MAGIC MIX

ALL GENRES

LATEST PRESELLS

Albion, the “continental Disco” King, is back on Macadam Mambo with a new EP, reinforcing, with those 4 killer nuggets, that he is definitely the boss to put out weirdo obscurities. And giving us again, the feeling that the level of the tracks is getting higher record after record. A new masterpiece on Macadam Mambo!!

Lion And The Lamb

Lion And The Lamb

    Lion & the Lamb is actually two guys, Egil Bjørnholdt and Finn Dag Steiro from Norway. They took the music from California to Norway through inspiration from Crosby, Stills & Nash, James Taylor and America. This is the re-release of the rare soft rock masterpiece by Egil Bjørnholdt and Finn Dag Steiro. It was originally released in ’78 in small quantities only in Norway. They brought with them the best Norwegian session musicians to create a unique sound; blending a touch of jazz, rock and soul with beautiful harmonies. Some of the tracks were even mixed in the legendary Burbank studios in order to get the proper Cali 70’s soft rock sound. Unfortunately, after the release, it was soon forgotten and the group split due to issues with the marketing and money. Preservation records has gotten access to extensive material and the original masters for an exclusive re-release. Finally, Lion and The Lamb will get the attention it deserves.

    FORMAT INFORMATION

    LP Info: 180g sticker sealed LP with full colour sleeve and printed insert. Limited to 500 copies worldwide

    Various Artists

    Selvagem Edits

      Hello Sailor! The NYC label return for their second release, inviting São Paulo's edit masters Selvagem to bring some of their tropical genius to the table! The first release sold out completely in about fifteen seconds so a pre-order is essential here!

      Air

      The Virgin Suicides - 15th Anniversary Super Deluxe Vinyl Boxset

        Super Deluxe Boxset content as follows:

        LP – original album on solid red 180g vinyl

        Picture disc LP (only available in the box) containing 10 unreleased live tracks

        Playground Love EP on solid red 180g vinyl

        2CD - original album + bonus CD containing 10 unreleased live tracks

        2 exclusive posters include an unpublished interview with the band from January 2015

        VIP Pass (Air post show party at the Hollywood American Legion, January 2000 laminate replica)

        Download card: (The Virgin Suicides (Original Motion Picture Score+ Bonus) + The Virgin Suicides (Live) + Playground Love EP)

        Released in 2000, The Virgin Suicides was director Sofia Coppola’s first feature film, Kirsten Dunst’s first major screen role, and Air’s first foray into film scoring. Fifteen years after its initial release, Warner/Parlophone will release THE VIRGIN SUICIDES – 15TH ANNIVERSARY DELUXE EDITION, featuring a remastered version of the original soundtrack, a pair of studio outtakes plus an unreleased live performance recorded at the Los Angeles American Legion Hall on January 22, 2000, and several tracks from KCRW’s Morning Becomes Eclectic radio show with Nic Harcourt, also recorded in January 2000.

        The Versailles duo Jean-Benoît Dunckel and Nicolas Godin started to record new music by watching VHS tapes of the film during the autumn of 1998. Eerie, synthetic and tempestuous, The Virgin Suicides soundtrack’s first single “Playground Love” featured Gordon Tracks (an alias of Thomas Mars, the lead singer for the band Phoenix). The recording process was finished when drummer and soundtrack supervisor Brian Retzell called the duo from Los Angeles. “The microphones and the amps were packed and we needed a song for the ending credits! It happened on a Saturday afternoon. We called Thomas Mars from Phoenix. He wrote the lyrics, played some drums and sang on ‘Playground Love,’” remembers Dunckel. The Virgin Suicides premiere took place at the Cannes Film Festival in May 1999. Much to the duo’s surprise, Air’s soundtrack had been heavily edited and 80% of the recorded tracks had been abandoned in the final cut of the film. Godin comments, “You can do everything with editing. That was the first big lesson. The film turned out lighter and more evanescent. I felt that we didn’t get what Sofia wanted.” Despite these regrets, The Virgin Suicides soon became a cult soundtrack and, most of all, one of the most celebrated albums in the electronic performers’ fascinating discography.

        Air

        The Virgin Suicides - 15th Anniversary Deluxe 2xCD Edition

          Released in 2000, The Virgin Suicides was director Sofia Coppola’s first feature film, Kirsten Dunst’s first major screen role, and Air’s first foray into film scoring. Fifteen years after its initial release, Warner/Parlophone will release THE VIRGIN SUICIDES – 15TH ANNIVERSARY DELUXE EDITION, featuring a remastered version of the original soundtrack, a pair of studio outtakes plus an unreleased live performance recorded at the Los Angeles American Legion Hall on January 22, 2000, and several tracks from KCRW’s Morning Becomes Eclectic radio show with Nic Harcourt, also recorded in January 2000. 

          The Versailles duo Jean-Benoît Dunckel and Nicolas Godin started to record new music by watching VHS tapes of the film during the autumn of 1998. Eerie, synthetic and tempestuous, The Virgin Suicides soundtrack’s first single “Playground Love” featured Gordon Tracks (an alias of Thomas Mars, the lead singer for the band Phoenix). The recording process was finished when drummer and soundtrack supervisor Brian Retzell called the duo from Los Angeles. “The microphones and the amps were packed and we needed a song for the ending credits! It happened on a Saturday afternoon. We called Thomas Mars from Phoenix. He wrote the lyrics, played some drums and sang on ‘Playground Love,’” remembers Dunckel. The Virgin Suicides premiere took place at the Cannes Film Festival in May 1999. Much to the duo’s surprise, Air’s soundtrack had been heavily edited and 80% of the recorded tracks had been abandoned in the final cut of the film. Godin comments, “You can do everything with editing. That was the first big lesson. The film turned out lighter and more evanescent. I felt that we didn’t get what Sofia wanted.” Despite these regrets, The Virgin Suicides soon became a cult soundtrack and, most of all, one of the most celebrated albums in the electronic performers’ fascinating discography.

          FORMAT INFORMATION

          2xLtd CD Info: 2CD - original album + bonus CD containing 10 unreleased live tracks

          Air

          The Virgin Suicides - 15th Anniversary 180g Vinyl Edition

            The soundtrack to the Sofia Coppola directed film of the same name, but basically a proper Air album in its own right, full of lush downbeat instrumentals. Includes the ace single "Playground Love".

            The Versailles duo Jean-Benoît Dunckel and Nicolas Godin started to record new music by watching VHS tapes of the film during the autumn of 1998. Eerie, synthetic and tempestuous, The Virgin Suicides soundtrack’s first single “Playground Love” featured Gordon Tracks (an alias of Thomas Mars, the lead singer for the band Phoenix). The recording process was finished when drummer and soundtrack supervisor Brian Retzell called the duo from Los Angeles. “The microphones and the amps were packed and we needed a song for the ending credits! It happened on a Saturday afternoon. We called Thomas Mars from Phoenix. He wrote the lyrics, played some drums and sang on ‘Playground Love,’” remembers Dunckel. The Virgin Suicides premiere took place at the Cannes Film Festival in May 1999. Much to the duo’s surprise, Air’s soundtrack had been heavily edited and 80% of the recorded tracks had been abandoned in the final cut of the film. Godin comments, “You can do everything with editing. That was the first big lesson. The film turned out lighter and more evanescent. I felt that we didn’t get what Sofia wanted.” Despite these regrets, The Virgin Suicides soon became a cult soundtrack and, most of all, one of the most celebrated albums in the electronic performers’ fascinating discography.

            Air

            Pocket Symphony - 180g White Vinyl Edition

              "Pocket Symphony" is made up of 12 songs that were recorded over the last 18 months and produced by long time partner Nigel Godrich, and features vocals by Dunckel and Godin themselves and also from Jarvis Cocker and Divine Comedy's Neil Hannon. While conventional instruments continue to play a great role, Air have fashioned several tracks on the album with the addition of Far Eastern classical instruments which Godin learnt to play from an Okinawa master - namely the Koto and the Shamisen. Working their way throughout the album as musical ricochets, these unearthly sounds of an alien nature add another motif to Air's sonic architecture.

              To coincide with the deluxe reissue of “The Virgin Suicides”, Warner / Parlophone will also release remastered versions of Air’s five album discography on 180-gram vinyl with original artwork – their first EP 'Premiers Symptômes' (1997), 'Moon Safari' (1998), '10,000 Hz Legend' (2001), 'Talkie Walkie' (2004), and 'Pocket Symphony' (2007). 

              'Pocket Symphony' is a double LP pressed on white vinyl. 

              FORMAT INFORMATION

              2xLP Info: Double vinyl in a gatefold sleeve.

              2xLtd LP Info: Limited white vinyl pressing.

              Air

              Talkie Walkie

                Air are back to making pop music. Here's 10 gorgeous, perfectly executed, lovingly produced songs that make a woozilly indulgent whole. It's 43 minutes- just right for a single listen - and crammed full of the most charming, comforting, blissful, seductive dream pop. They're playful again too. One minute cute and silly (one song has the whole tune whistled, another's called "Surfing On A Rocket" though J.B. sings "Wocket" in his sweetest franglais- and it's lovely!) the next all baroque with electronic 'harpsichords' and churchbell pianos (" Mike Mills"). The proggy portent of "10,000 Hertz" has been reduced to backdrop status, whilst the songs take centre stage in all their melodic glory. There's so many subtle delights in the mix and they still have that naive fascination with making retro electronics sound futuristic. It's nostalgic for the 70s yet intent on building a dream world for us right now. Second cloud on the right. All aboard!

                To coincide with the deluxe reissue of “The Virgin Suicides”, Warner / Parlophone will also release remastered versions of Air’s five album discography on 180-gram vinyl with original artwork – their first EP 'Premiers Symptômes' (1997), 'Moon Safari' (1998), '10,000 Hz Legend' (2001), 'Talkie Walkie' (2004), and 'Pocket Symphony' (2007).


                Air

                10,000Hz Legend - 180g Vinyl Edition

                  Less easy, more sleazy listening than "Moon Safari", this "Virgin Suicides" follow up wraps you in layer upon layer of warm electronic production, sounding like a fusion of early '70s Pink Floyd, mellow ELO and warmer Kraftwerk. Guests include Beck and Buffalo Daughter. We like this a lot.

                  To coincide with the deluxe reissue of “The Virgin Suicides”, Warner / Parlophone will also release remastered versions of Air’s five album discography on 180-gram vinyl with original artwork – their first EP 'Premiers Symptômes' (1997), 'Moon Safari' (1998), '10,000 Hz Legend' (2001), 'Talkie Walkie' (2004), and 'Pocket Symphony' (2007).

                  Air

                  Moon Safari - 180g Vinyl Edition

                  Air's Nicolas Godin and Jean Benoit Dunckel were a couple of cerebral keyboard geeks from Versailles, France, where they obviously don't get out of the studio much. Their space-pop debut, "Moon Safari", was a truly obsessive hommage to easy listening, a sublime Eurocheese omelet. They built their music out of classic 60s French schlock: bongos, castanets, vintage electric piano, dream-weaver synths and shag-carpet organ straight from the soundtracks of movies like Un Homme et Une Femme. The music is full of hidden jokes, as when "Remember" replicates the distorted drum intro from the Beach Boys hit "Do It Again"; Air's Brian Wilson allusion isn't some "Smile"-era obscurity - it's a beach-party blowout. Loads of American bands tried to emulate the fab tackiness of 1960s French pop. But Moon Safari proves that the French really do it better themselves.

                  To coincide with the deluxe reissue of “The Virgin Suicides”, Warner / Parlophone will also release remastered versions of Air’s five album discography on 180-gram vinyl with original artwork – their first EP 'Premiers Symptômes' (1997), 'Moon Safari' (1998), '10,000 Hz Legend' (2001), 'Talkie Walkie' (2004), and 'Pocket Symphony' (2007). 



                  STAFF COMMENTS

                  Andy says: Beautiful pop album all warm and fuzzy with its groovy, retro 70's sound.

                  Air

                  Premiers Symptomes - 180g Vinyl Edition

                    "Premiers Symptomes" rounds up all the awesome early mid - late 90s singles from the Gallic duo, including "Modular Mix", "Casanova 70" and their finest moment "Le Soleil Est Pres De Moi". Seven tracks in all.

                    To coincide with the deluxe reissue of “The Virgin Suicides”, Warner / Parlophone will also release remastered versions of Air’s five album discography on 180-gram vinyl with original artwork – their first EP 'Premiers Symptômes' (1997), 'Moon Safari' (1998), '10,000 Hz Legend' (2001), 'Talkie Walkie' (2004), and 'Pocket Symphony' (2007). The packaging of 'Premiers Symptômes' replicates the original die-cut sleeve. 

                    LGK

                    I Like It / Please

                    Two pieces of snarling filter house from NYC heavyweights Robbie Busch aka DJ McBoing Boing - record dealer to the stars, digger extraordinaire, & DJ of sweaty underground parties around the world, and Josh Dunn - one part of the sorely missed 100 limousines, and one third of the holy trinity that put on New York's legendary Foreal People party.

                    For two guys so deeply immersed in the rich history of urban dance music, from the Blues & Gospel through deep Disco, Soul, Chicago and Detroit sounds, you could be forgiven for expecting to hear a rich homage to the sounds of the past.
                    Instead we get the future ghost of Ron Hardy playing the record backwards on a janky turntable with a quarter for a counterweight and fucking shit up in every conceivable way.

                    These two are chiefly concerned with moving things forward, having some fun, and taking no prisoners along the way.

                    Sunflower Bean

                    I Hear Voices / The Stalker

                      ‘Here's the skinny: Sunflower Bean made that leap this past weekend. Their live shows, which will please anyone with a passing interest in the way Tame Impala and Pond have been making rock music ‘feel’ exciting again, is all thriller. In the cavernous Corn Exchange, they jolt around like drunk kids at their first house party (it might have something to do with them all being barely 20), while a second show out of town is more nihilistic. Up close, their warped, erratic songs truly come alive, a mesmerising concoction that sucks in 
‘Meddle’-era Pink Floyd, stabs of ’80s alt-pop like
 The Cure, Television’s brain-melting guitar intricacy and The Brian Jonestown Massacre’s cool.’

                      Various Artists

                      Super Weird Substance Box Set 01

                        Tying together the first four releases on Greg Wilson’s new label, the Super Weird Substance Box Set 01 features the array of talent currently surrounding the label; with Kermit Leveridge’s past Black Grape notoriety, The Reverend Cleve Freckleton’s gruff gravitas and the vocal forces of nature The Reynolds.

                        Acting as producer, Greg Wilson brought his son Ché in on guitar for a couple of tracks, whilst getting Peza to work on the programming and Derek Kaye to help with the mastering. Another four releases are expected later in the summer and the single EPs will fit in the box perfectly to complete the set.


                        FORMAT INFORMATION

                        12" Box Set Info: 4x12" box set

                        Greg Wilson Feat. The Reynolds

                        Summer Came My Way - Inc. Walter Ego Remix

                          Having been one of his biggest festival tunes in the summer of 2014, the Luxxury mix of Greg Wilson’s Summer Came My Way - which originally surfaced on last year’s Schooled In The Classics 12” - was put on the back burner throughout the winter in readiness for a full 2015 release. Juxtaposed by Walter Ego’s equally sublime take on the track, the release marks the first of eight records to be issued over the summer months.

