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DMA's

MTV Unplugged Live - WRISTBAND EDITION

    NB: THIS EVENT IS ONLY 18's ONLY, AND IS NOW SOLD OUT.

    STAGE TIME 8PM!!!

    PRE-ORDER THE LP OR CD FOR 1 FREE WRISTBAND FOR AN EXCLUSIVE OUTSTORE GIG AT NIGHT & DAY IN MANCHESTER ON TUESDAY 16TH JULY AT 7PM. THE BAND WILL PERFORM A LIVE ACOUSTIC SET FOLLOWED BY A SIGNING.

    WE ALSO HAVE A LIMITED NUMBER OF WRISTBAND ONLY PURCHASES AVAILABLE. 

    DMA’s are set to release the ‘MTV Unplugged Live’ album. It was recorded at Melbourne’s intimate Memo Music Hall last October, with DMA’s becoming one of the first Australian bands to play the iconic MTV Unplugged session. It’s a format steeped in history following classic sets from Nirvana, Oasis, R.E.M. and many more.

    Renowned for their ragged, anthemic energy often inspired by the Britpop and Manchester scenes, ‘MTV Unplugged Live’ finds DMA’s stripping their songbook back to basics. Focusing on acoustic guitar, piano, violin and cello, these new arrangements unveil fresh new perspectives on the songs. Some now carry a folk vibe, while others hone in on the poignancy of the band’s lyrics.

    “It was the most fun I’ve had in awhile, just rearranging the songs and hearing them in a different light,” says Johnny Took. “To be able to do this is a bit of a dream come true.”

    FORMAT INFORMATION

    Ltd LP Info: + 1 WRISTBAND.

    CD Info: + 1 WRISTBAND.

    Wristband Only Info: IMPORTANT - this gives you access to the outstore gig on Tuesday July 16th ONLY. It does not entitle you to a copy of the album. Max 2 per person.

    New Order

    ∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So It Goes..

      In June 2017, New Order returned to the stage at Manchester’s Old Granada Studios where Joy Division made their television debut on Tony Wilson’s So It Goes programme in 1978. For the celebrated show ∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes .., New Order deconstructed, rethought and rebuilt a wealth of material from throughout their career: familiar and obscure, old and new.

      Featuring tracks such as Disorder, from Joy Divisions Unknown Pleasures and not played live for 30 years, up to 2015’s Plastic from New Order’s critically acclaimed Top 5 album Music Complete - this is the perfect document of those magical 5 nights. The album was recorded live on 13th July 2017 and includes the full show and encore plus 3 additional tracks recorded over the residency to give listeners a full representation of the breadth of material performed. 

      This special series of intimate shows took over Stage 1 of Manchester’s iconic Old Granada Studios for five nights in June 2017. Created in collaboration with visual artist Liam Gillick, who has previously presented solo exhibitions at venues such as Tate Britain and MoMA in New York; and orchestrated by composer-arranger Joe Duddell, a fellow son of Manchester and a frequent collaborator with the band, the live show was performed by the band with a 12-strong synthesiser ensemble from the Royal Northern College of Music. 

      STAFF COMMENTS

      Barry says: Mute present this essential landmark in New Order's lineage with this 2CD / 3LP set from MIF almost exactly 2 years ago. The catalogue is given a renewed and invigorated twist, showing another side to an already venerable set of classic songs. An essential piece for any fans, and another reason New Order retain the status they've held for so long.

      FORMAT INFORMATION

      3xColoured LP Info: Limited Edition Triple album pressed on transparent coloured vinyl housed in a slip-box.
      Vinyl 1: Red Transparent.
      Vinyl 2: Light Green Transparent.
      Vinyl 3: Blue Transparent.
      Packaged in individual sleeves and into a hardback slipcase, all with spot gloss finish.
      24 page 12" sized booklet with silk finish containing exclusive imagery and text relating to the legendary event.
      Includes hi definition digital download of all 18 tracks.

      2xCD Info: Double CD w/ Deluxe Booklet, packaged in triple gatefold sleeve with spot gloss varnish.

      "Hasta El Cielo" is Khruangbin's glorious dub version of their second album "Con Todo El Mundo". The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist. The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won’t find this a surprising release. Dubs of tracks from their first album "The Universe Smiles Upon You" appeared on limited vinyl releases of "People Everywhere" for Record Store Day 2016 and "Zionsville" on the BoogieFuturo remix 12”. The especially eagle-eared will have caught a dub of "Two Fish And An Elephant" playing over the credits of the track’s celebrated video.

      'For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The first dub albums we listened to were records mixed by Scientist featuring the music of the Roots Radics. Laura Lee learned to play bass by listening to "Scientist Wins the World Cup". His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of "Con Todo El Mundo.”' - Khruangbin

      Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; Khruangbin’s sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Their 2015 debut album ‘The Universe Smiles Upon You’ was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. 2018’s follow up ‘Con Todo El Mundo’, which received hugely positive critical reactions and radio play around the world, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran. 


      FORMAT INFORMATION

      Coloured LP Info: LP and 7", both pieces are pressed on individually numbered yellow vinyl and this is an indies exclusive version.

      LP Info: LP and 7".

      Liam Gallagher

      Why Me? Why Not.

        This month has seen Liam Gallagher make a typically full-throttle return. Super intimate sold-out show at Hackney Round Chapel? Biblical. Premiere and release of the long-awaited ‘As It Was’ documentary? Completed. Featured on the cover of Q, who described him as “rock’s finest frontman”? Naturally.

        Liam wrote lead single ‘Shockwave’ with two of the key collaborators behind the all-conquering ‘As You Were’ album: Andrew Wyatt, who won the Academy Award for Best Original Song as co-writer of ‘Shallow’ from the film ‘A Star Is Born’, and the multiple Grammy-winner Greg Kurstin who also produced the track. It was recorded in Los Angeles.

        Liam Gallagher’s debut solo album ‘As You Were’ was a critical and commercial smash. It debuted at #1, out-selling the rest of the Top 10 in the process, and was soon certified Platinum. Liam was back where he belonged, selling out huge outdoor shows and earning major awards from Q, NME and GQ.

        More details regarding ‘Why Me? Why Not.’ will be revealed imminently. “It’s a better record than As You Were,” promises Liam. “Which is saying something, as that was epic, wasn’t it?”


        FORMAT INFORMATION

        Coloured LP Info: Indies exclusive bottle green coloured vinyl housed in a gatefold sleeve.

        LP Info: 140 gram black vinyl housed in a gatefold sleeve.

        Deluxe CD Info: Deluxe CD with 3 bonus tracks (14 in total).

        Thom Yorke

        ANIMA

          Thom Yorke releases his new album ‘ANIMA’.

          ‘ANIMA’ was written by Thom Yorke and produced by Nigel Godrich.

          A ‘one-reeler’, also entitled ‘ANIMA’, will be available exclusively via Netflix, made by Paul Thomas Anderson and set to three tracks from Thom’s new album.

          FORMAT INFORMATION

          2xColoured LP Info: Indies exclusive 140g orange vinyl in a wide-spine single sleeve with an additional 10th track (Ladies & Gentlemen, Thank You for Coming).

          2xColoured LP includes MP3 Download Code.

          2xDeluxe LP Info: A beautiful hardback book containing both the lyrics and many strange drawings done in pencil by Stanley Donwood & Dr Tchock.

          Orange 180 gram double vinyl with an additional 10th track (Ladies & Gentlemen, Thank You for Coming).

          Printed onto Italian Fedrigoni Special Brown material paper and section sewn, the book is made up with an exposed orange cloth spine and orange gilt edging and finished with Bodonian Binding.

          2xDeluxe LP includes MP3 Download Code.

          2xLP Info: Black 140 gram double vinyl in a wide-spine single sleeve with an additional 10th track (Ladies & Gentlemen, Thank You for Coming).

          2xLP includes MP3 Download Code.

          Tycho are the Grammy nominated electronic music project led by Scott Hansen as primary composer, songwriter and producer. Their fifth studio album “Weather” is an exciting progression from their previous output, with most of the new tracks being vocal lead, while still retaining the signature Tycho sound. The sonic shift has been enhanced by the collaboration with exciting new vocalist Saint Sinner, who will be joining the live band following their time in the studio. 

          Tycho have been remixed by the likes of Kaitlyn Aurelia Smith and Bibio and in turn, have done remixes for Little Dragon, Maggie Rogers and ODESZA.  Recommended if you like… Boards of Canada, Bibio, Bonobo, Jon Hopkins, Mark Pritchard, Com Truise, Ulrich Schnauss etc. 


