Agrupacion Ilegal Los Imparciales

Norwegian Wood

Argentina's Agrupacion Ilegal Los Imparciales makes their triumphant return to Names You Can Trust! This time around the group has set out to record the definitive chicha version of the Beatles' world renown and oft-covered Norwegian Wood composition. An uptempo rambunctious cumbia riff, the instantly recognizable melody is transformed with a smattering of fuzzed out electric guitar and farfisa. The band's playful chorus echoes the original's folksy disposition with a much needed frenzy of psychedelic bliss. On the flipside, in a true international collaborative effort, the band's chicha version is slowed down and given a bizarro rock-steady rebajada twist. Featuring drummer extraordinaire Rich Terrana from The Frightnrs and a touch of engineering expertise from NYCT / Daptone fam Victor Axelrod aka Ticklah, this alternate reality dub version imagines what it would have sounded like if the canonized Jamaican version of Norwegian Wood (aka Darker Shade of Black) was influenced from the popular sonidero systems of yesteryear.


Patrick says: Argentina’s leading psych-funk combo offer us two frenzied flips on the Beatles’ standard, one on a cumbia tip, the other drenched in dub.

Harold Alexander was a competent saxophonist and dynamic flutist whose early and mid-’70s albums for Flying Dutchman and Atlantic blended originals, soul / jazz and R&B effectively. Alexander recorded three albums (including a live ‘Montreux Jazz Festival’ record in 1972) and contributed to various other recordings during his career. After a very brief period of recording music, from about 1967 to 1974, Alexander disappeared from the music scene. He is alleged to have commented on the music industry by saying: 'Most people don’t know what happened to me…I guess they think I’m gone. They didn’t kill my spirit, but they killed my desire to share'. Before his removal from the scene of recorded music, Harold Alexander provided the world with some incredibly funky jazz fusion tracks with a distinct otherworldly craziness. His most recognized LP is 1971’s "Sunshine Man", on Flying Dutchman Records. On that album, the most sought after groove is the straight up banger “Mama Soul”, which features insane scatting over a delicious funky flute and organ driven beat. An immaculate six minutes of mental vocals and Alexander’s flute doing exactly what the vocals are doing. It comes as no surprise that “Mama Soul” was sampled multiple times by artists from ‘Blackalicious’ to ‘DJ Shadow’. Another highlight (one of the many on this album) is the adept double beat from iconic drummer Bernard ‘Pretty’ Purdie (husband to Aretha Franklin & known for his work with Isaac Hayes, Cat Stevens, B.B. King & Joe Cocker) who is delivering some of the most tight and wicked drum-skills known to man. Bass duties here are filled by another icon: the award winning Richard Davies (known for his work with Miles Davis, Bruce Springsteen, Van Morrison, Frank Sinatra & Leonard Bernstein). Production of the album was handled by industry veteran Bob Thiele who produced & arranged countless albums from the likes of Art Blakey, Duke Ellington, Louis Armstrong, Quincy Jones, John (and Alice) Coltrane & Gil Scott-Heron. Harold Alexander’s "Sunshine Man" is pure bliss; free-form Jazz with hints of soul and P-funk (courtesy of Jimmy Castor collaborator Richard Landrum on the congas) to cosmic music with both profoundly spiritual and resolutely physical dimensions. "Sunshine Man" is that rare record that’s both far-out and funky at the same time. Originally released in 1971, now back available as a limited deluxe vinyl edition featuring the original gatefold artwork. To top all this off, this reissue also comes with extensive liner notes by Harold Alexander himself. An essential!


LP Info: * Back on vinyl for the first time since 1971
* Official reissue of this rare Seventies Soul Jazz classic
* Comes packaged in a gatefold jacket with original artwork and liner-notes
* Strictly limited to 500 copies worldwide, comes with obi-strip


Wakayama / Mejiro

    Polytechnic Youth enter the fray once again, continuing an already productive year (these new 45s are 4/5/6th releases in 2018 already!) with a trio of quite brilliant yet totally different 45s.

    Alpár aka Hungarian Bálint Zalkai, is the co-founder of ‘Farbwechsel’, the Budapest based record label, and his own recordings of electronic compositions (often built upon random looping sequencers in a minimalist style) are key to the label’s release output thus far. His goal as he sees it is to “catch a random pattern, loop it and build up a piece with that randomly pulsing theme. Just let to flow the voltages and sound waves and try not to disturb them or change their basic behaviours”.

    The two tracks here were recorded with this approach very much in mind. The atmosphere of 'Mejiro' is “not unlike a bird observation. Attempting to find the right spot, getting closer and closer to the bird, which almost controls you and your movements as you attempt to near it”. Whereas 'Wakayama' is a more direct piece, and maybe the most melodic song Alpár ever recorded. While 'Mejiro' is a woozy, cautious piece, ‘Wakayama’ is like a tropical fruit or the ume, (the japanese apricot); colourful and full of flavour yet -with thanks to- the slowly humming theme in the background, an element of sourness grips you at the back of your tongue as it ends!

    A beautiful pair of tracks released as a double A side 45 early March 2018. Pressing of 250 numbered copies….

    Alva Noto & Ryuichi Sakamoto


    GLASS is a recording of an inspired live improvisation by Ryuichi Sakamoto and Alva Noto at the architect Philip Johnson's hallowed Glass House, in the bucolic setting of New Canaan, Connecticut. The structure's transparency and seamless continuity with nature was given another dimension by the addition of this performance, whereby the building, location and audio coalesced into one perfect, harmonious whole.

    Stylish, stunning and elegantly minimal, the duo's architectural sound design evokes and synergizes with the space creatively, acoustically and literally - by using the building's fabric as an instrument. This is the sound of glass and of glistening condensation. Pristinely fresh audio stratus float amorphously by, unfurling from a meditative calm into an evocation of sparkling wonder, like a baby observing raindrops on a nocturnal window for the first time.

    Although the work is largely tonal, textural and spatial, fleeting moments of melody appear towards the end, which despite their scarceness, achieve a profoundly moving effect.

    Built between 1949 and 1995 by feted architect Philip Johnson and exemplifying modern architecture and the International Style, The Glass House hosted this site-specific event. It was commissioned by Curator and Collections Manager Irene Shum, who recalls the experience:

    "The emotional drama of the forty-five minute performance was echoed in the natural environment. A sudden rain storm forced the evening's guests into The Glass House at the start. During the performance, the storm cleared into a dramatic red and pink sunset and concluded in nightfall."

    This intimate evening brought Ryuichi and Carsten back together for their first live collaboration since Sakamoto's cancer diagnosis and treatment in 2014. Prior to that, Nicolai and Sakamoto had worked together on and off since 2002, releasing 6 albums as a duo. 


    Barry says: Beautifully glacial ambient works, spacious percussive flourishes and intermittent, hauntingly gorgeous string flourishes are fed through echoic chambers and met with spiritual bells and chilling throbs. Masters of their craft.

    Amon Düül

    Psychedelic Underground

      Amon Düül's 1969 debut-LP 'Psychedelic Underground', here reissued on vinyl, is music at its most experimental and relentlessly uncommercial, using late '60s influences as a launching ground for what would become known as Krautrock. Taken from a jam session from the previous year, but treated with many studio effects that enhance the strangeness of the collection, 'Psychedelic Underground' rocks to its own weird beat.

      Meandyou return with the ninth instalment of the collective's record label, this time presenting Manchester cult techno artist J.S. Zeiter.  Zeither resurrects his Analog 1 alias for his second outing on the label, after 2012s mini album on the collective's first edition of the TAPE series - the cassette featured original material split per side between Zeiter and Meandyou's Herron.
      In the late 1990s, J.S. Zeiter reached cult status by releasing a string of dub-infused techno EPs under his SJ moniker, each becoming sought after amongst collectors and DJs. Styrax Leaves recently reissued a number of his classic tracks, including new edits of the previously released tracks. He has released music on his own MCMLXV and JS imprints, as well as Pleasure Music and Phorma. 'Restoration EP' features 3 new productions that float between slow-mo techno and electro, plus the previously CD only track 'Interude 3' that appeared on the acclaimed 'Decade' album.


      Sil says: Killer track here, folks. It is all about 'Mistral' on A2. A gentle walk in space led by sparkling synth notes accompanied by beautiful melody and loops. All of it underpinned by an electro / techno beat. It sounds simple but it is not. To make outstanding music you have to go farther and this track will take you there, farther. As per the rest of this EP, expect atmospheres of soundtrack proportions and beatless dark passages bar 'Skiv Loop' on A2 that brings to mind the best Basic Channel output. Strong similarities with a the beat slowed down to make it even more loungier.

      I say buy this because it will grow with every listening session. Again, 'Mistral' will captivate you, but the rest is as solid and it will become a classic on its own. For those who likes their techno bathed in dub, Echocord or even Nils Frahm.

      Art Alfie inaugurates his Velvet Pony imprint with a four track EP shining light on a catalogue of music from the Stockholm scene. Having built a strong reputation alongside Mr. Tophat with a string of revered releases on the duo’s Karlovak imprint, Velvet Pony signals the opening of a new door for Art Alfie. "Soft Spoken" opens proceedings with a nice, cushion soft 4/4 drums supplementing bright keys, walking b-line and, eventually, a gentle housey thud. Understating but relentlessly grooving, this is perfect backroom / basement music. "Since I've Seen You" sees a eerie synth arps plotting against a canvas of spring reverb and haunting washes; before a disco vocal and groove are sweep in from the high end of a filter. This is really, really interesting folks, we haven't heard anything like this before and I'd encourage you to check out this truly head mangling track ASAP. "Hideouts" quickly changes the mood, opening side B with a heads down belter that wouldn't sound out of place on Mister Saturday Night. Containing that speaker tickling, 'woody' sound that sets the low mids alight, this is a brilliantly produced house track from the new school. "Front" sees the EP end on a techy note, rambunctious hats galloping against acid stabs steady kick for a highly functional mainline body tool. Nice strong debut here folks, strongly recommended.

      The excellent Best Records Italy 'Do It Again' (sic) with a limited edition, official reissue of Asso's all out Italo masterpiece from 1983. The work of Victorio Pezzolla, "Do It Again" is a super groovy, synthy cover of the Steely Dan classic of the same, which takes the jazz-funk O.G. into an more Balearic territories. All those Becker/Fagen chord progressions and jazzy inversions are still there, but transplanted into something more driving and disco friendly. Speaking of disco-friendly, the boogie grooving jazz-funker "Don't Stop" on the flip is pure blissed-out dancefloor heaven and deservedly became a Loft and Garage classic as well as receiving heavy rotation on both the cosmic and Balearic scenes. With the coolest of laid-back jazzy piano grooves underpinned with driving funky squelching bass and superb syncopated drums. If you don't have a copy in your collection, I'd suggest you invest.


      Patrick says: Best Records continue to come up with the Italo classics, this time treating us with an official reissue of the cosmic, Balearic, Loft & Garage approved double header "Do It Again / Don't Stop" by Asso. This is certain to sell out, so snap up a copy sharpish.

      AUX88 Bass Magnetic re-Issue 1993-2018.

      Back by popular demand, the same unique spirits that brought forth the sound of Detroit streets and turned it into the futuristic soundscape known as "Techno-Bass", The Original members have collaborated to re-issue their catalog 25+ years later. Starting with their 1st double pack LP, "Bass Magnetic" (considered to be a mesh of influences between Miami bass and Detroit techno), AUX88 established themselves in an effort to stay true to their roots in the streets and the clubs creating their own genre into a global dance culture. After the release and production of their own documentary ("AUX88-Portrait of an Electronic Band"), the group celebrates its now classic recordings. Harkening back to its first days on cassette tape to revive a future generation of vinyl aficionados. An under celebrated relic from the techno / electro cannon, this is futuristic music with an expansive vision. Get on board!

      Daniel Avery

      Slow Fade Remixes - Inc. Surgeon / Actress / Inga Mauer Remixes

      Following the surprise release of his Slow Fade EP last month, Daniel Avery presents a collection of remixes from Surgeon, Actress and Inga Mauer. The remix EP will be released digitally and on 12” vinyl on March 9th.

      Widely regarded as one of UK electronic music’s leading lights and “arguably the finest techno DJ in the world” (FACT), with a career spanning over 20 years, Surgeon lends his clinical touch to ‘Radius’, adding an erratic, propulsive beat to Avery’s warm synth layers for one of his best remixes yet.

      Werkdiscs head Actress meanwhile delivers a pared back and introspective rework of ‘Slow Fade’, shrouding the synth refrain in hypnotic, distorted production, in his first remix following the release of his critically acclaimed 2017 album AZD.

      Bunker Records’ Inga Mauer completes the package, offering a claustrophobic mix pierced with metallic shards that confirms what Resident Advisor said of the uncompromising Russian-born Amsterdam-based DJ and producer last year: “Mauer is destined for big things.”

      Beautify Junkyards

      The Invisible World Of Beautify Junkyards

      THE INVISIBLE WORLD OF BEAUTIFY JUNKYARDS is Lisbon band Beautify Junkyards’s third album and effortlessly blend their love of English Acid Folk and Brazilian Tropicalia. In a collection of songs that conjure up a warm and verdant faerie world, delicate acoustic guitars evoke an autumnal England suffused with Iberian heat by other- worldly voices; the ethereal lilt of João Branco Kyron and the warm languor of Rita Vian (a voice redolent of Gal Costa or Os Mutantes’ Rita Lee.)

      The production is tempered with a haunted electronic palette that anchors the band squarely in the world of Ghost Box. But more than this, Beautify Junkyards’ sheer song writing talent, production skill and performance virtuosity grant them a place amongst the great outside-of-time bands like Broadcast or The High Llamas.

      In 2012, the band’s eponymous first album set out their stall, with a collection of cover versions; mainly of classics of the British Acid-Folk period, but also taking in Tropicalia and German Kosmiche. The album was a hit in Portugal and picked up for airplay in the UK on BBC Radio 2 & 6 Music. Their version of Kraftwerk’s Radioactivity was included on DJ Food’s Krafwerk Kover Kollection.

      Their second album in 2015, The Beast Shouted Love, carried their influences forward with original songs and cemented a style that is at once traditional, experimental and exotic. In 2016 the band debuted on Ghost Box with a single as part of the label's Other Voices Series.


      LP includes MP3 Download Code.