                          Sometimes composition is a long and arduous process, other times a song arrives fully formed. The latter was the case for Greg when he imagined Summer Came My Way as a vehicle for hitherto unknown vocal forces of nature, The Reynolds - twins Katherine and the song’s lead singer Carmel - who, by beautiful serendipity happened to live within a mile of Greg’s Merseyside home.

                          Bursting out of LA with a lavish twelve-part re-edit series last year, Luxxury’s brand of hazy, slo-mo reworks - a West Coast Balaeric fusion - has catapulted him onto the world stage. Opening his mammoth eight-hour Berghain set in 2013 with Luxxury’s Hotel California rework, Greg helped bring his Los Angeles vibes to wider attention, bolstered by his subsequent support of other reworks; Night Fever and Riders On The Storm.

                          A victim of his own success,Hotel Californiagained Luxxury a little too much notoriety and, after a Wall Street Journal interview began circulating, Warner came down on him like a ton of bricks on finding out he’d used The Eagles’ multitracks. All was resolved however and he’s currently recording his forthcoming album, with great things expected for 2015 and beyond. The Luxxury approach perfectly fitted Greg’s vision of the song and the result is a glorious nine-minute epic, just in time for the summer.

                          With releases on the legendary Ninja Tune, San Francisco’s murky Symbols and Kerri Chandler’s jackin’ MadTech, Walter Ego’s appeal stretches across the board; from forward thinking house to rough and ready grime. Having got to know the Sheffield musician during recent years, Greg was impressed by what he heard, especially an as yet unreleased project he was working on in collaboration with London singer, Obenewa. Inviting him to remix the track, Walter returned an ethereal yet mechanical take on Summer Came My Way, his delicately decaying synths and cold hydraulic rhythm giving the track a brooding quality and placing The Reynolds in an entirely new context.

                          SW001 contains Walter Ego’s remix of Summer Came My Way by Greg Wilson featuring the Reynolds, as well as a radio and full length version of Luxxury’s remix. It’s available digitally or on vinyl – individually on 12” or as part of a box set (vinyl limited to 500 copies in total).


                          Ash

                          Kablammo!

                            “It’s Ash at their frenetic best” says drummer Rick McMurray. “A wall of guitars and a shot of adrenaline with a sweet melodic chaser.” A clear statement of intent, ‘Cocoon’ picked up immediate radio support from BBC 6 Music and XFM and served as a bold introduction to their forthcoming album. It’s been eight years since ‘Twilight Of The Innocents’, the album Ash vowed would be their last. The ensuing years saw the band embark on the ambitious A-Z singles series and its accompanying A-Z tour taking them from Aldershot to Zennor. The decision to put the album format to one side allowed Ash to explore a different dynamic to their sound across 26 tracks released over a year.

                            “A-Z was a great exercise in creativity and we stand by our choice to do it but we still love the album format. Stepping away from it for eight years has given us a new found love for the format and it's been really exciting to get back to thinking about music in that way again”.

                            On ‘Kablammo!’, they set out to capture the live essence of Ash, the closest sonic predecessor being 2004's 'Meltdown', they say, with the songwriting of the 'Free All Angels' singles. “We've stripped away the electronic overtones of the A-Z series and made a streamlined blazing guitar record.” “On every song you can hear what makes this band tick, our beating (atomic) heart. It's a visceral expression of what has driven us since 1992. Passion, melody and Ash.” The title itself – ‘Kablammo!’ - sums up the excitement Ash felt “to be in a room together making new music. You can hear that on every song.” And this renewed enthusiasm for playing together is writ large over the album’s 12 tracks, the ‘in your face’ quality” which has made Ash one of the UK’s best -loved bands.

                            ‘Free’ and ‘Moondust’ provide two of the album’s most anthemic moments.
                            “In the pool of half remembered dreams,” Tim Wheeler laments on ‘Free’. “How long have I been submerged in sleep?”, his soaring falsetto echoing above an impatient chug of guitars, a cry to cutting loose replete with an achingly emotive guitar solo.

                            ‘Moondust’ captivates hearts with sweet pattering keys and the mournful grace of a string section, building to a mighty crescendo, Wheeler’s star -gazing broken heart lifted to the skies, “When you come home, will you stay for good?”

                            It’s not all sky-high calls and midnight falls, ‘Shutdown’ takes us back to the trio’s roots. Its scrappy, teenage punk spirit sprinting hand in hand with a sweet ‘90s nostalgia and a three-line chorus destined to raise your pint into the air. Elsewhere, ‘Dispatch’ rides a college rock wave. Wah-oos and guitar dips that explode into a head-crashing power-chord shred, all the while bumping up to hooks so big we’re singing along before we know all the words.

                            “We've finally bridged the gap between our live show and the recording” the band say. “Kablammo!’ is the proof.”

                            FORMAT INFORMATION

                            2xLtd CD Info: Limited 2 CD edition includes 4 bonus tracks.

                            Culture

                            Culture On The Front Line

                              Shortly after being formed by Joseph Hill Kenneth Paley and Albert Walker in the mid-seventies, Culture joined the roster of Kingston-based producer, Joe Gibbs for whom they recorded a stream of Roots classics, including the 1977 breakthrough hit, ‘Two Sevens Clash’. The following year, the group signed with Sonia Pottinger, who between 1978 and 1979 provided Richard Branson’s recently launched Virgin Front Line imprint with four of sublime long players: ‘Harder Than The Rest’, ‘Cumbolo’, ‘International Herb’ and ‘Black Rose’. Widely acclaimed upon their release, the first three of these albums soon became regarded as Roots classics. Now, after over 35 years, this long-lost masterpiece finally sees its long-overdue release on this essential CD collection, which also features the legendary trio’s three other Front Line LPs, so highlighting Culture’s complete recorded works for Virgin’s esteemed label.

                              Herbert

                              The Shakes

                                “The Shakes” is Matthew Herbert’s first album under the name HERBERT since 2006’s dark orchestral disco fantasy ‘Scale’ (K7!). The album deals with intensely personal issues such as raising young children against a backdrop of an increasingly unstable world and, amongst other things, utilizes the sound of used bullets and shells from eBay as part of its soundscape. Herbert himself suggests that the record can be seen as a treatise on how “music helps to motivate, provide respite and divert us from the challenges of the everyday” and that it is “electronic music for the soul.”

                                In many ways, The Shakes is a sequel to Herbert’s much-lauded Bodily Functions album – a record that regularly features in Best Of The ‘90s’ album lists – and is the latest in a series of albums that stretches back nearly twenty years to his minimalist house classic 100lbs. It follows a vinyl-heavy trio of underground releases last year (part 6,7,8) and is Herbert’s attempt to “seduce the listener back to the dance-floor”. Herbert comments: “When I started writing music, I did it because I could, because there was a chance to, because I liked it. As I get older these reasons become less compelling. At a time when inequality is rising to unprecedented extremes and when the system we have created is designed to destroy rather than nurture, music’s propensity to noodle inconclusively can seem unhelpful at best. Who needs diversion when action is required? However, music can’t only and always be a call to arms, it can also tenderize and engulf when comfort is needed. This album then is an attempt to find a middle ground between those two positions.”

                                Musicians featured on The Shakes include Dave Okumu (The Invisible, Jessie Ware) on guitar, Sam Beste (Hejira, Amy Winehouse) on keyboards, organ, saxophonist Ben Castle (Quincy Jones, Radiohead), trombonist Alistair White (Van Morrison, Blur) and Chris Storr (Beyonce, James Brown) on trumpet.

                                Vocalists on the album include Rahel Debebe-Dessalegne (Hejira, Nitin Sawhney) – who sings on Middle, Smart, Ones, Know, Silence and Warm – and Ade Omotayo (Kindness, Amy Winehouse) – who sings on Battle, Strong, Stop, Bed, Safety and Peak – and notable highlights include Herbert’s Grandfather’s piano and a piano from Wormwood Scrubs on Smart, the sounds of UK protest marches (on Strong) and the sound of used bullets and shells from eBay on Safety. Most notable of all however is Father Wills, the vast church organ of St Jude’s church in Hampstead that provides the huge depth and scale on much of the album. Who’d have thought that the church organ and techno went so well together?

                                Yellow Magic Orchestra

                                Solid State Survivor - 180g Vinyl Edition

                                  The trio hit their stride with second album Solid State Survivor, a brisk and confident set of synth-disco-pop that continues along the line drawn five years before by Kraftwerk. Fun-loving and breezy where Kraftwerk had been ponderous and statuesque, the album sets out YMO's template for electronic pop with less minimalism and a more varying use of synthesizer lines. 

                                  Terry Callier

                                  What Color Is Love - 180g Vinyl Edition

                                    Terry Callier's What Color Is Love (1973) is an essential Soul Jazz album that should belong in anyone's record collection. This record was produced by Charles Stepney, whose work with Cadet / Chess records, Rotary Connection and Earth, Wind & Fire earned him popular acclaim. Filled with Funk, Rock, Folk, Jazz, and even Classical influences, vocalist Callier can be heard on this album to the most intriguing heights.

                                    "Dancing Girl" opens the album with Stepney's majestic orchestration. Songs like "What Color Is Love" and "Ho Tsing Mee", an elegant antiwar prayer of confusion, somehow avoid clichés or take them to another level.

                                    Callier's passionate voice captures the sweeping drama of the human condition. A lost romantic amid "concrete frond yards," this album is a must-have for any music connoisseur.

                                    Ken Camden

                                    Dream Memory

                                      Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences.

                                      The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album.

                                      The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole. 

                                      Vashti Bunyan

                                      Some Things Just Stick In Your Mind - Singles And Demos 1964 - 1967

                                        Originally slated for release on the Spinney label after they rescued the ‘..Diamond Day’ album, ‘Some Things Just Stick In Your Mind – Singles and demos 1964 - 1967’ will now be re-issued by Branch Music.

                                        Following the amazing success story of Vashti Bunyan’s re-emergence as an artist after an exile of over 30 years, we are proud and excited to re-issue ‘Some Things Just Stick In Your Mind’, a comprehensive compilation of early recordings dating from the period prior to Vashti’s classic ‘Just another Diamond Day’ album which was originally released1970.

                                        A complete collection of Vashti’s existing early recordings, the album is divided across two discs and features 25 tracks - mostly rescued from a number of old acetates and quarter-inch tapes Vashti’s brother John had found in his attic a few years ago.

                                        The first disc gathers together the early singles (two of which were unreleased) and a set of taped demos recorded between 1965-67. Discovered by Rolling Stones manager/guru Andrew Loog Oldham, who gave her a Jagger/Richards song, (‘Some Things…’) Vashti was put in the studio to record the song accompanied by a full orchestra. The B side was her own ‘I Want To Be Alone’ and released as her debut single on the Decca label in May 1965. Despite a whirlwind of promotion, the single flopped and Vashti left to pursue more pared-down ambitions, recording ‘Train Song’/‘Love Song’ for Columbia, with just voice, guitar and cello. Again foundering with no publicity upon its release in June 1966, Vashti left again, this time returning to Andrew Oldham and the Immediate label he had just started. She recorded three more singles (‘Winter Is Blue’ / ‘Coldest Night Of The Year’ / ‘I’d Like To Walk Around In Your Mind’) between 1966 – 1967, yet each again remained frustratingly unreleased, leading to Vashti’s disenchantment with the industry and disappearance, bound for the Isle of Skye and a colourful if obscure existence in which she would not pick up a guitar again for over 30 years.

                                        Deliberately separated off from this first disc the second disc comprises the entire, unaltered contents of a long-forgotten tape discovered at the last minute before mastering, whilst Vashti was searching for one of the master reels for disc one. Featuring just Vashti’s voice and guitar, unadorned and with no overdubs, the twelve songs here were rattled out one after another with spoken introduction in one hour of time she’d borrowed the money for and booked at a studio in central London in 1964. Four of these songs were then run out to a 7” acetate (since lost/destroyed) which would serve as her demo. These were the first recordings Vashti had ever made of the songs she had written aged eighteen and nineteen. Considering they sat gathering dust in a shed and then in an attic for nearly forty years, the tapes are amazingly well preserved, and after baking reveal a stunning set of raw, pure, intimate recordings. At times it almost feels like you’re in the room with her; that these are songs sung for your ears alone.


                                        Michael Head And The Strands

                                        The Olde World

                                          New album with unreleased tracks and remixes from the sessions of classic album 'The Magical World of The Strands', produced by Oasis producer Mark Coyle.

                                          After a couple of demos for the French promoter who paired him with his childhood hero Love’s Arthur Lee in 1992, Pale Fountains and Shack legend Michael Head entered a Liverpool recording studio the following year, with a new project in mind, ‘The Strands’. Michael teamed up with his brother and lifelong companion, John, his long-time drummer Iain Templeton and two new recruits, Michelle Brown on bass and Les Roberts on flute. The recording sessions would last two years and were only halted because Michael was offered a new major label deal. A deal, not for his current work, but for him to record as Shack again.

                                          So it came to be that Stephane Bismuth, the French promoter, was left with 100 or so minutes of a thwarted project, only a third of which had made it to the mixing studio in Sheffield in the summer of ‘95.

                                          Patch-working and weaving rough mixes and sketches – by engineer Steve Powell, made in Liverpool – with completed mixes by producer Mark Coyle who had hired an arranger and string section for sessions in Sheffield, Stephane Bismuth founded a new label Megaphone and finally released ‘The Magical World of The Strands’, in autumn of 1997.

                                          This work-in-progress comprising sketches, rough mixes and fully orchestrated tracks, garnered great critical acclaim and is still rated by many as the "rarest jewel of the 90s", Q Magazine.

                                          Still, a whole hour’s worth of recordings had not made it onto the album and, over time, the label – by now also known for its discovery of the late Karen Dalton in 1999 – along with original producer Mark Coyle, delved deeper into the tapes, found further gems, altogether different yet true to the original and entirely worthy of a second album.

                                          In 2014 Megaphone and Mark Coyle agreed to pursue and realise this album, using both unreleased songs from the sessions as well as songs from the original album which they felt deserved a new lease of life.

                                          Due to popular demand, the final two remixes which completed Akkord’s recent ‘HTH035’ package have been pressed to vinyl.

                                          Fis (Tri-Angle / Loopy) and Regis (Downwards / Sandwell District) both sourced elements from ‘Gravure’ and ‘Continuum’, tracks from the ‘HTH020’ EP. The former conveys experimental drones and left-of-centre D&B abstraction in his reworking, whilst the latter loops sludgy dub techno atmospherics in his inimitable style.

                                          Mastered by Matt Colton at Alchemy and pressed on 180g white vinyl, the ‘HTH040’ 12” is a companion piece to the ‘HTH020’ and ‘HTH035’ EPs, with a complimentary colour scheme and debossed cover with postcard insert.

                                          Amara Toure

                                          Amara Toure

                                            The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!!

                                            It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented.

                                            Producer Ibra Kassé and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar’s nightlife, further energising one of West Africa’s most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Touré, from Guinea-Conakry. Spotted by Kassé while performing with Dexter Johnson, Touré was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.

                                            Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konaté, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Touré’s talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Touré interpreted Cuban music was unparalleled, and it was this feature that encouraged Kassé to recruit the unknown artist. 

                                            Although already brimming with incredible talent, Amara Touré’s joining of Le Star Band de Dakar in 1958 began the band’s meteoric rise to the top. The band quickly became Dakar’s number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.