          STAFF COMMENTS

          Barry says: Staying true to the euphoric hazy electronica they've become known for, but adding in a sizeable amount of near-whispered vocal parts brings echoes of classic downtempo and more modern dancefloor moments make this the most varied and rewarding Tycho album to date.

          FORMAT INFORMATION

          Dinked Edition LP Info: Worldwide exclusive pink coloured vinyl.
          Exclusive signed 12 x 12” print and hand-numbered inner print.
          Limited to just 550 copies.

          Indies Exclusive LP Info: 180 gram limited edition clear vinyl exclusive to indie stores.

          Stereolab

          Emperor Tomato Ketchup - Expanded Edition

            Remastered from original tapes.

            Bonus disk of unreleased demos, outtakes and alternate mixes.

            Co-released by band’s own label Duophonic UHF Disks and Warp Records.

            FORMAT INFORMATION

            3xColoured LP Info: Initial vinyl copies numbered and pressed on clear, with scratch card to win an exclusive Stereolab record at end of the year.
            Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet

            3xLP Info: Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet

            Stereolab

            Dots & Loops - Expanded Edition

              Remastered from original tapes.

              Bonus disk of unreleased demos, outtakes and alternate mixes.

              Co-released by band’s own label Duophonic UHF Disks and Warp Records.

              FORMAT INFORMATION

              3xColoured LP Info: Initial vinyl copies numbered and pressed on clear, with scratch card to win an exclusive Stereolab record at end of the year.
              Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet.

              3xLP Info: Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet.

              Gruff Rhys

              Pang!

                The new album from Gruff Rhys, ‘Pang!’ is a Welsh Language pop album with a couple of verses of Zulu and an English title. ‘Pang!’ developed unexpectedly over about 18 months. A solo album of songs by Gruff Rhys, produced & mixed by the South African electronic artist Mmusi, and will be released by Rough Trade Records.

                Recorded in Cardiff, Wales. It was mixed by the producer Muzi in Johannesburg, South Africa. Drums by Welsh-American psychedelic warlord Kliph Scurlock, brass by Gavin Fitzjohn and flute and percussion by the engineer Kris Jenkins. Beats, bass & ah’s by Muzi with Gruff on vocals and guitar.

                Gruff explains “Pang! Is a Welsh language song with an English title. It started life as a folk reel and soon expanded into a ‘list’ song, listing various reasons for pangs; hunger, regret, twitter, pain, bad design etc. Using the English word pang in a Welsh language track may appear weird but I suppose it’s like using the French word ‘Magazine’ in an English song. In that it’s slightly pretentious but completely acceptable.”

                FORMAT INFORMATION

                Coloured LP Info: Green coloured vinyl.

                Coloured LP includes MP3 Download Code.

                Deluxe LP Info: Limited edition indies only deluxe LP (blue & white splatter vinyl, deluxe heavyweight hand-finished sleeve with poster).

                Deluxe LP includes MP3 Download Code.

                Stereolab

                Cobra And Phases Group Play Voltage In The Milky Night - Expanded Edition

                  Remastered from original tapes.

                  Bonus disk of unreleased demos, outtakes and alternate mixes.

                  Co-released by band’s own label Duophonic UHF Disks and Warp Records.

                  FORMAT INFORMATION

                  3xColoured LP Info: Initial vinyl copies numbered and pressed on clear, with scratch card to win an exclusive Stereolab record at end of the year.
                  Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet

                  3xLP Info: Vinyl comes in bespoke gatefold sleeve with download card, housed inside a heavyweight clear PVC wallet

                  This is the debut album by electronic producer BABii, co-produced by Adrian Sherwood (On-U-Sound system). BABii produces incredibly forward thinking electro tinged pop/R&B which features skittering beats and incredibly thick, layered synths with heavy bass with a semi industrial feel to them. The lyrics are dark yet the vocals are sweet. Despite its incredible pop hooks the whole LP drips with an undercurrent of darkness.

                  BABii wowed SXSW this year playing 8 shows in 7 days and being compared to everyone from Grimes to FKA Twigs and while those comparisons give you a jumping off point they also feel lazy as BABii definitely inhabits her own unique world and Death Waltz Originals are very excited to give you your first dive into it.

                  “What sets the BABii project apart – the album, the aesthetic, the sonics and the GLOO community – is the uniform attention to detail; the pursuit for perfection, even when the tools to achieve it aren’t automatically to hand.” Loud & Quiet.

                  “We're swept into BABii's glitzy lair, where the beat is in our bones, the perfectly pitched chimes have infested in our mind, and there's no going back.” The 405.

                  “It's a sumptuously textured slice of electro-pop, with glimmers of pre-Art Angels (pre-Elon) Grimes in its measured introductory notes and fairy-like vocal” Line of Best Fit.

                  “These clandestine sessions yielded a thrilling thing: weaving urban electronica and cool, wafting vocals that veer between sombre and sweet.” Aesthetica Magazin.

                  “Startling, wholly unique electronic pop, her work drifts between art galleries and clubs, shifting context while retaining that vivid voice.” Clash.

                  “Synths dance around snapping, ultra-tight percussion and vocal chops, generating the ultimate beautiful-meets-banger vibe” Nest.



                  STAFF COMMENTS

                  Barry says: A superb mix of future beat aesthetics with the delicate, hazy touch of 90's synthwave and all presented in a style typical of Death Waltz. Soaring in points, and minimalist in others, drenched in saturation and glitchy before dropping into a euphoric, hefty percussive streak. Surprising and completely beautiful.

                  FORMAT INFORMATION

                  Dinked Edition LP Info: • Numbered edition of 450.
                  • 180g clear vinyl with white splatter.
                  • Exclusive Dinked Edition sleeve - Holographic card with white typography and debossed illustration.
                  • Exclusive Dinked sticker sheet.
                  • Exclusive Dinked insert.
                  • Obi strip.
                  • Download card.

                  Jesca Hoop

                  Stonechild

                    A culmination of life and musical experience, uncompromising in its vision, STONECHILD, the new studio album from Jesca Hoop is a self-described “compassion project.” 

                    Released by Memphis Industries, STONECHILD is Hoop refined and defined. Beautiful, subtle and stark, her fifth album, the follow up to 2017’s highly acclaimed ‘Memories Are Now’, is her best yet. 

                    Despite being a long-term resident of Manchester, Hoop, has until now, returned to her native California to record. This time round however, “it was” according to Hoop “time to step out of my comfort zone, my safe place”, venturing south to Bristol to team up with producer John Parish (PJ Harvey, Aldous Harding, This is the Kit). Parish’s minimal and purist approach helped clarify Hoop in her ideas and subtly yet effectively realigning her sound. The simplified arrangements draw focus to the fundamental sophistication of the songs. 

                    While Hoop’s trademark finger-plucked guitar and ethereal textures remain, the songs and their presentation are ever more direct. Parish “was a gentle collaborator until he killed one of my darlings” Hoop jests. “I’ve never been so brutally edited, and I wasn’t shy about expressing my discomfort at the sight of my work on the cutting room floor. He said, you will forgive me, and in some way, I think I actually enjoyed that treatment…being stripped back to the bare basics…albeit painfully”. STONECHILD ventures further into fresh territory with other voices joining the narrative, with Kate Stables (aka This is the Kit) Rozi Plain and Lucius singing the choruses and expanding the sensual depth of the sonic bloom. 

                    STONECHILD, Hoop says, is intended to “wrap its arms around our human planet spinning in its increasingly precarious wobble”. These rich and curious songs derived from themes of our troubled times speak Hoop’s heart and mind from her empathetic yet tough loving centre point. With writing so fluid, so natural the result is an album where everything is truly meant.

                    STAFF COMMENTS

                    Barry says: Gorgeous fingerplucked guitar brings echoes of 60's folk, alt-country and modern brooding indie, all wrapped together with Hoop's delicate, prominent vocal talents. Brilliantly textured but smoothly flowing from one idea to another. A masterclass in restraint and songwriting.

                    FORMAT INFORMATION

                    Dinked Edition LP Info: • Mirror board sleeve.
                    • Signed 12 x 12 lyrical scrawl art print, by Jesca.
                    • White and black 180g marble vinyl.
                    • An exclusive flexidisc featuring non-album song “Waking Andreas”.
                    • Numbered.

                    Dinked Edition LP includes MP3 Download Code.

                    Coloured LP Info: Indies Exclusive Limited Edition White and Black Marble vinyl (180 gram).

                    Coloured LP includes MP3 Download Code.

                    Purple Mountains

                    Purple Mountains

                      “Well I don’t really like talking to myself, but someone’s got to say it, hell...”

