'acr:set' is a career spanning compilation released on coloured double vinyl, CD and digitally on 12 October 2018. The two new tracks, ‘Dirty Boy’ and ‘Make It Happen’ were recorded at Oxygene in Manchester, and both appear on the new best of compilation, acr:set. ‘Dirty Boy’ is a classic slice of A Certain Ratio pop funk and features the voice of Tony Wilson preparing the band for ‘The Fox’ recording session in his own inimitable fashion, plus vocals from Barry Adamson, who returns a favour to the band after they reworked 2017’s ‘I Got Clothes’. The album is made up of tracks that feature in the band’s incendiary live show (hence the title), and includes rare 7” and 12” mixes alongside the two new recordings andsleeve notes by DJ and writer Dave Haslam.


Barry says: An essential package featuring some of the greatest ACR tunes to be committed to tape, with definitive 12" versions sitting brilliantly alongside a couple tracks exclusive to this release. An essential for any fan, and sure to make a few new fans as well!


2xColoured LP Info: Dark green and silver coloured vinyl, with limited 10" x 8" photographic print, signed by A Certain Ratio and photographer Paul Husband.

2xColoured LP includes MP3 Download Code.

A Certain Ratio

The Graveyard & The Ballroom - Mute 4.0 (1978>Tomorrow) Edition

    A Certain Ratio ‘The Graveyard & The Ballroom’: A Certain Ratio's debut release, ‘The Graveyard And The Ballroom’ originally came out on Factory Records in December 1979. Classic Pop call it an “astonishing opening salvo” and this new edition of the album is available on special edition orange vinyl with coloured PVC sleeve.

    The Aints!

    The Church Of Simultaneous Existence

      “Rock music in the seventies was changed by three bands —the Sex Pistols, the Ramones and The Saints.” - (Bob Geldof)


      Forty years after the release of one of the great Australian debut albums of all time Ed Kuepper returns with a brand-new band and a brand new contender for the title.

      When the heavily lauded, heavily influential first incarnation of The Saints split in 1978, Ed Kuepper, the sonic architect and primary songwriter of the original band and their three albums: the proto-punk classic (I’m) Stranded (1977), the r’n'b infused Eternally Yours (1978) and the brass-laden genre-defying Prehistoric Sounds (1978) left behind a plethora of unreleased material, however, rather than attempt to salvage what could have been Kuepper chose to move on forming the legendary Laughing Clowns performing and recording in Australia and the U.K. from 1979 through 1984 before embarking on an ARIA award winning solo career that has kept him touring and recording steadily since 1985.

      Come 2017 though, and the 40th anniversary of The Saints seminal debut Kuepper was persuaded it was time to revisit and celebrate the music of his youth. Recruiting like-minded souls in Sunnyboys bassist Peter Oxley, drummer Paul Larsen Loughhead (The Celibate Rifles / The New Christs), jazz pianist Alister Spence and trumpeter and brass arranger Eamon Dilworth the band performed as The Aints! Play The Saints (’73 - ’78) covering Kuepper’s tenure with the band and all the classics including This Perfect Day, Know Your Product, Swing For The Crime and (I’m) Stranded to large crowds and a hugely appreciative response. But rather than purely recycle those formative songs Kuepper began to introduce the new-old material to an audience eager to hear what else Kuepper had been sitting on since 1978. A further positive response from the music department of the ABC saw these two iconic Australians join forces and bring to light what is in essence, the long lost fourth album by The (original) Saints. 


      Ltd LP Info: First vinyl pressing (500 for UK/EU) will have DL code for album, and instrumental versions also.

      2xCD Info: First pressing of the CD (1000 for UK./EU) version comes with the bonus INSTRUMENTAL VERSIONS (subsequent pressings will be single CD).


      The Devil's Walk - Mute 4.0 (1978>Tomorrow) Edition

        Apparat ‘The Devil’s Walk’: One half of Moderat, Apparat (aka Sascha Ring)’s debut album for Mute was originally released in 2011 and features the singles ‘Goodbye’ (subsequently used as the theme tune to Netflix’s ‘Dark’), ‘Candil De La Calle’ and ‘Song Of Los’. Highlighted as “music for the soul” by Q Magazine, the album is now being released on violet vinyl.

        Slightly introverted, melodic and highly textured tech / house track here that should appeal to fans of Compost records and producers such as Ame & Dixon, Sparky, Carl Craig and Auntie Flo.

        A deep and varied EP from Art Crime who's extensive discography includes releases on Crème Organization and W.T Records amongst many others.

