Ulysses Crockett studied classical piano from 6 to 14 years old, adding alto saxophone and flute at 16 years old while attending Oakland California's McClymonds High graduating in 1956 as student body president and Valedictorian entering Stanford University in the fall of 1956.

During the Lawrence Ferlinghetti Bay area beatnik era (circa 1957-1960), Ulysses' group was known as The Latin Jazz Quintet which included an early female bongo drummer named Joyce Zavaleta. Joyce had an extensive vinyl LP collection of afro-cuban records including compositions and performances of legendary bassist Israel 'Cachao' López and international known singer Celia Cruz. Joyce met U.C. Berkeley Student John Miller and taught him the Cuban piano styles. The regular members of the Afro-Blue Persuasion band consisted of John Miller - piano, Harald Haynes - congas, Robert Belinksy - drums, Ulysses Crockett - vibraphone, and Robert Bing Nathan - upright contrabass.

At nineteen years old each, bassist Paul Jackson (who appears with genius composer, performer and pianist Herbie Hancock) and tenor flautist Robert Harvey were both serving in the U.S. Army station located in the San Francisco base known as the Presidio. On weekends, both Paul and Robert would sit in with the Afro-Blue Persuasion band.

"Live at Haight Levels" is the one and only recorded live performance by the Afro-Blue Persuasion. Finally, the songs are going to see the light of the day after 52 years! This is afro-cuban jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!

Terry Allen & The Panhandle Mystery Band

Pedal Steal + Four Corners

    Deluxe LP+3CD+book set features 145g virgin vinyl LP; heavy-duty board gatefold jacket; printed inner LP sleeve; custom 3CD portfolio; high-res Bandcamp download code; and an exhaustive 28pp. color booklet boasting the first in-depth essay to explore this singular body of work, dozens of images of Allen’s related visual art, and full scripts and credits for all five pieces (a total of 33k words). 

    Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and conceptual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Pedal Steal + Four Corners collects, for the first time, Allen’s radio plays and long-form narrative audio works—two and a half hours of cinematic country-concrète songs, stories, and sound collage—in a deluxe gatefold edition, including one LP, three CDs, a DL code, and an exhaustive 28pp. color booklet boasting the first in-depth essay to explore this singular body of work; dozens of images of Allen’s related visual art; and full scripts for all five pieces (a total of 33k words.) Pedal Steal (1985), originally composed as a soundtrack to a dance performance, appears on vinyl for the first time, as well as on CD. Torso Hell (1986), Bleeder (1990), Reunion (return to Juarez) (1992), and Dugout (1993) comprise the Four Corners suite, radio plays broadcast on NPR and never before released, now spanning two CDs. All audio has been meticulously remastered from the original tapes. Fans of Allen’s violent masterpiece Juarez will find much to love in these haunting desert dramas of the chthonic Southwest, which feature Jo Harvey Allen, Lloyd Maines, Butch Hancock, Rolling Stones saxophonist Bobby Keyes, and many others. Roger Corman failed to option the film rights; Jesse Helms failed to ban them; now you can own them! Navajo chants blend into fuzzed-up steel guitar; dirty-realist narratives succumb to skeletal ballads; B-movie dialogue blossoms over a plaintive violin. Pedal Steal represents roots rock’s rarely encountered experimental fringe.

    There aren’t many stories like the American Football story. They formed in the late ’90s as one of the many bands of frontman Mike Kinsella (who had already drummed in Cap’n Jazz and Joan of Arc beforehand, and who started his Owen solo project shortly afterwards, among other things), released one EP in 1998, one album in 1999, and broke up the following year before ever really making much of a widespread impact. Owen became Mike Kinsella’s most prolific and longest-running project, but American Football’s debut album became his most legendary over time, gradually gaining a cult following that got so big it caused the band to reunite in 2014 and play their biggest shows ever.

    American Football (LP3) is the third album from scene giants acclaimed American Football (LP2), and features an array of guest turns from such collaborators as Rachel Goswell (Slowdive), Hayley Williams (Paramore) and Elizabeth Powell (Land of Talk). 


    Coloured LP Info: Indies exclusive blue marble vinyl.


    Mauna Kea

      Following last year's release on NAFF, ANF hit the West Coast with four tracks of lush, trance-inducing digital bubblebaths on Pacific Rhythm. You might know this Montreal duo already: after lingering around under a different name, Dust-e-1 burst onto the scene last year with two 12-inches of blazing junglist workouts, while Priori has established himself as a keen collaborator, partnering with the likes of Project Pablo, RAMZi and Ex-Terrestrial. Their work together as ANF is some of their most distinctive, and on "Mauna Kea" the two producers explore the outer reaches of their sound, going on an expedition through pulsating acid lines, blood-rushing breakbeats and cosmic synths, with melodies that linger long after they're gone.

      The title track is a sleek and slippery acid-flecked cut charged with hints of progressive house, while "State Function" looks back to the Sputnik missions of early '90s Biosphere, with floating breakbeats and space shuttle chatter. The other two cuts are primed for the chill-out room, the after-hours kickback or any place where there's a lava lamp and a beanbag chair, from the hand percussion-driven groove and celestial pads of "Mary Lynne" to the leisurely breakbeats of "Chi-Motion." All four tracks offer rich, space-age techno to take your dancefloor somewhere in the past that feels like the future.


      Matt says: One of those annoying instances where, by the time you read this, said record may well be sold out of sheer momentum over the counter. Oh well, there's always next time.

      "LP5" is Apparat’s first release since 2013’s "Krieg und Frieden" (Music for Theatre), and follows two studio albums, "II" and "III" (Mute / Monkeytown) by Moderat, the trio he founded with Modeselektor’s Gernot Bronsert and Sebastian Szary.

      Sublime and delicate, the album finds greatness in small things and in unexpected twists; it joins musical fragments together and glows from the cracks in between. For Ring, it is also a document of artistic insight and autonomy. 'I was only able to make the record this way because Moderat exists,' he says. 'Having a huge stage with Moderat gave me a setting for grand gestures and meant I could unburden Apparat from these aspirations. I don't have to write big pop hymns here; I can just immerse myself in the details and the structures.'

      Still hymnic, "LP5" doesn’t rely on dramatic gestures and theatrical amplification, instead it lives off delicately sculpted sounds crackling alongside filigree beeping and twitching.

      Like previous Apparat albums, the new release sees Sascha Ring collaborate with cellist Philipp Thimm and on the album you can also hear trombone, trumpet and saxophone, a harp, a double bass and other strings. Tracks were developed over endless group improvisations and lavish orchestral sessions – some of these sessions are only apparent in the final mix as fluttering echoes, just barely noticeable. The album was recorded in Berlin at AP4, JRS, Vox-Ton & Hansa Studios, mixed by Gareth Jones and Sascha Ring.

      From elegiac techno to deep orchestral pop ballads, Apparat‘s work has always had a common denominator: an elegance that embraces and gives nuanced layers of detail and a near universal beauty.


      Coloured LP Info: Indies exclusive limited edition pink vinyl.

      Coloured LP includes MP3 Download Code.

      Asian Dub Foundation

      Rafi's Revenge - 20th Anniversary Edition

        Rafi’s Revenge originally peaked at number 20 on the UK Albums Chart and was shortlisted for the 1998 Mercury Music Prize, with Bobby Gillespie hailing them at the time as ‘the best live act in Britain’. This 21 year anniversary reissue includes a limited edition, coloured 2xLP plus expanded digital & CD editions with bonus tracks selected by Adrian Sherwood. To celebrate the release the band are playing at Rich Mix, London on 28th March.

        By the time they recorded Rafi’s Revenge in 1998, Asian Dub Foundation were primed to explode. Having initially emerged from East London’s grassroots Community Music project as a largely studio-based collective, the band had galvanised themselves into a riotously exciting touring machine by the late Nineties. Their extraordinary live shows around this period were electrifying to witness, kinetic and dynamic, incendiary and euphoric, confrontational yet celebratory. For sheer roof-raising energy, they were unrivalled. ADF have evolved enormously over the last two decades, of course, but their breakthrough album remains a fascinating chapter in the real, complex, unwritten history of Britpop. Expanded and enlarged for this anniversary edition, these multi-layered musical treasures still dazzle and delight with their grandiose ambition and riotous energy.


        Coloured LP Info: Comes with a CD featuring bonus material.

        Daniel Avery

        Song For Alpha Remixes : One - Inc. Manni Dee / Anastasia Kristensen / Patrick Russell Remixes

        Daniel Avery broadens the exquisite sonic universe established on last year’s critically-acclaimed sophomore LP Song For Alpha, presenting the collected B-sides & Remixes. Showcasing cuts from the album’s writing and recording process, as well, Avery also invites a number of his contemporaries and some of the most vital underground producers in the world to rework his original material, with transformative results.
        The frosty melancholy of Citizen // Nowhere is reworked by London producer Manni Dee into something altogether monstrous. Introducing itself with a kick drum powerful enough to level a warehouse, and only getting more urgent from there forward, Dee’s remix blends a knowing rave glint in the eye with a nonetheless uncompromising stance.
        The Copenhagen-via-Moscow producer Anastasia Kristensen immediately justifies her status as a rapidly rising talent on the scene, locking into a delicate yet no less powerful groove for her sparkling remix of Glitter. Seamlessly heightening the almost meditative qualities of Avery’s original, she weaves a blissful rhythmic trip, taking in razor-sharp percussions and spectral dub techno.
        A longstanding fixture on the Midwest US rave scene, Patrick Russell applies his typical grit to ‘Song For Alpha’s firmly dancefloor focused centrepiece, Diminuendo. In subtly shifting the focus to the track’s passages of overwhelming feedback, he sculpts a black hole of snarling electro and piston-like breaks, sure to prove an inviting wormhole to those willing to surrender further, deeper and darker.


        Sil says: Avery gets the perfect remix treatment album for those who did not have enough of his techno and wanted something a bit faster and a bit harsher. Here it is for all you thirsty ravers.

        Avey Tare, aka Dave Portner of Animal Collective, announces the new album ‘Cows On Hourglass Pond’, which was recorded between January - March 2018 by Dave Portner at Laughing Gas in Asheville, NC on a Tascam 48 half-inch reelto-reel tape machine and mixed by Adam McDaniel and Dave Portner at Drop Of Sun Studios in Asheville, NC. The album follows the 2017 release of Avey Tare’s ‘Eucalyptus’ and 2018’s audiovisual album ‘Tangerine Reef’, a collaboration between Animal Collective and avant-garde coral macro- videographers Coral Morphologic.


        Barry says: Frenetic melodies and cavernous vocal reverb work their way around the slo-mo funk and psychedelic melodies, leading the listener on a stylistically varied and fascinating journey.

        This is the first ever reissue of Roy Ayers' 1983 album 'Silver Vibrations'. Originally released in the UK only on Uno Melodic Records, 'Silver Vibrations' shares some of its musical DNA with 'Lots Of Love', Ayers' US album from the same year. However, 'Silver Vibrations' contains four unique cuts all of its own, plus extended takes of three songs, including the definitive version of iconic song 'Chicago'. The rarity of the original pressing has led to eye-watering second-hand prices for this truly brilliant LP. 'Silver Vibrations' was perhaps the last album to retain the sound of Ayers' organic 'classic' period of the latter '70s and manages to stand up well under its current re-evaluation. "Chicago", the unedited version of which is exclusive to this L.P., received considerable airplay in its time and has barely faded from earshot ever since; its woozy, mysterious vibe and cosmic ruminations from Roy in the second half have certainly endured. The strutting, funky "Good, Good Music" echoes Ayers at his pre-'80s, up-tempo disco peak, sporting a grittier edge and an old-school party atmosphere. Title track "Silver Vibrations" was only ever released in the U.K., both on this album and as a single, backed with "Fast Money". Both "Lots Of Love" and "Keep On Movin'" hark back to previous times and are a pleasant listen without being at all taxing. "Smiling With Our Eyes" is mid-tempo, lilting and jazzy, with a vocal vaguely reminiscent of Stevie Wonder in places. The wistful "D.C. City", a close companion of Ubiquity's original recording of "The Third Eye" is, in many ways, quintessentially Roy Ayers. 


        David says: Overdue reissue of this Roy classic. Worth buying purely for 'Chicago'. One of his finest moments it's been sampled and re-edited more times than his lawyers can count.

        Bartellow San Ground San

        Amanogawa EP

        Finding their way to the SVS camp in Budapest, kindred spirits Bartellow and DJ Ground turned three days of improvisation and inspiration into one of my favourite 12"s of 2017, the "Shiroi Uma EP". Now two years later, the intercontinental duo reconvene at Kabamix' studio in Osaka for a second journey into their psychoactive dimension. 
        "Gekko No Odoriko", the 'Moonshine Dancer' calmly slices a rift in the fabric of space time, taking us on interdimensional conga as the ever changing cube of organic and mechanized percussion mark a steady rhythm. Soon enough a winding bassline begins to rumble underfoot and ominous waveforms arc across a dark sky, reanimating lost Thetan souls and introducing us to the machine elves, whose exaltant chant echoes through the ages. "Holy Water" continues the journey of discovery, surrounding us with neon lakes, impossible animals and waterfalls which flow slowly upstream like smoke in a vacuum. Hypnotic drums suggest a techno-tribal civilisation, and the delicate mallets and swirling fx act as their siren song, leading us slowly towards the ritual chants of a forest clearing. Paranoia and fear become constant companions as the tribe push us towards the ceremonial fire, but there's no reason to worry - this isn't death, it's rebirth in the milky way. An interplanetary lullaby set to a subtle rhythm, "Amanogawa" sees an invisible deity blessing us with ancient wisdom before sending us back to earth on a beam of light and magic. And as we re-materialise imbued with the power cosmic, the dramatic percussion of "Ortovision" soundtracks our entheogenic awakening.


        Patrick says: Being as their Shiroi Uma 12" has remained in my record bag since its 2017 release, I was absolutely buzzing to see that Bartellow and DJ Ground had reunited for a follow up, this time among the Cherry Blossoms of Osaka. The four track EP gives us tribal percussion, shamanic dances, interdimensional lullabies and cosmic knowledge, but words can't do this trip justice - buy a copy and travel the shadowplane.


        12" Info: Limited to 300 copies with printed paper inlay

        Some of the most beloved music comes from heartbreak and loss and this 5-track EP by Honey Soundsystem’s Bézier was recorded in a vacant apartment unit in his grandmother’s (‘Amah’) property in Tainan, Taiwan. Having to make the 15+ hour journey from SF to Taiwan multiple times in 2018, Bézier set up shop in Amah’s house surrounded by his live touring setup, a microphone, and the memories of loved ones recently passed. Away from his San Francisco analogue synth-based studio, Robert Yang (aka Bézier) manipulated samples of his own vocals and mobile mono synths to tell his stories about returning home, honoring ancestry, and to embrace life’s hardest challenges. The result is a deeply personal release with track titles named after landmarks surrounding Amah’s building, and songs both short and long, free of genre and tempo restrictions.



