MAGIC MIX

ALL GENRES

WEEK STARTING 9 Nov

Australian newcomer A Most Wanted Man joins with the Monologues Records family with a sumptuous debut EP that shows he's very much one to watch.

'Hep Cat' is a peppy, soulful slow-burner which gradually reveals a triumphant string sample, 'Voice From Above' is another buoyant beauty with feel-good strings and vocal cuts, and 'Importance Of The Hi-Hat' is a more stripped-back slice of warm deep deep house.

Fellow fast-rising Aussie, Jad & The, pursues his passion for tonking breakbeats on his remix of the latter, making for a spooky, mysterious workout.

Airhead dropping fire for 1-800.... "Clatter" sounds like the inner workings of a spontaneous combustion engine firing up; a constantly ascending and descending series of mechanized rhythms and engine hum. Demandingly robust yet simultaneously instilling a sense of fun and party starting energy.

"Droplit" is a similar beast, a cacophonous collection of rhythmic hits and gurgling analogue noise supplemented with a couple of tastefully deployed breakbeats.

Guttural, incessant club music with its intentions set purely on weaponizing the floor. Recommended!


STAFF COMMENTS

Matt says: Not sure how I feel about this one.. basically sounds like the inner sonic turmoil after a recent bad experience on 4ACO-powder. I'm sure the kids'll love it!

Ajvar Soundsystem

Oriental Ananas

Take Away has become synonymous with energetic and uptempo, feel-good party house music. Famously their Soul Reductions' twelve from last year was H U G E, but Ajvar Soundsystem were actually involved in the very first record from this camp.

Now they return nearly two years later with more essential disco-house standards. "Ananas" gently ticklers the compressors as a wild guitar solo scorches its way through vamping horns and metallic slap bass. "Orient Star" is an exotic, Eastern-flavoured cosmic disco track that wouldn't sound out of place in a Mori Ra DJ set.

Finally, "Dooga" is a slow-mo cosmic funk track featuring, again, hefty compression as a vibrant and multicoloured set of textures and instruments converge on the mix - making for a hard hitting, left of centre slow disco bomp that's worth the entrance fee alone! Long live the Take Away! Recommended. 


STAFF COMMENTS

Matt says: Function-filling-fun from the Takeaway Cartel who's incendary party spirit ignites this new release from the very off.

Russian born and very gifted musician Aleceo is a new addition to the ongoing rooster of Copenhagen’s prolific Music For Dreams label - Aleceo came to attention of label boss Kenneth Bager with the brilliant first Ep ‘Clouds’ – (all tracks included here.). Aleceo has his own musical voice, he produces and composes music that is rich in harmonies and melodies - he sits somewhere between Balearic and Deep House - combining the past and moving forward and this double vinyl ‘Teletrip’ is an excellent taster of his many talents and a real body of work.

’Liebe Tanzen’ is a sunny mood full of vintage Roland vocoders, imagine yourself in a Zeppelin watching the earth from the skies and hearing handclaps, acidic noodling and beautiful rhodes combined with a high pitched soulful voice repeating ‘Take My Love’ and you have the mood of a modern soul track supported by the balearic brigade. ‘Dipping Into You’ is a deep house mood featuring the beautiful voice of Jelila- sounding like a late 80 ties Boy’s Own track played in a barn just when the Sunrise appears.

One of the outstanding killer tunes and a real grower on the debut album by Aleceo is the single ’Whisper To the Wind’ a track recorded with Canadian singer Wulf SoulFire - ten minutes of powerful Roland 909 drums, talking verses and a sublime chorus.
‘Nevesomost’ - a cinematic, melancholic acidic journey that was inspired by the old USSR SciFi movie ‘Moscow Cassiopeya’ where a group of children was sent to Mars. ‘Monotone’ recorded in Bali and sung by guest singer Masha Verymaryland - a french song about a girl who loves to dance and sing with arpeggios, Xylophones that sets the mood for a dreamy French Riviera. ‘Clouds’ is first class ambience feat the Siberian multi instrumentalist Sergi Kampanella playing the Mandolla. The title track ‘Teletrip’ is tv samples mixed with 80 ties new wave drum machines. ‘Priceless’ is a downtempo documentary live recording Aleceo did with his American native friend Kita. ‘Dome’ full of accordions, balalaika, handclaps and melancholic keys tells the story of Dome Of God - the place of peace and happiness and makes you wanna sit by the seaside. ‘Know Him’ is inspired by gospel from the Mississippi church. ‘Mzi’ wouldn’t sound out of place in a Leo Mas warm up tape from Amnesia in Ibiza - middle 80ties with its obscure breakdown full of 30/ 40ties voices. Bonus is the inclusion of Kenneth Bagers reprise of ‘Dome’.

The album ‘Teletrip’ by Aleceo feels like a forgotten balearic album with a modern twist suddenly washed upon the shores on the White Isle.


Erol Alkan

Spectrum / Silver Echoes

Erol Alkan returns to his home at Phantasy with "Spectrum" and "Silver Echoes", his first original solo material in five years; two pure dancefloor cuts which perfectly embody Alkan's charismatic, psychedelic tinged and singular approach to DJing and production.

"Spectrum" opens with gated synth lines shuddering into focus over a wash of electrostatic. Reminiscent of the sounds you might well hear in seminal London club Trash (which he founded), it rises in intensity, with Alkan's skilled synthesis morphing the leadline around various stylistic points and melting your face clean off in the process!

On "Silver Echoes" Alkan bridges melancholia and dischord into slowly developing euphoria - something he does very, very well. Diving immediately into the heart of a powerful melody that gradually flourishes, the track increases in energy with every rotation until you're swamped in a fizzing mess of synthesized elements.

A perfect summation of both past and contemporary influences, as well as a lifelong open-minded stance, "Spectrum" and "Silver Echoes", each capture a side of Alkan's always-evolving energy and technique, mixing his studio prowess with a timeless instinct rooted within the communal potential of the dancefloor.


STAFF COMMENTS

Matt says: Ever-reliable Erol, that's what we call him here at Picc HQ. The producer who's presence across clubland rarely fades, comes correct with two late night juggernauts.

Bacao Rhythm & Steel Band

1 Thing / Hoola Hoop

Following up on the massive success of their sophomore full length “The Serpent’s Mouth”, Bacao Rhythm & Steel Band is back with another dance floor classic. Side A is their already infamous cover of Amerie’s smash hit “1 Thing”. Done up in what is now their signature fashion, they take on the break originally lifted from The Meters, and believe it or not….step it up a notch. Steel pans play her infectious vocal melody lines over the raucous and crushing drum track. This will have the dance floor turning to the booth in amazement and wonder as soon as the pans come in. An absolute essential for DJs across the globe. The B Side, “Hoola Hoop” is a BRSB original tune, the stuff that B Boys dream about…Setting it off with a killer breakbeat intro that drops into pan hits and flute flourishes, never losing the groove and full of energy. They trade off leads from flute to steel pans while running through turnarounds and drum fills building more energy the whole time like a snowball rolling down a mountain headed right for the speakers.


STAFF COMMENTS

David says: Boom! Amerie and steel drums! What more could you ask for? Sounds like carnival without having to leave the house.

New label Concentric Circles open their account with a vinyl release of Carola Baer's "The Story of Valery", which is comprised of music from a one-off demo cassette found in a thrift store. Beautiful personal & emotionally resonant drum computer mantras in the key of Dead Can Dance, The Cocteau Twins and classic 4AD.

The discovery of a cassette of Carola Baer's early 90s private home recordings was like finding a needle in a haystack. Made as a one-off mixtape of newly recorded songs, and given to a long-since
forgotten recipient, this cassette was found in 2017 at a Goodwill "bins" location in Portland, Oregon. These chaotic, by-the-pound thrift stores contain 1000's of unsorted items in constant flux, which are only available for the public to buy for a limited time before they are discarded. The prospect that this obscure relic would be rescued from its untimely fate is nothing short of a miracle. As this tape was the only one in existence, with no back up versions of many of the songs, it's more than likely that this
music would have been lost forever.

"The Story of Valerie" is made up of songs culled from that cassette, with a few additional tracks from the time, and is the first time Carola Baer's solo material has been heard by the public. The intense emotion of the music is brought upon by the primary themes of the album: the cruelty of humanity, isolated life as a British immigrant in the US, and the pain of doomed relationships. Despite being inspired by classic 4AD acts like Dead Can Dance and Cocteau Twins, Baer's home recordings have a sound and style that is uniquely her own. Many of the tracks feel like musical exorcisms, with Baer's spine tingling voice soaring above minimal arrangements for Yamaha DX-7 and Casio CZ-101 synthesizers. Like finding a stranger’s diary, the listener is granted access to music that is emotionally raw and deeply personal.

STAFF COMMENTS

Patrick says: Even without the totally improbable and wonderfully romantic backstory (one off cassette found among thousands in a thrift shop bin), Carola Baer's "The Story Of Valerie" is irresistible. Mournful, melodic, epic and unique, Baer takes the bedroom synth pop stylings of the Cocteau's and twists it into something entirely her own. Be thankful that this one got saved from the tip.

Meg Baird & Mary Lattimore

Ghost Forests

    Musical conversations between Meg Baird (Espers) and Mary Lattimore are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out Bull of the Woods heavy haze, and modern re-imaginations of epic traditional balladry all while touching on the strange and otherworldly places between these stations.

    The Beatles

    White Album (Stereo 50th Anniversary Reissue)

    In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The BEATLES (soon to be better known as ‘The White Album’). With their ninth studio album, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” Ringo Starr’s “Don’t Pass Me By” marked his first solo songwriting credit on a Beatles album. For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn.

    For it’s 50th anniversary, The Beatles release a suite of lavishly presented ‘White Album’ packages. The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio, joined by 27 early acoustic demos and 50 session takes, most of which are previously unreleased in any form.

    “We had left Sgt. Pepper’s band to play in his sunny Elysian Fields and were now striding out in new directions without a map,” says Paul McCartney in his written introduction for the new ‘White Album’ releases.

    This is the first time The BEATLES (‘White Album’) has been remixed and presented with additional demos and session recordings. The album’s sweeping new edition follows 2017’s universally acclaimed Sgt. Pepper’s Lonely Hearts Club Band Anniversary Edition releases. To create the new stereo and 5.1 surround audio mixes for ‘The White Album,’ Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All the new ‘White Album’ releases include Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin.

    “In remixing ‘The White Album,’ we’ve tried to bring you as close as possible to The Beatles in the studio,” explains Giles Martin in his written introduction for the new edition. “We’ve peeled back the layers of the ‘Glass Onion’ with the hope of immersing old and new listeners into one of the most diverse and inspiring albums ever made.”

    The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package. The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads. The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson.

    The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve.

    Much of the initial songwriting for ‘The White Album’ was done in Rishikesh, India between February and April 1968, when John Lennon, Paul McCartney, George Harrison, and Ringo Starr joined a course at the Maharishi’s Academy of Transcendental Meditation. In a postcard to Ringo, who had returned to England before the others, John wrote, “we’ve got about two L.P.s worth of songs now so get your drums out.”

    During the last week of May, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings are included in the new edition’s Deluxe and Super Deluxe packages, sourced from the original four-track tapes. Twenty-one of the demoed songs were recorded during the subsequent studio sessions, and 19 were ultimately finished and included on ‘The White Album.’

    The Beatles’ studio sessions for The BEATLES (‘White Album’) began on May 30, 1968 at Abbey Road Studios. In the 20 weeks that followed, The Beatles devoted most of their time to sessions there for the new album, with some recording also done at Trident Studios. The final session for the album took place at Abbey Road on October 16, a 24-hour marathon with producer George Martin to sequence the double album’s four sides and to complete edits and cross-fades between its songs. The Beatles’ approach to recording for ‘The White Album’ was quite different from what they had done for ‘Sgt. Pepper.’ Rather than layering individually overdubbed parts on a multi-track tape, many of the ‘White Album’ session takes were recorded to four-track and eight-track tape as group performances with a live lead vocal. The Beatles often recorded take after take for a song, as evidenced by the Super Deluxe set’s Take 102 for “Not Guilty,” a song that was not included on the album. This live-take recording style resulted in a less intricately structured, more unbridled album that would shift the course of rock music and cut a path for punk and indie rock.

    The Beatles’ newly adopted method of recording all through the night was time consuming and exhausting for their producer, George Martin. Martin had other duties, including his management of AIR (Associated Independent Recording), and he had also composed the orchestral score for The Beatles’ animated feature film, Yellow Submarine, released in July 1968. After the first three months of ‘White Album’ sessions, Martin took a three-week holiday from the studio, entrusting the control room to his young assistant Chris Thomas and balance engineer Ken Scott. Scott had taken the place of engineer Geoff Emerick, who left the sessions in mid-July. On August 22, Ringo Starr also left the sessions, returning 11 days later to find his drum kit adorned with flowers from his bandmates. While the sessions’ four and a half months of long hours and many takes did spark occasional friction in the studio, the session recordings reveal the closeness, camaraderie, and collaborative strengths within the band, as well as with George Martin.

    The BEATLES (‘White Album’) was the first Beatles album to be released on the group’s own Apple Records label. Issued in both stereo and mono for the U.K. and in stereo for the U.S., the double album was an immediate bestseller, entering the British chart at number one and remaining there for eight of the 22 weeks it was listed. ‘The White Album’ also debuted at number one on the U.S. chart, holding the top spot for nine weeks of its initial 65-week chart run. In his glowing ‘White Album’ review for Rolling Stone, the magazine’s co-founder Jann Wenner declared: “It is the best album they have ever released, and only The Beatles are capable of making a better one.” In the U.S., ‘The White Album’ is 19-times platinum-certified by the RIAA and in 2000, it was inducted into the Recording Academy’s GRAMMY® Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.”


    FORMAT INFORMATION

    4xDeluxe LP Info: 2018 stereo album mix + Esher Demos
    The 180-gram 4LP vinyl box set (limited edition) pairs the 2018 stereo album mix with the 27 Esher Demos.

    FREE SHIPPING This item has FREE UK shipping!

    2xLP Info: 2018 stereo mix.
    180-gram 2LP vinyl in gatefold sleeve with faithfully replicated original artwork.

    3xDeluxe CD Info: 2018 stereo album mix + Esher Demos
    The 3CD pairs the 2018 stereo album mix with the 27 Esher Demos.

    Box set Info: Super Deluxe: The comprehensive, individually numbered 7-disc and digital audio collections feature:
    CDs 1 & 2: The BEATLES (‘White Album’) 2018 stereo album mix
    CD3: Esher Demos
    - Esher Demo tracks 1 through 19 sequenced in order of the finished song’s placement on ‘The White Album.’ Tracks 20-27 were not included on the album.
    CDs 4, 5 & 6: Sessions
    - 50 additional recordings, most previously unreleased, from ‘White Album’ studio sessions; all newly mixed from the four-track

    FREE SHIPPING This item has FREE UK shipping!

    After making their debut with that wicked four tracker of Italian edit excellence at the end of summer, the mysterious talents behind the Belpaese project down their grappa and step up to the plate with a second volume of cut up killers. The set opens with a total cinematic stomper called "Dal Vivo", pulling us in with tight bass riffs and tumbling percussion before the full bodied guitars, horns and hairspray synth licks turn our brains inside out. Over on the B1 the intensity drops a little for the Balearic splendour of "Moribonda", a coastal boogie bomb with rapped Italian vocals, chunky pianos and all the warmth of a mid afternoon Aperol. Last but not least, "Sara Uno Smacco" is a funked up slow roller with a cool female vocal, warm strings and a rattling back beat. Think Carly's "Tranquilo" by way of Cliff's "Green Light" and you're gonna be a happy camper.


