Afrodeutsche (Henrietta Smith-Rolla), is a British born Ghanaian / Russian / German artist, composer, producer, and DJ based in Manchester.

Afrodeutsche’s DJ style is a synthesis of Drexciyan and Underground Resistance - inspired selections, intercut with a variety of forward thinking UK techno such as Bola and Lego Feet.

"Break Before Make" seeks to re-align the disposia of global electronic community into a united universal consciousness. You won't find standard chord progressions and linear arrangements here; instead, an almost cinematic journey through mainframes, drum machines and synthesizes voiced and transferred through a modern, mystic muse.

Certain to take the listener on a journey when enjoyed start to finish, whether in a crowd or solo; but there's plenty of nuggets can be mined from the album for the adventurous DJ too. In particular, Afrodeutsche's attention to new and evolved displays of rhythm, texture and mood elevate the album into a so-far unchartered realm. Top marks. 


Matt says: A long time cometh for this local lass destined for big things. If you don't know by now... get to know! Big ups Hen !


2xColoured LP Info: Limited 180 gram transparent red vinyl. Includes braille sticker.

Ltd CD Info: Limited CD in transparent red jewel case. Includes braille sticker.

Gyedu Blay Ambolley And Zantoda Mark III


Extremely hard-to-find Ghanaian LP from legendary musician Gyedu-Blay Ambolley, originally released in 1980. Tough Highlife, funk and boogie moods with added synthesizer! Ambolley is still actively touring today, keeping these vibes alive - he will be touring Europe throughout 2019. This is the third Gyedu Blay Ambolley LP that we have reissued on Mr Bongo, following on from his seminal ‘Ambolley’ and ‘Simigwa’ recordings. Official Mr Bongo reissue licensed from Gyedu-Blay Ambolley.

Amon Duul

Live In Munchen, 17 November 1969

    Classic line-up of early Duul in a spacey live performance during the heyday of Psychedelic Underground. The band was comprised of : Renate Knaup-Kroaetenschwanz (vocals), Chris Karrer (guitar), Johannes Weinzierl (bass), Peter Leopold (drums) and Falk U. Rogner (organ).

    Reggie Andrews And The Fellowship

    Mystic Beauty

    60s Jazz Holy Grail LP outta California, mythical album on many Jazz collectors want-lists.

    This LP is on the extremely limited and sought after private press label HME. It's a deep, Latin, Afro/Cuban-influenced, primarily acoustic jazz piece. Influences range from the cerebral to the soulful, but it defies any one-dimensional tag like "spiritual jazz" or "soul-jazz" or "jazz-funk." Heralding from L.A. and led by pianist Reggie Andrews, it doesn't sound particularly "west coast".

    It's a beautiful session all around, really something special and profound. In recent years, Reggie Andrews has taught, mentored, and produced many talented musicians including Patrice Rushen, Terrace Martin, Ndugu Chancler, and the Dazz Band who wrote "Let it Whip" along with his close friend Leon Ndugu Chancler. He is the founder of the jazz-fusion group Karma He worked with Earth, Wind & Fire, produced Moacir Santos for Blue Note Records and served as "Electronics Consultant" for Donald Byrd, and mentoring The Pharcyde to J.Dilla.


    Ltd LP Info: 180 gram Deluxe Heavy Cardboard Sleeve with OBI.


    Last Cigarette

      Opening doors from her home village in Ryde, Isle of Wight to Berlin’s biker bars and mountaintop cabins in France, Angelina’s debut album took her to places beyond imagination. Visceral second coming Last Cigarette, sees the self-taught songwriter stride further from isolation, to embrace collaboration whilst embarking upon a deeply-cleansing journey through swampy voodoo blues and a wildly unchained vision.

      “Last Cigarette’s spark emerged from a vision of Bessie Smith roaring around on a burnt-out motorbike, in some God forsaken desperate town…” she reveals. “A place where you live by your wits, the streets are full of memories that burn your heart, gates swing on rusty hinges, you choke on diesel fumes and witness apparitions of jujitsu vigilante gangs riding the wall of death with balls of fire belching out of exhaust pipes.”

      Capturing the sound and truth of her blues heroes Blind Willie Johnson, Ma Rainey, and Charlie Patton, Last Cigarette takes the old-time influence of Angelina’s critically acclaimed debut LP Vagabond Saint, and sees a tougher, meaner artist emerge. Anguished vocals tell tales of dangerous highways in smoky transit vans, a coal miner from Paul Benny’s night paintings, or any day that has turned to rat shit. Through raw riffs and crying lines of frustration, its hefty rock stomp could dislodge loose floorboards as she navigates dark clouds to unleash her own wildly turbulent tempest; “It’s lyrically weathered, bereft by lost love and darkness… migrating through anger, acceptance, relief and strength,” she says. “Many of the lyrics are a heart-torn reaction to a relationship breakup; it was a slow death, a tough but realistic chapter.”

      Music as therapy is a well-worn cliché but writing for self-preservation can offer the perfect distraction from life’s turmoil. Following a disciplined routine, Angelina quit her day job, sights set on perfecting her solo performance and exercising her emotional demons. Taking to her local coffee bar with acoustic guitar in tow, filled with fury and hot chocolate, she grew in creativity and confidence. “I wrote day and night as a detox; I changed my diet. I painted my house a different colour… I have a “Do Not Disturb, I’m Writing” notice pinned to my front door and just get on with it. Most songs were written in one draft, simple thumping blues chords. My voice led the way…I let it go where it wanted.”

      Riding the coastal breeze of her seaside dwellings, Angelina’s music is where nature and nurture meet. Growing up she’d listen to sea shanty bands, gospel, 20s jazz singers like Billie Holliday and the country blues of Mississippi Fred McDowell or Blind Willie Johnson favoured by her Chinese mother and English father. Yet, circumstance will always lend itself to creative opportunity. Vagabond Saint’s success lead to a European tour support for Duke Garwood, recording with Blow Monkeys’ Dr.Robert, and being invited to join Wonderful Sound and Monks Road Records’ Down the Willows collective (Angelina’s track ‘Golden Day’ is a favourite of BBC Radio’s Gary Crowley). Reuniting with Rupert Brown (drums percussion, auto harp, B.V’s) Last Cigarette is bolstered through engineering duo Boe Weaver (guitar, bass, keys), Barrie ‘Little Barrie’ Cadogan (electric and slide guitar), and The James Hunter Six’s Jason Wilson (double bass). Session players Joe Glossop (Keys) and Gary Plumley (Flute) plus 5 singers of the Peoples Choir of St. Louis, also feature.

      Between the distressed wood and velvet curtains of Boe’s boutique Studio Humbug on The Island – a golden-era space within an old water tower on the outskirts of Queen Victoria's Osbourne House estate - its glam cabin interior offered the perfect hideout for Angelina’s own band of outlaws to hatch their master plan. “Humbug is an apothecary of potions and spells, a laboratory where words and emotions conceive sound,” Angelina tells. “We breathe thoughts in and out like magic smoke rings, the air smells like an old leather suitcase. Sharing in the intense depths of musical thought and decision-making was like witnessing a mirage of genies moving round a Ouija board like whirling dervishes. I didn’t want the recordings to finish or to ever leave.”

      Last Cigarette is fierce. These songs have been stirring deep within, waiting for the right moment and have now awoken Angelina’s inner voice. Knowing her mind and living for music as seriously as her heroes, she is about to ‘Throw Petrol At The Sun’ and set it on fire.

      Bass-heavy dub and contemporary club culture are the foundations for Joe Armon-Jones’ phenomenal second album. “Turn to Clear View” builds on the celebrated keys player’s singular vision, exhibiting a sound with flourishes of R&B, hip-hop and p-funk, and featuring regular bandmates Oscar Jerome, Moses Boyd and Nubya Garcia. He builds on his close-knit core personnel with guest spots from artists he’s long admired, including Georgia Anne Muldrow (Brainfeeder, Stones Throw), Obongjayar (XL) and Jehst.

      From character-fuelled raps to Afrobeat-influenced jams, Armon-Jones channels the diversity of the ascendant scene that surrounds him. Co-produced with longtime collaborator Maxwell Owin, the record has a carefully plotted feel that reflects their meticulous approach. The duo carefully perfected every touch, with Armon-Jones ever-present throughout the mixing and mastering processes.

      Between his highly acclaimed solo career and his work with the influential Ezra Collective, Armon-Jones is building on a rush of acclaim – winning Session of the Year at Gilles Peterson’s Worldwide Awards and being nominated for UK Act of the Year at the Jazz FM Awards. His electric, open-ended live shows have brought him to Glastonbury, SXSW, Boiler Room and a sold-out headline show at London’s Village Underground.


      Millie says: Joe Armon-Jones’ outstanding second album ‘Turn To Clear View’ is every bit as good as you’d expect, mellow R&B vibes, rich Jazz and Afrobeat rhythms woven into this incredible album. Armon-Jones is joined by the legendary names Nubya Garcia, Jehst & Georgia Anne Muldrow, all together leading the rise and creating platforms for talented jazz artists.


      Coloured LP Info: Indies exclusive clear vinyl.

      'Palais' is a 12 track multi-faceted exploration of Kris Baha's musical sensitivity. The one man band's namesake LP title, 'Palais' is based around the concepts of alienation, detachment, melancholia and lust. All songs written, performed, recorded and mixed by Kris between 2015 - 2018 in Berlin, laced in his signature industrial sound. 'Palais' encompasses a range of shades from dance-floor works ' Living Nothingness', 'Brink Reality (Part 2)' & 'Non For The Sane' to experimental cinematic undertones 'You Told Yourself This Would Get Worse'. Also embodied are modern classics like the machine funk metallics of 'Steel Sands' and 'Defied', a year 2042 cyber punk hit. There's even a dark room inspired theme for the black leather lovers. From his own batch of psychedelia to post-punk and electronic romanticism this album is full of surprises and we at Cocktail d'Amore Music are absolutely proud to present this outstanding work.

      Edit upstarts and dancefloor destroyers Black Bones employ their finely tuned metal detector and set out on another excavation here with the sixth edition of their must have series. There's not a mm of precious vinyl wasted here as we get another indispensible 4-tracker boasting a sleazed-out 80's throbber, a percussive Disco lost classic & some primo, smeared mascara stompers evoking Boccaccio & Blitz excess."Yearning To Fly" opens the set with pulsating bass, acid squelch and echo-laced vocals tailor made to trip you out. Chuck in a bit of accordion and this is about as New Beat as it gets. Next up, "Eejit Safari" gets stuck into some Latino-disco breaks with echo and reverse, finally flexing our feet with a suitably limber bassline. Turned up to 11 with carnival noises and dub fx, this sounds like a vintage Idjuts outing, which is always a good thing in my book. Flip the disc and feel the synth funk power of "Painting By Rumours", an impossibly chugging 80s OG with popcorn motifs, sleazy female vocals and a killer Arabesque synthline. Finally "For Pete's Sake" sallies forth with wild slap bass, galloping percussion and loads of angular new wave energy, powering the party late into the next day.


      Patrick says: The Black Bones team are back, digging up another quartet of idiosyncratic OGs to transform into edit monsters. Aside from the whacked out disco dub of "Eejit Safarai" (think Noid), the flavour to savour is supercharged synth. New Beat meets New Wave on the contemporary dancefloor - highly recommended.


      12" Info: Limited, hand-stamped vinyl 12"

      Black Spuma, otherwise known as Phillip Lauer and Fabrizio Mammarella, come correct with a new EP of enchanted grooves for one of our favourite labels here at Picc HQ, Futureboogie.

      Title track "Crunch Level’, is a throbbing, pulsating, bit-crunching beast of a track, a full mind and body workout that evokes the darker shades of early acid and new beat. "Agguato" also packs a punch, with drums so big that Stock, Aitken & Waterman would most definitely approve, whilst a waves of hedonistic tones cut through feint melodicas and space invader tropes for a mind melting moment.

      Never to end on a whimper, "Adamantine" goes out with a bang, with an ecstatically buoyant rhythm section and glacial melodies that’ll be transporting you back to the bright neon lights and dry ice of some long forgotten 80’s sweatbox.


      Matt says: Slightly tougher than other releases on the label, "Crunch Level EP" meets somewhere between '89 Chicago and '92 Belgium. A symposium of pitched vox, gated drums, analogue basslines and nagging 303s. Ace.

      “In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

      Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it. 

      I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated - brought to life by humankind. Violent - insurmountable and wild beyond our control. Mild - delicious.
      This is perhaps the most concise body of work I have written to date. Having worked extensively throughout my musical life with dramatics, narrative, and ‘melody against all odds’, these tracks are the most direct and honest yet. The level of articulation in these tracks surpasses anything I have utilized before.”
      - Benjamin John Power.


      Barry says: Huge lurching arpeggios and cavernous percussion snaps glitch their way around a solid core of 16-bit reductions and skittering vocal shards. Drawing a flawless line between game soundtracks, rawkous EDM and the slowly building electronics of dancefloor trance or the incremental atmospheric accentuation of 70's prog. Indescribably mad, but thoroughly addictive.


      Dinked Edition LP Info: • Exclusive numbered edition of 500 units only.
      • Exclusive pink coloured vinyl.
      • Exclusive tote bag.
      • Exclusive Sticker.
      • Exclusive print.

      Coloured LP Info: Indies only green vinyl.

      Boo Radleys

      Wake Up!

        The Boo Radleys’ third album Wake Up! reached the number one spot in the UK album charts. Although their previous albums received critical acclaim, this was the album which opened the doors to a much bigger audience. One of the factors was the release of the sunny Britpop Top 10 single “Wake Up Boo!”. It became their biggest hit internationally and it was the most-played song on the UK radio in 1995. The second an third single, “Find The Answer Within” and “It’s Lulu”, also charted in the UK Top 40. Different styles of British pop can be found in their music, but most of the darkness of their previous records are replaced by the grand pop with big choruses and bright melodies. 


        Coloured LP Info: Wake Up! is available as a limited edition of 1000 individually numbered copies on 180 gram, audiophile, turquoise vinyl.

        Brooklyn Funk Essentials have been fusing soul, hip hop, spoken word, jazz and, of course, funk for 25 years and over 6 albums, and now they're back with new LP ‘Stay Good’. During this time they have made a name for themselves as electric performers, exhilarating their loyal and broad fanbase with performances on every continent.

        Established in the early ‘90s by Arthur Baker and Lati Kronlund, Brooklyn Funk Essentials were regulars of New York’s vibrant club scene when their debut album, ‘Cool & Steady & Easy’, hit the shelves. Released by pioneering funk and electronic taste-makers Dorado Records and combining classic funk’s raw, mind-bending basslines, peak-era disco’s euphoric vocals and early hip-hop’s observational lyricism, the album and its follow up, ‘Make Em Like It’ topped charts around the world.

        Fast forward to 2019 and following 2015’s reunion with Dorado and the success of ‘Funk Ain’t Ova’, the band are set to release ‘Stay Good’, a fun, funky and fresh collection of tracks featuring throughout are the powerful and soulful vocals of Alison Limerick, now a full time member of the band. Lati wrote and produced her debut hit ‘Where Love Lives’. They begin a European tour in September and visit the Americas early next year.