        Powerful, technically proficient drum programming ushers in deep and dreamy melodic sequences with emotive chord progressions and warm atmospheres. Both dually cutting edge and accessible, it's tickle the fancy of a wide spectrum of dance music fans who simply enjoy well produced electronic music played on loud and detailed soundsystems - mint! 


        Sil says: Hi quality tech house for discerning listeners. Ranging from warm up da dancefloor type to more melodic, downtempo relaxing vibes. All of the cuts are ace.

        Auntie Flo joins the Brownswood roster to deliver his third and most ambitious album to date. The Glasgow-raised producer, of Goan-Kenyan heritage, has often featured collaborators from different spots he’s visited, and this new record takes that approach to another level. Contributions come from a globetrotting cast of friends, including Laurie Pitt, of Glasgow’s Golden Teacher, Senegalese multi-instrumentalist Mama nDiack, UK producer and singer Andrew Ashong and Cuban percussionist Yissy Garcia.

        It arrives as the natural companion piece to his Radio Highlife show on Worldwide FM, the online station run by Brownswood boss Gilles Peterson. Regularly touring to DJ in various cities around the world, it’s a pursuit that’s gone hand-in-hand with the global slant of his music - with the local radio often being his first introduction to new cities. It follows in the path of Glasgow’s Highlife club night which he co-founded, playing music from West Africa and Latin America which broke out of the city’s house and techno mould. Likewise, his own music has always been laced with percussion, ideas and inspirations that reflect a far-reaching perspective.

        His previous long-players, "Theory of Flo" and "Future Rhythm Machine", were released on the Glasgow-based Huntleys & Palmers imprint. His dancefloor-minded singles have found a home on labels like Sofrito, Kompakt and Mule Musiq. His music, his DJ sets and the influential club night have drawn acclaim from publications like The Guardian, FACT and The Wire. "Radio Highlife", in many ways, marks the zenith of this producer's career thus far, and should be investigated by all lovers of far-flung music. Recommended. 


        Matt says: Really nice to see this artist find his stride. One of the first to embrace what now seems to be standard practice in dance music. Auntie Flo's electronic-afro hybrids laid the blueprints for many other ideas. "Radio Highlife" is the high water mark of his discography.

        Serious good hazy house moods here from Baltra who skirts perilously close to Seinfeld's all-conquering grip of lo-fo house territories through a seriously radiant and atmospheric EP that'll appeal to anyone who's enjoyed the inspired takes on deep house that this new crop of house superstars have developed. Think last year's "Time Spent Away From U" on Lobster Fury, Ross From Friends' and Berlin's Erdbeerschnitzel.

        Scorched house music that likes the levels in the red; its voluptuous pad swells and searing strings jostling for position across a side-chained, tape compressed aesthetic that makes drums snap and hats sizzle.

        Favourite track for us is "Can't Explain It" - a guaranteed serotonin-drainer with glowing pads, a nigh-on-euphoric vocal ident and baggy, sloppy breakbeat - absolute perfection!

        William Basinski & Lawrence English

        Selva Oscura

        For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, "Selva Oscura", was seeded. The phrase 'Selva Oscura' draws its root from Dante’s Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time.

        Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. "Selva Oscura" was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiseled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.


        Coloured LP Info: Limited edition opaque grey vinyl.


        Fix It Up

          Brighton, UK quartet Beachtape, the project of Rory Sear, Leo Kenyon, Andy Kemp and Dan Mcauliffe made their debut last fall with the Hold Music EP on Stockholm’s PNKSLM Recordings (ShitKid, Les Big Byrd, HOLY etc) and are now back with a double A-sided 7”. Featuring their two strongest tracks yet the 7” shows off Beachtape’s melodic yet fuzzy take on indie rock, straddling the middle ground between hazy beach pop and anthemic guitar pop.

          Beraber / Daisuke Kondo

          Cognitiva Point Of View #1

          Point of View is a new project by Cognitiva Records.It is a limited series of 150 hand-signed, 7-inch copies.
          Each release will compare two artists who offer up different interpretations on one theme.

          Beraber is an Amsterdam based producer and DJ that made his debut on La Freund Recordings. He also has a bi-monthly show on Red Light Radio. "Shades Play" is a relaxed and summery bedroom box jam with dusty drum boxes and analogue synths giving a biotic, soulful edge to the housey theme delivered. Composed on Juno-6, Korg M1 and TR-707, it's not a million miles away from the Mood Hut sound and delivers just as much joy.

