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J Albert

Untitled

    Deep gritty and groovy house biznizz on Opal tapes from the manlike J Albert.

    STAFF COMMENTS

    Patrick says: This funky little sucker's just had me and Kickin' Pidge rocking round the clock. Proper house!

    Beautiful cosmic and ambient excursions from the Stockholm-based duo Lisa & Kroffe on this "Norrfjället" LP. The album was recorded in May 2014 in the small village of Norrfjället and takes you on a voyage through minimal and dreamy landscapes.
    Limited to 300 copies.

    Urgent 002 has landed! Here again, Deego Fresh drops a couple of fresh & rolling stripped-back bombs just in time for the summer while the guys from OdD dig in deep on B2 with a slower groove backed up with some serious percussion work. Another superb release from Urgent! 

    Liquid Liquid

    Successive Reflexes - Superior Viaduct Edition

      Following their debut in 1981, Liquid Liquid wasted no time with their second release the same year. Successive Reflexes picks up where the previous EP leaves off with "Lock Groove," a slow-paced deconstruction of Fela Kuti and Can that shows how quickly the band was able to capture their stripped-down approach in the studio. "Push" drives forward with unapologetic funk, yet still sounds utterly unique. Like their 99 labelmates ESG, Liquid Liquid created music on their own terms and artfully avoided the trappings of any single genre.


      Liquid Liquid

      Liquid Liquid - Superior Viaduct Edition

        Liquid Liquid emerged from New York City's vibrant Downtown scene in 1981. Formed by drummer Scott Hartley, bassist Richard McGuire, vocalist Sal Principato and marimba player Dennis Young, the group cut their teeth in underground clubs and street art circles before solidifying their trailblazing style—a fusion of irresistible basslines, junkyard percussion and urgent, free-flowing lyrics. Their three EPs, all originally released on legendary 99 Records, would heavily influence dance-oriented indie rock of the early aughts (LCD Soundsystem, DFA Records et al.). Their eponymous debut establishes Liquid Liquid's uncompromising vision, from its startling black-and-white sleeve design to the minimalist grooves found within. While Principato's striking pitch-shifted shouts on "Bell Head" lead hypnotic circular rhythms, "Rubbermiro" brings in dub-inflected melodica and Richard Edson (Sonic Youth, Konk) on trumpet, closing appropriately in a locked-groove.

        Liquid Liquid

        Optimo - Superior Viaduct Edition

          Liquid Liquid continued toward dance-floor perfection with their third EP. 1983's Optimo features the band's best-known songs and remains a high water mark for post-punk aficionados. The title track positively erupts when the bass enters, forcing even the stiffest person in the room to move. While it would be an understatement to say that "Cavern" may sound familiar (due to its gross sampling in Grandmaster Melle Mel's "White Lines"), Liquid Liquid were indeed the originators of this iconic New York riff.

          Liquid Idiot / Idiot Orchestra

          Liquid Idiot / Idiot Orchestra

            Prior to forming Liquid Liquid in 1981, the band members were in two other groups: Liquid Idiot and Idiot Orchestra. While these ensembles sounded more experimental than groove-oriented, the beginnings of Liquid Liquid’s spatial / conceptual framework can be heard here. Liquid Idiot started at Rutgers University in the late ’70s and soon relocated to NYC where they performed at various lofts and clubs including Tier 3, Mudd Club and CBGB. The band even encouraged audience members to bring their own instruments to their early shows. Idiot Orchestra was an offshoot that included a dozen or more players (clarinet, sax, trumpet, violin, cello, synth, bass, marimba and drums) resembling a no wave version of Raymond Scott’s big band. As musician and artist Richard McGuire recalls, “We weren’t trying to sound like anyone. We weren’t imitating anyone. We were just playing. I keep using ‘outsider art’ as a reference to what we were doing. None of it was made for a market; it wasn’t made with any intention other than the enjoyment of making it.” This split archival LP collects two rare 7-inches from 1978 and 1980, both of which were originally pressed in hyper-limited editions and self-released by the bands. The package also features a fanzine of ephemera, rare photos and new interview with McGuire.

            Various Artists

            Private Wax Volume Two

              Obsessive collector, record store owner and mine of musical knowledge, Zaf is vinyl junkie of the highest order. His first ‘Private Wax’ compilation came in 2012 and immediately became a highly sought after gem, due to the rare and wonderful disco and boogie contained within.

              Owning the world’s premiere website for rare records (http://www.zafsmusic.com) and counting Gilles Peterson & Norman Jay among his customers allows Zaf a near superhuman selection of music to choose from, so anyone worried that he might have used up all his best tunes on Volume 1 can relax.

              From the shimmering Disco of Starvue’s ‘Love Affair’, which opens up the album, right through to the uplifting last track, Wes Black’s ‘I Feel Good’, it’s clear we are in the hands of a master curator. Containing only original versions, literally thousands of pounds’ worth of rare records have been lovingly re-mastered to build this very special package.

              With the current disco and funk revival making headway into the charts, this compilation of authentic, original material could not be timelier.

              From dance-floor oriented disco monsters to more subtle boogie jams, the album takes the listener on a journey from the nightclub to the streets of 70’s and 80’s Black America, where the early experimental blueprint for hip hop and house can clearly be heard in so much of the music.

              A slice of history, but also a collection of tracks that still have so much mileage left in them, we invite you to dive once again into the magical world of Zaf’s Private Wax.

              !!! (Chk Chk Chk)

              As If

                !!! return this October with “As If”, the band’s sixth studio album. 

                Combining punk abandon and tightly-coiled dance music has always been bonded into the band’s DNA. It’s this core that has seen them outlive the mid-2000s ‘indie/dance punk’ tag and has allowed them to consistently grow lyrically and sonically from album to album. “As If” is their most consummate collection of songs yet.

                To celebrate this news, !!! share first listens of “Freedom! ’15” and “Sick Ass Moon”. Soulful female vocals layer “Freedom! ’15,” a self-described disco odyssey, with the band stretching out their live roots. The R&B tinted House track “Sick Ass Moon” follows in the footsteps of “All U Writers,” their April record store day release, bouncing along with a thumping kick to carry the album’s opening. 

                "Each album we've made has gotten closer and closer to our live set and this, we're proud to say, is the closest we've come yet. We were heavily influenced by current dance music--Nina Kraviz, Moodymann, Paranoid London, Rrose and Delroy Edwards were frequently referenced--and philosophically by the early 90's house records we love on labels like Trax and Dancemania and by artists like Romanthony and Green Velvet. Those records sound great because they're fairly raw attempts to use the technology of the time to ape the New York and Philly disco records that those producers loved. We figured, if those old house records sound like they do because the artists manipulated disco samples with MPC's, why couldn't we just sample ourselves and manipulate the tracks with Ableton Live? The more raw it came out the better it felt, not only because that's what excited us about those old records, but because it felt felt more punk, which always feels good." - !!!

                140g vinyl bangers.
                Not much to say apart that all of us at Piccadilly think this is killler. Must have for fans of twisted house and techno - think early Blawan, Boddika, Tessela and the rawness of Night Slugs Club Constructions series. 

                'Why does my mind circle around you? Why do planets wonder what it would be like to be you?'

                This time Vakula explores the universe of the man who was searching for a world where there were women and children obeying the moon but faced the reality with its wisdom, and fever, and sickness. And faced it too soon. 'The music and voices are all around us. Choose, the croon, the Ancient Ones. The time has come again'.

                The album is Vakula's thoughts in time and out of season dedicated to Morrison, the poet, the musician, the soft mad child, the great man. 'Enter again the sweet forest, enter the hot dream, come with us. Everything is broken up and dances'.

                Plukkk

                First Pitch EP

                Resonances of a distant past or an apocalyptic industrial future, dark moods, gritty grim noises, violent mechanisms of rhythm pressed on vinyl.

                Feedback:

                Perc (Perc Trax) “Thanks for this. Both mixes of K012 are great :-)”
                Substance a.k.a. DJ Pete (Chain Reaction) “good release! at the moment, A1 is my favourite track from this record.”
                J. Tijn (Pennyroyal / Bedouin Records) “really wicked ep mate”
                Stenny (Illian Tape) “Killer stuff man. proper warehouse weapons”


                Natalia Martínez Ordoñez (N.M.O)

                Natalia Martínez Ordoñez

                File under 'Military Space Music AND/OR Fluxus Techno'

                Tempo is a decisive factor in how we relate to music. Whole genre separations and notions of taste can revolve around the BPM at which samples are triggered or musicians play. In live music BPM is obviously often a fluctuating quantity, a loose constrict affected by the musicians' spirits / audience / etc. Electronic music genres are usually more rigid in their adoption of a tempo and the BPM often comes to define a scene's aesthetic. NMO have used this release to play with the really quite hefty and serious concept of speed (& slowness), timing, and BPM. ‘Natalia Martínez Ordóñez’ is a studio recording of an outdoor piece commissioned by CO² Festival in Beirut in 2014, where the initial idea of a one hour piece has been condensed in a 30 minute record. The piece has been performed in Beirut, Krakow, and London.

                The sections are divided by pace, with the record opening at 60bpm and ending at 150bpm, where each section is introduced with a humble metronome and clearly separated by test signal-esque tones. The instrumentation is affectingly sparse, limited to electronic effects and that most basic unit of rhythmic interval, the snare drum. The sounds naturally increase in intensity as they are played faster, the electronics appear more manic and the effects gradually build to begin to create shifting sub-rhythms and hypnotic textures, resulting in a musical form that N.M.O themselves have termed “As Strict As Possible”. The overall tonality of the piece appears to be continuously shifting up in pitch, although whether this is intentional, accidental or intentionally accidental is intriguingly unclear. Played live the sections are delineated by the release of RGB coloured smoke grenades and flares, here represented by swathes of white noise, hissing away throughout the end of each fragment, perhaps signalling a climax or release from the rigidness and precision of each 3 minute experiment.

                The second side begins at the pace of a respectable techno track's pulse, but the triplet feel adds an atypical dazed lurch to the opening. Where the A side of the record feels sharp, precise, and spaced out, the B side sweeps us directly onto the weirder side of the dance floor - the drum kit becomes more fleshed out as a joyous climax of pounding, rolling percussion joins revving synths and swells of static. Without realising suddenly you find yourself deep into a groove and here you can't help but think of those ships where people row to the hammering drum but are driven to a dizzying level of insect like efficiency. By the end we have reached some sort of avant-acid approximation, frantic and intense in its delivery, towards a point so disassociated from our point of departure it feels connected only by those subtle shifts in speed that each act as a step to the piece's next level.

                Having previously released records on Anòmia and The Death of Rave records, N.M.O. also have a forthcoming double 12” on Diagonal records, and a split 12” with EVOL on Le Petit Mignon.

                This first pressing of ‘Natalia Martínez Ordóñez’ is limited to 300 copies with beautifully hand silk screen printed sleeves by The Positive Press, London.

                Sleeve design and art direction handled by The Immaculate Heart Studio / James Hines, in coordination with N.M.O.

                Mastered by Stephen Bishop.

                FORMAT INFORMATION

                Ltd 12" Info: 12" w/ Screen Printed Sleeves

                The 2nd in Tee Mango’s Tribute project, inspired by the much referenced

                Theo Parrish quote:

                Love of the music should be the driving force of any producer, performer or DJ.

                Everything else stems from that core, that love. With that love, sampling can become a tribute; An expansion on ideas long forgotten, reconstruction, collage.

                The project will take the form of audio and visual collage, with x5 vinyl releases and a selection of t-shirts coming via Mango’s Millionhands clothing brand.