                                            Amara Touré’s Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Touré had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Touré’s Cuban interpretations.

                                            If Touré’s intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Touré? Nobody can say for sure ...
                                            Amara Touré’s success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Touré recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation.

                                            Hiatus Kaiyote

                                            Choose Your Weapon

                                              Wrapped in soul, blending poetry and polyrhythms, the music of Hiatus Kaiyote is in a lane all by itself. The Grammy-nominated four-piece band is set to return to stereos with their new album 'Choose Your Weapon' via Flying Buddha / Sony Music Masterworks.

                                              The 18-track, 70-minute odyssey from the Melbourne, Australia-based band takes listeners on a journey through the group's self-created ecosystem, populated with songs each embodying its own mini-cinematic sonic soundscape. The album is the hotly anticipated follow-up to their celebrated 2013 debut album Tawk Tomahawk. Look for the band to tour across the globe in 2015, including a North American Tour this spring.

                                              Fans have already gotten a taste of what's to come on Choose Your Weapon by way of their December 2014 EP, By Fire, which featured three of the album's 18 tracks. ""By Fire" is a burial song," says frontwoman Nai Palm, about the personal track. "It discusses the creative and destructive forces of fire and uses this element as a reference point to express about my father passing away in a house fire."

                                              Will Joseph Cook

                                              You Jump I Run

                                                At 17 Years Old, Will Joseph Cook possesses a vocal maturity and song crafting ability far beyond his years. This is showcased evidently throughout his debut EP ‘You Jump I Run’. In Early 2015 lead track ‘Message’ took the internet by storm, gaining Will the coveted number 1 spot on Hype Machine as well as a number 2 spot on Spotify’s Global Viral Chart.

                                                Hailing from Tunbridge Wells, Will’s influences span much further geographically and historically. His eclectic influences include everyone from Darwin Deez to Nick Cave. Both sonically and lyrically these influences are clearly absorbed as a means to establish his own style to which he has with some aplomb.

                                                Having released his first single in 2013 on influential label ‘Young and Lost Club,’ Will has since been honing his craft both live and in the studio, in turn garnering support slots for the likes of Hozier, Tom Odell and none other than the Rolling Stones! Will Joseph Cook is quickly emerging as a talent to be aware of in an ever burgeoning ‘Alternative’ British scene.


                                                David Bowie

                                                Hours... - GREEN Vinyl Edition

                                                  • 180 gram audiophile vinyl
                                                  • 20-page booklet
                                                  • Available on vinyl for the first time!

                                                  ‘Hours...’ is the 21st studio album by David Bowie, released in 1999. It was the first complete album by a major artist available to download over the Internet, preceding the physical release by two weeks.

                                                  A lot of the material that ended up on ‘Hours...’ was originally used, in alternate versions, for the video game Omikron: The Nomad Soul, which also featured two characters based on Bowie, as well as one on his wife Iman, one on ‘Hours...’ collaborator Reeves Gabrels, and one on bassist Gail Ann Dorsey.

                                                  The album cover, designed by Rex Ray with photography by Tim Bret Day and Frank Ockenfels, depicts the short-haired Bowie persona from the intensely energetic previous album Earthling [MOVLP815] exhausted, resting in the arms of a long-haired, more youthful version of Bowie. Indeed, ‘Hours...’ is a much mellower album than its predecessor, and features numerous references to earlier parts of Bowie’s musical career (particularly the early 1970s).


                                                  FORMAT INFORMATION

                                                  LP Info: 2000 numbered copies on mint green vinyl - 500 only in the UK! ***CUSTOMERS CAN ORDER EITHER BLUE OR GREEN VERSION, NOT BOTH!***

                                                  David Bowie

                                                  Hours... - BLUE Vinyl Edition

                                                    • 180 gram audiophile vinyl
                                                    • 20-page booklet
                                                    • Available on vinyl for the first time!

                                                    ‘Hours...’ is the 21st studio album by David Bowie, released in 1999. It was the first complete album by a major artist available to download over the Internet, preceding the physical release by two weeks.

                                                    A lot of the material that ended up on ‘Hours...’ was originally used, in alternate versions, for the video game Omikron: The Nomad Soul, which also featured two characters based on Bowie, as well as one on his wife Iman, one on ‘Hours...’ collaborator Reeves Gabrels, and one on bassist Gail Ann Dorsey.

                                                    The album cover, designed by Rex Ray with photography by Tim Bret Day and Frank Ockenfels, depicts the short-haired Bowie persona from the intensely energetic previous album Earthling [MOVLP815] exhausted, resting in the arms of a long-haired, more youthful version of Bowie. Indeed, ‘Hours...’ is a much mellower album than its predecessor, and features numerous references to earlier parts of Bowie’s musical career (particularly the early 1970s).

                                                    David Bowie

                                                    Hours... - BLACK Vinyl Edition

                                                      • 180 gram audiophile vinyl
                                                      • 20-page booklet
                                                      • Available on vinyl for the first time!

                                                      ‘Hours...’ is the 21st studio album by David Bowie, released in 1999. It was the first complete album by a major artist available to download over the Internet, preceding the physical release by two weeks.

                                                      A lot of the material that ended up on ‘Hours...’ was originally used, in alternate versions, for the video game Omikron: The Nomad Soul, which also featured two characters based on Bowie, as well as one on his wife Iman, one on ‘Hours...’ collaborator Reeves Gabrels, and one on bassist Gail Ann Dorsey.

                                                      The album cover, designed by Rex Ray with photography by Tim Bret Day and Frank Ockenfels, depicts the short-haired Bowie persona from the intensely energetic previous album Earthling [MOVLP815] exhausted, resting in the arms of a long-haired, more youthful version of Bowie. Indeed, ‘Hours...’ is a much mellower album than its predecessor, and features numerous references to earlier parts of Bowie’s musical career (particularly the early 1970s).


                                                      FORMAT INFORMATION

                                                      LP Info: 2000 numbered copies on blue / purple mixed vinyl - 500 only in the UK! ***CUSTOMERS CAN ORDER EITHER BLUE OR GREEN VERSION, NOT BOTH!***

                                                      Various Artists

                                                      Fabriclive 80 - Mumdance (Album Sampler 2)

                                                        On ‘FABRICLIVE 80’, Mumdance showcased his array of tastes, from ‘weightless’ experimentalism through heavyweight grime. Four specially-commissioned exclusives from the mix are now exclusively pressed to a pair of 10”s, each limited to 300 copies.

                                                        ‘Sampler 2’ sees Mancunian bass heavyweight Acre’s ‘No Signal’, whose throbs and growls generate one of the early apexes of Mumdance’s ‘FABRICLIVE 80’, whilst highly-regarded New Zealander Fis turns in ‘Branch Light’, whose sinister, murky atmospheres could be a field recording from a deserted spacecraft.

                                                        Various Artists

                                                        Fabriclive 80 - Mumdance (Album Sampler 1)

                                                          On ‘FABRICLIVE 80’, Mumdance showcased his array of tastes, from ‘weightless’ experimentalism through heavyweight grime. Four specially-commissioned exclusives from the mix are now exclusively pressed to a pair of 10”s, each limited to 300 copies.

                                                          On ‘Sampler 1’, ascendant grime MC Novelist lays down fresh vocals on his Mumdance collaboration, ‘1 Sec’, turning the XL Recordings smash into an affectionate VIP tribute to fabric. Meanwhile, Jefre Cantu-Ledesma, fresh from his remarkable ‘A Year With 13 Moons’ album, delivers a soaring, ethereal untitled cut.

                                                          Slackk

                                                          Backwards Light EP

                                                            R&S Records are proud to announce their newest signing Slackk.
                                                            A figurehead of the UK grime scene through the influential Boxed night he runs alongside Mr. Mitch, Logos and Oil Gang, Slackk aka Paul Lynch channels the instrumental music of Boxed and distils it into his own inimitable, richly melodic style.

                                                            His excellent debut album ‘Palm Tree Fire’ released on Local Action was rightly heralded as one of the finest electronic albums of last year and his R&S debut is a natural extension of that set.

                                                            The six tracks on the ‘Backwards Light’ EP range from the eastern tinged spiralling synths and punchy drum track of ‘Bells’, the jagged FM bass and crystaline arpeggios of ‘Saigon’ to the widescreen, cinematic vision of ’Sleeper Carriage’ to the mournful low slung ’Monument’ coming on like a South London Carl Craig. Title track ’Backwards Light’ closes out the release, showcasing Slackk at his most freeform and experimental,the beat and gossamer melodies seemingly held together with string, transporting you to the futuristic LA of Bladerunner. 


                                                            Mbongwana Star

                                                            From Kinshasa

                                                              Mbongwana Star is a newly formed band from Kinshasa, the capital of the Democratic Republic of Congo. Made up of a sprawling network of shanty-towns and night shelters, day-to-day life in the city is far from easy, but the band don't want sympathy. Tired of pre-conceptions around African music, Mbongwana Star (‘Mbongwana’ means ‘change’) are creating their own identity, fusing traditional Congolese rhythms with post punk and electronics inspired by life in the townships around them, "making magic out garbage” says producer and band member Doctor L (who produced Tony Allen's ‘Black Voices’ album). The result is revolutionary. So this isn’t what you would expect from a Congolese band or even an African sound. Like the weird Congo Astronaut that haunts their first video, ‘Malukayi (feat. Konono No.1)’, Mbongwana Star is a naturally occurring, smashed-together combination of things that’s both unexpected and somehow inevitable, too. It’s made from bits of the past and points toward a strange but exciting kind of future, but more importantly you can tell that it’s just loving the present.

                                                              This isn’t an African band per se. It’s a trans-global barrier-busting sound machine. 

                                                              Obas Nenor

                                                              My Way Home / A Change Got To Come

                                                                Israeli born DJ & producer known for sample driven soulful house music debuts on Mahogani. Comes with a beautiful take on GSH's 'Home Is Where The Hatred Is'. Check!!

                                                                Various Artists

                                                                Feel So Fine - The Birth Of Jamaican Ska

                                                                  The 28 tracks which comprise Feel So Fine are key recordings in the development of reggae’s precursor, ska. Throughout the ’50s and into the ’60s, the most popular style at Jamaican sound systems was the hard-hitting New Orleans ‘shuffle blues’ sound, and the holy grail for the big operators were the obscurities that could serve as ‘exclusives’ for their sets, obtained from trusted importers or from forays to the US mainland. By the close of the ’50s this practice was threatened by significant developments, most notably the demise of this style of R&B as American music evolved into what would ultimately become soul.

                                                                  Sound system operators started taking the only possible route to ensure the continued popularity of their sets: become record producers and start creating their own ‘exclusives’. So it was that men such as Arthur ‘Duke’ Reid and Clement Seymour ‘Coxson’ Dodd began producing local talent, utilising Jamaica’s first commercial studios. Initially, there was little to distinguish these early home-grown recordings from New Orleans R&B records, but by the dawn of the ’60s, Jamaican ‘shuffle blues’ or ‘boogie’ had developed its own unique sound. Debate still rages as to the first locally-produced recording clearly distinguishable in style from its American forerunner, but the Coxson Dodd-produced ‘Easy Snapping’ is the most likely candidate. Other significant works from this period include the first commercially available disc to feature a rasta drumming ensemble, namely ‘Oh Carolina’.

                                                                  As Jamaica’s burgeoning recording industry developed, a select number of local performers acquired star status, and other entrepreneurs including Simeon ‘Little Wonder’ Smith, Leslie Kong and Chris Blackwell swelled the ranks of aspiring record label owners. Soon, Jamaican music had a clear identity of its own and by 1964, ska (or, if you happened to live in Britain, ‘blue beat’) had become an international sensation. Yet within a year or so of its heyday, ska had been succeeded by rock steady, which late in ’68, gave way to reggae, the style with which Jamaican music is still most commonly associated. A lot has changed since those pioneering days. The music contained on Feel So Fine provided a major part of the solid foundation upon which the island’s recording industry has since prospered and developed. Although now over half a century old, this music continues to provide immense pleasure to thousands the world over. And few can deny that the 28 classics on Feel So Fine are undoubtedly great.


                                                                  Various Artists

                                                                  Out Of Many, One Music! Songs That Shaped Jamaica

                                                                    Jamaica’s national motto, ‘Out Of Many One People’, could well be applied to the music that shaped the island’s national sound, with modern reggae the result of many different musical forms coalescing to form a wonderfully unique ‘one’. Fantastic Voyage’s highly popular Sound System Classics series has already celebrated the American jump blues favoured at Jamaican dances in the pre-ska era, but contrary to widespread belief, US rhythm & blues and the indigenous style of mento were not the only types of music enjoyed across the island prior to the development of Shuffle Blues and Ska. In fact, the diversity of sounds that exerted a direct influence on popular Jamaican music throughout the 20th Century is astonishing, taking in gospel, blues, jazz, vocal groups, country, pop, film music and exotica, hailing from Cuba, Puerto Rico, Southern Africa and the British Isles, as well as America. Now the full extent of these influences is demonstrated by this 81-track 3CD set Out Of Many, One Music! which features original or key versions of songs that have played a significant role in shaping the development of Jamaican music.

                                                                    But of course the small West Indian island has not just taken from others musically. Its pioneering use of talk-over DJs and stripped down ‘version’ rhythm tracks has been key to the development of the now globally dominant music form, hip hop. Over the years, the Jamaican music-loving public has demonstrated a keen ear for sweet and sentimental music and that factor is far more important than the musical genus to which any given recording belongs. What becomes apparent from the music featured on this set is the Jamaican talent for reinvention. Rather than simply attempt to copy ‘foreign’ recordings, as ‘do over man songs’, performers and musicians have taken elements of the original and reshaped them into something entirely different.

                                                                    And to prove this point, as you experience this extremely diverse and satisfying musical journey, consider the Jamaican versions that resulted from these recordings. There is no doubting of course that they provided the original source of inspiration, but the Ska, Rock Steady and Reggae that followed were far from simple, straight-forward covers, as we are sure you will agree.


                                                                    Karin Krog

                                                                    Don't Just Sing – An Anthology 1963-1999

                                                                      * Newly remastered audio
                                                                      * 2xLP housed in a deluxe gatefold Stoughton tip-on jacket
                                                                      * Includes rare archive photos and liner notes Q&A with Krog
                                                                      *Featuring jazz greats Dexter Gordon and John Surman

                                                                      The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she’s practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog’s albums weren’t available in the USA or UK, meaning three decades of recordings were waiting to be discovered. With this anthology of her best recordings from 1963 to 1999–curated with Krog’s own input–we hope to set the record straight.

                                                                      To listen to opening track "As A Wife Has A Cow" is to jump into the deep end. It’s 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too–and that’s Krog’s USP. Don’t Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist/multi- instrumentalist and composer.

                                                                      Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964’s By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. “There is such a thing as too much manipulation,” says Krog today.

                                                                      Recorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968’s Joy is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell’s "All I Want" and Bobby Gentry’s "Ode To Billy Joe," both of which show how Krog brought jazz aesthetics to pop songs of the day. “I remember that there was a lot of buzz around Blue, and Joni Mitchell is, as everybody knows, a very talented singer and songwriter,” says Krog in the new liner notes.