    STAFF COMMENTS

    Patrick says: Proper diggers' delight here from the Belpaese firm who deliver a second volume of killer Italian edits. On the A-side "Dal Vivo" is a club weapon in the same vein as Tantra's "Macumba", while the flip houses a pair of Balearic wonders on the boogie/AOR disco side of things. Ace!

    Bibio

    Phantom Brickworks (IV & V)

    Last year, around this time, Bibio released his first 'Ambient' outing for quite some time (2013's 'Silver Wilkinson' arguably contained the last vestiges of the ambience present in the early works, Vignetting The Compost, Ambivalence Avenue and Fi being the most notable examples of this crackly, distant approach) in 'Phantom Brickworks'. 

    Now, 12 months later, we're treated to a duo of candle-lit piano instrumentals. Heart-warmingly diffident and undeniably hypnotic, 'IV' builds from a crackly delayed piano flicker, slowly circumnutating into a band-passed cascade of tape echo and reverberating echoes. Through repetition, the emanating glow of familiarity gives way to a fractured and dissonant hum, closing out what could have been months of euphoric hypnosis before we flip over onto it's canonical follow-up, 'V'. 

    This one starts where the last left off, pulling a melodic turn out of a slowly warping wave of static, gradually intoducing melodic suggestions and instantly providing context for the featureless blanket of static. In many ways, this is the more direct of the pieces, with twinkling pianos overlaid on top of one another, hinting at the more arrhythmic diversions from his early work, but hidden behind a largely blank musical landscape in the opening few minutes. 

    It's the repetition that does all the work here, providing a thematic counterpoint to the constantly changing ambient backdrop and providing ample cover for the slowly morphing elliptical melodies.  

    STAFF COMMENTS

    Barry says: Beautifully understated but gorgeous plaintive instrumentals here, hidden under a blanket of lightly churning pads and warping static. Frail piano and typical Bibio counterpoint fill out the sonic spectrum, as meditative as it is beautiful. Top stuff.

    Jean-Pierre Boistel / Tony Kenneybrew

    Percussions Pour La Danse

    Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80’s. It’s here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70’s.

    The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to “dance slowly, rapidly and change speeds without changing the tempo!”. This work of rhythmic research was based on the “Balance of The Walk”; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.

    Jean-Pierre’s use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.

    STAFF COMMENTS

    Patrick says: Left Ear hit us with some eso-ethno jazz for the dancefloor here via Boistel and Kenneybrew's late 80's percussion accompaniment contemporary jazz-dance classes. Fusing African instrumentation, Western Jazz arrangements and computer technology, the duo dropped a techno-tropical treat which lands somewhere between Dave Samuels' New Math and new age. Fully endorsement from the Talking Drums crew...

    BOYGENIUS (Julien Baker, Phoebe Bridgers, And Lucy Dacus)

    BOYGENIUS EP

      Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

      STAFF COMMENTS

      Darryl says: A wonderful folky flecked EP from the amazing combined talents of Julien Baker, Phoebe Bridgers and Lucy Dacus.

      Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.

      It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.

      Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world’s pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.

      Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.


      STAFF COMMENTS

      Millie says: Black Velvet is a summary of everything that was great about Charles Bradley, his strong compelling vocals and passion is etched into all his music and this album ties it all together as a celebration to him and his legacy.

      FORMAT INFORMATION

      Coloured LP Info: Indies only purple / black splatter vinyl.

      2xLP Box Set Info: Box set is a one-time pressing for the super-fan; we have a gorgeous black velvet wrapped box set that includes the following:
      180g vinyl version of the standard LP.
      A bonus 12” 45rpm EP with stripped down mixes of 4 Charles Bradley classics.
      An exclusive slip-mat.
      2 printed heavy-duty inner sleeves sporting a surreal painting of Charles and the interview in which he explains the origin of the painting.
      A 12x12 photo-book with extensive liner notes from producer Tommy 'tnt'.

      Peter Broderick

      Two Balloons

        American-born multi-instrumentalist, singer and composer Peter Broderick will releases 'Two Balloons' via Erased Tapes. Available as a limited edition 10” vinyl and digital download, it features the score for the award-winning animation of the same name, inspired by an early recording of his, plus a 9-minute electronic rework on the B-side titled Techno For Lemurs.

        Fairly often we see albums of “Music inspired by the film __”, but less common is a film inspired by music. Such is the case with Two Balloons. Director Mark C. Smith got the idea for his nine-minute stop frame animation film while out at sea, looking at a majestic funnel cloud in the distance. Shortly after he heard a song by Peter Broderick from one of his earliest recordings — 4 Track Songs — and the music struck a chord so strongly, he knew he wanted to make a film to fit the melody. And so began the five-year labour of love that would eventually produce this enchanting little film, currently circulating film festivals around the world and racking up countless awards and accolades including ‘Best Original Music Score’ at the New Renaissance Film Festival in Amsterdam.

        Even though the film was inspired by an older Broderick composition, the score for Two Balloons was recorded from scratch, revised and expanded to fit each frame. The process of stop frame animation is a labour intensive and painstaking one, but the attention to detail didn’t stop at the picture for this film. The score was an integral part of the film from the very beginning, with both the director and composer going to great lengths to experiment not only with the composition itself, but also the fidelity. The first sound heard on the score is a piano playing a waltz figure, and the sound is noticeably lo-fi, but this isn’t just some modern digital trickery. This piano was recorded on a wire recorder, a recording technology that predates magnetic tape and has been virtually forgotten about.

        In the process of recording the score, many different technologies were experimented with. In addition to purchasing and refurbishing several wire recorders, the director at one stage acquired several massive AM radio consoles as well as an AM radio transmitter, so that a digital recording from the computer could be broadcast through the AM radio waves and then captured through one of these nostalgic sounding old radios. A variety of these technologies from different eras were used to create a score that both sounds like it’s from several different time periods and from no specific time at all.

        The B-side, if you will, is more than just a remix that recycles the original recordings. In fact none of the original parts have been re-used. ‘Techno For Lemurs’ is a homage to the two main characters in the story, the ring-tailed lemurs Bernard and Elba. Serving as Broderick’s first foray into the world of techno, this playful piece reinterprets the melodic themes from the original score by adapting them with electronic instrumentation. In Peter’s own words: “Let’s pretend for nine minutes that we’re ring-tailed lemurs and get this party started!” 

        Bruce is Larry McCarthy, a new signing to Ben LFO's highly revered Hessle Audio imprint. As you'd expect, it's ridiculously fresh and focused, packing in eleven highly charged, singular tracks of innovative techno discussion.

        Varied in tempo and timbre throughout, what's seems constant is the solidity of Bruce's constructions - confident, unshakable and very defined. From the tight rhythmic groove of album opener "Elo" to the weaponised onslaught of ominous club cuts "What" and "Cacao" - through drifting, meditative techno and the skeletal sound design of "Ore" and "Baychimo". Each track shifts the tonal mood in subtle and distinct ways, whilst retaining a consistent, icy sound palette infused with sweeping metallic soundscapes that recall the kind of impending space-horror of an event horizon. 


        Reissue of this now classic Chromatics' 12" - "Shadow" 12". Originally on ultra clear vinyl dipped in emerald green, this time round it’s half clear, half white. Originally released digitally in 2015, the six track EP showcases five (count em!) different version of lead track, backed with "White Light" (no relation to the Velvet's track of the same name... - ed).
        The cinematic qualities of the track are obvious, emphaized through the cleverly titled 'End Credits' and seeing the same refrains, hooks and motifs repeated throughout the various takes. It's dreamy, yearning, melancholic and swathed in emotion - a sure fire hit for IDIB mob then! Back in stock once again and looking dazzling - don't miss out!


        FORMAT INFORMATION

        Ltd 12" Info: Ultra clear vinyl dipped in magenta.

        12" Info: Pressed on half white, half clear vinyl.

        Civic

        Those Who No

          Shortly after their debut, Melbourne's CIVIC return with their sophomore EP “THOSE WHO NO’ - a fatalistic slab of power pop for the modern set. Recorded on a stint in Geelong, with Billy Gardner (living eyes / ausmuteants / Anti Fade) once again at the helm, ‘THOSE WHO NO’ acts as a counter point to the gutter rock classicism and urban decay romantics of ‘NEW VIETNAM’, and shifts it’s focus towards genre experimentation, bleaker insular realities and modern personal warfare.

          Over four tracks Jim McCullough, Lewis Hodgson, Darcy Grigg, Roland Hlavka and David Forcier dance on the knife’s edge of mythology versus the mundane - an against all odds desperation that flirts with the anthemic yet only stokes the flames. Mid 70s glam and rock n roll tropes are pummelled beyond recognition referencing the past but predominantly pointing to the future. There are forces at work here and CIVIC aren’t a band merely content to play to their strengths - they are a true sum of their parts who get their kicks testing their limitations. (Ben Hepworth).

          One of the outstanding Jazz fusion albums from the late 70s includes timeless classic and Jazz dance anthem is an obvious winner, Norman Connor. Dynamite Cuts releases a quality limited edition double pack release which gives you 4 of those masterpieces, all are first time on 7”. Be quick on this one as the Dynamite sevens don’t hang around.

          Al Morris' Cold Tonic label continues to be a force to be reckoned across club land, enlisting Irish producer Conny for number seven on the label. Making his Cold Tonic debut and tipping his hat to the chunky house sounds of New Jersey, "Song For Eva" deploys tantalizing piano stabs across a rubbery, killer B-line before supplementing with catch AF, swung house beats and the odd keyboard solo on top. Honestly, it's not hard to make a crowd-pleasing, stadium slaying house track if you've got all these elements collected together in your studio - some people just try to complicate matters too much! Conny gets right to it and delivers a house music gold standard right here.

          Running Back star Shan is on hand to deliver two remixes. An encapsulating, serotonin-flooding moment for his "Sunrise Mix", and a rawkus, breakbeat laden, proggy vibe on his "3AM Pump Mix". Only other thing to mention is the "Brooklyn Rave Mix", which goes unaccredited but sees another infectious deployment of THAT piano line, supplemented perfectly by gliding leads and those looping vocal chants. Absolute fire! You need. 


          STAFF COMMENTS

          Matt says: Cold Tonic shine light on a new signing - Conny. Who's "Song For Eva" is nothing short of epic. If you were looking for your next Winter anthem - look no further!

          Swapping the clubs for the sun-kissed Caribbean beaches, Hollie Cook puts her lovers rock spin on the UK garage classic ‘Sweet Like Chocolate’ by Shanks & Bigfoot, ahead of her forthcoming UK tour. ‘Sweet Like Chocolate’ is a playful yet refined reworking of the 90s club favourite, following her successful ‘Vessel Of Love’ LP release earlier this year. Coming to fruition after the bass guitarist played the track backstage, Hollie spotted an opportunity to step out of her comfort zone and try something new. She explains “I thought that would be a great one to try, and slightly more contemporary than my previous cover attempts!”

          STAFF COMMENTS

          David says: Ace sunshine reggae version of the nineties two step classic. The nights may be getting longer but it will always be summer when this is on.

          “The Light Is Leaving Us All” is the new album from Current 93, everyone’s favourite Hallucinatory Cuneiform SuperGroup. Three years in Her Making and Shaping, “The Light Is Leaving Us All” Spells WithIn Her 11 tracks. The 12” vinyl edition Skips Out in a gatefold sleeve, with an accompanying insert containing all lyrics and credits.

          The CD edition PickNicks Along in a gatefold digipak, again with an accompanying insert containing all lyrics and credits. C93 are possibly probably certainly perhaps: Alasdair Roberts, Aloma Ruiz Boada, Andrew Liles, Ben Chasny, David Tibet, Michael J. York, Ossian Brown, Reinier van Houdt, Rita Knuistingh Neven, and Thomas Ligotti. And Remember Remember—Your Future Cartoon Is As Soft As The Tarot!

          FORMAT INFORMATION

          Coloured LP Info: Indies only coloured vinyl version

          Dead Can Dance

          Dionysus

            From their inception in 1981, Australian duo Dead Can Dance have long been intrigued by European folk traditions, not solely in musical terms but also by secular, religious and the spiritual practises. Taking its inspiration from this backdrop and shaped as Brendan Perry explored the long and established spring and harvest festivals that originated from the Dionysus religious practices, a journey that brings to the fore, the rites and rituals that are still practised to the present day.

            Two years in the making, Perry has amassed an array of folk instrumentation and as often heard on previous albums takes inspiration from across the world, tracks evolve less like songs more akin to fragments of the cohesive whole. Dionysus follows a familiar path, witness to field recordings, that includes chanting, beehives from New Zealand, bird calls from Latin America and a Swiss goatherd. The aim in Perry’s mind is to not just invoke the atmosphere and symbolic reference points but to highlight that music can be found everywhere in some form or other.

            The album consists of two acts across seven movements that represent the different facets of the Dionysus myth and his cult and takes the musical form of an oratorio, which has informed both spiritual and secular pieces of music as far back in history as the early 16th century. Retaining a prevalent hold on contemporary paganism in Europe, the voices used on these movements are imagined as communities celebrating, in communion with each other at times, chanting and call and response – the various voices are present to convey emotion beyond the boundaries of language itself.

            Although taking its main inspiration from the Dionysus story, the album’s artwork resonates with links to rituals depicting a mask made by the Huizhou of the Sierra Madre Mountains in Mexico – famed for their beadwork and yarn paintings, whilst also partaking in peyote as a sacred rite and ritual for the purposes of healing and mind expansion – this is at heart of Dionysus, a celebration of not just humanity but humanity working hand in hand with nature with respect and appreciation.

            FORMAT INFORMATION

            Deluxe LP Info: Deluxe format is on exclusive heavyweight transparent purple 12” vinyl, accompanied by a CD and deluxe 16-page 12” x 12” hardback picture book with padded cover.

            Death From Above 1979

            Heads Up

              Death From Above’s 2002 debut EP Heads Up is a noise rock micro-opus that focuses its bratty punk ire toward the downtown Toronto nightlife and social scene where the duo plotted behind a screen of gobo-lit cigarette smoke. With one foot in suburban hardcore, and the other on the dance floors of Mod Nights and Garage Rock rave-ups, Death From Above’s critique is as much self-loathing as social commentary. Originally released in limited quantities via Ache Records, Heads Up is now available on vinyl from singer/drummer Sebastien’s own Ancient Fashion Records for the first time in over a decade. Manufactured in Detroit by Third Man Pressing for maximum fidelity

              Montreal based Desire is blissed out Euro disco featuring Johnny Jewel on synth and guitars, (Chromatics, Glass Candy) Nate Walker on drums, (Chromatics) and hot as glass, Montreal singer, Megan-Louise. What sets Johnny Jewel's great production style apart from so many others is his reluctance to use computers and new equipment in both production and live performance, thus giving the music and analog quality that is infinitely more arresting than most contemporary disco counterparts. Features the hit song "Under Your Spell" which was on the Original Soundtrack for 2011's Drive (film featuring Ryan Gosling).

              FORMAT INFORMATION

              Coloured LP Info: 180g bubblegum pink vinyl.

              The Detroit Cobras

              Tied & True

                One of the earliest groups to emerge from the Detroit garage rock scene, The Detroit Cobras developed a reputation as the Midwest's finest (and most distinctive) cover band - while the band members devoted themselves to performing other people's material rather than recycling established hits, The Detroit Cobras dug deep into the well of vintage R&B and primitive rock & roll sides, building an individual identity out of lost classics from the past which they modified to fit their swaggering aural personality.

