Various Artists

Studio One Dub Fire Special

    Soul Jazz Records’ new ‘Studio One Dub Fire Special’ brings together 18 heavyweight dub cuts, all recorded at 13 Brentford Road in the 1970s.

    Featuring a stellar selection of dub cuts to classic and foundation songs recorded at Studio One with music from the legendary in-house bands - The Sound Dimension, New Establishment, Soul Defenders and Brentford All-Stars, featuring the likes of reggae’s finest musicians - Jackie Mittoo, Leroy Sibbles, Cedric Brooks, Freddie McGregor and more.

    These fresh dub sounds employed the mighty mixing desk skills of The Dub Specialist aka Clement ‘Sir Coxsone’ Dodd, Sylvan Morris and Scientist to full effect.

    ‘Studio One Dub Fire Special’ features our latest chapter of raw, stripped-down bass and drum sounds direct from Studio One, ‘The University Of Reggae’.

    Released as CD with slipcase / digital download album / heavyweight double vinyl with free download code.


    Play - 180g Vinyl Edition

      ‘Play’ is the fifth studio album by Moby. Originally released on May 17, 1999, ‘Play’ went on to become the biggest-selling album of its genre, with over 12 million copies sold worldwide.

      The album introduced Moby to a worldwide mainstream audience, not only through a large number of hit singles but also through unprecedented licensing of his music in films, television and commercial advertisements, making ‘Play’ one of the most commercially licensed albums ever produced.

      In 2003, the album was ranked Number 341 on Rolling Stone’s list of The 500 Greatest Albums Of All Time. It was nominated for both a Grammy Award and Brit Award and was the UK’s biggest selling independent album of 2000, achieving certified platinum status in more than 20 countries, with UK sales of 1,901,185 copies.

      Max Graef & Glenn Astro

      The Yard Work Simulator

        Max and Glenn are music lovers first and foremost – playing it, making it, digging for it, talking about it – music is their lifeblood. Less concerned with the world of online hype, you could describe their vibe as “old school”. Put them behind the turntables and they’ll smash out a proper 100% vinyl back-to-back set skipping between jazz, funk, hip-hop, soul and disco – the heart and the backbone of their sound – and have the whole room freaking out to Polish jazz-funk oddities.

        It’s this commitment to the art and culture of DJing that has earned them props from Resident Advisor, Boiler Room and the worldwide underground at large. Lock them in the studio together and it’s the swing that grabs you when one of their productions stumbles and nearly trips out of the speakers. The duo revel in the exploration of the space in between beats, and the resulting loose-knit, roly-poly grooves that they coax from the MPC nestle comfortably amidst the deep-dug vinyl treasures that populate their DJ sets.

        Let’s be clear though, we’re not talking about simple reverence to the warmth and dynamics of classic records, and we’re definitely not talking about straightforward sampling (which is by far the easiest way to imbue vintage character into your productions). Max and Glenn’s approach to the making of The Yard Work Simulator was atypical.

        “We wanted to make a dance record without the obvious components,” explains Max. “It was kind of a concept album where the tracklisting existed before we produced any music. We had a list of directions and sounds for each track name and we worked through track by track. Most of the sounds and instruments are recorded and not sampled. We worked out the harmonies, themes and chord progressions very carefully.”

        Taking in chunky but totally misshapen four-to-the-floor bangers Where The Fuck Are My Hard Boiled Eggs?!, Jumbo Frøsnapper and previous single Magic Johnson alongside the shuffling 7 minute breakbeat epic title track and digi-funk nuggets Money $ex Theme and Flat Peter, the result is a 10-track trip through the pair’s deliciously warped psyche, channelled through a ton of hardware. A direct extension of the album’s irreverent sonic palette, the artwork is by friend and illustrator Rahel Süßkind.

        Releasing their debut albums independently for the excellent Danish label Tartelet; and also Box Aus Holz; Brandt Brauer Frick's "The Gym"; Space Hardware and WotNot Music, and together for the first time on the inaugural Money $ex Records 12” in 2015, Max (real name Max) and Glenn (real name Konstantin) originally linked up as mutual fans via Soundcloud in 2012. Konstantin was living in Essen but whenever he visited Berlin they hung out and began making music together. They would meet at OYE Records (Prenzlauer Berg), one of Berlin’s finest independent record stores run by kindred spirit and local linchpin Delfonic (real name Markus). He not only established and runs the Box Aus Holz and TORBEN imprints but he also co-founded and runs the Money $ex label with Max and Glenn.

        “Besides the fact that he’s one of my favourite DJs and a really good friend, he is basically the man behind everything,” says Konstantin. “He is the one who makes it possible for us to run the label the way we want.”

        Drawing comparisons with South London’s scruffy beat crew 22a and label/club night Rhythm Section – similarly close-knit collectives fostering voracious vinyl appetites and a healthy attitude to eclecticism, the Money $ex gang are in full flow with 12”s by IMYRMND, Hodini, Alex Seidel and the first full length (a fully live band project led by Max titled “Max Graef Band”) under their belts.

        Sonically and ideologically off to the left of the pristine, highly-polished dance music underground, Max and Glenn have built their reputation on short-run vinyl-only 12”s, real grass roots independent record store excitement/support, turning dancefloors on their head week in week out, and pure word of mouth. It has been solely about the music from the beginning and with The Yard Work Simulator the duo are set to spread their message even further.


        Includes MP3 Download Code.

        Jean-Bernard Raiteux

        Les Démons

          The unreleased Euro pysch score to the French / Portuguese Xrated version of ‘The Devils’ meets ‘The Witchfinder General’. Synchronised by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (‘Vampyros Lesbos’ / ‘De Sade’). Composed entirely by French composer Jean-Bernard Raiteux aka Jean- Michel Lorgere (‘Sinner’ / Harlem Pop Trotters) and presented here in full soundtrack form for the first time.

          Proudly claiming the dubious accolade of the Spanish sexploitation version of ‘The Devils’ as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers.

          Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, ‘The Demons’ (‘Les Démons’), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his ‘Vampyros Lesbos’ trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods.

          Whilst clearly taking inspirational plot cues from Michael Reeve’s ‘The Witchfinder General’ (1968) and drawing comparisons with scenes from Eiichi Yamamoto’s ‘Belladonna Of Sadness’ (1973) this B-movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts / champions / defenders of the workaholic horrotica bastion with a rare and treasured addition.

          Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of ‘De Sade’, this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way.

          Bruno Spoerri

          Langstrasse Zwischen 12 Und 12

            From his seemingly bottomless well of unreleased conceptual pop, jazz and pioneering electronic experiments, Swiss composer Bruno Spoerri, in conjunction with long term collaborators Finders Keepers, finally unleashes the master tapes to an obscure 1972 feature length documentary called Langstrasse Zwischen 12 und 12 (Long Street Between Midday And Midnight). Directed by Gianni Paggi (who had also worked on Swiss pop music weekly Hits A Gogo) and radio host and author Max Rüeger this seldom seen film studied the stark counter balance between the lifestyles of the inhabitants of Zurich’s famous Langstrasse – a varied and vibrant stretch of road in centre of the city which played host to a unique mix of contrasting cultural and social groups, working class families and energetic creatives. Langstrasse Zwischen 12 und 12 explored real-life stories of family run businesses, schools, nine to five commuters and the contrasting nightlife scene including the city’s liberal after hours red light district. To accentuate the ironic and slightly schizophrenic nature of the production Paggi and Rüeger called upon Spoerri as one of the country’s most versatile instrumental composers to share a first-hand impression of the area as a local himself. Exploring a wide range of musical disciplines from early modified synthesisers to rock rhythms via found sounds, jazz, folk and traditional Greek music, Spoerri successfully infused vibrant bursts of sonic colour into the monochrome imagery of the programme, creating a floating narrative undercurrent quite unlike anything heard on regular Swiss TV during the era.

            In scoring such a project to a precise deadline Spoerri would require a trusted group of regular musicians, many of whom would appear on collectable records by Swiss groups such as The Metronome Quintet, The Rainbow Orchestra and Emphasis. As a leader of The Metronome Quintet himself Bruno was comfortable working alongside reliable members Fernando Vicencio (sax and flute), Ueli Staub (vibes, keys and percussion) and drummer Rolf Bänninger – who’s prominent playing is best exemplified on the previous Finders Keepers/Spoerri LP Hommage Au Fromage. Other players on this session include Latin multi-instrumentalist Antonio Conde who had simultaneously bonded with Vincencio in the jazz rock super group The Rainbow Orchestra under famous guitarist/soundtrack composer Pierre Cavali (see record FKR008). Another Cavali/Vincencio collaborator to appear on this album is pianist Renato Anselmi who would later join both musicians in the band Emphasis – vital to this session Renato Anselmi would provide extra keyboards to Bruno’s experimental and textural synthesiser tones. Later in the 1970s Spoerri would also enlist Anselmi to play on the soundtrack to art house film Lilith (recently sampled by US rapper Jay Z. For hardcore collectors of European jazz the appearance of trumpeter Franco Ambrosetti might warrant some deserved attention. A firm fixture on the Swiss jazz scene alongside Spoerri and regularly playing with George Gruntz, Ambrosetti’s earlier work on records alongside players like American sax man Shahib Shihab or French saxophonist Barney Wilen remain some of the most expensive original items on the collectors market. The final icing on the cake for this session would be the inclusion of Switzerland’s leading harmonica player Heinz Pfenninger, a welcome addition to the group having played with Ueli Staub in the award-winning Roby Weber Quartet (Pfenninger can also be heard playing bass alongside Rolf Bänninger on Spoerri’s aforementioned Hommage Au Fromage LP).

            Like most of Bruno’s releases on Finders Keepers Langstrasse Zwischen 12 und 12 sees the artist explore unique new territories, combining the skill of incredibly talented musicians and combining his own discoveries in the realms of electronic music and his own brand of post- concrète found sound application which would appear on his rare postcard records made for industrial companies utilising wristwatches, pneumatic drills and forklift trucks as essential parts of his orchestral palette. This early 70’s glimpse into Spoerri’s narrative composition for the small screen captures an important European artist-cum-scientist treading a seldom trodden path between experimental pop, jazz and music technology in its infancy.


            Action (Feat. Cat Power & Pharell Williams) - Inc. Johnny Aux / Jesse Rose & Junior Sanchez Remixes

              For this new record, the 2 acolytes have once again managed to surround themselves with talented artists such as their old partner in crime, Pharell Williams, a totally transformed Cat Power, the great Mike D (Beastie Boys), and the over-playful guitarist Matthieu Chedid, among other names. "Action", the first single that features Pharell Williams and Cat Power will be out in EP vinyl as a first teasing support, one month before the release of the album. It features as an exclusiveness the long version of the song "Action", and 2 remixes that have already taken us elsewhere, as we're getting ready for the next sound jetlag…rendez-vous at Ibifornia's!

              Macdonald Flak And The Ack Ack Pack

              The Cortina Kidz - Inc. Juan Maclean & Tim Sweeney / Factory Floor Remixes

                Mr.intl have unearthed a lost gem. ‘Cortina Kidz’ is an utterly overlooked part of the tapestry of late 80’s British acid house history. Recorded in a cold water flat on Stoke Newington Road in 1987 and then released as a B-side in 1988, its eccentric spoken word overlay and weird lead vocal made it very unlike the prevailing dance music sound of the time. This is a unique recording whose time has come.

                ‘Cortina Kidz’ was produced by a young Tim Brinkhurst ahead of his imminent record deal with Virgin Records with his band Soho, and long before his current role as manager of Mercury Prize winners, Young Fathers. The A-side ‘Jack Me Some Crack’ was a minor dance moment in 1988, but ‘Cortina Kidz’ on the flip remained undiscovered.

                That was until mr.Intl, Andy Butler’s record label, made a chance discovery in 2015. It was a track so good that they pledged to resurrect it. Tim was duly tracked down (“you are only the second person in my life to ask me about this record”) and interpretations from Factory Floor and NYC cohorts Juan Maclean & Tim Sweeney are to finally give this track the exposure it deserves.

                Tim Brinkhurst explains, “We released a double A side 7” single with two specially written, ‘throw-away’ tracks, a few weeks before the Virgin deal. One of these was ‘Cortina Kidz’, recorded on a 4 track Portastudio and sung with passion by our friend Simon Waller utilising the unique and glorious tones of a Roland MT-32 sound module, it was a little electro-mod/psycho-drama. The single was meant to be released then disappear, it quickly sold out and that was that, for 28 years, until I was contacted from out of the blue by these mad fuckers who wanted to re-release Cortina Kidz!

                Hearing it again brought back memories of a London, a Dalston, that was choking with petrol fumes and in the middle of a crack epidemic that made the streets, never the easiest walk, even edgier. The fact that the energy for this remarkable release is now coming from New York seems very appropriate, though. Both cities are rapidly transforming and a triple-post-modern release like this is an echo of the transformation. The old and ancient are re-made/re-modelled, sampled and packaged. It’s no longer ironic to be ironic. There is passion in authenticity but authenticity is on the market. If the original Cortina Kidz was a retro-futurist vision of now, the new versions manage to upset the vision and turn it on its head. This single that was never meant to be.”

                Kool Rock Steady

                Power Move / I'll Make You Dance

                  The hip house boom was in full effect, thanks to Tyree Cooper's efforts, and Trax responded with this double-header. 'Power Move' is straight up hip hop, but it's the flip, producer by Trax regular Lidell Townsell, 'I'll Make You Dance' that does the business here. Kool Rock Steady, also known as Edward Rudolph, had serious credentials for an MC, being cousin of one Africa Bambaataa. This release is also notable for yet another misspelling of Lidell Townsell's Christian name (Lydell, since you ask).

                  Carl Davis & The Chi-Sound Orchestra

                  Windy City Theme / Show Me The Way To Love

                    The true definition of a "rare-groove", "Windy City Theme" is a triumphant, funky paean to the spiritual home of the Blues, Jazz and House music. Often closely guarded by the rare record cognoscenti this scarce 45 on the Chi Sounds label was originally released in 1976 and became a solid staple of London's underground rare-groove scene, finding favour with DJ's like Norman Jay and Giles Peterson with the track even appearing on their groundbreaking "Journeys By DJ" mix. B-side cut "Show Me The Way" is not to be overlooked either, a smooth, stepping soul number with lush orchestration and yearning vocals featuring the amazing arrangements of The Chi-Sound Orchestra, sounding like a beautiful cross between MFSB and Marvin Gaye. An utterly essential 45 for any serious Soul or Funk fan, legitimately repressed and remastered with love on dinked 45 for 2016.

