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Napoleon & Hristo

Sudden Edit 001

    Maximum swelter on this special 7" straight out the Tropics! Costa Rica's first ever vinyl only disco edits label takes its first steps thanks to this edit double header from label boss Napoleon and Honey Disco's own Hristo. Napoleon digs deep in the crates and comes up for air with a dusty Island groover, sexed up and ready to get hot and heavy in the undergrowth. On the flip, Hristo gets real smooth on the all out lovers' groove "Deja Vu". Looped to perfection, this midnight mover soon relaxes into the heat and intimacy of a night of wild yacht bound passion. This 7" may be diminutive compared to the larger format, but it's all about the motion of the ocean baby.

    Various Artists

    House Masters - Masters At Work

      There are few names in dance music today which need less of an introduction than Masters At Work. The duo of Louie Vega and Kenny 'Dope' Gonzalez have forged a reputation for genre-eschewing DJ sets and flawless house production during careers which have spanned decades and seen hundreds of releases and remixes. Their influence and reach changed house forever. Taking the song-writing ability of Vega and fusing it with Gonzalez's encyclopaedic knowledge of breaks and hip-hop, the pair created a smooth-yet-underground sound that is still being copied and referenced by producers today.

      Now, for only the second time in their 25 year partnership, they're putting together a “Best Of” collection for Defected Records, the home of some of one of their biggest ever releases, the 1999 hit ‘To Be In Love’.

      The timing couldn't be more apt during a period which is being dominated by 'deep house', a genre MAW were at the forefront of when it first emerged in the mid-90s. But to tie them to one sound would be far too simplistic. Masters At Work have always operated according to their own rules and their own sound. Whether it's the sampling techniques of hip-hop, the swing of Latin styles or the soulful euphoria of house – they've always added their own special ingredients, which is what makes Masters At Work genuine dance music legends


      Andre And Leslie

      Stress

        Kasset is very proud to announce the first release, André and Leslie - Stress. It is a re-issue of a track originally released in 1979 on the cusp of the Belgium new wave explosion....crossing the disco and wave wonderfully.

        André Brasseur, producer of this track, experienced some major changes in his life, not all good. He got very ill and these feelings reflected in this extraordinary piece of music

        To us, this is a real masterpiece in the electronic disco music style. A must-have for all people who love Italo, Disco, Electronic music of the 70's and 80's and a lot of other styles of music. The exact reason of the repress, is the extreme rarity of this magnificent record, it is almost impossible to find. Kasset is very proud to be able to deliver you this unique piece of musical joy.

        A major thanks goes to the producer himself, André Brasseur, whose cooperation was crucial. Without his help we couldn’t have made this happen. He kindly delivered us the recording of the master and the original artwork for the record sleeve so we could take the next step in the process.

        Well, KAT Records reach the ripe ol' age of 21 with an exactly what it says on the tin release being the Giant Cuts EP which pays testament to the versatility that's seen the KAT label take on board varying styles & ge-nres since it's conception back in 2007.

        This 4 tracker of gargantuan proportions from edit hot shot Deadly Sins sees both classic and underground cuts getting the royal edit treatment and then some this time, mainly focusing on disco, soul & funk.

        Starting proceedings we have El Afro, a wicked up tempo disco beauty with an ace afro disco conga loop, squelchy bass, clavs a plenty and love boat-esque keys & strings.....Proper!
        Hot on the heels we have Shave a Pair. This absolute Loft classic gets that all important break beefed up and stretched out to satisfy all your dj & dance floor needs.

        Mary's Red Hot Grooves kicks off the flip. Originally by Mary Wilson and out in '79 this rolls funk, soul & disco into one producing a monster of a dancer that is simply irresistible - Again, that the break's been stretched followed by a mighty fine arrangement that takes this track from good to great.

        Last but no means least we have Give Me Your Love - Originally penned by none other than Curtis Mayfield and covered by Sisters Love in 1973. Deadly Sins firmly has the dj in mind with this re-assembly laying the building blocks and slowly building from the break then those meltingly good vocal stabs hit followed by that riff. Soul music at it's finest ! 

        Man Machine

        Edits Vol 1

        New series from the Giant Cuts crew focusing on proto / disco not disco vibes.
        3 classics get the dancefloor treatment for late night / early morning dancing.

        Endless Flight get back down to business with this second single cut from KZA's recent "Dig&Edit 2" LP, enlisting a true space cadet to blast the track off to a distant galaxy. "Computerstimme" is the kind of zero gravity cosmic coaster you'd hear emanating from every open window in 1970s Cologne. Music box melodies, fragile chimes and uplifting strings all permeated and punctured by the writhing pulse of synthesized sequences. I'm stumped as to the original of this one, but KZA's extension will work wonders in the hands of the more adventurous jocks. If there's one man in the universe you'd trust to reshape a stargazing ode of this majesty then it'd have to be cosmic originator and veteran astronaut Daniele Baldelli. The Italian legend refits KZA's track with a chugging bassline, some tasty Yellow Magic Orchestral synthlines and a swirling lead which may well open a wormhole if you stick this on loud enough. The little hints of Kraftwerk's "Neon Lights" provide a necessary lightness as this one nods its way to the middle of the ALFOS floor. Closing the set in space age fashion is the lunar eclipse beauty of "One Hundred Fifth Wave", which shimmers through the night sky like a shooting star, driven by twinkling arps and a warm bassline. 


        Various Artists

        Right Now - Atlantic Club Soul And Deep Cuts

          Following her highly successful explorations of the Motown and Chess catalogues, Lois Wilson (Mojo, Record Collector) turns her attention to the iconic Manhattan-based Atlantic Records with Right Now, an 86-track 3CD set. Atlantic Records was founded in 1947 by Ahmet Ertegun and Herb Abramson. Other key participants in the company’s rise to success included studio engineer Tom Dowd, eminent record man Jerry Wexler, Ahmet’s brother Nesuhi, who developed the company’s substantial and highly successful jazz catalogue, and the dynamic songwriting/production team of Jerry Leiber and Mike Stoller. Crucial early signings included Joe Turner, Ruth Brown, Ray Charles, Chuck Willis, Clyde McPhatter and LaVern Baker.

          All those names are represented here, alongside other performers who recorded for Atlantic and its subsidiary Atco (founded in 1955) in the forties, fifties and early sixties; years which saw the evolution of rhythm & blues into soul. The diversity of Atlantic’s roster is represented by the presence of early Atlantic hit-makers Stick McGhee and Joe Morris, consummate soul singers Solomon Burke, Ben E. King, Bettye LaVette and Barbara Lewis, a pre-Motown Isley Brothers, New Orleans piano man Professor Longhair, saxophonists Willis “Gator” Jackson and King Curtis, blues guitar pioneer T-Bone Walker, Louisiana rock ’n’ roller Dale Hawkins, jazz singer Mel Torme, and the vocal group sound of the Clovers, the Coasters and the Falcons (then including Wilson Pickett and Mack Rice in their ranks). Some of these recordings were acknowledged successes from their initial release; others have acquired popularity among collectors and on the club scene over the intervening decades.

          Atlantic’s highly-regarded jazz catalogue deserves a survey of its own, and Right Now also eschews many of the labels’ very biggest hits, on the grounds that they are easily found elsewhere. Instead, Right Now offers club-friendly and often-overlooked, deep catalogue selections drawn from the wealth of rhythm & rock released on the hallowed label. The big names mentioned so far are joined by key cuts from Jean DuShon, Jimmy Ricks, King Coleman, Richie Barrett, the Top Notes, Eunice Davis, Dean Beard, Choker Campbell, Johnny Jenkins, Billy Storm, the Tarantulas and the Van Dykes. Time for a deep delve into the depths of Atlantic.

          FORMAT INFORMATION

          2xLP Info: 2LP vinyl collector’s edition featuring 32 of the most sought-after cuts from the 86-track 3CD set, drawing on 15 years of recordings for the iconic Atlantic label and its offshoot Atco.

          3xCD Info: An 86 track 3CD set with 20pp illustrated booklet, compiled and annotated by Lois Wilson (Mojo, Record Collector)

          Severed Heads

          Since The Accident

            Medical Records presents two of the most striking and iconic reissues in its catalog. The first of the two Severed Heads reissues is 1983’s “Since The Accident”. Severed Heads are one of the most diverse and expert sound palette engineers and are also repeatedly overlooked and far underrated. Hailing from Sydney, Australia, they formed in 1979. The band was composed of many different members though it’s existence but Tom Ellard has always been the constant since 1979 when he joined the band. The group’s early recordings were characterized by manipulated tape loop experiments, cleverly modulated noise elements and repetition. This period is very well suited to the early industrial period. Over time, the sounds morphed into more melodic leanings with pop elements and more prominent synth leads and backbone. “Since The Accident” was released in 1983 on UK “Ink” records. The LP exemplifies the transition point between experimental structure and loops into the catchy pop hooks that would later define such releases as “Rotund For Success”. Difficult to classify, it is a masterpiece of electronic music. The opening track “Relic Of The Empire” is a slow sequenced magnificent piece with time-stretched samples overlaid with multiple tracks to create a symphony quite unlike anything heard before.

            The hit “Dead Eyes Opened” (charted in 1985 as a single) is a dance floor friendly track with crafted synth hooks fused with bursts of noise intertwining with interesting vocal samples. “Gashing The Old Mae West” is a perfect example of how the record can take a dark turn into the style of the earlier Sev Heads with jagged industrial crunched out tape loops and folding in and out samples. Though signed to 80’s industrial label icon Nettwerk in North America and often classified in the same vein, these records are not easily definable and actually have a life of their own. Though commonly misclassified with a lot of the late 80s industrial/goth scene (as well as touring with Skinny Puppy at one point), Severed Heads would be more accurately in good company with acts such as Cabaret Voltaire, early Coil, Chris & Cosey (and CTI), and the like.

            Long out of print and a rarity on the collector’s market, it is presented with original repro jacket. Remastered by Tom Ellard form the original source masters. Presented on high-quality 180gram heavyweight black and white vinyl. Features bonus LP insert compiled by Tom Ellard with ephemera from the time. Limited Edition.

            Fifty Fathoms Deep follow up swiftly here from Frederick's critically acclaimed debut album Disruptive Pattern Material which gained major support from Jimpster, Osunlade, Rainer Trüby, The Revenge & Ajtazz amongst others. Whilst Craig Smith & Peter Oakden celebrate their labels heavily supported first year, they bring you here release number five… An exquisite four track EP from the briskly emerging NY*AK. Without question NY*AK keeps this ever delivering imprints momentum going with four superb cuts of low slung, underground jams. Full of soul, rawness and summer fun.

            “What do the letters stand for? Why the asterisk?" you ask. The origin of the asterisk has something to do with donating dates of birth on family trees, from back in the medieval times. In music, an asterisk denotes when a sustain pedal should be lifted. NY - New York? AK - Alaska? AK as in AK-47? Is it something to do with the three stooges? Nyak nyak nyak… It leaves the mind thirsty for answers; for clarity. In reality Andrew Scott, the man behind NY*AK; banged his computer keyboard in frustration one day - and out came NY*AK. If that's taken the shine off it a little, we're not worried. Listen to any of Andrews tracks and we guarantee you'll be drawn straight back in, but this time - deeper.

            In Aeternam Vale

            Jealous God 05


              Everyone's favourite French Minimal Wavers In Aeternam Vale return for an outing on Jealous God.

              Art Direction and Illustrations By

              Josie Renee - Issue 5 Mix by Kerri LeBon

              Broadwalk are proud to welcome Shanti Celeste to the label, making her debut with 3 slices of melodically rich techno, electro and house. Bristol-based but Chilean born, Shanti has previously released on Idle Hands, as well as working behind the counter at the record store in Stokes Croft.

              Chen Qigang

              Coming Home OST - Transparent Vinyl Edition

                Zhang Yimou’s movie Coming Home (original title “Gui lai”) is adapted from the novel The Criminal Lu Yanshi by American- based novelist Yan Geling. The film chronicles the journey of a Chinese dissident from the 1920′s to the 1990′s, and world premiered at the Cannes Film Festival in May of 2014. Filmmaking doesn’t get more timeless than this heartbreaking historical romance, a family drama of guilt, love and reconciliation set during the aftermath of China’s Cultural Revolution.

                The original soundtrack has been composed by Qigang Chen, who worked as Music Director of the Opening Ceremony at the 2008 Beijing Olympic Games. In 2013 he was voted, along with Mo Yan (Nobel Laureate, Literature) and Lang Lang, “Most Influential Chinese in the World of Culture and the Arts” by a consortium of major Chinese media.

                Chen Qigang’s score, drawn from vintage Chinese revolutionary symphonies performed by legendary pianist Lang Lang, is a sentimental one. Piano is the main “voice” of this score, with cello, violin and female voices in upporting roles. In order to make it work with the story, the music of Coming Home features simple tunes and forms. Anything excessively rousing is avoided, with the soundtrack largely providing an understated aural backdrop, coming up to the foreground only when the occasion calls for it.


                Dub Club

                Meaning Of Dub

                  Continuing in the classic reggae tradition of the “one rhythm” LP, where multiple artists bring there own (vocal) flavor to a single instrumental, Dub Club presents the 'Meaning Of Dub' LP, produced by Dub Club LA mailman Tom Chasteen. UK legend Tippa Irie leads off with the title cut, name checking some dub warriors like Jah Shaka and Lee Scratch Perry in the process. Jamaican sound system veterans Trinity, Josey Wales, and Tippa Lee bring some rasta vibes on their respective turns, as the musical track is flipped a little different each time.