      Höga Nord Rekord drop the sixth release of their UK 12” series. Jo Howard from Sunderland is a producer and DJ going by the Bird of Paradise moniker who came to prominence via his output on labels such as Jennifer Cardin´s Correspondant imprint and New York's Throne of Blood. "Smoking Weekend" opens with two haunted house thrillers, "Tito" and "Joy Rides". Both containing a spooky and juddering thud, the tense nature of both tracks is emphasized as much as possible in favour of more mellifluous elements. The B-side chugs on in much the same nature, with the title track and finisher, "Breather Resist" sending funky fresh flirtations to Andrew Weatherall's and Timothy Fairplay as they creep around the very fringes of the more freakishly inclined dancefloors. Ace!

      The mighty voodoo masters Black Bones put the third line in their disco pentagram this week, as another back-breaking digging session has unearthed some sacred remains, primed for modern dancefloor re-animation! The set opens with the psychedelic squelch and symphonic strings of "Love Sick", a pounding peak time disco bomb topped with wild moog lines (a la Debbie Jacob's "High On Your Love"), sultry female vox and a rhythm section that just rolls on and on. Next up, "Desert Flower" takes a subby, dubby approach to the polyrhythmic fourth world house sound, providing plenty of esoteric instrumentation and echoes of Funny Bones. Flip it for the big and beefy 80's maxi-mix stylings of "She Should Know (Dub 3)" a properly Balearic dancefloor bomb, that sounds like a vintage FK mix of Willie Colon or something off a Hysteric 12". Lastly the dubwise depth charge "Lion Of Judah" connects with the land of Jah to give Matt Ward a reason to shout 'CHALICE'! This is limited hand stamped 12" tackle that is certain to fly.


      Patrick says: Black Bones return with a little rattle and clatter for the voodoo people out there, summoning up their best 12" yet (I reckon). "Love Sick" is the kind of A-grade edit action Dr Dunks used to hand to Harvey for peak time dancefloor demolition, "Desert Flower" is entheogenic house exotica of the highest order and the dubby diversions on the B-side offer proto house and break-ish brilliance. Buy on sight!

      Black Lizard

      Celebration Of A New Dawn

        Since forming back in 2008, Finnish garage-rockers Black Lizard have been busy leading the charge in the ever-fruitful Scandinavian underground with their relentless gig schedule and a constant stream of releases. They’ve collaborated with the likes of Anton Newcombe and Sonic Boom (Spacemen 3/Spectrum) and toured Europe several times, appearing at a number of festivals including Great Escape as well as sharing the stage with everyone from Brian Jonestown Massacre, DIIV, The Men, The Horrors, Allah-Las and Veronica Falls.

        On February 23rd Black Lizard will be releasing their third album, Celebration Of A New Dawn, on London imprint Fuzz Club Records. Recorded in the basement of a rundown 50s movie theatre turned recording studio, the new album is a sublime excursion into Sixties-indebted, washed-out garage-pop. ‘Celebration Of…’ is Black Lizards best album yet; bright, vivid and lysergic, the record manages to be unapologetically nostalgic yet carve out its own glorious, introspective pastiche - repackaging the Nuggets-esque garage/psych-pop and early-90s shoegaze swoons for 21st-century wastoids. 

        Ken Boothe

        Freedom Street

          First-ever vinyl reissue of the classic 1970 album from Mr. Rock Steady! Ken Boothe was the most soulful singer of the rocksteady era, often likened to a Jamaican Wilson Pickett, and his mid-’60s recordings for Clement “Coxsone” Dodd’s Studio One label were and are among the genre’s most coveted sides.

          In 1970, he moved to Leslie Kong’s Beverley’s imprint for this album, which continued his string of hits with the songs “Why Baby Why,” “Now I Know,” and the title tune, “Freedom Street.”


          Coloured LP Info: Limited red & yellow swirl vinyl - 300 copies only.

          David Bowie


            A rare release of David Bowie, featuring recordings from The Cher Show in 1975, Dina Shore Show in 1975, The Tonight Show in 1993 and 1995 as the Letterman Show in 1995.


            Coloured LP Info: 180g red vinyl.


            Celestial Ocean

              1973's brilliant "Celestial Ocean", by the legendary Swiss krautrock band Brainticket, is a concept album that details an ancient pharoah's journey into the afterlife (substitute the word 'journey' for 'trip' and you'll get what they were driving at). However, Brainticket were not mere products of their time, they explored some truly compelling musical territory and produced a superlative blanket of sound-featuring a pioneering mix of early synthesizers, flute, zither, sitar, and male / female stream-of-consciousness spoken word vocals-that ebbs and flows in the same general cosmos as classic Gong, going on to influence bands like Sonic Youth, Stereolab, Skinny Puppy, The Legendary Pink Dots, and more! This reissue is fully remastered from the original master tapes.


              LP Info: 180 gram LP plus bonus CD of the album.

              Being as LSD was first developed in a laboratory in Basel, it is perhaps no coincidence that one of the most 'far out' albums of all time was made by this Swiss band (no small feat, given the competition!). Brainticket's 1971 debut, "Cottonwoodhill", begins normally enough with two fine psychedelic / kraut rock-influenced tracks, but the remainder of the album plays like an acid trip with a soundtrack, dominated by Joel Vandroogenbroeck's endless droning organ, a variety of musique concrète-type sound effects and vocalist Dawn Muir's trippy vocals.

              The album, banned in several countries, even came with this self-imposed warning: 'After Listening to this Record, your friends may not know you anymore'. / 'Only listen to this once a day, your brain might be destroyed!'.


              Ltd LP Info: 180 gram LP and a bonus CD of the album.

              Vashti Bunyan

              Just Another Diamond Day

                Vashti Bunyan’s legendary debut album from 1970 finally gets a UK vinyl repressing. Produced by Joe Boyd for Witchseason Productions and originally released on Philips in 1970, the album features contributions from Fairport Convention’s Simon Nicol and Dave Swarbrick and The Incredible String Band’s Robin Williamson.

                The songs mostly concern the events that took place when Vashti and her lover travelled to the Hebrides in a horse and cart to join up with Donovan’s artistic community but by the time they got there that community had all left. 

                FORMAT INFORMATION

                Ltd LP Info: First UK vinyl pressing since 2000.
                Limited edition of 1000 180g black vinyl.
                Deluxe replica gatefold sleeve with lyric inner sleeve and restored artwork.

                Calendar Crowd was the duo of Alan Heaton and Terence Tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the ‘70s. In the ‘80s they formed a 6-piece band called Room For Humans and recorded one single “Telephone Telephone / Girlfriend”. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division. In 1982 they released their debut single “Perfect Hideaway / Perfect Hideaway Dub” on 7”. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP “Listen in to the Heart” in 1985.

                A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue Dark Entries compiled both singles on one EP featuring all four songs. "Perfect Hideway" is evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance’s squally, vocals guiding the way through volatile synthscapes accented by bright brass stabs. Meanwhile the dub strips back the vocals, adds delayed samples and heart beat pounding drums. On the B-side “Listen in to the Heart” and “Questions Answers” are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. Another synth classic given a new lease of life from the good folks at Dark Entries. 

                Here comes the second full Carnival Club EP, 'Nomad and Crooks'. And what a beast it is, coming out with a killer roar. It's a step up, a leap forward on a recording level for the band from their mightily impressive, now end of year poll topping, 'Magdalena's Cape' EP released in 2017. That year ended with Carnival Club having supported The Courteeners' Liam Fray on his sell-out solo tour. The EP's opener, 'Sin City' is a time-travel elevator bringing out the ghosts of King David, solid gold easy action of Marc and supersonic black holes of Bellamy into a heart-felt digital pulse, all passion and purging of the poison.

                Caroline Says

                There's No Fool Like An Old Fool

                  Moving beyond the surf-folk foundations of her debut, on No Fool... Sallee loosens her earthly tether, allowing her songs to float to ever higher altitudes on clouds of loops, immaculate melodies, and hypnotic harmonies, as she sings about aging, the daily grind, and hometown stymie. Moving to Austin in 2013 gave her a new perspective on her hometown of Huntsville, Alabama, which informed the overall vibe of the album. "I think leaving my fairly small hometown and then going back to visit it inspired the feeling I went for on this album. I observed that so many people I knew were content doing basically nothing.

                  Or that they were scared to try to do anything or leave town, like they felt stuck there." The ¬first few notes of the Daniel Rossen-esque opener “First Song” dutifully establish the surreal and slightly tragic tone of longing maintained throughout the album. The curiously upturning melodies ride out on a rich ambient texture before “Sweet Home Alabama” cuts the fog with a crackling 60's soul loop that's charming and catchy enough to induce a cathartic laugh from the listener. The brightness fades with the frosty and propulsive “A Good Thief Steals Clean,” which features lyrics inspired by the 1971 ¬lm Panic in Needle Park, and the idea of being in love with a heroin addict. “I tend to write from the perspectives of characters in dark situations, even though my songs may sound bright,” Sallee notes of her alluring juxtaposition of sunny production and grim lyrics.

                  She employs this dynamic again on “Rip O ,” a frenetically percussive song with lyrics inspired by an NPR story about a young Iraqi man who was killed in an ISIS bombing just before moving to NYC to become a professional dancer. Inspired by Terrence Malick's Badlands and Bruce Springsteen's "Nebraska," the song “Black Hole" features multi-voice harmonies sung from the perspective of 50's spree killer Charles Starkweather. The hurdles she navigated to record naturally led to ad hoc recording techniques, and endless sonic experimentation, often leading to her use of the computer as an instrument. A tireless worker, and a wellspring of creativity, whatever Caroline Says, we will be listening.

                  FORMAT INFORMATION

                  Coloured LP Info: Two-Toned Sky & Ocean Coloured Vinyl LP

                  Hailing from Modena, playful, irreverent, Balearic heroes, Italo legends and Eurotrash pioneers, Ciao Fellini marked the 80/90s decade with several covers and bold Italo-pop singles. They won a Festival Bar, got photographed by genius Luigi Ghirri, sold more than 100.000 copies of “La Mia Banda Suona Il Rock”, were invited to the trendiest TV shows of the time such as Discoring and Super Classifica Show and ran one of the most prestigious night clubs of the 80s in Northern Italy, the Graffio. The Caribbean House is Billy Bogus' new project: a new blend of creepy atmospheres, sunset grooves, analog feelings and constant rhythms. Bogus leads this new collective formed by Federico Bologna (Ohmega Tribe, Technogod) and Cristiano Santini (Disciplinatha, C.S.I,), proper landmarks of overt 90’s underground Italian electronica and noise rock, once again ready to tie their receptive minds to something new. The deep background and the intense attraction for oddities brought them together, making The Caribbean House remixing Rita!!! A demo tape straight from 1983, for In Flagranti's new trademark: Hotfoot!

                  STAFF COMMENTS

                  Patrick says: In Flagranti's Hotfoot imprint continue to bring us the waviest disco burners, this time courtesy of Ciao Fellini, as interpreted by Billy Bogus. Tropical drums, dubby guitars and a propulsive bassline cut through the wonky soundscape perfectly. Perc mix on the flip - get twisted.

                  Cocteau Twins

                  Head Over Heels - Vinyl Reissue

                    4AD are repressing two more Cocteau Twins’ albums on vinyl this coming March, the albums Head Over Heels and Treasure. Both following on from the recent reissues of Blue Bell Knoll, Heaven or Las Vegas, Tiny Dynamine / Echoes In A Shallow Bay and The Pink Opaque.

                    Using new masters created from high definition files transferred from the original analogue tapes, both albums are being pressed on 180g heavyweight vinyl and come with download codes.

                    Head Over Heels:
                    Released in late-1983, Head Over Heels is the Cocteau Twins’ second album and features classic tracks ‘Sugar Hiccup’ and ‘Musette And Drums’. Coming not long after original bassist Will Heggie had departed the band, the chemistry between remaining members Elizabeth Fraser and Robin Guthrie was flourishing and by moving the band on from the starkness of their debut, they were now making the music that would help them define the decade ahead; her wordless, dreamlike vocals a powerful instrument over his lush, textured guitars their trademark.

                    Cocteau Twins

                    Treasure - Vinyl Reissue

                      4AD are repressing two more Cocteau Twins’ albums on vinyl this coming March, the albums Head Over Heels and Treasure. Both following on from the recent reissues of Blue Bell Knoll, Heaven or Las Vegas, Tiny Dynamine / Echoes In A Shallow Bay and The Pink Opaque.

                      Using new masters created from high definition files transferred from the original analogue tapes, both albums are being pressed on 180g heavyweight vinyl and come with download codes.

                      The band returned to being a trio in 1984 with guitarist Simon Raymonde joining their ranks in time for third album, Treasure. Produced by Robin Guthrie and featuring tracks ‘Lorelei’, ‘Ivo’ and ‘Persephone’, Treasure is often celebrated as one of the band’s finest works.

                      As Pitchfork put it when including the album in their Top 100 Albums of the 1980s, “Treasure was titled simply enough. An adjective for the endlessly inventive melodic lines you'd find buried in these songs, and a verb for what you'd do with them for years to come.”

                      STAFF COMMENTS

                      Andy says: Amazing record. Stunningly beautiful tunes and voice, incredible guitars, and not one bad track. We thought we'd all died and gone to heaven when this came out in the early 80's!

                      Austin Collins & By The Sea

                      Blade Jogger

                        A concept piece, part sonic science fiction part monologue; "Blade Jogger" is the palpably clammy tale of an erstwhile Salford doorman with a taste for ‘SWENDAB’ - a new drug of potent psychotomimetic efficacy - set to a backdrop of Brexit bruxism. Conjured by author and artistic director of The White Hotel, Austin Collings (Renegade: The Lives at Tales of Mark E. Smith & The Myth Brilliant Summers), narrated by James Stannage, and set to a synthesised score by Bill Ryder-Jones (The Coral) and By The Sea. Think Anthony Burgess meets Savoy with sound by Martin Hannett in Delian mode. The White Hotel’s shadow looms large over proceedings. Jog on…

                        The place is England: a horrible electronic slum. The time is 22 minutes and 11 seconds into the future. A new drug - SWENDAB - is doing the rounds, sending everybody round the bend - as per. And as ever, here in this ‘less-than-United-Kingdom’, the rain must fall continuously. (It’s a wonder we haven’t all rusted by now.)

                        Rebelling against the drudgery of his surroundings, trapped inside his own fragile psyche - with no map nor money - meet GAZ-15: ex-bouncer/ex-lover/full-time-fuck-up.