                Originally released in April 2007, with ‘Tried & True’ The Detroit Cobras practically created a new genre for themselves, delivering the sonic goods to back up some seriously supernatural soulful vocal gifts. Stretching out in the studio like never before and including contributions from top line players like Greg Cartwright, the Cobras created a versatile and formidable wall of Spector sound.

                The Detroit Cobras

                Baby

                  One of the earliest groups to emerge from the Detroit garage rock scene, The Detroit Cobras developed a reputation as the Midwest's finest (and most distinctive) cover band - while the band members devoted themselves to performing other people's material rather than recycling established hits, The Detroit Cobras dug deep into the well of vintage R&B and primitive rock & roll sides, building an individual identity out of lost classics from the past which they modified to fit their swaggering aural personality.

                  ‘Baby’ is the third studio album by The Detroit Cobras. It was originally released in November 2004. It features 12 covers of R&B obscurities and one original song, ‘Hot Dog (Watch Me Eat)’.

                  Next on brokntoys' DDQ series, Sébastien Michel, best known as UVB, presents his Elements of Joy alias where the French producer explores post punk, industrial and wave influences across 4 rugged tracks.

                  If you liked the Tapan release on WT, or the darker, mechanized sounds off the Hivern label; or just have a penchant for the aggressive clammer of machines in action, then this is for you! Scorched engine oil not included.

                  First released as a cassette on his own Body Theory label and now remastered for vinyl on a limited edition of 300 copies with artwork by Thibaut de Wolf. Don't sleep!


                  Cult Swedish DIY hardware / electronix label Borft present another EP from Anders Enge - a producer who's been around for the last few years releasing on Dissociated Rhythm & Funeral Fog and who's last EP for the label, "Tengdahlsg. Acid Master" demonstrated a love of lysergic sounds and out-there frequencies.

                  "Limp Funk" kicks off the party here, a thoroughly psychedelicised jaunt into hardware funk characterized by loud perc hits sent careering through a flapping tape delay, tipping it's hat to both Detroit techno and Chris & Cosy in equal measure - most excellent!

                  "Night Clogging" deposits some slimy, alien techno detritus onto the wax - landing somewhere between Blawan's mutant formations and the gremlin march of Ireland's Muscle Recordings - again, very good!

                  "Love Loser" sees twanging, metallic tek shown off by a man obviously completely in charge of his machines. No fooling around at the back of the class, just conjuring up impenetrable technoid grooves for our extended enjoyment.

                  Finally, "Pollen" is a more modular effort - sounding like the impending collapse of the entire studio. Its glitchy beats, elastic bass and alien chatter bringing to mind London Modular Alliance or Adapta on Brutalist Sunset - and, yes, you've guessed it - INCREDIBLY GOOD!





                  STAFF COMMENTS

                  Matt says: Big label for me Borft and this new one from Enge's got 'BUY ME' written all over it. From the pumpin' hydraulics of "Limp Funk" to the demonic carnival techno of "Love Loser" it's a totally encapsulating listen. Need.

                  You might think FaltyDL's a bit late to the party here.... the acid's resurgence's been and gone mate - everyone' banging on about electro now!

                  HOWEVER, as you'd expect from a luminary of future-focused music. This is no simple - 'plug in your 303 & 909, hit record, tweak filter' type business. No no no, the Bergain resident and Planet Mu star offers inspired advancements on the genre. You've still got all that fizzy synth goodness & those mechanized rhythms but Andrew Lustman boosts up the recesses and adds layers and layers of nu-dirt, electro-static hum and alien phlegm into the mix; resulting in a shuddering and juddering four tracker of very alien and out-there acid that drinks out the same lyergic-tainted cups as fellow trippers Legowelt & Ceephax. You are the vehicle for communication!



                  STAFF COMMENTS

                  Matt says: A fist to the face for any acid-merchants resting on their laurels. FaltyDL resets the scale with a clutch of demonized bursts.

                  J Fernandez

                  Occasional Din

                    Occasional Din is a sunny shoebox diorama for the eternal pessimist. Over the past decade, songs by Chicago artist J Fernandez have appeared like unexpected gifts, each time invoking a holiday we didn't realize existed. Like all good holidays, his songs are imbued with a mythical energy, full of curious moods, charmed settings and the timelessness of a familiar moment. J Fernandez started as the eponymous home recording project of Arkansas born Justin Fernandez, who came to Chicago in 2008 to work for map company Rand McNally.

                    After three EPs, his 2015 debut LP, Many Levels of Laughter, attracted high praise from the music press – including 8/10s from UNCUT and NME, plus end of year nods from Under The Radar and Brooklyn Vegan, who called it “one of 2015’s most underrated albums”. That year also saw him share the stage with the likes of Unknown Mortal Orchestra, Alvvays, Mitski, and Ezra Furman. Fernandez is a hunter of what is lost and a seeker for that which is forgotten, spending his free time photographing missing gloves which have been split from their other half, or scouring the Craigslist collectibles section for treasures otherwise consigned to oblivion. He celebrates the mundane, allowing it to permeate his music and its surrounding ephemera - the album’s minimal artwork is even designed to look like packaging, more like a candy bar or box of cigarettes than an album cover.

                    Fernandez starts skeletons of songs with an organ and a Casio drum machine. Through endless revisions and tweaks, he builds and rebuilds each into complex arrangements. With Occasional Din, he mines the sound of the past; drawing influences from vintage Italian pop and soundtrack composers like Bruno Nicolai, Alessandro Alessandroni, and Mina, as well as their American contemporaries like The Free Design and Margo Guryan. 

                    FORMAT INFORMATION

                    Coloured LP Info: Amber coloured vinyl.

                    First Touch & Yvonne Gag

                    Tonight's The Night / You Can Have It All

                    Second Star Creature this week you lucky buggers! This stable of all things modern funk, new disco and boogie related is going from strength to strength, with each consecutive release selling out and becoming collector's items within weeks!

                    First Choice has previously released an amazing double LP on Star Creature full of tasty new electro-funk, boogie and house flavoured style. They reassert their feel good vibe here with a double-A side of their glistening, polished brand dancefloor music. Both sides deliver the kind of hard-hitting, late night boogie that's currently massively in vogue due in no small part to NTS's Full Beam! FM. Super limited and highly desirable, buy now or cry later. 


                    STAFF COMMENTS

                    Matt says: Get a fully authentic dose of the Wet Play and Red Laser dancefloors as First Choice keep the boogie flames burnin'. Unbeatable.

                    FORMAT INFORMATION

                    Ltd 7" Info: Limited edition green vinyl

                    Fleet Foxes

                    First Collection 2006-2009

                    First Collection 2006-2009 is a special limited edition collection to mark the 10th year anniversary of Fleet Foxes’ debut album

                    The collection comprises content spanning the early days of the group’s career, including the eponymous debut album, as well as the Sun Giant EP, The Fleet Foxes EP, and a compilation of B-sides & Rarities.

                    Available on limited edition 4-disc vinyl, as well as CD, the release also includes an extensive booklet featuring show flyers, lyrics, and artwork from the period.

                    STAFF COMMENTS

                    Barry says: It really would be hard to overstate how important the first Fleet Foxes album was to the world of indie music, and here we get it packaged along with a stunning duo of EP's and some decidedly album-worthy 'Outtakes', with a big booklet of linear notes, artworks and lyrics. Top collection.

                    FORMAT INFORMATION

                    LP Box Set Info: Limited x4 disc vinyl:
                    Eponymous debut album.
                    2006’s rare self-released The First EP, never widely commercially available or previously on vinyl.
                    2008’s Sun Giant EP.
                    B-sides & Rarities.
                    Extensive, deluxe booklet.

                    Footshooter

                    Technicolour Nights (Feat. And Is Phi)

                    Footshooter is the moniker of London based producer, DJ and musician Barney Whittaker. His style blends skippy, broken beat production with live instrumentation to create an organic and rich sound and he frequently collaborates with MCs, poets and vocalists exploring different tones and moods.

                    His last record, "Strange Days EP" (released on Famous Friends), gained regular plays on NTS, Balamii, WorldWide FM and, most recently, by Bonobo in a DJ set at his NYC Boiler Room.

                    "Technicolour Nights" is a meditation on long evenings & nights out and how they vary in atmosphere, mood and colour. Opening with the aptly named and ethereal "Intro", the EP quickly jumps into sunshine territory with "Juan's Stairwell" before "On Telegraph Hill" brings the heads down for a meditative two-step groover to close up the A-side.

                    On the flip, Footshooter flexes his 160bpm muscles on "Mars" with the help of London based vocalist and MC And Is Phi, before dropping the tempo just a touch on "Rotations", a steppy, Rhodes-laden journey through London nightlife. "Our Love" lowers the tempo even further to bring the EP to a close on a bittersweet note.


                    STAFF COMMENTS

                    Matt says: Perfect record for fans of the new broken beat & jazz scenes. Track's like "Telegraphy Hill" wrap you in a sumptious velvety quilt and transport you to a heavenly place.

                    Formally Unknown

                    Off Peak EP - Inc. Mella Dee Remix

                    Russian duo Formally Unknown drop a new record on 17 Steps - one that label heads Dusky have personally been caning out in the field.

                    "Off Peak" fires off a salvo of up-to-date percussion; raining down hard on the rave bunker as a crepuscular breakdown smolders away. Militant techno associate, Mella Dee emphasizes the Detroitian chords and late night mood whilst adding some frenetic percussion elements.

                    Industrial broken beat jam "Burnin" again blends atmospheric chords with chopped samples to create a carefully crafted leftfield trip that feels like the perfect soundtrack to an industrial How It’s Made video.

                    Closing things off "Arp Three" brings things to a darker, stripped back close in a panic alarm buzz of broken bass and twisted FX - with distant rave divas crackling through the mix.


                    STAFF COMMENTS

                    Matt says: Nice to see Dusky holding it down on as ever on 17 Steps. Cutting edge techno here that drinks out the same cup as Blawan, Analogue Cops, Parish etc. TIP!

                    Erik Friedlander

                    Thoroughbreds OST

                      Written and directed by Cory Finley, Thoroughbreds tells the darkly comic story of two teenage girls Amanda and Lily (Olivia Cooke and Anya Taylor-Joy) who rekindle a friendship years after growing apart, bonding over Lily's contempt for her oppressive stepfather. As their friendship grows, they begin to bring out one another's most destructive tendencies. Their ambitions lead them to hire a local hustler, Tim (Anton Yelchin in his final performance), and take matters into their own hands to set their lives straight.

                      Featuring a driving, pulse-raising score by Erik Friedlander, and songs by King Harvest, A Tribe Called Red, Tanya Tagaq, The Sweet Hurt, Tanis (and more) the soundtrack is as unique and spellbinding as the film itself.


                      FORMAT INFORMATION

                      LP Info: 180g black vinyl.

                      The Futures

                      Ain't No Time Fa' Nuthin' / Party Time Man

                        From a golden period of Philly soul comes one of the most classic ‘two step’ and ‘rare groove’ releases from the PIR label’s group The Futures. “Ain’t No Time Fa Something” (also released in error as “Ain’t Got Time Fa Nuthin’”) remains a timeless spin for DJs, and became rare on 7” since the growth in popularity of the revived format. The track has also been sampled sevent times, first by Jamiroquai in 1994 in “Morning Glory”, and most recently Flamingosis in “Cruise Control”. The flip of this 7” release “Party Time Man” came from the same period and is both the group’s biggest commercial hits and has become a significant revival itself over the last ten years, equally rare on original 7” single.

                        Perceptions. That is what Garrett deals in. Not the kind that hit you from off a screen, the ones that emerge from the macro. He steps outside of himself during the recording process, so it’s only right for the listener to do the same. This is for wide open spaces, open lanes, pulled off on the viewpoint of your psychological freeway. Some might call it a medication, you may find it better as an application to your everyday. Not a bite sized ready-for-review consumption. Let it drape over you like a cloak.

                        STAFF COMMENTS

                        Patrick says: Relax yourself and let your mind be free, you're now tuned into MFM radio, and the sunblushed sounds of Garrett. Dam-Funk dons his lesser known alias for his second contribution to the Music From Memory catalogue, a medicated set of stoned boogie rollers and cinematic treats. One for warm days and open roads.

                        Gestures

                        Funny Games

                          Stockholm garage punk tio Gestures return with their eagerly anticipated debut album Funny Games, the band’s most accomplished work today. After self-releasing the debut EP Shattered Mind in 2016, which was later picked up by Stockholm garage rock institution Push My Buttons (Holograms, Viagra Boys) for a vinyl release, Gestures signed with PNKSLM Recordings (ShitKid, Les Big Byrd, HOLY etc) for the release of the Bad Taste EP in November 2016. Shortly after the band lost their drummer but vocalist/guitarist Sick Vic and bassist Don Jovi quickly re-grouped and set to working on their debut LP, which was written and recorded during the spring of 2017. A major step forward the band is leaving behind the lo-fi murkiness of their earlier releases in favour of a more confident garage rock sound, moving from quick fire garage punk to heavier and more menacing mo-ments, bringing to mind the likes of Jay Reatard, Carbonas and Bass Drum of Death. One of Scandinavia’s finest live bands, Gestures have been the go-to support pick for touring bands such as Moaning, Demon’s Claws, Uranium Club and Girls Names.

                          Laura Jane Grace & The Devouring Mothers

                          Bought To Rot

                            14 tracks spanning Laura Jane Grace's fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, Bought to Rot stands as the most musically diverse collection of songs Grace has written to date.

                            Inspired in large part by Tom Petty's Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Petty was when he created his solo debut masterpiece. In light of his recent passing, Grace was motivated to pay homage to one of her lifelong heroes.

                            Laura Jane Grace & the Devouring Mothers are Laura Jane Grace, Atom Willard, and Marc Jacob Hudson. Grace is a musician, author, and activist best known as the founder, lead singer, songwriter, and guitarist of the punk rock band Against Me!. Willard, also of Against Me!, is a drummer who has played in iconic punk bands such as Rocket from the Crypt, Social Distortion, and The Offspring. Devouring Mothers bassist Hudson is a recordist and mixer at Rancho Recordo, a recording studio and creative space in the woods of Michigan, and the sound engineer for Against Me

                            Max Graef

                            Lo Siento Mucho Pero No Hablo Tu Idioma

                            Four years after his breakthrough, Max Graef returns to Tartelet Records with his second solo album. A dungeon dub symphony in four parts, "Lo Siento Mucho Pero No Hablo Tu Idioma" is an album's album. Brimming with new and old guests, interludes and bonus skits, it's a consummate sketchbook of Graef’s most unique music to date. 'Every bit of music or work represents the mood and skills of a certain period,' he says.

                            Where Graef's critically acclaimed debut LP "Rivers of the Red Planet" began an adventure away from the dancefloor, "No Hablo" wormholes into totally lateral territory. Not interested in repeating old tricks, No Hablo sees Graef on a playful joyride through a whole new crate of influences. Echoes of Japanese video game music bubble through the Zelda-channeling “Master Quest” and dreamy bonus level “Midi Break 1.” “Midi Lisa” and “Intershop” roll out mutant digi-reggae, while “Rush” and “Level Zero” dig deeper into bass and juke. The album also premieres music with Chrissley Benz, a Kazakhstani singer.

                            As Graef explains: 'No Hablo is a lot more intuitive with a lot less editing, raw arrangements, filled with experiments of strange instrumentation and rooms. I worked on it in a very unmusical way.' But the record isn't a universe apart from his previous output. Throwbacks to the tape-deck world of g-funk and 80s boogie are still present, as well as a few psychedelic jazz cuts. The record also sees the return of Graef's father and guitarist, Gerry Franke, plus long-time collaborators Funkycan and Ludwig.

