Afshin (Djoon, Paris) and Kiss My Black Jazz make their Gamm debut with two party-starting reworks. "Trouble In My Way" is so unequivocally suited to the Gamm blueprint Afshin were no-doubt signed before their bums touched the floor of the A&R office. It's a hand-clappin' gospel house cut up with that undeniably house shuffle n swing with driving rhythms and killer organ solos - proper incendiary stuff for the daytime dances.

"The Riot" is a more tradition jazz-funk offering; bustling, funky and driving by a careering organ solo that drives the pieces like a bull in china shop, with just the tight-ass guitar chops keeping the whole thing from driving out of control.


Matt says: Love Gamm me. Can always been relied upon provide wide smiles and plenty of bump. The one hundred and twenthy seventh (!!!) release on the label proves no exception as gospel house and jazz-funk styles are tweaked by Afshin and Black Jazz for maximum booty bashing pleasure.

Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. While other albums - Rikki Ililonga’s Zambia, WITCH’s Lazy Bones!! - are competitors, it’s hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed.“ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu.

Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue

Angelic Milk

Divine Biker Love

    Angelic milk, the Saint Petersburg based project from Sarah Persephona, is back with their long-awaited debut album Divine Biker Love. After a few Bandcamp-only releases angelic milk signed with PNKSLM Recordings in 2015 for the release of the IDK How single, which immediately brought them the attention of the likes of Stereogum, SPIN, KEXP, BrooklynVegan and many more. Their first studio recordings, the Teenage Movie Soundtrack EP, arrived the following summer to continued acclaim, before the band retreated to the studio to work on the debut album. Two years later the band emerged with Divine Biker Love, a distinct collection of songs where Persephona’s grunge pop sensibilities meets influences from shoegaze and dream pop, as well as hard rock - a collection of songs that couldn’t have been made by any other band.

    Aphrodite's Child


      Aphrodite’s Child last album 666 is a masterpiece and their most critically acclaimed album. It took more than a year to finish, and by the time it was released, in 1972, the band had already split up. The psychedelic atmosphere of their early work in combination with their search through new music territories are done well. This true classic became recognized as one of the most important efforts in early progressive rock. The three band members showing their variety and the little twists they putted in the songs. Greek influences playing an important role in the long jams and greater use of electronic keyboards, studio experimentation and expanded instrumentation.

      666 is an odyssey through the realms of progressive music and one where all their talents ultimately blended together.


      2xColoured LP Info: Red coloured vinyl

      After a remix-centred debut, Tremors’ second vinyl release presents three killer techno & electro cuts from Glasgow producer Arctor. Heaving with rich synths and low-end drive, the title track promises instant dancefloor chemistry under the influence of bleeps and an addictive vocoder hook. Also on the A-side, "Kushelov Effect" laces glitchy breaks with even glitchier melodies, bolstered by the odd bass well, this is that cybernetic b-boy shit just the way we like it! Meanwhile on the flip we have a juddering stepping bassline locking down vocals and touches of acid for a full-throttle, arms-aloft mainroomer that oozes stlye and sophistication.

      Definitely one for the nightclub battalion - take cover at your nearest rave bunker immediately!

      The self titled album Bardo Pond is the first new release from Philadelphia's psychedelic rock unit to be released on Fire.

      'The first time I saw Bardo Pond, I was, as probably most people are when they first encounter this batch of beatific weirdos, horribly unprepared. To describe the experience as "psychedelic" is an understatement on the order of saying that whacking oneself in the nuts with a ball-peen hammer is "mildly irritating." Needless to say, priorities were rearranged, etc.

      Fast-forward 15 yrs, and Bardo Pond have put out many LPs, most of them named after hallucinogens that make you throw up all night and see things - which was kind of them, I always thought. Let ya know what you were in for. All of this recorded output is pretty staggering to me, because, without exception, they seemed able to toss a lasso around some sort of ineffable hoodoo that felt like it was a million yrs old. If Carl Sagan would have 1.) smoked a little more weed and 2.) not croaked, I'm hoping he would have cut a BP track onto that gold LP that they put on the Voyager units. Would've been a way better representation of the best parts of the human spirit than Chuck Berry, I say.

      Anyhoo. One night not long ago in the Bardo Compound in Philly, Michael says in a kinda offhanded way, "Hey man, you wanna hear this? ..." And there I was, being bathed in the songs you've got in yr grubby little mitts right now.

      I was, once again, unprepared.

      This cauldron is a bit of a different brew. It made total sense to me (as it will to you) when he later told me the name of the LP is just "Bardo Pond." Why? It's a distillation. Two decades of playing together have sandblasted away everything unessential and left us with what we have here. It was like no one else before them had ever gotten near the plagal cadence, not Lou Reed or the Stooges or 2,000 yrs of church music. They invented it all over again, independent of any of that, after gawd knows how many yrs of flailing away and burning themselves up.

      I fucking love these songs. And while I hate writing almost as much as I hate third-degree burns, I have to say it is a joy to be able to tell you about this record. I feel like Neil Fucking Armstrong.

      It took years for them to get here, but this record is the most goddamned beautiful thing they've ever done. Sorry for the superlatives. But really, the only thing left for them to do at this point is explode'. - Fire Records.

      John Gibbons: Guitars
      Michael Gibbons: Guitars
      Isobel Sollenberger: Voice, flute
      Clint Takeda: Bass, next-level comedy
      Aaron Igler: Electronics
      Jason Kourkounis: Drums

      Jeremiah Misfeldt: Farfisa
      Dan Baltzer: Harp

      A regular at Cocktail d'Amore, Bell Towers is a Berlin-based Australian producer best known for his long-lasting collaboration with Munich's Public Possession. Next to that, a number of projects under different monikers - namely Rim Boys, an evolving b2b with Andras. "I'm Moving To Berlin" is his first EP for Cocktail d'Amore Music. It's a sparkling celebration of the party; its influence on the city and on the producer's life tangents. "It's too late now / There's no turning back / I gave it all for Cocktail d'Amor..." Rohan confesses, while a hybrid EBM-synth pop sonic adventure unfolds. What happens next is presented in "Sexual Intruder Alert" and "Approach and Identify". The first comes through as a quirky multidimensional future-disco tale, while the second plunges deep into the cosmic hole with punchy percussions and an euphoric groove pattern.


      Patrick says: Aussie ex-pat Bell Towers pays homage to Berlin's best party here, with the frisky post disco meets EBM camp of "I'm Moving To Berlin". Comes complete with sirens, synth vamps and Pet Shop Boys references. "Sexual Intruder Alert" is deeper and darker, joining the dots between Basic Channel, leather bound EDM and the many limbed GHB melting pot. Finally "Approach & Identify" flips the themes into a retro-futurist post minimal romp for 21st dancers.

      Danny Bensi And Saunder Jurriaans

      Autopsy Of Jane Doe

        If you haven’t seen the AUTOPSY OF JANE DOE please rectify that immediately, it’s available on Blu-ray from our good friends at Shout Factory. It’s a genuinely chilling tale of a father and son mortuary team who get a body delivered that is unlike any they have ever examined - an unidentified female 'Jane Doe'. As they begin to perform the autopsy in the dead of night, they begin to uncover the story of the corpse and slow creeping dread turns to all out horror masterfully directed by André Øvredal this is essential viewing for any horror fan.

        The score by Danny Bensi and Saunder Jurriaans is tense, brooding and a genuinely scary listen (not recommended for late nights if you want to sleep)! It’s pitch perfect in creating mood and atmosphere one minute and letting loose into complete madness the next. The package was designed by Jay Shaw and we wanted to really give you a sense of the movie when you open it. The retail edition of 200 copies is pressed on clear and pink smoke vinyl swirling round Jane Doe’s heart and is housed in a triple foldout gatefold that requires you to perform some surgery to get to the vinyl. The whole package is rounded out in a body bag!


        Coloured LP Info: Retail edition of 200 copies pressed on clear and pink smoke vinyl.



          Bewitcher is a Satanic speed metal band from Portland, Oregon. Here is their manifesto: “Rock ’n’ roll is the devil’s music, and heavy metal is it’s bastard child. In the 1980s, the radical fundamentalist Christian right-wing in America waged a war against this music, bringing it’s practitioners and it’s unholy muse to the forefront of the public consciousness. Over a quarter-century later, the devil’s rock ’n’ roll is still alive and well, but the war is far from over. And so it came to pass...

          “In the year of Thirteen of Satan’s third millennium, a new force rises to defend the ways of old. Bewitcher is the ancient black flame of magic, mayhem, freedom and liberation, burning in blatant opposition to the laughable norms of this modern age . Instead they look to that bygone era, before it’s pollution by imitators of a lesser intention, when heavy metal in all it’s glory truly represented the tenets it was founded upon .

          “May your children be corrupted, may your foundations be shaken, may your mundane existences be forever altered, for this spell cannot be broken. Fall and obey! And beware the curse of the Bewitcher!” “Throw a dart at the track list and come up with a winner no matter where the needle lands. As perfect a summoning of hellish rock ’n’ roll traditions as you’re likely to come across in 2016.”

          Physically and mentally draining in the best way possible, "Wet Will Always Dry" is maybe the most complete statement from Blawan to date, and as such should be ignored at your peril. This becomes evident from the album-opening “Klade,” a dizzying, tumbling flight of pure energy over overlapping fields of electrified menace. This sets the stage for “Careless,” which retains the hazardous, crackling atmosphere but dials back the intensity just enough to make room for a new feature, Blawan’s eerie and disembodied vocals.

          “Tasser” ratchets up the tempo and the frenetic energy yet more, slinging chunks of audio shrapnel and grinding factory noise over the kick-heavy beat, only letting up the tension every now and then for a convulsive breakdown. By the arrival of “Vented,” a more steady, cycling groove has set in along with the accompaniment of suspenseful melodic swells, but the element of surprise is far from gone: there still seem to be spectral entities lurking around every corner, and there’s no shortage of intriguing tumbril weirdness blowing around the imaginary streets that this track conjures up.

          The slamming “North” keeps alive the record’s persistent, darkly humorous feeling that things are about to go off the rails at any moment, using wildly contorted sequences and granular debris to shift between total abandon and regimented strictness. A moment of relative calmness, along with the return of the atmospheric vocals, comes about with “Stell,” a faintly dubby track that leaves an impression like watching streams of traffic progress underneath rolling, deep grey clouds.

          “Kalosi” brings back the percussive motif of “Tasser” and “North,” this time partnering it with loops that bring to mind radioactive bass strings. “Nims” then shuts things down with infectious harp-like sequences, fuzz-shrouded percussion and an ‘everything but the kitchen sink’ mentality towards filtering and processes which will get the attention of all but the most jaded soundhead.


          Matt says: Been waiting an eternity for this to come back in stock! Arresting, damaging, attitude-ridden techno from the one of the new school masters. I heart this!

          Not content with a red hot re-ish of Radiance's boogie bomb "You're My Number One", Best Records rock our spot with another reissue this week - and it's effin' massive. Originally released in 1983, and attributed to the production team Andy Rabbit and Bob Hurtchi (both totally fictitious) "Don't Leave Me Know" is an entirely unique bit of Italo disco, based around a tough minimal breakbeat, intermittent, but devastating bassline, and super Euro female vocal. Though sparse, the arrangement is constantly moving, shifting through unpredictable twists, turns and bleeping motifs. It's easy to see why this was such a hit with Detroit's futurists. Now quite rightly regardd as one of the best rare Italo gems, "Don't Leave Me Now" is in high demand from the collectors and smartphone kids, so props to Best Records for this official reissue. Dip in for the original, extended instrumental and a killer sleeve!


          Patrick says: They don't make 'em like this no more. Strange, skeletal Italo, which twists and turns through about a dozen killer synth riffs, a huge Euro vocal and the biggest bassline around. Flash your lights!

          Caspar Brotzmann Massaker

          Black Axis

            Caspar Brötzmann Massaker’s masterful second album from 1989 - remastered.

            The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations, mixed with hard German industrial atmosphere.

            Caspar Brotzmann Massaker

            The Tribe

              Caspar Brötzmann Massaker’s masterful debut album from 1989 - remastered.

              The power trio’s blunt force execution is directed by Brötzmann’s explosive and exquisite six string conjuration. Channeling Hendrixian vibrations, mixed with hard German industrial atmosphere.

              Buke & Gase


                “No other bands sound quite like the duo of Buke & Gase.” - NPR Music

                ‘Scholars’ is Buke & Gase’s third album and their first in six years. The New York duo have reinvented themselves, emerging with a more concise, electronic and emotional sound, in sync with our most forward-thinking contemporary artists.

                Since 2013 the band have served as hand-picked opening act for The National, Battles, Lou Reed, Shellac, Deerhoof, Owen Pallett and Mike Patton’s metal supergroup Tomahawk.

                For fans of Dirty Projectors, Animal Collective, James Blake.

                The Callas With Lee Ranaldo

                Trouble And Desire

                  The Callas upcoming album is a post-punk burner brimming with frenzied energy with a swirl of droning-art-rock ambiance. The group collaborated with Lee Ranaldo.(Sonic Youth). THE CALLAS is the tip of an artistic squad producing music, artworks, films, magazines, events, art shows, initiated by the brothers Lakis & Aris Ionas. The group worked with Lee Ranaldo on the soundtrack of their new feature film “The Great Eastern” and on their new full-length album, “Trouble and Desire” which is due for release on October, 26th 2018 on Inner Ear and Dirty Water Records. Their last two albums, "Am I Vertical?”and “Half Kiss, Half Pain" were produced by Jim Sclavunos (Nick Cave & The Bad Seeds, Lydia Lunch, The Cramps). “As multi-media artists and filmmakers, they approach music making from a very different perspective than the average musician and come up with some quite unexpected results,” says Sclavunos.

