Guided by yet another of La Cheetah Club’s family members, Alfie leads us through the third Outer Zone with four homage laden techno cuts, all obliquely or otherwise brushing past centre-points of styles within the genre. Having proven himself as a producer capable of making serious dancefloor cuts as The Burrell Connection, this new moniker sees the Perth native coagulate sounds usually heard during the energetic moments before the always impending end of the night. Each track stems from influences or creative bursts entirely different from the last, with the EP opening to a lovingly crafted tribute to giants and ending with something drawn from wider sources of inspiration rendered singular. ‘
"Plastic Entertainment" is anything but artificial, made with the direct intention of shaking walls and eyeballs.

RIYL: Legowelt, CJ Bolland, Perth Drug Lord, Yoshi records etc.


Matt says: Unknown smasher alert! Alfie's a new one on me, but that doesn't stop him cruising through and delivering an aircraft hanger-sized hit of mainline techno. Take cover!

Arctic Monkeys

Black Treacle

    It's took me a while to get into the 'Suck It And See' album, but now I really love it, and think this is one of the best tracks on it. 

    The B-side features Richard Hawley and the band in their infamous Death Ramps guise rockin' out. Ace!

    Limited 7” (1500 copies) on heavyweight vinyl.

    Lito Barrientos Y Su Orquesta

    Very Very Well

    "Very Very Well" was the first album for Discos Fuentes by Salvadorian Rafael "Lito" Barrientos and his tropical orchestra, recorded in 1965. While in Colombia in the mid-1960s, he found great success with his assimilation of styles like cumbia and porro but also included Cuban charanga, Puerto Rican bomba and Mexican corrido in his repertoire, making for a very diverse selection of moods and flavors. 


    Ltd LP Info: Presented in facsimile artwork and pressed on 180g vinyl.

    We've said this before, but there's something brilliantly simple about the Beats & Breaks label's "Extended Breaks" series of seven-inch re-edits. There's no superfluous fluff or needless rearrangement, just solid and matter-or-fact extensions of key drum breaks to both aid mixing and light up dancefloors. For proof, check the mysterious re-editors' take on Billy Squier's 1980 heavy rock workout "The Big Beat", which prioritizes the track's fat, bottom-heavy drums and the singer's impassioned vocal yelps while stripping out most of the gnarled guitar riffs. If you need a bit of a breather from the heavy dancefloor pressure, the crew's subtle revision of Le Pamplemousse's drowsy, synth-laden deep disco shuffler "Gimme What You Got" - a string-laden slice of sun-kissed sweetness - should do the trick.


    7" Info: 7" limited to 300 copies

    Don Blackman

    Just Can’t Stay Away

    Don Blackman was an American pianist, singer and songwriter from Jamaica, Queens in New York. Better remembered for his seminal self titled album released in 1982 on Arista, his influence stretches much further. Blackman played in his younger days with household acts such as Parliament, Funkadelic, Earth, Wind & Fire and Roy Ayers; and through collaborating as a songwriter and session musician with artists such as Kurtis Blow, Bernard Wright, Roy Ayers or Weldon Irvine.

    In 2002, Blackman released his second and final album dedicated to his family, "Listen", in the UK in CD format only. Among the songs included on the CD, one of the tracks wasn’t supposed to be there until Blackman’s spouse convinced him otherwise: "Just Can’t Stay Away", a straightforward DIY boogie banger with a soulful edge, was originally written and produced by Blackman as a greeting message for her answering machine! DJs such as Motor City Drum Ensemble, Jeremy Underground, Sadar Bahar and Floating Points have been playing the tune for some years now but it’s in 2018, whilst Floating Points was DJing in the US and played "Just Can’t Stay Away", that Blackman’s children, Kyle and Irene happened to be in the crowd and a connection was made.

    Carefully remastered, MEL017 is presented in 7-inch format for the first time and comes with a 14’x14’ poster.

    Blanck Mass

    Animated Violence Mild

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

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

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


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


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

      Coloured LP Info: Indies only green vinyl.


      Take It Out On You

        BORED!'s finest, most sublime and perfect example of sonic hazardous guitar violence. The most brutal recording ever done in Australia with it’s roots in the Detroit sound of The Stooges, MC5 et al "Take it out on you" is 1990s BORED! E.P. that has now, on this release, been expanded with three bonus tracks in order to complete the full recordings of the band in 1990 and with Tim Hemensley (GOD, Powder Monkeys) on bass and vocals.


        Ltd LP Info: Limited edition of 500 copies!

        Conjunto Miramar

        Cumbias Con El Miramar

        First ever reissue of "Cumbias con El Miramar", a very hard-to-find album released by Discos Fuentes in 1965. Full of excellent cumbias and gaitas for dancing, the record actually is a lot more diverse than the title leads one to believe, as there are lots of other hot rhythms and arrangements on it, taken from Cuban genres like guajira, guaracha, guaguanca, charanga and son montuno. 


        Ltd LP Info: Presented in facsimile artwork and pressed on 180g vinyl.


        Ocean Hug

          Recomend if you like: The Magnetic Fields, Ween, Ava Luna, Speedy Ortiz, Guided By Voices, Bloodhound Gang. “20 tracks, all hovering around the one-minute mark, toggling between bedroomy croonings and punk-slanted scrappiness.” Stereogum. We would like to introduce you to the playful fearlessness that is Coughy. Coughy began as a late night recording experiment at a performing arts summer camp, formed by two musical associates — Julian Fader (Ava Luna) and Andy Molholt (Laser Background & Speedy Ortiz). As I recall, when they first sent me these recordings, their email read less like a demo pitch and more like, “hey- check out what we made!”, without any expectations of JNR releasing it whatsoever. I remember my initial response was something like, “thanks for sending and thanks for acknowledging that there is zero chance we will release y’alls weird side project.” But fast forward about 6 months, and Coughy is the only thing I want to listen to… I just kept coming back to it. I came to find out that Andy and Julian created these songs by challenging each other to write one minute "tiny songs", and packing as many logical twists and turns into the confines of 60 seconds as possible. This approach made for some carefree, honest and meaningful music - which I found is a great antidote to the crippling Trumpian negativity I encounter on a daily basis. Having now listened to the album about 800 times, I think I may have identified what is so special about this band: There is a magic earnestness in Coughy’s music. So much music these days is so desperately trying to achieve something... The majority of bands seem to be formed with the intention of attaining a particular “sound” before the first note has even been played... Not these guys. This is straight from the playful heart of creation. Which doesn’t mean they exist in a vacuum without influences. These guys clearly come from the world of lo-fi indie rock, and it shows. But I think the fact that they both already have their “real bands” freed them up to do whatever they wanted with this music, free of consequence. And that is the reason I love it even more than their “real” bands. Take a listen to Ocean Hug and prove me wrong. 


          Coloured LP Info: White vinyl

          Coloured LP includes MP3 Download Code.

          Quality lovers rock here from prime reggae merchants, Ariwa Sounds. Produced by Mad Professor and released in 1985, it's largely escaped excessive spins at the sounds & dances until now which is surprising as it's a top drawer set throughout.

          Starting with the title track, littered with UK lovers idents - big digital Jomox drum splashes, ultra crisp multi-track production and a super laid back vibe; it handily joins vocal and dub versions together for an extended dancefloor play that's perfect for daytime at Carnival.

          Loads of other vocal tracks make up the remainder of the record, and they're all beautifully constructed, lyrical potent and bolstered with lush instrumental which is largely geared towards the new digital synths and instruments of the era. This was slap bang in the '80s remember when analogue production was largely ignored for New World production methods, possibly explaining why the record has remained unfashionable for so long. With a resurgent interest in '80s UK reggae, especially lovers rock, this is the perfect timing for this reissue.

          Such a strong collection I can't believe there's not been more hype around this LP before now. Get it in your collection now!


          Crumb EP / Locket EP

            Crumb is the collaboration of Brooklyn-based musicians Lila Ramani (guitar, vocals), Brian Aronow (synth, keys, sax), Jesse Brotter (bass), and Jonathon Gilad (drums). The friends came together in 2016 with the goal of developing and recording a collection of songs Ramani had written in high school and college, the work ultimately resulting in the band’s first two Eps, 2016 Crumb and 2017’s Locket. Encouraged by the warm reception online and at shows, the band evolved into a full time touring and recording project.


            Clear / Alleys Of Your Mind

            Tunes don't really comes as influential or groundbreaking as Cybotron's seminal "Clear", one of Juan Atkins first foray into producing from 1983 which laid the blueprint for electro and many others to come. Rarer than hens teeth on 7", here is a full digitally remastered version, complete with the debut "Alleys Of Your Mind" from 1981 on the B side. Limited edition.

            Harmonizing wonderfully with their recent George Benson reissue, Italy's Groovin' show some love for another A-grade jazz-funker who went on to rule the disco roost, Eumir Deodato. First up is John "Jellybean" Benitez's superb 1982 remix of "Keep On Movin", a dreamy disco club-cut rich in bold slap bass, swirling chords and sweet female vocals. Benitez is also at the controls on "Keep It In The Family (Remix)', another 1982 rework of one of Deodato's most famous disco-era anthems (check the clips - you'll be singing along within seconds). To round things off, the label steps back to 1978 with the hard-to-find and in-demand 12" version of jazz-funk/disco classic "Whistlebump".

            Cut live from The Tunnel, Geneva - DJ Laxxiste A debuts on Natural Sciences with a four track release of hybrid bootybass / electrofunk and ghettotech. Certain to appeal to anyone with a penchant for DJ Funk, Godfather, Mr. De and the whole (proto)footwork / jit scene.

            Boosted and fed through dub FX units whilst coalesced with ruff UK club tropes it's perfectly suited to 2019's fervent consumption of all forms of dance music. Not only that, it fuckin' bites on the floor! Recommended. 

            STAFF COMMENTS

            Matt says: DJ Laxxiste digests a diet of booty bass, electrofunk and ghettotech before washing it down with radioactive bio-fuel and spewing it out in true mutant fashion - in other words a classic from Natural Sciences!