                Throw is the 1st track here, which manages to loop a refrain and bass that Candy Staton anthem, all the while sounding like a forgotten Moodymann MPC jam. Vocals, skipping snares, a bouncing tambourine & one of the finest bassline ever written (by someone else) compell you to dance.

                Need Your Love is a heads down sample house jam. It’s looping vocal, super tight drums, woozy chord stabs and sirens make it feel like the result of a studio session between a 90’s dubbed out Louie Vega & man-like Switch (before he went feral).

                The last #Tribute release sold out in under a week, these will not hang about.

                Strictly Limited to 500

                Hand stamped and numbered with no repress.

                These will not hang around.

                Frankie Knuckles and Jamie Principle first collaboration from 1985. All three original mixes included including the incredible dub version.
                This is Jamie Principle's first commercial single and was originally released on his own Persona label before later being re issued on Trax early 2000's.

                Re mastered and re issued for 2015 on Trax. Released in conjunction with the rights holders.

                Tom Blip

                Wrong Guanco / Shekere

                After the immensely well received start with BLIP001, soon enough DJ’s and fans alike were banging down the abstract door of Blip Discs to see what else this new label could have in the pipeline. BLIP002 comes from label head honcho Tom Blip in the form of Wrong Guanco/Shekere.
                These tracks are afro, unpredictable, DJ orientated cuts - road tested by DJ’s such as Bradley Zero & Werkha, they’ve already been causing serious movements on dance floors up and down the country. Due for release soon, BLIP002 offers another new, exiting artist to it’s roster accompanied by another limited 12” debut.

                Where To Now? records are proud to present Beatrice Dillon’s follow up release to the widely well received ‘Blues Dances’. This three track 12” sees Beatrice step things up a gear in terms of intricacy, experimenting wildly to add to her already astute palette of timbre and rhythm.

                ‘Face A’ leads the record with the unmistakable skronk of saxophone cutting and jamming over the skeletal pulse of Beatrice’s signature dubbed out techno landscape. Initially the inclusion of saxophone acts as an aural abstraction or diversion to extract a little freedom from the pumping cavern of dark dub techno atmosphere punctuated with the mechanical juddering saw-bass, but as the piece develops and we become deep into the groove the inclusion of wild sax snorts trips us up and become the focus itself as new levels of complex melodic and rhythmic detail become apparent within this otherwise structurally obedient space.Taking it’s cues from Rabih Beaini, Miles Davis ‘Big Fun’ era, Dresvn and Keith Hudson, undoubtably ‘Face A’ is a compelling, complex trip… heads down but arms flailing.

                ‘Face B’ continues the theme but takes the listener far deeper into the cavern. Here the concern is more the effects of space within song, a moment where Beatrice allows herself to move away from the floor to find a little more room for playful experimentation. The saxophone is further treated with a plethora of effects to compliment the array of dub signals that scatter and skip around the basin.

                The record closes with ‘Sonnier (Walk in the light)’ which strangely somehow manages to feel jazzier in its components, even in comparison to a pair of tracks riffing on a manipulated free-jazz sax part. It sounds strangely unsure of its world, adding to this whole loosely slung, loping feel which somehow fits amongst the stern, brooding, and efficient synth play. Beatrice masterfully manages to create a piece here that grows in intensity without ever increasing in pace or texture, every drop is intended to stir the listener a little more than the last. There’s a sense throughout all the pieces of having rhythm imposed or even inflicted upon the listener but this is certainly not a conflict of ideas… there is optimism, harmony and above all - wild groove nestled within Beatrice’s world of mutant shuffle.


                Daniele Baldelli & DJ Rocca

                Kachiri Remix EP - Inc. Kasper Bjorke / Craig Bratley / Two Mamarrachos Remixes

                Kasper Bjorke takes us down to the sea with his love vibes and tropical rework of Volupia. Craig Bratley adds his dark synths and toughened grooves for late night dance floors. Two Mamarrachos lead us on an epic 11 minute journey with their massive Pink Ghost funk groove.

                Daniele Baldelli & DJ Rocca

                Kachiri Remix EP 1 - Inc. Man Power / Ivan Smagghe / Jamie Paton Remixes

                The Kachiri Remix EP features a varied selection from some of the finest. Kicking off with Tronik Youth who takes the title track and reboots into a harder darker groove, pushing the synths to breaking point. Man Power ignites a fire on the dancefloor with real bass and spacey chords. Ivan Smagghe creates an off kilter eclectic groove with a different energy. Jamie Patton dubs out Pink Ghost with a twisted and warped groove that takes it to a new cosmos. Whilst, Kasper Bjorke takes us down to the sea with his love vibes and tropical rework of Volupia. Craig Bratley adds his dark synths and toughened grooves for late night dance floors. Two Mamarrachos lead us on an epic 11 minute journey with their massive Pink Ghost funk groove.

                Seven Davis Jr

                Beautiful Friends - Inc. Detroit Swindle / Krystal Klear Remixes

                Sometimes you wait and things fall into place, this is an A&R man’s dream. You can spend hours banging your head, waiting for lightening to strike, trying to find the perfect pairing, it’s there floating around in your head but the answer is not clear. The record needs a remix, but who would be perfect?

                Not being one for doing things by numbers, sometimes you have to leave the music for a moment. Give it a life of its own and allow the musical landscape to adapt to it. I had been mulling over remixes for Seven for quite some time. We had the Krystal Klear mix which was perfect, that happened early on, I just needed something to compliment it and round of the remix single.

                Detroit Swindle are notorious for being very selective, but armed with Classic as my calling card I got ready to approach them. Low and behold, possibly within a day or two of formalising my approach in my head, they emailed me and asked if they could remix the record. The stars aligned and it all made sense. These two remixes complement each other perfectly, and this feels like a complete single coming from the heart, remixed with love.

                Luke Solomon, 2015

                Various Artists

                Trevor Jackson Presents - Science Fiction Dancehall Classics

                  A curated selection of classics, rarities and unreleased tracks from the On-U Sound vaults by DJ & Audio Visual artist Trevor Jackson (aka Playgroup / Underdog), renowned for his Metal Dance compilations of industrial-dance on Strut Records, having worked with the likes of LCD Soundsystem and Four Tet via his Output Recordings Label, and a recently released acclaimed multi edition album of his own music (FORMAT) via the vinyl factory.

                  This is the electro-fried avant-garde side of On-U Sound. Whilst still containing the dub DNA that define Adrian Sherwood’s productions, these tracks document a period when this sonic vision was realised through saturated sheets of electronics, reverberating drum machines and extreme chopped-up tape edits.

                  A longtime fan of the label, Trevor comments: “Not only did On-U sound and Adrian Sherwood's early production work introduce me to dimensions of sound I’d never experienced, inspire me to start making music and start my own record label, his live mixing at a notoriously loud Mark Stewart and the Maffia gig during the mid-80’s also gave me lifelong tinnitus. On-U’s timeless releases portray a savage disregard for conformity, representative of an era where attitude and ethos spoke volumes. An uncontrived mix of cultures, minds and powerful personalities combined to produce revolutionary sonic adventures that sound as unique and vital today as they did over 30 years ago. Putting this compilation together is nothing short of an honour.”

                  Available on as a 2CD / 27-track set, or a 3LP edition that has 20 tracks on the vinyl plus the additional 7 tracks from the CD as part of the download card.

                  Fully annotated with sleevenotes that tell the story behind each track. Features 3 completely unreleased tracks (inc. a crucial early cut by Neneh Cherry) and 6 tracks that have never been reissued on CD (inc. the amazing debut recording by a pre-Massive Attack Shara Nelson).


                  The first of two sublime 7"s from essential imprint Frotee comes courtesy of pop sensation Heidy Tamme and jazz guitar virtuoso Tiit Paulus, who deliver a side a piece in tribute of the Estonian summer. "Suvi Ei Jää“ is old favorite at Frotee HQ, and while it’s a 1983 cover version of Roberta Flack’s song “What a Woman Really Means”, it was given new lyrics which eloquently describe the summer season and its brevity (the title translates as “Summer Doesn’t Stay”). Heidy Tamme provides smooth and jazzy vocals, while the carefree arrangement by Tiit Paulus holds groovesome bass, chiming rhodes and warm flute in perfect balance around a steady backbeat. On the B-side, Tiit adds a gorgeous solo guitar track “Selle Suve Laul” (“This Summer’s Song”), written as an ode to the new home he had bought “this summer” on the biggest island of Estonia, Saaremaa. Breezing over the frets with gentle ease, the guitarist treats us to a horizontal masterpiece which will delight fans of Joan Bibiloni or Barthel, Bauer and Bohm. Another two sensational rarities saved from Estonian obscurity by the ever-excellent Frotee.

                  STAFF COMMENTS

                  Patrick says: When we finally get round to putting the "Balearic As Fuck" section in the shop, this will be the first record of the week.

                  Velly Joonas

                  Stopp, Seisku Aeg!

                  Surely a candidate for some sort of state funding, Frotee continue to put Estonian music in the spotlight with a pair of 7"s perfect for the summer season. FRO007 pays tribute to Velly Joonas, a mysterious and obscure vocalist with a penchant for soul, folk and wearing massive glasses. Although original releases are thin on the ground (Discogs digging reveals a sole credit for a contribution to an Estonian pop comp in 1980), Frotee happened across a couple of sublime cover versions in a trawl through the Estonian Radio archives, both featuring Estonian lyrics written by the woman herself. On the A-side Velly delivers a sublime version of "I See Red" (originally recorded by ABBA's Frida, before Clannad made it a moody Balearic classic), replacing the pop thrust of the original with a lilting low slung groove worthy of any Country Funk or AOR disco comp. Rootsy fiddle and strawchewing guitar add a hillbilly vibe, while the bright organ licks, rolling bassline and wah-ska-guitar keep the Balearic dancefloor moving to the sounds of reggae disco. Factor in the amazing and other worldly vocal performance and you've got a surefire hit, as evidenced by the clamour it's caused in recent Moonboots sets. On the flipside, Velly takes on Roberta Flack's gorgeous "Feel Like Making Love", laying cooing vocals over a stunning backing of rattling percussion, airy harpsichord and fluid bass. The result is the most heartwarming three minutes of anyone's life; this really could bring a tear to a glass eye. It's criminal that these two tracks were previously unavailable, so Frotee deserve the maximum respect for offering them up to the wider world on this limited 7".

                  STAFF COMMENTS

                  Patrick says: That Estonian version of "I See Red" Moon's been changing lives with lately is finally on its way. Pre-orders essential!

                  Bound Adam' is the first in a series of reissues by American artist Elysia Crampton (f.k.a. E&E) for Total Stasis record label. Originally self-released in 2011 as digital files, this is its first vinyl pressing. Its three tracks are an ode to the artist's Ford Ranger. 2011 is also the year Ford discontinued the Ranger line. As Crampton says, "it is a speculative/ontological poem about a relationship with a car."

                  7" vinyl record
                  Mastered by Brandon Hocura
                  Cover + insert by Felix Lee

                  Dam-Funk

                  Invite The Light

                    Damon "Dam-Funk" Riddick is the epitome of funk. Ever since debuting on Stones Throw in 2008, Dam-Funk has become one of the genre's most passionate proselytisers.

                    In 2013, he released a celebrated album in partnership with hip-hop's Snoop Dogg, '7 Days of Funk'. Fresh for '15, Dam returns with a solo project nearly six years in the making: 'Invite the Light'. 'Invite the Light' isn’t just Dam’s first solo full-length since ’09, he thinks of it as his first fully-realized effort - a “concise, beginning-to-end vision - that’s resulted in a loosely autobiographical concept album inspired by the trials and tribulations of his personal and professional life of the last six years.