                  Various Artists

                  Northern Soul: The Soundtrack

                    In one of the most anticipated releases of the year, Harmless are proud to announce that we will be issuing the soundtrack to the forthcoming film, “Northern Soul” directed by Elaine Constantine. Early viewings confirm that “Northern Soul” will be the most accurate portrayal yet of this legendary musical movement which started in the north of England in the late 1960s and has now spread around the world and become a huge international scene. The film is due to launch in the UK in October 2014 and there will be considerable mainstream media coverage following the recent TV coverage via The One Show on BBC1 and the Culture Show on BBC2.
                    The soundtrack package for “Northern Soul” consists of CD1: the soundtrack itself containing all the key Northern Soul tracks from the film, CD2: an additional CD of specially chosen Northern Soul tracks compiled by “Northern Soul” director Elaine Constantine and an exclusive DVD with Elaine Constantine being interviewed about the making of the film by actor James Lance who plays top Northern Soul DJ Ray Henderson in the film. Plus there will also be some nice extras on the DVD!

                    This beautifully packaged 2CD/DVD package will also come with a 20 page booklet specially written by Gareth Sweeney – co-author of the bestselling accompanying book “Northern Soul”. This will be Harmless’ key release throughout 2014 and early demand and interest are already indicating that this will be a ‘must-have’ purchase for anyone who is interested in British musical culture, U.S. soul music and no doubt everyone who will see the film.

                    Various Artists

                    Northern Soul: The Film Soundtrack 7" Vinyl Edition

                      Harmless are proud to announce that we will be issuing the soundtrack to the film, “Northern Soul” directed by Elaine Constantine. Early viewings confirm that “Northern Soul” will be the most accurate portrayal yet of this legendary musical movement which started in the north of England in the late 1960s and has now spread around the world and become a huge international scene. Since 7” vinyl remains at the epicenter of this 46 year old scene with the original records still establishing world-record prices in collecting circles, we felt duty bound to issue a very special edition of the soundtrack on 7” vinyl. We’ve specially licensed all the Northern Soul tracks from the soundtrack plus one bonus track for 14 x 7” discs, all in pic-sleeves featuring key scenes from the film, together with a specially commissioned 60 page hardback-bound book of carefully selected film stills which has been painstakingly edited and re-touched by Elaine Constantine, the director of ‘Northern Soul’. A perfect collector’s item from what will be one of the most distinctive films of recent times. So, that’s 14 x unique 7”vinyl singles and a 60 page hardback book collection of unique stills from a unique film all housed in a solid collectors heavy-duty box. To be treasured forever. Needless to say, these 14 discs present 28 of the greatest Northern Soul classics of all-time, many of which are making their UK release for the very first time. Every one of these tracks has been a floor-filler on the Northern Soul scene throughout its history and many of the original U.S. releases still command a huge value. In fact the cumulative value of all the original pressings in the set comes to an astounding £35,260 (as valued by John Manship in July 2014). A ‘must-have’ purchase for anyone who is interested in British musical culture, U.S. soul music and collecting serious Northern Soul music on its original vinyl format!

                      Steven Price

                      Gravity OST

                        The 2014 Academy Award Winner for Best Original Score pressed for the first time on 2LP 180gram Black Vinyl. Featuring original artwork by Kevin Tong. 2LP Deluxe Gatefold

                        Various Artists

                        Hyperdub 10.3

                          ‘Hyperdub 10.3’, the third episode of Hyperdub's 10th anniversary celebrations, transects and extrapolates forward the label's catalogue from yet another angle, this time following the melancholy vapour trail drafted by Burial's numerous atmospheric beatless moments. The compilation fleshes out this downcast ambience with a clutch of new material from Kode9, The Bug, Dean Blunt, Inga Copeland, Lee Gamble, Cooly G, Fatima Al Qadiri. Ikonika, DJ Earl (Teklife), and Jeremy Greenspan (Junior Boys, Jessy Lanza), alongside archive works from Burial, Laurel Halo, Fhloston Paradigm, Darkstar, Kode9 & The Spaceape, Dean & Inga, and dread heavy offerings from King Midas Sound and Walton. As with ‘Hyperdub 10.2’s collection of songs, these 23 mini-soundtracks for films-to-come emerged almost accidentally in the shadow of Hyperdub's main agenda of basstrax for the floor. Each piece reinterprets the idea of dubtraction : instead of merely reducing a vocal melody to echoed or reverbed vestiges, ‘10.3’ bottles trace-music reduced to gaseous residuum, free of drums and often basslines, leaving only synthesised, sampled or looped textures that might hang fume-like, or rotate frictionless as mini cyclones. Travelling from warped, hi-def interludes to citric synth jams, from hazy devil mixes to fleeting, blue sax solos, the compilation concludes with an eight minute modular flatline. No pulse, No heartbeat.

                          Madlib

                          The Beats: Our Vinyl Weighs A Ton OST

                            'The Beats' contains 10 tracks of instrumental hip-hop created for the Stones Throw film Our Vinyl Weighs a Ton. This is Madlib's first original soundtrack and first 10-inch vinyl release.

                            This album is being issued with two different sleeves (girls on one, skull & bong on the other) each wrapped with a custom, removable card, designed in the style of the Boss SP-303 sampler. We will do our best to provide a mixture of both covers in each order.

                            Marcellus Pittman / John Cannon

                            1044 Coplin (Give You Whatcha Lookin 4) / J.C.'s Groove

                            A modern boogie 7" on Unirhythm!? Yep, you heard right! Marcellus Pittman graces the A-Side of the disc on "1044 Coplin" - a nice slice of mid west funk sure to appeal to all the boogie heads worldwide. On the flip we have the Unirhythm debut from Detroit's own John Cannon. John C is a veteran producer and MC, most recently featured on the J DIlla album "Rebirth Of Detroit." No suprise there - we definitely hear some Dilla on "J.C.'s Groove." Essential!

                            Candela Rising welcomes Manni Dee to the fold with 2 original tracks covering broken beats, nostalgic rave elements, Industrial menace and heavy bass rhythms, All topped off with 2 remixes.

                            Ancient Methods remixes ‘A Lover’s Rhetoric’ with his now famous ‘pitch black techno war funk’ attitude.

                            ‘Voluptuous Surrender’ is reworked by New Yorker and L.I.E.S affiliate, Shawn O’Sullivan.

                            Early support from Surgeon, Perc, AnD, Truss, Svreca, Tom Diccico and more....

                            Emotional Rescue is proud to present the first ever collection of works from Spanish song writer Javier Bergia. As a member of Finas Africae his name is finally coming to prominence. Now with this selection of his music from 1985 to today, the depths of his acoustic, folk and Balearic writing can be heard. Born in Madrid in 1958 to a family steeped in both classical and Spanish traditional music, Javier 's unique mastery of guitar, percussion, voice, poetry and composition is drawn from both this grounding and upon his lifelong musical inquisitiveness'. Since 1980 he has been an integral part of the ancient music group 'Atrium Musicae '. In 1984 he founded, with Juan Alberto Arteche and Luis Delgado, the groundbreaking group 'Finis Africae' as a sonic investigation into a fusion o f diverse ethnic musical forms incorporating both indigenous instruments and electronic elements.

                            As a solo artist, his career blossomed when, in 1985, he recorded his first LP, the acclaimed 'Recoletos' and he has since recorded thirteen solo albums . With Luis Delgado he recorded the now classic album 'La Fl or De Piedra' under the name Ishinohana and regularly appears with singer Ismael Serrano. Javier has composed music for and collaborated on many documentaries, films and advertisements as well as collaborating on protects with a myriad o f artists including Maria del Mar Bonet, Joaquin Diaz, Vainica Doble, Marina Heredia, Pablo Guerreo, Antonio Vega and Cafe
                            del Mar. Today he participates in the Sephardic music groups 'Halilem' and 'Alquibla', as well as diverse alternative chamber music groups. Javier works around the world as composer, arranger and producer and he appears daily with Manolo HH on Radio Nacional de EspaNa.

                            FORMAT INFORMATION

                            CD Info: CD includes 5 bonus tracks

                            Tricky

                            Adrian Thaws - Deluxe 2xCD Edition

                              “Calling it Adrian Thaws is saying you don’t really know me,” says Tricky, explaining the title of his 11th album. “So many times people have tried to put a finger on me and every album I go to a different place.” It’s typical of one of music’s most unpredictable characters that the first album to bear his birth name is one of his least introspective. Adrian Thaws is a vivid, attention-grabbing set of songs which roam from hip hop to house, jazz to blues, rock to reggae. It was recorded in Tricky’s home studio in London, where he’s living again after almost two decades in New York, Los Angeles and Paris, and features an international crew of collaborators: Francesca Belmonte, Nneka, Mykki Blanco, Bella Gotti, Tirzah, Blue Daisy and Oh Land. It’s designed to be played loud.

                              “I suppose this is my club/hip hop album,” he says. “I’ve only heard my music a few times in a club but I grew up in clubs from when I was 14: blues parties, hip hop clubs, a few raves. I’m not known for doing club music but this album has some club tracks on it — well, what I would consider club music.”

                              Tricky makes complicated music because Adrian Thaws has had a complicated life. Born in 1968, he grew up in an extended family that was both black and white, urban and rural, containing strong women and volatile men. His choice of cover versions is revealing. Janet Kaye’s 1979 lovers rock classic Silly Games reminds him of his childhood in Bristol’s Knowle West district. London Posse’s 1990 track Gangster Chronicle harks back to his musical apprenticeship with the Wild Bunch and Massive Attack under the name Tricky Kid before he launched his solo career with 1995’s startling Maxinquaye. Tricky has always used music to explore the different, sometimes contradictory facets of his background and personality. “I can be anything I want when I do an album,” he says. “I could be a woman, I could bea man. It’s great to be able to be all these different things.”

                              Tricky

                              Adrian Thaws

                                “Calling it Adrian Thaws is saying you don’t really know me,” says Tricky, explaining the title of his 11th album. “So many times people have tried to put a finger on me and every album I go to a different place.” It’s typical of one of music’s most unpredictable characters that the first album to bear his birth name is one of his least introspective. Adrian Thaws is a vivid, attention-grabbing set of songs which roam from hip hop to house, jazz to blues, rock to reggae. It was recorded in Tricky’s home studio in London, where he’s living again after almost two decades in New York, Los Angeles and Paris, and features an international crew of collaborators: Francesca Belmonte, Nneka, Mykki Blanco, Bella Gotti, Tirzah, Blue Daisy and Oh Land. It’s designed to be played loud.

                                “I suppose this is my club/hip hop album,” he says. “I’ve only heard my music a few times in a club but I grew up in clubs from when I was 14: blues parties, hip hop clubs, a few raves. I’m not known for doing club music but this album has some club tracks on it — well, what I would consider club music.”

                                Tricky makes complicated music because Adrian Thaws has had a complicated life. Born in 1968, he grew up in an extended family that was both black and white, urban and rural, containing strong women and volatile men. His choice of cover versions is revealing. Janet Kaye’s 1979 lovers rock classic Silly Games reminds him of his childhood in Bristol’s Knowle West district. London Posse’s 1990 track Gangster Chronicle harks back to his musical apprenticeship with the Wild Bunch and Massive Attack under the name Tricky Kid before he launched his solo career with 1995’s startling Maxinquaye. Tricky has always used music to explore the different, sometimes contradictory facets of his background and personality. “I can be anything I want when I do an album,” he says. “I could be a woman, I could bea man. It’s great to be able to be all these different things.”


                                Massimiliano Pagliara

                                With One Another

                                  Massimiliano Pagliara, originally from Lecce, Italy now Berliner of choice, orchestrator of a warm basseline-sound accompanied with rich melodies - due to a deep love to vintage drum machines and synthesizers - takes Ramona on a journey through the colorful depths of his new album 'With One Another' - follow-up of his debut album 'Focus Of Infinity', released in 2011.

                                  'With One Another' shares the joy of Massimiliano's trademark sound influenced by underground-disco of the 70s and new-wave of the early 80s. Starting from this point, he took a hand full of close friends along with him on a ride through his musical garden - reaching from italo-induced disco-smashers over to acid dripping floor fillers to charming proto-house.

                                  Features contributions from Telephones, Mavin, Credit 00, nd-baumecker, Lee Douglas, Benedikt Frey..


                                  Crooked Man

                                  Undigitize Me EP

                                    Crooked Man is Richard Barratt from Sheffield, better known as Parrot. He was first off the blocks playing house music in Sheffield back in the 80s, had a top 10 hit in '88 as part of Funky Worm, collaborated with Richard H Kirk on the seminal Sweet Exorcist releases on Warp and had another top 10 hit in the 90s as part of The All Seeing I.

                                    Retiring from DJing, a few years ago he started putting out 12“ singles as Crooked Man. Song-based and devoid of house music vocal clich市, often epically long, always full of character, endlessly hypnotic and with razor sharp production they would always cut through in every DJ set they were played in. Twitch was an instant evangelist of the Crooked Man sound and is delighted to now present his debut Optimo Trax 12“ EP.


                                    Eric Copeland is an American born experimental musician and a member of the band Black Dice since its inception in 1998. As a solo artist he has written and produced six albums as well as countless singles through as many years, and has forged his own path creating an intimate and deranged space which his music exists in. Logo My Ego is his debut record for the L.I.E.S. record label out of Brooklyn, New York.
                                    When listening to this record, some may say it sounds like, "a bunch of crying disco loops melting under the sun" Others could call this "some form of ultra demented pop music created to destroy pop music whilst trying to co-exist in a paralell dimension simultanously getting caught in some sort of purgatory to suffer together infinitely. Another rather accurate description could be that the record is akin to "eating an ice cream cone off city blacktop in August" At points some of the tracks are driven by a possessed rhythm box going in and out of sync as a tape player with a broken pitch chews and warbles eveything in its path.

                                    Other times the music is like a slow dry mouthed mule caravan trudging through the desert looking for a oasis while hallucintating on dmt.

                                    And some may even be turned on when things take an unexpected turn for the worse as out of tune melodies, and skewed abrupt breaks in the music grind and scratch the listeners face with its jagged nails.

                                    To say this isn't a masterpiece would be a gross understatement.

