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Richard Band

Re-Animator (Original Motion Picture Soundtrack)

    Original score composed and conducted by Richard Band (Puppet Master, From Beyond, Ghoulies, Castle Freak).
    Re-Mastered for vinyl from original master tapes.
    Original artwork by Ghoulish Gary Pullin.
    180g lab coat white and reagent green swirl vinyl
    Liner notes by director Stuart Gordon and composer Richard Band.

    Re-Animator is a 1985 American science fiction horror film based on the HP Lovecraft story “Herbery West – Re- Animator.” Directed by Stuart Gordon, it was the first film in the Re-Animator series. The film has since become a cult classic, driven by fans of Jeffrey Combs (who stars as Herbert West) and H.P. Lovecraft, extreme gore, and the combination of horror and comedy.

    Roger Ebert: “I walked out somewhat surprised and reinvigorated (if not re-animated) by a movie that had the audience emitting taxi whistles and wild goat cries”.

    Richard Howard Band is a composer of film music. He has scored more than 70 films, including From Beyond, which won the award for Best Original Soundtrack at the Catalonian International Film Festival in Sitges, Spain. His score for Re-Animator was lauded by the magazine ‘Music From the Movies’, which said, “Band’s music is dark and direct, creating an intense and eerie atmosphere, but always with a humorous touch…. Surely, Richard Band is one of the most underrated composers in the film business.”

    Terekke, the man responsible for a couple of our favourite L.I.E.S. releases appears on Rush Hour's irregular military arm 'No' Label with four 'lessons from a spiritual dimension'. As you'd imagine, hardware house, blown out frequencies and rattling rhythms are on the menu for this limited 12" platter. We begin with a deep and dark acid techno excursion which sees the young producer place a layer of pitched shifted, chopped, skewed and backmasked vocals over a corrosive acid line, sending heads spinning and bodies contorting in the process. From there we're hit with hiss drenched house sounds, as Terekke pushes a skitterish Garage beat and deep house pads through a thickly saturated mess of distortion. He keeps it deep on the B1 with a rolling house cut worthy of a Murk classic, but infected with his vaped out tape aesthetic. Under that thick layer of dust and grime you can make out warm rhodes licks, a buoyant bassline and a sweet jazz vocal. Terekke closes the EP with a heads down cut of raw and uncompromising, MPC bashing, funk chopping house which sounds like Soundstream playing far too loud on a knackered system! Another unique stormer from a rising star in the house world!


    Grimm Grimm

    Kazega Fuitara Sayonara / Tell The Truth

      Entrancing debut release on a label run by Charlotte Marionneau from Le Volume Courbe and My Bloody Valentine’s Kevin Shields. Minimal, hook-strewn space-folk by Koichi Yamanoha - from cult psych-punks Screaming Tea Party, with contributions from LVC, members of Chrome Hoof, and fellow Japanese ex-pats Bo Ningen - mixing together the harsh, melancholic beauty of Nico, Green World ambience, the tunefulness of classic pop, and the otherworldliness of Joe Meek. Lovely stuff.

      John Gibbs And The Unlimited Sound Of Steel Orchestra

      Steel Funk

        Following the appetizer of the two 12" singles "Trinidad (Disco Mix)" and "J'Ouvert," EM Records now serves up the main dish, the fine 1977 album Steel Funk by John Gibbs And The Unlimited Sound Of Steel Orchestra, a new addition to the "EM Steel Pan Series." Trinidadian steel-pan player John A. Gibbs studied science at the University of the West Indies in Jamaica where he earned his undergraduate and graduate degrees and formed The Jamaica All Stars Steel Band. This was the start of a dual career in science and music that eventually took him to the United States. He moved to Philadelphia in the mid-'70s and met Philly arranger/producer Louis A. deLise, with whom he collaborated to create a new steel pan music, welding Trinidadian steel music to Philly soul. He researched and advocated a new style of steel pan music, describing the steel pan as an "omnivibraphone" in his 1978 book The Unit Steel Band, in which he combined his scientific and musical backgrounds to illuminate the physics of the steel pan. Gibbs' innate musicality comes to the fore on Steel Funk, where he compiles several years of experience with deLise into an appealing Trini-Philly groove union, with the five steel pan players of the Unlimited Sound Of Steel Orchestra working in sync with a 30-piece studio orchestra of brass, strings and rhythm. The songs range from Calypso to film theme to pop standard, covers and originals, but Steel Funk is not a chintzy pastiche, it's a glorious unity. EM Records offers this re-release as "the 2014 version," newly remastered, with improved sound quality, a different track order, and new cover art drawn by Yoshihiro Tsuyama/2Yang.

        Caribou

        Your Love Will Set You Free / Mars - Inc. Carl Craig C2 Remix

          Following the rapturously received top ten album 'Our Love', which has dominated end-of-year lists, Caribou has revealed a gloriously layered remix of 'Your Love Will Set You Free' by the one and only Carl Craig.

          Dan Snaith had this to say about the remix “Carl Craig is a peerless remixer. I've dreamed of having him remix one of my tracks for ages. He was one of the first people to publicly mention how much he liked 'Swim' when it was released and we've been in touch since then. Before I'd gathered up the courage to ask him to remix a track on this album he got in touch and suggested it himself. The result is superlative and speaks for itself.”


          Synkro

          Transient EP - Clear Vinyl Edition

          Synkro AKA Joe McBride returns to Apollo for his fourth release on Apollo with the stunning Transient EP. Inspired by his move from the bright city lights of Manchester back to his childhood home, this is music that aches with nostalgia and melancholy, Joe explains:
          “I wrote the EP inbetween moving house, I started the tracks in my old flat & finished them in my new house. After living & spending a lot of time in Manchester I decided that it wasn't for me, I moved back to a small town in Derbyshire where I grew up & this EP kind of reflects my journey.”

          Swooning pads set the scene for opener ‘Someone’, cut against plangent vocals and a stuttering breakbeat and humming sub bass, title track ‘Transient’ goes deeper with more lush yet desolate polyphony and strident percussive rhythms. ‘Contact’ strikes a more intimate and hopeful mood - repitched chords and dubbed out vocals allied to gentle jazzy percussion, while ‘Falling’ brings the listeners journey to an end with a spectral lullaby, emotive descending pads punctured with glassy drum claps.


          Various Artists

          Attack Dub - Rare Dubs From Attack Records

            Throughout the seventies the productions of Bunny ’Striker’ Lee were incredibly prolific and he created a number of different labels to handle his ever expanding output.

            Bunny had always worked closely with Osbourne ’King Tubby’ Ruddock, who had built his first Sound System in 1957. But Tubbt felt that thingsreally got going when he took on Ewart ’U Roy’ Beckford as his deejay in 1968. When Bryon Lee upgraded Studio B at Dynamic Sounds to a sixteen track recording in 1972 Striker brokered a deal for Tubby to purchase the old four track equipment. The package included the MCI console that Tubby would go on to make world famous and as they say the rest is history.

            Here we look at the Attack label and have assembled a compilation of some of the finest dub cuts released on this label.


            Michael Jackson

            Thriller - 180g Vinyl Edition

              What else to say about this seminal Pop record than that you need to have this in your collection? Literally every song on Thriller has turned out to be a hit single. Now completely remastered for superb listening (and dancing, for that matter) experience!


              Todd Terje

              Preben Remixed - I:Cube / Prins Thomas Remixes

                Preben just had the time of his life. First he was invited by frenchman I:Cube to go diamond hunting in his luxury yacht somewhere in the adriatic sea. A helicopter sounded, pirates entered the ship. No match for Preben though, he´s got a pink belt in capoeira. Wham! He then "borrowed" the helicopter (Zed´s dead style) and flew out to Asker, Norway, where Prins Thomas expected him with a big bowl of disco stew. How nice.

                Anyway, as both these versions are slightly longer than the original versions on the 7", we decided size up to a 10". Artwork by Bendik Kaltenborn as ever, mastered and cut by the talented Matt Colton at Alchemy Mastering.

                Daft Punk

                Alive 2007 - 2xLP Vinyl Edition

                  Daft Punk's “Alive 2007” set, which won 2 Grammy Awards in 2009 (Best Electronic Album and Best Electronic Single categories) is now released on vinyl for the first time (a double vinyl with triple gatefold sleeve).

                  Recorded at Paris Bercy on 14th June 2007, Daft Punk's first homecoming concert for 10 years, "Alive 2007", captures the otherworldly live experience that the revolutionary robot-clad duo began at Coachella, USA in 2006. Opening with a "Robot Rock" teaser, before crashing into the track itself, the set works its way through all those DP anthems you love, including "Technologic", "Around The World", "Burnin'", "One More Time", "Da Funk", "Too Long" and "Human After All" - they even do a version of "Music Sounds Better With You"!.

                  Hailu Mergia

                  Musicawi Silt / Tche Belew

                    Musicawi Silt is the best known Ethiopian song from Addis Ababa's golden era of 1970s pop music. The insistent drive of the rhythm and the mighty blast of the horns - a sublime, angular burst - are unmistakable. Hailu Mergia's concept for the Walias first LP "Tche Belew" was to include compositions by various band members. Since Girma Beyene, a member of the Walias, wrote this addictive song in the mid-70s and the Walias band began including it in their sets, it has spread around the world, receiving cover treatments by bands of all kinds. The legendary track has never been available in its original form on a 7-inch single until now.

                    Various Artists

                    Natural Born Killers OST - Red Vinyl Edition

                      Produced by Trent Reznor of Nine Inch Nails, the soundtrack to the film Natural Born Killers (1994) was a downright smash in youngster's music tastes of the era. On his approach to compiling the soundtrack, Reznor told MTV: "I suggested to Oliver [Stone] to try to turn the soundtrack into a collage-of-sound, kind of the way the movie used music: make edits, add dialog, and make it something interesting, rather than a bunch of previously released music."

                      Some songs were written especially for the film or soundtrack, such as "Burn" by Nine Inch Nails. Other songs featured are by artists like Patti Smith, Cowboy Junkies, Leonard Cohen, Jane's Addiction, Dr. Dre and Juliette Lewis. The album has sold 500,000 copies in the United States,

                      FORMAT INFORMATION

                      2xLP Info: Gatefold sleeve. First pressing of 2000 numbered copies on blood red vinyl. At The Movies release: packed in sturdy Collector's PVC sleeve.

                      Atelje

                      Meditation

                        Test Pressing say:

                        “Meditation” begins with an ode to Dan Lissvik`s former band, Studio. The first time I heard their “West Coast” I had just arrived in Japan. I was in Module. It was my first time in a Tokyo nightclub, and Prins Thomas was just starting something like a 12 hour set. He played the Studio record and to me it sounded like The Cure in Dub. The LP mixing the clean modern Kosmische of Kriedler and Appliance with the swagger and US import 12s of X and Hacienda Happy Mondays. While Studio had been around since 2001, “West Coast” didn`t break through until 2006, and the band didn`t really make it past the album`s success.

                        In the time between then and now, Lissvik has gone on to produce artists with names like Young Galaxy, The Mary Onettes, The Crepes, Taken By Trees, Ikons, Lake Heartbeat, Hanna, Most Valuable Players, and Embassy, do the mastering for those Parlour releases, and complete around 50 remixes, all with his distinctive basslines, for the likes of Mountain Of One, Brennan Green, Steve Mason, Fever Ray, Sally Shapiro, notably turning Kylie Minogue into a Flamenco temptress and revisiting Chris Rea`s “Josephine” with Korallreven. Atejle is a new solo project.

                        Everything on “Meditation” rocks with a gentle Jahtari (if there is such a thing) Digidub skank. Sherrif Lindo in reflective mood. The trebly Wreckless Eric guitar lines dance with Jonathan Richman in the shadow of the Sphinx. Woo with ON-U, then shredding, clearing cobwebs with Mark McGuire. Eastern mysteries are pondered from the back of Snakefinger`s black sedan. Asian Karma, electric counterpoints and a Pop chorus have Holger Czukay`s “Persian Love” ride horseback with Hans Peter Lindstrom. A sleepy cowboy tremolo twang rings out as Nils Frahm`s rainclouds think about it in the background. Tuff Scout inna Göteborg.

                        FORMAT INFORMATION

                        LP Info: Limited pressing, 300 copies only ONE PER PERSON!