            Though the biro-wielding cassette ninjas of the world may disagree, some things are too good to stay on tape forever, and Basso is delighted to bring you the first ever vinyl version of Eleventeen Eston‘s 'Delta Horizon‘.
            Originally released on a Not Not Fun cassette in 2014, EE‘s evocative debut made it into the tape decks of the hundred coolest people on the planet, where it has remained ever since, stretched and slackened by constant play.
            Now remastered for vinyl by Sergey Luginin, 'Delta Horizon‘ is ready to take over your turntable, its humid funk and sunkissed guitars the perfect conditions for a living room mirage. Across thirteen tracks, Eston tops crackling drum machines with optimistic keys, nimble jazz bass and chiming guitars, recalling an unremembered 80s of pastel shades, coastal romance and lemon juice highlights.
            Blurry references to infomercial pop and arcade boogie flirt with vaporwave‘s nostalgic aesthetic, but Eston‘s sound is more heartfelt, even when it wobbles under the heatstroke. If Todd Rundgren suffered an LA ego death in 1974 and woke up on the Perth shoreline in the mid 80s, he‘d have tried to make music like this, but he wouldn‘t have come anywhere close to 'Delta Horizons‘.

            STAFF COMMENTS

            Barry says: VHS saturated chiming guitars and snappy bitcrushed drum machines smash out the perfect intro music to a terrible 80's teen drama. Running down the beach, laughing and bmx'ing down the pier. All that stuff, and all while listening to this perfectly janky, hazy dream fest. Unmissable.

            Yaxteq drop another techno bombshell by way of Detroit and Los Angeles. Xavier De Enciso is a DJ, scholar, producer, artist and renegade promoter who has been operating in LA for two decades. Most at home on dark, subterranean dancefloors, "Emotional Hunger EP" demonstrates his deep underground sound perfectly.

            Four tracks that tip their hat respectably towards Underground Resistance whilst offering up something new to the dinner table. Namely, expertly crafted new sounds to the techno palette; you'll find no overused presets or patches amongst this set. Equally, the drum programming and sounds are fresh and exhilarating; whilst still adhering to the 4/4 blueprint. In short, Enciso has offered up a perfectly new interpretation of traditional Detroit techno for 2019; one that the purists can't so much as sniff at, whilst keeping things moving forwards and exciting. A triumph - and highly recommended! 

            STAFF COMMENTS

            Matt says: Yes yes, I always knew this Yaxteq label was gonna offer up something like this and BOOM - out of nowhere comes the hottest four tracks of Detroitian techno you'll hear all all year. Techno heads you need this in your collection now!

            Explosions In The Sky

            How Strange, Innocence (Anniversary Edition)

              Remastered, repackaged reissue celebrating the 20th anniversary of Explosions In The Sky. First time ever available on vinyl at retail stores. First time on vinyl since 2004. Packaged in a full-color heavyweight triple gatefold jacket w/ matte varnish, full color heavyweight insert, and custom vinyl etching.

              The members of Explosions In The Sky played their first show, at the University of Texas’ student radio station, on July 4, 1999, under the short-lived moniker, Breaker Morant. A year later, they recorded their first album, How Strange, Innocence, over the course of two days, and made 300 CD-R copies to sell at shows and give to friends in their hometown of Austin, TX. In 2001, they signed to Temporary Residence Ltd., and released their breakthrough second album, Those Who Tell The Truth Shall Die, Those Who Tell The Truth Shall Live Forever, leaving the legend of How Strange, Innocence to proliferate on file-sharing and tape trading sites in a pre-iTunes and YouTube era. Following their third album, The Earth Is Not A Cold Dead Place, the band released a single vinyl pressing of How Strange, Innocence as the debut release on a friend’s short-lived local imprint, Ruined Potential Records. Sold exclusively on a 2004 North American tour, the sole pressing of 300 sold out immediately, quickly becoming an urban legend for fans. Now, in honor of the band’s 20th anniversary, we are delighted to bring this treasured document of Explosions In The Sky’s humble beginnings back into the world. How Strange, Innocence – Anniversary Edition has been beautifully remastered by Heba Kadry – with vinyl lacquers cut by Bob Weston – and packaged in an incredible full-color, heavyweight triple-gatefold jacket with matte varnish, heavyweight full-color insert, and custom vinyl etching containing the charming story of How Strange, Innocence in the band’s own words. This is the definitive sound, look, and feel of the album that started one of the most inspiring and unique careers in modern underground music.


              2xColoured LP Info: Light & Dark Blue Mix Coloured Vinyl, limited to 4000 worldwide.

              2xColoured LP includes MP3 Download Code.

              Explosions In The Sky

              The Rescue (Anniversary Edition)

                Remastered, repackaged reissue celebrating the 20th anniversary of Explosions In The Sky. First time ever available on vinyl. Packaged in a full-color jacket w/matte varnish, full-color heavyweight inner sleeve, and full-color LP labels.

                The Rescue is commonly referred to as Explosions In The Sky’s “secret album,” mostly due to the fact that since its initial limited mail-order only CD release in 2005, it has never been made commercially available on any format, in any store, anywhere in the world. In 2005 – after having toured the world for over a year straight in support of The Earth Is Not A Cold Place, and scoring the major motion picture, Friday Night Lights – Explosions In The Sky took the year off to physically, emotionally, and creatively recharge. It was during this period that they decided to try making an entire album in a method that was totally foreign to them: Quickly, and loosely. They came up with the idea to compose, rehearse, record, and mix an entirely new song each day for eight days in a row. They kept the rules simple and strict: the song had to be crafted from start to finish in one day, and could not be revisited once that day was done. The band would produce, record, and mix everything themselves in their own homes, without outside assistance or interference. With such rigid parameters, the expectations were kept suitably low. The quality of the album that bloomed was startlingly high. The songs had a lightness and unruliness that starkly contrasted their catalog, while maintaining the same emotional resonance that had already become a trademark of their music. The Rescue – Anniversary Edition has been beautifully remastered from the original 24-bit stereo mixes by Heba Kadry at Timeless Mastering. The vinyl lacquers have been cut by Bob Weston at Chicago Mastering Service. The record was pressed onto audiophile-quality 100% virgin vinyl at Record Technology Inc., and is packaged in a full-color jacket with a full-color heavyweight inner sleeve featuring the hand-written story of The Rescue, as told by the band upon its completion in 2005. This is the long-overdue, definitive presentation of a rare but requisite piece of Explosions In The Sky’s remarkable history.

                FORMAT INFORMATION

                Coloured LP Info: Opaque Dusty Orange Coloured Vinyl, limited to 4000 copies worldwide.

                Coloured LP includes MP3 Download Code.

                Selva Discos returns to the LP reissue game with a bang – by giving a new life to the stunning and very sought-after Memória das Águas album by Fernando Falcão.

                Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music.

                To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê – a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas.

                The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It’s ultimately a record that captures the spirit and rhythm of Falcão’s homeland combined with the lush production and art-pop approach associated with his exiled home; It’s a polished, well executed and glistening record. Its fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres.

                Remastered from the original master tapes, not only the sound but the artwork of Memória das Águas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles that help to explain who Fernando Falcão was and where Memória das Águas sits among other staples of Brazilian music, including one from DJ and selector John Gómez – who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project.

                After Memória das Águas, Selva Discos will also reissue another long lost Fernando Falcão LP album – Barracas Barrocas.

                Clash of the techno titans! Floorplan (aka Robert & Lyrical Hood) go toe to toe with Mark Broom for some serious bunker assaults! Containing the official release of the highly sought after Mark Broom edit of Floorplan’s huge gospel powered techno monster "Never Grow Old". This ultimate secret weapon for a select few DJs over the last few years is backed by the equally mega Re-plant version of "He Can Save You" which gets some extra Detroit engineering under the Hood. The EP is rounded off by Mark Broom’s double combination in the guise of "Jungle". Take cover!

                Florence + The Machine

                Lungs - 10th Anniversary Edition

                  To celebrate the 10th anniversary of Florence + The Machine's seminal debut album Lungs, UMC are proud to release this special edition limited burgundy coloured vinyl.

                  Originally released on 3rd July 2009, Lungs was an immense debut, spending 89 weeks in the UK top 40. It was shortlisted for the 2009 Mercury Prize and won British Album of the Year at the Brit Awards in 2010.

                  FORMAT INFORMATION

                  Coloured LP Info: Burgundy coloured vinyl.

                  Coloured LP includes MP3 Download Code.

                  Florence + The Machine

                  Lungs - 10th Anniversary Edition Box Set

                    Originally released on 3rd July 2009, Lungs was an immense debut, spending 89 weeks in the UK top 40. It was shortlisted for the 2009 Mercury Prize and won British Album of the Year at the Brit Awards in 2010.

                    This 10th anniversary edition is a cloth bound deluxe box set featuring the original Lungs album on coloured vinyl, and an LP of bonus material, hand-picked by Florence Welch and never before available on vinyl. This material includes three previously unreleased demo tracks, a rare acoustic version of ‘My Boy Builds Coffins’, a cover of ‘Oh! Darling’ Live at Abbey Road and a number of B sides & rarities. Also included within the box are postcards and inserts, showcasing the album’s lyrics and previously unseen images from the Lungs era.

                    Friendly Fires


                      Brand new album from the band that brought you "Paris" and Indie Anthem "Jump In The Pool" Arriving eight years after their last album, Inflorescent is the sound of a band rejuvenated and reborn. The hiatus had left some to question whether we'd ever see another full length Friendly Fires record but once the three band members - Ed Macfarlane, Edd Gibson and Jack Savidge, friends since the age of eleven - reconvened in Macfarlane's parents' St Albans garage (the scene of much of their early recorded output) at the tail end of 2017, things were never really in doubt. Arriving with just three scrawled words ("Love. Like. Waves") as a starting point, they soon emerged with a finished song as fresh and vital as anything they'd done before.

                      STAFF COMMENTS

                      Barry says: A great return for the Friendly Fires, from the grooving guitars and falsetto vocal swathes to more downbeat, synthy affars, 'Inflorescent' is a bracing and confident ode to dance from the ever-reliable trio.

                      Durul Gence

                      Black Cat

                        Finders Keepers proudly present these previously unheard demo recordings, recorded following the demise of Turkish percussionist Durul Gence’s illfated Asia Minor Mission (AMM) group.