                                                                      “Glass" and “Tystnaden" are the two previously unreleased finds from the archives, the former written for a British documentary in 1997, the latter a soundscape improvisation from a 1963 studio session with Lars Werner on piano, Kurt Lindgren on bass, and Janne Carlsson on drums. The compilation rounds off with the “Psalm” movement from John Coltrane’s monumental piece, A Love Supreme. Krog’s version came at suggestion of the man himself. “It was John who pointed to the text on the inner sleeve of the Impulse! LP and said, ‘Karin, look. Why don’t you sing this?’” she remembers.

                                                                      Krog remains fiercely productive, recording, performing, and running Meantime records from her and John’s villa near Oslo. Now 77, she’s showing no signs of slowing down. “Everybody has to retire at some point, but I believe that once a musician, you’re always a musician,” she says. “If I can’t stand up and sing on stage anymore, I can always do it sitting down!”


                                                                      Ata Kak

                                                                      Daa Nyinaa / Bome Nnwom

                                                                        Ata Kak's legendary tape Obaa Sima introduced one of the greatest left-field dance floor jammers of all time, "Daa Nyinaa." Now available on 12" single for the first time, the song Ata Kak recorded in his Toronto apartment in 1993 lives on. The artist was cloaked in mystery until very recently; he created a joyously idiosyncratic balancing act of highlife, R&B, rap and house music that resonated with listeners many miles and several years away. The single is backed with the tape's final song, a minimalist electronic instrumental dripping with lo-fi rhythmic soul called "Bome Nnwom." The journey that lead to this 12" - which also took many miles and many years - shows the extent to which music can inspire and excite, regardless of background or experience. After years of searching, Awesome Tapes From Africa tracked down the artist's family in Canada. His recording was the first to be posted on the ATFA blog back in 2006, and has been an underground obsession for many diehard internet music fans ever since. The singer/producer - whose real name is Yaw Atta-Owusu - became happily aware of the distance his music has traveled since it was quietly released in 1994. Obaa Sima was released worldwide this March after a years-long wait and a brilliant restoration and remastering, by Jessica Thompson at the Magic Shop NYC, of one of the few remaining playable cassette copies in known existence. With this special release, we hone in on the genius elements that make Ata Kak's nearly-forgotten music so remarkable.

                                                                        Various Artists

                                                                        Hit + Run Presents Road Kill Vol 1

                                                                          Debut of the "Hit + Run Presents Road Kill" compilation series. Volume 1 includes 29 exclusive and unreleased tracks by the Los Angeles underground and beyond, available on a limited-edition digipak CD. We're talking beat builders, wonky-hoppers, hip hopers, down-beaters, electronica lovers and just, in the case of the Gaslamp Killer, bonkers mentalists.

                                                                          Previously only available digitally and on CD, the compilation features some of LA’s best and brightest, along with a whole host of artists from around the world - including J Rocc, the Gaslamp Killer, Ras G, Daedelus, Knxwledge, Mndsgn, Jeremiah Jae, Kutmah and many more - all contributing tracks unavailable anywhere else.

                                                                          High Wolf

                                                                          Growing Wild

                                                                            World traveler and psychedelic musician High Wolf introduces the experimental world electro album Growing Wild. The prolific French producer’s latest album will be released by Leaving Records. “The sounds are those of a celebration of life and fraternity, the colors are warm like an african dress, feelings are positive and strong, thoughts are accelerating and multiplying the same way the universe is expanding.” - High Wolf.

                                                                            Mike Ladd

                                                                            Welcome To The Afterfuture

                                                                              A timely re-issue of Mike Ladd’s crucial and seminal work ‘Welcome To The Afterfuture'. It's an LP that is included in the book ‘1001 Albums You Must Hear Before You Die’ and describes Ladd’s masterstroke as “a powerful statement on the concept of justice in a godless land.” The albums “unique voice from a tobacco-raspy philosopher capable of arch comedy, social insight, and emotional impact in the same line” is an essential “grounded trip” that also features the esteemed and much missed Company Flow, Big Juss, Mr. Len and El-P (Run The Jewels). Summoning b-lines, electronic spatter, jazz wig-outs, hard hip hop, Indian ragas and soundtrack ephemera, Mike Ladd chooses a different voice (and sometimes an absence of voice) for each tune. He runs hyper-literate, pun-stuffed rap against pitched-down crooning, Pif-punk call-and-response against uninflected reportage, preacher’s cadences against poetry. Something that particularly resonates on this now 15 year old album are two very specific references to Amadou Diallo and his murder where today, 15 years on, we’re still going through these same issues with police brutality and police killing. This special Va Va Records edition is packaged with a special booklet complete with exclusive pictures, lyrics and literature from prominent writers and critics as well as an MP3 download of the album and exclusive vinyl only bonus tracks.

                                                                              Jessy Lanza, DJ Spinn & Taso

                                                                              You Never Show Your Love EP

                                                                                Jessy Lanza meets the Teklife crew on this sultry EP, with DJ Spinn and Taso's first-released RnB track, and a Teklife footwork remix with assistance from the late DJ Rashad. The main mix is a dejected confessional slow jam with Jessy's plaintive vocal sitting in the middle of spiralling drums and teardrop-like chords, a gentle guitar refrain dropping in at the end like a comforting hand on the shoulder. Following an instrumental version, the Teklife mix doubles the tempo, switching the gentleness to deliver an interpretation that touches on tense anger, with the sweeping chords the track is built on snapping into shivering shapes, as strings simmer in the background, building the tension. Also included is Bambounou's remix of 'Fuck Diamond', a track on Jessy's ‘Pull My Hair Back’ debut album, which appears here on vinyl for the first time after an initial CD-only release last year on the ‘Hyperdub 10.4’ compilation). Bambounou transforms it into a rough drum machine workout, leaving sparse elements of the original in place - a splash of vocal and a held chord - building a dynamic trance that slips and slides in and out of different patterns.

                                                                                EEK

                                                                                Kahraba

                                                                                  KAHRABA is Islam Chipsy's EEK debut studio album. Recorded in late 2014 in downtown Cairo; it displays 4 tracks perfectly representing Chipsy's wild and inimitable artistic spectrum; ranging from the frenzied sound signature technique that made his greatness and fame (Trinity and Kahraba) to the band's individual manoeuvrings of typical Egyptian standards such as the north-eastern Nile delta "Simsimiyya" in El-Bawaba or Upper Egypt's traditional "Mouled Saidi" in Mouled El-Ghoul.

                                                                                  Jurassic 5

                                                                                  Quality Control

                                                                                    Jurassic 5 flexed serious old-to-the-new muscles in the ‘90s, beginning with their independently released single “Unified Rebelution” in 1994, and book-ending with their stellar debut full-length: 2000’s Quality Control. They walked a tightrope between underground and mainstream hip-hop, and toured alongside rap peers as well as punk rockers on the Vans Warped Tour. With double the pleasure of your average hip-hop group – two DJs and producers (Cut Chemist and DJ Nu-Mark); and four MCs (Chali 2na, Akil, Marc 7 and Zaakir aka Soup) – they brought the late 1970s “unison MC” style of pioneering groups like the Fantastic 5 and the Force MCs to a new generation. Even more surprisingly, they did so out of Los Angeles, whose hip-hop flavors generally leaned towards Gangsta, G-Funk or Electro lines. Musically inventive and lyrically forward-thinking, each song on Quality Control is a new adventure, exploring engaging territory, delivered via one of the best live hip-hop shows fans had seen in years. From singles like the strutting groove of the title track to the throwback doo-wop samples on “The Influence” and the catchy, keyboard groove-driven “World of Entertainment (WOE Is Me),” to deeper album tracks like the lyrical gymnastics of “Jurass Finish First” and the thought-provoking “Lausd,” Jurassic 5 consistently stepped to the plate and their fans responded in kind, nearly pushing the album to Gold status. Add the innovative DJ-and-sample workout which closes out the album, “Swing Set,” and you have one of the 2000s’ most unique and solid full-length platters.

                                                                                    Various Artists

                                                                                    Des Jeunes Gens Modernes 1978-1983 Volume 2

                                                                                      The long awaited follow up to Jeunes Gens Modernes volume 1. With 5 killer unissued tracks from french 80's vaults. Between the late 70s and mid-80s, in the wake of the punk wave and in parallel to other types of music like disco, funk, ska and reggae, a prolific and chaotic music scene began to develop in France, combining the energy of rock and the nihilism of punk with electronic experimentation.
                                                                                      The period was not, on the whole, one of optimism and joy, played out as it was against a background of economic crisis and the cold war. The tendency was rather towards disillusion, accompanied by a clear-sighted recognition that a stalemate between the generations would be unavoidable in the short term. Paradoxically, as it would appear, a kind of hope and frenzied vitality could also be detected during these years. Both were fed by a sort of modernist utopia, which was sometimes wilfully ironic. This was largely based on a certain fascination with technical progress and, by extension, on a belief, tinged with mistrust, in the infinite perspectives that the new technologies now seemed to offer. A whole section of France’s youth found itself confronted by the contradictions of the times it was living in: young people were torn between the sensation of living on the edge of an abyss and hope for the dawning of a new world; they were deprived of tangible ideological landmarks but resistant to the posthippy utopias of the previous generation. In search of an identity, they recognised themselves in the dark lyrics, the cold synthetic music and the laid-back attitude of the new groups bursting up all over the country, as much in the provinces as in Paris.

                                                                                      Rammellzee

                                                                                      Brainstom - Inc. Divine Styler Remix

                                                                                        Rammellzee the legendary visual, graffiti and hip hop artist passed away in 2010, but before he left us he recorded his magnum opus, Cosmic Flush with producer Jonah Mociun. Unreleased, eight years have passed. The collection of breakcore and speed metal-influenced rap tracks stand as a futuristic relic which is just now about to see the light of day. Cosmic Flush fully realises Rammellzee's complex philosophy and unique vision of futuristic hip hop, apocalyptic science fiction, and extreme sonic exploration. To celebrate the life of one of hip-hop’s great minds Gamma Proforma are releasing Cosmic Flush as a commemorative series of limited edition 12” records (just 500 of each). There are 7 core tracks, each will be reinterpreted and remixed by a visual and audio artist. The works will also form part of an exhibition which will take place in New York & London. This release is Part 1 in the set, Brainstorm has been visually reinterpreted by Ian Kuali'i, a disciple of Rammellzee's inner circle, and remixed by Divine Styler who cites Rammellzee as one of his key influences.

                                                                                        Ryan Adams

                                                                                        Ten Songs From Live At Carnegie Hall

                                                                                          U.S. Alt country/folk/rock musician & singer-songwriter Ryan Adams releases this 10 track live album, taken from the super-limited U.S. released 42 track LP Vinyl box. 

                                                                                          Ryan Adams' 'Ten Songs from Live at Carnegie Hall' is comprised of live selections from Adams' two night stint at the celebrated New York City venue. The career spanning set includes fan favorite 'New York, New York,' plus new mainstays from Ryan's most recent Grammy nominated eponymous album like 'Gimme Something Good'.

                                                                                          FORMAT INFORMATION

                                                                                          CD Info: Standard jewel-cased CD (with 12 page colour booklet).

                                                                                          Sheer Mag

                                                                                          II 7"

                                                                                            In 2014, Sheer Mag seemingly came out of nowhere with what was probably our favourite release of the year, debuting, straight to vinyl, their brand of hard rock-inspired power pop perfection. This time around, expectations are unreasonably high, but guess what? Sheer Mag don't care!

                                                                                            Out from under this table, these Philly miscreants return stronger than ever, this time toning down (ever so slightly) the power pop undertones that got them comparisons to the Shivvers (female vocals?) and putting the rock in the forefront. Still, the band could pass as the Jackson 5 re-imagined as a punk trash compactor and this record stands tall as what will definitely be the hard rock record of the year.

                                                                                            Peter Zinovieff

                                                                                            Electric Calendar / The EMS Tapes

                                                                                              Peter Zinovieff is one history's most enigmatic and influential electronic music composers. Described by Jon Lord of Deep Purple as "a true mad professor type", his innovations in the design of electronic music instruments have left an unquantifiable mark on the evolution of music technology touching the music of David Bowie, Pink Floyd and Aphex Twin to name but a few.

                                                                                              'The Electronic Calendar :The EMS Tapes' is the first complete retrospective of his earliest experiments in 1965 through to the dissolution of his studio and the bankruptcy of his company EMS Synthesizers in 1979. The collection is presented as a deluxe two CD set with extensive liner notes, exclusive photos and Zinovieff's own diary entries compiled by Sonic Boom a.k.a. Pete Kember (Spacemen 3).

                                                                                              Born in 1933 to two Russian aristocrats fleeing the Russian Revolution, Zinovieff, a graduate of Oxford University, worked as a Mathematician in the Air Ministry following World War II and other "boring jobs in atomic physics”. During his time at Oxford he met Daphne Oram who taught him the fundamentals of creating music from splices of tape in her private studio prior to formation of the BBC's Radiophonic Workshop. The frustration of working with reels of tape led Zinovieff to ponder the idea of an electrically controlled studio, and in 1964 he sold his wife's wedding tiara to purchase the first computer housed on a private estate. Zinovieff's garden shed in Putney became the most advanced music studio in the world, housing 384 oscillators, as well as a collection of filters, noise generators, ring modulators, signal analysers and amplifiers built with the help of his college David Cockerall using ex-Army electrical components.

                                                                                              The centre of the studio was the computer, running on 8k of memory priced at £1/byte (£8000) allowing thousands of musical parameters to be sequenced several thousand times a second. Throughout the 1960’s and 70’s Zinovieff’s studios housed a community of passing intellectuals, engineers, inventors and hippies, becoming a place of pilgrimage for musicians looking to discover previously unheard sounds; Peter's daughter Sofka recalls, "I’d be having tea in the kitchen with my two younger brothers, when people like David Bowie, Paul McCartney or Pink Floyd would pass by on their way to the studio".

                                                                                              Other visitors included Kraftwerk, Klaus Schulze, King Crimson, Alan Sutcliffe, Hans Wener Henze and Karlheinz Stockhausen to name but a few. During 1966-67 Zinovieff worked closely with Delia Derbyshire and Brian Hodgson on their post-Workshop project 'Unit Delta Plus', together they attempted to create commercially viable sounds for TV, film and advertising without success, although Zinovieff admits "I didn't want to have a commercial studio, I wanted an experimental studio where
                                                                                              good composers could work and not pay".

                                                                                              In 1969 Zinovieff formed EMS (Electronic Music Studios Ltd.) with Tristram Cary and David Cockerell and together they developed the EMS VCS3, a portable analog synthesizer used on Pink Floyd's 'On The Run' and The Who's 'Won't Get Fooled Again' whilst becoming a staple of the studios of Brian Eno, Jean Michel Jarre and Todd Rundgren. The VCS3 and the subsequent Synthi 100 and Synthi series appeared with the tag-line ‘Every picnic/nun/school/band needs a Synthi’ and are still in use by Aphex Twin, Stereolab, Portishead and Panda Bear, with MGMT, Spectrum and Experimental Audio Research placing the VCS3 on several album sleeves.

                                                                                              ‘Electronic Calendar’ begins with ‘Chronometer ‘71’ composed in the form of a graphical score by Harrison Birtwistle. The piece is comprised of recordings of Big Ben and Wells Clock which are sequenced by Zinovieff’s computer to a pre-determined structure controlling tape machines and their parameters in a system that resembles an early sampler. The piece was created in the second iteration of Zinovieff’s studio in the basement of 49 Deodar Road which he called ‘Musys’, inside this studio was the world’s first series of narrow filter bands that could be used as a sound analysis system, recording the response of each filter in relation to the applied signal: Zinovieff had created the world’s first vocoder.