                    Vactrol Park


                      Vactrol Park, the collaborative endeavor between Kyle Martin (Land of Light) and Guido Zen (Brain Machine), returns to the ESP Institute with II, rounding out the second half of their EP series. For this installment, a sojourn was made to Stockholm to record at the computer music mecca, EMS (Elektronmusikstudion), where the artists had the opportunity to experiment extensively with the legendary Buchla 200 Modular and Serge Modular, two of the rarest and most pornographic modular synthesizers in existence. While both instruments originate from California (Buchla in Berkeley as a commission from pioneer Morton Subotnik, and Serge at the California Institute of the Arts), the music Vactrol Park draws from these machines is far from warm and sunny. Akin to their predecessors on the 2015 debut I, these works materialize a level of taste and measure of craft that’s unattainable by most, each retaining an individual cinematic approach yet working collectively toward one consummate goal—paralysis.

                      Rasputin's Stash

                      Hidden Stash

                        - Tip on hand made sleeve

                        - Unreleased 3rd LP from Recovered tapes Stolen in the 70s

                        It's a big one, a third previously unreleased Raspuitins stash LP, half of which was thought to be lost. Just recently it turned up in a Chicago warehouse and we managed to get out hands on it. With the blessing of Paul Coleman (Rasputins Stash member) we reunited the masters with the remainder of the tapes residing in Curtom archive to complete the LP, Huge!

                        "How do you measure achievement when you've never been paid? A hell of a question ain't it?"

                        Former Rasputin's Stash band member, Paul N. Coleman, is considering how best to appraise his remarkable life experiences in terms other than monetary earnings. He has to. He's never really had any. Still grinding hard, but happily, at the coal-face of songwriting and production in a musical career now almost five decades long, he is, at the time of writing, yet without a nickel in royalties to his name. For one whose recorded output still resonates and sells today, who has graced stages facing almost fifty thousand concert-goers in a single venue, and yet who was ripped off in every which way but inside-out, it is indeed a hell of a question.

                        Even the name of the band was born from adversity. Starting out in late 1960s Chicago as The Fantastic Epics, the young, small group serviced dives of the oft-romanticised Chitlin' Circuit - with all its attendant racial tensions and segregations, rubber-cheque promises and .45 calibre resolutions - before being split up by the military draft. Paul himself narrowly escaped transportation to Vietnam, however, and spent his term on home soil instead, expanding his musical chops under the tutelage of an army bandsman with an ear for Jazz; a little sunshine in a otherwise cloudy epoch. The four known singles released under the Fantastic Epics monicker between roughly 1966 and 1969, one backing fellow Chicago R&B legend Jimmy Burns, are sought-after Chicago soul classics, but dented no charts on release.

                        "After coming out of the service," he recalls, "I walked straight to the bandstand, where we reformed the group. In one of the clubs we were playing, I met an individual that suggested a name change. You see, this band had paid a tremendous amount of dues, starting out very young and naive, being introduced to the real world of not-so-honest people and strange situations. We learned the hard way."

                        And hard would the way continue to be. Despite apparent opportunities afforded by hard-earned major management and recording deals, the 1970s seemed to consist of little more than rare peaks of spiritual reward among expanses of misfortune. Whole album recordings were shelved following ownership squabbles between Motown and Atlantic, master tapes vanished seemingly forever and heavy nationwide touring schedules were endured without profit, the group even travelling a thousand miles to one venue they found closed due to race-riots there the day before. They once hauled overland to Harlem's Apollo Theater for the first Black Expo celebration, only to find all their clothes stolen after a sound-check and every piece of musical equipment missing from their hotel's vault. While supporting The Impressions in a hometown stadium, Paul was dragged offstage by overzealous front-row fans and had half the beard torn from his face. Hence the group being renamed for the infamous Rasputin. He was, as Paul plainly states: "a man very hard to kill."

                        Luck eluded them still. The official new name of the band, now an eight-piece, was actually Rasputin Stash. However, after finally having inked a solid album deal with Atlantic's Cotillion subsidiary in 1971, the band's mood was blighted anew as industry members struggled with its pronunciation. A label executive mistakenly added the apostrophe and 's' on its first release and the band got stuck with an irksome misnomer for the remainder of its career. The two evergreen, soulful funk albums the band recorded, an eponymous debut and 1974's The Devil Made Me Do It on Gemigo Records, are rightfully hailed as classics of their day and sold respectably, but without furnishing the band with fiscal dues. An increasingly weathered Coleman would eventually drag the band's contract home to Chicago once more, to Curtis Mayfield's own Curtom imprint, for a couple of single releases around 1977 - but with another (perhaps-fatal) renaming of the band, to r-Stash. Before too long the Stash, however it was spelled, was spent. Paul would form another local group, Crystal Winds, for one superb, independently-released 1984 album before slipping unceremoniously out of the broader public eye and into the realms of the obscure.

                        The previously unheard mid-1970s recordings here, lifted from two disparate sessions, are ostensibly a third and perfectly-realised Rasputin Stash album, if only one of several we might have otherwise heard. Well-earthed, but with a honed commercial polish, it stands as testament to the drive and talent of someone whose travails might have felled a lesser man. Paul, whose spirits have been renewed by a flurry of recent rediscovery and interest, is still indefatigably working for anyone who wants his music and now fully understands the achievements of which he can be justifiably proud: "One: being able and lucky enough to record your ideas and emotions on wax for the world to experience. Two: a legacy, very important. Three: to have gained the knowledge and experience to call myself, and to be, a good musician. I still keep the dream going by writing and programming my tail off in hopes to get great music to other artists. Causing or creating interest in the music industry and signing contracts is an achievement that many never, ever experience. These types of achievements, I guess, are the things that keep musicians going in a world of uncertainty.

                        "I can sum it up by saying the ride has been extremely interesting and exciting," he admits, "always reaching and never giving up. Almost everyday of my life I am writing, programming and singing. I've lived by music and I'll die by it.

                        Adam & The Ants

                        Kings Of The Wild Frontier

                          This classic album from 1980 has been remastered & curated by Adam Ant himself.

                          STAFF COMMENTS

                          Andy says:

                          FORMAT INFORMATION

                          LP Info: The stand alone 180gm heavyweight x12 trk LP vinyl includes a x12 page 'Ant catalogue'.

                          2xDeluxe CD Info: The deluxe x2 CD set contains the original album with previously unreleased studio demos, fully remastered by Adam Ant & Walter Coelho. The 2nd CD is a live concert recording of x17 songs from Chicago in 1981, never-before-released on CD, plus more rough cut/bonus tracks. This format also includes a x16 page colour booklet.

                          Manic Street Preachers

                          Everything Must Go: 20 - Box Set

                            The super-deluxe 12"x12" box-set contains the original 12 track LP vinyl, the original album CD with 'B sides & alternate versions (x20 trks total), a second CD of 'B sides & alternate mixes (x17 trks total), the Nynex Manchester concert live on DVD (x21 trks), a second DVD featuring x4 promo videos for the singles on the album, plus a documentary/film, shot by Bafta award winning director Kieran Evans. 

                            FORMAT INFORMATION

                            FREE SHIPPING This item has FREE UK shipping!

                            Manic Street Preachers

                            Everything Must Go: 20

                              To celebrate the 20th anniversary of this classic album, Sony Music CMG announce a very special reissue of the Manic Street Preachers 4th album "Everything Must Go". The original x12 trk album has a bonus disc of x20 live songs, recorded at the iconic Nynex Arena show in Manchester, in front of 20k fans in May '97.


                              Almost Reach The Sun

                                Trementina raised from the south of Chile with infectious noise and dreamy melodic sounds that gets you in a string of deep and epic feelings, a snappy mellow dirty hit. Many references such as Lush and Slowdive just for giving some names, makes this shoegaze coming from south-america in the vibe we love the music for, an urgent call that makes move out of your chair and encourage you to do something worthy. To drive far far away with extra boost on your side. The band begun on 2012 in Valdivia, one of the most beautiful cities in Chile, 800 km south from Santiago.

                                They met each other in Fine Arts School at Universidad Austral. As a couple, Cristóbal Gratz-Ortiz and Vanessa Cea started making sound experiments with his guitar noise and her vocals, using a country house near the city. With their friend Lucas Martinic from the skate scene joining on bass guitar, they moved forward to the song structure, landing ideas of the music they all were inspired by, mostly shoegaze from UK: The Boo Radleys, Ride, My Bloody Valentine, Lush, Chapterhouse and Slowdive among others, founding a savage sound and fueling their teenage anxiety, that would later “burn” on stage on every gig. With the final addition of Simon “Basement” on drums, they became the soundtrack of a lot of people interested in punk rock, grunge and noise-pop in Valdivia and Osorno audiences and bands, who arrived to Santiago in the previous years. With an LP going out 2016 and one more to come, the guys already went to Japan thanks to a large fan base formed around White Noise Superstar Fest and label-record store Vinyl Junkie, who also edited their first work on CD ʻBrilliant Noiseʼ on 2013.

                                ʻSimilar to modern gazers Ringo Deathstarr and Russian dream poppers Pinkshinyultrablast, Trementina marry the colossal walls of guitar warps and amp feedback with hushed female vocals, a sublime simplicity of two polar opposites. Gorgeous track after gorgeous track await your earsʼ

                                The Little Flames

                                The Day Is Not Today

                                  The Little Flames were formed in Liverpool by singer Eva Petersen and songwriter / guitarist Mat Gregory. They were later joined by drummer Greg Mighall, bassist Joe Edwards and guitarist Miles Kane. Signed to legendary indie label Deltasonic, the band toured extensively during their first years, releasing edgy and anarchic singles ‘Goodbye Little Rose’ and ‘Put your Dukes Up, John’. Their sound continued to evolve as they absorbed and reformulated an array of influences, ranging from Krautrock, Motown and 60’s garage, to film music and symphonic pop of artists like Serge Gainsbourg and Framcoise Hardy. In the Session leading up to the recording of their debut album, working wotj producer Central Nervous System, the band’s early spiky sound gave way to something altogether darker and more expansive. The album, The Day is Not Today, Was eventually recorded with producer Tore Johansson, using Sweden’s famous Tambourine studios and Gula Studion in Malmo. It showcased the evolution of the band’s music, where the energy and impatience of their earlier twisted guitar pop was not only fully honed (Seven Days, If Tomorrow Never Comes), But Juxtaposed with a sound that was both ethereal and cinematic (October Skies, The Girl of Last Year). The album was mixed, mastered ad ready to go in 2007, but before it could be released The Little Flames decided to split up. Miles, Joe and Greg formed The Rascals, with Miles Kane then going on to for The Last Shadow Puppets with Alex Tuner and recording solo material. Mat and Eva have continued to work separately on various music and art projects. The Little Flames’ second single, ‘Put Your Dukes UP, John’ was covered by The Arctic Monkeys after the two bands toured together on the Sheffield band’s first two album tours.

                                  Pentagram Home Video

                                  Who's Out There?

                                    Operating within the same realm as Pye Corner Audio, Pentagram Home Video's debut LP for Death Waltz Originals offers up a dystopian analog synth attack swathed in layers of distortion and heavy pounding drums, it works as an imaginary soundtrack in your headphones but also as a powerful beast on more adventurous dance floors all the time being super melodic too.

                                    Strictly limited edition of 400 copies (200 for the UK , 200 for the USA) 180g black vinyl housed inside a 425gsm single pocket jacket.



                                      Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas – joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.

                                      Wesley Gonzalez

                                      I Spoke To Euan

                                        After ten years in the guitar shredding, pop-punk band Let’s Wrestle, which culminated in a chaotic sold-out final outing in London’s 100 Club, as reported by The Guardian, Gonzalez taught himself to play piano and set his sights on an entirely different approach to songwriting.

                                        Out of this new experimentation ‘I Spoke to Euan’ was born; a somewhat somber tale of excess and over-indulging whilst on tour, regaled by Gonzalez in his signature clear-cut in content, dramatic lyrical delivery.

                                        Setting the scene with a tranquil key arrangement, the song soon bursts into life – hazy, reverberating synths pair with a steadily building rhythm section - before Gonzalez spills his story via theatrical, far-reaching choruses.

                                        On ‘I Spoke To Euan’, he states:

                                        ‘We had travelled for a whole day getting to where we were staying after playing Primavera; I was overexcited, drinking a lot and smoking a lot. I think I found it hard to completely ease into it. I went to sleep and had a nightmare that woke me up crying uncontrollably, not really understanding why’.

                                        Upon finding the only other band-member awake was Euan Hinshelwood (Younghusband), a conversation between the two made Gonzalez ‘think a lot about how I struggle letting my mind get into a place where I can be relaxed or how I put myself under pressure in a leisurely environment’.

                                        Without letting go of a fascination with Beatlesesque melodies, Gonzalez writes songs which hark back to mid 70’s singer-songwriters such as Todd Rundgren and Emmitt Rhodes, but with added elements of soul, funk and electronic music – drawing upon influences like Sly And The Family Stone and Donny Hathaway, as well as. White Noise, Yellow Magic Orchestra and Mort Garson. Although Gonzalez made a conscious retreat from punk music, he maintains his work is “still defined as angry music; anger is still an energy. All the lyrics are rooted in my disgust with a lot of the modern world, and feeling powerless as a young person in our society”.



                                          Brighton in 2016: a town brimming with fuzzy, scuzzy rock bands, the long-haired boys in bands drawing on nineties noises to inspire their output. In stark contrast to this come MarthaGunn, a band named after the Brighton folk heroine known as the “priestess of the bath”, whose sound is centred around the voice of frontwoman Abi Woodman but fleshed out by a band of close friends who draw more from the seventies songwriting craft of Fleetwood Mac or the Eagles. Classic, but never retro, MarthaGunn deliver their debut single Heaven which articulates these sensibilities in a modern voice, augmented by the production of Ian Grimble (Benjamin Francis Leftwich, Mumford and Sons, Peggy Sue). Heaven will be released via Jazz Life, the artist-run label established by Blood Red Shoes, available on limited-edition single-sided 7”, and download.