                  “The sonic palette of the new album is diverse and exploratory, with songs that range in style from dreamy subversive pop to brutal post-punk skronk to deconstructed rebetiko.” Lee Ranaldo described his experience on collaborating with the Callas: “It’s been a pleasure for me to know and collaborate with The Callas on their new album Trouble and Desire - we met a few years ago and I’ve been drawn into their artistic world in Athens. I’m a fan of their visual art tapestries and their art studio/venue and I’ve been having a great time making music with these like-minded travelers. Our collaboration took off quickly and was such a natural fit - we speak the same language and the performances we’ve done together have been a total blast! I love the community of artists that they have gathered around them, and I hope we will do more collaborations in the future”. 

                  Cannon & Mirrorball

                  At The Disco

                  More cut n paste action aimed straight at late nite disco dancefloors courtesy of Disco Bits who return to the 7" format for a nod back to the days of the late 70's and early 80's New York, when disco and early hip-hop combined thru edit pioneers Tom Moulton, Jellybean Benitez, Steinski & Mantronix - all given a subtle spit and polish for 2019!

                  Side A sees Cannon & Mirrorball's "At The Disco" hit a steady pace straight from the off, chasing octave basslines, sumptuous strings and flecked guitar strums with a glitterball sparkle. A few modern tweaks involving a high pass filter and some fx sweeps and you've got yourself a certified disco party monster!

                  Side B's "Disco Bunny" throws a plethora of vintage disco-rap samples at a breakbeat powered canvas for a megamix style collage that'll rock any party; be a nightclub dancefloor, wedding, Bar Mitzvah or Latin Quarter street party! They don't make em like this anymore - and it's sure to get Uncle Sam twerking his big ass butt in the corner of the function! Recommended!

                  This is Erlon Chaves e Orquestra Saint Moritz - "Procura-se uma Virgem" OST (1971), supposedly one of the most sought after Erlon Chaves LP. This OST was recorded to a Brazilian soft porn movie with killer organ funk instrumental tracks and several funky, erotic & modal tracks, arranged and directed by maestro Erlon Chaves. Original copies fetch big, big bucks 2nd hand, but burgeoning Brazilian reissue cartel, Mad About, have repressed this elusive epic beautifully for your listening pleasure.

                  'Oh my gosh one of the true holy grails of brazil I’ve after this for too long… just the correct side of lounge thank you for re-releasing this gem'.
                  - Gilles Peterson.

                  FORMAT INFORMATION

                  Ltd LP Info: Deluxe reissue in super nice thick carton cover + OBI.



                    After releasing their first EP Fuse, Cranes expanded to a four-piece band and recorded Self-Non-Self. The increased textures and drum slams showing their improvements. The dark sounds are a combination of industrial and post-punk music. “One From The Slum” is an instrumental piece and one of the highlights of this versatile record. Alison Shaw’s lonely voice is setting the tone on this breathtaking album. She’s singing with deeper tones on a track like the industrial “Focus Breathe”. The re-release bonus tracks include the live song “Reach” and the rough and doomy “Nothing In The Middle, Nothing At The End”.

                    Siblings Alison and Jim Shaw formed the band Cranes back in 1989. They recorded several successful albums, including 1991s Wings of Joy and 1994s Loved.

                    Self-Non-Self limited 30th anniversary edition of 1.000 individually numbered copies is pressed on coloured (black & pink mixed) vinyl.

                    Borft enlist a personal hero Patrik Book who's early project Ausgang Verboten was a huge inspiration to the label. I can't believe this material harks back to as far as 1984 - it is ridiculously modern sound, with slamming energy and ear-grabbing production, keeping it sharper than a diamond knife edge even by today's standards.

                    If you like that mechanized crunch of overworked and underpaid hardware, nonetheless working itself to the bone under the stringent gaze of its studio wizards, then the five tracks here'll have you foaming at the mouth at the spellbound prowess on offer. Highly highly recommended stuff here!

                    Dark Fog

                    Make You Believe

                      "This is the soundtrack to being trapped in a mudslide on crystal meth in the middle of the worst thunderstorm you've ever seen. Whereas I don't recommend that you ever put yourself in that situation, I do recommend that you GET THIS RECORD and imagine what it would be like to be that fucked. GREAT STUFF!"

                      "spacey psych-rock is still alive and fighting, but the Fog is a distinct pedigree. They’re dimension-shifting. They’re sound is both muddy and translucent, but never stagnant. The band members play not as themselves, but as a presence, generating one continuous sound surge that vibrates through the decades, alluding time. You need gills to breathe their oxygen, it’s that thick."

                      "Like other hard-psych-revisionists, these guys seem to have learned some of their guitar and vocal moves in a post-Dinosaur universe, but we were never too big on yappy emotive vocals anyway (unless it was Stackwaddy). Dark Fog manages to conjure up a good wad of psychedelic guitar overload." Byron Coley

                      "A future underground classic like they made in the good old days, you know you want some." (Simon Lewis/Terrascope)

                      "Literal comparisons music duo with Hawkwind, Amon Düül II, Spacemen 3, My Bloody Valentine, Flaming Lips, Dinosaur Jr., Acid Mothers Temple, Dead Meadow, Pharaoh Overlord, etc., Abused by foreign writers, was not taken seriously. DARK FOG successfully absorb all of the above and more, and from himself tricked out something different - in any frame does not fit. Just and still is - to relate to the music of another phenomenon of the "new musical aesthetics (psychedelic)." Inquiring students, researchers recommend!"

                      "Brussels, monday 1 AM. Capital of a united Europe, its inhabitants separated by cultural spheres along lingual lines. Yet, in the back of a dimly lit pub they encounter one another surrounded by nocturnal buzz and the smell of skimpy beer. The night is a place where poets, authors and musicians dwell, in an attempt to leave everyday reality behind in favor of a universal nowhere in particular."
                      Nachtdichter (poet of the night) is the world of Victor de Roo, assisted by the words of Alex Deforce: “Meer naar café's, ze gaan dicht zonder ons”. Expect to hear melancholic guitar, spoken word and fragile synth tones, quasi new beat lullabies, cinematic vignettes and opiated experiments, all set to the neon buzz of a flickering striplight.

                      STAFF COMMENTS

                      Patrick says: Knekelhuis start the new year with a majorly wavy offering from Victor De Roo, who uses guitar, synth, drum box and voice to transplant Hopper's Nighthawks to 21st century Brussels. Music for loners, poets and perverts.

                      The Dead C


                        Disguised as the meandering outpourings of vacant thought and activity dialed simultaneously from zero and ten. Formed in the cauldron of a fevered mistake resolute. Surrounded by ignorance, dis-interest, and the attention of the carefully self-selected. Recorded and burned through a thousand galaxies of dust and doubt and endless infinite wonder, transforming both time and space. Forever exiled to the very bottom of the world to reflect on the struggling desperate pile above. Recognizing any contribution as miniscule and insignificant when placed within the greatness of the other, the dominant insolent preening satisfied, continually shouting the pre-eminence of the first world order.

                        Death In Vegas

                        The Contino Sessions

                          Scorpio Rising is the third album by British electronica band Death in Vegas, which features guest vocalists Liam Gallagher, Hope Sandoval, Nicola Kuperus, and Paul Weller. Death in Vegas’ Richard Fearless and Tim Holmes created one of their finest records by combining synths with guitar rock and psychedelia. A taste of “My Bloody Valentine” and some electro pulses are thrillingly constructed in the different parts of the album. They’re using different samples in their sounds, so you can hear classics like “Rock Around the Clock” (Bill Haley & His Comets) and “Goin’ Back” (The Byrds). Several songs on the album have appeared on film soundtracks, “Girls” is featured on the soundtrack to the 2003 film Lost in Translation and “Hands Around My Throat” is featured on the Animatrix soundtrack.

                          Richard Fearless is the only active member of the original Death in Vegas line-up. Their sound is influenced by rock, dub and industrial music.


                          STAFF COMMENTS

                          Andy says: Iggy Pop, the Mary Chain's Jim Read and Primal Scream's Bobby Gillespie all feature on this classic genre-busting album.

                          FORMAT INFORMATION

                          2xColoured LP Info: The first pressing of Scorpio Rising is available as 2.500 individually numbered copies on red vinyl.


                          Why Hasn't Everything Already Disappeared?

                            As thrilling and unpredictable as anything in Deerhunter’s near 15-year career, Why Hasn’t Everything Already Disappeared? was recorded in several strategic geographic points across North America, and produced by the band, Cate LeBon, Ben H. Allen III, and Ben Etter. Forgetting the questions and making up unrelated answers, Deerhunter’s eighth LP is a science fiction album about the present. Exhausted with the toxic concept of nostalgia, they reinvent their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth.

                            FORMAT INFORMATION

                            Coloured LP Info: Grey coloured vinyl.

                            Coloured LP includes MP3 Download Code.

                            Detroit Cobras

                            What More / I Can't Go Back

                              Hooray, Detroit Cobras are delivering "What More" b/w "I Can't Go Back," featuring two covers of soul rarities. The 7", their first release since the 2008 7" "Ya Ya Ya (Looking For My Baby)" b/w "As Long As I Have You,. Fresh off a tour with the MC50, the Cobras were inspired to judiciously cherry-pick two soul rarities to record and press 'em hot in Detroit! The familiar sounds of Rachel Nagy's sultry vocals and Mary Ramirez's garagey guitar backed by a solid crew of veteran Detroit players -- Dale Wilson, Eddie Baranek, and Kenny Tudrick -- help to retool these vintage jams. "What More" is an uptempo, rug-cutting gem penned by Z.Z. Hill that gets a newly realized guitar crunch intro. In classic Detroit Cobras flip-the-script style, Rachel begs the question, "What more can I do?," while "I Can't Go Back" is a soulful, smooth and haunting ballad about lost love.

                              Fresh out of the gate and excitedly chomping at the heels of two very welcome EPs from The Cyclist and Whitesquare, the third release from experienced Italian party series turned label Tropical Animals comes from a much loved Italian export, DJ Octopus. The Venice-based producer delivers the “Glue Monday” EP, a quadrumvirate of pulsating boppers, encompassing hints of retro-futurism, tense breaks and unstoppable grooves.
                              “Glue Monday Part 1” and “Part 2” epitomize 80s reverence, with thick, satisfying kicks driving the tracks forward, passing through a landscape of retro synths, vintage New Order basslines and skittish percussion. But don't come here looking for electro-disco euphoria, you'll be met with the grit of proto-house and gloom of Italian synthwave. “Mechanical Action” lives up to its name, delivering on a theme of straight-faced steel and wide open spaces. Operating somewhere between electro, industrial and EBM, this mutt will tear your face off. Closing the EP, “Calypso Signal” brings some seriously dirty funk to the table - alive with lolloping bass, skewed sirens and an off kilter groove, it’s the overcrunched wildcard DJs will be reaching out to to rescue unmovable dancefloors.

                              UK pressing of this sought after Alimantado set. Released in 1979, a year after his debut "Best Dressed Chicken In Town", it shows the esteemed deejay in fine form, with a solid instrumental backing from The Doctor Alimantado Experience and with backing vocals from The Heptones. 

                              It's a late roots flavoured collection, with relaxed rhythms and a strong melodic focus; while the lyrical content has a definitive spiritual slant. Limited copies on this one folks so don't delay...

                              Lee Fields & The Expressions

                              It Rains Love / Will I Get Off Easy

                              Big Crown Records drop the debut single from the forthcoming Lee Fields & The Expressions album, “It Rains Love”. The new soul poster boy is back with another instant classic sure to wrap the world up in love and soul. The A side, “It Rains Love”, is the amuse-bouche in the listening experience for Lee’s 5th studio album backed by The Expressions. With a rhythm track that sounds like it could belong to any of the last 4 decades, Lee floats on top with his raw yet honeyed vocals and imparts simple but thoughtful wisdom the way only Lee can. The B side, “Will I Get Off Easy”, is a mid tempo ballad that stays true to the music that has made Lee a household name in the soul community. Hard-hitting drums, pretty chords, sweet group backgrounds, and Lee’s tough as nails vocals create a perfect storm that will satisfy any soul junkie looking for a fix. The full length is produced entirely by Leon Michels and due out in April of 2019.

                              Armed with a bottle of patchouli oil, a wrap of mushroom powder and an A&R masterplan, Multi Culti man Dreems charted a course for Berlin. Upon arrival, well, after a three day rave at Berghain, GHB romp at Cocktail D'Amore and falafel at Khartoum, Dreems tracked down MC affiliate Sascha Funke and hatched his plan. The seasoned producer was sent to a sub zero warehouse space, where he found percussion hero Niklas Wandt finalising his collaborative Growing Bin LP with Wolf Müller and debut single with NWD upstarts Neuzeitliche Bodenbeläge. In the longstanding DIY tradition of balls out experimentation, Funke had him record a variety of slapped, bowed and scratched percussions (congas, talking drum, prepared cymbals played with a bass bow) over his tracks. These first efforts were later expanded into joint sessions at Sascha's home studio and, within a few weeks, the journey reached it’s destination: Wibe strasse, Deutschland.

                              At first glance, they seem an odd couple: a techno veteran of almost thirty years meets a side-burned upstart socialized in Free Jazz and Krautrock. but the shared sonic influences come through in the hypnotic, dubbed-out sound, perhaps rooted in the close connection the two share to the Rheinland region in West Germany, Funke as part of the Kompakt family and Wandt by origin and socialization in the Cologne and Düsseldorf music scene centered around the Salon des Amateurs. Regional flavours, global appeal.

                              Multi Culti, promoting local collaboration, one freaky record at a time.

