'Sorry' is the follow up to Liss’ debut single ‘Try / Always’ released in November 2015 via the highly-respected Danish label Escho. Described by The Guardian as “a liquid piece of fast-paced funk pop that imagines what might have happened had Michael Jackson recorded with Arthur Russell” and Crack Magazine simply as “nonchalantly effortless pop”, it was an irresistible first statement from the Aarhus, Denmark-based quartet, and a compelling introduction to Liss’ unique brand of Nordic soul.
She is the one who sings that crazy soprano note at the very beginning of the song and she is the one who sang behind James Brown for about 35 years. She was with Brown and the Jb’s in Boston on the infamous night after the Martin Luther King assassination, she flew with him in the dangerous Vietnam skies to entertain the US soldiers, and was also in Zaire celebrating the “Rumble in the Jungle” between Ali and Foreman. Martha was truly a friend, confidant and supporter of the godfather of soul.
Maybe she was just too young and shy to jump over the other soul divas to ask for a solo record. Today is different. singer of Maceo Parker’s band but now she is on fire because finally, she has recorded the album she never made but always wanted to make.
11 killer original tunes produced and arranged by Luca Sapio, the Italian soul ambassador, in true analog super sound. The tunes evoke the best productions of the golden era of Southern soul as well as the sonic landscapes of the Italian soundtracks of the 60’s. Here is the middle ground where these two unheralded musical traditions meet and Martha is the undisputed Queen.
Don’t miss the chance to take a listen. This record is made of truth, soul, love, and pain - a full spectrum of emotions that only a Queen can deliver to your ears. She spent much time in the studio with Luca and his guys to make it happen. This is not a revival, this is not retro, this is NOW. She took it as a challenge and we are sure that she won.
One Day…. contains some of the best melodies they’ve yet created. The duo’s knack for writing hooks and melody has, if anything, become stronger. There are choruses here you instantly feel you’ve known your whole life, like ‘Ancient Rolling Seas’ timeless, reassuring refrain of “I’ll always be by your side”, or ‘Champion’’s Dolly Parton via-Linda Ronstadt anthem of self-celebration through the darkest times. Perhaps best of all are a pair of songs to be found at the top of what traditionalists would call “side 2”- ‘Rebecca Casanova’, a slice of widescreen, four-to-the-floor pop that recalls soft-rock giants Fleetwood Mac in the way it channels heartbreak onto the dancefloor, and ‘Tattoo Of The King’, a tale that takes Neil Young and the Doobie Brothers to the disco.
On the album, “The Roundabout” represents a symbolic return to Chicago, while other songs are directly wedded to Ryley’s actual return there. Perhaps more than any other song on the record, the somnambulant sun-dappled intimacies of opening track “The Halfwit In Me” most audibly bear the imprint of Ryley’s improvisational sessions with Wilco multi-instrumentalist, Chicagoan and producer Leroy Bach, while “Funny Thing She Said” is an unflinching study of separation set to a shimmeringly supple ensemble performance.
Soft, slo-mo explosions of melody intermittently burst through the distant thunder of the verses on “A Choir Apart”. Intriguing, surreal images are meted out by “I Will Ask You Twice”, like a malfunctioning slide projector; and, perhaps best of all, the stunning finale, “Age Old Tale”, which spiders out from an Alice Coltrane-inspired reverie into a sustained rapture that very few artists have managed to achieve"
Following the release of their debut album Factory Floor in 2013, the band - consisting of Nik Void and Gabriel Gurnsey - slimmed down to a duo. Having already boiled the scorched textures of their early singles down into their debut's hallucinatory club-not-club stomp, they both seized the opportunity to voyage further along the pathway, mixing the album with razor-sharp precision via David Wrench (FKA Twigs, Caribou).
Inspired by playing a growing number of late night club shows, the pair's music gradually evolved into the sound captured on their second album and in their current live incarnation: a stark, ultra-minimalist and eerily soulful dancefloor pulse, yet one that still bears Factory Floor's unmistakable hallmarks of hypnotic repetition and jagged, punkish intensity.
Speaking of 'Dial Me In', Void says: "Being openly progressive has always been the Factory Floor way, be it via improvisational live shows, early Blast First releases, DFA reworks, or open studio collaborations and residencies.
'Dial Me In' was the first track Gabe and I wrote together for this record. At this time we were both exploring new set ups - some unfamiliar gear like modular systems, as well as various machines combined with regular old stuff like my Roland sampler, live drums and effected live vocals.
Our shows between 2014-2015 where steadily moving towards late night club stompers, and gradually our tools were becoming more and more mobile within two Peli cases wheeled across the continent. We were forever testing out changing sets from one place to the next. This single is all about transition, adjustment and transparency - something we needed to get out there so that dots can be joined and the next page can be turned ready for 25 25."
FORMAT INFORMATIONIncludes MP3 Download Code.
The new Okkervil River album is called Away. I didn’t plan to make it and initially wasn’t sure if it was going to be an Okkervil River album or if I’d ever put it out. I wrote the songs during a confusing time of transition in my personal and professional life and recorded them quickly with a brand new group of musicians. I got together the best New York players I could think of, people whose playing and personalities I was fans of and who came more out of a jazz or avant garde background, and we cut the songs live in one or two takes – trying to keep things as natural and immediate as possible – over three days in a studio on Long Island that hosts the Neve 8068 console which recorded Steely Dan’s Aja and John Lennon’s Double Fantasy. I asked Marissa Nadler to sing on it and got the composer Nathan Thatcher to write some beautiful orchestral arrangements, we recorded them with the classical ensemble yMusic and then I mixed the record with Jonathan Wilson out in Los Angeles. 2013-2015 had been a strange time for me. I lost some connections in a music industry that was visibly falling apart. Some members of the Okkervil River backing band left, moving on to family life or to their own projects. I spent a good deal of time sitting in hospice with my grandfather, who was my idol, while he died. I felt like I didn’t know where I belonged. When there was trouble at home, a friend offered me her empty house in the Catskills where I could go and clear my head. New songs were coming fast up there, so I set myself the challenge of trying to write as many as possible as quickly as possible. I wasn’t thinking about any kind of end product; the idea was just to write through what I was feeling, quickly and directly. Eventually, I realized I was writing a death story for a part of my life that had, buried inside of it, a path I could follow that might let me go somewhere new. “Okkervil River R.I.P.” and “Call Yourself Renee” are good emotional transcriptions of that time. I wrote the latter on psylocibin mushrooms on a beautiful afternoon in early fall in the Catskills. I wrote “The Industry” quickly after getting some bad news. “Comes Indiana Through the Smoke” is an anthem for the battleship my grandfather served on during the Pacific Theater of World War II. Before becoming a private school Headmaster, my grandfather was also a jazz musician; he paid his way through college as a bandleader, toured with Les Brown and His Band of Renown, and spent summers playing a residency at a NH lakeside gay dance club called The Jungle Room that kept live monkeys in the basement. (You can hear his actual trumpet on this song, played by C.J. Camarieri from yMusic.) “Judey on a Street” is a love song, sunny but written late at night when the woods are maximum spooky. We cut “She Would Look for Me” pretty shapelessly, with a lot of improvisation, and it’s also a love song. “Mary on a Wave” is about the feminine aspect of God but is in a very masculine tuning: DADDAD. It’s also a love song. I wrote “Frontman in Heaven” in an obsessive three-day streak of writing for 14 hours, going to bed, getting up and writing again. It wasn’t a pleasant experience. I wrote “Days Spent Floating (in the Halfbetween)” by just jotting down the first sentence that popped into my head every morning in October immediately after I opened my eyes. At the end of the month I had a finished song. It was recorded as an afterthought as the last thing we did when they were about to kick us out of the studio. You can hear me flub some lyrics. But one take and we had it.
I think this record was me taking my life back to zero and starting to add it all back up again, one plus one plus one. Any part that didn’t feel like it added up I left out. Weirdly, it was the easiest and most natural record I’ve ever made. More than any time in my life before, I felt guided by intuition – like I was going with the grain, walking in the direction the wind was blowing. The closer it got to being finished, the more the confusion I’d felt at the start went away. It’s not really an Okkervil River album and it’s also my favorite Okkervil River album.