                    As always, Dam flexes his multi-instrumentalist talents by handling all the production but still makes time for guests including rapper Q-Tip, the father-son duo of Leon Sylvers III & IV, Jody Watley, Q-Tip, Ariel Pink, Nite Jewel and funk giant Junie Morrison of the Ohio Players, who opens and closes the album with dire warnings of what could happen in a world without funk. Rest assured, Dam is here to make sure that never comes to pass. As he puts it, "funk is the underdog, the black sheep of black music," and if that's true, Dam-Funk is its shepherd.

                    FORMAT INFORMATION

                    3xLtd LP Info: Triple vinyl in triptych gatefold sleeve in reflective silver.

                    Tommy McCook

                    The Sannic Sounds

                      One of the rarest, and greatest, horn instrumental dub albums of the seventies featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, 'The Rhythm Master', is finally given a legitimate release.

                      The original title for this long playing release was initially advertised on the label of the seven inch release of 'Determination Skank' as 'The Sannic Sounds Tommy McCook', however the album was released in Kingston in 1974 in very limited quantities on a white label in a plain recycled cover rubber-stamped 'Tommy McCook Dub'. Three years later the set was released through Grounation in London, once again on a white label and without a cover, where it was known as 'Horny Dub'. It gave music lovers a fascinating opportunity to compare and contrast the work of Tommy McCook, one of the architects and builders of the Jamaican sound, with Glen Brown's role in taking and breaking it into pieces.


                      Sun Ra & His Arkestra

                      Super-sonic Jazz - Poppydisc Edition

                        Sun Ra's second album, Super-Sonic Jazz was recorded in 1956 at RCA Studios, Chicago, and was the first album to be released on Saturn records, the label run by Sun Ra and Alton Abraham, one of only three albums by Sun Ra to have been available in the 1950s. (The other two are Jazz by Sun Ra, also released in 1957, and Jazz in Silhouette, released May 1959. All 3 of these classics will be available beautifully remastered on vinyl from PoppyDisc/RevOla). Saturn released their first singles, including doo-wopgroup The Cosmic Rays[4] and the Arkestra's Saturn, at the beginning of 1956, and had recorded the whole of this label first LP by the end of that year. Saturn often pressed in editions of as few as 20, made for specific concerts - the records would be manufactured using local black businesses, and often put together in Abraham's own home. As John F. Szwed described: "El Saturn Records purchased no advertising, gave out no promotional copies for review, and no distribution channels except mail order, hand delivery to the record shops, and, in the southern tradition, sales from the bandstand after performances. An order to the El Saturn address might or might not get a response, and when a record came it might be a different one than ordered , or arrive months later." Fortunately these wonderful albums can now be purchased from your favourite record store, courtesy of PoppyDisc / RevOla. **Beautifully remastered. **Lovely reproduction of the original sleeve artwork

                        Sun Ra

                        Jazz In Silhouette

                          Jazz in Silhouette, by Sun Ra and His Arkestra was recorded on March 6, 1959 and released in May of the same year. The album is considered to be one of Ra's best from his Chicago period before veering off into 'their full-fledged explorations into the avant-garde' that characterises their New York recordings of the 1960s..... ''Jazz in Silhouette stands as an overlooked masterpiece, a work that shows Ra not as a mere curiosity or backwater galaxy, but as a major creative force in the jazz universe, a center of gravity around which many of jazz's major developments have orbited. This album simply inspires, no matter what perspective you adopt: rhythm, melody, ensemble or mood...Jazz in Silhouette shows Ra doing what he did like few others: looking at the past, present and future simultaneously while maintaining a unified musical direction..." - Mathew Wuethrich

                          Remastered original 1950s recordings. Complete as originally released in the simple silk-screened cover by HP Corbissero...

                          A must for all Sun Ra fans...and fans of this crossroads in jazz...

                          The Telescopes

                          Hidden Fields

                            The Telescopes have signed with Hamburg’s Tapete Records. A new album, “Hidden Fields”, The Telescopes 8th, is scheduled for release in August of 2015. Recorded in Glasgow, with St deluxe. “Hidden Fields” is an unexpected return from the group's recent expeditions into the outer reaches of freedrone noise. The psychiatric sounds of The Telescopes in a concise inner sensory rush. This is their most song based output for some time.

                            The Lilac Time

                            Prussian Blue EP

                              To celebrate their first album in years "No Sad Songs", The Lilac Time is releasing another special record this year: Prussian Blue EP

                              The 12" will feature a beautiful new mix of the album song "Prussian Blue" as well as three live recordings of songs that became really special during their career.

                              The EP is strictly limited to 500 copies.

                              Mike Garry & Joe Duddell

                              St Anthony: An Ode To Anthony H Wilson - Inc. Andrew Weatherall Remix

                                Skinny Dog Records are proud to announce the release of ‘St Anthony: An ode to Anthony H. Wilson’, a touching tribute to Factory Records legend Tony Wilson. The single features artwork by the great Peter Saville and a remix by Andrew Weatherall. Independent store exclusive CD Single & 12 inch single. The poem was written by Mancunian poet and lifelong Wilson fan Mike Garry who took it to music composer Joe Duddell (New Order, Elbow). On the first read, Duddell immediately heard elements of New Order’s ‘Your Silent Face’, completely unrealised by Garry, and decided to base the music on that song. ‘St. Anthony: An Ode To Anthony H Wilson’ was born.

                                Regis

                                Manbait

                                  s happening again… After showcasing the up and coming Arcarsenal from Bass Cadet Records on their first opus, the London via Berlin based record label has found another young, talented and as-yet unknown producer – Repo Man –

                                  For his debut release, Repo Man has found a perfect home at TINH - deep Balearic to weird stripped down techno to floor-filler summer jams, the TINH “anything goes” ethos is fully satisfied on this EP.

                                  To top it all off, the record comes armed with the great Anaxander on remix duties, transforming “Open Green” into an upbeat, G-funk house scorcher - those crazy synths will get you throwing that bottle of Hennessey high in the air!

                                  Romare

                                  Rainbow

                                    Following his classic 12” outings on Black Acre and triumphant debut album ‘Projections’ on Ninja Tune, cut & paste extraordinaire, dancefloor mover and shaker and auteur of ambience Romare is back with a new 12” featuring two brand new versions of album favourite ‘Rainbow’ (first played by Annie Mac on Radio 1).

                                    Produced in homage to the American 70s disco scene, the two edits are complemented by an entirely new jam ‘Love Song’ - all vibrating synths, jangling percussion and soaring bells. Appropriately, it finds itself right in the middle of Romare’s mood mash-ups - a sweet spot indeed.

                                    For fans of Moodymann, Mo Kolours, Seven Davis Jr and Clap Clap.

                                    Björk

                                    Notget - Lotic Fromdeath Version

                                      As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

                                      The ‘Vulnicura’ remix project will be released for collectors only as a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris). Björk ‘Notget (Lotic Fromdeath Version)’: “Lotic is the one of the first musicians Alejandro introduced me to in Autumn 2013 with piles of enthusiasm: I got immediately obsessed enjoying how always total nature he was!! The most clublike flamboyant anthems of his always seem like shrieks of beasts, dark insects and pagan birds displaying their feathers in a territorial way: a colourful celebration!! The reason why I asked him to do ‘Notget’ was there are certain suspension-like elastic gravity-defying beat structures that him and Alejandro share (each in their total idiosyncratic way though) that Notget has and I had a gut feeling he would take further. Which he did.” - Björk

                                      “When Björk sent over the original track to review late last year, I couldn't believe how well she had intuited that ‘Notget’ was the perfect selection for me. Perhaps it was a bit of coincidence, but I was very much still tending to the scars left from my previous relationship while at the same time nurturing my current one. ‘Notget’ is both the mourning and the eulogy; I knew this meant remixing the song would be difficult, both technically and emotionally. In the end, I felt I had to attempt to amplify both the desperation the song expresses as well as the inspired, reminiscent joy. The result came to be two completely separate explorations, with ‘Keptsafe’ exploring the sorrow and ‘Fromdeath’, the bliss.” - Lotic

                                      Björk

                                      Lionsong - Choral Mix Featuring Untold

                                        As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

                                        The ‘Vulnicura’ remix project will be released for collectors only as a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

                                        Björk ‘Lionsong (Choral Mix featuring Untold)’: “Featuring the Icelandic choir that was on ‘Biophilia’ and I edited a beat to it: an old rare song from Untold called ‘Flexible’: kinda always fall flat for beats like this, that have a sense of humour, slapstick and played with sticks and stones but still electronic and are no genre: not punk not house not charleston not rave... this is one of the characters ‘Lionsong’ could be, the hyper outgoing one, he was kind enough to be up for this experiment” - Björk

                                        “Early last year Björk emailed saying she had something she’d like me to listen to. I had a show in NYC soon after so I visited her studio where she played me an early version of ‘Lionsong’ from Vulnicura. In this alternate version the vocal floats above an amazing choral arrangement, the rhythm driven by a tuned percussion sample from one of my early tracks. I caught up with Björk again in NYC this spring after seeing her performing the album live at City Center where we confirmed releasing the ‘Choral Mix’.” - Untold

                                        Björk

                                        Family - Katie Gately Remix

                                          As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

                                          The ‘Vulnicura’ remix project will be released for collectors only as a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

                                          Björk ‘Family (Katie Gately Remix)’: “Katie Gately was introduced to me through our mutual friend Robin Carolan. I was immediately blown away by her universe: has a refined engineer’s point of view expressing melancholy with some organic physical sonic fine textures. She picked her song and it didn’t surprise me she went for ‘Family’. I feel out of all the remixes she really took it most somewhere else while keeping true to the core of the song, which is that fascinating contradiction of the best remixes.” - Björk

                                          “Robin Carolan introduced us through email and Björk asked if I was interested in remixing, which I undoubtedly was. I asked to work on ‘Family’. When I got the stems, I started by just erasing all of them except for the vocals, and allowed myself to add anything to the stew which was originally a ‘voice’ - a sound made from a vocal chord. I harmonized her main vocal line with pitch-shifted owls, peacocks, hyenas and sparrow calls and turned that into the new track. I spoke with her on the phone afterwards, and she seemed excited that it was so different from the original.” - Katie Gately


                                          Various Artists

                                          Rough Trade Shops: Hip Hop 2015

                                            In 2015 the likes of Kendrick Lamar, Pharoahe Monch, Yasiin Bey and Run The Jewels hold up mirrors to hypocrisy and oppression, often without people even realising they’re doing it.

                                            Meanwhile, MCs such as Wu Tang Clan’s Ghostface Killah and DOOM still have plenty of street stories, whilst the younger generation of Odd Future’s Earl Sweatshirt, Your Old Droog, and Bishop Nehru paint plenty of pictures of their own.

                                            Black Milk, Oddisee, MED, Homeboy Sandman, Blu and many more keep it 100% across the USA, releasing records and mixtapes, rocking shows globally and working the angles in their own ways, from the ground up. • In the UK artists such as Jehst, Foreign Beggars, Essa, Strange U, Cappo, The Four Owls, Jam Baxter and Spye have been releasing music independently to wide acclaim, whilst the popularity of the likes of The Four Owls, Jam Baxter and the rise of Grime MCs such as Wiley, Skepta, D Double E, Novelist and Tempa T are testament to the fact that Hip Hop in the UK is an ever-growing entity.

                                            Throughout decades of sampling no genre has been untouched in pursuit of the perfect beat and producers such as Madlib and The Alchemist have personified that approach over the years. MPC-heavy production by the late great DJ Rashad and his Teklife brethren Spinn & Taso provided another sub-genre; Juke - the dance moves in Chicago switching from Breakdance to Footwork.