                        Co-produced by ex-Tee-Set frontman Peter Tetteroo in his own private studio.

                        Sourced from the original tapes taken from Durul Gence’s personal archive.

                        STAFF COMMENTS

                        Matt says: More strangeness from the local firm as they turn to a Turkish percussionist for inspiration. The results, as usual from these cats, are both beguiling and bonza! Gerrit bought!

                        ‘About Work The Dancefloor’ is a defiant slice of electro-pop, exploring love, passion, melancholy and the thrill of finding yourself on the dancefloor. Synth-pop extraordinaire, Georgia mixes electronica vibes and indie to create these stunning twelves. Showcasing her upbeat pop brilliance, the track is a reflection of the rich influences of Georgia’s personal experience with club culture. Includes a remix by the renowned The Black Madonna.

                        ‘Started Out’ is an upbeat and euphoric track infused with hedonism and influences from the Chicago house scene of the 80s. Using the same original 909 drum machines and sequential analogue synths used by dance legends of the 80s and 90s, ‘Started Out’ is another shining example of Georgia’s flair in the studio; melting her thrilling pop lyricism, with her rich wealth of experience in the studio. Includes a remix by Tuff City Kids.

                        Girl Band

                        Going Norway

                          Going Norway is Girl Band’s second single following their 4-year hiatus, a two track 7” with an exclusive B side taking the same name as their upcoming album ‘The Talkies’.

                          In Going Norway, we hear the mimicry of Dara’s vocal to Alan’s guitar coming close to a moan, both simultaneously reaching outside of the confines of Adam’s steady, flitting snare sound: ‘And Why/ Is the Death/ So Alive?’ The track pushes and pulls against itself, and the emotion is felt within this combative movement and the elongation of vowels – the intensive repetition to the point of abstraction results in a violent discrepancy between language and meaning, as Dara draws attention instead to the way the mouth moves and how sound is formed.

                          The guitarist’s acclaimed 1961 debut. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 28th January 1961. Featuring Baby Face Willette (organ) and Ben Dixon (drums).

                          A smouldering soul-jazz / organ trio classic. Featuring three Green originals (‘Miss Ann’s Tempo’, ‘Blues For Willarene’, ‘A Wee Bit O’ Green’), one Willette tune (‘Baby’s Minor Lope’) and two standards (‘Ain’t Nobody’s Business If I Do’, ‘Lullaby Of The Leaves’).

                          Cover photographed by Francis Wolff and designed by Reid Miles.

                          The first of Green’s 30 Blue Note solo albums and over 30 appearances as a sideman.

                          Debuting on the freshly-minted Mad Habitat imprint, Greville’s EP is a bifurcated effort split between tranquil ambience, and hazy couch-locked house, with influences of each bleeding through and influencing each work in a stylistic osmosis. The sound palette blends crystalline synth patches, mimetic foley and field recordings in a playful spectrum of realism and synthesis; borne from the duality of always wanting to be in the studio while dreaming of the natural world outside it.

                          STAFF COMMENTS

                          Matt says: Phwwooar! This is really summat. Aligning itself nicely with our 'rainforest house' section, whilst also appealing to lovers of that original Vancouver Riviera vibe, a new label and new artist to stick on your radar / watch list.

                          Here Lies Man

                          No Ground To Walk Upon

                            Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?

                            Since that time, Here Lies Man has expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past 2 years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018.

                            No Ground to Walk Upon is their third album, and continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. The lead single “Clad in Silver” is the soundtrack snippet of a journey to the imaginary place called home, which can never be arrived at. With every step, the character imagines getting closer, but it is a hallucination that fades in and out of perception.

                            Their debut album Here Lies Man was very well reviewed and featured in loads of end of year polls. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. 2018’s You Will Know Nothing furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers. No Ground to Walk Upon is the next step in the band’s rapid ascent to what is bound to be influential upon riff based rock.

                            “We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist/guitarist/multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

                            No Ground To Walk Upon also includes an interesting conceptual mathematics to the entire proceedings, a theme begun on the prior album. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.”

                            Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) recorded the album much like they did their previous releases, at their own L.A. studio on a Tascam 388 8-track tape machine. Additional layers were recorded with former Antibalas keyboardist Victor Axelrod and other contributors in various other locations, all while the band continued its rigorous touring schedule. 

                            STAFF COMMENTS

                            Barry says: it's pretty impossible not to nod your head along to Here Lies Man, as alluring as the best funk and the most playful rock groove all mixed into one package. Fiery distorted guitar, rhythmic syncopation and hazy, chunky riffage. The Perfect combination.

                            FORMAT INFORMATION

                            Dinked Edition LP Info: Exclusive colour pressing (purple with orange swirl).
                            Custom Tote Bag with Band / Dinked / Label Logo On it.
                            Custom Here Lies Man Patch.
                            Signed Band Photo.

                            The Hold Steady

                            Thrashing Thru The Passion

                              The Hold Steady’s seventh studio album Thrashing Thru The Passion collects five new songs recorded this year alongside five acclaimed ones released digitally between November 2017 and March 2019.

                              Jennifer Holliday

                              Baby Tonite - Inc. DJ Roamin Ro Remix

                              She’s back! One of the powerhouse voices of soul returns with a new single. Produced and mixed by Paul Simpson (Adeva, Chaka Khan, Marvin Gaye), “Baby Tonite” is released here in its original steppers, two-step funk groove and house remix flipside. The track has been racing up UK soul charts and is currently playlisted across the USA and appeals directly the audiences Jennifer won over with songs like “And I Am Telling You” and “No Frills Love”.

                              The Horrors

                              V Remixed

                                Limited double 12" remix package. Includes mixes by Gabe Gurnsey, Richard Fearless, Giant Swan, Manni Dee, Cleric, and HAAi.

                                For fans of: Menahan Street Band, The Budos Band, Antibalas, El Michels Affair. Several members of Ikebe Shakedown were members of Charles Bradley’s touring band, The Extraordinaires. Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of '70s soul, raw psychedelic style, and cinematic Western soundtracks with powerful grooves and soaring melodies. Now, with their new release, "Kings Left Behind" on Colemine Records, the band is giving listeners more mystery and majesty than ever before. The album features the entire group collaborating to produce tracks that deliver punches right to the gut, even as dreamy guitars and lush horn melodies and string arrangements capture the imagination. The album was recorded by Ikebe's bassist, Vince Chiarito, at Hive Mind Recording. Opened with Ikebe's saxophonist, Mike Buckley, and another collaborator in 2017, Hive Mind has become a home base for the band, leading to more experimentation with the textures and sounds of a genre they define as Instrumental Soul

                                FORMAT INFORMATION

                                Coloured LP Info: Limited indies-only pink vinyl version.

                                Italy's Groovin' continue their mission through the glory days of house music here with a much needed reissue of Kalisha's 1992 bomb "Don't Need A Lover". As N.Y. as it's possible to get, the cut hits us with M1 organ, chunky pianos and a rolling bassline, totally nailing the ballroom sound - vogue it up! In true '92 fashion, there's a dubbier, smoother and sax topped "Underground Mix" on the B1, which explores a slightly different shade of foundation. Over onto the B1, and "2 Deep" locks down a snapping 4/4, optimistic organ refrain then plunges into the subby bass and slapping toms of any good Humphries / Vasquez mix. If that wasn't enough to get you lost in music, the mighty, massive and totally in demand "I Got Something Here" lands on the B2, bringing us a whole host of First Choice samples (vocals and strings from "Love Thang" and of course the classic "Let No Man Put Asunder" spoken sass-a-thon) and a fierce NY house rhythm section. I'm about 20 mins away from full drag here, so I'll leave you to enjoy!

                                STAFF COMMENTS

                                Patrick says: Strike a mutha-tuckin' pose brothers and sisters! Groovin' go back to old school to bring us a phat reissue of Kalisha's NY ballroom house slammers "Don't Need A Lover" and "I Got Something Here", a pair of properly Vogue-ish bombs straight from the Sound Factory. Work it.

                                Gökçen Kaynatan


                                  A key figure during the birth of Turkish rock and roll, a founding father of Anatolian rock and the studio brains behind the first Turkish electronic pop records, Gökçen Kaynatan’s influence runs like the lifeblood through Turkish pop and rock. Having shunned the recording industry early in his career he remained a driving force behind the scenes and on TV screens, spearheading the explosion of synth technology in Turkish music with his pioneering use of the EMS Synthi AKS, the fruits of which would only be shared on stage, never to be repeated television broadcasts and in archival recordings that haven’t seen the light of day, until now.

                                  A first-ever collection of the highly sought after and largely previously unheard EMS Synthi AKS recordings of the one of Turkish pop and rock’s best kept secrets.

                                  Featuring two of Gökçen’s earliest synthesiser compositions and an updated recording made whilst recovering from brain surgery.

                                  Compiled with unparalleled access to Gökçen Kaynatan’s private studio vault and mastered from the original quarter inch studio tapes with full cooperation from the man himself.

                                  King Gizzard & The Lizard Wizard

                                  Infest The Rats Nest

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

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

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

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

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

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

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

                                    STAFF COMMENTS

                                    Barry says: King Gizz' go all thrash on their 15th album thus far, and what could easily be their 9th this year (it's not). Lots of hammer-on mayhem and huge powerchord chugs all over the place. It's a testament to their ability as songwriters that they can craft an homage as skilfully as this, and manage to maintain their own identity throughout.

                                    \m/ -_- \m/

                                    Bobby Krlic

                                    Midsommar - Original Motion Picture Soundtrack

                                      Midsommar is a new horror film from director Ari Aster (Hereditary). Starring Florence Pugh and Jack Reynor, the film follows a couple who vacation in a small Swedish village to attend a festival that happens once every 90 years. The trip starts out idyllic as the duo becomes acquainted with the town, but as time lingers they become increasingly suspicious of their neighbors as the cult-like tendencies of the town become apparent.

                                      For scoring duties on Midsommar, Ari Aster selected British composer Bobby Krlic (also known by his stage name The Haxan Cloak). Best known for his dark and spooky instrumentals, Krlic has delivered a masterwork of tense, atmospheric pieces and beautiful orchestral movements. The compositions weave expertly with the looming threats clad in the daylight of Scandinavian countryside. Music is an essential element of Midsommar's atmosphere and will stay with viewers long after the film has ended. 