          Brand new double dunter of fkcd rippers from man like Blawan! The more astute and intrepid techno explorers amongst you will know, Blawan beta-tested the techno blueprint some eight years ago, resulting in technoV2 - a demonic, mechanized beast that sounds more at home on factory lines and nuclear reactors; sound tracking mutant cyborg's industrialized activity and the swollen drain on our planet's resources. Apparently Blawan is fully modular now, which explains the thoroughly alien vibrations emanating from his outboard shuttle. Grating perc rhythms, metallic washes and tense atmospheres characterize his work, and it's executed via some precision engineering and sound design. No-one quite sounds like Blawan, and this new release sees the producer in top creative form. Recommended.


          Matt says: Back in stock and actually sounding better second time around. I'll be certainly picking up a copy in this innings. Top drawer and unique stuff from one of the scene's newer pioneers.

          Along the hills that cradle this village, that throw their shadow on us, that hold themselves above the houses (on a day like today half-wreathed in fog) there is a path. Some people say it is the oldest path there is, but that doesn’t really matter. What matters is that it is an old path. Worn out of the scarp in places, in others cut deliberately to mark the way. The way where, though? One answer is that once, it was the way across the country from East to West, from farm to market. The way of the drover. Another is that now, it is the way across a line of hills that run through what people call the ‘home’ counties. As if there are counties that are not home.

          Sometimes these places that rub up against the hills and its path are strangely dull. The towns and villages can look alike, they have been predated on by the high street chains and the supermarkets and they have suffered the decay of pubs and the reluctance of themselves to demand more from the changes that come with time, which is, after all, inevitable and which should, in the end, be progressive. But if we look beyond the intensive farms, the lookalike market towns, the money, the golf courses and the expensive four-wheel drive cars, there is, still, a real place to see. A place with its own tang, as a wise man I know once described it. There are fishermen and builders and window cleaners who get round their drink-driving bans by going to work on a horse and cart.

          There are Italian farmers whose legendary boys run the football club, there are old gypsy families that own garden centres, feuding tree surgeons, ex-hedonist-local-playboys who you wouldn’t believe did what they did when they owned a pub just outside of the village where they thought they could get away with anything (and for a while did), tiny cricket clubs where the treasurer ran off with the money and last anyone heard was running a burger van in Northamptonshire. There are still a few good pubs too, where people rub along like they do. More decently than it sometimes feels we’re capable of anymore. All that as well as affairs and heartbreak, death, illness, love. Of course, love.

          And beyond the people, there is that other life. Not as much as there should be, no, we must say that. Not enough butterflies, not enough lizards or water voles or fish, certainly not enough birds. But what there is is. And if you take that path out of the village, and up into the hills it is there. It’s broken in many ways, and it’s changed and it’s changing. And we’re causing the changes. But what’s sad about the degradation of our times is that we can still see the potential nature of real places when we come up against them. These old paths, these old stories, these old buildings. We don’t need them for nostalgia, or for some artificial sentimental reverie, we need them to function as engines for our own epochal story-making. That’s what the blandness of a global market economy will put a stop to. The real tang of each person, as well as each place. All deserving of their stories. Here’s some fragments of some I heard along the path.

          Will Burns, 2018

          Will Burns is Caught by the River poet-in-residence, and Hannah Peel is a frequent fixture of Caught by the River festival stages – both with the ‘cosmic colliery’ electronica of her solo work, and with orchestral place-rock band The Magnetic North (of which Chalk Hill Blue producer Erland Cooper is also a member.)

          As part of their collaboration, Burns, Peel and Cooper walked the landscapes around Burns’s Wendover house together: their chalk-heeled boots tracing shared routes through the rhythms and repetitions of the place. What emerges in Chalk Hill Blue is a site-specific-non-specific record of creative place portraiture; an album that traces elements of a living landscape, and reworks them into something that is as sensitive and finely-observed as it is visionary.


          LP includes MP3 Download Code.

          Beautiful debut album from the incredible Celia, conducted & arranged by Arthur Verocai and Rogerio Duprat and featuring songs by Lo Borges, Antonio Adolfo and Joyce amongst others. Celia recorded four self-titled albums for Continental between 1971 and 1977, ‘Amor’ in 1982 plus several more before she sadly passed away late in 2017, aged 70.

          Celia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful “Abrace Paul McCartney” and her husband at the time, Nelson Angelo, recorded some of the songs.

          Chicos De Nazca


            'Ether' is Chico De Nazca's seventh album that deepens into psych rock with anchors in those wonderful 70s and great reminiscences of the 90s lysergic ballads. Different soundscapes, lo-fi sludgy production and spacier songs that flow beautifully. Chicos this time manages to make warm sun-washed album that reflects several tours, long day jams and rock and roll living on their skin.

            "Les Archives" is composed, arranged, and produced by the elusive Japanese artist June Chikuma. While Freedom To Spend’s reinvented edition bares little visual evidence of its origins in the composer’s name, title, or sleeve design; the album, a whooping gonzo of synthesizers, samplers, drum machines, and a mysterious string quartet, remains as vibrant now as it did when released on Toru Hatano’s Picture Label as "Divertimento" in 1986. In fact, the music of "Les Archives" now glows with a different purpose; one that revises the past while maintaining, and finally elevating, its hidden influence.

            A woman of multiple disciplines and identities, June Chikuma (竹間 淳, Chikuma Jun) has composed for TV, film, and video games over the past thirty plus years. Her proto-techno and drum and bass soundtracks for Nintendo’s Bomberman franchise in the 80s and 90s is an oeuvre unto itself. In more recent years her musical focus has turned toward classic Arabic and Egyptian music. Chikuma studies Arabic nay, playing and performing with Le Club Bachraf ensemble. In a melding of June’s contrasting, colorful worlds, Le Club Bachraf composed part of the original score for the 2007 video game Sonic and The Secret Rings.

            For "Les Archives", Chikuma constructed a sonic stage to animate her imaginings as a one-person show. The primary props, a KORG SDD-3000 digital delay, an audible, overt display of unclassified drum machines and samplers, and a litany of literary references.

            Chiikuma’s neon-vibrant aesthetic would be at home soundtracking films like After Hours or Teknolust. However, "Les Archives" is the score for a movie of mistaken identity – clones redressed in a guise of the artist’s re-coding. The legitimate artifact deceives history. There is no original, but this copy is singular and complete. 


            LP Info: Comes with limited 7".

            Reissue of the 1997 underground house classic T.H.C. by Cloud City, a one time joint project between Scott Clifford of Bugz in the Attic and Adrian Miller. 

            If what you are after is a 90s house throwback, here you have it with a stunning beat on the Luke Live mix on the A Side - memories of Masters at Work do come to mind. It must be the 'almost' live drumming what give this release a great 'organic' sound. Bugz in the Attic are involved so you know the origins. 

            On B Side, much of the original live mix is present, but the vocal sample is employed less. Instead, esoteric melodies and an emphasis on the 'live' drumming is applied. 

            A trip down memory lane for me, but for others probably a very refreshing deep house sound ready to be discovered and enjoyed!

            STAFF COMMENTS

            Sil says: The quality is present on everything Bugz in the Attic has touched on. This one is no exception. Loving the slightly more chilled 'Next Day Arrangement' with its organic drumming.

            Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS and collaborated with Robin Scott (M “Pop Music”). He began working as Codek, a play on the brand name Kodak with the “Me Me Me” single released in 1980. In 1981 the “Tam Tam”/“Closer” single was released on West African Music, a tiny label from the Ivory Coast, and re-released a year later by Island Records in the UK (where the B-side was re-named “Tim Toum”). “Tam Tam” was inspired by Burundi drummers playing in the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. Claude Arto achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of spanned over two years. They started on 16-track in Studio d'Auteuil, where Jean-Marie blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder.

            In 2017 Dark Entries reissued the “Tam Tam”/ “Closer” single and shortly after the 24-track master tapes were discovered in Paris by original engineer Gérard Chiron. The idea for a remix EP came very quickly!
            First up is producer and DJ Daniele Baldelli who gave the original single a spiritual home in the Cosmic 80s scene of Italy. Here he’s teamed up with Marco Dionigi for two remixes. Remix A goes full on funky disco baseline while Remix B a more balearic affair. On the flip, Justin Strauss teams up with his Whatever/Whatever production partner Bryan Mette for a hypnotic and pulsating house remix and an extended edit for the die-hards. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is new twist designed by Eloise Leigh on the 1981 edition artwork by Angela Boy, inspired by primitive electronics and African paintings. 

            Cold & James Bernard

            Strobe Light Network / Lapis Lazuli

            Here we are with our weekly dose of Stroom, a two track trip back to the 90's chill out room courtesy of James Bernard & Isar L. Arnarsson. On the A-side we revisit one of the finest ambient techno / relaxed trance compositions ever, from Icelandic producer Cold. Originally relaesed on Iceland's first techno label Thule, this expansive, cinematic synth serenade came to prominence at the conclusion of the 1995 Love Parade. Sven Vath, at the height of his powers had just played one of his marathon sets, keeping the dancers in constant motion until the sun began to stretch out across the city. To close his set, pay tribute to the crowd and mark the end of the whole festival, Vath reached into his bag and pulled out "Strobe Light Network", filling the space with crystaline ambient motifs, swelling synth sounds and the slow and steady beat which carries the track through a series of crescendos during its fifteen minute duration. 
            The B-side plucks a beauty off James Bernard's 1997 LP "Symphony For A Biomechanical Breakdown", the lysergic and bendy techno-meets-wave cooler "Lapis Lazuli". Percolating sequences mark the passing off time for the first three minutes until some skittering trip hop drums join the party, while shifting synth sounds ape detuned guitar for that Matrix soundtrack disquiet.

            STAFF COMMENTS

            Patrick says: Stroom's relentless release schedule continues with an on point reissue of some superior chill out tackle from the 90s. On the A-side we get the Icelandic epic Sven Vath chose to close the 1995 Love Parade, and on the flip it's a claustrophobic and paranoid piece of late nineties electronica from James Bernard.

            Here's something to set the pulse racing: a fresh reissue of a dream house-era Italian cover of Carlos Santana's "Aqua Marine". Thrillingly, this edition dispenses with the pointless radio edit, replacing it with the previously unreleased "Original Studio Version". This is something of a stunner, all told, with the track's Santana-like solos and breezy, beachside synthesizer lines being accompanied by the soft focus of bongo rhythms. Of course, the more club-focused versions are ace, too, with the dream house style "Club Version" and "Sweet Dream Version" being joined by the undeniably epic "Paradise Version", which slowly builds to deep house heaven via a sublime ambient intro.

            STAFF COMMENTS

            Patrick says: Best step forward from the Italo-disco / boogie era to the dawn of dream house, when The Countach cooked up a euphoric Italo house iteration of Santana's Balearic classic "Aqua Marine" which is frankly MDM-Azing. All those sumptuous pads, hissing hats and solid rhythms of the era are present and correct, augmented by a sizzling guitar solo inspired by the Mexican legend.


            Silver Tongues

              London's Crows are the latest signing to Balley Records (IDLES, Heavy Lungs, Lice) and will deliver their long-awaited debut album "Silver Tongues" on March 22nd. The album's thrilling first single "Chain Of Being", was recently Lamacq's Livener on 6 Music, is a real statement: a widescreen slice of post-punk that combines heaviness and brooding melody in equal measures. Joe Talbot said the following of his decision to sign Crows to his Balley Records label: "I saw them play at the Louisiana in Bristol a few years ago and both the performance and the quality of their songs blew me away. Everything about them excites me; so when I heard they were looking to release an album, I had no choice but to chase them. It's a dream to work with them.”. 

              Music From Memory are back with more essential action on the archival tip, this time combining the ultimate techno-tropical tonker from Curt Cress with the finest dancers from his most celebrated solo LP "Avanti" - providing those with a thirst for the deeper dancefloor experience with the best of Cress in one easy place.
              Prolific as a percussionist and producer, Curt Cress came to fame during the 70s, lending his rhythms to a who's who of German prog groups, jazz rockers, fusionists and popstars, before finally stepping out on his own with the "Avanti" LP in 1983. Inspired by his time with the fusion groups, the burgeoning NDW scene and cutting edge synths, Cress swept through backbeats, breakbeats, syncopation and solos, providing melodic intricacy via tumbling mallets and otherworldly electronics. The three tracks which make up the B-side on this retrospective 12" all appear on the second side of "Avanti", and give an instant impression of the impact, accomplishment and ambiance of the LP. "Sundance" sprints through syncopated hits, tumbling talking drums, ace electronic passages and a hypnotic mallet refrain made for dancing feet. Taking a tougher approach, "Power Vein" thumps out the toms, rock snares and white noise hats in true mechanical funk fashion before "Flying HIgh" offers us dreamy Asiatic melodies, bouncing Linn idents and an intricate, ever changing web of pure percussive joy - a true dancers' delight.
              From a DJ's point of view, all this was just foreplay ahead of Curt's '92 12" "Dschung Tek", pulled from a point in his career when the veteran drummer was experimenting with techno and tribal house, with the confidence to have a little fun. Played with passion by Ruf Dug, Talking Drums, Basso and Bufiman over the past half decade, "Dschung Tek" takes us on a trip through the undergrowth, pairing warped synthetic metal hits, a pounding beat and all sorts of tropical tropes (birdsong, cicadas, crickets) with a gurgling sequence a bit like an army of ants chomping their way through a DX7. Add in an elephant trumpet, ace pads and a break with a fly swatter and you're having the time of your life.

              STAFF COMMENTS

              Patrick says: My favourite and most played dance record ever, and the essential Talking Drums track! Play "Dschung Tek" loud enough and you'll actual land in Jumanji! If that weren't enough to have you buzzing harder than an irate mosquito, the flip pulls three of the best tracks off Curt's excellent "Avanti EP" and gives them a fresh pressing for club use. Top!

              Executive tackle here from Star Creature loan signing, Giovanni Damico, a southern Italian maestro who runs White Rabbit records and has graced many a dancefloor pitch with his game changing skills, including league champions Lumberjacks In Hell.

              Making the trip over the pond to the Brooklyn camp before laying down an exquisite set of liquid funk and sunshine boogie - executed with that effortless SC flair with skilled drum programming, inspired synth licks and perfectly formed arrangements. Smatterings of vocoder give the tracks that B-boy flavoured edge and you can well image yourself shooting ball whilst people body pop' down at the court on a sweltering hot summer's day in Philly, NY, NJ or any of those street-smart US cities. Limited copies and most sought after so don't delay if ya want in. 