                                            The US has seen a wave of experimental beat makers over recent years, such as LA’s Flying Lotus and Houston’s Seven Davis Jr, whilst in the UK producers such as Golden Rules, Mumdance and kidkanevil proceed to innovate.

                                            Whilst it’s apparent that samplers and MPCs still take the brunt of the Hip Hop producer’s studio abuse, it’s not exclusive to the sound, as live outfits such as Dâm-Funk, BADBADNOTGOOD, Shabazz Palaces and The Mouse Outfit prove.

                                            Robert Tomaro

                                            Slime City OST

                                              * Limited to 1,000 LPs worldwide on black wax
                                              * Housed in deluxe heavy weight Stoughton tip-on sleeve
                                              * Includes insert with extensive liner notes by both Robert Tomaro & Gregory Lamberson

                                              Slime City is the debut film by cult horror director and author Gregory Lamberson. The story follows Alex, who after moving into his new apartment is seduced by his neighbor and soon turns into a melting ghoul who is forced to kill innocent victims in order to maintain a normal human physique.

                                              Slime City debuted in 1988 and spent months in the NY midnight movie circuit, at the tail end of the grindhouse era. Lamberson creatively made a great film with intense special effects with very limited money and a small crew of dedicated movie fans.

                                              A huge part of what makes Slime City so fantastic is it's wildly creative score, which was composed by the now PHD, and current Music Director of the Beloit Janesville Symphony, Robert Tomaro. Rob's score is unlike any horror soundtrack past or present. In Robert's own words, the music is "perhaps what you might get if you locked Igor Stravinsky, Johnny Rotten and Bernard Hermann in a hotel room and didn't let them out until they wrote something together." The score is most certainly slimy as the film's title would leave you hoping for. Very much classically written, but with a serious mix of punk guitar work and weirdo avant-garde synth. A truly unique composition.




                                              FORMAT INFORMATION

                                              LP Info: LP housed in deluxe heavy weight Stoughton tip-on sleeves with extensive liner notes by both Robert Tomaro and Gregory Lamberson included.

                                              Efterklang

                                              Tripper & Springer - Special Edition

                                              One of two double CD reissues containing Efterklang’s first two full-length albums, together with their accompanying EPs, in deluxe foldout card packaging with new 16-page booklets containing sleeve notes written by the band.

                                              2004’s "Tripper" album (still the fastest selling debut in The Leaf Label’s 15 year history) is paired with the five-track "Springer" mini-album that preceded it in 2003. This also features two live recordings of tracks from the album. 

                                              Luzmila Carpio

                                              Yuyay Jap'ina Tapes

                                                In 1949, Luzmila Carpio was born in the rural town of Qala Qala, Bolivia. It was there that her earliest musical experiences -  and the genesis of her unique voice - shaped her decades-long career writing and performing Quechua music. In Bolivia, though more than 36 indigenous languages are spoken by nearly 40 percent of the population, the only officially recognized language of state was Spanish until September of 2000. The social, political and economic stigma that came with identifying as Quechua was keenly felt throughout Luzmila’s formative years, though the tide began to shift in the late 1960s. At age 15, Luzmila joined the group Los Provincianos and has continued to make music ever since. Her distinctive musical style comes from her impossibly high upper register that oftentimes mingles so closely with the timbre of a quena flute: “In my community, among us, we sing like that - very high. It’s the tradition in our area that I further developed while trying other styles or ranges as my voice allowed. In October of 1992, Luzmila began working with UNICEF on the Yuyay Jap’ina campaign for adult literacy. The designers of the Yuyay Jap’ina project commissioned recordings by Luzmila. that featured local musicians performing both traditional Quechua songs and those specially composed by Luzmila. Many of the songs take a pedagogical approach; they testify to the importance of clean drinking water (Ch’uwa yaku kawsaypuni, “Crystal Clear Water Is Life”), the self-actualizing power of literacy (Riqsisqa kasunchik, “We Will Be Recognized”), and the self-assertion of women (Warmikuna yupay-chasqapuni kasunchik, “Women, We Have To Be Respected”). But looking at the Yuyay Jap’ina tapes as a set of instructional songs would be only the narrowest interpretation. Taken in context, the songs are a bold celebration of language and culture. Luzmila Carpio currently lives in Paris and continues to write and perform her songs around the world.

                                                Nelson Riddle

                                                The Untouchables OST

                                                  “Nelson Riddle’s score does a great deal to create the undercurrent of excitement that characterizes our show. It is music with a heartbeat that captures perfectly the suspense and impending violence of the action.”
                                                  Robert Stack - Original liner notes

                                                  Robert Stack, winner of an Emmy Award for his fine portrayal of Eliot Ness the Chicago gangbuster and prohibition agent in “The Untouchables” the legendary American crime TV drama that ran from 1959 to 1963 on the ABC Television Network.

                                                  Nelson Riddle one of the great and original composers of the ‘50’s working with such legends as Frank Sinatra, Ella Fitzgerald, Nat King Cole.

                                                  George Duning / Ned Washington

                                                  The Naked City OST

                                                    “The Naked City” album is the musical portrait of a city. It’s a bold portrait told in striking, vivid tone colors, bringing to life the throbbing intensity of a great metropolis and its people. It’s a musical portrait with the pulse-pounding rhythm of the city’s heartbeat and melodies drawn from the dreams, the triumphs, the tragedies of the people (...)”

                                                    Naked City is a police drama series which aired from 1958 to 1963 on the ABC television network. It was inspired by the 1948 motion picture The Naked City and mimics its dramatic “semi-documentary” format and filmed on location in New York City.

                                                    Ned Washington, author of the lyrics and narrative for “The Naked City” album, is one of the best known and most honored musical collaborators on the Hollywood scene.

                                                    Gwilym Gold

                                                    A Paradise

                                                      Gwilym Gold releases his debut album ‘A Paradise’ via Brille Records. Accompanying visuals by artist Colin Henderson.

                                                      Much of ‘A Paradise’ was composed by Gwilym alone at home at the piano, before he took the songs to co-producer and longtime collaborator Lexxx (Wild Beasts, Fatima Al Qadiri, Darkstar). The two then spent the best part of a year together in a small room in Konk Studios, London, toiling on this extended labour of love.

                                                      There are also co-production contributions from James Young of Darkstar, True Panther artist Hyetal and Bullion, whilst four songs feature composer Nico Muhly’s verdant, dizzying string arrangements.

                                                      For fans of Sigor Ros, Beach House, Father John Misty and The Knife.

                                                      Ann Peebles

                                                      Straight From The Heart

                                                        • “A lean, tough set that was not only a triumph for Peebles, but illustrated how the Hi label had surpassed its crosstown Stax rival for quality Memphis soul in the early ‘70s.” - Richie Unterberger

                                                        If Al Green is ‘heads’ on the Hi Records coin, Ann Peebles is ‘tails’. The signature female artist on the legendary Memphis soul and R&B label, Ann Peebles rocked the pre-disco 1970s with songs of love, lost love and love straight up taken.

                                                        Released in 1972 and preceding Peebles’ uber classic ‘I Can’t Stand The Rain’ by just two years, ‘Straight From The Heart’ proved the young soonto-be American R&B icon didn’t need worldwide fame and record sales for a license to be fierce and provocative (see ‘I Feel Like Breaking Up Somebody’s Home Tonight’, for example).

                                                        Written by Ann Peebles and husband Don Bryant, ‘Straight From The Heart’ includes the classic R&B hits ‘Slipped, Tripped And Fell In Love’, ‘I Feel Like Breaking Up Somebody’s Home’ and ‘Somebody’s On Your Case’.

                                                        Out of print for years, with original editions fetching $150 or more from collectors.

                                                        Ami Shavit

                                                        ‘In Alpha Mood

                                                          Part outsider electronic album; part physiological experiment; part work of art; this is not your average new age record. You won’t find any cosmic or spiritual connotations between the unsupposing and briefly annotated gatefold covers. This is an accidental new age record. It wasn’t designed to invoke images of far away landscapes or induce meditative states; rather it is the end result of a personally developed meditative technique called Alpha Mood. The brainchild of a reclusive Israeli multimedia artist with a fascination in philosophy, technology and sound by the name of Ami Shavit, In Alpha Mood is the result of a personal and artistic exploration to both overcome a personal trauma and push the boundaries of a fledgling physiological understanding whilst utilising the burgeoning domestic synthesizer technology of the late 60s and early 70s.

                                                          With an enviable private collection of synthesisrs first started in 1972 during his travels to the US just as they first arrived in music stores and shipped home to Tel Aviv, the professor of both philosophy and art and established kinetic artist was fascinated with art that involved technology. In particular being able to give something mechanical an emotive angle. His early works primarily involved motorised mobiles (he actually installed one in Tel Aviv’s first discoteuque). Seeking to combine his love of electronic music acts like Tangerine Dream and Philip Glass and this new synthesiser technology with his fascination for the relatively new technique of biofeedback – a process in which technology is used to relay information about the body’s functions enabling a change in physiological activity in order to manipulate them. Combined with his understanding of alpha brainwaves (primarily attributed to a function of the brain that deals with relaxation), Ami embarked on an experiment with what he coined Alpha Mood – a state in which the brain is working in relaxation and in which he used music as a means of helping induce his own meditative state. With practically no formal musical training and working in complete isolation of the Tel Aviv music scene – with the exception of allowing cult prog nearly men Zingale and a handful of close friends to use his private studio – over the next two years he recorded hours and hours of experimental improvised music, or “sounds” as he prefers to call it.

                                                          Conscripted into the army evacuating battlefield casualties during the Yom Kippur War following the surprise invasion of the Israeli-occupied territories on the West Bank in 1973, Ami struggled to come to terms with his experiences during the short conflict and lost interest in his work until he came across a collection of field recordings made during the war and he had an epiphany. By adding sounds and battlefield sound bites to the recordings he could articulate his experiences in a sort of cathartic process and was able to put them behind him.

                                                          Harnessing this newfound confidence he continued in his work until a longtime friend, agent and owner of a small local record shop called Mango (a Tel Aviv institution at the time) suggested he press some of his recordings on vinyl so that he could sell them through his store. Rather than cull disparate excepts from his expansive tape archive of home recordings, Ami begin work on what would become the culmination of his years of experimentation and the centerpiece of his work with Alpha Mood.
                                                          Recorded in Ami’s studio during a handful of sessions and with no post-production, the six-track album was mastered at Triton Studios (who’s previous list of clients included Arik Einstein and Tamouz) and pressed by Hed Arzi (one of Israel’s oldest and largest labels/pressing plants) on his own Amis Records imprint with finished copies delivered to Mango three months later. Only 500 copies of a planned limited edition run of 5000 were initially pressed and with no publicity surrounding the release it was sold to discerning record buyers with little or no understanding of the record or its maker outside of his status as a prominent visual artist. Not long after receiving delivery of these first copies Mango was forced to close its doors permanently and the remaining 4500 copies of the run were never pressed. Apart from a handful of Alpha Mood exhibitions in Israel those 500 copies and six remaining master tapes (including that of In Alpha Mood – the rest having been lost, given to friends or simply thrown away) are the only remaining artefacts of Ami’s Alpha Mood experiments.

                                                          “The creative freedom I have when working in Ableton allows me to edit, mix and remix tracks in ways you can’t do with turntables or CD players. Tracks are often used as building blocks in the form of loops and samples in order to create something completely new. Tracks are usually stripped down or minimal sounding to allow for layering and mixing with other tracks. The result is a mix that is more than the sum of its parts.” - Joris Voorn

                                                          Voorn weaves together a sinuous tapestry of deep techno from the mere strands of a staggering 65 tracks, cutting, chopping and editing together ambient cuts by Max Loderbauer and TCF with personal favourites pulled from the dusty rafters of his Amsterdam abode, such as Speedy J’s ‘Fill 17’ and Plastikman’s ‘Consumed’, and contemporary melodic techno cuts from the likes of Cobblestone Jazz, John Tejada and fellow Green artists Roland Klinkenberg and Anton Pieete. Meanwhile, brand new Joris Voorn productions ‘Where Have You Gone? (Part 1)’ and ‘Looks Fake Obviously’ exemplify the harmonic twists and pulsing beats that don’t allow you to take your ears away from this sumptuous mix for a single second.