The songs were recorded in Studio 2 and the Auditorium of the The South African Broadcasting Corporation, Johannesburg in February over two all-day-and–all–night sessions and produced by Mumford & Sons and The Very Best’s Swedish electronic music maestro, Johan Hugo. The lead track, There Will Be Time, went straight to number 1 in South Africa (the band’s first number 1 single) upon release in late January.
Earlier this year, Mumford & Sons embarked on an historic, sellout tour of South Africa. It’s a country less travelled by your standard touring band, and usually reserved as a token 48 hour pit stop to the megastars. Stadium 1, stadium 2. In and out. Mumford & Sons have never followed the predictable route though, it’s not a part of their DNA.
In late November 2015 Jay Som released a collection of finished and unfinished songs titled ‘Turn Into’ which was described as peaceful and energetic.
She will be touring this summer, supporting Mitski across the US and Canada.
7” vinyl strictly limited to 100 copies for the UK and Eire.
The intervening years have, of course, been full of activity and dozens of releases, including four solo albums and several albums as a member of Nick Cave & The Bad Seeds and in collaboration with PJ Harvey.
‘Delirium Tremens’ brings us another wide crosssection of Gainsbourg material. From 1976’s ‘The Man With The Cabbage Head’ (L’homme a tete de chou) all the way back to early songs such as ‘Deadly Tedium’ (Ce Mortel Ennui) and ‘Coffee Colour’ (Couleur Cafe) from the late 1950s and early 1960s, as well as a selection of five songs from the TV special ‘Anna’ which starred Anna Karina with the female parts here executed with enormous charm by Xanthe Waite, who has been joining Harvey on his recent shows.
The album is rounded out by a beautiful rendering of the late period Jane Birkin duet ‘The Decadance’ (La Decadanse) where Harvey is joined on vocals by his wife Katy Beale.
The music calls to mind works of Nine Inch Nails, Trent Reznor, Atticus Ross and even elements of Mogwai and Aphex Twin.
Strictly limited to 500 copies, ‘Camino’ is pressed on 140g clear double vinyl and is housed in deluxe gatefold packaging complete with printed insert and 12 page booklet, all designed by American artist John Bergin (‘Hannibal’, ‘Drive’).
Contains a bonus CD
45rpm audiophile edition
Jimmy Riley meets Scientist in dub! Classic Scientist dub action over tough Sly and Robbie Channel One rhythms. All tracks recorded at Channel One by Prince Jammy, Scientist, Jimmy Riley. Top ranking dub!!
FORMAT INFORMATIONLP Info: 45rpm LP+CD
Contains a bonus CD
45rpm audiophile edition
Produced by Linval Thompson, mixed by Scientist and first released in 1981 this wonderful Dub Landing starts out with an exceptionally powerful dub reformation of Al Campbell’s “Unfaithful Children” showcasing Scientist’s exceptional skills of deconstruction and reconstruction. Scientist at his best on Dub Mir!
Inner Journey Out started out the way many Ills records have - with frontman Tres Warren's demos. Like all of their records, Elizabeth Hart's bass is the glue that holds everything together. Where other recent albums found Warren overdubbing himself to create a blown-out, widescreen sound, this recording handed the reigns to a multitude of guest players. A cadre of musicians and vocalists – including Mazzy Star’s Hope Sandoval, who duets on lead single “I Don’t Mind” – join in on the journey. This is the first record to feature touring keyboard player Brent Cordero, his Farfisa and Wurlitzer work is a staple throughout. Rounding things out, is a platoon of drummers and percussionists including Chris Millstein, Harry Druzd of Endless Boogie, Derek James of The Entrance Band, and Charles Burst, one of the record’s engineers. These musicians build the frame on which Warren lays his hazy guitar and vocals. An endless array of friends and guests also provide pedal steel guitar, horns, strings, and backing vocals, which culminate in a career-defining moment for the Ills.
Thematically, Inner Journey Out is a detailed exploration of the interior and the exterior, and the pathway between the two. The focused songwriting makes the stylistic departures fit seamlessly within the band’s dexterous ethos. The rousing gospel number “Another Change” and the far-out free jazz exploration “Ra Wah Wah” help shape Inner Journey Out into a multi-faceted, full album experience. It’s the most personal Psychic Ills album, too, hinting tantalizingly at love and loss but denying the listener resolution — asking questions, but never answering; seeking, but never fully concluding.
A decade on from releasing their critically lauded cult debut, Dins, and the deep dive into cosmic improvisation of Mirror Eye that followed, through the more recent and straightforward outings of Hazed Dream and One Track Mind, Psychic Ills have delivered their most remarkable statement yet with Inner Journey Out.
File next to other drop out symphonies like Ladies and Gentlemen We Are Floating in Space by Spiritualized, Pacific Ocean Blue by Dennis Wilson, and Born to Be With You by Dion, and let your journey begin.
FORMAT INFORMATIONColoured LP Info: Limited desert haze coloured vinyl.
‘Ha, Ha, He.’ has all the twists and turns of post rock from its Chicago heyday bolstered by the melodic quirkiness of a new influence for the band, Throwing Muses. On ‘Brother, Brother’ and ‘Howard’ we see Mourn through a pop lens: undeniably catchy but intricately performed and still somehow heavy.
This is a band that can play around with the pop format in a way that doesn’t degrade their songwriting talent to the lowest common denominator. Further on, the track ‘Storyteller’ goes on its own trip through downtempo drudgery into a melodic bridge and concludes with anthemic sing-screaming. On the equally challenging yet-beautiful ‘Second Sage’ it becomes apparent that Mourn have begun to carve out their own niche and their songs are no longer fits of inspiration indebted to their heroes but just the band being themselves.
FORMAT INFORMATIONIncludes MP3 Download Code.
This is a beautiful newly-remastered collection, bringing together the entire Warm Leatherette album, b-sides and rare in-era mixes and instrumental versions (to fit the album on to the 39 minutes prescribed for vinyl at the time, a considerable amount of editing had to be done). It is a perfect demonstration of players, writers, producers, at the very apex of their game, headed up by the most singular performer, singing as if her life depended on it.
FORMAT INFORMATIONLP Box Set Info: 4xLP box set.
FREE SHIPPING This item has FREE UK shipping!
CD Box Set Info: 2xCD boz set.
‘Os Orixas’ is rich in layered percussion, horns and guitars. Singer Eloah’s lead vocals are reminiscent of the likes of Ellen McIlwaine, Elza Soares and Joyce. Samba, funk, folk, jazz and MPB over ijexa and African grooves, that combine beautifully across the moods. Os Orixas refers to one of the manifestations of the ’supreme God’ in the Yoruba faith.
The songs were written by Luis Berimbau, assisted by Ildásio Tavares. Berimbau was a very influential multi instrumentalist, poet, writer and composer from Bahia, Brazil. He produced the wonderful folk/psychedelic rock group Perfume Azul Do Sol’s ‘Nascimento’ LP amongst many others.
Tavares was an author, composer and poet from Salvador, Bahia. As a composer, he worked with many artists including Vinicius de Moraes, Maria Bethania, Alcyone, Toquinho, Nelson Gonçalves and Maria Creuza. Many of his poetic works were published, and he even penned Afro-Brazilian opera entitled ‘Lydia's Oshun’.
Banda Black Rio were formed in 1976 by the late Oberdan Magalhães in Rio de Janeiro. They revolutionised 'black instrumental music' at the time with their Brazilian re-interpretation of soul, jazz, funk and disco grooves, inspired by the likes of Tim Maia and reminiscent of Kool & The Gang and Earth, Wind & Fire during their most on-point period of the 1970's. 'Maria Fumaca' is the groups first album, originally released by Atlantic in 1977 and a record that bought the group worldwide fame.
The title track is a real stand-out for us and a long term firm favourite. 'Miss Cheryll', more of a disco/AOR jam, was released by RCA UK in 1980 as the track become popular within several London scenes.