        Arthur Brown's Kingdom Come

        Galactic Zoo Dossier - Coloured Vinyl Reissue

          Officially licenced, fully remastered and presented with the original gatefold sleeve artwork. As an added bonus a reproduction of the rare 2 sided poster that was only with the initial run of copies is included.

          Swordfish proudly continues its reissue programme of vintage Arthur Brown recordings with Kingdom Come's classic 1971 debut. A stunning fusion featuring elements of psychedelia, prog and electronics. Whilst not a major commercial success at the time in terms of pioneering spirit it has become something of a landmark. Now some 45 years later the driving forces behind it are far clearer-a remarkable visionary work full of genuine progressive portent.


          Coloured LP Info: Multi coloured splatter vinyl. Includes repro of rare 2 sided poster.

          Sidiku Buari

          Feelings / Sidiku Buari And His Jam Busters

          BBE Music presents two back-to-back, impossibly scarce and NYC Afrodisco by Sidiku Buari & His Jambusters, originally released on short-lived and highly collectible imprint ‘Precious Records’. Accra funk, village-party, anthem-packed LPs from the prolific output of Alaji Sidiku Buari, gold-winning sprint athlete, dancer, singer, arranger, composer, cinema and club founder, award-winning music video producer – and, latterly, president of Ghana’s Musicians’ Union as well as recipient of a Lifetime Achievement Award of the Pan- African Society. Sharp Club 54 production values "Music", "Feelings", "Karambani" - combine with Accra village-style party vibes "Yayo Papa", "Minsumobo" and Buari’s socially conscious lyrics "Anokwar", "Power To My People" to produce more than two hours’ worth of music that will have you stuttering for superlatives.

          Jeff Buckley

          Grace - 25th Anniversary Edition

            Originally released in 1994, Jeff Buckley's solo debut "Grace" is now considered by many to be one of the best albums of the 90s. "Grace" displays a dazzling array of influences from an artist still developing his craft.


            Coloured LP Info: Very limited exclusive gold coloured vinyl.


            Live In Lyon

              Amazing french performance recorded live in Lyon on the 17th of January 1976. The classic line-up comprising of Holger Czukay (bass), Michael Karoli (guitar), Jaki Liebezeit (drums) and Irmin Schmidt (keyboards), is here strengthened by malaysian vocalist Thaiga Raj Raja Ratnam, who played a mere four dates with the band between January and March 1976, all of which were recorded, and did considerable studio work with them. A series of highlights from their repertoire stretched with improvising touch. Mandatory!

              If you heard our own Patch playing out last year, the chances are you heard him drop Lipelis' dub mix of Capablanca's "Lap Dance", a fierce and ferocious bit of tape-y tonk from the previous 12". Now we have the third and final instalment of the 'Lap Top Less Dance' trilogy, featuring an outersphere collab between Lipelis and Capablanca, a deep and freaky Tiago remix, and a stomping dancefloor rework by Odopt. 
              This set starts with Capablanca and Lipelis going utterly astral with the slow and syrupy "Top Top Top", a twisted disco dub with plenty of pattering percussion, Space Echo abuse and reel to reel fuckery. If you imagine playing the drum loop from "Knock On Wood" through a broken tape player, then opening the fridge portal to Zuul before uniting the trinity of gremlin, water and synth, and you'll be in the same galaxy as this jam. Inter / Outerzona boss Tiago takes the wheel next, working "Lap Dance" into an entirely psychedelic discoid freakshow with neat congas, weird fx and a grunting bassline. Last but not least, Born Free regular Odopt turns in a mind-mulching industrial version of "Lap Top Less Dance", hinting at acid, Borft weirdness and strange sampledelia. 

              STAFF COMMENTS

              Patrick says: I attained mega buzz from the Lipelis remix off the previous Capablanca 12", so to see the duo behind the controls together was pretty pretty good. They serve a fine starter of slow and sludgy syrup before Tiago gets into his psychedelic disco and Odopt embraces the industrial funk.

              Continuing their endless run of killer reissues, Best Records come through with an official limited edition remaster of this 1984 bomb from Cellophane. Cellophane was an occasional moniker for Italian legend Alessandro Novaga, one of THE major influences on Chicago house music with his trio of releases "Drums", "Electronic Drums" and "Faces Drums", all essentially EPs of tough electronic bonus beats which helped to create the blueprint for many early Windy City productions. He was also behind other such hugely influential cuts as Stopp's "Im Hungry" and "Ali Shuffle" by Camaros Gang.
              This second Cellophane release, which came after the huge "Gimme Love" single, is Novaga's magnum opus, consisting of just two long tracks (or suites perhaps?) that take the listener of on an epic psychedelic Italo / space disco trip like no other. The A-side kills it with a hyperchaged Koto bassline, chiming synths and plenty of extra strong formaggio, all arranged into an extended galactic romp through Parts 1, 2, Break and Reprise. Check out those clips to hear the beauty of this ever changing electronic composition. The masterpiece here though is the flip, "Music Colours (part 3)", a heavy hitting marriage of drum machines and synths which stomps through the dancefloor, opens up an interdimensional portal and invites all kind of alien freaks to start the party. Crazy synth fx, a Funkytown bassline, wild percussion and a proper kitchen sink dub aesthetic, this reminds me of peak time Idjut insanity, allways a good thing in my book. 

              Heavy use of synths and drum machines expecially on the part 3 !

              STAFF COMMENTS

              Patrick says: Props to Phil Wynn for the heads up about this monster track, and to Simon Faze Action and Best Records for coming through with the remastered reissue, now with better sound than Forbes' bootleg. Highest grade Italo disco heat on a mindbending house tip - play at your own risk...

              CFCF’s much-loved 2015 new age opus “The Colours Of Life" comes to vinyl for the first time!

              Montreal’s established MOR investigator CFCF (aka Mike Silver) has been honing a specifically clear, gentle revisions and updates on the bygone luxuries of pop and new age music for years now. On his 2015 released 41-minute long piece “The Colours of Life”, CFCF curves out into a incredibly serene peak of new sincerity, where Phil Collins “Hand in Hand” and once-ironic uplifters from the Windham Hill label serve as much as mantra as contemporary textural entrancers. The twelve movements within this piece build nto a story of the utmost realness, best told in Silver’s own words:

              “I started writing this stuff in the first half of 2011. I was living in Paris for a few months in a tiny one-room apartment with my then-girlfriend, and didn’t really have any proper music equipment on me aside my laptop. I was really getting further into some really cornball music like the Windham Hill label, and some of the outer edges of Innovative Communications. The song that really inspired the first iterations of ‘Colours of Life’ is “Hand in Hand” by Phil Collins, from ‘Face Value’. It’s a super simple corny song built on a Roland CR-78 loop and just the silliest pan-global optimistic tone. And I got into the idea of doing a record of music like that, that would incorporate a lot of this stuff I was listening to and be of use as like, call waiting background music, just the most pleasant thing and kind of trying to push to the edges of tolerable cheese in some places, but also have it be totally sincere and not ironic, like actually purely pleasurable music.

              Initially it was one song the first song, and then for whatever reason I had the idea to have that one morph into another one, and then another one, and eventually I had 12 pure pop instrumentals leading into each other. It was fun for me because having 2-3 minutes per song and a larger structure meant I could write small simple chord progressions and melodies that I maybe wouldn’t have explored on single tracks, and it meant I could go and meander here and get really specific there. There are a lot of obvious influences all over, like the aforementioned Phil track, a lot of Manuel Gottsching, Suzanne Ciani, and tons of different individual balearic tracks. So it was a really fun thing to work on, and I finished it that summer, and pitched to a couple labels.

              Eventually I sent it to my friend Matt of RVNG Intl, where I released my EP ‘The River’ in 2010. He had the idea of bringing on collaborators to sing on some of the tracks, and we got some contributions from really amazing people, but the thing sadly fell apart for reasons I won’t go into. One of the collaborators who I will name were Dip in the Pool, an incredible pop band from Japan in the 80’s, and they are incredibly sweet and wrote two amazing songs for the record, one of which appears on their latest album Highwire Walker. Some of their work is still present here on the movements “Rain Dance” and “Intimacy”, where Tatsuji Kimura elaborated on the chords I wrote and really improved on it immensely."

              Chastity Belt

              Chastity Belt

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

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

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

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

                STAFF COMMENTS

                Barry says: We were big fans of 2017's 'I Used To Spend So Much Time Alone' here in the shop, and this newest outing is sure to generate even more of a buzz. Slightly less driven, and a little more meditative, this LP retains all of the thoughtful beauty of their previous work but with a more mature and weathered outlook. Gorgeous stuff.

                FORMAT INFORMATION

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

                Wild Billy Childish & CTMF

                Marc Riley Session 2019

                  In April CTMF recorded a session for Marc Riley's BBC 6Music show. We're releasing the recordings on a new 7” EP. TRACKLISTING 1 – When You Stop Loving Me 2 – Hurt Me 3 – My Love Was Felled4 – Pretend “'When you Stop Loving Me' was a 45 for Thee Headcoats on Sub Pop Records in the '90s.In my view it's a top tune that hasn't been played live for going on 20 years so we took this opportunity to re-introduce it. 'My Love Was Felled' - this track nearly made it onto the new LP but didn't fit the running order I wanted. 'Hurt Me' is a great track by Thee Headcoatees. For some reason I never sang a version. I decided to travel back in time and give it a shot. In my view I do a great job! 'Pretend' is another track of Thee Headcoatees that I thought we could have a shot at. Despite being brought up on Sgt. Pepper and the Jimi Hendrix Experience we don't record much psychedelic stuff but here's our splendid rendition of another hit tune.” Billy Childish 

                  Chillum Trio started out as a collective of like-minded musicians in 2002, however, after releasing an album together (which was supported by the likes of Laurent Garnier) the project slowly morphed into the solo act of founding star, Geza Szekeres. At that time he discovered West-African music, Latin jazz and the universe of soul and funk, these new directions have been shaping his musical evolution ever since.

                  In 2014 he turned out as one of the winners of Gilles Peterson's Havana Cultura remix contest that gave him the opportunity to travel to Havana and record music with the creme of the Cuban jazz scene. One of his songs recorded in this session got released on Brownswood Recordings compilations "Havana Cultura Mix" and "Havana Cultura Anthology".

                  Budabeats Records have now got their needy paws on Chillum Trio's first ever EP, "Cosmotropica" containing two dancefloor friendly tracks mixing broken afro-house with tropical and cosmic influences.

                  "Eyes Closed Ears Open"'s deliciously scrumptious palette combines subtle Reese bass notes, squelchy AF perc and a cerebral, star-gazing synth array. Nodding firmly to the rich seam of UK broken beat, it offers updates to this cult formula taking it into the hearts and minds of the next generation of dancers and listeners.

                  "Palmdrop" is equally cerebral, existing in a glistening and sublime plane approximately one mile above the Earth's surface, but still cruising our orbit. Slightly more house orientated in rhythm and dynamics and inhabited by a plethora of tantalizing musical passages it's a feast on the ears and likely to cause bursts of joyous eruption on the dancefloor. Top stuff here from a new artist on our radar - check!

                  STAFF COMMENTS

                  Matt says: Some really interesting textures and rhythms across these two tracks. Nice varied arrangements as well sure to keep the floor locked in. Perfect for the dance then!

                  The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts and a convicted murderer…

                  Issued originally in 1959 it originates from Pheonix, Arizona. The concept behind the recording was unusual - to brings together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg.

                  Little can be found of A.I. Groeg, But before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album.

                  Sublime vocalist Marni Nixon (the voice of Maria in West Side Story) was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration.

                  The original LP states that “Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream.”

                  I’d first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden’s Island album and occupies a similar musical space. But this album has a little more death.

                  Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take.
                  Jonny Trunk 2019.

                  Debut album from Complete Walkthru aka US producer Max McFerren, released via the Numbers imprint. 

                  "Scolls" plays around with themes of privacy, disillusionment and personal development over eleven tracks, representing a transitional time in McFerren’s life. Through "Scrolls"’ early stages he moved from New York, where he was holding down a residency at Brooklyn’s Bossa Nova Civic Club and playing regularly in downtown Manhattan at the iconic China Chalet and the now much missed Santos Party House, to the open, rural setting of South Carolina.

                  The albums personality, and the thematic preoccupations underlying it, reflect the impact of this contrast. It’s sound textures cast widely into what McFerren describes as 'the ephemera of the saturated digital realm' while moving through arcane rhythms, chiming melodies and expansive, metallically tinged ambient passages. First single "Lean In", streaming in full now, is a dusty breaks-tight miasma of fragmented cyber-consciousness. There are playful, hyperactive refrains on "Getting Ridiculous" while "Leavin’ Church Early" is an expansive beat-free meditation. "NYC"’s dynamic momentum is a cityscape of bad-faith corporate aspiration.

                  McFerren refers to his motivations with "Scrolls" as being 'anti-nihilism', as reacting against a dark emptiness he perceives in certain forms of techno. Ultimately with the record, he is seeking the potential of centring joy in the present moment, in a conscious awareness of now.

                  STAFF COMMENTS

                  Matt says: Breezy, optimistic, RBG-hued house and techno here from the newly drafted in Max McFerren who ditches team 1080p for Numbers and dons a new shirt: Complete Walkthru. Tip!

                  Brian Crook With The Renderers

                  The World Just Eats Me Up Alive

                    While recording a group of songs that would end up being part of
                    This World Just Eats Me Up Alive, Brian Crook took a break outside
                    with his bandmates. A small girl nearby ran up to a woman saying
                    “Mommy, mommy! There’s a vampire here!” The mother asked how
                    the girl knew it was a vampire, and the girl said, “He talks like this,”
                    and proceeded to do a growling impression of a New Zealand accent.
                    At the time, Brian was in a dark suit and had super long hair, and was
                    playing badminton….

                    Crook’s new solo album comprises eight years of recording, so
                    perhaps his undead appearance is not surprising; it comprises a span
                    of inspiration that seems almost vampiric, with themes suggested
                    by Greek mythology, a favorite 1960s author, to the abstract
                    electronics of Aphex Twin and Arca as influences. The album came
                    together in parts, slowly assembled with various contributors and
                    recording locations, the earliest trace having lyrical origins from 1991,
                    and was done during during sessions for The Terminals, Crook’s
                    other band (you can also add NZ legends Scorched Earth Policy and
                    Flies Inside The Sun to that list).

                    A near decade provides a lot of material for reflective songwriting.
                    In Crook’s revelations about life in New Zealand and his tenebrous
                    lyrical style there is more than a touch of comedy, albeit of a blackly
                    humorous, “South Island New Zealand” nature. The lyrics and music
                    come from a similar place as New Zealand painters Bill Hammond
                    and Tony de Latour, evoking a kind of ceremonial primitivism.