                        Tonight, like every other night, he will go AWOL, lost in ‘the hallways of always’ of another SWENDAB-binge, searching for a meaning he knows he will never find. All those memories leaking into the eternal drainpipe. What a monster he’s made of himself. Not quite human. Oh to be a clone of others.

                        Comacozer / Blown Out

                        In Search Of Highs Volume 1

                          The first slab in a possible new split series titled 'In Search Of Highs'

                          Both the bands here are instrumental trio's, BLOWN OUT (UK) & COMACOZER (Australia) are interlinked by history and their shared love of sonic psych explorations and both are here for Phase 1 of this cosmic experience.

                          You will no doubt already know the two bands gracing this first slab of wax. They're from worlds apart, geographically that is, but musically are very much on the same plain.

                          Both bands have multiple releases behind them, and this one is sure to pick them up new fans aplenty.

                          Blown Out deliver three relatively short (for them) blasts, channelling their inner Stooges / Marble Sheep coming on like grand funk space lords. Three tracks of groove sonics and head changes.

                          Comacozer go the opposite route and slide in with another of their trademark epic trips, that sucks everything around it into it's own cosmic gloop.

                          FORMAT INFORMATION

                          Coloured LP Info: Limited 500 only coloured vinyl exploration into the void. 250 copies pressed on purple vinyl and 250 on green vinyl. Housed in 350gsm printed sleeve with black inner and download code.

                          Creep Show (John Grant & Wrangler)

                          Mr. Dynamite

                          Creep Show brings together John Grant with the dark funk of analogue electronic band Wrangler (Stephen Mallinder/Phil Winter/Benge) to create Mr Dynamite - a debut album packed with experimental pop and surreal funk. Recorded in Cornwall with a lifetime’s collection of drum machines and synthesisers assembled by Benge and explored by every member of Creep Show, there’s a real sense of freedom in the shackles-off grooves, channelling the early pioneering spirit of the Sugarhill Gang through wires and random electric noise. This sense of adventure is also part of the interplay between the two vocalists, John Grant and former Cabaret Voltaire frontman Stephen Mallinder, who switch between oblique wordplay to sinister humour as Phil Winter and Benge continue to man-handle the machines. The creepy ‘alter-ego’ title track, ‘Pink Squirrel’’s vocoder kaleidoscope and Grant’s exhilarating croon on the nine minute ‘Safe And Sound’ are just some of the twists and hooks to be explored on this consistently inventive record.

                          STAFF COMMENTS

                          Barry says: So, imagine John Grant's unmistakeable vocal serenades over the top of some rhythmic Bureau B synth pulses, swirling synth patterns and sickly-sweet Linn stabs. What could possibly go wrong? Absolutely nothing is what, it's superb, like we'd expect any different from our John.

                          Continuing to please anyone with a penchant for the esoteric, Lullabies For Insomniacs presents ‘For Leena’, a collection of unreleased pieces composed between 1991 & 1998 by Dino J.A. Deane for the choreography of Colleen Mulvihill. Deane began his professional career, at the age of nineteen, as a musical arranger and multi-instrumentalist (trombone, flutes, keyboards, percussion). He worked in funk bands around Los Angeles before moving to San Francisco in the mid 1970’s, where as an improvising artist he became involved in the diverse communities of dramatic theatre, modern dance, free jazz and punk rock. In the early 1980's Mr. Deane pioneered the use of live-electronics, live-looping and live-sampling in three distinct genres that heavily informed his later compositions: As a member of art-punk band 'Indoor Life', touring and recording with fourth world pioneer Jon Hassell and as an electro-acoustic percussionist in the Conduction orchestras of Butch Morris. During this period Mr. Deane also worked as a sound designer for the theatre, with directors Sam Shepard, Julie Hebert and Christoph Marthaler. He also maintained a presence in the world of modern dance, creating and performing compositions for former Olympic gymnast Colleen Mulvihill.
                          The couple met in San Francisco in 1979 through his good friend Bruce Ackley, whom was commissioned to compose a score for one of her solo pieces. Colleen, was than a member of the Margaret Jenkins Dance Company and was planning to move to New York City to set out on her own as a dancer and choreographer. Their paths crossed again in 1980 when Dino moved to NYC with Indoor Life, during this time they began a long term relationship both on and off the stage, which continues to this day.

                          STAFF COMMENTS

                          Patrick says: This retrospective collection on Lullabies For Insomniacs focuses on the beautiful, beguiling and blissed out electro-acoustic compositions of Dino J.A. Deane. A million miles away from the angular art punk of Indoor Life, these pieces for contemporary dance drift through serialism, minimalism and fourth world ambience creating the perfect sound to sway to.

                          The Decemberists explore a new sound with a new producer on their inspired eighth studio album I’ll Be Your Girl, which will be released March 17 on Rough Trade Records. The acclaimed Portland, Oregon-based band worked with producer John Congleton (St. Vincent, Lana del Ray) and embraced influences such as Roxy Music and New Order to spark a new creative path, as can be heard on the synth-driven lead single “Severed”

                          I’ll Be Your Girl is the sound of a veteran band finding new inspiration, a unit unafraid of challenging itself to re-connect with its creativity. “Making music is an infinite choose-your-own-adventure,” says Colin Meloy, “and when you go down one path, the other paths get sealed off. So every time we could, we said, ‘If this is what our impulses would tell us to do, let’s try to imagine it in a different way.’”

                          STAFF COMMENTS

                          Barry says: A more direct affair than their previous outing, 'I'll Be Your Girl' flits between the full-sounding AOR melodicism of War On Drugs and the pseudo-country psychedelia of their previous iterations, 'I'll Be Your Girl' takes all the elements we love about The Decemberists and distills them into a cohesive and hugely satisfying whole.

                          FORMAT INFORMATION

                          Coloured LP Info: Limited indies-only white vinyl LP.

                          Detox Twins

                          In The Hospital Garden / Transformation

                            The third of March’s trio of PY 45s, is a revisit to the always enjoyable dark electro world of Berlin’s mighty DETOX TWINS.

                            The new record offers up a pair of killer synthpop gems which, in the words of the bands’ Mark Vorderhaus “drift into the arena of the unwell with their latest outing 'In the Hospital Garden', and pose the curious questions: Is it so unfortunate to surrender your mind to a permanent altered state? Can losing oneself irreversibly to a manipulated insanity, actually prove to become a rare and wonderful freedom? Attraction battles control as the transformation completes itself. The b-side, 'Transformation' depicts the liberated insanity without challenge, now thriving and pulsating beyond the point of any return.”

                            Two more ace tunes which precede a full length later in the year for Polytechnic Youth. Killer hooks from synth maestro Mark, aligned with glorious effect to Devi’s icy Nico-esque vocals. Another winner for both artist and label!

                            A pressing of 250 copies. Hand numbered with sticker insert and destined to fly out super quick.

                            After last year's stellar EP on L.I.E.S. Records, veteran, Brooklyn-based producer and DJ Jake Reif (Savage Hymn, Upsetting Keys) continues to make waves with his Device Control brand. The first side of the new "EP2" begins with "Silhouettes": a robotic, techno-funk work out with a nasty kick drum, swirling modular sounds and a Timothy Leary inspired vocoded vocal. An instrumental version has been included for selectors who prefer tracks to songs. On the flip, "Joystuck" continues the aural assault with a slightly more stripped-back approach. Hard-hitting metallic percussion and screaming, alien-esque synth bleeps are all that's necessary here to decimate a dance-floor. Finally, "Divisive" rounds out the EP with a stomping vengeance, its jacking claps and dissonant harmonics have been carefully designed to deliver a sonic gut-punch, taking no prisoners when played on a club system.

                            STAFF COMMENTS

                            Patrick says: Those of an EBM/Industrial bent will be all about the klang and bang of A-side offering "Silhouettes", but it's the broken modem madness and cyclical groove of "Joystruck" that steals the show for me.

                            Phillis Dillon

                            One Life To Live

                              As the only album ever released by the leading female singer of the entire rocksteady movement, One Life to Live is a crucial document of the era and genre; that it also happens to be a fantastic record is just gravy!

                              Dillon spent her entire career recording for Duke Reid’s Treasure Isle imprint; though One Life to Live was released in 1972, it is something of a compilation, including material recorded through 1968 to 1972. And as such, it features a bunch of her solo hits, including “Long Time No Nice Time,” “We Belong Together,” and the title tune. But to American ears, her interpretations of such rock warhorses as George Harrison’s “Something” and Stephen Stills’ “Love the One You’re With” may stand out the most; in her light, rocksteady style laced with rock and pop, she truly makes these songs her own.

                              FORMAT INFORMATION

                              Ltd LP Info: Limited edition sky blue marble vinyl - 300 copies only.

                              Copenhagen’s Tartelet return with Dirk 81 who offers up "Pizza Trance". Dirk 81 is actually Tarelet label head Emil M. Nyholm. Having previously dropped a slew of tracks as Muff Deep and CTEPEO ‘57 (with Max Graef), the DJ and producer is blessing the universe with three cuts of dancefloor heaven under a new moniker lifted from his days tagging concrete walls in the 90s. Influences draw everywhere from disco, to African hi-life, dub, Underworld (!!), a few old trance records, and, of course, timeless house music. Recorded over a year in Berlin and Copenhagen, the record kicks off with “M.F.C”, a disco-afro-house hybrid oozing with Roland Jupiter 6 keys and some funky drums processed on old equipment from the former USSR. The B-side spreads things deep and delicious with “Pizza Trance (Main Mix),” a euphoric serving of sounds that substitutes pepperonis and pineapples for glittering sequencers and a bangin’ bass drum. The EP’s closer tastes like a bit of both, mixing up some more acid sounds into the recipe for a retro-sounding house track. It’s another tasty delight from the label that will fulfil any and all late-night cravings.

                              New single by our the fun loving arty indie mob that is Django Django. "Surface To Air" is catchy AF, radio-ready and mixed and mastered ready for your all nite indie dancefloor! Featuring Self Esteem, it's got a slight MIA vibe to it - ready for scorching hot, empowering days with a riotous flavour. Comprise of solely electronic elements and not featuring the band's usual vocalists, this single is a step in a new direction for the band which has featured everywhere from Parklife stages to Soccer AM. Alongside the tasty instrumental come three remixes, with LuckyMe regular Lunice the first to twist up the stems. He transforms the track into a bass-ladled future beats jam, chopping up the vocal into a catchy vox pattern and adding piston drums and big bass rumbles for a Jeep-pleasing crunker for the purple mob. Nightwave lifts the track from the 42s / 5th Ave dancefloor and plonks it right in the middle of the more techno / bass inclined club spaces; with a hard hitting, hi-def take on the OG which the DJs'll surely get on board with. Finally, Body In The Thames dubs it out into a tech-house glider, super crisp and with a panoramic scope, it'll suit early evening moments of serenity across the playas of Ibiza and the more glitzy end of the holiday house market. Excellent!



                                Portugal’s dreamweapon take their name from the 1990 Spacemen 3 live album ‘Dreamweapon: An Evening of Contemporary Sitar Music’, who themselves took inspiration from the work of minimalist drone - or ‘Dream Music’ - visionary La Monte Young and a 1965 multimedia piece titled ‘Rites of The Dreamweapon’ by original The Velvet Underground drummer Angus MacLise. Fast-forward to 2018 and dreamweapon, the band, are continuing to keep the torch burning. Made up of 10,000 Russos bassist Andre Couto, João Campos Costa and Edgar Moreira, dreamweapon emerged in 2009 and have since gone on to release one EP, their debut S/T album and a handful of singles, whilst taking their immersive and unremitting live show around Europe.

                                Made up of four improvised compositions recorded in one take at their Porto practice space, on February 16th dreamweapon will be releasing their sophomore LP ‘SOL’. On the album, whirrs of feedback and noise coalesce around droning, oscillating synths, samples and subtle cascading guitars, the only thing keeping the sparse soundscapes together being the incessant Krautrock rhythm with a seemingly endless motorik bassline that forces it’s way right to the back of your unconscious and the almost proto-punk minimalism of those programmed drum machines. 

                                For the third Marfa Myths release, we’re proud to present seven all-new songs written and recorded by Stockholm’s psychedelic masters Dungen and adventurous Brooklyn indie-folk pioneers Woods. As the Myths record series progresses, the spirit of the collaborations between the artists chosen – one a member of the Mexican Summer family, the other for which we share deep admiration – deepens as well. Dungen and Woods were tourmates in the summer of 2009, traversing America and bonding with one another in the process. The familiarity with one another’s music and personalities was already well in place, but the eight years that passed between the tour and the making of this record reveal that nothing was lost in the interim. That this is the most music assembled for a Marfa Myths release to date is telling of a rare and special connection, reignited by the circumstances of the occasion.

                                Dungen’s Gustav Ejstes and Reine Fiske, and Woods’ Jeremy Earl and Jarvis Taveniere were provided the freedom to acclimate themselves to the unique frequencies of the Marfa experience without distraction. Marfa Myths 003 showcases a seamless merging of two bands following the same track to different locations throughout their career, as if they’d been playing together for decades, an exhilarating and buoyant example of how shared experiences can foster truly wonderful music.

                                STAFF COMMENTS

                                Barry says: Like the 'In The Fishtank' series from Konkurrent, 'Myths' from the superb Mexican Summer has managed to take two differing acts and force them together to great effect. The dark, psychedelic underbelly of Dungen meet the light, airy bliss of Woods perfectly. A future classic, and a superb benchmark for future collaborative efforts.

                                Essaie Pas always seek out fresh challenges. After all, there’s a whole universe of sounds, sights, and new ideas to explore. Emerging from Montreal’s sprawling electronic scene, the duo - Marie Davidson and Pierre Guerineau – feel completely free to express themselves, to sketch out hitherto unmapped musical regions and the results are rather quite arresting. "New Path" takes their philosophy one step further. Their second album to date and second on powerhouse label DFA Records, it is loosely based on Philip K. Dick’s 'A Scanner Darkly', a classic of dystopian science fiction.
                                'I read the book a long time ago, maybe 15 years ago, and it had a strong impression on me,' explains Pierre. 'In our previous work we always looked to music as inspiration in our lives, but this time we felt the desire to try something different, that’s not based on ourselves but on someone else’s universe. It was going to be more conceptual, more political.'