"I brought my new wife Patty to London to see the sights. Number one was The Houses of Parliament, number two was Westminster Cathedral and number three was the Wag Club." - Keith Richards
"I love The Wag. Why aren't there more clubs like it? Always cutting edge." - Joe Strummer
For the first time ever, the musical legacy of feted London nightclub and 'haven for misfits' The Wag is explored over 4 discs with a selection of remastered rare, classic and collectible funk, Latin, disco, hip hop and jazz that filled the floor. Released on via Harmless records and curated by Chris Sullivan - a musician, journalist and most importantly, the Wag's founder, director, promoter, designer and booker for its entire run of 18 years. Music explored on this box set covers a period from the Wag's inception in 1982 to 1986, and although the club was an integral early proponent in the acid house explosion and continued to support electronic music until its close in 2001. Featuring sleeve notes from Chris Sullivan, this is a must have set for fans of the scene.
FORMAT INFORMATIONCD Box Set Info: 4xCD box set.
Released on double vinyl and digital only, 'Rub Remixed' traverses acid techno, hard house, trap, deep electro, booty bass and future beats, bringing Peaches' original production and vocals front, centre and to dizzying new heights.
Drawing together a set of classic style rhythms for the dancefloor, '1000 Watts' was recorded direct to tape, with all the band members in the same room; for this outing, Holland enlisted his most prestigious roll-call of guests yet. Alongside Jamaican dub legend U-Roy and long-time collaborator Alice Russell, the featured artists include popular reggae singers Hollie Cook and Christopher Ellis. The late, great keyboard maestro Ikey Owens (whose tragic 2014 passing followed a career working with everyone from Run The Jewels to The Mars Volta to Jack White) and legendary Jamaican drummer Santa Davis, known for his work with the likes of Bob Marley and The Aggravators.
based in New York, after almost a decade living in Colombia, British producer, musician and band-leader Quantic has enchanted fans and tastemakers with more than 15 albums in as many years. Seeking out and working with some of the world's most influential players, he has been instrumental in opening up audiences in the UK and elsewhere to countless rhythms and. '1000 Watts' continues a thread of releases as adventurous as they are classic.
‘I’ve been a huge Savages fan since their debut record.’ says Trentemøller. ‘ I met their producer Johnny Hostile at a festival in Paris and ended up inviting him to support us on our tour. Jehnny actually tagged along for some of the dates. Afterwards, he dropped me a line and asked me to mix the next Savages record ‘Adore Life’. Myself, Johnny and Jehnny built a real friendship in the process so it felt right to ask her to sing on a few of the songs. She has this really intense and unique voice and it ended up being really challenging, and fun, to take that voice out of the Savages’ universe and into mine.
’With ‘Fixion’, Anders has crafted a logical successor to 2013’s ‘Lost’ – a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full-band. In much the same manner that ‘Lost’ built on from the somber cinematic classic that was ‘Into The Great Wide Yonder’, ‘Fixion’ has embraced the Danish artist’s trademark melancholy and matured it into something uniquely atmospheric and darkly romantic.
For Trentemøller’s new material RITON EMENIUS, a new cross-disciplinary collaboration between Swedish director Åsa Riton and Swedish artist Andreas Emenius, are directing the music videos as well as creating tour visuals and art installations that will be shown in galleries in Copenhagen, New York and Paris. The result will be a total media experience that touches on physical locations, online platforms and video installations.
- See more at: http://www.hfn-music.com/inmyroom/releases/single-river-in-me#sthash.ah1cbOho.dpuf
Whilst much of 1960s Venezuelan rock music emulated British and USA styles, the 1970s saw the evolution of a new generation of creative artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz and Latin rhythms simultaneously exploring their links with Venezuelan roots music.
These Venezuelan artists looked to the future while exploring their country’s own musical heritage to create a new cultural identity. Similarities can be drawn with then contemporary movements around the world, such as the Trópicalia and post-Trópicalia 1970s scene in Brazil of Os Mutantes, Novos Baianos, Secos e Molhados (all of which feature on Soul Jazz Records’ earlier ‘Brazil 70’).
A similar parallel can be made in Europe with the experimental German groups of the 1970s (Can, Amon Duul, Harmonia, Neu, all featured on Soul Jazz Records’ ‘Deutsche Electronische Musik’), who deconstructed and reconstructed the links between rock music and electronics to define a new German cultural identity.
Most of the artists featured on ‘Venezuela 70’ remain practically unknown outside of Venezuela’s borders and yet their progressive, forward-thinking music is some of the most sophisticated in the world - a stunning ‘melting pot’ mix of underground rock, synthetic electronics, funk, jazz and Latin American rhythms, all of which explored new sounds and broke down musical boundaries to create a distinct and unique Venezuelan music and cultural identity.
These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd’s reaction - the most popular of which were then released commercially.
Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots & The Maytals, young singers such as Bob Marley & The Wailers, Delroy Wilson and Owen Gray, all captured in their formative days.
The music here spans a wealth of styles - Jamaican rhythm & blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One, which first opened its doors in 1963.
This collection is released on double CD with slipcase, heavyweight triple vinyl plus download code and standalone digital download album. Sleevenotes and text are by author Noel Hawks.
The collaboration between Kneebody – keyboardist Adam Benjamin, trumpeter Shane Endsley, electric bassist Kaveh Rastegar, saxophonist Ben Wendel and drummer Nate Wood - and Daedelus had its initial roots planted as far back as high school for old friends Wendel and Alfred Darlington (aka Daedelus). “Often when I lived in LA, I would go to practice saxophone at Alfred’s house in the bathroom next to his studio. He would knock on the bathroom door and say ‘Would you mind playing something on this track?’,” recalls Wendel. “So I ended up being on at least five or six of Alfred’s albums because I happened to be there practicing."
The pair’s early musical kinship in southern California seeded a connection that grew through numerous collaborations, recordings and live performances over the years, coming to fruition in an improvised performance in 2009 at “Jazz A Vienne” between their two primary music vehicles. When Wendel was awarded a composition grant through Chamber Music America based on the theory of technological singularity, it became a catalyst to write a series of pieces that would bridge the gap between the oft-indescribable world of Kneebody and the unique aesthetic of Daedelus.
When the quintet entered the studio with Darlington, the other members brought more compositions to the fore. “Ben approached me about trying to realize some of this music that was maybe different from the Kneebody spectacular – where they are always so through composed – and do something that was more intimate,” reflects Darlington. The result is a ten-song set of original music that sits inside the rich pantheon of instrumental music, but with a modern sheen that takes the shape of a multi-headed beast straddling rock, jazz, and electronic music.
With his group Exile One, Gordon Henderson was instrumental in creating the Cadence-Lypso style. Fast forward a few years and he was in Air studios in Montserrat, where - along with new group the U-Convention - he recorded the sessions that would make up this release. The Highest Bidder is a long-time rare groove classic, a no-messing-about slice of early 80s funky boogie. On the B-side "Hard World" ups the tempo for an over-looked slice of modern soul.
Sofrito and Gordon Henderson are proud to see these tracks legitimately once more, cut nice and loud on a 45 for optimal club play
‘It was so important for us to play a kind of crossover then, to weave in touches of Motown, Philadelphia soul and Teddy Pendergrass that the coloured community appreciated, and Basil’s Cape Town sound, and Sipho’s sound that was legendary in the black community, and make music that people could all enjoy together… The regime divided us: people classified coloured had identity documents; black people had the dompas. We didn’t accept that separation. Sipho, although he was born in KZN, could play any feel. Sometime he’d joke, Does my bass line feel coloured enough?’
Another landmark Matsuli. The title track is killer.
This release has been a long time coming. Tracks were first exchanged back in 2014 and it’s been an organic, intuitive process. Like-minded musically & likeminded lyrically - Red Axes & C.A.R. seem to work the same way. Recordings happen fast. One or two takes. It’s punk and it’s effortless.
1960’s, psychedelic 2040 arrived on queue. A sweaty, London-summer evening, after spending the day writing alone out Hackney Marshes, Chloé demo’d the vox. - languid, nostalgic, at arm’s reach from the city - the track depicted the moment perfectly. A paper thin Victorian wall separating her from the chatting neighbours, she shut her eyes and got as close to the mic as possible.
A few weeks Red Axes & C.A.R. were together in Tel Aviv. Ten times sweatier than London. To say the studio was dripping hot is an understatement. There was a party heaving in the square below, a van parked in the middle, broadcasting out on the radio waves. Dori was determined to use the intimate London vocals for 2040 and so they cracked on with Incognito, a club track that isn't one but works in its own way: rockabilly reverbs, an almost hip-house delivery, the strange alchemy of 808 fumes. Already inebriated from the city, Chloé had written her words off-cuff in the hotel room, just hours before.