              Musique Pour La Danse presents its latest "Collected" anthology, the label's most ambitious release since it released an extensive anthology of music produced by New Beat pioneer Ro Maron back in 2015.

              This time label managers Olivier Ducret (Muriaux, CH) and Ed Isar (Paris, FR) have focused on another essential Belgian producer: Dirk Desaever, the man behind White House White, A Thunder Orchestra and Danton's Voice. Rare and sought after, his records fetch high prices among collectors. Some of his productions under these aliases have appeared in crucial compilations such The Sound of Belgium series as well as Walhalla's Underground Wave, along with edits by Mick Wills for Biorythm and Marcel Dettman for Dekmantel.

              What was initially supposed to be a simple reissue affair soon turned into a much wider project, as Desaever shared heaps of amazing unreleased material with the label. It seemed much more interesting to shed light on the dark side of this producer's body of work, rather than to focus on content already reissued elsewhere.

              After listening to noisy tape rips over and over, Ducret & Isar opted to break this release down in three formats EP, LP and a cassette sold by the label direct), each one with different content. They entrusted sound engineer Lorenzo Targhetta with remastering the music and it's impressive how much he managed to polish the sound without altering the unmistakable grain of music committed to cassette tape.

              The pièce de résistance of the 'Collected 1984 - 1989' project, all the music on this LP has never been heard before, except for a single tune released on a rare 7" in 1988. The track selection and sequence is the result of Ducret & Isar closely listening to the many hours of unreleased material Desaever shared with them.

              The record can be approached as an imaginary album or even the soundtrack of a lost film or TV show. The idea was to tell a story about Desaever's music by highlighting its themes and variations. While some tunes can be imagined within a New Beat context, it's clear they were not created with clubs in mind. In fact, most of the material here is actually closer to minimal wave, synth wave and dark wave. With a certain gothic melancholia as the common thread running through the record, some tracks can only be described as lofi library music with a strong medieval reminiscence, others are closer to the wave aesthetic, and finally a few could even be considered ambient.

              Desaever's house holds many rooms, each one different from the other. After completing a grand tour of the mansion and seeing the bigger picture, it will become clear for listeners how truly unique this producer sounds, even compared with other Belgians from the 80s. Saved from oblivion and irremediable decay, the music on this LP is now just waiting to be played and listened as well as to inspire.

              Musique Pour La Danse presents its latest "Collected" anthology, the label's most ambitious release since it released an extensive anthology of music produced by New Beat pioneer Ro Maron back in 2015.

              This time label managers Olivier Ducret (Muriaux, CH) and Ed Isar (Paris, FR) have focused on another essential Belgian producer: Dirk Desaever, the man behind White House White, A Thunder Orchestra and Danton's Voice. Rare and sought after, his records fetch high prices among collectors. Some of his productions under these aliases have appeared in crucial compilations such The Sound of Belgium series as well as Walhalla's Underground Wave, along with edits by Mick Wills for Biorythm and Marcel Dettman for Dekmantel.

              What was initially supposed to be a simple reissue affair soon turned into a much wider project, as Desaever shared heaps of amazing unreleased material with the label. It seemed much more interesting to shed light on the dark side of this producer's body of work, rather than to focus on content already reissued elsewhere.

              After listening to noisy tape rips over and over, Ducret & Isar opted to break this release down in three formats EP, LP and a cassette sold by the label direct), each one with different content. They entrusted sound engineer Lorenzo Targhetta with remastering the music and it's impressive how much he managed to polish the sound without altering the unmistakable grain of music committed to cassette tape.

              The A-side of this Extended Player is a reissue of the highly sought after "Disdain EP" from 1988 by White House White. While it's the most straightforward New Beat / EBM section of this "Collected", Desaever's sense of dramaturgy, his sound design, rhythmic patterns and use of film samples create a dark and mysterious ambiance at odds with the smiley atmosphere prevalent in most contemporary New Beat productions with infectious grooves focused on setting bodies in motion.

              On the B-side we have three previously unreleased tracks in a similar spirit to WHW's sound with a dark and sleazy atmosphere, elegant arrangements that sound of an almost baroque persuasion, mysterious film samples and dance-inducing rhythmic sections that range from 104 to 108 BPM.

              In 1992 DJ Duke came up with a deep vocal house burner sung by vocalist E. Scot. It has since became a bit of a rare gem on the club circuit, it's natural piano line, bubbly bass and soulful vox hitting that sweet spot between emotion and energy that really works on the dancefloor. Remastered by deep house connoisseur Herb LF and carefully cut by Schnittstelle in Berlin, it's about time this lesser-heard anthem received a wider audience.

              Coming in four fragrant flavours, each DJ and dancer will have their own favourite; and it's the kinda track that'd easily garner multiple spins across one heady evening, with perhaps the 'vocal house mix' destined for end-of-night revelry. 

              4 tracks, 2 bangers: D.K. starts a new season in the Antinote league with a 12” 100% dedicated to the dancefloor. There’s a perfume of jungle (not the genre, the one from Donkey Kong Country, in case someone has still not made the connection between Nintendo’s #1 gorilla and the French producer) emanating from the whole record. The Parisian producer has also been taking a peep on some early 1990’s rave records (but who isn’t at the moment?), as demonstrated by the two first songs, "Mystic Warrior" and perhaps even more flagrantly "Elements" – with its emotional pads and sad mock Jon Hassel-like trumpets.

              "Worries In The Dance", and "Earth People" are more of a warm up business – so to speak, in the language of the club. D.K. takes a step back, BPM-wise, only to allow a deeper exploration of the surroundings – namely shamans with bamboo flutes circling around you, monks meditating under a cascade, others ringing a prayer bell – that have more to do with Age Of Empire or any 1990’s adventure game set in a fantasized Asia than anything that actually exists IRL (probably a distinctive signature of the French producer). Anyway, there’s a Bruce Lee sticker on the sleeve that says it all, in a much more concise way.

              STAFF COMMENTS

              Patrick says: Parisian hero D.K. makes his first appearance of 2k19 with a DJ friendly 12" for the mighty Antinote. Inspired equally by shimmering 80s synthtones and '92 rave idents, "Mystic Warrior" and "Elements" are tie-dyed club killers feat major faux-pan pipe, while B-side offerings "Warriors In The Dance" and "Earth People" twist the same ingredients for the warm up. Highly recommended!


              Capsule Losing Contact

                San Jose’s sonic cure-all for the Y2K hangover that never materialized, Duster emerged from a cloud of lonely bong rips to take indie rock to the moon, and beyond. Scotch-taped guitars toggle between a chorus of brittle winter trees and a blanket of distorted fuzz. The low rumble of a cardboard box being kicked in a dead mall keeps pace in the background, as muffled, sung-spoken vocals ponder the great mysteries of modern mundanity. Three years of home recording accidents and blown-out 2AM studio experiments are spread across four LPs or three CDs, gathering the short-lived trio’s Stratosphere and Contemporary Movement albums, 1975 EP, singles, demos, and other miscellaneous debris into one escape pod, now free to drift in the endless void of space.

                Mastered from a mix of crusty cassettes, decaying DATs, and warbly analog tape, Capsule Losing Contact is housed in a moon dusted slipcase with all four albums secured in heavy weight tip-on jackets. An accompanying lyric book guides the listener through Duster’s lo-fi worldview, adorned with the last gasps of an expired golden age as captured on Polaroid and disposable Kodak cameras.

                FORMAT INFORMATION

                4xLP Info: 4LP + lyric book.

                3xCD Info: 3CD + lyric book.

                Delroy Edwards follows up his smashing "Aftershock" LP from 2018 with a new six track ep of pure old school 80s style Chicago House. While many may have moved on, Delroy Edwards steers the course, carrying the torch like not many cannot do, as he executes stripped down 808 beat tracks with a Gherkin bounce to perfection.

                Sounding like cuts from a lost WBMX tape, this timeless six tracker is sure to get the all house fiends mouths watering. Think of the primitive styles of Virgo meets Harvey Harris meets Saunders and you're on the right path.

                STAFF COMMENTS

                Patrick says: Phwoaaaaar! Delroy SMASHES it on this EP, dropping six totally legit Chicago wall shakers on a BIG retro tip. Jacking perx and mind-bending acid lines - hot!

                Riding a slipstream from the other side of the globe, the musical progeny of Elegant Borzoi lands on the fair shores of Piccadilly. Within this wax lies the dangerous debut of this mysterious man who fuses disco, funk, AOR guitars and sumptuous synthesis into something brand new and pretty damn Balearic. Opener "Mystique" floats along on a slow disco groove, takes in a little nuanced perucssion then soars starwards with swelling synth lines, slick bass and killer melodies. On the B1, "Lawnmower Woman" employs sunny chords, spacey pads and a big electronic bassline to arrive at a Balearic boogie sound big enough to soundtrack any sunset. In addition to this one-two combo of Balearic heat, we get a pair of remixes from Woolfy vs Projections and Project Sandro, each staying close to the original but giving it a gentle nudge towards the grown up dance floor.

                STAFF COMMENTS

                Sil says: Cosmic tingles coupled with some serious boogie moves? Just what the doctor ordered. Here you have it, sir. A classic in disguise? You be the judge!


                The Fuzz EP

                  This is the debut EP from new Fat Possum signing Ellis. The six-track release presents an uncommonly fully-realized aesthetic to match the strength of Siggelkow's songwriting. Built from simple instrumentation, but deftly arranged to lend a grandeur and devastating scale to Siggelkow's skillfully rendered laments, the release is a resounding statement from a young artist who is poised for a reception that equals the scope of her remarkable gifts. Ellis, who, after generating buzz in her local scene on the back of opening stints with the likes of Soccer Mommy, Gabby's World, Chastity, Palehound, and Free Cake For Every Creature, garnered international acclaim with the release of a series of singles, earning comparisons to Mazzy Star, Alvvays and Slowdive from outlets like Pitchfork, Noisey and Stereogum, who marked her out as one of "a new generation of exciting songwriters."

                  On It’s Real, the group’s second album, Ex Hex’s commitment to larger-than-life riffs and unforgettable hooks remains intact, but the garage-y, post-punk approach that defined their debut album Rips has grown in scale and ambition. What started as a reaction to the blown-out aesthetic of Rips would test the sonic limits of the power trio and lead the band on a quest for a more immersive and three-dimensional sound. Vocal harmonies are layered ten tracks deep, solos shimmer and modulate atop heaving power chords, and the codas linger and stretch toward new frontiers of sound. On first listen, you might think you’ve unearthed a long-lost LP carved from the space where crunch-minded art rock and glitter-covered hard rock converge, an event horizon at the intersection of towering choruses and swaggering guitars.

                  Ex Hex were already one of America’s best guitar bands—but on It’s Real, their musical savvy has thrillingly combined with anything-goes curiosity, studio experimentation, and a dedication to refinement, resulting in an album that’s ready to be played at maximum volume.

                  STAFF COMMENTS

                  Barry says: Ex hex return with their most incendiary offering yet. Blazing hooks and huge rock choruses, encompassing that huge 70's rock sound with all of the best pomp and stadium grandiosity chucked in for good measure. TURN IT UP

                  FORMAT INFORMATION

                  Coloured LP Info: Limited LP in matte jacket + pink & blue swirl vinyl (2700 only worldwide), this is for Indie stores only.

                  Coloured LP includes MP3 Download Code.

                  LP includes MP3 Download Code.

                  The Fall

                  Mark E Smith’s Personal Holiday Tony Tapes

                    A mixture of Live and Studio out-takes that have never been out on vinyl before. Gatefold Sleeve, 180 gm Orange Vinyl. About five or six years ago Mark E Smith and I were going through some old audio recordings of The Fall both studio live and he invented a character called Holiday Tony who he said should be the person who should come round and listen to the tapes with us. He made a phone call to me telling me Holiday Tony lived in Prestwich and went to Blackpool on his holidays once a year with an old brown suitcase with recordings of The Fall inside. I even got a letter off Mark telling me when it was ok for Holiday Tony to go round and see him. Another idea of Mark’s about three years ago was to do a vinyl as a Non Record Store Day release in the weeks before Record Store Day and that every track should just be called The Holiday Tony Tapes. So here is the album. 

                    Reissue aficionados Grooving return with the official repress of "Spanish Hustle" by The Fatback Band. Side A features the main versions from the original 1976 US single, bursting with percussion and bass interplay and bustling with a flamboyant, carnival energy - just wait for those keys and kettle drums to send the crowd spiraling into disco oblivion!

                    Meanwhile on the B side it's not one but two mixes by the king of disco, Mr. Joey Negro, including his main remix and the additional "Beats" version that is out for the first time. Dave accentuates the massive energy dynamics between break and drop, using the percussion lines and that keyboard motif as the main focus and generally ramping up the energy levels +11. Killer! 

                    "Im Tanzrausch" is step 2 of Fred und Luna's joint venture with Compost Records. In direct connection to their mesmerizing album "Im Tiefenrausch" Fred und Luna come up with four hypnotic and tribal Elektrokraut / Krautelektro pieces ready to find their way to the dancefloor.

                    The music of Fred und Luna has always been a combination and an interplay of both listening and danceable sound. On their upcoming release "Im Tanzrausch" they are focussing on repetitive, dancefloor-ready beats, not losing sight of their love for beautiful melodies, electronic soundscapes and their krautish background.

                    Fred und Luna's dance music history started in 2016 with their later to become an underground dancefloor hit "Monotonikum", first released on Optimo Music and appearing on Fabric 100 compilation end of 2018.

                    The same year Innervisions released a Prins Thomas remix of Fred und Luna's "Im Klanggarten" on their Secret Weapons series (Secret Weapons 8).

                    After the release of their highly acclaimed debut album "Im Klanggarten" on Frank Wiedemann's then newly founded label Bigamo, Fred und Luna started doing dancefloor-ready remixes, amongst others for Connaisseur Recordings, Yotanka (PIAS), Le Temps Perdu and Depth Records, followed by a collaboration with Trikk on his dance album "Mundo Ritual" (Innervisions) and with Achim Treu (Der Plan, Dauerfisch, UFO Hawaii).

                    Their upcoming dancefloor release "Im Tanzrausch", produced by Jan Krause (Beanfield) will be released 22 March 2019 on Compost Records.