                        Ghostface Killah

                        36 Seasons

                          Also Includes Instrumentals For The Full Album! It will be a single CD with the full album and instrumentals included. Vinyl LP to follow next year. Tony Starks returns to Staten Island after 9 years, like a man returning home from a war. He wants the company of old friends, to reunite with his girl, to live a quiet life. But New York has other plans for him… Pitchfork Media has said “Ghostface has unparalleled storytelling instincts. He might be the best, most colourful storyteller rap has ever seen”. Q Magazine called him “rap’s finest storyteller”. On his new release 36 Seasons those powers have never been more in-focus, as he takes his listeners on a gut-wrenching journey of double-cross and revenge through the rough and rugged housing projects of New York’s Staten Island. On 36 Seasons Ghostface once again delivers exactly what the hardcore Wu-fans crave: desperate tales from the dark side over soulful boom-bap tracks. The soundscape is provided The Revelations [Brooklyn’s acclaimed soul band/production team]. Their hard-hitting tracks match the intensity of Ghost’s violent narrative. His co-stars on 36 Seasons are legendary lyricists and storytellers in their own right, 3 of the greatest of all-time: AZ, Kool G Rap and Pharoahe Monch. The album also features vocal contributions from Blue Note Records’ rising star Kandace Springs and gritty soul singers Rell and Tre Williams. To visually flesh out the album’s dark and twisted world, the CD's packaging includes 20 pages of striking images from a host of stellar comic artists, curated by the team that created Ghostface’s 2013 six-issue comic mini-series, 12 Reasons to Die.

                          Gene Chandler / Baby Huey

                          In My Body's House / Hard Times

                            Hard Times has been the source for many Hip Hop artists – Tribe, Ghostface, Diamond D to name but a few, but for the flip we take it back in time to the inspiration behind Baby Huey’s classic in the form of Gene Chandler’s “In My Body’s House” penned by Curtis Mayfield who released his own version in 1975 – here you get two rare tracks on one collectable 45 – grab yourself a copy before they’re gone!


                            Sly & The Family Stone / LL Cool J

                            Trip To Your Heart / Mama Said Knock You Out

                              Rewind to 1967 and Sly’s debut LP “A Whole New Thing” with The Family Stone containing the super funky break, Trip To Your Heart, which was sampled by LL Cool J here on the flip, but surprisingly never before released on a 45….until now!

                              Breach & Cinnaman

                              Liberty / Avocado

                                Breach and Cinnaman are next up to release on Breach, aka Ben Westbeech’s own label Naked Naked. The two track EP NKD010 is a fluent exercise in dance floor house music from two producers well versed in the club scene.

                                Cinnaman the moniker of Amsterdam’s Yuri Boselie, part of the infamous Rush Hour Record store crew and a resident at Trouw nightclub is known for his eclectic sets, his varied musical past is translated in his productions and it is fair to say that Cinnaman is one of the most exciting producers coming out of Holland at the moment. Breach, label owner and producer has released records from the likes of Dark Sky, Midland, Dusky and Lorca amongst his own acclaimed work. This EP continues to build on Naked Naked’s stellar reputation. The first track is a skipping vocal house track that retains a solid and weighty bass line. The second track is a textured and slightly moodier exploration into house music that builds in complexity and depth. NKD010 certainly meets expectations and the collaboration is a master class in quality club music production.


                                Dolo Percussion

                                Dolo 2 EP

                                  Max D's Dolo Percussion alias follows up last year's white label on LIES with a new collection of bugged out drum tracks for Future Times! Max milks primo technoid junk, Sumo tom hits, ricochet chants, and new wave jungle blasts. Nasty stuff built for DJ sets!

                                  Fictonian

                                  Full Circle Influence

                                    "Fictonian is a new project put together by researchers at the University of Phoenix in a bid to devise the perfect song. Locked in laboratories day and night with a handful of Fleetwood Mac albums they’ve been trying to determine the formula that will, by the year 2018, create the song to beat all songs. It’s early days in the project, but we think ‘Full Circle Influence’ shows plenty of promise. Of course, none of this is true – the University of Phoenix isn’t even a real university – but given that nobody will tell us any more than Fictonian is a “UK-based songwriter and instrumentalist”, and the name sounded a bit like Fiction, we figured we’d just make something up. And they all lived happily ever after, the end."

                                    Dan Mangan And Blacksmith

                                    Club Meds

                                      The follow up to 2011’s highly acclaimed, award winning ‘Oh Fortune’ sees the Vancouver-based artist return after a few years out of the limelight, this time officially joining forces with his long-time -now integral- band members to play under the moniker Dan Mangan & Blacksmith.

                                      The name Blacksmith alludes to a craft that takes years to master and marks the start of a new era in Dan Mangan’s work, where the band play a larger role than ever before and the result is their heaviest, most intricate and most fearless work to date.

                                      The album title, ‘Club Meds’, is a pun on one of the driving lyrical motions of the record; the idea that we’re all on vacation from having to be honest with ourselves – that sometimes it’s easier to medicate than deal with reality.

                                      In his home-country of Canada, Dan Mangan has grown up in the public eye since garnering attention with his 2009 record ‘Nice, Nice, Very Nice’. Produced by Colin Stewart and Dan Mangan, ‘Club Meds’ now sees him step from the singer-songwriter bracket, into the Technicolor splendour of a full band with poise, self-confidence and a new found depth & complexity.

                                      Blacksmith is Kenton Loewen (drums), Gordon Grdina (guitar), John Walsh (bass) and often JP Carter (trumpet), Jesse Zubot (violin) and Tyson Naylor (keys). They bring an unmistakable character to ‘Club Meds’; a stark glassy edge that swells and sways like a roaring ocean. Through a fog of analog feedback loops and synths, the band's performances breathe deeply and steadily like a dragon at rest.


                                      The Miserable Rich

                                      Live In Frankfurt

                                        This live album captures the spirit of the band in a way that the studio albums only hinted at, taking in songs from all three albums, plus the unreleased crowd favourite ‘For Heaven’s Sake’. There are particularly striking versions of ‘Let Me Fade’ and ‘Monkey’, neither of which feature drums on their original recorded versions, but here benefit from Martin Deering’s enthusiasm behind the kit. In the encore the band, as they often do at shows, stepped down from the stage to perform acoustically in the middle of the audience. Chris Müller, the recording engineer, grabbed a mic and rushed out into the crowd himself, managing to capture what turned in to a rather magical moment, with the audience joining in on ‘Pisshead’ and ‘Hungover’ with some impressive singing.

                                        An initial limited run of the CD comes with a bonus disc (also released digitally as a separate album, All the Covers), containing all the cover versions the band recorded between 2007 and 2013, including their dark, almost sinister, version of Hot Chip’s ‘Over and Over’, and Kylie’s ‘All the Lovers’ like you’ve never imagined it before…


                                        Next up on Belfast based Titanic City is Hermez an artist that first appared on Local Talks' sub label Telefonplan, a release that really turned our heads. At first we commissioned this unknown to remix duties of our first release, and now have handed him the conch for 002. To our delight we present this thundering release with influences from Detroit to Chicago, Belfast to Berlin. This one holds everything from 303s to experimental techno a must hear for where we plan on going and an insight into who came to rule. On remix duty is NICK ANTHONY (Mathematics recordings/Creme,Org/L.I.E.S) with his crunching 909 warehouse remake, which has myriad synth lines layered with real rough edge house beats.

                                        There’s a rough and raw DIY feel to this music that makes it jump out of the speakers and arrest your attention, as is always the case with Titanic City. Stand up pay attention.

                                        This time we go back to 1978. Why?

                                        Antilope’s and Death On The Balcony’s edits both are based around originals that were released in 1978 - stretched and sped up for the club. Matpat, on the other hand, selected a drum and piano loop from a Maxi Version of one of the first disco-rap records from 1980.
                                        A1)
                                        When the original of this club edit was released in 1978, it was already an edit, as it used poetry recordings of the band’s singer who was by then dead for 7 years. With the overdubbing of music to pre-existing poetry recital tapes by the surviving band members, it marks the beginning of the creation of something new for the band. Right in this spirit, Antilope has created a club version that stays true to the original but makes it suitable for after-hours and late night venues.
                                        B1)
                                        Death On The Balcony’s edit is all about the groove. Think Paul Humphrey, Ed Greene, Earl Palmer and the god-father of that 16th-note groove James Gadson. Death On The Balcony replayed some parts & added a more modern bass to mirror, compliment existing parts in the original track used. The hook of the vocal was made as an art of the verse of the beginning.
                                        B2)
                                        Matpat used a Piano-loop from one of the first disco rap records ever made and transformed it into a jackin house swinger. No more words needed, just enjoy it.

                                        About ANTILOPE
                                        A film buff from an early age, Balthazar Pinto, aka Antilope, cites cinematography as the main inspiration for the songs he creates (as one could hear on his Exploited debut ‚Body Trouble‘). His discovery of electronic music occurred in the early 90’s, and he quickly fell in love with the scene and decided to become a part of it. Despite beginning to produce in 2000, he has only used the Antilope moniker for the past three years. With this project, he aims to "create music that breathes like a soundtrack, but in a more edgy, club kind of way.“ (Earmilk)
                                        About DEATH ON THE BALCONY
                                        Leeds-born duo Death On The Balcony's distinctive brand of emotive house music has steadily grown to become one of the genre's most sought-after sounds. From edits for Soul Clap's free download series to releases on All I Day I Dream, SUOL, Pets Records, Culprit and Silver Network, they have graced many of underground house's most acclaimed labels and this is their first mark on Exploited.
                                        About MATPAT
                                        At a young age, Matthew Patrick Dodd was introduced to an eclectic mix of music from his family that would later be inspiration for his own burgeoning take on Electronic Music. By seven, his brother had him standing on milk crates so he could reach his first set of tables and by thirteen, he had already started playing classic records like Kraftwerk's "Tour De France" and Hard Drive's "Deep Inside." Matpat's sound is influenced by the producers that came before him. Detroit Techno, Chicago House and Disco from Philadelphia & New York (as well as his own productions) fill his DJ sets and have begun to distinguished him as a House Music Maven. His "Crush" EP was picked up by Terry Farley, the man behind Junior Boys Own. Mat's release on Stretch Armstrong's New York Dance Label, Plant Music received a 4/5 on Resident Advisor. Then he signed to Derrick Carter's label Persnickety for "The Chicago-Philly Combo" (which reached the Juno Records Top 5 Singles Chart). All this helped solidify Matpat as a house music DJ and Producer with a promising future. By the end of 2013, he released his track "Feel Your Body" on Samo Sound Boy & Jerome LOL's label Body High, as well as throwing invite-only parties at his loft in the "Eraserhood" area of Philadelphia. Now this is his second contribution to Exploited's Disco edit label Black Jukebox.

                                        Stelvio Cipriani

                                        Gli Orrori Del Castello Di Norimberga (Baron Blood) OST - Blood Red Splatter Vinyl Edition

                                          STELVIO CIPRIANI’s legendary “Italian version” soundtrack for the 1972 MARIO BAVA film GLI ORRORI DEL CASTELLO DI NORIMBERGA (BARON BLOOD) contains jazzy elements and classic sounds combined with great audio effects obtained by “torturing” guitars, drums and the wind.

                                          - The COMPLETE original score available FOR THE FIRST TIME EVER
                                          - Double Vinyl Edition
                                          - Exclusive Remastering

                                          RED210B is available on:
                                          - BLOODY RED SPECKLES Vinyl
                                          - Limited Numbered Edition of 500 copies

                                          Various Artists

                                          Duppy Gun Productions Vol. 1 - Multiply

                                            Duppy Gun Productions is an Outer-Orbit Dancehall label founded and operated by Cameron Stallones (Sun Araw) and M. Geddes Gengras after their inspiring work with The Congos. Producing and curating riddims from a growing family of Duppy Gun producers, Stallones and M. Geddes Gengras ferry them to Jamaica and record vocalists wherever they are able to find talent and an electrical outlet. Includes production from Peaking Lights, Sun Araw, M. Geddes Gengras, Matthewdavid, and more.

