Alex Smoke


    'Alex Smoke returns to R&S with the follow up to his transfixing debut ‘Dust’.

    He has delivered a full EPs worth of mesmeric music, which is quite possibly the most dancefloor material he has released in some time. ‘GreenMan’s sinusoidal funk follows on in the vein of ‘Dust’, shuffling drum programming, snaking melody lines and Alex’s hiccupping vocodered vox combine to anthemic effect.

    ‘LSD’ lives up to its name with a spacious, yet urgent acidic-hymnal. On the flip, ‘Oni’ reimagines a dancehall rave-up for the 31st century, all skanking digi-pecussion and trumpet like arpeggios, while ‘Tommy Knockers’’s brutal blade-runner bounce adds some muscle to proceedings, spiraling synth riffs and gurgling drones.

    Various Artists

    Brownswood Electric 4

      Gilles Peterson’s Brownswood imprint dips back into the electronic melting pot to compile its fourth “electr*c” compilation in as many years. The fruits of intensive exploration of the cracks and crevices within today’s wonderfully fractured bass music movement, Brownswood electr*c 4 features exclusive music from a new crop of up and comers. Some like Frenchman Nikitch and Belgian wunderkind LTGL are fresh out of the blocks, whilst the likes of Deft, Adam Elemental, Glenn Astro, D Tiberio and B Lewis have cultivated relative online infamy in recent times, each carving out their own unique path and singular artistry.

      As usual we run the full gamut of styles, skipping from searing hypercolour hip-hop/bass hybrids; through ever so slightly wonky deep house; furious footworkin’ D&B that recalls vintage Metalheadz cuts circa ’96 (but somehow sounds steadfastly futuristic); awesomely drunken R&B; wrecking ball 808-driven bangerz; and introspective emo bumps… It’s a cluttered, chaotic, hyperactive kaleidoscopic trip – no doubt – but we wouldn’t have it any other way.


      Ultima II Massage

        On his third album, the Pennsylvania snake-synth-charmer deepens his approach to aural depravity. Ultima II Massage widens a jagged swath through the dude’s own weird catalog, each disparate track damaged to the point of contributing to some sort of greater, lurching Frankenstein-like state. “I spent a lot of time breaking it in all the right places,” says TOBACCO. “It ends up making the whole thing breathe — sometimes gasp for air. It feels more alive.” Immediately after finishing 2010’s Maniac Meat, he went to work on the beat-addled series begun with Fucked Up Friends in 2008. There were notable breaks en route to now — a surprising commission to remix White Zombie’s “Thunder Kiss ‘65,” a new BMSR record (Cobra Juicy), and producing Demon Queen’s Exorcise Tape with vocalist Zackey Force Funk — but he saved the worst for last, amassing the most misanthropic material for Ultima. To wit, SPIN dubbed early share “Lipstick Destroyer” a “junkyard takedown of Daft Punk’s beloved, pristine electro.”

        TOBACCO explains his modified approach: ”I wanted to push each song just enough, so that even when the album’s at its wildest, it’s something you can zone out to. It feels like a definitive end to a concept I’ve been trying to perfect forever. Maniac Meat was linear. This time I wanted to do a lot of different things and have them come together as one meditative piece. At least for myself.”

        Which, oddly enough, makes sense. This is easily TOBACCO’s most diverse set to date — his own Stereopathetic Soulmanure, but about that 1-900 hotline life: massage parlors, plasticized sleaze, fake tans, old dial-ups to the fan clubs of dead B-actors. Fittingly, the album’s only contributor is music director Brian LeBarton who shrieks as Notrabel on the grimy freak-out “Streaker.” At 17 tracks, Ultima is stacked with beautifully perverse hits — from the sickly sticky “Eruption,” to the wobbly demon swaggerer “Face Breakout,” to the distorted punk spazz of “Dipsmack,” to the apocalyptic sepia ambience of “Spitlord.” You may hear disembodied bits of Boards of Canada, early Def Jam records, and Gary Numan, or maybe just public-access TV and bad VHS dubs of ‘80s horror flicks. Or the sun exploding and everything you’ve ever loved melting. Again, TOBACCO was just trying to make meditation music.

        But to find that rotted sweet spot, as always, he had to subvert his pop urges. TOBACCO went back to the cassette decks he started off with — analog weapons of distortion to compliment his hissing vocoder and blown rhythms. Any moment that felt “just right” was brutally assaulted until ugly again. All to accomplish one end: “This might be my most purposely difficult album yet, but I promise if you let it in, it can fuck you up.”

        Terry Callier

        I Don't Want To See Myself (Without You) / If I Could Make You (Change Your Mind)

          Acid Jazz Records release Terry Callier's crossover gospel-soul classic "I Don't Want To See Myself (Without You)" - available for the first time as a 7". Back in 1991, Acid Jazz head honcho Eddie Piller traced the soul / folk legend Terry Callier and released a 12" version of the track, which received a whole host of interest from radio and brought Terry out of retirement to perform at London's legendary 100 Club. Before long Callier was back releasing his unique brand of folk-soul and at last took his rightful place amongst the soul pantheon. This 25th anniversary release sees the track edited down to a delicious 3'50" (masterminded by soul artist DJ Andy Lewis).

          Neneh Cherry

          Out Of Black - Inc. Joe Godard Remix

            Second 12" from Neneh Cherry's "Blank Project" album. Limited to 500

            Felix Dickinson

            Burning Flame EP - Inc. Hackman / Machete Savant Remixes

              Futureboogie continue to bolster an all-star alliance that already includes Eats Everything, Lukas, Admin, Crazy P, Marco Bernardi and Hackman by welcoming revered selector and stalwart champion of Balearic, Disco and House music - Felix Dickinson.

              Chris Read Presents The Pharcyde

              Runnin' / Passin' Me By - Chris Read Remixes

                In the closing months of 2012 BBE label artist Chris Read was enlisted by classic Los Angeles imprint Delicious Vinyl to produce a mixtape for Wax Poetics magazine celebrating the 20th Anniversary of the release of The Pharcyde's seminal debut LP 'Bizarre Ride'. The resulting mix was a runaway success clocking tens of thousands of plays online and kickstarted a relationship with the label that would go on to see Chris remix two of the group's best loved tracks, 'Runnin' and 'Passin Me By'.

                Those tracks are now available for the first time on this limited edition BBE x Delicious Vinyl double vinyl 7inch release. Treating the familiar original with respect, Chris has called upon the vocal talents of long time collaborators Lizzy Parks (Tru Thoughts) and guitarist Giles Barratt (Breakin Bread) to rework passages from 'Runnin' to create a 2014 update on the themes of the much loved Jay Dee produced classic. 'Passin Me By' meanwhile gets a '90s throwback rework utilising sample material from the original to great effect to create a track which bears all the hallmarks of the golden era.

                Mastered and cut by Walter Coelho who cut Jay Dee's 'Welcome to Detroit' back in 2001, the circle is complete!



                  More seductive sounds emerge from the suave soundscapes of Chromeo with the duo’s new single ‘Jealous (I Ain’t With It)’. It follows recent tracks ‘Come Alive’, ‘Over Your Shoulder’ and ‘Sexy Socialite’ - all of which appear on their upcoming album “White Women”.


                  Remixes - Inc. Bee Mask / Sun Araw Remixes

                    Reinterpretations of Laraaji tracks by Bee Mask (Spectrum Spools), Ela Orleans (Night People), Sun Araw (Not Not Fun / Drag City) and Motion Sickness Of Time Travel (Digitalis / Boomkat Editions).

                    These four tracks are taken from the ‘Greater Lengths’ All Saints label compilation and remix album. Current producers and artists working in a sympathetic idiom were invited to re-work and re-interpret some of the highlights from the All Saints archive. There will be a series of special edition vinyl remix EPs dedicated to individual All Saints artists Laraaji, Jon Hassell, Harold Budd and Roedelius.

                    Coincides with a triple LP vinyl reissue of Laraaji’s ‘Celestial Music 1978 - 2011’ retrospective album, and Laraaji touring Europe with remixer Sun Araw.

                    Laraaji, is a musician, mystic and laughter meditation practitioner based in New York City. He began playing music on the streets in the 1970s, improvising trance-inducing jams on a modified autoharp processed through various electronic effects. Brian Eno saw him playing one night in Washington Square Park and invited him to record an album for his seminal Ambient series (‘Ambient 3: Day Of Radiance’). Laraaji went on to release a prolific series of albums for a wide variety of labels, many of which he recorded himself at home and sold as cassettes during his street performances. In recent years he has been collaborating with a new  generation of underground musicians, such as the 2011 album he recorded for the acclaimed FRKWYS series with Blues Control (‘That Healing

                    As well as the reissues of his music on All Saints, in the past year he has been included on Light In The Attic compilation ‘I Am The Center: Private Issue New Age Music In America 1950 - 1990’, and has been a live guest of Deerhunter and Jonathan Wilson.

                    Jagwar Ma

                    The Time & Space Machine Dub Sessions

                      Richard Norris (The Grid, Beyond The Wizard’s Sleeve) gives five tracks from Jagwar Ma’s debut album ‘Howlin’ the remix treatment on an exclusive The Time & Space Machine EP.

                      Singles ‘Man I Need’, ‘The Throw’ and ‘Uncertainty’ are among the songs treated to a Krautrock-tinged dub reworking, guaranteed to get you nodding along in no time.

                      Bruno Nicolai

                      Your Vice Is A Locked Room And Only I Have The Key

                        Finding the perfect axis between the likes of Goblin, Roubaix, Barry and Sorgini this bloodthirsty entrée to our Bruno Nicolai and Edwige Fenech series delivers a vinyl debut for the music of this lesser-known beat driven Sergio Martino Giallo horror. A real treat for the patient Euro VHS fans and the library collector alike this varied vinyl compact OST finally spreads its wings.

