures bafflement and astonishment but in 2012, with the release of the
                                                                                                                                                                  ‘Unknown Vectors’ EP, Sd Laika did just that. Taking the already alien sounds of grime music as a starting off point and abrasively twisting them into something even more unknowable, Laika had developed a sound that defied any easy categorization. Two years later Dummy Magazine would come to refer to this record as “one of the most jaw-droppingly inventive debuts in recent memory and ought to be considered ‘the other ‘Cold Mission’” (in reference to the highly acclaimed 2013 album by Logos.

                                                                                                                                                                  After ‘Unknown Vectors’ Sd Laika became something of a mystery, disappearing from the scene altogether, leaving behind him a small but hardcore cult fanbase convinced they’d glimpsed something very special in those 5 tracks. It was only in 2013 when Tri Angle approached Sd Laika that a new record began to take shape. This record would end up consisting of songs Sd Laika had recorded in 2011 and 2012, songs he’d convinced himself would never see the light of day. For various reasons it looked likely ‘Unknown Vectors’ would wind up being Laika’s one and
                                                                                                                                                                  only ever release, which is why the label are so excited (and as huge fans, relieved) to announce the release of his debut album ‘That’s Harakiri’.

                                                                                                                                                                  Prins Thomas

                                                                                                                                                                  Prins Thomas III

                                                                                                                                                                    In Prins Thomas’ own words: “Hi there, this is my new album. Keeping with the tradition I decided to call it ‘III’. There's no great concept, no specific theme, no scheme, no plan... no space disco but still plenty of ‘space’. It is just documentation of the music I made during the recording period. A musical diary so to speak. Diary entry number three. Musically I feel it belongs somewhere between my last two albums - 2009’s ‘Prins Thomas’ and 2012’s ‘II’. They where both a result of the recording techniques and musical ideas I had at the time. The former organic, freeform (freerange) and organic, the latter more polished and ‘square’ as I just had figured how MIDI worked (I have to admit... I’m actually still not sure I know...). Anyway, what I’ve learnt so far is now coming together in some kind of musical (dis)harmony. One I hope you enjoy listening to as much as I enjoyed making it.”

                                                                                                                                                                    The Diaphanoids

                                                                                                                                                                    LSME

                                                                                                                                                                      The Diaphanoids come down heavy interiorly re-designed with an acid album full of 70s Kosmische flavours fuzzed-out guitars and motorik rhythms.

                                                                                                                                                                      ‘55th Dimension Nervous Meltdown’: Ultra sci-fi images on the VHS of your heart, braindrops falling from the head, a wall of noise, cosmic razorblade guitars, reverberated elevation, spherical soundwaves reversing, bodies mutate, thoughts escape then return, looking for visions in a supermarket fried chicken.

                                                                                                                                                                      ‘You Can’t Shine If You Don’t Burn’: Velvet drums, narcotic bass, guitar strings draw oblivion and bliss, any drug is candid, kiss the flame, silver missiles and nightingales, such a soulgasm.

                                                                                                                                                                      ‘How Can I Distinguish Sky From Earth If They Keep On Changing Their Place?’: Motorik, hallucinated guitars, acid ecstatic lava flow, roads widen, earth is soft, moon is inhuman, sun is balanced on a petal, colours change,
                                                                                                                                                                      the sky moved sideways.

                                                                                                                                                                      ‘Alltheconstellationsouttherearen’tworthapinpointofliquidlightinyoureyes’: A satellite of glittering oscillating keyboards, fluorescent dust, a crystal guitar, distant spiky lights, suspended on nothing, the milky way turns sour, shooting stars like vultures.

                                                                                                                                                                      ‘LSME’: The universe in and out of our bodies, still in the thin air, a swarm of synthesizers, oblique guitars, relentless pumping beat and abrasive bass, howling imploding abstractions.

                                                                                                                                                                      ‘The Blackest Sun’: Spatial cramps, fuzzed-out hiss, stuttering rhythms, astral bass, sidereal clangour, so far so high surfing on NEU jagged waves, to beam or not to beam, a space odd.