                              STAFF COMMENTS

                              Patrick says: Proper post kraut weirdness here from Funke & Wandt, who fuse blurry synthwashes, unpredictable percussion and spoken vocal into bleeping NDW pop - perfect for daytime sessions or nights on the pipe.

                              G. Markus

                              G-Edits #6

                              Two chunky house workouts on this sixth instalment of the prolific series G-Edits by G Marcus and I have to say that this is probably the mos dancefloor killer of all of them. 

                              On A side you get ‘Red E’ channeling classic 90s piano and sassy spoken vocals with thumping beats and a plump-ass bassline, whilst ‘Cum Thru’ is a woozy slice of late-night deep house with a garagey twist in the second half.
                              Both must be shorlisted as part of your peak time weaponry - that is if the crowd is right! One full side of wax for each of these mega tunes. 

                              I am getting one myself!

                              STAFF COMMENTS

                              Sil says: Killer house numbers here to complement your surely great selection of peak-time killers. Best G-Edits for me so far!

                              'Zauberberg' – Wolfgang Voigt’s most fundamental (and foreboding) release under his alias GAS and perhaps of all in his untold discography – finally stands alone once again and is released in the way its original splendour.

                              Originally released in 1997 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS “BOX”, 'Zauberberg' is now released on his own label Kompakt on 180 gram vinyl in its original.

                              Though this narcotic symphony is not the first release under the GAS moniker, 'Zauberberg' is the first to disclose the true nature of Wolfgang Voigt’s unified sound and ideology as GAS. Layers of ominous intensity supported by muffled kick drums as classical music loops incessantly swirl with no direction, 'Zauberberg' is the definitive GAS album and a perfect starting point for those not familiar with his music.

                              FORMAT INFORMATION

                              3xLtd LP Info: Classic album reissued now as 180gram 3xlp.

                              3xLtd LP includes MP3 Download Code.

                              Re-issue of Gerd's atmopsheric & mysterious techno track "Easin' In The S-System" originally released on Brave New World in 1994. Respendent with that bouyant, optimistic, space-age focus, these perfectly formed blueprints skirt effortlessly between house and techno, with frenetic grooves, inspired synth work and rich atmospheres, it's an essential release for fans of vintage techno.

                              Package includes previously unreleased material found on early DAT tapes.

                              STAFF COMMENTS

                              Matt says: Gerd's 90's output continues to have a inqusitive spotlight shined through it's best bits, unearthering this bona fide space-techno opus. RIYL: Reel By Real (Marty Bonds & Juan Atkins), Mayday, Carl Craig etc.

                              Go Dark

                              Neon Young

                                Go Dark are out there on the fringes, two lone figures working in the twilight to illuminate the world. 21st Century cyberpunk that touches on the sickness of modern life, Ashley ‘Crash’ Gallegos and Adam ‘Doseone’ Drucker are bound by an incommunicable sense of purpose, the two merging completely on scorched debut album ‘Neon Young’.

                                “Go Dark is music for women of my kind, the striving maniac animal,” says Crash. “bitches that wear skirts and knives who can go into the woods and track things.”

                                Dose adds: “A lot of music is meant to take you to a place you’d rather be, but this is meant to be a score for the way it is.”

                                Go Dark emerge from digital ghettos, torn up synths and blunt, punk-edged Brutalism that conjures John Carpenter-style visions of futuristic dystopia - except it’s happening right here, right now.

                                FORMAT INFORMATION

                                LP Info: LP format includes digital download code.

                                Steve Gunn

                                The Unseen In Between

                                  For over a decade, guitarist/vocalist Steve Gunn has been one the American music’s most pivotal figures-conjuring immersive and psychedelic sonic landscapes both live and on record, releasing revered solo albums ranking high on in-the-know end of year lists, alongside exploratory collaborations with artists as diverse as Mike Cooper, Kurt Vile, and Michael Chapman (whose most recent studio album he produced). Gunn is known for telling other people's stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. 

                                  Hailing from the warm climate that Mexico normally has to offer comes Hotmood, a music-maker which I assume Disco and House are his main genres. This is widely proven in this super cool and exceptionally good collection of edits. Yes, I know we have been here before with the edits debate. True, there is a lot of dross flying around but when you get a good one like this 4-tracker, your ears become more receptive. 
                                  Hotmood adapts four not-so-obscured tunes into four shiny and warm club tracks that guarantee a positive reaction with your punters. The whole ep, starting with the song titles, exude positive feelings, warm reception, and a touch of class. 
                                  Is Hotmood the Mexican response to Late Night Tuff Guy? Buy this and you will find out!

                                  STAFF COMMENTS

                                  Sil says: Four top class edits for those who need a mainstream approach to that genre named disco-house. They are pretty decent and we may have a successor to the Late Night Tuff Guy throne after all. Recommended!

                                  'Well..I think its universally agreed its been a terrible year for world leaders momumentally screwing the world over! So I wanted to end the year with a nice positive bouncey pop record to blow away the grey and see 2019 in with some much needed love and cheer! And thats what Husbands are about. This Ohio group make joyous jump-up guitar party pop - from the opening singalong of "Karlstad" (yup.. it's named after their favourite piece if Ikea furniture), the romping fun of "I Don't Wanna Die" to the beautiful closer "Youth Group", its an EP of varied styles. 7 tracks in total plus more in the downloads, one of which is a cover of "Believe" by Cher - which is just awesome! Trust me..' - Kev Beard (Box Bedroom Rebels)

                                  Yes folks it's another winner from the 'Rebels. Husband are rawkus, boiyant and postive - there's flecks of vintage Cali / San Francisco, a bit of Best Coast and even a bit of garage punk a la The Queers / Ramones... It's a celebratory affair, not as navel-gazing as previous BBR's have (proudly) been. Yes indeedy, Kev's deifnintely attempting to veer us away from the current cycle of doom and gloom and for that we should all rejoice!

                                  Limited copies as per - move quick to snag the action! 

                                  STAFF COMMENTS

                                  Matt says: Box Bedroom Rebels blast us out of our Winter depression with a brilliant, jam packed 7" of pop-psyche-indie-rock business that's impossible not to crack a smile too... always remember to moisturize!

                                  FORMAT INFORMATION

                                  Ltd 7" Info: 7 track 33rpm EP which comes in one of 3 coloured double sided sleeves with a double sided insert and envelope containing a 10 track download code, BBR Letter, Husbands confetti Popcard#4 which is in honour of Nicolas Roeg who died recently.

                                  I Am Kloot

                                  I Am Kloot - Coloured Vinyl Reissue

                                    I am Kloot is the second album of the band by the same name. Their music is haunting, melodic and smooth. This second piece yielded five singles, including the hits “Life in a Day” and “3 Feet Tall”. It’s much more than just a standard rock album as it’s expanse their dark and fractured sound. Songs like “From Your Favourite Sky” and “Proof” are just brilliant and shows how they developed after their first release from two years earlier. It’s all a bit more streamlined than before but that’s the strength of the band. John Bramwell is a fine songwriter who created this beautiful marvel.

                                    I am Kloot was as one of the most interesting bands of its time. Formed from the ashes of The Mouth they stood up and released some very successful releases

                                    FORMAT INFORMATION

                                    Coloured LP Info: 180 gram audiophile vinyl.
                                    Gatefold sleeve including insert.
                                    Limited edition of 1000 individually numbered copies
                                    on transparent vinyl.

                                    This rather mysterious Jazz recording, which dates back to 1971, was quickly put together in a studio session sandwiched between RAI orchestra rehearsals, film soundtrack recordings and various other projects that make up this incredible musical library, all recorded in that period by our best musicians. The unique particulars of this record are that the musicians are not named, except for a mythical “Plakoti” but also the rights and the tapes seemed tohave strangely disappeared. After a period of accurate research, thanks to Maurizio Majorana (bass player for the Marc 4) we have been able to find the original recordings and also the musicians that played on it. Even though this recording was accredited to the Marc 4, by semi-official sources of the time, strangely enough only two of them are effectively present on this record Antonello Vannucchi on the Hammond Organ, Vibraphone and Piano and Roberto Podio on the Drums. The other two musicians are Giovanni Tommaso playing his mythical “Pedrazzini” (ndr) double bass who already played together with Vannucchi as part of the famous “Lucca Quartet” and then as the bass player of the group “Perigeo” and Enzo Grillini, part of the Rai orchestra and a favorite guitar player of both Armando Trovajoli and Gianni Ferrio who, at the time, was considered one of the best Italian Jazz guitar player and who rarely recorded music outside of the RAI orchestra. The style of this record, thanks to this very particular group of musicians, contrary to many other Library recordings, is very jazzy and the very special sound reminds us of the Jazz organ of the Verve/Blue Note labels made in the Sixties. The Seven Men Label, another characteristic of this new edition, born from a partnership of 7 mysterious producers and musicians in order to produce background music, in fact, only produced four recordings and they are : “1” that you are already listening to, 2, AKA “Il Cinghialetto” directed by Gianni Ferrio and played by the very best popular and classical musicians of the day, as the soundtrack of a theatre piece written by Grazia Deledda and to conclude there are two recordings made in the 1970’s written by Bruno Canfora: “Musiche di scena n°1” and “Musiche di scena n°2”. To have been able to bring this recording out again, knowing about its ups and downs and how it was made, is even more important now, as we have been able to add yet another gem to the numerous reeditions of the “Italian Library Music“ over these past years.

                                    I Marc 4, the brilliant quartet that collaborated with Ennio Morricone, Nino Rota, Armando Trovajoli, Gianni Ferrio, Piero Piccioni, Piero Umiliani, Alessandro Alessandroni, and their fantastic sound, now again available on a unique and really representative release, their holy grail session: G.L.P. 1007 from 1971. The best and most valued volume of the GLP series featuring the fantastic modal madness of "André", "Peroche", "Suoni Distorti" and the milestone “Alfio” feat the flute by Alfio Galigani. The music goes from insane Psychedelic tunes to Jazz, Funk and more Bossa and Lounge tracks with plenty of Fuzz guitars, amazing Hammond job, and totally catching drum Breaks. An insane trip into early gold Italian Psychedelic and Underground vibes with loads of laden beats and grooves with the mark of the legendary Italian quartet. Simply essential!

                                    Khana Bierbood

                                    Strangers From The Far East

                                      This is their first full length LP. Produced by Go Kurasawa (Kikagaku Moyo) in Tsubame studio in Tokyo. Starting with the track ‘Rustic Song’ from the jet sound at the beginning you will realise you have arrived in Thailand. ‘Starshine’ has the surf vibe but different to the West coast surf music. The topnotch is the B1 track ‘Badtrip’ where you can hear lo-fi garage with heavy doomy fuzz jam. For fans of: Oh Sees, La Luz or Thai’s morlam music and Dengue Fever.

                                      Hamburg’s Kluentah lay down 6 cut to the bone DIY club tracks. One half of Duo Fallbiel, debuting here on Sisters. On this release Kluentah brings his own brand of EBM infused techno and electro with tough & relentless drums, haunting synths and asphyxiated vocals, suitable for the current end-of-times mood, or the newly estranged brand of nightclub gremlins taking over the White Hotel; or your black-eyelined older goth sister who still likes to kick it in tha clurrb.


                                      Deep, entrancing solo kora music. Senegalese traditional harp by a hereditary master. Audiophile sonics, recorded in a former chicken coop studio in 1984, originally mastered at EMI. Koité has European tour dates this fall and winter. Sourakata Koité is born in 1955 in Malème, Senegal. As Sourakata says, "All the Koité are musicians!" His musical life began early: at age three he began to play kora (a 21-string harp) with his uncle and brother; at 11 he performed with four members of his family as Les Griots (two koras, one bala, one djembé and one singer) in a piano-bar named Thiosan. In 1977, a six-month engagement at a restaurant in Fréchencourt, France brought him to Europe, leaving Dakar where he had lived since 1975, having experienced the auspicious launch of mbalax music. He moved to Paris in 1978 to visit his brother. In Paris he began to play in different bands, including Les Lézards, Les Ballets Kodia, La Kola, Le Griot de Paris, among others, and for different musicians like Manu Dibango, Jacques Higelin, Touré Kounda, Manfeï Obin, Mangala, Luther Allison, Mah Damba and more. He also performed alone and in a duo with a bala (traditional xylophone) player. Koité, newly situated in Paris, soaked up the new sounds he heard there and expanded his musical repertory.

                                      He began to compose his own songs and build koras, allowing him to play and experiment with different tunings. Koité is a true innovator in that regard: he conceived of two 37-string koras (including a double handle one), and another with 22 strings (some of which are metallic guitar strings, and that enhance that characteristic buzzy sound). Additional strings expands the possibilities, he says, and also the sound of his instrument. “Kora usually has very little bass: it seems that there's a kora, but also a piano in there; they are two, four... or even five!” Koité links this idea to his use of overdubs on some tracks during the recording of en Hollande. During a festival in the Netherlands, music producer and record shop owner Martin Kollaart form Plexus Records heard him and asked to make a recording. In 1984 in an old chicken coop near Delft, Koité recorded the entire album in a single day, all first takes, including overdubs. The rich sonics and deep sound beautifully presents Koité’s virtuosic and entrancing renditions of traditional and original tunes. Very curious and eclectic in his tastes, Sourakata listens and plays a wide range of styles—jazz, rock, reggae, funk, blues, classical. Relaxing in his apartment close to la porte des lilas in Paris’ 20th arrondissement, he listens to Bob Marley, James Brown and the online Malian music station Radio Wassoulo, excited by his recent return to international performances. “People should participate during the show!,” he says. “They won't be able to hide, and it will give me courage!” 