                        As the third instalment of a devoted series of vinyl releases focussing on Italian composer Bruno Nicolai’s soundtrack music to the films of Edwige Fenech, Finders Keepers serve this bloody hors d’oeuvres of 4 tracks from the 1971 Sergio Martino Poe inspired Italian thriller Your Vice Is A Locked Door And Only I Have The Key. This limited pressed 7″ EP opens up with one of the composer’s greatest Giallo theme tunes from his recorded golden era containing all of those characteristic traits as previously heard on our De Sade and Conte Dracula releases. Previously only available in edited form as the lead track of the much sought-after but commercially unavailable Rendez Vous library LP, Finders Keepers have paired our loyalty to both the Euro horror video collectors as well as the vinyl detectives to bring you something unique and truly coveted from italian shock cinema’s vibrant plumage. Bass driven, beat laden with deranged psychedelic symphonies (finding the perfect axis between the likes of Goblin, Roubaix and Barry) this four track instalment also combines other melodic pastoral harpsichord and clavinet motifs echoing Nicolai’s work with Morricone for films like Lizard In A Woman’s Skin to make this compact forerunner the perfect rounded release for a long overdue vinyl debut.


                        Off Beat

                          Incorporating the squiggles and squelches of vintage analogue synthesizers and the breaks and beats of old library and soundtrack albums, Manchester’s J-Walk is back.

                          J-Walk’s anthemic ‘Soul Vibration’ was the choice cut of DJs worldwide and the album a classic on the underground.

                          ‘Off Beat’, released on WonderfulSound is an album of lo-fi vibes reminiscent of recent Francis Bebey or William Onyeabor reissues but broughtinto the 21st century with the classic J-Walk sound.

                          An album of sample based grooves including a cover version of Paddy Kingland’s BBC Radiophonic classic ‘Vespucci’.

                          What a difference a year makes: with a career seemingly stalled in 2012, Pharrell sang on two of 2013's biggest tracks (Daft Punk's 'Get Lucky' and Robin Thicke's 'Blurred Lines') and then created a lil' throwaway northern soul inspired song called 'Happy' for the Despicable Me 2 cartoon soundtrack... which went on to be the another of the biggest tunes of 2013 (114,121,249 squillion YouTube hits and counting). So, he couldn't have picked a better time to release 'G I R L', his first solo record since 2006's 'In My Mind'. 

                          Needless to say this new long player is packed with the kind of seemingly effortless soul-pop, R&B and disco tracks that Pharrell excels in making. 'Marilyn Monroe' opens the album with Autotuned R&B stylings, Justin Timberlake outdoes himself with the MJ vocals on the Jacksons style disco-funk of 'Brand New'. Miley Cyrus adds her vox to the 'Milkshake'-alike 'Come Get It Bae', Daft Punk repay the 'Get Lucky' favour on the stringful slo-mo vocodered disco numbered 'Dust Of Wind'. Even the reggae-lite on 'I Know Who You Are' featuring Alicia Keys slots in nicely. Obviously 'Happy' is in there as well, with the Prince-style 'It Girl' providing a fine finale. All in all it's a record that will have you itching for the sun to shine.

                          FORMAT INFORMATION

                          LP Info: 180g vinyl pressing.


                          Acid Tracks

                            Phuture only released a handful of tracks (plus an album a full decade after their debut), but have remained a legendary act in the development of Chicago house for their stomping 1987 single "Acid Trax", the track that began and defined the acid house sound. The group was formed by DJ Pierre, synthesizer fan Spanky and Herb J in 1985 as a recording entity to produce records for Pierre to mix into his sets at several crucial Chicago clubs. After being turned on to the high-pitched squelch of the Roland TB-303 synthesizer (marketed as a bassline machine for solo guitarists), the trio emerged from the studio with a track they called "In Your Mind". Ron Hardy previewed the track at his legendary club the Music Box - where it became known as "Ron Hardy's Acid Track" - and Phuture re-made the cut with production by Marshall Jefferson. Released on Trax Records in 1987, the single created a dividing point between the Chicago sound before and after it, with hundreds of "Acid Trax" imitations flooding the local market. After it caught on in Britain as well, the single soundtracked the wave of club madness which coalesced in the rave movement by the end of the decade.

                            Re mastered for 2014 and re released in original 1987 artwork. Released in conjunction with Trax / Harmless.

                            Sleezy D (Virgo)

                            I've Lost Control

                              Seminal acid house from 1986! Containing members of Virgo this seminal release has been re mastered from original DAT's for 2014 and released in original Trax Red labels. Released in conjunction with Trax / Harmless.

                              Daphni & Owen Pallett

                              Julia / Tiberius

                                JIAOLONG011 sees Daphni teaming up with composer / arranger Owen Pallett (Final Fantasy / Arcade Fire / Beirut etc..)

                                The A-side has been a staple in Daphni's DJ sets for the last year delivering bassweight worldwide. 'That track's an enigma - when I listen to it at home it seems relatively innocuous but when I play it out all hell breaks loose', says Dan.

                                The B-side is something even more strange and special - Tiberius is perhaps the world's first microtonal electroacoustic violin techno track.

                                Django Django is the latest band invited to curate a prestigious Late Night Tales collection. Like many of the best British groups, the Djangos met at art school, specifically Edinburgh College Of Art, before reconnecting in London. Django Django released their self-titled debut album on quirky French indie Because in early 2012 to some acclaim, winding up in many critics’ end of year lists (Top Ten in the NME and Top 30 in Rolling Stone, among them).

                                Their oddball approach to music, which sounds like the rich harmonies of the Mamas & Papas beamed through a refracting prism pointing towards Bo Diddley, Chicago house and outer-space (it’s no surprise to learn that Django producer / drummer Dave Maclean’s brother John was in the Beta Band, who also shared the same cinemascopic view of the pop landscape).

                                “Rollicking sing-alongs, galloping into disco sunsets like whisky-addled and leather-saddled bandits on the stolen backs of prairie wild mustangs,” is how Django Django describe themselves. Which is another way of saying they’re pop adventurists, as at home with Mad Mike’s Underground Resistance as they are the blues rumble of Canned Heat. A bit like this delightful mix, then, which darts about like a gurgle of guppies after two too many espressos.

                                Check out mixes that rock between 2-step garage delights like Roy Davis Jr’s ‘Gabrielle’ to Nilsson’s lyrically winsome ‘Coconut’. At one end of the Django spectrum there’s James Last, the terminally unhip Teuton, whose ‘Inner City Blues’ shows you can never underestimate the Germans, while at the far reaches of the mix, they manage to sneak in Ramadanman (‘Bass Drums’) and Hudson Mohawke and Lunice collaboration TNGHT’s ‘Bugg’n’. You can hear the echoes of influences in some of the selections, like The Beach Boys whose peerless ‘Surf’s Up’ makes a welcome appearance halfway through, while Seals & Crofts’ “Sweet Green Fields” show what sun-drenched pop can sound like when it’s done well. And because it’s Late Night Tales there’s a sparkling cover version of ‘Porpoise Song’, the theme from The Monkees daffily brilliant ‘Head’, an admirably lysergic termination to this waltz through pop’s nooks and cranberries. “You should never be afraid to make a fool of yourself for art,” Dave Maclean once said. Let’s raise a dram to Scotland’s favourite fools on the hill.

                                “We wanted to produce a mix that represented the band. It’s what we’re all into, so everyone put forward suggestions. It’s what we are as a band; and we’re kids that have grown up with an obsession about our mum and dad’s record collections, like ‘50s and 60s stuff and then got into hip hop and dance music as we grew up. At the heart of it all is our parents’ collections, with our tastes mixed in. Our Late Night Tales pays homage to that.”
                                Dave Maclean (Django Django)

                                The Revellions

                                Give It Time

                                  Three years have passed since the Revellions released their last single and it’s been five years since their eponymous debut album on Dirty Water Records. This will be the one album this year for which anticipation is high. This is the one the fans have been waiting for. Their BBC sessions recorded on Mark Lamarr’s God’s Jukebox show only whetted our appetite. Compilation albums featured the odd new track. . . But for a whole variety of reasons the new album was delayed and delayed again. “Give it time,” the boys said, “give it time.” Band members came and went . . . Still with us, and appearing live at the Dirty Water Club’s main base of operations these days, the Shacklewell Arms in Dalston, in, ahem, fashionable East London very soon!! are James Lister on guitar and vocals, Thomas D’Arcy on keyboard and vocals, Michael Smith on drums and Brian Salter on bass. The album contains contributions from members old and new and spans a riotous five years, much of which was spent touring around Europe, from Spain to Scandinavia, with recording sessions in Dublin fitted in when they were able to drag themselves out of the pub and away from the Guinness. Despite the time lapse and line up changes, this is no difficult second album. It’s a coherent collection of tracks that truly represents the band at this time. This is a band that has been playing gigs, bashing heads, and coming together, tighter than ever, and with new songs to not just rival but surpass those on the debut.

                                  The Thanes

                                  Dishin' The Dirt / I Don't Want You

                                    Formed in 1980 using the name The Green Telescope, the idea was of playing the ’60s sounds that they were then discovering every day. They switched names to The Thanes (of Cawdor) in 1986, because says Lenny Helsing (lead guitar/vocals), “We wanted something with less of a psychedelic vibe, a name that would more accurately fit in with our sixties American teen-punk garage infatuation.” Their first album “The Thanes of Cawdor” was released in 1987, leading to their organ-driven garage band sound getting these Edinburgh boys support slots with the likes of The Soup Dragons, Primal Scream and, in more recent years, original Nuggets-era bands The Remains, The Sonics, and ? & the Mysterians.

                                    Over the years the group has seen releases on some of the most respected labels supplying the international garage-punk scene, with vinyl and CDs on Screaming Apple (Germany), Larsen (France), Corduroy (Australia), Misty Lane (Italy) and . . . now appearing on the UK’s premier garage rock’n’roll label. With a breathtakingly exciting original in the form of “Dishin’ The Dirt” and a revamped slice of vintage Scot-beat stomp in “I Don’t Want You”, The Thanes – Angus McPake (organ/guitar), Mark Hunter (bass/backing vocals), Mike Goodwin (drums) and the aforementioned Helsing – have created two new recordings produced in McPake’s “Ravencraig” studio lair, a setting that positively channels their predilection for ’60s garage fuzz beat, while, appropriately, bringing out unashamedly untamed, and unchained, aspects of the group that we don’t get to hear too often.

                                    The Kneejerk Reactions

                                    The Indestructible Sounds Of...

                                      This raw rhythm’n’beat garage-rock’n’roll combo, headed up by the ubiquitous veteran rocker, Sir Bald Diddley (aka Hipbone Slim), delivers super rough, tough and wild mid-’60s inspired sounds that are just about as frantic as a pack of dogs in a lamp post factory. It’s British beat at its best, loaded with grab-your-throat guitar riffs, snarling vocals, wailing harp and much maraca shaking -- proper raw-as-you-like freakbeat, inspired by the likes of the Pretty Things, Kinks, Downliners Sect, Them, Birds, Stones, Yardbirds, Sorrows, Small Faces, Outsiders, Bo Diddley, Chuck Berry, Link Wray, Howlin’ Wolf, Jimmy Reed, Sonics, Wailers, Larry & the Bluenotes and the Remains. Basically, all the people in music really worth talking about.