                      You know this voice. An old friend has returned. It was some years back that you dropped the needle on the record and heard it say, “No, I don’t really wanna die...” Like so many lines you couldn’t possibly have guessed the finish to, it’s now among the flat natural-born good-timin’ faves that you sing along with in the jukebox inside your head. It’s loaded up there along with at least a couple dozen others from Silver Jews, whose classic run was made somehow finite in 2009, when the voice himself, David Berman, announced his retirement from music. Ten years have come and gone since then. Where the time goes, we do not know. What do they say about old songwriters? We don’t know that one either, okay? We’re not good with jokes – we’re just glad that there’s always more songs to be written and sung. That’s what raised up Purple Mountains for all of us, after all.

                      Yes, Purple Mountains is the new nom-de-rock of David Berman. Purple Mountains is also the name of what will be known as one of his greatest albums – full of double-jointed wit and wisdom, up to the neck in his special recipe of handcrafted country-rock joys and sorrows that sing legendary in cracked and broken hearts. The songs are produced impeccably by Woods’ Jarvis Taveniere and Jeremy Earle, buffed up like a hardwood floor ready to be well-trod upon for an evening of romance and dance. And then…

                      What is 10 years? What are 50? How is everything anything in the eventual blink of eternity? The songs of Purple Mountains are a potent brew, stitched together from lifetimes, knitting the drift of the years with the tightest lyric construction Berman’s ever attempted. Honesty is archly in the air, but lines of incredible bleakness somehow give way to playful distraction and the hiding of surprises for close listeners. Even still, as the songwriter once wrote, “every single thought is like a punch in the face.” It won’t take long after slapping the record on the platter for you to hear that this is one of THOSE albums. There’s breakup records. There’s apocalypse records. Then there’s Purple Mountains.

                      The portrait is David Berman’s most to-the-bone yet, very frankly confessing a near-total collapse from the first moment, then delving into the layers of nuance with twin lazers of personal laceration and professional remove. This etches a picture that cries to be understood in the misbegotten country that made everything great about Purple Mountains. America’s fate is that of its treasured icons: the cowboy, the outlaw, the card sharp and the riverboat gambler, who all face simple resignation in the end. There are no perfect crimes. Berman’s poet-thief of so many precious moments, now stripped and chastened, recalls his latest lowest moments in perfect detail, hovering ghostly above the tumescent production sound as it echoes with tragic majesty and the sound-fragments of former glory, evoking the defeated-king era of late Elvis, soutern-fried and sassy still on his countrypolitan way down, and somehow still solid-gold at the bottom.

                      Berman’s songwriter’s bone’s never been laid more bare, either – if redemption doesn’t come on the lyric sheet, the act of putting these songs into singing, dancing form allows them their finest end – to provide infotainment for others, embodying moments of life and truth via music that elevates with disarming warmth and a reassuring commonality, even as David himself stands outside the communal campfires.

                      Where are you tonight, America? The things that used to be have slipped away into the darkness without you knowing it, and your children are wandering in a blasted landscape, with only Purple Mountains left to comfort them, and David Berman’s shattered fables for company.

                      STAFF COMMENTS

                      Barry says: Emotive Americana-tinged guitar work and jangling rock vibes on this self-titled debut LP from Purple Mountains, with brilliantly written melodic turns and moving, rich tapestries of sound. Beautifully evocative without being sugary-sweet, Purple Mountains is a perfect addition to the hazy summer days and balmy heat of summer.

                      Working Men's Club

                      Teeth

                        Madding crowds may have found their bounce to the beat of ‘Bad Blood’s post-punk groove but Working Men’s Club will defy all expectation with their eagerly anticipated follow-up. Forcing backs off the wall and deeper onto the dancefloor, electric stomper ‘Teeth’ possesses enough bite to set pearly whites on edge and induce a wildly ecstatic feeling that’s anything but comfortable.

                        “It is a metaphor,” teases the band’s singer, guitarist and beat-maker, Sydney Minsky-Sargeant. “It could be about going insane or what you see, what you think you feel inside, a lot of things… put through a drum machine… basically we just want to confuse the fuck out of people, in a good way!”

                        For Syd, alongside fellow Club members Giulia Bonometti, Jake Bogacki, and recently recruited bassist Liam Ogburn, the last 12 months has seen the 4-piece buckle up for a meteoric rise that’s been a hell of a ride. “Signing to Heavenly was a big deal for us,” offers Jake. “We’ve worshiped the label and its bands for a long time so it’s nice to be part of the family. It’s a culture; we’re all running in parallel.”

                        Shows with Fat White Family and a day of packed-out Great Escape appearance have paved the way for the band as they hone their rhythm ahead of Bluedot, Manchester Psychfest, Latitude and Manchester International Festival later this summer, before a tour with Bodega and their first headline tour though October and November.

                        After ‘Bad Blood’ received early support from Steve Lamacq, demand brought about a third repressing of their debut 7”, and it topped the vinyl charts; giving rise to a band subconsciously making us all slaves to the rave. “We do this because we love it.” says Syd. “But it’s not about us, we’re just faces. Working Men’s Club is about the music, the vibe, and that feeling, forcing you to move. Anyone can join.”

                        FORMAT INFORMATION

                        Ltd 7" Info: Limited to 500 copies.

                        Suicide

                        Suicide - Art Of The Album Edition

                          By the Summer of 1969 the US hippie dream lay in tatters but the cultural influence exerted by New York City would echo loudly through the decades that followed and no louder than it did with the incendiary electronic NYC duo, Suicide, who came to notoriety nearly a decade later. If dismissive at first, the music press have gone through something of a dramatic U-turn in more recent years with many mainstream publications now regarding Suicide’s 1977 debut as a stone cold classic.

                          It sits at #39 in Pitchfork’s Top 100 Albums Of The 1970s; it placed at #441 in Rolling Stone’s 500 Greatest Albums Of All Time; and reached #236 in NME’s The 500 Greatest Albums Of All Time.

                          Four decades later, we are only just now counting the positive cost of their influence across genres such as techno, noise, electro clash, goth, synth pop, psych and industrial. However, a sense of their vital impact can be discerned from the number of cover versions of Suicide tracks there are delivered by the likes of Pearl Jam, Bruce Springsteen, Peaches and R.E.M. Elsewhere they have had been praised widely by Nick Cave, Jim Thirlwell and M.I.A. and count Jason Pierce (Spacemen 3/ Spiritualized), Lydia Lunch, Nik Void of Factory Floor and Savages as fans. This Art Of The Album edition of Suicide sees the record remastered and presented in its original form and packaging, with in-depth liner notes covering the context, craft, impact and legacy of the album.

                          FORMAT INFORMATION

                          Ltd LP Info: Deluxe edition celebrating the album as an art form, with in-depth liner notes covering the context, craft, impact and legacy of the album.
                          Plus exclusive 12" sleeve art print.
                          Limited edition red vinyl.

                          King Gizzard & The Lizard Wizard

                          Infest The Rats Nest

                            The planet is in trouble. Dire trouble. But fear not: Melbourne seven-piece King Gizzard & The Lizard Wizard return to save us all, this time armed only with blast beats, an arsenal of well-oiled guitars that are locked and loaded, and a desire to melt faces clean off.

                            Released just six months after the uplifting blues-rock boogie and deep electro explorations of Fishing For Fishes and drawing on the mid/late 1980s golden period of thrash metal - Metallica and Slayer, certainly, but also lesser-cited bands such as Exodus, Kreator and Overkill - Infest The Rats’ Nest sees a wholly unexpected creative detour into new sonic terrain.

                            King Gizzard & The Lizard Wizard aren’t mere dabbling dilletantes either. Their love of this ferocious music runs deep, and was previously explored on 2017’s apocalyptic concept album Murder Of The Universe, hinted at during 2016’s award-winning Nonagon Infinity’s more bludgeoning moments and elsewhere in numerous hardcore psychedelic freak-outs in their back catalogue.

                            “In year 4 there was an older kid who was into Rammstein,” explains Stu of his early discover discovery of metal’s extremities. “I made friends with him and we put together a performance at our school assembly where we headbanged to ‘Du Hast’. I got whiplash, which I thought was pretty cool. That was my introduction to heavy metal, and soon Rammstein led to Metallica, Metallica led to Slayer, Slayer led to Kreator and Sodom. The German bands really kicked my ass and scared the hell out of me too. Later on, when I picked up a guitar I realised that shit was too hard to play, so I got into rock ‘n’ roll and garage. That was liberating.”