                                      STAFF COMMENTS

                                      Barry says: As the mastermind behind the otherworldly dark-drone monster that is 'The Haxan Cloak', Bobby Krlic is easily one of my favourite artists of the last ten years, and while it's hard to believe that anything could rival the intensity and world-shattering heft of Excavation (album and song(s)), this stunning outing displays exactly the same attention to detail and organic aural writhing, just this time it's for a film that's just as scary. Textbook Krlic.



                                        Canadian composer Scott Morgan’s 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay.

                                        It’s a deeply fitting analog for Morgan’s own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space.

                                        The name Equivalents referred to Stieglitz’s notion of the photographs as being equivalent to his “philosophical or emotional states of mind;” the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor.

                                        The entirety of the record was created specifically for the album with the exception of “Equivalent 7,” which began as a dance score for frequent collaborator Vanessa Goodman.

                                        The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid.Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018.

                                        STAFF COMMENTS

                                        Barry says: Scott Morgan has always excelled at dynamic ambient music, infused with a barely perceptible electronic drive rather than a slowly drifting cloud of sound. What we have here more all-encompassing electronic drone, subtly infused with latent dub atmospheres and tender plucks of acoustic strings or piano. Stunningly immersive, and hypnotic to the end.

                                        Originally self-released as a tape under the artist name Pest(e), this 1996 collection of IDM and analog electronics is in fact the debut Lowfish album. Intended as a demo, it caught the attention of infamous UK label Skam - but after months of fruitless phone tag with the label, it was time for Gregory De Rocher to strike out on his own. Dropping his Pest(e) moniker in favour of Lowfish, in 1997 De Rocher co-founded Suction Records with like-minded producer Jason Amm, aka Solvent. While that Test(e) tape wasn’t technically a Suction Records release, it served as the impetus for starting the label, and it's always referenced as catalog no: suction000.

                                        Fans of mid/late-90s Artificial Intelligence classics from Autechre, Locust, Aphex Twin, u-Ziq, and Bola will recognize those hallmark sounds here, alongside traces of formative influence from Skinny Puppy, OMD, and Tangerine Dream. Recorded live to DAT with a bedroom full of analog classics (Roland Jupiter 6, TR-808, TR-606, Arp Odyssey, Korg MS-20), a sampler, and an arsenal of cheap FX units, the melodies here are lush and addictive, with layers of warm, lo-fi-ish (get it?) grit - often intentional, sometimes just a product of the process. Although largely on the armchair techno tip, the dense drum programming also nods to the burgeoning drum and bass movement, which De Rocher was firmly (but only briefly) obsessed with.

                                        For the first time on vinyl and rightfully re-branded as a Lowfish release, this is another stormer from Suction. Recommended!

                                        STAFF COMMENTS

                                        Matt says: Another winner from the firm who brought you the RX-101 releases. Deep tek electronix from a master craftsmen. You need!

                                        This is the dub version of the "Techno Party" classic, it's companion release from 2000. Only thing is, it's never been on vinyl before! Previously only existing in the digital domain, Mad Prof's handily pressed it on vinyl for the first time featuring ten cuts off the original CD.

                                        Lee Perry's vocals decorate the tracks, soaked in echo and reverb, as Mad Professor conjures up some magical hybrids of dub, jungle, downbeat and techno; a heady pot of influences articulated with poise, clarity and pinache. 

                                        RIYL: The Orb Meets Lee Perry, Sheriff Lindo, Andy Rantzen, Captain Ganja & The Space Patrol etc.   

                                        More from the Mad Professor vaults this week via his esteemed Ariwa Sounds imprint. "Dubtronic" originates from 1998 and is a largely overlooked digital dub affair. Featuring the producer's hi-def multi-track production, the sounds are soaked in an ethereal & majestic quality - highly psychedelized environments for the advanced dub explorers out there!

                                        Mad Professor's productions are vastly spacious - even by dub's expansive standards - and this open-air freedom finds its perfect expression throughout the album's course; elevating the listener into infinite realms of hypno-dub soundscapes.

                                        Side B sees the Prof delve into hybrid territory, mixing things up with jungle and electronica yet still keeping things deep, dread and dubwise.

                                        An imperative release for anyone into experimental & electronic dub sounds!

                                        STAFF COMMENTS

                                        Matt says: Mid to late '90s digi-dub, though pretty unfashionable until recently, is my ultimate jam! Possessing an extra-terrestrial etherealness and cavernously deep rooted, Mad Prof is one of the masters of the style, demonstrated perfectly here!

                                        Lillie Mae

                                        Other Girls

                                          From the new track’s opening “I Ain’t Your Baby,” the Nashville singer, songwriter, downtown scene slayer, and most-wanted fiddler signals a reclaimed confidence and bold evolution, telling women’s stories - including her own - that build on the strength of her “nervy” (NPR Music), 2017 Jack White-produced debut. Lillie Mae led a sequestered childhood touring in a motorhome with her musician parents, constricted by religious boundaries. In her adolescence she busked from RV parks to the Rio Grande, swept through Nashville clubs, and achieved Top 40 country status in her sibling group Jypsi, but on Other Girls, a new side of herself emerges with more to say than ever before. She embraces personal triumphs on “I Came For The Band (For Show),” breathes new perspective into “Terlingual Girl,” a song she wrote as a 19-year-old in the South-Texan desert, and professes brave truths as heard in “You’ve Got Other Girls for That.” After a vagabond past, crossing paths with hundreds of musicians, she limits the cast of Other Girls to just her brother, sister, and a few trusted collaborators. Lillie Mae will debut songs from Other Girls live this summer, as she supports the Raconteurs across the west coast. She will also join Robert Plant on tour, both opening for him and playing in his band. 

                                          STAFF COMMENTS

                                          Barry says: Other girls is a brilliantly written mix of classic country chord structures and the slightly gloomy reverb and poignant minor key changes of modern folk, all brought together with deft production and a stunning vocal performance from Lillie Mae. Stunning stuff.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indies exclusive, limited rainbow splattered vinyl.

                                          Continuing their run of unashamed party bangers, home hit knock it out of the park on this one - 2 complete essentials available on 7" for the first time! If you wanna rock a party, bar or bar mitzvah, you need "Ooh Wee" in your arsenal. Released before Ronson's Northern Soul obsessive work with Amy et al, OOh Wee is a killer bit of party hip hop feat some slick verses from the mighty Ghostface Killah, and the inimitable sounds of the late great Nate Dogg. On the flip, we have the ass shaking, dick searchin', backwards rapping "Work It" by the one and only Missy, who's been ahead of the pack from day one.

                                          Al Mason

                                          Good Lovin’ / We Still Could Be Together

                                          The first official reissue of ‘Good Lovin’’ – a modern soul dancer with a killer groove, heavy low-end, delectable string & horn trade-offs and the husky tones of the inimitable Al Mason, that blew up on the scene in 1980 and now commands eye watering prices between collectors. This dinked 7 inch comes backed with ‘We Still Could Be Together’ off the original promo 12 Inch, with both tracks fully remastered and officially licensed for the first time since its original release.

                                          ‘Good Lovin’’ stormed dancefloors back in the early ‘80s taking Al’s undeniable, raspy vocal prowess and stirring it up with an energetic combination of funk guitars, full frontal basslines, on-point harmonies and a perfectly arranged string and brass section. It’s been a rare treasure on the second-hand market with original copies trading hands for £400 so an official reissue will be music to many an ear.

                                          The B side, ‘We Still Could Be Together’, is an emotive ballad filled to the brim with Mason’s tangible passion alongside smoky pianos, cinematic strings and velvety backing vocals. A slow stepper with a bittersweet message behind it.

                                          Aidan Moffat & RM Hubbert

                                          Cut To Black

                                            The story’s almost over. A year on from the release of their first album, Here Lies The Body – a busy 12 months in which there was a Christmas album, a live album, countless shows and sessions – they have decided it’s time to part ways.

                                            The goodbye comes in song: the final release, the brand new single Cut To Black, which serves as an epilogue to Here Lies The Body. The 7” vinyl single, is released by Rock Action and features an exclusive b-side with download.

                                            Glaswegian friends MR TC and Lo Kindre kick off a new label, Phase Group with a killer set of mutant, pitched down disko and creeping robo-chug.

                                            ' ..deep hypnotic musical witchcraft that peels itself out of the history of dark electronic music with a pulsating and haunting atmosphere.'

                                            Stylistically it's like Danielle Baldelli and Andrew Weatherall are spinning records for the devil's annual sex party....Recommended!

                                            Jonas Munk & Nicklas Sorensen

                                            Always Already Here

                                              Jonas Munk & Nicklas Sørensen team up for a genre-defying record that explores American minimalism, psychedelia, and electronic music both vintage and contemporary. On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation. Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn't sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless. Always Already Here came to life during a handful of intense sessions in Munk's studio in Odense, Denmark. However, from a larger perspective the record seems to be a culmination of several years of collaborating.

                                              From 2010-14 Munk recorded & produced 3 full-length albums for Sørensen's band Papir. In the period 2015-17 the two collaborated on Sørensen's 2 solo efforts ”Solo” and ”Solo 2”. During the same period they have occasionally performed live as a duo, playing semi-improvised shows based around guitars & synthesizers. These live shows have assuredly influenced their collaborative work with an explorative, animated quality which is especially apparent on the album's free flowing, zen-orientated B-side. Always Already Here ties together several musical threads: academic pattern-music, psychedelia, avant-garde sound exploration as well as a highly melodic sensibility. It's a multi-layered, colourful album that demands full sonic immersion

                                              The Murder Capital

                                              When I Have Fears

                                                Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

                                                Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".

                                                An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

                                                STAFF COMMENTS

                                                Barry says: The Murder Capital are a perfect storm of gloomy existential post-punk and hypnotic punk drive. Swaggering through the more industrial, cavernous atmospheres of Joy Division or the chanting spoken-word drawl of Mark. E, there is a lot for Manchester to love in this one. Brilliant stuff.

                                                FORMAT INFORMATION

                                                Coloured LP Info: Gatefold marbled rust colour version.
                                                Includes download card & lyric booklet.