                                      Wolf Music return with the second release on their new vinyl only offshoot with two vicious peak time tracks. Up first is "In My Arms" by Creative Swing Alliance, which has been doing serious damage for the whole Wolf crew at their recent DJ sets. If you've lost your shit to something when these guys have been playing, it was most likely this number. Rattling percussion with just a hiss of distortion plays host to filtered M1 stabs and a beefy bassline while some fierce vocal snippets work the top end. On the flip, Wolf cub Thrilogy takes us deeper with the subtle and melodious "Arctic".  After an early breakdown, the main riff takes the track up a gear with synth lines and submerged vocal elements weaving in and out the stereo field. Another white vinyl winner from the boys at Wolf. 

                                      Lonesome Shack

                                      More Primitive

                                        “More Primitive” finds Seattle’s Lonesome Shack exploring the depths of boogie and country blues. The trio’s sound is raw and immediate with finger-picked guitar lines, soulful crooning and big danceable grooves. Ben Todd’s introspective lyrics take the American blues tradition to a new level, examining personal history, loss of friends, and a burning desire to get to the primitive core of life. The band began in New Mexico’s Gila Wilderness where Ben Todd hunkered down in the shack he built and studied the music of the American folk and blues lineage. In 2008 Todd joined up with drummer Kristian Garrard in Seattle, and in 2011 bassist Luke Bergman became the third member. Over the years Lonesome Shack has self-released three LPs, one EP, a cassette, and completed various US tours.

                                        Emma Ruth Rundle

                                        Some Heavy Ocean

                                          Emma Ruth Rundle is a Los Angeles-based singer/songwriter, accomplished guitarist, and member of Red Sparowes and Marriages. Her first official solo album, Some Heavy Ocean, presents a collection of impassioned, cathartic songs, exorcising the ghosts of one of life's dark detours. Melancholic, but equally hopeful and accessible, the album wears its emotions on its sleeve. One critic described Rundle's voice as "bone-chilling texture filled to the brim with intent", and a better description is difficult to imagine; when paired with her compelling guitar playing, an enduring spirit takes root. In 2008, Rundle was drafted into the monolithic post-rock supergroup, Red Sparowes. Touring the world playing the Sparowes' epic brand of instrumental heaviosity sparked a fruitful musical connection with fellow Sparowes guitarist, Greg Burns. When that band commenced a well-deserved hiatus in 2011, she and Burns (on the invitation of Russian Circles) instigated a new group, Marriages, who supported Circles in California and then promptly began recording a debut mini-album, Kitsune (subsequently released by Sargent House in 2012).

                                          What followed was a "dark, difficult time", marked by family problems and personal struggles which, though exhausting emotionally, also incubated Rundle's conviction to use their inherent misery as fuel for expression. And so, in 2013, she literally moved into Sargent House's home studio in Echo Park, sequestering herself for two months while writing and recording what would become Some Heavy Ocean. Itself a taxing experience, the process of creating the album was fraught with problems and setbacks that, naturally, served to fortify its unmistakable air of sadness and desperation. An apt title if ever one existed, the album swells and crashes, waxes and wanes, ebbing and, yes, flowing - the way all great albums do. The songs twist and sway like kelp forests drunk on its amniotic tide.

                                          'No Deal' is the new album from Melanie de Biasio. Album of the week recently on Gilles Peterson’s BBC 6 Music show, 'No Deal' has already achieved Gold status in her native Belgium, and is approaching Silver in France.

                                          Originally from Charleroi and currently based in Brussels, De Biasio is a classically trained flautist and the possessor of an extraordinary voice - she has been called the Belgian Billie Holiday. The minimalist, semi-improvised 'No Deal' will reward any music-lover willing to take the time to immerse themselves in its subtle splendour. The album should appeal to fans of late-period Talk Talk, who’s Mark Hollis is a huge figure for De Biasio. She also cites Frank Zappa and Pink Floyd as formative influences, plus Nina Simone and Abbey Lincoln, two icons of the civic rights fight and spokeswomen of an aggressive jazz stripped of any affectation.

                                          'No Deal' comes in at 33 and a third minutes and contains just seven songs, through which De Biasio’s voice drifts gracefully, at times disappearing altogether. With Pascal Paulus on keyboards, Pascal Mohy on piano, and Dre Pallemaerts on drums, De Biasio has streamlined everything to give more space to her extraordinary vocals. There is a natural flow to the album, from the intimate beginnings of 'I Feel You' to the farewell note of 'With All My Love'. The final song intimates the reconciliatory, redemptive powers of song, the calm after the storm, yet bristling with emotion, a ‘frisson‘, as they say in French. Rarely has a record unfurled as many dark beauties and hidden luminescence, speaking a thousand musical languages while remaining completely accessible.

                                          Lay Llamas


                                            The Lay Llamas consist of the Sicilian-born and raised but now Rome-based duo of Gioele Valenti and Nicola Giunta, who are now set to release their debut album 'Ostro' this May on Rocket. Recorded in an old-house in the Segesta countryside of Sicily, Valenti and Giunta soaked up the history-imbued environment. The makeshift studio was located alongside the great Temple of Hera that dates all the way back to 6th century BC “We’ve been so influenced by the place’s mood, with that ancient presence in the air” says Valenti. These recording sessions have resulted in a heavily layered album, filled (but not clogged) with various instrumentation from the expected guitars, bass, synth and drums to the more unexpected sounds of Tibetan Bells and Ukulele.

                                            Like any successful duo, harmony and contradiction are equally important artistic traits in their working relationship. Between the two they take in a continent-leaping, platform-splitting array of personal influences that then seeps into their lysergic output. Purely on a musical level there is a joint love of artists such as Ennio Morricone they then split off into the structured and the song heavy (Angels of Light, Nick Drake, Mike Scott) to the rhythmic, both the hypnotic and groove-laden sort (Fela Kuti, Broadcast, Sun Araw, Kraftwerk). Italian tradition plays a pivotal role too with the creeping tones and floating atmospheres of 60’s and 70’s Italian library and soundtrack music playing a subtle supporting-role.

                                            This breadth of personal influences can be found in the emphasis of ‘Ostro’, it’s a constantly shifting record, never remaining stuck or fixated on anything for too long. Crossing continents, be it musically, stylistically or physically, seems to be something the pair return to over and over again, the subtle radiations of Africa that can be heard on the record are no accident, “I think that Sicilians are more like Africans than Europeans in some way. We have almost the same weather and architecture. We feel in our soul the same feeling of all Mediterranean people – a fatalistic instinct of drama. But in our music, Africa is such a metaphysical place, not so geographical, such a map on the sheet of the soul, connecting with ancient rites of Sun, different levels of enlightenment; a sense of a mystical path to follow.” Valenti offers. “A mystical path to follow” is perhaps the most apt description of 'Ostro'.

                                            Whilst the duo work from a shared vision that places keen focus on stream-of-consciousness approaches or, as Valenti puts it “A prismatic panorama, or well, a BRAINMATIC PANORAMA!” there really is an ambiguity, an uncertainness and a sense of the unknown, the otherworldly and the mystical when traversing through the vast spheres of the record. The pair’s own descriptions of some of the album’s tracks are testament to the sprawling, shifting, mass of it all “Suicide and Oneida dancing together around a big campfire” – “Pagan post-punk!” – “a slow march for psychedelic warriors on the unknown planet” – “gospel-dub” – “A bad trip”. And a “trip” it certainly is, some records aim to exist by not coming from a particular place but to exist in the transitions and journeys in-between them. Be them real, mystical or imaginary, present or past, the focus is on the movement rather than the end destination and the Lay Llamas’ debut album 'Ostro' is most certainly one such record.

                                            Hedvig Mollestad Trio

                                            Enfant Terrible

                                              Double-tracked with a ghostly haze of background fuzz, Hedvig’s lightning-rod guitar blazes a trail that comes in the wake of the heaviest guitar giants – there’s Hendrix, Black Sabbath’s Tony Iommi and Led Zep’s Jimmy Page swirling around the cauldron, but also the exploratory, disciplined freeplay of Pete Cosey, John McLaughlin and Carlos Santana buzzing out of her fingertips. Born in the Norwegian town of Ålesund in the early 80s, Hedvig Mollestad Thomassen has been steeped in the guitar since fooling around with her mother’s nylon-strung acoustic at the age of ten. She dug deep into her dad’s jazz and rock LP shelves and translated a biography of Jimi Hendrix for a school project. Then she was given an electric guitar and amplifier as a confirmation present, and never looked back. Together with drummer Ivar Loe Bjørnstad and bassist Ellen Brekken, and recording with an eight-track tape machine, her Trio turn the full force of heavy rock and electric jazz to demonic purposes.

                                              It can be sledgehammer sludge, stoned to a crawl as on ‘Arigato, Bitch’. Or it’s nimble as a phantom on ‘Rastapopoulos’, a dizzying churn that’s named after the archvillain of Hergé’s Tintin cartoons. And for the Mollestad Trio at its intuitive, ESP-connected finest, check ‘Liquid Bridges’. ‘Laughing John’ gestures towards the great Mahavishnu Orchestra guitarist as well as a music teacher, named Jon, who heavily influenced Hedvig’s development. The album’s fine balance between looseness and control follows a year of world touring, and tracks reflect such odd venues as ‘La Boule Noire’, a former Portuguese disco in Paris whose walls are studded with bullets from a gangland shootout. Enfant Terrible follows the Trio’s previous Rune Grammofon releases, the Spellemann (Norwegian Grammy) nominated All Of Them Witches (2013) and Shoot! (2011) and, like labelmates Bushman’s Revenge, Elephant9 and Grand General, represent a thrilling new progressive wave of Norwegian avant rock/free metal energy.

                                              Don’t be fooled by the deceptively innocent portrait of Hedvig herself on the front cover – a rare example of designer Kim Hiorthøy working with classic black and white photography, and an unusual departure from Rune Grammofon’s familiar digipacks. ‘Enfant Terrible is about villains,’ says Hedvig. ‘“Children” that don’t behave, who break rules and abandon systems. They are a disturbance of the peace. But the regular enfants terribles make changes, they are creative, they force you to think differently.’
                                              This Enfant Terrible is one of those.