          Daisuke Kondo appeared on Bosconi Records, Altzmusic and Vibraphone, and is back here with a leftfield house jam. Wobbly and shimmering, air bubbles seem to rise to the surface of the mix while salty coastal waters ensure we're bobbing on the surface, Sun flecked rays landing on our face as we dance in the ocean. 

          The Beta Band

          The Beta Band

            Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

            Released in 1999, the album “The Beta Band” followed the critically acclaimed compilation “The Three E.P.'s” (1998). With high anticipation for The Beta Band, the band originally planned to record the album in four separate continents, but financial constraints slimmed the recording locations down; however, the album was still recorded in a variety of locations and pulling inspiration from sources as diverse as Jamaican reggae, Disney's movie “The Black Hole” and Bonnie Tyler's "Total Eclipse of the Heart".

            The band also originally intended the album to contain a bonus disc of two long form ambient pieces, ‘Happiness and Colour’ and ‘The Hut’, both of which lasted over 20 minutes and represented the band's desire to "make a record of sound as a description for something like happiness, where a distinct first part gives way to a distinct second part”. However, the band and label ultimately decided to remove these tracks from the album prior to release.


            3xDeluxe LP Info: Deluxe 3LP+2CD edition with double black vinyl album in gatefold sleeve with printed inner-sleeves and CD included, plus a single black vinyl bonus EP in single sleeve with 3mm spine, printed inner-sleeve and CD included. Both vinyl sleeves are hold together with an obi strip.

            2xLtd LP Info: 2LP+CD edition with two black vinyl in gatefold sleeve with printed inner-sleeves. CD included.

            2xCD Info: 2CD edition in 3-panel digisleeve with 24-page stapled booklet.

            The Beta Band

            The Three EPs (20th Anniversary Remaster)

              Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries.

              Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. 


              Includes the ‘Champion Versions’ EP, ‘The Patty Patty Sound’ EP and ‘Los Amigos Del Beta Bandidos’ EP. CD included in clear plastic sleeve with flap.

              The second in a series of all-time CLASSIC hip-hop anthems from the Nervous vaults, pressed onto high quality dinked 45's.
              Remastered from the original source material and featuring the unedited 'dirty' version on the A-side, and the full instrumental on the B-side, these 45's are for the heads who know what time it really is!

              'How Many Emcee's Must Get Dissed' is that raw, NYC, Beatminerz flavour, even the video that dropped on MTV in 1993 is legendary featuring the whole Black Moon mob in their native Brooklyn posting up with their crew. Everyone remembers that Timberlands & Philly Blunts rap from the mid 90's onwards, raw SP1200 beats, dusty loops and samples pulled out of crates in the darkest corners of the five boroughs, a truly creative period in rap music and popular culture with many artists who came up in the era shaping the future of music from the streets upwards. Black Moon are one such group, their indelible mark on music is still felt today, the blend of streetwise raps and sturdy, murked out, jazzy beats supplied by the Dewgarde brothers is timeless. They sure don't make em like this anymore and if they did we're sure Black Moon would continually crush the competitors as they always did. Essential New York rap classics right here! Don't front.

              STAFF COMMENTS

              Patrick says: Nod your head til your neck snaps, Black Moons's heavyweight club killer is back to smash speakers in classic NYC style. Flawless.

              David Bowie

              Loving The Alien 1983 - 1988 (BOX SET)

                The follow-up to the awarding winning and critically acclaimed DAVID BOWIE ‘FIVE YEARS (1969 – 1973)’ and DAVID BOWIE ‘A NEW CAREER IN A NEW TOWN (1977 – 1982)’ will be released on 12th October.

                The box contains newly remastered versions of David’s most commercially successful period ‘LET’S DANCE’, ‘TONIGHT’, ‘NEVER LET ME DOWN (ORIGINAL and 2018 VERSIONS)’, the live album ‘GLASS SPIDER (Live Montreal ’87)’, the previously unreleased ‘SERIOUS MOONLIGHT’ live album, a collection of original remixes entitled ‘DANCE’ and the non-album / alternate version / b-sides and soundtrack music compilation RE:CALL 4.