                            A record of 20 tracks, it covers many bases. It's your favourite PPU cassette via Ocarina of Time and out through a progressive garage jam, all stitched together in the BBC Radiophonic Workshop. Somehow it all makes perfect sense and reaffirms Graef's natural-born ear for killer hooks and unique melodies. The album's title – "Lo Siento Mucho Pero No Hablo Tu Idioma" – is an elegant and simultaneously ironic way of apologising for not speaking one's language in Spanish. It's a fitting metaphor that speaks to Max's ability to skip effortlessly between musical dialects with style and grace. This album proves it more than ever.


                            It's been a long time since we've heard from Kyle MF Hall. The young(ish) Detroit upstart garnered a loyal and dedicated fan base in Manchester and beyond through some inspired productions, a well curated record label and enthused and energetic DJ appearances.

                            Back on his own label of love for the first time for what seems to be an eternity, the Motor City renegade presents four new, highly anticipated tracks dedicated to our two closest and most cherished lunar objects - the Sun and the Moon. Excited? Well, guess what, there's more! The whole MF'ing thing's been engineered by 'Chicago's Very Own' Mr. Glenn Underground! - wowweeee!

                            Solar side:
                            "Katasematic Pleasure" opens with a glowing centerpiece, peppered with Hall's instantly recognizable percussion rhythms and weaving synth lines. Like that familiar smell from an old friend you've not seen for ages, Kyle nestles right back into your bosom.

                            "4rwrd Motion" takes on a techier route, meticulously programmed bottom-end licks massaging the erogenious zones as ripples of rhythmic synthesizer licks build in intensity; it's now that you begin to realize the scale of what Kyle's presenting here.

                            Lunar Side:
                            "No More Moon" careers through liquid space funk with more delectable snare patterns contrasting with angelic pads and boogie-cruiser lead solos.

                            If you needed ANY more convincing, "Ghosted 4 A Second" concludes with a undeniably intimate, late night lovers piece. Sultry as hell and absolutely gorgeous. It's a perfect score card for Kyle Hall's much welcome return to the dancefloor - highly recommended! 


                            Mick Harvey & Christopher Richard Barker

                            The Fall And Rise Of Edgar Bourchier And The Horrors Of War

                            The Fall And Rise Of Edgar Bourchier And The Horrors Of War examines the work of a long forgotten World War I poet, Edgar Bourchier, through his poetry as put to music in a concept album. Its release coincides with the 100th anniversary of the Armistice, on 11 November 2018.

                            The works of this long forgotten war poet arrive in 2018 indirectly from the trenches of the Western Front. The wider narrative takes us from Bourchier’s birth in Warwickshire in 1893 through to his final school days and then his pointless death at Passchendaele in 1917, aged only 24. It continues by virtue of the poetry being posthumously published in 1918, adapted into song via a proposed cabaret treatment influenced by the Weimar Republic, through to an Olympia Press reprint of the poems in the 1960s, and then onward into the late 80s when The Moon Lepers translated his words into song. In 2018, Bourchier’s words were revived when the author Christopher Richard Barker approached Mick Harvey to ask if he could help him recreate the scores that had been discovered for the unrealised cabaret show. Happily, Harvey’s interest was piqued.

                            The route was indirect though, not just because of the twists and turns in the story of Edgar Bourchier and his poetry, but also because Bourchier’s entire backstory and poetry was constructed by Christopher Richard Barker, an author who initially created the character while working on his novel, The Melancholy Haunting Of Nicholas Parkes.

                            Barker paused from this venture to approach Harvey to ask for his expertise with arranging and recording the scores. In response, a 15-track album was written by Harvey and Barker to give life to an incredibly powerful fictional narrative.

                            Created as a concept album describing the horror of war, the project seamlessly brings the fictional poetry to life via myriad possibilities of how a forgotten WW1 soldier’s story might open up and continue to be relevant to new generations – from a barely read initial publication of the poetry that came tantalisingly close to being adapted for Weimar era cabaret with the help of German artist, Otto Dix (‘The Kindness of Ravens’, ‘Further Down the Line’, ‘Softly Spoken Bill’, through to the 60s, when Mick Jagger was apparently photographed with a copy of the reprint published by the Parisian underground publishing house which then led to the poetry being discovered by a new generation (‘Listen in the Twilight Breeze’, ‘Poor Poor Surgeon Tim’); then onward to subsequent interpretations of the work by the fictional 80s band, The Moon Lepers on ‘The Expressionist Tell #2’ and ‘Corpse 564’; before finally culminating in the creation of three new pieces by Barker and Harvey (‘I am the Messenger’, ‘The Eternal Black Darkness of my Death’, ‘Lost Bastard Son of War’).

                            In addition to Mick Harvey and Christopher Richard Barker, the album features contributions from J.P. Shilo, a long time collaborator of Harvey’s and Jade Imagine, Simon Breed and Alain Johannes as guest vocalists. The album was recorded primarily in Melbourne, Australia with some additional vocal recordings in the UK and LA.


                            Even as we move from the heart of Autumn towards Winter, Smalltown Supersound keep the good stuff coming, this time via the debut album from Japanese producer Yoshinori Hayashi. Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. If you've caught anything this cat's put out on Gravity Grafitti, Disco Halal or Going Good, you should know what you're getting yourself into; if not, hold onto your hats and prepare for some A-grade weirdshit. Sharing thematic and sonic predilictions with fellow countrymen Keita Sano and Ground (check the "Sunizm" LP on ESP), Hayashi takes a combination of knackered jazz LPs, studio gear, live instrumentation and library leanings, then twists them into an entirely unpredictable web of fx addled madness which constantly veers in and out of focus.  Hayashi presents his self-described “collage expression” throughout Ambivalence, which he produced and played in its entirety. Album opener, “Overflow,” is a club-not-club track inspired by Cecil Taylor. Its freeform nature sets the tone for the album’s cosmic, hypnotic, and almost ritualistic approach. Elsewhere "Palanquin Bearing Monkey" fuses Romare's sample jazz bounce with Vakula-meets-Reich weirdness, G-Funk synths and absolutely blitzed pianos - I feel like I've taken everything in Barry's "medicine cabinet" all at once. "Bit Of Garden" brings golden bursts of epiphany out of the dislocated darkness, "Double" fires the auditory hallucinations through an echo chamber for a man-meets-monkey drum slo-mo cut while "Geckos" goes into dreamier territories for the eso-Balearic crowd. On the C-side, "0208" swells from cinematic and skewed neo-classical to dream house to neo tribalism to peak time punch and bass bin wobble, each introduced via a new and freaky breakdown. Slow dancers, out of work MCs and xanax poppers should fine a new groove in the shakuhachi vs bell break madness of "Flexible Mono", "Spasm" takes a while to get there but finally reaches Pepe Bradock bass-house insanity territories, while "Geckos" closes the set with a wonderfully warped bit of library exotica for the downbeat dreamers.


                            STAFF COMMENTS

                            Patrick says: Not only is this the maddest record I've heard this week, it's probably the most insane album I've ever heard. Twisted sound design, discord, unpredictable arrangements and a totally unique style result in a masterpiece of club-not-club weirdshit from Japan's Yoshinori Hayashi. I love this.

                            Darren Hayman

                            Thankful Villages Vol. 3

                              Thankful Villages Volume 3 is the final instalment of Darren Hayman’s epic study of rural British life. A ‘Thankful Village’ is one where every soldier returned alive from the Great War. Darren has visited all 54 of these villages and made a sound recording, painting and film in each one.

                              Thankful Villages doesn’t concern itself exclusively with the War, however. It is an exploration of rural communities, including collected stories, interviews, folk songs, soundscapes, field recordings and new original songs. The record takes the form of a fantastical radio show as Darren unearths lost human stories from hidden rural idylls. Since the dissolution of his first band, Hefner, Darren Hayman’s work has increasingly explored location and history. Thankful Villages Volume 3 is the beautiful and poignant culmination of this process; tiny, human vignettes plucked from Britain’s blanket of green. 


                              The Helio Sequence

                              Keep Your Eyes Ahead (10th Anniversary Deluxe Reissue)

                                This reissue celebrates the tenth anniversary of The Helio Sequence’s landmark album Keep Your Eyes Ahead with a full remaster of the original album, plus a second album of demos, alternate versions, and outtakes from the same era.After 3 albums and ten years of touring and recording, The Helio Sequence (Brandon Summers and Benjamin Weikel) recorded their most dynamic, extraordinary album, Keep Your Eyes Ahead. Keep Your Eyes Ahead married the Portland duo’s signature layered keyboards and impossibly big guitars with crisp songwriting and a relatively minimalist approach. The finger picking on “Shed Your Love” is backed by exquisite strings and ambient noise, but Summers’s serene, self-assured delivery remains front and center. While songs from the band’s early releases spanned up to 7 minutes, even the longest, lushest, catchiest track on Keep Your Eyes Ahead (fiery anthem “Hallelujah”) clocks in at 4 and a half minutes, evidence of just how refined their craft had become. Vocals were recorded spontaneously in bedroom closets and living rooms, which may explain the haunting urgency you hear in Brandon’s voice, especially on the driving title track.

                                Produced by the band, Keep Your Eyes Ahead confirms in The Helio Sequence an energy and a range that continues to defy narrow categorization. Unapologetic pop and folk meld seamlessly to create songs that are bigger, more epic and polished than anything they’ve ever done. Keep Your Eyes Ahead is the sound of a band and a decade-old partnership that’s been invigorated. And that’s exactly how the songs will make you feel: invigorated.
                                 


                                FORMAT INFORMATION

                                2xColoured LP Info: LOSER edition on blue vinyl.

                                2xColoured LP includes MP3 Download Code.

                                The Jimi Hendrix Experience

                                Electric Ladyland - 50th Anniversary Deluxe Box Set Edition

                                  This deluxe box set includes the original album, remastered by Bernie Grundman from the original analogue tapes. For the LP set, Grundman prepared an all-analogue, direct-to-disc vinyl transfer of the album, preserving the authenticity. 'Electric Ladyland: The Early Takes' presents 20 demos and studio outtakes, including demos for song ideas Hendrix recorded himself on a reel-to-reel tape at the Drake Hotel, as well as early recording session studio takes featuring guest appearances from Buddy Miles, Stephen Stills and Al Kooper. 'Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68' is part of Experience Hendrix's Dagger Records official bootleg series. The live album documents the band's Los Angeles concert held a few weeks before 'Electric Ladyland' was released. The two-track soundboard recording captures the energy that had the audience in such a frenzy that many concert-goers jumped into the reflecting pool that separated the bandstand from the seats. The Blu-ray features the full-length documentary 'At Last... The Beginning: The Making of Electric Ladyland', the first ever 5.1 surround sound mix of the original album overseen by Hendrix's original engineer Eddie Kramer plus the original stereo mixes in uncompressed 24 bit/96 kz high resolution audio. The box set features a full-colour, 48-page book containing Jimi's handwritten lyrics, poem and instructions to his record label, as well as never-before-published photos from the recording sessions that were shot by Eddie Kramer himself. Also included are essays by celebrated journalist David Fricke and Hendrix authority John McDermott. All items are contained in a numbered luxe case-made-book for CD+Blu-ray release and case-made-lift-top-box for the LP+Blu-ray release, with new cover art which is true to Hendrix's original vision of the album's cover - a Linda (McCartney) Eastman photograph of the band and children at the statue of Alice in Wonderland in New York's Central Park.

                                  FORMAT INFORMATION

                                  FREE SHIPPING This item has FREE UK shipping!

                                  UK hip-hop’s original and best live band are back with brand new album "Bring Out The Sound", released via BBE Music. Founded in the early 90s by Ollie Teeba and Jake Wherry, The Herbaliser have earned every single accolade they’ve received during almost 25 years of touring and recording. Best known for delivering a series of groundbreaking albums on Ninja Tune and providing one of the all-time highlights of the ‘Fabric Live’ mix series, The Herbaliser’s most recent LP "There Were Seven" was issued on their own "Department H" imprint back in 2012. Having worked with hip-hop royalty such as Jazzy Jef and Pete Rock over the years, not to mention releasing J Dilla’s first and last solo albums, BBE are delighted to share in The Herbaliser’s musical journey.

                                  Inviting a carefully chosen group of guest vocalists to join them in their London studio, "Bring Out The Sound" presents a diverse blend of soulful songs, hip-hop bangers and original instrumental funk breaks, made all the more impressive by its complete absence of sampling, an album from the heat of The Herbaliser. Famous for his pop smash "Starz In Their Eyes" (sadly as relevant now as it ever was), Camden vocalist Just Jack lays down an incredibly moving performance over lush horns and strings on the instant classic "Seize The Day". The London Posse’s own Rodney P spits lyrical fire alongside 28Luchi over the reggae-infused, unmistakably British beats of "Like Shaft". Former Senseless Things member and Libertines collaborator Mark Keds creates an almost uncomfortably intimate, confessional atmosphere on the intensely personal "20 Years To The Day". Compared by Mark Ronson to a young Minnie Ripperton, UK singer STAC’s voice cuts through with a breathy kind of clarity on "Over and Over".

                                  But The Herbaliser band has always been so much more than the sum of its collaborators. Languid, powerful hip hop beats and uncompromising production values underpin impressive performances by all the band members, especially the horn section who track after track, turn in vintage performances. These guys make it all sound so easy that by the time we reach "Takedown", a track that sounds for all the world like a forgotten b-boy anthem by The Incredible Bongo Band. 


                                  STAFF COMMENTS

                                  Barry says: Brilliant classic hip-hop grooves, soulful breaks and vibes all brought up to date with crisp, modern production and the Herbaliser crew's considerable experience. Brilliantly soulful, and thoroughly enjoyable throughout.

                                  Holy Hive

                                  This Is My Story / Blue Light

                                  Brand new off the Big Crown Records label is the debut single from the newest band on the roster, Holy Hive. Comprised of Paul Spring, Homer Steinweiss, and Joe Harrison, Holy Hive obscures genre lines and has a style and energy uniquely their own. Side A, “This Is My Story”, is a cover of the Invincible’s cult classic from 1968. Holy Hive takes the tune into modern times while keeping just enough of the original. The horns and vibraphone rip into the speakers from the first note and Paul Spring’s ethereal and honeyed vocals sit atop Homer’s infamous drumming like a oxpecker on a black rhinos back. The B Side, “Blue Light” is a perfect representation of the sound that is wholly unique to Holy Hive. With a less is more ethos, they craft an intimate space that is equal parts Jessica Pratt, The Persuaders, and Julian Bream.

                                  Indifferent Dance Centre

                                  Flight & Pursuit

                                  More stunning archival UK post-punk from Ransom Note sub-label Outer Reaches The B-side track is definitely for those of you who felt the recent Lifetones & This Heat reissues.

                                  The second release for the laeb, "Flight & Pursuit" is another overlooked revelation of provincial post-punk, this time by Indifferent Dance Centre: afour-piece from Chichester, a quiet Cathedral city in West Sussex. The group consisted of Lizzy Dowling (vocals / lyrics), Christopher Binns (guitar), Ashley Barrett (bass) and Douglas Barrett (drums / guitar & bass when required)

                                  Without, as Dowling declared, ‘Martin Hannett, Paul Morley, Postcard or Factory’ to lend credibility to their venture and without the means to splash out on studio time, this was a line-up that came together on one Sunday in August 1981 at their local Lavant Village Hall to capture "Flight & Pursuit" and "Release", two recordings of beguiling, impeccably restrained, reclusive music that possess a discretely epiphanic and timeless quality.