                                              Courting Strong

                                                Hailing from Pity Me near Durham, vegan straight-edge pop group MARTHA have just signed to Fortuna POP! Providing energetic, impassioned pop punk, Martha are informed by 90s indie rock and Scandinavian anarcho noir. The album, produced by MJ from Hookworms, is laden with harmonies and interchangeable vocals whilst still retaining the energy and excitement of the band’s live shows. Formed in 2011 by siblings Naomi (bass, vocals) and Nathan Griffin (drums, vocals) with J. Cairns (guitar, vocals) and Daniel Ellis (guitar, vocals), Martha have fast become a staple of the UK DIY pop scene. There are many competing stories as to the origin of their band name but it’s a fact that the very last passenger pigeon on earth was called Martha. When she died, the whole species became extinct.

                                                Decamping from the North East to record the album at Suburban Home Studios, Leeds, the band enjoyed the freedom of being in the studio and experimenting with MJ’s equipment to produce unexpected sounds. Taken from a line in the song Gin and Listerine, the album title “Courting Strong” is an expression that was used to describe couples who were getting really serious. There’s the old cliché that when you’re young you think you’re invincible and that everything will last forever - the album is about looking back and reflecting on past moments in your life, past friendships and relationships, accepting the uncertainty and fragility of those things and moving forward positively. The overarching theme of the album is ‘growing up weird’. It’s a semi-autobiographical story about growing up in a small town, with a sense of not fitting in but on the way finding people who share that feeling and forming really strong bonds. It’s an album for the people who stayed in their hometown, and for the people who still go back and visit. Martha’s melodic punk pop celebrates being an outsider whilst being part of a community. The album touches on uncertainty, fear and loneliness whilst exuding an effervescent sense of excitement and joy. There’s darkness beneath the pop surface - but there are also songs about teenage antics, drinking, courting and having your heart broken.

                                                FORMAT INFORMATION

                                                LP Info: Heavyweight Vinyl LP.

                                                Well well well, it seems Hell Yeah are on hand to sweep in the summer quicker than you can say 'Scorchio'. Balearic Gabba bossman Enzo Elia packs up the generator and whacks it in the back of the transit ready to bring his soundsystem to your town. This latest entry in the Balearic Gabba books sees the Italian revisit three classics from back in the day, clean the sand out the sleeves, wipe the sweat off the wax, and harness the power of a thousand gurns for a new generation of dancers. Up first on the A-side is Enzo's rework of Soft House Company's "What You Need", which boosts frequencies all over the place for a total sound system smasher. The original is a tune of the highest order, so the rework sticks rather than twists, opting for a little extra percussion, a few well timed loops and a couple of big breakdowns. The B-side is all about Italo house legend (and Luke Unabomber lookalike) Don Carlos, with "Ouverture" and "Chicago" getting some serious love and affection from Enzo. The 'Tropical Neukolln' edit of "Ouverture" is gonna open sets all over the place this summer, thanks to Enzo keeping it chilled and organic with the addition of some rainforest ambience, working those pads to perfection and bringing the best out of the intricate percussion of the original. This vibe carries straight through into the 'GFR Caffè' edit of "Chicago", which features the best use of a chopped vocal in about 15 years. Soaring operatic wails swirl around your head, while the bouncy bassline and circular sequence take you for a long ride. Already a winner with Leo Mas, Prins Thomas and Gerd Janson, these are gonna fly out, so don't get left behind.

                                                Ezra Furman

                                                My Zero / Caroline Jones

                                                  Ezra Furman has made an album of classicist rock'n'roll that never feels like an exercise, but a living, breathing piece of self-expression." ***** The Guardian

                                                  “Where has Ezra Furman been hiding? A bratty, ragged take on New York Dolls, Spector – era Ramones and E Street Band carnival rock. An unexpected gem.” 8/10 NME

                                                  Following hot on the heels of Ezra Furman's explosive sold out UK tour in February and breakthrough album Day Of the Dog, is a brand new cut and single Caroline Jones.

                                                  Day of the Dog saw Furman progress from the dark chamber-pop and gorgeous balladry of his solo debut and emerging as a stylish, technicolor, pulse-quickening rock provocateur conjuring an intriguing selection of iconic vintage styles. The album was recorded with the members of his regular touring band The Boy-Friends: Sam Durkes – drums, percussion; Ben Joseph – piano, miscellaneous; Jorgen Jorgensen – bass, miscellaneous; Tim Sandusky – saxophone. Furman supplied vocals, guitar, miscellaneous. Throughout the album, there is a sense of bold ambition and grand artistry in the tradition of songwriting giants of the past, but set apart by an undercurrent of deranged, ragged glory.

                                                  FORMAT INFORMATION

                                                  Ltd 7" Info: Very limited tour single.

                                                  Ed Schrader's Music Beat

                                                  Party Jail

                                                    Ed Schrader's Music Beat are Ed Schrader and Devlin Rice, a minimalist punk duo from the fair city of Baltimore, Maryland. In the beginning there was only Ed: a man unhinged, channelling to the world a sacred message in the form of song. His only divining instruments: a single floor tom, one light, and a commanding baritone. “He’s a master songsmith who has reduced pop and punk to their most basic building blocks,” said Christopher Weingarten of the Village Voice. Ed was soon joined by Devlin on bass, who proved to be an acute match for encapsulating the space-time from whence they came.

                                                    Their union quickly brought about the release of their 2012 debut album ‘Jazz Mind’ through Upset The Rhythm (and Load Records in the US), which WIRE magazine said recalled “the percussion-heavy chants of Liars”, with Ed “affecting a mournful Arthur Russell tone on the a cappella songs” whilst “roaring like Rollins” on the album’s faster numbers. The album (featuring collaborations with Matmos and Randy Randall of No Age) captured their raw and jarring live show through weird, wiry rock songs with a decidedly smart sensibility. Since then, Ed Schrader's Music Beat have toured frequently in North America and Europe, notably alongside their friends Dan Deacon and Future Islands, as well as hardcore luminaries Ceremony.

                                                    ‘Party Jail’ picks up where ‘Jazz Mind’ left off, adding a thoughtfully crafted, minimal pop vibe to their already terse punk sound. The follow-up features songs that are equally loud and destructive, pensive and strangely haunting. An early version of "Radio Eyes" was chosen for the "Sub Pop 1000" Record Store Day 2013 compilation. A new version of this song appears on ‘Party Jail’, as well as the upcoming single "Pantomime Jack" which, among other subjects, ponders existing in a universe that culturally charts music that began and ended with the “Live Aid” generation through its self important pontifications and documentaries. “Music begins now!” says Ed. The album also features additional drums by Jeremy Hyman of Ponytail, Dan Deacon, and Boredoms.

                                                    FORMAT INFORMATION

                                                    Ltd LP Info: Limited to just 400 copies on black vinyl.

                                                    Chris Stroffolino

                                                    Griffith Park

                                                      Stroffolino is probably best known to date for joining David Berman and Steve Malkmus to play on The Silver Jews 'American Water' album.

                                                      Griffith Park will be an introduction for most people to a great new songwriting talent and a contender for 2014’s end of year polls. It’s a stripped down effort, featuring only Stroffolino’s voice and piano (with one exception), recorded with stunning clarity and intimacy by Feuerzeig.

                                                      These remarkable recordings call attention to the way Stroffolino weds simple, infectious melodies, with highly emotional, yet carefully placed, lyrics that become more powerful with repeated listening. From the unrequited love of “Wherever it’s Gray” and “It’s Not A Matter Just Of Me,” to the giddy exuberance of the album’s most tightly constructed pop song, “Fire Side Of Me,” Griffith Park features some of the most compelling and poetic lyrics in recent years.

                                                      Jeff Feuerzeig takes up the story from here:

                                                      FEBRUARY 2013, LOS ANGELES: It’s 5pm on a lazy Sunday afternoon and I’m riding my bike home through Silver Lake Junction when I hear someone singing his heart out and playing piano. I think to myself, “This sounds eerily like Daniel Johnston from the early Stress cassettes.” The music fades as I pedal onward. “Hmm… is this as great as I think it is?” I spin my bike around and follow the music to see where it’s coming from. Lo and behold, I turn to my left and parked on the street in front of the 99¢ Only Store is a dilapidated 1980’s Ford Econoline van, the side door open revealing a very dapper, charismatic guy inside singing “49 Bye Byes” by Crosby, Stills, Nash & Young on a beaten-up upright piano. The piano fits so perfectly within the van, it’s as if it were an accessory purchased from the dealer, its side cleverly painted with school-green chalkboard paint bearing the words “Tips Appreciated” punctuated by the upturned mouth of a smiley-face.
                                                      I immediately start rolling Super 8mm on my iPhone 5. “Do you know any Daniel Johnston songs?” I ask. “No. I love the guy and I’ve actually been called ‘the Daniel Johnston of Piano’… in the van, but I do know a lot of Indie Rock. I played in a pretty famous Indie Rock band. You ever hear of Silver Jews?” I reply, “Yes. David Berman.” He then launches into an amazing heartfelt rendition of “We Are Real” from their landmark LP American Water and proudly tells me “I’m on this record.”

                                                      I quickly learn that his name is Chris Stroffolino and he is not only a Silver Jew, but also a Ph.D. holding Shakespearean scholar and published author of no less than eight books of poetry. For reasons that are still fuzzy to me, he is disabled from a bicycle accident, walks with a cane, has recently fled San Francisco (and a relationship with a woman) and landed homeless on the streets of Los Angeles, living in this crazy van with a rescued piano that he’s ingeniously bolted to the chassis. As I listen to his patter and the music pouring out of the van it becomes clear that he is blessed and cursed with the same affliction as the subject of my documentary The Devil and Daniel Johnston.

                                                      Flash forward to a week of spontaneous piano-driven street karaoke outside his van door: “Mony Mony” by Tommy James, “Red Rubber Ball” by The Cyrcle, “Baby It’s You” by Burt Bacharach via The Shirelles, “Lisa Says” by The Velvet Underground - the Live 1969 long version with all the cool parts, Richard Hell’s “Time,” “Stand” and “Everybody’s A Star” by Sly and The Family Stone, The Animals, Metal Circus era Husker Du, obscure Lou Reed-style David Bowie on “Queen Bitch,” and Roxy Music. And my beloved early Kinks —killer Kinks covers! – all performed in the Vons Supermarket parking lot on Sunset (a fave spot of his for tips it seems). The proto-punk gem “I’m Not Like Everybody Else,” “Everybody’s Gonna Be Happy” and “Dead End Street,” the lyrics all delivered with a poignancy that Ray Davies could never have imagined. Truly heart-breaking and optimistic at the same time.