                                      Liboso EP

                                        KOKOKO!'s debut EP Liboso - meaning “forward, straight ahead” - for Transgressive Records features new tracks showcasing more of their sonic universe. ‘Blvd Lumumba’, named after the road which leads you into Kinshasa, has a delicate wistful feel, set by a giant cross-shaped sculptural ‘Jesus Crisis’ harp - and when played over an 808 kick, sounds akin to homemade early house. ‘Affaire A Mbongo’ - Money Problems - has an early 80s No Wave vibe that would have surely rattled the concrete at Larry Levan’s Paradise Garage... had it not been recorded in 2018. ‘Longola Ye Kupe’ is a hypnotic number, meanwhile, highlighting Makara Bianko's impassioned and idiosyncratic vocal, over instrument-maker Dido’s rhythmic guitar and a steady, pulsing bassline, sounding like it’s coming from a 'Detroit Congolese' neighbourhood. 

                                        FORMAT INFORMATION

                                        Ltd 12" Info: White label, limited to 200 copies.


                                        The Attic / Sexor

                                        "To understand where “The Attic” came from, we have to go back to one of my oldest memories: watching Der Phantastische Film on German tv. The movies that left the deepest marks on me were the ones that zoomed in on the possible bad sides of technology and predicted the downfall of mankind. A next personal cornerstone was Tubeway Army's “Are 'friends' electric?”, from 1979: it was the first time I was blown away by the sound of synths. It felt so new, an expression of the perversity of technology through music. The song was about androids who seduced humans in order to rape them. The shortcomings of human beings transported to technology. It was machines turning against humanity. It wasn't like Kraftwerk who were very first degree, unpersonal and too clean.

                                        I was an early adopter of home computers, but the instruments and studio stuff to make music were still out of my reach in the early eighties. So when sampling came along, for me it was not only an important change in sound image, but it opened up all these possibilities too. And then finally, in the mid-eighties – I was working in the military – people started selling their hardware to make the switch to digital. I bought loads of old gear and started experimenting with sound. It was around the time when the whole new beat thing exploded in Belgium. I despised it. To me they were yuppies with smileys plundering a subculture, shitting out one bland record after another... At the time I was listening to B-2 Unit by Sakamoto, or the weird electropop of YMO. That's probably where my idea of techno was shaped: this idea of electronics mixed with the German Bauhaus school, or with abstract Malevich paintings.

                                        I quit the army around 1990, and shortly thereafter I had a dark dream that caused me to make 'The Attic'. I was in the attic of a house. It felt magical, but there was a sense of underlying danger. I looked up and the roof came off and started to dissolve, and I heard voices with bird like frequencies calling from the cosmos: “come with us, come with us.” Maybe it was about the deification of technology? Anyway, the image and the feeling of the dream were so vivid I transcribed them to music in maybe two days.

                                        When the demo was finished, we went straight to Boccaccio and handed it to Olivier Pieters, who immediately played it. 'The Attic' went on to become one of the signature songs for which they switched on the big lasers. It started to live its own life: I heard it in shopping streets in Amsterdam, it was blazing from cars, it was huge in Germany after the wall fell, etc.

                                        I quickly realized the music business wasn’t something for me though: all these people with their profiling urge, the bootlegs, the fact that music got pushed into formats ... In retrospect, I was part of a scene without really taking part in it."
                                        Alain Raes, Lhasa

                                        STAFF COMMENTS

                                        Patrick says: Taking a break from the ambient, wavy or weirdo releases, Nosedrip drops a couple of killer 12"s featuring his favourite Belgian bangers from the New Beat / techno / pre trance era. Boccaccio classic "The Attic" kills it on the A-side with chirping electronics, lysergic synth leads and doomsday pads riding a rugged drum box breakbeat and sequenced bassline into the future. On the flipside, "Sexxor" ups the tempo to rattle through the most vicious acid techno around. Huge!

                                        You've ALWAYS gotta pay attention when Star Creature drop an extended release. They're pretty much guaranteed to be killer and never hang around long. Such is the case with "The Toby Glider EP" by Liquid Pegasus. 27+ minutes of upfront modern, electronic disco, funk and boogie pleasure - all OG material and sounding fiiiiine!

                                        A variety of moods and tempos are presented across the five tracks, from the relaxed opener of "Uptown Shuffle" with its glassy keys and twangy, rubber band bass; to the gated electro-funk of "Dance Amnesia" - buoyant strutting over an arsenal of dizzying synthwork. There's even a rainbow road house jaunt into feel-good oblivion via the vibrant, multi-coloured bounce of "Cut Loose". As ever, imperative stuff for lovers of the discotheque - don't sleep!

                                        Lost Under Heaven

                                        Love Hates What You Become

                                          A startling, thought-provoking record, it follows their 2016 debut, Spiritual Songs for Lovers to Sing. Shot full of incisive social commentary, Love Hates What You Become captures the couple at their most musically raw and visceral.

                                          The band wrote the album in Ellery’s native Manchester before traveling to Los Angeles to record with producer John Congleton, known for his Grammy-winning work with St. Vincent, Swans, Explosions in the Sky and Sigur Rós. Congleton introduced the band to Swans drummer Thor Harris, who plays on the record. “We were without a drummer or a real band,” explains Ellery. “I just concentrated on writing the songs rather than making a sound. We turned up in LA with that as our starting point, this collection of Guitar & Piano demos that I’d sent through.”

                                          Those demos included some of the most accomplished song writing of his career to date, such as momentous album closer ‘For The Wild’. “I started writing that song years ago almost as a pastiche of trying to write real this rock’n’roll saviour,” he reminisces. “The rock’n’roll revolutionary feels such a culturally irrelevant cliché now, we’re living in a mechanised world seemingly indifferent to the longings of the human soul.”

                                          A striking difference from their debut record is the prominence of Ebony’s vocals, notable on the album’s formidable ‘Bunny’s Blues’. “Creating this character of Bunny began with a performance piece I did back in Amsterdam,” Ebony explains. “She became a playful tool to confront how male-dominated society attempts to control both women and nature without having any real understanding or respect for their being and innate power.”

                                          FORMAT INFORMATION

                                          Coloured LP Info: Red vinyl

                                          Love Creation reach the mini milestone of their fifth release. editing Brit funk quintessential "Hanging On A String" by Loose Ends. Adding live percussion, dub delays and extending the arrangement in both original and instrumental version, the crew have managed to inject new life into this stone cold soul staple.

                                          Bonus cut, "Is It Love Creation?" brings slap bass and deadpan vox to a post-punk / wave joint from mid '80s New York. Wunderbaa!

                                          STAFF COMMENTS

                                          Sil says: It is not about quantity but quality for me and Love Creation has done just right. Number 5 is proof of that. Versatility and variety is Love Creation's forte, well proven here with a killer post-punk edit and essential boogie-funk tune for your listening pleasure!

                                          Giorgio Luceri Feat Gregg Fore

                                          All That We See Or Seem

                                          More amazing music from Jamal Moss' Mathematics Recordings - celebrating 22 years of cutting edge electronic music! It's a spiritual house odessy for the 104th sonic missiv to date, with Giorgio Luceri on production duties and featuring the vocal talents of Gregg Fore.

                                          If you like your house deep, emotional and with a certain tribal edge, then you'll be in for a treat here: think NDATL, Robert Owens, Kai Alce and half Jamal's past signing that he's knowingly groomed and nutured, creating a roster of artists he can truly call his own. 

                                          "All That We See Or Seem" grabs us by the hands and takes us on a star-lit tour of Chicago house history, from the jacking, mechanized drum beats, to the string-soaked emotive epics and back through late night, speaker friend almost-techno, it's an inventive and captivated listen from the off. 


                                          With Voices

                                            With Voices is the newest recording by Dutch composer Rutger Zuydervelt under the moniker Machinefabriek. True to its title, the album’s eight pieces exhibit Zuydervelt’s use of tone generators, radios, synths, and other hi-fi curio to construct bewildering aural architecture around vocal contributions from Marissa Nadler, Peter Broderick, Richard Youngs, and others. The track “III” (the tracks are simply titled with Roman numerals) slowly winds like ivy through staccato phrases spoken by Peter Broderick, whose micro-incantations skip along mechanically only to telescope into monastic grandeur at the track’s midpoint. On “VIII” Marissa Nadler leads the suite to its lullabic endpoint with overlapping wisps of harmony devoid of accompaniment concluding the album on an angelic note. Throughout much of With Voices, warm-blooded arteries seem to have grown around bits of well-designed artifice to form something warmly alien, soberly futuristic, and inherently satisfying. More than simply an album of collaborative features, With Voices is a mutating collage of modern minimalism that challenges as often as it comforts. There is an alchemical, metallurgical quality that arises from Zuydervelt’s unique way of merging humanness with abstraction, harshness with beauty, and unintelligibility with familiarity on what may be the most affecting Machinefabriek release to date. 

                                            Steve Mason

                                            About The Light

                                              Having written most of his previous albums alone, About The Light marks a change in approach for Steve.

                                              “I decided with this album that I wanted to get my live band involved at every stage because I wanted to capture the energy that we produce when we play live shows, so this time the band and myself worked on a collection of songs over the course of last year,” he explains.

                                              Picking Stephen Street to produce the album, and with a very clear plan in mind, from the off the goal was to capture the songs live and draw out their soulful elements.

                                              Talking about the process, Stephen Street says, “Steve explained that he wanted to make this album with his band playing more ‘live’ than on some of his previous offerings and also to augment the songs with brass and female backing vocalists. I felt this approach of first stripping back the songs to a more ‘live’ feel to create more space for the more ‘soulful’ elements to breathe in was an interesting one and we got down to work!”

                                              Recorded at studios in London and Brighton, About The Light, sees a subtle yet noticeable evolution in Steve’s sound.

                                              “When I listen to this album it feels and sounds like the first ‘legitimate’ record that I have ever made. It’s hard to explain but it sounds like a ‘real’ album. I think that is partly the production, the playing and the work that I did with the band for all those months in our rehearsal room on the South Coast,” says Steve.

                                              “It’s a beautiful, confident, positive, angry, loving and gentle album which once again moves what I do forward,” he adds. “David Bowie said that you should always be slightly out of your comfort zone if you want to achieve greatness, and for the first time perhaps ever, I deliberately pushed myself into that place. Who doesn’t want greatness?”

                                              FORMAT INFORMATION

                                              Coloured LP Info: Limited indies exclusive silver vinyl edition.

                                              Mercury Rev

                                              Deserter's Songs - Reissue

                                                Fully cementing Mercury Rev’s rebirth as purveyors of a cosmic brand of the popular American songbook, Deserter’s Songs is an album of grandiose proportions. Merging jazz, folk, sweeping orchestration, and a dose of 60’s rock, the album was intended as the band’s swan song and therefore made with utter abandon. However, it became the band’s most acclaimed platter and remains one of the essential records of the past 30 years. Deserter’s Songs was released to huge worldwide acclaim and went on to be named album of the year in 1998 by NME, MOJO and many other publications, quickly propelling the legendary iconoclasts into living rooms worldwide and pioneered the launch of a new genre of music, heard today in bands like Arcade Fire and Beirut. Available on vinyl once again on the band’s own imprint Excelsior Melodies.

                                                Metric Systems is the name of a covert project of over 20 years duration. It has moved across multiple continents, under multiple names. The 8 songs that make up "People in the Dark" were recorded between 2000 and 2016 in various locations across Sydney, Melbourne and New York. The bright-eyed sci-fi fascination of Australia’s Clan Analogue collective intertwines with the more sinister facets of modern technology - echoed voices pepper the album like fragments of a surveillance tape collected by our digital panopticon. A pervasive sense of paranoia and unease winds its way through these 8 tracks that move between techno, downtempo and more abstract strains of electroacoustic experimentation. Fittingly housed in a striking sleeve by American photographer Trevor Paglen, whose MacArthur-winning work revolves around these same themes of omnipresent surveillance and data mining.

                                                "People in the Dark" opens with the wordless vocals of “Your Room”, drifting over the unspooling synthesizer sequence that seems to swell and recede from the foreground like the ebb and flow of a lapping tide, lapsing into dreamy ambience before the drums come back in. The smartly programmed drums are the focus of “Chinatown Warehouse”, whose hip-hop swing gives a distinct nod factor to the otherwise hazy mechanics of the track. On “Laika”, a 303 line weaves its way across the subdued mid-tempo groove, gently recalling the ambient-acid of Susumu Yokota’s Ebi project. The penultimate track, “Stellarwind” starts with a dark, foreboding drone before shining pads arc over like a glimpse of light through the track’s murky darkness, the tension between these two poles moving together as the song unfolds.

                                                This record reflects just a small selection from a large archive of recorded materials. All songs written and produced by Kate Crawford and Bo Daley.

                                                STAFF COMMENTS

                                                Matt says: Best Effort follow up one of my favourite 12"s from last year with this ridiculously strong effort. Cloaked in midnight shadows but urging you into its nocturnal den through skeletal drum machines, dubby synths and a hanging air of frosty bleakness.

                                                New Axis sub label from Jeff Mills and boy is it a doozy! The Detroit grand master kick starts Star Marked (or Str Mrkd as its branded) with four truly interstellar techno cuts like only he can muster!

                                                Existing fans aren't gonna be surprised by this recent facet of Mills - it's basically all he's been doing (bar a few vintage flavoured DJ sets) for the last half a decade at least! Think, lost in deepest space with no hope of returning to Earth; alien chatter, humming red shift, universal rhythms and galactic static, all somehow staying true to the Millsian aesthetic but sounding like something from another galaxy altogether. Completely recommended; like good wine he simply gets richer with age!

                                                Anthony Naples

                                                Take Me With You

                                                Anthony Naples returns with his second full length album, "Take Me With You", arriving first as a ‘Mixed Version’ cassette inspired and commissioned by the Good Morning Tapes series, followed by this vinyl edition that's just arrived here in the shop.