                    Something was brooding in the furthest outskirts of Amsterdam. The isolated concrete suburbs of the western part of the city constituted the ideal dwelling place for the writing of De Ambassade's debut album "Duistre Kamers". Pascal Pinkert, accompanied by bass player Timothy Francis, searched for new horizons and managed to find them on this next chapter in the evolution of De Ambassade. Icy electronics display a love for NDW, ragas and raves. Beneath the surface lies a deeper Dutch language narrative celebrating free speech and thought, starkly in opposition with a world where alienation and solitude create ever more distance between all beings.

                    Kyle Dixon & Michael Stein

                    Stranger Things 3 - Original Score From The Netflix Original Series

                    S U R V I V E members Kyle Dixon & Michael Stein's score to Stranger Things 3.

                    GRAMMY Nominated and EMMY Winning composers Kyle Dixon & Michael Stein's score to 'Stranger Things' is perhaps the show’s secret ingredient. A mixture of icy new-wave hooks, spooky ambient textures and menacing drones which bring a spine-tingling ambience and a hauntingly beautiful nostalgia all at once.

                    It’s 1985 in Hawkins, Indiana, and summer’s heating up. School’s out, there’s a brand new mall in town, and the Hawkins crew are on the cusp of adulthood. Romance blossoms and complicates the group’s dynamic, and they’ll have to figure out how to grow up without growing apart. Meanwhile, danger looms. When the town’s threatened by enemies old and new, Eleven and her friends are reminded that evil never ends; it evolves. Now they’ll have to band together to survive, and remember that friendship is always stronger than fear.

                    STAFF COMMENTS

                    Barry says: Dixon! Stein! Bad-ass kids with super and / or not super powers! Winona! The neverending story! A Mancunian graphic design god! all GREAT things, and all involved in Stranger Things. Bonus points for the hot pink 80's vinyl. Amazing stuff.

                    FORMAT INFORMATION

                    2xColoured LP Info: Neon pink vinyl housed in deluxe heavyweight gatefold sleeve.
                    The package features stunning artwork throughout designed by Kyle Lambert.

                    Clubby Boy return with another gem from the production prowess of DJ Matpat. Seriously vibey deep house filled with fresh faced percussion, blissful breakdowns and summertime chords. It’s pure sunset soundtracking business with a divine touch to make all your worries evaporate into the ether.

                    On the flip upcoming ReGraded artist Elvin T turns the daydreaming into a nighttime affair, switching to a soul searching and atmospheric feel with surging synths and bumping basslines.

                    Three down and hopefully more to go, Chubby Boy's certainly one to watch at the moment.... For fans of Banaoffee Pies, Mahogany Music, Bitter End, Rhythm Section etc. 

                    Nahawa Doumbia

                    La Grande Cantatrice Malienne, Vol. 1

                    Nahawa Doumbia is one of Mali's defining vocalists of the last four decades. Her work journeys through progressive stages of musical evolution and sonic vogues, making it hard to summarize or even comprehend. She's played a part in popular music since the late '70s, as her version of Wassoulou music developed from vocals-and-guitar duo into full-scale touring bands packing a bombastic, electrified punch. As Doumbia puts it, "My music has changed multiple times to this day. The more I progressed in my musical career, the more instruments I have had accompany my songs." Awesome Tapes From Africa now releases Doumbia's debut recording “La Grande Cantatrice Malienne Vol 1”, building on the success of the label's first-ever reissue back in 2011, Doumbia's “La Grande Cantatrice Malienne Vol 3”.
                    This seminal classic, which is still sought-after in Mali today, is finally be available for the first time internationally with remastered audio on LP, CD, Tape and Digital formats. The recording looks back to the beginning of Doumbia's long career, when she was performing in a simple voice and acoustic guitar format. This was before she added bass and drums, and finally the electric guitar and synths for which she became known more recently. Released in 1981 by the excellent Cote d'Ivoire-based AS Records, the singer was barely 20 years old when it was recorded. She was accompanied by her future husband N'Gou Bagayoko on acoustic guitar, whose style echoes the nimble runs of traditional kamele n'goni players. The stark simplicity of this highly intimate recording-the audible room acoustics, the occasionally in-the-red vocals-do not obscure the mature strength of her voice.
                    On “Vol 1” Doumbia performs her songs with the tenacity and hunger of a young artist on the cusp. "When I think about it, first, I am reminded of how long ago it was. It's one of the albums that I love most because it reminds me of my youth. I was so young and my voice was light and joyful. I still listen to some of those songs today. I am really proud of that first album because that's where it all began. It shows me how far I've come in my personal and artistic life; it gives me the courage I need to keep going forward, and makes me appreciate all the years of dedication and hard work I put into my musical career." These early songs are rhythmically built around Bagayoko's sensitive guitar, as his fingers brush the fretboard and gently outline the melodies. Although this record predates the singer's use of percussion, the driving skeletal didadi rhythm is apparent in the songs. Later albums like Vol 3 further prioritize her hometown didadi beat and the result made her famous.

                    FORMAT INFORMATION

                    LP includes MP3 Download Code.


                    Altid Sammen

                      Altid Sammen (meaning “always together”) is deep and sonorous, steeped in the sonic experimentation that has long been their trademark since Tripper, the Danes’ 2004 debut. As bold and ambitious in scope as their last collection of songs, Piramida, Casper Clausen (vocals), Mads Brauer (synths, electronics) and Rasmus Stolberg (bass) have taken another creative U-turn, this time fusing baroque instrumentation with their signature expansive sound.

                      Efterklang’s last release, Piramida, centred around a ghost town in the Arctic, was a grand and all-encompassing project that spawned a movie, live album and a series of unforgettable shows (including a live debut at the Sydney Opera House). Their final performance in Sønderborg – the southern Danish town where the band grew up – marked a closing of a chapter, for Piramida and for Efterklang.

                      “We needed a break from the album and touring routine, and we needed a break from Efterklang,” says Clausen. “After the Sønderborg show, things felt very exciting – and a bit scary too. We could think freely, and move in new directions again, just focusing on the things that excited the 3 of us.”

                      That break saw the trio explore projects outside of the group’s confines. Together they co-wrote and performed an opera with friend and composer Karsten Fundal (LEAVES, The Colour Of Falling) as part of the Copenhagen Opera Festival. Meanwhile, Clausen, Brauer and Stolberg reunited with Efterklang’s touring drummer Tatu Rönkkö for a new band, Liima. In sharp contrast to Efterklang, they scaled down the music process, creating songs in a day, and released two records of icy, grand electronic pop, ii (2016) and 1982 (2017).

                      What lured them back as Efterklang was another off-kilter collaboration, this time with B.O.X, a Belgian ensemble founded by lute player Pieter Theuns that performs new music with baroque orchestration. Initially invited by Theuns to compose music for a joint performance, the experience inspired and invigorated the trio to return to the studio for a new Efterklang album proper. For perhaps the first time in the band’s history, they took a less-is-more approach to Altid Sammen, engaging on a more primal and emotional level. The album also sees the trio break from tradition with Clausen singing in his mother tongue some of his most personal lyrics thus far.

                      “Altid Sammen’s songs are about belief and togetherness,” Clausen says. “Not in a religious way – none of us are believers of a defined religion. The words are searching for meaning in intimate relationships, in nature, in death and eternity. The bonds we create; to gather, hold hands, sing or share a moment together. We’re all connected, across nations, age, sex and gender. We come together with all of our backgrounds, and we move apart in all sorts of directions, always together.”

                      STAFF COMMENTS

                      Barry says: I've loved Efterklang for some time now, and it really has been fascinating to see the trajectory of the core band and their former members (Peter Broderick being one of them!). Their newest outing takes the morose poppy melodies of Piramida with some of the electronic scree of their earlier work, and it's a perfectly measured and completely brilliant electronic pop LP. Superb as ever from Clausen & co.

                      Electric Capablanca

                      Puzzles & Studies

                      'A mechanical ghost in the corner of our room, The Electric Capablanca spins spectres, shades and sonics while nobody looks. Lifestyle product for a Dolce Vita dreamer, the device - abandoned by one careless owner - now dreams up probable chaos.'

                      Released September 2019, enjoy these new hallucinations from no known author; a machined mega-puzzle of miscalculated patterns, automatic failures and lost coffee house betas.

                      Turn the dials to creak splinters of 70s Italian midi classical (Venosta, Musci), imagined mitteleuropa ambient (Froese, Popol Vuh) and spiritual mathematics from the old new world (Spiegel, Hassell, Riley).'

                      Cold Blow’s new imprint SWIMS partners up with Kit Records for the second time in 2019 following the essential vinyl edition of Roméo Poirier’s "Plage Arriere" - simply stunning! 

                      STAFF COMMENTS

                      Matt says: Oh my this is great. Electro-acoustic, pastoral soundscapes dreamed up by an anonymous creator. Soft-focused and cinematic in parts it exists as a one-off piece, up their with Quiet Village's "Silent Movie". Don't let this one pass you by folks...

                      Slo-mo & lo-fi Monkey Island beats here from Employee who's "Bonus 12" is a surprise collection of sluggish digital riddims and exotic electronic textures. 

                      Evoking a smudged, island-friendly aesthetic straight off, the tracks sound like they've been burnt onto VHS at red hot temperatures and skirt around digi-dub, Art Of Noise-esque gated drums experiments and tropical electronica with a grass skirt and coconut in hand. 

                      Hard to describe but easy to enjoy, the album plays like you've just ingested a handfull of opium on some long forgotten deserted paradise; with enough food and drink to sustain yourself, you revel in the languid enjoyment of having fuck all to do and so get high in your hammock. A dreamy soundtrack that drifts between layers of conciousness and reality, I can't imagine losing touch with reality to anything more pleasant sounding. 

                      File alongside: Glen Astro's more recent outings, later Sun Araw records, GRRR!, James Ferraro etc. 

                      Floating Spectrum

                      A Point Between

                        Floating Spectrum is the moniker for Taiwan-born, Berlin-based composer and audio technologist, Mei-Fang Liau. Her debut album as Floating Spectrum, A Point Between - crafted from a combination of synthesizers, everyday household objects, and unique software synthesizers made by Liau herself - is truly a sound and vision unlike any other. To complete the album, Liau relied heavily on a self-made, fractal-inspired software synthesizer called Polyphylla, which simulates the way in which nature creates very complex and organic forms just by repeating slight variations of a simple form.

                        It allowed Liau to create slowly evolving textures and sounds with complex dynamics, and thus the driving influence for the whole of A Point Between. The lone outlier is "Eruption," for which Liau built a generative sound system that turns visual data into sound. In this hybrid system, sensitively fluctuating analog signals, fine-tuned data analysis, and human intuition perform together as one coherent living being. The technological marvels of Floating Spectrum are, of course, uniquely impressive. But the more astonishing and intangible triumph of A Point Between is its singular ability to collect and shape such abstract sonic organisms into richly textured, immersive works of art. It's that profound resonance that makes A Point Between such an uncanny work of emotional and structural depth

                        FORMAT INFORMATION

                        Coloured LP Info: Limited Crystal Clear with Dark Red Streaks Vinyl.

                        Fly Pan Am

                        C’est Ça

                          C'est ça marks the reunion of Montreal avant-rock quartet Fly Pan Am, who released an acclaimed series of albums in Constellation's early years, from 1999-2004. The band's heady collision of motorik repetition, shoegaze maximalism, punk skronk, tape- and electronic-based interventions and audio sabotage, garnered them a cult following among fans of audaciously deconstructed post-rock. Fly Pan Am quietly reunited in late 2017 for purely artistic reasons (needless to say), to explore making new music together after more than a decade spent in pursuit of separate sonic adventures. Within weeks, it was clear the band was firing on all cylinders again, brimming with electricity and eager to pick up where they’d left off with their last album N’écoutez pas back in 2004: pushing further into full-spectrum intersections of noise pop, post-punk, power electronics and musique concrète, while continuing to incorporate shrouded, textural vocals as alternately melodic and visceral components.

                          C'est ça is a welcome return to form - an album of undeniably renewed vitality and experimentation where rock structures underpinned by J.S. Truchy's trademark rapid-fire bass and Felix Morel's disciplined, ascetic drumming are submerged beneath waves of processed guitar by Roger Tellier-Craig and Jonathan Parant, with fluorescent noise treatments and sonic vandalisms wrought by all four. Songs variously nod to key influences like MBV and Husker Du, the intrepid proto-Kosmiche of This Heat and Can, and later style-adjacent torchbearers like Boredoms, Flying Saucer Attack and Trans Am - all the while collapsing into/out of themselves in various ways. But Fly Pan Am have always and reliably been much more than the sum of their influences: C'est ca is terrific new collection of restless, conceptual, viscerally ethereal noise rock that could come from no other band, sparkling with the creative buzz of lifelong artistic intensity, dialogue and friendship

                          STAFF COMMENTS

                          Barry says: I've been listening to C’est Ça for a couple months now and can tell you it is without a doubt the most Fly Pan Am of all of the Fly Pan Am releases. Clashing, punky art-rock, huge cavernous lurches of percussion, distorted guitars and post-punk grooves breaking through when you least expect it. A legendary band, and a truly triumphant return after FIFTEEN YEARS!

                          FORMAT INFORMATION

                          LP Info: 180 gram vinyl, plus 12" x 19" poster.

                          LP includes MP3 Download Code.

                          Nils Frahm announces the third and final instalment of his Encores series. 

                          Whilst Encores 1 focused on an acoustic pallet of sounds with solo piano and harmonium at the core, and Encores 2 explored more ambient landscapes, now Encores 3 sees Nils expand on the percussive and electronic elements in his work.

                          “The idea behind All Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of All Encores is like musical islands that compliment All Melody.”

                          Moulded during All Melody but refined by his live performances, All Encores is testament to Nils’ exceptional ability to craft his art on stage. Artificially Intelligent which showcases his ‘mad professor’ organ, and All Armed which has been a live favourite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for ‘lookout’ and hints at what’s to come.

                          STAFF COMMENTS

                          Barry says: if you enjoyed Nils Frahm's collab with Olafur Arnalds a few years ago (was it really THAT long ago?!) then this is the Encores for you! Percussive, more 'dancefloor' focused (as much as can be), and absolutely hypnotic, this is probably my favourite of the lot, and I have excellent taste. Lovely stuff.

                          Neal Francis


                            "I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living - consumed by drugs, alcohol, and addiction - such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood - his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP - and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene.

                            The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far." After playing his first live show in November 2018, Francis was signed by veteran agents Joshua Knight and Phil Egenthal of Paradigm Talent Agency. 2019 brought a North American tour supporting Australian band The Cat Empire as well as radio play on KEXP, KCRW's The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band performed at festivals such as Summer Camp and the New Orleans Jazz & Heritage Festival and shared the stage with The Meters and Lee Fields & The Expressions. Francis continues to tour relentlessly to promote his own music. "I'm doing this to fulfill a drive within myself, but also to pay tribute to the gifts I've been given. And it comes from a place of immense gratitude. I've been given so much in my life, especially in the last two years, that this feels like a bonus

                            FORMAT INFORMATION

                            Coloured LP Info: Limited gold vinyl.

                            Free Love, the artists formerly known as Happy Meals return to Optimo Music with "Extreme Dance Anthems" a phantasmic mini album from their hearts to yours.