Fastforward a year. Summer 2015. Niv had sent Space Cream a few months earlier - an electronic 4/4 ballad which already featured looped samples of some of the stuff they’d recorded in Israel. Heady and sticky, Chloé had to wait for longer days before she could get anything down.
Finally XMan, descends further down into psychedelia… Perfect for the London winter closing in. Heads filled with Cookie Mueller & memories of losing oneself in dark, basement parties - the words rolled off the tongue.
Last autumn Red Axes invited C.A.R. down to London’s Pickle Factory to perform Incognito live. During soundcheck she penned some words for a new track they were debuting, which they also ended up doing. It’s an experience synonymous for this collaboration. What comes easy, makes sense.
Remixes come courtesy of Tom Furse (from the Horrors) who, as he says himself, offers "cosmic extrapolations". Think of the soundtracks of Michael Mann movies, Vangelis gone to space heaven and back. Lumiere Noire's protégés, Il Est Vilaine offer future electronic disco punk at its best. They stomp and romp (watch out for the hyena!).
Fred und Luna play their self described Elektrokraut (concerning songs that are basically Kraut mixed with electronic elements) and Krautelektro (which is Elektro mixed with Kraut elements).
They live in Karlsruhe which - like Düsseldorf - lies next to the river Rhine. Perhaps Karlsruhe is the NEW (neu) Düsseldorf, with Fred und Luna (as pioneers/vanguard).
“How are you doing, Earthling?” That’s how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.
Left Ear Records went back to Coleman’s original master tapes for their vinyl reissue of the Commander’s 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, “Laugh and Dance.” It’s an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.
Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn’t afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late ‘70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.
The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman’s sister, a seamstress, created his outfits.
Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.
Now 62, he’s currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he’s using metal ceiling tiles to line his walls. It’s starting to look like a spaceship. Coleman promises, “There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!
Camille Sopran’n, who founded the band with guitarist Guy Jacquet and bassist Pierre-Edouard Décimus, personally selected this compilation from the Vikings’ vast discography of about 20 albums, starting in 1967.
They obviously inherited a lot from “roots music” (Gwo Ka), jazz and the beguine that had been played on the island since the late 19th century, and of which they give a dazzlingly modern version on “Tou Touni”.
Their music is buffeted by the artistic winds that were sweeping the Caribbean: “Rumbo Melon” is influenced by Latin music; “Assez Palé” is a cover of a number by the great Haitian saxophonist and composer Nemours Jean Baptiste, who is often presented as the inventor of kompa; and “Ambiance” offers a new take on “Guhe Huiamo” by the Ivory Coast singer Amédée Pierre.
When “Blazer” was released it was a hard sell. It was too weird, too slow, too…something? The record sat untouched for almost a year. Eventually, the boys gave one to their kind bud, DJ Harvey. Once Harvey dropped it at FK's Deep Space in NYC, people started to understand. Soon after, a Japanese distributor called and purchased all 300 copies and the record sold out almost immediately.
And thus, the beginning of this record’s mythos began. A few recognized “Blazer’s” impact early on - a couple years after its initial release, Gerd Jansen licensed it for Sonar Kollektiv’s “Computer Incarnations For World Peace II” and Rong licensed it for “Rong Music Presents Non-Stop Vol. 1.” It remained largely impossible to find though, and much to Project Sandro’s dismay, it started selling on Discogs for $80.
But it was always clear people wanted to hear “Blazer.” And now for the first time in 10 years, it appears on its home imprint in a special 10 year anniversary limited edition of white vinyl. Project Sandro hopes people are ready for it this time!
*Available for the first time on vinyl since the original pressing of 300.
*Special 10 year anniversary white vinyl edition
Luke Solomon & Jonny Rock
Luca Frangipan / Groovin To LA - Inc. DJ Fett Birger & Jayda G Remix
Luke Solomon has, for years, gifted the house community with countless musical gems, via his own productions and that of Freaks (alongside Justin Harris), as well as the vast catalogue of releases on Classic, the label he runs with Derrick Carter. Jonny Rock, meanwhile, has graced labels such as Wolf & Lamb, Playhouse and Music For Freaks (another of Luke’s imprints), and has amassed a fine appreciation for music working behind the counter at London record shop institutions, Black Market and Phonica.
“Luca Frangipan” stomps like any classic disco-house dub should do, built around a guitar hookline from the Chaplin Band's Italo classic 'Il Veliero', its funky bass lick and incessant cowbell wrapped up in guitar licks and idle piano keys. A “Dub Mix” dispenses of the bass riff and let’s the synths get all ‘freaky deaky’ on yo ass.
“Groovin To LA” on the flip features an understated vocal hook, filtering around vintage disco tropes of parping horns and sweeping strings, as the beats, that elicits that trademark sound that Luke has made his own, rattle away gratifyingly.
DJ Fett Birger & Jayda G takes “Groovin To LA” on a wander to the seaside for a breezy and kitschy reinterpretation. Crashing waves and coastal sounds waft in and out of a gentle melodic rendition, the distorted yet supple percussive beats propping up the kooky Summer vibes just right.
Action (Feat. Cat Power, Mike D & Pharell Williams) - Inc. Johnny Aux / Jesse Rose & Junior Sanchez Remixes
Todd Terje & The Olsens
The Big Cover Up - Inc. Prins Thomas / Dan Tyler / Oyvind Morken / Daniel Maloso Remixes
Appearing on record together for the first time, Norway's premier disco troop have cooked up a double-pack dancefloor attack for your listening pleasure. Digging through their extensive collections of well-loved wax, Terje & the gang have specially selected a quartet of disco classics ripe for a remake. Forget re-edits though, this is 'The Big Cover Up' and the Olsen crew have hit the studio with all guns blazing on this wild version excursion.
Our journey starts in Tokyo with a 303 driven take on Yellow Magic Orchestra's version of Martin Denny's 'Firecracker'. The perfect combination of cocktail exotica and disco kitsch, this party pyrotechnic is reloaded with buoyant acid and beefed up bass, accelerating through Eastern guitar licks and operatic vocals before filling the night sky with an explosion of colour. Falling somewhere between the Swingle inspired New Mjondalen Disco Swingers and Yello's 'Oh Yeah'' the A2 remake of the enduring 'Disco Circus' puts the vocals at the forefront, locking us into a tribal trance state with its hypnotic rhythms before the roving electrodisco bassline triggers the warp drive and blasts us away. On the B1, the 'B' stands for Boney, as Terje & The Olsen's give 'Do You Wanna Bump?' a bright and brassy make over perfect for cocktails and caviar on a Mediterranean yacht. Drum breaks, bass and dub delay - what more could you want? While we're in the Med, we make a trip to Greece with a sleek and slick spy flick remake of Vangelis' stunning 'La Fete Sauvage'. Island hopping guitar dances around planet swapping synth before an extended space disco outro leaves us orbiting the mirror ball in dizzy euphoria.
Disc two is all about the dark room as Todd flips through his remix Rolodex and recruits some demolition experts keen on club destruction. The C-side finds Mexican maverick Daniel Maloso takes the lead with a synthed up club dub of 'Do You Wanna Bump?' before Idjut Boy Dan Tyler brings the power cosmic on his spaced out version of 'Firecracker'. Meanwhile on the flip Full Pupp impresario and gourmet Goulash chef Prins Thomas pays tribute to 'Whole Lotta Love' with a full throttle remix of 'La Fete Sauvage' while fellow Norwegian Oyvind Morken fires up the 808 on a percussive house mix of 'Disco Circus'.
After eight ear tickling tracks you'll feel like you've hit the dancefloor jackpot, but just wait for the bonus ball to drop. While you're stretching your best spandex to this disco double play, Dan 'The Man' Tyler's back on a tasty 10" with two special dubplate versions of 'Disco Circus' and 'Firecracker', ready to make you freak all over again.
There ain't no party like an Olsen party.