                                                LP Info: Black vinyl.
                                                Includes download card & lyric booklet.

                                                For Fans Of… Richard Swift, Jim James, Kevin Morby, Nathaniel Rateliff..

                                                Singer, songwriter, and multi-instrumentalist Michael Nau crafts reflective indie rock tinged with folk and psychedelic influences. He was known for leading the like-minded projects Page France and Cotton Jones in the mid-2000s to early 2010s before beginning to record under his own name in 2016. Nau's newest single on Colemine Records' Karma Chief imprint finds him not only playing the lion's share of the music, but also pushing the psych-folk vibes more in a soul leaning direction. Just as catchy, slightly more upbeat, and timeless as ever. Nau crafts songs that transcend time, but always have a space.

                                                FORMAT INFORMATION

                                                Ltd 7" Info: Gold vinyl 7” exclusive to Indie stores.

                                                No Hot Ashes

                                                Hardship Starship

                                                  No Hot Ashes have been making waves around the North-West and beyond for the last few years. With a string of infectious singles in their repertoire including ‘Easy Peeler’, ‘Bellyaches’, and ‘Eight Till Late’, the band have received continued support across radio from the likes of BBC 6 Music and Radio X. Soaking up major support slots with the likes of Blossoms, Spring King, The Amazons and Prides around the UK, not to mention major festival appearances at the likes of Y NOT Festival, Isle of Wight and Kendal Calling, the band have already amassed over 3.5 million plays on Spotify. 

                                                  New Lil Static in the hizzouwse! This time round the label keep it on a street tip with a 7" pressing of Biggie's '94 Bad Boy joint "Unbelievable". A stand out from his masterful debut LP "Ready To Die", the DJ Premier produced cut makes expert use of the Honey Drippers drums, 2 seconds of R Kelly and a killer atonal keyboard motif. If the flawless beat wasn't enough, Biggie's practically peerless flow is in full display here, keeping heads nodding and gats off safety till the run out.

                                                  STAFF COMMENTS

                                                  Millie says: We all need a bit of Notorious B.I.G in our lives and this hits the spot, remix of the underplayed 'Unbelievable' gets the air time it fully deserves. Deep set grooves and iconic beats, this is the one!

                                                  FORMAT INFORMATION

                                                  7" Info: 7" limited to 300 copies

                                                  O.C. / Les Demerle

                                                  Times Up / A Day In The Life

                                                    Continuing to dig up the finest and rarest hip hop bangers, most of which are pressed on a 45 for the first time, 5 Borough Breaks deliver yet another nugget in the shape of O.C.'s legendary "Time's Up". Over on the flip its the original sample source, this time a wigged out big band/jazz cover of The Beatles "A Day In The Life". Another essential release for DJs everywhere. As always very ltd qty pressed, when they’re gone they’re gone.

                                                    Oh Sees

                                                    Face Stabber

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

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

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

                                                      - John Dwyer.

                                                      STAFF COMMENTS

                                                      Barry says: Obviously the Oh Sees had to release another album on the same week as their top competitors in the 'Who Can Write The Most Albums' game (it's a good one), and much like KG&tLW, they've smashed it once again. It's no surprise that Dwyer has formed a brilliantly heavy but perfectly nuanced mix of production perfection and instrumental devastation. Everything you'd imagine, and some stuff you probably wouldn't. Ace.

                                                      FORMAT INFORMATION

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

                                                      Classic album from Lee Scratch Perry from 1999 / 2000. Contains
                                                      many gems including the eerie 9-11 prediction where the Upsetter
                                                      predicts 'thousands of Americans will die'. With Mad Professor on the dials it's a dream combo of heady, cryptic lyrics & ultra-crisp, hi-def instrumentals. 

                                                      Repressed for the first time since 2000 on Mad Professor's Ariwa label, this is an excellent, experimetal reggae set. Check! 

                                                      Piccadilly Records

                                                      Roll Top Record Bag - Grey Marl

                                                        Super stylish roll top record bag. 

                                                        Holds 25/30 records.

                                                        Padded laptop compartment.

                                                        padded back and base.

                                                        Front zipped pocket.

                                                        Padded adjustable shoulder straps and sturdy grab handle.

                                                        Adjustable clasp closure.

                                                        Made from tough polyester fabric.

                                                        Dimensions 32 x 44 x 13cm.

                                                        FORMAT INFORMATION

                                                        Record bag Info: Grey marl with orange embroidered logo.

                                                        Prana Crafter & Tarotplane


                                                          “Symbiose” is a split LP featuring two panoramic deep-field oozers that sustain interest, gently wandering the cosmos, through smoke rings and across star clusters, filling the space that stretches between Eastern and Western America and continuing the musical thread that connects modern American underground artists to the European birth of kosmic music. Like Popol Vuh and Ash Ra Tempel, “Symbiose” sinks its roots into the liminal landscape of the listeners neuro-hemispheres, creeping like black-light illuminated mycelium, passing through subterranean pathways of inner experience, emotion, and vision. Those who love modern acts like MV & EE and Ben Chasny will likely enjoy this album as much as European space rock and Pink Floyd aficionados, because this Symbiose is an interaction between two organisms to the advantage of all.

                                                          Press Club

                                                          Wasted Energy

                                                            When Melbourne punks Press Club released their debut album Late Teens, it was received as a cacophonous battle-cry, resonating with fans far beyond their native Australia. Marked out as a band to keep an eye out for very early on, their music was singled out for its honesty and integrity, and the band praised for their social awareness, calls for self-improvement and powerhouse live performances.

                                                            Press Club’s sonic calling cards are all present on Wasted Energy; the fuzz-addled, kicked-in speaker bass of Iain MacRae, the thick guitar tones of Greg Rietwyk, the merciless drumming of Frank Lees, and the emotionally charged vocal deliverance of Natalie Foster. On new single Thinking About You, amongst the climactic clatter of the band giving it everything, is Foster recounting her experience with a stalker. Never one to shy away from what is uncomfortable, the song embodies a freak’s tongue, cooing unbridled down the phone line; abrupt, uninvited, and out of the blue. In contrast to Late Teens, lyrically, Wasted Energy approaches the microphone through a lens of extrospection. It examines the negative behaviours in the world around us and how we’re all learning to exist in today’s ever-evolving socio-moral landscape. Wasted Energy is broadly about change, and life’s watershed moments that change its course. These shifts are laterally represented lyrically and sonically in many of its songs. Sweeping about-faces and musical departures are an expansion of the musical fibre that make up the Press Club repertoire. 

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Indies exclusive limited edition transparent magenta vinyl.

                                                            Lou Rawls / Kenny Summit / Frankie Knuckles & Eric Kupper

                                                            You'll Never Find Another Love Like Mine

                                                            A special, Paradise Garage inspired sampler here Good For You, from the upcoming "Paradise Garage : Inspirations" compilation, featuring two of Kenny Summit's collaborations with the Director's Cut duo, and godfathers of house, Frankie Knuckles and Eric Kupper. Neither of these tracks have ever been pressed to vinyl, so this is your chance to own these masterful tracks cut loud and proud on either side of a 12". Rejoice!

                                                            The A side houses the last ever Frankie Knuckles production, a project Frankie and Summit worked on with Eric Kupper - remixing "You'll Never Find Another Love Like Mine" by the legendary Lou Rawls - pure soulful house brilliance from the very first second. On the flip you’ll find a further Kenny collaboration with the dynamic duo entitled "Loving You" - the trio teaming up to deliver a stunning Motown inspired dancefloor stomper with an uplifting vocal by the one and only Yasmeen. Two certified anthems that have had heavy rotation with DJs like Cajmere, Grant Nelson, Sonny Fodera, Quentin Harris, Robert Owens, Tony Humphries, Danny Rampling, John Morales, Graeme Park, Pete Tong and still continue to get played the world over.


                                                            This Is Not A Safe Place

                                                              Ride are back with their second album since reforming — it’s titled This is Not a Safe Place and is out via Wichita. They once again teamed with producer Erol Alkan and mixer Alan Moulder, both of whom worked on 2017’s Weather Diaries, which came together quickly at the end of 2018. The first single is the sparkling “Future Love” which feature Ride’s lush, signature harmonies. They’ve always had a Byrds side to them and that plays out nicely here in a “Twisterella” kind of way. “Future Love is a song about the beginning of a relationship, when everything feels possible,” says the band’s Andy Bell. 

                                                              STAFF COMMENTS

                                                              Barry says: Ride were obviously one of the most influential bands in the shoegaze scene in the early 90's but since their reformation for 2017's ' Weather Diaries' have veered a little more towards the more stargazing end of the indie spectrum. Big rock choruses and catchy riffs work their way beautifully beneath the ever-hypnotic vocals of Gardner & Bell. A huge leap from their already brilliant 2017 offering, and another sign of Ride's essential place in our musical landscape.

                                                              While Ross from Friends’ - AKA Felix Clary Weatherall’s - debut album “Family Portrait” was dedicated in part to his parents, new 12” “Epiphany” is an homage to (and named after) Clary Weatherall’s sister: “One of the most important role models I have”. The three tracks are sleeker and tougher than his acclaimed debut album but his signature warmth and personality is ever present. The artwork is by legendary pro skateboarder, entrepreneur and artist Chad Muska.

                                                              Recorded in the wake of the release of “Family Portrait” and constructed with the dancefloor at the forefront of his mind, he explains that the move to a new studio - “I finally got a place with a window” - coupled with the fact that he was also “getting into a lot of woodwork, DIY and making a lot of the furniture in the space” - precipitated a different approach in process when it came to the music. “I constantly wanted to take a step back and think about the structures in a more conventional sense. I spent a lot of time making it sound like it could be played in a club, particularly with ‘Phantom Ratio’ - I wanted to challenge myself to make a weird club track with that one.”

                                                              For the title track in particular, he drew inspiration from sci-fi movies. “I was watching a bunch of these films like The Thirteenth Floor, The Matrix (happy 20th anniversary) or Fifth Element, and I wanted the 12” to play on the idea of a desolate physical and social landscape becoming a utopia from a communal epiphany - or revolution”.