                The highlight of this latest box is the brand new production of the 1987 album ‘NEVER LET ME DOWN’ by Bowie producer / engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass) as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on ‘Shining Star (Makin’ My Love)’.
                The seeds of this new reimagining of the albums were first sown in 2008 when David asked Mario McNulty to remix the track ‘Time Will Crawl’ and record new drums by longtime Bowie drummer, Sterling Campbell along with strings. The track was issued on the iSelect compilation to much acclaim, and in the notes, for that record, David remarked ‘Oh, to redo the rest of that album’.
                The new re-workings have revealed ‘Never Let Me Down’ as a very strong collection of songs with a dark thematic thread running through them. Fans listening to ‘NEVER LET ME DOWN (2018)’ would be forgiven for thinking that they were listening to a brand new ‘lost’ Bowie record.

                Also in each box is the never before released ‘SERIOUS MOONLIGHT’ live album recorded in Montreal in 1983. Originally mixed at the time by Bob Clearmountain, the double album captures Bowie on what at that time was his most successful tour. The artwork features shots taken by photographer Denis O’Regan.

                Exclusive to each box is ‘RE:CALL 4’ and ‘DANCE’. The former a new compilation featuring remastered contemporary single versions, non-album singles, album edits, b-sides and songs featured on soundtracks such as Labyrinth, Absolute Beginners and When The Wind Blows. ‘DANCE’ features 12 contemporaneous remixes some of which are appearing on CD and vinyl for the first time and is named after an unreleased Bowie remix album that was originally slated for release in November 1985.

                The box set’s accompanying 84 page book features rarely seen and previously unpublished photos by photographers including Denis O’Regan, Greg Gorman, Herb Ritts and many others as well as historical press reviews and technical notes about the albums from producers/engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith. 

                FORMAT INFORMATION

                LP Box Set Info: 88 Page hardback book
                Let’s Dance (remastered) (1LP)
                Serious Moonlight (Live ’83) (previously unreleased) (2LP)*
                Tonight (remastered) (1LP)
                Never Let Me Down (remastered) (1LP)
                Never Let Me Down (2018) (previously unreleased) (2LP - side 4 is etched)*
                Glass Spider (Live Montreal ’87) (previously unreleased on vinyl) (3LP)*
                Dance (2LP)*
                Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (3LP)*

                FREE SHIPPING This item has FREE UK shipping!

                CD Box Set Info: CD Box Set:
                128 Page hardback book
                Let’s Dance (remastered) (1CD)
                Serious Moonlight (Live ’83) (previously unreleased) (2CD)
                Tonight (remastered) (1CD)
                Never Let Me Down (remastered) (1CD)
                Never Let Me Down 2018 (previously unreleased) (1CD)*
                Glass Spider (Live Montreal ’87) (2CD)
                Dance (1CD)*
                Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (2CD)*

                FREE SHIPPING This item has FREE UK shipping!

                Moses Boyd is at the forefront of the New British jazz scene having worked and recorded with like of Giles Peterson, Four Tet, Sons Of Kemet, Zara McFarlane and more. With 2 MOBO Awards to his name and Multiple Releases via his Label Exodus Records. Moses has established himself as one of the leaders in bringing the worlds of Jazz and Electronic music together.

                This latest release is taken from the same sessions that brought us Rye Lane Shuffle. Displaced Diaspora is a collection of music from Moses Boyd recorded in 2015 that features some of the now leaders of the New British Jazz Scene Such as Theon Cross, Nubya Garcia and Nathaniel Cross. As well as the Iconic British Soul Vocalist Terri Walker, Saxophonist and Bata Player Kevin Haynes and his group, Grupo Eleggua and Rapper Louis VI. The music is a mix of Jazz, Yoruba chants with Hip Hop and electronica influenced beats.

                STAFF COMMENTS

                Millie says: Moses Boyd is back with a bang, returning with more beautiful jazz. I should insert my usual ‘I love jazz so much’ segment here, but it really is brilliant. Matched with several contributors such as Kevin Hayes, Zara McFarlane and Terri Walker... it's a work of art!

                Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer Frick, is set to release his second solo album for London imprint Erased Tapes on October 12th. Titled Channels, the new record follows the release of the London and Berlin based producer’s solo debut Eternal Something from 2017. The seven-track LP is Brandt’s biggest statement yet, with the album’s thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes, rich electronic textures and hints of dark cinematic pop. Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich’s Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing meld of expansive works. Intricate floor-filler and lead track ‘Flamingo’ synthesises the measured pacing of Detroit techno with an orchestral background. As with all of the tracks on Channels, ‘Flamingo’ began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; “It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,” explains Daniel. “The actual typical rock band recording style that I never had the chance to do before.”