                                    Various Artists

                                    Soul City New Orleans - Big Easy Gems From The Dawn Of Soul Music

                                    Soul City New Orleans presents records which served to establish the musical direction of the city in the early 1960s, at the dawn of the soul era. Perhaps the most glowing testimony to the city came from songwriters Frank Guida and Joe Royster in their 1960 smash hit “New Orleans” for Gary ‘U.S.’ Bonds: “Where the magnolia blossoms fill the air, you ain’t been to heaven if you ain’t been there.” New Orleans is also known as the Crescent City for its geographic shape, or the Big Easy for the city’s atmosphere and pace of life, largely driven by the high humidity and the general bonhomie endemic of South Louisiana.

                                    The music of New Orleans has tended to match the lifestyle, easy tempo with gently insistent rolling beat and a rhythm driven either by a thumping on-beat (Mardi Gras marching bands and second-line parades) or a laid-back off-beat. While the formative talent from the city’s rhythm & blues years was all signed to remote labels, by the end of the Fifties things were beginning to look up in the local industry, and there was a relative wealth of labels active in the city.

                                    Compiled and annotated by soul music authority and radio presenter Clive Richardson, Soul City New Orleans features significant releases on local labels like Minit, Instant, Ric, Ron, Bandy and AFO, as well as NOLA-related recordings for other imprints both large and small. Here we have music from the formative period of the soul era in the Big Easy.

                                    FORMAT INFORMATION

                                    2xLP Info: 60-track 2CD set, with colour illustrated booklet.

                                    George Theodorakis

                                    The Rules Of The Game (Original Studio Recordings 1978 - 1996)

                                    Into The Light Records continue to shine light on the undiscovered heritage of Greek electronic music, highlighting the work of prolific Greek composer George Theodorakis on the label's third archival release. "The Rules of the Game" features mostly unreleased studio recordings Theodorakis made between 1978 and 1996, with the addition of selected material taken from his sought-after 'Margo' and 'Sima' LPs. George Theodorakis is the son of legendary Greek composer Mikis Theodorakis. Unlike his father, George only released four albums - pressed in small quantities - over a period of time spanning nearly two decades. Despite such limited official output, Theodorakis was intensely involved in music. George has always had the privilege of owning a well equipped home studio - the SSR Studio (1976-1984) and later the Theta Studio (1985-1987, 1993-1997) - where he'd spend most of his days working, often completely losing all track of time. These studios provided the ideal environment where he could explore new synthesized sounds and freely experiment. Although Theodorakis' music can be considered reclusive, esoteric and personal - especially if measured against the standards of most Greek productions of the same time - a number of his compositions found their way into the soundtracks of theatre plays, TV series, dance performances, etc. Theodorakis' work was probably too forward-looking to meet with wider success and appeal to a broad audience back then; "The Rules of the Game" hopes to finally earn the composer the attention and acclaim his music undoubtedly deserves.

                                    Funky Family

                                    Funky Is On - Inc. DJ Rocca Remix

                                      The new release on Italian Records is a real Italo-Disco Cult: Funky Is On. Originally released on third label in 1984 by Funky Family: producer Nicola Nicolosi and vocalist Dora Carofiglio just before their massive pop hits with Novecento. The two 80's original tracks are on the A side while, on the B side, a brilliant remix by italian legendary DJs Leo Mas and Fabrice that is perfect for more Dark Room House Venues along with a new pumping kick & bass vocal edit by DJ Rocca (aka Luca Roccatagliati) make this release unmissable.

                                      Roman Flugel

                                      Happiness Is Happening

                                        “Over two decades, Flügel’s made peak-period progressive house (with Warp 69), clean-edged techno (Tracks on Delivery), psychedelic club fare (Eight Miles High) and chart-bothering electro (with Alter Ego). To date, though, he’s only released one album under his own name, 2011’s twinkling, pretty Fatty Folders.
                                        In September, Flügel will follow-up Fatty Folders with another alliterative LP offering, Happiness is Happening. The album is Flügel’s second for Dial, and follows a 2013 EP for Clone’s Jack For Daze imprint.” - FACT
                                        An album by Roman Flügel is always a sensation. That holds true for his countless monikers and collaborations as it does for his 2011 Dial debut Fatty Folders. Being the first of its kind under his civic name, the long over-due association of Hamburg's cerebral label and its group of off-centre house and techno individuals with Frankfurt's favorite electronic music producer for the thinking man and woman, proved to be a seminal one.

                                        Now, that sort of Happiness Is Happening again. Roman Flügel's follow up on Dial takes off, where Fatty Folders landed: on a runway that acknowledges the roots of house and techno as well as its fruits, but leads to a different location. Exempt from the burden that a concept album can lay on its author, Flügel seems not to be concerned with the current trends, retro fashion or a pre-conceived topic. Free-wheeling and with a freshness akin to morning dew, he rather takes us by the hand and through ten tracks that sometimes feel like songs without a voice.

                                        Having said that, the strongest point of Happiness Is Happening is that it has a voice. The voice of a maker who is not afraid to mix joy and pain, ambient textures with remnants dance floor euphoria, quiet spaces and loud places. So you have an almost Depeche-Mode-like ballad that the ”Friendship Song” is, next to the techno city ghost story of “Occult Levitation”. Slow-motion robot disco
                                        (“Wilkie”) appears as much at home here as the bulky “Stuffy” or the sudden impact in “We Have A Nice Life”. That list goes on and on. The most startling fact about Roman Flügel's tour de force is that its sum is as great as its parts. Nothing feels superfluous, ill-paced or forced here. Its a condensate of a life that has been spent in techno, house and its various mutations and archetypes with a sensibility for pop music, a consciousness of indie culture and an affinity for the avant-garde as such.

                                        Happiness Is Happening is like a concept album without a concept. A testament to the fact that the concept of an album that works within the realms and boundaries of “electronic (dance) music” can be so much more than a loose collection of 12- inches or just an exercise in style: it can be, after all, a piece of art and at its best comparable to a successful singer-songwriter album without words. Especially, when the creator of all his seems to be truly comfortable with himself and at his best.Then, Happiness Is Happening, indeed.


                                        Harald Grosskopf

                                        Synthesist - Bureau B Edition

                                        "Synthesist” is the first solo album by Ashra drummer Harald Grosskopf. It is one of the classics of German electronic music, comprising eight instrumentals composed in the tradition of the so-called Berliner Schule / Berlin School (Klaus Schulze, Tangerine Dream).

                                        Harald Grosskopf was in his early twenties when LSD “blew [his] reality away”, as he recalls. Born in Hildesheim in 1949, he had previously drummed in fairly conventional rock bands, most recently for Wallenstein. Their label boss Rolf-Ulrich Kaiser was fond of facilitating jam sessions for musicians on his Ohr und Pilz label, often supplying his Kosmische Kuriere (Cosmic Couriers) with LSD (unbeknown to them, on occasion). In one such session, the drug inspired something of an epiphany in Grosskopf: “There I was playing the drums when, in the midst of my euphoria, I realized that I had been imitating others. A voice spoke to me: stop trying to sound like Billy Cobham or Ginger Baker. From that moment on I felt liberated, free to drum without having to shine in a particular role.”

                                        Having discovered his own musical identity, Harald Grosskopf understood that a standard rock combo was not the ideal conduit through which to express it. Grosskopf: “I was completely in thrall to electronic music and the total freedom that it offered. This was the music I wanted to create. I knew it would be a success, the energy levels were so high.”

                                        Grosskopf consequently left Wallenstein. “I fell into a hole at first, wondering what I was going to do. So I sold my prized drum kit and used the money to buy a guitar, amp and echo device.” A few days later, the doorbell rang. It was Manuel Göttsching, on his way back to Berlin from a tour of France. They knew each other from Berlin’s electronic scene and recording sessions for the likes of Ash Ra Tempel. Göttsching invited Grosskopf to sign up for his new project Ashra and the rest is history: Ashra (Grosskopf, Göttsching, Lutz Ulbrich alias Lüül) released a series of successful albums in the years that followed. It was not until the summer of 1979, however, that he finally felt ready to release a solo album. “Synthesist” comprises eight instrumentals, recorded largely by Grosskopf on his own. His melodies, carried along by synthesizers and drums, were reminiscent of works by Berlin electronic friends such as Klaus Schulze and Tangerine Dream, as well as those “cosmic” sessions of the early 1970s - yet each melody retains a unique timbre.

                                        “Synthesist” is thus regarded as a classic by electronic music enthusiasts all over the world, evoking a thrilling musical era of the past with equal capacity to excite today - Christoph Dallach
                                        .

                                        Harald Grosskopf is best known as drummer in the band Ashra and for Klaus Schulze and as an electronic musician. Following “Synthesist” (1980), “Oceanheart” was his second solo album. It may sound like a child of the 1980s, but in a compositional sense it is related to the Berliner Schule / Berlin School of the 70's
                                        .
                                        Tired of the rock format and excited by the freedoms promised by electronic music, Harald Grosskopf quit Wallenstein, a conventional rock band, in the mid-seventies to turn his attention to electronica. Grosskopf thus became the first drummer to specialize in the electronic music field. He played drums on Klaus Schulze’s albums “Moondawn” and “Body Love” and on YOU’s “Electric Day”. When Manuel Göttsching from Ash Ra Tempel asked him if he would consider enrolling as the regular drummer in the group now rechristened Ashra, he did not need to think about it for long. Grosskopf changed course again in the eighties, this time in pursuit of commercial success: he played in the NDW (Neue Deutsche Welle) group Lilli Berlin and backed Joachim Witt on his best-selling “Silberblick” LP, which featured the hit “Goldener Reiter”.

                                        Sky, the record company, were more than a little disappointed with the performance of Grosskopf’s first solo effort “Synthesist”, so there was no great sense of urgency as far as its successor was concerned. “They even halved my advance!” Grosskopf recalls. “Oceanheart” was released some six years after “Synthesist”. “The album title reflects my love of transcendental meditation, of course it might be taken for watery esoterics.” (A similar vibe was evident in the cover art, hence fresh artwork has been created for the reissue.) Musical equipment for the production was limited by the label’s ongoing thrift programme. The first “Oceanheart” recordings took place “under the roof” in the Lilli Berlin Studio, Kreuzberg. They were completed at the Spandauer Studio by former Tangerine Dream member Christoph Franke. “We mixed everything down and recorded the drums there.” Harald Grosskopf again played everything himself, except for the tablas. In keeping with its predecessor, “Oceanheart” was no bestseller, but, like “Synthesist”, it attained cult status, rediscovered in recent years through the internet by a younger generation. Harald Grosskopf himself needed time to appreciate the work: “I only really discovered the musical quality of ‘Oceanheart’ years later. I finally realized that I had created something quite special.” - Christoph Dallach

                                        Tony Allen

                                        Black Voices

                                          The man who put the beat into afrobeat is back! Part of the Tony Allen reissue series on Kindred Spirits, featuring remastered versions and original restored artwork. A must for afro-beat fans around the globe.
                                          Without question, one of the highpoints of his post-Fela catalog was the in 1999 released record, Black Voices, which crosses over so many musical boundaries that it is impossible to name them all. A group effort in every sense of the word, Tony Allen found himself surrounded with some of the most innovative, talented, and energetic musicians on the planet, and the sounds and moods they created as a group represent the pinnacle of what can happen when such talent is properly focused. Each of the tracks on Black Voices explodes with positive energy and irresistible grooves, yet there are also social criticisms and observations running underneath the stunning musical arrangements.

                                          Dinosaur Jr

                                          J Mascis Live At CBGB's: First Acoustic Show - Ilver / Black Marbled Vinyl

                                            "My first ever acoustic performance, and I'm a little freaked out." With those words, then-Dinosaur Jr. frontman J Mascis kicked off the show on this live set (recorded in December 1993), in which the man who'd made his name with bludgeoning volume and über-heavy electric guitar freakouts quietly stripped his songs down to their framework for an evening.

                                            While Mascis would get more comfortable with such things over the passage of time, for a first-time gig in an unfamiliar format, Live At CBGB's sounds surprisingly confident and coherent. Presented in their simplest form, Mascis' songs display a tuneful elegance that sometimes gets lost when pumped through a stack of Marshalls (especially "Not the Same," "What Else Is New," and "Keeblin'"), and while on the first few numbers he tends to overemphasize the natural drawl in his voice, by the end of the show Mascis is in admirable form as both a guitarist and a singer.

                                            The first pressing of Live At CBGB's consists of 1500 numbered copies on silver/black marbled vinyl!

                                            Idjut Boys

                                            World 1st Day

                                              IDJUT BOYS started in early 90s, when House Music was heading for the bubbly, wild excitement, and they have always been active in an underground scene which has been drawing the line at the mainstream. Carrying on the tradition of House and Disco, they have ever played an important role in forming the House and Disco culture in UK, producing the intoxicating groove of Funk and Dub, which is the significant factor in House and Disco. They also have been supported and loved in Japan together with DJ HARVEY, even in the days when the scene of Club and Party was being reformed in 2000s, so to speak, Summer of Love “in Japan.” Their longawaited 7″ single is released from a label ALTZMUSICA, which is presided by ALTZ, who has made sworn friends with them since ALTZ’s tracks “Yello” and “Tune In” were remixed by them in 2005. This work is an Edit & Dub work based on guitars and basses performed by ANDY HOPKINS, who is like an associatemember of IDJUT BOYS. It has dance groove which consists in a psychedelic perspective which, as it were, reminds us of the primitive, fluid wriggle before dawn. The groove is also positive energy. A remix by ALTZ, “VERSION ALTZ,” on Bside is reconstructed in different dub work from the original, taking over the viewpoint of IDJUT BOYS. It is a version which has gained strength and experimental taste by more progressive editing and effecting.

                                              The outboard loving, super talented young Russian producer returns to Bokhari.

                                              No short clip could ever do Triptych justice - it has three distinct parts which are woven together with immense skill. Not for those who buy tracks for 5 second loops!
                                              A totally absorbing and evolving piece...