                                                              Todd Rungdren


                                                                Reluctant to start a full-fledged solo career after leaving the Nazz, Todd Rundgren formed Runt, a band that was a front for what was in effect a solo project. Such isolationism lends Runt its unique atmosphere -- it is the insular work of a fiercely talented artist finally given the opportunity to pursue his off-kilter musical vision.

                                                                From the moment the slow, bluesy psychedelic grind of "Broke Down and Busted" starts the album, it's apparent that Rundgren could never have made Runt with the Nazz -- and that's before the introspective ballads or the willfully strange stuff kicks in. Throughout the record, Rundgren reveals himself as a gifted synthesist, blending all manners of musical styles and quirks into a distinctive signature sound. He's as interested in sound as he is in song and while he would later pursue these tendencies to extremes, Runt finds him learning how to create an effective sound with the studio, which may be the reason why the album runs the gamut from hard rockers like "Who's That Man?" to ballads like "Once Burned."

                                                                Although these songs are instantly appealing, the album really gets interesting when he reaches between those two extremes, whether it's in the classic pop medley "Baby Let's Swing," the bizarrely tongue-in-cheek "I'm in the Clique," or the equally impish "We Gotta Get You a Woman," which gave Rundgren his first hit. All the details buried within these songs -- not only in the deceptively direct productions, but within the writing itself -- confirm Rundgren's exceptional skill at songcraft. He occasionally slips on Runt, delivering tracks that rely on production instead of a blend of studiocraft and songcraft, but it remains a thoroughly impressive debut and one of his finest pop records--All Music

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: 180 gramaudiophile vinyl
                                                                Includes insert
                                                                First release of Music On Vinyl/ Utopia series
                                                                Limited edition of 1,000 individually numbered copies on gold vinyl.

                                                                Todd Rungdren


                                                                  Music On Vinyl presents Todd Rundgren the The A Wizard, A True Star series. The third album by the American musician is one of his all time highlights. Something / Anything? showcased how he managed to play all instruments on three sides of the record and produces the whole record as well. The album peaked at number 29 on the Billboard 200 and the single “Hello It’s Me” was a top-five hit in the US. What he created is a journey through time, with each side exploring other musical ideas. The first side is filled with catchy pop melodies, while side two is a more complex approach. During the third part it gets kind of heavy, and the last part is an operetta with a full band. The feature-length masterpiece remains the definitive showcase of all the talents he was born with.

                                                                  Todd Rundgren is an American multi-instrumentalist, singer-songwriter, and record producer who has performed a diverse range of styles as a solo artist and as a member of the band Utopia. He is known for his stage outfits, experimental music and adopting computer technologies to describe his musical ideas. 

                                                                  FORMAT INFORMATION

                                                                  Coloured LP 2 Info: Something / Anything? is available as a limited edition of 1000 individually numbered copies on coloured (purple & solid red mixed) vinyl, and includes an 8 page folded insert.

                                                                  After a slightly dubious reissue a couple of years back, Numero treat Rupa Biswas' viral sensation "Disco Jazz" with their usual precision, care and respect, giving each of us the opportunity to own this masterpiece in lush HQ.
                                                                  Engineered at Calgary's Living Room in 1982, "Disco Jazz" was the only release Rupa put out, working with a crack team of Canadian disco muscle and Indian studio talent to create the perfect fusion dish. East meets West, guitar meets sarod, soul meets funk and psych meets disco as Rupa and her crew groove their way through four far out moments of dance floor brilliance. Opener "Moja Bhari Moja" locks us into a frankly irresistible bassline, before the wild guitar riffs, spectral synth lines and trippy sitar create a kaleidoscopic visionquest for our collective third eye. Rupa's echo drenched vocals arrive right on time to seal the deal and steal the show, securing the much coveted 'cosmic disco killer' title all records should aspire to. "East West Shuffle" does exactly what it says on the tin, fusing transcontinental tonalities into a smooth jazz funk simmer before "Aaj Shanibar" closes out the A-side with the kind of cinematic sunset disco all the Balearic heads go wild for. If it weren't for the expert tabla and psychedelic sitar, you'd be forgiven for thinking this was one of those flamenco disco bombs you'd hear in a peak time Mison set. Stretching itself suavely over the whole of the B-side, "Ayee Morshume" is the kind of cosmic disco journey only the most experienced trippers should attempt - a heads down, hands aloft groove-voyage through endless solos and enchanting vocals. Chances of finding an original copy are way beyond slim, and on the rare occasion they turn up on the second hand market you're looking at the top end of three figures. It's a special record, and you're never gonna get a better chance to bag a copy - don't sleep!

                                                                  STAFF COMMENTS

                                                                  Patrick says: Numero rock our world with a much needed reissue of THE Indian disco holy grail, Rupa's magnificent "Disco Jazz". An East meets West affair, the LP combines Rupa's echoing vocals with slick disco grooves, spacey synths and all kinds of strung out psychedelia resulting in a cosmic bomb for the most enlightened of listeners. It's a must have!

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Translucent orange splatter "Bengali Tiger Edition".

                                                                  Conrad Schnitzler

                                                                  Conditions Of The Gas Giant

                                                                    Imagine if you could listen to the nervous whirling of methane and helium, that's what this album sounds like - at least in the mind of experimentalist Conrad Schnitzler. The Berlin artist first released these recordings on a small American cassette label. An uncommonly rhythmical vortex, we would suggest.

                                                                    Conditions of the Gas Giant reflected the atmosphere associated with the music, clouds of manifold colours, whirling nervously above a gaseous planet. A methane and helium tryst in sonic form - fireworks, pyrotechnics for the eyes, like the surface of Jupiter, just as Schnitzler's tracks are pyrotechnics for the ears.

                                                                    Abram Shook

                                                                    The Neon Machine

                                                                      The Neon Machine, the 4th album from Austin musician Abram Shook, is a dystopian dance party, and everyone’s invited. Juxtaposed against 2017’s sepia-tinged, quietly reflective Love at Low Speed, the new record’s mix of irresistible beats and slyly humorous lyrics might seem like a 180 at first glance: a giddy, knowing soundtrack to the end of the world. The varied influences of world music and jazz that are present in all his records can still be heard (as in the High-Life inspired guitar work on “My Money”), though here Shook tucks them into the corners and uses them in more subtle ways, giving center stage to a vintage Sequential Circuits Prophet 600, a drum sequencer, and his signature rubbery bass lines.

                                                                      In Shook’s adept hands, The Neon Machine is full of day-glo danceability even though something slightly sinister lurks beneath the surface; it’s a kind of tour de force synesthesia for the fevered mind. With this record, Shook has traded in his usual gimlet-eyed observations for a playfully cynical sense of humor. Using highly confessional lyrics and deeply personal insight to convey his anger, with the current political climate, he writes candidly about his anxieties, and frustrations toward a country and culture that he’s grown up with, but hasn’t always felt at home in. Full of Prince-esque riffs, Blood Orange-style beats, and David Bowie allusions, The Neon Machine is accessible and adventurous at once. It has as its backdrop a party that’s lasted too long, and the foreground of a narrator full of anxiety and skepticism whose hangover has already begun. The beauty of it lies in its malleability. What appears on the surface to be an effervescent album of pop anthems, with its familiar themes of sex, love and drugs, soon reveals its true heart: the intimate insights of a man, long accustomed to being an outside observer, who has decided to join the fray. “In a lot of ways it feels like the record I’ve always wanted to make.” 

                                                                      If you’d claimed just a few years ago that Shura would make an album exploring 'all that love is,' few would have been as surprised as Aleksandra Denton herself (nicknamed Shura at a young age). Ever since the 2014 viral hit "Touch" - and its stunning video in which Shura, crucially, ended up alone - an impassioned global fanbase have awaited another record of heartbreak anthems. And when Shura started work on "Forevher’, she did so at her most tired and homesick, setting up shop in Minneapolis at the close of a two year tour cycle for her debut album, "Nothing’s Real". Here, "Religion (U Can Lay Your Hands On Me)" - along with the seeds of the Minneapolis sound - eventually became a lynchpin for the rest of the album. Just as importantly, it was in Minneapolis that Shura began talking to her current girlfriend online.

                                                                      "Forevher," then, is a record born from a budding romance, covering everything from the initial pull of desire, to the giddy joy of finally being together, to recognising the moment when the connection develops from lust into something scarily meaningful. Here is a classic London-to-NYC love story but one told through the filter of dating apps and Skype chats. And whilst how to live - and love - as a queer woman has always been integral to Shura, it’s remarkable to hear these stories twisted through such a gorgeous amalgam of influences: Joni Mitchell and Minnie Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through these inspirations, Shura’s own modern, outlier perspective found a newer, more daring approach to sound and song.

                                                                      The luxurious groove of "Side Effects" shakes off the shackles of past love, chiefly saying goodbye 'to that more anxious iteration of me. I don’t miss her.' "Religion (U Can...)", meanwhile, is an unabashedly queer sex-jam - free of guilt, long-term future and faith itself.

                                                                      As the album progresses, so too does the relationship deepen, with the risks and rewards getting greater and greater. "Forevher’ is an album that feels the fear and does it anyway: "Princess Leia" considers the fact real love means having so much more to lose. Elsewhere, "BKLYNLDN" looks at romantic longing through the lens of texts, anxiety-inducing silences and what presence and absence really means in today’s relationships. The record closes on the epic "Skyline", which builds to an explosive crescendo before levelling out to peace in a way that evokes some of the lusher, linear moments on Frank Ocean’s "Blonde". For Shura, this soundtrack’s not only her final relocation to New York but also a much deeper journey as an artist and young woman. "Forevher" feels the same as its creator: a little sharper, a little wiser.


                                                                      The Center Won't Hold

                                                                        The Center Won’t Hold is the tenth studio album by Sleater-Kinney. It addresses transformation as it relates to the corrosion and decomposition of forms. Fractured and frayed by age or by loss, by internecine politics, by trauma or depression, these eleven songs ask what remains of a body, a human spirit, a relationship, a city, a country. The narrators herein sing from the brink of madness, corruption, loss, or grief. And though they speak to us from the narrow, near desperate strands to which they are consigned by others, or upon which they’ve self-exiled—feeling small, fearing obsolescence—they ask to be heard on the most sprawling of canvasses. By couching these personal stories in a sonic palette that unabashedly takes up space, what remains is a tale of survival: a treatise on female friendship, inner strength, resilience, and community.