                                                Originally conceived as a mixtape dedicated to friends and the time spent with them in the morning hours, after the party is over (or beginning) - it quickly morphed into a soft focused meditation on all things warm and intangible.

                                                "Take Me With You" fires off in all styles - the opening triptych of the extra-cosmic “Alto”, post-rave pianos of “Goodness” and slow-dance-inducing “Drifter” bring the attention inward - taking cues from a host of personal favorites including: “Space” LP by Space, The Theater Of Eternal Music, Panda Bear’s “Person Pitch” , Atlas Sound’s “Let The Blind Lead…”, Arthur Russell’s “World Of Echo”, Suzanne Ciani’s “Buchla Concerts: 1975”, The Microphones “The Glow Pt. II” & “Mount Eerie”, A mixtape of Krautrock from DJ Ivan Berko and most definitely Holger Czukay, “Take Me With You” is a fresh turn for Naples as he ascends into a blend of his most personal work to date - touching on trip-hop, psychedelic pop, ambient house, and much more along the way.

                                                Make no mistake - “Take Me With You”’s message is undoubtedly about escapism, given away by its happy-abductee cover art done by the legend Biscuit - but first and foremost it reflects on that lingering feeling one gets when walking away from the ones they love.

                                                STAFF COMMENTS

                                                Matt says: Awarded a 'Best of 2018' accolade by Resident Advisor when released on tape. Now available on vinyl: a digitally enhanced, 'abductee fantasy drama' from no other than Anthony Naples - you know what to do!

                                                "Enclave" is the first Hyperdub EP by Angolan producer Nazar, whose musical world centers around the extreme violence, injustice and omnipresence of a repressive state during and after the 27-year Angolan civil war, simultaneously exploring the hope, resilience and pride in a country torn apart by conflict. His own unique take on Angolan Kudoro music inverts the form, weaving the sounds of warfare among cold synths, cascading percussion and swells of noise, which he calls Rough Kuduro. On "Enclave", Nazar transports the listener to a bygone dystopia fed by the oral histories of those who lived through the conflict, including his father, a politician and reformed army general. "South Border" establishes the EP, then leads directly into the frantic "Warning Shots", a broken 130bpm Kuduro beat. On "Airstrike", the pace drops back down with a slow burning Batida rhythm recounting the stories of numerous airstrikes endured by his mother, aunties and older sisters.

                                                The track concludes with the repeated 'it just takes a sec and it’s done, you’re outside the bunker you’re gone'. Title track "Enclave" references the thousands of unnamed dead lost in the conflict, with Nazar’s distorted vocals referencing the divide between the South and the North caused by colonialism and colourism. "Konvoy" is a unique club heater best suited to forward thinking DJs, which also featured on Burial & Kode9’s "Fabriclive 100" mix. The EP concludes with the beautifully hopeful "Ceasefire", an ambient track featuring Nazar’s father reading from a journal he kept during his guerrilla years, recounting a treacherous journey from South to North Angola.

                                                Underground Dublin sounds on Pear from the legend known as DJ Moonbeam aka Bryan Mooney under his New Members alias. Two perfectly crafted, deep techno cuts & one mesmerizing jungle track for the label's 6th release to date.

                                                "Soma" opens proceedings; and if playing up to its namesake, is both incredibly sublime techno which definitely detaches the mind from the body. Dubby references litter the mix with wavy pad stabs and ricocheting hats while a handy little vocal refrain keeps us latched on the groove. "Good Morning" follows, a dreamy pad enveloping the gliding 4/4 beats while a beautiful bassline slowly rears its head and comes into focus. Tweaks with a lo-pass filter create a dynamic swell but other than that it's pretty much eyes-wide-shut lost in techno heaven on this one. Finally, "Eclipse" revisits '94-era jungle with a sparse, narrative post-rave rukus made for the smokers and the come-down cru. Frazzled strings and stop-start beat programming giving it a more heady and less dancefloor-centric appeal.

                                                Really strong record from Pear! 

                                                Night Beats

                                                Myth Of A Man

                                                  Fronted by Texan native Danny Lee Backwell, Myth Of A Man is Night Beats' fourth studio album, and their second for Heavenly Recordings following the release of Who Sold My Generation in 2016.

                                                  While Blackwell has always fed off the musical legacy of his Texas roots—Roky Erickson and the 13th Floor Elevators, The Red Krayola, The Black Angels and more paving the way for the the napalm-coated psych-rock headtrip of past albums—Myth Of A Man has him pulling from the surrogate wellspring of Nashville, Tennessee.

                                                  It was there that he worked with the eminent Dan Auerbach, and a murderer’s row of battle-worn session musicians—the combined weight of experience that comes from working with every legend from Aretha Franklin to Elvis not lost on Blackwell. “I was just humbled by being accepted,” he explains, “Big hearts all around.”

                                                  In short, it’s an album that holds its own next to the classics, less of the bloodshot acid trip of Sonic Bloom (2013) and Who Sold My Generation (2016) here, Blackwell has recalibrated them, slowed them down just enough and allowed them the space to breathe and exist as something new. It’s the same book, just a different chapter. The moody organ comps and slow stroll of the 12-string on “Her Cold Cold Heart” evoke the noxious feeling and hypnotic state of toxic love, the spirit of Bill Withers is flowing through the acoustic guitar and sun-soaked shuffle of “I Wonder,” and string-trimmed ballads like “Footprints” and “Too Young To Pray” evoke the imaginative, cowboy psychedelia of fellow Texan, Lee Hazlewood. “Let Me Guess” with its searing riff and Elevators-esque organ assures us that the scuzzy sound we know and love is alive and well, while “One Thing,” a song about being used and abused—or as Blackwell sharply puts it, “being rolled up and smoked”—has plenty of fuzzed-out guitars to let us know he might just be happy about it.

                                                  Written during a particularly destructive period of the band, the album is populated by fallen angels, blood-sucking wanderers, and vindictive lovers—sketches of people the band has surely come across during their cosmic roving through the underground—but the character most present is Blackwell, himself. “Myth Of A Man can be summed up as a personal display of vulnerability and guilty conscience,” he explains, “Destroying the mythos of what it means to live and function in society.” With its bold steps forward, Myth Of A Man serves as both a takedown and reintroduction of the band as we know it—the strongest evidence that you’ll never be able to pin Night Beats down. 

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Red vinyl.

                                                  Record store owner, DJ, producer, and Wet Play fave Tom Noble comes to RNT with a superb EP of sought-after Caribbean and African sounds, edited up for the most discerning of dancefloors. The A side burns hot right out of the gate with the explosive and percussive Soca-disco pulse of "They Came To New York", then settles into the laid back lilt of "Zouk Pour Esa".

                                                  On the flip, "Disco Massamba" is a wild Afro-disco burner while "Parang-A-Teng" brings it back to the Western hemisphere for some Latin-tinged funk from Barbados. Well worth it for the value of the original source material alone, this 12” is nothing short of dance floor destruction!

                                                  STAFF COMMENTS

                                                  Matt says: Tom shows off just why he's one of the best of the new school with four mesmerizing edits that should captivate anyone who caught his two mindblowing MCR appearances; there's a reason he's one of Wet Play's most rated!

                                                  Almost three years after opening its doors, De School launch their new label De Nieuw, opening their account with the first ever recording to surface from between the walls of the venue. This immersive and otherworldly LP presents one of the first live concerts by Oceanic, recorded at the auditorium of De School on October 21st 2017. This was in the middle of a 64-hour event that lasted from Friday evening until Monday lunch. This LP contains a 40-minute recording of Oceanic's concert, performed on his custom-made string instrument connected to a modular synth. The concert was performed for 200 people laying on pillows, surrounding Oceanic and Warping Halos, a light installation by Children of the Light. Oceanic debuted this live show in spring 2017 during Minimal Music Festival in Muziekgebouw aan 't IJ, and while minimal music might be an accurate description of the sound, it also touches themes of trance and folk music. There are no different tracks, it's one continuous and largely improvised performance, sometimes abstract, sometimes wonderfully melodic. To fit on a LP, the recording is cut in two parts, the composition gently fades around the halfway mark.
                                                  After releasing music on Nous'klaer and Versatile and a DJ residency at De School since its beginning, this LP covers the first steps of Oceanic as a solo live musician. This release also marks the first steps of De Nieuw, De School's new record label that will aim to capture the sounds of the different rooms of the venue from next year on.

                                                  STAFF COMMENTS

                                                  Patrick says: Time to trip the light fantastic with the first release on De School’s De Nieuw imprint, a live recording of Oceanic’s psychedelic and swirling synth work. High grade healing music for the Microdosers out there.



                                                    The brand new single from US band Ohtis, formed of Sam Swinson, Adam Pressley & Nate Hahn. ‘Runnin’ is the A side from the forthcoming 7” out on Full Time Hobby on 30th November 2018. The band, formed in Normal, Illinois, bring the vivid storytelling wit of Josh T. Pearson and the shufflin’ Americana of Wilco and Phosphorescent. The band have finished their new album which is due for release in Spring 2019.

                                                    Old Mexico

                                                    Old Mexico

                                                      In 2016 Dead Meadow’s Jason Simon ventured north to San Francisco to take part in the Family Folk Explosion: a Last Waltz-style concert series hosted by Trans Van Santos and what the SF Weekly has called "his band of Merry Pranksters." Simon picked a handful of songs to perform with the Trans Van Santos band, leaning heavily on unrecorded material and selections from his last solo album. When he arrived in San Francisco for rehearsals he was immediately taken with the band’s much jazzier interpretations of his songs; a particular revelation coming from the loose and idiosyncratic swing of San Francisco drummer and Spirit Jazz elder Dave Mihaly (known for his work with Jolie Holland and his own group; Dave Mihaly & The Shimmering Leaves Ensemble).

                                                      Of all the songs that Jason Simon brought to the table that evening, none were more important to the future NorCal/SoCal collaboration between these two sonic tribes than “Past the Western Wall;" a song Simon felt necessitated a Free Jazz approach that had proven difficult to capture. Not so in San Francisco, where the song became the lengthy and searching centerpiece of the set. Behind Dave Mihaly’s inspired work on the trap kit, Jason Simon’s exploration of Indian motifs on lead guitar, and the Bob Weir-like rhythmic accompaniment of Trans Van Santos, the song found its wings, stretching freely in the open landscape of the songs middle section. Clocking in at nearly fifteen minutes, “Past the Western Wall" was the clear highlight of a show that featured more than a few bright moments. The next morning Jason Simon drove back to Los Angeles with a copy of Dave Mihaly’s most recent album and an invitation to join Trans Van Santos at the TVS2 sessions in Joshua Tree, California the next month.

                                                      Jason Simon listened to the Dave Mihaly album on the drive back to Los Angeles and then he listened to it again, and again. The next month in Joshua Tree he presented Trans Van Santos with a proposition to record an album featuring material from the three songwriters. They pow-wowed and smoked the peace pipe and formulated a plan: the album was to be recorded in both San Francisco and Los Angeles, in the northern reaches of Old Mexico, and feature contributions from members of their respective solo projects. Songs would be recorded live over a couple of sessions with very few overdubs. “Western Wall" would be the foundation that the album would be built upon. Jason Simon would produce and steer the ship through the process and toward completion. This album is the fruit of that cross genre and multigenerational collaboration out on the edges of West. Welcome to Old Mexico.

                                                      Gram Parsons

                                                      GP (45th Anniversary Edition)

                                                        Gram Parsons debut solo album, originally released in 1973.

                                                        Fresh from stints with the International Submarine Band, the Flying Burrito Bros and the Byrds and after hipping the Stones to country music, the godfather of Cosmic Americana picked up Emmylou Harris and Elvis's backing band and cut his solo debut. With more of an emphasis of ballads than on previous records, "GP" inspired countless teary-eyed troubadours with classics like "She" and the gorgeous "A Song For You".

                                                        Contains the additional 7" vinyl with the tracks:
                                                        a) She
                                                        b) That's all it took.

                                                        FORMAT INFORMATION

                                                        Ltd LP Info: 180 gram Black Vinyl +7".

                                                        Naples in da house! Tying Dusseldorf, Glasgow and MCR for coolest place on the planet right now, the other Bay Area lays claim to Nu Guinea, Pascal, Whodmanny, Mystic Jungle, Space Garage and Pellegrino. Unless you've been living under a particularly unfunky rock of late, you'll have thrown shapes and feelings to at least a couple of the above - but if you're still in the dark, allow me to drop some science...
                                                        (ahem) The hardware heroes, synth wielders, production experts and funky bassmen of the Naples scene have been responsible for some of the freshest sounds around over the past few years. Hotter than a Vesuvian eruption, but as cool and coastal as a cocktail on Capri, the releases on Early Sounds, NG, Periodica and Futurible, revive the boogie, funk and disco of 80s Naples, chuck in a little Library style cosmic, a smattering of dub and the odd bit of house, then reframe it with some of the finest live musicianship around. It's a fucking trip in other words.
                                                        Here Pascal powers up from 7" to 12" for two new disco dub joints by Pascal inspired by the fresh breeze of an oceanic archipelago, plus an obscure cosmic-boogie reinterpretation of the previously released "Nero di Seppia" by label honcho Mystic Jungle and the Casio wizard Manny Whodamanny. "Arcipelago" hits us with slick bass work, space age synth sounds and G-Funk strings, all filtered through a sticky, humid soundscape - Sakamoto downing a Red Stripe in Tubby's yard. "Shamizen" drops the pace for some zero gravity groove, wrapping us in wild laser fire, off-kilter synth idents, nuanced percussion and elastic bass - Lee Perry drunk off Schochu in Miyakojima. Over on the B-side, Pascal hands the baton (and the stems) to Mystic Jungle & Whodamanny, who transform Library-bomb "Nero di Seppia" into an intoxicating, interdimensional boogie bounce. Outrageous synth solos, irresistible rhythms and optimistic progressions abound as we take the funicular into deep space.