                                  In their expression of a self-contained world they reveal a group that rests within the same self-made, economical and rarefied continuum as the Marine Girls, Young Marble Giants, AC Marias, Anna Domino and The Raincoats. Indeed, it’s not hard to imagine both "Flight & Pursuit" and "Release" holding their own on something like the epochal Cherry Red compilation "Pillows & Prayers" released a year or so later. In many ways they could’ve improved it. However, beyond points of comparison and in speaking of greater significances they stake their own claim.

                                  Both "Flight & Pursuit" & "Release" were made in the midst of a ‘happy chaos’, on a day which IDC recount as one where demands for ‘more echo!’, the sound of whirring black effects boxes – courtesy of their producer Alan Williams - and of offhand laughter all ran across one another. Recorded live in only a few takes they both indicate a level of modesty, candour, independence and intuition that proved to be the defining traits of both the music IDC made and the outlook they adopted. With only "Flight & Pursuit" compiled on the Hyped To Death CD compilation "Messthetics #108: South Coast D.I.Y. '77-81" back in 2011 the original 7” vinyl has begun to command inflated prices in the usual places. With this reissue on Outer Reaches that state of play is thankfully redressed. As it goes the "Flight & Pursuit’ 7” was the only physical release they put out into the world on their own appropriately named Recluse label. Nevertheless as a solitary piece of output, it’s a stunning accomplishment that has only improved with time. One record is all they needed.


                                  Jeremy Vibes

                                  Phil / Hall Of Fame

                                  When you work in a record shop with so many other people it’s rare that a sample eludes us, so hats off to Jeremy Vibes, the old school hip hop loop that sits atop the boompty house bomb that is ‘Hall Of Fame’ (obviously) has got us all scratching our heads. If any of you know it, let us know and we’ll give you a copy for free *. Anyway, now that we’ve got that out of the way, ‘Hall Of Fame’ brings to mind the heady, halcyon days of early nineties house legends Junior Boys Own and Xpress 2’s ‘London Xpress’, house music doesn’t come any better folks, this is a BOMB. Next up is a (VERY) cheeky reworking of an ex member of Genesis. Heavy on the looped pianos and filters this is the kind of feel good house music that just doesn’t get made any more, it even has, wait for it, a breakdown! Essential. * We won't really.

                                  Joe Cleen fires off his second EP in quick succession following a very well received twelve for SlothBoogie. He's back with more zany disco-house flavours, kicking off with the manic, cue-point looping madness of "Show Me Your Dimension" which sounds like Theo Parrish recording with DJ Falcon on bucket loads of amphetamines. "And This Is" deploys a rich, soulful deep house gem; littered with spoken word snips and decorated beautifully with horns, guitar and keys and would go down a storm at the infamous Body & Soul sessions.

                                  "We Need" skillfully pairs exotic synth textures with a bass heavy beat, adding jarring piano chords later on in the mix and constructing an addictive yet slightly melancholic electronic house masterpiece in the process.

                                  Ultimately, it's down to dance maverick Glenn Astro to close proceedings. The current hot property adds a touch of playful deepness and strung out grit, transforming "We Need" into a late night, acidic burner that should smolder away quite nicely in any function space. Sterling stuff!


                                  Thelma Jones

                                  I Can't Stand It / Only Yesterday

                                  The Missing link between her Barry and Columbia singles, “I Can’t Stand It” b/w “Only Yesterday” is Thelma Jones with her back against their wall of an empty and indifferent Holiday Inn lounge and nothing to lose. Washed out of the recording business by the age of 30, Jones and her then-husband/manager James Hazley relocated to Tampa to work the hotel circuit and figure out what- if anything- was next. Following a chance encounter with Blair Mooney, Jones was invited to workshop a few stray originals at his studio 70 compound in 1972. “He seemed to believe in me more than I did at the time, “Jones remembered of the Tampa Studio impresario. Jones signed with Columbia a few years later and hightailed it out to The Big Guava, leaving two sides of country-politician soul on the shelp to be forgotten about. This Eccentric Soul 45 is a first-time issue, carrying the banner of Mooney’s Gimp label and mastered directly from the original analog tapes.

                                  Essential psychedelic cumbia album.

                                  At the beginning of the year 1966, in the Amazonian city Pucallpa of Peru, the merchant and musician Juan Wong Paredes decided to form a group to share and play some upbeat music throughout the city.

                                  Wong Paredes, of Chinese ancestry, enjoyed playing music with his accordion, especially at the Peruvian jungle parties known as "tahuampas". After finishing a stretch of military service, his son Juan Wong Popolizio decided to collaborate with his father's band, and was joined by his friend Noe Fachín, who took on the lead guitar and composing duties.

                                  Popolizio and Fachín worked together to select six young natives from the area who shared their same love for exotic music, rhythms and modern tracks that filtered in directly from the Colombian and Brazilian borders. All together, these members became one of the best psychedelic cumbia bands ever: Juaneco y Su Combo.

                                  The members of the band included Juan Wong Popilizio as the official director, keyboard player, and musical arranger of the group, Noe Fachín as the lead guitar, and Wilindoro Cacique as the main vocalist as well as the guiro and tambourine player. They were joined by Walter Domínguez on bass guitar, Rosendo Hidalgo on drums, Wilberto Murrieta on second guitar, Juvencio Pinchi on percussions, and Jairo Aguilar Tejada on the bongo.

                                  In 1972, they were signed by Infopesa and recorded their first LP: The classic "El Gran Cacique". This LP, named eponymously after the nickname of the leader of the band, featured a timeless version of the Brazilian toada "Mulher Rendeira" with vocals from Wilindoro Cacique, becoming an instant hit. "Vacilando con Ayahuasca," an instrumental cumbia composed by Noe Fachín, was also recorded for this album, and it featured some sexy hypnotic vocals from Infopesa´s secretary.

                                  Nowadays, "El Gran Cacique" is considered one of the world´s essential cumbia records, and after 46 years since its first press this iconic LP returns as zestful as ever in a special vinyl reissue that will surely reignite the psychedelic craze one more time.

                                  This limited vinyl release was remastered from the original analog tapes at Infopesa's studio by Aldo Montalvo under the direction of Juan Ricardo and Alberto Maraví, who produced and oversaw the original mastering of the record in 1972. It's packaged with an artwork that uses the original cover of the LP reinterpreted by well-known Peruvian collage master Yerko Zlatar.

                                  Razor-N-Tape bring out the big guns for their remix package of Los Angeles Afro-Latino funk band, Jungle Fire.
                                  Originally conceived as a one-off Afro Latin funk jam between friends, the band have quickly become an explosive Tropi-Funk juggernaut lighting up sold out dance floors and festivals across the globe. Comprising musicians who have played, recorded and toured with the likes of Stevie Wonder, Ozomatli, Del the Funky Homosapien, LCD Soundsystem and Kelis their sound is a direct reflection of the musical and cultural landscape of the city they call home.
                                  First up, JKriv’s remix of 'Firewalker' channels the original live instrumentation into a bombastic, DJ-friendly workout, while Boston-born/Medellin-based producer Bosq steps up to tackle 'Village Hustle' bringing his unique blend of rhythmic flavours to this melting pot of zesty goodness.
                                  Highlight of the 12” is the first remix by the newly-reunited Black Science Orchestra in 15 years. Original members Ashley Beedle and Rob Mello take on 'Culebro' and transform it into an pulsating Afrobeat groover that brings to mind, Master’s At Work, afro house explosion, ‘Tribute To Fela’. BSO turn out a serious heater of a remix and dub, worthy of their triumphant return.


                                  Klein & MBO

                                  The MBO Theme (Remaster)

                                  Klein & MBO's iconic crossover Italo anthem "The MBO Theme" is back with a nice fresh, legit pressing for anyone who's worn out their (very expensive) OG or got bored of the terrible slew of bootlegs that currently exist.

                                  There's not many Italian records that crossed over into Chicago as much as this. Hammered by one Ron Hardy, it's combination of catchy guitar parts, fizzy synth lines and skeletal drums providing the definitive blueprint for proto-house, and the track that DJs and producer's would return to time and time again for inspiration.

                                  Best Records have remastered the track and it sounds super! Also included is a rare Italian edit which I'm pretty sure is the one Jamal Moss used in one of his early Sample/Pattern mixes. Every home needs one! (and there are currently NO original copies for sale on discogs.. -Ed).



                                  STAFF COMMENTS

                                  Matt says: What can be said about one of the most talked about and celebrated tracks from the proto-house cannon? Not much other than BUY IT NOW!

                                  Lamusa II returns to Gravity Graffiti with further explorations on the outer reaches of cosmic jazz, experimental library music and exotic sonic landscapes.. This is music to stimulate your cerebellum and transport you to hitherto unknown regions, certainly relevant if you've been digging the previous output on Gravity Graffiti from the likes of Yoshinori Hayashi & Ricardo Shiro. Particular highlights include the fluttering tapestry of keys, chimes, rhythmic ripples and zippy effects on "Variatio Ad Absurdum," the intense vibrations of "Caos E Dialogo" and the mellow patterns and trills of "Dalle Alle". Once it has you in its grip, it's difficult to break away, such is the magic of the pieces contained within this, and much of the label's catalogue. Recommended wierdness for modern witches and medicine men. 


                                  STAFF COMMENTS

                                  Matt says: Gravity Graffiti lead the charge when it comes to aural hocus-pocus and sonic sorcery in the studio. A worthy competitor to Demdike Stare's unique brand of witchcraft.

                                  Repressed by Because Music, “10 Remixes” features a slightly puzzling 12 killer interpretations of Les Nregresses Vertes classics by Massive Attack, Gangstarr, William Orbit , Clive Martin, Kwanzaa Posse, Norman Cook etc.
                                  Following the reissues of their 4 albums on vinyl earlier this year, French band and pioneers of the fusion of World and Alternative music Les Négresses Vertes continues to celebrate the 30th anniversary of their first album “Mlah” with a new re-issue of their album “10 Remixes”. There's tonnes of fun to be had over the four sides, with top remixes from trip hop pioneers Massive Attack, Big Beat behemoth Norman Cook (appearing here in daft-dub fashion) and Gangstarr are doing it for me.


                                  FORMAT INFORMATION

                                  Vinyl comes with CD version of the album enclosed.

                                  Lowtide

                                  Southern Mind - Inc. Ulrich Schnauss, Josefin Ohrn, Vive La Void, Lost Horizons And Black Cab Remixes

                                    Following the release of their critically acclaimed album Southern Mind in February this year, Melbourne’s Lowtide return with Southern Mind Remixed. A project born out of a boundless knowledge and joint love for the unique and experimental, this is yet another progression for Lowtide. With Ulrich Schnauss, Vive La Void (Sanae Yamada/Moon Duo), Josefin Ohrn and The Liberation, Lost Horizons and Black Cab taking the controls on a largely guitar-based album The Southern Mind Remixed EP is out on an extremely limited hot pink 12”.

                                    Melbourne’s Lowtide’s first began to crystallise into existence in 2009 and the current line-up includes guitarist Gabriel Lewis, bassist/vocalist Lucy Buckeridge, drummer Anton Jakovljevic and guitarist/vocalist Jeremy Cole. Their self-titled debut album was released in 2014, which truly defined Lowtide’s sound and was met with critical acclaim with Fairfax writing of the album, “There is a synthesis of aural texture and melodic sensibility that is so compelling it verges on hypnotic”.

                                    In 2017, Lowtide’s self-titled debut, alongside their ‘Julia/Spring’ 7", was released internationally via London label Opposite Number, and went on to feature in Rough Trade’s ‘Best Albums of 2016’. The band has since embarked on national and European tours, been nominated for The AMP (Australian Music Prize), received international support via BBC 6 Music, KCRW & more and played multiple festivals including NZ’s Camp A Low Hum and the recent End Of The Road Festival in the UK. 

                                    This year saw the band release their much-anticipated second album, Southern Mind, via Opposite Number and Rice Is Nice and was premiered in it’s entirety by Henry Rollins on KCRW. The album was recorded at The Aviary Studios in Victoria in the winter of 2017 and is what the band describe as an organic progression from their previous releases. With fleshed out lyrical motifs and a custom 6 string bass in the mix to enrich Lowtide’s signature layers of melody, Southern Mind has seen widespread applause throughout the dream pop community and to many corners of the globe.

                                    FORMAT INFORMATION

                                    Ltd 12" Info: Limited edition hot pink vinyl.

                                    Christian 'Kon' Taylor's KonTemporary imprint goes from strength to strength! This, the third release sees the Boston crate diggin' selector, producer and remixer extraordinaire reworking the mighty sounds of L.T.D.'s roof-raising "Love To The World".

                                    L.T.D., an acronym of Love, Togetherness and Devotion were a highly respected and entirely dope 70's soul and jazz-funk outfit fronted by the powerful Gospel-tinged vocals of one Jeffrey Osborne, whose powerful tenor voice gave their music some serious weight! Heavily revered among music lovers and often sampled throughout hip-hop and dance music (check out 'Cuttin it up', Love ballad', 'Holdin on' & 'Back in love' for proof!), one of the group's biggest and most well-known cuts was "Love To The World", a track that got love from the hardcore dancers, B-boys and old-school heads alike. As usual, Kon has taken this classic into a new realm with his own unique arrangement and use of ad-libs and unheard instrumentation, all taken from the master tapes and lovingly reworked. It's a difficult task to breathe new life into the classics, but Kon always comes up trumps with his fresh ideas and expert ear. Now you can catch these super heavyweight 12" versions, including an epic 9 minute plus instrumental mix, or funk loving 7" flip, all expertly tweaked by Kon and mixed by Scott 'Supe' Stallone at Found Sound, Philadelphia.

                                    STAFF COMMENTS

                                    Sil says: Kon does it again. His edits have become classics in the scene and for a reason. The man has its own ways of bringing a second life to both classics and obscure beauties. Solid gold on this funky, jazzy number including a glorious instrumental (my fave!). And for you, 7 inch lovers, there is a version of it too!

                                    Magic Potion

                                    Endless Graffiti

                                      The Swedish quartet Magic Potion are back with their long-awaited second album Endless Graffiti, the fol-low-up to their acclaimed debut LP Pink Gum from 2016 and the debut EP Melt from 2015. After first appearing with the “Deep Web” single in early 2015 the band quickly garnered attention from music publications around the world such as Noisey, The FADER, NYLON, The Line of Best Fit and SPIN with their laid-back indie rock sound. Following the release of Pink Gum the band toured around Scandinavia and Europe, mixing headline tours with support slots for the likes of Chastity Belt, before retreating to their Stockholm studio to work on their second record. Endless Graffiti retains the band’s trademark sound while finding the quartet both expand-ing their sonic palette and upping their songwriting game, arriving at what will undoubtedly be one of 2018’s strongest indie rock releases.

                                      There’s something universal in the appeal of an escape – of finding somewhere to relax and explore your ideas. It’s a feeling which connects together the different parts of Maisha’s debut album. A deep record which provides grist for serious spiritual rumination, the music prompts internal reflection as much as it reflects the surrounds which shaped it. Each of its tracks provokes a feeling of intense revery which is timeless, on the one hand, but realised through a confluence of sounds and circumstances which are undeniably of the present.

                                      The six-piece group, led by bandleader Jake Long, bring a fresh slant to the weighty spiritual jazz tradition. Their 2016 debut EP was released through Jazz Re:freshed (whose weekly shows and record label are an institution for forward-thinking jazz), and were part of We Out Here, Brownswood’s early 2018 record which documented London’s genre-bending, jazz-influenced underground. They’ve been featured on Boiler Room, supported the Sun Ra Arkestra, and played at Church of Sound, a live series that’s quickly become a staple of the emergent scene.