                                                          Singers & Players

                                                          War Of Words

                                                            Originally released on legendary imprint 99 Records in 1981, ‘War Of Words’ is the classic debut album by Singers & Players, a loose collective featuring top Jamaican deejays Prince Far I and Jah Woosh, plus members of The Arabs and Roots Radics. The mic is dominated on this record by the sweet vocals of cover star Bim Sherman.

                                                            Whilst very much based on a dub reggae blueprint, the record also features Keith Levene from Public Image Limited on guitar and Ari Up from The Slits on backing vocals.

                                                            Kingston sound system culture as viewed through the prism of the London post-punk squat scene and championed by the quintessential downtown NYC no wave record label.

                                                            The track ‘Reaching The Bad Man’ was a highlight of the recent compilation ‘Sherwood At The Controls Volume One: 1979 – 1984’ and is very much a product of that era of Adrian Sherwood’s leftfield experiments with the possibilities of dub.

                                                            Re-cut at Dubplates & Mastering in Berlin for maximum bass pressure. · Includes a fold-out poster insert and download card.

                                                            Bootsy's Rubber Band

                                                            Bootsy? Player Of The Year

                                                              Bootsy? Player of the Year (1978) by Bootsy’s Rubber Band featured two hit singles, “Bootzilla”, which went to number one on the Billboard Hot Soul Singles charts, and “Hollywood Squares”. The album itself peaked at number one on the Billboard Soul Album charts.

                                                              This album finds Bootsy at his peak. There isn’t a dull moment on Bootsy? Player of the Year. Take for instance, “Hollywood Squares”, a song that teeters somewhere between a dance song and a ballad, sometimes picking up the pace, other times slowing it down to a strut.

                                                              Bootsy? Player of the Year is one of the most enjoyable P-Funk albums ever. However, by the following year, 1979, it was clear that the P-Funk army was running out of fresh ideas, and Bootsy was no exception. This makes the album even more special in retrospect, because it was among the last of the great P-Funk releases.

                                                              Clint Eastwood & General Saint

                                                              Stop That Train / Monkey Man - Green Vinyl Edition

                                                                This VP Records / Greensleeves X Dub Store Records exclusive 7" release is a double A-sider by Clint Eastwood & General Saint. The A-side features one of the most popular 80's Dancehall classics and one of their biggest hit, Stop That Train, and AA-side features their another hit Monkey Man!



                                                                Fuzz

                                                                II

                                                                  Fuzz has abandonment issues. Abandoning expectation. Abandoning reservation, consummation, resignation and trite dictation. Instinct is all there is when it comes to the divination of harsh salvation. Segall, Moothart and Ubovich are exploring all the blank-ations of what will be, or has always been, 'Fuzz II'.

                                                                  Tried and true methods mixed with tongue-twisting, teeth-shattering, seizure-inducing stabs at the norm. Who knows… maybe that’s wrong. Maybe it’s all done. Played out. Maybe it’s not for want of new but for lack of old. But probably not. Bathe in the heat wave that is Fuzz, and regret nothing in the time freeze. Necessity is the mother of creation; and devolution stakes its claim in the past as it continues to bind itself to the future. San Francisco, Los Angeles, heaven, hell, lunar fields, subterranean hallucinations, traffic jams, sleepless days, hazy nights, recollection or blind reflection. It is all there and so should be you. 2015 and 2016 will bring a new surge of slime, fuzz and otherwise bittersweet concoctions of earthly lettering. It will be heavy, chaotically controlled, softly serpentine and blindingly barbaric. To translate the auditory from ethereal to saliva- soaked semantics is to shatter a promise as it’s made. In the meantime, Ty, Charles and Chad walk on. It is what it is. Just like everything else. And if you don’t know, now you know. This message brought to you by In The Red Educational Services… as it was before and is it will be again.

                                                                  Protomartyr

                                                                  The Agent Intellect

                                                                    This October marks the release of 'The Agent Intellect', Protomartyr's third and finest work to date. Named after an ancient philosophical questioning of how the mind operates in relation to the self, it’s an elegant and often devastating display of all that makes Protomartyr so vital and singularly visceral an outfit. Over the course of several months, Greg Ahee waded through more than a hundred song fragments until he reached the bottomless melodies of “I Forgive You” and “Clandestine Time”, the inky depths of “Pontiac ’87” and titanic churn of “Why Does It Shake?” Lyrically, Casey is at his most confident and haunting. He humanizes evil on “The Devil in His Youth,” and, amid the charred pop of “Dope Cloud,” he reassures us that nothing - not God, not money - can or will prevent our minds from unraveling until we finally fade away. We are no one and nothing, he claims, without our thoughts. It’s a theme that echoes through the entirety of the record, but never as beautifully as it does on “Ellen.” Named after his mother and written from the perspective of his late father, it’s as romantic a song as you’re likely to hear this or any year, Casey promising to wait for her on the other side, with the memories she’s lost safely in hand.

                                                                    The A side is urgent, angry and slamming. DJs with Kahunas will be playing these…. Just let Doesn’t Feel Right ride. It murders.. 2nd try is straight up industrial bananas, can’t wait to see what happens when this is played out. The B side is full of sadness, longing and regret. Single Life is the artists favourite cut of the EP and I think you should know that. Still Waters is probably what it feels like to feel like shit and dive into a deep reservoir in the middle of the night somewhere remote where you could just drown and die without anybody around to help you.


                                                                    Jo-Jo

                                                                    Mind Games

                                                                    One of the rarest gems of the italo disco genre starting the "La Discoteca" sub label.Here we find disco, R&B, italo, and electro all inside one track in the traditional "vocal" and "instrumental" version. Everything is based on synth and bass lines with a stunning sexy female vocal from JO JO !

                                                                    Reissued thanks to the Help of Massimo Monti and "Il Messia" Claudio Pisani D.J.

                                                                    The 5th offering of the label comes from LA-based producer Sage Caswell. Sleep Quarters EP evokes the paradoxically rushed-yet-laidback duality of his hometown; it's a four-track release equally split between music for the dancefloor and music for dreaming.

                                                                    While the first two tracks strive to balance ambience and dancefloor appeal, the B-side is a total departure into ambient space, with immersive walls of sound and waves of delay.

                                                                    Here is what being with your back to a psychedelic wall and deciding you got to go DIY makes you do. Raw, crisp, and simply honest 115 bpm organ techno with a distorted soul. Two takes of it featuring a left-handed chord intro so surreal the exposition will softly draw you in before you realise you just got caught in drum loop heaven.

                                                                    This is a white label release with music played from the heart and live recorded straight to L/R on an old used cassette tape. Mastered and cut by Matt & Barry at Alchemy in London. The record comes in a black cover with a handwritten and burgundy RISO printed 120g paper inlay.

                                                                    Reactions and reviews:
                                                                    "From the heart of dark ambient comes two slices of fuzzy joy, bringing with it ghosts of fellow travellers from the past: Cabaret Voltaire, This Heat, Nurse with Wound; even the African electronics of Francis Bebey. Still German at it’s core but somehow squeezed into a pipe sticking out of some industrial wasteland in Mecklenburg-Vorpommern and re-appearing in a lay-by just outside Sheffield." (Prof. Jono Podmore)

                                                                    "I am confused. This a record you should listen to. There are simply no words doing it justice." (Thaddeus Herrmann, Radio Fritz Berlin)

                                                                    John Holt

                                                                    Chanting

                                                                      Genuine Shaka Killer! Previously album only, this is a first time authorised seven inch release for 'Chanting' - the Henry 'Junjo' Lawes produced John Holt sound system favourite. Cut bass heavy and backed with the never before released Chanting Dubplate Style showcasing Roots Radics in full effect.

                                                                      Omar Souleyman

                                                                      Darb El Hawa - Inc. Cole Alexander Remix

                                                                        The first single taken from the new Omar Souleyman album "Bahdeni Nami" for the Monkeytown label including the Cole Alexander remix.

                                                                        "Perhaps Syria’s most successful musical export, international singer Omar Souleyman has returned with his second proper studio effort and most personal album to date, "Bahdeni Nami", just released on July 24th on Monkeytown Records.

                                                                        For the new album Omar opened his doors to collaborations with a number of renowned electronic producers (Four Tet, Gilles Peterson, Modeselektor and Legowelt), all of whom were established fans keen to offer unique interpretations of Souleyman's established sound.


                                                                        As we draw proceedings to a close with Part 3 Last Supplement - we take a moment to reflect back on what Nathaniel X has meant not just to us at Undertones, but the entire culture of deep house as a whole. This is not the end - it's merely the closing of one chapter and a transition into the next.

                                                                        Relentless stuff from KAT with release number 26 coming via the Hinge Project, a disco balled collaboration between Florent F and Yo-One Sutter.

                                                                        Having a penchant for all things Rinder & Lewis is no bad thing and that's what this release if all about, a cap doffed in their El Coco direction.
                                                                        First up we have 'Cocomotion 79' : A top draw, classy as, uber cool disco lounge biggie that was out in (you guessed it) 1979. Things have been slightly slowed down from the original and chopped in all the right places taking this from over 10 mins down to just under 7 strengthening those fender Rhodes and string sections along the way.

                                                                        Next up is 'It's Your Last Chance'… A sultry mid-tempo ditty with an absolute killer groove edited down to accentuate that ace vocal hook. Tempo'd for Dj pleasure (without losing that all important live feel), subtle delays effects sprinkled over the top with a filtered mid section for added oomph - massive !

                                                                        On the flip we have 'Love Exciter' - A full on dancer with bonafied disco hand claps, squelchy bass, clavs and strings. Here the tempo has been brought down considerably from the original with the beats are locked down for mixing delights and finishing things off nicely we have the classic 'Coco Kane'. Insane disco loops, massive bassline and all round killer string arrangement rounds things up very nicely.

                                                                        The latest release on the mighty Kolour LTD comes courtesy of French producer Closed Paradise, who brings the same gallic flair to the US imprint as he showed on last year's sell out smash on Fools & Fables. We get underway in chugging fashion via the cosmic house swirl of "Planets", a filtered and flanged deep house burner which rotates with its own gravitational pull. Textured synths swell and fizz above a swinging percussion groove, while the occasional sample snippet hints at the world outside this dancefloor haze. As an added bonus those folks at Kolour HQ have enlisted their favourite production duo of the moment on remix duties. Fresh off the heels of their blinding EP on Detroit Swindle's Heist Recordings Brame & Hamo transform "Planets" into a discoid scorcher packed with boogie elements, rattling percussion and a whole load of phonk! On the flipside, Closed Paradise takes us even deeper via the heads down disco house roll of "Tunnels", maxing out the spectral textures and foggy synths before working a corking vocal drop in almost Karlovak fashion. EP closer "Moëlleuz" sees Closed Paradise team up with Journey Reverse for a terrace-ready filter disco groover complete with a touch of the French house we love so much.

                                                                        Various Artists

                                                                        Give It To Midnight EP

                                                                        Giant 45 returns with 2 more tasty reworks.

                                                                        A side takes a blue eyed soul gem and reworks it for today's floors.

                                                                        On the flip we have a much sought after Japanese boogie classic reworked in the same way.