                                              Another production masterclass on the flip as 'More' gently builds around atmospheric pads, crisp percussion and a creeping acid line.
                                              Finally Dorylus wrap things up with a bold rework of Tryptich, marrying immersive synth washes to an insistent rhythm track and more than a nod to early 90's electronica

                                              To celebrate the 10th release a download code is included containing seven unreleased free tracks of Bokhari artists remixing each other - includes remixes from Gnork, Life Recorder, Route 8, Semerka, Clarke Sawkill, Dorylus & Gitchell Moore.

                                              Artwork reproduced with kind permission of Sue Wicker. 

                                              Disco Deviance Presents

                                              Frank Booker Edits - Spiral / Get Here

                                              This one has been in the pipeline for quite some time now, and finally Disco Deviance get their man!

                                              Frank Booker delivers two seriously heavy reworks that are 100% guaranteed to set your dance floor on fire.
                                              Safe to say that the man called Booker's releases are as good as they are rare.

                                              Enjoy the music!

                                              The Loose Control Band are DJ Spun and Jonah Sharp.
                                              If you know, you know. If you don't - google that shit!

                                              First in a string of killer releases on Golf Channel, singlehandedly spearheading the breakbeat revival while simultaneously tunnelling deep into the underground for a sublime A side house cut


                                              Golf Channel every time !

                                              Mind Fair are Dean Meredith (Chicken Lips, Goat Dance) and Ben Shenton.

                                              Over the last few years they have had a slew of 12's out on Golf Channel, International Feel and their own imprint, Rogue Cat Sounds, but are only now dropping this, their long awaited debut LP.
                                              It is a bluesy folk funk swamp techno barnyard stomp of an album.
                                              It takes in influences from krautrock to English psych through to classic Detroit Techno, Chicago House and the (Italo) Disco that inspired it.

                                              It somehow unifies these diverse threads and drags them into 2014 via a rave in the countryside.
                                              We go dancing on a hay bale at 10am in the sunshine in a pair of dungarees before collapsing on a friend's sofa and skinning up amidst people jamming with acoustic guitars and bongos. Through it all marches the distinctive sounds that are Dean and Ben's hallmarks: chugging analog bass and deeply funky drums.

                                              All this is set to a loose concept of night out at the quintessential English traveling fair manned by psychedelic freaks...the fair of the mind.

                                              The vocal talents of Clover Ray feature, alongside other regular contributors Karl 'Akuko' Milller (percussion & vocals), Tim Silver (ukelele!), Sadie Shenton Jones (vocals) and James Flanagan (vocals). Sumptuous artwork comes from Thomas Bullock aka Tom of England of Rub n Tug / Map of Africa fame. Includes download code.




                                              Ryan Adams

                                              Ryan Adams

                                                Brilliant new 11 track album from US Americana singer / songwriter Ryan Adams on Pax-Am via Columbia Records. This self-produced album is his first since 2011's "Ashes & Fire". Includes the single "Gimme Something Good" (7" vinyl released 15th Sept).


                                                STAFF COMMENTS

                                                Andy says: RyNads returns with a belter! A whole, Glyn Johns produced, mellow LP was shelved (hence the long gestation) for this self-made effort. Ryan says it's a truer reflection of where he's at right now.

                                                ChannelXXX

                                                MF Edits - Bonus Mix CD Edition

                                                The latest instalment in the channel xxx series comes from an act long associated with Golf Channel whose initials are MF…not too hard to guess who is behind this one really!

                                                A side ' Rio' is a party favourite, the bastard son of pig bag and bow wow wow given a healthy dose and sent headlong into the madness of the music box & the paradise garage.
                                                Larry & Ron would be proud!

                                                B side 'Steel' is a darker, slower affair, the kind of edit that has you staggered that you've never heard such a great song before.
                                                Deep and funky, it's a lost 80's classic that will see a lot of play in the last quarter of 2014.

                                                If that wasn't enough this 12 comes with a free mix cd!

                                                The Gino Fontaine

                                                Revnorev / Konkondo

                                                Revno return
                                                And how !

                                                The Mysterious Gino Fontaine is unmasked - a nom de plume for non other than the Chicken Lipped, Emperor Machinist himself, Andy Meecham

                                                Time and again he's proved his mettle, and it's safe to say this is an absolute killer, with esteemed gentleman of Dance music, Bill Brewster having already picked up on lead cut 'Revnorev' for his acclaimed After Dark (Nightshift) Compilation

                                                And quite right too, if you can find a better example of an anthemic light / dark chug-fest, we'd be happy to hear it !
                                                The mix featured here is an exclusive version for this 12" alone !

                                                Scorching bass pulses and atmospherics, powered by synthesized drums finally give way to a cool Chicy guitar line and YMO style top lines for an epic space-Disco finale...

                                                Konkondo graces the flip, and could easily be a mysterious early 80's Cosmic holy grail with it's gentle wave washes gradually unfurling into an mesmerising Roland bassline and back again.

                                                A stunning release then, limited and lovely as ever - don't sleep !

                                                We're proud to unveil the seventh release on Telefonplan, 'Osirius EP' from Anders Hellberg, a Berlin based producer and DJ from south Sweden. Hellberg grew up in the south of Sweden and started producing music at the age of 17. Today he lives in Berlin where he has his home, studio and is part of a small arts collective that organises events. 
                                                Anders is a highly skilled producer and he loves to work with analogue gear to get a crispy sound and a creative workflow. His tracks can be described as solid and bass heavy Techno with a modern-meets-old-school vibe.
                                                With these four tracks, it's immediately clear that Anders is a fan and follower of old school Techno with elements of Detroit Techno and acid. Four righteous slabs of hardware goodness is on the menu this time served tight and driving.



                                                Aroop Roy's eclectic work as a producer has been supported worldwide by numerous tastemakers including Gilles Peterson, Kyoto Jazz Massive, Patrick Forge and Laurent Garnier.

                                                We got in touch with Aroop after hearing his brilliant contributions on G.A.M.M. (Brazil Breakdown part 1 & 2) and on his Basic Fingers debut he continues his trait of delivering top quality reworks.

                                                Three versatile tracks that pack a mean punch. Rare groove, steel band disco and a slice of funk - it's all in here. Come get it while it's hot!

                                                Secret Squirrels

                                                No. 5

                                                The infamous grey Secret Squirrel has landed and is ready to take over the woods. Yet more nuts stuff for clubs from the anonymous rework maestros.
                                                Cut loud and built for maximum club use. Dance floor devastation is guaranteed! 


                                                Brand new label from the legend that is Jonny Trunk. Superb and super-rare South African jazz LP featuring Hugh Masakela and Dollar Brand. 500 only pressed for the world.

                                                The Jazz Epistles were not only South Africa’s first bebop band, but were also, rumour has it, the first black South African group to release an album. Very few copies of that album “Jazz Epistle Verse 1” were made in 1960 (issued on the Continental Label), and even fewer survive today. At the time members of the band were very active in the burgeoning South African jazz scene and had also made several recordings for John Mehegan, a self-taught white American jazz pianist and tutor who toured South Africa that same year. Mehegan soon found himself in trouble with the South African authorities for fraternizing with black musicians.

                                                The Jazz Epistles broke up soon after the "Verse 1" recordings, with all members being offered work touring Europe with the hit African jazz musical “King Kong”, along with the Manhattan Brothers and vocalist Miriam Makeba.

                                                This tour came at a time when Sophiatown, the black suburb of white Johannesburg where the band lived and played, was about to be demolished. This, along with The Sharpeville Massacre marked the beginnings of forced segregation, violence, repression and a most turbulent time in their country – a time when African arts would not be tolerated.
                                                Thankfully, the touring members of the Jazz Epistles found freedom, enlightenment, appreciation and the guidance of European musicians to further their musical careers. So in some ways, South African jazz flourished for the next few decades, but only in other countries.

                                                Listening now to these recordings we hear that the band’s early mix of African and American jazz ideas, rhythms and swingin’ tempos make their sound both unique and prescient, and can now be appreciated as a cornerstone and most important landmark in South African sounds.

                                                This unique vinyl release brings together selections from the classic Verse 1 album as well as other rare cues by members of the band, recorded for Mehegan in those lively 1959 / 60 jazz sessions. Of particular note on this release is the sublime track Gafsa, summed up on its original release like so: “Another piano solo from Dollar Brand. It tells of a man who was madly in love with a wonderful woman. She dies, but her vision comes to him as he walks through the streets of Cape Town on a misty night.“


                                                * First time ever on vinyl
                                                * 2xLP housed in a deluxe Stoughton “Tip-On” jacket with original booklet
                                                * All tracks newly re-mastered

                                                Even for a band hailing from the nomadic Tuareg population, roaming the deserts of Mali, Africa, the members of the Grammy winning band Tinariwen have travelled further than most. Since breaking through to a global audience, their music has taken them around the world and been championed by artists as diverse as Robert Plant, Brian Eno, Thom Yorke and TV On The Radio.

                                                By the time the west caught on, the 5 to 7-piece group had a two-decade career behind them. Formed in and around the Algerian town of Tamanrasset by Ibrahim Ag Alhabib in 1979, they were initially a traditional group playing weddings, baptisms and parties–until they heard Bob Marley and Bob Dylan during military training in Libya and duly went electric. Their early music–banned in Mali–spoke of ethnic pride, drought, political struggle, and rebellion. Members of the band fought in the Touareg rebellion that broke out in Mali and Niger in the 1980s, leading to the popular image of the group with a guitar on one shoulder and a machine gun on the other. Returning to Mali after a 1994 ceasefire when the ban on their music was lifted, Tinariwen continued to document the changing lifestyle of their persecuted people. “For the Tuareg community, music and poetry are everything,” bassist Eyadou Ag Leche has said. “Music is politics. Music is “maux de vie,” it’s the news and the current affairs. I think we play music to give out information, project our ideas, and convey feelings.”

                                                The last decade saw major changes for the band: they toured Europe for the first time in 2000, and the following year’s The Radio Tisdas Sessions became their first widely distributed album–and the first to be not solely released on cassette. Line-up changes followed, with frontman Ibrahim welcoming the first of several younger members to the group. Their global travels brought new influences to the band. “For a long time we didn’t know what music like blues, rock, or pop sounded like,” said Eyadou.
                                                Amassakoul, released in 2004, was made by a band in which four of the six players were newcomers and represented a shift to a more produced, intricate sound. It preserved the loose, camelback rhythms, call-and-response vocals, lively guitars, and handclaps of Tinariwen’s unique sound but added a vocal drone to “Assoul” and influences from Jamaican toasting on Tamashek rap track “Arawan” and on “Oualahila Ar Tesninam,” the group’s hardest rock track yet. The album’s name tellingly translates from Tamashek to “The Traveler.”

                                                Issued on vinyl for the first time ever by Modern Classics Recordings, this is your chance to discover Tinariwen at the point when their travels to Europe and beyond created a cultural exchange beneficial for the band, for western music, and, ultimately, for the listener.rded live at Mali’s Festival of the Desert in January 2001. Showcasing the band’s ferocious performance skills, it created an appetite for their live show around the world. Soon, western audiences who thought they’d seen everything discovered a new, hybrid form of music that was quite unlike anything they’d heard before.

                                                Issued on vinyl for the first time by Modern Classics Recordings and presented in a deluxe edition, this is your chance to discover Tinariwen at the pivotal moment of their career.


                                                Tinariwen

                                                Radio Tisdads Sessions

                                                  * First time ever on vinyl
                                                  * 2xLP housed in a deluxe Stoughton “Tip-On” jacket with original booklet
                                                  * All tracks newly re-mastered

                                                  Even for a band hailing from the nomadic Tuareg population, roaming the deserts of Mali, Africa, the members of the Grammy winning band Tinariwen have traveled further than most. Since breaking through to a global audience, their music has taken them around the world and been championed by artists as diverse as Robert Plant, Brian Eno, Thom Yorke, and TV On The Radio.

                                                  By the time the west caught on, the group had a three-decade career behind them. Formed in and around the Algerian town of Tamanrasset in 1979, they were initially a traditional group playing weddings, baptisms and parties–until they heard snippets of rock music and duly went electric. Their early music spoke of ethnic pride, nomadic rights, political struggle and rebellion; members of the band fought in the Touareg rebellion that broke out in Mali and Niger in the 1980s, leading to the popular image of the group with a guitar on one shoulder and a machine gun on the other. Returning to Mali after a 1994 ceasefire, Tinariwen continued to document the changing lifestyle of their persecuted people.

                                                  2001’s The Radio Tisdas Sessions marks the point at which the band first made strides to global acclaim. Where previous albums had been issued only on cassette for regional markets, The Radio Tisdas Sessions was released on CD and distributed worldwide. It saw the group working with British producer Justin Adams and French collective Lo’Jo, but despite the outside influence, there was no softening of their sound: hard guitar licks and wild rhythms color their spare, dust-beaten music. “It was amazing slowly getting to meet them,” Adams has said. “The attitude’s nothing like, ‘Here we are, you’re the band, let’s record an album.’ Many cups of tea were drunk and there were many misunderstandings.”

                                                  Recorded at the titular studios in Kidal, capital of the stark Iforas region of Mali, the album was made in difficult conditions. They were able to work only between 7pm and midnight, as those were the sole hours when electricity was available. The desert is an overwhelming presence throughout the album–you can hear the vast expanse of the landscape in the very grooves.

                                                  Concluding the album is a live track “Tin-Essako,” recorded live at Mali’s Festival of the Desert in January 2001. Showcasing the band’s ferocious performance skills, it created an appetite for their live show around the world. Soon, western audiences who thought they’d seen everything discovered a new, hybrid form of music that was quite unlike anything they’d heard before.
                                                  Issued on vinyl for the first time by Modern Classics Recordings and presented in a deluxe edition, this is your chance to discover Tinariwen at the pivotal moment of their career.