                            Infest The Rats’ Nest is the sound of King Gizzard & The Lizard Wizard scratching the thrash metal itch, fully and unequivocally. This is an album dripping with disdain and disgust for a planet consuming itself in a mass act of cannibalism which meets the fears and anxieties of a planet head on; here is a place where uncompromising music meets the concerns of contemporary cli-fi, that emerging movement of writing centred around ecological disaster and its repercussions.

                            After a punishing release and touring schedule of 2017-18, Infest The Rats’ Nest was recorded by a pared-down King Gizzard line-up. The band have always enjoyed a fluid approach to writing and recording and with guitarist Cook Craig and keyboardist/harmonic player Ambrose Kenny-Smith touring with their other band The Murlocs, bassist Lucas Skinner enjoying first-time fatherhood and drummer Eric Moore running the band’s own label Flightless (other bands they have released include Thee Oh Sees, Amyl And The Sniffers and Tropical Fuck Storm), they were down to a three-piece.

                            Infest The Rats’ Nest sees Stu and guitarist Joey Walker share all the guitar and bass parts, with (other drummer) Michael Cavanagh recording all the drums. This small set-up ensures tight arrangements and maximum velocity - and another curveball from this most unpredictable (yet consistent) of bands.

                            Sigur Rós

                            Ágætis Byrjun - A Good Beginning (20th Anniversary Edition)

                              In 1999 the band released Ágætis Byrjun (‘A Good Start’), Q magazine deemed Ágætis Byrjun ‘the last great record of the 20th century’. By the end of the year, it had won the inaugural US Shortlist Prize for Artistic Achievement in Music.

                              This year celebrates the 20th Anniversary of Ágætis Byr-jun, and the band expand their breakthrough album with demo and archive versions of songs from the album, plus never-before-heard newly unearthed material from the time, rare b-sides and the full 95 minute concert played in Reykjavík on the day the record was released.

                              STAFF COMMENTS

                              Barry says: I mean, we all obviously know the original is one of the greatest albums of all time, but who would have thought that there could be this many amazing extra tracks and live material that could make an already stunning package even better. Their live show is indescribable, but this should give you a decent idea of what it's like. Essential purchase.

                              FORMAT INFORMATION

                              2xDeluxe LP Info: Double heavyweight vinyl. As released June 12th 1999 Original album plus download insert of rarities & live album.
                              DOWNLOAD INSERT OVERVIEW: The band expand their breakthrough album with demo and archive versions of all songs on the album, plus never-before-heard newly unearthed material from the time, rare b-sides and the full 95 minute concert played in Reykjavík on the day the record was released in 1999.

                              4xCD Box Set Info: 4 CD discs containing original album, live album and rarities with a soft back book:
                              CD1: Original Album - as released June 12th 1999
                              CD2: Live at Íslenska Óperan (includes previously unreleased tracks)
                              CD3: Live at Íslenska Óperan & Rarities (Live at Íslenska Óperan plus 3 previously unheard and unreleased tracks).
                              CD4: Rarities

                              Stardust

                              Music Sounds Better With You

                              Where to begin? I was 13 when this first came out; and I distinctly remember the music video on MTV - in their space suits: Alan Braxe with his synth, middle its Benjamin Diamond the vocalist and on the right Thomas Bangalter of Daft Punk fame. Anyway, being snotty nosed, punk obsessed teenagers, the track didn't really register on our radars at the time, mainly cos it was on MTV along with 'all that other mainstream nonsense'. Fast forward nearly twenty years and I've hammered the shit outta this, one of the finest moments of 'filter house' (urgh) the world has ever seen. This Chaka Khan sampling beast has been played at 45rpm by DJ Funk, at -6 by Andi Handley and mixed into a variety of end-of-night melee's by Kickin' Pigeon. For me, it epitomizes the Roule sound, along with "Together" (DJ Falcon & Thomas Bangalter) - it's hypnotic, peaktime loops sending hordes of dancers spiraling into the speaker stacks as full on house music mosh pits erupt all over the shop. It deserves a place in every house music lover's home, and is surely crucial for anyone into the history of Daft Punk and French house. I can't actually believe we've never had this in the shop before; make a house a home and bag this aural essential now! 

                              FORMAT INFORMATION

                              Ltd 12" Info: Single-Sided 12 inch with etched B Side, cut and remastered from the original tapes and housed in a new foil sleeve printed on 300gsm card with gold stamping.

                              The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” 

                              “Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”

                              Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’

                              Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.

                              Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:
                              Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.

                              Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

                              STAFF COMMENTS

                              Barry says: Having always epitomised the fuzzy groove-led party vibe, it's no surprise that their latest is the most danceable and head-nodding instalment yet, but here it is. Bluesy, sleazy and heavy but crisp and beautifully presented. Black Keys do it again!

                              FORMAT INFORMATION

                              Coloured LP Info: Limited edition heavyweight 140 gram high-performance coloured vinyl. The colours are a random selection of red, white and blue coloured vinyl.

                              Ltd LP Info: Heavyweight 140 gram high-performance vinyl.

                              Chastity Belt

                              Chastity Belt

                                Chastity Belt talks a lot about intention these days—how to be more present with each other. The four piece—Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)—is nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It’s a space where the euphoria of making music with your best friends is protected from the outside world’s churning expectations. It’s a kind of safe zone for the band to occupy as their best selves: a group of friends who love each other.

                                Their fourth record, Chastity Belt, comes out of that safe space. After a restorative few months on hiatus in 2018, each member worked on solo material or toured with other bands. “So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when were gonna meet up again,” says guitarist Lydia Lund. “It was so important to have that—not saying, ‘we’re gonna get back together at this point,’ but really just open it up so we could get back to our present connection.”

                                Their experience navigating adult life within the strange seasons of the music industry has Chastity Belt orienting themselves towards whatever gets them to feel the most present with each other, in any part of the band grind. With the luxury of spending several weeks in the studio with Jay Som’s Melina Duterte, Chastity Belt was able to experiment. The new self-titled album is the work of the band playing “old songs, and trying new things on top of it,” like adding more dynamic harmonies and violin, says bassist Annie Truscott. Lydia, Gretchen, and Julia all share lead vocals on different tracks on the album. The result is their most sonically developed and nuanced record yet; one that’s not only a product of, but a series of reflections on what it means to take what you need and to understand yourself better.

                                Many of Chastity Belt’s signature dynamics, from the silly to the sincere, have read as feminist gestures: the Cool Slut DGAF-iness, the shrugging off of the “women in rock” press gargle, the fundamentally punk act of creating music on your own as a woman, and being lyrically forthright. What the making of Chastity Belt reveals is that the band has tapped into a deeper tradition of women making art on their terms: the act of self-preservation in favor of the long game. In favor of each other. In this cultural moment, taking space like this to prioritize the love over the product seems progressive. Chastity Belt’s intentions have resulted in an album deeply expressive of four people’s commitment to what they love most: making music with each other.

                                FORMAT INFORMATION

                                Coloured LP Info: 400 copies on UK Light Green Transparent vinyl.

                                Unknown Artist

                                17 Days (Zach Witness Version)

                                Regular customers will remember just how hard we buzzed over the recently uncovered "Piano & A Microphone" demos from our favourite Minneapolian genius, and THE highlight had to be the amazing acoustic rendition of "17 Days", reborn in lo-fi glory as a soulful gospel serenade. Here Zach Witness answers our dancefloor prayers and wraps those chunky piano chords, wild solos and rasping vocals around a solid but nuanced house rhythm, conjuring up a seriously classy dance floor rework which still bumps. Essential tackle for fans of Prince, Theo, Moodymann, having a buzz, good music, etc...
                                Hip-shaking sacrilege of the highest order.


                                FORMAT INFORMATION

                                12" Info: Hand Stamped Purple Vinyl

                                Bon Iver

                                I,i

                                  Recording over a long time at April Base in Wisconsin but finishing at Sonic Ranch in Texas allowed us to feel confident, comfortable, and completely free of distraction. The sense of community around the record grew through honest, generous inspiration within the group of artists involved in the creative process of the record. The thirteen new songs on i,i complete a cycle: from the winter of For Emma, Forever Ago came the frenetic spring of Bon Iver, Bon Iver, and the unhinged summer of 22, A Million. Now, fall arrives early with i,i. 

                                  Working Men's Club

                                  Teeth - Feat. Gabe Gurnsey Remixes

                                    Madding crowds may have found their bounce to the beat of ‘Bad Blood’s post-punk groove but Working Men’s Club will defy all expectation with their eagerly anticipated follow-up. Forcing backs off the wall and deeper onto the dancefloor, electric stomper ‘Teeth’ possesses enough bite to set pearly whites on edge and induce a wildly ecstatic feeling that’s anything but comfortable.