                    The Frightnrs

                    Never Answer / Questions (Dub)

                    Brand new but vintage sounding rocksteady niceness here from The Frightnrs, originally self released in 2012 and now reissues on Daptone Records. One of the first songs that found bassist Preet Patel in the proverbial driver's seat, the tune began as a instrumental demo with only a chorus melody and a strong UK lovers rock vibe. Once Preet played it for the rest of the group the tune quickly came to life with the addition of Dan Klein's sincere, soulful vocal melody that pays homage to a long-time personal hero of the Frightnrs, the legendary Sugar Minot. It sees the band blend the lovers touch, mixed with that gritty Brooklyn & Queens rocksteady approach, with their sound paying homage to the original roots of reggae in painfully authentic style. The band aptly construct highly inventive dubs too, showcased here with "Questions" - which could literally have been plucked straight from Tubby's studio, in particularly the Brad Osborn / Aggrovators set "Reggae Stones Dub". A must have for any reggae fan!

                    Hi-grade vintage Running Back tackle here from Genius Of Time who contributes a three track EP so in tune with the label's harmonics I'm surprised that glass is shattering all around me.

                    Running Back, if you didn't know, practically invented the term 'coastal house' here at Piccadilly - their blend of crisp drums, euphoric riffs and hedonistic outlook define what it feels like to have the sun burning down on your carefree face as you blissfully dance away your troubles on some exotic island (or simply knee deep in mud in some UK field praying for a break in the clouds...).

                    Genius Of Time decides to show the rest of the label just what holiday excess sounds like as three tracks tickle all areas of our outer spectrum. If "Peace Birds" the anthem that'll have your arms raised, "Smiling Into Eternity" is surely what'll soundtrack star-lit dancing as the day turns to night. "Rymd01" concludes with a deep technoid chugger that's primed for extended plays in Barbarellas, Space or Vortex as night becomes the next day...

                    STAFF COMMENTS

                    Matt says: Grandiose holiday house vibes from market leaders Running Back who, with Genius Of Time in tow, juice the summer sun nice and early and get us reet in the mood!

                    Good Block have been throwing parties in and around London for the past six years. Nomadic and sporadic in form and function, their parties are centred around danceable odd-ball gems and have hosted the likes of Jamie Tiller, Jon K, Esa, John Gomez, Selvagem, DJ Nomad, Bradley Zero, DJ Okapi, Jonny Rock, Apiento, DJ Vegetable and Cosmic Slop.
                    After a series of DJ friendly edits issued gratis, Good Block finally put out their first fully fledged EP of original material; a composite soup of influences and styles from around the Orb, trekking through slow jungle chug, cosmic Caribbean Juno jams, Japanese synth pop snares and New-Age meanderings.
                    We get off to a fucking glorious start with the sharp mallets, sampled vox and rainforest ambience of techno-tropical opener "Jungle Fly", an instant and eternal Talking Drums classic. From there we drift into the digi reggae meets Balearic funk heater "Dub 4 Joy", a Ruf Dug styled diversion into shoulder rolling ecstacy which sits perfectly next to that Monyaka dub we all hammer. Skip to the flip and lock into the metallic rhythm of "Ryu's Dream" a post Paisley machine funk heater which somehow combines new beat, Japanese Synth pop and Minneapolis' finest into one strange and sexy club cut. Finally, "Cabo Trek" takes us out of the club and into the pixel mountains with its misty fourth world invention - if they ever made a video game of Romancing the Stone, this would have been the perfect soundtrack. 

                    STAFF COMMENTS

                    Patrick says: I am all over this! Good Block take inspo from the coolest shit out there (Japanese synth, tropical funk, B-word boogie and new age dancers) to make a four tracker of ORGINAL productions. Every single track on here slays, but it's "Jungle Fly" and "Ryu's Dream" that we'll be hammering at Talking Drums.

                    Group Photos


                      Group Photos hail from San Bernardino, California and make incredible shoegaze pop. Like a mix of Interpol's delivery with Slowdive's blissed droning peaks that cut through the songs with touches of shimmering & delayed flecks of sound. Add a dash of experimental field recordings, crisp acoustics & fx, and it's a seductive collection of tracks on the ever-present Box Bedroom Rebels! Opening instrumental "Safety" sets you off with its hypnotic jangling riffs before melting into a long ecstatic drone as the acoustic strum of "Infirmary" fades in before the track explodes to life and races off before blending into "In The Morning", a high speed sprinter with crescendo upon crescendo that never eases up. Side 2 starts with another instrumental track "Cut", with its ambient soundscapes and the whirrr n click of electronics. "Frequency" is the longest track on the EP - a beautiful hypnotic slice of dreampop. "Flight Lessons" is full on blissed-out, lo-fi shoegaze; dreamy, etherial and woozy before the EP ends on a short instrumental piece "Birds Under A Bridge" - a ghostly track that ripples with unnatural echo, concludes the EP in beguiling form. 

                      7 track 33rpm 7" housed in one of 5 different coloured risograph sleeves containing one of 2 different gatefold full coloured doublesided inserts plus a stamped envelope containing 9 track download code, BBR Letter, Group Photos confetti & postcard.

                      FORMAT INFORMATION

                      Ltd 7" Info: 7 track 33rpm 7" housed in one of 5 different coloured risograph sleeves containing one of 2 different gatefold full coloured doublesided inserts plus a stamped envelope containing 9 track download code, BBR Letter, Group Photos confetti & postcard.

                      Halo Maud

                      Des Bras - Andy Votel Remix

                        Andy Votel says: "Working with Halo Maud's song came extremely naturally to me, and I thank Jeff [Barrett, of Heavenly] for recognising this connection. The contrast of her strong melodic songwriting combined with the fragility of her vocals is a real secret weapon and much more than just a breathy pastiche. I think Maud effortlessly captures many unique subtleties in French language music which so many contemporary bands seem to forget, and it's ingredients like these which gave me the confidence to take a more minimal route with this mix, which I appreciate.

                        "In the past I could only dream of finding a singer that comes close to Léonie Lousseau or Ann Sorel so working with Maud's vocals was an enjoyable experience and I already regard this short track as one of my personal favourite production achievements.... which I can't wait to play on the radio... off 7" vinyl naturally."

                        Maud says of the track, "I wrote the basis of the song in a few minutes, the day before a show. It was just the guitar and the voice, very simple. The rest of the track is a mix between a band jam, improvisations, ambient sounds, happy studio accidents, and all this material has been re-cut and tinkered with, until I felt it made sense. "It’s an amazing feeling to discover another vision of your own song, and Andy Votel’s version really overwhelmed me, in a good way. This is another song, but it’s still me. Thank you for this huge present.”

                        The original song features on Halo Maud's debut album, Je Suis Une île (which translates as "I Am An Island"), released on Heavenly Recordings last May.

                        Emotional Rescue embark on a new non-defined string of reissues here, selecting cult classics from some of their favourite artists then hand picking a complimentory contemporary producer for the re-interpretation.
                        The whole shebang kicks off with a couple of lesser known cuts from Brit-psych legends Hawkwind, reworked by lysergic disco maverick Cherrystones.

                        Following the departure of Lemmy to the Motorhead hinterlands, Hawkwind's sound took a wider but more defined style, including their burgeoning interest in electronics. With that, the 1976 album "Astounding Sounds, Amazing Music" contained a song that has become a secret spin for the more leftfield and adventurous. "The Aubergine That Ate Rangoon" - itself referencing cult psychedelic band Dr. West's Medicine Show and Junk Band's alien invasion opus "The Eggplant That Ate Chicago" - with its use of loops, synthesiser and motorik drumming is a short instrumental that has gained cult status in its own way. Focusing on much of Hawkwind's musicality in one song, mixing psychedelia, fusion and humour with a killer groove, all in one short blast of repetition meets experimentation.
                        This is backed with the album's other stand out, in the beautifully laidback stoner vibrations of "City Of Lagoons". Lanquidity rules as West Coast meets Floyd touches abound. A hazy Gilmour style guitar and heavy phasing and reverb drums underpin space rock key solos that carry you to the horizon.
                        An Esteemed excavator, musician, compiler and oracle, the choice of Cherrystones to rework these instrumentals is a given. With two decades of production chops from beats, breaks and jazz for the likes of Stark Reality, Twisted Nerve and Brutal Music to the abstract, psychedelic acoustics for Whatever We Want Records, he has gone on to become a respected composer of soundtracks for Adidas, Stone Island and YMC.
                        His heavy retake of "The Aubergine" pulls up the drum and bass and overlays freeform synth stabs atop a warped Riley arpeggio loop that takes the smoke hazed original and give it doses of codeine and rum. To close, his City Of Lagoons rework becomes 'Head' outtake overkill. Trippin' beyond the light fantastic.

                        Words from Cherrystones:

                        "When the prolific and albeit consistent Emotional Rescue label & head honcho Maestro Chuggy proposed this as a potential project to me I was initially excited as much as honoured, but also hesitant. Why you ask? Because that which is to the heart is often the most sacred and foreboding to envisage or should I say take out of context or possibly leave in context via sympathetic realisation.

                        My history with Hawkwind is as murky as anyone that truly let the band into their hallowed cerebral bandwidth whilst following their smoke signals and oily pipes serenading the riff fuelled synth washed sunsets where dogs on strings jugglers tents and paratrooper boots were standard issue on stage and backstage. This is more than a mere band, these wrote the book on themselves, used pages to roll with and smoked their own scriptures and blew smoke rings that became parables with no care to any place scene or need to fit within or out.

                        This entire project was created using no stems, no multi tracks hence we did not use remix as a theme, these are re-works which I made via intense hacking at open sections in the songs whilst manipulating and treating those hard. The only parts added were the synth I played, added and re -chopped with a view to colour these re-imaginations. It was essentially making a new meal from the existing but adding and subtracting flavours to create a new
                        Essence, a new sensation and believe it, it was not easy which kept it exciting and close to me. By no means am I metaphorically adding a moustache to the Mona Lisa, I'm more to the point tickling her or poking my tongue out with a view to get a response or smile. Hurry on sundown so I can see your shadows dancing in the grassy lucid light.

                        STAFF COMMENTS

                        Patrick says: Emotional Rescue serve up a real treat for the cosmic / Balearic / psych crowd here, lifting the two best moments from Hawkwind’s “Astounding Sounds, Amazing Music”, slapping them on a DJ friendly 12” then getting Cherrystones to work his usual off kilter magic.

                        The wondrous rarity that is Hipnotic ‘Are You Lonely’ gets the rework treatment form four masters of the re-edit, each with their own trademark sound.

                        First up to the operating table, Opolopo increases the tempo edging up to the 118-mark adding a characteristic juiced up bass synth that oozes smoothness and swapping the flute melodies with cosmic synth lines that sparkle in the darkness.

                        Greg Wilson & Che Wilson tackle edit duties next in classic Wilson style. Again, opting to move into peak-time tempo territory, they begin with a stripped back, spacey intro that sees elements added one by one from a bumping bass and panning pads to rough snares and crisp claps. It wouldn’t be a Wilson edit without a double dose of tape delay, the duo dropping the vocals and synth lines expertly in and out for maximum dancefloor flavour.

                        Back down to the original pace on the B side, The Revenge offers up a slick, late-night redub treat. Only a handful of components are involved as he chops and changes the bass and synth lines to provide a mesmerizingly chuggy groove whilst dropping in choice vocal echoes that makes Hipnotic, even more hypnotic. Last up, Yam Who brings those strutting guitars further forward in the mix whilst adding some delicate piano touches that offer an elegant enhancement to the original.

                        London five-piece Housewives return for more anarchic genre-blending adventures on their second LP, Twilight Splendour; A synthesized collage written in Wetherspoons, cafes and anywhere away from their houseboats where they could find a permanent electrical supply. Exploring the possibilities of electronic sound, this new LP marks a turning point for the band - who sold their guitars to buy midi equipment and swapped London rents for water habitation. Bringing to mind the digital meditations of legendary producer Oneohtrix Point Never, Twilight Splendour presents a love letter from an early AI to its owner, its concept-led songs strewn with “ecstatic messages of frustration and a desire to connect”.

                        Since forming five years ago, Housewives have drawn from such diverse scenes as post-punk, jazz, drone, electronic and avant-garde. 2013 saw the release of an eponymous debut EP via Brighton label Faux Discx, while their first-full length record, ‘Work’—recorded at a barn in a desolate corner in the south of France—arrived two years later. 2017 live album FF06116 marked the band’s first collaboration with experimental saxophonist Ben Vince. Following on from these early statements, Housewives are now set to unleash their game-changing new album—turning away from performance-based writing, the human, and facing the cold light of computers head on. 

                        Back when my jeans were too skinny and my eye make-up too fat, a good friend told me that this record would be relevant until the end of time. Well, those style choices may have rightly died a death, but this little number still endures. Beaming in from another galaxy in 1997, "Space Invaders Are Smoking Grass" revived an ailing electro scene, brought a playful spin to the po-faced techno-sphere and created the glam and ghastly marvel which was electroclash. Made on a knackered Nord lead, some lagging sequencers and a Surinamese vocoder, recorded to rotten tape and rescued by some mastering wizardry, this garbled fusion of fizzing synth work, indecipherable vocals and fairly traditional song structure more or less changed the world on its release. Taken in tandem with the flawless "Mixed Up In The Hague" (oh you like Italo-disco?) CBS (I-F's online radio station) and its cultish forum (homepage for Abel, Tako, Les Yeux Orange, Morgan Geist, Basso etc...) this masterpiece turned a whole generation onto a totally different set of electronic sounds and invited us all to dig deeper and push harder. Alongside that little piece of musical history sit the steely, chrome and neon pulse of "Secret Desire" and "Playstation 2", a pair of the finest European electro creations you're ever likely to hear and the brand new, completely unreleased weirdness of the Debbie Deb sampling "Us And Ours And You And Yours". You need this record in your life! This release features an extended and remastered version alongside an instrumental and the previously only on CD released Pong's Run' by I-F and Intergalactic Gary. Mothers keep your children away from these deadbeats; they're up to no good smoking and gaming their lives away. 
                        Absolute classic that you need in your collection. 

                        STAFF COMMENTS

                        Sil says: It is all about the XL version on this package. An absolute electro classic no doubt. You need this if you don't have it already.

                        Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band’s name is derived for the dazzling new album. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on "Doko Mien", the followup to "Uyai". By pulsing the mystic shapes of Williams’ lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents. Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk.

                        The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette’s drums and Derrick McIntyre’s bass funk groove bring everyone to the dance floor. 'These stories won’t be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

                        On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

                        FORMAT INFORMATION

                        Coloured LP Info: Limited LP is matte & gloss gatefold + white vinyl (1500 only worldwide), this is for Indie stores only.

                        Coloured LP includes MP3 Download Code.

                        LP includes MP3 Download Code.