                The album’s most immersive, club-ready track ‘Sailboats III’ is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming cosmos of ‘Cherry Dream’ is informed by Tangerine Dream’s iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. ‘Daze’, co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a rhythmic percussive pulse, whilst the understated ‘Ltd’ was stylistically inspired by Steve Reich’s Electric Counterpoint as well as Daniel and his band’s live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track ‘Channels’ melds instrumental ambient with melodramatic embellishments, whilst the record’s closer ‘Twentynine Palms’ takes its name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature. With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album’s creative ideas reference a rich visual palette. He directed the video for ‘Flamingo’, a sideways glance at the art world that takes the concept behind John Cage’s 4’33” and turns it on its head. “The video for Flamingo is deliberately non performance — people sitting in a room and watching basically nothing, never really sure if anything is ever going to happen. It’s also a play on John Cage’s 4’33”, except in this instance there isn’t even a performer present.” — Daniel Brandt

                Daniel’s passion for film even prompted him to kick start his own online television channel in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes.

                Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons.

                Dennis Brown / Prince Allah

                Three Meals A Day / Naw Go A Them Burial

                Two late seventies roots / dub tracks here collated for the impeccable Joe Gibbs Record Globe series.

                Dennis Brown heads up side A with "Three Meals A Day". Recorded in 1979 it features energetic congas, a truly rootsical rhythm section and an empowered, riotous deliver from Brown. Produced by Joe Gibbs and engineered by Errol Thompson it's hard to find fault in this sufferers anthem. Like previous joints in the series the dub follows seamlessly from the main mix, playing right thru side A uninterrupted in a proper DJ mix stylee.

                The B-side features Prince Allah's "Naw Go A Them Burial" - a more old school flavoured cut with rocksteady inflections. I have to admit, I'm struggling to work out the lyrical message in this one... summat about not going to the funeral...lucky there's a separate dub version that pushes that digi siren and punchy bass right to front of the mix saving you from pondering why indeed Prince Allah did not go to the funeral.

                Limited quants as per... get dem skates on dreads!

                FORMAT INFORMATION

                Ltd 10" Info: Limited 10" pressing in Joe Gibbs Record Globe disco bag.

                Jeff Buckley


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

                  FORMAT INFORMATION

                  Coloured LP Info: Gold & purple coloured LP Vinyl.

                  Coloured LP includes MP3 Download Code.

                  We humans weren't made for modernity; the rush of the rat race, the disconnect of social media, the prison industrial complex, spice zombies and Brexit. It's pretty confusing stuff right? Now I ain't no fancy pants medical doctor (like Drs Dre, Oetker and Rob) but I'd advise you take a little time to unwind your mind with the wonderful sounds of Calm. 

                   For the uninitiated, Calm is the stage name of Japan's Fukagawa Kiyotaka, a legendary producer, musician and selector who's spent the last twenty years packing yearning, heart swelling emotion into his deep house, ambient and downtempo creations. His previous album, 2015's "From My Window" resonated deeply with Hell Yeah boss Marco, who reached out and found a kindred spirit. Over the course of a couple of days playing records, relaxing and enjoying each other's company, a friendship was born and the seeds were sown for a brand new album on Marco's mighty Hell Yeah.

                  Two years later and the sublime "By Your Side" is here. A ten track journey through drifting rhythms, dreamy melodies and sumptuous chords which has already cast a spell over the likes of Balearic titans Moonboots, Phil Mison and Chris Coco. 

                  Pek within Andrea Amaducci's special artwork and find the delights within. Majestic opener 'Space Is My Place' transports you straight to a blue sky paradise with rippling chords reflecting the warm sun and is ripe to become a modern classic. 
                  From there Calm's masterful synths keep you flat on your back and gazing up to the heavens as gently drums roll beneath the brilliant 'Afterglow and First Star' and then 'Ending of Summer, Beginning of Autumn' is a little more reflective as it rues the end of warmer days. 
                  ‘Sky, Colour, Passing' is floating celestial bliss with angelic harmonies, 'Shadows and Lights' is a lazy Sunday soundtrack with delicate piano keys and the gentle chug of 'Before Landing' glows with cosmic light and warms you with astral disco grooves that will be the jewel in any open air DJ set. 
                  After the sensuous moments of 'Mellow Mellow Sadness' encourage you to reach out and hug someone close, 'Shade of Tree' washes over you like a seaside breeze before the final two tracks layer up synth modulations and quietly epic guitars into rousing pieces of slow motion euphoria. 