                                            Dubkasm Featuring Luciano & Turbulence

                                            Jah Victory / Right There

                                              After causing shockwaves throughout the world of reggae and beyond, Dubkasm’s seminal instrumental smash ‘Victory’ has travelled from Bristol to Jamaica and back again. This new version is voiced by Luciano, arguably the greatest roots reggae singer of the modern era, and veteran deejay Turbulence, who steps up with a fiery, righteous counteraction. With its tough, unstoppable rolling bass, unique percussion and crisp, driving horns, the original version was the bestselling roots release of the decade. The exclusive dubplate of Luciano’s incredible performance has been a fixture at soundsystem stalwart Aba Shanti’s dances for the past year, and is finally available on 12-inch, backed with Turbulence’s all-new deejay militancy. Both performers stay true to the spirit of the original, bringing out different sides of the Dubkasm ethos: Luciano is soaring and jubilant, while Turbulence chats pure and unflinching reality, delivering his most unforgettable chorus since breakout hit, ‘Notorious’, in the process. Each vocal is followed by an uncompromising, deep, old skool dub, with crackling delays and thunderous spring reverb. Mastered on ½” tape at the world-famous Stardelta studio and cut to 180g vinyl, the pressing does full justice to the depth of the music; you can hear every hi-hat and every last vocal inflection. This is an unmissable release.

                                              Dr. Dog

                                              Live At A Flamingo Hotel

                                                Dr. Dog releases the first ever bottling of the band’s effervescent live shows via Anti-. Culled from the band’s 2014 North American tour, the songs here cover all of Dr. Dog’s seven studio albums, ranging over a decade of material. Says bassist/vocalist Toby Leaman, “We’re one thing on a record and a different thing live. We’ve always built our fans through the live show. Somebody goes to a Dr. Dog show and hopefully comes again and brings somebody with them. We see it build in a town by coming back several times. Our live show is vital to how we view ourselves as a band.”

                                                The collection serves essentially as a Dr. Dog greatest hits, with a running time nearly equal to a live set - and longer than what will fit on a traditional CD, so the album will see only a digital and four-sided vinyl release. From hits like “Shadow People” and “Lonesome” to live staples like “County Line,” “The Rabbit, the Bat and the Reindeer,” and “Ain’t It Strange,” this is Dr. Dog as God intended.

                                                Nelson Riddle

                                                Batman - Original Television Soundtrack

                                                  Bam! Pow! Zap! Faithful vinyl reissue of the 1966 Nelson Riddle conducted television soundtrack album to the-one-and-only Batman starring Adam West and Burt Ward. Both swingin' and campy, it features the famous hit TV theme song along with original incidental music and dialog from the show. Hear the actual television voices of Batman and Robin plus guest villains The Penguin, Zelda the Great, Mr. Freeze and the Riddler. To the Batmobile...let's go!

                                                  Ennio Morricone

                                                  The Big Gundown (La Resa Dei Conti)

                                                    ENNIO MORRICONE’s legendary score for THE BIG GUNDOWN (Italian LA RESA DEI CONTI) is so densely packed with pathos and drama that run so deep into the listener’s mind. Using almost the same great talents shown on SERGIO LEONE’s “The DOLLAR’s Trilogy” with the orchestra conducted by fellow BRUNO NICOLAI and the mighty twangin’ guitar of ALESSANDRO ALESSANDRONI, the MAESTRO Morricone deliver similarly outstanding results!

                                                    The return of the spaghetti western sounds on Dagored!

                                                    - limited numbered edition of 500 copies
                                                    - Complete remastered edition
                                                    - Splatter Vinyl (black with sand Speckles)
                                                    - Free Poster Inside

                                                    The God In Hackney

                                                    Cave Moderne

                                                      Cave Moderne is the debut full-length LP by The God in Hackney, released in an edition of 300 copies on translucent orange vinyl. A concept album set in the contemporary Neolithic, it features chants, drums, guitars, synths, shells, earth, teeth, tree bark & cheap music apps. This is the soundtrack to our contemporary cave life.

                                                      Synthesizing the band’s love of krautrock, spiritual jazz, Brian Eno, Peter Gabriel, On-U Sound, The BBC Radiophonic Workshop, Monty Python and Detroit techno, The God in Hackney have forged a distinctive sound that hovers between classic British art rock and the farther reaches of experimental electronica. Their sensibility is shaped as much by their childhoods in the spookier corners of rural Britain as it is by the band members’ individual lives today in Los Angeles, New York, Brighton and London.

                                                      The God in Hackney are a quartet that was formed in London in 2009, the result of art school and musical alliances forged over the years from bands including Skill 7 Stamina 12 (Junior Aspirin), Socrates that practiçes music (Junior Aspirin), Charlottefield (Fat Cat) and Imitation Electric Piano (Duophonic).Their rare but infamously strange live shows have included the ICA London; an eight-hour non-stop set at the Centre Pompidou, Paris in 2010; a former New York strip club during the Performa11 art festival; and a near-legendary outdoor show in front of 3000 people on the Chinese/Russian border in 2012 – soon to be the subject of a documentary by London-based film director Marcus Werner Hed.

                                                      Pink Section

                                                      Pink Section

                                                        Named after San Francisco Chronicle’s pink-hued arts and entertainment guide, Pink Section coalesced at SF Art Institute and performed their first show at the legendary Deaf Club on Valentine’s Day, 1979. These self-taught musicians existed on the fringe (even in the local underground scene), producing an unusual brand of off-kilter post-punk against a backdrop of Dadaist aesthetics.

                                                        The group itself was strangely symmetrical: singer Judy Gittelsohn and drummer Carol Detweiler (both members of Inflatable Boy Clams), singer / guitarist Matt Heckert (Survival Research Laboratories) and bassist Stephen Wymore.

                                                        While the hallucinatory layers of male / female vocals on “Shopping” conjure images of deranged domesticity and ’50s Americana gone haywire, the fractured riffs of “Midsummer New York” deconstruct Yoko Ono’s original even further, stripping bare Pink Section’s fondness for angular rhythms and out-of-control oscillations. This first-time retrospective LP collects the band’s rare 1979 single, the self-titled EP, unreleased demos and live material. Recommended for fans of Suburban Lawns, Units, and DEVO.

                                                        Melvins

                                                        Ozma / Bullhead

                                                          This double-LP package combines two of the earliest releases from the often imitated but never duplicated Melvins. Formed in the early-’80s in the scenic wonderland known as Aberdeen, WA, the band took inspiration from Black Flag, Black Sabbath, Venom, Flipper, Stooges and other floggers of highenergy, low-velocity plod. Today, more than 30 years later, they might be more popular than ever. Slow and steady wins the race.

                                                          Disc one is Ozma, from 1989, which was recorded soon after their move from Washington to San Francisco, and was their first release to include the diminutive yet mighty Lorax (Lori Temple Black) on bass. In fact, the first sound one hears at the album’s opening is Lori standing on her tiptoes to switch on her amp, thereby warning the listener of the onslaught to come. Distorted, down-tuned doom riffs start, stop, lurch sideways with no warning, and seem to end before they start. Buzz Osborne adds extraneous guitar static and vocal squeals. Drummer Dale Crover plays as if he’s inside a barrel going over Niagara Falls; the long, slow fall allows the space between beats to grow and grow until he crashes into the water with the vessel blasting apart in an explosion of drum rolls. The classic Melvins heavy grind is set up and broken up by assorted odd sidetracks: “Revulsion / We Reach” flows forward slower and slower until it eventually melts into a gooey feedback drone. “Raise a Paw” is a superball paddled against one’s head by a grinning village idiot. “Love Thing” enlists in the Kiss Army before getting dishonorably discharged.

                                                          Disc two is Bullhead, from 1991. The songs are longer, the mood is calmer, yet more menacing. “Boris” (which gave the Japanese group their name) is a long, slow, low death march of addiction and self-abuse. “Zodiac” is a frantic punk rock machine gun blasting away at Buzz’s demons (both inner and outer). “Cow” is a happy baboon bashing away at the best drum solo of his life. “It’s Shoved” is a groovy beat for the cast of Shindig to bop along to, until their carefree performances of The Pony, The Mashed Potato, and The Watusi are horribly interrupted by the soundstage tilting up and sliding them all into a mangled heap of screaming dancers, broken cameras and flaming electronic equipment at the bottom.

                                                          The LPs have been remastered and are back in print on vinyl for the first time in 15 years. The new gatefold packaging includes never-beforeseen vintage photos, as well as the original artwork and insert, all tidied up and ready to meet Mom and Dad. Free download (with one extra track) is included.

                                                          Melvins

                                                          Eggnog / Lice All

                                                            This double-LP package combines two of the earliest releases from the often imitated but never duplicated Melvins. Formed in the early- ’80s in the scenic wonderland known as Aberdeen, WA, the band took inspiration from Black Flag, Black Sabbath, Venom, Flipper, Stooges and other floggers of high-energy, low-velocity plod. Today, more than 30 years later, they might be more popular than ever. Slow and steady wins the race.

                                                            Disc one is Eggnog, from 1991. Originally released as a 10-inch, Eggnog is a wild ride into the outer limits of Melvins-dom. The first side cuts loose with three quick blasts. “Wispy” has the Lorax (Lori Temple Black) on bass and Dale Crover on drums, pounding one note in unison while Buzz Osborne bellows and whispers and turns his guitar on and off. “Antitoxidote” is a rabid horse galloping off into the desert, with yet more stops and starts and feedback detonations. “Hog Leg” sounds like a syphillitic Jimmy Swaggert trying to mimic Dio while being backed by a drunken ZZ Top cover band. Side Two features the side-long epic “Charmicarmicat,” with seasick waves of guitar and slow-motion madness bringing communicable disease and poisonous jellyfish ashore, stinging and infecting the unsuspecting sunbathers before gently washing out to sea again.

                                                            Disc two is Lice-All, from 1992, previously known as self-titled, and also previously known as something else we’re all not gonna talk about, thank you very much. This was their last release before signing their Atlantic deal, and features the introduction of new bass player Joe Preston (previously of Earth, currently of Thrones). It’s one long, slow, loud blob of drones, moans and fuzztones. The opening endless power chord shimmer influenced Sleep, Sunn O))), and countless other sludge metal drone freaks for years to come.

                                                            The LPs have been remastered and are back in print on vinyl for the first time in 15 years. The new gatefold packaging includes neverbefore- seen vintage photos, as well as the original artwork and insert, all tidied up and ready to meet Mom and Dad. Free download is included.

                                                            Living Eyes

                                                            Living Large

                                                              Geelong delinquents The Living Eyes will unleash a new, 10-track slab of stompers via Agitated Records.

                                                              The Living Eyes are Billy Gardner (who, not only runs the esteemed Geelong record label Antifade, but also plays in Ausmuteants and Wet Blankets amongst others…) on vocals and guitar, Mitch Campleman on guitar / vocals, bassist Dayle Herbert and drummer Nicholas Hill. Their second full-length, “Living Large,” was recorded in a day-and-a-half by (Straight Arrows’ front man) Owen Penglis in his (new) Sydney hideout, Goliath Professional Recording Studio. The tapes were then driven back down the Hume highway and finished off in a couple of West Geelong bedrooms before being sent off to Australia’s mixing master, Mikey Young.

                                                              Taking their cues from the likes of The Easybeats, The Hoodoo Gurus, The Saints and The Hard Ons, The Living Eyes stand true to the vitriolic punk brash and sharp garage crunch of their s/t debut (2013, Antifade Records) whilst crafting some DAMN SWEET power-pop hooks. The Living Eyes are ‘Living Large’ with feral wallaby beat to make you pick up your feet and a shake you just can’t shake! For Fans Of: Jay Reatard, Citadel Records, The Kinks, Waterfront Records, The Ramones, In The Red Records, High Voltage AC /DC.

                                                              Jack Name

                                                              Weird Moons

                                                                Jack Name’s genius is the listener can never anticipate his next direction. A change of trajectory is as likely a return to the beginning as it is a sharp upwards spike that pulls one deeper into one’s seat and threatens unconsciousness. Nothing here is concrete or predictable. Songs float, attract, repel, and rebound off each other like pitch black matter.

                                                                A wonderful followup to 2014’s masterpiece Light Show (God?), Weird Moons was recorded in a room with mirrored walls, moth-eaten shades pulled low to block the sun’s brutal radiation and the howls of the urchins 60 stories below. Less a sequel to the tales spun in the first, and more a rocket that has jettisoned its initial thruster to be driven further away from this mortal orb and deeper into this sticky story.

                                                                Reminiscent of late-era Can, Bruce Haack, Hans Edler, Solid Space, Dario Argento and VHS tapes, it’s fucking great. Listen to this album in an egg-shaped speaker chair, if possible.