                            'We recorded "Extreme Dance Anthems" in our recently moved studio, Full Ashram Celestial Garden which is now situated in a building that holds both a church below us and a sex club next door. Most of the tracks were formed from late-night sessions that we started to kind of ritualistically hold inspired from a particular thought or idea that we later cut down and did a live mixdown of. The music is about physicality and the metaphysical – it is about a recontextualisation of the ineffable as a centre point of existence which in turn influences how we engage with everything around us. A celebration of the unquantifiable, unspeakable, indivisible experience as the throne from which all ideas are derived. Even though the world is fucked- we are here.

                            On the face of it – I realise that this description might just seem like apolitical hippy bullshit but fuck that – as a deliberate result of the modern political landscape, our societies’ individual and collective disengagement with the metaphysical has led us to treat other humans, animals and our environment like resourceful statistics rather than something that actually holds any inherent value. An Inner Revolution of the foundations of our reality in a way that reintroduces the essence of existence, and not merely its describable derivatives, into the conversation of how we should live our lives informs our perception of the world in a way that demands us to act. The record is about a kind of gradual awakening between the two of us – a reconnection with the magic around us.'

                            STAFF COMMENTS

                            Matt says: Another alumni from the now infamous Green Door Studios, Glasgow's art-punk-dance underground is possibly the global market leader at present, pipping Dusseldorf, Rome and even our own Mancunia to the electro-anarchist post. Highly recommended!

                            Osàre is the new label from Elena Colombi, the much-respected and always intriguing DJ and NTS resident. Known for her unique ability to connect the spirit of records from her wide-ranging collection, Osàre translates in her native Italian to “daring” or “bold”, setting a precedent for what to expect from Colombi’s curation; future facing music culled from a legacy of forward-thinking experimentation and abandon, imbued with a sense of complete freedom, transcending expectations of time or genre.
                            Uniting under the moniker of Free Range, prolific US underground producer Matt Weiner (2MR, Night People) and Lithuanian experimentalist Ernestas Sadau (Pinkman, Digital Tsunami), provide Osàre’s first release with ‘King of Snakes’. A lovingly sludgy collaboration, the record mixes DIY electronics, droning atmospheric and space-inflected new wave influences, underscored by a surrealist edge glimpsed in track titles such as ‘Relax, It’s Just Eggs’ and ‘Washing Machine Speaking"

                            STAFF COMMENTS

                            Patrick says: Uber cool DJ and selector Elena Colombi launches her Osare imprint with a six tracker from intercontinental duo Free Range. If you're on board with the Zaliva D, Identified Patients or Tolouse Low Trax, then this combination of cosmic and industrial should tick all sorts of boxes for you.

                            FSOM / Andy Rantzen

                            Track 6 / Harmonic Eye

                            Phwwwoar! What a coup! Two Australian, stone cold dance music veterans on one 12" - winner!

                            FSOM stands for 'Future sound of Melbourne' and were formed in Sydney (joke!) in 1990. Made of up Davide Carbone, Josh Abrahams & Steve Robbins they've built up a modest but highly collectable catalogue throughout the 90's with some twelves impossible to get hold of.

                            Andy Rantzen should be familiar to you all by now but just in case: 'Andy Rantzen is a Sydney, Australia based lo-fi electronic producer. Trained as a psychologist, Rantzen has been a lecturer at the University of Sydney. He is most well-known as part of the duo Itch-E and Scratch-E along with Paul Mac (Boo Boo & Mace is another alias for the same duo). He has produced remixes for Severed Heads, INXS and The Wiggles, and has done soundtrack work for the film Sample People.' (discogs).

                            "Track 6" is taken from FSOM's "Shivaratri" record, released on Two Thumbs in 1993. It's a dark n deadly analogue growler, not a million miles away from early Radioactive Man and Andrew Weatherall (but operating under solo aliases rather than Two Lone Swordsman - Ed) and still biting in today's climate.

                            Rantzen contributes "Harmonic Eye", from the CD-only release, "The Blue Hour". Much of Rantzen's (and indeed Australia's) dance music veered towards CD production in the late nineties and early noughties, making this a much needed vinyl pressing of this fabulously wobbly jack track. 

                            STAFF COMMENTS

                            Matt says: Two dark n dirty techno tracks from early and late 90s Australia that find these supremo producers at the top of their game.

                            Limited edition remastered reissue of Funky Family, the Italo disco studio project from 1984. This production features Nicola Nicolosi from Nicolosi Family (perhaps you remember "Amnesie" by Turas) and represents a real example of proto-house that became a Chicago classic regularly played by Ron Hardy at Muzic Box and during WBMX radio shows. This edition has the full instrumental cut on the side two instead of the short radio edit available on the original one.

                            STAFF COMMENTS

                            Patrick says: Right on the border of Italo disco and proto house, this was understandably a massive jam for Ron Hardy, all girthy bass sequences, Euro vocals and siren like synths. Play it between "Heart Skips A Beat" and Jago for best effect...

                            Liam Gallagher

                            Why Me? Why Not.

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

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

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

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

                              STAFF COMMENTS

                              Barry says: He's back! Liam's newest album sees him co-writing with a duo of talented musician pals, and retains all the charm and momentum of his previous outing, but with more OOMPH. Why not indeed.

                              FORMAT INFORMATION

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

                              2xDeluxe LP Info: Collectors edition.
                              Etched 12-inch vinyl with 3 tracks + an exclusive demo not available anywhere else.
                              12-inch vinyl album - 140g yellow pressing.
                              Deluxe CD album housed within the book 20-page hardcover book.
                              2 removeable high quality art prints.
                              Fold out wall poster, 720 X 450 mm.

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

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

                              Jean Claude Garvi returns for another three-track journey of beach-ready Balearic gold on his own EBO Records.

                              "Nite Dubbin" kicks off proceedings - a piano laden, rapturous slammer laced in acidic arps and bongo goodness. Take to the flip for a slo-mo vapour-boogie reinterpretation, "Interview By The Pool" is perfect for those beachside lounges and poolside shenanigans, with an unreleased 12 inch mix of atmospheric synth-pop swellings, "Last In The Bin", to close out the EP.

                              Ghost Wolves

                              Crooked Cop

                                Third Man Records is excited to release the newest songs from Austin, TX’s Ghost Wolves. Formed in 2011 and hardly taking time to sit since then, the Ghost Wolves create, record and tour at a rapid clip.

                                Blending rock n' roll, punk rock, garage and blues with electronic elements, the duo has earned a reputation as one of the hardest working bands in the modern rock n’ roll underground, touring internationally for almost 8 years straight, with nearly 1000 shows between them in 23+ countries including most of western Europe, the USA, U.K. and Japan.

                                The duo recorded these three new tracks in early 2019 with engineer/producer John Michael Schoepf (bassist for Ray Wylie Hubbard, Night Glitter) in his Austin living room studio. The recording took place during a very dark time for Carley and Jonny, who have been married for 7 years. Jonny’s father received a terminal cancer diagnosis in late 2018. These songs came together while Jonny was tending to his father in Connecticut, with Carley sending demo songs to him from Texas. When his father stabilized somewhat, Jonny returned to Austin to take a break and they both therapeutically recorded these songs. As can be heard, these recordings are darker, more intimate and more pressing than previous material.

                                Giant Sand

                                Recounting The Ballads Of Thin Line Men

                                  It’s 33 and a third years since the seminal Giant Sand and its country cousin The Band Of… Blacky Ranchette entered the studio to lay down their second albums. Yes. Both bands had recorded their second albums each. Two sides of the multi-faceted hyper-productive Howe Gelb. “I was turning 28,” he recalls, “and had been wanting to make and release albums since my early 20s, but only recently had figured out how. It was time to make up for lost time.”

                                  Time was of the essence. That thin line between then and now has seen journeymen Giant Sand release 27-ish albums, their latest, ‘Recounting The Ballad Of The Thin Line Men’ turning the clock back to 1986’s ‘Ballad Of A Thin Line Man’, picking over the bones and making a whole new soup. All these years on, the latest incarnation of Giant Sand: Howe Gelb (guitars, piano) Tommy Larkins (drums) and Thøger Lund (bass), have dusted off the old vinyl and re-imagined those heady days – they’ve polished these buried gems, reignited some truculent tirades and rekindled an ageless angst. The revamp re-orders the tracks, drops a couple and adds ‘Reptillian’, a previously lost song hailing from their album’s 25th anniversary re-issue, a tune that opens proceedings and basks in all its crinkly glory. There’s also two takes of ‘Tantamount’. The unique thing about Giant Sand’ is they make it all their own, they sound like no-one else. The songs remain the same, but somehow completely different. Howe: “We were a fine storm. The greatest storm in terms of tumultuous velocity and pelting bluster. It proved unstoppable... for a minute”.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Pink vinyl.

                                  Indies Exclusive LP Info: Indies exclusive purple vinyl edition.

                                  Versatile boss and one half of Château Flight, Gilb'R selects 8 tracks from his catalogue of sonic entheogens. Conjured up in Amsterdam where he has been living for the past 5 years, and a macro hologram of Gilb'R's mind; it explores many moods from tribal to sentient and back through humanoid expression. Many paths have led us to our current hybridized world, and there's no better soundsmith than Gilb'R to highlight the merger of organic, spiritual and cybernetic in our crazy times. We love it, you will too!

                                  STAFF COMMENTS

                                  Matt says: Synthesized sonic rituals for the sound shamans and techno wizards out there as head sorceror Gil'r opens up his spellbook.

                                  Post Punk Pioneers GRAMME release their long awaited second album on 2nd august 2019. Working closely with the team at Love Vinyl the band are set to release on vinyl & CDl via specialist targeted stores following up with a digital assault in early June 2019. Cited and favourite by the likes of LCD Sounds System, ACR and Hot Chip this eagerly awaited ‘Disco Lovers’ is set to establish the band where many believe they should have been for years.

                                  Adam Green

                                  Engine Of Paradise

                                    Adam Green is an artistic polymath -- a songwriter, filmmaker, visual artist, and poet. As part of New York’s downtown antifolk scene at the end of the nineties, Green made up one half of The Moldy Peaches, who later enjoyed mainstream success via the 2007 Grammy-winning Juno soundtrack.

                                    As a solo artist, Green has recorded 10 albums, many of which have become cult hits. His songs have been performed by artists as diverse as The Libertines, Carla Bruni, Kelly Willis, Dean & Britta, and Will Oldham. His 2005 record Gemstones went Gold in Europe.

                                    Green’s paintings and sculptures have been the subject of exhibitions in America, Asia and Europe, including a 2016 solo-show at the prestigious Fondation Beyeler Museum in Basel, Switzerland. Green first combined his visual aesthetic, psychedelic writings and musical compositions in the The Wrong Ferarri (2010), the first feature film shot entirely on an iPhone. The “screwball tragedy” was described by Rolling Stone magazine as “Fellini on Ketamine” and went on to feature in the curriculum of NYU’s Tisch Film School.

                                    His second feature film, Adam Green’s Aladdin (2016) -- an immersive fantasy film starring Macaulay Culkin, Natasha Lyonne, Alia Shawkat, Jack Dishel and Francesco Clemente and shot entirely on papier-mache sets -- was described by as “the trippiest movie ever made,” while called Aladdin “a movie that belongs inside a museum.” An instant cult hit, the movie was screened theatrically in a midnight movie context, at over a hundred of Green’s concerts around the world, as well as the Andy Warhol Museum in Philadelphia.

                                    After first publishing a bilingual volume of his poetry with Suhrkamp Verlag, Green’s newest book War and Paradiseis a graphic novel that combines his lyrical and visual vocabulary. The satirical war epic is about the clash of humans with machines, the meeting of spirituality with singularity, and the bidirectional relationship between life and the afterlife. Green’s 10th solo album, Engine of Paradise, is a musical exploration of these same themes. Recorded in Brooklyn, New York, by Loren Humphrey, the forthcoming album reimagines the baroque orchestral style of his early 2000s era records and f eatures performances by James Richardson (MGMT), Florence Welch (Florence and the Machine) and Jonathan Rado (Foxygen).

                                    An extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album "Together, Togetherness" on RCA. An album covering "From The Music Connection" with Freddie Redd Quartet and Jackie McLean. The Music From "The Connection" was composed by jazz pianist Freddie Redd for Jack Gelber's 1959 play The Connection. This first recording of the music was released on the Blue Note label in 1960. It features performances by Redd and Jackie McLean Jack Gelber originally planned for the play to feature improvised music performed by jazz musicians who would also play small roles in the production. Freddie Redd, however, persuaded Gelber to include his original score. Redd re-recorded the score later in 1960 as Music from the Connection.

                                    In 1974 The pianist Johnny Griffith, who was a member of the prestigious Motown rhythm section "Funk Brothers", covered the album "The Connection" by Freddie Red as a whole album, playing electric piano here, which really changes the vibe of the music - and the players are supposedly a host of Motown studio musicians - playing jazz here, but with a nice funky soul undercurrent. Originally released on Detroit Geneva Label.

                                    Pianist Johnny Griffith can be heard on classic Motown sides, as well as on recordings from other Detroit-area labels. Like Motown's other pianists, Joe Hunter and Earl Van Dyke, Griffith's had an extensive musical background.

                                    Signed to Motown's Jazz Workshop label, he recorded the albums "Detroit Jazz" and "The Right Side" of Lefty Edwards. When the march of the Motown hits began, Griffith started playing on sessions for their R&B/Pop acts. But rather than signing a work-for-hire contract with Motown like other musicians, Griffith remained a freelancer, doing other dates and sessions in New York and nearby Chicago.The Motown hits that Griffith played on include: Marvin Gaye's "How Sweet It Is (To Be Loved By You)", his celeste trills are heard on "Mercy Mercy Me (The Ecology)", adding Wurlitzer electric piano on both Gaye's "I Heard It Through the Grapevine" and the Temptations' "Ain't Too Proud to Beg", organ on the Supremes' "Stop in the Name of Love and organ and shotgun effects on Junior Walker and the All Stars' "Shotgun.

                                    Griffith's non-Motown hits are with Edwin Starr, Jackie Wilson, The Chi-Lites, and Young-Holt Unlimited's "Soulful Strut" In the '90s, Griffith was still active on the Detroit club scene.

                                    FORMAT INFORMATION

                                    Ltd LP Info: 180 gram Deluxe Heavy Cardboard Sleeve with OBI.

                                    Extracting a rich sense of emotion from an evolving analogue set-up, Hammer follows up his previous FMB outings "Dahlia" and "C-Space" with a similar tone and sound palette as he lays out a new EP with 3 tracks that capture the Feel My Bicep sound perfectly, striking the balance between delicate melody and power with aplomb.

                                    The lead track "Parabola" manifested as a slow burning percussive experiment that, as Hammer explains, ‘quickly got fired up by an extra 10bpm for the dancefloor effect, turning itself into an acid led epic’ and as a consequence accidentally becoming the A1 at the same time.

                                    "Parabola" is followed by "Panoptic" and ‘Entropy’; all three track names inspired by his recent love for physics podcasts. Created with Hammer’s much loved Yamaha CS1-X, ‘a spaceship in its own right’, he explains. ‘A Xoxbox and a Roland SH-2 did the rest of the hard work. Time to enter the twilight zone with this one!'