                  STAFF COMMENTS

                  Patrick says: Japanese producer Calm joins the Hell Yeah clan via this sumptuous double LP of blissful Balearic vibrations, extending summer indefinitely with an instant classic.

                  Caoilfhionn (pronounced Keelin) Rose is a singer, songwriter and producer from Manchester. Emerging from a diverse music scene, she ties together remnants of Manchester's musical past with its evolving present. She has collaborated with musicians from around the world and is perhaps best known for her work with Vini Reilly of Durutti Column: Collaborating on four songs on The Durutti Column - Chronicle LX:XL album. She grew up surrounded by music (dad loved jazz and mum was a massive folk fan) but it wasn't until her late teens that the muse took hold: "I've always been interested in music but I really started to get into it after a period of illness when I was 17. It was music that made me begin to feel like myself again. Listening to my iPod, everything felt new and exciting and yet vaguely familiar and nostalgic." A year or so later, during her recovery she started to write songs again on the piano and started performing in Manchester, graduating through open mic slots to her own shows.

                  Caoilfhionn's music draws on a diverse range of influences from The Mummers, to Rachel Sermanni, Melody's Echo Chamber and Broadcast. She also professes to a love for beautiful, stripped back, piano based music, such as Dustin O'Halloran and Peter Broderick. Vini Reilly from The Durutti Column is also a big influence and inspiration. "We're friends now after collaborating a few years ago and I have become a big fan of his music. It is intricate and detailed but spontaneous and free." Another inspiration is her immediate environment. With Manchester's Fletcher Moss Park especially inspiring. And it was what led her to Gondwana Records, Matthew Halsall, when she heard his 2012 album Fletcher Moss Park. She reached out and shortly afterwards he went to see her perform at The Art of Tea Cafe in Didsbury Village. Blown away by the fragile beauty of her music he offered to produce a recording for his label.

                  Awaken, is Caoilfhionn's debut album, co-produced with Matthew Halsall, guitarist Rich Williams and Matthew's brother Daniel Halsall (artistic director of Gondwana Records) she describes it as a deeply collaborative effort. Expansive, fragile and experimental it's a rich tapestry that draws on folk, psychedelia and subtle electronica influences. For Caoilfhionn it represents a busy mind, change, and an up and down life. "It is an honest and personal account, full of memories and mumblings to myself that I hope other people will relate to or at least understand". It's also a deeply collaborative album featuring songs developed with her band mates, Matthew Halsall and one song, Wild Anemones, even features her grandmother! And the title track of the album sums up the whole body of work. It's a positive song about looking outward, forwards and all around. It marks the beginning (like waking up) and feels like the starting point of a lot more music. "It was the song that pushed me and moved me out of my comfort zone. "Having played solo as a pianist for a couple of years, it inspired me to work with new sounds, musicians with a different approach to making music.

                  John Carpenter & Alan Howarth

                  Halloween 2

                    Death Waltz Recording Company is proud to present the return of one of horror's scariest boogeymen, as well as one of the genre's most iconic theme tunes with John Carpenter and Alan Howarth's score to HALLOWEEN II. Set directly after the events of the first film, Rick Rosenthal's sequel sets itself up as the slasher equivalent of THE EMPIRE STRIKES BACK, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth's score is beefier and more intense than before, using layers of electronics to drive the audience to madness.

                    As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. HALLOWEEN II is more overtly synth and is perhaps less focused than the original score, although that certainly means it's nastier and more schizophrenic. The score also brings back the evocative 'Laurie's Theme', incorporating into a score full of harrowing musical effect, its synthesised howls and wails piercing your ears so that by the time 'Mr. Sandman' comes around, you'll feel just like the final girl, delirious at having survived the aural ordeal. And that's just when The Shape wakes up.

                    FORMAT INFORMATION

                    Coloured LP Info: Orange vinyl.



                      Japanese culture has long since developed a fascination with the cute, the innocent, the throwaway; it’s termed ‘kawaii’, more of a cult than a concept, and it runs through the veins of incoming hyper-animated four-piece Chai.

                      Hailing from Japan’s Nagoya region, the band formed around identical twins Mana and Kana, before close friends Yuna and Yuuki completed the line up.

                      Imagine a world dominated by bright colours and squeaky clean plastic, where endless cartoons and guilt-free meal times combine to offer hymns to empowerment, and a rejection of the mundane. Imagine Chai’s electrifying, hallucinatory, but wonderfully real debut mini-album ‘Pink’.