                                                                Inflatable Boy Clams

                                                                Inflatable Boy Clams

                                                                  San Francisco provocateurs Inflatable Boy Clams recorded one of the greatest all-female art punk records ever made, a wrongfully obscure five-song double 7-inch EP which has garnered a cult following ever since its initial release on Subterranean Records in 1981. While the music blends simple instrumentation and captivating, quirky lyrics, the artwork looks like an early Rough Trade single, complete with a posh Winogrand-esque photo of the group. More of a performance art troupe than a traditional rock band, the Boy Clams often rotated between instruments and shared vocal duties: JoJo Planteen, Judy Gittelsohn and Carol Detweiler (the latter two both members of Pink Section), along with saxophone player Genvieve Boutet de Monvel.

                                                                  It is easy to imagine Planteen dancing to “Skeletons” with its infectious bassline and kitschy organ (or even to the flip-side track “Snoteleks,” which is the A-side played backward). “I’m Sorry” is the ultimate one-upmanship song that reveals that women can be sinister, too. This first-time reissue comes from the original master tapes. Recommended for fans of Kleenex / LiLiPUT, Raincoats and Bush Tetras.

                                                                  Guided By Voices

                                                                  King Shit & The Golden Boys - Vinyl Edition

                                                                    As a companion piece to the vinyl reissue of Bee Thousand, Scat Records presents a new edition of this finest compilation of Guided By Voices outtakes. Originally included with the multi-disc set Box, this issue marks the album’s first release as a standalone piece. The first side features highlights from two otherwise unreleased albums from the band’s early days (Learning to Hunt and Back to Saturn X), while the second side mops up the best cuts left off of Bee Thousand. All tracks are exclusive to this release.

                                                                    Packaged in a high-quality, heavy-duty tip-on jacket and pressed on virgin RTI vinyl, this LP is a must for even the casual GBV fan.

                                                                    Guided By Voices

                                                                    Bee Thousand - Vinyl Edition

                                                                      Little introduction should be required here. Let it suffice to say that Bee Thousand is arguably the best, or at least among the top Guided By Voices albums in a copious discography. Accordingly, the album has stacked up accolades over the years, including being voted #1 on Amazon.com’s “100 Greatest Indie Rock Albums of All Time.” It’s a staple such lists, and has also placed highly on those curated by Spin, Pitchfork, Mojo and Rolling Stone.

                                                                      This new LP pressing, the first since the late ’90s, honors the album’s 20th anniversary. It features new (and definitely improved) mastering from John Golden, a substantial gatefold jacket with a previously unpublished Robert Pollard collage, and high-quality virgin vinyl from RTI. Also includes a free download card.

                                                                      Erase Errata

                                                                      Lost Weekend

                                                                        In 2012, the funky aunts of no wave psych rock Erase Errata reunited for a weekend in the Midwest to hang with old friends, play shows and record, all thanks to the Mission Creek Music Festival Artist-in-Residence program. Jenny Hoyston, Ellie Erickson and Bianca Sparta, who live in three different cities, arranged to meet in the sleepy, hawkeyed town of Iowa City, where they took up residence at producer / engineer Luke Tweedy’s Flat Black Studios. After a day of improvising, the band selected seven pieces to flesh out for posterity.

                                                                        Lost Weekend is the result, the fourth full-length release for these spaced-out road veterans who’ve produced weirdo music since 1999 for an international fanbase. Selfreleased on the band’s own label Under The Sun.

                                                                        Elder

                                                                        Lore

                                                                          Elder is a heavy psych band from Boston, USA. Founded by long-time friends Nicholas DiSalvo, Jack Donovan and Matt Couto, the group spent years plodding in Sabbathian territory, releasing their self-titled debut in 2008. In the years that followed, Elder took a surprising turn away from their more traditional stoner rock roots, incorporating uplifting melodies and progressive song structures into their lengthy epics. The release of 2011's Dead Roots Stirring sent ripples through the underground and established the band as one of the genre's most interesting and experimental. Between lengthy hiatuses where DiSalvo resided in Germany, Elder continued writing, taking in inspiration from travels and experiences in non-musical territory. 2012 saw the release of Spires Burn/Release EP, the next chapter in the group's progressing mindstate. In the following years Elder toured the U.S. and Europe several times, culminating in the release of their live album Live at Roadburn 2013 from the Dutch festival's 18th edition.

                                                                          Lore is the third full-length album by Elder and a watershed moment in the band's history. Joining the interplay of heaviness and melody which has become the hallmark Elder sound are a host of new meanderings through uncharted kosmische territory; krautrock, prog as well as classic heavy rock and doom can all be heard unfolding throughout the record's five songs. By giving equal credence to riffs and atmosphere, Lore bypasses genre constraints, the group's penchant for progressive songwriting and melody shining more brightly than ever.


                                                                          FORMAT INFORMATION

                                                                          2xLtd LP Info: The vinyl comes in a dye cut gatefold cover with inter changeable inner sleeves. Limited to 500.

                                                                          B.C. Gilbert / G.Lewis

                                                                          Ends With The Sea

                                                                            Bruce Gilbert and Graham Lewis have always juggled darkness and light in their various collaborations (Dome, Cupol, etc.); Gilbert’s pointillist melodicism counterbalanced by Lewis’s menacing bass and sardonic lyrics. While the duo explores cinematic soundscapes on their album 3R4, here they return to more song-based territory with icy vocals, detached guitar lines and even a faint industrial vibe. Ends With the Sea provides a vital glimpse into the creative forces that even a band as daring and inventive as Wire could not contain.

                                                                            This first-time vinyl reissue is recommended for fans of SPK, Chris Carter, and Einstürzende Neubauten. B.C. Gilbert / G. Lewis 3R4 (Superior Viaduct – SV063)

                                                                            B.C. Gilbert / G.Lewis

                                                                            3R4

                                                                              In 1980, after three relentlessly creative albums, the members of Wire were at an impasse, unsure of how to push themselves any further as a four-piece rock band. While frontman Colin Newman spent the band’s hiatus mining Wire’s knack for intelligent and contorted pop songs, guitarist Bruce Gilbert and bassist / vocalist Graham Lewis joined forces for a series of experimental projects (Dome, Cupol, etc.) where the primary motivating concept was “studio as instrument.” 3R4, the duo’s only LP under the B.C. Gilbert & G. Lewis moniker and the very second album to be released on 4AD, eschews melody and structure in favor of ambient-noise soundscapes, metallic textures and tense moods.

                                                                              If the brief “Barge Calm” tracks appear like sonic exercises, the longer pieces (“3. 4…” and “R”) are true exorcisms, conjuring supernatural found-sounds with the patience and deliberation of (un)holy men. Play this record loud and try not to think that it is the soundtrack to a lost David Lynch film. This first-time vinyl reissue is recommended for fans of Faust, David Cunningham, and Thomas Leer & Robert Rental’s The Bridge. B.C. Gilbert / G. Lewis Ends With the Sea (SV064)

                                                                              Roy Orbison

                                                                              Chicken Hearted / I Like Love

                                                                                While largely overshadowed by the pop hits he crafted for Monument later in his career, Roy Orbison’s work for Sun is deserving of praise. From the aching of “Ooby Dooby” or the proto rockabilly of “Go! Go! Go!” Roy’s work here is solid and energetic enough that all of Texas should be proud. And if you can’t shake it to “Chicken Hearted” you need to check your pulse.

                                                                                Roy Orbison

                                                                                Sweet & Easy To Love / Devil Doll

                                                                                  While largely overshadowed by the pop hits he crafted for Monument later in his career, Roy Orbison’s work for Sun is deserving of praise. From the aching of “Ooby Dooby” or the proto rockabilly of “Go! Go! Go!” Roy’s work here is solid and energetic enough that all of Texas should be proud. And if you can’t shake it to “Chicken Hearted” you need to check your pulse.

                                                                                  Roy Orbison

                                                                                  Ooby Dooby / Go! Go! Go!

                                                                                    While largely overshadowed by the pop hits he crafted for Monument later in his career, Roy Orbison’s work for Sun is deserving of praise. From the aching of “Ooby Dooby” or the proto rockabilly of “Go! Go! Go!” Roy’s work here is solid and energetic enough that all of Texas should be proud. And if you can’t shake it to “Chicken Hearted” you need to check your pulse.

                                                                                    Matthew Melton

                                                                                    Outside Of Paradise

                                                                                      At this point Matthew Melton is a household name in the genres of garage rock and power-pop. Melton’s collection of bands includes SNAKE FLOWER 2, BARE WIRES, and most recently WARM SODA. Much like his first solo album (Still Misunderstood, 2010) this album was recorded over an extended period of time from 2007–2014. For a prolific writer such as Melton, it’s only natural to accumulate a stockpile of songs that never made the cut for another project. Thankfully Melton had the foresight to save these songs for what has become his newest solo record Outside of Paradise. Fans of Melton’s past and present projects will enjoy this medley of songs ranging from power-pop gems, smooth punk jams and heavy psych hitters. Outside of Paradise is the latest addition to Melton’s already phenomenal body of work.

                                                                                      Lillie Mae Rische

                                                                                      Rische

                                                                                        It should come as no surprise to the TMR faithful that Lillie Mae Rische is a complete bad-ass and an all-around powerhouse of melody. She first joined the TMR family a little over two years ago and ever since--whether onstage w/ Jack White and his band or in the studio--she's been, how you say, delivering us from evil with fiddle playing so stupefying as to propel listeners into the jaws of heavenly awe. Feel me on this, y'all?

                                                                                        Here we have Lillie Mae Rische center stage. Her contribution to our Blue Series showcases two original songs, charming and plaintive, with the B-side hitting us with a story of hearts on the road, having to reconcile distance and desire. Meanwhile, the A-side is a gentle yet stern anthem about the sweet and sour circumstances of being alone. All in a voice that's sweeter than peach brandy.

                                                                                        Joining her are some longtime Third Man contributors Carl Broemel, Dominic Davis, Jack Lawrence, and local drum god, Whip Triplet.

                                                                                        Cymbals

                                                                                        What Eternity

                                                                                          Following the January release of their celebrated second album, The Age of Fracture, CYMBALS close the year out with a limited edition 7” entitled What Eternity, featuring two new songs - ‘Talk To Me’ and ‘Innocence’. Both songs were produced by Dreamtrak and mixed by Dan Rejmer. Marking the end of what has been an incredibly eventful twelve months, the 7” will be released on 12th January through Tough Love. The songs on What Eternity come to the wider world at almost the same time they did to the band – both tracks were recorded in September of this year, very soon after CYMBALS returned from their first US tour.

                                                                                          Emboldened by the reception they received from audiences in cities thousands of miles from home, a concerted effort was made to harness the energy and enthusiasm of those US shows and to create something that reflected the band right now. The circumstances around The Age of Fracture dictated it be recorded over a long period of time, whereas there is a immediacy to these new songs at odds with the long stretches of time that often bridge the gap between a song being recorded and its release – they are very much of the moment, both direct and vital. As such, they might well be CYMBALS’ best songs to date. As singer Jack, says: "These songs are close to what I am feeling during this current moment, in other words this season, or the stretch of time from spring to autumn this year. They are a little more personal and introspective, which is some kind of difference for us. We don’t want to explain them too much, given that so many words accompanied the album we wrote last year and released earlier this year - these songs have no notes with them, no explanations, no justifications. The only thing we should say is that the title is borrowed from a book by Marguerite Yourcenar, who herself borrowed it from a poem. We’ve messed with the punctuation and in so doing changed the meaning to suit what we wanted to say."

                                                                                          Eleh

                                                                                          Homage

                                                                                            Imprec is proud to present Eleh's Homage series remastered and on CD for the first time. Certain frequency combinations that were impossible to cut on LP are effectively presented in this digital edition. Eleh, an artist who flourishes in restraint, uses a reduced sonic vocabulary to highlight delicate intricacies in a logical path toward harmonious satisfaction. The organization of hypnotic square waves, rippling sine waves and triangle/saw tooth waveforms is a discourse in the infinity, rather than the limits, of reduction. By employing a natural practice of balanced interpretation, Eleh enables an individual reaction free of the clutter of white noise. "Eleh's music electrifies whatever space it engages. With the flip of a switch, it exposes the ways in which all space is, potentially, electric." Frieze "Nuances of sound turn symphonic." New York Times Homage To The Square Wave

                                                                                            The Men

                                                                                            Immaculada

                                                                                              THE MEN's self-released debut album originally limited to 500 copies now remastered and available on CD format for the first time. 8 songs of desperate, fuzzed out, riff laden punk/post-punk. This release really is an excellent mash of shoegaze and drony soundscapes with buried vocals beneath it all. Dreamy at times, with that Sonic Youth vibe.