                                                        STAFF COMMENTS

                                                        Patrick says: ANOTHER must have release on Periodica - Naples is unstoppable right now. Pascal's trademark take on dub-disco is fluid and freaky, like a liquid in space, while Mystic Jungle and Whodamanny split atoms, refract light and head for the stargate on remix duties.

                                                        The Patchouli Brothers

                                                        Tugboat Edits Volume 13

                                                        Star Creature sub label, Tug Boat Edits enlist the omnipresent Patchouli Brothers for some top drawer edit action. "PFS" may well allude to the source material contained with, but it's left this particular reviewer scratching his head. What I can tell you is that it's an uptempo, soul number with light conga / bongo flurries that put it alongside more famous contemporaries like Marvin Gaye however the vocal is much lower, hitting the baritone registers as it marches forth.

                                                        On "Ford Freak" The Patchouli Brothers concoct a searing upbeat disco number from more obscure stems. A particularly heady, and late night affair this one that'll find favour at the more excessive and exuberant disco-themed events.

                                                        "Mass Belief" is bustling, brass-led disco; and I can't help thing TPB are trying to make it easy for us with the Mass Production reference... I'm not 100% though! Finally "People's Jewellers" ensure a white wash for the Tug Boat crew as they achieve a 4-0 result again me on identifying these jams. If it's the obscure and unknown you're after, whilst still possessing that undeniable dancefloor hook - then look no further than the Tug Boat! 

                                                        FORMAT INFORMATION

                                                        Ltd 12" Info: Hand-stamped 12"

                                                        Piccadilly Records

                                                        Black Sweatshirt With Flock Red Logo

                                                          Black sweatshirt with dark red flock logo on front.

                                                          Richard Pinhas


                                                            Originally released in 1979, Iceland is Richard Pinhas’ third solo album and his first following the breakup of Heldon. While moving away from the maximalism of his old band, paring down Heldon’s hybrid of otherworldly sci-fi imagery and pummeling psych-prog riffs, the journey through Iceland is decidedly more inward. Consisting of longer, brooding synth-based pieces as well as short proto-industrial études and interstitial sketches, Iceland features Pinhas’ delay-ridden electric guitar, pulsating machine rhythms and analog synthesizer washes—all vivid in texture and timbre, notwithstanding an undeniably chilling ambience. This first-time vinyl reissue includes “Wintermusic,” an immersive 25-minute bonus track recorded in 1983 and appearing here on vinyl for the first time. Pinhas’ excursions channel the season’s stillness and sublimity, its majesty and its threat. Without a doubt, one his finest moments. Recommended for fans of Cluster, Mica Levi and Fripp & Eno.

                                                            Limited remastered official reissue of a boogie masterclass from 1983, mixed by the legendary Morales and Muzibai (M & M Productions), this grabs you from the off with its super-funky bassline, tight double handclaps and compulsive cowbells before Andrea Stone's dreamy falsetto vocals jab funk shaped holes all over the heady groove. Flip over for the mind-blowingly tasty full dub mix including full intros and reprise (for some reasons unavailable on the original and promo releases), a big favourite of many in-the-know disco DJs and hugely in-demand since being one of the standouts on Dimitri from Paris' Nightdubbin' compilation.

                                                            STAFF COMMENTS

                                                            Patrick says: Oooh weee! It doesn't get much better than this, does it? Italy's Best Records nip down to the archive and come back with a high grade boogie bomb which just oozes optimistic feels. It's the dub mix for me I think...

                                                            Groove Curse is Rakei’s long-awaited follow up to highly-acclaimed debut EP Franklin’s Room, his modern take on reggae-infused soul music. Groove Curse takes an evolved turn, with a sound Rakei describes as “raw, vocal-driven, groove”. With the first single off the EP, Street Light featuring Gwen Bunn (vocalist and Grammy nominated producer of Schoolboy Q’s Collard Greens feat. Kendrick Lamar), the release celebrates the skills of upcoming young musicians who are writing, self-producing and taking full advantage of their vocal and multi-instrumentalist talents.

                                                            FORMAT INFORMATION

                                                            Ltd 12" Info: Long out of print repress from 2014.

                                                            Riccardo Schiro / GG FX

                                                            Sine Phase

                                                            After cooking up one of our favourite releases of 2018, the entirely entheogenic rainforest romp of "Dunas", Italy's Riccardo Schiro is back on his Gravity Graffiti imprint with another hit of DMT-laced dance music. A-side cut "Sine Phase" leads us deep under ground, weaving through root systems and rock formations as the water drips around us. Employing an unpredictible but irresistible rhythm (watch out for that reversed 4/4) Schiro leads the expedition right through the heart of the forest and beyond, into an underground cave where crystaline fragments refract the bioluminscent glow (aka synth trills) and giant worms (aka oozing basslines) roam free. Over on the flip, Schiro enlists the rest of the Gravity Graffiti crew for "Islands", an immense ambient jam recorded live on a mushroom trip. A genuine psy-kraut voyage, this commune killer goes out to the beanbag crew.

                                                            It's a Munich club music meet-up on this split 10” by Rave And Romance Records and Jahmoni Musik who drop two 100% fire tracks on tasty 10" vinyl.

                                                            Jahmoni Musik label boss Belp opens "Lion" with some future jazz inflections before he flips the tune into a ragga-breakbeat face melter with layers of funky-as-hell percussions, wubbing bass and that wonderfully dubbed out 'lion' rastaman vox.

                                                            On the other side you’ll find Schlachthofbronx firing off a 130 bpm bassline anthem that builds up tension with one of their far-travelled synth melodies and then plunges into a monster of a rolling bass line that satisfies all your soundsystem & low end pressure needs.

                                                            A big one for carnival crowds and big soundsystems, let em know party season has arrived with an early hi-octane bass missile. Recommended!

                                                            STAFF COMMENTS

                                                            Matt says: Big n bad rastaman breaks & tropical bassline business from a killer Berlin - Munich collaboration. Watch yer bassbins!

                                                            Secret Squirrels

                                                            No. 2

                                                            The Secret Squirrel returns with number two in this limited edition series of vinyl only, dancefloor delights. Having given 80s unclassic "Ma Foom Bey" the full treatment last time round, the remixing rodent this time takes Eddy Grant and the Coachhouse Rhythm Section downtown with a head nodding rework of "Nobody's Got Time". The intro is super looped, removing the difficulty of finding that first beat (I still haven't managed to work out where best to run the OG from), with bursts of harmonica echoing all over the place, before that killer groove gets dropped to full effect. This edit is close enough to the original to keep it real while adding those little tweaks in arrangement and mix that leave a dancefloor begging for more.

                                                            On the B-side Herb Alpert's "Rise" groove (you know, the bit from the middle where the trumpet drops out and everything gets real funky. You know, that bit with him clapping on the beach in the video. Oh yeah, that's right the bit sampled for "Hypnotize" by Notorious BIG) gets treated to a seven minute extension. Filtered up, down, left and right and given that slow release treatment where all the little additions from the original come in nice and slow, this is a proper peak time groover with a bumping kick and low end. Note, this comes complete with an awesome acid coda for the last couple of minutes. The artist may remain a mystery, but these edits have revealed themselves as must have.

                                                            Cut loud and built for maximum club use. Dancefloor devastation is guaranteed!

                                                            Secret Squirrels

                                                            No. 3

                                                            More nuts stuff for the dancefloor from the Secret Squirrel the third in this limited edition series of vinyl-only releases. The A-side sees our mysterious rodent get stuck into Moonshoes' French disco obscurity "Boogieland" which does everything you'd want from such a re-booted tune: mid-tempo 4/4 rhythm slap, filtered female vocal chorus loop, funky guitar licks and super Moogy bassline. Meanwhile the flip takes Blair's classic boogie soul slinker "Nightlife" on a slo-mo acid chugathon. The slow build up to the vocal really pushes the adds to the anticipation here. A simple idea done very well. Cut loud and built for maximum club use. Dancefloor devastation is guaranteed! 

                                                            The sixth in the series, "Shake Tapes" is an outlet for Dan Shake's private stash of DJ friendly cuts and cements his incendiary, party starting energy onto lovely black plastic through some tastefully executed cut n splices.

                                                            Any serious disco collector (I hope) should be able to identify these cuts. But I'm a house head and I've not heard a single one - so full marks to Dan for pulling out the unknown in a world that's saturated with the obvious.

                                                            What's even more impressive is that these are killer, KILLER cuts folks, and I'm truly surprised not to recognize any of them from many a years dancing to the various mutations and fringes of disco. Annnyway, all three are high octane, >115BPM disco stompers. Full of live instrumentation, a bustling energy and optimistic outlook.

                                                            Perfect for those hi-def Boiler Room camera sweeps when everyone looks like they're having a good time...

                                                            STAFF COMMENTS

                                                            Matt says: Tuff one not to shake a feather too... You've gotta be feeling pretty sullen and downtrodden not to garner some degree of joy from these feel-good edits.

                                                            Matthew Shaw

                                                            Among The Never Setting Stars

                                                              Among the Never Setting Stars is the debut LP from Dorset based artist Matthew Shaw. Following a series of cd & cdr releases on various labels as well as home made art editions and a 7" ep on Sonic Oyster Records. The album contains six ambient pieces with each title being a lead into the mood the music takes on. Each title forming a poem across the lp. The artwork is a painting By Brian Catling (RA) titled Transi.

                                                              The painting deals with some of the same themes, life, death, and renewal moving in cycles. “His music delves deep in Hidden Reverse traditions, incorporating specific environmental soundings of occult landscapes into beautiful drone works that advance the oracular/hallucinogenic English underground tradition.” David Keenan These warm, melancholy undulations interfere with each chord’s gravitational pull, creating tonal fata morgana and melodies that may or may not not be there: a state similar to meditation where she is neither asleep nor awake. All said, it will take you places.” Charlie Frame, The Quietus Limited to 250 copies pressed on 180 gram Galaxite Stone coloured vinyl. The album includes a download code featuring three additional tracks not featured on the LP.

                                                              First release on the feverishly anticipated Shelved Recordings - a new label from some familiar friends that looks to shine a light on the golden age of the remix: 'Pioneering techniques, over-dubs and an exploratory period of pop production resulted in many lost dub versions and mixes. Mixes, which invariably were left on the shelf, deemed too 'out there' by the bosses of the hedonistic label managers who commissioned them. Shelved will present a series of limited double 12" releases comprised of carefully reconstructed and rebuilt lost classics from someone who was there the first time around!'

                                                              And what a debut set. A1 kicks us off with a lesser known (than "Life In A Northern Town" anyway) fuckin' Dream Academy EPIC that's feels like you're watching the sun rise over the most paradisiacal part of Ibiza whilst coming up off the strongest and cleanest hit of ecstasy the body can physically handle. Waves lapping at your feet, angel choirs rising over the ocean - peak experience guaranteed!

                                                              Then it's into unchartered waters as "Flight" pairs emotive piano licks, seductive spoken word vox, warm bass and evocative pan pipes with a loose baggy breakbeat for a slice of downbeat flavoured comedown bliss.

                                                              Eagle-eared obsessives might recognize China Crises' "Feel To Be Driven Away" close off the first disc, a perfectly wacky slice of kraut-inspired new wave / synth-rock emanating from Liverpool around 1982 and expertly excavated from a lesser known album by the band - a testament the depths the editor / curator involved is prepared to go in order to present the weird and wonderful to our more than receptive ears.

                                                              Disc two keeps us more than delighted as "Unlimited Love" displays a rarely aired (but quite easy to acquire) Grace Jones nugget in all its glory before "Magic" concludes with a joyous canter into shallow coastal waters.

                                                              One-time limited press on this one folks - do not f**k about!

                                                              STAFF COMMENTS

                                                              Matt says: An inspired collection of edits kicks off this new label. We're under painfully enforced but faithfully adhered to instructions not to give the game away, but rest assured - this is unmissable!

                                                              Sinnamon’s ’83 NYC boogie scorcher "I Need You Now" gets the official remastered reissue treatment - complete with the 'Fierce Reprise’ dub mix alongside the accapella, providing essential sampling material.

                                                              Marrying the old with the new, "I Need You Now" is drenched in funk bass slickness and colourful chords, yet embraces a wealth of synthesized sounds from electro sequencers to synth-based strings, giving it that early ‘80s post disco, boogie feel. Bernard Fowler of Peech Boys fame steps up on guest vocals bringing a deep, R&B tone to proceedings, complimented by the all-female vocal prowess of Sinnamon adding their trademark feminine touch to the track.

                                                              First up on the flip side, the six minute ‘Fierce Reprise’ mix. Reversed rides that suck back into the skull, tape delayed vocals and spacey synth echoes blend together, as elements are overlaid and dubbed out for maximum, heavyweight, proto-house vibrations.

                                                              Last up, a favourite and much used vocal accapella that’s been sampled by a whole host of early house, hardcore and garage producers from 808 State and Criminal House to Ray Keith and Paul Johnson.

                                                              An essential bit of kit for anyone with a penchant for that early ‘80s boogie flavour.

                                                              STAFF COMMENTS

                                                              Matt says: A staple from NTS' Full Beam!FM, there's not many sunnier, more feel-good boogie bombs than this winner from Sinnamon.

                                                              Guy Skornik


                                                                From Guy Skornik, the composer and arranger behind Popera Cosmic and Pour Pauwels, comes the enigmatic instrumental cues that provided fellow existentialist and notorious auteur director Alejandro Jodorowsky (‘The Holy Mountain’) with the soundtrack music to what is now considered his rarest and most overlooked feature film, ‘Tusk’.