                                                  Various Artists

                                                  More Jammys From The Roots

                                                    With "More Jammys From the Roots" the spotlight falls on the rich stream of reality gold that King Jammy aka Prince Jammy continued to mine in the mid to late eighties! Available as 2-CD set with 32 tracks (including 15 of them first time available on CD) including booklet with extensive liner notes.

                                                    The Up Tights

                                                    There's Gonna Be A Better Day Coming / How Long Must I Wait For You

                                                      Two more previously-unreleased killer tunes from the Up Tights - There's Gonna be a Better Day Coming - the "NOW Sound" of priceless, supple 60s Northern first covered up and broken at Lifeline! Flip it for 'How Long Must I Wait for you' - dreamy and melodic, spine tingling sweet 60s X-Over Northern at its finest. On limted 45 or check out the LP - coming soon!'

                                                      The Up Tights

                                                      That's The Sound Of My Heart / That's What I Get

                                                        Previously unreleased KILLER northern soul dancers! From the long-forgotten archives of Alley Records from Arkansas, we've unearthed a batch of awesome raw '60s soul from Ike Noble and the Up Tights! We've cooked up 2 killer 45s and a long player out of this incredible find, and first up is 'That's the Sound of my Heart' - raw and infectious, uptempo feel good 60s Midwestern dancer with menacing horns and driving guitar rhythms. And if you like the A side then then you'll love the flip! Scorching vocals over positive, pounding 60s Northern instrumentation. What a find! When these are gone they're gone - floor packers today and collectors items tomorrow!

                                                        Etta James

                                                        At Last

                                                          When Etta James passed away in early 2012, the tributes and plaudits flooded in the world over Gone forever was the soul diva and legend, the peerless and seemingly indomitable, screaming, bawling R&B siren who had seen off several near death experiences with dangerous substances and even more dangerous men. As the music world mourned, the question still remained - did Etta really receive her dues during her life? That recent interest in her career probably peeked when portrayed onscreen by a certain Beyonce Knowles in the Chess biopic 'Cadillac Records' would suggest the answer is no. This short and sweet set of six songs spread across three 45rpm records captures various key snapshots and key moments in Etta's early career. We hear the precocious, sassy teenaged delinquent on 'That's All', the snarling rock and roll mama on 'Tough Lover' and we revisit her 'coming of age' moment, the song that came to spark her adult career into a new direction and lifespan and became her signature: 'At Last'.

                                                          Various Artists

                                                          Spiritual Jazz 5 - The World

                                                            'Esoteric, Modal and Deep Jazz from Around the World, 1961-79' - Until it was swept aside by the pop explosion of the 1960s, jazz was the most popular modern sound on earth. From the New World and the Caribbean to Africa, across the Soviet Bloc and the British Empire to the Far East, jazz music was embraced, adopted, played and enjoyed. Having examined spiritual jazz as it was expressed in the US, and followed its messengers and influences in Europe, this fifth installment of our Spiritual Jazz series presents jazz from the rest of the world: a collection of jazz messages hailing from the four corners of the world that are united in their diverse treatment of the jazz idiom.

                                                            Jazz might have been the music of America, but in its beginnings it was not a purely American creation. The long story of its development stretches across the Atlantic, from Africa to the crucibles of slavery in the Caribbean and the Americas, both North and South. It was a music that ultimately emerged from the varied and resilient cultural achievements of Africans brought to the New World in bondage, and who brought with them a multiplicity of musical traditions. Evolution and development continued and, like a dandelion dispersing its airborne seeds via the wind, the sounds of jazz were carried around the world on the airwaves, record sales and by travelling musicians. In whichever continent the form took root, the individual, ethnic and cultural circumstances of the musicians decided the flavours and nuances of the jazz they created.

                                                            This volume of Spiritual Jazz presents some of the rarest and most extraordinary global jazz recordings. We have covered some of the wider world's best known yet still underexposed jazz scenes - places such as Argentina and South Africa, as well as some of the world's most obscure. There are recordings here made for major labels, and recordings issued privately. Very few of them have seen any release outside of their country of original prior to this collection. But all of them speak of a period when jazz was a global musical lingua franca, spoken with ease by musicians who headed out into the night to produce their own distinctly local translations.

                                                            This is esoteric jazz, modal jazz, spiritual jazz - as played by musicians from around the World.

                                                            All tracks fully licensed and digitally restored from the original master tapes.

                                                            Comprehensive liner notes with added individual notes on each track and original stories direct from the musicians involved.

                                                            CD with 16 page colour booklet with in-depth liner notes, album cover scans and previously unpublished photographs.

                                                            Most tracks never before reissued - previously only available on rare LPs that change hands for hundreds of pounds!

                                                            Deluxe double vinyl LP pressing with thick, embossed gatefold sleeve

                                                            With "Inspiration" Jah Wobble returns to his roots, the love of his youth; reggae music. With the singer PJ Higgins he found the perfect companion, voice and songwriter to accomplish this endeavor with flying colors - a match made in heaven. Already the opener "My Heart's Burning" sparkles with the magic that arose during the recording sessions between Wobble and Higgins and sets the groundwork for the next seven tracks to come. PJ Higgin's vocals are piled layer upon layer and weave seamlessly in the deep, dubby bassline and the mellow guitar sounds. This masterfully, delicate reluctance is present over the full length of the album. Now and then, for instance with “I Did Bad”, it almost gets trip hop-ish and you wouldn't be surprised if at it's finale suddenly Tricky would sneak around the corner.

                                                            It's only with the third track, “King Of Illusion”, that you finally notice that the foundation of this album is actually reggae. The trumpet of Sean Corby and the offbeat-played keys by Wobble himself make slight references to the bygone sound of Studio One. The core part of this masterpiece is of course the title track “Inspiration”. Alex McGowan caps it all off with his very distinctive guitar playing and the thriftily applied Fender Rhodes add extra virtuosity to the already very complex arrangement. “Floating On High”, sings PJ Higgins and means the transcendence you achieve when you addict yourself to all your inspirations and consider yourself as an aggregate of them. On “What Have I Become” there's no holding back anymore though and she catches fire delivering a performance that goes right through you. The drums and percussion played by Marc Layton- Bennett add a heavy dose of voodoo to the mix.

                                                            All in all, this is a well-rounded package trying to be a classic reggae album but overstating the case by turning out to be much more than that. If PJ Higgins and Jah Wobble were new kids on the block, they'd be a pair to keep an eye on. Keeping an ear to the ground doesn't hurt though


                                                            Olli Ahvenlahti

                                                            The Poet

                                                              The groove of the 70s dancefloor jazz made an impact on the Finnish jazz scene and the track 'Grandma's Rocking Chair' is viewed as a highlight of that era. Featured on the original pressing in 1976, the track was picked up by legendary US house producer Kenny Dope when he sampled the track for his record 'The Illout'. Most likely the track was taken from a "Finnish Jazz 66 - 75" bootleg album.

                                                              Born 6 August 1949, Olli Ahvenlahti is a Finnish pianist, composer, and conductor and has been one of Finland's leading Jazz artists since the 70s. He has recorded with several artists including UMO Jazz Orchestra. There was a small group of very talented jazz musicians in Finland during
                                                              the 70s, of which Ahvenlahti was one of the key players. His band consisted of the cutting-edge musicians of that decade, including Markku Johansson, Bertil Strandberg and Pekka Pöyry.

                                                              The LP version is manufactured in Japan in Mr Bongo's new, improved, super high quality sleeves and replicates the original 1976 release exactly.

                                                              Mr Scruff

                                                              We Are Coming / Feel Free - Inc. Max Graef Remix

                                                                Mr. Scruff prepares to drop a brand new 12”, recruiting German wunderkind Max Graef to remix standout album cut ‘We Are Coming’.

                                                                Graef has released a string of low-slung, bumpy house heaters via Box Auls Holz, Brandt Brauer Frick’s Gym imprint, Heist and Tartelet.

                                                                On the flip, Scruff turns his attention to ‘Feel Free’ from his ‘Friendly Bacteria’ album, re-tweaking the Afro-tinged jazz excursion for the dancefloor.

                                                                180g vinyl in full colour Scruff housebag.

                                                                Lucky Elephant

                                                                The Rainy Kingdom

                                                                  ‘The Rainy Kingdom’ is the sophomore album from Lucky Elephant, released on Sunday Best.

                                                                  Following the success of their self-titled debut in 2009, with syncs in TV adverts for Laterooms.com, Dannon and many more, Lucky Elephant are back with their follow up.

                                                                  The album was inspired by and conceived around Ken Ashton’s 1971 film ‘We Was All One’, which focuses on a part of London affected by community upheaval during the development of Old Kent Road in Elephant & Castle in the 1970s and 1980s.

                                                                  ‘The Rainy Kingdom’ is to be used as the soundtrack to a two hour BBC documentary celebrating 50 years of comedy on the channel, with special guests including Ricky Gervais, Monty Python, The League Of Gentlemen, Stewart Lee and Miranda Hart, among many others.

                                                                  What would Gravity’s Rainbow sound like as a rap album? Here is an album which, if we may, reminds the listener of their whispered allegiances to fundamental realities. The brushstrokes are delicate, stabbing, pointed. The overwhelming crescendo they whirl towards may be one of bitterness, and rightfully so. There is also lightness. A black man is giggling and pointing at you. It may have everything and nothing to do with rap and one’s place in it. Humiliation, no longer a threat - but a reality, has been exhausted. Perfect Hair is what remains.

                                                                  The album vibrates, oscillating between journalistic extremes du jour, occupying a space few have let rap extend to. It is neither cheerful nor depressing, beyond those qualifiers. The rapper, having moved past the limited authority of rejection or ostracization, has arrived at a truth. A Whole Sick Crew of characters weave their way across the shifting stage. Aesop Rock, Danny Brown, Open Mike Eagle and Pegasus Warning all spit directly earwards. Additional production by Jeremiah Jae, Mono/Poly and many more. Album artwork is brought to you by the legendary and talented John Lurie.

                                                                  The listener has been trained. The listener has developed a palate for the baroque, the garish, the cruel and bloody. The listener has become accustomed to being guided not by ear but belly. Here is an album with the referential delicacy of a snowflake, and the nourishing qualities of that little drop of frozen water. It’s ending leaves the listener at a loss, stupefied by the risk taken. And at that moment of recognition, it seems to blink itself out of existence. The loss is yours. And that loss is the motivating factor for what exists on this album beneath thick layers of discarded dreadlocks: a truth. That humiliating losses, communicated unflinchingly, lead one to an insatiable, bubbling hunger: to expand one’s space, to grow.

                                                                  The refreshing, restorative value of an a posteriori vantage is reaffirmed - experience being the most vivacious source of wisdom and creation. There is an ineffable cool present coaxing your attention and rewarding your insights.

                                                                  On Perfect Hair, Busdriver defies the betted ante. The pieces, parts, sinews, synapses, synopses, passions, thrusts, and bits burst outward and realign of their own tremendous gravity. It is on this album that an OG announces his presence.

                                                                  Split Decision Band

                                                                  Watchin' Out / Dazed

                                                                    Holy Grail deep disco from Des Moines, Iowa. This 45 has remained at the top of rare Disco, Modern Doul and Deepfunk collectors for years, never dipping below the $1000 mark. Solid unforgiving driving funky disco, flipped with a crazy Funkadilic style stoner funk rock track worthy of Funkadilic at its best. Look out for an unreleased LP soon on Eothen Alapatt's Nowagain Records later in the year.

                                                                    Popsicles

                                                                    These Are The Good Times / UI Remember

                                                                      This killer 80s Soul 45 only popped up on ebay for the first time in 2012 was promptly tucked into a collection for just under a grand. Having missed a couple more copies i went in search of the band but nothing came up. Then whilst chating to a friend from Austin he mentioned he had tracked the band and had the licence and here we are.

                                                                      Athens of the North are not afraid of a little pop music, its all about quality, production and songwriting, popsicles sits great alongside some Prince, Haywoode or Debra Hurd. 500 No Repress,

                                                                      Credit goes to Jukka atTimmion Cutting Laboratory for fitting these longer tracks on to 45 and making them sound so strong.

                                                                      Bileo

                                                                      You Can Win / Let's Go

                                                                        Undisputedly one of the best, across the board crowd and D.J pleasing rare Disco 45s ever cut to vinyl, two sides of AAA grade party smashers. Cut as loud and Deep as we could manage from the tapes, this fully licenced 45 won't be around long, it sells itself, don't hang about, no repress.

                                                                        Jesse Ruins

                                                                        Fractured Holy Symmetry

                                                                          Fractured Holy Symmetry is a gorgeous remix album full of re-worked tracks from A Film, including remixes from Soft Metals, Bestial Mouths, Diane Halls, and more plus 6 new tracks. Often described as dream-pop or indietronica the music of Jesse Ruins is soft, subtle and ethereal. From the electro-pop of Soft Metals remix to the wall-of-noisy sound of Bestial Mouths version, those re-works bring new life and breath to the tracks.

                                                                          Trance Farmers

                                                                          Dixie Crystals

                                                                            Leaving Records and Stones Throw Records jointly present the debut album of Trance Farmers. 'Dixie Crystals' is a sashay through the unique musical mind of time-travelling bluesman Dayve Samek - a soulful, exhilarating collection of tunes. Recorded over several years and across Los Angeles, 'Dixie Crystals' draws from Samek's experiences on the shores of Venice Beach to the majestic foothills of Altadena. An omnipresent haze hangs over the whole affair, choking twinkling tones like so much carbon monoxide.

                                                                            Songs range from warped ballads of friendship and love to inhalant-fuelled rockabilly joyrides. Over the course of ten tracks, a drifting young hayseed finds himself temporarily settled in a sprawling but claustrophobic megalopolis that feels more like a decrepit roadside attraction on the information superhighway. Sweaty garage ballads brush shoulders with drifter anthems and gasoline-drenched doo-wop.