                                "New Path" touches on personal ground, on addiction, loss, and the lingering strength of identity within late capitalism’s mass media paranoia. It pins down the central character’s destructive addiction, using this as a metaphor to explore the dichotomous rupture between our inner lives and our social environment, one that is often fed and soothed by drug abuse, social media, or any kind of dependence.

                                'I think it touches us on many levels,' Pierre continues. 'We can talk about drug addiction issues, we can talk about the mass surveillance world we live in, but there’s also the experience of loss, of grief. I was surprised by how the book felt so modern and accurate to the time we live in right now. Dick’s visions of surveillance are the reality of social control today.' 

                                FORMAT INFORMATION

                                Coloured LP Info: Coloured edition on white vinyl

                                Fatboy Slim

                                You've Come A Long Way Baby - Deluxe 20th Anniversary Edition

                                One of Fatboy Slim's crowning glories, "You've Come A Long Way Baby" saw the Brighton luminary take the big beat grenade and detonate it overground, taking the sound to the clubs, beaches, adverts and coffee tables of Great Britain and beyond. If you were conscious in 1998 it was impossible to ignore this album, with companies queuing up to align themselves with the coolest new trend in club land. Fatboy himself used the platform to elevate his Big Beach Boutique brand - two phenomenal parties on Brighton beach (the first seeing 65K revellers, the second - 250K!!); the likes of which sadly, I doubt, we will ever see again. I can personally remember exactly where I was the first time I heard "Rockafella Skank" and to me this is up there with "Dig Your Own Hole", "Music For The Jilted Generation" and "Homework" as one of the most iconic dance music albums of the nineties. I wasn't old enough to hear the tracks in the club, but its cultural impact travelled up and down the generational ladder from everyone at high school to people's Mum's cleaning the kitchen.

                                A celebratory 20th anniversary reissue as part of BMG’s ‘Art of The Album’ series showcasing seminal albums that broke new ground in concept, production, song writing, and genre, leaving a lasting legacy as a complete album work of art. Deluxe edition CD and LP format packaging including 180g gatefold vinyl, 6 page 12” roll-fold booklet (LP), 12” display art card (LP) and 28 page booklet (CD).

                                Exclusive anniversary sleeve notes from Ralph Moore (Editor at Large, Mixmag) and album timeline from Damian Harris (Skint Records).
                                Number one on the UK albums chart, number one in New Zealand, number two in Australia and number thirty-four on the US Billboard 200 containing four top ten singles. These tell a beautifully story much better than I can hear and really give creedence to this golden age of dance music that Norman was spearheading.

                                Ranked number 81 in Q magazine's readers' poll of the "100 Greatest British Albums Ever".

                                Brit Awards: Best Dance Act 1999, 2001. Brit Awards: British Single 1999 (nominee), Male Solo Artist 1999 (nominee).

                                STAFF COMMENTS

                                Matt says: Makin' me all teary eyed comes this 20th anniversary of THAT, seminal, big beat opus. The one that broke the sound overground, if you don't end up watching youtube videos of Brighton Beach I'll eat me slipmats...

                                Jonathan Fitoussi & Clemens Hourriére

                                Espaces Timbrés

                                Three years on from their critically acclaimed album on Versatile, Jonathan Fitoussi and Clemens Hourrière are back with 'Espaces Timbrés' a brand new episode in their exploration of the legendary modular synthesizer - The Buchla. After 2 years of tireless work, ever pushing and furthering their musical research, Fitoussi and Hourrière reveal to us new territories, textures, sounds and feelings to explore with the help of the equally legendary I:Cube on mixing duties to add even more sonic reflections and mixing desk wizardry. This one's a hyper-jump into the future made possible through a machine from the past, giving birth to those most captivating of electronic mantras... dive in, the water's warm!

                                STAFF COMMENTS

                                Barry says: Brilliant Buchla exploration on Versatile here from French duo Fitoussi and Hourriére - think Suzanne Cianni, François Bayle or Morton Subotnik and you're almost there!

                                The trio of Roy Avital, Yoav Saar and Johnny Sharoni produce a blend of sounds drawn from their diverse cultural worlds; ranging from art-pop to experimental house to horizontally-aligned vibes. Since surfacing at the close of 2013 with their breakout track "Move On", Garden City Movement have released "Entertainment" and "Bengali Cinema" EPs, the "Modern West" 12” in collaboration with The Vinyl Factory, climbed the Hype Machine Popular Chart with multiple singles, recorded live sessions for Boiler Room, Majestic Casual and FACT, opened for Bonobo, Caribou, Alt-J and played all over the world. The band's music video for "Move On" received a nomination for Best Music Video at the LA Film Festival, won “Best Video of The Year” at the MTV Israel Music Awards and the video for ‘She’s So Untouchable’ screened at Raindance Film Festival in London.

                                Recording through 2017 at their studio in Tel Aviv, Garden City Movement took the time to explore their sound as a band. From the combination of dream-like vocals and cinematic-RnB in singles "Slightly All The Time", "Before I Fall" and "A Means To An End"; to the leftfield four-four of "Mediterranea" and "Sans Titre" or the ethereal jazz of "I Knew Before I Met Her (That One Day I Would Lose Her)" and worldly influences of the title track - the heightened craft in their production is firmly felt across the album’s 18 tracks.

                                'After releasing three EPs, which each had a very tight deadline, recording the album has been a chance to grow. It’s the first time we have been able to really take the time and experiment a lot in the studio; try to develop and deepen our language, come up with new sounds, and take our techniques even further'. - Garden City Movement

                                The album takes a darker path lyrically; exploring the breakdown of a fading relationship and the depression, loneliness and abuse that follows. While not explicit, this melancholy grounds the album in the real world. The fusion of forward facing production and confessional account of human-interaction frames an emotional and honest album of modern soul music.

                                FORMAT INFORMATION

                                2xColoured LP Info: Indies exclusive white vinyl.

                                Gauss is made up of Chicago's Natan H and Owen Jay, the main man behind the Batti Batti label and countless other high grade deep and leftfield house and techno variations. The vibe is crisp and machine-powered on this collaborative EP, which follows previous appearances on Hizou Deep Rooted Music and Contrast-Wax, leading in with the punchy but mellow electro excursion "Maximum Entropy". There is a shuffle at work on "Bimodal" but still the Detroit influences are at the front and centre of the mix. "Piecewise Dub" veers off into spacious, experimental territory where the beats come second to the strafing synth work, and then "Dweller" finishes things off with some bare bones machine funk.

                                The debut release by Afro-Canadian singer, songwriter, and cult figure within new age experimental sounds, has been long sought after. The soulful jazz release, was original recorded in 1970 alongside musicians Dough Bush, Don Thompson, Terry Clark, Lenny Breau, Jeremy Steig and Ray Charles collaborator Doug Riley a.k.a. Dr. Music. Written when she was 26, the album is a testament to Copeland's stand-out songwriting, and earnest, beautiful vocal talents, fitting into the realms of spiritual folk.
                                Born into a musical family in Ottawa Canada, Beverly Glenn​-​Copeland studied the classical piano repertoire, after being brought up listening to his father playing at home. Following his studies, Copeland moved on to songwriting, in order to weave all the different musical cultures he had come to love. He is best known for the 1986 release Keyboard Fantasies, re-issued in 2017 by Invisible City, a record described as a mixture of "digital new age and early experimental Detroit techno." Now going by his name Glenn Copeland after gender transitioning, the singer songwriter also made a name for himself writing children's music for TV shows Sesame Street, and Mr. Dressup.

                                Referring back to his debut record, Copeland states: "I was a fresh-faced kid of twenty-six when I wrote these songs, only a few years out of the classical music world in which I had been immersed since childhood, performing the European classical song repertoire in concerts both live and for radio broadcast. So I sold my oboe, bought a guitar and began tuning it in wild and wonderful ways to more easily find the chords I had no idea how to find in the regular tuning. I didn't want to study anymore. I just wanted to write." 

                                STAFF COMMENTS

                                Patrick says: If you come to Copeland's debut looking for the new age synth stylings of "Keyboard Fantasies", you may be disappointed. However the quality and clarity of these jazz folk gems should more than make up for it. Imagine a marriage of Terry Callier, Linda Perhacs and Vashti Bunyan and you'll be along the right lines.

                                Goat Girl

                                The Man

                                  ‘The Man’ on 7” backed by exclusive B side ‘Topless Tit’.

                                  Goat Girl head up an emerging set of groups from South London who have been inspired by the burgeoning local scene there.

                                  A classic sketch by the late great comedian Bill Hicks inspired their band name.

                                  FORMAT INFORMATION

                                  Ltd 7" Info: Indies exclusive 7"!

                                  Peggy Gou


                                    Following standout 12”s on Rekids, Phonica White and Technicolour, Peggy Gou is poised to blow up in 2018. Arriving via Ninja Tune, new EP ‘Once’ effortlessly spans her different styles and moods and features the stunning ‘It Makes You Forget (Itgehane)’ - a sleek, instantly danceable jam that shows off a new dimension to Peggy’s signature production style, featuring her singing for the first time - and in her Korean mother tongue too.

                                    For fans of Avalon Emerson, The Black Madonna, Hunee.

                                    Black 12” vinyl in a black paper sleeve housed in a 3mm spined artworked outer sleeve. Artwork by Jee-ook Choi.

                                    Halvtrak follows up releases on Don't Be Afraid and Bakk with this Detroit-indebted return to form on new London / Helsinki-based label Cold Blow. "Glass Movers" starts the EP with mechanized claps and robotic acid lines, juxtaposed by serene strings and ethereal synth-flute patterns; the perfect contrast of machine like precious blended with humanoid soul. "Fresnel Zones" shimmers and shakes like the electrical powered beast that it is, hovering sharp snares ricocheting against plump acid lines and concentric arps floating on waves of space dust. "Glass Moves" is remixed by Chinaski into a chugging, nu-EBM flavoured monster with its gated drums, tuned perc and darting fx. "Paralisis" concludes proceedings with a taut synthline, pulling tight against floor tomes and simple drum hits while a lazer beam melody is introduced again a tense backdrop. Slowly other synth tones are introduced as the track evolved into a casual space odyssey; gazing up to star-lit skies across a plasma-fried landscape. Exceptional stuff.


                                    Allez-teia (Heldon II)

                                      Sophomore album from the French space rock electro combo (1975)

                                      Here, Heldon mastermind Richard Pinhas has formed a duo with Georges Grunblatt.

                                      The music: an interplay of feather-light acoustic guitars, Mellotron textures, fuzzy sounds and heavy, spherical synthesizers.


                                      Electronique Guerilla (Heldon I)

                                        Debut album by the groundbreaking French space rock electro project (1974).

                                        Heldon = Richard Pinhas with a variety of guest musicians on different tracks.

                                        The music: a psychedelic sonic symbiosis of a 1954 Gibson Les Paul and an EMS Synthi AKS.

                                        Special guest appearance by the French philosopher Gilles Deleuze reciting Nietzsche! 

                                        Holy Motors

                                        Slow Sundown

                                          2017’s equal parts somnambulant and sultry Sleeprydr 7” was aptly described as “psychedelic rock that hits like a dream despite undoubtedly seeking to soundtrack nightmares” (-Stereogum). Thankfully, Slow Sundown, Holy Motors’ debut full length release, finds the Estonian dreamcatchers utilizing a similar sonic palette ranging from dark psychedelic pop to shoegaze-inflected western music. But while Sleeprydr, much like 2015’s Heavenly Creatures 7”, provided only a fleeting glimpse into the dreamscape that their music evokes, Slow Sundown’s eight tracks offer a more immersive experience for those brave enough to take the ride. While the guitar lines from lonely cowboy ballads like “Honeymooning” could easily serve as the central themes for unwritten Morriccone scores, dystopian anthems like the rhythmically propelled “Signs” break new ground for the band and demonstrate that Holy Motors are not bound by their influences. Thematically the album is comprised primarily of sad love songs centered around the idea of motion – the motion of a satellite orbiting a planet, the motion of a passenger riding shotgun in a car – as it relates to stellar-scale and existential isolation. Produced by Merchandise’s Carson Cox and recorded at Brooklyn’s Kutch1 Studios when the band was visiting the US on tourist visas, Slow Sundown is a beautiful alien artifact that definitively delivers on everything we have been promised by Holy Motors’ work to date.

                                          FORMAT INFORMATION

                                          Indies Exclusive LP Info: Available to independent retailers as a hand stamped and numbered deluxe LP format with poster.

                                          Hot Snakes

                                          Jericho Sirens

                                            After a 14-year hiatus from the studio, Hot Snakes have triumphantly kicked down the door back into our lives with their new album, Jericho Sirens. And amid the mania of non-stop political rhetoric, doom-and-gloom prognostications and omnipresent technology, it’s not a moment too soon.

                                             Hot Snakes formed in 2000, after the release of their first record, Automatic Midnight. They were John Reis, Jason Kourkounis, Rick Froberg and Gar Wood. The band’s sound represented a return to the unrealized past of its members. This time, their musics would be direct, undraped and rock ‘n’ roll while still maintaining the dense and turbulent character of the members’ previous work. That year, Hot Snakes found their live sound and established themselves as primo, down-stroke warlords. They followed with a pair of great albums – 2002’s Suicide Invoice, with drummer Jason Kourkounis, and 2004’s Audit in Progress, with Mario Rubalcaba on drums – that broadened the band’s sound while pleasing many a fan. However, the band eventually spiraled downward into a mid-life punk crisis, and by 2005 they had stopped performing.

                                            BUT! 2011 saw the return of Hot Snakes, with a string of festival shows. Both drummers performed with the band on the songs which they recorded, and the group discussed writing new material. After an additional 6 years of discussions, Hot Snakes returned to the studio in 2017 to commence recording, and the results are, finally, revealed in Jericho Sirens.

                                            Musically, Jericho Sirens incorporates the most extreme fringes of the Hot Snakes sound (the vein-bulging, 78-second “Why Don’t It Sink In?” the pounding downstrokes of “Having Another?”), while staying true to longstanding influences such as the Wipers, Dead Moon and Suicide on propulsive tracks such as “Six Wave Hold-Down,” one of the first written for the project during a New Year’s Eve 2017 session in Philadelphia. Other moments like the choruses of “Jericho Sirens” and “Psychoactive” nod to classic-rock titans such as AC/DC and Ozzy Osbourne, with Froberg admitting, “I’m as much a hesher as I am anything else, that’s for sure.” For Reis, reactivating his creative partnership with Froberg was one of the most rewarding aspects of the process: “Our perspectives are similar. Our tastes are similar. We work really well together. And what more is there to say? Rick totally outdid himself on this record, vocally and lyrically.”