                        Into U (Kaka Bootleg)

                        Kaka's flip of a modern pop classic will have your brain erase the original and permanently overwrite it with this deep, powerful version. Ariana Grande's "Into You" gets galvanized into a rock solid tech-breaks hybrid. Listen, if you don't know the original by now then I congratulate you for successfully avoiding supermarket, gym, airline and radio playlists for the last few months. This girl is literally EVERYWHERE (I think half the top ten is made up of tracks from her recent album) but don't let that put you off! The vocal of this track is to die for - and if you were let down by the previously quite wet and wishy washy backing track - then Ikonika's rumbling, foundation-shaking warehouse beats hit the target like a marksmen's arrow. Surely gonna be ma-hooo-sive this. Limited copies too on vinyl so don't delay, reckon this is gonna blow up big time.

                        STAFF COMMENTS

                        Matt says: One of the naughtiest and best pop / RnB refixes we've had in the shop for ages. Pairing up Grande's mega sexy vocal with some bolstered beats - this is my jam pop pickers!

                        Special 7" edit of the highly sought-after Instant House track  "Awade". Taken from the iconic triple vinyl album, "Awade" is one of those quintessential house tracks that instantly gets the floor moving with its tribal drums, squelchy bass and voodoo chants. 

                        On the flip side is an unreleased number in the form of "Drum Box". Utilizing a proto-house drum palette and a vintage bass preset, it's another slice of Joe Claussell magic and will mark a welcome contrast when played alongside the more gospel / disco cuts he's famous for. As an added Brucey bonus JC sticks a few vocal fx cuts onto the end of the 7" for your sampling delight. Wonderful! 

                        STAFF COMMENTS

                        Matt says: One of me faves off the Instant House triple pack is now handily re-released on 7". "Awade" is a tribal house staple from one of the masters - every home needs one.

                        Iron & Wine

                        Our Endless Numbered Days - Deluxe Reissue

                          Sam Beam, aka Iron & Wine, released "Our Endless Numbered Days", his second in March of 2004. It followed his hushed, literate, intimate, melodic, 2002 debut album, "The Creek Drank the Cradle", a quiet treasure which, with its unaffected candor and depth, found fans all over. "Our Endless Numbered Days" was recorded both at Sam’s Miami home and in Chicago’s Engine Studios with Brian Deck (Red Red Meat, Modest Mouse, Ugly Casanova, etc.) On it, Sam is aided and abetted by his then touring and recording conspirators: his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki, and Jonathon Bradley. Listening to "Our Endless Numbered Days" makes plain Sam’s deft touch with words and melody; one that allows him to turn out stories about love, loss, faith, or the lack of it that are at once personal and universal, set to music that is sweetly haunting and timeless.

                          This reissue features the original album, plus eight previously unreleased demo versions and a 12-page booklet with an essay about the album by Amanda Petrusich.

                          FORMAT INFORMATION

                          Coloured LP Info: Loser Edition dark green opaque vinyl.

                          The Jasmine Minks

                          Step By Step

                            The first band to be signed to the iconic Creation Records, The Jasmine Minks return with a new single as compelling as those early singles, ‘Think’ or ‘Cold Heart’.

                            With almost the same line-up as the very first recordings, Jim Shepherd, Martin Keena Dave Musker and Tom Reid recorded the two new songs with producer Pat Collier in his Perry Vale Studios.

                            FORMAT INFORMATION

                            Ltd 7" Info: Limited edition (300 only) 2 track 7" on blue vinyl in card sleeve with download code.

                            Jayda G releases her debut album “Significant Changes” via Ninja Tune, having risen steadily through the dance music underground thanks to her infectious energy, vitality, rhythm and boundless enthusiasm. Musically it’s a blend of vintage drum machine funk drawing heavily on Chicago’s house blueprint - a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger (Sex Tags Mania), often appearing on the Freakout Cult label the two ran jointly until 2018 and most recently her newly minted JMG Recordings imprint. Also renowned for her high-energy performances as a DJ, the past 12 months have seen her play London’s formidable Printworks venue alongside the likes of Marcellus Pittman, Moodymann and Omar-S, be invited by The Black Madonna to play at her Warehouse Project takeover, and Berlin’s iconic Panorama Bar, as well as festival appearances at Field Day, Kala, Melt!, AVA and the xx’s Night And Day to name a few.

                            'I’ve gone through some significant changes personally, in terms of growing up into the person that I am, my career just morphing to a place I never dreamed or imagined possible,' explains Jayda. 'It’s about me understanding myself as an artist, understanding who that person is, and who I want that person to be, and taking more responsibility for the platform that I’ve been given.' 

                            FORMAT INFORMATION

                            2xLP includes MP3 Download Code.

                            Clifford Jordan Quartet

                            Glass Bead Games

                            Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70’s avant-garde and spiritual jazz, with a groove.

                            Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

                            Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

                            Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

                            Margie Joseph

                            One More Chance

                            This is a reissue of a rare soul record from 1976. Originals exchange hands for up to £300 but don't let that sway you - just listen to those brilliant horns, powerful drumming and, of course, that sugar sweet vocal on "One More Chance" - sonic sunshine!

                            B/W "Nobody" - a most glorious B-side which sees Joseph wax lyrically about how no-one's gonna tell her how to love her man! Indeed!

                            Limited copes, official release.

                            Karen O says:  “After making music for the past twenty years and embarking on making this record with Danger Mouse I knew a couple things: one was that the spirit of collaboration between us was going to be a pure one, and two was that the more I live the less is clear to me. When you create from a blurry place you can go places further than you’ve ever been. I think we both were excited to go far out.”

                            STAFF COMMENTS

                            Barry says: Half way between the glitter-laiden dancefloor of a sweaty disco club and a smokey jazz-lounge, 'Lux Prima' is the perfect balance between downbeat electronics and pitch-perfect production courtesy of legendary producer and musician DM, and Karen O's undeniably enchanting vocal prowess. They are both in top form here, and this will undoubtedly go down as some of the best work from either of them. Lovely stuff.

                            FORMAT INFORMATION

                            Coloured LP Info: Indies exclusive red vinyl, gatefold LP jacket + fold out poster.

                            Coloured LP includes MP3 Download Code.

                            LP includes MP3 Download Code.

                            Kilchhofer / Anklin

                            Moto Perpetuo

                              For the 9th Marionette, Kilchhofer and Anklin release their collaboration record "Moto Perpetuo". Michael Anklin is a drummer and percussionist based in Switzerland. He’s involved in various bands, collaborations and interdisciplinary projects. Anklin has previously appeared on a few recordings from Kilchhofer's album "The Book Room". Kilchhofer uses his main instrument - the modular synth - in a more electroacoustic manner, where he derives and processes voltages from Anklin's playing.

                              The album title describes the fascinating idea (yet impossible reality) of a perpetual motion - where no energy is lost yet energy is constantly being created, an endless music, yet far away from generic ambient or minimal music. Anklin's live drumming influences delicate feedback patches on Kilchhofer's synth, where dry and transient heavy percussion and synthesizer sounds erupt into a feral electroacoustic instrument.

                              A fluid concept of time where the rhythmic pulse constantly shifts is at the heart of the record. The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat.

                              Kilchhofer and Anklin draw inspiration mainly from their rural surroundings and mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails - on a never ending quest for an 'ur-klang'; a primordial, ancestral music.'

                              Well, what can we add to that?! Other than Marionette have consistently beguiled, amazing and bewildered us through their so far modest, nine release catalogue. Lacing modular machinery with a kind of black arts voodoo very few knob tweakers can muster, each artist seems to delve even further into the cauldron; conjuring up a whole host of esoteric soundscapes and evoking the supernatural fauna of the European wilderness at night.


                              Melencolia V / Invidiosa

                              Koehler was hurled headlong flaming from the ethereal sky. This is his first offering for the ESP Institute. Side A recalls the hazy memory of an ear-worm chant heard over a decade ago on the streets of Thailand, a melody that since haunted the artist and has finally been exorcised by his own hand in the shape of 'Melencolia V'. Somewhere between an enchanted bashment and a sailor’s watering hole, Koehler found a gargantuan kick drum that lands solely on the 4, slammed it together with a wide pulsing bassline and brutalized dancehall snare, then laced it all up with his elusive synth melody. Add to this a generous sprinkle of finely-ground cosmic dust and we’re all tripping the light fantastic. On the flip side, the artist buckles up for a rough and rapid-paced journey with 'Invidiosa' — a relentless snare scrapes, gouges and corrodes over 7 minutes, coupling with a simplistic bass loop and swiftly marauding through a demented assembly line, accumulating various nuts and bolts of instrumentation along the way — an undeniable dancefloor exciter for those hours when the club becomes unhinged, dancing becomes raving, and slightly more audacious folk can channel their inner truth. These two songs will have you question your existence.

                              STAFF COMMENTS

                              Patrick says: BIG leftfield house heaters here on ESP, as new face Koehler cooks up a spangled and lysergic slice of dancehall tinged electronix on the A-side, then powers out a slamming hardware house mauler on the flip. If you dig on Ste Spandex, Legowelt or Jamal Moss you should wa

                              Patti LaBelle

                              Get Ready (Looking For Loving) (Braxton Holmes Edit) / Supreme Beats

                              Super limited white label pressing of this Braxton Holmes edit of Patti LaBelle's killer disco track "Get Ready (Looking For Loving)". Released at the turn of the 80s, it features incessant percussion lines twinned beautiful with staccato lead guitar licks and empowered vocals that loop over and over and really get stuck in your head! Anyone with a penchant for dancing and nightlife is bound to have heard this number at some point belting out the speaker stacks; but they may not have heard this amazing extended trip which somehow managed to whip the listener up into a salviating beast, awaiting each successful drop with an even more fervent energy - killer!

                              B/W Braxton's own "Supreme Beats" which distilled the percussive black magic from the track and delivers it to us as a mainline injection. THis fiery and demonic workout should only be reserved for the real late night freaks and delivered with appropriate caution! So good. 

                              STAFF COMMENTS

                              Patrick says: I'm always up for a bit of Patti LaBelle, but this particular hit ranks alongside "The Spirit's In It" at the top of her tree. Here we get the extended, repeated, groove heavy recut from Braxton Holmes, which flips the OG in the time honoured Ugly / Hardy style. Class. The bounty doesn't end there though as Braxton's included the percussive voodoo of his sick DJ tool "Supreme Beats". These are currently flying off the shelves, and we can't get more, so get on it ASAP.

                              Lakker return to R&S with their stunning new album; Época, a bracing return to form, combining caustic electronics with fresh inspiration from the prepared piano of John Cage, plaintive folk melodies, the explorative label Sublime Frequencies and the raw rhythms of Kampala's Nyege Nyege Tapes.

                              The natural evolution of the tracks and their rougher, looser production sound parallels the duo's interest in two separate ideas: ambient and natural sound, especially the background noise - a sense of time and place - that is inherent in old recordings of folk and classical music; and an interest in herd dynamics and flock patterns / murmurations, both in the natural world and in human society. The movements which affect the world at large through cultural and political shifts. "Like the first starling that causes a wave in a murmuration," Ian explains "We are really interested in how this is also reflected in human society - a new idea appears and then reaches critical mass and resonates through society as a whole, and change happens (positive or negative)."

                              The rich and deep work of Época finds the duo reinvigorated from their hiatus, using their own voices extensively for the first time, alongsides regular vocal collaborator Eileen Carpio. As Dara explains "We had been experimenting with our own voices in our solo music, so it felt like this was the moment to step out from behind the curtain and put our own vocals front and centre in a more natural way". This leads to an at times more melodic and poppier feeling, balanced out by the off kilter rhythms and blasts of feedback and weathered reverbs that intertwine throughout the record.

                              Once again the duo look to the outside world for sonic inspiration. Alongside the use of physical modelling synths the album contains recordings and samples of violin, guitar and bodhrán, the stringboard of a piano at EMS Stockholm, phone recordings of family gatherings in Dublin and 1970’s dance music from Jaipur.

                              ‘Época’ is a rich, challenging album of diverse and intense soundscapes that expands on the scope of Lakker's already multifaceted music that finds them at the peak of their artistic powers.

                              With ’This (Is What I Wanted To Tell You)’ Lambchop Continue To Establish Themselves As Forerunners And Innovators Of What Was Once Called Alt Country. Their Sound Has Morphed To Encompass Multiple Genres, Blending Folk Songwriting With The Tones Of Urban Soul.

                              Following On From The Pioneering Sounds Of ‘Flotus' (2017), ’This (Is What I Wanted To Tell You)’ Showcases Lambchop At A New Peak In Their Career, Whilst Still Retaining The Ingredients Of Their Classic Albums. ’This’ Is Brimming With Ideas, Songs And Hooks. A Huge Influence On The New Direction Is Matthew McCaughan (of Bon Iver And Hiss Golden Messenger), Who Produced And Co-wrote Large Parts Of The Album With Kurt Wagner (Lambchop Frontman) Over A Period Of Two Years.

                              STAFF COMMENTS

                              Barry says: Though we all know Kurt Wagner has a beautiful voice, this extensive use of the vocoder takes the focus away from his beguiling vox into the glitchy, dynamic instrumentation, as smoothly reminiscent as ever, but with a superb, fractured instrumental underclay coalescing into a huge, textured bed of bliss.

                              FORMAT INFORMATION

                              Coloured LP Info: Indies exclusive white vinyl.

                              John Lennon & Yoko Ono

                              Wedding Album

                                Originally released in 1969, John Lennon and Yoko Ono’s ‘Wedding Album’ was the couple’s third experimental album length record and one of the most remarkable of the duo’s testaments to an intense romantic and artistic partnership that would last fourteen years, until Lennon’s tragic passing in 1980.

                                On March 20, 1969, John and Yoko were married in a civil service in Gibraltar. To celebrate the event, in lieu of a conventional honeymoon, the newlyweds spent a week in bed at the Hilton Hotel in Amsterdam, inviting members of the press into their room for interviews and photo sessions and using their fame and the publicity generated by their ‘Bed-in’ to call attention to their campaign for world peace.

                                With ‘Wedding Album’, John and Yoko created an enduring snapshot of a vibrant pop-cultural moment, with the hostilities of the Vietnam War as its bracing backdrop. It captures the humour, earnestness, and spontaneity that marked the early years of the ‘Ballad of John and Yoko’ era.

                                ‘Wedding Album’’s innovative, original packaging, created by graphic designer John Kosh, included a box filled with souvenirs of John and Yoko’s nuptials: photographs, a copy of the couple’s marriage certificate, both Lennon’s and Ono’s drawings, a picture of a slice of wedding cake and more. Now, with a faithful recreation of ‘Wedding Album’ on special edition white vinyl LP, as well as compact disc, Secretly Canadian are making one of the most unusual and emblematic recordings of the Sixties available again - fifty years after John and Yoko were married - to mark the Golden Wedding anniversary of two of the 20th Century’s most emblematic cultural figures.