                                                                            Before the album's release, Samek will have already sauntered on down the road, leaving the West Coast a distant, smudged memory. 'Dixie Crystals' can then be considered a memento, its songs fragments of getting lost, growing up and finally hitting the road.

                                                                            LV & Joshua Idehen

                                                                            Islands

                                                                              'Islands' is the second album and live project from Worldwide Award-winning producers LV, and Benin City vocalist Josh Idehen, three years on from their critically acclaimed debut collaboration 'Routes'. Where the 'Routes' album saw Josh’s voice used in fragments to examine themes of life in modern London, 'Islands' sees LV move Idehen’s lyrics and vocals front and centre. “More so than on 'Routes', Josh is creating little worlds and telling stories with this project,” explains Wil LV. “We tried to write music around him, with highs and lows; trying to make it coherent… but not too coherent.” British, Nigerian; rapper, poet; comedian, depressive; lover, fighter; energizer, observer; narrator, subject: being Josh Idehen is a world of contradictions. “Everything that was coming up through 'Islands' does relate to a part of me,” he explains. “That feeling of being an outsider, being isolated and this kind of lonely story teller. And not in a kind of ‘I’m cool, I’m different’, but just an outcast, always on the outside looking in.” Born in London to Nigerian parents, he returned to Nigeria at four when his father started the country’s first video rental store. “All I did was watch TV. So I had this weird kind of displacement, because all my frames of reference were English or American. I would go to a school and no-one would know what I was talking about when I would mention Knight Rider.” With unlimited VHS tapes to hand, perhaps it was inevitable that Josh would become a story-teller. Indeed, the Islands of this project’s title could represent the disparate themes between which Idehen’s lyrics hop. On ‘Imminent’, overheard whispers on an East London balcony tell the tale of an unforeseen demise, while on ‘Waiting For the Night’, Josh drew on honest reflections of his experiences after he returned from Nigeria. ‘Obsessed’ is about an unhealthy, social-media enabled reaction to being put in the post-coital friend-zone. “I tend to be a bit full on…” says Josh. “I think it was because when I was in Nigeria, I lived in a very Catholic house until I was twenty, so you can imagine me coming to London…” Murder, desperate loneliness, obsessions and sexually-unfulfilling nights out: on paper you’d be forgiven for thinking that Islands is a thoroughly morbid affair. “Some of Josh's more poignant moments happen when the music pares back and his performance becomes the focus,” explain LV. Between Josh’s observational eye and LV’s considered yet dance-floor moving production style, with its funky hardware synth jams and live drums, delightful aesthetic contradictions abound on Islands. “Of course we always make one track at a time, but once you start to get a collection of tracks you start to see a bigger picture…”adds Wil LV. “There's a fair bit of improv when we're recording, but when it comes to putting tracks together, we're choosing to use certain things we've come up with over others because they hang together well thematically.”

                                                                              Ed Piskor

                                                                              Hip Hop Family Tree Vols. 1-2: 1975-1983 Gift Box Set

                                                                                To celebrate the resounding critical and commercial success of the first two volumes of Ed Piskor’s unprecedented history of hip-hop, we are offering both books in a mind-blowingly colorful slipcase, drawn and designed by the artist. As if that’s not enough, in addition to the two books and the slipcase itself, Piskor has drawn a 24-page comic book - Hip Hop Family Tree #300 - specifically for this boxed set that elegantly reflects the confluence of hip-hop and comics, which was never more apparent in the early 1990s than with the famous Spike Lee-directed Levi’s Jeans commercial starring Rob Liefeld, who went on to create Youngblood and co-found Image Comics, not to mention ending up on the radar of gangster rapper Eazy–E. Piskor tells this story as a perfect parody/pastiche/homage to ’90s Image comics.

                                                                                Aurra X Dam-Funk

                                                                                Somebody

                                                                                  A lost disco-funk masterpiece providing another glimpse into the genius mind of Slave founding-member Steve Washington & Brides Of Funkenstein / P-Funk singer Sheila Horne Brody. Previously unreleased Aurra album originally recorded for Quincy Jones’ Qwest imprint in 1984. Slap Bass, Electro-Funk heavy synths, Linn Drum, sultry vocals… this is Modern Funk at it’s finest! Dam-Funk adds a bit of dirt and grime by putting his signature Re-Freak on the track. A confirmation from Los Angeles’ Ambassador of Boogie Funk that this is in fact the the un-cut funk and nothing but the funk.

                                                                                  Brian Ellis

                                                                                  Reflection Feat. Egyptian Lover

                                                                                    Hailing from Escondido, CA, Brian Ellis has arrived with the “REFLECTION” EP, and has set out to push authentic drum machine synthesizer funk to the livest, rawest level. His gear list is strong, his output is prolific, and his work ethic is unrivaled…armed with his oberheim DX, oberheim Matrix-1000, Roland SVC-350 Vocoder, and an arsenal of various guitars, synths, and outboard effects, Brian and his group “REFLECTION” are prepped to unleash an array of utterly devastating jams onto the dancefloor. His debut EP, “REFLECTION” includes the Egyptian Lover, a master of the 808 and veteran party-rocker on vocoder detail, to guest on “Love Is.”

                                                                                    Poison Girls

                                                                                    Chappaquiddick Bridge - LP + 7" Edition

                                                                                      'Chappaquiddick Bridge' the bands first full length LP, was originally released on Crass Records in 1980 and featured the same lineup as HEX. And like Hex, it shared the producer/engineer team of Penny Rimbaud and John Loder. This record sees Poison Girls at their most experimental stage. The songs dig deeper into the connections between the personal and political. Starting with an uncredited version of ‘State Control’ (one of the bands punkiest crowd pleasers) done in an ‘unplugged’ style, and ending with the similarly stripped down ‘Tender Lover’, this album broke all the rules of what a ’punk’ album should sound like. The songs are long. There are extended sonic workouts and codas, using synths, abused studio effects, electric violin, acoustic piano as well as ‘random’ electric guitar sounds and vocals. The mix has thundering drums up front that power the songs, and help create a barrage of rich sound.The lyrics speak of love, power, sexual politics, war and peace and most things in between. This is Vi at her most poetic, but with a razor sharp insight, and not holding back on using it. A truly original album. If it was removed, lost or destroyed, your original copy of Chappaquiddick Bridge came with a one-sided flexi disc containing the anthem "Statement". This 2014 reissue also includes "Statement" as a proper one-sided 7" vinyl. Sturdy tip-on gatefold cover.

                                                                                      Poison Girls

                                                                                      Hex

                                                                                        Poison Girls were a force of nature. Spat out of the belly of the UK punk scene, Poison Girls paired up with a band down the street called Crass. The two bands played 100 shows together in the span of three years.They bonded on a conceptual and artistic way to approach punk. Poison Girls were fronted by Vi Subversa, who was a child in the East end of London during the 2nd World War, an evacuee during the Blitz, became part of the Soho anarchist scene of the 50s, took part in the original CND march to Aldermaston, then a counter culture drop out of the 60s, finally found herself in the mid 70s, aged 40, with two children, living in Brighton. Vi, along with Richard Famous, Lance d'Boyle and Bernhardt Rebours released HEX in 1979 on the bands own Xntrix label. It was a 12” 45rpm mini album and was released with the help of Small Wonder (Bauhaus, The Cure, Crass), a local independent record label. HEX was later reissued by Crass Records in 1981. Recorded at Southern Studios, produced by Penny Rimbaud, and engineered by John Loder, HEX is an extraordinary punk record which featured the group's lineup that was to last for the following 2 years. Cameo appearances included Vi Subversa's offspring Pete Fender and Gem Stone of Fatal Microbes and Eve Libertine of Crass. The album lays out the band's concerns, in Vi's searing lyrics, against a backdrop of deep, beautiful and sometimes scary music. Vi channels the anger and frustrations of any single mother living in what was (and still is) a mans’ world. From the opening salvo “If I had my time again, I’d like to come back as a man!” to the final “Reality Attack Reality Attack Reality” the record bristles with a fiery passion and intensity. The lyrics explore the expectations of normality, political correctness, pressures of conformity, pain and mental illness and the horrors of war. The music is diamond hard but with a tender edge, and the whole soundscape is overlaid with ‘found’ recordings of everyday life. Reissued for the first time in over 30 years with a sturdy tip-on gatefold cover.

                                                                                        Michael Giacchino

                                                                                        Dawn Of The Planet Of The Apes OST - Silverback Coloured Vinyl Edition

                                                                                          Dawn Of The Planet Of The Apes is the eighth theatrical film in the Apes franchise, released in 2014. Directed by Matt Reeves and starring Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, and Kodi Smit-McPhee, it's the sequel to the 2011 film Rise Of The Planet Of The Apes, which began 20th Century Fox's reboot of the original Planet Of The Apes series. Upon theatrical release, the film was immediately met with critical acclaim, with critics praising its visual effects, story, direction, acting, and emotional depth.

                                                                                          The latter is at least partly caused by the wonderful score by acclaimed soundtrack composer Michael Giacchino. He has composed scores for movies, television series and video games, some of his most notable works include the scores to television series such as Lost, games such as the Medal Of Honor and Call Of Duty series, and films such as Mission: Impossible III, The Incredibles, Star Trek, Star Trek Into Darkness, Cloverfield, Ratatouille, Up and many more. Giacchino has received numerous awards for his work, including an Emmy, multiple Grammys, a Golden Globe Award, and an Academy Award.

                                                                                          The first 2000 copies of Dawn Of The Planet Of The Apes are numbered and pressed on 'silverback' coloured vinyl!


                                                                                          Miles Davis

                                                                                          Kind Of Blue - 2014 Remastered Transparent Vinyl Edition

                                                                                            Listed as one of the four most influential Jazz albums that happened to be released in 1959 (Dave Brubeck – Time Out [MOVLP038j & Charles Mingus – Ah Um [MOVLP065j among them), so much has been said and written about Miles Davis’ Kind Of Blue, it’s virtually impossible to summarize all the necessary info to the length of this page. We could simply list some facts (best sold Jazz album ever worldwide). We could try to explain why it’s the best Jazz album ever made, but the music itself will do that to you.

                                                                                            As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised. The end results were fragile and wondrous. Recorded during 2 sessions in 1959, Kind of Blue worked on many different levels and will do so for many years to come.


                                                                                            Zoot Woman

                                                                                            Star Climbing

                                                                                              Zoot Woman release ‘Star Climbing’ on 1st September 2014 through Embassy One. First single ‘Don’t Tear Yourself Apart’ will be released on 18th August, with remixes from Michael Mayer, Radio Slave and Chopstick & Johnjon.

                                                                                              British electronic pop trio featuring producer Stuart Price (Madonna, The Killers, Pet Shop Boys, Les Rhythmes Digitales and Jacques Lu Cont) and brothers Johnny (guitar, vocals) and Adam Blake (keyboards) met at school in Reading, England. Their debut album ‘Living In A Magazine’ (2001) was hailed as one of the most important forerunners of modern electronic pop music, with Hall & Oates/Pet Shop Boys infused singles such as ‘It’s Automatic’ and ‘Information First’ and their style led conceptual aesthetic. Zoot Woman went on to release two more albums ‘Zoot Woman’ (2003) and ‘Things Are What They Used To Be’ (2009) touring relentlessly whilst remixing artists including Scissor Sisters and Madonna under the name of Paper Faces.

                                                                                              Fourth long awaited new album ‘Star Climbing’ is a significantly different offering, fresh and optimistic electronic pop with trademark suave vocals from Johnny Blake, written and recorded in four different studios across the UK and in Price’s L.A studio.

                                                                                              “We felt the need to challenge our own style, to open new doors creatively. It is without a doubt my favourite Zoot Woman album. The title ‘Star Climbing’ is about the idea of reaching for something beyond what you know. ” (Johnny Blake, Zoot Woman)

                                                                                              The first song penned for the album was ‘The Stars Are Bright’, a pulsating electro pop smash with double time beats and building synths, influenced by the sound of nineties rave clubs and an album mission statement: “We’ve changed the way we see the world”.

                                                                                              'Don't Tear Yourself Apart' is the first single from the album inspired by the need for hope when things feel dark (“When it all seems to bring you down don’t tear yourself apart, I can promise you better ways, we’ll be living in better days.”) It was recorded in a similar way to ‘It’s Automatic’, minimal music, simple song, written on an old Casio synthesizer and 909 drum machine.


                                                                                              Dark Sky

                                                                                              Imagin

                                                                                                The long awaited debut LP from Dark Sky is not entirely what you might expect from the London trio. After a string of club focused 12"s they delve deep to deliver a tender and uplifting offering entitled 'imagin.' To the sworn fan it may come as a surprise, but it will prove to be a pleasant one, as the evolution from the analogue metallic sounds that shaped their past discography naturally mature and slide into the sound palette of imagin. Through heavy consumption of music from across the spectrum the trio's work has refined, and clearly echoes their heritage as kids of the 90's, referencing numerous influences the decade processed - the album bears traces of funk, post rock, a thick layer of trip hop, even balearic house, bossa nova, disco, 80ies pop and ambient. All of it heavily reverberated, stirred and shaken in Dark Sky's musical tumbler. The outcome is captivating. Littered with sophisticated percussion, soft and subtle marimbas fused with sci-fi synths and tastefully delivered vocals throughout. Grey Reverend features on the lead single 'Silent Fall' to beautiful effect, with an outcome sitting somewhere between James Blake and Moderat. Elsewhere Cornelia (of Portico Quartet fame) delivers Elizabeth Fraser - like vocals on 'Nothing Chances,' 'Vivid' and 'Purple Clouds' providing a perfect soundtrack to the late summer. Long standing Dark Sky fans will also be pleased to hear that there are more club orientated tracks on their too. 'Odyssey's' dark spacey arpeggios and growling bass line reminds us of their seminal electro-roller 'Confunktion,' but comes delivered complete with euphoric almost balearic stabs and straight stacked 4 x 4 hi-hats. 'Rainkist' is a soul laced dance floor ballade featuring vocals from an unlikely source in the form of d-Bridge with huge crossover potential, and 'Manuka' finally brings back the breakbeat with its percussive far-east vibes that evoke Truth Hurts & Rakim's 'Addictive,' which fittingly sums up this album.