                                                      Another chilly night, Chris lights off an 80’s nostalgia bomb with a set of early Replacements tunes (he’s wearing a Let It Be T-shirt under his jacket and scarf) from their first Twin/Tone LP Sorry Ma, Forgot To Take Out The Trash. “Hangin’ Downtown” is reimagined as a rollicking honky-tonk ditty and the Paul Westerberg down-and-out classic “Here Comes a Regular” literally brings tears to my eyes. I had a friend with me and we agreed that singing along to these songs with Chris, while standing outside his magic van under the halogen lights, is about as much spontaneous fun as you can have in Los Angeles. I’ve always loved experiencing music outside of the traditional club venue and Chris’s street karaoke takes the performance intimacy quotient to a whole new level.

                                                      I soon discover that Chris’s talent goes beyond covers. Over the course of five evenings, I take Chris and his Piano Van up to the parking lot behind the old carousel in Griffith Park. It’s there, under the stars, in the cold, among the trees and the occasional car of teenagers looking for privacy, that I record (in the spirit of Alan Lomax’s field recordings) twelve of his original compositions (plus the cover of Hell’s Time) of unrequited love - songs I’ve come to adore and sing along with as much as the covers that he and I grew up listening to. “Break Up Make Up,” “Make It Rain, and “I’m Not Going Astray” sound like they’ve always been a part of my life and I credit that to our shared love of what Chris has chalked upon his van door – “Indie, Punk, Motown, Brill Building, and Velvets.”

                                                      Jeff Feuerzeig
                                                      Director, The Devil and Daniel Johnston & Producer, Griffith Park.

                                                      Hollie Cook


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

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

                                                        Muyei Power

                                                        Sierra Leone In 1970s USA

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

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

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

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

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

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

                                                          Faze Action

                                                          Body Of One

                                                            Faze Action present new album 'Body Of One' - arguably their best yet, which considering the impeccable back catalogue is no mean feat. Highly-musical, brilliantly arranged, produced and played by Faze Action aka brothers Simon and Robin Lee, the album, is credible for the heads and accessible for newcomers, with serious dancefloor chops 'Body Of One' merges elements of Arthur Russell-style leftfield songwriting, disco, Balearic, post punk, house and boogie, adorned with African and tropical flourishes. Despite the duo's quality touch being clearly audible on every track, collaboration is also a key component, as the album features guest vocal turns from Christopher Woodhouse, plus Mary Moore, and Zeke Manyika (ex Orange Juice Member) Faze Action have spent over a decade refining their signature lyrical and musical style. Their devotion to delivering tracks with both depth and accessibility has earned them the love of loyal and new fans around the world. A staple of many A-list DJs set-list over the years, fans of Faze Action include Andy Weatherall, Gilles Peterson, DJ Harvey, Tim Sweeney, Horse Meat Disco, Todd Terje, Prins Thomas, Carl Craig, Psychemajik ,Phil Mison, Test Pressing and Jarvis Cocker It's Faze Action's unique knack for taking special styles from the past and reinventing, rejuvenating and reworking them into fresh new forms for future generations, that has ensured their lasting appeal, continued relevance, and position at the forefront of the dance music pantheon - on stage, on the turntables and on record.

                                                            King Buzzo

                                                            This Machine Kills Artists

                                                              Legendary Melvins front man Buzz Osborne releases solo, acoustic full-length.

                                                              What started as a trio of kids making their own weird noise grew into the Melvins, a sludge-rock outfit that helped usher in the grunge era and influenced countless bands to come, including Mudhoney and Nirvana.

                                                              For more than three decades, Buzz Osborne and bassist-drummer Dale Crover have been the only consistent members, experimenting with their music as well as their bandmates along the way: two drummers here, a standup bassist there, the return of a founding member who’s been gone for 29 years.

                                                              King Buzzo: “My main goal was to not fall prey to what happens to most rock people who do this,” he said from his home in Los Angeles. “They often end up sounding like a half-assed version of Woody Guthrie or a half-assed version of James Taylor. That’s not what I wanted.”

                                                              “You gotta understand, I wrote a lot of this stuff on acoustic guitar anyway,” he said. “I’ve certainly written a lot of songs [acoustically] that were then translated into the full band.

                                                              The Specials

                                                              More Specials - Inc. Bonus 7"

                                                                The Specials were formed in Coventry in 1977.

                                                                True innovators, the band began the British ska revival craze, combining the highly danceable ska and rocksteadybeat with punk’s energy and attitude.
                                                                The Specials had seven consecutive UK Top 10 singles between 1979 and 1981, including the number 1 hits ‘Too Much Too Young’ and ‘Ghost Town’
                                                                The band’s second album ‘More Specials’ (UK No.5, 1980) was a change in musical direction to their debut. Less frenzied and hard-hitting, it was more musically adventurous and varied, bleaker lyrics reflecting British life at the time.

                                                                This album has been digitally remastered from the original analogue stereo masters and the new vinyl cuts have been made using those new masters. Careful comparison was made to the first pressed copies of the original albums throughout the process to maintain the sound as the band had originally envisaged.

                                                                The album features a classic cover of Carl Sigman and Conrad Magidson's 1940s chestnut ‘Enjoy Yourself’ and a brooding version of the same song featuring the Go-Go's.

                                                                Includes: the Northern soul-esque instrumental ‘Sock It to 'Em JB’ and the Mexican-flavored ‘Holiday Fortnight’; the intriguing ‘International Jet Set’; the apocalyptic ‘Man at C&A’; the mournful, spaghetti western feel of ‘Stereotypes’; the emotional despair of ‘Do Nothing’ and the bright and breezy ‘Hey, Little Rich Girl’ (with fabulous sax solos from Madness' Lee Thompson).

                                                                The immortal line from ‘Pearl's Cafe’ by Terry Hall and Bodysnatchers' Rhoda Dakar, sums up their own, and the country's frustration - ‘It's all a load of bollocks, and bollocks to it all’.

                                                                FORMAT INFORMATION

                                                                LP Info: Remastered 180g Heavyweight Vinyl + 7” Single: ‘Braggin’, ‘Tryin’ Not To Lie’, ‘Rude Boys Outa Jail’

                                                                The Specials


                                                                  The Specials were formed in Coventry in 1977.

                                                                  True innovators, the band began the British ska revival craze, combining the highly danceable ska and rocksteadybeat with punk’s energy and attitude.
                                                                  The Specials had seven consecutive UK Top 10 singles between 1979 and 1981, including the number 1 hits ‘Too Much Too Young’ and ‘Ghost Town’
                                                                  The Specials’ landmark, 14-track-strong debut album ‘Specials’ (UK No.4, 1979), produced by Elvis Costello, declared their intentions loud and clear with a rare blend of furious energy and no-nonsense, hard-hitting lyrics.
                                                                  This album has been digitally remastered from the original analogue stereo masters and the new vinyl cuts have been made using those new masters. Careful comparison was made to the first pressed copies of the original albums throughout the process to maintain the sound as the band had originally envisaged.

                                                                  In essence a studio recording of their live set, the album comprises mostly originals with a few covers of ska classics thrown in for good measure, including their fabulous take on Dandy Livingstone's ‘A Message to You Rudy’, an equally stellar version of the Maytals' ‘Monkey Man’, and a sizzling take on Prince Buster's ‘Too Hot’.

                                                                  Features: the vicious ‘Nite Klub’, with its unforgettable line, “All the girls are slags and the beer tastes just like piss”; ‘Blank Expression’, which extended the misery into unwelcoming pubs‘; ‘Concrete Jungle’, capturing the fear and violence that stalked the inner cities; the personal ‘It's Up To You’, a message to those who disliked the group and its stance, and a rallying cry for supporters; ‘Too Much Too Young’, showing the Specials' disdain for teen pregnancy and marriage; ‘It Doesn't Make It Alright’, delivering a heartfelt plea against racism, and the rocksteady-esque yearning of ‘You're Wondering Now’.

                                                                  Ray Lamontagne


                                                                    Brilliant new album on RCA Records, via Columbia Records in the UK, from Grammy Award winning U.S. singer-songwriter Ray LaMontagne. His 5th studio album and the follow up to the critically acclaimed "God Willin' & The Creek Dont Rise". A ten track album produced by Dan Auerbach (Black Keys) and recorded in Nashville.

                                                                    The Rails

                                                                    Fair Warning

                                                                      'Impeccable folk rock pedigree’ MOJO, ‘a force worth taking seriously’ Guardian New Band Of The Day, ‘folk-rock royalty-in-waiting. 8/10” – Uncut

                                                                      The Rails, Kami Thompson (daughter of Richard and Linda) and her husband James Walbourne (Pretenders, Pouges, solo), make folk music for 2014.

                                                                      'Fair Warning’ features originals alongside new arrangements of traditional songs giving folk music a contemporary edge. The LP is so stunning that Island have resurrected their legendary Pink Label (home of John Martyn, Nick Drake and Fairport Convention) especially for them. Kami Thompson is the youngest daughter of Richard and Linda Thompson, the first couple of Seventies folk rock. She has been a backing singer with Linda, performed with members of the Wainwright family, toured with Sean Lennon and Bonnie Prince Billy and released her own solo album, Love Lies, on Warner Music in 2011. James, a teenage prodigy with a fascination for early rock ‘n’ roll and roots Americana, is now one of the hottest rock guitarists in Britain. He has played with Ray Davies, become part of the touring line up for The Pogues and joined The Pretenders as lead guitarist in 2008. In 2011, he made his first solo album, The Hill, for Heavenly recordings.

                                                                      Gruff Rhys

                                                                      American Interior

                                                                        Gruff Rhys (ex- Super Furry Animals) releases his 4th solo album.

                                                                        American Interior is a unique project that firmly establishes Gruff Rhys as a captivating storyteller, blurring the boundaries and possibilities of songwriting, music, literature, film and technology to create a multisensory experience telling the incredible true story of John Evans. In 1792, John Evans, a twenty-two-year-old farmhand from Snowdonia, Wales, travelled to America to discover whether there was, as widely believed, a Welsh-speaking Native American tribe - The Madogwys - still walking the Great Plains.