                                            Jericho Sirens was recorded in short bursts over the past year in Philadelphia and San Diego, with assistance from longtime bassist Gar Wood. Kourkounis and Rubalcaba, both of whom drummed on prior Hot Snakes releases but never on the same one, contributed throughout.

                                            FORMAT INFORMATION

                                            Coloured LP Info: White vinyl edition.

                                            Indies Exclusive LP Info: Limited "Loser Edition" on black vinyl.
                                            (Yes it's confusing!)

                                            Back in stock Cover of Em Paz by Kaoru Inoue.
                                            Must have for fans of Brian Eno & Jon Hassell from renowned (and highly prolific) Japanese producer Kaoru Inoue, and released via Spanish dance label Groovement. As the label kick off their new 'organic series', we're treated some a selection of highly detailed sonic prayers, folk songs and healing frequencies from this truly dazzling artist. A celestial and ambient collection that will drive us through a beautiful imaginary place where the quest for peace is central. “Em Paz” will spontaneously make you seek for some Brian Eno or Jon Hassell albums because it emerges from that same timeless place.

                                            A very strong conceptual and listening album from the beginning to the very end.

                                            Limited copies! - move quick...

                                            IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock.

                                            To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of post punk and no-wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled “IMA” on an 8” flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. Dark Entries have added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and unaccredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. 

                                            Deep house sounds from a longtime fixture in the Detroit house scene (his earliest records date back to the late 90s). Let’s Play House taps the Javon seams for five deep and soulful cuts of unadulterated freebase house music. Javon's drum programming is some of the best in the business, and its often overlooked in favour of MAW of Kerri Chandler. If you're shoulders aren't swinging by the end of this then I doubt you are indeed human. Personal favorites? "Just Listen" and "Capricorn" - those frenetic beats and elastic low end simply impossible to ignore. Anyway, if you've not dipped your toe into this producer's archive yet, this is a brilliant place to start. If you're already onboard then make sure to pay this some attention as I reckon it's really, really strong.

                                            Brand new album from Joan As Police Woman, which sees a return to the darker, sensual sound of her celebrated early releases. Damned Devotion finds Joan Wasser at her rawest yet

                                            The first track to be shared from the album is ‘Warning Bell’, a tender, bewitching song of regret Joan wrote about “being a romantic and the naiveté that goes along with it”

                                            STAFF COMMENTS

                                            Barry says: Smooth, soulful grooves interspersed with mournful minor-key melodies and flickering funked-out guitar echoes. By far the most refined and emotive JAPW outing yet, lovely stuff.

                                            FORMAT INFORMATION

                                            Coloured LP Info: LP pressed on 180g pink vinyl and includes a digital download code.

                                            Durand Jones & The Indications

                                            Durand Jones & The Indications

                                            The album, which was originally released in 2016, received praise from The Philadelphia Inquirer, who called it, “Smartly restrained music steeped in the Deep South” and Paste, who said, “With a tingling rasp that screams James Brown and coos Otis Redding, Jones simply has to be heard to be believed on these vintage R&B pleas.” Detroit Metro Times furthered, “Modern soul that pulls with as much power as Lee Fields and Charles Bradley.” Of their debut, the band reflects, “Three years ago we spent every Sunday in our basement with a 4-track tape machine and a goal: record an album inspired by not only the ubiquitous titans of soul music but also the should-have-beens and the never-weres. With that modest target in mind, we released the record and booked one show marking the occasion. The reception we saw was both humbling and invigorating, and what started as a recording project, became a touring unit with larger aspirations.”

                                            STAFF COMMENTS

                                            Laura says: Boy can these guys sing! Timeless sweet soul music.

                                            FORMAT INFORMATION

                                            Coloured LP Info: Indies exclusive translucent red vinyl.

                                            Keysha / FG's Romance

                                            Stop It! / What Is Love Today

                                            Stroom unveil the first 12" in a series of yearly valentine maxis celebrating love, lust and the cleaning up which follows. The first edition contains Keysha's sleazy R&B youtube hit "Stop It!" & a Belgian blue eyed soul classic by Fg's Romance called "What Is Love Today?" On the A, Keysha's "Stop It!" should have pulses raised and trousers tented with its steamroom keys, precise drum groove and sexy bassline, the moans over the top are just the icing on this foxy flan. Flip it and feel the slow rolling force of "What Is Love Today?", a quiet stormer which sounds a little like Gary Low's "I Want You" (at 33 naturally) but with much better vocals.

                                            David Kitt


                                              Describing his first solo record for nine years as “the most free I’ve felt making a record since my debut Small Moments”, David Kitt’s sense of freedom is bound up in themes of renewal, movement, and a constant reshaping of his musical preoccupations. The last number of years have seen him touring and recording as a member of Tindersticks, producing other musicians’ work, exploring techno, disco, and house under his New Jackson moniker, remixing everyone from Shit Robot to The XX, and producing intriguing, eclectic DJ sets and radio shows.

                                              All of these experiences have been brought to bear on his latest record Yous, which mingles a sense of freedom, and calm reflection, with an independent impulse, “There was no pressure whatsoever with this record,” he says. “No label or manager, or anyone breathing down my neck. I was happy to wait as long as it took to have the right 10 songs”.

                                              "The intention was to release it very low-key via Bandcamp and do a small vinyl run, but when it was done and mastered I had a feeling I had something special on my hands, and for the first time in a long while all my friends were chiming in saying it was their favourite thing I'd done. So I played it for Olan at All City and he convinced me to give it a proper release". Yous is a finely wrought and elemental piece of work, folding in electronic hisses and beats that ground carefully finger-picked guitars (inspired by the likes of Mississippi John Hurt and John Fahey) and stirring violin, weaving between glorious pop-kissed melodies and stark, immersive, poignant compositions – something Kitt does so well.

                                              In the spirit of J.J. Cale, Love is Overtaking Me-era Arthur Russell, and Ronnie Lane, the relaxed nature of the album was intentional, “I'm getting my electronics fix from New Jackson, so I wanted to leave room for all the live instrumentation on this, and keep the backing as simple as possible, to let every element have room to breathe, and be heard, and have a strong personality.” The record was largely done by Kitt at his Dublin home, in a “teeny attic room” although old friend and collaborator, Karl Odlum, pops up, and Margie Lewis’s violin plays a crucial role throughout the record, as does Ireland, and more specifically, Dublin. The city, surrounding countryside, and its inhabitants, are a constant thread throughout, giving the album the feel of a personal travelogue that spans two decades.

                                              This is explored on “Made It Mine”, a song that was the hardest to finish because of the complexities of trying to capture our particular sense of identity, “The Taste of Without” tackles the financial crash that hit the country especially hard, and the recession that followed, whilst “Like Lightning” explores a night of adventure after a missed bus back home from Galway on the West Coast. The rest of the album, held together by Kitt’s uniquely rich vocals, offers a great deal of variety amidst its cohesiveness. “Keep the Streets Empty for Me” is a Fever Ray cover which he makes his own, whilst other moments harness early Dire Straits-influenced guitar tones, and Serge Gainsbourg grooves. While the closing track, “Song of Two Birds” says Kitt,“Reminds me of the record Bobby Charles made with The Band in Woodstock in the ‘70s, but with Warren Ellis on violin.” Although Yous is a record that is born of a particular place (the title is an Irish colloquial term for the plural of ‘you’), it is equally about personal exploration and a sense of duality, as Kitt reveals, "It also refers to the different versions of ourselves we pass through in life, which is reflected in these songs, which span a ten-year period in terms of writing, and longer, in terms of experience.”

                                              Yous is both the “waking” and the “breaking” of the heart that Arthur Russell sings of, and one of Kitt’s best, and most personal musical statements, to date.

                                              The Klitz

                                              Rocking The Memphis Underground - 1978-1980

                                                All girl band from Memphis who happened to be Alex Chilton's proteges; primal, loose rock'n'roll a la Chilton/Dickinson/Tav Falco in a wild and primitive No Wave/DIY punk style. Whether you like Charlie Feathers or Kleenex, The Cramps or Lydia Lunch, you will adore the Klitz, the unadulterated sound of the Memphis underground! One side studio, one side live, both sides frantic, chaotic & electrifying! 

                                                Edmony Krater

                                                An Ka Sonje

                                                  Following the reissue of his cult 1988 album ‘Tijan Pou Velo’, Heavenly Sweetness decided to continue their collaboration with Guadeloupean musician Edmony Krater and record a new album together, his first one in 30 years!

                                                  As an avant-gardist percussionist, singer and trumpet player, Edmony Krater has always worked to develop and promote the gwoka music of Guadeloupe and to feed it with different influences, from jazz to reggae. This approach is again evident on ‘An Ka Sonje ‘ as he merges these influences and sounds to mesmerising effect.

                                                  Slow Glass is not only the debut release by Le Frère it is also a very personal diary of the last two years of his life. All four tracks are based on recordings, samples and ideas he collected while travelling the world. With the concept of “Slow Glass” in mind Le Frère tried to catch moments of his life without stripping them of their dynamic and evanescence.

                                                  The EP starts with lots of positive energy and light but already reveals glimpses of the shadows that slowly emerge throughout the following tracks. “Nice” is a lightly humming version of an (almost) innocent summer morning. It’s a collage of field-recordings, synth-pads and manipulated guitar sounds. “Candid” is a light and open dialog between a simple guitar theme and a playful synth-arpeggio. “V1b1n’” creates the dense atmosphere of a rainy Caribbean afternoon dominated by field recordings and everyday noises. “Nttt8“sets a counter point to the previous three tracks as the energy of Le Frère’s travels cumulates in “Nttt8”, making it a more dance-floor oriented piece carried by a dark and heavy bass-line and almost rave-sirens.

                                                  Iury Lech

                                                  Musica Para El Fin De Los Cantos: Reinterpretaciones (Powder, Suzanne Kraft, Hatchback & Zavoloka Mixes)

                                                  After the reissue of Iury Lech's Span-bient masterpiece "Musica Para El Fin De Los Cantos", Berlin's Cocktail d'Amore Music presents us with a collection of remixes and reinterpretations of the great unclassic. Piccadilly favourite and rising star Powder is first up to the plate with her reinterpretation of Barreras. Sticking with her now trademark sound design and in complete ownership of her Japanese heritage, Powder's mix marries minimalist dreamscape with rhythmic reshape, becoming an underwater deep-house/deep- techno dance floor experience. On the same side Suzanne Kraft contributes with a rather cinematic vision on "Cuando Rocio Dispara Sus Flechas", putting the club thump on the back-burner in favour of something more spacious and comtemplative. Hatchback opens up the B-side with an evocative version of "Posmeridiano", lending a touch of Californian sunshine and open air to the landscape of the original song. Closing the EP Ukrainian producer Zavoloka reinterprets Ukraina with a vortex of three-dimensional sonic layering, serving up a brainfizzing avant garde opus.

                                                  Adam Leonard

                                                  Entkommen - Pt. I & II

                                                    The second of March’s trio of killer Polytechnic Youth 45s is a mighty extended piece of slow building Berlin school-esque electronica extended over 2 sides of a 33rpm disk, recorded by Adam Leonard; initially from a batch of 18 tracks recorded at varying times over the last six years.

                                                    ‘Entkommen’ is his first release for the label here, and both artist and label rather liked the idea of one extended track across two sides of a 45, whereby the listener must flip the disc at a half way point to continue the piece. It struck us as increasingly unusual and works a treat here…

                                                    Adam has amassed a number of acclaimed releases in varying styles, and across a number of esteemed labels over the years. Last year’s full band release (Invaderband) being shortlisted for a Northern Ireland music prize 2017 and was 6Music recommended. Not to mention previous releases in collaboration with The Owl Service and P.G Six.

                                                    His electronic home recordings are all well worth investigating and Polytechnic Youth proudly releases the first fruits of those sessions right here. A numbered, limited edition vinyl only 7” hand numbered to 250 copies.

                                                    Little Tornados is the Swiss-based psychedelic country project of David Thayer, featuring Laetitia Sadier on vocals and bass, plus John Hendon (Tortoise) on drums. The second album, Apocalypse! uses instrumentation such as tube synthesizers, discarded home organs found on the streets and thrift stores of Switzerland. David has written and arranged on the last two Sadier albums, has worked on some of her videos and co-wrote the songs Dry Fruit and Quantum Soup.

                                                    After a stunning debut on Art, electro purveyors, modular accessory provides and all round super cyborgs, London Modular Alliance return as they keep up their unstoppable momentum on the contemporary electronic scene. With a slew of high profile live shows behind and in front of them - LMA go from strength to strength as evidenced by this 5 track EP spanning deep, emotive ambience all the way to heavy wobble electro bass. Melding vintage styles with up-to-date production techniques and of course, always with the modular-based intricacy! If you like digital textures, wobbly b-lines and crisp, ultra processed beats then this bad boys for you! Don't sleep....

                                                    Will Long

                                                    Long Trax 2

                                                      As much as is said of our current times being new lows, where things have changed for the worse and we're unsure of the future, it's worth returning to study the past to understand how steadily low we remain. 

                                                      "Nothing's changed," says a younger Barack Obama in a sample for the opening track to Long Trax 2, the second album from Tokyo-based, American musician, writer, and photographer Will Long. The album is released as three separate 12” singles, and CD. 

                                                      Long Trax 2 follows Long’s deep house debut, Long Trax, released in 2016 on Comatonse Recordings. Receiving a 4.2 rating, Long Trax was praised by Resident Advisor and described as a “meditative listen.” 

                                                      Its follow-up, Long Trax 2, presents as an ongoing criticism of cultural stasis, conveyed via minimal synthesizers, sampler, and rhythm machine. Dance floors are widely perceived by the masses as safe zones, but few can imagine how to apply notions of safety and equality to other aspects of society. We shouldn't need clubs to hide from our fears and differences in the outside world. Looking ahead, we should look not so optimistically upon what we have accomplished, but with urgency and empathy upon what we haven't. 

                                                      Since 2005, Long has produced ambient music under the name Celer, and is a member of the pop music band Oh, Yoko with Miko. He curates and manages the label Two Acorns, and is also involved with the Normal Cookie and Bun Tapes labels.