                                                                        Limited 7 inch pressing so act fast.

                                                                        Downriver Psychic Divas

                                                                        Dissecting The Rainbow

                                                                        Madness from the Downriver Psychic Divas debut 12" on Jared Wilson's 7777 label. Four acid tracks conjured by the Divas from freaks in another dimension. Free Your Mind!!

                                                                        STAFF COMMENTS

                                                                        Matt says: Luminous house vibrations with that classic retro-edge cross pollinated with some heavily lysergic elements. T I P!

                                                                        What did the pioneers of Industrial and Synth Wave do when the age of Techno dawned in the early nineties?

                                                                        The simple answer is, some made Techno. Well that’s what Maurizio Martinucci (aka TeZ adn now part of Clock DVA) and Esplendor Geometrico’s Saverio Evangelista did back in the day as Most Significant Beat. This project has lain dormant for more than twenty years but has been dusted down, given a stiff drink and set to wax by Frigio Records. All tracks were recorded in between 1996 – 2000 and were released on CD for Geometrik Records years back except the first track “Geometric State” which is unreleased.

                                                                        “Geometric State” is the first finding. Rasp and resonance click and gasp. Gears grind and grate as the track blooms into a fledgling piece of thought-filled Techno. Jittering samples introduce “Amy Tekno” as a floor filling Electro takes hold. No parameters are adhered to, seeing as parameters hadn’t been set; instead Most Significant Beat establish their own. “Black Industry” conjures up the ghosts of the assembly line, sonic wraiths which haunt their way into the crack and thump of “SMB Nukleus Patternz.” The EP is sealed with the rhythmic ramblings of “Dose 1 – Brain Booster.” A cacophony of cymbals careen headlong into hi-hats as the duo deliver a warped and wonderful work of post-New Beat.

                                                                        Rediscovered prototypes from the founding fathers of electronic music.

                                                                        Live and direct from Basel, Switzerland, we're proud to present our next EP on Kolour LTD from talented veteran Shaka.

                                                                        Shaka's mindset of quality over quantity fit beautifully alongside his demo and the match was undeniable.

                                                                        This one is chalked full of those deep, underground house vibes; perfect for any setting.

                                                                        Cooked straight on the searing streets of Glasgow and served up for mind-bending, floor-filling pleasure – Golden Teacher are back with Sauchiehall Enthrall, an all-new four track EP released directly by the band. Following a slew of snapped-up releases on Optimo Music, Soul Jazz / SOTU, Huntleys & Palmers and Akashic Records – which saw the band meld the worlds of acid-house, leftfield disco, EBM, dub and afrobeat – Golden Teacher have redrawn the boundaries of their sound yet again, giddily embracing jacked-up UK funky, dancehall, musique concrète and further tripped-out stylings from the badlands of Escocia. Slithering, rattling and snapping like a snake with a toothache, this EP is further proof that Golden Teacher are one of the most infectious and unhinged dance acts around at the moment. The EP comes in screen-printed silver sleeves made by the band's own hands.

                                                                        STAFF COMMENTS

                                                                        Matt says: Golden Teacher's frenzied take on tribal / dancehall riddims and it's a belter. Apparently the band rocked this vibe out at their Manchester gig and it went off - I can see why!

                                                                        Jackie House

                                                                        Stydive - Inc. Matrixxmann Remix

                                                                        Since 2010, Jackie House aka Jacob Sperber has been driving the A&R side of the San Francisco dance-music troupe running the HNYTRX label and producing remixes with other members under the Honey name. Putting label duties on hold in 2013 Sperber cocooned into his music studio, entering as a brave brunette and exiting as an ambitious blonde. "Stydive" is Jackie's debut to wax and has as much house-party in it as it does warehouse 4am. With a vocal sample nod to punk's past, “Stydive” pogo dances to dusty and stuttering live/analog drum rhythms and skips along a rude and infectious bass-line. Bound to find lovers of all persuasions for its dub-esque qualities, instantly recognizable hook, and open relationship with house music, this tune begged to have it's own side. That said, there is always room for some Matrixxman who takes Stydive to a strobe lit South of Market darkroom in his remix on the B. Spurting erotic lazers around a cavernous kick, this tune finishes off even the most experienced edger.

                                                                        Over the past years Bézier has seen releases under the Dark Entries record imprint with the most recent 'Telomeres' EP this year. The title track 皆 or pronounced ‘mina’ translates from Japanese to ‘Everyone’. Mina is a journey through space with the initial ascent marked by a moody window of time in which uncertainty dominates the mindset of the passengers. Once they break through the atmosphere and are proceeding as planned they land on the final destination, an interplanetary discotheque. Mina was recorded this year with Mark Pistel on the helms for mixing and features SF drummer Kevin Woodruff of Tussle fame providing live drumming for the last portion of the track. Along with the title track the b-side includes tracks previously released on compilations but appear here for maximum record playing enjoyment. ‘Serengeti Drive’ which appeared on Honey Soundsystem’s earlier HNYTRX compilation of queer dancefloor artists is the slow burner of the group. ‘Mysteries of the Deep’ which appeared in the JACKTONE cassette compilation of Bay Area electronic stars is the soundtrack to an underwater expedition. Both tracks were recorded, produced and mixed by Robert in his home SF studio in 2009. 

                                                                        Steven A Clark

                                                                        The Lonely Roller

                                                                          Whether it’s someone searching or someone who doesn’t want to be found, we can’t help but be drawn to the drifters. Steven A. Clark is that next stranger to roll into town, a restless artist recasting R&B. He’s a straight-talker in a genre filled with wish-fulfilment, whimsy and cliched beats; think the Outlaw Josey Wales raised on N.E.R.D. and 808 & Heartbreak. 

                                                                          FORMAT INFORMATION

                                                                          Indies Exclusive LP Info: Indies exclusive blue vinyl edition.

                                                                          Craig Finn

                                                                          Faith In The Future

                                                                            Craig Finn (of The Hold Steady) will release his new solo album 'Faith in the Future' through Partisan Records on 11th September. Josh Kaufman produced the record in the cosy, rustic confines of Woodstock's The Isokon recording studio and helped Finn stretch the boundaries of his songwriting with confidence, invention and ambition to realise what will be a defining moment in his career.

                                                                            At times stark and spare, at other times vibrant and dynamic, 'Faith in the Future' is Finn's most compelling collection thus far, each song a powerfully alluring and subtly nuanced composition wedded to his distinctive short story narratives.

                                                                            For their haunting thirteenth release, Especial take a side-step from their usual chug heavy tackle, welcoming up and coming producer Wolf Muller (Remember his remix of Jose Padilla? Scorchio!) to the label with his remixes of indie-pop dreamer Mariam The Believer. Now, some of those chuggers might register upwards of 5 on the sci-fi horror scale, but no one does doom and gloom better than the goths, and Mariam's Siouxsie-esque post-punk delivery nails that B-movie vibe. Muller transforms her dreamy (or should that be nightmare-y) sonnet into a percussion heavy hit of voodoo groove, which finds a place between post-punk, disco-not-disco and no wave to dance like Britt Ekland in Wicker Man. Available exclusively on this release in dub and vocal form, this bone rattler is already getting love from Lexx, Manu and Coyote.


                                                                            Kurt Vile

                                                                            B'lieve I'm Goin Down...

                                                                              'b’lieve i'm goin down…' is Vile’s sixth album, and shows Kurt both deeply introspective and briskly self-assured. As longtime fan Kim Gordon wrote in her bio for the album: “Kurt does his own myth-making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why this focused, brilliantly clear and seemingly candid record is a breath of fresh air.

                                                                              Recorded and mixed in a number of locations, including Los Angeles and Joshua tree, b’lieve i'm goin down… is a handshake across the country, east to west coast, thru the dustbowl history (“valley of ashes”) of woody honest strait forward talk Guthrie, and a cali canyon dead still nite floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of a singer songwriter upcycling.”

                                                                              FORMAT INFORMATION

                                                                              3xDeluxe LP Info: Limited edition triple LP expanded version 'b’lieve i'm goin (deep) down…', features 6 bonus tracks.

                                                                              'Sources' is a brand new series which will examine the output of a number of extremely influential independent US labels throughout the 1970s, 1980s and 1990s. In an age where corporate anonymity reigns supreme and music is being treated like aural wallpaper, the 'Sources' series will go back to a time when record labels really meant something via their A&R policies, their ground-breaking releases, their everyday modus-operandi and their general philosophies. What made these operations unique? How did they manage to compete with the major companies? How did they protect their artist rosters? What sort of people ran these operations and how did they manage to survive in the cut-throat music business?

                                                                              The fourth package in the 'Sources' series covers one of the most loved New York independent record labels ever, the iconic Sam Records. Formed by industry veteran Sam Weiss in 1975, the label launched with a the killer atmospheric funk anthem “Woman Of The Ghetto” by Doris Duke before heading into disco territory with several hugely successful albums from John Davis & The Monster Orchestra before hitting big internationally with a brace of disco smashes from Gary’s Gang including their most successful single “Keep On Dancing”. By the beginning of the 1980s Sam managed to deftly circumnavigate the Disco backlash and re-invent themselves as a bona-fide 80s dance label immediately scoring with Rhyze’s “Just How Sweet Is Your Love”, Convertion’s “Let’s Do It”, Scandal’s “Just Let Me Dance”, KID’s “Don’t Stop” and Mike & Brenda Sutton’s “We’ll Make It” among others. This proved to be a fortuitous direction and by the end of 1982 Sam had scored high-profile successes with Vicky ‘D’’s “This Beat Is Mine”, Komiko’s “Feel Alright”, The Evasion’s “Wikka Wrap”, KID’s “Hupendi Muziki Wangu?! (You Don’t Like My Music)” and the sumptuous “Dreaming” by Greg Henderson. Sam’s impressive dance hit tally continued into 1983 with further successes like Steve Shelto’s pumping “Don’t Give Your Love Away” and Klassique’s “Somebody’s Loving You” before the label wound down for much of the next decade.

                                                                              Over the ensuing 30+ years Sam’s 70s and 80s releases have seldom been off DJs turntables whether via the disco, rare groove and electro scenes or by the almost relentless re-edits that appear of Sam’s main output throughout this period. ‘Sources: The Sam Records Anthology’ continues the run of comprehensive anthologies of the most important labels in the evolution of Dance music.

                                                                              Primitive Parts

                                                                              Primitive Parts

                                                                                RIYL: Parquet Courts, Hookworms, Swell Maps, Blur, Wire, Eddy Current. Parts Primitive is the debut album from London-based band Primitive Parts. The band consists of Sauna Youth, Monotony and Male Bonding alumni / hit-makers Lindsay Corstorphine (guitar / voice) Kevin Hendrick (guitar) and Robin Christian (drums). They first practiced in 2012 after working together in a record shop in Crouch End with the goal to make something 'without fuss', that might sound like 'Stiff Records in the 60s'. They count The Deep Freeze Mice, Mick Jagger and Swell Maps among their many influences. After signing to Trouble in Mind (Dick Diver, Jacco Gardner, The Soft Walls, Ultimate Painting) in 2015 they immediately bought a Tascam 388 multitrack tape device. The resulting recording process was executed succinctly over the next 3 working days across 2 locations - the bands practice room in Homerton and Corstorphine's home, a former furniture factor y in Hackney Wick.