                                                                                              The second CD opens with Zinovieff’s interpretation of the Christian song of mass ‘Agnus Dei’, followed by ‘ZASP’, a collaboration with Alan Sutcliffe. In 1967 ‘ZASP’ won second prize at IFIP (International Federation for Information Processing) Congress, a society dedicated to computer arts, missing out on first place to Iannis Xenakis. The CD closes with the last piece of music recorded in the EMS studio before it was destroyed by a flood in London’s National Theatre in 1979. The piece is aptly titled ‘Now Is The Time To Say Goodbye’ and features interview fragments of Zinovieff fading in and out of view.

                                                                                              After a 35 year gap, Zinovieff has re-emerged following a commission from Russell Haswell, he continues to experiment with computer music theorising future innovations while proclaiming “computer music is only at the beginning”. ‘Electronic Calendar’ therefore serves as an essential preface to the history of electronic music from one of its most influential pioneers.

                                                                                              David Toop

                                                                                              Lost Shadows: In Defence Of The Soul Yanomami Shamanism, Songs, Ritual, 1978

                                                                                                Recordings from 1978 by David Toop of Yanomami ritual songs, shamanistic ceremonies and rainforest sounds. The voices of spirits and animal familiars, ventriloquial illusions of sound in dark spaces, secret spirit languages, the clap of thunder that links shamanic trance with the sleep language of Finnegans Wake... Out of these passages of the everyday, intensity flares like flames caught by a gust of wind. Skin burns or oozes blood, the wind blows up havoc as the spirits move about. + 40 PAGE BOOKLET TEXT & PICTURES the full story of his fascinating journey in 1978 through the Amazon jungle to meet and record the last Yanomami shamen.


                                                                                                FORMAT INFORMATION

                                                                                                LP Info: Black vinyl + 40 page booklet.

                                                                                                2xCD Info: 6 page digipack + 40 page booklet.

                                                                                                A Trio & Alan Bishop

                                                                                                Burj Al Imam

                                                                                                  Alan Bishop is a true musical maverick, who spent years playing, touring and recording with Sun City Girls, one of the most thrilling and versatile bands to emerge from the American post-punk, post-hardcore scene. Based in Seattle, constantly going off in several directions at once, Alan Bishop (bass), his brother Richard (guitar) and Charles Gocher (drums) celebrated musical freedom by diving headfirst into wild improvisations, world music explorations or rocking noise. They fully embraced the traveling lifestyle, too, and it was during travels through Africa and Asia that Alan Bishop laid the foundations for his label Sublime Frequencies, by recording hours and hours of music, announcements and static from local radio stations and collecting countless tapes and records from stalls, taxis and stores along the way.

                                                                                                  Now nearly 50 releases into its existence as a label, Sublime Frequencies represents a musical parallel universe where Thai surf music and Burmese radio stations meet Syria’s folk/pop hero Omar Souleyman and Sahara giants Group Doueh. It is through his work for Sublime Frequencies, that Bishop met and became friends with Lebanese improvising musicians Mazen Kerbaj (trumpet), Raed Yassin (double bass) and Sharif Sehnaoui (electric guitar), who have operated collectively as free jazz unit “A Trio” since 2003. In 2012, during a trip to Beirut to participate in the annual Irtijal Festival for Experimental Music, Bishop entered the studio with Kerbaj, Sehnaoui and Yassin, to lay down the first rough sketches of the “Burj el Imam” album. The album was eventually completed a year later, during another one of Bishop’s frequent visits to the Lebanese capital.

                                                                                                  Entirely recorded at Tunefork Studios, a highly esteemed recording studio located on the outskirts of Beirut, “Burj el Imam”’s five tracks include three largely improvised numbers, a loose reworking of early Sun City Girls track “The Imam”, and a cover of traditional Americana song “Gently Johnny”. The album displays remarkable coherence, for 4 musicians coming from such different backgrounds. True to their habits, Kerbaj, Sehnaoui and Yassin create acoustic improvised drones that range from insistent, chiming resonances with emergency alarm bells, to low thrumming hums – evoking helicopter gunships hovering overhead, or bulldozers demolishing bomb-blasted apartments.

                                                                                                  The three musicians largely avoid conventional technique, instead using what sounds like motorized devices to generate rattling, metallic vibrations, building a mechanistic backdrop out of which the instruments’ true voices occasionally arise. Perched above the ambient din, Bishop is in fine form, and alternates between gentle crooning and malevolent whispering. 

                                                                                                  Slaves

                                                                                                  Cheer Up London

                                                                                                    The Strypes

                                                                                                    Flat Out EP

                                                                                                      Slaves

                                                                                                      Are You Satisfied?

                                                                                                        Recorded in London, ‘Are You Satisfied?’ by electrifying punkrock duo, Slaves, is a colourful, funny and often riotous riposte to the dreary mood of Austerity Britain. Slaves’ raucous urgency is captured in rousing anthems like ‘Cheer Up London’ and ‘Do Something’ as well as previous singles ‘Hey’ and ‘The Hunter’.

                                                                                                        FORMAT INFORMATION

                                                                                                        LP Info: The 12” vinyl comes beautifully packaged in a hot pink sleeve, complete with embossed bichon frises and foil disco ball on the back!

                                                                                                        CD Info: The jewel case album comes in a fetching hot pink coloured booklet, and will beautifully accent any wall décor.

                                                                                                        Walter TV

                                                                                                        Blessed

                                                                                                          Having moved all around Canada and settling nowhere, Walter TV are contemporary nomads. They formed their band in the basements and cottage-like houses of a beach town outside Vancouver. After Joe McMurray and Pierce McGarry moved to Montreal, they shared an apartment with a constant revolving cast of characters. In a space often overpopulated and reeking of cigarettes, they began recording Blessed. Simon Ankenman would come by periodically, and with him they would finish most of the recordings between there and LA. The band's two members, Joe and Pierce, were also busy touring with Mac DeMarco, acting as his backing band. Mixing and recording turned into a thing to do on the road. Although the group prefers tape recordings to digital, they have never been militant. Always trying to uphold their DIY sensibilities, Walter TV believes the music should speak for itself. It should come from wherever and whatever is available.

                                                                                                          “Surf Metal drops that punchy kind of rock you know and love from DeMarco’s band, but they also throw in elements that suggest it’s different While the song bounces and punches along to its punky riffs, some good ol’ fashioned black metal like shrieks sneak their way into the background of the song. It’s everything you could ever want from a song that can probably be described as Varg’s Day at The Beach.” – Noisey.

                                                                                                          Florence & The Machine

                                                                                                          How Big, How Blue, How Beautiful - Deluxe Edition

                                                                                                            HOW BIG
                                                                                                            For Florence Welch, the success of her first two Florence + the Machine albums Lungs (2009 – Album of the year, Brit Awards 2010) and Ceremonials (2011) meant five years of back-to-back recording, promoting and touring. Lungs ran straight into the making, promoting and touring of the Grammy-nominated Ceremonials, an album written while on the road and recorded straight after coming off tour. The shows were getting bigger, the hair redder, the success wider and wilder. 

                                                                                                            HOW BLUE
                                                                                                            A pop star at 21, with two international hit albums behind her, Florence discovered that in giving seven years to her music, some elements of real life had been left by the wayside. Coming back from tour and moving out of her mother’s Camberwell home, Florence re-engaged with normal life: going out, falling in and out of love, and simply trying to learn how to look after herself outside of the hermetic bubble of life of the road. And so the new Florence, and her songs, started to swim into focus. 

                                                                                                            HOW BEAUTIFUL
                                                                                                            The result is How Big How Blue How Beautiful, a collection of songs, written and recorded over the course of 2014. Produced by Markus Dravs (Björk, Arcade Fire, Coldplay) with contributions from Paul Epworth, Kid Harpoon and John Hill, the third album by Florence + The Machine is live-sounding, tunerich, unhinged in all the right places and powerful in all the best ways. In voice and, ultimately, outlook Florence has never sounded better.

                                                                                                            The soundtrack to the upcoming Ubisoft video game FAR CRY 4 with music from acclaimed Hollywood composer Cliff Martinez. The album will be released with 45 minutes of bonus material not included on the digital release.

                                                                                                            . Invada have been involved in several Cliff Martinez projects, with their own release of the popular soundtracks to crime thriller DRIVE and science fiction film SOLARIS. FAR CRY 4 is Cliff's first foray into the world of video game music. Label Manager Redg Weeks states "Ubisoft are not only a huge company in the video game world, they put huge emphasis on the soundtrack to their games – the fact they've brought in Cliff to score FC4 shows the lengths they go to deliver a real top-notch overall product." 

                                                                                                            FORMAT INFORMATION

                                                                                                            3xLtd LP Info: Multicoloured triple vinyl, limited to 1500 units.

                                                                                                            Florence & The Machine

                                                                                                            How Big, How Blue, How Beautiful

                                                                                                              HOW BIG
                                                                                                              For Florence Welch, the success of her first two Florence + the Machine albums Lungs (2009 – Album of the year, Brit Awards 2010) and Ceremonials (2011) meant five years of back-to-back recording, promoting and touring. Lungs ran straight into the making, promoting and touring of the Grammy-nominated Ceremonials, an album written while on the road and recorded straight after coming off tour. The shows were getting bigger, the hair redder, the success wider and wilder.

                                                                                                              HOW BLUE
                                                                                                              A pop star at 21, with two international hit albums behind her, Florence discovered that in giving seven years to her music, some elements of real life had been left by the wayside. Coming back from tour and moving out of her mother’s Camberwell home, Florence re-engaged with normal life: going out, falling in and out of love, and simply trying to learn how to look after herself outside of the hermetic bubble of life of the road. And so the new Florence, and her songs, started to swim into focus.

                                                                                                              HOW BEAUTIFUL
                                                                                                              The result is How Big How Blue How Beautiful, a collection of songs, written and recorded over the course of 2014. Produced by Markus Dravs (Björk, Arcade Fire, Coldplay) with contributions from Paul Epworth, Kid Harpoon and John Hill, the third album by Florence + The Machine is live-sounding, tunerich, unhinged in all the right places and powerful in all the best ways. In voice and, ultimately, outlook Florence has never sounded better.

                                                                                                              Gengahr

                                                                                                              A Dream Outside

                                                                                                                Slated for a June 15th release through Transgressive Records, North London’s Gengahr are pleased to announce their debut album A Dream Outside with new single ‘Heroine’ - their most immediate track to date and another glimpse at what their debut is set to offer.

                                                                                                                Picking up where 2014 left off, Gengahr marked out their intentions for 2015 with an opening slot on Alt-J’s European tour and the release of the gloriously spellbinding ‘She’s A Witch’, which received acclaim from the likes of The Sunday Times, Independent, DIY and NME whilst being added to playlists on 6Music (C-list), Radio 1 (INMWT), Amazing Radio (A-list) and XFM (evening list).

                                                                                                                For fans of Circa Waves, Foals, Mystery Jets and Unknown Mortal Orchestra.

                                                                                                                British Sea Power

                                                                                                                The Decline Of British Sea Power

                                                                                                                  Over the course of their 5 studio LPs and three award winning film soundtracks, British Sea Power have become a true British institution: Top 10, Mercury nominated LP, 3 UK silver discs and renowned for their astonishing live shows in unique and unlikley locations - National History Museum, Great Wall of China, Cutty Sark, Cern Hadron Collider, Chelsea Flower show, down a Cornish mine, up in the hills in the highest pub in England, Jodrell Bank and at the John Betjeman centenary with Nick Cave, Barry Humphries, Ronnie Corbet and Prince Charles - as well as hundreds of more traditional sell out tours and festivals around the world.

                                                                                                                  The Church

                                                                                                                  Further / Deeper

                                                                                                                    It’s a unique band that finds itself cherished as bona fide legends of new wave and neo-psychedelia while remaining a virtual enigma to the world that knows its name. But maybe that's no more remarkable than the mystery that continues to unfold within its own ranks.

                                                                                                                    At this stage of the journey. brand new album FURTHER/DEEPER seems both unimaginable and the only option on their endless quest from chaos to resolution. It's an album of breathtaking new vistas and intense emotions. of sinister black caskets and gorgeous caverns of light. a work born of immense struggle and effortless expression.

                                                                                                                    "The magic started on day one." says singer and bass player Steve Kilbey. "Someone strummed a chord or struck a drum or plucked a note and we were off. We wrote and recorded like demons and it was inspiring to feel every member using all his resources in the service of this record."

                                                                                                                    On the subject of creation let’s not forget that Mike Joyce. Andy Rourke and Johnny Marr were inspired to form The Smiths after seeing The Church play at Leadmill Sheffield in 1982!

                                                                                                                    Twenty-six songs for FURTHER/DEEPER born over eight days of exploration in Sydney in late 2013. Guitarist Peter Koppes. recalibrating his personal canvas in the absence of his long-time foil Marty Willson-Piper. drew palpable inspiration from the quartet's remixed chemistry."This new incarnation of the band with Ian Haug has brought a joyous energy to the music we've written together." he says. "The rhythm swings more than usual yet the moods still range from melancholy pop to our modern version of heavy psychedelic rock. as in Laurel Canyon. to the epic gothic-progressive dance track. Globe Spinning."

                                                                                                                    From the ominous allure of the lead track. ‘Vanishing Man’. to the beguiling tippy toes of ‘Pride Before A Fall’ the chiming keys of ‘Love Philtre’ to the sheer hammer horror ‘Toy Head’ the exhilarating breeze of ‘Old Coast Road’ and the ultimate. panoramic drama of the mini-screenplay that is ‘Miami’. FURTHER/ DEEPER delivers on the promise of its title in a combined blossoming of melody. rhythm and audacity.

                                                                                                                    For Haug. transitioning from the multi-platinum ashes of Powderfinger to join "one of my favourite bands of all time” was an utterly surreal experience. audibly expressed in fantastic new dimensions of the church's fabled "guitarchitecture".

                                                                                                                    "The first song we wrote was Miami. and from there we splintered off into several styles of surreal to intense psychedelia — and songs to make you drive fast." he says. "It was a trip. And an incredible honour to be accepted so readily into a songwriting as well as guitar-playing role."

                                                                                                                    Drummer Tim Powles was again instrumental in the painstaking alchemy that boiled the explosion of ideas down to 12 potent pieces in the early months of 2014. a process that often saw members working simultaneously in separate studios across multiple instruments to produce a work of singular cohesion.

                                                                                                                    "After an eternal twenty years in the church I marvel more than ever at how we've become masters of our own freedom." Powles says. "No strings attached. no view to winning a prize. How lucky are we? Or have we earned it? We've got better at it too. Or maybe it's got the better of us. It seems to devour us. Like magic."

                                                                                                                    The Church's accidental signature tune. ‘Under The Milky Way’. is like a lighthouse on the brink of a continent forever to be discovered: 25 albums over 35 years and countless diversions that have almost destroyed them a dozen times. yet always reaffirm a mutual commitment to an uncompromising and unparalleled act of creation.

                                                                                                                    Ben Salisbury & Geoff Barrow

                                                                                                                    Ex Machina OST

                                                                                                                    Ben Salisbury & Geoff Barrow join forces for a second time since their creation of DROKK, their unused score for 2012 motion picture DREDD, to create the dark, synth heavy score for EX MACHINA.