                                                                                                Christopher Willits

                                                                                                Opening

                                                                                                  "For years, I’ve imagined the work I do in music, photography, and video all coming into one space," says music-tech guru Christopher Willits from his home in San Francisco. It's an ambition that many musicians have aspired to, but nonetheless seems especially befitting of a worldly polymath like Willits. "I believe that sound and light, when used intentionally, have the power to transform and inspire our imaginations," he continues. "I believe that art has an ability to awaken our connection to everything." And that is exactly what he has set out to do with OPENING, the veteran Ghostly artist's immersive new audio-visual project.

                                                                                                  Across seven tracks of widescreen ambient music, 45 minutes of visuals shot over four years in multiple countries, seven bespoke photographs, and a multi-sensory live performance, Willits has conceived and produced something which might better be thought of as an experience than a simple album. Of course, OPENING does feature Willits' latest music since Ancient Future, his 2012 collaboration with Japanese pianist Ryuichi Sakamoto, and the vibrant, enveloping sounds we've come to expect from him are on full display. The quiet majesty of "Vision" ushers us into the sacred world Willits created, a living universe which billows and heaves in the corners of slow-grooving songs like "CLEAR" and "CONNECT" or the textural minutiae and harmonic subtleties in "GROUND". Closing out the album, "WIDE" and "RELEASE" o!er the listener a gentle comedown through 15 cumulative minutes of transcendent audio, with Willits' delicate guitar manipulations breathing life into the aether of prickly atmospheres and soft-glowing synths.


                                                                                                  Alex G

                                                                                                  DSU

                                                                                                    Lucky Number is thrilled to present DSU, the incredible new album from the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Having already amassed a fan base stateside, DSU is due out on 10 November in the UK.

                                                                                                    Though only 21 years of age, and still a student at Philadelphia’s Temple University, DSU is Alex G's fifth album. All recorded at home, almost exclusively solo, and, until recently, all self-released and available only via Bandcamp; the volume of his work online - combined with its vitality - has helped build a fervent cult fan base.

                                                                                                    Wise beyond his years, Alex’s lyrics draw upon personal experiences whilst conveying something universal as if touching upon topics with a world-weary authority: the frustration that comes with dealing with reprobate friends, self-centred drug-use and the stinging loneliness of an unreciprocated affection all feature prominently. Like classic artists Neil Young and Alex Chilton, Alex’s songs are refreshingly robust and rapturous, with enough lo-fi grit to ground them in a sparse, impressionistic space.

                                                                                                    Sonically, his palette fluctuates from the rolling rhythms of album opener 'After Ur Gone' to the distorted atmospherics of 'Hollow'; a shift that makes more sense when you realise Alex counts Silver Jews, Aphex Twin, Lucinda Williams and Boards of Canada amongst his diverse musical reference points. Everything is tied together by the ever present winding open spaces of his languid acoustic strums and the meandering melodies of that classic indie aesthetic. Lyrically each track on DSU - from the more intricate narrative of addictive highlight 'Harvey' to the overtly questioning elements of album closer 'Boy' - reveals just enough to embolden the listener to explore beneath its surface - making what they will of Alex's introspective musings.


                                                                                                    FORMAT INFORMATION

                                                                                                    LP Info: Heavyweight Vinyl LP includes free copy of CD and bonus tracks.

                                                                                                    2 Bears

                                                                                                    The Night Is Young

                                                                                                      Two years ago The 2 Bears dropped a debut album that re-invigorated a genre and gathered music fans in the open embrace of house music. On October 13th they return with the second installment The Night Is Young, the eagerly awaited follow up released on Southern Fried.

                                                                                                      Where debut smash Be Strong was rooted in their love for London, The Night Is Young takes on a more global vision. With a love for their home city still at its heart, the album pulls influences and experiences from across the world of dance music, drawing deeply from their trip to Africa last summer. As part of a project for Brixton based youth magazine Live, the duo played shows in Cape Town and Johannesburg and spent time recording in a studio run by BLKJKS’s Tsepang Ramoba. The lead vocals for Son Of The Sun were recorded there with a young singer called Sbusiso and Kwaito legend Senyaka, who also added his vocal to lead single Angel (Touch Me).

                                                                                                      Speeding through multiple genres, often condensed into single tracks, The Night Is Young lifts The 2 Bear’s famed, eclectic DJ sets to higher realms, shifting the imperative to lose both body and mind distinctly up a gear. ‘I love tunes that disguise things,’ says Joe. ‘A really sweet melody with a really dark sentiment. Money Man is meant to be like that, you can have those glossy reggae records that still say something. We didn’t want to just be in that culture of not saying anything, where it’s all a fantasy world and everyone just goes and gets f****d up but no one says anything.’ It’s a stark contrast and one that cleverly moves the full-on party hedonism of their debut forward, without sacrificing any of its unadulterated disco charm. The record undulates, it’s like a taster menu; courses of hard house, soft reggae, punchy ragga, piano tear-jerkers, funk and soul, all made crystalline with the typically high level of production and the passion of Raf’s voice.


                                                                                                      Sinkane

                                                                                                      Mean Love - Bonus Mix CD Edition

                                                                                                        With roots in the rich musical history of North America as well as Africa, Sinkane provide a new perspective on what Soul Music is, and what it can be. Sinkane’s Mean Love rolls like an emotional, existential history of the artist. Ahmed Gallab has created an altogether unique compound of sound, stylistically nostalgic and ultramodern at the same time. From Gallab’s childhood in Sudan there is a Pan-African influence of popular Sudanese music and haqibah, as well as distinct horn and synth arrangements more common to East Africa. This background merges with the lessons learned from Ahmed‘s stints with obsessive craftsmen such as Caribou, Yeasayer and Of Montreal, and especially the monumental task he underwent as musical director of ‘ATOMIC BOMB! The Music of William Onyeabor.’ Gallab excavated and arranged a treasure trove of lost classics from the West African synth-pioneer to put together a now legendary series of performances. Mean Love is an album with an open door invitation, and gets deeper with every listen. You hear it right away in the blistering opening track, “How We Be.” An instant classic, sounding like a lost gem of soul funk, a sweetness of voice alongside honey bass lines, the tune grips you and makes you wish for a dance floor, while enticing you to stay for the whole journey of the album.

                                                                                                        Brighton-based producer Leo Marcus aka High Lucia presents his debut release on Lex Records with the majestic Wash EP. Formerly known as Pále, High Lucia presents a six-piece collection of sweeping, organic ambient statements, with ‘Dark Ages’ offering deep, lush bass lines and shimmering voices. In a breakaway from the usual instrumental configurations, final cut ‘Opal / Forever’ brings in vocalist Joshua Idehen in addition to Shanaz Dorsett who add their vocal touches to High Lucia’s rich ambient production.

                                                                                                        Predominantly instrumental, Wash is a lush 6 track EP with sweeping ambient instrumentals underpinned by minimalistic bass lines alongside Joshua Idehen (Benin City) and Shanaz Dorsett's vocal contributions which pin point the London influence. His productions don’t just stir morose vibes, instead they engage in creating an abstract sense of beauty. His synths and vocal parts cling like fog to his crisp percussion. A young talent growing from strength to strength - for fans of Clams Casino, MBV, Benin City, Massive Attack, The XX / Jamie XX.

                                                                                                        Robert Plant

                                                                                                        Lullaby And… The Ceaseless Roar

                                                                                                          ‘lullaby and…The Ceaseless Roar’ is Robert Plant’s first record since 2010’s ‘Band of Joy’, which followed 2007’s six-time Grammy Award–winning collaboration with Alison Krauss, ‘Raising Sand’.

                                                                                                          Produced by Robert Plant, the album is his label debut and features 11 new recordings, 9 of which are original songs written by Robert Plant with his band, The Sensational Space Shifters—Justin Adams: bendirs, djembe, guitars, tehardant, background vocals; John Baggott: keyboards, loops, moog bass, piano, tabal, background vocals; Juldeh Camara: kologo, ritti, Fulani vocals; Billy Fuller: bass, drum programming, omnichord, upright bass; Dave Smith: drum set; and Liam “Skin” Tyson: banjo, guitar, background vocals.


                                                                                                          Homeboy Sandman

                                                                                                          Hallways

                                                                                                            Hallways is Homeboy Sandman’s second full-length record on Stones Throw. The album is an ode to the space between where you are and where you are headed; a space in flux, and a space where Sandman himself thrives. True to form, it weaves witticism into even its most serious messages. Producers on Hallways include Oh No, Knxwledge, Blu, DJ Spinna and Jonwayne, who produced the first single, "America, The Beautiful."

                                                                                                            Homeboy Sandman’s witty raps have garnered praise from both hip hop and mainstream music press, from, featured by media including NPR, Clash Magazine, the Evening Standard, BBC 6Music, and Pitchfork. Rolling Stone recently branded him an “Artist To Watch” and praised his “skill for wordplay that keeps you hooked,” while Pitchfork describes him as “hyper-intelligent” and “one of the best pure lyricists around.” The prolific and outspoken Queens MC has also had essays prominently published in Gawker and Huffington Post.

                                                                                                            Since signing with Stones Throw Records in 2011, Homeboy Sandman has released a full length, First Of A Living Breed, along with a series of five short records, establishing himself as one of the most productive and creative lyricists of this generation.

                                                                                                            Andras Fox

                                                                                                            Vibrate On Silent

                                                                                                              Melbourne-based producer Andras Fox (A.r.t. Wilson) creates a tactile and unique form of antipodean funk that feels equally informed by garage house and new age musical traditions. His productions sound appropriate on both the dance floor and in the lounge, boasting a casual danceability and mood that seamlessly adapts to both environs. On Vibrate On Silent, Wilson creates g-funk with a surf sensibility; congas, shakers, electro-acoustic melodies coalesce with grooves, subtle hooks and a laid-back, oceanic ambience.

                                                                                                              Wilson's arrangements are spacious and deceptively simple - layers are built up and stripped down, with the rhythm track providing a solid framework for jazzy/improvised flourishes. Opener "Ankle Snapper" begins with a politely funky bass line, adding handclaps and a casual house beat that is gradually adorned with cowbell and midi-saxophone. "Pontoon" pushes the g-funk agenda further, coming across like Dr. Dre driving top-down along the Great Ocean Road.

                                                                                                              Elsewhere, "Driftwood" and "Mystic Beach" allude to Wilson's prior dabblings in new age. In addition to his production work, Wilson is a renowned DJ, hosting Strange Holiday on Melbourne's Triple R where he champions a diverse mix of primitive rhythms, weird disco, outsider music and other Australian rarities. He recently completed a DJ tour of UK and Europe, and now has three Boiler Room sets under his belt.


                                                                                                              Syl Johnson

                                                                                                              Total Explosion

                                                                                                                During his eight-year stint with Hi Records, Syl Johnson was in the shadows of both Al Green and Ann Peebles. As this album’s predecessors had Johnson vacillating between being a romantic and a wretch, ‘Total Explosion’ explores his unrepentant side with good results.

                                                                                                                The album’s biggest single was Johnson’s slowed-down take on Green’s ‘Take Me To The River’. Although the religious / sexual imagery is lost in the translation, Johnson does a good job with it.

                                                                                                                The best track, the brilliantly arranged ‘Watch What You Do To Me’ has Johnson playing the role of cuckold and as he sings “I carry my piece, everywhere I go,” it certainly made him more of a menace than a romantic balladeer.

                                                                                                                ‘Total Explosion’ was Johnson’s most successful album at Hi Records and was one of the best in the label’s catalogue.

                                                                                                                Syl Johnson

                                                                                                                Back For A Taste Of Your Love

                                                                                                                  A rollicking vocalist and gifted harmonica player, Syl Johnson has forged a career in both blues and soul. He sang and played with blues artists Magic Sam, Billy Boy Arnold and Junior Wells in the 1950s before recording with Jimmy Reed for Vee-Jay in 1959. He made his solo debut that same year with Federal Records.

                                                                                                                  Johnson toured with Howlin’ Wolf from late 1959 until 1962, when Willie Mitchell signed him to Hi Records. Johnson recorded for both Twilight and Hi in the late 1960s and early 1970s, clicking with the dance / novelty cut ‘Come On Sock It To Me’ and crackling message track ‘Is It Because I’m
                                                                                                                  Black?’.

                                                                                                                  He had his biggest hit with ‘Take Me To The River’ in 1975, reaching Number 7 on the R&B charts.

                                                                                                                  Swamp Dogg

                                                                                                                  Cuffed, Collared & Tagged

                                                                                                                    One of the great characters in rock and soul music is Jerry Williams, better known as the eccentric, idiosyncratic and always entertaining Swamp Dogg.

                                                                                                                    A Virginia native, Williams invented his own legend by claiming that he had little proper schooling, only to wake up one day and find himself a musical genius (his words). Actually, Williams is very talented - an early association with Jerry Wexler and Phil Walden led to him working for a number of years as a producer, engineer and occasional songwriter with Atlantic in the 1960s.

                                                                                                                    OV Wright

                                                                                                                    Into Something / Can’t Shake Loose

                                                                                                                      For this comeback, the producer made sure Wright was supported by nothing but the best, from the Memphis Strings & Horns via the rhythm section of Grimes and all three Hodgeses to the background vocals of Rhodes-Chalmers-Rhodes. Even James Brown turned up for piano duties but let’s assume he’s just a namesake.

                                                                                                                      Obviously not as strong as the Hi albums Mitchell made with Al Green or Ann Peebles, this is still an example of genuine Southern soul.