On the flip SoulBrigada takes things to a disco tip. 'Hustleman' is a stunning afrofunk & disco gem from West Africa. The second track 'Madera' is an afro-disco gem with a compelling Cape Verdean groove. SoulBrigada rearranged the tracks, added drums, samples and effects building a brigde between past and present - without ever losing its original organic vibe. Two essential tunes for your record bag!
His third album "On The Go" is a heartfelt love letter to the jazz of the late 50s and early 60s. Inspired by the evocative sounds of Miles Davis' soundtrack to the Louis Malle film "Lift To The Scaffold" and the legendary early 60s recordings of Art Blakey and Max Roach the album is nostalgic but always soulful. However, while Halsall's elegiac music is imbued with a sense of history, the young trumpeter and DJ nevertheless brings a contemporary bounce to his music ensuring that his music breathes with a personality all its own.
The album opens with "Music For A Dancing Mind", the most obvious nod to the work of Blakey and Roach. The beautiful "Song For Charlie" is named for Halsall's grandfather, a key inspiration in his life. Dukkha is a Buddhist term roughly translating to suffering so the title "The End Of Dukkha" is self-explanatory and "Samatha", another Buddhist term, means calm, a perfect title for this elegant tune. "The Journey Home" came to Halsall on the train back to Manchester from London and captures that happy feeling of return.
Described as 'always having a knack for finding great vocal collaborations', he has raised the bar again here! Featuring a stellar cast of guest vocalists including Grammy-award winner Joss Stone, steam-punk legend Professor Elemental & arguably the most talented young soul singer in the UK today in Elliott Cole, 'Hello Baby' is a genre-bending colossus of an album that is packed full of Adam's trademark multi-instrumental goodness, heavy drums, percussion-packed production, and ear for a good tune.
Also featured on the record is soul singer Juliette Ashby (who featured heavily in the recent Oscar-winning 'Amy' documentary) - Californian rapper, regular Lack of Afro collaborator (and one half of The Damn Straights) Herbal T, and rising star of the northern soul / mod scene, dancer, model & vocalist Emma Noble.
A wide-ranging, eclectic and progressive musical outlook has always been the Lack of Afro approach and 'Hello Baby' doesn't disappoint. Classic R&B ('I Got The Rhythm', 'Take Me Home'), Soul ('All My Love', 'Fires Glow'), Hip-hop ('One World', 'Walk In The Sun'), Disco ('Magic Together'), and elements of House, Indie-Rock and a smattering of Electro ('Now I Feel Good', 'Searching For Peace & Love') all come together to create an album that is stuffed with beautiful audio gems of all varieties and is without doubt an even more confident, assured and mature collection than its predecessor.
Away from the studio, Adam's music has been much in demand in TV, Film and Advertising, with directors including Steven Soderbergh and companies including Disney, HBO, Sony Pictures, Adidas & Miller Lite all using the Lack of Afro sound for successful projects and campaigns. 'Hello Baby' continues in this vein and promises to be of significant interest to music supervisors everywhere!
'Hello Baby' will be supported by a live band tour in May 2016 as well as DJ sets & further live shows at various festivals throughout the summer.
Split into two contrasting chapters, Fallen follows the trail of our main character. The first six songs introduce us to utopia; a collection which is matched by the light and airy tones of this initial set. The twist comes right down the middle, where we descend into the project's darker, hellish bogs. Both episodes intertwine seamlessly, and all composed, written and produced by Steven himself.
Julien plays the majority of the instruments you hear on the record, using session musicians — including three appearances from Hercules on bass — sparingly to plug any gaps. All the above choices combine to emit a contagious warmth that blankets the whole record. Within the dozen tracks, he jumps between everything from jazz fusion to techno. It's easily his best work to date.
Steven Julien first surfaced in 2009 with a refreshing sound unlike many of his contemporaries. While his peers flirted with R&B, abstract grime and whatever else, Julien forged his own path; one which partnered an organic, analogue sensibility with the sounds of electro, '80s funk, and acid. Initially affiliated with the Eglo camp, he eventually formed his own label, Apron Records, which has become a reliable outlet in its own right; not only for his own workings, but also as a home base for talents like Seven Davis Jr and Greg Beato. He's also proven to be an avid collaborator over the years, having worked with Fatima, Delroy Edwards, and, most notably, Kyle Hall, with whom he creates the unapologetically raw sounds of FunkinEvil.
FORMAT INFORMATIONColoured LP Info: Limited edition blue vinyl.
Box set Info: Limited edition box set features double vinyl, CD, DVD. blu-ray, necklace and 32page photobook in a hand made box.
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'Future Present Past' was recorded over the past year in several locations with the help of producer, Gus Oberg.
"Pure New York rock & roll...all grey-pavement aggression wrapped in
Black leather cool" - Rolling Stone
Taking his cue from well worn IC releases and the Berlin School, Bartosz dedicates the whole of the A-side to ‚Baltic Beat’, twenty stunning minutes of swelling, swirling beauty full of motion and purpose. Chiming guitar pierces the deep like sun-light, leading us out of the oceanic intro and onto the soft sand where shimmering marimba and considered piano lull us into a Tangerine Dream. Before long the clouds roll in and the crashing surf gives way to Metheny guitars, rhythmic keys, minimalist woodwind and the dramatic bassline which carries us downstream into the run out groove.
The B-side opens with the rolling waves and overwound watches of ‘Post Tenebras Lux’, a feather- light daydream which builds with West Coast guitar and a crisp snare before fading into the bird-
song of ‘Parco Degli Acquedotti’. The stunning offspring of ‘Wicked Game’ and ‘Moments In Love’, this is just about as Balearic as it gets, The Phantom breezing over the frets as the wind works its
way through his hair. All that remains is to savour the fading sunset to the sound of ‘Supplement 1‘ and ‘2’, elegant odes to nature which hold delicate piano, cor anglais and guitar in perfect balance.
With summer on the way, it’s time to slip your moorings and drift away with Bartosz Kruczyński and Growing Bin, partners in calm.
Composed by Scott's long time collaborator Marc Streitenfeld, the music of Prometheus is as haunting as it is meditative and triumphant: a fresh approach to scoring a familiar universe - keeping with the trend of bringing a new sound to each successive Alien film, this one sounding like it was written to be heard blasting from the speakers of an IMAX theater. Streitenfeld takes advantage of the locales, writing music for lush landscapes and barren caves, occasionally writing compositions backwards, reversing them in post to produce a sense of uneasiness inherent with exploring the unfamiliar. Prometheus is a unique listening experience that fits perfectly side-by-side with the other films uno the saga
This limited edition 2XLP set is pressed on heavy weight vinyl, cut at 45RPM and features exclusive liner notes by composer Marc Streitenfeld
A newfound creative friction between Thorpe and Fleming proved key to unleashing the unique pop sensibility of Boy King - Fleming’s more visceral experimentation unlocking new dimensions in Thorpe’s own writing. After spending a whole year finessing this new found impetus in East London, the band emerged with a collection of songs ready to take to Dallas and producer John Congleton (St. Vincent, Swans, The War on Drugs). Both Thorpe and Fleming credit that trip to Dallas with teasing out the raw power of Boy King. In the studio, the band kept up the intensity of the office hour routine they'd employed during writing sessions and, they say, responded well to Congleton's sober discipline. "He made us get in there, get on and do it," Fleming says. "English politeness never featured."
The raw pop of Boy King's songs are the perfect foil to Thorpe's libidinous lyricism: "it became apparent that that guitar almost became the character within the songs, that phallic character, the all-conquering male," he says. "I'm letting my inner Byron fully out, I thought I'd tucked him away, but he came screaming back like the Incredible Hulk." Here lies Boy King's greatest success. Between the slide of prowling aggression and interior darkness, there are glorious, gorgeous moments. It’s yet another incomparable Wild Beasts record; a visceral, sensual and jolting body of work that acts as a remarkable soundtrack to the early 21st century male malaise. Or as Thorpe puts it: "I think Boy King is an apocalyptic record. It's about swimming in the abyss. When you think about sex, you've got to think about death, they're one and the same.”
FORMAT INFORMATIONDeluxe LP Info: Heavyweight vinyl plus 7” with two bonus tracks and download code.
LP Info: Heavyweight vinyl with download card.