                                      The album’s title alludes to a small, secluded park which bandleader Jake Long would often retreat to, whose peaceful surrounds were the setting for regular moments of reflection. It’s also a reference to London. Or to be more specific, the side of London which has helped nurture him and his peers: rehearsal rooms, friend’s houses and intimate venues. Its band members, Amané Suganami, Twm Dylan, Tim Doyle, Yahael Camara-Onono, Shirley Tetteh and Nubya Garcia, the latter of whom played a part in shaping the early sound of the band, are musicians who’ve come through the same circles as Long.

                                      It was recorded across three days in mid-2018. The songs have grown out of their live sets over the past year or two, where each of them would take shape in rehearsals to then be tweaked as they worked out different approaches to them in their performances. It’s an organic kind of refinement, and one that’s audible in the music: songs unfold slowly, each of their parts given time to breathe, building up to crescendos which are patiently earnt.

                                      It’s possible to trace a personal geography of music, place and memory just through the album’s track titles. On ‘Osiris’, the track’s beguiling melodies are framed in terms of Egyptian mythology, imagery prompted by old books that Long found in his grandparents’ house; ‘Azure’ hints at the blues forms winding their way through the track’s textured wandering; ‘Eaglehurst Place’, where a tense, rhythmic groove drives the track forward, is reference to a house share with musical peers like Joe Armon-Jones, Femi Koleoso and Rosie Turton.

                                      Spiritual jazz is a tradition that’s leaden with its own traditions, histories and stories. Maisha carve out out their own style through that weight of expectation: they take stock of that history, channelling the greats like Pharoah Sanders, while filtering their own influences – which range from jazz to Afrobeat – through every part of their musical process. It’s a sound which rests on trance-inducing rhythms, instinctive musical interchange and repeated, deeply enriching melodic refrains. It’s a combination which has made for their own singular sound.


                                      STAFF COMMENTS

                                      Emily says: A gorgeous fusion of spiritual jazz with afrobeat and west african rhythms, inspired by the likes of Alice Coltrane and Pharaoh Sanders. Sometimes loose and contemplative, sometimes driven and danceable, all sewn together with an impressive level of musicianship.

                                      Australian house is something rather special and refreshing. Different to what I am accustomed to. Mall Grab is part of that sound, if not the leader. This 12" is released on his new label Looking for Trouble. The music is pretty good as you expect from this prolific youngster - he is still peaking! You are greeted with the melody-rich and fast beat of 'Liverpool Street in the Rain', a track that whilst listening to it you can effortlessly imagine being in the Northwest of England - a rainy place indeed.  

                                      On A2, there is a light change of style. A powerful rap sample rides this potential floor filler. (my favourite track). Sprinkled with a melody that lightly touches the trance spectrum makes this track a tune. 

                                      Flip this bad boy and things get a bit rough. Tiny bit more industrial sounding; darker. Aptly titled 'Looking for Trouble', Mall Grab shows us that he can do 'proper' techno. A bit too rough for sensitive me, but surely you fellas will dig it proper. It has class. 

                                      The final track  'Get Impetuous' s one of the best for me. It is Mall Grab doing what he does best, those breakbeats and that ravy sound signature of his. This ia genuine hands in the air peak time dancefloor weapon. Best for last! 

                                      You gotta get this. Great start of label by this solid producer. We send our love and salute you from the Piccadilly Towers.


                                      STAFF COMMENTS

                                      Sil says: Mmm... delicious Mall Grab just landed here. You know the drill: Analogue sound, luscious melodies, uncompromising beats. Every track is a must. And comes with a beautiful cover too.

                                      Dan Mangan

                                      More Or Less

                                        "More Or Less" is Dan Mangan’s fifth album. His new music is about witnessing birth, and in some ways rebirth. It’s about feeling disconnected from a popular identity and becoming acclimated to a new one. It’s about raising kids in a turbulent world. It’s about unanswerable questions and kindness and friendship and fear.

                                        Dan Mangan worked with some incredible people who have made many of his favorite albums. In between recording sessions, he’d listen to Van Morrison’s Astral Weeks and Nick Drake’s Pink Moon.

                                        In short, his album is: more sparse. Less meticulous. More kids. Less time. More direct. Less metaphor. More discovery. Less youth. More warmth. Less chaos.


                                        Near the end of Reagan's first term, the Western Massachusetts Hardcore scene coughed up an insanely shaped chunk called Dinosaur. Comprised of WMHC vets, the trio was a miasmic tornado of guitar noise, bad attitude and near-subliminal pop-based-shape-shifting. Through their existence, Dinosaur (amended to Dinosaur Jr. for legal reasons) defined a very specific, very aggressive set of oblique song-based responses to what was going on. Their one constant was the scalp-fryingly loud guitar and deeply buried vocals of J Mascis.

                                        A couple of years before they ended their reign, J cut a solo album called Martin + Me. Recorded live and acoustic, the record allowed the bones of J's songs to be totally visible for the first time. Fans were surprised to hear how melodically elegant these compositions were, even if J still seemed interested in swallowing some of the words that most folks would have sung. Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings + Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J's own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc)  among others. But the show is mostly J's and J's alone. He laughs when I tell him I'm surprised by how melodic his vocals seem to have gotten. Asked if that was intentional, he says, “No. I took some singing lessons and do vocal warm-ups now, but that was mostly just to keep from blowing out my vocal cords when Dino started touring again. The biggest difference with this record might have to do with the drums. I'd just got a new drum set I was really excited about. I don't have too many drum outlets at the moment, so I played a lot more drums than I'd originally planned. I just kept playing. [laughs] I'd play the acoustic guitar parts then head right to the drums.”

                                        There is plenty of drumming on the dozen songs on Elastic Days. But for those expecting the hallucinatory overload of Dinosaur Jr's live attack, the gentleness of the approach here will draw easy comparisons to Neil Young's binary approach to working solo versus working with Crazy Horse. This is a lazy man's shorthand, but it still rings true. Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad (“Web So Dense”) to jazzily-canted West Coasty post-psych (“Give It Off”) to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges (“Drop Me”). The album plays out with a combination of holism and variety that is certain to set many brains ablaze. J says he'll be taking this album on the road later in the year. He'll be playing by himself, but unlike other solo tours he says he'll be standing up this time. “I used to just sit down and build a little fort around myself -- amps, music stands, drinks stands, all that stuff. But I just realized it sounds better if the amps are higher up because I'm so used to playing with stacks. So I'll stand this time.” I ask if it's not pretty weird to stand alone on a big stage. “Yeah,” he says. “But it's weird sitting down too.” Ha. Good point. One needs to be elastic. In all things. - Byron Coley


                                        STAFF COMMENTS

                                        Barry says: One of the more tender outings from J Mascis of Dinosaur Jr fame, 'Elastic Days' beautifully encompasses a wide variety of J Mascis' leanings including folk, Americana and classic rock to brilliant effect. Heart-wrenching in places but ultimately optimistic, this is yet another display of how versatile and talented this man is. Superb.

                                        FORMAT INFORMATION

                                        Coloured LP Info: limited indies only 'Loser Edition' crystal clear with a purple swirl!

                                        NYC’s The Men have made a name for themselves as wayfaring musicians, constantly evolving and eluding their listeners. Before they were genre-hopping through country, post-punk, noise rock, and more, they were applying that experimental nature within the more confined space of punk. Within that genre they were wildly adventurous, playing noise shows, hardcore shows, rock shows, and switching up the instrumentation as they saw fit, while always operating within a general punk ethos. Their first demo was a hand-dubbed and spray-painted run of 32 copies, half of which worked, and their first shows were at New York dives like Tommy’s Tavern, Matchless, and Don Pedro (all of which have been shut down).

                                        That hand-dubbed demo kicked off a furious run of creative output from 2008 to 2011, much of which is now collected on the new compilation, Hated. The songs on Hated are pulled from a variety of sources — the debut demo tape, a split with Nomos, a 7", a 12" EP, and a slew of unreleased demos, outtakes, and live recordings. These songs show the huge range and potential of a band still in its infancy, when they were just beginning to blaze the path they’re still on to this day.

                                        The core value of the original incarnation of The Men was work ethic. The band became a lifestyle for original members Chris Hansell, Mark Perro, and Nick Chiericozzi, with Hansell even living off unemployment checks to dedicate his time to the project. The three of them would jam and obsess over music together over all else.

                                        For those who were at those early NYC shows, Hated will be a welcome reminder of a glorious time in the underground. For those who weren’t, it’s a chance to experience The Men as the locals did, and to get a glimpse of a Brooklyn DIY scene that doesn’t really exist anymore, at least not in the same way. And for diehard fans of the band, it’s a reminder of how much they’ve evolved, and how much more evolution they still have to go.


                                        Michele Mercure often dreams of music, and in her waking life, reclaims fragments of these fleeting, floating melodies in her compositions and sound art. "Beside Herself", an anthology of Mercure’s self-produced and distributed cassettes released between 1983 and 1990, collects these dreamlike passages and lo-fi nocturnes, preserving the qualities of discovery and intimacy surrounding their genesis.

                                        Mercure’s sound is a porous electronic art that overlaps ambient, abstract, and industrial sensibilities – its spaciousness reveals an artist attuned cinematically rather than for radio play or public performance. She approached the latter theatrically, and rarely, disdaining most live shows as too serious, and bringing her music to bare on her audiences in playful, immersive contexts. On recordings, Mercure’s night lit synth music evokes non-confined environments, at once expressionistic and minimal and always aware of its surroundings.

                                        Mercure was a busy collaborator during the years surveyed by "Beside Herself", making music for theater, performance, film, and TV animation, yet it was through her self-released cassettes that she established her music among like-minded artists abroad. Circulated through tape-trading networks assisted by insightful reviews in Eurock, a seminal music magazine covering progressive rock and electronic music scenes, these album-length releases included "Rogue and Mint" (1983), "A Cast of Shadows" (1984), "Dreams Without Dreamers" (1985), and Dreamplay (1990). Though unvarnished in fidelity (and now scarcely seen), these tapes showcased Mercure’s transportive aptitude within and beyond the limited sound recording medium.

                                        Mercure’s artistic path never ran through creative meccas New York, San Francisco or Los Angeles. Raised in Springfield, Massachusetts, and then moving to Harrisburg, Pennsylvania, in her twenties, Mercure was already an adept musician when she encountered a local and lively theater scene, and was asked to score an unorthodox performance of Waiting for Godot. The experience was pivotal in marrying music and image for Mercure, and so she began making music for film, television, dance, and theater. It wasn’t until a long sojourn in Eindhoven, however, that she became transfixed by electronic music (ala Conrad Schnitzler, whom she would correspond with for years) that would inform her music to come.

                                        Acoustic elements such as voice and stringed instruments add a haunting lyricism to the non-tonal space unoccupied by electronic presence in Mercure’s music. The graduality of phrasing and measured sequence of tones also distinguish her music from the repetition and improvisation-heavy hallmarks of the Kosmische genre, a stylistic antecedent for the artist. Mercure’s fascination, or obsession, with new, consumer conscious music technology is demonstrated in her inventive sequencing and sampling, adding a mechanical, sometimes menacing, feel to Beside Herself.

                                        Mercure’s contemporaries became the kindred minds of the Eurock “scene” such as The Nightcrawlers, Lauri Paisley, and Don Slepian. It was in association with Paisley and Pauline Anna Strom that Eurock featured Mercure in an article titled “Women Synthesists” in 1986. The three artists all shared a bravura for homespun, self-produced electronic music that looked beyond pop conventions for a higher plane of avant-gardism or musical spirituality. Not long after the article went to print, Mercure offered Eye Chant, her standalone vinyl album self-released in 1987.

                                        Beside Herself extends RVNG Intl.’s preservation efforts to sister label Freedom To Spend who reissued Eye Chant in 2017, an occasion marking just over twenty years since its original release on Mercure’s own Quick Shower Music. (Eye Chant, and the cassettes surveyed on Beside Herself, were originally credited to Michelle Musser, the name which the artist used until a divorce in 1987).

                                        The anthological scope of Beside Herself joins Eye Chant to restore the canon of Mercure’s arresting dream-music, revisiting this anomalous creator’s breakthrough material. “Beside Herself” is available on double LP and CD, featuring liner notes by Emily Pothast and an incredible array of unseen photography and ephemera of the era.

                                        Optimo Music see off what's been a busy year with a tasty slew of end-of-year releases. One of which is this amazing new album from Lia Mice - the Australian-born but UK-residing DJ, producer and instrument designer.

                                        'When I moved to London in 2015, many things changed at once - I started going to more techno and electro nights, I changed my live-set setup, and I had access to a fully-equipped recording studio through my music masters programme. At the same time I was reading a lot of books on time travel, not just science fiction but also psychology and neuroscience - like how the human brain perceives time from moment to moment, how we can experience overlapping time, and how we interact with our past and future through memory and imagination. “The Sampler As A Time Machine” is the result of all these new influences coming together. The tracks were developed out of ongoing studio experiments interpreting these different ideas of time travel by using samplers and tape to re-sample and manipulate original music performed by me on various instruments including my voice.'


                                        STAFF COMMENTS

                                        Matt says: I'm sure Optimo Music devotees don't need convincing here. But anyone wondering what the label's about could do much worse than bagging this LP and the forthcoming compilation from the camp. Essential stuff for lovers of leftfield, DIY electronics.

                                        Pivotal, iconic, groundbreaking & pioneering, the third part of Jeff Mills and Rob Hood's "Waveform Tranmission" series is given a limited re-run. When this originally came out in 1994 on Tresor it sounded fierce, uncompromising and unique - and perfectly encapsulated the spirit and energy across the German capital following the collapse of the Berlin Wall. As such Jeff and Rob became heros and flagbearers for the techno sound in Europe, miles away from their home in Detroit (who would take much, much longer to embrace the sound outside the select group of DJs, producers and dancers which were involved in the scene).

                                        The unrelenting tempos, machine-code drums and alien frequencies would soundtrack many a 48-hour weekend as the punk spirited, electronically-guided party spirit came into blossom throughout the 90s.

                                        An absolute masterpiece which every home should posses. Limited to 1500 hand numbered copies - this is one techno album you can't be without!




                                        STAFF COMMENTS

                                        Matt says: They don't make 'em like this anymore... Boundry dissolving militancy from the Wizard. One of his most uncompromising and arresting releases in his catalogue.

                                        FORMAT INFORMATION

                                        Ltd LP Info: This repress is a stamped and hand-numbered edition, limited to 1500 units.

                                        Moplen

                                        Bump / Know

                                        Italian edit maestro Moplen is establishing himself as one of the key figures on the re-edit scene and has been a returning act on GAMM for years.

                                        On this strictly vinyl release we see Moplen reworking Deodato's jazz-funk classic 'Whistlebump' into a massive over ten minutes long escapade into hedonist lands with a string breakdown towards the end that is likely to bring people close to god. As blissful as they come, lovely folks.

                                        On the flip there is the highly sought after and much demanded rework of Chaka Khans 'I Know You, I Live You' that has been a big spin (and hit) DJs over the last year. A masterful lesson on how an edit must balance the original with the editor's visions. Not tacky or cheap. There is work put into this one. 

                                        Great combo of edits that will likely solidify your set into legend. 


                                        STAFF COMMENTS

                                        Sil says: G.A.M.M. again! Or should we say paaaarrrrty!. Because that is what this 12" is all about. Good feelings and fun times. Two monsters that will hit the dancefloor proper.