                                                                                              R. Stevie Moore

                                                                                              Ariel Pink's Picks: Volume One

                                                                                                As with all matters related to Ariel Pink and R. Stevie Moore the exact details are vague -- but the origins of this compilation can be traced to Ariel Pink's "My Molly" e.p. from 2006. Included with the e.p. was a postcard insert that featured a hand drawn road-map to what Ariel considered to be RSM's best songs from each era. This illustrated his deep appreciation for, and understanding of, R. Stevie's vast catalog. Nearly all of the selections on this release come from that list and all were recorded between 1973 and 1984.

                                                                                                The final sequence for "Ariel Pink's Picks, Volume One" was sent by Ariel to R. Stevie around 2006 -- but the release didn't materialize until 2011 when Nick Noto (Big Muff Radio) discovered it while assisting with the digital reincarnation of the RSM Cassette Club. Later in 2011, Laughable Recordings released a limited run of 100 cassettes that quickly sold out and have been highly sought-after by fans ever since.

                                                                                                It is worth noting that the majority of these songs do not appear on R. Stevie Moore's many other compilations; and this is the first time that eleven of the seventeen tracks have ever appeared on vinyl. This essential collection was carefully remastered for vinyl release by Carl Saff in early 2014.

                                                                                                FORMAT INFORMATION

                                                                                                2xLtd LP Info: Double-LP package Includes full lyric sheet, liner notes, and download card.

                                                                                                Martin Hannett & Steve Hopkins

                                                                                                The Invisible Girls

                                                                                                  Factory Benelux presents The Invisible Girls, a collection of rare and unreleased recordings by legendary new wave production duo Martin Hannett and Steve Hopkins (aka The Invisible Girls), most of them never before heard.

                                                                                                  Martin ‘Zero’ Hannett is the legendary Manchester producer famous for his work with Joy Division, Buzzcocks, New Order, Magazine and Happy Mondays. Steve Hopkins was his musical partner in The Invisible Girls, the floating studio collective that shaped epochal records by John Cooper Clarke, Pauline Murray, Nico and several others.

                                                                                                  The first five tracks on the album are a selection of previously unreleased ‘Moods’ recorded at the famous Strawberry Studios between 1980 and 1987. “These were the beginnings of Martin’s Invisible Girls world domination plan,” Hopkins explains. “The idea was to assemble a roster of key instrumental players, produce tracks to be fronted by different singers/stars - and get some hits!”

                                                                                                  Other tracks include rare solo tracks by Hannett, collaborations with Section 25, Pauline Murray, Nico and Crispy Ambulance, as well as the complete soundtrack to All Sorts of Heroes, a short animated film from 1976 scored by Hannett and Hopkins.

                                                                                                  The 74 minute album features detailed liner notes by Steve Hopkins and others, as well as archive TIG and Strawberry images.


                                                                                                  **LIMITED REPRESS - PRE-ORDERS ESSENTIAL**
                                                                                                  As Chinatown thaws and drips into spring, so arrives the debut vinyl release from the hardware scientist CLOUDFACE himself. The record appears as a breath of foreign air; a lucid recreation of memories emblazoned in the cosmos. "Devonian Garden", the definite lurcher of the bunch, kicks off the 12" as a 3, possibly 4D horizon opens up through the leaves of some far-off cerebral jungle. If the moon landing truly was a hoax then this cut assures us that we still have taken that "one giant leap for Man" on the lunar steppes. Next up the A2 emerges as "Otcho" - a mystified and isolated groove that hangs off the left side of a crushed snare - this cut is the equivalent of an SOS signal inside the pineal gland - our loneliness however not to our dismay. Flip the record and we have "2N", starting off side B on a gliding vibe - suspiciously jagged percussion floats over top a pitter-patter kick while octave synths rise upward like icebergs...and finally, to seal the deal we are invited to dip in the mindbath of "Summer", the glistening and slightly sour comedown of the 12" – it rises and drops at obtuse and near-ancient angles, much like a star map floating on a liquid surface, mixing, deep and fuchsia, gold and light.

                                                                                                  STAFF COMMENTS

                                                                                                  Matt says: The record that started it all... Spawning the whole 'VAPE-O-WAVE house scene', this handy blueprint from the (then unknown) Mood Hut camp went on to inspire a whole host of bedroom stoners to fire up their vintage gear and make some sweet, sticky soul muzik! Now the label give us all a chance to get our filthy mits on this again. How nice of them.

                                                                                                  Sueno Latino Feat Manuel Göttsching

                                                                                                  Sueno Latino (performing E2-E4)

                                                                                                    25 years after the first release, and ten years since the Paradise Original has gone out of print, Expanded Music and Manuel Göttsching have therefore decided to release this unique tune once again.

                                                                                                    Originally released in 1989, 'Sueno Latino' was a classic example of Italo house, and a track that became an anthem on the house and Balearic scenes. Offering a simple 4/4 rhythm, a smattering of tropical bird calls and a massive sample lift from Manuel Göttsching's kosmische guitar / synth piece 'E2-E4', it's a wonderful example of Italo house - essential!


                                                                                                    Caribou

                                                                                                    Can't Do Without You

                                                                                                    After a four year hiatus Dan Snaith makes his triumphant return as Caribou, picking up exactly where 2010's Piccadilly record of the year "Swim" left off. He was hardly idle in that period, ruling the leftfield techno world as Daphni, and touring extensively, either alone or with the all star Caribou Vibration Ensemble. Returning from his travels refreshed and with another four years of boundary pushing production in his locker, Snaith calmy took the intimidating task of following up a classic, and smashed it out the park. "Can't Do Without You" combines his ear for an emotionally charged melody with his perfectly mixed live drums, trademark analogue synths and yearning vocals. This extended arrangement adds a little extra dancefloor oomph to what's certain to be the alternative pop single of the year, weaving skyscraper sized peaks that lift you way up high. Soundwise, there are similarities to "Sun", but with the former's frenzied intensity replaced with a melancholic and lovelorn drama that hits all the emotional sweet spots. Remarkably, Snaith has managed to equal the lofty heights he reached on "Swim", and with more to come, his latest work may also be his greatest. 


                                                                                                    Eilon Paz

                                                                                                    Dust & Grooves - Adventures In Record Collecting Dust & Grooves (Postcard Box)

                                                                                                      This beautiful box set of 48 postcards contains individual photographs by Eilon Paz from his bestselling book Dust & Grooves: Adventures in Record Collecting. These photos - printed on thick 5×7 inch matte art paper - offer a glimpse into the collections of DJs, producers, record dealers, and everyday vinyl enthusiasts. In addition to Paz’s personal favorites from the book, the box set also includes some never-seen-before photos from the Dust & Grooves archives.

                                                                                                      Various Artists

                                                                                                      House Masters - Joey Negro

                                                                                                        House Masters Joey Negro is an incredible, eclectic collection from the one of the world’s leading proponents of disco-inspired house music. Joey Negro is the most well-known pseudonym of master British producer, remixer, DJ and label owner Dave Lee. With his production career beginning in 1988, Dave is intrinsically linked to the birth of house music in the UK. Famously recording under a variety of aliases including Akabu, Doug Willis, The Sunburst Band, Jakatta, Raven Maize, Sessomatto and Z Factor, he has created a truly exceptional back catalogue accounting for many of house music’s highlights over a career spanning three decades. Disco has always played its part in Lee’s music: he was one of the first British artists to incorporate disco samples into the various house music styles with which he is so recognisably identified. Indeed, as a genuine aficionado of disco he has few equals anywhere in the world. He’s as productive as ever, either in the studio or behind the decks, and most recently under his Joey Negro alias, Lee was integral to the success of Defected’s brand new Glitterbox residency in Ibiza. In terms of production, Dave’s imagination and creativity has proved limitless. He’s enjoyed both huge commercial success on records such as Jakatta’s ‘American Dream’ - a UK No.3 - and ‘Make A Move On Me’, alongside an avid underground following through monikers such as Akabu, and via labels such as Transmat, Junior Boys Own, NRK and his own thriving label, Z Records. From the live disco and boogie of The Sunburst Band to the unique funk-fuelled grooves of Joey Negro, House Masters Joey Negro is Dave’s personal curation of the greatest records from a catalogue that spans every corner of house music. As well as genre-defining original productions under the guises of Doug Willis, Raven Maize and of course Joey Negro, also included are a handful of seminal remixes for artists such as Erro and Masters At Work to Patrice Rushen and Blaze, all unmixed and DJ friendly. The digital release includes 12 additional tracks, featuring an exclusive Joey Negro re-edit of Erro’s ‘Don’t Change’, as well as further remixes of Dave Lee originals from Henrik Schwarz, Ame and Dennis Ferrer. “It was a case of balancing the various sides of what I've done over the years” says Lee of the selection process. “You want to include the personal favourites and some tracks that were popular purely on the underground, alongside others that were more successful on a commercial level. “As a producer one of the skills you must have is remaining objective, even when you've heard the piece of music you're working on several thousand times. The same goes for the selection here. The House Masters series is literally a who's who of house music, so obviously it’s great to be part of it.”

                                                                                                        Ghost Culture

                                                                                                        Ghost Culture

                                                                                                          In recent times, Phantasy have provided the soundtrack for many adrenaline fuelled nights and hazy mornings with critically acclaimed albums from Daniel Avery ('Drone Logic') and Connan Mockasin ('Forever Dolphin Love', 'Caramel'). Their latest discovery Ghost Culture emerges from the shadows to make the space between those two worlds his own. Since announcing his arrival one year ago with debut single 'Mouth', the London based artist has built up a feverish following with a further pair of ear catching singles. Now Phantasy are proud to present his self-titled debut album, a collection of ten tracks rich in emotion, musicality and sonic artistry. A soundcloud stream of ‘How’ caught the ear of DJ and producer Erol Alkan, who promptly signed Ghost Culture to Phantasy off the back of that single track. The young artist was then invited to join Alkan in the label’s own Phantasy Sound studio, where they would both develop, build and mix the ten songs into this album. A creative journey, which lead Alkan to state “This first album is just the tip of the iceberg. There's so much amazing music coming out of him.” His debut release, “Mouth” sold out within a matter of days, garnering praise from DJs and journalists and becoming a sought after commodity amongst record collectors. Dance music institution Mixmag were effusive in their praise, awarding the release their “Tune Of The Month Award” and describing its “atmospheric, moody and emotional" sound as sitting somewhere between “Deetron and Depeche Mode”. Second single “Guidecca” confirmed Ghost Culture’s songwriting talent and production expertise and garnered further rave reviews from the music press. Dubbed “delightfully woozy” by Pitchfork and described by Dummy magazine as a “jerky electro pop earworm that just gets better with every listen”, this sophomore release saw the artist carving out a niche between genres that was all his own. The brooding “Arms” followed, a queasy combination of early electro, dub techno and gloomy synth pop which seduced listeners with its outsider charm and paved the way for Ghost Culture’s debut LP. Alongside these impressive singles, the album boasts quaalude laced lullabies (“How”, “Glaciers”, “Lying”), machine funk shufflers (“Lucky”, “Answer”) and the gorgeous album closer “The Fog”, as he leads us on a textured journey from the intensity of the dancefloor to the moonlit intimacy of the bedroom. Ghost Culture is a bedroom auteur in the lineage of Arthur Russell and Elliot Smith but with Whitey’s record collection and a Korg Mono/Poly as his muse. The coming months will see him head out of his bedroom and into the wider world as he takes a charming live audio visual experience on the road, sharing his talent and passion with us all.

                                                                                                          To keep people guessing, the fifth instalment from Australia's best selling People Must Jam label takes things in a house direction with Andy Ash at the controls. Andy has put through an immense EP of varying house flavours to satisfy an all tastes.

                                                                                                          The EP kicks of with the monster disco vibed 'Hurricane Fantasy' track.
                                                                                                          A beautiful summery looper that's sure to keep the floors burning hot!

                                                                                                          'Move'is one of Andy's straight up house cuts - which he is becoming well known for, a deep sounding organ line carrying the track forward with stabs and a nice little vocal sample to boot.

                                                                                                          Mixing things up a little on the flip, our good friend - Ron Basejam has provided a sublime 'Adriatic Excursion' remix of 'Move'. Ron takes the track to a totally different place with uplifting piano lines and orchestral string stabs building to a lovely crescendo. This remix should be earmarked for Croatia 2015.

                                                                                                          Finally 'Dommah' takes the EP into almost techno territory with building pads and solid beats resulting in a monster track for when the strobelight pulses and the heads go down!