                                                                As part of Finders Keepers’ ongoing dedicated Jodorowsky soundtrack series the label presents the original film edits from the 1979 studio sessions featuring Steve Hillage (Gong) and members of Cossi Anatz.

                                                                Following his mind melting masterpieces ‘Fando & Lis’, ‘El Topo’ and ‘The Holy Mountain’, Jodorowsky’s ‘disowned’ attempt at a family film retains the director’s ongoing demand for intense, experimental film music, resulting in what is undeniably one the best kept sonic secrets from the darker corners of this coveted filmography.

                                                                Cherrypicked from pre-recorded synthesiser-fuelled cosmic pop sessions by Skornik, these compositions provided ‘Tusk’ with arabesque new age synthesis alongside fullblown ambitious electro rock, as well as classic French Fender Rhodes-driven romanticism during some of this lesser-spotted movie’s most memorable moments.

                                                                Presented here in isolation, Guy Skornik’s multifarious futurist-pop evokes worthy comparisons to Ash Ra Tempel, Eno’s Bowie and Suzanne Ciani, mapping an unlikely journey between Magma and 10cc in the process. Don’t ignore Jodorowsky’s ‘elephant in the room’ - you never know what’s hidden in the trunk.

                                                                Sleep D Presents DJ Mind Leaf & The Herbalist & DJ Fett Birger & Sleep D


                                                                Another super special split and limited 7inch from Butter Sessions HQ! This time Sleep D present their dub influenced moniker, DJ Mind Leaf & The Herbalist for the first time with the deep dancehall tinged party original 'See Mi Rockin' before joining forces with the man from Moss and former collaborator DJ Fett Birger! The twisted rhythms, earth shaking basslines and synths were originally recorded at a jam session in Melbourne in 2016 and later Ricanstructed by the birger man for the special rooftop party in Melbourne on November 25th.

                                                                STAFF COMMENTS

                                                                Patrick says: Weird and wonky dub / digi / house hybrid here from Sleep D and Fett Birger, who take the Idjuts approach to mixing desk madness, drench it in patchouli and push right through the other side of the free party scene.

                                                                FORMAT INFORMATION

                                                                7" Info: Limited to 300 copies and comes in 4 different sleeve colours!

                                                                Snakes Don't Belong In Alaska

                                                                Snakes Don't Belong In Alaska

                                                                  Strap yourself in and get ready for Snakes Don't Belong In Alaska. Somewhere between The Cosmic Dead flying and The Myrrors High Evolutionary Transcendance - Snakes Don't belong In Alaska have it in fucking spades my friends and as an introduction to them Cardinal Fuzz have packed 2 of their releases pressed onto vinyl and packed as a double LP - Mountain Rituals and Ancient Alien Temple Ritual.

                                                                  Newcastle collective Snakes Don't Belong In Alaska have been slowly but steadily making a name for themselves on the UK psych circuit, hosting numerous international touring acts and putting out some radical self-released (and highly limited) recordings under their own Infinity Mirror imprint. This however is the band's first widely available release - an absolutely monumental tome of heavy, droning kosmische freakout that blows away all preconceived ideas of what this group is capable of. Drawing on an aural temple map leading straight from Ash Ra to Acid Mothers, "Mountain Rituals" climbs from a deep earth drone into the sort of mind-warping guitar bliss that will leave you scrambling for the repeat button over and over again.



                                                                    Limited edition 12” EP collecting together four remixes of songs from Buenos Aires-based singer/producer Sobrenadar’s acclaimed international debut album, ‘y’, which was released in September 2018. Former Hookworms man XAM adds some modular moods to the stately synthpop of ‘Inhabil’; furthering the historical cultural links between Wales and Argentina, Gwenno turns ‘Noordzee’ into six minutes of mellifluous marimba with a dreampop sheen; shoegaze legends Slowdive reimagine ‘Del Tiempo’ as a delightfully distorted heartbeat; Sonic Cathedral labelmate Mark Peters relocates ‘Cruce’ to the innerlands of Wigan, and converts it into gale-force guitar-pop

                                                                    FORMAT INFORMATION

                                                                    12" Info: Just 200 copies pressed on clear vinyl with orange and aquamarine splatters and housed in a see-through PVC sleeve.

                                                                    Sound Mercenary / Groove Mercenary


                                                                    Landing in tandem with their Lhasa reissue, Stroom treat us to another pair of Nosedrip's favourite Belgian releases from the early 90s, this time from Stefan Van Elsen in his Sound / Groove Mercenary guises. The salesnotes tell us we're listening to "trance / new beat embodied as a shovel in mud", and I'd be hard pushed to disagree as "Dilemma's" cinematic synth stabs and precise drum programming drop into Inner City keyboard vamps and that looped out vocal wail. Chuck in a robotic synthline and some murky bass and we're sweating one out in the throb of Boccaccio. Skip to the flip and Stefan takes us into the most distant reaches of deep space with the bleep heavy, break-driven, ethno-sampling smash of "Switch". Twisted and techy, this floor filler takes me straight through the Stargate into a distant planet where you can still find a Laser Quest - if I'm not totally mistaken, Lena Willikens and Vlad played it at the last night of Salon, so you know you're onto a winner.

                                                                    STAFF COMMENTS

                                                                    Patrick says: Almost anticipating our newly christened New Beat section, Nosedrip re-ishes a couple of his best loved bangers from early nineties Belgium. Here we feel the force of Stefan Van Elsen’s post Detroit techno-tonker “Dilemma”, and the cybernetic new beat of “Switch”, a break-led beauty for peak time heat.

                                                                    Laurie Spiegel

                                                                    The Expanding Universe - Reissue

                                                                    The Expanding Universe is the 1980 debut album by computer music pioneer Laurie Spiegel. The original album is reissued here as a massively expanded 3LP/2CD set, all four original album tracks plus an additional 15 tracks from the same time period, nearly all previously unreleased and many making their first appearance on vinyl in this brand new edition. Since this album’s first reissue in 2012, it has gone on to be widely established as a classic of 20th century electronic music. Some of the well-loved works included in this set are "Patchwork", the "Appalachian Grove" series, “East River Dawn” and "Kepler's Harmony of the Worlds", which was included on the Golden Record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds using the GROOVE system at Bell Laboratories during the 1970s.

                                                                    Laurie Spiegel’s second full-length album, Unseen Worlds, arrived just over ten years after her debut album. Having realized the pieces found on The Expanding Universe (1980) on an instrument no longer available to her, the GROOVE System at Bell Laboratories, Spiegel moved on to composing and developing for the Alles Machine, alphaSyntauri, McLeyvier and various other instruments before creating an instrument entirely her own. Spiegel created “Music Mouse - An Intelligent Instrument” on a Macintosh 512k so that she could have an instrument that was not general purpose but a small, specialized, and well defined musical instrument for and by her that she did not have to compromise on or risk losing access to it. While it was a very personal instrument for Spiegel, demand among friends and colleagues nevertheless grew until “Music Mouse - An Intelligent Instrument” became a commercial product for the Macintosh, Amiga, and Atari personal computers with a devoted popular following that continues to this day, despite the obsoletion of those platforms. At the time of her Unseen Worlds album’s original release in 1991, the issuing record label turned out to be going out of business, dissolved and disappeared, sending the album immediately into obscurity. Outside of a private CD edition issued by Spiegel on her own Aesthetic Engineering label in 1994, this new edition represents the first proper commercial release of Unseen Worlds.

                                                                    Unseen Worlds is not so much based on melody and rhythm as it is on textures, pulses, and sonic environments. Sometimes dark, sometimes light, its drama pulls in the adventurous listener who wants to take a musical journey. Using computer software she wrote in order to implement a unique musical vision, Unseen Worlds blends the artistic and the technical, the cerebral and the sensual, and revives the virtually abandoned tradition of electronic music. Unseen Worlds is the work of a sonic explorer whose music can both challenge and caress. Those looking for other worlds of sound can put on headphones and find them here.

                                                                    Sticks & Stonez Feat. Liv East

                                                                    You're My

                                                                    Modern disco stable Glitterbox continues in earnest enlisting new signing Sticks & Stonez into their race-winning squad. With Liv East riding the track on vocal duties, this special 7” release illustrates the East London duo’s capability as producers, taking influence from modern house and disco. The combination of the instrumental horns, slick production and East’s smooth vocal makes for a blissed-out record that transports you to hazy Summer days. The stripped-back instrumental version also features on the release, offering an insight into how the carefully curated track balances its musical elements. Another gold medal on the disco circuit for Glitterbox and first best in show award for this upcoming act. Recommended!

                                                                    Stolen emerge from the new world and ready to rock your all nite techno-rock discotheque!

                                                                    An amalgamation of styles - namely: Simian Mobile Disco, New Order, LCD Soundsystem and Justice - Stolen create proper songs with full and varied arrangements and have already been receiving plaudits from John Robb, Bernard Sumner!

                                                                    There's a definitive 'proggy' lean to these detailed sonic canvasses, with dynamic shifts, proper verse-chorus structures and a sprawling, quite cinematic take on the whole 'techno-rock' cannon.

                                                                    Produced by Mark Reeder - ex-Factory Records rep and an important producer from Berlin's embryonic period when punk, techno and a DIY sprit encompassed the city; he's joined by a group of Chinese musicians who make up Stolen. Directed by Liang Yi, the sextet has a dreamy trance-like sound and focuses on translating into sound the social aspects of life in China. Their songs seem like anthems for a lost damned generation with ironic hints on socio-political aspects of living in China and a radiography of Chinese society.

                                                                    'This is the Chinese musical underground at its raw beginnings and we hope you will join and celebrate with us, this great new band from China and help them to open up a brand new playing field for us all...Stolen are not only spearheading a new generation of creative Chinese bands, they are changing the face of chinese music... and the sound of MFS.' - Mark Reeder (MFS)

                                                                    FORMAT INFORMATION

                                                                    2xLtd LP Info: Double LP in gatefold sleeve comes housed in 'Stolen From China' black carrier bag.

                                                                    Be Svendsen – Dancefloor heavy hitter and pioneer of the desert-tech sound, is releasing his first full length album on Copenhagen’s Music For Dreams label. Here he reaches beyond the dusty dance floors that brought him recognition, and connects with nostalgic roots of music from his childhood.  After a series of very well received singles and ep’s on labels like Crosstown Rebels and All Day I Dream, we now get a deeper peep into what it’s like Be’ing Svendsen.

                                                                    ’Between A Smile a Tear’ is a wide spanning album in terms of mood, instrumentation, tempi and style, with clear references that reach back to a time where experimental innocence met the futuristic and forward thinking. Be Svendsens describes his music as “Tarantino Techno”. He brings in emotional guitar melodies and dry strings, and adds it to his club universe where moods can change in an instant. With many talented musicians featured on the album, Be Svendsen shows us his diversity that spans from innovative deep new-disco cuts, galactic journey melodies, analogue ambient atmosphere to classic song writing, soundtrack’esque epicness, and a deep-tech organic collaboration with Henri Texier. We even get a taste of Be Svendsens own vocals.

                                                                    In his musical expression Svendsen still walks the fine line of opposites. He takes both the obvious and the unpredictable, the familiar and the unknown into play, dedicated to entertain yet challenge the listener. Be Svendsens describes his musical universe as so: ”The music should ultimately connect you to a bigger picture”. The goal is to express and convey a feeling, and to behold the moment - the essence of oscillating between a smile and a tear. “I like to bring tragedy and humour together, and invite them up for a dance.” This is in some way, a a celebration of what he calls chiaroscuro - the light and dark - of existence.

                                                                    New record on Public Release which looks towards Greece and two brothers from Thessaloniki: Christos and Fotis Papadakis. The lilting, sun bleached house track "Cosmic Swimmer", comes accompanied a gold standard of VIP remixers.

                                                                    The soft, cushy and instantly vacational sway of "Cosmic Swimmer" should reassure anyone in the midst of a Winter depression that happier times are not far off the horizon. The perfect beach bar teaser for that magical moment in the late afternoon when the Sun starts to paint crystalline images across the sea.

                                                                    Another pair of brothers, with a respectfully much bigger legacy, the Soulwax boys make a very rare, celebrated appearance here, injecting the track with a tropical, disco-not-disco swagger highlighted with a low-slung bassline and percussion driven beat. It's much more than a formulaic box ticker from these bastions of dance music and is a worthy addition to their vast catalogue.

                                                                    The hot potato is then passed to New York City’s Kim Ann Foxman for her take, a more urgent and pressed affair that swaps the organic elements for jittery programmed percussion, strobed effects, and brittle synth licks, all the while somehow keeping the dusting of Balearic feel-good presence intact.

                                                                    Finally, Eric Duncan jumps into the frame with a powerful acid-driven interpretation that thrusts the record into peak-hour rave territories and should see the lighting engineer get busy with the smoke and strobe machine as the floor unite to see in the end of the session. 

                                                                    The Byrds

                                                                    Dr. Byrds & Mr. Hyde

                                                                      After the departure of three band members that played on Sweetheart Of The Rodeo, Roger McGuinn had to assemble a new line-up for The Byrds. Especially their new guitarist Clarence White really shines on Dr. Byrds & Mr. Hyde and would continue to do so in subsequent Byrds albums. The pedal steel guitar work is particularly fantastic, the arrangements are inventive and Roger’s distinctive nasal-pitched vocals are confident and inspired. Dr. Byrds and Mr. Hyde may lack the instant commercial appeal of the group’s past releases, but remains an interesting and intriguing artefact of the era.