                                                                                                                                                                      ‘Our Own Private Elsewhere’: Reality is for those who can’t handle drugs, translucent guitars, phosphorescent bass, take a trip on Autobahn sick sick sick, carving miracles, this universe doesn’t really exist, come away with me.

                                                                                                                                                                      ‘These Nights Wear Three Heads, Five Arms And Ten Legs’: A sonic harassment, drums are random, bass is laconic and sinister, slashing duelling guitars, a vertigo with teeth, get a brainticket to Mind Central then queue up for the end of the world.

                                                                                                                                                                      House Of Spirits (AKA Tom Noble)

                                                                                                                                                                      Holding On / Keep Holding On - Inc. Peaking Lights Remix

                                                                                                                                                                      House of Spirits is the church of sound over which Tom Noble presides, raising the congregation to ecstatic heights from his pulpit of passion. Noble's initial attempts at making music began like most collectors-cum-producers, lifting samples from worn records and repurposing the dusty beats into efficient edits. Instead of lumbering in these limitations, Noble opted for a greater challenge by inviting musicians to transform his sketches into a widely - and wildly - dynamic live performance. The resulting studio celebration led to the euphoric Holding On / Keep Holding On 12" for Beats In Space Records ! 'Holding On' glides on such a joyous, eventful groove that it's impossible to confine the track to a specific time or place. Strings, seemingly lifted from a 70s Salsoul twelve, soar alongside a gospel choir preaching positivity for souls both lost and found.  Buoyed by a bass lick fat with funk's sin and guitars glittering in solid gold, 'Holding On' embraces disco house authentically and timelessly. On the flip, Aaron Coyes of Peaking Lights tucks the heavenly wonder of the original under a dub-worn blanket for an out-of-body dream beam. The power of Noble's composition retains full form against the free-flowing disembodiment of the performers, melting into one amorphous, hustling and bustling entity held together at the whim of Coyes at the controls.

                                                                                                                                                                      Waldemar Schwarz

                                                                                                                                                                      Taza De Oro / Krav Maga Girls

                                                                                                                                                                      This is the first project for new NYC native and Golf Channel signee under the new nom de guerre of Bogdan Irkuk aka Bulgari who did a bunch of celebrated stuff on Rollerboys over the last few years ! It's a heady duo of upfront modern Disco jams, all muscular bass lines, swirling atmospherics and tough drums...

                                                                                                                                                                      "Pretending to be a Bulgarian bodybuilder was fun for a while, but it also painted me into a corner a little bit when the name started to get a little fame. The new tracks I'm making have a new sound so time for a new name.
                                                                                                                                                                      I like making up names. Waldemar is my middle name. Schwartz is a name that I see on signs around the city. In a way, it's an NYC version of my name. I just think of it as New York music. It's what I hum on the subway or riding the bike on the pier. I don't have a drum kit, but laying down a nasty bass line, that's my job."


                                                                                                                                                                      Motor City Drum Ensemble

                                                                                                                                                                      Raw Cuts Remixes (Marcellus Pittman, Mike Huckaby, Recloose Remixes)

                                                                                                                                                                      The label say: "It's been 6 years since Danilo Plessow aka Motor City Drum Ensemble first emerged on the scene with his debut 12inch released on his own MCDE Recordings imprint. Appropriately titled "Raw Cuts", the two tracks would start a series of raw house jams Danilo made in his studio using old school samplers and drum machines, a sound that at the time was far away from being status quo. Having been heavily influenced by Soul, Jazz, House and Techno emerging from both the Motor City and beyond, Danilo found his signature sound: sample-based, raw, emotional and mature tracks.

                                                                                                                                                                      MCDE released two more "Raw Cuts" twelve inches in the coming years and it wouldn't be wrong to call them modern house classics - each of the records found support from all over the globe, from Moodymann to Gilles Peterson, and especially the last record of the series (Raw Cuts #5 & #6) was just everywhere in the year 2010.

                                                                                                                                                                      What better way to end a concept series than to invite some people to remix those tracks? People that inspired him to do this music in the first place: Marcellus Pittman of 3 Chairs fame, Mike Huckaby, one of Detroit`s house heroes and synth nerd per excellence, and lastly Recloose, whose unique approach to the Detroit sound has been a favorite of Danilo for years.