                                          What, exactly, is a selector? Dekmantel has long been determined to find out, even before the Amsterdam-based crew added an official Selectors stage to its annual summer festival in 2014. While the stage has since played host to an elite class of DJs that includes the likes of Floating Points, Mike Servito, Traxx, DJ Harvey, Ben UFO, and Donato Dozzy, to name just a few, Dekmantel came to realize that the Selectors concept needed a larger platform of its own.

                                          As such, 2016 will see the launch of both a limited-capacity festival and compilation series, both bearing the Selectors name. The compilations will come first, with Motor City Drum Ensemble, Young Marco, and Joy Orbison at the helm of the initial three chapters. These are not mix CDs; every Selectors compilation will include a collection of hand-picked, unmixed tracks personally curated by the artist.

                                          Admittedly, drawing a line between "selectors" and mere DJs is an all-but-impossible task—it's essentially a "you know it when you see it" proposition—but it's hard to argue that Motor City Drum Ensemble (a.k.a. Danilo Plessow) doesn't tick all of the required boxes. He's been digging for records since his teenage years, and his DJing has become the stuff of legend, thanks in no small part to his head-turning sets at the last few Dekmantel festivals.

                                          In truth, Plessow's relationship with Dekmantel dates back to the earliest days of the Motor City Drum Ensemble project, making him a natural candidate to head up the inaugural Selectors compilation. As expected, he's thrown himself into the task; selecting a want list from his collection of 15,000 records was no easy task, but getting permission for the final tracklist was even tougher.

                                          One song in particular, Raphael Green's "Don't Mess with the Devil," required him to personally call up a church in St. Louis, Missouri. "The guy, he's a Bishop," he says. "When the Ferguson protests were happening, for example, he was on CNN explaining his thoughts on the whole thing, so he's a known public figure, but nobody really knew that he had this amazing record that was recorded in '79 or '80. His voice is just unbelievable. It's the kind of record that when I heard it the first time, I couldn't believe that there had only been like 100 copies pressed, and that this wasn't actually big."

                                          Motor City Drum Ensemble's record bag is full of these kinds of gems, but he has no qualms about sharing a few of his secret weapons with a wider audience. "I wanted to get some of the stuff that is really, really hard to get, and make it available for younger people," he explains. "I used to be in the same situation. Back when I was 18, I would listen to a Rainer Truby mix and he would only play these $400 Brazilian records. I was like, 'Fuck, how am I ever going to be able to afford these?' I was glad when there was a reissue, and it's a bit the same with the compilation now."
                                          "Basically," he explains, "the approach for the compilation was, 'If I walked into a record store, what kind of compilation would I buy?' That's what I did." 

                                          Claude Rodap & Fregate Orchestra


                                          This amazing still unheard monster album crosses many styles, from synth music merged with bel-air and gwo ka, cosmic reggae, electronic proto disco zouk and spacey jazz funk. The whole album is amazing and will please many collectors, way ahead on its time. BIG tip!
                                          This private press was originally conceived in 1982, in a context where many French Carribean musicians were searching for their own style and fusing traditional heritage (Gwo-Ka, Bel Air, Biguine) and synthetic music. Claude Rodap's Syn-Ka sums it all up and Granit Records is very pleased to begin it's journey through music production by sharing this lp with you !

                                          This is the first release of the new comer label Granit Records.
                                          French West Indies continue to deliver some obscure gems and this one, after a long
                                          waiting in the dust and anonymity, resurfaces.
                                          This private press was originally conceived in 1982, in a context where many French
                                          Carribean musicians were searching for their own style and fusing traditional heritage (Gwo-Ka, Bel Air, Biguine) and synthetic music.
                                          Claude Rodap's Syn-Ka sums it all up and Granit Records is very pleased to begin it's journey through music production by sharing this lp with you !
                                          Note : the LP come with an insert in french, english and japanese.

                                          The last of Public Release’s single-digit records is the first from the British West Midlands’ most famous DJ and producer, Mark E. This shouldn’t come as a surprise. If anything, the fact it didn’t happen earlier should; Mark appeared as a remixer on Jeffrey Brodsky’s 2014 Public Release EP, which has earned him the status of esteemed member of the outfit’s inner circle and prime candidate for an extended play of his own.
                                          That little bit of context behind us, let’s move on to the actual music that’s been pressed to Sky Horn. The 12” kicks off with the titular track, an abrasive number built around a meaty, sawtoothed synth line that sits snugly atop a hypnotic beat. Happy Family’s remix—Happy Family, for the uninitiated, is Eric Duncan and Justin Van Der Volgen—is a more psychedelic reimagining of the original cut that’ll knock you into an exhilarating stupor. Speedy and demented, it’s an explosive, tantalizing cap to the first record.
                                          The second begins with “Midnight Equatic,” a tense yet propulsive number that’s somehow paranoid industrial, tropical disco, and prototypical synthwave all at once. The duo comprised of Dennis McNany and LCD Soundsystem’s Pat Mahoney, Museum of Love, wrap the four-tracker with their remix of the song, which zeroes in on the electro component so elemental to the original and runs with it, taking it into Depeche Mode Violator territories—before making a sharp left turn and exploring the wild sounds of the early 90s UK rave scene. A final hoorah for the party that is this record.

                                          Hotflush Recordings is delighted to announce the arrival of a second full length from Sepalcure, the American duo made up of Travis “Machinedrum” Stewart and Praveen “Braille” Sharma. Arriving four and a half years since their acclaimed debut, 11 track album Folding Time is a singular and tender statement that lands in May 2016.
                                          This special coming together of distinctive musical minds produced a much-loved, self-titled debut LP in 2011, plus six EPs between 2010 and 2013, all of which suggested a penchant for broken beats and bright melodics. Both have since furthered their accomplished solo careers - Braille released his debut solo album Mute Swan, while Machinedrum’s experimental exploration of Vapor City landed on Ninja Tune - that have kept them busy in the studio as well as on the road. As such, and owing to their insistence that any production work had to be done in person "since that results in a certain sound and experience you just can’t recreate remotely”, the new record took some time to come together.
                                          The album, written over many bottles of whiskey, is made up of brand new music, but also tracks that have been worked on, forgotten, then revived over many years. Its title comes from the fact that, “it felt like we were connecting the present with the past. Going through each session was like digging through old memories.” Stylistically, of course, this pair have very different musical DNAs, but that means studio work cooks up many surprises along they way and results in an album that is awash with everything from field recordings to guitars and electric piano. It is a mix of playing and programming, has many multilayered tracks full of intimate and personal easter eggs and is, essentially, “two homies hanging out and having fun; a meeting of our minds.”
                                          Right from the distant vocal mutters and blissful guitar licks of opener ‘Fight For Us’ featuring Rochelle Jordan there is an seductive r&b sensibility to proceedings. Tumbling drums and pained vocals have you in a love locked free-fall before ‘Not Gonna Make It’ gets to the point with Sepulcure’s trademark stuttering drums and fractured vox. ‘Devil Inside,’ featuring the pair’s long time friend and collaborator Angelica Bess, is future pop from a perfect world, ‘No Honey’ strips things back to a harmonic headspace of bumpy rubber kicks and percolating jungle percussion, then ‘Been So True’ shows a playful side, lovable sense of sampling and broken reggae rhythm. The second half of the album explores direct dance floor grooves on ‘Hearts in Danger’, snaking synths and reverb rich beats on ‘Loosen Up’ and deeper, more introspective moments on tracks like ‘Dub Of’ and ‘Brother Forest’ before closing down with a brace of blissfully melodic and dreamy excursions to a beach during sun down.
                                          With plenty of well paced peaks and troughs along the way, as well as a underlying sense of humour and a very real human warmth, this is an album that works on both head and heel in equal measure.

                                          Simian Mobile Disco

                                          Staring At All This Handle - Inc. Perc Remix

                                          After a short hiatus following their modular-only, desert recorded last album “Whorl”, during which SMD's James Ford found himself on production duties for everyone and their dog, SMD are back with bunch of techno cuts on their own Delicacies label.
                                          Over a couple of months in Jas Shaw's newly re-located synth-dense studio in leafy Kent, which saw SMD once again experiment with live jams as the basis for their production, they’ve pulled together a selection of eight tracks for release as a series of four singles over the coming months.
                                          First up is the double header of “Staring at all this handle” and “Sky on the floor” – a hefty statement of intent, harking back to their more austere earlier Delicacies work. In the same vein, remix duties come from ear-battering mainstays Perc and Volte-Face, both delivering uncompromising “take no prisoners” approaches to the originals. SMD have thrown in their own dub mix of “Sky on the floor” for good measure.
                                          SMD fans will note that the earlier naming convention of Delicacies has fallen by the wayside – for the simple reason that we’ve pretty much run out of weird and wonderful food stuffs to steal names from. Instead, a semi-random automated process has been used to create the track names.

                                          This track has been in my computer since a little while when Dj Sotofett joined me here in Amsterdam, to play an epic back to back at The School (amazing new club here). When I am doing a track, it could go to a lot of different directions as i'm jamming them for hours in my Pipe studio. I sometimes could get lost. So i asked Sotofett to join me in the studio to help to finish it. Then we ended with those 2 versions of Cham, which are, as often when i work with the Sextags man, the result of live takes almost unedited. We also add some percussions from Shadi Khries and we recorded two versions of the same track within hours. One being bass driven with a lot of psychedelic noises and the other one more space-Techno. Our adventures continues…here is another slice of spaced out music.hope you'll enjoy.
                                          Gilb'r - Versatile Records

                                          Louie Vega's latest album, Louie Vega Starring... is a dualdisc conceptual record featuring over twenty-five artists on twenty-eight different songs. The record is Louie Vega’s first solo album ever and a contender for his magnum opus. Vega is in esteemed company, with a seasoned group of collaborators imparting their magic for this special project including; Funkadelic & George Clinton; The 3 Winans Brothers and The Clark Sisters; Jocelyn Brown; Nick Monaco & Soul Clap; N'Dea Davenport; Lisa Fischer; Cindy Mizelle; Anane Vega; Monique Bingham; Caron Wheeler (Soul II Soul); Josh Milan; Bucie; Tony Momrelle; Kaylow; Vikter Duplaix; Cassio Ware; Adeva, Covertion & Leroy Burgess; Kenny Bobienl; Zara McFarlane; Luis Salinas; Roberto Roena; Diviniti; and Byron Stingily.
                                          By bringing together the diverse genres of house, funk, latin soul and gospel, Louie Vega has created a record filled with positive vibes. Like a fine bottle of wine, the album’s ingredients and their interactions with each other come to the light upon pressing play. Listeners can expect notes of Afro & Latin and pure house infused with funk, gospel, Caribbean, jazz, r&b, soul. All the ingredients for a truly global party.
                                          Each song is uniquely crafted to represent a different emotion, energy or experience. Their melange with Louie Vega’s timeless music production is the album’s true treat, “Today’s listener wants to feel good and that’s exactly what our songs and tracks do. We celebrate the gift of love, art and music,” adds Vega. Followers of his illustrious career will find the album unveils a completely new side of the legendary artist; that of a sound chemist. Louie explains, “My inspirations came from various visits around the world and experiences in life. As far as the album’s sounds, I revisited lots of R&B, soul, gospel, nu jazz, even some disco, all within the backdrop of house music, took it back to the artist and song tailoring” .
                                          Describing his artistic process, “The album came together naturally, it was a growing process. It was like planting a tree, each branch represented an artist, a sound, a groove. The entire process happened within a few years. It started with a few songs and then this past year, I was in a creative state and the music happened back to back. As I travelled and toured, I met artists on the road and would record with them a few weeks later. The experience with the artists on the album was magical; they are all so talented and very unique and have their own special quality.”
                                          The delivered sampling of featured artists on Louie Vega Starring… is one for the record books and a must for any music aficionado as Louie explains, “This body of work is a masterpiece that will be party of my legacy. I see it up there on the same high shelf with albums like Nuyorican Soul, Elements of Life, and Masters at Work.”


                                          The Digging Remedy

                                            Following 2014’s Reachy Prints, Plaid can now announce the forthcoming release of their new album The Digging Remedy, out on 10th June. Uncover the lead track ‘CLOCK’ on, a growing collaborative project with digital artist Cabbibo (

                                            Plaid sit right at the very heart of global electronica. In fact there's a very real sense in which Ed Handley and Andy Turner are the perfect encapsulation of what the electronic music of their generation was all about; they brought new rhythmic variation, emotive melody and sensual textures to electronic music, creating a warm and welcoming counterpart to the white heat of the rave explosion.

                                            On new album The Digging Remedy all the elements that first inspired Ed and Andy are there – like the ecstatic Detroit chords in ‘CLOCK’ – but everything is bigger and broader in scope, more luxuriant, more gleaming with detail. There are fascinating new additions, including contributions on flute and guitar from multi-instrumentalist Benet Walsh, adding even more to Plaid’s ever increasing intricate sound palate.

                                            But though the production values are the very highest, none of this is slickness or high drama simply for its own sake, and never do Plaid engage in the crowd-pleasing vainglorious stadium bombast that is all too common in electronic music now. Of course they don't – as they say: “in our opinion it should be the artists leading the audiences, not the other way round”. That's something that could stand as Plaid's motto, and the thing that's kept them so very fresh over all these years, even as their aims and values remain just what they were at the start.

                                            Man Made

                                            TV Broke My Brain

                                              Produced by Ray Man and mixed by Nick Launay (Kate Bush, Lou Reed, Arcade Fire), it was recorded at the trio's shared house over a year and a half. Every time they gigged and the songs changed, they'd re-record them. The record to them, after all, is meant to be "the menu of the live experience." "[The songs change every night] and that depends on the audience, the room and the atmosphere," Nile explains. "It shouldn't be 'we have an album, let us play it for you'. It's 'we are a band and we have recorded us playing for you'."

                                              TV Broke My Brain certainly captures the energy and passion that goes into the band, and presents it with its American alt-rock influences (you can hear everything from Sonic Youth to The Shins in its 11 tracks) firmly on its sleeve. Unplug yourself from the matrix of gadgets in your life and connect with Man Made instead.

                                              Ian Brown

                                              Golden Greats - Gold Vinyl Edition

                                                • 180 Gram Audiophile Vinyl
                                                • Insert
                                                • Etched D-Side
                                                • Including 2 Bonus Tracks
                                                • First Pressing Of 1000 Numbered Copies On Gold Coloured Vinyl

                                                'Golden Greats' is the second solo album released by Stone Roses frontman Ian Brown. Despite the title, the album is not a compilation, but a studio album.