                                    STAFF COMMENTS

                                    Matt says: Highly electrified, stadium-pleasing tech-house here from Hammer and the taste making Feel My Bicep label. Ket vest not included.

                                    Richard Hawley

                                    Coles Corner - Coloured Vinyl Reissue

                                      Critics were almost unanimous in their praise for Coles Corner, originally released on 5 September 2005.

                                      Richard's third solo album (his fourth if you include the self titled mini album). It was recorded at Yellowarch Studio in his hometown of Sheffield and is a beautiful album, filled with nostalgia, emotion and romance. Its orchestral splendour sits alongside earthy rock and roll, with songs that are by turns intimate and soaring.

                                      The title immortalises the legendary Sheffield landmark Coles Corner, a popular meeting place of old and new lovers.

                                      The album was nominated for the 2006 Mercury Music Prize for best album.

                                      FORMAT INFORMATION

                                      Coloured LP Info: 1500 copies on transparent amber vinyl.

                                      ‘Broken Belief’ brings together a selection of recordings by Japanese multi-instrumentalist Toshfumi Hinata drawn from a body of work originally recorded between 1985-1987. Attending Berklee College of Music after spending time living in both the United States and the United Kingdom, Hinata would study under the tutelage of pianist Patricia Laliberte, graduating from the esteemed American school in 1982. Returning to Japan after becoming disillusioned with his classical training, Hinata experimented with many different forms of music. Moving away from depending simply on acoustic instruments, he would instead become entrenched in the possibilities of the latest analog synthesizers being developed at the time.

                                      Toshifumi Hinata’s initial idea was to make his first album with just a Prophet 5 and Linn Drum Machine. Tweaking filters and creating intricate sequences, Hinata would record various sounds on analog tapes and overdub many different layers; recording violin, piano and other accompaniments separately later on. It would become a method of working for the musician which he would apply almost entirely throughout this period. A deeply submerged process; one in which he would seek, as he himself puts it, to "weave musical images".

                                      Toshifumi Hinata would go on to record several more albums released only on CD throughout the late 1980s and 1990s, after which he focused mainly on music for TV dramas, commercials and documentaries. Now living in Tokyo he is almost exclusively focused on creating music for documentaries. The period of work released between 1985-1987 is one though that was not only a rich moment in the history of Hinata himself but of Japanese music and electronic music in general.

                                      STAFF COMMENTS

                                      Patrick says: Music From Memory save you a lot of hard work and deep digging here, collecting the best bits of Toshifumi Hinata's "Sarah's Crime", "Chat D'Ete", "Reality In Love" and "Story" LPs onto one release. "Atarashi Yuhubokumin" has been a total favourite of mine since I picked up "Chat D'Ete" about five years ago, and gets the ID requests whenever it gets an outing. Japanese ambient with a Balearic twist...

                                      Hiss Golden Messenger

                                      Terms Of Surrender

                                        Describing the Durham based Hiss Golden Messenger is like trying to grasp a forgotten word: It’s always on the tip of your tongue, but hard to speak. Songwriter and bandleader M.C. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. There’s nothing else quite like it. For over ten years, Taylor has spearheaded this prolific, perpetually evolving group. He’s toured and recorded relentlessly, earning devotees along the roads, deep in festival pits, and across the seas.

                                        “The work that I do requires me to be in a certain emotional place,” says Taylor. “My music depends first and foremost on being in a heightened emotional state and putting my vulnerability on display.” This vulnerability is also central to Taylor’s steadily growing fanbase, which continues to discover universal themes in his deeply personal work. The critical acclaim and attention for Hiss Golden Messenger and barn-burning performances on Late Show with David Letterman and Late Night with Seth Meyers affirm the emotional power of Taylor’s work.

                                        This raw emotion is especially apparent on Hiss Golden Messenger’s new album, Terms of Surrender. Terms follows Taylor’s journey through a tumultuous year of trauma and psychological darkness, hoping and working towards redemption and healing, and the conflicting draw of home and movement. “Another year older,” Taylor sings on album opener “I Need a Teacher.” “Debt slightly deeper. Paycheck smaller. Goddamn, I need a teacher.”

                                        Later, Taylor tracks the complex dynamic between father and grown son on “Cat’s Eye Blue,” singing, “Is this wicked word too bad to be spoken? You let the heart attack in. One taste and it’s broken.” He later pivots towards his relationship with his own daughter on “Happy Birthday, Baby.”

                                        Taylor says that he wanted to make Terms of Surrender “a wandering record. I wanted where we recorded it to mirror the searching spirit of the music.” Having written upwards of 40 songs in motel rooms, his studio in Durham, and a secluded cottage outside of Charlottesville, Virginia, 10 songs were chosen. Includes regular collaborators Phil and Brad Cook, Josh Kaufman, and Matt McCaughan and new friends like Jenny Lewis and Aaron Dessner (of The National).

                                        Hiss Golden Messenger songs create feelings to which devoted listeners attach their own meanings and memories with each repeated spin. Throughout Terms of Surrender, those feelings range from fearful to celebratory. But perhaps the title track with its refrain of “I’m gonna give it/ but don’t make me say it/ It’s one thing to bend it, my love, but another to break it” best summarizes the nature of Taylor’s work as a musician, father and spouse, and cultural communicator on this album.

                                        STAFF COMMENTS

                                        Barry says: I was just having a discussion with Dave about how i'm obviously getting a little bit older, and my tastes are changing, veering more towards slightly miserable Americana ballads, but my appreciation for HGM has remained throughout regardless of my advancing years. It's a testament to his skill as a songwriter that he can continue to smash out such beautiful LP's without veering too far from the formula, but keeping things as transportive and dreamy as they are on 'Terms Of Surrender'.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Pressed on coke-bottle clear vinyl & includes a 22.75" x 33" foldout poster insert.

                                        Brittany Howard


                                          Eagerly anticipated debut solo album on Columbia Records, from lead vocalist/guitarist of Grammy Award winning ALABAMA SHAKES. ‘History Repeats’ is as much a personal song as it is a song about us as a human species,” says Howard. “Our times of success may propel us forward, but our repeating failures hold us back from evolving into harmony.”

                                          Howard’s band on Jaime includes Alabama Shakes bassist Zac Cockrell, jazz keyboard player Robert Glasper and drummer Nate Smith. It was recorded at engineer Shawn Everett’s LA studio.

                                          Jaime is named after Howard’s sister, who taught her to play the piano and write poetry, and who died of cancer when they were still teenagers. “The title is in memoriam, and she definitely did shape me as a human being,” Howard says. “But, the record is not about her. It’s about me. I’m pretty candid about myself and who I am and what I believe. Which is why I needed to do it on my own.”

                                          FORMAT INFORMATION

                                          Coloured LP Info: Sandstone coloured heavyweight vinyl, RSD indie store exclusive with 7".

                                          In 1986, Uruguayan vocalist and musician Mariana Ingold took the advice of a storied Uruguayan composer and musicologist and recorded her first album (Todo Depende) for the now legendary label Ayuí/Tacuabé. In the early ’80s, the introduction of the synthesizer fostered an experimental new approach to traditional Candombe rhythms. Ingold’s influence on the scene looms large. Pairing elegant vocals and majestic harmonies with complex arrangements, she pushed the Montevideo-specific sound — loosely termed Candombe fusion — in new directions and thrived working collaboratively with artists including Eduardo Mateo, Jaime Roos, and Hugo Fattoruso.

                                          With the assistance of Chris J. Morris, Left Ear Records has extracted a collection of tracks that encapsulate this period between 1986-1991, lifting from her albums Todo Depende, Cambio de Clima, and Haace Calor. Full liner notes translated in English and Spanish with archival photos included.


                                          Bagigi Dub / WW Dub

                                          The Brussels-based trio of Virginia Genta, David Vanzan and Ernesto González (Bear Bones, Lay Low) have  already been playing as Yader for some years. "Bagigi Dub" and "WW Dub" sees them run two tracks from their 8 track tape through effects for more spaced-out versions of their sound, under the name Jahder. This 7", also with cover design by Virginia, features two cuts of prime dubbed-out drum machines, loping bass lines and widescreen delays for expansive listening.

                                          Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody.

                                          On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, whose lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.

                                          Super lush ambient and modern minimalist music from Korean artist Sunggun Jang. Created during the harsh winter nights of 2019 at a home studio in the outskirts of Seoul, “​Disfiguring Echos” i​s the first full length album of Korean artist Suggun Jang.

                                          Mesmerizing ambient soundscapes soaked in Jang’s own environment recordings, are subtly layered with contemporary minimalist compositions to form a powerful work that reflects the harsh yet beautiful surroundings and captures the imagination.

                                          Suggun Jang has been making music for more than 15 years, from noise and doom metal beginnings to complex and detailed sound designs for soundtrack projects, and a passion for capturing his surroundings with unique environment recordings.

                                          Daehan Electronics presents the first window into the world of Suggun Jang.

                                          STAFF COMMENTS

                                          Matt says: If crushingly heavy atmospheres, rain-soaked melancholy and scarily intimate moments of emptyness are your thing right now, then get this incredibly introspective album in your life right now and soak up the fun!

                                          The Juan Maclean return to DFA with a compilation LP of 12-inch singles they’ve amassed over the past six years – re-edited, re-mastered, and ready for fans who may have missed the tracks the first time around. From the dub house sway of 2013’s “You Are My Destiny” to the high-energy stomp of this May’s “Zone Non Linear,” and featuring two never-before-released tracks, “Quiet Magician” and “Pressure Danger,” The Juan Maclean once again justify their longevity as a musical force that is more than capable of repurposing club tracks for every setting.

                                          The Brighter The Light is put together in a way that lends itself to appreciating the sheer banging quality of the songs while simultaneously being able to dance to them in your living room. For example, take “Feel Like Movin,’” which Pitchfork called “gloriously beatific” and “pure DFA gold.” In the new remastered version, the fullness of the keys and the kicks takes over, unfurling across the listener. Deep house rhythms, sparkling synths and a certain spaciousness are what’s emphasized across the record. Gone is the slow-motion melancholy disco from their recent full-lengths – The Brighter The Light is all fierce enthusiasm and dance floor missives, perfect for those who aren’t quite ready to let go of summer.

                                          Juan Maclean is a DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. Vocalist Nancy Whang is his longtime collaborator, best known as a founding member of LCD Soundsystem and a busy touring DJ. Together, the two artists have released an extensive catalogue of 12” singles and full-length albums for DFA, including 2014’s seminal In A Dream LP. The proper follow-up studio album will follow in 2020.

                                          FORMAT INFORMATION

                                          2xLP includes MP3 Download Code.

                                          Suzuki Junzo & Snakes Don't Belong In Alaska

                                          The Ascended Master Teachings Of...

                                            Cardinal Fuzz are pleased to bring to you a meeting of North East and the East via Newcastle Sike Lords - Snakes Don't Belong In Alaska and joining them , the legendary Japanese musician Suzuki Junzo (Miminokoto, 20 Guilders and Overhang Party as well as many solo titles) who unleashes a glorious tsunami of psychedelic honey via guitar. Over four sides of vinyl they create a tumultuous crescendo of psychedelic drone acid jam worship. Recorded and mixed by MP Wood at the Soundrooms, Gateshead as Snakes Don’t Belong In Alaska took the good opportunity to book some studio time as Suzuki Junzo was playing in Newcastle with them while touring Europe.

                                            The sheer joy of playing together on stage carried over from that show into the recording studio where over a stonking 75 minutes your ears are treated to an eternal freak-out. The Snakes bring a bottom end Sabbath thud while Jude (Guitar) creates a swirling and warped glide over the top of which Suzuki Junzo unleashes crazed 6 string fireworks
                                            And if that does not set your heart a flutter then as the insert says “If you are looking for psychedelic music, do not buy this record unless you are looking for psychedelic music”

                                            FORMAT INFORMATION

                                            2xLtd LP Info: 300 Pressing Worldwide. Presented in a 350gsm Wide Spine Sleeve with a full size insert and download code.

                                            A West Coast classic back on vinyl at last!

                                            Recorded in 1968, the lone album by the group known as Kak is a beloved masterpiece, full of the inspiration and promise associated with the California psychedelic dream.

                                            The oddly-named, eminently talented quartet from the college town of Davis was together less than a year from start to finish, yet within that short time created a record renowned for powerful performances, solid production values and the brilliance of its song craft, with a full playlist of compelling material like ‘Electric Sailor’, ‘Lemonaide Kid’ and ‘Trieulogy'.

                                            Kak can stand nobly alongside records like Surrealistic Pillow, Electric Music For The Mind And Body, Sailor or the first Moby Grape album, as one of the most satisfying listens of the late 1960s SF rock renaissance.

                                            This newly remastered vinyl edition features extensive liner notes by Kak aficionado Alec Palao, with contributions from band members Gary Lee Yoder, Dehner Patten, Joe-Dave Damrell and Chris Lockheed.

                                            “First rate westcoast psych” – Patrick Lundborg (Acid Archives).

                                            FORMAT INFORMATION

                                            Ltd LP Info: Housed in heavy cardboard sleeve plus OBI.
                                            Colour four panel insert with photos and liner notes by Alec Palao.

                                            David Kilgour And The Heavy Eights

                                            Bobbie's A Girl

                                              "It's moody - as in low, subdued," says David Kilgour of his new album, Bobbie's a girl. David Kilgour’s 11th solo album, Bobbie’s a girl is a quieter affair than fans may associate with the pioneer of New Zealand indie rock. “I tended to shy away from too much guitar playing for a point of difference and to mix things up for myself a little,” Kilgour continues. The style set in at the beginning of sessions, as he and the Heavy Eights (i.e., longtime collaborators Thomas Bell, Tony de Raad, and Taane Tokona) headed to Port Chalmers Recording Services with producer Tex Houston. “We have worked on these songs for a number of years now, so that’s different because I usually can’t wait to get them out,” Kilgour says. Why the delay? Like with the themes of the album, Kilgour doesn’t want to elaborate too much.

                                              “Everything’s related to the music and mood,” he says, “but I’d rather not say how. I like a little mystery.” Largely missing the jangly distortion of Kilgour’s other work, the album’s ten songs exude a hazy warmth, with a light psychedelia that recalls the ’60s outfits like The Byrds and The Velvet Underground. Opener “Entrance” floats wordlessly on acoustic guitar, whose ringing chords slightly mask the deft fingerpicking beneath it. “Smoke you right out of here” picks up the pace, but “Crawler” rolls in like a storm, its organ and fingerpicked guitars creating an ominous sound until a chorus of “aaaahs” lightens the mood. Only four songs have lyrics. “I kind of wanted a rest from verbalizing everything, like listening to yourself going, ‘Blah blah blah blah…,” Kilgour says. The guitar quietly shimmering between channels, the music seems to speak more than the words. “Ngapara,” the closing track of Bobbie’s a girl, is his favorite song on the album. It’s a loping instrumental carried by thickly distorted guitars and heavy reverb. Like the rest of Bobbie’s a girl, it feels both a part of Kilgour’s previous work, and just outside of it

                                              FORMAT INFORMATION

                                              Coloured LP Info: Clear with opaque yellow & red swirl vinyl.