                                                                                Parts Primitive consists of 10 close-knit and succinct songs that aim to evoke a sonic space that could be an imagined 1970s. ‘Miracle Skin’, ‘Signal’,‘Rented Housing’ and ‘Troubles’ are influenced equally by the dynamic Australian garage rock of The UV Race, Eddy Current Suppression Ring and Total Control as they are by the pop sensibilities and British charm of early Eno, The Kinks and Blur. First single, ‘Being There’ is a homage to the 1979 Peter Sellers film about a simple, sheltered gardener. Album closer, ‘Ever Outward’, features an improvised outro played by all 3 members on drum machine and cassette loops. Parts Primitive was recorded by the band directly onto two 7" reels of quarter inch tape, mixed by Mark Jasper at Soundsavers and mastered by Mikey Young overseas. The artwork makes a nod to 1970s photo books 'British Image 1 and 2' and Euan Duff's 'How We Are', old council and librar y letter heads and the painfully thin paper picture sleeves of records by bands like Vain Aims and Protex.

                                                                                The album follows 2 sold-out singles on the SEXBEAT and Faux Discx labels, both of which received heavy air-play from BBC 6's Marc Riley and Jenn Long and were acclaimed by critics including Stereogum and NME. Primitive Parts have shared stages w/Twerps, Franz Ferdinand, The Homosexuals and Juan Wauters. Having recently bought a car, they plan to embark on a full UK tour in Autumn.

                                                                                Salad Boys

                                                                                Metalmania

                                                                                  RIYL: Feelies, Dick Diver, The Bats, Wire. Salad Boys came together at the end of 2012 with members from other illustrious Christchurch groups T54, Bang! Bang! Eche! and the Dance Asthmatics. Recorded, the Salad Boys are deceivingly charming, presenting a careful but curious balance of well-informed pop melodies, hypnotizing rhythms and heady instrumentation.

                                                                                  The group's self-titled mini-album released in 2013 caused something of a mini-sensation, receiving praise from the likes of Stolen Girlfriends Club, Mess and Noise, hhhhappy.com and many more. In real life, the Salad Boys perform a wondrous assault: a charged up blitz of clanging guitars, intoxicating drones, head-down acid repetition and an abundance of dazzling pop hooks. This notoriety has scored the group a wealth of engagements up and down New Zealand including slots at the Camp a Low Hum and Chronophonium festivals, gigs with Sebadoh, The Bats, & Parquet Courts as well as a highly honorable spot performing as backing band for David Kilgour of legendary NZ group The Clean. 2015 finds the band prepping their proper full-length debut "Metalmania" out in September on Chicago label, Trouble In Mind Records. 

                                                                                  Various Artists

                                                                                  Blanck Mass Presents... TSCOYBT

                                                                                    Death Waltz Originals are proud to present a spectacular new record curated by Blanck Mass & commissioned exclusively by the East End Film Festival, an alternative score to the 2013 film THE STRANGE COLOUR OF YOUR BODY’S TEARS, directed by Bruno Foranzi and Helene Cattet. A full-on homage to the Italian giallo films from Mario Bava and Dario Argento, the original release of the film had no original score and instead used music from existing giallo films.

                                                                                    Edinburgh musician Ben Power (Blanck Mass, Fuck Buttons) devised to use this as a stage for experimentation and collaboration with several artists from across the globe. Each artist was given a scene to work with and was given complete free reign to score the scene how they wanted to, without any knowledge of what was planned for the film by the other musicians. Contributions came from Stockholm’s Roll The Dice, London’s Helm, Moon Gangs, and Phil Julian, Glasgow’s Konx-Om-Pax, and New York’s C. Spencer Yeh, as well as Blanck Mass. The end result is a fascinating score that enthrals, seduces, and terrifies in equal measure. Due to be performed live later in 2015, THE STRANGE COLOUR OF YOUR BODY’S TEARS re-score is a testament to the quality of alternative artists working today, as well as evidence of the ongoing inspiration that Italian horror continues to supply to contemporary art.

                                                                                    Andrew Kidman

                                                                                    Litmus OST / Glass Love

                                                                                      Litmus, Andrew Kidman’s first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the “alternative” mainstream. With the film's visceral and cerebral moodiness, folksy soundtrack, and meditative spirit, critics swooned over surf misfits like Wayne Lynch, Derek Hynd, Tom Curren, and Joel Fitzgerald. Despite the acclaim, the film was not much of a commercial success at the time. The aura of Litmus’ soundtrack, however, has found its cultish corner in the surf world.

                                                                                      Prior to filming Litmus, Kidman’s band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. Additional contributions from Galaxie 500, Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking -- it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why.

                                                                                      Kidman released his second film, Glass Love, ten years later. As with Litmus, the music came first; Kidman felt his songwriting was ready to take on a new life. Thanks in part to Litmus, experimentation in board design progressed as surfers became more contemplative, questioning, ‘is surfing art or sport?’ Glass Love and its soundtrack highlights this mindset and time period, creating an extra dimension to surfing that is still prevalent today.

                                                                                      FORMAT INFORMATION

                                                                                      2xCD Info: 2CD in 6 panel, bi-fold chipboard digipack. Includes 16 page booklet with photos and ephemera from the films.

                                                                                      2xLP Box Set Info: 2LP Heavyweight Box + 100 page book.

                                                                                      Andrew Kidman

                                                                                      Glass Love

                                                                                        Andrew Kidman’s Glass Love (2006) serves as an evolution from his first avant-garde surf film, Litmus (1996). Kidman followed the same filmmaking technique from ten years prior: write and record the songs, then set the mise-en-scène to match the rustic, moody, balletic rock. Thanks to Litmus, experimentation in board design had progressed as surfers became more contemplative, questioning, ‘is surfing art or sport?’ Glass Love and its soundtrack highlights this mindset and time period, creating an extra dimension to surfing that is still prevalent today. 

                                                                                        Various Artists

                                                                                        Litmus Original Soundtrack

                                                                                          By 1996, surfing was on the upswing in popularity as professional surfers became marketable athletes. The three-fin, high performance, “thruster” shortboard was the tool of choice, lending to a fast-paced slashing style and ultimately a more aggressive “surf and destroy” movement in board culture.

                                                                                          Litmus, Andrew Kidman’s first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the mainstream. Prior to filming, Kidman’s band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. The outcome of the “one-and-done” sessions was a lo-fi, rustic, experimental rock ‘n’ roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa. Additional contributions from Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking -- it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why. The Anthology Surf Archive reissues series proudly presents the soundtrack of Litmus, released in tandem with the soundtrack from Kidman’s 2006 follow up, Glass Love, in new form.

                                                                                          The Replacements

                                                                                          The Twin/Tone Years

                                                                                            Limited edition (8000 copies worldwide), individually numbered, 4LP collection of The Replacements early years recording for the legendary Minneapolis record label Twin/Tone Records. This collection features: Sorry Ma, Forgot to Take Out the Trash (1981), the Stink EP (1982), Hootenanny (1983) and Let It Be (1984) pressed on vinyl for the first time in over two decades.

                                                                                            The Muffs

                                                                                            The Muffs

                                                                                              Their Classic Pop-Punk Debut—Remastered And Expanded! The Muffs burst onto the California music scene at the beginning of the ’90s, and after a few independent singles and EPs, they were quickly snapped up by Warner Bros. Records. Entering the studio with David Katznelson and Rob Cavallo (who would go on the helm records from Green Day, Goo Goo Dolls, and more), The Muffs roared from speakers across the country in 1993.

                                                                                              According to renowned critic Jim DeRotagis, “You’d have to reach all the way back to Blondie’s Plastic Letters to find punkish power pop this endearing.” The quartet rips through the album’s 16 tracks, ranging from and an Angry Samoans cover, to the college radio smash, “Lucky Guy.” In addition, alt-rock superstar Jon Spencer (Pussy Galore and his own Blues Explosion) adds some theremin and The Godfather Of Exotica Korla Pandit’s Hammond Organ makes an appearance. Even the beverage Fruitopia caught the buzz, using the album’s “Everywhere I Go” in a popular television campaign.

                                                                                              This reissue contains the classic original album, and adds a whopping 10 bonus tracks: a radio remix of “Lucky Guy,” a version of “Everywhere I Go” which was only available on the cassette of The Muffs album, and 8 previously unissued demos from the band’s vocalist and lead guitarist, Kim Shattuck—who filled the role of departed Kim Deal on the Pixies’ 2013 tour. Released with full cooperation from the band, Shattuck and bassist Ronnie Barnett provide new liners, and they have opened their archives for photos and other ephemera. Reuniting and issuing their first new release in a decade last year, garnering critical lauds and playing to enthusiastic crowds, it’s time to go back to where it all started. It’s time for The Muffs!

                                                                                              Radkey

                                                                                              Dark Black Makeup

                                                                                                When an unsigned band from the American midwest with an age range from fifteen to nineteen earns a spot on “Later with Jools Holland” you know something special is going on. With each release, anticipation for Radkey’s debut album has been growing. Now the wait is over.

                                                                                                After nearly five years of playing together, hundreds of sweat-drenched, high-octane rock shows and two critically-acclaimed EP’s under their belts, Missouri punk brothers Radkey present the release of their hugely-anticipated debut album, ‘Dark Black Makeup’, produced by Ross Orton (Arctic Monkeys, The Kills) in San Francisco and Sheffield.

                                                                                                The three brothers from St. Joseph, Missouri have evolved a distinctive sound. They started with a punk base and gathered power and tightness with each new tour. Now with the release of ‘Dark Black Makeup’, Radkey reveals a musical maturity beyond their years.

                                                                                                On the album, they re-visit two older songs, “Romance Dawn” from the Devil Fruit EP and the single “Feed My Brain”. The other eleven tracks, including the pre-album single “Parade It” are part of the new Radkey repertoire that will be the basis of hundreds of live appearances to come. The band will crisscross North America in the coming year with at least two European visits planned, beginning with a summer 2015 tour that features several major festivals across the region.

                                                                                                Au Pairs

                                                                                                Playing With A Different Sex

                                                                                                  Since forming in Birmingham, England, in 1979, the Au Pairs have become known for catchy, dark and politically relevant songs with a biting sense of humor and angry delivery. Their first album, 'Playing With A Different Sex', instantly became a post-punk classic after its release in 1981. Playing is a powerful and controversial album, with acerbic takes on gender politics, sexuality, government and torture. Long out of print on vinyl, Playing With a Different Sex is now proudly being re-issued by Drastic Plastic Records. The album sounds better than ever before, thanks to this faithful remastering and expert pressing. For fans of Gang of Four, Delta 5, The Slits and X-Ray Spex.

                                                                                                  Kelis

                                                                                                  Live From Metropolis Studios - Green Vinyl Edition

                                                                                                    Kelis is a Grammy nominated American singer-songwriter who has won countless Brit, Q and NME Awards outside the United States. Kelis has 10 top ten singles in the United Kingdom to her name and has toured extensively across the globe and supported numerous other international popstars including Moby, U2, and Britney Spears.

                                                                                                    On March 3rd 2014, Grammy nominated singer-songwriter Kelis performed an exclusive and intimate one-off show at London's Metropolis Studios, supporting her new studio-album Food.

                                                                                                    The special show was recorded for this limited edition vinyl release. With a capacity of only 100 people, every ticket holder got to see Kelis live in her most intimate show of the year at this unique performance.

                                                                                                    FORMAT INFORMATION

                                                                                                    LP Info: 180 gram audiophile vinyl in gatefold sleeve. Limited Edition of 1000 numbered copies on transparent green vinyl

                                                                                                    Tempelhof & Gigi Masin

                                                                                                    Hoshi Remixed - Inc. Ptaki / Balearic Gabba Soundsystem / Reverso 68 / Luminodisco Remix

                                                                                                    As they did on their last release, Hell Yeah once again look to offer new takes on some of their excellent recent album projects here. This new EP finds four producers tackling tracks from Tempelhof's blissful and beautiful, ambient and slo-mo work alongside Gigi Masin, namely 2014's Hoshi. Those producers are Ptaki, Balearic Gabba Sound System as well as label regular Luminodisco and the legendary Reverso 68.