                                                It was described by NME as “a left-field masterpiece and Brown’s best work for a decade”. The album contains soaring sonic textures and electronic dance beats; it is less song-oriented than Unfinished Monkey Business. Golden Greats showcases a diverse usage of instruments including strings, mellotron and organs.

                                                STAFF COMMENTS

                                                Andy says: King Monkey's second LP was sonically a huge change from his more guitar based debut. Huge keys and electronic glitches gave this a retro/modern vibe whilst Ian's songs ranged all over from the druggy, chunky club thump of "Love Like a Foutain" to the space-dub serenity of the aptly named "Neptune". A superb record.

                                                'Weirdistan EP is the first release of the two guys of Weirdance on the all new label 165°C Records. The two first tracks take your body in a special equatorial climate and teleports your mind inside the intertropical hot zone! The last tune is a more mellow jam version of Weirdistan.'

                                                WHAT THE HELL IS THIS?! Pre-dating J. Albert & Person Of Interest's forthcoming record on Exotic Dance, the new school of voodoo dance music is here - hold onto your underpants! "A1" (our website can't handle the characters of the actual song title) takes the current penchant for old school breakbeats but gives it a thoroughly exotic, rainforest hue. Tribal woops, wooden melodies and psychotropic sfx taking us straight into their otherworld. "Weirdistan" comes with two mixes; the excessive mix is the one for the club - taking cues from Sotofett, Dresvn and Future Times sun-scorched aesthetic, the track just screams sweaty, unadulterated hedonism and is surely gonna be one of the big tracks of the summer. Weirdance give us an "Outrospective Version" which should keep the Sunday afternoon NTS crew happy with its delicate, undulating, cerebral enhancing xylophone melodies washing over us like bathing in freebased bliss. The perfect track to unwind chakras and achieve complete Advaita (nonduality for the less spiritual ;) ). Completely recommended and likely to fly out so move quick on this one folks.

                                                STAFF COMMENTS

                                                Matt says: WHAT THE HELL IS THIS?! Pre-dating J. Albert & Person Of Interest's forthcoming record on Exotic Dance, the new school of voodoo dance music is here! Hold onto your underpants!

                                                After rearranging our brains, and dance floors, with his Displacement LP on Rush Hour back in 2011, no stone went unturned in our efforts to find out just who was behind the Nebraska project. That search culminated last year with us pressing up his Stand Your Ground 12", and now, the London-based producer is back on Mister Saturday Night Records with the new three-track, sample-heavy EP, Look What You've Done To Me. The title track is a lush, deep house roller based around some balmy Rhodes chords and an infectiously bumping baseline, while the tunes on either side of that borrow as much from the skippy, spirited disco of last year's "Emotional Rescue" as they do from the more graceful end of the dub techno spectrum. There's something for pretty much every hour of the party here.

                                                London Modular Alliance


                                                London Modular Alliance is the raw and unpredictable music project from the UK’s best known, dedicated modular synth shop London Modular. Its members Simon Lynch, Phil Ventre and Gavin Pykerman met through a shared passion in modular synthesisers. Impromptu gatherings and jams soon turned into live performances at clubs, festivals and museums. From the hushed environs of the Tate Modern and V&A to vast sweatboxs such as Fabric, Bloc, Freerotation, Weather and Berghain, London Modular clearly have a flair for all things modular. This year sees a return to Bloc Weekender as well as new adventures at festivals such as Dekmantel.

                                                They create an intense live show with a huge setup of self-assembled modular gear. Every set starts with one small looping beginning – a patch – and is expanded into a deep sonic landscape. With the use of cables they build unexpected circuits and explore the power of pure electronic sounds without the use of a digital software infrastructure. No laptops, no button pushing, everything is created on the spot using modular synthesizers and is based on live improvisations. Overall LMA tries to keep its live sets in the dark: unrecorded, off the internet and only for those who are present in the moment. A clear break with the capture-all mentality of the internet age.

                                                Pure Sleaze on Mind. Limited as always.

                                                FORMAT INFORMATION

                                                Ltd LP Info: Varnished 350g premium quality paper sleeve. Limited edition of 400 copies.

                                                New York coterie Sheik ‘N’ Beik line up the next 12” in a string of successful releases including Legowelt & Xosar under their now defunct Xamiga guise, Jeffrey Scott and label owner Rechulski. Enlisted for their 7th record is the Japan based Mister Saturday Night and 1080P affiliate Keita Sano.

                                                With a strong affinity to analogue sound and old school audio processing, Sano renders personal mind-maps in his work - eclectic and off-kilter productions shot-through with warmth and propelled by potent drums. His latest offering for Sheik ‘N’ Beik is one fans old and new will relish: a series of 4 warped excursions showcasing Sano’s refined and idiosyncratic studio techniques.

                                                ‘Bypass Motion’ kicks things off with a fizzing 909 and a loose-limbed bass pattern set churning under brisk, steely atmospheres. Dense in the low-end, ‘Child’s Play’ then follows up with a hard-nosed groove carried by horror-movie sweeps and distant computerised vocals.

                                                Digital exclusive ‘DRTSY’ then packs in washed drums set to an arresting, pacy groove alongside haunting vocal builds and melodic, filtered bubbles. ‘Mixing Error’ then sets a staggered kick pattern spearing through a rich fog of tape noise that gathers with it thick pads and distant, menacing synth tones that generate a capacious sense of space and close off another fine addition to Sheik ‘N’ Beik’s blooming catalogue

                                                V & Funky Junkie

                                                Katastrofa EP

                                                  Katastrofa EP is an Ex-Yu Edits release which transforms forgotten gems from the former Yugoslavia. Russian Valique and Serbian veteran selector Funky Junkie are behind this project. Opener "Katastrofa" offers a delicious blend of heavy, synth-laden '80s boogie, punchy afrobeat horns and bold, chant-a-long vocals, while the slower, more chugging "Frka" is an Adriatic delight - all lazy, sun-kissed synths, sugary-sweet vocals and sloppy kisses. As for closer "Yugoslavia" , it sounds like a disco-house anthem in waiting, as the duo adds bumpin' beats to a rising, horn-heavy chunk of starlight disco.

                                                  Ruf Dug / Glowing Palms


                                                    * First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward
                                                    * 24 bit/96 kHz re-master from original analog tapes
                                                    * 180 gram wax
                                                    * Includes booklet with track notes and archival photos

                                                    "Vital, attacking, beautiful, composed and experimental music of great originality and urgency. True innovators and lovers of music-making." - Alexis Taylor (Hot Chip)

                                                    With their debut album and follow-up maxi single Health and Efficiency, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock, placing the trio - Charles Bullen, Charles Hayward and Gareth Williams - at the forefront of experimental music.

                                                    However, 1981's Deceit is the one that truly deserves its reputation as a classic of the post-punk era, tying up the myriad threads of their work so far and adding accessibility and melody to the still furiously forward-thinking sound.

                                                    Recorded in a variety of studios including the band's own Cold Storage, the 11 tracks put a sense of social anxiety and global paranoia to the fore. Some lyrics were "harvested" from TV commercials (“Sleep”), others described the curtain-twitching of surveillance society (“Triumph”), and some were screamed with raw, ragged abandon, like on “Makeshift Swahili”. “Makeshift was a big learning situation for me," says Hayward. "I learned to let go with my voice, to release the energy that each song required, no matter where that might lead. The song, about the collapse of language, was central to the Deceit idea."

                                                    Musical innovations abound too – drum tracks were recycled from other recordings, albeit in manipulated and mutated form, and “Independence” reverses the melody of earlier track “Fall Of Saigon”. It's an album whose themes and sounds unfurl before the listener, the mood of edgy, pre-apocalyptic tension growing throughout. Says Hayward: "I still think of this record as a dream within a dream."

                                                    This Heat split a year after the release, with Bullen and Hayward completing the final tour without Williams. Hayward went on to form Camberwell Now and Bullen recorded as Lifetones. A tentative 2001 reunion came, tragically, too late – Williams died of cancer within a month of them meeting to rehearse.

                                                    Celebrating This Heat’s 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979’s This Heat, 1980’s Health and Efficiency, and 1981’s Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.

                                                    FORMAT INFORMATION

                                                    LP Info: Repress.

                                                    * First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward
                                                    * 24 bit/96 kHz re-master from original analog tapes
                                                    * 180 gram wax.
                                                    * Includes booklet with track notes and archival photos

                                                    "This Heat sounded like the future then ... and still do now." - Dan Snaith (Caribou)

                                                    Isn't it so often the case that the most innovative works of art – the ones that break the ground where others follow – are the ones that seem to reach only the ears of those who take those ideas and run with them? So it is with This Heat and their eponymous debut album frequently referred to as 'blue and yellow' for its ultra-minimal jacket. Within its 48 minute run time, the seeds of post-punk, avant rock, noise rock and post-rock can be found.

                                                    Formed in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

                                                    Their debut album had – for the time and for the DIY scene – an unusually long gestation, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did – including gigs – and tracks such as “Water” were entirely improvised in the studio.

                                                    Given the difficult, abrasive, and involved nature of their sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience – whether that audience was ready for them or not.

                                                    Celebrating This Heat’s 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979’s This Heat, 1980’s Health and Efficiency, and 1981’s Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.

                                                    FORMAT INFORMATION

                                                    LP Info: Repress.

                                                    The Membranes

                                                    Inner Space / Outer Space

                                                      The Membranes current album remixed by Clint Mansell, Manic Street Preachers, Godlflesh, Mark Lanegan, Keith Levene, Youth, Cosey Fanni Tutti, Neubauten and more..

                                                      In 2015 the Membranes released their first album for 26 years - the critically acclaimed Dark Matter/Dark Energy double album.

                                                      The album received great reviews all over the world and lots of radio play on 6music.

                                                      An ambitious album it was sparked by a meeting between John Robb and the head of the CERN project which inspired the songs about the universe, life and death with the death of Robb’s father feeding into the songs.

                                                      Many fellow musicians and authors also called it their album of the year from author Ian Rankin to Mark Lanegan to the Manic Stret preachers so the Membranes decided on another ambitious project - to remix the whole of the album with special guests…the result is Inner Space/Out Space - a reenvisioning of a whole album.



                                                        After last year’s haunting demo, London’s EFIALTIS get the vinyl treatment with a fresh EP on Static Shock Records. Featuring three primitive stompers from their tape plus a riveting new one, EFIALTIS crash through the ruins of reality like an angry goddess in search of retribution. Four feral tracks of stripped down, high-energy, mid-tempo Punk, with despotic vocals and ominous Greek lyrics. The sharp guitar and buzzing bass wade through combative drumming, all tough as nails and perfectly enhancing the nightmarish unease underlying their sound. Ten minutes of ’80s-inspired, rudimentary jaggedness, complete with catchy songwriting, tight delivery and a production that’s appropriately massive and the right amount of shambolic. Featuring members of GOOD THROB, SARCASM, DREGS, BODY BUTTER and more. A skull-crashing must-have for the coming apocalypse. Limited to 500 copies.


                                                        Buried Beneath

                                                          It takes a scene to raise a band and Sievehead are a product of the vibrant hub that is Sheffield's DIY punk community, one of the key cities in a resurgent UK punk scene that shows no sign of slowing down. Here they offer two tracks on the A-side of burly punk rhythms careening and rumbling through swirling post-punk vibes, catchy and insistent, a howl tamed and torn, packed with pain and power, showcasing the same dark propulsive energy that caught the attention of DIY music fans the world over on last year's Into the Blue LP. Fans like Pure Gold, alter-ego of Dave Forcier (of the Steve Adamyk Band and Pregnancy Scares) and Tommy T (of the Classical Mishaps), who contribute a remix on the b-side here taking the song Try the Mirror from the LP and skinning Sievehead's vehement deathrock-tinged tumult and bathing the skeleton of the song in unsettling synth minimalism, creating an eerie weave of hisses, pops and echoes that could sit comfortably on an early John Carpenter soundtrack. Limited to 500 copies.

                                                          Rhys Bloodjoy

                                                          Broken Window / Scandinavian Girlfriend

                                                            Rhys Bloodjoy has been wowing audiences on the underground since emerging on the Manchester live scene in late 2014. Bloodjoy's one-guitar-sound combines heartfelt vocals, semi-controlled feedback and echo-drenched acoustic guitar loops and beats; a sound which has been described as "Hypnotic...mellow and intense at the same time", while his live performance has been dubbed as one that "quite easily blows most four and five piece epics bands off the stage." 2015 saw him added to the bills of several key northern UK psychedelic festivals (including Manchester's Cosmosis, Leeds Karma III and Astral Elevator's 'Rising') and in addition to playing shows in Sheffield and London, he also ventured overseas for his first tour of the Netherlands, shortly before quietly releasing a 7" single ('Scandinavian Girlfriend / Broken Window') which was enthusiastically mastered by Spacemen 3 legend, Sonic Boom, and eagerly pressed up by Manchester indie label, Sister 9 Recordings.

                                                            With several other record labels now expressing interest and a new management deal on the cards, Bloodjoy kicked off 2016 recording songs for his intended first 12" release. The tracks were then mixed alongside renowned engineer, Tim G, at BigTone Studio in Manchester. Bloodjoy first show of the year saw him invited to play as main support to Singapore Sling and main appearances at the Coastival Festival in Scarborough, followed by a second appearance at Cosmosis in March (on a bill with the likes of the Jesus & Mary Chain and BJM) are all paving the way to european dates to be announced for late Spring and Summer. Includes digital download with bonus track. Credits: Songs written & performed by Rhys Bloodjoy. Mixed at 2fly Studios by Dave Sanderson. Mastered by Sonic Boom at New Atlantis Studio. Artwork by Briony.


                                                            From Bone To Satellite

                                                              When Tarentel’s debut album was released in December 1999, Temporary Residence was still a fledgling record label operated by a 21 year-old kid on a dingy carpeted corner of a sinking spare bedroom that was deemed too unsafe to live. The surprise success of From Bone To Satellite – the vinyl sold out in a matter of weeks, and the CD necessitated multiple represses – was both a blessing and a curse for the cash-strapped bedroom imprint struggling to keep on the lights and heat. With profit margins being razor-thin for vinyl, the record was forced to go out-of-print indefinitely. Meanwhile, Tarentel continued their constant pursuit of new sounds and new ideas, and the desire to revisit the past was simply never there as the band ventured further away from the sprawling, cinematic rock of From Bone To Satellite. By the time they released what would be their final album a mere five years later, Tarentel were unrecognizable as the band often mentioned in the same breath as Mogwai and Godspeed You! Black Emperor. Their fascinating metamorphosis was complete, and the hopes of a vinyl repress of From Bone To Satellite faded away.