                                                      As much as is said of our current times being new lows, where things have changed for the worse and we're unsure of the future, it's worth returning to study the past to understand how steadily low we remain. "Nothing's changed," says a younger Barack Obama in a sample for the opening track for the second album from Tokyo-based, American musician, writer, and photographer Will Long. The album is released as three separate 12” singles, and CD. Since 2005, Long has produced ambient music under the name Celer, and is a member of the pop music band Oh, Yoko with Miko. He curates and manages the label Two Acorns, and is also involved with the Normal Cookie and Bun Tapes labels.

                                                      This opening 12" feels things out via two simple but atmospheric tracks which see a fluttery pad present jangle with digital claps and simple 4/4 mechanics with the odd snippet of vocal chucked in randomly. It recalls the languid deep house of the late 90s but also serves as a warm introduction as to what might follow in the series... 

                                                      As much as is said of our current times being new lows, where things have changed for the worse and we're unsure of the future, it's worth returning to study the past to understand how steadily low we remain. "Nothing's changed," says a younger Barack Obama in a sample for the opening track for the second album from Tokyo-based, American musician, writer, and photographer Will Long. The album is released as three separate 12” singles, and CD. Since 2005, Long has produced ambient music under the name Celer, and is a member of the pop music band Oh, Yoko with Miko. He curates and manages the label Two Acorns, and is also involved with the Normal Cookie and Bun Tapes labels.

                                                      Second 12" in this album series, split across three discs, we get more Obama tit-bits segued into a flawless skeletal deep house groove. Introspective and political, but with a delicate, sparsely populated sonic environment... 

                                                      As much as is said of our current times being new lows, where things have changed for the worse and we're unsure of the future, it's worth returning to study the past to understand how steadily low we remain. "Nothing's changed," says a younger Barack Obama in a sample for the opening track for the second album from Tokyo-based, American musician, writer, and photographer Will Long. The album is released as three separate 12” singles, and CD. Since 2005, Long has produced ambient music under the name Celer, and is a member of the pop music band Oh, Yoko with Miko. He curates and manages the label Two Acorns, and is also involved with the Normal Cookie and Bun Tapes labels.

                                                      Third and final twelve in the tryptich. You know what to expect by now - a simple housey beat with atmospheric pad present weaving and winding through some hard hitting Barak Obama soundbites. 

                                                      Soundway Records presents “Down In The Basement”, the debut EP from The Mauskovic Dance Band - a heady, tropical blend of cumbia, Afro- Caribbean rhythms and space disco, resulting in a vibrant hypnotic groove destined for bustling dancefloors. The Mauskovic Dance Band is the brainchild of the Amsterdam-based producer and musician, Nicola Mauskovic. A seasoned drummer, he finds himself constantly in demand - as part of Turkish psychedelic outfit Altin Gun, a recent tour with the revival of Zambian legends W.I.T.C.H., and a worldwide tour with psych-pop artist Jacco Gardner, with whom he then went on to form the dance-oriented duo Bruxas (released on Dekmantel).

                                                      Throughout this hectic schedule Nic still found time to begin studio experiments that would eventually lead to several 7” singles, released on Swiss label Bongo Joe Records in 2017 under the name “The Mauskovic Dance Band”. Following this, he tapped long-time collaborators Donnie Mauskovic (vocals, keys, effects), Em Nix Mauskovic (guitar, synth, percussion), and Mano Mauskovic (bass) to make the jump from record to stage. Soon they caught the ear of fabled underground Cumbia producer Juan Hundred, who left his home on a Caribbean island to join the band on drums.

                                                      With each band member of varying heritage, the group draws inspiration from diverse genres: primarily Afro-Colombian styles such as champeta, palenque, cumbia and the pic soundsystem culture, as well as the Afro-Disco and No-Wave scenes in their current base of Amsterdam. The city’s hotbed of underground producers has also brought an electronic edge to the band, with vintage drum machines and synthesizers effortlessly melding with Afro-Latin rhythms and slick guitar riffs to create a contemporary sound rich with cultural influence.

                                                      STAFF COMMENTS

                                                      Millie says: The Mauskovic Dance Band providing all the tropical disco grooves, bright and zesty this is the exact sort of twelve inch to get the Summer vibes in full swing. Take a listen and float to a faraway island of your choice, ahhhhh.

                                                      MF Doom

                                                      Operation Doomsday - Coloured 7" Box Set Version

                                                        As the ‘90s came to a close, hip-hop music was thriving in two separate ecosystems. On one side, Puffy’s Bad Boy Records, Roc-A-Fella and the rest of the major label world was pumping plenty of shiny music by bling-ed out, made for MTV stars. These pop stars sold truckloads, but it felt like a lot of “empty calories.” On the other side of the coin, a very strong underground scene had emerged in the mid-1990s worldwide. Hungry, innovative artists who had no use for the major label system thrived artistically in this ever-growing pond, ranging from Dr. Octagon and Jurassic 5 in Cali, Atmosphere and the Rhymesayers crew in the Midwest, and Company Flow and Definitive Jux in the East, among others.

                                                        As the decade closed, from somewhere even beyond both of those poles, a man who would come to rule many corners the underground universe for the next two decades appeared from depths that were darker than most of his fans would ever know: MF DOOM. The artist formerly known as Zev Love X of major-label-but-underground heroes KMD had disappeared from most fans’ view in around 1994 – after his brother and artistic co-producer Subroc was killed, and the group’s Black Bastards album was shelved by Elektra. By 1997, DOOM started peeking his head up from the grime, with no-distribution singles on Bobbito Garcia’s Fondle ‘Em label like “Red & Gold” and “Dead Bent.” As other appearances and singles trickled through the underground, by 1999 the album Operation: Doomsday appeared seemingly out of nowhere, again on Fondle ‘Em, and fans who actively ran from the glitzier side of rap music ate it up like they had been on a hunger strike. Musically raw and at-times off-kilter, former Fondle ‘Em singles like the aforementioned tunes plus “Gas Drawls,” “Hey!” and “Go With The Flow” were joined by a whole slew of new tunes. It all sounded familiar but new at the same time. It shouldn’t be overlooked that in addition to the dusty, wobbling music, the former Zev Love X completely changed up his vocal style on the tracks that would land on Doomsday, chopping his flow up and bringing a whole new approach to his formerly liquid, and often humorous lyricism. Standouts on this bonafide underground masterwork are honestly hard to pick, since fans each have their own DOOM faves. But “Doomsday,” “Rhymes Like Dimes,” “The MIC,” the experimental “Tick, Tick…” (with MF Grimm) and “Red & Gold” (with King Ghidra) are great examples of how stretched-out this visionary album is.

                                                        This new 7” Collection edition via Get On Down includes seven 7”s that run in order of the songs from the original issue (including interludes). The records are housed in a custom black leatherette outer-box that is laced with silver-foil renderings of DOOM’s legendary mask and bubble graffiti logo on the outside, and a never-seen-before DOOM drawing by the legendary Lord Scotch, the original artist behind the Operation: Doomsday art, on the inside. In addition to holding the 7-inch vinyl, the box also contains two metallic-silver colored 45 adapters, each a 3D rendering of DOOM’s gladiator mask. Picture sleeves for each of the seven pieces of wax all feature brand new work by Lord Scotch (Blake Lethem aka KEO aka Scotch79th) as well: new hand-lettered track listings on one side, and incredible new color illustrations on the flip that, when laid side-by-side, fit together like puzzle pieces, to form one large image. 1999 classic debut album presented as a deluxe set, with Seven 7”s 2 unique DOOM 45 adapters; new artwork by original cover artist Lord Scotch; and customer leatherette outer box with silver-foil DOOM mask and logo.

                                                        FEATURES: Seven 7”s / Custom black leatherette outer box with silver-foil rendered images of DOOM’s famed mask and logo / Two never-before-commercially available silver-colored DOOM 45 adapters / Each 7” has a custom sleeve designed by legendary graf artist Lord Scotch (Blake Lethem), who drew the original Operation: Doomsday cover 

                                                        FORMAT INFORMATION

                                                        FREE SHIPPING This item has FREE UK shipping!


                                                        Menschen Am Sonntag - Live In Berlin

                                                          Returning to Berlin for the third installment of their acclaimed live-score performance to accompany silent film classic "Menschen am Sonntag" (1930), mum will also present a special treat during the upcoming Berlinale: The band's label Morr Music will release a limited edition vinyl 10inch comprising of material that was recorded during previous installments of this extraordinary film/music event.

                                                          Joined by guest percussionist Samuli Kosminen, mum founders Gunnar Tynes & Irvar Smorason create stunning instrumental soundscapes to accompany and enhance the late-1920s action portrayed in the film, which was already considered a milestone shortly after its release. Absorbingly rich in scope and cinematic in their own right, the four tracks that comprise this (significantly shorter) release work just as well without their visual counterpart. 

                                                          'Dipped in blues and marinated in jazz...' reveal the sales notes for this new record by Luca Musto for The Magic Movement. Reflecting on his father's immigration from Italy to Germany, "Once Upon A Grind" kicks things off with a bright and breezy downbeat number which recalls pot-drenched teenage bedrooms across the dimly lit northwest from 1996 - 2001, but with a touch more elegance and jazz than a 14 year skateboarder might pick up on. Littered with dub delay and a future world funk kinda groove, this melting pot of influences will keep THC-soaked minds active throughout whilst providing a stylish and classy setting for hotels snugs, All Bar Ones and over-hospitable craft food establishments across the UK. "Parabel" introduces itself with some exotic spoken word before dropping into a low slung chugger with token guitar part and rolling b-line. If this doesn't take you right back to 2008, dancing under the stars in Petrčane then I don't know what will - nu-cosmic never sounded so good! Soundtracking in the next day's sunrise comes "Let Me Down", the ultimate come-down number to languish in as the waves lap at your feet and the subject of your desires rushes off to source a Mojito and some extra boing, Musto's gently realized theme unfurls beautifully through its duration, making its intentions felt and making the whole record suddenly make sense. The story told, Iorie takes things to the Black Forest for a more polychromatic excursion; injecting the melodies with more dynamic, climaxing undertones high with desire and a coital lust. Mega stuff here, makes me wanna roll around naked in the sand whilst tripping my head off with a beautiful woman. And not many records make me wanna do that....

                                                          STAFF COMMENTS

                                                          Matt says: Mega stuff here, makes me wanna roll around naked in the sand whilst tripping my head off with a beautiful woman. And not many records make me do that....

                                                          Yowzers... outta nowhere comes Rhythm Section International with a f-f-f-frresh new release for 2k18! The SE stable has been somewhat of a go-to for the last few years, a big proprietor of what would become 'the Peckham sound', it's branched out of late with releases from Melbourne and Manchester and now this new release coming from Paris. The record itself takes cues from the broken-beat-centric sound of London while paying homage to the Parisian house dance scene. Largely sample based, but also employing much more live instrumentation than ever before, Neue Grafik’s music is informed by movement and in turn offers so much for dancers to respond to. It sits perfectly on RS Int, but also offers a full and expansive vision into this producer's inner mechanics. Somehow timing its arrival for the onset of Spring (I guess you get some sway over pressing plants when you're Bradley Zero... ;) ) this is beautifully optimistic music but weighed down with the languidity of a changing season. It's lacks the balls out hedonism of Summer and carefully treads into new beginnings. Expert stuff. 

                                                          STAFF COMMENTS

                                                          Matt says: Bradders and his crew showing just they are an essential force in 2018. With BZ hosting his own 6Music show, it was only a matter of time till the rest of the country / globe got on board. We've been with 'em since the start - what label!

                                                          Apparently this will be Night Christ's only record; which is both saddening but intriguing... as this is very good! Touching on a slightly retroist, electro-pop / new romantic feel, Jack Considine provides the vocals on "Conversation Policy". There's obviously a big nod to Italians Do It Better here, but there's a dark, brooding melancholy which grounds it emotionally, rather than let it flirt into more celestial realms. Illum Sphere offers up two remixes, deploying a snappy, mechanized breakbeat to the melodious bleep melodies which perfectly supplement the evocative vocal part. Just in case that vocals a bit too emotional or moody, he usefully provides a handy instrumental to boot. Excellent!

                                                          No Babies

                                                          Someone To Watch Over Me

                                                            "Oakland, CA’s No Babies return with their second LP, another furiously ecstatic exploration of the overlapping margins of punk, hardcore, and no wave. The pieces we’ve come to expect are all here: Jasmine Watson’s invectives against capitalism, binaries, police; Ricky Martyr’s inimitable and always surprising stop-start guitar; horns of all stripes breaking through the noise (Misha Poleschuck on tenor sax, clarinet); a nimble and powerful jazz-influenced rhythm section (Laura DeVeber on bass, Sean Nieves on drums).

                                                            Their particular brand of composed/improvised noise/music has never been chaos at all (they’ve always known exactly what they’re doing), and this time around the band seems more at one than ever, aided by the crispness and brightness of Jack Shirley’s able production. These are walls of sound, something like a runaway train, or a writhing sea serpent, and we are along for the ride. This is music that feels necessary. These are songs that sound vital to survival. We must play them or we will explode. We must play them in order to explode. California in 2018 is a place that feels difficult to survive in. Our friends and neighbours are murdered by the state and its negligence; our homes could crumble or be stolen from us at a moment’s notice; capital is bearing down in new and even more unimaginably cruel ways. The land itself is telling us that we shouldn’t be here: fire, mudslides, earthquakes.

                                                            ‘Someone to Watch Over Me’ is a reminder of the twin powers of sorrow and strength, noise and melody, anger and joy. “Joy / Joy / Joy / Joy / Joy / Joy / Joy / Joy” Watson screams at the end of the album-closing titular song. Joy may be the only way out of this fresh hell—No Babies make joyful noise and for that we should all be grateful." - Grace Ambrose.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Reverse board sleeve, lyric insert, download card, limited marbled vinyl.

                                                            Oslo's Rune Lindbaek follows up the best-selling first volume of Norsk Tripping with his latest stash of secret weapons

                                                            A six track treat this time, and a veritable Norse Bankett of the good stuff- uptempo Disco, sits alongside wild Cosmic concoctions, obscure 80's jams and delicate Balearia

                                                            Limited run - buy now or cry later .