                                                                      The Byrds were one of the earliest groups who successfully combined the best of two worlds; they caught on to the energy of the British Invasion and fused it with the lyricism & musical elements of the contemporary Folk movement. Along the way they pioneered Psychedelic and Country Rock, always keeping things recognizable with their vocal harmonies accompanied by their jangly guitars.

                                                                      Dr. Byrds & Mr. Hyde is a limited 50th anniversary edition of 1.500 numbered copies coloured (clear & black swirled) vinyl.

                                                                      Rare dub album from the reletively unknown The Well Pack Band. Released in 1980 it marks a transistion from roots into dub and as such is completely instrumental. I think this is the first album from The Well Pack Band, aka The Dub Band which was one Denis Bovel & John Kpiaye and perfectly highlights the UK getting on board the JA sound.

                                                                      It's a bright and melodic collection, almost laying down the foundations of what would become lovers rock later on in the decade through it's delicately poised arrangements littered with flute, picked guitar lines and bright brass. Produced by Winston Edwards this is a brilliant UK dub album! 

                                                                      The Twilight Sad

                                                                      It Won't Be Like This All The Time

                                                                        From their unassuming origins as a group of school friends drawn together by a shared passion for music to the global touring force (supporting The Cure and Editors at arenas and stadiums), they have quietly become, The Twilight Sad’s ascent has been forged the old way with grit, graft and four exceptional studio albums. Now signed to Mogwai’s Rock Action Records, the bands fifth album does not disappoint and will certainly not disappoint fans of their previous works. It will also appeal to fans of The Cure, Frighten Rabbits, The National, Interpol and Editors.

                                                                        FORMAT INFORMATION

                                                                        2xColoured LP Info: Indies exclusive heavyweight blue vinyl.

                                                                        2xColoured LP includes MP3 Download Code.

                                                                        2xLP includes MP3 Download Code.

                                                                        Ugly Things

                                                                        Issue #49 - Winter 2018

                                                                          Cover stars this time are British R&B hitmakers MANFRED MANN, who are featured via exclusive and extensive interviews with Paul Jones and Tom McGuinness. Also on the cover: Cleveland post-punk glam-infused geniuses DEATH OF SAMANTHA, and one of Chicago’s most revered ‘60s garage acts, THE KNAVES. This issue also includes an interview with HERVE ZENOUDA, who takes you deep inside the ‘70s punk scene in Paris with STINKY TOYS, STRIKE UP, LOOSE HEART and ANGEL FACE. Greg Prevost interviews pop paragon EMITT RHODES, Ric Menck covers LA power pop icons THE QUICK, Mike Stax digs into the world of teenage Dutch beat bashers THE KWYET, and Harvey Kubernik gives new insight into THE ROLLING STONES’ “Sympathy for the Devil” and the Beggar’s Banquet mastering sessions. All this and more—including, as always, our outstanding reviews of reissues and rock-related books.

                                                                          Unknown Mortal Orchestra

                                                                          Unknown Mortal Orchestra (Reissue)

                                                                            Unknown Mortal Orchestra (U.M.O.) was conceived as a home recording project by Ruban Nielson after spending years playing and touring in an award-winning New Zealand punk band (on the legendary Flying Nun label). The band broke up after re-locating to Portland, OR and Ruban was ready to move away from his nomadic past. His recordings as U.M.O., mainly created for his personal amusement, have now taken on a life of their own. 

                                                                            Ruban’s vision of creating “junkshop record collector pop” culminated in the creation of sprawling Beatles-esque guitar melodies over hammered out break-beats, spliced with an individual touch of gentle weirdness. The results deliver a surprisingly unified fusion of several influential elements - classic psychedelic rock, Krautrock rhythms and proto-hip hop beats – all interacting to create a cohesive album. 

                                                                            Though the songs were never intended to be performed live, the last six months has seen the project gather pace behind a wave of critical acclaim. A sold-out limited edition EP lead Ruban to construct a live band consisting of skilled producer Jake Portrait on bass and a brilliant teenage drummer named Julien Ehrlich.

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Independent record store exclusive on Sky Blue vinyl. Limited to 1,500 units worldwide.

                                                                            Sharon Van Etten

                                                                            Remind Me Tomorrow

                                                                              Remind Me Tomorrow comes over four years after the release of Are We There, a top 10 critically praised album of 2014, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout, Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force.

                                                                              Written while pregnant, going to school for psychology, after taking The OA audition, Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show, Tig.

                                                                              The songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through producer John Congleton’s arrangement. He helped flip the signature Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. Joined by Van Etten’s longtime collaborator and bandmate Heather Woods Broderick, plus Jamie Stewart, Zachary Dawes, Brian Reitzell, Lars Horntveth, McKenzie Smith, Joey Waronker, Luke Reynolds, and Stella Mozgawa, Remind Me Tomorrow was recorded at studios throughout Los Angeles.

                                                                              For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Lead single “Comeback Kid” was originally a piano ballad, but driven by Van Etten’s assertion that she “didn’t want it to be pretty,” it evolved into a menacing anthem. Remind Me Tomorrow as a whole shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. There are dark intense synths, a propulsive organ, a distorted harmonium.

                                                                              The breadth of Van Etten’s passions (musical, emotional, otherwise), of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Limited edition pink vinyl.

                                                                              M. Ward

                                                                              What A Wonderful Industry

                                                                                Last June M.Ward surprised fans with the digital release of his ninth solo album, What A Wonderful Industry. The record finally receives a proper physical release via M.Ward Records. Over the last decade Ward has released a string of acclaimed solo albums, as well as six LPs with Zooey Deschanel in the duo She and Him. Ward is also a member of the group Monsters of Folk alongside My Morning Jacket’s Jim James, Bright Eyes’ Conor Oberst, and Mike Mogis, as well as a producer on albums for Mavis Staples, Jenny Lewis, and Carlos Forster.

                                                                                Via Ward: “This is a record inspired by people in the industry I have known - heroes and villains in equal measure. There’s some beautiful moments when you travel for a living, and I’m grateful for being part of an industry that’s taken me around the world so many times - but you quickly learn there’s a perfectly imperfect balance of cold-blooded and warm-blooded animals in the zoo. This record visits the most memorable characters. There’s a lot of very inspirational people I’ve had the pleasure to work with but there are also a few I wish I’d never met. It all tragically ends with an imaginary Griffin Mill-inspired murder ballad. This album is a reminder to keep your friends close, your enemies closer and don’t let the ones that just need an extra couple hours of therapy bring you down. Anyway I hope you like it. All names have been changed to protect the innocent".

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Limited edition clouded clear vinyl.

                                                                                Originally released on Sex Trax in the ‘90s, Matt Edwards’ R-Time Records reissues two Roy Davis Jr. remixes of Nate Williams.

                                                                                Roy Davis Jr. needs little introduction as one of Chicago’s finest house music producers, releasing on labels like Peacefrog, FXHE, Large Records, Cajual, Strictly Rhythm and Daft Punk’s Roulé, producing for artists like Faith Evans, Mary J Blige, Patti LaBelle and Morcheeba, not to mention creating one of electronic music’s greatest anthems, "Gabriel". An in-demand remixer, Roy Davis Jr’s early work on Sex Trax – DJ Duke’s sub-label to Power Music - was some of his finest, particularly two renditions of fellow Chicagoan producer Nate Williams.

                                                                                Released in ’94, Roy’s Deathwish Mix of "Club Patrol" is a moody and psychedelic, Lil Louis / Poindextor-indebted cut complete with stomping kicks and twisted synths - the track was a staple in the sets of DJs like Andrew Weatherall. Meanwhile, Roy’s Total Recall Mix of "Klimax" dropped a year later and features heady, bursting piano riffs, crunchy snares and sweeping effects. Both tracks are perfect, high watermark examples of the individual styles they inhabit. 

                                                                                The Wire

                                                                                Issue 420: February 2019

                                                                                  Inside this issue:

                                                                                  Joe McPhee: The tireless reed player’s multi-decade career serves as a road map of the international avant garde, encompassing performance, recording and cross-genre collaborations. By Daniel Spicer

                                                                                  Michael Snow: With upcoming exhibitions in Lisbon and London, the Canadian audiovisual polymath cuts a striking figure in the past and present of experimental art while keeping a keen eye on the future. By Julian Cowley

                                                                                  Tuareg Guitar: A user’s guide to the rugged North and West African strain of desert blues, as popularised by Tinariwen, Bombino, Mdou Moctar, and more. By Francis Gooding

                                                                                  Achim Zepezauer: The sky’s the limit for Dortmund’s fruit machinist-composer. By Robert Barry

                                                                                  Orgue Agnès: The French-Belgian trio purvey fermented funk. By Clive Bell

                                                                                  Stuart Chalmers: Yorkshire’s tape scavenger heads for the cave. By Tristan Bath

                                                                                  Ain Bailey: The London based DJ and artist makes music communal again. By Frances Morgan

                                                                                  Global Ear: Colombia: Champeta is a catalyst for big time sensuality in the coastal port of Cartagena. By Patrick McMahon

                                                                                  Invisible Jukebox: Steve Gunn: Will the US guitarist come unstrung at The Wire’s mystery record selection? Tested by Tony Rettman

                                                                                  The Inner Sleeve: Mimi Johnson of Lovely Music on It’s A Beautiful Day

                                                                                  Epiphanies: Brunhild Ferrari’s ferric reveries

                                                                                  Youkounkoun is a new French duo, formed by Jeff Lasson (Get A Room) and Gaëtan Rossi (The Elricks). And what a debut! "Señorita" immediately grabs our attention through its cool deadpan suaveness, pogoing disco-not-disco grooves accompanying catchy vocal chorus and picked, tight melodies - it's the anthem-not-anthem you never realized you wanted so bad! The kinda track that'd find favour from Ron Hardy to David Mancusso to Harvey and Alfredo. Universally high quality music and worth the entrance fee alone!

                                                                                  "A Quoi Tu Danses Quand Tu Penses" keeps the bar high with a rolling bass, dancing xylophones and French spoken word section, before some truly lush, call-response chorus passages sweep in. It's another flawless cosmic disco number primed ready to pop the lid off any dance!

                                                                                  "L'Homme Animal" concludes, if you needed anymore reason to be cheerful, with a strange and otherworldly dub-disco workout which utilizes rattling glockenspiel lines and tension-wrought brass to devastating effect!

                                                                                  STAFF COMMENTS

                                                                                  Patrick says: The Plaisir Partagé team (well Tanguy) continue to promote the freshest sounds out of Paris this week with a killer edit offering from Get A Room! and The Elricks (heard here as Youkounkoun). Deeply dug disco-not-disco, Balearic grooving and tropical pop - en français maintenant!

                                                                                  Dhafer Youssef, the great Tunisian Oud player, returns to his traditional roots on his new masterpiece. Together with the Turkish clarinetist Husnu Senlendirici, the Norwegian guitarist Eivind Aarset as well as the Indian tabla player Zakir Hussain. The Sound Of Mirrors is an ode to friendship and fraternity; a fascinating musical work full of meditative beauty, tonal splendour of colour and fascinating harmonies.

                                                                                  Various Artists

                                                                                  American Noise Vol. 2

                                                                                    American Noise Vol. 2 is the anticipated second limited edition vinyl release soundtrack companion to The Smart Studios Story , a groundbreaking documentary about the history of Madison, Wisconsin’s Smart Studios and its role in recording and supporting DIY / independent music in the Midwest. The critically acclaimed film chronicles thirty years of Midwest rock history and links early indie bands to the larger story of American rock history.

                                                                                    While American Noise: Vol 1 shared the earliest Butch Vig recordings of local, unsigned bands, Vol 2 includes artists who traveled from other scenes in the US to record at the fledgling studio between 1987 and 1993.This era coincides with the growing reputation of producers Butch Vig and Steve Marker—two self-taught, DIY studio owners whose skills took the raw sound of local bands and created polished, powerful analog recordings.

                                                                                    Through touring bands, college radio, and The Sub Pop Singles Club, their early work, most notably with Killdozer and Die Kreuzen, caught the attention of credible indie labels like Sub Pop, Touch And Go, and Alternative Tentacles.Following the release of Nirvana’s pivotal Nevermind, both Vig and the studio received an explosion of attention.

                                                                                    More and more artists sought to record with him and many of them wanted to do it in the crumbling, two-story red brick building on East Washington Avenue. All of the tracks on American Noise Vol. 2 come out of this period. Sonically, it spans the broad spectrum of Smart’s clientele at the time. Pop, acoustic, beat and the heaviest of heavy, chuck full of dirt, growl and thump the way Smart was always able to deliver.

                                                                                    Four talented chefs join forces and serve up the first course of Amouse Bouche. All newcomers to my taste buds, I was excited to get stuck into the various flavours on offer and I wasn't disappointed!

                                                                                    Lamia Tobira dishes out a thick, gloopy and fast flowing xylophone-led jazz-funk dish, the likes of which you'd surely catch MCDE, Jeremy Underground and Marcel Vogel surely feasting on delightfully in the dance.

                                                                                    Edith Folky's "Cognac Cookery" sees a perc heavy breakbeat glaze a series of organ & brass stabs, vocal choruses and a proggy, funk-leaning mindset which is almost a spiritual experience.

                                                                                    Karol Themsel's "Have You Seen Al?" keeps that cinematic, jazz-funk vibe free-flowing through some seriously flanged out wah-wah, darting brass and perfectly conjured keyboard swirls for a car chase cruiser that all the best movie directors would be queuing up to use.

                                                                                    Duane Pale concludes proceedings with an extended, midtempo disco strut that's deliciously loose and flecked with boogie synths. 

                                                                                    STAFF COMMENTS

                                                                                    Sil says: Duane Pale's 'Give Tony A Slice is a funky dub worth the entire ep. However, do not dismiss the other three cuts - all of them with plenty of energy and positive vibes to share!

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