                                                                                                          Young Pulse is back on GAMM with Vol.2 in his 'Paris Edits' series. If you bought the first EP and liked what you heard we're confident this one will be in your box also. Starting off we go straight to the club with 'Enjoy & Relax', as Young Pulse reworks (or is that remixes?) Rhyze's soulful disco stomper that to perfection. On the B side you'll find a jazzy bossa edit of soul classic 'It's a shame' together with a feel good disco-funk edit of GQ's classic 'Shake'.

                                                                                                          Classic GAMM material, no fuzz! 


                                                                                                          Rune Lindbaek & Oyvind Blikstad

                                                                                                          North - Inc. Eddie C Remix

                                                                                                          Rune Lindbaek's Drum Island label returns after a short hiatus - and what a return !
                                                                                                          Rune teams up with recent LP collaborator Oyvind Blikstad for North, an absolutely beautiful poly-rhythmic Norse epic, with soaring strings, shifting live instrumentation and a sophisticated musicality that's light touch enough to lose yourself in completely...
                                                                                                          The flipside is handled expertly as ever by Eddie C
                                                                                                          Eddie never fails to deliver and he's amped up the African elements of North perfectly, taking us to a late night Nigerian Disco bar for a dubbed out, Disco epic. 
                                                                                                          Stunning stuff & another All Ears sureshot

                                                                                                          Limited Edition import vinyl - full picture sleeve. 

                                                                                                          Golden Ivy

                                                                                                          Sketches Of Golden Ivy

                                                                                                          Fasaan Records from Malmo are back with their seventh release from label regular GOLDEN IVY !
                                                                                                          Live and loosely assembled Scando-Disco & tropical tundra tunes abound, as breezy melodies paddle out across the funk fjords on sturdy drum machine rhythm tracks...

                                                                                                          Three fresh GI tracks that embody the Fasaan sound perfectly - and a little ray of sunshine to keep us going until Spring. 

                                                                                                          While ex-snooker ace Steve Davis may be scouring the second hand market, filling his collection with top dollar psych obscurities, it's fair to say that Aficionado's Moonboots and Boardman have the rare Balearic market covered. From the sunkissed tones of North African thumb piano to the camp sleaze of European disco, Aficionado have everything in your wants list and more; those mythical records you need but have yet to imagine. One such artefact is a collection of future primitive symphonies from the Len Leise (International Feel), a visionary composer of organic soundscapes who lives hidden in the same dreamworld as his music. Rumours are rife as to where Aficionado found this cassette of rainforest swelter; some say Moon found it buried in a vault in the red sand of the outback, while others suggest Jason discovered the tape propping open a door in a backstreet off La Rambla. Either way, we're spared the exhaustive search thanks to this gorgeous 12" vinyl pressing.

                                                                                                          The five tracks drift out the speakers like the perfumed smoke of ceremonial incense, filling the senses with the sound and feeling of a distant land; field recordings from another time and place.

                                                                                                          In its original form, 'Asmat Images' pairs tribal rhythms and rich organic textures, balancing earthy tones with the gentle melody of rainfall on cracked soil, while the ambient mix echoes the tranquility of a Jan Hammer soundtrack thanks to widescreen guitar licks.

                                                                                                          'Another Place' offers a change of pace as the rattle and thump of a lost NY house classic blur into the gentle lilt of a tropical ceremony while exotic keys flourish from the humidity of new age pads. The sweet fragrance of cherry blossom runs through the eastern tones of 'Ryoshi's Garden' as Leise invites us to drink rice wine with a drunken master. We say goodbye with the gorgeous melancholy of 'Spirit of Ssanyu', a heartbreaking blend of atmospheric guitar, the Fairlight harmonies of the Art Of Noise and celestial vocals. Expressionistic, colourful and deeply transportive, Leise delivers a Balearic masterpiece on Manchester's essential label.

                                                                                                          Officially Aficionado.

                                                                                                          Breakthrough 12's across their first 5 releases have firmly established Thatmanmonkz's label of love as a heavyweight Deep House contender !

                                                                                                          Ever keen to open up the crease to new batsmen, the guys have assembled a deadly duo of big hitters for their their sixth innings.

                                                                                                          Belarus, not perhaps the first place you'd think of when it comes to solid House music, but Four Walls have certainly dropped more than their fair share of jams across labels of note like Kolour Ltd & Traxx Underground. here's he's teamed up with fellow Grodno resident FUNKYJAWS for a style that's firmly fixated with the roots US House blueprint, but with a fresh take, that's all their own.

                                                                                                          Saine ought to need no introduction, but for those at the back, across a mere handful of releases (his Sleazybeats EP was one of our fastest selling...ever !) this young talent has made quite a mark - His 'Drifter EP' on Must Have is one of our favourite House 12's of recent times.

                                                                                                          What better way to demonstrate the Shadeleaf spirit of collaboration then getting these two established up-and-comers to reinterpret each other's work ?

                                                                                                          Live organic percussion, and the warming hiss and glow of machine circuits conspire to deliver perfectly balanced hip-shaking equations and low end theories. and that's just the F Side !.
                                                                                                          Flip for the S side (get it ?) and we're into Theoesque territory, with a rasping riff snaking through some deft Rhodes work and to-the-bone rhythms, while Four Walls & Funkyjaws offer up a swinging and irresistible rub to wrap it all up

                                                                                                          Top shelf tackle ladies and gents 

                                                                                                          Tuff Sherm returns to Melbourne label Butter Sessions Records. This time with a full EP in collaboration with fellow Australian, Patch Free. 3 original scraps travel from oddball piano house to futuristic abstract textures.
                                                                                                          A bonus remix from Borft Records heads Frak seals the deal. 

                                                                                                          Do not miss!

                                                                                                          Various Artists

                                                                                                          Fabriclive 79 - Jimmy Edgar

                                                                                                            Born and raised in East Detroit, a diet of Prince, 80s R&B and techno provided the crucible for Jimmy Edgar’s life in music. Ever precocious, from his mid-teens he was building his foundations as a DJ, playing at raves in the city alongside some of techno’s founding fathers, as well as conducting ambitious experiments with rudimentary recording equipment, and by the age of just 18 he’d signed to the electronic music institution, Warp. Later recording for K7! and Hotflush, and advancing his considerable DJ talent during a spell residing in Berlin, in 2013 Jimmy established the Ultramajic imprint with fellow electronic auteur Aden, and it is fresh material from the label that provides the backbone for FABRICLIVE 79.
                                                                                                            "I went through a bunch of unreleased tracks we are going to put out on Ultramajic and decided to launch them with this mix. I got some exclusive material from my good friends Danny Daze, Crystal Bandito, and Kris Wadsworth. This mix is explores the different vibes of Ultramajic."
                                                                                                            Jimmy Edgar
                                                                                                            Commencing with a nod to his hometown forebears, with Terrence Dixon and Patrice Scott contributing deep Detroit cuts to the opening minutes of the mix, we’re soon reveling in a slew of unreleased Ultramajic material from Crystal Bandito and Jimmy himself, including a typically no-nonsense collaboration with LA native Truncate and the snare-driven ‘Walk Show’ featuring the deeply-missed Chicago footwork icon DJ Rashad. It’s here that the many facets of Jimmy Edgar really shine through: DJ, producer, and label curator. The mix picks up an unmistakable strut, before momentarily taking a breath with Danny Daze’s deep house blending unexpectedly into the ghetto-tech of DJ Godfather & DJ Starski. A pair of unyielding Kris Wadsworth cuts sandwich another Jimmy Edgar exclusive in the mix’s final stretch, ensuring that, despite its author’s nomadism through the years, the music of Detroit runs like a seam through FABRICLIVE 79.

                                                                                                            Mr Oizo

                                                                                                            The Church

                                                                                                              egendary French producer and Los Angeles resident Mr. Oizo presents The Church, a lavish foray into unexpected sonic dimensions. Limber and chaotic, The Church swerves from gasping intensity to minimal rapture. It is a loose cannon, a bold experiment that provokes outbursts of energy and dance.

                                                                                                              “Bear Biscuit” crashes through the skull, a forceful debut of Oizo’s audio weaponry. Delusional undulations inhabit “Ham”, while “Mass Doom” flips from an industrial beginning into an elastic sonic swim. “Machyne” is wickedly alluring, a synthetic tightrope crossing the wild high of technology.

                                                                                                              “Torero” drops into a thunderstorm, dabbling in the eye of an electrical tornado with a breakdown of flashing lights, shredded walls and colored confetti: pure swirling madness. Built with broken windows on a cavernous bassline, title track “The Church” closes the album with a luscious, geometric melody.

                                                                                                              Unpredictable and assertive, leaden yet light - Mr. Oizo’s unique style and aerobic beats offer listeners an exhilarating aural excursion.

                                                                                                              Various Artists

                                                                                                              John Beltran Presents Music For Machines Part 2

                                                                                                                Celebrated ambient artist John Beltran jointly release not one but two vinyl compilations on Delsin Records in association with his own Dado label. The compilations, named 'Music For Machines Part 1' and 'Part 2', will take the form of two vinyl LPs.

                                                                                                                Michigan born producer Beltran, of course, has released countless legendary EPs and LPs on labels like Peacefrog, Carl Craig's Retroactive and Belgium's R&S. His music has been licensed to high profile HBO TV series and a number of films, and pulls together elements of jazz, world music, organic soundscapes and electronic textures into compelling listening experiences. Most recently this came in the form of his Amazing Things album in 2013, whilst his career spanning Ambient Selections from 2011 is still a vital listen.

                                                                                                                Part two focuses on the likes of Natalie Beridze, Kirk Degiorgio and Vincent Volt. The album is riddled with sumptuous sonic delights like Greg Chin's icy and alpine 'Dashboard Angels' and Mick Chillage's beautifully suspended 'Only In My Dreams'. Vincent Volt keeps things beautifully beachy with his 'Subway Arp' and A2B2C2's 'Stereometry' is a suitably sombre affair that closes the compilation down in style.

                                                                                                                Hashman Deejay

                                                                                                                Sandopolis

                                                                                                                Hashman Deejay caps off a stellar 2014 for the Moodhut crew with this debut LP on Future Times. The Vancouver scene has shot to the top of the tree over the past 18 months, seducing heads and connoisseurs the world over with a distinctive blend of hardware house, upbeat street soul and blunted disco. Here, the Moodhut mainstay, who also goes by Ttam Renat, fires up the analogue gear to deliver six tracks of that sweet spot dance in the tradition of Virgo 4, Stickman Records or the classic Italian acronym house labels like MBG and DFC. "Xssential-3" opens the set with a combination of cascading Kraftwerkian synths and skipping Italo house drums, morphing into a neat garage groover as soon as that subby bassline appears. From there Hashman hits us with the sparse new jack swing and new age synth of "Statues PF" before heading into skewed and stoned territories with the peaktime swirl of "Sandfish" and deep disco of "Mercury". "Mozaic" takes us into the zero gravity of deepest space with its alien frequencies, Drexciyan rhythms and pulsing bassline, while closing track "184" marries a street soul bassline with percolating fx, disembodied vocal murmurs and dubby percussion, leaving us totally baked like a long session with a bowl. Delicious sounds from Hashman and FT!


                                                                                                                Sleater-Kinney

                                                                                                                No Cities To Love - Indie Stores Exclusive Edition

                                                                                                                  Special vinyl edition exclusively available to independent retailers: deluxe 180g white vinyl LP plus bonus 12” with etched B-side, packaged in a 6- panel gatefold with double-sided poster and presented in a hard cardboard slipcase.

                                                                                                                  “We sound possessed on these songs,” says guitarist / vocalist Carrie Brownstein about Sleater-Kinney’s eighth studio album, ‘No Cities To Love’. “Willing it all - the entire weight of the band and what it means to us - back into existence.”

                                                                                                                  The new record is the first in 10 years from the acclaimed trio - Brownstein, vocalist / guitarist Corin Tucker and drummer Janet Weiss - who came crashing out of the 90s Pacific Northwest riot grrrl scene, setting a new bar for punk’s political insight and emotional impact.

                                                                                                                  Formed in Olympia, WA in 1994, Sleater-Kinney were hailed as “America’s best rock band” by Greil Marcus in Time Magazine and they released seven searing albums in 10 years before going on indefinite hiatus in 2006.