                                FORMAT INFORMATION

                                Coloured LP Info: Housed in a box set. LP packaging is a near precise replica of the 1969 pressing, down to the vendor who made the original boxes.

                                Jenny Lewis returns with her fourth solo album, On The Line - the follow up to 2014’s critically acclaimed The Voyager.

                                The 11 all new original songs were written by Lewis and recorded at Capitol Records’ Studio B, and feature a backing band of legendary talent including Beck, Benmont Tench, Don Was, Jim Keltner, Ringo Starr and Ryan Adams. 

                                STAFF COMMENTS

                                Barry says: A superbly nuanced and subtly melancholy suite of Americana-tinged Indie anthems, with standout moments of angular funk, smooth lounge and all topped with Lewis' unmistakable vocals. A cohesive, but varied mix of styles, put together without fault. Lovely stuff.

                                FORMAT INFORMATION

                                Coloured LP Info: Indie Exclusive Blue Vinyl.

                                Finnish electro-tropical ensemble Maajo a new EP for Queen Nanny. Joined by Ismaila Sané from Senegal but currently based in Finland, Sané started his career as a dancer and percussionist in Dakar in 1974. He has since pursued an extensive international career and worked with the likes of Jimi Tenor and Piirpauke. Ismaila and Maajo have produced two powerful songs in Jola language, spoken in Casamance, Southern Senegal. "Sèmbè "is an off-beat mix of disco reggae grooves, dancehall rhythms, trancey synths, and African gospel. The dub version on the flipside does what a dub is supposed to do, strips the track to its bones for bass-heavy sound system tweak. The second track, "Anaata", is a dark and mellow dub disco groover with an equally sublime vocal performance from Ismaila Sané.

                                Fountain Fire is Bill MacKay’s second solo album on Drag City. The Chicago-based guitarist’s continued sonic journeys in conversation with himself follow a travel-worn map written in his own hand. Bill has followed the trail from familiar confines to unknown places, catalyzing a style equally enamored with the traditional and the avant-garde to make his most expansive and forceful music to date.

                                You can hear it in the opening track; as the lava and lakes of “Pre-California” simmer to boiling, Bill assembles a bridge of guitars, layering beams of rumbling acoustic, distorted electric, and arcing slide parts. By leaping boldly from fixed points, he makes synergetic discoveries in mid-air. This is the MacKay writing style in its most evolved state thus far, following serpentine paths within the patterns, lunging in and out of tonality with instinctive flair and a stoic sense of inevitability, forging a sonic mosaic that breathes and grows organically as it fills the space of a song.

                                Yet there is far more here than straitlaced sonic captures of picker’s prowess and captivating harmonic motivation. Bill’s pieces are informed by meditation and memory, impressionistic as cinematic miniatures, inspired as much by filmic and literary passions as by sure-playing hands, and always rooted with deep soul and steady intention.

                                As the pieces move in and out of focus in enticingly hallucinogenic fashion, Bill throws another element into play: a pair of stark and emotionally-charged vocal numbers that cause the hair to raise on the listener’s neck, etched as they are with a haunting and eerie beauty. Alongside the ever-shifting flows of instrumental color running through Fountain Fire, these moments shine blindingly, like mirages in the desert. The fire in the album title is a continuity in Bill’s life — part of his genealogy, his living history, his astrology, the scorching effect of the overdriven slide in the penultimate “Arcadia.” It is also a sigil for the chaos around us.

                                Bill says: “While the record definitely reflects the turbulence and urgency of the times we’re living in, it also takes an autobiographical look back at the upheaval that characterized the nomadic rambles of my formative years. I learned to adapt to this constantly shifting landscape. Grasping the unfamiliar became second-nature, and the impressions made by the unknown rapidly entered my art. The bittersweet sense of fleeting time & place became a hallmark. Now is more of a time than ever to dramatize what matters to us through our art.”

                                Man Electric is a duo formed by DJ Giamma Soren and bass player Federico Freni. This is their debut release and lands somewhere between Canyons, Eddie C, Hi-Fi Sean and Hot Chip, mixing radio friendly, pop inflections with high definition electronic production and sophisticated grooves.

                                "Morning Sun" is perhaps the one the DJs will opt for, an instrumental cut rich in bubbling electronics that's sure to see it find favour across the Adriatic set whilst it's natural B-lines (played by Freni) ensure the hips and feet have plenty of get involved in. "Go To Sleep Little Baby Dark Side" should certainly appeal to fans of Hi-Fi Sean as it drops a radio friendly slice of pop brilliance onto the record. "Ouverture" raises the trouser tents of the Balearic mod with it's reverb soaked Strat lines, rounded bass and slouchy drums; this is the golden, lost Claremont56 jam Paul Mudd never got his hands on! Finally, "Why Not?" closes off with some deep beach abandon, as we sit eagerly awaiting the next day's sunrise with little for company other than each other and a dwindling bottle of liquor. 

                                The 1983 cult-classic 'Mariah - Utakata No Hibi' sees its re-release for the first time. The long sought after final record on the legendary Better Days label, Utakata No Hibi is the culmination of composer and bandleader Yasuaki Shimizu's early-80s work, often compared to his contemporaries Ryuichi Sakamoto and Haruomi Hosono, as well as experimental new wavers Flying Lizards/David Cunningham, all of whom Shimizu has worked with. Recognized in Japan for the hit, 'Shinzo No Tobira,' the entire record is a masterful studio production of Japanese folk and pop idioms filtered through a chamber disco, new wave, synth production, sounding more relevant today than upon its release over 30 years ago. The packaging features additional artwork from Ira Okudaira, who created the original stunning jacket drawings. It retains the original double 12" 45 rpm play format, and includes a full English translation of the Japanese and Armenian lyrics on the printed inner sleeves.
                                RIYL: Blood Orange, YMO, Arthur Russell, Julee Cruise

                                STAFF COMMENTS

                                Patrick says: Back again in limited amounts, Palto Flats excellent reissue of the sublime "Utakata Ni Hibi" from Mariah. One of the finest examples of Japanese new wave, this LP breezes through traditional Japanese instrumentation, minimalism, synth pop and angular excursions all with a beauty few others attained.

                                FORMAT INFORMATION

                                2xLtd LP Info: Ultra limited vinyl reissue.

                                Modern Nature

                                Nature EP

                                  Modern Nature (the name taken from the title of Derek Jarman’s garden diaries) is the new project of Jack Cooper, ex of Ultimate Painting / Mazes and Will Young of Beak, featuring Aaron Neveu of Woods and Sunwatchers’ Jeff Tobias on saxophone.

                                  Their debut ‘Nature’ EP on Bella Union includes ‘Supernature’, is an intimately atmospheric, wildly expansive 12-minute statement of intent a world away from anything any of the members have made before. It melds the relentless rhythms of Alice Coltrane’s devotional music with the pastoral haze of Fairport Convention.

                                  As Jack Cooper explains: “I think Will’s work with Beak and Moon Gangs and then my own solo record (2017’s ‘Sandgrown’) have more in common with Modern Nature but there is a similarity to Ultimate Painting… a similar attention to space and economy, but with this it feels good to be able to do whatever we want.

                                  “The initial musical ideas for Modern Nature were more like melodic themes than songs, with the intention that all the songs we made would be written around the same chords and the music from the start would all be connected and working towards a narrative and set of themes.”

                                  FORMAT INFORMATION

                                  LP includes MP3 Download Code.


                                  Issue 306 - May 2019

                                    COVER STORY: FLEETWOOD MAC The 50 Greatest Songs from every incarnation of The Band That Refused To Die, from heart-rending blues to solid gold pop. Plus: their latest unbelievable chapter told with exclusive new interviews. “It was a really bad time,” admits Christine McVie.

                                    COVERMOUNT CD: MOTOR CITY SOUL Detroit soul and R&B nuggets from The Temptations, The Miracles, Jackie Wilson, The Isley Brothers, The Contours, Marv Johnson and more.

                                    MOTOWN Launched 60 years ago on a wing, a prayer and a loan from his family repayable at six per cent, success for Berry Gordy’s soul startup was no shoo-in, writes Adam White.

                                    JOY DIVISION An Eyewitness Special on the making of Unknown Pleasures, extracted from Jon Savage’s five-star oral history. Plus: Stephen Morris with news of his memoir.

                                    FRANCIS ROSSI Status Quo’s eccentric boogie burgher on flying in the face of fashion, his poor old hooter, and life without Rick. “The show has to go on,” he tells Mark Blake.

                                    UK JAZZ EXPLOSION Something is stirring in the empty warehouses of east London: the most exciting generation of UK jazz musicians in decades. MOJO profiles its air-movers and rump-shakers.

                                    ALDOUS HARDING The oddball kiwi singer-songwriter comes of age on her brilliant new album. Now will people stop doubting her motives? “People say things like, ‘It’s a gimmick’!”

                                    Giorgio Moroder & Raney Shockne

                                    Queen Of The South (Original Series Soundtrack)

                                    Italo disco pioneer and electronic music legend Giorgio Moroder teams up with producer Raney Shockne to compose the soundtrack for the USA crime drama ‘Queen Of The South’.

                                    The duo’s album, which spans 28 tracks, was informed by Moroder’s work on soundtracks like ‘Midnight Express’, ‘American Gigolo’ and ‘Cat People’, capturing the kind of operatic grandeur that can’t help but forecast tragedy while also reflecting the NBC TV series’ high-stakes thrills.

                                    'If cocaine was music, it would be this driving, adrenaline-fueled score,' said Natalie Chaidez, the series’ showrunner and executive producer. 'It’s the perfect accompaniment to our epic tale of survival, ambition and power in the cartel world.'

                                    FORMAT INFORMATION

                                    2xColoured LP Info: The soundtrack is pressed on silver double vinyl and comes housed in a beautifully designed gatefold sleeve with each disc housed in a double
                                    sided printed inner bag.

                                    Brand new 4 track EP from the legendary French producer who delivers yet more synth squelchy & elastic beats for the electro-house / glitchy dance set.

                                    With Flat Eric in tow once again, Oizo playfully pulls and twists his synthesizers around a plethora of unique beat structures, littering the mix with a classy warbled rap on "Dolce Vita" featuring vocalist Phra. The main focus however is squeezing every last bit of originality out of the various knobs and sliders at his deposal - demonstrated perfectly on the constantly evolving electroid squelch of EP opener "Rhthme Plat". A producer who maintains his unique and approach no matter what genre or tempo he's working with; all four tracks reveal themselves to be undeniably Oizo thru and thru. Recommended! 

                                    In what surely must be one of the biggest Dark Entries Editions to date, it's the all time Italo disco club classic: My Mine - "Hypnotic Tango". All rejoice!

                                    My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed from the ashes of Italian New Wave group Ipnotico Tango in 1982. They shifted focus from the experimental post punk sounds towards something more commercial with which to try and enter the market, namely to make a record. At that time Carlo was studying in Bologna and he had heard about producer and arranger Mauro Malavasi famous at that time for the many hits produced for Macho, Peter Jacques Band, Change, Luther Vandross, Ritchie Family. The group handed Malavasi a demo tape and four days later they were invited to Fonoprint Studios to record their first single, “Hypnotic Tango”.

                                    Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out. “Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of house and techno producers. In 1987 the legendary Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” paying tribute to the Windy City club atmosphere and adding his own 'sighs' in the track as well.

                                    This reissue presents 4 mixes of “Hypnotic Tango” including the “Hypnotic Mix” only appearing together once before in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli. 

                                    STAFF COMMENTS

                                    Matt says: Mega buzz. All mixes of this bona fide Italo classic on one beautifully pressed, heavyweight 12".. Rejoice, and throw away your crappy bootleg copies now!

                                    Domino present Nérija; the septet of Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass).

                                    Their debut ‘Nérija EP’ - originally composed, recorded and self-released following their meetings and collaborations via London’s Tomorrow’s Warriors - is re-released, having been remixed by kwes and remastered by Chris Potter at Electric.

                                    STAFF COMMENTS

                                    Millie says: It’s been a while since I’ve listened to anything this warm and soulful, the seven-piece all female collective have breathed new life into jazz. With a mixture of horns, beautiful arrangement and upbeat, bold rhythm they really have owned their sound. Hopefully lots more to come from Nérija…

                                    FORMAT INFORMATION

                                    Mini LP Info: LP pressed on heavyweight vinyl in polylined inner
                                    sleeve with liner note insert and digital download

                                    New Order

                                    Temptation - Remastered Edition

                                      Featuring the full versions of both tracks this 12” was first release in May 1982 and were the first self-produced released recordings. With ‘Temptation’ being a cast iron New Order classic, this is an essential part of any New Order collection. This 12” features remastered audio on heavyweight vinyl.

                                      Long overdue reissue of this Molly Nilsson early release (her fourth), now repackaged and reissued via Night School / DSA.
                                      “I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time”

                                      By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama. While the methodology on History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.

                                      The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society leaves behind.

                                      On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.

                                      Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that “the world will find me when the time is ripe.”

                                      WRWTFWW Recordshit us with another fresh press of the impossible-to-find cult album "Lady Maid" by Japanese outfit Normal Brain with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

                                      Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzuru’s fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance…), "Lady Maid" is a testament to the creativity of the early 80s’ Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

                                      Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, and…a Texas Instruments Speak & Spell! It’s elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The A-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous! 

                                      STAFF COMMENTS

                                      Patrick says: The WRWTFWW express keeps powering on, this time releasing a Japanese wave / ambient LP so rare it's practically mythical. On the A-side Yukio Fujimoto drops demented synth pop, minimal wave and general weirdshit across five pieces, while the B-side brings one long ambient excursion with eerie detuned bells - reminds me of watching Knightmare and eating crumpets.

                                      A collection of unreleased remixes by the 90’s Tuscan techno master, Mr. Franco Falsini (Open Spaces). Debut release on Sleeve Records and choc full of peaktime fun!

                                      All going under various pseudonyms utilized by the genius producer, we kick off with the wavy San Fran inspired number, "Dance To The House". "Erotic Holidays Packet" heads down a proggy, expansive route via a brilliantly exotic vocal refrain, flutter leads and slamming euro-tech beat. "Anima" combines subtle M1 riffs with a charging 4/4 beat, detuned pads and a quirkly little vocal snip while "Mnemonic Code" sees a hardcore-indebted slice of feel good power emanate off the wax. Finally "Public Domain Age" utilizes Detroitian keyboard presets, amazing vintage vocal sampling (think The Orb! - ed) and simple house beast to conjure up a surprisingly innovative collage of electronic music that's gonna get the kids' heads spinning make no mistake! Top buzz! 