                                                              Tarentel – in particular, From Bone To Satellite – offered safe passage to many future Temporary Residence artists, including Explosions In The Sky, MONO, Eluvium, and Sonna. It was the album that first gave Temporary Residence its first sense of legitimacy, and provided a context for the forward-thinking, emotionally resonant, experimental rock from which the label built its roster and reputation. In honor of the 20th anniversary of Temporary Residence Ltd., we are elated to finally make this integral part of the label’s history available on vinyl for the first time since 1999. Not content to merely repress the original, we have unearthed a treasure trove of rare and unreleased material from that inspired early era of Tarentel. Restored and remastered from the original master tapes, From Bone To Satellite – Deluxe Expanded Edition includes the 7-track sequence that was exclusive to the original vinyl pressing, plus an additional 6 digital bonus tracks – a total of nearly 3 hours of music!

                                                              Pete Bassman

                                                              Lost In Space

                                                                Ladies and gentlemen, we are no longer floating in space…we are lost in it. Pete Bain aka Pete Bassman, pioneer and the true bassist from Spacemen 3, The Darkside (Beggars Banquet) and Alpha Stone (BOMP!) revisits Höga Nord. Last time we heard from the legendary Rugby resident he came with ten minutes of pure acid-folk straight outta Drugby. (On now sold out HNR005 7" Small Town Illusion/Poison Butterfly).

                                                                Now he’s back with hist first solo album, Lost in Space. Opening track Music For Modern Living sets the tone: psychedelic, electronic and atmospheric. Tracks Sweet and Echo Lane will make you braindance - off piste style! Haunting, dark and beautiful track Scars sounds like stalking aliens lurking from a distance. Searching for ideal human guinea pigs. Ambient music to get abducted and spaced out to! 

                                                                Psychic Mirrors

                                                                Nature Of Evil

                                                                  Cosmic Chronic Records, in association with Peoples Potential Unlimited & Gangster Groove America, proudly announces Psychic Mirrors' debut LP, "Nature of Evil." VINYL PRE-ORDER ONLY. Super HiFi digital download cards will be included in each vinyl purchase. 

                                                                  David J With Federale & Friends

                                                                  The Day That David Bowie Died

                                                                    David J (Bauhaus , Love & Rockets) plays with Federale (Collin Hegna , Brian Jonestown Massacre) & friends , for a tribute to David Bowie.

                                                                    Below David J expresses how it happened it in his own words . “Something Happened On The Day He Died” As with every David Bowie album from ‘Hunky Dory’ on, I purchased ‘Blackstar’ on the day of it’s release. I was on tour at the time and had set aside the evening of Saturday, January 9 to immerse myself in it (post show) via headphones in the dark, dark basement of that night’s venue, an old house in suburban Seattle. The album blew me away. Once again Bowie had dared to dive into wild unchartered territory and it was thrilling to tag along. The following day I travelled by train to Portland having booked a recording session there on the Monday. That night David Bowie left the planet.In a state of shock I played the new album for the second time. Now with an entirely different perspective. Listening to it in that very weird, poignant and strangely exalted state I was struck by the notion that Bowie had created an incredibly complex and layered swan song and had, in effect, transformed his death into an astonishing work of art. By the time the final track came on I was weeping copiously. Those tears needed somewhere to go. They ended up in a song. One that simply poured out of me. I recorded it the next day. (Props to Revolver Studio owner and engineer, Collin Hegna for assembling such a great group of musicians at such short notice in order to fully realize the work at hand.) David J - 2016.


                                                                    Zero Moment

                                                                      RIYL: Zombi, John Carpenter, Maserati, Vangelis, Yes.

                                                                      Following their well-received debut EP, First Contact, the cinematic synth-prog duo, Contact, return with their first full-length album. Comprised of prolific UK film composer, Paul Lawler, and veteran multi-instrumentalist, A.E. Paterra (Zombi, Majeure), Zero Moment emphatically delivers on the promise of First Contact. With cinematic sprawl still intact, it's an album of dramatic, stately gestures. Efficiently packed with vintage, celestial explorations of shape-shifting, alien landscapes, Zero Moment is the soundtrack to pondering what it's like for your body to wander as close to the stars as your mind.

                                                                      “Every bit as impressive as you’d imagine.” – Noisey.
                                                                      “Will instantly appeal to fans of previous Zombi work. A synth nerd’s waking wet dream.” – Exclaim.

                                                                      Joanna Gruesome / Trust Fund


                                                                        Well everyone knows Joanna Gruesome now. Pitchfork calls them 'deeply passionate, impossibly noisy', AllMusic went for 'breath-catchingly exciting and hearwarmingly pretty', and Rolling Stone says they 'play their hearts out', but we just think they're cool people making cool sounds and fighting the good fight. And we're proud to be associated with them. Plus they wore a Tunabunny shirt at CMJ last fall, so they're obviously after HHBTM's hearts. Anyway, when they told the label they had some creative spillover, too many ideas to be contained by the album-every-two-years treadmill, HHBTM decided to team up with the UK based label Reeks of Effort (which is run by Max Warren of Joanna Gruesome) and their band Trust Fund to do a split 12" (sadly for promo purposes Trust Fund's a band name and not a bank account, but at the same time the band's priceless so whatever).

                                                                        The record sees the Gruesomes (as they're affectionately known by their massive legion of Japanese fans) stretching out sonically and emotionally. 'Coffee Implosion' opens with the Big Black like abrasiveness before sweetly stomping all over the room. And 'Satan (Desire Edition)' an alternate version of their album closer could fill a cathedral with it's spiritual emptiness. If you have even a passing interest in Joanna Gruesome you're going to need to grab this 12" while it's still available. Trust Fund isn't nearly as well known, for now. But these kids bring all kinds of Flying Nun-ish mid-fi guitar pop with hints of bands like Swearin', Sourpatch, and Big Soda seeping through. Those other guys have the sounds, but Trust Fund has the songs. The end of 'Reading the Wrappers' walks it home as good as any of their heroes ever did. Or yours for that matter. So yeah HHBTM165. Joanna Gruesome & Trust Fund. Together forever like a dreaming Rick Astley, never to part and don't you know we would move heaven and earth.

                                                                        50 Foot Wave

                                                                        Bath White

                                                                          This LA-based power trio formed in 2003 by Kristin Hersh and Bernard Georges of Throwing Muses (with Rob Ahlers on drums), was named after the lowest note audible to human ears. The band was intended as an outlet for the noise/math rock pieces that didn't fit the aesthetic of Throwing Muses or Kristin Hersh's solo work. Their most successful and influential release, 2009's Power + Light, is thirty minutes of non-stop music, a barrage of free-form sound that found the band challenging its own complex song structure.

                                                                          Drowned in Sound wrote, "Kristin Hersh has flared back to ravenous, inferno intensity with the excoriating Power + Light, which feels neither selfindulgent nor like many tracks cobbled together, but bruisingly visceral." This year's Bath White is their sixth release. Again, they've chosen to work with Los Angeles producer Mudrock, best known for his work with Godsmack. As Mudrock states, "These are the best musicians I've ever worked with, easily the most facile...they're pros and they're good people. 50FootWave is why I do what I do."

                                                                          Necro Deathmort

                                                                          The Capsule

                                                                            It looms into view through the fog. much like a metaphysical force from the celluloid revelations that dwell in our memories and haunt our subconscious. A twisted morass of circuitry and flesh, binary chill and visceral barbarism. Necro Deathmort have created a monster, and it’s both a malevolent and magical thing to behold. It’s name is The Capsule. This two-man aural manifestation came to life towards the end of the last decade, starting originally in the words of co-conspirator Matthew Rozeik “as an abortive attempt to do a ‘regular’ rock band, born from jamming in studio downtime when our drummer was AWOL”

                                                                            Drawing on influences ranging across the spectrum from Ed Rush & Optical to Old Man Gloom and from Autechre to Neurosis, he remembers that the unspoken objective for himself and cohort AJ Cookson was “to make electronic music that was as heavy as doom metal, with absolutely filthy bass.” Moreover, the duo have proven frighteningly prolific, releasing a total of ten releases both on Distraction records and on Rozeik’s own Extreme Ultimate label, which arrive at a wide variety of tense and transcendental mental landscapes. Yet The Capsule marks the band’s first for Rocket Recordings, and it’s a step yet further into the terrifying vacuum of space.

                                                                            “We’ve stopped caring that each new release might alienate fans of a previous record” notes Rozeik wryly. “I think it’s contributed to the longevity of the band, as we have a large well of inspiration from which to draw.” True to form. whilst this album’s opener ‘In Waves’ maps out rhythmic terrain somewhere amidst krautrock groove and techno relentlessness, it’s not long before matters take a turn into the unearthly, with dreamlike extrapolations like ‘Mono/Serum’ - redolent of nothing so much as Mica Levi’s otherworldly soundtrack to Under The Skin - sharing space with the threatening momentum of the more overtly metallic ‘Moonstar’. Yet at all times The Capsule is a work of fierce cohesion and compelling intensity. Whilst there may be three words for death in this band’s initially playful name, Necro Deathmort have proven themselves well versed in infinite varieties of the macabre. What’s more, in The Capsule, no-on can hear you scream. 

                                                                            Adult Jazz

                                                                            Earrings Off!

                                                                              Adult Jazz first appeared back in 2013 amid a flurry of praise surrounding their joyous and addictive debut single ‘Springful’. Their unanimously acclaimed debut album, ‘Gist Is’ (released in 2014), was a startling and mesmerising voyage from start to finish, taking a labyrinthine, fragmented pop-not-pop path, while maintaining a sense of humour in spite of its complex themes surrounding religion, gender and humanity.

                                                                              Following the release of ‘Gist Is’, the band went on to play sell out tours around Europe as well as festivals including Latitude, End Of The Road, CMJ and Iceland Airways, attracting endorsements along the way from peers including David Byrne and Björk.

                                                                              Adult Jazz now return with new album ‘Earrings Off!’, their first for Tri Angle. In contrast to ‘Gist Is’, ‘Earrings Off!’ finds the band confidently veering into more electronic territory with elasticated beats and harsh vocal experimentations riding alongside off kilter horn arrangements and treated string sounds, all shaped by the band’s inimitable and unpredictable songwriting skills.

                                                                              ‘Earrings Off!’ is the sound of a band breaking away from the crowd and becoming all the better for it.

                                                                              Peter J Smyth

                                                                              Black Smoke

                                                                                As front man of leading psych kraut rock heavyweights MUGSTAR Peter J Smyth knows a thing or two of how to riff out and play long passages of fuzz covered repetition, pummelling audiences into submission. 'Black Smoke' however sees a warmer, more introspective Smyth drawing on the examination of one's own conscious thoughts and feelings. Seventeen tracks of finger picked beauty recalling John Fahey, Mount Eerie amongst others and allowing an observation of one's mind, while in a more spiritual context examination of one's soul. 'Black Smoke' is an intricate album, full of dynamic intensity and stark observations. Lyrically, Smyth shines with a collection of poetic sonnets that translate moments of austere contemplation and urban alienation. In a performative sense, Smyth is confounding, ambiguous but sublime, leading the listener through a series of dense pilgrimages, describing a lost prodigal son in search of redemption. Limited to 500 copies on bright red vinyl. 

                                                                                William Tyler

                                                                                Modern Country

                                                                                  Modern Country is the fourth full-length album by guitarist and composer William Tyler and his first recorded outside of his hometown of Nashville, Tennessee. It features an ensemble backing group consisting of multi-instrumentalist Phil Cook (Hiss Golden Messenger, Blind Boys of Alabama), bassist Darin Gray (Tweedy, Jim O’Rourke), and percussionist Glenn Kotche (Wilco). The album was tracked at April Base Studios in Eau Claire, Wisconsin, and finished in Nashville, recorded and mixed by Jon Ashley, and produced by Tyler and Brad Cook. While there is never a comfort zone in instrumental music, Tyler attempts to leave any perceived one behind with Modern Country.

                                                                                  His first album for Merge, 2013’s Impossible Truth, found Tyler exploring the boundaries of composition for solo guitar in a manner that paid homage to everyone from Leo Kottke to Brian Wilson. It was an epic song cycle that veered from cathedral-like psychedelic hymns to pastoral folk melodies. In contrast, Modern Country finds Tyler exploring more focused melodic themes rather than ethereal wanderings. These aren’t pop songs, per se, but they are closer in spirit to Neu!, Penguin Cafe Orchestra, and Bill Frisell. Primarily written while Tyler was on sabbatical in Oxford, Mississippi, where he stayed at the cabin of a family friend within a stone’s throw of William Faulkner’s house, Modern Country is a collection of songs about the vanishing America that still exists on back roads, in small towns, on AM radio stations. In an election year when so many certainties and assurances have vanished, Tyler doesn’t offer optimism or pessimism but rather a calm and measured commentary in our age of anxiety.

                                                                                  FORMAT INFORMATION

                                                                                  Includes MP3 Download Code.

                                                                                  Alan Parker

                                                                                  One Summer

                                                                                    Previously unreleased schizo post-punk / Moogy folk score to 1983 British TV Scouse-ploitation drama ‘One Summer’ from the vault of Kate Bush, Serge Gainsbourg and David Bowie’s bestkept secret session man, Alan Parker.

                                                                                    From the one-man studio vault of the guitarist who adorned Histoire De Melody Nelson, The Kick Inside AND Diamond Dogs comes a post-punk, 80’s TV soundtrack that aims to restore the unforgettable names of Billy and Icky in your nostalgic consciousness while liberating lost music of a significant unsung UK composer.

                                                                                    Bringing back fractured memories of Scouse teenage rebellion, sports casual weekend wear, chip shop violence and escape missions to the Welsh Valleys (where baby birds are fed Mars Bars and shoplifting is the local currency), the series One Summer made an indelible impression of gritty realism, tragic heartbreak and woeful hope in the hearts of a dumbstruck generation in 1983.

                                                                                    Inducing abject fear in protective parents and a street smart swagger amongst clued-up youths, this adaptation of a coming of age pastoral thriller by a reluctant Willy Russell broke new boundaries pinpointing a cultural teenage void between post punk activism and the acid house years while arguably giving Thatcherite telly addicts a tiny kick up the arse.