                                        “The act of making this record has felt truly exotic for me by way of its minimalism,” says Liela Moss of her debut solo album. Released via Bella Union, ‘My Name Is Safe In Your Mouth’ more than lives up to Moss’s promise of fresh, bold adventure.

                                        Sonically spare yet sumptuous in its emotions, elemental power and expansive melodies, the record is a richly felt, vividly-realised trip into the interior from the Duke Spirit singer.

                                        A serene-to-stormy series of deep dream-pop meditations on devotion and selfhood, creativity and parenthood, it treats unknown territory not as something to fear but as a seed-bed of possibility.

                                        The eighth album from Muse, ‘Simulation Theory’, features eleven tracks and was produced by the band, along with several award-winning producers, including Rich Costey, Mike Elizondo, Shellback and Timbaland.

                                        ‘Simulation Theory’ follows ‘Drones’, released in 2015. Since then the internationally acclaimed three piece: Matt Bellamy, Dominic Howard and Chris Wolstenholme, have toured extensively, taking the ground breaking ‘Drones World Tour’ to fans across the globe. 

                                        FORMAT INFORMATION

                                        Deluxe CD Info: As Standard CD plus:
                                        Algorithm (Alternate Reality Version)
                                        The Dark Side (Alternate Reality Version)
                                        Propaganda (Acoustic)
                                        Something Human (Acoustic)
                                        Dig Down (Acoustic Gospel Version)

                                        No sooner has DJ Nature brought us a fresh batch of bottom end bump on his brand new FWD EVR imprint, the Bristol bad man takes a tour of his DAT collection and cooks up a killer set of previously unreleased material written and produced under his Nature Boy alias between 1991 and 1992. That's right folks, these were the "Ruff Disco" years, so expect that same hard hittin' cut-and-paste deep house feel and chunky, bass-heavy grooves that Nature Boy is known for. 
                                        In its "Main Version", "Yeah" hits us with a rolling bassline, simmering percussion and a series of sweet vocal samples, all boasting that irresistible groove the man has made his own. "Groove Express" twists the same ingredients into a choppier arrangement, augmented with the inspired inclusion of a techy synth riff. As you'd expect, the "Mellow Version" cuts back on the in-yer-face vocal snippets and introduces us to some deep and jazzy chords and delicate keys. Flip it for the drum-machine plus clav sampling of "Hey Ho" and "Players", each inbued with sampledelic house style you wouldn't hear from Detroit for another two years. Last but not least we get the depth and dreaminess of "Strugglin'", a vintage Milo missive with various vocal samples, vibraphone licks and touches of hip hop.
                                        Proper house music from one of the greats, this is further proof that DJ Nature was always one step ahead of the rest. 

                                        STAFF COMMENTS

                                        Patrick says: Rough, ready and heady FIRE from DJ Nature here, rescued from his early 90s archives. Bumping, groovy and awash with forward thinking sampling, this shit shows Milo was a couple of years ahead of those Motor City house heads. Dope.

                                        New from Nite Vision who are Nigel Rogers (Perseus Traxx, Northern Powerhouse) and Craig Stainton (Acid Phreex, Mantra, Monofonix, Myriadd) with a slamming techno track plus a wicked remix from Canadian mainman Rennie Foster. As usual for this sneaky imprint, pressed on limited edition, hand stamped & numbered one-sided black vinyl housed in a white paper sleeve with a printed insert info sheet. Don't relay - rave today!

                                        Debut album from new Scottish producer North Sea Dialect and released on cult, taste making label Numbers. The last album the label released was Sophie's debut! - meaning expectations are already high surrounding this release.

                                        I guess, in many ways, it's as challenging and arresting as you'd expect from a label that's continuously looked to expand and evolve on club, electronic and dance culture. It's not immediately dancefloor focused, but then in this post-everything, 'death of rave' environment where the cool kids are constantly looking for new sounds and rhythms, it could well inhabit many forward focused dancefloors across the globe.

                                        Unlike Sophie's saccharin-laced, electro-future-pop; you're not instantly swamped in hooks. The tracks are non-linear, atmospheres override structure and arrangement, there's not much regimentation to anything really; instead NSD ushers in abrasive textures, digital cross-talk and a whole manner of distortion - attempting to sonically narrate and plot his local environment through the albums ten tracks.

                                        Buried in its soundscapes are the echoes and surrealness of alienated life - expectant youth, distant voices and broken folklore. It’s industrialised music tied together with found sound, adrenaline fuelled synthesis and the depths of late night solitude. Conceived during a move from Glasgow across Scotland and composed in isolation, a blistering sense of reality creeps through the recordings.

                                        "Local Guide" is accompanied by three videos for the tracks "Mossy Cyphol", "Subarctic Baltasound" and "Gloup". The short films are haunted and illuminated by the serenity of rural freedom, the power of the sea, and the collapse of industry. 


                                        STAFF COMMENTS

                                        Matt says: Might take a few weeks for the dust to settle on this one... But this could well be the perfect accompaniment to a cold, stark and baron Winter period. Welcome in the dark days, grey skies and extended isolation with this unique project by North Sea Dialect.

                                        The Nuclear Family are back after a three-year hiatus following a duo of imperative 12"s that tastefully skirted between house, Balearic and new disco flavours. This time round they come joined by Other Lands - aka Fudge Fingas, so keeping it an all-Scottish affair.

                                        "Surface Noise", on side A, is the first of the Family’s recent studio jams to see the light of day, with its classic 808 drums and analogue bass underpinning warm pads, twinkling melodies and some subtle vocoder flourishes.

                                        On the flipside Gavin Sutherland's alter-ego, fresh from the success of his recent "Pattern Transform" 12" for Firecracker, drops "See Thru Time". Containing mellifluous chord progressions and a deep groove, it's a departure for the bumpety house & electronic funk that'd characterized his earlier productions and instead offers up a tranquil, thermal house cut that could last an eternity. Cut with max fidelity across both sides of wax, these two tracks reintroduce this exciting label with a stylish yet low-key flair - super delicious deep house music - highly recommended!


                                        STAFF COMMENTS

                                        Matt says: Back once again and sounding better than ever, The Nuclear Family invite esteemed Scot Other Lands aka Fudge Fingas for their latest instalment and it's another 100% essential dance relic. You need this!

                                        OHHMS

                                        Exist

                                          OHHMS come crashing through the Doom gates with their sophomore album 'Exist'. Heavy prog recorded in the spirit of Pink Floyd, Soft Machine and The Mars Volta. After rising a sonic tempest with their widely praised debut full-length ‘The Fool’ last year, UK’s breakthrough progressive metal act Ohhms keep conquering uncharted territories with their new album ‘Exist’. Wielding the flag of Animal Rights and Conservation as a casus belli against global injustice and ignorance, the Canterbury five piece deliver their deepest, most immersive music piece to date. Over the span of four songs, Ohhms prove they are more than great post-metal and doom providers, by crafting a gripping record which backbone subtly calls to mind albums from the finest of 70s prog such as Pink Floyd, Rush or Genesis


                                          Papir

                                          Papir (Reissue)

                                            Before releasing a string of albums on the El Paraiso label and hitting upon their trademark sound of soft, warm and even jazz-tinged psychedelic rock, Papir released their first and perhaps most experimental record to the world in a limited pressing of only 250 copies. Even in their early days, the Copenhagen trio Christoffer Brøchmann Christensen, Nicklas Sørensen and Christian Becher Clausen were virtuosos in their art of hypnotizing rock, and their debut record is a testament to the group’s early devotion to krautrock. Incorporating haunting, industrial sounds, keyboards and otherworldly guitar sounds into their tapestry of sound, Papir gives a glimpse into the band’s early days where a certain weird joy in experimentation was palatable.

                                            Hints of the blissful psychedelia the band is now known for shine through in intervals, only to collide against beeps and loops, submerging and emerging while unexpected sounds assail the listener. Papir is a beautiful and highly unique record in the band’s catalog that will be appreciated by the band’s current fans as well as krautrock enthusiasts. Papir’s first studio album is a powerful statement that established the band immediately as one of the most creative psychedelic forces in the European scene. Stickman Records is reissuing the record for the first time on vinyl since 2010.

                                            FORMAT INFORMATION

                                            Coloured LP Info: 180 gram neon yellow vinyl including download code.

                                            Sounds Of Beaubien Ouest follw up a well received Jesse Futerman twelve with this 12" from Chile-born produce Paula Tape. It's her first release and boy is it a doozy! The title track gets us immediately moving through infectious percussion, sparking leads and a ridiculously funky bassline. It's got the new disco pedigree of Ilija Rudman or Pete Herbert and belies the fact that this is her first proper release! Project Pablo is on hand to offer a gentle sedation, ushering it carefully onto the coast for a horizontal mid-afternoon session by the lapping ocean tide. Finally, "Playa Frenesi" delivers a powerful, Euro-disco tinged electro-house offering that utilizes a weaving guitar solo to devastating effect. Paula Tape is certainly one to watch and if this debut EP's anything to go by will be a star of the scene in no time. Get involved now!

                                            Phillipi & Rodrigo

                                            Paciencia Inc. Deeweedub

                                            "Paciencia" is the latest taster from Brazilian duo Phillipi & Rodrigo's imminent LP, recorded, produced and mixed at Studio Deewee in Gent. Boasting songs about the cosmos, relationships, nostalgia and signs of the Zodiac, the album, also called ‘Paciencia’, will drop early next year on the Belgian imprint.
                                            Back to the matter at hand and the South American synth wielders spark the pipe and thrust us headlong into a wormhole of glittering bleeps and hypnotic sequences, echoing Omar Souleyman or Onyeabor's most electronic moments but with a heady Balearic house slant. Steady bass tones provide the necessary lung-rumble for any good club cut and the rattling percussion should have you punching the air like a loon. Wrought by the hands of the Dewaele brothers, the transatlantic "Deeweedub" sports a cunning percussive build-up before shedding its skin and heading straight for the heart of the dancefloor. File next to Sordid Soundsystem and Mr Assister in your trance dancing 12" section.


                                            STAFF COMMENTS

                                            Patrick says: Deewee's Brazilian signings return to the Belgian imprint with a fresh 12" ahead of next year's debut LP. Fusing the electronic dabke of Omar Souleyman with a totally hypnotising take on Balearic house, the duo turn out a right ripper here. Even better though is the DeeWee Dub by those Soulwax bros, which strips things back and switches up the arrangement for maximum dancefloor impact.

                                            Piccadilly Records

                                            Black Hoodie

                                              Black hoodie with front pocket and Piccadilly Records logo embroided in sliver grey on the left breast.

                                              FORMAT INFORMATION

                                              M Info: To fit chest 38/40" approx. (Underarm width 22")

                                              L Info: To fit chest 42/44" approx. (Underarm width 23.5")

                                              Pink Fink

                                              Roller Rock

                                              Brand new Star Creature folks! - the US label responsible for keeping the modern funk and new boogie flames burning bright in 2018 bring forth the sounds of Pink Fink, an artist from New Orleans and who's previously released tracks on Disko Obscura.

                                              From the off we're treated to a smattering of authentic electro-funk as "Roller Rock" deploys the usual smorgasbord of instrumentation (wobbly synth, squelchy bass, gated drums, vocodered vox, darting leads) and coerces it into an unbeatable and soul shaking groove and chord progression that's given a dark and sleazy twist.

                                              "Body" applies the brakes juusst a tad but keeps most of the instrumentation; with another block party slammer primed and ready for action. Star Creature seem unable to put a foot wrong, the label goes from strength to strength and remains totally crucial. 


                                              STAFF COMMENTS

                                              Matt says: The most Ariel Pink friendly of this week's Star Creatures and of course it's from LA. Like the bad boy in the pinball arcade this one swaggers and spits doning a studded leather jacket and a greasy quiff. The girls love him.

                                              After four years, Berlin-via-Bolton dance producer Planningtorock, aka Jam Rostron, returns to DFA with "Powerhouse". The album is a personal reflection, told via an avant-pop musical narrative that serves as a path to making peace with their family, hometown, and the ever-changing nature of identity. Written and recorded across Berlin, London, New York and Los Angeles,  ‘Powerhouse’ comes couched in the precision-tooled synths that have become Rostron’s signature, though critics and fans will hear a subtle, ear worm-y shift in style here: from the Noughties US R&B swagger of ‘Transome’ and the bubbling old school 90s house of ‘Beulah Loves Dancing’ and ‘Non Binary Femme’, to the funky, flute-laced ‘Much To Touch’ (the only track on ‘Powerhouse’ to feature a co-producer, long-time friend and collaborator Olof Dreijer of The Knife). Ultimately, ‘Powerhouse’ is a celebration of liberation, a groove-filled record that sees Rostron consolidating power both personal and artistic.

                                              FORMAT INFORMATION

                                              LP includes MP3 Download Code.

                                              Public Memory

                                              Demolition

                                                Solo project of Robert Toher who was the creator of ERAAS. Covered by Quietus,Pitchfork, NME, Stereogum, Earmilk, The 405, Clash, BBC Radio, Clash and more…. Public Memory is a mixture of damaged and dubbed-out percussion, unfurling synths and sparse sampling - all strung together by producer Robert Toher's spectral tenor. The project's sophomore LP, Demolition follows 2017's Veil of Counsel EP and 2016's Wuthering Drum LP with cinematic fortitude. While Public Memory's prominent krautrock and trip-hop rhythms are represented here, Demolition explores a greater range of tempos and an expanse of alien emotions with layers of electronic drums, live drums, Korg synths and samples from nature. Themes of rebirth and reflection imbue the album's atmosphere, rich in tape delay, spring reverb, and textures that conjure a sci fi and supernatural narrative.

                                                Opener "The Line" sets the album in motion with a driving energy and introspective unease, as if estranged from the world it was created in. A meditation on impending collapse, "Red Rainbow" begins with an arpeggiated melody that hints at a sense of dread. Like the darkness of night descends, the track unfolds with haunting atmospherics and howling synths, finishing with an unexpected climax that ominously builds until at last it falls apart, quickly, softly, without incident. The slowtempoed "Aegis" reflects on the banal reality of love lost, with shuffling rhythms, lingering inflections and a growling synth at its core. Toher's adept use of space and tension articulates the world of Demolition as eerie, emotive, and above all, narcotic. Each track is an existential procession. "Turning out the lights on your illusion," Toher sings to close the album, accepting that change is an inescapable condition of being. 

                                                Tom Laroye and Yam Who? return to Glitterbox as Qwestlife with another soulful cut, for their latest musical offering, ‘Hit It Off’. Written by acclaimed soul artist Benny Latimore, and made famous by Millie Jackson in 1979, the track was translated for dance music world when sampled by Tom Trago. Fast forward to 2018 and their take on the 70’s classic features the unmistakable voice of Teni Tinks, a session vocalist to the stars, who featured on Glitterbox releases like The Shapeshifter’s ‘When Love Breaks Down’. Tinks brings true diva flair to the track, and with the joyful chorus and smooth production, Qwestlife once again demonstrate their ability to craft modern disco with traditional analogue techniques, creating glorious dance-floor vibes and honouring a truly classic track. Available on 7” vinyl for music connoisseurs everywhere, a track like this is destined to be heard on wax, with a Disco Soul Instrumental version also available exclusively on the vinyl release.

                                                STAFF COMMENTS

                                                Millie says: Disco anthem right here! This is a massive soulful-disco hit which Tinks has put her own stamp on, with an equally groovy instrumental side. Hit it offff!

                                                Delving deeper into his creative well, Jordan has delivered a record that continues to push personal and societal boundaries, a visionary journey through groove based soul, jazz and hip-hop with hints of psychedelia and afro percussive rhythms. Written and recorded in his new adopted home of London, Cloak is a scintillating and timeless debut drawing influence and inspiration from the discovery of meditation, the separation from ego and a personal conversation with self.