                                    “It is a metaphor,” teases the band’s singer, guitarist and beat-maker, Sydney Minsky-Sargeant. “It could be about going insane or what you see, what you think you feel inside, a lot of things… put through a drum machine… basically we just want to confuse the fuck out of people, in a good way!”

                                    For Syd, alongside fellow Club members Giulia Bonometti, Jake Bogacki, and recently recruited bassist Liam Ogburn, the last 12 months has seen the 4-piece buckle up for a meteoric rise that’s been a hell of a ride; “Signing to Heavenly was a big deal for us,” offers Jake. “We’ve worshiped the label and its bands for a long time so it’s nice to be part of the family. It’s a culture; we’re all running in parallel.”

                                    Like hopping aboard Willy Wonka’s psychedelic boat trip through their own funked-up factory, ‘Teeth’ puts the ‘itch’ into glitch and urges everyone to embrace the rave. Recorded with producer Ross Orton (The Fall, Roots Manuva, M.I.A, Arctic Monkeys) at his Sheffield recording studio, between a brothel and Fat White Family’s base, the vibrations of ‘Teeth’s chatter cut like fork lightning across a fog-filled Hope Valley. As the needle hits the groove, its threatening cowbell and motoric Techno beat buzzsaws Syd’s Mark E mantra, “I see grit in your teeth,” whilst a drum machine and frenetic guitars reinforce the party vibe. “We’re definitely a dance band,” Syd affirms. “If you can make someone move that’s a big thing.” Jake agrees; “When you can convince a person to subconsciously dance without understanding why, it’s a religious feeling and taps into this primal instinct.”

                                    Shapeshifting through the band’s collaborative writing process, ‘Teeth’ offers an epic fusion of the band’s broad repertoire of influences from godfathers of early Techno, Stingray to Thelonious Monk’s jazzy piano riffs - not to mention LCD Soundsystem or Delta 5 bounce. “It works because there’s a conflict of what we each want from it,” Jake tells. “It’s like tectonic plates and that friction causes an earthquake. When we meet in the middle, ‘Teeth’ is what comes out.” Reworked from Syd’s electronic-heavy demo, laid-down at his Todmorden home through synthesizers and drum machine, the track’s climactic shakedown ignites a love of Detroit House, Acid House, Afrobeat and Cuban rhythms from his DJ beginnings and stepdad’s influence. “I’ve always been into Nigerian 70s funk, like William Onyeabor,” Syd tells. “It’s happy, jolly, danceable; I don’t think my own lyrics are that happy - but it’s not just about that. It’s about how great music can make people dance.”

                                    Capturing moments to write, whether walking through woods, splitting crisp packets open at the local pubs around their northern hometowns or between chapters of reading Hunter S. Thompson and Sylvia Plath, Working Men’s Club put the groove first, unafraid to rear the wise heads on their younger shoulders. "We’re brought together by the fact we care about being 100% ourselves,” reveals Giulia. “We sing and talk about what needs to be said, to put it out of our minds and bodies. Music is an outlet, a medium to communicate.” Aspiring to the lyrical greats John Cooper Clarke, Lou Reed, Ian Curtis, Glen Campbell and Townes Van Zandt, the band first bonded over back catalogues rather than passing trends. “You should never deny your influences; you do things your own way,” suggests Syd. As for politics? “Bands like Squid, Black Midi, us, Orielles; we’re taken seriously, but aren’t politically adverse for sake of it,” Jake says. “Essentially, the country’s fucked and not enough of us are talking about it. That doesn’t necessarily mean we’re a political band, but we’re not gonna, not talk about it.”

                                    The Rhythm Method

                                    How Would You Know I Was Lonely?

                                    The Rhythm Method were recently described by The Guardian as 'a Balearic vision of romance as imagined from a parochial nightclub dancefloor'. Formed half a decade ago in a Thameside squat protection scheme intended for professionals but inhabited by the barely-employed, the duo of lyricist/vocalist Joey Bradbury and top-liner/singer-songwriter Rowan Martin turned a summer of FIFA tournaments, cosmic breakdowns and 4pm beers into a series of bizarre, outsider-music iPhone demos that became a Soundcloud, then a band, then a live show and now an album.

                                    "How Would You Know I Was Lonely?" is a journey through the present - a descent into late 20's, late-capitalist mind-funk; 12 stories of near-romances, yellow label dinners, chemical catatonia and lack-of-identity politics. Its influences are strange and diverse, not always entirely credible or tangible; Scritti Politti, Aswad, Irish Pub karaoke, ITV4, YouTube freestyles, Celtic standards, Golborne Road radios and more than a dose of Rod Stewart.

                                    Pocket symphonies such as "Sex and The Suburbs", "Local, Girl" and "Cruel" sound like the Saturday night playlist from a Quantum Leap FM Radio station – ostensibly pop songs, but ones in possession of a rare intelligence, frankness and deep weirdness. The references may be initially esoteric, but the themes are palpably universal. Opener "Salad Cream", referring to a mid 90’s Heinz campaign, is about creating social demand for yourself via scarcity. "Cruel" is pub-karaoke paean to the spectre of addiction. "Single Life" explores the dark, bleak desperation of romantic dejection, set to sleazy noir funk and muted trumpets. Joey Bradbury's verses could be a man on the verge of a nervous breakdown recording the voice notes of his crack-up, whilst Rowan Martin's choruses ask questions you never thought you'd hear in such hummable form.

                                    Fans and supporters have ranged from spiritual forbearers such Mike Skinner (who produced "Cruel", which also features London electronic pop artist Zoee), Squeeze frontman Chris Difford (who lends a knowing baritone to the chorus of Zone 2 opus "Wandsworth Plain"), Elton John and Suggs; contemporaries including The 1975’s Matty Healy (who is responsible for half of the band’s YouTube views), Wolf Alice and Shame; actress and poet Michaela Coel and Denise Welch; highlighting the varied magnetism of the lyrical insight, classic songcraft and inquisitive spirit at the heart of these off-kilter pop tunes.


                                    STAFF COMMENTS

                                    Matt says: Not my usual cup of tea, quirky indie, but the lol'ing genius of some of these lyrics combined with the tongue-in-cheek approach throughout has won me over. Comedy genius + catchy tunes = massive hit for boring afternoons!

                                    FORMAT INFORMATION

                                    Ltd LP Info: Limited to 300 white label units worldwide.

                                    Oh Sees

                                    Face Stabber

                                      Hey there, human kids,
                                      Lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies. Boop, blip ughhh….
                                      People churning like a boiling swamp. Man, this din is nauseating.
                                      The screen flickers for the first time this year with a transmission from two months in the future:
                                      “the internet has deemed guitar music dead and you are free to do whatever the fuck you like ….long live the new flesh!”

                                      This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf.
                                      No songs about money or love are floating in the ether.
                                      Just memories, echoes, foggy blurs
                                      Blip-blop goes the scope
                                      Heavy funk
                                      Dystopia-punk canons
                                      Lonnnnng jams
                                      Bloated solos dribbling down your caved-in chest.
                                      Human cattle like a beef avalanche, right on your burned out face hole.
                                      Spider legs fuzz crawling in your brain.
                                      Lots of curse words for your mom.
                                      You’ve gotten the over-population blues, so let’s have some art for art’s sake.
                                      What else are you gonna do?
                                      Stare at the sky? Please…
                                      50 carbon copies of you look back at you as you walk the streets.
                                      Take a breath, you’re going to need it.
                                      Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough.
                                      There’s no fruit, buddy.
                                      You’re at the bleak-peak.
                                      They will squeeze you till you’re all squeezed out.

                                      For fans of fried prog burn out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings.
                                      If you don’t like it then don’t listen, bub.
                                      Back to the comments section with you!
                                      Easy
                                      Over and out

                                      - John Dwyer.

                                      FORMAT INFORMATION

                                      2xColoured LP Info: Limited edition indies only version.
                                      One LP translucent Red vinyl and one LP translucent Orange and comes with a 24” by 24” folded poster of the cover art.
                                      Poster only available in this edition.

                                      Primal Scream

                                      Velocity Girl

                                        Velocity Girl was originally released in 1986 and quickly become a landmark single for the British indie scene, inspiring the C-86 movement and a generation of guitar bands. For the first ever reissue – it has never been included on any Primal Scream album or compilation – it will be backed by Broken, a brand new song recorded earlier this year. The 7” will be available exclusively to Independent retail stores only.

                                        Tomorrow Syndicate

                                        Citizen Input

                                          The proverbial “eagerly anticipated follow up” to the great and hugely well received “Future Tense” LP from TOMORROW SYNDICATE in 2018. Selling out almost instantaneously and attaining universally rave reviews and a ton of 6music radio plays, it could be argued that the LP represents PY’s biggest “hit” to date.