                                                                                                                                                                      With a package this strong we will not bore you with more praise - just listen and enjoy."

                                                                                                                                                                      Muyei Power

                                                                                                                                                                      Sierra Leone In 1970s USA

                                                                                                                                                                        Muyei Power or Orchestre Muyei (muyei means ‘our country’) was one of the top dance bands of the1970s in Sierra Leone. Soundway Records' first collection of music from this West African country (‘Muyei Power: Sierra Leone in 1970s USA’) is an album of rock-infused, 'afro' music from a group that traveled the world throughout the mid 1970s. Fusing elements of electric Congolese and Nigerian music with fast, syncopated, uptempo modernised arrangements of traditional music, Muyei Power produced a series of unique single-only releases that have been unavailable for 35 years. The rare recordings featured here are a glimpse of a dynamic and powerful band at the very height of its powers.

                                                                                                                                                                        Even though lyrically Orchestre Muyei focused on traditional themes and songs, the arrangements and formulation of the instrumental side of things still very much reflected the mixed nature of urban Sierra Leone music, exemplified by a small collection of bands that also included Afro National, Sabanoh 75 and Super Combo.

                                                                                                                                                                        For the early part of 1970s the band toured extensively throughout Sierra Leone, Liberia and Côte d’Ivoire before making a handful of 45s in local TV and radio studios.

                                                                                                                                                                        The recordings featured here however come from a period of touring the college circuit in California during late 1975 and early 1976. Later that year, as they played the colleges of the east coast, they gave the tracks to the owner of the African Record Centre in Brooklyn, New York. He initially released two of them on his in-house Makossa Records label as 7-inch 45rpm singles in 1976. The tracks from 1975/6 were then not heard of again until 1979/80 when the African Record Centre released many of them on a series of Makossa Records 12”s that sounded far superior than the records that had been released a few years earlier.

                                                                                                                                                                        Orchestre Muyei Power finally split up in 1979 leaving no proper album releases and only a handful of recordings for us to enjoy all these years later.

                                                                                                                                                                        The CD & LP both come with detailed liner notes, with the vinyl being pressed on 180g vinyl with a free digital download insert code.


                                                                                                                                                                        For those who caught Furness' "Four 4 The Floor EP", and are familiar with his work, this release is further evidence of how much of a fledgling purveyor of deep grooves and heavy-hitting rhythms Furness is. Title track "Gone Fishing" utilises string keys as the foundation of the track and marries the emotive, elongated synths with a dubby bassline and quick hitting snares. "Acropolis" is tougher, centering distorted pads against intermittent piano chords, muffled vocal grabs and a deep, cosmic bassline. "Red808" is a no-nonsense roller, with its slick snare and hi-hat/hand-clap tandem working superbly against the climbing synths. "Blackstar" adopts a similar framework to "Acropolis", wrapping up the EP in style with its similarly lo-fi, distorted percussion charged against rapturous chords taking the track into further sonic terrain.

                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                        12" Info: Transparent with multicolour splatter vinyl

                                                                                                                                                                        Maria Minerva

                                                                                                                                                                        Histrionic

                                                                                                                                                                          Estonian expat Maria Minerva may have found her footing in the cultural battlefield of Brooklyn, but her recent music continues to confound easy assimilation, crawling further into the crevices between karaoke fantasy, hall-of-mirrors pop and meta dancefloor mind-games.

                                                                                                                                                                          'Histrionic' begins bluntly, “Sometimes beauty and brains are not enough,” before breezing through a bewitching eleven-song cycle about ivory towers, underground spirit, galactically challenged romances, predators vs. prey, seeing the soul, and the ennui of identity amid the metropolitan maze: “Tables are turned / Bridges are burned / You fooled me once / But then you fooled me twice.” Sonically, Minerva threads in shades of woozy trap, London bass music, Eastern European cassette kiosks, ’90s diva house, phaser ballads and ambient rave, sketching a soulful self-portrait of her own inner ecosystem of loves and labors lost.

                                                                                                                                                                          It’s a strange, stimulating surf across the weird Brainwaves of an artist exploring an intriguing new pipeline of inspiration.


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