                                                                                                                    EX MACHINA is the directorial debut of Alex Garland, the man behind 28 DAYS LATER and SUNSHINE. It stars a trio of rising stars - Oscar Isaac, Domhnall Gleeson, and Alicia Vikander, who portrays a robot built to test the boundaries between humans and machines. The film having been released earleie this year in the UK and the rest of Europe with a release date this month in the U.S has enjoyed rave reviews including Sight & Sound naming it their ‘Film Of The Week’ and the Guardian describing it as a “dazzlingly good-looking technological thriller”.

                                                                                                                    Speaking to Gigwise Geoff Barrow said, "It's been great for Ben and I to be working with Alex again, and hopefully we have written the kind of score an intense sci-fi thriller like this needs" with Salisbury adding "we wanted to slightly get away from the type of soundtrack album that has a huge track-list with lots of short cues. Instead, we've tried to put together an album of fuller length tracks, by segueing some of our cues and creating a structure and shape that mirrors the film in some way.

                                                                                                                    ” The EX MACHINA ORIGINAL MOTION PICTURE SOUNDTRACK will be released as a double CD and double vinyl which includes the 10 tracks included in the film and additional CD/LP of bonus material and cues . 

                                                                                                                    The Phoenix Foundation

                                                                                                                    Give Up Your Dreams (Bonus Cassette Edition)

                                                                                                                      Indie exclusive bonus cassette ‘Transfatty Acid’ featuring 4 exclusive tracks with every order while stocks last.

                                                                                                                      New Zealand based The Phoenix Foundation are all set to return with their new and sixth studio album Give Up Your Dreams. It’s a shrewd and vibrant reminder that in The Phoenix Foundation’s gloriously absurd world of Technicolour pop, it’s the challenges you set yourself that reap the greatest rewards. “Give Up Your Dreams could sound like a defeat but it represents something quite defiant, joyous and celebratory” exclaims co-frontman Samuel Scott of the record’s infectious rhythmic driven sound and optimistic feel.

                                                                                                                      After huge success, sales and awards in their homelands it was 2011’s breakthrough album Buffalo and 2013's colossal double album 'Fandango' that saw the band reach a more global audience - 5 star reviews, ‘Later... with Jools Holland’ and Glastonbury followed. Which brings us to Give Up Your Dreams, the sound of a band with the pressure-off, embracing a freedom to explore and hone their sound at their own pace.

                                                                                                                      Channelling Fandango’s beauteous side, but this time fuelled by a spit ball of irrepressible energy, Give Up Your Dreams feels like the band’s most contemporary offering yet. With the new addition of drummer Chris O’Connor, the album was written taking its lead from the rhythm section for the very first time; paving the way for an all new creative process. “I was convinced we had to have a different sounding record,” explains Scott’s counterpart singer/guitarist Lukasz Buda. “So we completely removed any trace of acoustic guitar. It was important to leave room for the band to take it somewhere else and make way for a new vitality.”

                                                                                                                      Recorded within the pow-wow setting of the band’s Car Club HQ in Wellington, it's the first time the band felt totally comfortable and confident in taking on production duties entirely themselves. “The mood when we were recording was so easy, so cordial,” recalls Scott. Taking a free form approach from Chris and bass guitarist/vocalist Tom Callwood’s experiences in the city’s improv and experimental scene, the album’s cosmic vibes are an upshot of utilising gadgets to shapeshift each sound. Whilst synths were always built into the Foundation’s musical make-up, this time around they’re placed centre stage; “we spent a great deal of time messing with an old Eventide H3000. There would be very few sounds we didn’t try to mess with,” says Scott. “We turned all the cool and interesting sounds up loud so nothing was competing in the mix and you can actually hear the trippy shit.”

                                                                                                                      Thematically and lyrically the group typically took inspiration from various of sources. The dazzling title-track is a frank deglamourisation of life on the road spurred on by a conversation with dear friend, collaborator, and fellow New Zealander Lawrence Arabia. The energetic ‘Mountain’ is the ultimate counterpoint; an afro-kraut groove with layers of Television-inspired guitars and dreamscapes about the 'money men' controlling the world. ‘Playing Dead’ nearly didn’t make it further than the cutting room floor but was revived thanks to the photographs in a 1950s Time Life essay on the Ona people of Tierra Del Fuego in southern Chile and their ghost rituals. Elsewhere in 'Jason' Luke sings about both the mother of his children and his ‘band wife’ (Samuel Scott) being struck down with sciatica and being reliant on string painkillers to function, touching on the fear of ageing in the process. Album closer 'Myth' was inspired by the writings of St. Isidore of Seville who in the 19th Century attempted to compile all human knowledge.

                                                                                                                      “After 15 years together, this album feels like a total rebirth to us" reveals Buda "it's uplifting feel comes as an act of defiance against all our fears in life.” Take The Phoenix Foundation’s advice then: give up your dreams and good things will happen to you too. Scott concludes “It’s a mantra about letting go, worrying less, and enjoying your reality instead of always wanting more.”

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Ltd LP Info: Limited edition gold vinyl with download code.

                                                                                                                      Jenny Hval

                                                                                                                      Apocalypse, Girl

                                                                                                                        Think big, girl, like a king, think kingsize. Jenny Hval’s new record opens with a quote from the Danish poet Mette Moestrup, and continues towards the abyss. Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction and reality, a post-op fever dream, a colourful timelapse of death and rebirth, close-ups of impossible bodies — all told through the language of impossible pop music.

                                                                                                                        When Norwegian noise legend Lasse Marhaug interviewed Jenny Hval for his fanzine in early 2014, they started talking about movies, and the conversation was so interesting that she asked him to produce her next record. It turned out that talking about film was a great jumping off point for album production. Hval’s songs slowly expanded from computer loops and vocal edits to band mates Håvard Volden and Kyrre Laastad — and finally exploding into collaborations from Øystein Moen (Jaga Jazzist/Puma), Thor Harris (Swans), improv cellist Okkyung Lee and harpist Rhodri Davis. All of these musicians have two things in common: they are fierce players with a great ear for intimacy, and they hear music in the closing of a suitcase as much as in a beautiful melody.

                                                                                                                        And so Apocalypse, girl is a very intimate, very visual beast. It dreams of an old science fiction movie where gospel choir girls are punks and run the world with auto-erotic impulses. It’s a gentle hum from a doomsday cult, a soft desire for collective devotion, an ode to the close-up and magnified, unruly desires. Jenny Hval has developed her own take on intimate sound since the release of her debut album in 2006. Her work, which includes 2013's critically celebrated Innocence Is Kinky (Rune Grammophone), has gradually incorporated books, sound installations and collaborations with poets and visual artists. For Hval, language is central, always torn between the vulnerable, the explosive and total humiliation.


                                                                                                                        Institute

                                                                                                                        Catharsis

                                                                                                                          Politically speaking, not much has changed about the way Austin’s Institute ex¬ists as a band since signing to Sacred Bones. Having members in Glue, Wiccans, and Back to Back, all fellow stalwarts of the Texas punk scene, helps streamline the approach for them, as all of their bands operate from the same basic ethos (i.e. operating outside of the normal cycle of PRs, agents, social networking and self-promotion). In fact, singer Moses Brown has said they’re only comfortable being on Sacred Bones because he considers the label “a punk label on steroids.” (A note from the label—“Drugs, yes. Steroids, usually no.”)

                                                                                                                          Aligning themselves so closely with punk politics might make some of the music on Catharsis come as a surprise. Yes, they’re still the anarcho punks who put out gloriously lean Crass and Crisis worship across a demo, a 7-inch, and last year’s Salt EP. But for their boundary-smashing debut long-player, they’ve incorporated everything from acoustic guitars to proto-punk psych excursions, even stretching their songs out to Krautrock lengths when necessary.

                                                                                                                          Brown’s lyrics on Catharsis reflect its title. He said he used the record “as a vehicle to put things out in the open that I haven’t necessarily told anyone. The songs are about my faults, my insecurities, my existence, my relationships, my childhood. I’m thoroughly disappointed in myself.”

                                                                                                                          After demoing for several weeks at home in Austin, Institute tracked and mixed Catharsis in just four days between Christmas and New Year’s Eve 2014, in New York City with Ben Greenberg at Brooklyn’s Gary’s Electric. “Cheerlessness” carves out the perfect trine foundation to aspect both the anthemic “Cheaptime Morals “ and the much looser jam “Christian Right” (the latter featuring fellow Texan Andrew Savage of Parquet Courts). Issues of morality, sexuality and reli¬gion are all interwoven seamlessly throughout the 10 tracks as the band explores new sonic astral space.


                                                                                                                          Brian Lopez

                                                                                                                          Static Noise

                                                                                                                            With an voice like an angel, dusty Americana in his soul and European roots in his heart , the desert crooner Brian Lopez returns after his successful debut album "Ultra" (elevated to 'album of the year 2011' byFAZ Frankfurter Allgemeine Zeitung) to take the lead on the new generation of musical talents originating Tucson, Arizona!

                                                                                                                            Brian Lopez returns from his eclectic debut record Ultra with a more focused sense of songwriting and a direct, potent rock 'n' roll sound. Lopez wrote Static Noise over more than two years, producing dozens of songs before choosing the best compositions, narrowing the album's focus and capitalizing on his guitar and vocal talents. "Listening to the last record and seeing how eclectic it was, I was trying to hone in on tighter arrangements and tighter songwriting and taking my time to make sure each song was like a fine cut gem. I feel like they're potent," Lopez says. "I knew it was going to be heavier, more electric guitars and louder drums. I wanted it to go in more of a rock 'n' roll direction, to walk that line a bit more." Lopez, whose voice recalls the atmospheric heights of Jeff Buckley and Radiohead's Thom Yorke, brings his entire past to bear on Static Noise. The classical guitar training, the psychedelic indie rock, the mambo and cumbia, they all come together in a uniquely compelling mix. Since Ultra, Lopez has added even more depth to his playing, collaborating with both Howe Gelb in Giant Giant Sand and KT Tunstall, skillfully navigating the disparate styles.

                                                                                                                            "It's been a pretty crazy couple of years as far as being out on the road and collaborating with a lot of artists and kind of living in different worlds as far as the Howe Gelb circus versus the KT Tunstall pop world. They're completely different and I think it's telling how I can somehow disguise myself into each world and be accepted," he says. All those tours – the performances, the long hours traveling, the series of hotels and foreign lands – helped to shape the songs on Static Noise. "Over the past couple years my life has been so much in the air, with traveling and different projects and just getting thrown back and forth and relationships can be in and out," Lopez says. "It gets to be a lonely world in a sense. It's very exciting, but also overwhelmingly lonely at times. Lyrically, it's painfully obvious that I was maybe struggling more than I let on. The songs are my form of therapy in a way." The songs share a quality of solitude, of focusing inward even as the hectic world spins around you. "That's why I called it Static Noise, it's like being in a room alone, but you're not quite alone because that broken television is in there making that noise and keeping the room occupied with you. But at the same time there's no depth to that," Lopez says. Lopez took his time on songwriting and arrangements, working on songs insmall batches and only hitting the studio once everything was in place. "I went into the studio cutting just three songs at a time and worked a lot in pre-production, making sure I got the arrangements just right, making sure I had the band I wanted together for each song. I looked at everything through a microscope this time around. I really focused on each song, making sure they were as tight or as loose as I wanted them to be," he says.

                                                                                                                            Lopez and his hand-picked musicians recorded live to tape, eschewing technology wherever possible in favor of the sort of honest, organic sound that best showcases his songs. Lopez recorded Static Noise at Waterworks Recording Studio in Tucson, co-producing with Jim Waters (Sonic Youth, The John Spencer Blues Explosion). Stuart Sikes (The White Stripes, Cat Power, Modest Mouse, Loretta Lynn, The Walkmen, Phosphorescent) mixed the record. Sean Slade (Radiohead, Pixies, Hole, Ben Folds, Morphine) provided arrangements throughout the album

                                                                                                                            SWR (Shaun Ryder)

                                                                                                                            Close The Dam

                                                                                                                              We definitely heard that voice. That warning. But if we don’t look, then we’ll never know, will we? And, turns out, we’d have missed out on something special.

                                                                                                                              Confession/confusion: Shaun Ryder taught me to dance, pretty much. It’s all a bit hazy now, of course, but there’s about ten records I just can’t resist and he’s made two of them. It’s been a lonnng journey, with many great records and a great many good times.

                                                                                                                              All of which makes Close The Dam more remarkable. It had us hooked inside 20 seconds: that strut, that slinky come-hither groove. Just a hint of Billie Jean perhaps? Producer Sunny Levine is Quincy Jones’ grandson, so maybe that is not too far-fetched.

                                                                                                                              What a tune, though. Shaun sounds more focussed than…than ever, really. Close The Dam is something new from him, a little bit future, a spare but insistent club track with the sort of lyrics that burn into your mind. Instant classic. Big.

                                                                                                                              “Bigger than you is”

                                                                                                                              Electric Scales rewinds the clock a little. If you half close your eyes, its dirty squalls would almost nestle into Squirrel & G-Man’s grooves. Almost. Until you realise just what is going on in the loping capsized production. It comes over harder than Close The Dam but wears its heart on its sleeve and if you roll with the punches, you’ll feel that clearly. There’s a lot of water under this one’s bridge.

                                                                                                                              “Baggy trousers, use them like a sail ”

                                                                                                                              Coming in low, out of the sun; no-one will see this coming - 2015 is full of surprises.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Ltd 12" Info: Signed edition.

                                                                                                                              Interrobang?!

                                                                                                                              Love It All

                                                                                                                                Interrobang?! formed in 2012 with a vision to create something that speaks to the generation who grew up in the shadow of punk, with hopes and dreams, full of rebellion. They create an agit-punk-funkstorm, skewed quirky, punchy, staccato pop that’s buzzing like a fridge.

                                                                                                                                ‘Love It All’ was inspired by the critically acclaimed Toby Amies film ‘The Man Whose Mind Exploded’. Dunstan Bruce (Interrobang?!/Dandy Films) and acclaimed documentary maker Daisy Asquith (Dandy Films) helped Amies make the film and were credited as Executive Producers.

                                                                                                                                ‘The Man Whose Mind Exploded’ is a feature film about the extraordinary life of Brighton resident Drako Oho Zarhazar. Following a severe head injury Drako suffers from terrible memory loss, he could access memories from before his accident but couldn’t imprint new ones, he could remember modeling for Salvador Dali and hanging out with The Rolling Stones but he couldn’t remember yesterday. Filmed over four years, the movingly intimate film attempts to understand and accept the worldview of someone with serious brain damage,

                                                                                                                                The film became the starting point for the song ‘Love It All’.

                                                                                                                                “Drako used a series of bon mots and philosophical slogans to explain himself or his worldview. He had the maxim “Trust Absolute Unconditional” tattooed on his arm, which became his mantra for his very existence. When asked an awkward question by Toby in the film, Drako simply responded with the phrase “Love It All”, which was a simple but effective way of blocking any further intrusions into his personal life and opinions. Drako no longer had to explain himself because those three words, to his mind, explained everything adequately. I really connected with these words, their simplicity, positivity and well, beautiful naivety.” (Dunstan Bruce)

                                                                                                                                In ‘Love It All’ the first verse celebrates this man’s amazing and wonderful life [and subsequent sad demise] whilst the second verse goes on to explore Dunstan Bruce’s outlook on the world and how the experience changed him. The song becomes a celebration of life, love, acceptance and hope; all those quite ordinary ideas inspired by the most extraordinary person and the most wonderful film.