                      Plugged in to pop culture on a 24/7 basis, Chai practically have modems for stomachs and phone lines for veins. Just the first glitter-strewn belch to eminate from Chai, ‘Pink’ is the kind of guilt-free hyper-pop overdose you’ve waited your entire life to hear. It’s cute, but beneath the surface there’s a whole new world to explore.

                      New record from Distant Hawaii, the taste making label that's previously brought you top tracks from Hidden Spheres, Ross From Friends and David Garrett.

                      Ciggy De La Noche is the moniker of some guy making tunes in our city... there's not much more info on him, but that dunt matter yet. What does matter is that these four tracks show off a producer firmly and comfortably in their stride. There's nothing forced at all as he effortless constructs four completely hypnotic and intricate deep house grooves that land somewhere between MCDE's finely crafted house jams and vintage Boo Williams / Glen Underground (!!). There's a certain pedigree at work here folks, and I'm predicting will be hearing much more from this talented producer in the near future.

                      Big T I P on this one - don't sleep!

                      Until the film "20 Feet from Stardom" rolled around, Merry Clayton was most famous as Mick Jagger’s vocal foil on “Gimme Shelter,” but on her own she recorded a series of tough, soulful albums for the Ode label during the early ‘70s. "Merry Clayton" is her 1971 self-titled second album, which, like the first, has never seen a vinyl reissue prior to our release. And it’s something of a lost soul classic, featuring Merry’s passionate takes on songs by Neil Young (“Southern Man”), Leon Russell (“A Song for You”), Bill Withers (“Grandma’s Hands”), and James Taylor (“Steamroller”), with production by Ode’s own Lou Adler and arrangements by Carole King and Billy Preston.

                      FORMAT INFORMATION

                      Coloured LP Info: Maroon vinyl limited to 1200 copies

                      Cocteau Twins

                      Treasure Hiding: The Fontana Years

                        There was perhaps a sense, after a while, that the world was taking The Cocteau Twins for granted. Late Eighties reviews had routinely described them as The Voice of God, yet 4AD, concerned that we’d get tired of appreciating the rarefied genius which shimmered in front of our noses, would keep reminding us that they were truly special. The irony was that The Cocteaus were themselves evolving, morphing, reconstituting and taking on new shapes. This wasn’t widely registered at the time. It can be now, as The Fontana Years demonstrates a musical marvel which still makes your ears feel like they’re sucking citrus fruits after years of licking ashtrays, while the rings of Saturn crash-land in your front room.

                        This 4-CD set brings together the two albums the band recorded for Fontana along with B-Sides, EP’s, Radio One sessions and the odd rarity. The set was mastered at Abbey Road from the original tapes and approved by Robin Guthrie.

                        Housed in a study box designed by James Issacs – the booklet contains photos a discography from the era as well as a sleeve note by noted author Chris Roberts.

                        Elvis Costello And The Imposters

                        Look Now

                          Elvis Costello and The Imposters – Steve Nieve (keyboards), Davey Faragher (bass), Pete Thomas (drums) – have made a sensational new album that ranks alongside the best work this singularly great artist has ever produced.

                          Recorded in Hollywood, New York City and Vancouver, British Columbia, ‘Look Now’ is beautiful in its simplicity, reflective in its lyrical vision, surrounded by melodies and orchestrations that are nothing short of heavenly. It’s the first album Costello has made with The Imposters since the 2008 release of ‘Momofuku’ and his first new album since the acclaimed 2013 Roots collaboration, ‘Wise Up Ghost’.

                          Anyone anywhere in the world who has seen Elvis Costello and The Imposters live can testify to their unmitigated swagger. Costello’s suspicion that it was time to return to the studio was confirmed while on the ‘Imperial Bedroom & Other Chambers’ tour of the USA, last summer and he realized the power and sheer musicality of The Imposters had never really been fully captured on one record.

                          FORMAT INFORMATION

                          2xDeluxe LP Info: 4 bonus tracks in the deluxe edition.

                          2xDeluxe CD Info: 4 bonus tracks in the deluxe edition.

                          Modern day house music poster boy, vlogger, flag bearer, label owner and all round champ, Denis Sulta kicks off another imprint - the 'Silver Service' branch of his Sulta Selects with a trilogy of mainroom-primed master blasters from the Irish born Cromby. Now residing in Berlin, the producer follows up a head turning performance at the taste making AVA festival in Belfast.