                                          Barring a couple of smaller pressing 45s, “Citizen Input” represents the bands’ follow up proper and more than lives up to the incredibly high standards “Future Tense” showcased- and in turn builds interest keenly for the second full length in 2020.

                                          “Citizen Input” finds the Glasgow based ‘sci-fi music collective’ breaking free from the confines of their home recording set up. Now with a firmly established, expanded line up, the band set out to capture a more robust, energetic, fully realized live sound with local Italian producer Luigi Pasquini.

                                          The 10” is underpinned by a series of mesmeric Moog grooves and propulsive Dinger-esque motorik beats. Waves of synth-driven turbulence, sampled hypnotic spoken word passages and lucid, often bittersweet melodies aim to transfix and bewilder the listener.

                                          The band cite heavy rotation from the likes of Michael Rother, Beak, Pye Corner Audio, John Carpenter and perhaps surprisingly, The Teardrop Explodes as the EP was in creative stages…..

                                          Clocking in at the maximum 23 minutes allowed for 10” wax, the mini album utilises every waking moment it exists on your turntable!

                                          Dressed in another fabulous Nick Taylor designed sleeve, the EP builds steadily upon the buzz and following that TS are creating for themselves. Live dates in support are being planned, but meanwhile "Citizen Input" is another wonderful release, guaranteed to follow in the path of both label and artists' back catalogue and sell out in super quick fashion….

                                          Musique Pour La Danse pull a blinder here, delivering unrivaled audio bliss via Coil's unreleased soundtrack for the VHS only, pre-internet, sexual education documentary entitled "The Gay Man's Guide To Safer Sex" released in 1992.

                                          Though the group are best known for their gnarly industrial and noisy experimental work, this soundtrack swerved into ambient house, downbeat and acid jazz territories - all pretty Balearic if you ask me. 

                                          According to John Balance the LP "is [a] slightly new agey, progressive house type thing". Another way to approach it is as a delightful collection of balearic beats, smoking jazz not far removed from Badalamenti's work with David Lynch, somewhat of an ambient house album for your home listening and early morning sunrise dances, Coil style.
                                          Taken from the original masters provided by Danny Hyde, "The Gay Man's Guide To Safer Sex" features a new sexy edit of the main theme.
                                          Bonuses "Nasa-Arab" and "Omlagus Garfungiloops" are taken from the 1992 CD only "Stolen And Contaminated Songs", both being original versions of the radically reworked (for the OST) "Nasa-Arab 2" and "Exploding Frogs" in order to balance the whole album and extend the listening pleasure. 


                                          STAFF COMMENTS

                                          Patrick says: According to Balearic dictator Moonboots, everyone's got a Balearic moment tucked away somewhere in their catalogue, and Coil are no exception. Soundtracking a '92 sex ed documentary, the group explored ambient house, trip hop and acid jazz in wonderfully sundrenched and blissed out fashion. Ladies and gentleman, the Balearic sound of Coil...

                                          L'épée

                                          Diabolique

                                            A stellar combination of the talents of The Brian Jonestown Massacre’s Anton Newcombe, cinematic femme fatale Emmanuelle Seigner and ice-cool pop provocateurs The Limiñanas (Lionel and Marie Liminana), L’Epee transcend artistic and traditional borders.

                                            “We are living in very culturally insular times, so it feels really good to be swimming against the tide,” says Anton of the band’s bi-lingual, cross-continental approach.“There’s something really positive about branching out, collaborating and taking risks.”

                                            Far from being defeated by a world seemingly regressing into turmoil, L’ Epee’s strength comes from a long history of challenging the status quo. From Anton’s legendary battles with ‘The Man’ with The Brian Jonestown Massacre to Emmanuelle’s eclectic screen career to The Liminana’s community-minded ethos- setting up their own record shop, L.G.D.C, and promoting gigs by the cream of the world’s garage rock scene ( New Bomb Turks, Oblivians, Fleshtones, Revelators) - they share a fierce intelligence and an outsider aesthetic which, over the decades, has been sharpened to a razor’s edge. Fitting, then, that their name translates as The Sword.
                                            “It came to me in a dream,” explains Anton. “I woke up and there it was, ‘The Sword’. Someone told me there had already been a band with that name so I flipped it into French. It suits the band because we’re united in a common cause.”

                                            This pent-up creative energy has been channelled into their extraordinary debut album, Diabolique. Named in tribute to Mario Bava’s 1968 cult classic ‘Danger: Diabolik’, it’s a musical masterclass where elements of garage, ye-ye, sleaze rock, cult soundtracks, sci-fi, spaghetti westerns and girl-group pop noir are combined with the cut-and-thrust zeal of a band bursting with ideas and energy. All delivered by Emmanuelle in a sultry Gallic drawl which will send a frisson of recognition through anyone familiar with her iconic roles in, among many others, Frantic, Venus In Fur and Bitter Moon (all directed by her husband, Roman Polanski). “I’ve loved rock music since I was a kid,” she says, namechecking Lou Reed, The Velvet Underground and The Stooges as key influences. “I always wanted to be a musician, but it wasn’t so easy in France as I couldn’t meet the right people. Then I became a model and then very quickly after that I did Frantic and became an actress. It worked for me, but in my heart I always wanted to do music.”

                                            Having asked close friend Bertrand Belin to provide lyrics for three further tracks (‘Grande', ‘On Dansait Avec Elle’ and ‘Lou’), the trio set to work at The Limiñanas’ studio in Cabestany, Southern France, in November 2017 -with Emmanuelle, ever the perfectionist, fine-tuning them the following February. Satisfied with the results, the trio flew to Berlin to hook up with Anton and (Liverpudlian engineer) Andrea Wright at his Cobra Studio in Berlin Utilising a treasure trove of vintage equipment (“I’ve got way more ‘60’s gear than The Beatles and The Stones had, I’m mad for that stuff”, explains the BJM man), Anton set to work, re-recording the drums with Marie and adding -and deleting- tracks so that the shifting layers of sound suited the mood of each individual track. “I’ve got plenty of other ways to express myself, so I really enjoyed taking a backseat, creatively,” he explains. “Lionel is such a great composer. There’s a very visual sense to his songs and I was very conscious of not stepping on his intentions too much. There were some really interesting sonic things I would add, like a track of the craziest feedback, to give a song a weird ambient quality. It’s the role that Brian Jones had in the Stones, or Warren (Ellis) has in Nick Cave’s band. Musically, they’re all over the map, but they make things happen.” “It was so inspiring to see Anton work,” says Emmanuelle of seeing him in action. “When we sent the songs to him they were good, but they were nothing like how it ended up. He’s so talented, like a genius. He made the whole thing darker, more interesting and more psychedelic.”

                                            FORMAT INFORMATION

                                            Vinyl comes with CD version of the album enclosed.

                                            Big Joanie

                                            Sistahs

                                              The Daydream Library Series of records and tapes is the independent house label of Thurston Moore (Sonic Youth) and Eva Prinz’s publishing imprint Ecstatic Peace Library (www.ecstaticpeacelibrary.net) The Daydream Series was established in 2018 to provide a label for emerging musicians, both local and international. 

                                              ‘Sistahs’ is an optimistic album about friendship, melancholic memories, and the belief in a modern future. Eva & Thurston discovered Big Joanie playing live supporting The Ex in Islington (London) earlier this spring and ran to the merch table to discover the band didn’t have a record with all the songs that had just mesmerized the audience.

                                              BIG JOANIE are Stephanie Phillips (singer/guitarist), Estella Adeyeri (bass) and Chardine Taylor-Stone (drums). The band formed in 2013 and released their first EP ‘Sistah Punk’ in 2014 and the single ‘Crooked Room’ in 2016. As part of London’s thriving DIY punk scene BIG JOANIE have played with locals Shopping; toured with US punks Downtown Boys; and Dutch Punk band The Ex; and performed at the first UK Afropunk festival. Inspired by The Ronettes, Nirvana, Breeders and Jesus and Mary Chain, Big Joanie have described themselves as being “similar to The Ronettes filtered through ’80s DIY and Riot Grrrl with a sprinkling of dashikis.” Big Joanie recorded ‘SISTAHS’ over several sessions from November 2017 to January 2018 at Hermitage Works Studio with producer Margo Broom. The album title derives from the band’s belief in sisterhood and female friendship. One of the main reasons for coming together was to create an atmosphere to be “completely ourselves as black women and discover what was possible to realise in those spaces.” The album cover features Steph’s mum Joan, whom the band is named after, and her aunt on holiday in Wales. Outside of the band all three members are involved in communitarian activities whether running the festival for punks of colour Decolonise Fest, volunteering at Girls Rock Camp, or leading the Stop Rainbow Racism campaign which works to stop racist performances in LGBT venues. SISTAHS 

                                              FORMAT INFORMATION

                                              Coloured LP Info: Transparent purple coloured vinyl.