                                                                                                                                Carlton Melton

                                                                                                                                Out To Sea

                                                                                                                                  “Out To Sea” is the most focussed of all Carlton Melton’s recordings to date: the voyage is long; the voyage is joyous.

                                                                                                                                  Leaving their geodesic dome behind, they hitched their magick karpet to San Francisco’s El Studio for a fried weekend in July 2014 with The Fucking Champs / Trans Am’s Phil Manley at the production helm and occasionally contributing to the furore. Phil Manley plays guitar on “Similarities” and synth on “Peaking Duck”

                                                                                                                                  Out To Sea sees Carlton Melton expanding their vision of the psychedelia and free outrock sound of their previous output and push to their furthest horizons using waves of sound - from huge pounding rhythms, outta space riffage, gentle synth wave-riding, pastoral passages, searing shards of molten guitar, smothered ambience and gentle flowing guitar picking – to lap at the shores of your senses.

                                                                                                                                  For fans of: Space travel, the Heads / Kandodo, Faust / Funkadelic, the Kon Tiki Expedition, Parson Sound, Flotation tanks, Bong, Bardo Pond, float on, float on.......

                                                                                                                                  We’re gonna need a bigger boat. 

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  2xLP Info: The double LP version is coloured vinyl (one disc is blue/white - the surf and the other is transparent blue - out to sea!!!) packaged in a deluxe gatefold / spot varnished sleeve with a CD copy of the album and a poster.

                                                                                                                                  CD Info: CD is in a CD digifile package.

                                                                                                                                  White Poppy

                                                                                                                                  Natural Phenomena

                                                                                                                                    Crystal Dorval from Vancouver, Canada, has been making healing, distorted rug-gaze music from a coastal mindset all her own since 2011. Natural Phenomena is her second album, and it echoes 2013’s self-titled effort in its isolationist origins, as the record emerged slowly across a nine-month retreat alone on a farm on Vancouver Island: “Some days I would only add one tiny guitar line or keyboard texture and that would be it for the day… it was a long process.”

                                                                                                                                    However grueling and gradual the method, what accrued is gold—ten of Dorval’s deepest dreamdives, starry ambient pools and dissolved guitar designs, ghosted through a lens of grey-skied pop. Songs wax and wane across faded rainbows of guitar, sunrise keyboards, looped percussion and vocal ocean-spray. Behind Dorval’s gauze of warm noise glows something pure and newer than new age: “My hope is that these positive feelings will be communicated sonically, or in essence, and will be enriching for listeners.” A high height for a climbing talent; White Poppy blooms on cliffs of light.

                                                                                                                                    Evil Acidhead

                                                                                                                                    In The Name Of All That Is Unholy

                                                                                                                                      Originally released in the late 1980’s on cassette only, “In The Name of All That is Unholy” is Evil Acid Head’s (aka John McBain, previously of Monster Magnet & Wellwater Conspiracy fame) long overdue reissue.

                                                                                                                                      Fully remastered from the original recordings by McBain himself, “In The Name of All That is Unholy” is, across all 7 tracks, 4 sides of this LP, a jarring mind expansion of the third eye kind. It’s by no means a whimsy gaze; “In The Name of All That is Unholy” takes your psyche and smashes it into smithereens.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      2xLP Info: Limited double LP on Green /Red vinyl. Comes with eye - searing wall poster, and CD copy of the album.

                                                                                                                                      Damaged Bug

                                                                                                                                      Cold Hot Plumbs

                                                                                                                                        John Dwyer has a surprise… While everyone eagerly anticipates the next Oh Sees record, he’s been working tirelessly in his synth laboratory, hand-crafting a followup to last year’s neon-noir Damaged Bug debut—one that shakes up the snow globe considerably.

                                                                                                                                        If Hubba Bubba was a brush with a robotic exoskeleton on deep-space patrol, Cold Hot Plumbs visits the alien world that sent it into the cosmos. Lush, textural and psychedelic, the songs breathe with a otherworldly sadness and heart. Barbed, sophisticated arrangements flower in every direction. The vintage-perfect sound palette would be window dressing if not for the songs themselves: fresh, vital, and above all catchier than the flu. Cold Hot Plumbs is a strange, beautiful, and oddly infectious addition to Dwyer’s oeuvre, and not one to be missed.

                                                                                                                                        Bikini Kill

                                                                                                                                        The First Two Records

                                                                                                                                          Bikini Kill Records is excited to announce its first release on compact disc! The First Two Records compiles Bikini Kill’s recently reissued self-titled and Yeah Yeah Yeah Yeah LPs. The self-titled 12-inch, originally released in the fall of 1992 and reissued on Bikini Kill Records in 2012, is comprised of four songs recorded by Ian MacKaye at Inner Ear Studios; one song from the band’s 1991 demo cassette recorded by Pat Maley (Yo-Yo Studios); and one song recorded during Bikini Kill’s live performance April 4th, 1992, at Washington, DC’s Sanctuary Theater.

                                                                                                                                          Side A of Yeah Yeah Yeah Yeah was originally released in 1993 as the Bikini Kill side of their split record with the UK’s Huggy Bear, to kick off their legendary co-headlining tour of the UK in March of that year. Those tracks were recorded in their Washington, DC, basement practice space on a four-track reel-to-reel in 1992 by Tim Green (Nation of Ulysses, The Fucking Champs). Side B featured seven previously unreleased songs that were either recorded live at shows during that era or at Bikini Kill practices. These tracks are released on CD for the first time. Bikini Kill was a feminist punk band based in Olympia, WA, and Washington, DC, that existed from 1990 to 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar and Kathi Wilcox played bass. Sometimes they switched instruments. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines and confrontational live show.

                                                                                                                                          The Germs

                                                                                                                                          Forming

                                                                                                                                            THE GERMS' debut 45 is often cited as the first true Los Angeles punk record. "Forming," the first song written by Darby Crash and crudely recorded in guitarist Pat Smear's parents' garage, captures the band's cultish allure and crushing lack of musicianship. The B-side track, "Sex Boy," was recorded live on the set of Cheech & Chong's Up In Smoke. As Claude Bessy gushes in Slash magazine in 1977, THE GERMS are "beyond music ... mind-boggling ... inexplicably brilliant in bringing monotony to new heights."

                                                                                                                                            Our Love Will Destroy The World

                                                                                                                                            Carnivorous Rainbows

                                                                                                                                              Witness the latest rebirth of Campbell Kneale. It has happened before, and probably will again. This Wellington, New Zealand, artist is on the forefront of the world noise scene, having cut his teeth for a decade in Birchville Cat Motel and more recently as Our Love Will Destroy the World.

                                                                                                                                              Carnivorous Rainbows is electronic music at its most relentless; four tracks of pure, hot skree constantly rebuilding like a viper’s unpredictable strike. Some percussion rattles throughout, a few instruments are arguably perceptible, and a beautiful harmony of intensity creates a gorgeous tapestry of sounds.

                                                                                                                                              Helm

                                                                                                                                              Olympic Mess

                                                                                                                                                • Mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP or CD
                                                                                                                                                • Features photography by Kim Thue and artwork by Bill Kouligas.
                                                                                                                                                • Follow-up to 2014’s ‘The Hollow Organ’
                                                                                                                                                • Inspired by loop-based industrial music, dub techno, and balearic disco

                                                                                                                                                Where his previous effort, 2014’s ‘The Hollow Organ,’ dealt in dense, distressed sonics, ‘Olympic Mess’ is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.

                                                                                                                                                “It’s about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one’s personal and artistic lives,” Younger says. “Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos”.

                                                                                                                                                Crafted using an array of heavily processed samples, found sound and electroacoustics,
                                                                                                                                                personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise
                                                                                                                                                disintegrates into veiled, ambient strata. The disquieting crescendos of “The Evening In Reverse” and “Fluid Cloak” offer no such relief, while the title track and “Don’t Lick The Jacket” are mineral, multilayered abstractions twisting around a brittle pulse.

                                                                                                                                                Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, ‘Olympic Mess’ was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon. 


                                                                                                                                                Little Wings

                                                                                                                                                Explains

                                                                                                                                                  “Kyle Field, professionally known as Little Wings, is a living legend. He is the modern embodiment of the traveling bard and the singing troubadour. Kyle’s discography is vast and impressive, full of tunes plucked from the lexicon of great American songwriting. On his latest effort, Explains, he crafts melodies so haunting and familiar, it’s as if he’s not composing them at all. He is tapping into something greater, acting as a vessel for the collective unconscious that is folk music.

                                                                                                                                                  “This is an album that is immediately accessible and also unfolds slowly, revealing greater depth with each listen. Kyle’s lyrics are direct yet poetic, funny yet sad. Explains is a fantastic record that celebrates the enduring spirit of a great artist. Its release on Woodsist is all too fitting - a label whose very foundation seems based on lasting creative integrity.”  - Alex Bleeker.

                                                                                                                                                  Daymé Arocena

                                                                                                                                                  Nueva Era

                                                                                                                                                  At just 22 years old, Daymé - a singer, arranger composer, and choir director is already a veteran presence in Cuban music, and is fast gaining international profile. She says she has sung all her life and recalls her four-year old self performing on every block in her neighbourhood. ‘Fun stuff,’ she says, ‘Wearing crazy dresses and singing like a rumbera (Rumberas are the street parties in Cuba where you hear its exploding Afro-Cuban rhythms and chants – sometimes in Yoruba). She has been performing semi-professionally since the age of 8, and became lead singer with the big band Los Primos at 14. She has performed with Winton Marsalis, and was invited by the Canadian saxophonist Jane Bunnet to perform in Canada.

                                                                                                                                                  Daymé first came to the attention of François Renié, Communications Director at Cuban rum maker Havana Club and founder of the Havana Cultura platform. He recalls “Gilles and I met Dayme for the first time on Gilles' first trip to Cuba, improvising a rumba session at a friends place. She started to sing and we were amazed. She was just a teenager". Considered to young to appear on the early Havana Cultura recordings, she nonetheless stayed on Gilles’ radar on his subsequent trips to Cuba. Gilles recalls “I was knocked out at her professionalism and people connection. She is so many things - a serious artist who knows exactly what she wants musically. I love her purity - she is deeply spiritual, and involved in her Santeria studies. She is also a total laugh! Yes, Daymé is the truth…”

                                                                                                                                                  Recorded in just a few days in London and Havana Daymé’s debut album is a work of elegant maturity, showcasing Daymé’s mix of influences. Her background as a choir director is in evidence on the wonderful layered vocals on tracks like Nueva Era, Niño and Madres. Madres also alludes to the Santeria chanting that have formed part of Daymé's worship since childhood. The lead single Don’t Unplug My Body shows off Daymé skill at writing an easy-on-the-ear pop tune, whilst there is humour in El Ruso (about her mother being forced to learn Russian in the Soviet supported Cuba of the 80s) and in the lament Dust (inspired by Daymé visit to Canada - she was horrified by the dust in the houses, compared to Cuba where everything is kept meticulously clean). A strong jazz influence is clear throughout the album - Daymé was advised by her teachers to explore beyond her classical latin music training and listen to more jazz: “I started to listen to all the old singers even when I didn’t like them,” she revealed: “I don’t want to sound like an old woman! The first jazz singer I really liked was Ella because she got me crazy when I listened to her scatting.” Beautiful ballads like Come to Me and Sin Empezar complete a confident and well balanced longer player. The switching between Spanish and English lyrics hinting at an ambition to reach a worldwide audience with her music. Apart from on the deep rumba of El Ruso - recorded in Cuba - Daymé is backed by a truly world class London band (Percussionist Oli Savill, Robert Mitchell on piano, and Neil Charles on bass). Production duties are split between Gilles Peterson, his longtime collaborator Simbad and Daymé herself.


                                                                                                                                                  Broken Water

                                                                                                                                                  Wrought

                                                                                                                                                    Olympia's Broken Water has announced their new LP, Wrought, on Night-People Records. A follow up to 2012's widely-praised Tempest, the album was recorded and mixed with Steve Fisk (Nirvana, Soundgarden) and features a mix of noisy, fuzzed-out guitars and melodic vocals. For a first taste of the new record, you can stream opening track "High-Lo" where it premiered with Stereogum or via Soundcloud.

                                                                                                                                                    Broken Water is very much a product of its hometown, and the band will celebrate Wrought's release with a show at Olympia's Midnight Sun on March 9th, joined by Naomi Punk, PC Worship, and Mother Tongue. Having previously shared stages with acts like The Thurston Moore Band, The Men, Screaming Females & more.

                                                                                                                                                    Chilly Gonzales

                                                                                                                                                    Solo Piano

                                                                                                                                                      Originally released in 2004, 'Solo Piano' is an incredible instrumental album of delicate compositions from notoriously extravagant Berlin-based showman.

                                                                                                                                                      Near the end of the old millennium, someone once rapped, "Being futuristic these days means being futuristic on your own terms," which is entirely fitting when said rapper records an album of solo piano instrumentals. (Perhaps less instructive is what said rapper went on to say: "Being futuristic means loving worms, saving your sperm, wearing your pubes in a perm.") The former Chilly Gonzales has a hint of Gershwin in his playing, an urbane, contemplative take on the blues that sometime turns into a wry smile. He also has a hint of Satie, the spare and haunted sound of a music box turning slowly to a halt as it comes to the end of its wind. But what he also has is entirely his own, which not only makes this the best album of solo piano instrumentals by a rapper extant but also one of the finest solo piano albums not by a jazz or classical performer. Obviously, there's a duality to any man who lit up stages with Peaches but also played with and produced Jane Birkin and Charles Aznavour, but Solo Piano is a disarmingly wonderful record. - John Bush


                                                                                                                                                      Chilly Gonzales

                                                                                                                                                      The Unspeakable Chilly Gonzales

                                                                                                                                                        After his Guinness World Record, the album and the Locarno film festival prize-winning feature film Ivory Tower, the single "Never stop" (chosen by Apple for their IPAD ad) and the inter-planetary video hit "You Can Dance" with its near one million You Tube views, the musical genius that is Chilly Gonzales brings us a limited edition of symphonic spoken word: “The Unspeakable Chilly Gonzales” is the first-ever all-orchestral rap album and live show - the dramatic next step after piano-rap classics “The Grudge” and “Crying” from Ivory Tower.

                                                                                                                                                        Chilly Gonzales warned us of rap with 'no beats' in 2000 ("The Entertainist"). Since then, he created the all-piano rap mixtape “Pianist Envy”. Today, he brings some “Gonzpiration” to the rap game. Accompanied by Hollywood swells, tympani rolls, noble French horns, hypnotizing bells and influenced by Prokofiev, Morricone and Phillip Glass among others, this record is Chilly Gonzales’ 'professional confessional', revealing more of himself on these monologues than ever before.


                                                                                                                                                        Chilly Gonzales

                                                                                                                                                        Ivory Tower

                                                                                                                                                          Chilly Gonzales returns with his first official UK full length release since "Solo Piano" in 2006. "Ivory Tower", an ambitious, intelligent and, typically of Chilly, fun album, is also companion to a feature film of the same name starring Tiga and Peaches as well as himself. The ambitious project confirms Gonzales as the musical genius and legendary all-round entertainer he’s always claimed to be.