                                                                                                                  However, the new album isn’t about reminiscing. It's about reinvention, the ignition of an unparalleled chemistry to create new sounds and tell new stories. “I always considered Corin and Carrie to be musical soulmates,” says Weiss, whose drums fuel the fire of Tucker and Brownstein’s vocal and guitar interplay. “Something about taking a break brought them closer, desperate to reach together again for their true expression.” The result is a record that grapples with love, power and redemption without restraint.

                                                                                                                  Produced by longtime Sleater-Kinney collaborator John Goodmanson, who helmed many of the band’s earlier albums including 1997 breakout set ‘Dig Me Out’, ‘No Cities To Love’ is indeed formidable from the first beat.

                                                                                                                  Sleater-Kinney’s decade apart made room for family and other fruitful collaborations, as well as an understanding of what the band’s singular chemistry demands. “Sleater-Kinney isn't something you can do half-assed or half-heartedly,” says Brownstein. “This band requires a certain desperation, a direness. We have to be willing to push because the entity that is this band will push right back.”

                                                                                                                  “The core of this record is our relationship to each other, to the music, and how all of us still felt strongly enough to about those to sweat it out in the basement and to try and reinvent our band,” adds Tucker. With ‘No Cities To Love’, “we went for the jugular.”

                                                                                                                  Sleater-Kinney

                                                                                                                  No Cities To Love

                                                                                                                    “We sound possessed on these songs,” says guitarist / vocalist Carrie Brownstein about Sleater-Kinney’s eighth studio album, ‘No Cities To Love’. “Willing it all - the entire weight of the band and what it means to us - back into existence.”

                                                                                                                    The new record is the first in 10 years from the acclaimed trio - Brownstein, vocalist / guitarist Corin Tucker and drummer Janet Weiss - who came crashing out of the 90s Pacific Northwest riot grrrl scene, setting a new bar for punk’s political insight and emotional impact.

                                                                                                                    Formed in Olympia, WA in 1994, Sleater-Kinney were hailed as “America’s best rock band” by Greil Marcus in Time Magazine and they released seven searing albums in 10 years before going on indefinite hiatus in 2006.

                                                                                                                    However, the new album isn’t about reminiscing. It's about reinvention, the ignition of an unparalleled chemistry to create new sounds and tell new stories. “I always considered Corin and Carrie to be musical soulmates,” says Weiss, whose drums fuel the fire of Tucker and Brownstein’s vocal and guitar interplay. “Something about taking a break brought them closer, desperate to reach together again for their true expression.” The result is a record that grapples with love, power and redemption without restraint.

                                                                                                                    Produced by longtime Sleater-Kinney collaborator John Goodmanson, who helmed many of the band’s earlier albums including 1997 breakout set ‘Dig Me Out’, ‘No Cities To Love’ is indeed formidable from the first beat.

                                                                                                                    Sleater-Kinney’s decade apart made room for family and other fruitful collaborations, as well as an understanding of what the band’s singular chemistry demands. “Sleater-Kinney isn't something you can do half-assed or half-heartedly,” says Brownstein. “This band requires a certain desperation, a direness. We have to be willing to push because the entity that is this band will push right back.”

                                                                                                                    “The core of this record is our relationship to each other, to the music, and how all of us still felt strongly enough to about those to sweat it out in the basement and to try and reinvent our band,” adds Tucker. With ‘No Cities To Love’, “we went for the jugular.”

                                                                                                                    Menace Beach

                                                                                                                    Ratworld

                                                                                                                      Back in the good old of days of 1990, Color Dream Games released Menace Beach for the then popular NES games console from Nintendo. Imagine skateboarding through a side-scrolling 8-bit world filled with balloons, clowns and disgruntled dockworkers in search of your cute pixilated girlfriend Bunny. It’s from this slightly surreal, esoteric world that this Leeds indie rock revolving cast of local luminaries, headed by Ryan Needham and Liza Violet, draw their name. It’s reference acts as the perfect backdrop to their 90’s American underground and pre-Brit Pop indie; melody heavy, supercharged pop that’s always surprising.

                                                                                                                      After the success of their EP ‘Lowtalker’ in early 2014, British indie label favourites Memphis Industries snapped Menace Beach up with the band’s debut album in mind. It comes in the shape of ‘Ratworld’, a twelve song assault, a journey through a psyche tinged wonderland, documenting moving away and waving goodbye to the fractured rubble of an unhappy lifestyle. On the title, Ryan says “We’ve created our own grubby little Ratworld to inhabit. Everything is better when it’s a bit grubby and broken”. It’s that dreamy sensation of taking comfort in chaos, looking around at the perfect mess you’ve created and feeling deeply content as it’s yours and no one else’s.

                                                                                                                      “Among this year's most anticipated British releases” NME
                                                                                                                      “Like the Shins back when they still had the spark of youth, but with Superchunk’s playful sass and unrestrained crunch” Stereogum

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Ltd LP Info: Limited edition splatter coloured vinyl.
                                                                                                                      Indie exclusive bonus cassette (including download code) "Drawl Rot", an alternative version of the album, limited to 200.

                                                                                                                      Man Without Country

                                                                                                                      Maximum Entropy

                                                                                                                        Man Without Country return with new album ‘Maximum Entropy’.

                                                                                                                        Combining sleek electronic minimalism with a love of classic pop music, Man Without Country develop the atmospheric electronica of 2012’s debut ‘Foe’ into a rich, gorgeous and altogether bolder style.

                                                                                                                        The album was recorded, produced and mixed entirely by the band in their home studios in South Wales.

                                                                                                                        Mac DeMarco

                                                                                                                        Demos, Volume 1

                                                                                                                          Available for the first time ever on one CD, Captured Tracks bring listeners the demos of Mac DeMarco’s latest album ‘Salad Days’, as well as demos for Mac’s critically acclaimed ‘2’.

                                                                                                                          Over the past few years we have watched Mac develop from a cult artist to a standout figure amongst the realm of the indie mainstream. From bedroom sessions to a string of critical accolades, high sales and sold out tours all over the world, Mac stands as a true role-model for the young musician tinkering with their 4-track tape recorder in a suburban bedroom - a sincere example of humble beginnings and honest hard-earned acclaim.

                                                                                                                          These demos include several unreleased tracks in addition to the demos of the songs we know and love from ‘Salad Days’ and ‘2’. These recordings give an intimate view into the world of Mac DeMarco like never before, taking listeners back to the roots of Mac’s writing and recording straight from his own bedroom Jizz Jazz studios.

                                                                                                                          Filled with lofi fuzz built upon foundations of infectious pop melodies, this collection of songs showcases Mac DeMarco in his truest form.

                                                                                                                          Two albums on one CD make this release a truly unique and valuable piece of Mac’s discography and is sure to have both dedicated and casual Mac collectors alike lining up outside of their local record stores to pick up this truly special release.

                                                                                                                          Francisco The Man

                                                                                                                          Loose Ends

                                                                                                                            “The right balance of ear-catching fervor with a looming electronic armor to separate itself from the throwaway pop milieu” - I Guess I’m Floating

                                                                                                                            It took roughly seven years, a teenage instrumental rock band, a debut EP, additions and subtractions and a near death experience to arrive at Francisco The Man. Following a two-year hiatus beginning in 2008, the band relocated from Riverside to Los Angeles CA, bringing along a new addition, guitarist Brock Woolsey. With the help of Small Plates Records they released two 7”s, ‘In The Corners’ and ‘Tiger’.

                                                                                                                            Their debut album, ‘Loose Ends’, offers its audience a more encompassing look at Francisco The Man. With each song, more and more honesty permeates through the lyrics. “I think the LP shows a broader, more realized, version of Francisco The Man,” Scotty Cantino explains. “You can’t do that with a single.”

                                                                                                                            From the beginning of the first track, questions and anxieties are the substance. With each subsequent verse and track, they seem to find the answers in themselves. “Even though I write the songs, we really hash them out… Arrangements and parts are formed on the fly. It’s constant improvisation,” Scotty says.

                                                                                                                            Each song comes in with a certain message but with a sound that blends garage rock, new wave and shoegaze, the message becomes enveloped in something completely different.

                                                                                                                            ‘Loose Ends’ features Avi Zahner-Isenberg of Avi Buffalo (Sub Pop) on guitar.

                                                                                                                            Chavez

                                                                                                                            Ride The Fader

                                                                                                                              Vinyl reissue of Chavez’s 1996’s album ‘Ride The Fader’. 

                                                                                                                              Cult favourite album, back in print after over ten years. 

                                                                                                                              Chavez were formed from the ashes of Wider, inspired by the sonic approach of math rock pioneers Slint and post-punk outfit Mission Of Burma. Chavez utilize angular, asymmetrical riffs and dramatic dynamic shifts. The band are fronted by guitarist Matt Sweeney, who was previously a member of Skunk and Wider and played with Guided By Voices. Drummer James Lo also came from Wider and the band are rounded out by guitarist Clay Tarver (Bullet Lavolta) and bassist Scott Marshall. 

                                                                                                                              Chavez never officially broke up but they released no new material and played few shows between 1999 and 2006. In 2001, during Chavez’s period of inactivity, guitarist Matt Sweeney went on to join Smashing Pumpkins frontman / guitarist Billy Corgan and Slint guitarist David Pajo to form Zwan. Most recently, Sweeney teamed up with Will Oldham (under the moniker Bonnie ‘Prince’ Billy) for the 2005 album ‘Superwolf’, as well producing and playing on Early Man’s debut record for Matador, ‘Closing In’. He also played guitar on Johnny Cash’s ‘American VI’, released posthumously in 2010. 

                                                                                                                              Clay Tarver has kept himself busy directing various television commercials as well as writing the script for the movie ‘Joy Ride’. 

                                                                                                                              The band were chosen to perform at the I’ll Be Your Mirror festival organized by ATP and Portishead in September 2011 in Asbury Park, New Jersey. 

                                                                                                                              “Some of the most exciting rock songs of the last decade” - Pitchfork 

                                                                                                                              “Probably weren’t the first mid-90s band to have their knotty guitar textures and algebraic time signtures called ‘math rock’, but they might have been the best” - Entertainment Weekly

                                                                                                                              Chavez

                                                                                                                              Gone Glimmering

                                                                                                                                Vinyl reissue of Chavez’s 1995 debut album - ‘Gone Glimmering’.

                                                                                                                                Cult favourite album, back in print after over ten years.

                                                                                                                                Chavez were formed from the ashes of Wider, inspired by the sonic approach of math rock pioneers Slint and post-punk outfit Mission Of Burma. Chavez utilize angular, asymmetrical riffs and dramatic dynamic shifts. The band are fronted by guitarist Matt Sweeney, who was previously a member of Skunk and Wider and played with Guided By Voices. Drummer James Lo also came from Wider and the band are rounded out by guitarist Clay Tarver (Bullet Lavolta) and bassist Scott Marshall.

                                                                                                                                Chavez never officially broke up but they released no new material and played few shows between 1999 and 2006. In 2001, during Chavez’s period of inactivity, guitarist Matt Sweeney went on to join Smashing Pumpkins frontman / guitarist Billy Corgan and Slint guitarist David Pajo to form Zwan. Most recently, Sweeney teamed up with Will Oldham (under the moniker Bonnie ‘Prince’ Billy) for the 2005 album ‘Superwolf’, as well producing and playing on Early Man’s debut record for Matador, ‘Closing In’. He also played guitar on Johnny Cash’s ‘American VI’, released posthumously in 2010.

                                                                                                                                Clay Tarver has kept himself busy directing various television commercials as well as writing the script for the movie ‘Joy Ride’.

                                                                                                                                The band were chosen to perform at the I’ll Be Your Mirror festival organized by ATP and Portishead in September 2011 in Asbury Park, New Jersey.

                                                                                                                                “Some of the most exciting rock songs of the last decade” - Pitchfork

                                                                                                                                “Probably weren’t the first mid-90s band to have their knotty guitar textures and algebraic time signtures called ‘math rock’, but they might have been the best” - Entertainment Weekly

                                                                                                                                BC Camplight

                                                                                                                                How To Die In The North

                                                                                                                                  ‘How To Die In The North’ is a richer, more dynamic and diverse take on BC Camplight’s epic pop pizzazz and simmering balladry.

                                                                                                                                  Panda Bear

                                                                                                                                  Panda Bear Meets The Grim Reaper - Indie Stores Exclusive Edition

                                                                                                                                    Exclusive to independent retailers, this three disc set includes the double album plus the ‘Mr Noah’ EP on 180g heavyweight vinyl in a deluxe outer wrapped package with printed colour inner sleeves.