In the words of Jenny Hval: “Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers. Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence. There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America. So this is my most fictional and most personal album. It’s also the first album where I’ve started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It’s an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.”
Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015’s Apocalypse, girl, Hval has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing,
performance art, and film. She eloquently brings to light issues of both male and female gaze.
While lead single ‘No More Parties in The Attic’ is laden with an enticing no-wave, post-punk sound, layered with distorted guitars and ominous drones– ‘Orlando' chimes in with echoing vintage synths, courtesy of Hugo Quezada that clash with a chilly electro backbeat and an anthemic soulful bass line setting the tone. With her disarming quietude nursery rhyme like vocal delivery, Anika remarks on the creation process: “Well, that day I was speechless and empty; a reflection of the times. I became a vessel for the past; the only way to deal with or help understand the present. Enlightenment came with the help of some strong leading ladies; A certain author, a certain film and a certain actress. Go figure.”
Anika released her self-titled debut album in collaboration with Geoff Barrow’s Invada imprint and Stones Throw to critical acclaim in 2010. This new project was created during the rehearsal sessions for Anika's Mexican live debut back in March 2014. An unexpected partnership formed between Annika and local producers, Martin Thulin (Crocodiles producer) synth-head Hugo Quezada (Robota) and Riotboy sweetheart Hector Melgarejo (Jessy Bulbo / Nos llamamos) to form Exploded View. The four musicians discovered a new sound, several steps removed from the krautrock-isms of Henderson’s previous work during their rehearsals and live performances in Mexico City. The straight to tape sessions that followed in the San Rafael neighborhood, ventured somewhere new; a lighter place, unguarded, veering from any script. Improvisation was the guiding principle and the source of the band’s inspiration. The studio itself was outfitted so that every sound produced in the room would be recorded. A Tascam 388 8-track captured everything – fully live, fully improvised, first-takes only. Produced by Thulin and Quezada and mastered by Josh Bonati in NYC.
For fans of Can, dub, and political revolution.
FORMAT INFORMATIONLtd LP Info: Limited to 500 worldwide.
In this latest incarnation, the band feature Kim Talon & Melinda Holm with the addition of Lee Ranaldo & Steve Shelley (Sonic Youth).
Paper Magazine describe the sound as "shoegaze-y, grunge - with a touch of riot grrrl".
"Artlessly jagged post-punk that's got fun in it even when it's being serious." - LA Times
Even though Josh Haden is a man of the present, his songs look back on the life of his ancestors in the 1930s: "My grandfather was a very compassionate man but he was also very stoic and we never saw him cry, except when he told us about growing up during the Great Depression." He recounts the Farmington Mine Disaster in 1968 from the point of view of a miner. The violin, played by his sister Petra Haden, makes the collapsing room open up and expand. The song Battle Of Saratoga tells the story of a heroin addicted musician who is trapped in a New York hotel by a snowstorm in the 1960s. The violin resembles the relentless rain of fiery-sparks falling on a battlefield during a hallucination brought on by heroin withdrawl. The drum is played in a staccato marching style by Danny Frankel, a highly sought after and regarded drummer and percussionist who has played with John Cale, k.d. lang, Mark Eitzel, Laurie Anderson and Marianne Faithfull. Josh Haden also writes about his own past. In Station 2 he sings about his childhood in Malibu, friendships he left behind and a lost love from the days of his youth. He steps back behind his own music so that we can descend into its warm depths and dissolve into it. His voice is the slowly blazing flame of Slowcore. "After all, those were the times, I'd give anything to go back and stare into her eyes. There was a girl I left behind, I never forget Caroline."
FORMAT INFORMATIONVinyl comes with CD version of the album enclosed.
Health&Beauty is the name under which Brian J Sulpizio has released music since 2003. The current lineup of the group has been playing together since 2012, featuring pianist Ben Boye (a constant collaborator since 2009, who also plays with Will Oldham, Angel Olsen and many others) and drummer Frank Rosaly (a regular collaborator with Peter Brotzmann and many other jazz and experimental music greats). This version of the group along with bassist Anton Hatwich, made up the band on Ryley Walker's ‘Primrose Green’.
‘No Scare’ is the most euphoric listening experience presented yet in the band’s catalogue, where darkness and light can't help but complement each other in the short comedy of the human experience.
FORMAT INFORMATIONIncludes MP3 Download Code.
The audio has been carefully remastered using multiple sources, including the original NEC PC-88 files supplied by Koshiro himself, and packaged in original artwork sourced from the SEGA archives in Japan.
- 2 x 180g transparent vinyl
- Includes four bonus tracks of demos, alternate versions and unused compositions
- 2 x lithographic prints featuring archival artwork
- Packaged in a gatefold sleeve with traditional OBI strip
- Fully remastered in collaboration with and approved by composer Yuzo Koshiro
Available on vinyl for the first time comes one of Rufus Wainwright’s most popular albums. 'Poses' is Wainwright’s second studio album release. The album was produced, recorded, and mixed by Pierre Marchand, with select tracks produced by Propellerheads' Alex Gifford ("Shadows"), Ethan Johns ("California"), Damian LeGassick ("The Tower of Learning"), and Greg Wells ("Across the Universe").
And Paul’s accomplishments since then as a member of Wings and a solo artist make for a staggering body of work that stands proudly alongside those eight sensational years with The Beatles.
'Pure McCartney', a new compilation of his solo, Wings and Fireman work, celebrates that fact, showcasing 67 highlights from one of the most-revered catalogues in music - from 'McCartney' in 1970, his debut solo album, right through to 'Hope For The Future', his 2014 track taken from 'Destiny', the most-anticipated video game of the last decade. Not only is 'Pure McCartney’ a monumental mixtape of some of popular music's most memorable moments from 1970 to the present day, it also features curios for the superfans and some of Paul's personal favourites — all handpicked by the man himself..
"Me and my team came up with the idea of putting together a collection of my recordings with nothing else in mind other than having something fun to listen to," Paul says of this project.
"Maybe it's to be enjoyed on a long car journey or an evening at home or at a party with friends? So we got our heads together and came up with these diverse playlists from various periods of my long and winding career.”
As a songwriter Paul has never stood still, dipping his toe in countless genres and styles. 'Pure McCartney' is testament to that fact. From the songwriting masterclass of 'Maybe I'm Amazed' and adventurous, three-songs-in-one of 'Band On The Run' to the irresistible groove of 'Say Say Say' and ahead-of-its-time electronica of 'Temporary Secretary', described by NME when compiling a list of the greatest ever songs as “not so much ahead of its time, but out of it altogether”, 'Pure McCartney' charts the unstoppable adventures of McCartney's unique and eclectic songwriting talents and shines a light on his post-Beatles artistic achievements.
"The word 'career' is a bit misleading because to me it has been more like a musical adventure than a proper job," says Paul, reflecting on the 'Pure McCartney' tracklisting. "It pleases me, and often amazes me, that I've been involved in the writing and recording of so many songs, each of them so different from the others."
Paul's unparalleled career has seen his music break global chart records, win countless awards, fill stadiums around the world and become the soundtrack to millions of people's lives across generations.
FORMAT INFORMATIONFREE SHIPPING This item has FREE UK shipping!
Timo Maas’s career has had an undeniable impact on the electronic music scene. For 30 years he has travelled the globe, and garnered an illustrious production career putting his midas touch to music for Madonna, Depeche Mode, Fatboy Slim and earning a Grammy Award nomination for his Tori Amos rework. Also known for his indie electronic label and band, My Favourite Robot, James Teej is Canadian born with over twenty years producing and DJing under his belt. Working at Timo's countryside home in Germany this unlikely pairing have refined a vision and palette of sound that is a confident yet tasteful take on contemporary electronica.