                                              The Kinks

                                              The BBC Sessions 1964-1967

                                                Spanning tracks from the classic 1964 self-titled debut to their 1967 masterpiece Something Else by The Kinks, this collection features nearly two dozen Kinks klassics, recorded live on the BBC. With stunning sound quality and a near perfect group of songs, hear the Davies Bros. & Co. at their live, raw best.

                                                From the psych-pop brilliance of “David Watts” to the foot-pounding R&B of “All Day And All Of The Night” this collection runs the full spectrum of The Kinks’ sound. Essential live cuts from one of the top British Invasion and psychedelic era groups!

                                                Frankie Knuckles / Eric Kupper

                                                The Director's Cut Collection Volume One

                                                There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

                                                Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

                                                Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

                                                Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.

                                                The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

                                                There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’. A Grammy Award winner, Frankie had a street in Chicago named after him where the old Warehouse once stood to commemorate the first ever Frankie Knuckles Day on 25th August 2004. Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades.

                                                Now he is commemorated once again by long time writing and production partner Eric Kupper who will release part II of the special commemorative album on vinyl around this date. Eric, himself a seasoned DJ producer and writer, working side by side with Frankie on many his seminal classics, as well as personally working on over 116 Billboard #1 Dance Records. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

                                                The album features some of Directors Cut’s best works with the Re-Directed version of the seminal classic ‘Baby Wants To Ride’ plus their re rubs of Inaya Day, Sybil, Hardsoul and Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper Unreleased Anthem).

                                                This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continue Frankie’s legacy whilst focusing on music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education

                                                Fresh from triggering bedroom DJs the world over with a brilliant internet-breaking Boiler Room performance, the conceptual, contrary and controversial Chris Korda arrives at Perlon with her first musical work in fifteen years. Ditching the DAW and recoding her MIDI sequencer to accommodate multiple time signatures, the Church Of Euthanasia founder experiments with polymeter and shifting phrasing at the fertile overlap between techno and jazz. The result is a ten track set of glistening, trance-inducing repetition which retains the DIY naivety of her earlier work while achieving an organic sound rare for an entirely electronic composition. Reminiscent of UR's "Hi Tech Jazz" phase, but injected with the airy spiritualism of Yoruba, this is currently a big hit for the Piccadilly crew.

                                                STAFF COMMENTS

                                                Patrick says: I first encountered Chris Korda through some provocative, arch and DIY techno 12"s on Gigolo about fifteen years ago, and worked backwards from there, digging into the mythology of the Church Of Euthanasia and Chris' earlier releases. To have a new release after all that time was blessing enough, but the quality here is astounding. End of Year chart contender for me.

                                                First in a series of releases from the Phil L.A. Soul Archives. Remixed by Tom Moulton from the original multi track tapes. From the wise words of Listen To Your Mama blaring out from your speakers, listen up! Drenched in funk grooves and majestic soul fusion, make this upbeat seven-inch part of your essential record library favourties.


                                                A Picture Of Good Health

                                                  Whereas the band’s debut album ‘Popular Music’ was broadly political, the new album takes a more personal approach with beguilingly honest and brave lyrics that are bold in both sound and feeling, whilst also retaining the core DNA of their previous material.

                                                  Going on to speak about the album Mez says “A Picture of Good Health is not a collage of work but rather a snapshot of time; our time and the time of those around us. It’s political, but in a personal way. It’s a body of work that explores and examines the bands inner-selves through a precise period; a period that has brought pain, loneliness, blood, guts, single parenthood, depression and the need for survival and love. It is the sense and need for belonging that is the resounding endnote!”

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Indies exclusive orange vinyl.

                                                  Once upon a time, in the glory days of the forum, a new generation of DJs and collectors were being introduced to a wealth of rare and exotic tunes; musics with life changing powers which spoke a universal language. Moonboots, Mike, Brewster, Broughton, Boardman, Mison and Dr Rob - all present and correct, all on hand to educate, entertain, inform and swiftly remind you that you had next to no chance of ever finding a copy. 
                                                  Well, times have changed, editmania has given way to the march of the reissue, and all those rare birds are coming home to roost - or at the very least nest nicely in your record collection.
                                                  This latest reissue from Italian imprint Best Records ticks another biggie off the collective wantlist, providing us all with an affordable, remastered and reissued copy of Roberto Lodola's Balearic classic "Marimba Do Mar". 
                                                  Lodola was one of the first Italian DJs and producers devoted to the Afro sound born in the Northern parts of Italy. As the 80s wore on, and Roberto found his way into the studio, his exotic tastes and sunny disposition perfectly translated into the Mediterranean masterpiece "Marimba Do Mar", a breezy, jazz flecked slice of tropical pop complete with DX7 panpipes, synth marimba, subtle percussion and swelling sax. Whether you opt for the largely instrumental 'Fusion Version' or the sweet and sensuous 'Vocal Version', you've got a certified classic on your hands. As a BIG brucey bonus, Best have also turned up a pair of previously unheard outtakes "Feeling Of The Sun" and "Hey George!", which slice your cocktail lime in different directions depending on taste and mood.

                                                  STAFF COMMENTS

                                                  Patrick says: Awwww yeah! Best Records hit us with another BIG Balearic classic, that's been super tough to find for the longest time. As Mediterranean as it gets, "Marimba Do Mar" takes tropical synth work, sleazy sax and jazzy grooves and flips it into a piece of true Balearic brilliance. Every home should have one.

                                                  Lonely C / Tom Trago

                                                  The Compass Joint

                                                  Ok it's back, for how long who knows? But it's here, for now....

                                                  Possibly one of the biggest, difficult-to-acquire dance releases from early in the year, it was made big at ADE where it received a limited release for attendees. After gaining traction it's become a massively-streamed track, and initial copies went as high as £70+ on the second hand market.

                                                  Now Rush Hour have let the flood gates open on the remaining copies, rumours are that there were ever only 200 pressed although we find this hard to calculate.

                                                  What matters though is that the music really cuts through the hype. "Track 1" is a joy-filled, mid-tempo organic house romp through tuned percussion, angelic organs and a lovely warm bass. Imagine Metro Area recording on Sound Signature and you get half the idea. Gloriously long, the elelven minute arrangement keeps us suspended across a green and rich flower bed of house music goodness.

                                                  "Track 2" is more electric, with buzzing synth and electronic drum palette and loads of SFX flying around the mix. It's all about the bass on this one though, with a speaker rattling, fretted B-line gluing the whole thing together and powering up the hips and feet immediately. Again, a nicely constructed arrangement simmers and pops right till the end of its duration.

                                                  Already heavily rotated by lucky folks who nabbed it first time round, both tracks definitely live up to the hype. Every house collector & DJ needs a copy of this, so let's hope they don't run out too soon....! 

                                                  STAFF COMMENTS

                                                  Matt says: Timeless house music often lends itself to simple structures and strong musicality. I've already caned it to death out and about but it refuses to get boring! I can see this still sounding huge in another ten years time. A true collectors piece!

                                                  "Hold Up" ft Kendra Foster is the breakout first single on Lonely C’s (aka Charles Levine of Soul Clap) debut album, "Charles & Tribulations". Foster, known as a multitalented singer / songwriter who's toured the world for over a decade with Parliament & Funkadelic, won a Grammy for her co-writing on D’Angelo & The Vanguard’s "Black Messiah", most recently set forth as a solo act with her 2016 eponymous sophomore album.

                                                  This may be Kendra’s first foray into house music, but she’s no stranger to the groove. This is a dancefloor classic in the making, already receiving powerful response from crowds at Soul Clap’s DJ sets.

                                                  Lonely C’s original mix features Kendra Foster’s cathartic tale of a love gone away. Mike Dunn’s remix provides guaranteed dancefloor activity while Javonntte is enlisted for a tasty alternative mix which shines equally alongside the original.

                                                  Then last but no means least FSQ’s Funkadelic Touch mix of “True” featuring Billy Bass Nelson, GKoop, O-Man, & Kim Manning.

                                                  Lord Tusk

                                                  Tell Me Feat Tyson / Healer

                                                  First 7" format from Australian taste makers Outer Space Inner Time - who've previously touched on digi-dub, deep house and shamanic movements.

                                                  It's the London-schooled Apron alumni Lord Tusk enlisted in for the sixth release, who gives Dean Blunt / Hype Williams a run for their money with a tasty double header of NGS (non-genre-specific) electronic music.

                                                  Sound alien? It shoud(n't). This strange new form / hybrid style has been around for a while. A bastard child / pre-cursor to the vapourwave movement think James Ferrara, Sun Araw, Macintosh+ and in particularly Dead Blunt and his (and Inga Copeland's) Hype Williams project. Lord Tusk, to me takes the baton from this fellow Londoner and runs with it - imparting a sophisticated level of art and obscurity into everything he does. The anti-star of underground electronic music if you will.

                                                  "Tell Me" refracts 80's hair-metal through VHS prisms and bedroom boogie outboard equipment. If you liked the Private Lesson record on Total Stasis or the better side of 100% Silk then get on this pronto!

                                                  "Healer" tames the wild effects and loads up the 80s reverb presets, strumming a bright guitar alongside gated tom crashes. Add Lord Tusk's completely idiosyncratic, out-of-tune vocal style and it quickly becomes an odd ball, no-wave hit for the under achievers!

                                                  Probably the most unusual, yet still pleasing to the ear, records you'll hear all week! Most recommended. 

                                                  M83 mastermind Anthony Gonzalez released Digital Shades Vol. 1 in 2007 as a compendium of unused ambient tracks for diehard fans to enjoy rather than letting these works disappear into the void. It was a way to breathe life into songs that normally would not see the light of day as well as a vehicle for Gonzalez to explore areas of musical creativity separated from the pop-leaning M83 studio albums. Gonzalez credits Brian Eno’s ambient collections as a primary inspiration for the creation of the Digital Shades series. Now, more than a decade later, M83 has returned with the latest installment of Digital Shades - one that adopts a grander nature and seeks to transport listeners to another time and place entirely. DSVII is influenced heavily by early video game soundtracks, ‘80s sci-fi/fantasy films and analog synth pioneers such as the aforementioned Brian Eno in addition to Suzanne Ciani, Mort Garson and John Carpenter.

                                                  STAFF COMMENTS

                                                  Barry says: I have to admit to being mildly (not mildly) confused when I saw the video for 'Temple Of Sorrow' but then remembered, this is pretty much what Gonzalez does. Massive, operatic instrumental music, euphoric dream-state rock and absolute ego dissolving lysergic 'tron. Mental, but thoroughly brilliant.

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: 180g pink vinyl with a galaxy/candy floss effect in gatefold sleeve.

                                                  Made In USA

                                                  Never Gonna Let You Go (Theo Parrish Ugly Edit)

                                                  HOLY SHIT! Arguably the finest edit series ever, and among the best work of Detroit legend Theo Parrish's career, the Ugly Edits are frankly legendary. Extended and looped to insanity, EQed and pressed with the rough and raw sound that Theo's known for, this was disco as house music, packed with the speaker freaking energy of a Ron Hardy set. Now, nearly two decades on, Theo teams up with Prime Direct Distribution for a new series which officially licenses the cuts, and places them back to back with the original track, both remastered and cut loud on either side of a 12 inch.

                                                  Kicking things off we have one of Theo’s most treasured cuts, his ‘Ugly Edit’ of Made In USA - Never Gonna Let You Go, bootlegged endlessly in the past and racking up prices of up to £144 on Discogs it’s a high time an official reissue came around.
                                                  As iconic an edit as they get, ‘Never Gonna Let You Go’ encompasses everything great about Theo’s energy behind the decks - extending grooves for longer than anyone else even dare, working the EQ’s like a god and throwing in a bit of that raw magic that only he knows how. Taking the original’s sumptuous breakdown, Theo works it into a spirited, high energy disco workout looped into a near 10-minute stomper, big on the bass and brass fire whilst leaving the vocals at the door.
                                                  On the B side the original ’77 Made In USA version is laid out in all it’s glory. Funk powered, horn-laden disco goodness with breath-taking vocals from the Stateside troupe.

                                                  STAFF COMMENTS

                                                  Patrick says: And we’re off! Prime coming through with the officially licensed, remastered reissues of Theo’s Ugly Edit series. Starting at the beginning, we have the hi-NRG, rough and raucous extension of Made In USA’s “Never Gonna Let You Go”. If you don’t know, get to know!

                                                  Latin tinged California funk band Magnum has seen its reputation blossom since the original release of their LP "Fully Loaded" An exuberant band of individually talented musicians working in an expansive and comfortable environment, they give a loose funky overlay to a grounded R&B and Jazz sound that included a variety of instruments including whistles, that lift the music to an exciting, hypnotic groove.

                                                  Based in San Pedro Bay, California, Magnum originally consisted of brothers Michael Greene (multi-instrumentalist and youngest in the group) playing piano, organ, percussion and vocals and Harold Greene on bass, with Kevin "Cornbread" Thornton on lead and rhythm guitars and doing the arrangements, Vance Wormley on trombone, organ, piano and percussion and with George Chaney on congos & bongos; Thurron Mallory, playing tenor, alto sax and electrified percussion, joined six months later and brought with him the rest of the Magnum Horn ensemble with Lamont Payne on trumpet as well as percussion.

                                                  As the house band for radio station KGFM-AM's Soul Search as well as Soul Caravan, as series of weekly performances on a flatbed truck playing in around urban California. They also drew large crowds practicing in the Greene's garage. Once they practiced at Thurrons's childhood home in Compton, LA that drew such big crowds that the police had to shut the block down to disperse the crowd. The band stuck together performing in Southern California for a couple of years after the release of "Fully Loaded" once the opportunity came to perform with other artists Magnum disbanded and members went on to other projects.

                                                  All 8 of the Mad Professor remixes included here are previously unreleased and include his dub mixes of 2 tracks not originally featured on "Mezzanine" but from the same period: "Metal Banshee" - a dub version of "Superpredators" which was a cover of Siouxie and the Banshee’s "Metal Postcard"; and Wire, a track they recorded for the soundtrack of the film Welcome to Sarajevo.

                                                  This release is a vinyl accompaniment to the 2CD deluxe version of "Mezzanine" which features these remixes + the original album remastered.

                                                  Sonically it doesn't pull any punches, with Mad Prof's iconic, dub-wise production decorating and galvanizing the original stems with a futurist / psychedelic mentality. Striding confidently into avant-dub territory, you can really get lost in these deep layers of bass & echo. 

                                                  STAFF COMMENTS

                                                  Matt says: Trippy n fathoms deep dub here (just the way I like it) from Mad Prof, who gets his ganga-smothered paws on the Massive Attack stems.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Pink coloured vinyl.