                                                            Old Shady Grady & The Neighbourhood Character

                                                            Tangle Transmogrifier EP

                                                            Old Shady Grady & The Neighbourhood Character join Odd Future Wolf Gang Kill Them All in our post-millennium, most ridiculously long winded collective name (please, as always, suggestions on a postcard...) OSGATNC for short is the result of a chance meeting in Berlin in 2013 between Eric Douglas Porter aka Afrikan Sciences and Ari Robey-Lawrence, producer, vocalist, and DJ aka The Neighborhood Character, who began as a jazz guitarist and drummer. Via their collaboration, Porter and Robey-Lawrence explore the intersections of diverse musical and emotional territories through improvisational, long format jam sessions, experimenting both with a wide range of sampled sounds and expressive original vocals, sustained by pronounced, yet fluid rhythmic backbones.

                                                            Jordan GCZ says: 'I walked into their sound check at freerotation festival last year and was blown away. I feel privileged to be a part of putting this music out there'

                                                            The Oscillation


                                                              The Oscillation is one of the many aliases of Demian Castellanos, an almost-mythical force in the London underground. Since 2006, under the guise of The Oscillation, Demian has released four LPs, countless EPs/singles and played with everyone from Silver Apples and Beak to Wooden Shjips and Deerhunter, all the while being emulated by the likes of The Guardian, Mojo, The Quietus, Vice, Q, Pitchfork and 6 Music. Following on from the disillusioned, cosmic psych-punk of 2016's 'Monographic' LP and the 2017 single ‘Evil In the Tree’, The Oscillation is gearing up for the release of his fifth album, U.E.F, on March 2nd via Fuzz Club Records.

                                                              The new album sees Demian completely subvert his sound once-again, adding a new evolution to his ever-evolving musical canon. Ditching any inkling of his ‘rock’ beginnings for a lysergic (but equally sinister) journey into post-apocalyptic electronics and sprawling drones – resulting in something that’s more likely to be bouncing around the walls of club nights than the back-room venue of grotty bars. U.E.F is comprised of two 20-minute slabs of unforgiving, dystopian electronica - complete with ambient electronics, droning analogue synths, monolithic percussion and a hypnotic kraut gusto. This is kosmische musik for the new age; a fitting soundtrack to the forthcoming techno-apocalypse, when artificial intelligence takes over and we're all subjected to the way of the machine. 


                                                              YMCA Pool

                                                                The fourth release in the Saddle Creek Document series, where they aim to highlight artists and music scenes from around the world that they’ve fallen in love with, but aren’t necessarily already part of the Saddle Creek family, is the YMCA Pool 7-inch from Boston’s Palehound.

                                                                Led by fierce vocalist and prolific creative force Ellen Kempner, Palehound formed in 2014 and has since taken their plainspoken, techniqueheavy indie rock from the basements of Boston to festivals around the world.

                                                                Kempner described the origin of the tracks found on YMCA Pool in saying, "I've had these songs laying around forever and could never really find a place for them on a record. After we toured with Bully, Alicia Bognanno offered to record some stuff for me at her house in Nashville, which seemed like a great opportunity. We spent two days hiding from the heat in her house recording... and also at Dave and Buster's. I love Alicia she is truly the best."

                                                                As a label guided by the mission of sharing the lesser heard sounds of Brazil with the world, Far Out Recordings are delighted to present t he first official vinyl reissue of Edu Passeto & Gui Tavares’ Noite Que Brincou De Lua: a super rare and largely unheard masterwork of MPB, originally released in 1981. Disciples of the Clube Da Esquina movement, pioneered by Milton Nascimento and Lo Borges, Edu & Gui mixed psychedelic folk, jazz, bossa, and rock for an album of soulful, dreamy Brazilian pop, with stunning arrangements and lush vocal harmonies.

                                                                Prior to recording, Edu and Gui had to tread carefully with their lyrics, which had to be submitted to the federal censorship authorities before release. Their first application was rejected after the lyrics were deemed to contain too much direct social criticism. ‘Profome’ (translated “Pro-hunger”), a song characteristically bittersweet in tone, was initially a matter of fact portrayal of the desperately poor social conditions many people in Brazil faced at the time. Back to the drawing board, Edu and Gui, like many persecuted artists from this era had to refine their lyrics to convey their message more subtly.

                                                                It took the best part of a year to complete the album, with Edu and Gui saving every cent they could spare from gigging and hitchhiking the 100km to each session from their home in Campinas, so that they’d have enough money to pay for studio time in Abertura Studios, Sao Paulo. Although the album gained a respectable amount of radio play in the years that followed, it’s remained in relative obscurity, despite its spellbinding qualities, evident on tracks like ‘Sabi na Palmeira’, a sweet Brazilian rare-groove with shades of Leroy Hutson, and the psych-folk tinged ‘Seguir’, which harks to the dreamiest moments of Milton Nascimento and Marcos Valle.

                                                                Edu and Gui called time on their musical partnership in 1986 when Gui moved to Rio De Janeiro, but they remained close friends until Edu sadly passed away in 2008 after a series of health complications. There is a street named after him in his home city of Campinas, Sao Paulo. Today, Gui Tavares lives in London, still making music and working within a plethora of Brazilian music projects which include the direction of his own choirs Cantar Vocal Ensemble and Nossa Voz, as well as working with Creative Brazil, who conduct Brazilian music workshops in schools

                                                                This limited-edition official reissue has been remastered from the original inch tapes and pressed to heavyweight 180g vinyl.

                                                                Jean-Jacques Perry

                                                                Prelude Au Sommeil

                                                                  Fantome Phonographique present a reissue of Jean-Jacques Perrey's Prélude Au Sommeil, originally released in 1958. Jean-Jacques Perrey was one of the earliest innovators in electronic music, creating a body of work spanning decades that has influenced everyone from Brian Eno to The Beastie Boys. One of the pioneers of musique concrète and electronic tape manipulation, Prélude Au Sommeil ("Prelude to Sleep") is Perrey's debut recording but shows a composer already at maturity. Originally released at the end of the fifties, as a private press under the fake institutional name "Institut Dormiphone", Prélude Au Sommeil consists of two side-long tracks played on the Ondioline (George Jenny's 1941 vacuum-tube based, spring-loaded electronic instrument).

                                                                  The music contained in this mysterious vinyl is like something between dreamy church organ hymns and the keyboard-based minimalism that Philip Glass and Terry Riley developed a decade later. The music of Prélude Au Sommeil was intended as sleep-inducing and tranquilizing for use in mental hospitals. It is unclear if the copies pressed actually had been distributed to mental hospitals or if the whole story was just a fantastical joke on the part of Mr. Perrey. This album is known as a precursor of what would later became known as "ambient music", 20 years before Brian Eno, the Kosmic Courier and the American minimalists. Something vaguely similar to Prélude Su Sommeil came about five years after its release, when in 1962 Epic Records produced the three volumes of Soothing Sounds For Baby from Raymond Scott. A droning/bubbling work of early electronic, Prélude Au Sommeil vacillates between playful and serious, light and dark, a truly beautiful piece from an icon of electronic music. Essential. Edition of 500.


                                                                  Spring & Shade

                                                                    Josienne Clarke and Samantha Whates met on the London acoustic music scene several years ago and immediately shared a love of singing and writing songs. They have been unofficially collaborating for years, more often than not singing backing vocals for each other’s projects or just singing harmonies together for the pure enjoyment of it.

                                                                    PicaPica represents a long held ambition to write, record and perform new material and to join together with like-minded musicians and explore what it’s like to be in a band. Along with multiinstrumentalist, singer and songwriter Adam Beattie and multiple Grammy, Mercury and MOBO nominated producer, guitarist and bass player Sonny Johns, PicaPica make a sound that provides the perfect platform for two of the UK’s brightest vocal and songwriting talents. It’s instantly recognisable and completely unique.

                                                                    FORMAT INFORMATION

                                                                    10" LP Info: Indies exclusive 10".

                                                                    After the brilliant and kind of Balearic "To Africa / Soul Makossa" Best Records return to the extensive vaults of Italian pop hero Pino Presti to deliver another top class disco 12". This time featuring the hot voice of "Roxy Robinson" and expert percussion of Tullio De Piscopo on three unreleased extended disco songs from his 1977 quality archive. The A-side sets the bar high and gets the vibe groovy, shuffling through syncopated percussion, classic chord progressions and funked up instrumentation on the loungey "You Know Why". Flip it and feel the peak time disco force of "Nice & Easy / Hungry For Love", a classically campy disco burner with the odd reference to "Love To Love You Baby". Finally, "Come On" stomps along with a classic Italo bassline, percolating sequences and lots of live disco instrumentation, eventually transforming into a cosmic fusion of Italo and Blaxploitation.

                                                                    FORMAT INFORMATION

                                                                    12" Info: Limited to 250 copies


                                                                    Prhyme 2

                                                                      PRhyme 2 is the second official full-length collaboration from two of Hip-Hop’s most respected artists.

                                                                      PRhyme marks the first time that DJ Premier has been part of a group since being of the legendary Gang Starr. The PRhyme 2 album exclusively samples the work of composer and producer AntMan Wonder, produced by the Legendary DJ Premier.

                                                                      PRhyme is Royce da 5’9” and DJ Premier Guest features include Dave East, Yelawolf, CeeLo Green, 2 Chainz, Big K.R.I.T., Curren$y and Rapsody (2x Grammy Nominee - 2018)

                                                                      Emotional Rescue returns to the the work of remix specialists extraordinaire, Razormaid, with a special collection of their remixes of cold wave / dark wave synth band, Psyche. Featuring unreleased, re-edited and remastered versions of some of the bands most club-based tracks on one EP for the first time. Formed in 1982 in Edmonton, Canada by Darrin and Stephen Huss out of love of the new electronic sounds emanating out of Europe, Psyche soon forged their own path. Influenced by the industrial and post-punk sounds of bands like Killing Joke and Alien Sex Fiend, as well as the synth pop melodies of groups like Soft Cell and Yazoo, the brothers help precipitate the start of darker electronic "goth" sound. Following the success of their self released debut, "Insomnia Theatre", ripples across the water in Europe led to it subsequently being picked up and rereleased by French label New Rose. Coming to Paris in 1986 to record the follow up, "Unveiling The Secret", they heard that San Francisco based edit / remix protagonists Razormaid had created a re-edit of the title single for one of their own DJ tool compilations.
                                                                      Liking what they heard, a deal was strike allowing future tracks to come under the remixers scalpel and special versions created from the master recordings. With this came a new remix of "Unveiling The Secret" and also, early single, "Prisoner Of Desire", with both only appearing on the increasingly sought after Razormaid DJ series. Impressed with the results, Joseph Watt was then commissioned to work his mixing desk skills on the band's follow up 12". Included here, Watt's classic "US Club Mix" of "Eternal" is the perfect marriage of Psyche's poppier elements with Razormaid's mastery of finding the groove. This is backed with the tougher, throbbing - and never released on 12" before - "Alcatraz Mix" retake of "Prisoner Of Desire". 

                                                                      Pye Corner Audio

                                                                      Where Things Are Hollow

                                                                        We are extremely proud to announce the return of Pye Corner Audio to Lapsus Records with the EP "Where Things Are Hollow", comprised of four breath-taking songs that transport the listener to a dystopian future throughout its twenty-four minute duration. Martin Jenkins aka "the artist’s artist" explores emotive techno in "Resist" and "Northern Safety Route", two tracks that coast through progressive arpeggios, slow pulsating beats and soaring pads. Meanwhile "Mainframe" and "Continental Drift" move through more ambient and melancholic terrains, two cinematic songs that are perhaps reminiscent of works by John Carpenter or Delia Derbyshire.

                                                                        In short, "Where Things Are Hollow" is a beguiling analogue electronica EP that is guaranteed to delight Pye Corner Audio fans and new listeners alike. This special release will also feature the collaboration of two of the country’s most prestigious independent graphic artists, Alex Trochut and Basora, whose artwork for "Where Things Are Hollow" is sure to become a collector's piece. 

                                                                        Holy grail of early 80's UK boogie with originals going for £40 upwards on the second hand market, if you know this one then you'll already want it, if not then you'll definitely want to. 

                                                                        Think Melody's 'Stop Fantasy', pulsing synths, portamento saw waves and swirling spacey key stabs, underpinned with a funky, sweetly polished edge. On The Flipside, we get a dubby redux, full of panned space echoes and barely restrained resonance, coupled with spoken word samples and cascading reverb on the 'Astro Mix', and an edited version for the truncgated but punchy 'Short Wave Mix'. Superb stuff, totally essential. 

                                                                        STAFF COMMENTS

                                                                        Matt says: Ya might wince at the price tag but you simply CANNOT get a clean copy of this OG boogie bomb (from '83 no less) for less than forty sheets 2nd hand. Espacial Discos do the do and let us peasantry in on the action.

                                                                        Klaus Schulze

                                                                        La Vie Electronique Volume 1.0

                                                                          Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as ‘Tangerine Dream’, ‘The Cosmic Jokers’ & ‘Ash Ra Tempel’ before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville… just to name a few.

                                                                          Klaus Schulze’s proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as ‘Ambient’, ‘Electronic’, ‘New Age’, ‘Berlin School’, ‘Experimental’, ‘Kosmische Musik’ & ‘Krautrock’. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

                                                                          On occasions he would also compose film scores such as Body Love (1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song ‘Freeze’ has been used in films like Manhunter (1986) and more recently in Sofia Coppola’s ‘The Bling Ring’ from 2013.

                                                                          In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique (“The Electronic Life”), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70’s masterworks that will appeal to both fans and collectors.

                                                                          Now available for the first time on vinyl, One Way Static Records presents the first volume in our new archival series ‘La Vie Electronique’. This volume (1.0) focuses on the years 1968-1971 and is spread over two glorious LP’s containing +78 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes.

                                                                          FORMAT INFORMATION

                                                                          2xDeluxe LP Info: Released for the first time on vinyl.
                                                                          The ultimate collection of rare early materials by this electronic music pioneer.
                                                                          Comes as a deluxe double LP set with insert and extensive liner notes.
                                                                          Limited black vinyl pressing (700 copies) with obi strip.

                                                                          Originally released as part of Eskimo Recordings acclaimed compilation 'The Red Collection', Dutch duo SHMLSS's 'Train Ride to the Middle East' has proven to be a perennial favourite with openminded DJs attracted to its heady psychedelic brew of twisted disco and Middle Eastern sounds. Now to kickstart 2018 Eskimo are releasing the track on vinyl for the first time, complete with a brand new remix from Marvin & Guy.

                                                                          Whether running their own XXX label, curating the disco playlist at 22Tracks Amsterdam or spinning wild sets featuring everything from disco cuts and global beats to ambient sounds and industrial house grooves, SHMLSS's Bart and Michiel have made a name for themselves with an eclectic approach to music that shines through in tracks such as 'Train Ride to the Middle East'.