                                                                        If The Center Won’t Hold forces a reconsideration of a band people thought they knew, it’s due to the methodologies employed in the writing and making of the album. The tools upon which Sleater-Kinney had relied proved inadequate, both metaphorically and literally, so they sought new ones. They used the geographical distance between them, along with the larger uncertainty and brokenness swirling around them, as a means of inducing and exploring sonic change. Most concretely, they worked with producer Annie Clark (St. Vincent), who treated each song as its own world, letting them find a specific vernacular through careful construction and deliberation.

                                                                        The most succinct thing to say about The Center Won’t Hold is that Sleater-Kinney continue to challenge the idea of what three women sound like when they create music together over the course of twenty-five years.

                                                                        STAFF COMMENTS

                                                                        Barry says: Sleater-Kinney have been one of the most interesting outfits to have come out of the 90's post-grunge indie boom, and have remained a fierce musical force since then. Through a myriad of splits / reformations and stylistic turns they have returned with their beautifully crafted powerhouse, 'The Centre Won't Hold'. Huge stadium choruses and anthemic turns are infused with snapping percussion and echoing distorted guitar, all topped with those unmistakable vocals.

                                                                        FORMAT INFORMATION

                                                                        Deluxe LP Info: Heavyweight black vinyl, gatefold sleeve with inner bag + bonus black vinyl 7” of ‘Hurry On Home’.

                                                                        LP Info: Heavyweight black vinyl in a gatefold sleeve.

                                                                        Frank Turner

                                                                        No Man's Land

                                                                          With 2018 Producer of the Year Catherine Marks at the helm and featuring a dynamic cast of all-female musicians, ‘No Man’s Land’ is an album dedicated to telling the fascinating stories of women whose incredible lives have all too often been overlooked by dint of their gender. “These stories should have been told already,” says Turner of the album and its accompanying podcast series, ‘Tales From No Man’s Land’ which launches its first episode today. “And I suspect if they were men they would be better known.”

                                                                          The women featured on the album’s 13 tracks come from across wide geographical and historical lines. There’s Byzantine princess Kassiani (The Hymn of Kassiani), Egyptian feminist activist Huda Sha'arawi (The Lioness), and Resusci Anne (Rescue Annie) an apocryphal drowned virgin whose face was used as the model for the medical CPR mannequin across the world (“You can’t not write a song about a woman who died never having been kissed and then became the most kissed face in history,” reasons Turner). There’s the serial killer from the Deep South who plucked her victims from lonely hearts pages (Nannie Doss), the jazz-obsessed heiress who fought for the Free French (Nica Rothschild), a rowdy coach house landlady from 17th century Camden Town accused of witchcraft (Jinny Bigham), the Wild West vaudeville star shot by a smalltown outlaw (Dora Hand). These are just a few of the fascinating characters who feature on No Man’s Land and have long been ignored by the mainstream.

                                                                          “It’s bringing together my two main interests in life, which have always been separate from each other - history and songwriting,” explains Turner, who can be found seeking out long-forgotten historical sites on self-guided psychogeographical strolls when he’s not packing out arenas or headlining festivals.

                                                                          First single ‘Sister Rosetta’ is about the unparalleled Sister Rosetta Tharpe, one of the most important and influential musicians in American History. On it you can hear guitar breaks lifted from Tharpe’s own back catalogue. “Which I found challenging, because she’s a way better guitar player than me,” admits Turner.

                                                                          Despite the record’s implicit feminism, it doesn’t see Turner’s clambering onto any kind of soapbox. “It’s not telling anyone what to do or how to live or how to be,” he explains, prepared for a variety of different reactions to the project, including those who might be wondering if it’s really his place to be singing songs of disenfranchised women. “If there was a crowded field of people writing songs about Princess Kassiani then I would see the argument for me bowing out, but there isn’t,” he states. “No-one else is writing these songs right now. That’s why I want to share these stories.”

                                                                          No Man’s Land also includes perhaps the most revelatory song of Turner’s career. Written in tribute to his mother, Rosemary Jane honours her grit and determination through the harder parts of his childhood.

                                                                          No stranger to appearing on other people’s shows, Turner’s own podcast ‘Tales From No Man’s Land’ takes a deep dive into each song, like a sonic Cliffs Notes. Produced in collaboration with Somethin’ Else it sees Turner talking to historians and experts at places important to the women on the record, from Jinny Bingham’s coach house - which is now Camden’s Underworld venue - to Cleveland’s Rock & Roll Hall of Fame which only last year honoured Rosetta Tharpe, the Dodge City’s Boot Hill Museum and Southwark’s Cross Bones graveyard. Each finishes up with Turner singing an acoustic version of the song. “I’m not someone who believes in the supernatural, but there’s definitely an imprint when you’re at the place that was important to them,” says Turner. “It feels like a nice honouring, and a way to say ‘hey, we’re still thinking about you’.”

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Indies exclusive white coloured vinyl.

                                                                          Coloured LP includes MP3 Download Code.

                                                                          U.S. Maple


                                                                            It’s now 20 years since U.S. Maple and ‘Talker’ were sent to the Drag City office. Their third album took the egressions and abrasions of their early music to a new height of quiet horror, their contribution to the summer of 1999 - a hot, trying season, one that won’t soon be forgotten.

                                                                            ‘Talker’ was recorded by Martin Bisi and produced by Michael Gira at Bisi Studios.  U.S. Maple made two more records after ‘Talker’ before dissolving in the mid 2000s. ‘Talker’ has been out of print on vinyl since 2008.

                                                                            ‘Talker’ has been newly repressed for vinyl with all original packaging (gatefold sleeve, notebook paper insert, poster, cover sticker) because some experiences, like high school, should keep getting replayed over and over again, forever.  “One of the most obliquely beautiful releases... evasive, creepy, engrossing, and lovely... No one sounds quite like U.S. Maple, and that’s the greatest compliment you can pay a band these days.” - AV Club

                                                                            “Droning, rubbery guitars, happenstance percussion and slow-burning tempos... the sonic equivalent of fresh tar: dark, hot and viscous. For all its surface chaos however, ‘Talker’’s noise has an underlying space and structure that makes it as compelling as it is initially inaccessible; once caught in its sonic tar pits, it’s fascinating to hear what else is stuck in there.” - All Music Guide

                                                                            Uniform & The Body

                                                                            Everything That Dies Someday Comes Back

                                                                              On the heels of their monolithic collaborative LP Mental Wounds Not Healing,the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as “the middle ground between Robyn and Corrupted, but weirder.”

                                                                              Much like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan and Chip King. The result is nine tracks of ear-bleeding and confrontational fury with defined moments of beauty that bring to mind equal parts No Trend, Merzbow, and Information Society while forging a path that is distinctly their own.

                                                                              Everything That Dies Someday Comes Back is specifically culled from the immortal Bruce Springsteen effort Nebraska, joining a long line of literary and cinematic references that pepper the album. And while the title is specific to that lyric, the sentiment also ties into author James Elroy and his notion that closure is an illusion, a conclusion found in his 1996 effort My Dark Places. Dealing with tragic loss is never a closed book, and the details, circumstances, and inherent emotions that surround coping never end, they just morph into something else, only to rear their ugly head again later in life. 

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Limited purple vinyl.

                                                                              Uniform & The Body

                                                                              Mental Wounds Not Healing / Everything That Dies Someday Comes Back

                                                                                In Spring 2017, Uniform was asked to support fellow noisy, boundary-pushing duo The Body for a European tour. Having been longtime fans of the band, Uniform vocalist Michael Berdan and guitarist Ben Greenberg jumped at the opportunity. During the planning phase of the tour, Berdan and Lee Buford from The Body started corresponding regularly. Ultimately, Berdan asked Buford if he and The Body cofounder Chip King would be interested in making a collaborative record with Uniform. Buford enthusiastically assented, and the seed of Mental Wounds Not Healing was sown.

                                                                                On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as "the middle ground between Robyn and Corrupted, but weirder."

                                                                                Death Waltz Recording Co. and Lakeshore Records are proud to present the score to Adam Wingard and Simon Barrett's (You're Next & The Guest) "Blair Witch".

                                                                                Unfathomably dark and claustrophobic, much like the original motion picture, the tense, dark ambience permeating off the wax is nothing short of horrifying...

                                                                                FORMAT INFORMATION

                                                                                LP Info: Limited one time pressing of 1000 copies worldwide. 180g black as night vinyl.

                                                                                Various Artists

                                                                                A Hard Row To Hoe Volume 1

                                                                                  Popcorn is a style of music and dancing first established in Belgium in the 1970s and 1980s. The style includes a wide variety of mostly American and British recordings of R&B and pop music made between the late 1950s and mid 1960s, often relatively obscure, and characterised by a slow or medium, rather than fast, tempo. This record features 14 pure Popcorn groovers from the golden era. 

                                                                                  For the better part of 15 years Helsinki's own Timmion Records has released some of the most exciting soul sides happening today. To help spread the Timmion love, Daptone staffers and brass made a list of their favorite Timmion tracks from the past couple years. Presented here is Bad Education, Vol. I, the culmination of weeks of deliberation and infighting (mainly due to their unusually high batting average) - 10 tracks that best represent the eclectic wealth of soulful riches Timmion Records has to offer.

                                                                                  Side 1 one gets cracking with "This is What Love Looks Like", a mid-tempo, breezy dancer by NYC's own Carlton Jumel Smith whose recent album, 1634 Lexington Ave, is poised to be one of the top Soul releases of 2019. Johnny Benavidez, the Texas-born, California-raised balladeer showcases his heartfelt falsetto with "Tell Me That You Love Me" - a beat ballad of the highest order, and a must for fans of Texas giants The Commands. Pratt & Moody, a vocal duo who have been making waves for sometime in their native Finland, serve up another heart-wrenching, head-bobbing ballad with "Lost, Lost, Lost". Picking up the tempo we have the undisputed queen of Finnish Soul, Miss Nicole Willis! The New York native is already a household name on the UK Northern Soul scene, but now it's time for this expat to make some noise Stateside. Closing out the side we have the leather-clad-fringed flute phenom know as Ernie "Scorpio Man' Hawks. The Scorpio Walk's deep groove laced with murmuring fuzz bass and surf guitar rushes the listener like a maniacal villain in an art house spy movie.