                                                  The Maggot & The Bootlicker

                                                    On 1st April 1999 Ipecac Records was formed to release Fantômas debut release (a band featuring Mike Patton, Dave Lombardo, Trevor Dunn and Buzz Osborne from Melvins). During that time, Buzz said, “We told Greg that if they wanted to start a label then the Melvins would love to be involved. We asked if he would be interested in doing a trilogy of releases within one year and they said no problem.” That year the Melvins released The Maggot, The Bootlicker and The Crybaby via Ipecac. Now for Ipecac’s 20th Anniversary, they're reissuing two-thirds of the infamous “trilogy” by packaging The Maggot & The Bootlicker together. Since then, Melvins have gone on to release almost thirty releases on Ipecac, and continue to tour the world every year, most recently in support of their 2018 release, Pinkus Abortion Technician.

                                                    FORMAT INFORMATION

                                                    2xColoured LP Info: Gatefold package with disc one on white vinyl and disc two on doublemint green vinyl.

                                                    Nathan Micay follows up his huge, surprise hit LP of the year, "Blue Spring" with an equally amazing EP, "Butterfly Arcane".

                                                    According to Micay the EP continues to utilize "Blue Spring"'s beautifully crafted palette of beguiling electronic textures and rhythms, inducing a magic sense of novelty through their unique frequencies.

                                                    "I'm Your Huckleberry" is a surging flood of endorphins, with captivating proggy peaks and troughs akin to classic era Underworld and Leftfield, but with inventive new twists Four Tet and Daniel Avery.

                                                    The melodic, "This'll Tell The Tale" evokes a 6am lazer vortex, whilst "Did U Know I Cannot Die" is part DJ tool and part crystalline ambience that floats somewhere between Tangerine Dream and Vangelis.

                                                    Already a massive worldwide anthem, "The Party We Could Have Had" epitomises Micay’s ability to breathe new life into the early / mid 90s purple patch where prog, trance, electronica and techno blurred beautifully together.

                                                    The EP offers all those fans who weren’t able to grab Micay’s now highly-sought-after Manga inspired comic that came with the special edition of the album another chance, as an updated version will be available with this release, with an added foreword by music theorist / technologist and Holly Herndon collaborator Mat Dryhurst.

                                                    A new star on our shelves for fans of electronic music... now, when are one of our city's promotors gonna book him for a show?!


                                                    STAFF COMMENTS

                                                    Matt says: Follow up to surprise-hit-of-2019: "Blue Spring" and equally as stimulating. Micay is the real deal. Would love to see this guy live, if you're reading Nathan get in touch!

                                                    I've long been a fan of Steve Moore's filmic throbbing synth sound, with 2013's 'Pangaea Ultima' for me, being the pinnacle of his non-soundtrack output. Since then, we've had a number of soundtracks (The Mind's Eye and Mayhem being two particularly standout vinyl releases) and a superb solo album for Temporary Residence last year. 

                                                    This self-titled EP of sorts for legendary Brooklyn label, L.I.E.S sees Steve stripping back the atmospheric drones and pads for something a lot more percussive, with his saw stacks and staggered hats taking more of a front seat. 

                                                    'Broken Kills' kicks things off, with infrequent pulses of bass grooving atop the flickering hats and echoic drum machine, injecting proceedings with some momentum by gradually building and deconstructing the accompaniments tastefully, but to great effect. We follow up with a more dynamic arepggiated phrase in the stunning 'Future 99', bringing the paddling arps and soaring pads back once again, along with some incidental stabs and flickering delay lines, bringing to mind the pioneering German synth works of the mid 70's. 

                                                    'Eigengrau' builds upon this once again, with snapping snare drums and phased synth lines slowly churning around a solid core of filter-manipulated bass whirls and modulated hi-hats before closing things off with the comparitively frantic 'Future 86', working around a militant arp and gloomy churning drone. 

                                                    STAFF COMMENTS

                                                    Barry says: Yet another stunning outing for Moore here, clearly displaying his unmistakable instrumental style, but adding to it with more of a dancefloor-orientated focus. A perfectly curated and brilliantly fitting outing for the great L.I.E.S. Top stuff.

                                                    Thurston Moore

                                                    Spirit Counsel

                                                      SPIRIT COUNSEL is a collection of three extended compositions recorded between 2018-19. This collection represents a period of reflection on spiritual matters, collective musical friendships, and a time and space universally, without words or languages to distract from meditation.

                                                      CD 1: ‘Alice Moki Jayne’ is a new composition from noise guitar explorations honouring Alice Coltrane, Moki Cherry, and Jayne Cortez. These female partners of jazz musicians brought spirituality into the lives and music that has most inspired Thurston Moore.
                                                      12-string electric guitar army: Thurston Moore, James Sedwards, Jen Chochinov
                                                      Baritone bass truth and soul: Deb Googe
                                                      Magick drums: Jem Doulton
                                                      Electronic Wobbly love: Jon Leidecker
                                                      Engineer: Christophe Albertijn Recorded in Brussels, Belgium in 2019

                                                      CD 2: ‘8 Spring Street’ is a personal hommage to Glenn Branca, the title an address is in New York City, the apartment where Thurston first visited his mentor to rehearse.
                                                      Electric guitar Thurston Moore
                                                      Engineer: Syd Kemp
                                                      Recorded in London, UK in 2019

                                                      CD 3: ‘Galaxies’ is an orchestral piece of music, with Moore as conductor and composer. Twelve guitarists are arranged as if one instrument, exploring the vast emotional depths present in twelve strings. Taking inspiration from a poem by Sun Ra ‘Galaxies’ ponders our place in the universe as we stare into imagery offered by satellites via space agencies.
                                                      Guitar Army: Thurston Moore, David Toop, Susan Stenger, James Sedwards, Deb Googe, Alex Ward, Jen Chochinov, Jonah Falco, Rachel Aggs, Joseph Coward, Eugene Coyne & James McCartney
                                                      Guitar technicians: Beetmol Troy and Matt Tag
                                                      Recorded in London, UK in 2018

                                                      Book: ‘SPIRIT COUNSEL’ is an artist book edited by Thurston Moore which includes photographs compiled during the process of creating the accompanying musical works and is available exclusively within this boxset.


                                                      Morning In America

                                                        Morning in America consists of 7 songs that were recorded during the sessions for Mudhoney’s 2018 album, Digital Garbage (“…an astute, politically relevant and commendably fired-up garage punk belter of an LP,” – The Quietus). The tracks include "Let's Kill Yourself Live Again" (an alternate version of the Digital Garbage stand-out “Kill Yourself Live,” and the bonus track for the Japanese CD version of that album), "One Bad Actor" (a new version of Mudhoney’s track on the limited-edition, and now very sold-out, SPF30 split 7” single w Hot Snakes), album outtakes “Snake Oil Charmer,” “Morning in America” and “Creeps Are Everywhere,” plus "Ensam I Natt" (“So Lonely Tonight,” a Leather Nun cover) and "Vortex of Lies" from a very limited EU tour 7". The songs were mixed at Johnny Sangster’s studio Crackle & Pop!

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Limited, indies exclusive loser edition, silver vinyl.

                                                        No Sister


                                                          Continuing the band's interest in experimenting with the post-punk song, No Sister's upcoming release is an acknowledgement of an elemental, unavoidable creative facet: influence.

                                                          While Tiarney Miekus sings 'Burning News', she took influence from band member Mino Peric's childhood experience of clearing out an old, family house in suburban Tokyo. When Mino's family lit a backyard bonfire, burning newspaper floated into the sky, covering the neighbourhood in small black specks. Musically and aesthetically, the song was especially influenced by Phil Collins' 'In The Air Tonight' and the Prophet 5 synthesiser, alongside a desire, at the song's finale, to attempt to capture a moment of overwhelming, largely cinematic awe.

                                                          No Sister's new EP draws from a variety of influences including writers Sheila Heti and Anne Boyer, and musicians ranging from David Sylvian, Ryuichi Sakamoto, Prince and other 80s fascinations - the band endeavor to expand their post-punk sound to include influences from both sides of the Atlantic (and Pacific). Influence was recorded by John Lee and Pat Telfer at Phaedra Studios (Beaches, Love of Diagrams, Lost Animal, Stonefield), mixed by Mino Peric and mastered by David Walker at Stepford Audio. Opposite Number will release the EP in UK + Europe to partner with the bands self-release in Australia.

                                                          "Resonant Body" is the third studio album by Octo Octa (Maya Bouldry-Morrison). Maya recorded the songs at her cabin in New Hampshire in order to channel the resonance of the forest, the beauty of the river, and the energy from the rituals she conducts within it. "Resonant Body" is the second release on T4T LUV NRG, the label co-run by Maya and her partner Eris Drew. It draws on the same themes of togetherness, embodiment, love, healing and survival that animated her acclaimed "For Lover’s EP" on Technicolour earlier in the year.

                                                          One Eleven Heavy

                                                          Desire Path

                                                            One Eleven Heavy on this recording are Nick Mitchell Maiato, James Toth (Wooden Wand), Dan Brown (Royal Trux) and Hans Chew. Naming their band after a short story about a plane crash might have been a mistake. Because, for transatlantic, country-infused rockers One Eleven Heavy, it’s been two years of trials and near-death experiences. One Eleven Heavy is lucky to be alive.

                                                            And you only need to listen to the music on this, their brilliant second album “Desire Path” to understand that’s how the band feels. Because it’s a wry, occasionally biting, but always joyful celebration of human endurance and the ability to overcome. The musicianship is a step up from their raggedy, but already accomplished, debut, too.

                                                            The album is laced with lush three-part vocal harmonies and two-part harmonized guitar licks, recalling those classic Allman Bros runs at the same time as it brings to mind timeless classics by Hendrix, the Stones and, of course, the Dead. For One Eleven Heavy, being miraculous is a goal worth striving for. And the only route to it is by the “Desire Path.” Take it.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Indies exclusive opaque sky blue vinyl.

                                                            One True Pairing

                                                            One True Pairing

                                                              The musical touchstones of Tom Fleming, former Wild Beasts songwriter, vocalist and multi-instrumentalis, were Bruce Springsteen, Don Henley, Tom Petty alongside Depeche Mode and Swans. He wrote and played everything himself and then brought in Ben Hillier (Nadine Shah, Graham Coxon) on mixing and production duties.

                                                              One True Pairing is an album shaped by class frustration and self-despair and there is a continuation of the exploration of masculinity that made Wild Beasts so unique. As well as being deeply personal, OTP has a wider political resonance. "This country is going through a terrible moment and if you listen to the art nobody seems to give a shit,” Fleming says emphatically. He believes that class is entirely discounted from the current conversation about inclusivity and privilege. In its 11 songs of discordant guitar and aggressive synth Fleming channels his discontent with Britain in 2019 and a “feeling of directionless rage and cheatedness which hasn't gone away."

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Indies exclusive deluxe edition on heavyweight crystal clear vinyl.

                                                              Coloured LP includes MP3 Download Code.

                                                              Piccadilly Records

                                                              Roll Top Record Bag - Military Green

                                                                Super stylish roll top record bag. 

                                                                Holds 25/30 records.

                                                                Padded laptop compartment.

                                                                padded back and base.

                                                                Front zipped pocket.

                                                                Padded adjustable shoulder straps and sturdy grab handle.

                                                                Adjustable clasp closure.

                                                                Made from tough polyester fabric.

                                                                Dimensions 32 x 44 x 13cm.

                                                                FORMAT INFORMATION

                                                                Record bag Info: Military green with black embroidered logo.

                                                                Almost flawless collection of tracks here from Platform. Drifting through deepest house, techno and electro styles with a deep rooted, traditionalist aesthetic yet totally unique and envelope-pushing.

                                                                Across nine tracks Platform pretty much covers all the bases for lovers of that classic sound. Some tracks nod to Jeff Mills, some to Derrick May, others even to Sleeparchive; a few are on a more housey vibe while a couple touch on vintage electro (albeit given a modern bite). I have to say there's not a duff'un amongst the set, and I'm reckoning most busy techno DJs are gonna get plenty of airtime from this record.


                                                                PYJÆN is the reflection of 5 souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN’s story will be expressed not only musically but also with other visual arts. Consisting of guitarist Dani Diodato, trumpet player Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott’s as well as playing Glastonbury,Love Supreme and BrainchildFestival. Described by Jazz Wise Review as having 'a groove propelled with dynamism and formidable technique', PYJÆN seamlessly meld funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music.


                                                                Redrago (Club Version) / Il Veliero

                                                                Life And Death’s next album project finds label boss DJ Tennis connecting with Israeli duo Red Axes to express themselves with total freedom and explore the similarities and differences between their respective sounds. Entitled Redrago and due for release as a 2 x 12” on October 11th, the adventurous and subversive full length is preceded by this two track single release. DJ Tennis was introduced to the Red Axes duo by The Pachanga Boys at a festival in Corsica. “Their faces, their expressions and their attitude—gentle, smart, loving and funny—impressed me at first sight“ remembers Tennis. That was many years ago, and since then they have deepened their personal and musical connections, but “always by chance” says Tennis. Around a year ago, they were having a discussions and decided they should attempt to combine their “love of psy and mediterranean influences” and scheduled a week of recording sessions together. After making at 9am and having a proper Israeli breakfast, the artists went to a studio on top of a decadent old shopping mall in the Centre of Tel Aviv. Each of them then set up in one corner of the studio with their own instrument (including Tennis’s Pearl Syncussion, a small modular setup, a Juno and bunch of guitar pedals, while Niv and Dori “used their usual weird cheap instruments including bass and guitars”) and they began playing, experimenting and jamming, recording everything they did then swapping stations and repeating the process. “It was a friendly and loving experience” say Red Axes, who add that they then took all the recordings into various editing sessions and finalised the adventurous, multi-genre exploration that is Redrago. “The aim was to find a kind of Italian-Israeli connection in our musical approach,“

                                                                STAFF COMMENTS

                                                                Patrick says: Whacked out electro disco from DJ Tennis and Red Axes here, who combine roving hardware basslines with Indian konnakol scatting on the A-side, while the flip reminds me of Lindstrom & Prins Thomas' "Run".

                                                                Reverend And The Makers

                                                                Best Of

                                                                  With six Top 20 albums under their belts, Reverend and the Makers release the ‘Best of Reverend & The Makers’ Sept 20th. The album spans the bands career so far and includes singles and fan favourites from their debut release ‘Heavy Weight Champion Of The World’ to their latest single ‘Black Flowers’. Rounding off both albums are two new songs, especially recorded for this compilation, ‘Elastic Fantastic’ (featuring Rich Westley from The Moonlandingz) described by The Reverend (Jon McClure) as “ a fantasy about killing Donald Trump with a bow & arrow” and ‘Te Quiero Pero.’ To coincide with the release there will be a full headline tour - watch this space. Jon says this about the track 'Te Quiero Pero. When we did this I was thinking about a town I once visited on the Rio de la plata in Uruguay called colonia . It’s a real Gaucho, South American cowboy town and still has the colonial architecture and stuff. I kind of wanted to make a song that sounded like that place looks. I envisaged myself riding through it on a horse. In my mind it’s from some mad Sergio Leone or Tarantino Mexican western although critics might say its more Antonio banderas’ zorro.'