“fabric to me has always been about getting lost and locked into one continuous groove. It’s never been about stand alone “songs”. That’s what I hope to achieve with this mix - a sum of parts that together create one whole feeling of rhythm.” - Ryan Elliott
A compelling groove-oriented mix can be one of the most challenging for a DJ to realize, but with fabric 88, Ryan Elliott has done so with considerable style and panache. Deftly avoiding common pitfalls, he interlaces a variety of textures and timbres in a non-linear sequence, allowing the mix to ebb and flow without ever losing impetus throughout its 70-minute duration. Elliott takes less than 15 minutes to build up a head of steam, before Phil Moffa’s liquid groove ‘Ignition’ swirls into the majestic echo chamber that is Tallmen 785’s remix of ‘Back Door’ by Fiedel. Dubby reverb, rolling drums and muscular basslines gradually swell the mix again until The Persuader’s ‘Inre Stenen’ ushers in a contemplative section. The rhythmical mantra of Anna Caragnano & Donato Dozzy’s ‘Parola’ maintains a propulsive momentum even through a momentary beatless interlude, whilst the pairing of Robert Hood’s ‘Master Jack’ and Mike Parker’s ‘Luminescent Black’ soon provide an intense counterpoint. The yearning synths of Z.I.P.P.O’s ‘Shift’ and Jack Murphy’s ‘B1’ herald fabric 88’s conclusion, leaving the listener to contemplate just how Ryan Elliott managed to navigate such a varied terrain with such consummate ease.
One of the earliest examples of any kind of recorded fusion between rhythm heavy pop music and traditional Turkish music, Ganimian’s developments in New York City - with his sadly unrecorded turk jerk combo The Nor-Ikes (New Dawn) combo – ran almost simultaneously alongside the rising Anadolou Pop scene in Turkey, resulting in his short lived powerhouse of Kif proto-rock under the changing names of Ganim’s Asia Minors, Ganimian & His Orientals and Ganimian & His Oriental Music Orchestra. Combining a line-up of mostly unknown musicians from his local community (where he was worked as a butcher), Ganimian, in a short unison with ATCO records, was fortunate enough to accommodate jazz guitarist Al Schactman as part of his studio personnel (launching the career of this Nina Simone regular) as well as French born Armenian folk singer Onnik Dinkjian and reid player Steve Bogoshian (both from the band The House Of The Seven Uncles) as well as the esteemed Turkish raised Kanun player Ahmet Yatman. As one of the very few early American recorded authentic Middle Eastern fusion record Come With Me To The Casbah has piqued a refined interest in a new generation of progressive world music collector resulting in a distinct drought in original Ganimian pressings on the collectors’ market earning Chicks name a rising placeholder on the want lists of DJs, vinyl hounds and ethno psychedelia collectors.
This LP includes all of Ganimians recordings including the rare singles for Atco and East West which sit awkwardly next to bizarre and unique takes on popular American standards enhancing the exciting freak factor of this record which simply could not be made by today’s stifling self-aware anti-standards. Aside from rare (poorly recorded) private family tapes this album is the only chance to hear the music of this lost enigma of early world music, Eastern fusion and a missing kink in the fabric of New York pop music history captured before his short stint as an exotic Herbie Mann sideman which proceeded his migration into obscurity and his well-imparted tragic struggle with alcohol dependency depriving pop culture of a forward thinking pioneer who paved the way for the more credible exponents of the cross-continental Indo fusion enigma such as John Berberian and the later well pruned hard rock efforts of The Devils Anvil.
Right from the very first second of “The Dark Breeze”, which spreads a fluid, echoing and fickle synth, we can hear those “fuzzy noises” that Mannella loves to use. A perfect combo is given by the presence of intense drums, thorough pads and harped synths: a total head-trip that flows in the whole EP. Then, with “I know you are” a cheerful air gain the upper hand, leading it to be theperfect dance floor track.
Even if it’s just the second release, it’s pretty explicit the aim that the label has come to play in music today.
A1 – Patrice Scott “Seasons Change”
Label head, Patrice Scott opens the EP right - setting the tone with a smooth excursion into lush chord stabs and deep, low end vibrations. Vintage strings ride high, while tinkling jazz keys dance amongst the waveforms, making for yet another future classic in the Sistrum lineage.
A2 – Reggie Dokes “The Baptism”
Mr. Reggie Dokes offers up nothing less than a baptism by sound for his contribution to Genesis Tracks Vol. 2. Reggie goes deep with reverberant rhythms and crisp synth work, crafting an interstellar afro journey of the highest order.
B1 – Eric Cloutier “Gossamer”
Keeping the quality at its highest, Eric Cloutier’s entry is a deep, techy mover – designed to lock the dancefloor into a hypnotic state. Drifting strings provide the foundation for highly modulated, gritty chord stabs to lead the way through the darkest of dancefloors.
B2 – Kai Alce “Jelly”
NDATL main man, Kai Alce rounds out the EP in fine form – stripping things back to the essentials. “Jelly” is raw, bouncy goodness, simply put. The filtered down acid-esque bassline is nothing short of a call to movement for all believers in the authentic sounds of house music.
As Earl Jeffers he's really found his sound and we are stoked to have him back on board with his best EP yet. These tunes have been flaming all year in the clubs. Proper essential stuff.
Featuring hits such as ‘All I Need’, ‘Sexy Boy’ and ‘Kelly Watch The Stars’ this album is the perfect showcase to the incredible downtempo and psychedelic Zen that is Air, and with rare recordings that includes live sessions to truly encapsulate the prowess of their on stage presence.
FORMAT INFORMATION2xDeluxe LP Info: Limited / numbered 4 panel gatefold sleeve in a metallic paper slipcase containing: 2 vinyl (180gr random coloured vinyl), 2 black inner sleeve with holes, 3 CD in Wallet (the extra CD contains Air remixes for other acts – tracklisting below) and a full colour poster, 24 pages numbering + selling sheet.
FREE SHIPPING This item has FREE UK shipping!
2xLP Info: 2 x 180g vinyl gatefold sleeve + poster.
FORMAT INFORMATION12" Info: Clear vinyl pressing.
FORMAT INFORMATIONVinyl comes with CD version of the album enclosed.
CD Info: CD comes in gold-embossed slipcase.
Recorded in London, Los Angeles and Nottingham, highlights are many and include the moving ‘Love Hope And Misery’ driven by a huge chorus, the stomping ‘Bitter Salt’, the soulful ‘Never Wanna Dance’ and the defining title track.
The latter track and the synth-heavy Someone Somewhere in Summertime in particular represented a shift towards undisguised pop and it’s also worth noting that Hunter and Hunted features a solo by Jazz keyboardist Herbie Hancock, a rare distinction for any rock/pop album.
"Every band or artist with a history has an album that's their holy grail," remarked lead singer Jim Kerr. "I suppose New Gold Dream was ours. It was a special time because we were really beginning to break through with that record, both commercially and critically. The people that liked that record connected with it in a special way. There was a depth to it: it created its own mythology. It stood out.”
The artwork caused quite stir due to its religious imagery, so much so that on the version released in Yugoslavia, the cross was removed. Jim Kerr reflected "[During the writing of the album] we often went for walks. Around Perth you find a lot of Celtic crosses, crosses that seem to spring up from the earth. We thought it was a very powerful symbol. They were in the ground which produced the water we drank, so why not?"
STAFF COMMENTSAndy says: Do not be put off by what this band became. This is a stunningly beautiful album. An absolute classic. Combining their electronic roots with a fuller, more organic feel, but crucially writing the most majestic songs of their whole career, this album still has the poise, subtlety and mystery intact (and is still out of left-field), but with songs as catchy as Promised You A Miracle and Glittering Prize they wouldn't stay underground for long. Brilliant.
Barcelona’s Seward are extraordinary. A four-piece that don’t go in for typical song structures that captivate one minute with a heart-tugging melody, before collapsing into thrilling noise the next. They ascend from delicate acoustic beauty to dissonant chaos, from atmospheric samples to scrunching wreckage.
Second Two: Chapter Home for Naim Records (home of the Mercury Prize-nominated Eska) is a stunning work of art. A record to get lost in. These are unconventional, original songs that ditch the tired verse-chorus-verse structure but trigger the same addiction cravings that the best pop music can.
It’s the follow-up and third part of a trilogy of albums that began with 2011’s Home: Chapter One and continued with 2014’s Home Was a Chapter Twenty Six. Mixed and mastered by regular collaborator Matt Pence (Midlake, American Music Club, John Grant) at his Denton, Texas studio The Echo Lab, it’s their definitive album. Second Two: Chapter Home encompasses so much and demands to be heard in its entirety.