                                              The Cramps

                                              Real Men's Guts Versus The Smell Of Female Vol. 1

                                                This originally came out 4-5 years ago as a very limited pressing on Black vinyl with only a few 100 copies available.
                                                This highly saught after LP is considered to be one of the better unofficial releases as the sound quality is almost perfect (from the sound board). Great sleeve and an essential part of any Cramps collection.

                                                Good luck as this will be gone fast.

                                                FORMAT INFORMATION

                                                Ltd LP Info: Ltd pressing of 300 copies on Red & Black splatter vinyl.

                                                Kate Tempest

                                                The Book Of Traps And Lessons

                                                Kate Tempest's third studio album, "The Book of Traps and Lessons". The highly anticipated album was crafted with Rick Rubin and Dan Carey over the course of the past five years. It follows Tempest’s previous releases, 2014’s "Everybody Down" and 2017’s "Let Them Eat Chaos", both of which were shortlisted for Mercury Prize in 2014 and 2017, respectively. Last year, Kate Tempest was nominated at The BRIT Awards for Best Female Solo Performer.

                                                A handful of words often tell you everything you need to know. When asked, who is Kate Tempest? She gives a brief, albeit telling answer. “Kate Tempest is the words,” she responds. You haven’t ever seen, heard, or experienced anyone quite like her. Tempest uncovers the missing link between the Golden Ages of literature and hip-hop. The London-born BRIT Award-nominated spoken word artist, rapper, poet, novelist, and playwright rhymes with a century-turning fury. Since her emergence in 2011, she has redefined what it means to be a wordsmith in the Modern Age. To date, she has published three poetry collections, staged three plays, and released two studio albums. Along the way, she entranced audiences on The Tonight Show Starring Jimmy Fallon, NPR’s “Tiny Desk,” and more. Not to mention, she garnered widespread critical acclaim from The New York Times, The New Yorker, Forbes, and more, to name a few. In the midst of this whirlwind journey, she performed a passage of her popular 75-minute narrative poem, Brand New Ancients, on Charlie Rose. Legendary producer and American Recordings Founder Rick Rubin caught the show, tracked down her phone number, and made a call.

                                                FORMAT INFORMATION

                                                Ltd LP Info: Single sleeve, wide spine, 16 page booklet.

                                                Deluxe CD Info: Hardback, 32 page booklet, bespoke finish.

                                                CD Info: Mintpack and 16 page booklet.

                                                After immersive and emotive contributions from Jan Schulte and Moonboots, Music For Dreams' collectors series continues to delight with this playful and profound selection from Growing Bin curator Basso.

                                                A longtime friend of the legendary Copenhagen label, Basso is a 5th dan black belt in the ancient art of digging, a fearless selector and adroit editor who knows more about records than anyone you know. On its journey from blog to shop to label, the Growing Bin has become the perfect embodiment of its creator - smarter than the average bear, eagle-eared and very very funny - the kind of cat who's just as comfortable serving cocktails by the pool as taking an esoteric road-trip. So sit back, let the falanghina chill and load up on sonic sunscreen.

                                                Armed with birdsong, backbeat and Spanish guitar, Hans Hasse says hello via the sumptuous Austrian Balea-rock of 'Welche Farbe Hat Der Wind', an AOR albatross which soars high above the cliff tops, chills on the jet-stream then dives deep into scat silliness. This impactful opener gives way to cucumber cool 'The Dawn', a forgotten jazz break from stoner heroes DJ Food built entirely from tender tabla, horizontal synthlines and positive energy - strictly high grade folks...

                                                How do you follow such a downbeat delight? With something from Golden Pudel resident and acid-techno warlock RVDS of course! But before you raid your medicine cabinet, remember that beauty can be found everywhere, and nestled away in Richard von der Schulenburg's 2016 outing "Shadows" was ketamine bossa lullaby 'Minuet de Vampire'. As the clean bass tones and simple rhythm stroll through the shadows, a haunting harp line tugs at your heartstrings, pulling you into the light and holding you tight. The harp-healing continues on Horizont's 'Light Of Darkness', an esoteric odyssey with the greatest key change you'll ever hear, and a dreamy segue into Xiame's sedate jazz-pop pearl 'Nosso Destino'.

                                                Basso brings the first disc to a close with an all time Growing Bin favourite, Mico Layczak. Here the NDW queen is in more restrained mode, conjuring an avant pop paradise with the atmospheric 'Im Garten' - a dead cert for any fans of MFD alumni 55 Canri E.

                                                At the top of the C-side, Massimo Stella's 'C'è Una Donna Sola' explores another Growing Bin speciality - acceptable fusion. This sweet Mediterranean shuffler makes a delightful defence of jazz's most maligned sub-genre before the esoteric, organic and new age flavours intensify on Trimolo's 'Tempo 100', a subtle groover topped by breezy flute and clipped guitar licks. Moving from woodland to wave, Basso introduces a man who definitely wore his sunglasses at night, unsung synth popper Diedel. Eerie and emotional, 'Wo Seid Ihr' is the sound of Don Johnson driving that white Spyder down the autobahn at night.

                                                Taking a turn towards the dance floor, Basso serves up Mikey D's 'I Need You', an exceptionally rare German streetsoul bomb in dubform, complete with sampled vox and high school prom vocals before flexing his scalpel skills via an expert extension of German rockers' Wolfsmond's groovy 'Fühl Dich Frei', a serious secret weapon for any Balearic DJ.

                                                The tempo drops to a cinematic stroll with Ghia's 'You Won't Sleep On My Pillow', a sweet synth pop serenade which cuts straight to the heart of the break up, keeps its cool and soundtracks your slow dance at the end of the night. And to finish, how about the most moving electronic jam ever, Jean-Philippe Rykiel's "Fair Light", a shimmering, shining jazz-rock opus played entirely on synth.

                                                So there you have it, a selection of rare cuts, Plattenrille discoveries, organic excursions and electric lullabies, all perfectly at home in the Growing Bin. Whether you're coping some rays, watering the plants or tackling the tax return, 'Proper Sunburn' will ensure you keep your cool and stay smiling. Copenhagen's Music For Dreams has done it again with this release for the proper conneseurs.


                                                STAFF COMMENTS

                                                Patrick says: Deep digger, super selector and Growing Bin man Basso follows Jan Schulte and Moonboots with the latest Music For Dreams selection. As you'd expect from the Hamburg man, we get German AOR, woodland ambience, summery synth pop and jazz funk delight - all of which sound deeply Balearic to me. We've hammered our promo copy on the shop stereo for months, and you can finally join the club!

                                                Various Artists

                                                Soul Jazz Records Presents ‘Keith Haring: The World Of Keith Haring’

                                                Soul Jazz Records release this stunning new collection featuring music influential to the artist Keith Haring.

                                                The art of Keith Haring is today one of the most recognisable of any visual artists of his generation, defining 1980s New York during an intense period when downtown artists and musicians collaborated like never before. Haring’s musical inspiration took in the punk/dance downtown sounds of clubs like The Mudd Club, underground disco at Larry Levan’s Paradise Garage, as well the early days of hip hop and electro.

                                                The album is released to coincide with the opening of the first major exhibition in the UK of Keith Haring’s work at Tate Liverpool, which runs for the next six months.

                                                Haring’s many friends included Jean-Michel Basquiat, Andy Warhol, Madonna, Fab Five Freddy, William Burroughs, Jenny Holzer, Yoko Ono, Grace Jones, Larry Levan, Futura 2000.

                                                The music here includes the work of a number of Haring’s close friends, including Jean-Michel Basquiat, Yoko Ono, Larry Levan, John Sex and George Condo (The Girls), as well as healthy dose of rare disco, early electro and New York punk/dance tracks.

                                                STAFF COMMENTS

                                                Barry says: Where a lot of Soul Jazz comps focus on a genre, or a precursor of that genre, Haring's affiliacted acts read like a who's who of forward thinking New Yorks underground art-rock, electro and burgeoning hip-hop scene. It's a brilliantly varied but cohesive snapshot of the 80's in music and art. Essential.

                                                FORMAT INFORMATION

                                                3xIndies Exclusive LP Info: Indies exclusive edition includes a bonus 7".

                                                2xCD Info: Double CD and 48-page book.