                                                                                                    First up is fast rising The Very Polish Cut-Outs artist Ptaki, who with his remix offers up a seductive and sombre number with lazy chords, gently swaying drums and a subtle balearic feel. Dreamy vocals complete the picture.

                                                                                                    Then comes the label's in house and off kilter production team, Balearic Gabba Sound System, who flip 'Buena Onda' into a deep cut bit of sunset disco with glowing arps, elastic drums and sweeping string sounds in typically stylish fashion.

                                                                                                    It's all very romantic and sun kissed and that continues with Reverso 68 aka long time balearic stars Pete Herbert and Phil Mison.
                                                                                                    Their take on Red Venus is one that slowly builds in stature, with plenty of lush pads, cute stabs and percolating drums that really lift you up.

                                                                                                    Lastly, Hell Yeah regular Luminodisco gets a little more broken up and experimental with his dishevelled but soulful sounding version of My Velvet Book It's slouchy like a hip hop record, but over all, like a modern take on Don Carlos.

                                                                                                    Supported by Test Pressing, Lexx, Leo Mas, Justin Vandervolgen, Phil Mison, Pete Gooding, Kenneth Bager, Kito Jempere, Akirahawks, DJ Hendrix, Andy Wilson, Hugh Herrera, Chida, Reza Athar, Tensnake

                                                                                                    Micachu And The Shapes

                                                                                                    Good Sad Happy Bad

                                                                                                      Micachu & The Shapes’ return, three years after the release of their last record ‘Never’, is almost an accident: the trio of friends decided to rehearse in an East London studio, and found themselves immersed into an hours-long jam. Drummer Marc Pell had an Edirol field recorder in hand, and unbeknownst to his bandmates, recorded the whole session; Pell, Mica Levi, and Raisa Khan were so enamored of those off-the-cuff audio experiments that they became the underpinnings of a new record.

                                                                                                      "For me it's the most free we have been,” Levi explains. Rather than showing up to the studio with songs written out, the trio started with a collaborative improvisation, from which Levi chose sections to develop into songs, writing lyrics to the entire record “non-stop, in one avalanche."

                                                                                                      With one listen, it’s easy to hear why they loved the tracks. ‘Good Sad Happy Bad’ maintains the experimental-pop sensibility the band has brought to previous efforts, combining the lightness and bounce of their best singles with the sonic textures of field recordings, industrial effects alongside straightforward instrumentation. Levi’s affected vocals eschew easily readable emotional tone, instead relying on quixotic lyricism, repetition, and immersion into the song’s landscape, to evoke warmly - rather than show - the sentiments underpinning the songs.

                                                                                                      The record’s irrepressible energy, across both the upbeat and a handful of sadder songs, seems to be a direct result of the live recording process. “Jams are really quite a healthy release, it’s a way of getting stuff out without consciously thinking about it or making decisions,” says Khan.

                                                                                                      Conversely, because the band worked out the final mixes together over a number of months - rather than in a traditional, multi-track studio over a shorter period - Pell found a new degree of creativity. “I think the best drum part I have ever written is the stick-clicking at the beginning of ‘Peach’ - a moment, he explains, that he wouldn’t have been able to notice without the luxury of seeing the recorded tracks as more than simply songs, but as collections of sonic ideas.


                                                                                                      Mark Lanegan

                                                                                                      Houston: Publishing Demos 2002

                                                                                                        Mark Lanegan first rose to fame with his band the Screaming Trees in the '90s. Like other noted artists Lanegan has carved out a strong identity of his own as a vocalist and songwriter informed by the blues but willing to take his darkly poetic sensibility wherever his muse was pointing him, from hard rock to electronica.

                                                                                                        At the time, The Screaming Trees had recently disbanded and Lanegan was in the early years of his solo offerings (at this point he had released a mere five solo albums). The songs on Houston (Publishing Demos 2002), were written, recorded, then shelved until now, with the release of this12-song collection of previously unreleased demos via Ipecac.

                                                                                                        Justice Records' Randall Jamail produced the album. Art was done by The Mekons' Jon Langford.

                                                                                                        Syl Johnson

                                                                                                        Complete Twinight Singles

                                                                                                          “There are many great soul singers, but few have inspired hip hop from its early beginning to now. Syl Johnson is a unsung pioneer of musical fusion.” - RZA

                                                                                                          Syl Johnson began the ‘60s a blues singer and session guitarist and concluded it having synthesized his own brand of gritty Chicago soul. Their first signee, Syl Johnson set the tone at Twinight Records, writing and producing fifteen 45s during his four year tenure with the label. This double LP neatly bundles each side of each of Johnson’s Twinight 45s, from the heavily-sampled grunts on “Different Strokes,” to the ghetto-conscious “Concrete Reservation.”


                                                                                                          Unwound

                                                                                                          Empire

                                                                                                            The climactic entry in our four-set Unwound exploration, Empire compiles the final pair of albums by the Olympia, Washington, trio. On 1998’s Challenge For A Civilized Society, the band toyed with conventional verse/chorus form, stacking layers of noise and distraction on top of tightly constructed melodies. They’d abdicate entirely just three years later with 2001’s Leaves Turn Inside You, executing a 14-song masterclass in home recording that observed a crucial band in graceful transition from post-hardcore trio to experimental quintet. The mammoth double album was lost in the chaos of a post-9/11 media, baffling onlookers and exhilirating fans in successive breaths before it fell far out of print. At their reinvention and terminus, Unwound ultimately asked “Who Cares”?

                                                                                                            The Empire box-set teems with period singles, B-sides, unreleased studio tracks, and demos, alongside a 15,000-word essay exploring the terminal stages of the ‘90s, indie rock, Unwound, and civilization as we know it.

                                                                                                            The Scientists

                                                                                                            Blood Red River

                                                                                                              After trekking east from the suburbs of Perth to take new root in Sydney, in 1983 the Scientists hooked up with producer Chris Logan, who’s credited with the album’s imposing sonic girth and rumbling low end, and premier Aussie punk label Au Go Go for an album that would define their unmistakably swampy, psychotic aura. These six songs revisited band leader Kim Salmon’s interest in the Cramps and the Stooges, while adding in the repetitive dementia of Suicide and elements of cow punk twang, with Salmon’s distinctly unrefined Australian accent snarling tales of lust, confusion and angst. 

                                                                                                              The Scientists

                                                                                                              The Scientists

                                                                                                                The Scientists’ 1981 wild debut bewildered Perth, Australia’s punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled “Pink Album” deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth’s swelling pool of musical talent, and to the promise of Salmon’s unwavering vision that would become one of the most celebrated acts of the Aussie underground.

                                                                                                                Various Artists

                                                                                                                Late Night Tales - Nils Frahm

                                                                                                                  Composer, musician and producer Nils Frahm steers the new edition of Late Night Tales, set for release on 11th September. A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's Late Night Tales haunts and beguiles. It’s not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted. Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's ‘Mango Drive’ adding to the haunting hypnosis, while choral interruptions aid Miles Davis’ ‘Générique’ on its journey towards the light. Meanwhile, on Boards Of Canada’s ‘In A Beautiful Place Out In The Country’, the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor. Eddy Arnold’s ‘You’re The Only Star’, a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers’ ‘Honey Bunch’, that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from


                                                                                                                  there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).

                                                                                                                  "I’ve really got off on working on compilations lately. It’s such a wonderful way to delve deep into your music collection. My flat is now crammed with music media of all stripes, from an old hand-cranked 78 phonograph player to 45s and albums on vinyl, my beloved old cassette tape collection, even mini-disks and, lately, WAV and MP3s. It’s all music to me. After spending hours recording from all of these diverse sources, I started to play around with the tunes, layering them, sampling, looping certain parts, extracting phrases and using all the freedom that this allowed me. If I got a little carried away or stepped on anyone’s toes in my quest to do something interesting and original, then I apologise. Some things may have accidentally landed on the wrong speed, while other spooky happening have occurred along the way, whether it’s ghostly additions of reverb and delay or simply subtle edits or reproductions, they’ve all gone into the magical stew I’ve tried to create for your pleasure and edification. I can’t tell you how much fun I’ve had creating this compilation for you but, suffice to say, I hope it will be a nice journey for your mind and heart."

                                                                                                                  - Nils Frahm, May 2015


                                                                                                                  FORMAT INFORMATION

                                                                                                                  2xLP Info: Unmixed double 180 gram Vinyl Version (incl. download codes for the Nils Frahm mix and full unmixed tracks as wav/MP3)

                                                                                                                  CD Info: CD Version (incl. unmixed tracks via download as MP3/wav)

                                                                                                                  Nerina Pallot

                                                                                                                  The Sound And The Fury

                                                                                                                    The Sound And The Fury, Nerina’s fifth album, is released on her own Idaho Records. To describe the album as a departure from its four predecessors is something of an understatement. When Nerina says it’s her mid-life crisis album, she’s only half joking. When she says it isn’t her happiest collection of songs, she isn’t kidding.

                                                                                                                    The album is as tempestuous as its title suggests. It’s a bold, bluesy, Biblical storm, in turns restless, aggressive and defiant.

                                                                                                                    Sonically too there’s been a shift. Inspired by Nerina and her producer (and husband) Andy Chatterley’s collective electronic roots it’s atmosphere crackles with electronics, space is as vital as sound and textures matter as much as melodies. From the crackling, menacing electro-blues of opener This Is A Drum to spectral, reflective, electro-classical closer The Longest Memory, The Sound And The Fury is as beguiling beautiful as it is disturbingly dark.

                                                                                                                    Inspired by actual events and the emotions they evoked, The Sound And The Fury is an album of stories, from the city, from inside Nerina’s mind, from weeks spent glued to the news. It’s about love, loss and survival as much as any heartbreak album. It’s about one woman and her fears for her family, but it’s also about where the world is at right now and where it will be in the future.

                                                                                                                    Petwo Evans return with another stonking release! This time around, they've went pretty melodic on us - not that we're complaining.. Something for everyone here with a belting peak time title track - first heard on the most recent Auntie Flo Boiler Room - alongside some really beautiful moments; which you may have heard opening our Truants and Electronic Exploration mixes in recent times, to form one of our most unusually brilliant releases yet.

                                                                                                                    The Bohicas

                                                                                                                    The Making Of

                                                                                                                      ‘The Making Of’ lands blow after blow. Featuring early singles XXX and Swarm, alongside Radio 1 playlisted To Die For and Where You At, the album is two barrels' worth of electrifying tunes and crackling 21st Century rock and roll.

                                                                                                                      The Bohicas are rock and roll painted in vivid primary colours. Hi def, loud, fast, shiny and above all fun. A barrage of killer hooks, razor blade riffs and choruses that slap you in the face, grab your hand and lead you onto the dance floor. All shot through with pulp imagery torn from the pages of a graphic novel.

                                                                                                                      ‘The Making Of’ was produced by Mark Rankin (Queens Of The Stone Age, Bombay Bicycle Club), Chris ‘Merrick’ Hughes (Tears For Fears, Adam And The Ants) and Oli Bayston (Toy, Boxed In).

                                                                                                                      The Bohicas are Dominic McGuinness, drummer Brendan Heaney, guitarist Dominic John and bassist Adrian Acolatse. The Bohicas’ story began in Essex where, as schoolmates, McGuinness, Heaney and John first came together over a love of The Beatles, The Kinks, Ray Charles and the new wave of guitar bands who emerged at the start of the century after the scrag ends of Britpop had finally limped off.

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Ltd LP Info: The deluxe edition features a bonus 7” single featuring "In The Mood" and "Rewind Replay".


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