                                                                                                                      Fela Kuti

                                                                                                                      Finding Fela OST

                                                                                                                        The soundtrack to the documentary film ‘Finding Fela’ which tells the story of Fela Kuti’s life, his music and his social and political importance.

                                                                                                                        This in-depth look at the man who created Afrobeat (the fusion of jazz, traditional West African rhythms, funk, Highlife and psychedelic rock) includes 17 of Fela’s classic tracks plus a never-before released live version of ‘Colonial
                                                                                                                        Mentality’, recorded at the New Afrika Shrine in Fela’s hometown of Lagos and featuring Fela’s son Femi Kuti on saxophone.

                                                                                                                        With his audacious music and much courage, Fela helped fight corruption and autocracy in freshly democratized Nigeria.

                                                                                                                        It's hard to go wrong with Fela Kuti's work from the 1970s, and "LIVE!", which features the Afro-beat innovator backed by his powerhouse band Africa '70 and ex-Cream drummer Ginger Baker, is no exception. Like all of Fela's recordings from the era, "LIVE!" consists of just a few tracks, each of which approximates or exceeds the ten minute mark.

                                                                                                                        Yet the arrangements are so dynamic on these tracks, the criss-crossing polyrhythms so absorbing, and Fela's incantatory vocals so entrancing that the long running times never seem a factor. Every cut crackles from beginning to end with its mixture of funk, jazz, and traditional Nigerian music, underscoring once again Fela's revolutionary, indelible contribution to world music. Fans of Ginger Baker will want to take note that the drummer is not showcased except on a bonus track, which pairs the drummer with Fela percussionist Tony Allen for a smokin' sixteen-plus minute drum solo.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Ltd CD Info: CD is presented in a deluxe digipack, with booklet including Fela’s biography and track-by-track commentary from Afro-beat historian Chris May.

                                                                                                                        "Expensive Shit" is arguably one of Fel Kuti's best releases. In addition to its burbling percussive groove, infectious horn melodies, and Fela's inspired vocal performance, the anecdote behind the title cut is an amusing tale involving the Nigerian authorities' raid of Fela's home compound, during which he was framed for the possession of marijuana. On the flipside we get the equally classic keyboard-and horn-dominated instrumental "Water No Get Enemy".

                                                                                                                        ‘Expensive Sh*t’ Nigerian police, seeking to frame Fela Kuti, tried to plant a joint of marijuana on him during a gathering at his home. Wise to their plan, he quickly swallowed the joint. However, the police threw him in jail to wait for the evidence to make its way through his system. With some wily plotting Fela escaped charges and subsequently produced this opus mocking the police for wasting resources on hassling him instead of furthering justice in Nigeria. Opening brass sounds give way to interplay between Fela’s narration about the episode and responses from his group of femail singers.

                                                                                                                        Fela Kuti

                                                                                                                        Confusion

                                                                                                                          Fela Kuti's 1975 "Confusion" shows him and Africa 70 at the heights of instrumental prowess and ambiguous jibes (the stabs are about to get a bit more direct and heated with 1977's "Zombie"). "Confusion" begins with an unusual free jazz interplay between Fela on organ and drummer Tony Allen that has the presence of 2001: A Space Odyssey in its omnipresent drama. Then the group falls into a lengthily mid-tempo Afro-funk that plays with a sureness that only comes from skilled musicians and a dictator-like leader; here is the formula that had made Fela a genius: Once he has the listener (or the crowd - as all of his songs were originally meant to entertain and educate his audiences at the Shrine) entranced in his complex (and at the same time, deceptively simple) arrangements of danceable grooves, he hits them with what he wants to say. "Confusion" is a comment on the general condition of urban Nigeria (Lagos, in particular). Fela uses traffic jams, no fewer than three dialects, and a multitude of currencies that make trading difficult to complete the allusion to the general post-colonial confusion of a Nigeria lacking in infrastructure and proper leadership. "Confusion" is a highly recommended 25-minute Afro-beat epic.

                                                                                                                          Fela Kuti

                                                                                                                          He Miss Road

                                                                                                                            ‘He Miss Road’ This album combines James Brown style 70s funk with a stripped down Afrobeat sound. Ginger Baker produced this ethereal, almost psychedelic album with Tony Allen on drums, backed by Fela’s Africa 70
                                                                                                                            band. The title track refers to how people can lose their way and the ensuing chaos it causes. From 1975, Fela and Africa 70 bring three tracks (that's nearly 40 minutes of music) on a more relaxed tip that usual, beginning with the title track. "Monday Morning In Lagos" has an almost Carribean lilt to it, echoing his brothers in Jamaica, before things hot up for "It's Not Possible", a breathtaking surround sound epic.

                                                                                                                            Bruno Nicolai

                                                                                                                            All The Colours Of The Dark - Red Vinyl Edition

                                                                                                                              As part of a devoted series of releases focusing on Bruno Nicolai’s soundtrack music to the films of Edwige Fenech, Finders Keepers proudly unveil what is perhaps the crowning moment for both actress and composer with the film that inaugurated them (alongside director Sergio Martino) into the critical Giallo royal family in the early 1970s. Presented here with previously unpressed tracks as an alternative to the extremely rare 1973 Gemelli library edition, this Finders Keepers special release includes the recently uncovered 1972 hard-hitting left-field psychedelic pop themes that unified yet another unholy trinity comprising of sitar wielding Alessandro Alessandroni (in true Pawnshop Braens Machine mode) and Italian cinematic songbird Edda Dell’Orso to create (under Nicolai’s gaze) what is regarded by many unified euro horror video collectors and vinyl detectives as the cream of this well furrowed crop.

                                                                                                                              Recorded in January 1972 at Morricone’s Ortophonic studio in Rome (home of Goblin’s Roller and Alessandroni’s Sangue di sbirro amongst many others) Bruno Nicolai balances psychotic free jazz, aggressive bass driven beats, schizoid Eastern motifs and childlike lullabies – the latter exacerbating director Martino’s proud Rosemary’s Baby influences in this Giallo tale of a rehabilitated relationship plagued by recurring nightmares and vague memories of a religious cult that teeter on the edge of Fenech’s consciousness. To claim this score as Nicolais’ all time best is perhaps a little ambitious for a versatile composer of such acclaim and widespread appeal, but for fans of that unique window of unhinged musical opportunity which came with the Giallo boom of the early 1970’s you’ll be hard pushed to find a record that covers all bases from an alternative universe where Fabio Frizzi, Goblin and Walter Rizzati were (haunted) household names.

                                                                                                                              Flying Lotus

                                                                                                                              You’re Dead! - Special Edition Box Set




                                                                                                                                FORMAT INFORMATION

                                                                                                                                LP Box Set Info: 4 x 180g LP pressing. Includes 'You're Dead!' album, plus 'You're Dead! Instrumentals'. All vinyl in printed inner sleeves, outer sleeves and rigid box and lid.

                                                                                                                                Flying Lotus

                                                                                                                                You’re Dead!




                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  2xLP Info: Double vinyl pressing in gatefold sleeve.

                                                                                                                                  CD Info: CD in wallet with folded poster booklet

                                                                                                                                  Kindness

                                                                                                                                  Otherness

                                                                                                                                    The Ministry Of Wolves

                                                                                                                                    Happily Ever After - Coloured Vinyl Edition

                                                                                                                                      NEHRUVIANDOOM

                                                                                                                                      NEHRUVIANDOOM - Green Vinyl Edition

                                                                                                                                        NEHRUVIANDOOM is Bishop Nehru’s debut album. Produced by Metal Fingers and featuring MF DOOM vocals on several tracks, it’s a compact nine track, 30 minute long player.

                                                                                                                                        Bishop Nehru’s breakthrough mixtapes, released from the age of 15 saw him rhyming over DOOM produced instrumentals. DOOM joined the line of MCs who co-signed the young rapper including heavyweight lyricists Kendrick Lamar and Nas, who introduced him on stage during his set at SXSW as “The future of music”.

                                                                                                                                        Still only 17, Bishop has wrapped up his debut album for Lex, a collaborative project with MF DOOM.

                                                                                                                                        Artwork by GHOSTSHRIMP, best know for Cartoon Networks hit show Adventure Time.

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        Ltd LP Info: Limited edition green vinyl pressing.

                                                                                                                                        Portishead

                                                                                                                                        Dummy - Blue Vinyl Edition

                                                                                                                                          Hip hop enthusiast and obsessive break hunter Geoff Barrow, jazz musician Adrian Utley and singer-songwriter Beth Gibbons created Portishead's genre defining 'trip hop' album "Dummy" in 1994. The set's combination of head-nod beats and cinematic atmospherics (including Theremin, Rhodes, and Hammond) both sampled and played live, was given an extra twist by Barrow, who pressed the recordings up on vinyl and scratch-mixed them together, passing the resulting tapes on to Gibbons to add lyrics and a tune to. And it's Gibbon's who lifts the album into Mercury Music prize-winning territory, adding a heart-rending melancholia with her fragile folk-soul vocals. Featuring the singles "Sour Times" and "Glory Box", "Dummy" is just one of those must-have albums.

                                                                                                                                          Wax Poetics

                                                                                                                                          #59 (Aaliyah / Kelela Cover)

                                                                                                                                            eteran music journalist Michael A. Gonzales looks back twenty years on Aaliyah’s debut album, the controversy with R. Kelly, and the follow-up album with Timbaland that changed the landscape of R&B. Includes never-before-published photos of Aaliyah by photographer Jonathan Mannion. Novelist T. P. Carter interviews newcomer Kelela and runs down the L.A. electro-bass scene.

                                                                                                                                            Producer, songwriter, and organist Edwin Birdsong is the anonymous genius behind some of jazz-funk’s most cosmic moments. Influenced by Larry Levan and the New York club scene, Birdsong’s left-field boogie anthem “Cola Bottle Baby” would become fodder for both Daft Punk and Kanye West, and his bare funk breakbeat track “Rapper Dapper Snapper” would nod hip-hop heads for years, bringing Birdsong’s grooves to a new global audience.

                                                                                                                                            Rinder and Lewis had a knack for creating commercial, crossover disco, hiding behind various monikers like El Coco and Le Pamplemousse. Ultimately, they chose to reveal their true identities on a string of records that would allow them to realize a more artistic vision of disco that played to their strengths—stripped-down drum-and-synthesizer tracks that pioneered the cosmic dance.

                                                                                                                                            Terry Reid passed on the opportunity to become the front man of Led Zeppelin, choosing to carry on as a solo act that never paid off with the heights of fame and fortune of his musical pals, yet he recorded two soulful folk-rock masterpieces and has become known as an artist’s artist.

                                                                                                                                            The story of the notorious NYC bathhouse Continental Baths is the story of disco. The Baths would birth the careers of dance icons Larry Levan and Frankie Knuckles, two young DJs who were soaking in the nascent disco scene of the early ’70s—and who soon got their own shot behind the decks, ultimately influencing the dance scene in immeasurable ways.

                                                                                                                                            As one half of production duo Flyte Tyme Productions, Jimmy Jam, along with partner Terry Lewis, changed the landscape of popular music and the sound of radio forever. The duo’s attention to their craft and changing times saw an evolution in their sound through the latest technology, yet their secret to success was unique, tailor-made productions for each artist.

                                                                                                                                            Contents:

                                                                                                                                            Aaliyah
                                                                                                                                            Kelela
                                                                                                                                            Edwin Birdsong
                                                                                                                                            Rinder & Lewis
                                                                                                                                            Terry Reid
                                                                                                                                            Jimmy Jam
                                                                                                                                            Continental Baths
                                                                                                                                            Chromeo
                                                                                                                                            Blu
                                                                                                                                            Kaytranada
                                                                                                                                            BadBadNotGood
                                                                                                                                            Com Truise
                                                                                                                                            Doug Shorts

                                                                                                                                            Almost 5 years after his previous album ‘Horror Disco’ Bottin is back with a stunning new full length opus. Entitled ‘Punica Fides’ the album was made during sessions in Venice, Rome, Berlin and Ibiza. This new album, his third in a career that dates back more than a decade, was made using a ton of synthesisers, guitars, FX machines and with the help of some standout vocal collaborators.

                                                                                                                                            According to the artist, “Punica Fides is a Roman expression that means "treachery". The concept behind the album (made clear in the song titles) is manipulation, falsehood, seduction, propaganda but also parody and satire. The album is not as soundtrack and nostalgic as 'Horror Disco' was, I think this is a musically diverse album which ranges from synth-house, dark electronica, neo-new-wave dystopian landscapes, space disco and Italo disco. I suppose it's more of a dance record, which reflect the past 5-6 year touring the world as a DJ, as well as the will of creating my own musical bubble.”

                                                                                                                                            The album opens in spiky fashion with the raw drums and serrated synths of ‘Lies’ coming over like a shimmering deep disco jam. Many styles are explored from there on in with ‘Flow Of Persuasion’ being a fast paced, melodically rich house cut that is stuff with analogue lines and oozes psychedelic charm.

                                                                                                                                            Next up is the fantastic ‘Poison’ with Steve Strange (lead singer of Visage and co-founder of the Blitz Club which set the New Romantic template for the music and style of the 80s) which cuts a fine form with its squelchy synthesized basslines, pop leaning vocals and brightly coloured keys. Mid way through the album comes the frazzled synths and steel drum charm of ‘Lust for Deception’, a raucous and ravey disco cut of sheer pleasure.

                                                                                                                                            ‘All For One’ is another dazzling jam shot through with laser synths, arpeggiated lines and robotic vocals that sound like Kraftwerk on acid. Every new track seems even more fun and colourful that the last and the album as a whole leaves you feeling hugely energised, happy and very much alive. The closer is a reprise of ‘Lies’ with vocals from Lavinia Claws that comes straight from some intergalactic disco party it’s so spangled and sugary.

                                                                                                                                            Fans of Todd Terje, Pachanga Boys and all Bottin’s previous work will no doubt fall madly in love with this beautifully crafted and sensuously shiny electronic album.


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