                                      Paisiel is the enigmatic name given to this very special project that features the exceptional talents of Portuguese drummer / percussionist and sonic sculptor João Pais Filipe and the German saxophonist Julius Gabriel. Based on an individual exploration of the sound and on the expressive possibilities of their instruments, the duo’s music seeks to join and systematize their influences, albeit without any obvious correspondences or affinities – resulting in textures and abstract melodies propelled by a mechanical and existential percussion that morphs into a kinetic trance. Heterodox and digressive musicians, they move freely between the repetition of krautrock and techno, jazz, experimental music and other new musical categories, João Pais Filipe and Julius Gabriel create radio-graphic sounds that inhabits somewhere between the reception and the emission of a signal, like a cosmic telephone exchange.

                                      This three track album was originally released in 2018 as a ltd edition cassette on the great Portuguese label Lovers & Lollypops. And now Rocket Recordings are extremely proud to be releasing this unique recording on a ltd edition colour vinyl and across all digital channels. In 2018 João Pais Filipe has also found the time to release a stunning and highly acclaimed solo album and a very exciting collaboration with fellow drummer/percussionist, and also very talented Valentina Magaletti (Tomaga/Vanishing Twin/UUUU) called CZN. Paisiel have already wowed audiences across stages in Europe including a jaw dropping set at the eclectic and well respected Milhões de Festa. Now the duo have plans to head to the UK to play a series of shows in support of this release. 

                                      Pan Amsterdam X Iggy Pop Ft. Leron Thomas


                                        Pan Amsterdam gave us “The Pocket Watch”. Even when revealing his condition and true identity to the public. This didn’t stop the flow of interest and respect from new found fans as well as fellow contemporaries. Open Mike Eagle became an immediate fan and patron of Pan Am and took him on tour last Fall. They even cut a single together entitled, “No Snare”.

                                        One of the stops during the tour was Texas Pan Am and Iggy Pop agreed to meet up and cut a track. “The one thing that comes to mind when travelling through Texas is its Texas Tea (oil)” Pan Am said while on break in the studio. “There’s a lot of ways of living that rendezvous at the local gas station”. It was as if Pan Am grew up with this knowledge since the cradle or something. This, undoubtedly, is the thought process behind the tune Iggy and Pan Am cut, “ Mobile”.

                                        Handpicked by Terrence Parker himself, both remixers offer fresh takes on two of the standout tracks of the original LP.

                                        For the first and last track of the EP Michele Chiavarini reworks ‘Just Like Muzik’, with a bass lick which dances in and out of shuffling hats, channelling the high energy of the original house patterns and stabs into something different. Soulful pad progressions merge with Merachka’s original vocal, before energetic strings and vibraphone solo take over, carrying the listener along.

                                        DJ Steve Crawford’s remix of ‘The Sabath’ sees him transpose the arpeggiated synth rhythm and pads of the original into a fresh grooving 4/4 affair. Congas and punching kicks meet with harmonious string melody and slapped bass, creating a head-nodding reimagining of the master.

                                        STAFF COMMENTS

                                        Sil says: Straight up house music from legendary Planet E label. You cannot go wrong with a Terrence Parker record offering you dancefloor fire like this one does!

                                        Combining the lulling ambience of shoegaze with the iconic melodies and vocal prowess of classic American country music, enigmatic outlaw cowboy Orville Peck croons love and loss from the badlands of North America. The resulting sound is one completely his own, taking the listener down dusty rose-coloured desert highways, through a world where worn out gamblers, aloof road-dogs and lovesick hustlers drift in and out of his masked gaze.

                                        Orville’s debut album, ‘Pony’, delivers a diverse collection of stories that sing of heartbreak, revenge and the unrelenting tug of the cowboy ethos. Warm lap steel guitars and echoing drums move through dreamy ballads, campfire lullabies and sometimes frantic buzzsaw tunes, all the while paying homage to his country music roots.

                                        Orville’s music has been featured by Nylon magazine, i-D mag, Vice, The Needle Drop, as well as numerous playlists. He has also had magazine features in New York’s Hello Mr. and the UK’s Notion.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Available to independent retailers on Loser Edition
                                        gold coloured vinyl.

                                        It's the return of Intrusion, Stephen Hitchell's much coveted project presented through the exquisite Echospace cannon. Long term cohort and collaborator of Rod Modell (Deepchord), Stephen Hitchell's "Infinitati" album was a triumph of electronic textures, dub-wise electronix and a melting pot of found sounds. That was released in 2014 and now Stephen has decided to revisit the 1/4" tape recording to further dub-out the original tracks thru the mixing desk, as well as some extra tape splicing and audio wizardry on top - yipeee!

                                        Sinister and dark, the three versions plummet us ever-closer to that impending event horizon that seems to be the Intrusion aesthetic. There's acres of space, but the heaviness of the gas cloud that slowly engulfs the listener is more claustrophobic than spacious. As both a standalone piece or as an add-on to the original "Infinitati" LP, this is truly superb. 

                                        STAFF COMMENTS

                                        Matt says: More impossibly thick electronic-blackness from these dub-techno masters. Prepare to submerge!

                                        If you've kept your ear to the underground, you'll have picked up major waves from French duo The Pilotwings over the past five years. Emerging out the left field with a string of releases on the BDFM label, the duo pulled influences from trance, zouk, Balearic, deep house and breaks, arriving at their own sound of the near future. Fresh from a breather after their all-conquering "Les Portes Du Brionnais" LP, the boys land at Animals Dancing with a scorching four tracker of alternative dance floor business.
                                        Break-laced and bubbling, "Trance En Aubrac" opens the set with major nods to 80s film soundtracks, Goan keyboards and body popping electro. Bass-line gurgle + mystical synth flute riffery? Count me in. From there we sidestep into the sparkling synth, stacatto bass and suspenseful atmosphere of "Futur Glouglou", the soundtrack to a quayside showdown in a coked up cop flick. Turn the corner and tear off your shirt, "Yakado" is an acey, pacey slab of chest beating proto house with a sunrise breakdown plucked straight from late 80s Japan. What else? How about "Gig In The Ocean" a lysergic dub roller which reminds me of the potion shops on the plains of Hyrule.  

                                        STAFF COMMENTS

                                        Patrick says: I'm always excited to see a new release from Animals Dancing, and the latest EP rivals the very best on the label (even Dude Energy)! Lyon crew The Pilotwings do their thing with aplomb here, offering their usual fusion of Balearic, trance, breakbeat, proto house and 80s shirts across four brilliant tracks. All the quickest customers have already mailed me to reserve their copy, don't miss out.

                                        There's always a rush of excitement when a new Magic Wire drops, but this latest offering on the imprint is something truly special. 22 years since a last appearance, John Beltran resurrects his Placid Angles alias, partnering with London's Magicwire for his second full length LP, "First Blue Sky". Arriving with a dedication to you, the earth and everything, the double LP sees John offer a tone of optimism and reassurance for these difficult times, as expressed through the classiest of -ardcore breaks, dreamy pads and immersive techno.
                                        Styles range from deep and dubby BC-style techno, oceanic DnB rollers, jump up jams and loon bird bangers, but the mood remains uplifting throughout.

                                        Λένα Πλάτωνος (Lena Platonos) is a Greek musician, pianist and music composer. Her third solo album, ‘Lepidoptera’ was produced in 1986 and reissued by Dark Entries in 2018. Inspired by a scientific book on butterflies she found in a trashcan one day, the compositions follow minimalistic motifs and carefully-staged soundscapes. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry.

                                        Now Dark Entries have recruited 4 contemporary Greek producers to remix their favorite tracks from ‘Lepidoptera’. First up is “Cyaniris” remixed by Anatolian Weapons who delivers an enchanted late-night journey through the New Wave forest. Next is “Araschnia Levana” remixed by Pasiphae who speeds up the pace with machine driven melodic electro pulses. On the B-side we have June remixing “Cyaniris” twirling the track into a complex deep sea dive with lush drum kicks and pads. Closing out the EP is a remix of “Τα Γενέθλια Ή Aporia Maturna” by Morah who leads us to the underworld of Hades via sinister squelches and full-on apocalyptic rave breakdown. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is a reinterpretation of the original ‘Lepidoptera’ cover, isolating the illustration of the butterfly/woman designed by Eloise Leigh.

                                        They call it Dynamite cause it's the bomb! The latest 7" smash on the rockin' reissue imprint sees the spectacular climax from Port Authority's 1971 self titled debut land on a single for the first time ever. Fresh to death and now with a super loud 45 cut, this monster can growl like it was supposed to - hittng you with those heavy horns, blaxplo attitude and wild psychedelic guitar riffs, before dropping into one of the finest drum breaks of all time. Total 10/10 jazz-funk HIT here folks. Don't sleep!

                                        STAFF COMMENTS

                                        Patrick says: Dynamite Cuts hit us with a total killer here in the form of Blaxploitation tinged jazz funk monster "Port Authority Bus Blues". Wild psychedelic guitar, big horn hits and a KILLER drum break make this a classic!

                                        FORMAT INFORMATION

                                        7" Info: Limited to 500 copies.

                                        A side kickstarts with 'Withoug Knowing', emo vibes that could be pigeonholed into the soft melodic electro section. It comes with a gorgeous break that you used to encounter in many house tunes on the 90s. A track with a meandering walks that take you to unexpected destinations. 
                                        'Toes Unstepped' takes us into the breakbeat territory that is so fashionable now but without over doing it. The bassline is a killer. 
                                        On the B side we find 'Wildest Way to Go'. A gentle galactic house that reminds me of Larry Heard's '25 Years From Alpha'. Very nice. 
                                        Closing proceedings is a the fast and not so furious 'Low Wings'. A detroit techno track drenched in melody and emotion done a-la-Pablo. 
                                        As usual with Project Pablo, this is an essential release we are proud to stock. The man is not flagging. 


                                        Thsilidzi / Siya Jola

                                        Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African disco, a leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album "Why O Nketsa so Baby", loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.

                                        For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.

                                        The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

                                        *For this release LCT have chosen two of their favourite tracks from the album Malende, wonderfully remastered and pressed loudly on a 12" single for the Deejays

                                        STAFF COMMENTS

                                        Patrick says: In a moment of rare synchronicity, the latest La Casa Tropical lands in my lap the day I first sport shorts for the year. The label dip into the back cat of PVP and pluck out their two finest kwaito cuts for a mighty double header. Low tempo, high NRG house music from the heart of South Africa.

                                        D J Rogers

                                        Love Brought Me Back / Love You Forever

                                        Two soaring love songs from DJ Rogers, "Love Brought Me Back" backed by "Love You Forever", remastered and reissued on South Street’s new disco reissue arm. With original’s trading hands for upwards of £70 it’s high time a reissue dropped of these classic cuts.

                                        "Love Brought Me Back" sweeps in first as gentle chimes and whirling winds blend with a delicate bassline and staccato strings that open up to behold Rogers’ powerful prowess on the mic. Influenced and honed in the church, there’s a spirituality to the delivery that few can match. An honesty and warmth resound in the arrangement with a definite dose of funk making this a sure-fire ‘70s soul hit that was big on the disco dancefloors.

                                        On the B side the second of Rogers’ sweet serenades, "Love You Forever" marries clavinet chords and plucked live bass riffs with tender female harmonies, providing a perfect accompaniment to Roger’s soothing tones. The ultimate end of the set song and a way to win over any hearts and minds that need to be swayed.

                                        Two essential treasures fitting of the first reissue on South Street Disco!

                                        Formed in Tokyo in 2017, Ronin Arkestra brings together some of the finest and most creative players in Japan’s jazz and electronic scene. The collective includes members of Kyoto Jazz Sextet, WONK, Cro-Magnon, Root Soul, Sleepwalker, Sauce81, Kyoto Jazz Massive and, of course, band leader Mark de Clive Lowe.

                                        Kicking it all off is "Stranger Searching", where lush electronics meet beautifully executed jazz in full story mode. A constantly driving beat push this track along through its various chapters, with each member of the band given time tell their tale. Horns from Shinpei Ruike, Kohei Ando and Wataru Hamasaki tie everything together in beautiful harmony.

                                        "Redeye Reprisal" hits hard right from the top. With soaring horn lines and beautifully soulful keys from Mark de Clive Lowe, it is drummer Hikaru Arata who is given time to shine in this piece. Wild patterns add to the frenetic nature of the piece, creating drama and mystery before it safely delivers you home.

                                        Flip the record and we are back in story mode again. "The Silk Road Prelude" is Japanese jazz at its finest. A solid theme gives definition to this piece, with the horns once again providing all the drama you need. Carefully interspersed with beautiful guitar playing from Tsuyoshi Kosuga, and interwoven electronics from Sauce81, drummer Nobuaki Fuji and bassist Shinju Kobayashi control the groove with exquisite detail.

                                        The final track needs no introduction. "A Love Supreme" is what legends are made of. Beautifully reimagined by this fine group of musicians, this is the Sunflower moment, a group showing its full dedication and respect for the Jazz masters. A band of Ronin, dedicated to follow the sun until it sets. 

                                        No Words Left was recorded in Brighton, produced by Tim Bidwell and mixed by Cenzo Townsend.

                                        We last heard from Lucy Rose with the release of 2017’s Something’s Changing, a record that heralded a new outlook for the musician who was re-evaluating what she wanted to do and how she wanted to do it.

                                        If Something’s Changing was an artist rediscovering their voice, No Words Left is Lucy using that voice to devastatingly frank effect. Lyrically and musically fearless, this record is a beautifully intense, but often unsettling listen. It’s a body of work, a fine modern example of the enduring strength of the album format.

                                        Describing the record and its process, Lucy explains:

                                        “Releasing this record feels entirely different to every other record I’ve released. But to try and sum up my emotions is virtually impossible.

                                        “I don’t believe this the best album I’ve ever made because I don’t believe in making comparisons when it comes to music. But it’s different.

                                        “In every way I’ve approached writing, recording and now releasing music, it’s been different. I’ve lost all consciousness in caring and it’s been liberating. It is what it is. It’s a feeling, it’s a song, it’s a sound, it’s a part of me which I can’t decipher whether it’s good or bad, but it’s sincere. I recently learnt that the word sincere is derived from the Latin sine = without, cera = wax due to dishonest sculptors in Rome or Greece covering flaws in their work with wax to deceive the viewer. So, a sculpture "without wax" would mean honesty in its perfection.

                                        “That really struck a chord with me as sincerity really is the key to this record. It’s my truth. Sincerity is the truth of a person, not just the good but the bad: the flaws, the realness, which can never be ‘perfect’. This album reflects the reality of my life, the toughness life throws at you, and for a period of time it did become too much for me to handle alone.