                                                                        Bluntman Deejay

                                                                        Esoteric (Real) EP

                                                                        Congratulations you have successfully unlocked your Water Chakra!! ➫ Bluntman Deejay

                                                                        DJ Guy is about ready to drop and Mr Vancouver decided it was about time to step out his hotboxed studio and drop a few words himself. Set to drop straight after 004, without further or due we present to you 1/3 of star group Aquarian Foundation!! - Bluntman Deejay…

                                                                        “Bluntman Deejay offers up two new strains from the smokey labs of the BackWoods. borne from the crucible of vapour experimentalism, cosmic flaneury and spiritual forgery an inorganic chemistry of drum machine and plant matter n-xtracted and VAC purged for ultimate dancefloor purity ratings.

                                                                        Esoteric Communion
                                                                        A meditation on the separation between spirit and body gazing and sprinting spliced (sliced) at rush hour. a fast-approaching sensation that is both psychedelic and super calming on the mind and body.

                                                                        Astat (Real)
                                                                        Strawberry cough blooming for the smoke eaters. A rotating earthy motif derived from the tonal equations of the ethiopian master Mulatu Astatqe. Coffee, citrus and salt tones, with a dank undertone.

                                                                        Sprung up from his much-fêted clubnight of the same name, Bradley Zero has enlisted fellow Peckham local Al Dobson Jr to inaugurate Rhythm Section International with this: Rye Lane Volume 1, an 11 track mini-LP stuffed to the rafters with summery goodness. The importance of location on Rye Lane Volume 1 appears both tantamount and inconsequential: many of the titles on offer dot specific points of reference on the map (Peru, Grenada, Cameroon, Columbia, Peckham's Rye Lane), but Dobson Jr does his best to melt these heterogeneous influences down into something definably his own.

                                                                        Elliptical funkiness and nimble calypso grooves bob and weave through the melodic, soft-tone jazz stylings, all underpinned by a steady bump. This melange of warm styles mirrors the Peckham streets upon which it was cooked up, teaming with raw energy but quietly confident enough not to shout too loud about it. Tempos shift up and down at will as Dobson Jr shuffles through his strong pack at speed, maxing out the replay value.

                                                                        With it being almost impossible to define the sound of Rhythm Section in one record, Rye Lane Volume 1 perfectly fits the role of inaugural release by the way in which the album encapsulates the sum of Rhythm Section’s influences into one coherent blend of experimental, percussive led jams. This selection of tracks, carefully curated from over 200 never released works, is a concise statement from the Peckham based label as it confidently steps out from it’s humble suburban origins into the international arena.

                                                                        It's been getting a heap of love from across the board, too: DJs as diverse as Horse Meat Disco's Severino, Lefto, Midland, PAN's Bill Kouligas, Anthony Naples and Gilles Peterson have been affording regular play to Al Dobson Jr. joints on offer; but we'll leave the final word to Eglo head honcho Alex Nut: "SO SO SO SO GOOOOD! Al Dob is ridonculazZz for sure. [insert lazer gun sound here]". You can't say fairer than that.

                                                                        STAFF COMMENTS

                                                                        Matt says: Futuristic percussion jams for your all day carnival buzz. Slow, sweaty grooves to drip ice cream all over your turntables too.

                                                                        Guy One

                                                                        Suro Yuama

                                                                          Guy One is the representing voice of the Frafra people in northern Ghana. As the winner of the "Ghana Music Award 2012" he is a super star among the Frafra. He sings and plays the Kologo, a 2-stringed guitar, mostly for traditional occasions. His words always have a strong meaning which gives him the attribute of a singing philosopher.

                                                                          For Philophon he teamed up with Max Weissenfeldt, drummer of the legendary Poets of Rhythm and Whitefield Brothers, to create a deep groove with a haunting choir of Frafra soul.

                                                                          Nat Birchall

                                                                          Live In Larissa

                                                                            Nat Birchall is one of the UK’s most special musicians, a spiritual, soulful saxophonist who has drunk deeply from the endless well that is the music of John Coltrane. A modest man, Birchall is happy out of the limelight but nonetheless has found international acclaim for a series of fine albums on Matthew Halsall’s Gondwana label as well as more recently his own Sound Soul and Spirit imprint. This, his sixth album, is his first ever live recording and is released on vinyl and download only. A decision Birchall took on listening to the tapes and thinking the music really suited the warmth of vinyl. It features the core band from his last recording World Without Form: pianist Adam Fairhall, vibist Corey Mwamba, bassist Nick Blacka (GoGo Penguin) and drummer Paul Hession.

                                                                            The recording came about when Birchall played two nights at the Duende Jazz Bar in Larissa, Greece in May 2013 – where, despite the tiny stage, the warm welcome and overwhelmingly positive reaction to the music inspired the band to reach deep within themselves for two nights of truly inspired music. Thankfully the tapes were rolling and despite the tiny stage and proximity of the mics (a nightmare for mixing) the music was really happening.

                                                                            Live In Larissa opens with John Coltrane by the bassist Bill Lee (father of Spike Lee) from Clifford Jordan’s classic Glass Bead Games album – a lost 70s classic on the Strata East label. Everyone solos and the band really stretch out with the performance taking up the whole of Side A of the LP. Divine Harmony is from Nat’s World Without Form recording and the title comes from the harmony that exists throughout the universe and the song has a hymn or prayer-like quality to it. Return To Ithaca is a densely textured musical journey also from World Without Form. Side C opens with Journey In Satchidananda - a classic song by Alice Coltrane. This, along with "John Coltrane" have been in Nat’s set list for the past ten years at least and although the song is pretty much just a bass-line it leaves plenty of room for improvisation and Birchall’s playing here is based on the original recorded melody (as played by Pharoah Sanders). World Without Form is inspired by how musicians aim to "make something out of (almost) nothing" when they improvise on simple melodies and forms. Both this and Divine Harmony are songs where the tenor plays the theme in a strong way, leading the ensemble, who accompany according to the melodic lead. On The Black Ark the bass, piano and horn/vibes parts are simple but rhythmically subtle and "lock" together to make the song work. This gives the music a particular sense of swing without having a walking bass line. Finally the album closes with Sacred Dimension, the title refers to the attempt to reach a higher state of mind when playing music. To try to transcend the notes and get to a place where the music happens by itself. In order to do this there are several things that need to be in place, the right musicians and the right audience and on this rare occasion in a small jazz bar in Larissa the magic happened and the band and audience reached that special place and praise be indeed that the tapes were rolling!!!

                                                                            Kalbata & Mixmonster

                                                                            Congo Beat The Drum

                                                                              Freestyle Records is immensely excited to be the musical home of the stunning album Congo Beat The Drum from Kalbata & Mixmonster.

                                                                              Kalbata (Ariel Tagar) is a techno & 2-step producer who previously released on labels such as Soul Jazz, Brownswood and Greenmoney. Kalbata did a string of high profile remixes for artists such as Fat Freddy's Drop, Spank Rock, The Count & Sinden and Roll Deep, collaborated with Warrior Queen and is also the man behind reissue labels Fortuna and Spring Hill Records. Mixmonster (Uri Wertheim) is the man behind funk band 'The Apples' as well as a member of cut-n-paste duo Radiotrip.

                                                                              Ariel and Uri went into their home studio ago in Tel Aviv, Israel with the purpose of recording a 100% analogue dub album in the spirit of the late King Tubby and the early dancehall era of the late 70's and early 80's. A 16-track tape machine and an old analogue mixing desk were their main instruments, with musicians playing live all throughout the album.

                                                                              A year after recording the instrumental backing tracks, they travelled to Kingston, Jamaica and started tracking down their favourite singers and deejays from days gone by.

                                                                              The resulting long playeris on the one hand truly loyal to the origins of Jamaican music and on the other, a well produced forward thinking album, sounding totally fresh in today's music aesthetics. It will also rattle your speakers in ways not heard since the heyday of reggae & dub!

                                                                              The highlights of this quite amazing long player are many, but from the beautiful & mellow 'Prisoner In Love' ft Little John, though the utterly original, drum driven title track Congo Beat The Drum on which Major Mackerel displays his amazing vocal talents as the earth shattering rhythm shakes the floor.

                                                                              There is yet another amazing musical moment when JA legends Trinity & Jah Thomas join forces over a dub style rhythm on Trouble In The Dance, as reverberating rimshots and analogue synths bubble and squeal on this dark dance floor destroyer.

                                                                              Echo Minott worked with luminary King Jammy at the tender age of just 17, and his dreader than dread vocal performance on Out A Road, and the fully analogue production of this album really rings true on this track.

                                                                              Sadly, Voice make A Joyful Noise may be the last recording made by the late Prince Jazzbo before his untimely passing in September 2013. Another genuine Jamaican legend who collaborated with Coxsone Dodd and Lee Scratch Perry, as well as running the highly respected Ujama Records for many years. Voice make A Joyful Noise is a wonderful epitaph to a great career in original Jamaican music.

                                                                              The final cut features multi talented genius Kutiman on the CRB organ - adding his keyboard skills to an instrumental version of Prisoner In Love - finishing off what may just be the greatest new reggae album for years past and even years to come!



                                                                                The last time Fennesz released an album on Austrian label Mego it was 2001 and the name of that release was 'Endless Summer'. Now in 2014 Editions Mego is extremely proud to release the conceptual follow up that landmark of abstract pop. Becs (pronounced 'baeetch') is Hungarian for Vienna and is the first full length Fennesz solo release since 2008's 'Black Sea'.

                                                                                Eschewing the more drone orientated works of 'Black Sea', 'Becs' returns to the more florid pop mechanisms as deployed on Endless Summer. 'Static Kings' features the extra leverage of Werner Dafeldecker and Martin Brandlmayer who deploy a range of atmospheric abstract effects to shape a bewitching sound world. The 10 minute centrepiece 'Liminality' (featuring Tony Buck on drums) is classic Fennesz: epic, evocative, beautiful, impossible. 'Pallas Athene' creates a sanctuary of hovering beauty which leads into the title track. Emotional and assured, the track 'Becs' is an astonishing contribution to contemporary pop. 'Sav' co-written by Cedric Stevens (aka Acid Kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where the closing 'Paroles', a gentle melody unravels amongst swirls of electronics and fried disruption. Becs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed Fennesz signature.