                                                                                  Side 2 two packs even more soulful punches, starting with the unreleased track "Until You’re Mine" by Wanda Felicia. Equal parts slick, Big City street harmony and raw, southern soul, the track evokes the ver y best of Fame-era Candi Staton. Next up, we have Bobby Oroza whose featured track "This Love" took the Soul scene by storm upon its release in 2016. His understated, earnest vocal let's the sparse arrangement and heavy beat take you to a place where the sun shines bright and the low-riders shine brighter where the Sunday afternoon sun dances off the gold flecks of custom paint jobs. "Bad Education" the funky, afro-latin soul monster with a message (whose title graces the cover of this album) tips the hat to legends like Joe Bataan and Ray Barreto. The debut single by Bardo Martinez, already known for his work with Chicano Batman, lays down a fier y indictment of the educational system defining it as a mouthpiece for the militar y industrial complex. A heavy tune with a heavier message! From top to bottom Bad Education, Vol. I is a feast for discerning funk & soul freaks alike!

                                                                                  FORMAT INFORMATION

                                                                                  Ltd LP includes MP3 Download Code.

                                                                                  Hailing from the UK, but now living with every other DJ and producer in Berlin, the ever talented Lavan comes with a unique rawness and infectious energy that spills out into the crowd. With top notch releases on BONN, Masterworks, Forgot Records and Wah Wah 45s, of course, he knows how to move a crowd. His productions illustrate his deep commitment to music of the past and present, prompting all listeners to keep eyes firmly on his future movements. We hope you enjoy this craftily concocted quartet of disco, house, broken and Philly soul stunners. Another essential slab of foot friendly heat courtesy of your favourite Dubplate provider!

                                                                                  STAFF COMMENTS

                                                                                  Matt says: Nice, polished trio of house refixes of famous cuts that's sure to go down well early doors and with the GAMM / Local Talk massive.

                                                                                  Various Artists

                                                                                  Les Filles

                                                                                    Sylvie Vartan’s version of Comin’ Home Baby from 1963 is an early example of the Ye Ye genre, Caroline’s Mister a Gogo is a French language version of Bowie’s The Laughing Gnome, really rare these days. France Gall’s song has been a dance floor filler at LA’s Underground club for some time now, the song being written by Serge Gainsbourg. Eileen’s fantastic version of These Boots Were made for Walking from 1967 closes the EP.

                                                                                    FORMAT INFORMATION

                                                                                    Ltd 7" Info: Limited red vinyl edition.

                                                                                    Various Artists

                                                                                    Les Garcons

                                                                                      First off Jacques Denjean’ s Nervosa is a slice of Psychedelic rock from 1968, the original keeps rising in value Not much is known about the mighty Pierre,Paul ou Jacques, this track is from the 1967 EP there was only one other release Jacques Filh’s Wraaaach! from ’68 is the best track from the original EP sounds like the soundtrack from a Horror movie made on LSD! Eric Harden’s Pas Question hail’s from 1966 and has that fantastic fuzz guitar doing the lead. Great brass too!

                                                                                      FORMAT INFORMATION

                                                                                      Ltd 7" Info: Limited blue vinyl.

                                                                                      The All-Nighter has been an integral part of “the scene” since the phrase Northern Soul first came into popular use following the now legendary Blues & Soul article entitled “The Up-North Soul Groove” in June 1970 by journalist Dave Godin (issue no.36). During the heyday of the Northern Soul scene the ‘All-Nighter’ was the preferred format for the travelling soul fan. It separated the scene’s top venues from the hundreds of regional soul nights in pubs, clubs and community halls across the land. The All-Nighter was the ultimate experience and the only place to hear the best, the rarest and the breaking sounds spun by the leading DJ’s. It was born in Manchester’s Twisted Wheel in September 1963, found its feet (its dancing feet) at the Golden Torch in Stokeon-Trent from 1970-72, and truly came of age at the Wigan Casino Soul Club from ‘73 onwards establishing itself as the premier National and even International event of the 70’s.

                                                                                      All 16 ‘All-Nighter’ tracks on this newly curated compilation have been remastered from analogue tapes and original vinyl. It is pressed to audiophile heavyweight 180g vinyl housed in a single sleeve complete with new liner notes and cover photography from Brian Cannon. ‘All-Nighter’ joins the All-Dayer in a growing catalogue of premium music on the Club Soul imprint - including crossover hits compilation Shades of Soul, and newly compiled LP’s that celebrate the clubs of the original Northern Soul Scene - The Scene Club, The Twisted Wheel, Wigan Casino Soul Club, Catacombs and the forthcoming The Golden Torch.

                                                                                      Various Artists

                                                                                      Slow Grind Fever Volume 9

                                                                                        Volume #9 in this amazing series of slow grinding R&B/Soul/Exotica tunes as they are being played in a club in Melbourne/Australia. Around midnight on the last Saturday of every month, an assemblage of juiceheads, grifters, kittens, dandies and derelicts gather in a dimly-lit, smoke-filled room and dance together real slow. These are some of the records they dance to... 

                                                                                        The Soul Shack manifesto is stark - let your body take the place of your mind, and this new compilation on the Club Soul label is a tough-as-nails route to keeping the groove. The popular Soul Shack sessions in the Midlands being run by Neil Rushton are a homage to mind-blowing and spine-tingling black music gems. They encompass the preciseness of cerebral jazz fusion, the simple rawness of New Orleans funk, Nuyorican Latin Strut frenzy, the rhythm-driven angry polemics of Gil Scott-Heron, the sheen of Philly Soul, Big Apple Soul Disco and the Soul and Funk of Detroit’s many music alchemists. These are all integral parts of a time and place called Soul Shack - and this record is the soundtrack.

                                                                                        Various Artists

                                                                                        Wim's – Driven By Music

                                                                                          A group of admiring co-conspirators threw in together to make Wim Wenders a very special birthday gift, a triple LP record album on time-honored vinyl, full of songs that harbor a deep connection to Wim Wenders, to his life and his work. The album bears the title “Wim’s - Driven By Music” and is a compilation featuring many of Wim’s musical companions and friends.

                                                                                          This past May the idea arose out of Wim Wenders’ circle of friends and immediate family to give the filmmaker, notorious for his passion for music, a very special gift for his birthday, by presenting him with a record on vinyl produced especially for him. To make this idea a reality, various bands, musicians and artists, friends of Wim’s, who have been involved in his movies, and whose music he appreciates more than anything, were asked whether they would like to contribute one of their songs to this birthday album.

                                                                                          The original plan called for a single LP, but then the number of bands, friends and colleagues who expressed their eagerness to give it a shot soon became much more than a solitary slab of vinyl could contain. So it is that the final record extends across three LPs, featuring a total of 37 tunes. Among these pieces there are some that have already appeared on soundtracks to several Wenders films, though there are also new mixes of songs or entirely new ones here, which can only be heard on the album “Wim’s – Driven By Music”.

                                                                                          Over the entire time, they had to go to great lengths to make sure their little project remained top secret, so that the birthday boy would have no idea what they had in store for him. Wisely avoiding the project name “Operation Birthday Album”, we opted instead to fly under the radar with the purposely snore-inducing tag “Music Rights Clarification III” – the only thing that may not have escaped his notice entirely, though a phrase that was meant to communicate as much ennui as possible, in order not to arouse any curiosity in case someone left a file lying around somewhere.

                                                                                          They managed to cut three quick versions of the record in time to preview the LP at birthday celebrations in August. These days, with pressing plants backed up due to the vinyl boom, it can take quite a while before such a record is good to go. But now it’s finally ready for release as an exclusive limited edition triple LP. Still, if you are going to go through all that trouble to press a record, then it shouldn’t be limited to just a tiny handful of copies for a very lucky few. That’s why we’ve decided to do a vinyl only release of the album limited to a generous 5,000 copies. In this way, we hope to open that special Wenders soundworld to a small audience with this compilation representing one slice of Wim’s musical universe.

                                                                                          The result of this labor of love is a beautiful triple LP completely devoted to the idea that music is Wim’s motor and music playing devices are his life-saving machines. Wim’s musical companions and friends came together to assemble this album as a surprise for his birthday on August 14th 2015. Even in darkness, music will shine on. Without all of you, things would be a whole lot darker around here!

                                                                                          Various Artists

                                                                                          Youth In Action Talent Hunt Winners

                                                                                          Youth in Action, Inc. (YIA) was formed in 1963 when the Central Brooklyn Coordinating Council received a grant to develop a youth services program in the Bedford-Stuyvesant community. It was originally organized to identify and address the social problems that were leading to the high crime rate in Bed-Stuy. Recently the Smithsonian Museum of African American History released an archive of footage filmed by a community activist, which shows the real-world effects of the group's efforts: young people engaged in sports, the arts, and other activities to better themselves and their world. The appearances by Jackie and Bobby Kennedy point to the group's relationship to the Great Society programs of President Lyndon B. Johnson. What there is no mention of in either the NMAAHC's collection of YIA materials nor in the Brooklyn Public Library's also extensive collection is this talent show and the record that came to be because of it.

                                                                                          Local vocal groups chose tunes to cover from the era (1964 - 1968) ranging from The Rascals to The Intruders, from The O'Jays to Billy Stewart. All of these groups were backed by a local act called The Thrillers Band. The winners of the talent contest were then invited into the studio to record their versions which would be pressed up on this record and given away to local radio and TV stations. The hope of the whole thing was that this would help the young groups get discovered by producers and record labels and start their professional music careers. The intro to the album is Reverend Horace Tyler congratulating the winners and asking them "to just remember, when you reach the top and become our big stars of tomorrow, don't forget YIA". What this album may lack in fidelity and production it more than makes up for in charm. The engineers at the recording sessions pump in pre-recorded applause and screaming to give the it the feel of the day of the contest while the young groups sing their hearts out, clearly giving their all. From today's perspective, soul music fans will lose it over the choices of covers on this record and the killer, raw, innocent performances of them by these local Brooklyn groups. 

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