They call their music ‘free song’. It’s a new appellation for a new musical age, a determination to avoid using those same genre names that haven’t changed for decades.
They’re a band borne from live performance. They thrive upon it. Their recordings always aim to capture the feeling of playing live. You can hear the room, the air. The sense of space; the tension and electricity.
Seward have picked up plaudits from music sites Line of Best Fit and A New Band A Day, performed for John Kennedy’s XFM show and picked up a growing host of fans from stellar live performances at SXSW in the States, the UK’s Great Escape festival, Vive Latino in Mexico, Exit in Serbia, Sziget in Hungary, Pohoda in Slovakia and Spain’s Primavera Sound. Seward prefer to let their music breathe. They haven’t opted for the usual online portals to get their music out there. To hear their album, you need to buy it.
Seward are your new favorite group. And they’re about to begin their most momentous chapter yet. Time to turn the page and make your own discovery.
FORMAT INFORMATIONColoured LP Info: Gatefold vinyl version on 180g white vinyl.
Includes MP3 Download Code.
The group began in a series of sessions in the living room of Water’s Chinatown apartment, where Waters and Burke would record increasingly elaborate demos built from Burke’s phone full of songs. They transitioned to a full band line up in late 2013, adding bassist Zach Bines and drummer Spencer Cole, and quickly set to work recording their debut EP which was released on Buzz Records in the summer of 2014. The EP made an immediate splash, garnering praise from Noisey, Rookie and Spin, and earning Weaves a “band to watch” tag from Rolling Stone. Glowing write ups of the band’s performances at that year’s CMJ from The Guardian and NME followed, cementing Weaves’ reputation as one of the year's most exciting new bands.
Word continued to spread in 2015 with the release of their single “Tick,” ahead of the band’s first European tour, which included dates with Hinds, Dan Deacon and Pissed Jeans, and appearances at Glastonbury and Iceland Airwaves. With their already sterling live show only sharpened by their time on the road, the band returned to CMJ in October and emerged as one of the hottest acts of the festival, earning "best of the festival" write ups from NPR and The New York Times among others, and further building the anticipation for their forthcoming full length.
Weaves have been working on their debut LP for almost as long as they have been a band, tracking with Leon Taheny (Dilly Dally, Owen Pallett, Austra) in sessions that span most of the last two years. Mixed by Alex Newport (Bloc Party, Melvins, At The Drive In) and mastered by John Greenham (Death Grips, Sky Ferreira), the result is an album that traverses the band’s history, exploring every facet of their always adventurous approach to pop music and leaving no idea unexplored. Filled beyond bursting with hooks and possibilities, it’s the sound of a band propelled forward by the thrill of discovering the limits of their sound and gleefully pushing past them. “We’re always trying to push ourselves,” says Waters, “sometimes it feels like bands aren’t necessary, like they’re not the ones pushing music forward, so I think we’re trying to hopefully prove that bands aren’t boring. If we are going to be a band and if we are going to do this guitar, bass and drums thing then we might as well see how much we can fuck it up.”
FORMAT INFORMATIONColoured LP Info: Neon Pink LP with download code.
The harsh reality of frontman Josh Hageman’s day-today existence working on the periphery of the medical field played a direct role in the overall theme of the album. Those fatalistic views and medical themes are on full display on ‘Wheelchair’, where a punk pulse underscores Hageman’s harrowing description of a life lived in chronic pain with drugs serving as the only escape.
The album continues on to ‘Hospital Room’, where wiry guitar leads and ominous chords provide the soundtrack to a scene of misery and tragedy within the sanitized walls of Western medicine.
Elsewhere, the themes of addiction and exposure take on more universal themes, such as on the culturegorging lament of ‘Binge Everything’ or the panopticon-paranoia of ‘Public Act’.
FORMAT INFORMATIONColoured LP Info: Available to independent retailers as an exclusive clear
vinyl LP edition.
Includes MP3 Download Code.
As with ‘Year 1’, this compilation, produced by label founder Dan Carey in his South London studio, showcases the labels versatility perfectly, as well as an increased commitment to work with the best in up and coming talent across all genres and styles from the over and underground.
The soundtrack has picked up nearly as many accolades as the film itself. ‘Baskin’ first screened at the Toronto Film Festival on September 11th 2015 and is being compared to ‘A Nightmare On Elm Street’ for its theme of childhood and dreams, plus its lavish use of blood and gore.
The soundtrack can be compared to Daft Punk’s ‘Tron’, Cliff Martinez’s ‘Drive’ or Clint Mansell’s ‘Requiem For A Dream’ but with a unique Turkish flavour.
‘Baskin’ is presented as a double LP pressed on heavyweight ‘blood red’ vinyl with a digital download card and featuring exclusive artwork created by US artist John Bergin.
A deeply personal account of Juul’s life over a tumultuous three-year period, ‘This Moment’ was recorded mainly in Copenhagen and finished in Los Angeles with producer and fellow Dane Peter Stengaard. An uplifting and redemptive work, the immersive soundscapes of the songs reach heights Juul’s work under Indians had hinted at.
As Indians, Juul released the acclaimed album ‘Somewhere Else’, scored the stunning song ‘Oblivion’ for the major motion picture ‘The Fault In Our Stars’, composed works for the Copenhagen Philharmonic and was nominated in four categories for the prestigious Danish music awards Gaffa Prisen. He also toured the world with the likes of Beirut, Daughter, Julia Holter and Perfume Genius.
FORMAT INFORMATIONColoured LP Info: LP is pressed on clear vinyl and includes digital
As well as being a statement of intent, ‘No Grace’ was that opportunity to go big or go home. So PAWS went big. After discovering a mutual appreciation between themselves and bassist / producer Mark Hoppus (Blink 182 / +44), PAWS enlisted his support to help push these new songs to their wildest heights and pack the heftiest punch they could muster. From the eponymous opener it’s clear the two are a perfect fit. Recorded last summer between Chem 19 in Glasgow and a private studio in Somerset, it’s a partnership that strikes hard through the core of the record, from the anthemic gut-punch of ‘N/A’ to the thrashed out madness of ‘Salt Lake’ and ‘Complete Contempt’, PAWS’ third album distills the best of what came before it and builds on it with strength and confidence.
The band have previously shared stages with Wavves, We Are Scientists, The Cribs, DIIV, Japandroids, Ex Hex, The Wytches and Speedy Ortiz.
Ask Mitski about happiness and she’ll warn you: “Happiness fucks you.” It’s a lesson that’s been writ large into the New Yorker’s gritty, outsider-indie for years but never so powerfully as on her newest album, ‘Puberty 2’. “Happiness is up, sadness is down, but one’s almost more destructive than the other,” she says. “When you realize you can’t have one without the other, it’s possible to spend periods of happiness just waiting for that other wave.” On ‘Puberty 2’ that tension is palpable: a both beautiful and brutal romantic hinterland, in which one of America’s new voices hits a brave new stride.
“No one else can make shattering sound like such an act of strength.” - Stereogum
“Her songs build a quiet fury with lyrics that pulverize the heart while still making a break-up seem almost beautiful.” - Paste Magazine
FORMAT INFORMATIONColoured LP Info: Exclusive white vinyl format available to independent
Constructed from those piano recordings with additional percussion from another temporary desert dweller, Seb Rochford (Polar Bear) and occasional orchestration, ‘Blood Moon’ is a stunning fusion of freeform instrumental explorations and properly pure songs.
FORMAT INFORMATIONIncludes MP3 Download Code.
31 NEW ITEMS
Karlheinz StockhausenStudie I & II, Gesang Der Jünglinge, Zyklus Für Zwei Schlagzeugern - 180g Vinyl Edition
Karlheinz StockhausenBeton-Studie / Zeitmass Für Fünf Holzbläser / Klavierstuck XI - 180g Vinyl Edition
193 NEW ITEMS
CassiusAction (Feat. Cat Power, Mike D & Pharell Williams) - Inc. Johnny Aux / Jesse Rose & Junior Sanchez Remixes
Todd Terje & The OlsensThe Big Cover Up - Inc. Prins Thomas / Dan Tyler / Oyvind Morken / Daniel Maloso Remixes
Tue 31st - 7:16
Tue 31st - 7:01
Tue 31st - 6:46
Tue 31st - 6:31