                                        “I could try to explain more about each song but in all honesty, I can’t particularly remember writing them, the feeling being too strong and too big for me to comprehend. But songs came out and through writing them and working through my thoughts I saw the truth lying in front of me and a way to move forward.

                                        “I always hope my music would be a comfort to someone, however this record may not be the easiest listen. But it’s in its discomfort I believe a different form of comfort can be found. I’m certain of it. “

                                        STAFF COMMENTS

                                        Barry says: Lucy rose has always had a way of crafting the most serene sounds with a subtle underlying morosity. This is a beautifully crafted, and entirely enthralling experience. Brittle and tender but given momentum and an almost angelic overtone by Lucy's haunting vocals. Stunning stuff.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Limited white coloured vinyl plus 24” x 12” poster insert.

                                        It is what it says on the tin. It is also good old Roy doing what he does best which is producing raving tracks, he also knows how to drop that acid - causing havoc on the dancefloor. SE1 Acid is a marathon of a track, lasting 13 minutes - it is not that long though.

                                        Good way to judge such length is to check yourself and your body moves. If you are still rocking it means the track is dead good. Part 1 sets the elements and develops them for track 2 to explode both in your brain and body. 
                                        '1999' is euphoria in unadultered fashion. A banger like no other. Can we say this is going to be huge? Yeah, huge amongst those who know. Are you in? 
                                        Belter, banger, essential. 

                                        STAFF COMMENTS

                                        Sil says: Acid? Techno? Roy? Of the Ravers? Two copies, please. Sorry mate, only one left! Run for this bad boy before it spreads its wings. Absolute banger, Roy style.

                                        Rudie will recognise Bobby Sarkie from The Tartans and The Immortals (not to mention his solo roots killer "Better World"). His singing here is expertly reined in by desolation, numbness and regret, over a hollowed-out, mesmeric rhythm, with some nasty synth-work and casually brilliant effects on the drums. The vocal cut is more than a minute longer than the version which opens the "Jah Son Invasion" album with such a flourish; and the mix is different, with more prominent keys, and toned-down bass. It’s previously unreleased, like the dub.

                                        The B-side is booby-trapped with sensational instrumental excursions on Junior Delahaye’s "Working Hard For The Rent Man" and Jackie Mittoo’s almighty "Drum Song", which conclude the same original tape-reel as Over And Over. Rent Rebate features masterful, boppish soprano saxophone-playing by Roland Alphonso, and restrained guitar interjections by Barry Vincent, with a Spanish tang. The superb hand-drumming on Mount Zion is by Ras Menelik; and it’s Mittoo himself on organ (or just maybe Clive Hunt, Wackies can’t quite remember).

                                        STAFF COMMENTS

                                        Matt says: My favourite reggae reissue label bar none. Lord Wachie turns his attention to Bobbie Sarkie. As usual, I'll be headin' straight to the dubs, "Over and Over Version" a particularly heady offering.

                                        Shiro Schwarz Featuring Zackey Force Funk

                                        Take The Wheel

                                        Do the Star Creature boys ever take a holiday? One of the most consistent labels of modern time delivers yet another certified dancefloor filler thru team all star, Shiro Schwarz who, joined by the amazingly titled Zackey Force Funk, shows us just how construct an effortlessly cool G-funk boogie jam! "Take The Wheel" is an appropriate title for this hydraulic-rockin' beast, as you'll be too busy with your hands out the sun roof doing air triggers to bother steering! As often the case with Star Creature, we get both vocal and instrumental versions; with each a truck-bumpin', bifter-sparking slice of LA funk as incendiary as anything else on the market (ps. don't miss that last outro section...fyyyre!! - ed).

                                        Originally released in South Africa in 1994 on the Mighty Good Sounds imprint, Sea Bee’s debut album was a hit in the earliest days of kwaito, epitomising the house-infused soundtrack of a newly democratic nation.

                                        While it may have been Sea Bee’s release, the key to the album’s success was the magic touch of Spokes H, who composed, produced and arranged all the tracks. Sea Bee would soon disappear off the radar, while Spokes remained an influential and popular figure in SA until his untimely death in 2013.

                                        The latest release on DJ Okapi’s Afrosynth Records removes two tracks from the original six-track album, keeping four of the choicest downtempo dancefloor bombs – "Home Boy", "I Wanda Why", "Thiba" and "Stoppa" - all heavy on the bass, with uplifting vocals and unique lyrics guaranteed to increase the energy on any dancefloor, in any country at any time.

                                        STAFF COMMENTS

                                        Patrick says: DJ Okapi flicks through his record box, picks out a total Kwaito classic and trims off the excess fat, offering us the solid sounds of Sea Bea as a DJ friendly 12". Chunky and funky with all the African flavour you could ask for!

                                        Palto Flats are back in the land of the rising sun for their seventh LP release, delivering a beautiful reissue of "Kakashi", the 1982 album from visionary saxophonist Yasuaki Shimizu, the man behind Mariah's "Utakata Ho Hibi". Through its 8 suite-like tracks, "Kakashi" transports the listener into Yasuaki's colourful sound-world, a fusion of outre jazz, new wave, ambient, and dub practices, often all at the same time. Opener "Suiren" grooves through new wave rhythms and wonky funk, the skronking sax and avant groove calling to mind an Arthur Russell outing or Love of Life Orchestra jam, while the naive chorus could have come from an early Talking Heads LP. Without pausing for breath, the track segues smoothly into the title track "Kakashi", a dreamy fourth world dubspace born of swelling brass, rippling mallets and a rolling bassline. The A-side comes to a close via the three movements of "Kono To Ni Yomeri", which offer serialist brass abstractions, warm woodland ambience and a reedy nocturne respectively. Over onto the B-side and the weird electronics, fractal brass and steady groove of "Yune Dewa" see Shimizu shimmy into Laswell territories, expanding our consciousness nicely before the stunning "Umi No Ue Kara" sprawls across most of the B-side. Boasting a languid groove, restrained bass and the ever present trickle of mallets, the track flows gracefully from start to finish taking in subtle guitar chords, gorgeous sax and heart swelling chord progressions. Last but not least, the mournful "Utsukushiki Tennen" tugs at the heartstrings with snaking Latin jazz sax, dubby bass and chanted vocals. 
                                        "Kakashi" is another high water mark in the 80s Japanese underground which has gathered cult status in recent years, and considered to be a highlight of Yasuaki's solo career. We're lucky to have this one back.

                                        FORMAT INFORMATION

                                        Ltd LP Info: Ultra limited vinyl reissue.


                                        Issue 90

                                          Shindig! is an eclectic cornucopia overflowing with obscure TV and film, psychedelia, folk, garage rock, folk rock, progressive rock, funk and soul. Contributions from its team of international expert writers ensure that new and intriguing tales about influential artists fill every issue. Shindig has established itself as a cutting edge forum and critique of the glories of 60s and 70s music, film and culture.

                                          With his latest Soul Mates Project, Amerigo Gazaway imagines a studio session between The High Priestess of Soul, Nina Simone, and living legend, Lauryn Hill. Continuing the “collaborations that never were” theme of his previous releases, the producer seamlessly connects the dots between Hip-Hop and the genre’s predecessor, Soul. 

                                          "The Modern Age" is Sleeper's first album in 21 years. It wasn’t meant to happen. In fact, the band had promised each other it never would. “We had no plan to get back together. Sometimes life throws you a massive curve ball. You end up jumping off the cliff, just to see what it feels like.”, says singer, Louise Wener

                                          The band spent summer 2018 recording The Modern Age with their long-time producer, Stephen Street - a relationship that clicked into place again right away. They tracked live at Metway studios in their adopted city of Brighton, before decamping to Street’s studio in West London to add the finishing touches. The Modern Age is the outward looking sound of a band revitalized and refreshed. Covering subjects from motherhood and social media to personal loss and, inevitably, relationships. The Modern Age retains Sleeper’s classic pop sensibilities with a shiny, new, contemporary feel.

                                          The first single to be taken from the album is Look at You Now – released on Dec 5th and available on all digital platforms. Initially it appears to be referencing Sleeper’s comeback, but it’s a protest song at heart: a howl for the politically homeless in a landscape where reasoned debate has given way to vitriol.

                                          Sleeper enjoyed huge critical and commercial success in the mid-90s: achieving 8 Top 40 singles across 3 Top 10 albums with well over 1,000,000 sales. Their music was characterized by astute, observational lyrics and big, hook driven melodies. Wener was an iconic front-person, heading up a movement that brought women center stage in guitar music. Sleeper split In 1998 and walked purposely away from the limelight. Wener carved out a career as a successful novelist. Drummer Andy Maclure and John Stewart - Sleeper’s guitarist - both became lecturers in music studies. Sleeper’s current line-up are joined by former Prodigy bassist Kieron Pepper.

                                          STAFF COMMENTS

                                          Barry says: Sleeper are back! With an appropriately titled nod to the modern age, they have brought their impeccable ear for melodies and propulsive indie thrust into the 21st century with smooth production and crisp, satisfying melodies.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indies only cream coloured vinyl.

                                          An original (and pretty decent) track and 3 revisions. 
                                          James Braun delivers a deep house take on the original that is as smooth as velvet. That bassline is awesome. This one takes the crown for meThe Aquarius Live mix sounds like an old-school Jazzanova remix or production. And that is a good thing. Mellow, jazzy, and with plenty of possibilities. 
                                          The original was included in the album is definetely a standout track - a very organic, funky and warm number with some excellent lyrics. Like a Sade track but not quite there. 
                                          If you want a light twist but still keeping much of the essence on 'Nothing Wrong', head straight for the 'Ge-ology in Reverse' mix. 
                                          A nicely tucked pack of remixes that will please most of us musos. 

                                          STAFF COMMENTS

                                          Sil says: It is all about the very soulful and deep James Braun mix of this excellent track. Deep House at its best.

                                          Australian reissue champs Left Ear hit us with a dope DJ 12" featuring previously unreleased full length versions of Space Farm’s mid 90’s Egyptian inspired tracks. Both, ‘The Dawn of Birds’ and ‘Camels in Desert Air’ were initially cut short to allow for additional remixes on the original release but for this 2019 issue, Left Ear have decided to focus on these dope downtempo originals, allowing the heavy percussion and synth workouts to shine through on a loud 45RPM press.
                                          Dropping the needle into A-side offering "The Dawn Of Birds", I'm instantly hooked. Tribal percussion loops, digital bird calls and cosmic keytar? Totally having it. As for the ominous bass swells underneath, that's just a Brucey bonus as far as I'm concerned. Mythic club moves at around 105bpm - pure post apocalyptic Shaman shit folks. 
                                          On the flip "Camels In Desert Air" wears the Egyptian influence even more openly, twisting those snaking Rai melodies through filter envelopes and dropping them over a laser-laced perc grid. Boasting more mad synthlines than a decade of AFX sketches, this is an interdimensional club cut for the DJs who have no fucks left to give. 

                                          STAFF COMMENTS

                                          Patrick says: Man, Left Ear are on FIYAH! Last time out they rocked the system with a pair of Township groovers, this time it's a completely otherworldly dose of slow and low Egyptian inspired mid-90s house. Play it loud and get that portal glowing.

                                          For his feelgood third solo album We Wanna BeHyp-No-Tized, Pavement co-founder Scott Kannberg best known to the musical world as Spiral Stairs concocted some of the most fun and accessible music of his storied career by expanding his musical repertoire.

                                          We Wanna Be Hyp-No-Tized is fun, infectious and musically compelling, while still managing to cover some hefty topics like the current rambunctious political climate. Reuniting the bulk of the dream team who assisted him on Doris & The Daggers album, bassist Matthew Harris (Oranger, The Posies), multi instrumentalist Tim Regan and good friend Kelley Stoltz, as well as former touring Preston School Of Industry drummer Jim Lindsay, We Wanna Be Hyp-No-Tized is the most fully rendered encapsulation to date of Spiral Stairs nimitable aesthetic.

                                          “To me We Wanna Be Hyp-No-Tized feels like the records I’ve been listening to and the records I’ve been digging and aspire to sound like,” Spiral offers. “In my early-twenties I felt like I knew everything – I always knew about new bands before everyone else – but that kind of closed off a lot of bands that I didn’t give much credence to, and now I’m a bit older and it’s, like, ‘Wow, how did I miss that?’

                                          “I’m talking things like the first two Nick Lowe records – I’m obsessed by that shit, they’re beautiful, beautiful songs on those records. Then he led me to this guy Jim Ford who’s like a weird country-soul singer, he’s so good. And I’ve really got into Van Morrison way deeper than I’ve ever got into Van Morrison before.

                                          “So I got into that 1973 album Veedon Fleece, and then of course Roxy Music stuff and Brian Ferry. But I think the influences on this are definitely Nick Lowe and Van Morrison – I even tried to sing like Van Morrison on a lot of the songs, like how he repeats himself a lot. Those are the kind of bands I would never have liked in 1984… or 1994… or 2004 really.

                                          Strand Of Oaks


                                            “When I was writing these songs, every day I would walk on the beach and I was completely alone and overwhelmed by fear...but then I realized how there really aren’t any rules for who you are, who you’ll become, or who you think you need to be. Eraserland is just that. It’s death to ego, and rebirth to anything or anyone you want to be.”

                                            In December 2017, Tim Showalter was uncertain about his next record and the shape it would eventually take. With no new songs written, he was unprepared for the message he would receive from his friend Carl Broemel, the conversation that would follow, and the album that would become Eraserland. Leading off with standout track “Weird Ways” and his powerful declaration of “I don’t feel it anymore,” Eraserland traces Showalter’s evolution from apprehension to creative awakening, carving out a new and compelling future for Strand of Oaks.

                                            Revived by the support of Broemel and his bandmates, Showalter felt the pressure to deliver songs worthy of musicians he had admired long before and after a 2015 Oaks/MMJ tour. So in February 2018, he spent two weeks alone in Wildwood, New Jersey writing and demoing all of the songs that would eventually comprise Eraserland. And in April, he went into the studio to record with Kevin Ratterman at La La Land Studios in Louisville, Kentucky, and with Broemel, Hallahan, Koster, and Blankenship as his band. Jason Isbell also contributed his Hendrix-esque guitar work to Eraserland, while singer/ songwriter Emma Ruth Rundle provided gorgeous vocals. Every song was recorded live, with all musicians playing together in one room and working to bring Showalter’s ideas to fruition. “I remember sitting next to Tim and Kevin listening to the final mixes with tears rolling down my cheeks,” said Hallahan. “From start to finish, this one came from the heart.”

                                            FORMAT INFORMATION

                                            Coloured LP Info: Cloudy white vinyl.

                                            Coloured LP includes MP3 Download Code.

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