                                                                                A singular work by a singular artist.

                                                                                Mak & Pasteman


                                                                                  New Mak & Pasteman on Lobster Boy on 180g vinyl.

                                                                                  Pev / Kowton

                                                                                  Livity / Jam01 - Ghost-202 / Beneath Remixes

                                                                                    The next remix 12″ from last years Livity Sound compilation features remixes by Ghost-202 aka Ron Morelli & Svengalisghost and Beneath.

                                                                                    Dan Sartain

                                                                                    Pass This On

                                                                                      Dan Sartain follows 2012’s Ramones suffused ‘Too Tough To Live’ album with an altogether more eclectic proposition in the shape of new album ‘Dudesblood’.

                                                                                      The lead single is a truly inspired take on The Knife’s ‘Pass This On’. On the flip is another cover, Roy ‘King Of The Cowboys’ Rogers’ ‘Dust’, taken from Dan’s ‘He Touched Me’ album, available via Bandcamp with all proceeds donated to the Travis Jackson Memorial fund.

                                                                                      Says Sartain of the unexpected cover: “I liked ‘Pass This On’ the first time I heard it. I still don’t know what the song is about, but it’s originally performed by a brother sister duo, right? I think it’s all paraphrasing the drunken ranting of a female fan at a show. Something some drunk girl said to the sister. That’s just my take on it. I’m sure the question is probably more interesting than the real answer.”

                                                                                      ‘Dudesblood’ sees Sartain careering between the paranormal John Ford C&W of ‘Marfa Lights’ to UK anarcho-punk (‘Smash The Tesco’) before finally reprising his country trails croon for ‘Rawhide Moon’ and the album’s improbable conclusion, ‘Moonlight Swim’ (originally a 1957 hit for Anthony Perkins - who played Norman Bates in ‘Psycho’ - and later for Elvis).

                                                                                      Benjamin Booker

                                                                                      Violent Shiver

                                                                                        Described as “a well-mixed musical cocktail of punk, folk, and New Orleans blues,” Benjamin Booker cites his influences as The Gun Club, Blind Willie Johnson, and T. Rex.

                                                                                        The 22-year-old singer-songwriter plays as a two-piece with drummer Max Norton, both of whom are based in New Orleans.

                                                                                        Booker’s debut album produced by Andrija Tokic (Alabama Shakes, Hurray For The Riff Raff), is forthcoming on Rough Trade.

                                                                                        Booker has been hand-picked to open for Jack White on a series of US July dates, and following his first UK headline tour in May will play a series of US dates with Courtney Barnett

                                                                                        He is currently on tour in the US with Hurray For The Riff Raff. · “Benjamin Booker blasted a raw brand of blues/boogie/soul,” observed the Chicago Tribune’s Greg Kot in his SXSW wrap-up. “He likes to leave the rough edges intact, bringing to mind the houserockin' records that Hound Dog Taylor once did for Alligator Records in the 70s.”

                                                                                        American Songwriter said “The 22-year-old New Orleans guitarist / songwriter - joined live by drummer / mandolin player Max Norton - took the stage as an unknown and… stepped off the stage a conqueror.”

                                                                                        “It might look like just two people onstage but Benjamin Booker’s voice surely counts as a band member in its own right. Soulful and sandpaper-rough…” noted The Guardian, while NME said “he takes the ripped, raw racket of The Dirtbombs and smothers it in fuzzy, inherently moody-sounding riffs that recall The Gun Club and T Rex in equal measure.”

                                                                                        FORMAT INFORMATION

                                                                                        Ltd 7" Info: Limited edition red vinyl.

                                                                                        The Trouble With Templeton


                                                                                          Already a huge success in Australia, The Trouble With Templeton is the creation of singer / songwriter Thomas Calder, a 23-year-old wunderkind who formed the band in 2011. The following year saw TTWT expand to a 5-piece, the new members complimenting Calder’s emotive vocals and songwriting with a collaborative, selfassured sound.

                                                                                          Adventurous, eccentric and stunningly melodic, ‘Rookie’ is an album that leaves a distinct musical impression. With their debut release The Trouble With Templeton have crafted a record full of warmth and heart, whilst displaying a willingness to make music that’s not afraid to affect or surprise.


                                                                                          Life Among The Savages

                                                                                            It’s a rare to come across an artist who’s equally skilled in songwriting, singing and production but lone-arranger Jason Quever, better known as San Francisco’s Papercuts, is a master of all trades. That the pocket-sized symphonies of brand new album ‘Life Among The Savages’ are set to see the light of day is through nothing but meticulous focus - due to his whizz-kid knack for instrumental arrangement, Quever often finds himself a sought-after musical collaborator.

                                                                                            As with each Papercuts album to date - 2004’s ‘Mockingbird’, 2007’s ‘Can’t Go Back’, 2009’s ‘You Can Have What You Want’, and 2011’s ‘Fading Parade’ - Quever recorded his latest offering on his Ampex 2” 16-track reel-to-reel in his home studio, Pan American, whittling the record down to its essentials over a two year period. It was there he worked alongside Port O’Brien, Beach House, Still Flyin’, The Skygreen Leopards, and most recently Galaxy 500’s Dean Wareham on their own recordings. “Galaxy 500 was a big influence on my music so it was very special to make a record with him that I’m really proud of,” says Quever. “More importantly, we had a great time doing it.”

                                                                                            Unassuming though ambitious, a life in demand was hardly of Quever’s expectations but such a skill set could never be kept secret for long. “I don’t want to hit people over the head. That’s just not who I am. I don’t necessarily like to be the centre of attention,” he’s often said. Yet ‘Life Among The Savages’ is about to do precisely that. The most concise and lucid Papercuts release to date, it demonstrates a uniquely fresh approach to classic instrumentation through shrewdly combining dreamy baroque pop string arrangements with lighter-than-air vocals via potent production work.

                                                                                            While Papercuts echoes bands like Spiritualized and The Zombies in mood, ambitious orchestration (the title track itself contains an arrangement contribution from Beach House’s Alex Scally) and the high-calibre dream pop of beautifully hypnotic tracks such as ‘Staring At the Bright Lights’, the sound on ‘Life Among The Savages’ is undeniably Quever’s own. Alongside haunting melodies that soar over strings, garagey guitar hooks, piano and mellotron, and energetic bass and drums that never rely on a clichéd beat, it’s impossible to refrain from being spellbound by Quever's unpredictable and chaotic world, whatever that may consist of.

                                                                                            “I like to write short stories, at least have the story in my mind and allude to it... from dystopian short stories to a utopian take on things, being outside looking in, alienation, search for bliss, the chaos of relationships, insanity, suicide...”

                                                                                            Having lost both of his parents and being orphaned at a young age before growing up on a commune, Quever is no stranger to the complexities life can bring. Crediting the four-track he got after his parents died with both helping him cope and inspiring his career, ‘Life Among The Savages’ is the next step in a musical trajectory that’s gently reshaping pop music in the way very few musicians know how.

                                                                                            Mimicking Birds


                                                                                              Nate Lacy spent the years since his teens exploring his inner world and his connection with the universe at large. These days, Lacy is focusing his gaze further outward, exploring what he calls “the infinite and the infinitesimal,” while also keeping lyrical watch on the crossroads where our digital future and our pastoral past bump up against each other. Few are the artists who are able to bring such thorny and thoughtful issues to bear in their music, but that is just one of the many reasons that ‘Eons’, the new album from Mimicking Birds, is so very special.

                                                                                              How this comes out through Lacy is in toothsome lyrics that are filled to bursting with imagery, philosophical questions, and deep personal concerns. That he finds ways to tie these concepts together without losing his way or our fascination with them is a testament to his songwriting prowess.

                                                                                              The rest of the band, Aaron Hanson and Adam Trachsel, remain connected, emphasizing fingerpicked acoustic guitars, the sturdy tones of a stand-up bass, and restrained drums, while pushing into the future as well.

                                                                                              ‘Eons’ feels as expansive as its title thanks to the help of producer Jeremy Sherrer (The Gossip, 1776), weaving gorgeous electronic textures into the songs - listen for the skittering programmed beat that helps carry ‘Owl Hoots’ forward, or the swells of keyboards that pull closing track ‘Movin’ On’ towards an 80s pop sunrise.

                                                                                              Bo Ningen


                                                                                                Bo Ningen’s third album ‘III’ is a rich and accomplished album that has seen the band evolve musically. Collaborations with Jehnny Beth of Savages and Roger Robinson of King Midas Sound feature and the band have sung partly in English for the first time. 

                                                                                                ‘III’ illustrates Bo Ningen as a group with a singular vision, reaching for what they define as ‘pure music’, by turns esoteric and a no holds barred sensory assault.


                                                                                                Shall We Take A Trip - Factory Recordings 1990-1991`

                                                                                                  Northside charted with their very first single, the double-A-sided ‘Shall We Take A Trip’ (with its notorious opening chant, “L… S… D”) and ‘Moody Places’. Follow-up ‘My Rising Star’ peaked at No. 32 in November 1990 and the band enjoyed a third consecutive Top 40 in June 1991 with ‘Take 5’. That same month, the band’s only album, Chicken Rhythms, reached No. 19.

                                                                                                  Thereafter, Northside demo’d material for a second album but Factory Records got into financial trouble and the band eventually split up.

                                                                                                  Recently, however, the original line-up of Northside have reunited for a tour: Warren "Dermo" Dermody (Vocals), Cliff Ogier (Bass), Timmy Walsh (Guitar) and Paul Walsh (Drums).

                                                                                                  Luke Haines

                                                                                                  New York In The 70s

                                                                                                    Following his exclusive Record Store Day single release, Luke Haines (The Auteurs / Baader Meinhof) is back with his new solo album ‘New York In The ‘70s’.

                                                                                                    After 2013’s critically acclaimed ‘Rock & Roll Animals’, ‘New York In The ‘70s’ is Luke’s new concept album – a mythic re-imagining of the New York Rock n Roll scene 1972 - 1979.