                                                                                    Scored by legendary KPM/De Wolfe library musician Alan Parker, a renowned session player for Serge Gainsbourg, Kate Bush and Bowie (amongst many more) this score retains a genre defying personality, pinpointing the stylistic essence of the era while successfully switching from barren Rumble Fish funk, pastoral Moog noodlings, Pentangular folk, 80’s post-punk rhythms with hints of dubby melodica/harmonica. Composed to cue for the short five-part series (that TV commissioners were too scared to revisit), Parkers bursts of self-propelled small screen scoring came in one to two minute spells allowing Finders Keepers to comfortably fit the entire soundtrack on one neat eleven track limited 7” EP thirty-three years down the train line.

                                                                                    Various Artists

                                                                                    Late Night Tales - Ólafur Arnalds

                                                                                      Standing at the intersection where techno meets classical music, Ólafur Arnalds directs the newest Late Night Tales, set for release on 24th June 2016.

                                                                                      After releasing the breakthrough album ‘And They Have Escaped The Weight Of Darkness’, in 2014 he was awarded a BAFTA for best original music for the TV series Broadchurch. Arnalds’ music has a quietude that seems perfectly apposite and that’s evident here as each song drifts like an autumn wind towards the next.

                                                                                      Arnalds has enlisted the help of a few of his countrymen for the journey out west – electronic bands Samaris and Hjaltalín – and just as his records manage to combine the experimentalism and adventure of electronic music with a classical sensibility, here he weaves them perfectly, using tracks like Koreless’ brilliant post-dubstep ‘Last Remnants’ alongside the enigmatic brilliance of Jai Paul. It’s a perfect musical landscape that is eerie yet beautiful, as on Odesza’s ‘How Did I Get Here’.

                                                                                      As if Ólafur wasn’t spoiling us enough, he offers up three exclusives: his own ‘Kinesthesia I’ and ‘RGB’ and ‘Orgoned’ by his techno side project Kiasmos. Alongside that we have the obligatory cover version (Destiny’s Child’s ‘Say My Name’) and also a Late Night Tales debut for David Tennant, reading a story by Anam Sufi, with whom Ólafur worked on Broadchurch.

                                                                                      “When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.”

                                                                                      FORMAT INFORMATION

                                                                                      2xLP Info: • Unmixed full tracks
                                                                                      • Limited Edition 180 gram heavyweight virgin vinyl pressings, housed in anti-static inner bags
                                                                                      • Includes wav/flac/mp3 download code to mixed and unmixed tracks
                                                                                      • Includes 30cm x 30cm cover art-print
                                                                                      • ‘Half Speed’ mastered for optimum audiophile sound quality

                                                                                      CD Info: • CD to include unmixed tracks as bonus download code (wav/flac/mp3 format)
                                                                                      • The album tracks have been selected especially by Ólafur Arnalds to make this a truly unique listening experience
                                                                                      • Features an exclusive spoken word piece written by Anam Sufi and spoken by actor David Tennant



                                                                                        Vinyl (140g) reissue of Prince’s self-titled 1979 album

                                                                                        Olivier Carrié aka Uncle O chose to explore this effervescent and eclectic inter-zone for Cosmic Machine, The Sequel. A second opus that takes us a bit further in time to introduce us to the dark corners of a French musical landscape where recording studio workaholics like Jean-Pierre Massiera or Roger Roger produced endless strings of records that challenged the laws of gravity (and sometimes the laws of good taste), where teenage heartthrob singer Alain Chamfort launched Araxis into space with a few synth notes, where drummer Cerrone enrolled in the Brigades Mondaines for the charms of a cover girl imagined by Gérard de Villiers and where the Anarchic System, The Peppers, Moon Birds or Arpadys dreamed of winning a one-way ticket to the moon. Some managed to land on our satellite, but all of them contributed to the space conquest aboard the Cosmic Machine. Châtelet Metro Station, Cassiopeia-bound vessel, the odyssey is just starting.

                                                                                        Junior Boys

                                                                                        Big Black Coat - Inc. Robert Hood Remix

                                                                                          Ariel Kalma


                                                                                            After the exploit of Osmose in 1978, Kalma returns into the studio in 1980 with Interfrequence, an ambient space library record. Interfrequence is a continuation of his personal research based on the combination of electronic machines with natural sounds and acoustic instrumentation. The french musician fully wears the robe of master of ceremonies of the synths. However, the path taken is not that symphonic of the minimalist and galactic suites composed by other standard bearers like Richard Pinas and Klaus Schulze. Here, we find 18 short pictures sound (few of them in collaboration of M. Saclays) that emanate a variety of ideas and ethno-cultural influences unparalleled. A distinctive compositional style always returns an crescendo of ecstatic emotions, a reflection on the hidden and secret aspects of the micro and macro cosmos. If in Osmose the sampling sound from the mother Gaia was more explicit, here the Nature is investigated not only in terms of pure tones, but especially in the dynamics of flows and movements dictated by the frequency of moogs and organs and embellished with hyper-space flutes, saxophones and clarinets. Kalma wrote yet another chapter of his personal saga of a new world of sound imagery.

                                                                                            Ariel Kalma

                                                                                            Musique Pour Le Reve Et L'Amour

                                                                                              Aside from being a musician, Kalma seems always to reveal itself as a philosopher, a solitary explorer of higher and deeper consciousness. Persevering in his relationship with Indian classical music, he transfigures the acoustic-ecstatic dimension typical of the raga-tampura by modulating synths and wind instruments. This work, which appeared on two different cassettes in 1981 and 1982, is ideally one unique project. In Musique Pour Le Reve Et L'Amour, Kalma infinitely expands the reverberations of the flute, multiplying the nuances with the phasing and loops of organs that recall the beginnings of Terry Riley. Music For Dream And Love is structured like a oceanic carpet of aquatic and airy reflected sounds, a limitless shore from which seem to be emerging voices of celestial entities. Ariel Kalma's music is always a fine electronic meditation perfumed by warm atmospheres. 


                                                                                              Jungle Echoes

                                                                                                A young boy... Found and raised by American missionaries, the only survivor of a non-violent African tribe, whose members, entranced by ancient rhythms, had the ability to communicate with animals and to run
                                                                                                like cheetahs... Pulled apart from this original enchanted world, he grew amongst us, down-to-earth westerners. He tried to adapt as much as he could but remained very much rooted in the land of his ancestors. Still
                                                                                                haunted and nourished by his origins, he engraved the rhythms of his Land into the grooves of an Omega Disk...
                                                                                                The year is 1959 and the Exotica music is in full swing. Beautiful women with banana belts and flower necklaces are gathering serious attention by seducing each and every Average Joe dreaming of sunny holidays on exotic islands populated by colorful birds ... Low-cost travel and mass tourism were on their way! Chaino and his African Percussion, capable of playing for 17 hours straight, 7 percussions at the same time. They recorded Jungle Echoes as a sublime delirium, an absurd myth, an imaginary product of his past! A unbelievable record made of rhythms and shouts, a jungle, a furnace, a disturbing trip in the imaginary world of this unrivaled percussionist, this son of Africa, no matter what, regardless of his legend and of the
                                                                                                myth surrounding his real origin. A dangerously addictive and syncopated atomic bomb of a record. Reissued by Black Sweat Records, hand in hand with Moi J’Connais.

                                                                                                Metabolismus Und Fifty Fifty

                                                                                                A Circle Inside A Square Inside...

                                                                                                  This LP is a documentation of the very first meeting of Stuttgart-based minimalist Jazz duo Fifty-Fifty & Swabian sound exploration society Metabolismus. All players draw from decades of experience with different forms of improvisation, using instrumental and electronic sounds known and unknown, to spontaneously create an aural environment of complex simplicity. A wide spectrum of group mind expressions can be heard, from the purely abstract to moments of calm reflection. The title is a meditation on the idea of the impossible. The session was recorded during one afternoon in the Summer of 2012 at Sumsilobatem Sound Studio on magnetic tape, any technical imperfections due to the spontaneous nature of the situation were kept in as part of the document. No digital technology was used in the making of this album.

                                                                                                  Cover art is hand silkscreened, originally designed by Estuardo Maldonando.

                                                                                                  JD Emmanuel

                                                                                                  Electronic Minimal Music

                                                                                                    The recent rediscovery of J.D. Emmanuel by critics and audience, and his comeback to underground scene from 2010 was crucial to reweave the development of electronic music in the early Eighties. This new publication cast new light on his first activity of composing and performing electronic music during 1979-83, experiments totally unreleased and never before published on vinyl. Certainly seminal minimal works such as Four Organs or Violin Phase by Steve Reich, A Rainbow in Curved Air by Terry Riley as well Cluster, Harmonia or Peter Michael Hamel's works of the early Seventies had a decisive impact on the Emmanuel's debut. However, since the beginning he proves to reshape and reformulate the lymph of his sources of inspiration with a consolidated maturity and accurate vision unparalleled. His poetry it's closely tied to the will to expand consciousness and explore his altered states, but more than a "cosmic courier" he rather appear as "courier of soul and heart" and "a student of metaphysical Nature of the Universe". Magician of a incredible variety of analog keyboards JD conceives the sound as dynamic translation of forces and organic fluid expanding flows of energy mass. The cyclicity of patterns and phrases refer to minimalist iteration but his music has little in commune with something purely mathematical; but also using an approach to improvisation filtered by his interest in jazz and in the temporal expansion of rock-jams, harmonic sections are charged with a intimate spontaneity and freedom without boundaries. These 14 "vaporous drawnings", released in a deluxe edition with photos and writings, donate a primordial state of grace to the listener, in parallel to contemporary ancestral work Wizards in 1982 (containing two tracks that was originally included in Wizards, but replaced by other tracks just before the final master).

                                                                                                    Don Robertson

                                                                                                    Celestial Ascent

                                                                                                      If already in his debut album Dawn of 1969, the American multi-instrumentalist Don Robertson coloured with his 80-string guitar-zither a magic ethnic sound, in the next Celestial Ascent, released in 1980 exclusively on tape, it's only this instrument of the Austro-Germanic tradition to be the chosen viaticum for a timeless journey into the depths of the soul and psyche. Traditionally designed for the accompaniment of the singing of psalms in religious communities, here the zither is the perfect way to explore at the same time the power and the formal purity of the natural pentatonic scales of eastern derivation, investigated by Robertson in New York City at the end of the Sixties. According to the same respect for the cosmic rhythms, which also affects the Indian ragas, the album is ideally divided into two parts: the first side (Oracle Of Love) is the music of the day, while the second (Isis Unveiled) is the sound of the night. The music of Robertson is so authentic "music for elevation & trasformation" by the extraordinary effects of peacefulness, with a holistic and transcendental approach that combines it with other investigations of the sacred sound, like those of Stephan Micus, Paul Horn or Deuter.

                                                                                                      The record included the reproduction of the original poster.

                                                                                                      JD Emmanuel

                                                                                                      Echoes From Ancient Caves

                                                                                                        Probably one of the most underestimated electronic artists of the early ‘80s, JD Emmanuel has finally found widespread aclaim of late. An expert manipulator of electronic and natural sounds, with this work Emmanuel seems to recall and reflect exstensively on that poetics of the cyclic and mantric sound investigated by other pioneers as Terry Riley and La Monte Young. The micro-tonal pattners of the compositions are animated by dense and minimum pulses that amplify the hypnotic and meditative dimension and can be coloured by Tibetan suggestions or guitar glissandi of nocturnal taste. In this way the "Echoes From Ancient Caves", originally a cassette only release from 1981, is ideally connected to the previous experimentations of "Rain Forest Music" (1981) and "Wizards" (1982).

                                                                                                        Piotr Kurek


                                                                                                          Released just a few years ago on tape on Polish label Sangoplasmo, "Edena" is the latest release from Piotr Kurek, a composer and multi-instrumentalist with a penchant for vintage sound equipment, as well as the practical sense to know where their limitations are, his musical compositions – part melodic narrative, part sound collage – distil a sense of nostalgia into a romance for the present. Using a Moebius comic he had never seen (Le Monde d’Edena) and an instrument he would never have (a Mellotron) as a conceptual starting point, the Warsaw-based, Polish artist presents Edena.
                                                                                                          A hypnotic, circular motion pervades all of Edena; a cyclic life force that gives the impression of forward motion, while really folding back on itself, reflected by the infinity symbol of the cover.



                                                                                                            Rhythm master Klaus Weiss knew he had a good thing going with NIAGARA. The first album was a gathering of every outstanding drummer and percussionist he could get hold of and despite the fact that there were only rhythm instruments featured , it became quite a memorable and unique record. Now for the second album "S.U.B." he felt he had to go other ways, and recorded with a complete rock outfit plus the one or another brass instrument. „S.U.B.“ is definitely worth being traded for 180,00 Euros and more among collectors for a clean original and when the needle hits the groove you will realize why. There is a tightly woven web of rhythms from drums and percussions, as the solid and ever pulsating base with a laid back but really present bass guitar adding more depth and power to the beats and clean rhythm guitars with a nifty wah wah effect for the extra kick. From time to time the guitars fire off a memorable steaming riff on top of the rhythm pulse and the horns answer the call for arms. You really have to look at the backcover to find out that this is a German outfit instead of one of these utterly hot and hip US funk rock cult bands of the time. NIAGARA aka Klaus Weiss waive the vocals so it is an instrumental record you face with „S.U.B“, but then this band goes so wild in some of the compositions, that you will be left breathless on your knees by all these simmering performances. Each musician participating in this project is a professional, but they all let the music erupt into a climax of sound you can only achieve, when you put your whole heart and soul into it. A masterpiece of funky and utterly unleashed rock music from the early 70s.

                                                                                                            Steve Black

                                                                                                            Village Boogie

                                                                                                              After starting his musical carrer back in 1968, the Nigerian artist, drummer, singer, multi-instrumentalist and producer STEVE BLACK released his fantastic and unique album "Village Boogie!" in 1979. "Village Boogie!" really deserves the status of a legendary rarity and holy grail for fans of afro funk music. The original album is incredibly rare today and fetches prices of 800,00 and more USD! On this unique album Steve Black presents a new version of the smasher „Brand new wayo“, originally played by the band MIXED GRILL, in which Steve Black was also the singer. Along with that hit "Village Boogie!" gives us six other groovers and movers that make your hips shake like you were hit by an earthquake, and in fact this is an earthquake of ever pulsating polyrhythmic drum and percussion patterns, as solid platform for lush horn arrangements and swinging bass lines. A little bit of guitar and other instrumentation adds color to the whole wild steaming funky sound and on top we find the utterly distinctive voice of Mr. Steve Black. "Village Boogie!" omes as strong as the best US funk releases of that days, but in fact has this very special Nigerian power to make anyone move the hips, since this music comes from the very depth of the musicians' souls. The album spreads a joyful and jolly feeling where and whenever you make it rotate on your turntable. It's a brilliant afro funk gem that everybody needs to hear. The concentration of real anthems moves on a highest level. 