                                                                  Roxy Girls

                                                                  A Poverty Attention

                                                                    Recorded with David Brewis of Field Music their new record sees Roxy Girls expand on previous material, stripping down the post-punk format and remodelling it for current generation. Whilst their vernacular might make The Futureheads an easy (albeit apt) comparison, there is an added breathless intensity and intricacy to their instrumentation that calls to mind the likes of Omni or Gang of Four. This is interwoven with indie-pop sensibilities and hooks that are reminiscent of XTC, Television and Modern Lovers, which is driven largely by the surreal and often dry humour that permeate frontman Tom Hawick’s vocals with lyrics that centre around the tropes of modern living.

                                                                    Speaking about the new material the band says “Everyone knows how it feels to be a little lost or to be stuck in a seemingly inescapable rut. Trials and Tribulations does what it says on the tin really... We get bored when we're on our own and letting other people into our lives can rescue us from this impending insanity”

                                                                    Roxy Girls have gone from strength-to-strength at an astonishing rate and with a vast array of critical acclaim, renowned live shows and their recent signing to Moshi Moshi Records, the new single and mini-album is a thrilling prospect and a huge statement of intent, which is not to be ignored.

                                                                    Royal Trux

                                                                    Pink Stuff

                                                                      5 song remix EP by Ariel Pink - limited edition double 7" - 500 copies only.

                                                                      Rubella Ballet

                                                                      Day-glo Daze

                                                                        Day Glo Daze collects all the singles released by Rubella Ballet commencing
                                                                        with Ballet Dance originally released in 1979.

                                                                        Many of the singles are highly collectable and are now extremely difficult to find. In addition to providing the definitive collection of the group’s A-sides, the album also includes all the B-sides.

                                                                        All tracks have been remixed by the group’s founding mainstay, Sid Truelove,
                                                                        enabling the material to be heard in the manner in which it was originally

                                                                        Now celebrating their fortieth anniversary, Rubella Ballet have been hailed as
                                                                        “a unique sensory phenomenon who transcended their Anarcho punk roots to
                                                                        explore and define postpunk, goth and dance”.

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: 300 only on purple vinyl.

                                                                        Molly Sarlé

                                                                        Karaoke Angel

                                                                          From the cliffs of Big Sur to the North Carolina backwoods - Molly Sarlé (one third of Mountain Man) brings open-hearted, unflinching songwriting perfect for late-night karaoke comedowns, plaintive morning walks and conjuring the spirit world. West Coast incantations with a warm, Appalachian glow.

                                                                          The work on ‘Karaoke Angel’ began in a trailer on a the pacific coast and continued with stints in Los Angeles and Durham, NC. Recorded in a church-turned-recording studio in Woodstock, NY with production by Sam Evian, a minimal but carefully assembled palette of guitar, bass and percussion form the foundation; an orchestra of unrecognizable atmospherics bounce off the high ceilings - but Molly’s delicate, expressive voice is always at the centre.

                                                                          For fans of Laura Marling, Lucy Dacus, Wye Oak, Big Thief, Angel Olsen, Phoebe Bridgers, Molly Burch, Jessica Pratt, Julia Holter, Joni Mitchell, Weyes Blood, Tiny Ruins, Aldous Harding, Cate Le Bon.

                                                                          FORMAT INFORMATION

                                                                          LP includes MP3 Download Code.

                                                                          Secret Squirrel

                                                                          No. 22

                                                                          Two little ducks and one covert rodent as Secret Squirrels unleash their 22nd release, a latin lover which gets you by the disco balls. Caliente!
                                                                          The A-side marries a shuffling house 4/4 and boosted bassline with a fiery bit of latin jazz, chopping up cha cha and party vox and letting loose with a breezy bit of vibraphone. The result is a MAW powerhouse which all about the Body & Soul...
                                                                          Over on the other side we get a fine rework of Joe Bataan's cry for South American unity, "Mestizo". The result is a boogie tinged disco winner with soulful vocals, a swooning vocal and great synthwork, not a million miles away from "Ma Quale Idea", but a little more conscious.

                                                                          STAFF COMMENTS

                                                                          Sil says: Those pesky squirrels! While most of the species stocks up on nuts, our mischievous rodents are back at it again, mining the outer recesses of disco, cosmic and tropical grooves for another of their trademark double-headers.

                                                                          Edward Sharpe & The Magnetic Zeros

                                                                          Up From Below: 10th Anniversary Remastered Edition

                                                                            The 10 year anniversary remaster of ‘Up From Below’, the rousing, anthemic and wildly adventurous debut album from California’s Edward Sharpe & The Magnetic Zeros featuring the hit single ‘Home’.

                                                                            Drenched in choral psychedelic folk rock, it was recorded onto used 2 track tape using a 24 track tape machine made in 1979.

                                                                            Available on 180g black double vinyl with embossed gatefold sleeve and 16-page deluxe booklet including never before seen photos and stories.

                                                                            Sheer Mag

                                                                            A Distant Call

                                                                              Sheer Mag return with their sophomore album, A Distant Call. They’re still writing about surviving our current hellscape, but this time around, the politics get extra-personal. The album verges on being a concept piece, and the protagonist resembles frontwoman, Tina Halladay herself. The songs document a particularly alienating time in her life when she was laid off from a job. Broke and newly single, her father passed away, leaving her with more wounds than felt possible to heal. It’s heavy power-pop so sleek it gleams. “We’ve been waiting to write these songs since we started the band and we were able to take these experiences and build a story out of them,” Halladay says.

                                                                              A Distant Call makes an argument for socialism on an anecdotal level. We’re talking about how late capitalism alienates and commodifies whatever is in its path without using the term ‘late capitalism.’” Palmer and Halladay’s new approach to lyricism extended to the recording process, too. Once the Seely brothers had laid down the tracks, Halladay recorded vocals with producer Arthur Rizk (Power Trip, Code Orange). 

                                                                              Jatinder Singh Durhailay & David Edren

                                                                              Tea Notes

                                                                              Jatinder Singh Durhailay and David Edren released "Tea Notes" as a cassette back in April of 2018. London-based Jatinder Singh Durhailay is a painter and student of Indian Classical music. He has trained in both the sitar and the Hindi singing technique, Dhrupad. He also plays two traditional Sikh instruments; the bowed, stringed Dilruba and Taus. Poetic Pastel Press issued his solo debut, "The Last Ballad Of Mardana", in 2017. David Edren`s expertise lies with machines and modular synthesis. His Kosmische and New Age-Inspired electronics have featured on numerous cassettes, and compilations, produced for imprints from the current Belgian underground, such as JJ Funhouse, Social Harmony, and Ultra Eczema. These recordings have appeared since the turn of the millennium, either under his own name, or the moniker DSR Lines. Jatinder and David’s collaboration, "Tea Notes", is a celebration, a meditation, on both the beverage, and the communal time shared imbibing. The coming together to partake in its ritual.

                                                                              Each of the six tracks represents a different infusion. The opening piece is a tribute to semi-oxidised Oolong, from China`s Wuyi Mountains, with hammered dulcimer-like glissando. Gongs shimmering, gently crashing, as if signaling a change in the weather. A calm of thin, stretched synths and Ai angels introduces Tulsi from India. The Holy Basil of Hinduism, used in the worship of Vishnu, Krishna, and Rama. A traditional herb of Ayurveda and Siddha medicine. Automated arpeggiated sequences raising a vibrating wall of hallucinatory sound. Pairing swooning strings with a racing robot heart. Ceylon is a modern twist on the classical raga. Serving to tell the story of a tea smuggled into Sri Lanka in the 19th century. Plants stolen from South West China, where the brew had been enjoyed since the days of the Shang Dynasty (1766 to 1122 BC). The contraband founding fresh industry in its new home when the indigenous coffee crops failed. Muted organ and sleepy, treated sine wave microtones describe Kava, the Polynesian fireweed root, whose extract serves as both sedative and euphoriant.Shincha are the first young leaves of the season. Picked in Southern Japan and steamed to prevent oxidization, retain their flavour and green / gold colour.

                                                                              Their musical counterpart finds Edren establishing an ecclesiastical drone, while Durhailay`s strings chart an ancient romantic ache. Sonic stars shine. Singing out to the infinite, the universe, before dissolving into knots of Radiophonic Workshop noise.Melodies treated with subtle sustain and delay denote Pu-Ehr, from the Yunnan province. The only truly fermented black tea - made distinctive by the action of bacteria, moulds, and yeasts. Its musical themes hovering in the vapour trails, the atmospheres, they themselves create. Spiraling, soaring, reaching for the heavens, while pretty music box glitches - tiny chimes turned in on themselves. Catching, reflecting, like light at play on fresh running water. 

                                                                              The new album from Joel Wästberg a.k.a sir Was, “Holding on To a Dream”, is a mesmerising twisting of genres - from classic soul and old-school hip-hop, to beautifully fresh pop structures. The new record is dense with ideas and adventurous, a sonic-leap forth. “I was interested in having a lusher sound, more rich,” Wästberg says. “With the first record I had this idea that I wanted it to sound like an old vinyl record. I wanted this lo-fi, old-school sound. When I realized that I was actually making another album, I felt a bit scared of the whole thing, but it didn’t take me that long to realise that the only thing I could do was to make something that felt really right in my body and soul. I’ve realised that there’s nothing to be afraid of. I’m ready to explore so much more.”

                                                                              The sense of exploration resonates throughout the record and can be defined by its start and end points. Opening track ‘Fly Away’ begins the expedition, a gleaming reflection of past insecurities as a jump-off point for the next chapter, all subtle beats and stark bursts of guitars that leap out of the mix. Elsewhere, ‘No Giving Up’ is a tender recollection of a past relationship, set to an equally affectionate composition, a glowing example of Wästberg’s growing songwriting skills, while ‘The Sun Will Shine’ showcases another side of Joel’s skillset, a playful production full of inspired ideas and nuances; a Les Fleurseque mellow breeze in the heat of the summer.

                                                                              The record’s boldest moment is reserved for ‘Deployed’, a collaboration with Little Dragon’s Yukimi Nagano. “Me and Little Dragon go way back. I’ve been hanging out with them for many years, and they were very supportive with my first album,” Wästberg explains. “I remember that Yukimi was always asking me if I was making my own music. One day I was working in my small studio room, and Little Dragon were one floor up. Yukimi knocked on the door and asked if she could listen. I played her some of my songs and she said, “This is great, go out and talk to the world!”. That was before my first album. So having Little Dragon as a feature here makes so much sense.” Beautifully bright and sincere, ’Deployed’ is a perhaps the most vivid pop song that sir Was has released to-date. A heartfelt accounting of relationships, of knowing when to let go and when to fight for them, ‘Holding On To A Dream’, is a dreamy, groovy, lustrous treat of a record. 

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Indies exclusive limited edition 180g transparent orange vinyl.

                                                                              Coloured LP includes MP3 Download Code.


                                                                              Knock Knock - 20th Anniversary Edition

                                                                                Hey, it’s the 20th Anniversary half-speed master vinyl edition of the Smog classic, ‘Knock Knock’, by Smog. Placing this LP on your turntable, you find yourself drawn ever-deeper into the sound - and it’s not just the eternally-stunning co-production from Callahan and Jim O’Rourke, it’s the incredible focus brought by the half-speed mastering work done at Abbey Road, bringing out the highs, lows and even mids that OG fans of this album have taken for granted for too many years. The fresh fullness of the sound now stands as a tribute to the ol’ familiar Smog sensation of being somehow completely unfamiliar.

                                                                                Back in 1999, Bill was staking out new territory. Issued in the wake of the game-changing ‘Red Apple Falls’, ‘Knock Knock’ upped the ante of the game, pairing his naked portraiture with increasingly delicate nuances in song and arrangement. The people responded in kind, turning out in ever-increasing numbers to shops and venues alike. They weren’t quite singing along with ‘Cold-Blooded Old Times’ yet - that’s a happy post-millennial development - but there was a lot of excitement in the air back in those final old-century days.

                                                                                ‘Knock Knock’ was enough of a tour de force that staging a re-look these twenty years later was a cool no-brainer. With production values at an all-time (for then) high and a team of Chicago-based studio rats (as well as a carefully vetted-and-compensated singing children’s choir) on the case, ‘Knock Knock’ was the most colourful of Smog albums; a record that played like a real-life opera, a story told in song. Today, songs like ‘Held’, ‘River Guard’ and ‘Hit The Ground Running” are still called for at concerts. Meanwhile, the 20th Anniversary half-speed remaster of the LP allows us to perceive the expansive spaces in tunes like ‘Sweet Treat’ and ‘Left Only With Love’.

                                                                                It wouldn’t have been the 90s without a CD version and the label are re-releasing that in original, non-remastered form. Also, in tribute to where it all came from (but where it definitively wasn’t at the time), they have a cassette version of ‘Knock Knock’ for the neo-lo-fi heads to appreciate.

                                                                                Sweet Williams

                                                                                Where Does The Time Come From

                                                                                  Rumbling, angular post-punk FFO: The For Carnation, Lungfish, The Breeders, My Bloody Valentine, Hey Colossus. "it's the ugliness of this that makes it beautiful to me" - Jon Hillcock, BBC 6 Music // The Sweet Williams on new album Where Does The Time Come From is one Thomas House, a South coast native guitarist and songwriter whose bands have a habit of dissolving. This latest LP contains ten post-punk infused songs of an almost brutalist nature, House's music in its purest form, performed almost entirely by himself.

                                                                                  The first single is 'Ride A Gold Snail', a rumbling post-rock juggernaut that sets a backwards drum beat to a filthy, holding pattern bassline, with guitar amps on the verge of burning out and elliptical, elusive lyrics. "It's probably my most romantic song," says House. The video was shot and assembled in Zaragoza, Spain, the town House calls home since October of 2018 In 2016, the Sweet Williams line-up responsible for the open, organic sound of that year's album 'Please Let Me Sleep On Your Tonight' dissolved in a potent formula of work, babies, babies and work. Armed with a clutch of new songs and no time to break in a new band, House repaired to Agricultural Audio in the heart of rural Sussex with trusted producer Ben Hampson and set to work. The resulting recordings reflected House's fascination with, and horror for, busted mechanics; in place of the live band's fluid, entropic interplay, structured patterns lurch and correct, a crowbar jammed in every gear. "It doesn't represent a performance," he explains. "It represents the songs as I hear them in my head." However, the record was not conceived in a bathysphere.

                                                                                  These compositions could be seen as the culmination of twenty-plus years playing in countless bands, from the incandescent fury of House's old vehicle Charlottefield, to the discipline honed on guitar in post-punk stalwarts Joeyfat, to a newfound confidence in vocal texture and melody in Haress. Lyrical themes cover love, dread, betrayal, bliss, injustice, death, sex, the end of the world. You might struggle to ascertain the narrative. House takes an impressionistic approach to his subject matter. "My dad read me Elidor and The Owl Service when I was sick as a kid. And his own made up stuff. There's another world behind this one." After the bracing opening two tracks, the celebratory 'Stop It I'm Killing You' and its stinging hangover 'Stunt Freeze', the album proceeds to its dusky heart. By the time of 'Two Golden Sisters', House's hands barely brush the strings of his guitar as he croons to the memory of a long lost love.

                                                                                  FORMAT INFORMATION

                                                                                  LP includes MP3 Download Code.

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