                                                                                                                                                          The album opens with the gorgeous piano-led "Knight Moves" which slowly builds into thumping electronic disco with strings and soft vocals lacing this slightly melancholic track. Swiftly followed by the hilarious "I Am Europe" in which Gonzales talks over more Boys Noize crafted beats. Other recent single "Never Stop" begins with a the stark finger click intro, promptly joined by the layers of piano and Chilly’s ‘never stop’ vocal refrain, from where we are taken on a deft and addictive journey that builds into an acidic euro pop crescendo. Whether Gonzales is attempting euphoric disco sing alongs like the title track "Ivory Tower", or playing sombre piano on "Final Fantasy", or shamelessly tearing his worst enemy (and himself) apart with the tremendous and very honest "The Grudge", Chilly never does things by halves. He nails it every time.


                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          CD Info: Includes bonus CD while stocks last!

                                                                                                                                                          Boscoe

                                                                                                                                                          Boscoe - Numero Group Edition

                                                                                                                                                            In any other place, at any other time, they might've been a monstrously important band, but in early 1970s Chicago, Boscoe was lost in the flurry of acts exploding from the city, such as the Art Ensemble of Chicago, Sun Ra's Arkestra and Phil Cohran's Artistic Heritage Ensemble. After spending years backing some of the era's local stars and also playing their own compositions at gigs another four nights a week, the band finally recorded some songs they had carefully honed in these performances.

                                                                                                                                                            "Boscoe" is a vibrant document of an explosive live act at their peak. The band's raw immediacy is undiminished by studio polish or perfectionism, yet every bass run booms, every vocal rumbles in just the proper manner. Come witness the invocation of death, a war for peace that black America must fight, Malcolm X’s violent passing, brains already in the grave, God’s damning of us all, and a glib parody of “The Star Spangled Banner,” all delivered by a crawling funk fusion as eager to blast us awake with harsh words as with insistent horns. Released in 1973 in very small quantities the album was a commercial failure, only to be resurrected as the holy grail of Japanese crate diggers in the 1990s, and now reissued via The Numero Group.

                                                                                                                                                            Marc Hype & Jim Dunloop

                                                                                                                                                            The Antique Anthem / Make Your Move

                                                                                                                                                              The fourth release of Dusty Donuts crew celebrates the 10th anniversary of the cult breakers hit "The Antique Anthem", for the first time on 7" format. On the flipside comes a brand new B-Boy banger from the two world nomads “Make Your Move”.

                                                                                                                                                              Marc Hype & Jim Dunloop are the unique combination of the highest art of DJing, turntablism& pi-ano game. The two-time German champion of the International Federation turntablist stands with his partner in crime, the studied concert pianist Jim Dunloop, since 2004 together on countless stages of the world. They have collaborated on numerous releases on international labels and released an album on the legendary MPM Records.


                                                                                                                                                              Stellar Om Source

                                                                                                                                                              Nite-Glo

                                                                                                                                                                Nite-Glo is the new offering from Stellar OM Source, the outré-minded music venture of Christelle Gauldi. Tempering the freneticism unleashed on Stellar OM Source’s 2013 album Joy One Mile, Nite-Glo guides Gauldi’s rhythms to unexpected places of emotive and meditative power. The four tracks of Nite-Glo were written during a transient time for Gauldi. Loss and processing the associated emotions informed those moments in which Gualdi could escape to her mobile studio set up. Recorded solely with her live hardware, Nite-Glo tears down any ornamental tapestry to uncover a core of luminescent synths, glowing 303 lines, and a burning awareness. Nite-Glo continues an off-script musical journey informed by Gualdi’s formal training in electro-acoustic composition at the Conservatoire de Paris and an ascent from the DIY synth scene of the mid-aughts to a global dancefloor. Rewarding listeners keen on conscious listening, the passages of Nite-Glo crystalize as tracks unfurl and sequences reveal an absolute power over time. Transcending its cathartic context, Nite-Glo finds Christelle Gauldi abstracting the ebullience of Stellar OM Source’s sound in favor of remote spaces and roiling tempos. A snapshot of Gualdi’s personal and creative transition, Nite-Glo beams through a mournful context, visible only as eyes have adjusted in the shadows. 

                                                                                                                                                                Norma Jean And Ray J.

                                                                                                                                                                Raising Hell

                                                                                                                                                                  New Orleans Soul masterpiece reissued for the first time on vinyl. Splendid LP from start to finish with the hit being the massive 'I've taken over'. Reminiscent of the Lovelites, Honey & the Bees or Tommie Young, this comes highly-recommended if you are into deep female Soul! Beautiful Superfly Japanese reissue with insert and obi strictly limited to 1000 copies! 


                                                                                                                                                                  Nils Frahm

                                                                                                                                                                  Music For The Motion Picture Victoria

                                                                                                                                                                    Nils Frahm writes his first score for one-take feature film ‘Victoria’ and is nominated for German film prize

                                                                                                                                                                    Nils Frahm has always said that he’s just waiting for something real special when being asked if he would ever score the music for a film. And that’s exactly what German director Sebastian Schipper presented to him with his one-take feature ‘Victoria’. Filmed in Berlin, Victoria’s plot sees a runaway party girl, who's asked by three friendly men to join them as they hit the town, but their wild night of partying suddenly turns into a bank robbery as the music changes from techno to subdued piano sounds.

                                                                                                                                                                    For the recording session at Studio P4 in Berlin, Frahm enlisted the help of long-time collaborator and cellist Anne Müller, violist Viktor Orri Árnason and ambient artist Erik K. Skodvin of Deaf Center on guitar.

                                                                                                                                                                    Dear viewer and listener,

                                                                                                                                                                    I’ve finally written music for a film. It took me some time to do so, as I was patiently waiting for a movie that would truly speak to me. When director Sebastian Schipper invited me to work on Victoria, I knew it was worth the long wait. Does such a strong film even need music? I realised it wouldn’t be easy to create a score that embraces these bold pictures.

                                                                                                                                                                    Luckily we were given unusual creative freedom by approaching the movie together with Sebastian Schipper, who was keeping the production and direction to one single team. The score was recorded in a special location, the former GDR broadcasting production facilities that today host Studio P4. We simply put a big screen in the middle of the room, filled it with microphones and instruments, set the movie on loop and kept improvising on top of it together – my good friends and I.

                                                                                                                                                                    The guest musicians started their recording session by playing a cohesive take over the course of the whole movie. This was the most interesting part of the day, since they hadn’t seen the film before. They became spectators and creators at once, intuitively recording hundreds of different cues that way. You are about to listen to some of its highlights. I hope they do Victoria and your ears justice.

                                                                                                                                                                    With love, Nils Frahm.


                                                                                                                                                                    Early in 2014, Copenhagen’s Kenneth Bager asked electronic wizard and remix entrepreneur Ruf Dug if he would make an album for his acclaimed Balearic imprint Music For Dreams. That summer, Ruf Dug headed off to spend three months on the island of Guadeloupe in the French Caribbean. Seizing the opportunity to live out his own Compass Point fantasy, he put together a portable studio that would fit into a suitcase - two half-rack synthesizers, a couple of effects units, his laptop and a 4-track cassette recorder. He set up the studio in the spare bedroom in a rented villa and spent the next 12 weeks watching the sun set and making the album. All tracks were written and recorded in Guadeloupe, with Nev Cottee beaming in vocals and guitar parts for a couple of the tracks direct from the heart of Mancunia, hooking into the powerful and long-standing musical relationship between Manchester and that most famous of sunset islands - Ibiza.
                                                                                                                                                                    This is music not only for sunsets, but also for late-night smuggling adventures; for tropical storms and rum-soaked afternoons; for pirates, playboys and people like you and me. The end result hopefully transports you to an island in the sun: neither Guadeloupe nor Ibiza particularly, but rather that island of the imagination, one we all escape to from time to time, no matter where we find ourselves. Welcome to ‘Island’ - the nine track debut album by Ruf Dug on Copenhagen’s Music For Dreams.

                                                                                                                                                                    Frits Wentink

                                                                                                                                                                    Live Fast, Dwayne Young

                                                                                                                                                                    Frits Wentink launches his new label Bobby Donny with 'Live Fast, Dwayne Young'. Bobby Donny has been set up to primarily feature Frits Wentink's own tracks, but focusing on the wonkier, more lo-fi house edge of his sound. The emphasis will be on tracks that are hardware jams on Rhodes, Juno 60 or mpc, then structured later.

                                                                                                                                                                    Frits Wentink has already garnered a huge fanbase for his quirky, innovative and characterful house music on a number of forward thinking labels like Wolfskuil, 2020Vision, Heist and Wolf with his recent debut album, 'Rarely Pure, Never Simple' on the latter, gaining much critical acclaim.

                                                                                                                                                                    His first EP on Bobby Donny opens with 'Dwayne Young', which puts the fun into funky with its deep vibe, filtered vocals and creative samplings. Slowing it down, 'Rio' is next, like a short but sweet interlude of off-kilter slow-mo experimentation. Then it's back to the grooving house beats of 'Guacamole' with its jazzy backbone, before the melodious 'Q&A' kicks in, featuring a gorgeously wobbly overtone. 'Aquarelle' is a perfect ending, with distorted elements gradually coming together to find their harmonious compromise.

                                                                                                                                                                    With 'Live Fast, Dwayne Young' Frits Wentink once again displays the hugely creative talents of this much sought after producer.

                                                                                                                                                                    Mo Kolours

                                                                                                                                                                    Mini Culcha - Beautiful Swimmers Remix

                                                                                                                                                                    Future Times is proud to announce a one-time re-drop of the Beautiful Swimmers' remix of Mo Kolours' tune "Mini Culcha" on a one-sided white label!
                                                                                                                                                                    Originally part of the amazing EP2: Banana Wine release by Mo via One Handed Music, we brought it back to life, pressed loud and fat on wax all by itself for the Deejays!

                                                                                                                                                                    Brand new excursion into eastern territories curated by Zambon of The Very Polish Cut-Outs and Transatlantyk fame.

                                                                                                                                                                    Five obscure disco tracks from late Soviet era edited, reworked and remixed into dancefloor bliss by creme de la creme of Russian and Belarusian producers.Â
                                                                                                                                                                    Among the editors we will find Leonid Lipelis (known from collaborating with Brennan Green and his own label That's A Steal, here working under the alias Beard In Dust), Moscow based diggers crew Shiny Boots
                                                                                                                                                                    Grodno based edit wunderkind Schmoltz, St. Petersburg's Krjuk and The Papers from Ekaterinburg.

                                                                                                                                                                    Tracks range from Balearic pop stomp of Alla Pugacheva's 'Kafe', through to the blue-eyed Slavic soul of Tatiana Kochergina, to big band funk full of breaks and even Russian disco rap with baby scratches !

                                                                                                                                                                    Drink some vodka and taste the disco sound of the Soviet Union.

                                                                                                                                                                    Tartelet Records once again nailing down the good stuff, as NU GUINEA step up with a stunning EP !

                                                                                                                                                                    Last years self titled EP on the Early Sounds label stood out a mile and became a cult classic amongst those lucky enough to scoop a copy

                                                                                                                                                                    The tantalisingly tropical House on offer there informs this excellent EP too.

                                                                                                                                                                    The beautifully dislocated & mid-tempo 'Bouganvilles Live' lays out some warm analogue textures across a live percussion base, while the Vocal Edit of title track Nu World ploughs a similar furrow to early Metro Area, with rich musical synth work over a pacey Afro groove and undeniable Jazz-Funk flair.
                                                                                                                                                                    The Flute Mix passes over the vocal refrain from mix one and just gets down and wigs-out on those solos - an absolute killer !

                                                                                                                                                                    Exotica Dance Club sounds like Herbie visited the Salsoul studios with his banks of modular gear and jammed out into the small hours, as we head home on the beatless Outro, all synth washes and lavish ear candy

                                                                                                                                                                    Another superb release on this ever-impressive label.

                                                                                                                                                                    Rhythm Odyssey & Dr Dunks

                                                                                                                                                                    Big Fish - Inc. Marcellus Pittman / The Central Executives Remix

                                                                                                                                                                    A booming clavinet led banger from everyone's favourite disco uncles, Eric Duncan and Dean Meredith.

                                                                                                                                                                    Heavy on the lasers and scything hi hats with a bassline as deep as you’d expect from these fellers.

                                                                                                                                                                    Marcellus' trademark sound is all over his remix - sultry rhodes and sweet, driving funk, and The Central Executives version strips it to the bone, revealing not a skeleton but a robot.
                                                                                                                                                                    A robot playing a fucking saxophone! Rock on, dudes.

                                                                                                                                                                    Major Lazer

                                                                                                                                                                    Lean On - Inc. Fono Remix

                                                                                                                                                                      Various Artists

                                                                                                                                                                      Treasure Isle Presents - Ska

                                                                                                                                                                        In the late fifties, leading Jamaican sound system operator, Arthur ‘Duke’ Reid began producing his own recordings, promptly becoming one of the island’s most powerful and influential record company owners. Throughout the sixties and early seventies, Reid issued scores of Ska, Rock Steady and Reggae hits, created at his famed Treasure Isle studio in Kingston, but tragically, his untimely passing in 1975 brought a premature end to his reign as Jamaica’s leading producer. Today, his catalogue is widely considered among the finest and most important recorded works of the golden age of Jamaican music, yet it is only now, commencing with the ‘Treasure Isle Presents’ range, that his music is finally receiving the due attention it so richly deserves.

                                                                                                                                                                        Various Artists

                                                                                                                                                                        Treasure Isle Presents - Rock Steady

                                                                                                                                                                          In the late fifties, leading Jamaican sound system operator, Arthur ‘Duke’ Reid began producing his own recordings, promptly becoming one of the island’s most powerful and influential record company owners. Throughout the sixties and early seventies, Reid issued scores of Ska, Rock Steady and Reggae hits, created at his famed Treasure Isle studio in Kingston, but tragically, his untimely passing in 1975 brought a premature end to his reign as Jamaica’s leading producer. Today, his catalogue is widely considered among the finest and most important recorded works of the golden age of Jamaican music, yet it is only now, commencing with the ‘Treasure Isle Presents’ range, that his music is finally receiving the due attention it so richly deserves.

                                                                                                                                                                          Various Artists

                                                                                                                                                                          Treasure Isle Presents - Original Reggae

                                                                                                                                                                            In the late fifties, leading Jamaican sound system operator, Arthur ‘Duke’ Reid began producing his own recordings, promptly becoming one of the island’s most powerful and influential record company owners. Throughout the sixties and early seventies, Reid issued scores of Ska, Rock Steady and Reggae hits, created at his famed Treasure Isle studio in Kingston, but tragically, his untimely passing in 1975 brought a premature end to his reign as Jamaica’s leading producer. Today, his catalogue is widely considered among the finest and most important recorded works of the golden age of Jamaican music, yet it is only now, commencing with the ‘Treasure Isle Presents’ range, that his music is finally receiving the due attention it so richly deserves.

                                                                                                                                                                            Various Artists

                                                                                                                                                                            Melody Life Trojan Sisters

                                                                                                                                                                              40 classic tracks from the ladies to prove that reggae wasn’t completely male dominated.

                                                                                                                                                                              Includes tracks from Marcia Griffiths, Judy Mowatt and Hortense Ellis.


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