                                                                                                              Ahmed Fakroun

                                                                                                              Mots D'Amour

                                                                                                                The Arab world back in the 70s and 80s gave us quite a few very interesting rock and pop acts. Ahmed Fakroun from Libya was THE one of them. Here we have his 1983 album whose title means “Love Words” in English. And in fact his kind of ethno pop seems to go deeper than just to the charts where a song like “Soleil! Soleil!” - a typical yet outstanding synthie pop / new wave anthem that would have gone well with David Bowie or Duran Duran in the early 80s - definitely would have belonged. Other tunes are more Oriental with great string arrangements and those mystical melodies only Arab and Oriental music provides. It goes forth and back with these elements. “Mots d'amour” is a rather colorful affair, when it comes to 80s pop music and within the fine arrangements you will find a lot of solid handcraft from the instrumental section. Whoever worked with Ahmed Fakroun in the studio during the album production shall be praised and blessed for his talent as well. All in all this is one of the lost gems of 80s pop music which fetches prices up to 500,00 Euros for a nearly mint copy today. So fans of cool 80s pop with a memorable edge are now able to grab a copy of this forgotten jewel. Compared to many European releases from that year, “Mots d'Amour” can easily match up with all of them and has several outstanding evergreens on board. The sound is perfect for the time as well. So grab a copy of the reissue and make your dance party go crazy with this fascinating guy from Libya.

                                                                                                                Dadisi Komolafe

                                                                                                                Hassan's Walk

                                                                                                                  Released back in 1983, this modal to slightly free jazz outfit from California takes us on a journey back to the late 60s and very early 70s, into the spiritual realms of greats like John Coltrane, Pharoah Sanders, John McLaughlin and Miles Davis, among others. Only few contemporary sounds from the bass and keyboards tell you that this album is newer than expected. Listening to it with far over 30 years distance, it easily stands the test of time and even more turns out to be one of these mind bending gems with an ever pulsating flow of magic being transferred into music. With a lead guitar added this could do justice to everything the MAHAVISHNU ORCHESTRA had ever released, but there is no need for guitars when you have a piano player going crazy and a rhythm section that seems to dance the Saint Vitus dance with each other. Please get me right; this is utterly tight and well performed with each note and each beat sitting where they belong. There are shapes of melodies rather than lines as common with modal jazz. What Miles Davis started 24 years earlier culminates in a sheer musical eruption on this album, which hardly anybody will remember these days. The atmosphere of “Hassan's Walk” is deep and enthralling. When the band reaches its starting point, again melody wise after a fantastic roller coaster ride in the sense of an explosive musical performance and relentless improvisations you will fall on your knees. Exhausted but happy. And there is more to experience here. Souljazz of the light-footed yet highly energetic kind, and bits and pieces you can relate to Latin music meet each other on this battlefield of sounds and melodies. I cannot help but I feel totally hypnotized. For all aficionados of at least a bit far out jazz music this is exactly what you need.


                                                                                                                  Nico's Last Concert "Fata Morgana"

                                                                                                                    Christa Päffgen aka Nico has been a femme fatale extraordinaire, a woman always searching for and always running from something. She began her career as a model and actress, but soon got addicted to music and all kinds of unhealthy relievers for her spiritual pain, which in the end caused a bad health and helped to generate the circumstances for her untimely death at the age of 50 in 1988. A few months prior to her passing due to a bicycle accident on the Spanish isle Ibiza, she performed her last show with mostly new and unheard tracks, plus one classic tune from her proto-gothic album “The end” (originally released in 1974). If you are familiar with her avantgarde type music you may guess what awaits you here but I think I should explain it to all those who have never heard of Nico before. She had one of the most captivating and outstanding voices in the whole music scene during her active years, with an utterly dark and manic expression even while performing her vocals absolutely flawless. Besides her unique voice, Nico also performed as a supermodel, which flatened her path to the hearts and music of several well known artists from that time, like Andy Warhol, Brian Jones, Bob Dylan, Tim Hardin, Leonard Cohen, Jackson Browne, Jimi Hendrix, Danny Fields, Iggy Pop and Alain Delon. Andy Warhol connected Nico to Lou Reed, who's band THE VELVET UNDERGOUND she joined for the first album as a singer on Warhol's wish. Her later backing band THE FACTION created a thick carpet of pulsating melodies and rhythms with a spacey feel and a morbid atmosphere. Peter Murphy of BAUHAUS once called Nico's albums “The marble index” (1968) and “The end” (1974) to be the first ever true GOTHIC style records and he was right. Even twenty years after her first records Nico still had this gloomy but majestic charme and the older she got, the better and more intense her music became. With these accessible but still mind twisting songs on “Nico's last concert: Fata Morgana” we get a rough idea where she wanted to go. All in all this is one of those cult albums from the 80s dark psychedelic music scene, which certainly deserves to be heard by current generations for it easily stands the test of time. Just phreakin awesome.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    LP Info: First time ever on vinyl!



                                                                                                                      This was more a project than an actual band formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger and gained fame in the German jazz circuit of the 60s and 70s. His 1971 works with NIAGARA was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, that they have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, this icon of German rock and pop started as a drummer!) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. If you go for this album to find some pop tunes, you better change your mind. If you wish to be enchanted and hypnotized by a massive wall of percussion sounds and be dragged deeper and deeper into a state of trance, which is utterly addictive, you are welcome. This album goes deeper as most psychedelic rock with dreamy melodies and heavy organ work. You cannot compare it to anything else, so open your mind for the ultimate rhythm experience and join in if you dare. Only if you dare.

                                                                                                                      Brix Smith Start

                                                                                                                      The Rise, The Fall, And The Rise

                                                                                                                        The Rise, The Fall, and The Rise is the extraordinary story, in her own words, of Brix Smith Start.

                                                                                                                        Best known for her work in The Fall at the time when they were perhaps the most powerful and influential anti-authoritarian postpunk band in the world – This Nation's Saving Grace, The Wonderful and Frightening World Of ... – Brix spent ten years in the band before a violent disintegration led to her exit and the end of her marriage with Mark E. Smith.

                                                                                                                        But Brix's story is much more than rock 'n' roll highs and lows in one of the most radically dysfunctional bands around. Growing up in the Hollywood Hills in the '60s in a dilapidated pink mansion her life has taken her from luxury to destitution, from the cover of the NME to waitressing in California, via the industrial wasteland of Manchester in the 1980s.

                                                                                                                        What emerges is a story of constant reinvention, jubilant highs and depressive ebbs; a singular journey of a teenage American girl on a collision course with English radicalism on her way to mid-life success on TV and in fashion.

                                                                                                                        Too bizarre, extreme and unlikely to exist in the pages of fiction, The Rise, The Fall, and The Rise could only exist in the pages of a memoir.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Book Info: 480 pages. 15.2 x 2.9 x 23.2 cm

                                                                                                                        Various Artists

                                                                                                                        61 Classics From The Cramps Crazy Collection

                                                                                                                          From cool instrumentals and rockabilly weirdness through to the wild, the incensed and the insensitive. New trance crazes, devil worship, all the usual stuff with screams and hollering as needed. For the esoteric-minded and the exotica-consumed, with added jungle noises, death-defying car chases, teen torment and a host of dazed and confused lunatics in tow. Rampant with scuzzy garage riffs, overflowing with deranged plans for the betterment of the mundane. Spoken in post war parlez, punctuated with irate ideas and parent-bashing conceptualism. Remastered from the original sound sources with sleevenotes by MOJO magazine’s Dave Henderson.

                                                                                                                          José González With YMusic

                                                                                                                          Chamber Ensemble Arrangements Of Songs From “Vestiges & Claws”

                                                                                                                            ***Very limited, Indies only***

                                                                                                                            The double A sided 7” includes two Chamber Ensemble arrangements of songs from the critically acclaimed “Vestiges & Claws” album released last year.

                                                                                                                            yMusic are a group of six New York City instrumentalists flourishing in the overlap between the pop and classical worlds. The subtlety of their orchestration adds additional layers to the already beautifully satisfying slow acoustic glow of Jose’s songs.

                                                                                                                            José González

                                                                                                                            Let It Carry You - Holy Ghost! And Dino Soccio Remixes

                                                                                                                              ***Very Limited, Indies only***

                                                                                                                              “Let It Carry You” was the fourth single lifted from José González’s critically acclaimed “Vestiges & Claws” album released last year. And now due to popular demand Peacefrog is proud to make available the two remixes taken from the single.

                                                                                                                              On the A side is an offering from DFA’s New York synthpop stalwarts Holy Ghost!. Their interpretation morph’s the original into a smile inducing 80’s dance floor groove full of their trademark synths and Italo disco nods.

                                                                                                                              On the B side is Los Angeles based disco guru Dino Soccio who pins Jose’s vocals and mellow strums as the focus, pairing them with a lightly driving drum pattern and a toughened up low end. It’s dreamy and reassuring, creating the sound track for a nature montage or a breezy summer drive.

                                                                                                                              Torn Hawk

                                                                                                                              Union And Return

                                                                                                                                Union and Return is the third album from Luke Wyatt’s Torn Hawk. It was composed and recorded entirely by Wyatt at his home in Berlin and is inspired by painters like Karl Friedrich Schinkel and Caspar David Friedrich. Here. Wyatt parts the gauze that shrouded his former work to reveal a lush and ornate set of compositions -- elegantly orchestrated, awash in unguarded emotion.

                                                                                                                                Having spent years working with gritty production techniques, Wyatt seems refreshed and restored by the possibilities of definition and detail. Many tracks were initially composed on piano and then painstakingly fleshed out into final form. The feel is spontaneous, rather than labored, and the pieces possess an organic and grid-less grace. On album opener “The Romantic,” the flow of ideas is natural, seamlessly transferring melodies and themes from voice to voice, instrument to instrument. Orchestral arrangements give way to layered guitars, smeared pads and collaged digital detritus.

                                                                                                                                While the record luxuriates in subtle, delicate dynamics, Union and Return is just as disruptive as anything in his back catalog. Tracks like “Feeling is Law” and “Die Swimming in the Sea Here” supply a full-bore tenderness that can be uncomfortable, especially for those projecting a policed gruff or “masculine” image. This disruption is key to the music’s intent - gentle music as a tough gesture.

                                                                                                                                David Bowie


                                                                                                                                  20th May, 2016 marks forty years to the day that David Bowie's first ever best-of compilation, including songs from 1969 to 1976, CHANGESONEBOWIE was released. To mark this anniversary the album is being reissued.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  Ltd LP Info: Half of the limited vinyl will be pressed on black vinyl whilst the other half will be pressed on clear vinyl, this will not be mentioned on the sleeve so it will be completely random as to which one you receive.

                                                                                                                                  Exploded View

                                                                                                                                  No More Parties In The Attic B/w Strange Coincidences

                                                                                                                                    Exploded View is a new collaborative project helmed by the UK-born, Berlin-based political-journalist-turned-musician Anika (Invada Records / Stones Throw). After playing a string of 2014 solo shows in Mexico with a backing line up composed of local producers Martin Thulin, Hugo Quezada and Amon Melgarejo, Anika and her new bandmates discovered a chemistry that they simply had to capture on tape.


                                                                                                                                    Glowing Raw

                                                                                                                                      Created around the same time as the crucial Houston album, Glowing Raw is Charalambides in essential and pure form. It's powerful and potent.

                                                                                                                                      Drawing Room is proud to present the first time vinyl release of Glowing Raw. Each LP is pressed on 180-gram vinyl housed in a full color matte jacket (with download) and includes a foldout poster.


                                                                                                                                      Strangle The Wretched Heavens

                                                                                                                                        Formed in 1991, Charalambides has always and will forever be the constant core duo of Tom and Christina Carter. Though music scenes and genre classifications ceaselessly change, this duo has stayed "wholly-other" dedicated to a "vision of spiritual music (in all its forms) as transformative force."

                                                                                                                                        Drawing Room is proud to present the first time vinyl release of Strangle... Each LP is pressed on 180-gram vinyl housed in a full color matte jacket (with download) and includes a foldout poster.

                                                                                                                                        The sound of Charalambides is beyond unique. Personal and consistent, it moves forward and outwardly in radical shifts and strategies. Strangle The Wretched Heavens..."We could get lazy and use words like 'spectral' or 'haunting,' but those words open neither ears nor hearts. This music is every bit as supernatural as it is grounded, and what it does, ultimately, is move according to its own internal logic, as our feelings move according to their own internal logic. That is what keeps Charalambides' music relevant, what makes it timeless.

                                                                                                                                        Following one of their earliest seminal releases, the almighty Market Square, Strangle... is the next chapter. Dark and intense, the album is pure beauty inside and out. Its magic is almost indescribable, but its power can be physically felt completely.


                                                                                                                                        Alas Salvation

                                                                                                                                          Just over a year since their first single "Hungry Heart" was released – a period that saw their unpredictable gigs and electrifying clutch of studio recordings earn them a reputation as the most exciting and talked about new act in the UK – Yak have channelled their ferocious live experience into their debut album 'Alas Salvation'.

                                                                                                                                          Recorded with Pulp's Steve Mackey, it's a wired and ambitious record that refuses to be pigeonholed. Yet beneath all the head-spinning chaos lies a beating heart of great melodicism and a hyperactively eclectic and inventive approach to making music.

                                                                                                                                          Grim Brides

                                                                                                                                          Faithless UFO Leap

                                                                                                                                            ‘Faithless UFO Leap’ is most definitely the gnarliest thing that the Singles Club has had the ‘joy’ of releasing. It is as much an offence to music as it is brick to the face brilliance.

                                                                                                                                            ‘I’m Gonna Be Sick’ continues the punishment and is music for the end of the world. Geoff Pesche at Abbey Road delivered the masters saying that they were un-masterable and Too Pure probably owe them for new speakers.