                                                                                                                                    Panda Bear aka Noah Lennox has had a far-from-quiet few years since the release of his fourth solo record, 2011’s ‘Tomboy’. Since the breakout success of 2007’s universally-adored ‘Person Pitch’, each new Panda Bear release is a highly anticipated event and, one high profile Daft Punk collaboration later (‘Doin’ It Right’ from ‘Random Access Memories’), this is more the case than ever.

                                                                                                                                    Old school hip hop textures and production techniques meld with the intuitive, cyclical melodies he has become known for, a sound that is at once both dense and playful.

                                                                                                                                    Recording for the album came together everywhere from El Paso, Texas, to a garage by the beach near his home in Lisbon, Portugal. In a relationship that already proved fruitful on ‘Tomboy’, Noah partnered again with Pete ‘Sonic Boom’ Kember (Spacemen 3, Spectrum), this time in a more top-to-bottom production role.

                                                                                                                                    Panda Bear

                                                                                                                                    Panda Bear Meets The Grim Reaper

                                                                                                                                      Panda Bear aka Noah Lennox has had a far-from-quiet few years since the release of his fourth solo record, 2011’s ‘Tomboy’. Since the breakout success of 2007’s universally-adored ‘Person Pitch’, each new Panda Bear release is a highly anticipated event and, one high profile Daft Punk collaboration later (‘Doin’ It Right’ from ‘Random Access Memories’), this is more the case than ever.

                                                                                                                                      Old school hip hop textures and production techniques meld with the intuitive, cyclical melodies he has become known for, a sound that is at once both dense and playful.

                                                                                                                                      Recording for the album came together everywhere from El Paso, Texas, to a garage by the beach near his home in Lisbon, Portugal. In a relationship that already proved fruitful on ‘Tomboy’, Noah partnered again with Pete ‘Sonic Boom’ Kember (Spacemen 3, Spectrum), this time in a more top-to-bottom production role.

                                                                                                                                      The Kinks

                                                                                                                                      The Kinks Are The Village Green Preservation Society

                                                                                                                                        Classic Kinks catalogue on vinyl. The original albums on their finest format, with the original UK tracklistings.

                                                                                                                                        The sixth studio album by The Kinks and the last by the original quartet.

                                                                                                                                        ‘The Kinks Are The Village Green Preservation Society’ failed to chart upon release but is now regarded as one of the most influential and important works by The Kinks.

                                                                                                                                        The original gatefold sleeve had a photographic error. This new 2015 version has the issue rectified.

                                                                                                                                        140g vinyl.

                                                                                                                                        The Kinks

                                                                                                                                        Arthur (Or The Decline & Fall Of The British Empire

                                                                                                                                          Classic Kinks catalogue on vinyl. The original albums on their finest format, with the original UK tracklistings.

                                                                                                                                          The seventh studio album, originally released in 1969.

                                                                                                                                          Kinks frontman Ray Davies constructed the concept album as the soundtrack to a Granada Television play and developed the storyline with novelist Julian Mitchell. However, the television programme was cancelled and never produced.

                                                                                                                                          ‘Arthur’ was met with almost unanimous acclaim upon release in the US and UK rock press. It garnered back-to-back reviews by Mike Daly and Greil Marcus in Rolling Stone magazine's lead section. Daly rated it as “The Kinks’ finest hour” and Marcus went so far as to call it “the best British album of 1969.” Melody Maker called it “Ray Davies’ finest hour... beautifully British to the core.”

                                                                                                                                          140g vinyl.

                                                                                                                                          Not since Edward III rolled out his cannons on the French battlefield during the 100 Years War have we seen such shock & awe response to fresh, terrifying and complete WEAPONRY. Many of you will already know the name of TX Connect from his previous sides on DABJ, not to mention cuts on L.I.E.S (w/ Willie Burns), Bad Mums and Adelaide Soundworks. The three tracks present here for his first bonafide DABJ solo outing are no-nonsense jack trax strictly for the vagabonds, rogues, sages and full-on midnight wizards. If you were to drop this fizzing slice of wax into a two-litre bottle of coke, it would level your whole fucking town. A glistening acidic blowout like the 12"'s opening track "Trixxter" sounds like audial equivalent of Burning Man remade by the Chapman Brother's in miniature model-format: you really need to listen to it to get that, but trust us. A2, and we journey into the "Intramountains", a synthetic Jazz-Rave odyssey with perilous peaks and cliff-edge stabs: touching the void doesn't even cut it, m8. The EP's closer, "Xanadu" could be a lost soundtrack outtake to Jodorowsky's Xanadu, if such a thing even existed. It's the kind of futuro-acid fantasy epic that fits perfectly as the roll-out cut to finish off this utterly stellar audio twelve inch stereo vinyl record from Dixon Avenue Basement Jams Records Inc. GmbH & Co Kg. TX Connect's mastery of the acidic form is complimented nicely by his signature angular melodies, and this so far is him at the apex of his powerres!

                                                                                                                                          This release comes with the third instalment of Dan Axons unique artwork prints which look back at images and spaces relevant to the history of Dixon Avenue Basement Jams. This one is titled "G3 8BW', which was the postal code of our beloved Soundhaus in Glasgow, were we did most of our parties going back to 2000... Sadly it was demolished this week.

                                                                                                                                          Sherwood & Pinch

                                                                                                                                          Late Night Endless

                                                                                                                                            'Late Night Endless' is the first album by Sherwood & Pinch and the culmination of two years in the studio developing, re-dubbing and deconstructing tracks. It finds the highest common factor between the two's techniques, making it impossible to see where one musical personality ends and the other starts. It touches on the urban swing of UK garage on ‘Music Killer (Dub)' and 'Gimme Some More (Tight Like That)', on interstellar 90s ambient dub on 'Wild Birds Sing', on the mystical minimalism of Pinch's first releases on 'Africa 138' - but none of these stylistic diversions are out of place; they all seem completely of a piece with the heavyweight, ancient-futurist dub pulse that runs under everything.

                                                                                                                                            It's an intergenerational meeting of minds, a fusing of two stories, a collision of the (pun intended) tectonic plates of international soundsystem culture. The currents that link post-punk, jungle, dubstep, almighty reggae, techno, Jamaica, Ramsgate and Bristol all come together in a single small DJ booth in London then explode outwards again through truck-sized speakers, through long weeks of studio experimentation, through days and nights without sleep in Tokyo, and are finally condensed on a record that reverberates with the apocalyptic echoes of all that came before and the rumbling threat of a dark future.

                                                                                                                                            The connection was already there. Adrian Sherwood built up a vast catalogue of music through the 1980s as producer to the vast and sprawling dub-industrial-electro collective that was On-U Sound, taking in Dub Syndicate, Tackhead, New Age Steppers and many many more – and as a young boy, Rob Ellis grew up on it. “My older brother had loads of On-U albums,” he says, “and taped them all for me. Listening to all that was definitely my introduction to dub – we didn't have a lot of reggae around where I grew up in Newport [South Wales] – and it meant that when I heard jungle, drum'n'bass, trip hop and stuff later on, it made complete sense to me.”

                                                                                                                                            So when Rob crossed the Severn Bridge and moved to Bristol in his late teens, he was all primed to dive into the scene there. The Subloaded and Dubloaded clubs he co-founded embodied the nascent dubstep scene's raw bodily impact – in his own phrase “If your chest ain't rattlin'... it ain't happenin'” – but as Pinch he became revered as one of the deepest producers in the game, as well as one of the most exploratory, being one of the first to record vocalists (on his Underwater Dancehall album) and one of the earliest dubstep stalwarts to expand outwards into techno and other sounds to keep his work and his Tectonic label fresh as dubstep itself went mainstream.

                                                                                                                                            They met when Rob invited Adrian to play at a Tectonic takeover at Fabric in London. Adrian recalls “I remember thinking quite clearly how impressed I was with him. After I'd done my bit, where I did my best to do a powerful set, he followed that with something very very slow, very moody and very appropriate, completely changed the mood. I stood and watched for 40 minutes, really into it, this was clearly someone on top of his game – then I had to leave, but I thought as he invited me here, I should invite him down to my studio...” The resulting session to cut some dubplates for their respective DJ sets turned quickly into something more serious, discovering that Rob’s electronic loops and beats married up perfectly with the spatial dimension provided by Adrian’s analogue gear.

                                                                                                                                            2 limited edition 12” EPs – Bring Me Weed and Music Killer – followed, but it was being asked to deliver a live show for Sónar Tokyo in April 2013 that really put a rocket under the project. “We decided to have a whole studio on stage” says Adrian, “so that the mix truly is delivered live in a totally unique way that can never quite be done the same again.” This meant a complex technical set-up and no small amount of flying by the seat of their pants, which was naturally exciting and terrifying. “I didn't sleep for two nights beforehand,” remembers Rob, “because I was so nervous – and I didn't sleep for quite a while after because I was so excited.” The result was triumphant, with even master of noise abuse Alec Empire [Atari Teenage Riot] watching agog from the side of the stage and broadcasting to the world what a revelation it had been.

                                                                                                                                            This is an exciting record because it's full of hints of how much more there is to come from this meeting of minds. It's exciting because of the history that pounds and pulses through it. More than that, though, it's exciting because of what it does to you as a listener right here and now in the present; as the sample of Andy Fairley's vocal from the early days of On-U says in 'Precinct of Sound' says: “your head will become a crazy bulbous punch bag of sound”... and what more could you ask?

                                                                                                                                            Spectres

                                                                                                                                            Dying

                                                                                                                                              The Bristol-based four-piece are the loudest, most abrasive band on Sonic Cathedral to date, and one who make a mockery of those articles that crop up every now and again asking if guitar music is dead. “If guitars are supposed to be dead,” wrote Drowned In Sound in their review of 2013’s ‘Hunge r’ EP, “it’s probably because Spectres have killed them.”

                                                                                                                                              They certainly find influences in all the best places: first album My Bloody Valentine, ‘Sister’-era Sonic Youth, the Loop of ‘Heaven’s End’, Swervedriver’s Creation-days desert-gaze, A Place To Bury Strangers’ total sonic annihilation and Royal Trux’s squalid noise on ‘Twin Infinitives’ to name just a few. The album opens with the ominous and unsettling white noise and dark found sounds of ‘Drag’ and is unrelenting for the next 50 minutes, taking in first single ‘Where Flies Sleep’, a re-recorded version of ‘The Sky Of All Places’, originally released early in 2014 as part of the Too Pure Singles Club, and ‘Sea Of Trees’, which was given away as a free download to attendees of Sonic Cathedral’s recent 10th anniversary show at the 100 Club in London.

                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              Ltd LP Info: Smokey grey coloured vinyl house in a gatefold sleeve with download code.

                                                                                                                                              Moon Duo

                                                                                                                                              Shadow Of The Sun

                                                                                                                                                The highest apex of psychedelia, be it art, music, drugs or literature, is to induce a prolonged consciousness shift that affects the consumer far beyond the time they were privy to the act. Moon Duo‘s third full-length LP, Shadow of the Sun, was written entirely during one of these evolving phases -- a rare and uneasy rest period, devoid of the constant adrenaline of performing live and the stimulation of traveling through endless moving landscapes. This offered Moon Duo a new space to reflect on all of these previous experiences and cradle them while cultivating the album in the unfamiliar environment of a new dwelling; a dark Portland basement. It was from this stir-crazy fire that Shadow of the Sun was forged.

                                                                                                                                                Evolving the sound of their first two full-length records, Mazes (2011) and Circles (2012), Moon Duo -- Ripley Johnson and Sanae Yamada -- have developed their ideas with the help of their newly acquired steam engine, Canadian drummer John Jeffrey (present on the band‘s last release, Live in Ravenna). The unchartered rhythms and tones present on this record are reflective of Moon Duo’s strive for equilibrium in this aforementioned new environment. You can hear it is the result of months of wrangling with a profound feeling of being unsettled – there are off-kilter dance rhythms, repetitive, grinding riffs, cosmic trucker boogies and even an ecstatically pretty moment. Mixing with Jonas Verwijnen in Berlin, allowed for a creative catharsis and dissolved the album’s formal technique into a cool and paradoxically sane sound of confusion.

                                                                                                                                                This song will appear as the A-side of a 7-inch, packaged with each copy of the vinyl edition, and exist as the final track of the album on the CD and digital versions. The song has an early West Coast punk viciousness to it that is entirely unique to the Moon Duo catalog.

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Ltd LP Info: Red vinyl edition that comes with a free 7".


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