                                                With guest appearances from fellow Australian's Remi. and Ngaiire - and a feature cameo by the sublime Richard Spaven on Toko - Cloak will take you down the rabbit hole as Rakei expertly navigates explosive new boundaries, where colour and sound collide.

                                                A raw and rare talent, Jordan Rakei today releases his debut album 'Cloak' via Soul Has No Tempo and 4101 Records . Recently completing UK tours with Hiatus Kaiyote and Jamie Woon - including a sold-out show at London's O₂ Arena with the latter - the Brisbane native, London-based musician, producer, singer and songwriter, with a Disclosure credit to his name is making waves at home and abroad, his refreshing, modern take on jazz and hip-hop influenced soul resonating globally.

                                                After a successful run of shows across Australia and New Zealand in February, Rakei has set his sights on the release of his debut album. 'Cloak' is a thirteen-track LP, featuring special guests, REMI, Ngaiireand Richard Spaven. Previous album previews, “Talk To Me” and "Blame It On The Youth" are blissful journeys into the rhythmic elements of Afro-Beat and Jazz, exploring new boundaries that will delight new and old fans.



                                                After ending his tenure with The Spinners, Rodney Stepp returned to Indianapolis to lead a new band with a spirited sound: Rapture. Rapture's roots stem back to Indianapolis in the 1970s when the music scene was teeming with a number of soul musical acts – But none was more widely acclaimed than Rapture. Original group members Harry Eaton, Drums - Lonnie Williams, Guitar, Rodney Vorhis, Bass, Tony Hayes, Percussion, Greg Russell, Guitar, Herman Walker Jr., Trumpet, Pheldon Jay Majors, Trombone, Rodney Stepp, Keys each brought a rich resume of musical experience and passion to Rapture. These musicians all started their careers as teenagers, playing in popular local bands including the Diplomats, the Sonic Sounds, the Implements, and the Soul Perfections. And most went on to play behind top artists like The Spinners, Leroy Hutson and Betty Wright

                                                In 1978, Rapture auditioned for a production deal on the newly revived American Recording Company. Leaving behind families and jobs to pursue their dreams, the band members embarked for California; however, within six months, the band's projects were shelved and the group members returned to Indianapolis, performing for another two years before disbanding.
                                                Now fast forward to 2018 and Super Disco Edits takes great pleasure in resurecting the music of Rapture.



                                                Rays

                                                You Can Get There From Here

                                                  Oakland band Rays return with their second album, You Can Get There From Here, their first release since their eponymous Trouble In Mind debut in 2016. You Can Get There From Here represents a turning point for the band, angling their scrappy, post-punk fury into a more refined & melodic pop sensibility, drawing inspiration from UK DIY pop & punk like Dolly Mixture, Cleaners From Venus & Television Personalities. Songs like "Fallen Stars" & "The Garden" temper their sonic crunch ever so slightly, relying more on the harmonic wallop of a solid hook than the sheer volume of guitars.

                                                  This is urgent, chiming guitar pop that clangs with a sonorous melancholy & a ramshackle grace. Rays can still lay it down with the rest of 'em; tunes like "Subway" & "Work of Art" shuffle & stumble forward, skirting chaos in a flurry of strums, recalling antipodean groups like UV Race or Dick Diver who cull inspiration from idiosyncratic UK greats like Mark E. Smith or Robyn Hitchcock. The new album finds the core group of Stanley Martinez, Eva Hannan, Troy Hewitt & Alexa Pantalone augmented by new member & keyboardist Britta Leijonflycht, whose synth flourishes add melodic embellishments, sonic heft or psychedelic swirl where needed. 

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Limited red vinyl version

                                                  The Reflex

                                                  ESW / DWTR

                                                  Two new edits from The Reflex. First up we have Wham’s ‘Everything She Wants’. Hey! Don’t curl that upper lip, ESW has been called one of ‘THE funkiest tracks ever written’ by none other than Francois K. Now you might want to head on over to New York to disagree with him, me, I’m a child of the eighties and Wham! have always sounded pretty good to my ears. Apart from that time I took the album off at a house party to try and put The Cure on and got chased down the street by a house full of annoyed fans, but other than that, me and Wham! have always got along just fine.
                                                  The B side finds Mr Flex in less contentious territory, with a conga and piano heavy rework of Mancuso loft favourite, Eddie Kendrick’s ‘Date With The Rain’. Now I’m sure you all know the original but, just in case you’ve forgotten it’s a sublime slice of disco funk that has our Eddie walking in the rain to hide his tears and ease his broken heart. Records really don’t come any better than this.


                                                  STAFF COMMENTS

                                                  David says: Wham's 'Everything She Wants' is a an absolute monster of a record, if your friends tells you different,you need to get some new friends. You could start with The Reflex (Flex to his friends), he knows the score.

                                                  Nonesuch reissues on vinyl Steve Reich’s 1989 classic album Different Trains / Electric Counterpoint. On the Grammy-winning piece Different Trains, performed by Kronos Quartet, Reich evokes his American childhood during World War II while also addressing the Holocaust. The New York Times declared it ‘A work of such originality that ‘breakthrough’ seems the only possible description.’ Legendary guitarist Pat Metheny performs Electric Counterpoint.

                                                  Steve Reich has been called ‘our greatest living composer’ (New York Times) and ‘the most original musical thinker of our time’ (New Yorker). His path has embraced not only Western Classical music, but the structures, harmonies, and rhythms of non-Western and American vernacular music, particularly jazz. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,’ states the Guardian. In April 2009 Steve Reich was awarded the Pulitzer Prize in Music for his composition Double Sextet. Nonesuch has released twenty-four Steve Reich albums, beginning in 1985 with The Desert Music and including two box sets; his most recent album was Pulse / Quartet (2018).

                                                  ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical History and Steve Reich is one of them.’ – Guardian.

                                                  ‘Reich’s late-career masterpiece. The piece found a new tenor for Reich – clear-eyed, anguished, searching – that suited him. He wasn’t a minimalist upstart anymore; he was a moral conscience, albeit as earthbound and lost as the rest of us.’ – Pitchfork, 100 Best Albums of the 1980s.


                                                  STAFF COMMENTS

                                                  Patrick says: The two finest moments in the whole Reich catalogue, the propulsive and engaging "Different Trains" and the uber-Balearic guitar composition "Electric Counterpoint" (Pat Methany ladies and gentlemen) on one record - this is essential!

                                                  FORMAT INFORMATION

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

                                                  Reto A Ichi (AKA Prefuse 73)

                                                  The Lapse Of The Exchange / Alone Moving Often

                                                  Reto A Ichi is a sonic tabula rasa for Guillermo Herren AKA Prefuse 73. There are identifiable elements of the artist you already know - an uncanny sense for rhythm, an ability to shape samples and frequencies like clay, an affinity for the subtle changes of repetition - yet this is first and foremost music born from the need for silence. There is no easy entrance point or index for the listener.

                                                  The first album, "The Lapse of Exchange", is the sound of life as heard from a small Chinatown window in downtown Manhattan, the thunder of populism on the horizon. The album opens with music that reflects the inherent tension between the life of the artist - the self-doubt, the late nights, the aspirations - and the world outside - the hustle and bustle of a city that never sleeps, the wars abroad, the politicians at home. It's a tension felt in the repeating, circling keys of "Let The Pianos Freeze", the pulsating rhythms of "No Juntos", or the call and response of pitched vocal samples in "A Sword In The Rain". Ultimately it all becomes too much for our unwitting hero: the car horns outside the window, the 24 hour news cycle, the early stages of an election that tears down any remaining semblance of normality. Reto A’ichi can no longer grasp his humanity or connect to that of people around him.

                                                  With the walls closing in, he packs his small life and escapes. This change in situation is reflected in the second half of the album, with tension giving way to a rush of emotions: modulated elation on "All Regrets", sweeping melancholy on "Tuesdays Always Awful", and soaring hope on "Broad Plant Pt.2". On Alone Moving Often, the second album, we find Reto A’ichi away from the city, lost in the vastness of empty summer houses and the complications that solitude brings. Sitting in the prison of his own quiet, Reto A’ichi seeks to capture the essence of silence: the compositions are stripped back further ("Pforever Reto"), the instruments given prominence ("So Contra"), and the chaos of the city replaced by the cacophony of nature ("Criminality"). To be alone, one must learn to constantly move in both work and purpose. As the rest of the record unfolds, Reto A’ichi comes to realize that nothing is ever truly quiet and that to run from the world is to simply find yourself in another part of it. A sense of acceptance for these unsettling realities is reflected in the music, from the harsher tones and frequencies that resonate throughout "Noise Counter Melody" and "Ghost Arpeggio" to the heavy stroke of the keys on "Alone Moving Often" and the haunting drone of "Mountainside Hillside".


                                                  FORMAT INFORMATION

                                                  2xLP includes MP3 Download Code.

                                                  Elder Jeffrey Roberson & The New Life Singers

                                                  Old Time Way

                                                  Divine gospel modern soul boogie LP written, composed and produced by Jeffrey Roberson, first released in 1982 on Black Diamond Records.

                                                  Every once in a while, an exceptional talent impacts the gospel industry and leaves an incredible impression. The anointed and Grammy nominated Jeff Roberson is one of the those rapidly expanding gospel artist who have done just that.

                                                  Jeff Roberson was born and raised in Long Island, New York, the son of Pentecostal parents who had a compelling love for music. Actually, he is endowed by God with a melodic intrinsic distinctive rooted and grounded in the splendid tradition of the church. His keen interest and focus in music was so intense that his parents encouraged him by purchasing a piano.

                                                  During his teenage years, he was significantly blessed to be tutored by the late Rev. Timothy Wright, and the late Professor Benny Cummings and the Kings Temple Choir. It was during this season of his life that he continuously developed his skills as a keyboardist and songwriter.

                                                  Not only is he a skillful world-class vocalist, his talents transcend various creative art forms such as a skillful musician, innovative producer, accomplished pianist and organist. He simultaneously projects his uncompromising vocal talents and musical gifts to an unprecedented level of artistic achievement. Simply stated
                                                  he excels in the excellent - (Excerpt taken from Jeff Roberson’s biography).

                                                  'Ever since I can remember, music has been to me, as a mother is to her child. Just as the sun enhances daylight, music is my life throb. Music puts life and joy in that sacred dimension. It fills the void of darkness and brings with it New Life.'
                                                  -Jeffrey 


                                                  Officially licensed reissue of the 1993 Pete Rock produced Golden Era classic featuring guest rhymes from Pete Rock & CL Smooth. Original Artwork by Ricky.
                                                  Ricky Also gives us an insight to the cover, the original sleeve shows Run, JMJ & DMC sat on a fenced wall in front of a graveyard and church. After a fair amount of research, a few educated guesses and a lot of routing through street view maps I found the same church on Jamaica Ave, Hollis, Queens NY. I was then able to create a broader view of the scene and show JMJ floating above the graveyard and Run and DMC still in the same position on the fence. This is a must for any hip hop or Run DMC fan, it doesn't get better than this.

                                                  FORMAT INFORMATION

                                                  7" Info: Gatefold sleeve

                                                  Parisian Max Fader aka S3A is back on Local Talk with a diverse four track EP that delivers on all levels. It all begins with 'Premiere Rexidence', disco infected big room track that comes with some heavy vocal and horn samples. Next up is 'End Track For a DJ' which is exactly what the title suggest and comes with old school house beats, classic Chicago piano riffs and some lush strings. Massive!

                                                  On the b-side S3A goes back to what he is maybe most know for, 'Searching Force' is an uplifting disco-funk house jam with big samples and jacked up beats. Last, and possibly our fave tune is 'Deep Mood Vol 4', a supa deep house cut with low end theory chords and a bassline to kill for...rawww! Oh, and those Michael Watford vocal samples just adds to the deepness.

                                                  STAFF COMMENTS

                                                  Sil says: Fans of peak time disco house are going to love this one. Four tracks of dancefloor bangers to get the whole club dancing. Local Talk quality guaranteed. No fillers here.

                                                  Croatian label Vakum releases its seven record to date. I really like this label as it's steadily provided some rock solid yet beautifully understated house music in many varying styles since 2014.

                                                  After making his appearance on Vakum005 back in 2016, Sagats returns to the label with a solo EP. Cleverly combining vocals, acid and dirty electro rhythms, the Italian prodigy manages to convey his message through three able feet jumpers that share similar resources but each posses a different twist. "Blue Screen Of Death" gets us underway, a sprawling, acidic burner with fluttering pad and string presets, wiggling around a poised breakbeat and garnished with a r'n'b flavoured acapela. Flip side track, "Venice Marathon" sees Sagats pull out the nastiest and gnarliest sounds out of his machines. With a 303 on sawtooth setting and another synth providing some analogue squelches and swirls, all that's left is for a rigid electro beat to propel things forward. "Therapy" concludes proceedings with some space-age vibrations - darting leads, eerie textures and robotic grooves all combine to get the most out of any cybernetic b-boys left dancing in the corners.

                                                  Sterling stuff from this exquisite label. Limited to 200 copies and famously never repressing a thing, all previous Vakum's have sold out within a couple of weeks never to return again - so get these skates on if you want in. Mega. 


                                                  What's that?! THREE new Star Creature sevens in one week? Ambassador, you are really spoiling us!

                                                  Old pal Saucy Lady comes correct with U-Key and brings the party home with "It's All Here".

                                                  Meanwhile label stalwart Shiro Schwartz is on hand to remix said track...

                                                  It's a big bad boogie banger make no mistake! And completely necessary for your burgeoning boogie and modern funk collection - don't miss out!


                                                  STAFF COMMENTS

                                                  Matt says: It's hard to pick a favourite from this week's slew of Star Creatures. But I think this one juuust about wins it for me with the completely infectious chorus and highly skilled synth bass playing.

                                                  The Saxophones began as the solo project of Erenkov - a project that was loosely started over a decade ago but gained full momentum and dedication in recent years - he wanted to bring in some primitive drum and percussion playing and couldn’t think of anyone more suited than his wife. “I wanted to share the band with her,” he says. “Plus, I would be devastated if I had to leave for weeks at a time to tour without her.”

                                                  The songs which make up the debut album were formed and written during a period in which the pair were living on a boat during a very wet winter in the San Francisco Bay Area. “Much of the music was written over rainy mornings on acoustic guitar inside the cabin of our boat and outside of the city in a little guesthouse in Pt. Reyes,” he reflects. It was then recorded in Portland over 10 days, the recording was an intense and occasionally tense process.

                                                  Taking inspiration from 1950s exotica and Hawaiian albums (Edhen Abhez, Buddy Fo, and Martin Denny), 1970s outsider Italian songwriter Vittorio Impiglia, and a host of third-stream and West coast jazz records, the result is a unique offering.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Limited edition white vinyl.

                                                  Coloured LP includes MP3 Download Code.

                                                  Coloured LP 2 Info: Repress on blue vinyl.

                                                  The Scientists

                                                  The Scientists EP - Reissue

                                                    Snarling Aussie punk from the the western burnout paradise of Perth. Recorded in 1980 and issued on the short-lived White Rider label, “Last Night” arrived just before The Scientists abandoned their power pop hooks and went on an unhinged swamp-grunge tear. Replicated down to the tiniest detail, The Scientists E.P.has been remastered from the original analog tapes and presented in a heavy weight picture sleeve. 

                                                    "I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album "Jazz, Jazz Jazz" ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering $1000. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
                                                    I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
                                                    The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Both the CD and vinyl version come with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DL code."


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