                                                                                                                                            All the label know about Grim Brides is that they have made these two songs and that they are (apparently) from Denmark.

                                                                                                                                            Pink vinyl 7”.

                                                                                                                                            On Dead Waves

                                                                                                                                            On Dead Waves

                                                                                                                                              You haven’t heard them like this before but you may already know the band. One is James Chapman, better known as Maps, whose critically acclaimed debut ‘We Can Create’ was nominated for the Mercury Music Prize and whose latest album ‘Vicissitude’ came out on Mute. The other is Polly Scattergood, the electrically charged artist who has released two solo albums on Mute.

                                                                                                                                              The seeds of Chapman and Scattergood’s creative partnership were sown in 2011, at Mute’s Short Circuit festival, a special event at London’s Roundhouse. The night saw different collaborations with Mute artists and Polly and James paired up to perform each other’s songs.

                                                                                                                                              On Dead Waves launched their debut track, ‘Blackbird’, at the end of 2015. Q said “… a world of smeared mascara and trailer-park heartache, there’s something wonderfully cinematic about this debut single,” while The Guardian wrote, “‘Blackbird’, their debut single, somehow nods to both shoegaze and country, with a David Lynchian creepiness to both music and lyrics.”

                                                                                                                                              On Dead Waves’ debut album is heavy of atmosphere, rich in melody and rippled with an air of malice and flowing female and male vocals.

                                                                                                                                              Mutual Benefit

                                                                                                                                              Skip A Sinking Stone

                                                                                                                                                ‘Skip A Sinking Stone’, by Mutual Benefit (aka Jordan Lee), is released via Transgressive Records.

                                                                                                                                                This new album is a two-part meditation on impermanence that also acts as a portrait of growing up. Mutual Benefit’s work has been praised as being vulnerable and warmhearted. This release has a similar sensibility, patiently built from carefully chosen lines illustrated by lush astral folk and intricately composed arrangements that manage to appear effortless.

                                                                                                                                                “I kept coming back to how nice that was, throwing these stones against the water,” says Lee. “I thought it was a fitting metaphor for the endeavours I have in my life - sometimes they work out and sometimes they don’t. I think it’s a good exercise in accepting impermanence and failure and these things that are constant, and yet the activity of skipping stones is really relaxing and beautiful.” Each stone ultimately sinks but, as Lee sings on the album’s zenith, as the cycle ends and repeats again, all we can do is maintain the hope that it’s ‘Not For Nothing’.

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Indies Exclusive LP Info: Exclusive coloured vinyl grey / blue splatter vinyl available
                                                                                                                                                to independent retailers.

                                                                                                                                                Includes MP3 Download Code.

                                                                                                                                                Methyl Ethel

                                                                                                                                                Oh Inhuman Spectacle

                                                                                                                                                  New to 4AD, Australian trio Methyl Ethel’s celebrated debut album is being given a worldwide release. Hailing from the remote fringes of Perth in Western Australia, band linchpin Jake Webb - like 4AD peers Grimes and Bradford Cox before him - wrote, played and recorded everything on ‘Oh Inhuman Spectacle’.

                                                                                                                                                  Crafted in isolation, the album’s understated psychedelic pop quickly drew plaudits, leading Webb to recruit Chris Wright (drums) and Thom Stewart (bass) - friends from the tight-knit and thriving music scene in Perth - to help realise the songs live as a full-fledged band.

                                                                                                                                                  Having gained notable success in Australia including being nominated for the prestigious Australian Music Prize and taking Laneway Festival by storm, Methyl Ethel are now poised to take their music overseas with the worldwide release of ‘Oh Inhuman Spectacle’ and a huge run of touring in both Europe and North America to coincide.

                                                                                                                                                  Kate Jackson

                                                                                                                                                  British Road Movies

                                                                                                                                                    ‘British Road Movies’ is the long awaited debut solo album from Kate Jackson, former frontwoman of The Long Blondes. Co-written and produced by Bernard Butler (Suede, The Tears), ‘British Road Movies’ is a cinematic, eclectic and beautiful record.

                                                                                                                                                    Synth driven glam rock, ‘Blade Runner’ electronica, faded piano allure and sweeping Bond style string sections are topped with Jackson’s unique vocal style and Butler’s instantly recognisable guitar sound.

                                                                                                                                                    These are big, melodic, alternative pop songs with Butler’s production perfectly complementing the narrative of the record.

                                                                                                                                                    A shared love of Bowie, Eno, The Fall, Shocking Blue and Neil Young filters seamlessly into these recordings which sound both modern and timeless.

                                                                                                                                                    ‘British Road Movies’ establishes Jackson as a solo artist and songwriter akin to the likes of Jane Weaver, Nadine Shah and Gwenno.

                                                                                                                                                    Jackson’s Brutalist paintings adorn the album sleeve.

                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                    Includes MP3 Download Code.

                                                                                                                                                    John Cale

                                                                                                                                                    Music For A New Society

                                                                                                                                                      ‘Music For A New Society’ is a fully re-mastered album of the long out of print 1982 classic album with three previously unreleased bonus tracks from the original multi-track recordings Library Of Force, Chinese Envoy and Thoughtless Kind ..

                                                                                                                                                      The ‘Music For A New Society’ heavyweight vinyl format comes with a download card which includes the three unreleased bonus tracks.



                                                                                                                                                        Swedish / American four-piece FEWS have been making some serious waves ahead of their debut album. Specialising in propulsive, motoric noise-pop, producer Dan Carey (Bat For Lashes, Sexwitch, TOY, Kate Tempest et all) discovered the band via a mysterious Soundcloud link and promptly invited the band to his South London studio where debut single ‘Ill’ quickly followed on Carey’s Speedy Wunderground label.

                                                                                                                                                        Having joined the ranks of the Play It Again Sam label their own brand of malevolent post-punk continues to evolve and thrill with follow up singles ‘The Zoo’ and ‘100 Goosebumps’ that has seen the band bear resemblance to DIIV and Faust.

                                                                                                                                                        “Sonically charged post-punk that’s equal parts Interpol, DIIV, The Walkmen and A Place To Bury Strangers. Anthems for the disaffected in waiting” - Drowned in Sound

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Ltd LP Info: Heavyweight clear vinyl with download code.

                                                                                                                                                        Henri-Pierre Noel

                                                                                                                                                        The Reflex Revisions

                                                                                                                                                          Wah Wah 45s return to the 12" format to bring you three incredible re-works from French disco don The Reflex, for our very own legendary Canadian/Haitian keyboard wiz Henri-Pierre Noel.

                                                                                                                                                          Funky Spider Dance is a percussion heavy bomb filled to the brim with Henri's soaring piano licks and infectious female vocal hooks. The Reflex has taken what was already a sure-fire club favourite, and created something of a dance floor destroyer.

                                                                                                                                                          His rework of A Fifth of Beethoven takes its time to build into another heavy hitter. As the beats make way for Henri's deft keyboard flourishes, the recognition of this cover of the Walter Murphy classic (taken from the Saturday Night Fever soundtrack) begins to dawn - and as it does, it's clear that once again the dream team of HPN and The Reflex have worked their magic!

                                                                                                                                                          Last, but certainly not least, The Reflex's Revision of Back Home...; Sweet Home is a modern Island Funk masterpiece with organ and tropical guitar riffs making way for sunny brass stabs all underpinned by foot friendly beats.

                                                                                                                                                          The original versions of Funky Spider Dance and Back Home...; Sweet Home can be found on Henri's One More Step LP, and his take of A Fifth of Beethoven was recently available on 7-inches of wax - all on Wah Wah 45s of course. The Reflex Revisions all appear here together on vinyl, in fact anywhere, for the very first time!

                                                                                                                                                          Jean-Michel Jarre

                                                                                                                                                          What You Want

                                                                                                                                                            Ltd 7" Vinyl release taken from the new album "Electronica Vol.2 The Heart Of Noise". Features Canadian electronica artist PEACHES on vocal.


                                                                                                                                                            Music / Tell You No Lie

                                                                                                                                                              Hitting the music press headlines recently was news of a second Floorplan album. Now M-Plant delivers a first taste of this highly anticipated release with two tracks from the album, 'Music' and 'Tell You No Lie'.

                                                                                                                                                              Floorplan is already well known as Robert Hood's house, disco, funk and gospel outlet, which this year evolves into a family affair with co-production alongside his daughter, Lyric. 'Victorious' will be the second Floorplan album and follow-up to 2013's 'Paradise' which spawned 'Let's Ride, 'Baby Baby' and the massive 'Never Grow Old'.

                                                                                                                                                              Set to replicate the success of 'Paradise', 'Victorious' will be released in June. To precede it, the single released at the end of April is comprised of the bumping house groove of 'Music' (which received it's first global airing on B.Traits' BBC Radio 1 and 1Xtra show in February) and the disco rotations of 'Tell You No Lie'.

                                                                                                                                                              Both tracks are exceptionally infectious, with tough beats, glorious vocal reprises and sure not to disappoint.



                                                                                                                                                                Floorplan is already well known as Robert Hood’s house outlet, which this year evolves into a family affair with co-production alongside his daughter, Lyric. ‘Victorious’ is the second Floorplan album and follow-up to 2013’s ‘Paradise’ which spawned ‘Let’s Ride, ‘Baby Baby’ and the massive ‘Never Grow Old’. The new album itself is preceded by the double-headed single ‘Music’ / ‘Tell You No Lie’.

                                                                                                                                                                As Robert once again extends his minimal techno sound via his ‘Paradigm Shift’ project on Dekmantel, he also returns his focus to house, disco, funk and gospel to the Floorplan show, which now takes a surprising twist. Having watched her father DJ the world over from the shadows and numerous appearances in the Floorplan DJ set Lyric Hood comes centre-stage alongside her father.

                                                                                                                                                                “Hear my soul speak, is the only way I can describe the way I feel about Floorplan, (Victorious) music is in my soul, my blood, I eat and sleep beats, music, rhythms, it's in my DNA. So Please, HEAR MY SOUL SPEAK.” Lyric Hood
                                                                                                                                                                The Floorplan project first came to light in 1996 when Hood used it to announce his Drama imprint with the highly sought after ‘Funky Souls’ EP (subsequently re-issued by Rush Hour in 2010). Lying dormant for over a decade, the late 2000’s saw a revitalized Hood re-establish Floorplan into what may well now be his most widely known musical outlet. This year, with his daughter making Floorplan a family affair, the duo’s ‘Victorious’ album is primed to set the world’s dancefloors alight.
                                                                                                                                                                Launching with the heady house swirl of ‘Spin’, Robert and Lyric then drop the deeper stylings of lead single ‘Music’ which builds into a hypnotic, bass-driven anthem. Picking up on Hood’s trademark razor-sharp percussion ‘The Heavens & The Earth’ brings the Bible to the floor (with added funk) and ‘Good Thang’ shows the strong influence of Chicago as a simple refrain turns into a house missile from the pulpit!
                                                                                                                                                                ‘He Can Save You’ continues the Chicago/Gospel theme but with a more driving techno edge whilst ‘Mmm Hmm Hmm’ marries powerful chords to trumpets, dynamic bass, booty refrains and skilful sampling creating yet another hands up anthem. ‘Ha Ya’ has that stripped back minimal feel we all know and love and perhaps the closest we get to touch on the classic Hood sound whilst ‘Tell You No Lie’ is pure, un-adulterated disco-string drenched fun(k) and already tearing down dancefloors as we speak.
                                                                                                                                                                ‘Push On’ takes us back to the tight, knife-edged percussion of Chicago’s house vanguard, reminding of the tougher sounds of DJ International and DJ Deeon, DJ Funk and Boo Williams. ‘They Can Tell’ kicks in with a no-nonsense, foot stomping kick drum as Floorplan chop up the vocal refrain into what becomes the main hook of the track and finally ‘Sun In the Sky’ brings the disco back with yet another string-laden anthem to bring the Floorplan show to a fittingly, uplifting end.

                                                                                                                                                                Death In Vegas


                                                                                                                                                                  “Fantastic album…breathtaking intensity” (Roman Flügel)
                                                                                                                                                                  “Hard yet soft, a pure sex trip” (Jonnie Wilkes, Optimo)
                                                                                                                                                                  “Superb. It's a proper listening experience from start to finish!” (Trevor Jackson)

                                                                                                                                                                  Death in Vegas returns with 'Transmission', the sixth release from the project begun by Richard Fearless nearly two decades ago, and the first new album since 'Trans-Love Energies' in 2011.

                                                                                                                                                                  United over a love of Throbbing Gristle and Chris and Cosey, Fearless partners with artist and writer Sasha Grey, whose lyrics resonate across the soundscape of visceral techno and unsettling, discordant drones, weaving into a state of dreamlike euphoria.

                                                                                                                                                                  Field recordings of the constant drone of air traffic and incessant noise from the steel factory opposite Fearless’ Metal Box studio, as well as the Ballardian landscape in which it’s set, all exert their pull on the record, searching for light in the dark.

                                                                                                                                                                  Quantic Presents Flowering Inferno

                                                                                                                                                                  A Life Worth Living (Featuring U-Roy And Alice Russell)

                                                                                                                                                                    The first tantalising taste of '1000 Watts', the new album from Quantic's Acclaimed Tropical Dub-Infused Flowering Inferno project.

                                                                                                                                                                    With vocals from Jamaican reggae legend U-Roy and long-time Quantic collaborator Alice Russell, this 12" vinyl single boasts the long version of the track (not on the album) with an exclusive Quantic Dub on the B-side, while the download card and digital version of the single also highlight the album version of the song.

                                                                                                                                                                    Laden with positive spirit and hazy tropical heat, the chorus of this single sees renowned soul singer Alice Russell reprising the delicate, Minnie-Riperton-esque vocal style that captivated the world on the Quantic & Alice Russell album 'Look Around The Corner'.

                                                                                                                                                                    Russell's ethereal harmonies play off the charismatic stylings of toaster extraordinaire U-Roy - fondly known as the Originator, for his central role in the evolution of dub music - while Will "Quantic" Holland wraps it all up in a hypnotically catchy horn riff and rootsy, dub-fuelled production.

                                                                                                                                                                    Housed in a Kraft board sleeve with a unique design from Niall McCormack (hitone). Quantic's Tropical Elevation world tour taking place March – May, including a headline slot at The Funk and Soul Weekender alongside Roy Ayers

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