                                                Frightened Rabbit

                                                Tiny Changes: A Celebration Of The Midnight Organ Fight

                                                  Context to ‘Tiny Changes: A celebration of the Midnight Organ Fight’:

                                                  Before Scott died, an idea was formed to celebrate 10 years of their seminal album The Midnight Organ Fight by asking some of their talented buds in music to take a crack at their own versions of a song on the album. The whole album was recorded and was due to be released last summer, but then unfortunately Scott passed away last May.

                                                  The band have decided they still want to release the record as a testament to the album, and to Scott. It’s going to be released on 12th July via Atlantic, and the band are going to be very much behind the release

                                                  History of the band:

                                                  Frightened Rabbit are a Scottish indie rock band from Selkirk, formed in 2003. Initially a solo project for vocalist and guitarist Scott Hutchison, the line-up currently consists of Grant Hutchison (drums), Billy Kennedy (guitar, bass), Andy Monaghan (guitar, keyboards), and Simon Liddell (guitar). From 2004 the band were based in Glasgow.

                                                  Frightened Rabbit's first studio album, Sing the Greys, was recorded as a duo by the Hutchison brothers, and released on independent label Hits the Fan in 2006. The band subsequently signed to Fat Cat Records, in 2007, and became a three-piece with the addition of guitarist Billy Kennedy for its second studio album, The Midnight Organ Fight (2008). The album was released to strongly positive reviews and extensive touring, with guitarist and keyboardist Andy Monaghan joining the band to flesh-out its live performances.

                                                  The band's third studio album, The Winter of Mixed Drinks, was released in 2010, with former Make Model guitarist Gordon Skene joining the band for its accompanying tour. Frightened Rabbit signed to Atlantic Records later that year, and issued two EPs, A Frightened Rabbit EP (2011) and State Hospital (EP) (2012), before the release of its fourth studio album, Pedestrian Verse in 2013. A critical and commercial success in the UK, the album peaked at number nine on the UK Albums Chart, with additional guitarist Simon Liddell joining the band on its subsequent tour.

                                                  Disillusioned from touring, Hutchison, Monaghan, and Liddell recorded a studio album without the band, entitled Owl John (2014). Gordon Skene departed from the band in early 2014, and the band recorded Painting of a Panic Attack the following year with producer Aaron Dessner (The National), in New York, with Liddell joining the band as a full contributing member.

                                                  Scott Hutchison died in May 2018 after going missing. In December 2018, the remaining members of the band played together for the first time since Hutchison's death, at a charity gig in Glasgow.


                                                  STAFF COMMENTS

                                                  Barry says: There is no better a dedication to a hugely talented songwriter and superb band than a variety of artists covering your songs and retaining all of the appeal they held in the first place. From huge, folk crescendos and punky drive to gently electronic shimmerers and gently throbbing ambience, this has everything, and goes to show how timeless Scott Hutchison's writing is. Gorgeous.

                                                  FORMAT INFORMATION

                                                  2xLtd LP Info: Heavyweight double vinyl.

                                                  Floating Points

                                                  LesAlpx / Coorabell

                                                  Floating Points drops his first new track since 2017 in the form of "LesAlpx" - with Sam's genre-defining grooves laced through the tracks electronic core. A driving peak time track, it's destined for the bigger playrooms of the dance scene and coupled with its urgent energy, should be on constant rotation during the heady months ahead.

                                                  Built around a constantly evolving synth stab which, for some, may recall an aggressive manifestation of Carl Craig, it's not long before FP's idiosyncratic, skittish beats come flailing through, locking us into their garage-indebted, shoulder-dropped rhythm instantly. A cleverly formulated, attention grabbing micro-breakdown almost exactly halfway through the side ensures any lost in the fog will get dragged back to Earth, for a few moments at least, until the final furlong blasts us right back into the stratosphere. It's a huge track, make no mistake, but then did you expect anything less?

                                                  "Coorabell" on the flip, is equally urgent, with a technoid bleep melody that hints at Axes-era Jeff Mills (!!). Strung out keys and Detroitian synth flurries make this another one destined for the main rooms and peak hours... Has Floating Points done it again? I'm pleased to say unequivocally - YES! As essential as any of those early EPs many moons ago and a 110% sterling addition to this legendary producer's catalogue. You need. 


                                                  STAFF COMMENTS

                                                  Matt says: Big big big release from our man Sam who's been squirreled away in the studio working on his New Sound. Biting harder than ever on those Void horns, both tracks here are mastered for the club - and will surely devastate any system it's played across. He's always had the musical prowess, but it seems FP's delving deep into frequency response and pre-mastering greatness here (much like Moritz and Carl Craig did...) - the results are incredible!

                                                  A Certain Ratio

                                                  Dirty Boy / Shack Up (Remixed)

                                                    2019 sees A Certain Ratio celebrate 40 years since the release of their debut single, the first single artist release on the legendary Factory Records. The band have been touring the UK throughout the year and add festivals and European dates to the mix later this year.

                                                    EP Includes 2 brand new mixes of Dirty Boy.

                                                    The Chris Massey mix (featuring vocals from Barry Adamson) has already been causing a stir on the club scene, with MixMag rating it 8/10.

                                                    The Shack Up remixes are by Electronic (Bernard Sumner and Johnny Marr) and have been unavailable since original release in the 1990s

                                                    FORMAT INFORMATION

                                                    Ltd 12" Info: Limited to 500 copies only on dual coloured vinyl – individually numbered

                                                    Black Midi

                                                    Schlagenheim

                                                    black midi -- Georgie Greep (vocals/guitar), Matt Kwasniewski-Kelvin (vocals/guitar), Cameron Picton (vocals/bass), and Morgan Simpson (drums) -- have a dynamic energy, playing as a musical unit that’s constantly in a state of flux and development.

                                                    Schlagenheim was recorded with Speedy Wunderground producer Dan Carey, who the band praises for his quick, unfussy approach. black midi laid down eight of the record’s nine tracks in just five days. The process was one of refining and rebuilding tracks around the initial structures. Five hour jams would sometimes yield a riff that then became a few bars of a song. As anyone who’s been lucky enough to catch black midi live over recent months will testify, black midi’s songs are slippery creatures.

                                                    STAFF COMMENTS

                                                    Barry says: Much like the fervour that accompanied Battles' 2007 outing 'Mirrored', Black Midi have managed to make an indefinable and thrilling collection of angular post-punk, avant math-rock and percussive glitch without so much as a glance into their stylistic forebears. Singular in artistic scope and as forward thinking as they come, they are sure to have a loyal and enthusiastic following through their use of unexpected rhythms and off-piste stylistic flair.

                                                    FORMAT INFORMATION

                                                    LP Info: LP is pressed onto 180 gram vinyl and housed in a gatefold sleeve. Includes a download code.

                                                    CD Info: CD includes fold out poster of the colour collage and lyrics.

                                                    'Help Us Stranger' is The Raconteurs' third studio LP and first new album in more than a decade. It sees the mighty combo reassembled, stronger and perhaps even more vital than ever before as they continue to push rock 'n' roll forward into its future, bonding prodigious riffs, blues power, sinewy psychedelia, Detroit funk, and Nashville soul via Benson and White’s uncompromising songcraft and the band’s steadfast musical muscle. With 'Help Us Stranger' The Raconteurs have returned right when they are needed most, unified and invigorated with boundless ambition, infinite energy and a collectivist spirit operating at the peak of its considerable powers, once again creating a sound and fury only possible when all four of its members come together.

                                                    White and Benson wrote all the songs on 'Help Us Stranger' except one cover, “Hey Gyp (Dig The Slowness),” which was written by Donovan. Recorded at Third Man Studio in Nashville, TN, the album was produced by The Raconteurs and engineered by Joshua V. Smith. Longtime friends and musical collaborators helped make 'Help Us Stranger', including keyboardist/multi-instrumentalist Dean Fertita (The Dead Weather, Queens of the Stone Age) and Lillie Mae Rische and her sister Scarlett Rische. The album was mixed by Vance Powell and The Raconteurs at Blackbird Studios in Nashville.


                                                    STAFF COMMENTS

                                                    Mine says: After focusing on his solo career and his label Third Man Records, Jack White is reuniting with his Raconteurs for their first studio album since 2008. They pick up where they left off (ish) and, taking it up a notch, create an album that feels more energetic than its predecessors. Fans of Jack White's latest solo album will probably dig this.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Indies only white vinyl version with alternate cover and hand-screen-printed sleeve.

                                                    Mort Garson

                                                    Mother Earth's Plantasia - Reissue

                                                    In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

                                                    Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

                                                    Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

                                                    But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.

                                                    The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

                                                    “My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

                                                    Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

                                                    Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’s new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.


                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Green vinyl.


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