                                                                                                    Natalie Merchant

                                                                                                    Natalie Merchant

                                                                                                      Natalie Merchant’s new self-titled album is the multi-platinum singer’s sixth solo collection, and her first of entirely original songs in 13 years. This self-produced album is the work of a mature artist with a clear and distinctive voice. Long appreciated for the depth and substance of her writing, Merchant has never shied away from weighty themes or subjects for her lyrics. She describes the new release as informed “by experience and keen observation,” dealing with issues of “love gained and lost, regret, denial, surrender, greed, destructiveness, defeat, and occasional triumph.” Combining three decades of experience in song writing and album making, Merchant's production style is nuanced and pure. Her voice is framed by a balanced blend of electric and acoustic sound throughout with musicianship of exceptional quality. String, brass, and woodwind arrangements mingle with Hammond organ and electric guitar improvisations. Players include John Medeski, Shawn Pelton, Clark Gayton, Uri Sharlin, Jesse Murphy, Erik Della Penna, Gabriel Gordon, and guest vocalists Simi Stone, Elizabeth Mitchell and gospel singer Corliss Stafford.

                                                                                                      Lykke Li

                                                                                                      I Never Learn

                                                                                                        Swedish singer-songwriter Lykke Li releases her third studio album – the follow up to 2011’s critically-acclaimed “Wounded Rhymes”. Co-produced by long-time collaborator Björn Yttling, Greg Kurstin and for the first time by Lykke herself, “I Never Learn” is the third and final part in a trilogy. Taking inspiration from her LA surroundings where much of the record was recorded, Lykke commented, ‘Every song on the album is a power ballad. Like one of those old radio stations. This is a slow dance; a slow burner.’ With song titles like ‘Never Gonna Love Again’, ‘Sleeping Alone’ and ‘Heart of Steel’, “I Never Learn” was inspired by a recent heartbreak and Lykke’s songwriting is all the more devastating for it.



                                                                                                          ‘CUZ’ are Mike Watt (Minutemen, fIREHOSE, The Stooges) and Sam Dook (The Go! Team). A collaboration which has produced this album, ‘tamatebako’- a conversation taking place over eight years and several continents.

                                                                                                          Weaving eclectic influence- from Japanese folklore (the ‘tamatebako’ is a Pandora-style box featured in the ‘Urashima Tarō’ legend), through ancient British landmarks, to personal loss- into a heady mix of whisky-gnarl, motoric riff, thrift-store percussion and toy synth, the effect is a tight, groovy, ever-elusive, outsider pop. Vocals come from both Watt and Dook, often within the same song, representing an unlikely pairing of throaty drawl and choir-boy purity that works magnificently. Guest vocals come in the form of the esteemed beat writer Charley Plymell, and Kaori Tsuchida (The Go! Team), amongst others.

                                                                                                          Watt and Dook first met in Australia in 2006 when both The Stooges and The Go! Team, were playing at The Big Day Out festival. “Mike was being loud and friendly, dousing his festival food with home-made Watt Chilli sauce straight out of his chilli belt holster”. From that moment their friendship was forged, with the pair beginning a “tour diary style exchange” which turned into the sharing of home-recorded demos. The dialogue unfolds and takes shape over a series of meet-ups squeezed into pockets in tour schedules and “beer and Black Crow Skype sessions”.

                                                                                                          FORMAT INFORMATION

                                                                                                          Ltd LP Info: 180g Black Vinyl/Handmade Sleeve - LTD TO 200

                                                                                                          Dune Rats

                                                                                                          Red Light Green Light / Fuck It

                                                                                                            At a time when true rock tales are as rare as chicken lips, Dune Rats are traveling the globe as punk rock pied pipers, attracting an army of ferocious life enthusiasts who are as willing as they are to throw the dice, turn reality sideways and roll with whatever goes. Ratbags, nerds, delinquents, outcasts, the brave, the loud, the shy - Dune Rats don’t care who or what you are, only that you abide by just one rule – no kooks, no gutties. Palming Dunies off however as your average trio of wasted lunatics, would be a sad and narrow-minded mistake. These three take as much pleasure in overt politeness and the odd spot of gardening as they do in the eyes-wide open adventure of tilting reality. But at the core of it all - the platform for everything that follows - is their uncalculated lust for making music. It’s taken them from Brisbane to the US, South Africa (ask them how the hell they found themselves here!), China, Indo, Malaysia, Canada, Singapore, a small seaside shanty South of Sydney and to the proudest musical moment so far – the writing, recording and the imminent release on Dune 1st of their first full-length record.

                                                                                                            Dunies self-titled debut album began to bed in when they read a letter Steve Albini wrote to Nirvana in the lead in to the recording of In Utero, which got them frothing on the idea that if they couldn’t record their album in little over a week, they had no right to be in a rock band. They connected with the ethos of no bullshit songs, written in a garage and recorded by a friend. That friend turned out to be Woody Anderson, tour manager and sound engineer for Children Collide whom they’d not long before bro’d up with when the two bands toured together. Dune Rats took to the challenge with the same merciless conviction that’s gotten them both fucked up and famous. Over the span of a month they bunkered down in a tiny shed at Brett’s Mum’s house on the beach and began to pen songs with fervor. Those four weeks became all about growth. The creative well bubbled over beyond the tunes and they took to renovating the tiny shed, turning it into a tiny soundproof studio, they built a vege garden, they surfed, they chilled out, they slept in beds (for a change), they wrote songs together in the true spirit of what it means to be a band and they recorded all the demos. By the time they went into the studio with Woody in Melbourne, they were ready for the Albini-esque timeframe and needed just a half-day of pre-production and they were on their away.

                                                                                                            ‘Funny Guy’ is the first single from the brand new album. A track that rips, just like the Dunies. It’s an anthem calling out to all those that feel the need to look like something they ain't - living one life, presenting another - leading to the lyrical catch cry ‘ Why you gotta lie, all the time??’



                                                                                                              Ultra-limited 7” of the first track from the new BRNS album.

                                                                                                              Roddy Frame


                                                                                                                Ahead of Roddy Frame’s new album later this spring we’re pleased to be pressing vinyl copies – not previously available - of Roddy’s solo albums Surf and Western Skies. Surf, Roddy’s second solo record, was released in 2002 and features a series of totally acoustic performances. The eleven songs capture Roddy at his personal best in terms of finely crafted songs and deft, highly accomplished guitar work.

                                                                                                                “A songwriter's masterclass” NME.

                                                                                                                Person Of Interest

                                                                                                                Russian Torrent Versions 8

                                                                                                                  Version 8 is by unknown producer Persons of Interest. A side has blissful strings and edgy drumprogramming, on the flip quirky basement techno bizz. Ltd 12. Check!!

                                                                                                                  Clendon Toblerone

                                                                                                                  It Is Within

                                                                                                                    Ric Piccolo

                                                                                                                    Austral Works 2

                                                                                                                      Tango! Volume two in the rare Argentinian grooves, reworked by disco connaisseur Ricardo Piccolo. You'll never find these joints again! Limited to 250 copies.

                                                                                                                      Mr Scruff

                                                                                                                      Friendly Bacteria

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

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

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

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

                                                                                                                        Various Artists

                                                                                                                        Hyperdub 10.1

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

                                                                                                                          Curtis Harding

                                                                                                                          Soul Power

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


                                                                                                                            Da Mind Of Traxman Vol. 2

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

                                                                                                                              Various Artists

                                                                                                                              Voodoo Voodoo - Feisty Fifties Females

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

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

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

                                                                                                                                Eddie C

                                                                                                                                Want To Please

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

                                                                                                                                  Niconé & Gunjah / Split Secs

                                                                                                                                  Speicher 78

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

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

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

                                                                                                                                    Various Artists

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

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

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



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

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

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

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

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

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

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

                                                                                                                                        Nancy Wallace

                                                                                                                                        Home / Pockets

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

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

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

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

                                                                                                                                          No Babies

                                                                                                                                          Yo No Soy Como Tu

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

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

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

                                                                                                                                            FORMAT INFORMATION

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



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

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

                                                                                                                                              Various Artists

                                                                                                                                              Viper 100 - Celebrating 15 Years & 100 Releases

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

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

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

                                                                                                                                                Sean Nicholas Savage

                                                                                                                                                Bermuda Waterfall

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

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

                                                                                                                                                  Grenier, Archie Pelago

                                                                                                                                                  Grenier Meets Archie Pealgo

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

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

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

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

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

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

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

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

                                                                                                                                                    FORMAT INFORMATION

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



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

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

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

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

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

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

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

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

                                                                                                                                                      FORMAT INFORMATION

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

                                                                                                                                                      Yamantaka // Sonic Titan



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

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

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

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        CD Info: CD digipak includes printed lyrics sheet.

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


                                                                                                                                                        Commuter Love

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

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

                                                                                                                                                          FORMAT INFORMATION

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


                                                                                                                                                          Yellow Dash / Kukulcan

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

                                                                                                                                                            Jeff Burch

                                                                                                                                                            Jeff Burch

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

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

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

                                                                                                                                                              He Wasn't Just A Fifth Member Of Joy Division

                                                                                                                                                              A Film About Martin Hannett

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

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

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

                                                                                                                                                                FORMAT INFORMATION

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

                                                                                                                                                                Martin Hannett

                                                                                                                                                                Pleasures Of The Unknown

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

                                                                                                                                                                  The Brian Jonestown Massacre


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

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

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

                                                                                                                                                                    FORMAT INFORMATION

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

                                                                                                                                                                    Her Name Is Calla


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

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

                                                                                                                                                                      Various Artists

                                                                                                                                                                      Too Slow To Disco - Volume 1

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

                                                                                                                                                                        Shawn Lee

                                                                                                                                                                        Golden Age Against The Machine

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

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

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

                                                                                                                                                                          Cannonball Adderley

                                                                                                                                                                          Somethin' Else - Remastered Vinyl Edition

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

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

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

                                                                                                                                                                            Herbie Hancock

                                                                                                                                                                            Maiden Voyage - Remastered Vinyl Edition

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

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

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

                                                                                                                                                                              40 Thieves

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

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

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

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


                                                                                                                                                                                The Dubs

                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                  10" Info: Limited white vinyl pressing.

                                                                                                                                                                                  Jack White


                                                                                                                                                                                    Ralph Jones

                                                                                                                                                                                    The Slumber Party Massacre - Original Score

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

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

                                                                                                                                                                                      FORMAT INFORMATION

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

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                                                                                                                                                                                      RT @manyeclectics: Pleased to get 2 #RSD14 releases today, Marianne Faithfull - Sister Morphine and Albarn's Hollow Ponds. From favourite s…
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                                                                                                                                                                                      We've had a few @RSDUK items come back in stock today-here's the current list of items that you can buy instore now!
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