                                                                          With releases to their name on labels like Hivern Discs, Correspondent and Permanent Vacation Italian DJs and producers Marvin & Guy are proponents of an equally openminded style. Stripping the track down to its glistening muscles, Marvin & Guy have rebuilt it around a bass line that throbs and pulsates in an almost unseemly manner, just the thing for sweaty sessions in strobe lit basements. 

                                                                          STAFF COMMENTS

                                                                          Sil says: An already hypnotic and obscure heady mix of psychedelic brew of twisted disco and Middle Eastern inclinations on A Side is pumped and amped by Marvin & Guy making it a strong candidate to blow your punters' minds and bodies.. This one will cause some damage on discerning dancefloors. Top draw!


                                                                          Werecats Powers Of The Crossroads At Midnight

                                                                            The continuation of the audio trilogy concerning the Darkness of Aegypt: the shadow stuff from whence dark dreams come. The Triad: dark, light and the animating serpent power are delineated by the Egyptian Gods Set, Horus and the Apep serpent. The second parting of the ways, lord of the crossroads, the double horizon, the xroads of day and night, the mauve zone, the death posture. We brought back: a twilight mechanism, and hymns to the charnel ground, ashes, jackals and the bulto hyaena, pacing the departure lounges of abandoned airports. Matthew Bower & Samantha Davies West Yorks, UK Winter Solstice Evening 2017 

                                                                            The inaugural release on the brand new LA based Pleasure of Love label digs through rare and classic Italo and proto house. Born out of a dingy basement club in Hollywood, Pleasure of Love has grown from anything goes disco house party to adventurous re-edit label. Reworks reflect the spirit of the party and limited pressing of 300 matches the capacity of the venue that holds it each week. The first release finds Dino Soccio on editorial duties, offering a high octane electrodisco ripper on A1 bomb "Stop", loose and limber groove music on the echo-laden synth funk of "Tough" and a chilly techno-disco banger on the flip. 

                                                                            Space Dimension Controller

                                                                            Gaining Time

                                                                            Belfast-producer Space Dimension Controller, aka Jack Hamill drops his debut on Dekmental. "Gaining Time" clocks in at over 35-minutes, phasing between cosmic house and interstellar ambient strata with easy and confidence. Kicking off with "Everything is Better Now" and a countdown that blasts off into a trans-dimensional 14-minute journey of warped kicks, pads that phase in-and-out of our conventional timezone, a bassline that doesn’t pop-up until the four-minute mark like a gravity fluctuation abruptly peering through a temporary wormhole, melody, character, and a free flowing story arc worthy of the Space Dimension Controller himself. "NRG Intersect" is a beautiful 15-minute ambient transmission from outer space, played out with synth chords, across strummed melodies and a tape deck hitch here and there, like an uncoded language from a far off land - as if Brian Eno himself has forgotten to include the track on his lunar, legacy record "Apollo". ‘Still Returning’ takes the ambient coding and minimizes it yet further, like Solaris itself beckoning from its cloudy, deep, mystic blue oceans.

                                                                            'I first met Spandex when we were both 16. Before we were old enough to drink in bars he used to steal his mum's car and we'd drive to raves over Snake's Pass off the party line; to Tribal Sessions and Red Light at Sankey's; to Floppy Disc at One Central St, Sequence @ the Attic and of course forays to the subterranean pleasure dome that is the Music Box (RIP)... When the night or day ground to a half we'd high-tail it back in his mum's Vauxhall Cavalier and stay awake until it was safe to go home to our parents. At that point Spandex would get out whatever gear he'd amassed and start recreating the sounds and feels of the previous night....often to incredibly devastating effect. He's basically been doing that for the last 15 years - constantly honing his craft, adding new equipment and, in time, finding his own, completely unique sound. I can honestly say that in 2018 there is no one out there that sounds like Ste Spandex.' - Kickin' Pigeon.

                                                                            And so it's with great pleasure we announce the arrival of "Home Extraction EP" - the first vinyl release on Cerberus Future Technologies (which previously housed Spandex and friend's wild experiments on c60 cassette tape) and dedicated to the art of DIY DMT manufacture. We start off with "Naptha", which my limited chemistry knowledge suggests is the 'base' for extraction. Anyway, it's an incendiary and quite sexualized number, that patented Spandex throb ever present as a coital groove thrusts itself into our nether regions. "Mimosa", the precursor is next up. As the key ingredient in the extraction and the bit that 'holds the magic', the track lives up to its expectations as one 5d-traversing space shuttle vortex cruiser. If you've ever plucked up the courage for the modern day magic carpet trip into the Other, then these vibrations should resonate inwards dear explorer, take heed! Ste Spandex has just gone and raised the bar of space techno well into the stratosphere - yeah booooiiii! "Caustic", the catalyst, sees the lively, unpredictable stage of the process represented sonically through highly frenetic beats and thick acidic slabs. Heavy n hypnotic, one of Spandex's many styles displayed here in superb form as he pairs volatility with harmony in ways you'd never expect. "Water", the simplest of elements needed here is given just as much importance as Ste drops some polychromatic synth shards over one of the most squashed and saturated mechanics off the whole EP - a nod to some of his previous work whilst taking his methodology and sonic philosophy spiraling into a future as yet unchartered. For those familiar with one of our city's finest producers, you'll know this EP's been a long time coming. To anyone that's seen his historical live sets at Wet Play - this your moment to grab that energy onto timeless black plastic.... to anyone else, this is as close to inter dimensional travel as you're likely to get on a slab of wax - take the trip!

                                                                            STAFF COMMENTS

                                                                            Matt says: Finally it's here - the vinyl debut from the Northwest's most highly charged synth molester / groove generator. Never-come-down greatness that only a few can authentically create. We heart this!

                                                                            Sun Ra Quartet

                                                                            The Mystery Of Being: Voice Studio Rome 2,7,8,13 January 1978

                                                                              Sun Ra’s legendary 1978 Italian studio sessions, now available together for the first time ever on vinyl! Long sought-after by collectors, these extremely rare studio sessions were originally released in 1978 as two double LPs (New Steps and Other Voices, Other Blues) on the mysterious Italian jazz label, Horo Records. They have never been reissued on vinyl (and only partially reissued on CD) until now! With the help of trumpet player, Michael Ray, drummer, Luqman Ali and saxophonist John Gilmore, Ra kicks off the quartet sessions with the classic “My Favorite Things”, which features some superlative playing by Gilmore, while Ra pounds away on an old upright studio piano. In fact, for the first two sides Ra plays mostly piano, while on sides C and D, he sticks more to his new Crumar Multiman, an Italian-made synthesizer that Ra had purchased during the tour. These sessions are also interesting because they give listeners a chance to hear Ra concentrating on primarily his own compositions—many of which (i.e. “Rome At Twilight” “Along The Tiber”) were inspired by his time spent in Italy—but in a more intimate / Arkestra-less jazz setting. Fans will be clamouring to get their hands on this before it disappears again for another 30 years.

                                                                              FORMAT INFORMATION

                                                                              LP Box Set Info: 140g 3xLP box set.

                                                                              Sensuous dreamscapes to transport the listener to the lush tropical environs of the outer reaches of the omniverse. Your choice of three colorful inter-stellar saucers or two compact saucers of “Exotic-Ra” bringing you to a lush cocktail party where space is the place. All packaged in a beautiful Chesley Bonestell adorned gatefold package with two sets of extensive notes! Sun Ra. Exotica. Incongruous? Listening to the 25 tracks herein will showcase that Sun Ra was, indeed, an Exoticat of sorts, albeit in his own unique way, of course. That Sun Ra hasn’t been celebrated in Exotica circles is understandable. Though many collectors are fans of both, at cocktail soirées Ra has never seemed to make the cut. This album aims to change that! While Sun Ra never made an “Exotica record,” such tracks are mixed in his LPs alongside idiosyncratic space jazz, post-bop, electronic freakouts, and his other sonic experiments. Never an easy categorical fit, anyone who says “File Under: Jazz” doesn’t understand the stylistic breadth of Sun Ra’s recorded legacy. It’s a rhapsodic pandemonium of Afro-centric rhythms, Latin beats, ostinato grooves, and unissued tunes!

                                                                              FORMAT INFORMATION

                                                                              FREE SHIPPING This item has FREE UK shipping!

                                                                              Strut and Art Yard present another exclusive from the vast catalogue of cosmic jazz pioneer Sun Ra: a previously unreleased radio session most likely recorded at the WXPN FM radio studios in Philadelphia, 1974-5.

                                                                              This newly discovered session features a new version of Ra’s earlier ‘Island In The Sun’, a romping, raucous rendition of ‘Unmask The Batman’ and the first studio recording of ‘I’ll Wait For You’ There is no bass player on the sessions and Ra’s left hand beats out a rhythmic bass pattern on the piano. All tracks are remastered directly from the original tapes. The album package features a newly commissioned painting by legendary Bristol urban artist Guy Denning and new sleeve notes by Paul Griffiths.

                                                                              Recently discovered in the Sun Ra archive, the recording forms part of a series of sessions that Ra and the Arkestra recorded for WXPN-FM between 1974 and 1980. The ‘Antique Blacks’ album was recorded there in ’74. Based on the campus of The University of Pennsylvania, WXPN’s station manager Jules Epstein and music director Russ Woessner were instrumental in the exposure and recording of The Arkestra in their broadcast production studios. Geno Barnhart, founder of The Empty Foxhole concert collective, Jules and Russ broadcast an on-going series of jazz concerts covering a wide spectrum. The Arkestra performed at The Foxhole in Philly many times from 1974.

                                                                              Sun Ra: Piano
                                                                              John Gilmore: Tenor Saxophone
                                                                              Marshall Allen: Flute, Alto Saxophone
                                                                              Danny Ray Thompson: Baritone Saxophone, Percussion
                                                                              Atakatune: Oboe, Congas
                                                                              Eddie Thomas: Drums
                                                                              Elo Omoe: Bass Clarinet, Hand Claps
                                                                              Akh Tal Ebah: Trumpet, Vocal
                                                                              James Jacson: Congas, Vocal

                                                                              First ever release of radio sessions recorded in Philadelphia around 1974-5

                                                                              Features newly commissioned artwork by Guy Denning, pioneering artist from Bristol’s urban art scene + new sleeve notes by Paul Griffiths

                                                                              Remastered by Technology Works from the original master tapes

                                                                              Official release in conjunction with Sun Ra LLC

                                                                              Syncboy is a beloved electronica-kraut-punk live act from Leipzig Germany. A beautiful dark shimmering and playful project, recorded at Zurichs infamous squat and released via the sublime Lustpoderosa. "Stolpern" unfurls a rich sonic pasture before our receptive ears, lush and detailed synthesis meeting a biotic mood and cerebral approach. It's both Balearic, electronic and almost psych-folk in equal measure - superb! "Green Market" begins its ascent in a swirl of synth fug; with leads jostling for position in the foreground. As the arps power up and the motion begins we climb a buzzing and taught sawtooth / drum pattern, dark and cinematic and meeting somewhere between Timothy Fairplay and John Carpenter. Flip for "Kiss An Elefant", which returns to the naive, blue-sky dreaminess of the opening track "Stolpern" but underpins it all with a slightly more menacing, minor key arp. Finally, "Waterfalls" returns to the dark side, with advanced synthesis ushering in a range of textures and moods while those vintage drum boxes still supply the forward momentum. As usual, a truly arresting and captivating listen from Lustpoderosa. Recommended.

                                                                              STAFF COMMENTS

                                                                              Matt says: More electronically-guided weirdness from the exquisite Lustpoderosa this time touching upon cinematic synthscapes. Wonderful!

                                                                              Whities introduce a fork and drop the first of their Blue sub-series. "Blue 01" features Tessla and Lanark Artefax and comes with a future-proof build guarantee. Tessela’s "Glisten" has been feverishly anticipated since Joy O's Essential Mix from 2016. With its pneumatic beats, techy stabs and strung out aesthetic you can completely understand why it got the taste defining DJ's attention and why you'll want it right at the front of your record box ready for your next attack. 'Longside is the Intimidating Stillness mix Of Lanark’s "Touch Absence", which was first released as a limited edition Whities dubplate back in 2016. One of those techno-breakbeat hybrids that always hits the spot, it has been remastered by Beau Thomas at Ten Eight Seven and sounds super crisp. Artwork as always by Alex McCullough. Top stuff. 

                                                                              STAFF COMMENTS

                                                                              Matt says: Firing up the pistons, "Glisten" should shake any club to its foundations... Whities providing more demolition ball technoid shizzle.

                                                                              Spandau Ballet meets full throttle electro-bass biznis on this latest Dolphin Trax excursion, the Natural Science's sub-label geared towards freakish dancefloor movements. "Déjà Vu Bass" features DJ Di'jital and takes a loop of "True" by SB before adding a thundering electro beat. Toying with kill switches and filters throughout, this is a fun and friendly yet jugular hitting slice of night club artillery. One of those tracks you'll be going absolutely bat shit for until you clock the hook and you quickly glance around to see if everyone else is on board... (just like when Jamal Moss managed to squeeze "Big Mouth Strikes Again" into his infamous Wet Play appearance - ed). Fuck the haters and get on down baby! On the flip label head Alex keeps to the original Dolphin formular - that is shoulder dropped garage / breaks on side A before introducing some ruffage of side B via "Booty In The Jungle", a 'Think'-break sampling roller which should turn heads with its laser gun acid and added rukus. Top stuff as always from this firm, recommended! 

                                                                              Sound Sculpture bring us the Waxidermist’s second release to date, The Origami Case follows their previous self-titled album in 2015. Now fast forward three years later, this new album is filled to the brim with Hip Hop and Jazz grooves, intricately produced and varied in tone and style to create a collective release. Names such as Mattic, Racecar, Venomous 2000, Green T, Anna Kova and FP are sprawled all over this LP featuring in almost every track, each contributing to its powerful magnitude as an album. Underneath the vocals are beautiful hip hop beats with flow seamlessly and matched with profound lyrics. 

                                                                              STAFF COMMENTS

                                                                              Millie says: Fans of MF Doom, the Baker’s Dozen volumes and DJ Format will like this, the combination of jazzy tunes and hip hop will always be a stand out combination! Released on vinyl is scarce on this record so don’t hang about.

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