                          "Futurola" opens the EP with an unwavering energy, stomping drums ushering in phazed leads and a proper fuzzy b-line. You can almost picture label head Jackmaster slamming this one out across the festival stages to a jubilant mix of students, ravers, pill heads and ket-vests - his ability to unite the masses under house music's rich and varied umbrella one of the reasons why even your Gran's heard of this cat.

                          "Barneymania" offers up summat slightly more deep and sultry; Cromby switching tact and delivering a shimmering and intricately produced piece with a totally unique breakdown.

                          Finally, heading straight into the middle of the night, "Fandango" sees a jarring and discordant series of arpeggios converge on an electro-tinged palette for a piece of mid-session revelry that calls for big laser sweeps and pyrotechnic blasts from the lighting engineer as the outdoor festival stage bursts into life through the nocturnal hours.

                          Three highly intoxicating jams here. Limited run and stupidly hyped so don't miss out!

                          STAFF COMMENTS

                          Matt says: Three no-nonsense, killer party house jams from Dennis Sulta's (the people's champion) exciting new label. Big TIP on this one folks, don't sleep!

                          Burgeoning label Planet Euphorique follows up sell-out hits from Roza Terenzi and Big Zen with a four tracker from label head D. Tiffany.

                          “Feel U” shows spacial finesse and rhythmic maturity, a modular drum section and excellent vintage analogue effects giving a retro-futurist incline to this propelled electro-techno hybrid.

                          "AK" sees more up-to-date electro blueprints cut from a fresh cloth. Glowing pads and tuned perc hits highlighting the musical complexity on this number which is miles ahead of the current electro also-rans.

                          "Sip & Savour" is a shadowy backroom / warehouse number which relies more on rhythmic interplay and solid groove then any melodic embellishments or superfluous vocals. A trusty number for any long session.

                          Mega stuff - each one so far's been a winner. You need!

                          Carla Dal Forno

                          Top Of The Pops

                            Pearl blue cassette comes wrapped in colour printed J-cards and with colour sticker inlays. Artwork designed by Carla dal Forno. Photo taken in Yorkshire Grove, Hackney. “Everything begins and ends at exactly the right time and place, look...” Carla dal Forno presents ‘Top Of The Pops,’ a self-released cassette disclosing six songs of sultry pop devotion. This late-Spring cassette of cover songs gets the wider autumnal release it deserves, showcasing the full range of dal Forno’s virtuous taste, style and production in her distinct post-punk, pop (but) minimalist sensibility. Not without cheek, the wink-and-a-nod blue film bawdiness of ‘Lay Me Down’ (Renee) and ‘Give Me Back My Man’ (B52s) are complemented by the earnest ballads of ‘A Silver Key Can Open A Lock Somewhere’ (Liliput) and The Fates’ ‘No Romance.’ Kiwi Animal’s ‘Blue Morning,’ which over the last year has grown with every live performance, finally gets a recorded release. This cosmic inner dialogue of love lost is matched only by the penultimate track, ‘Summertime Sadness’ which is the best example of how devastatingly personal a pop song truly can be. It’s all emphasised by dal Forno’s sparse production which, as with each of these six songs, brings her au fait vocal interpretations to the fore. 


                            Busted Vol. 4

                            Danyb returns with another essential volume of Busted goods ! The A side expertly reworks an early 80's Canadian Disco/Funk rarity for maximum modern dancefloor devastation On the flip Janis Joplin floats over a cleverly pitched Tom Tom Club classic for a slow-burning groover of the highest order. 
                            Two heavy main dishes at 45rpm rightly spiced up. Works a treat on any dancefloor. 

                            STAFF COMMENTS

                            Sil says: The B side here is a killer folks, with just a light touch of pitched down sensitivity applied to Tom Tom Club, DanyB creates a monster edit worth the whole package. That is not to say that the flipside is not worth a mention. It is in fact a monster disco journey. Buy on sight as this will totes fly.

                            Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its dancefloor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with five albums and two dozen EPs plus millions of miles in the rearview of his biography.

                            Bunny is the name of Matthew Dear’s fifth album. His first since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modafinil Blues” and the buoyant, blithe, Tegan and Sara-featuring “Bad Ones.” Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.

                            FORMAT INFORMATION

                            2xColoured LP Info: Very limited white splatter vinyl.

                            LP includes MP3 Download Code.

                            Drop draw tackle here from Welsh electronics maverick DJ Guy. A producer who's been active since the very early nineties, previously releases from his vast archive have graced labels such as La Beauté Du Négatif and All Caps. A strongly individual character who's acid-tinged productions touch on techno, electro, Cornish-style freakouts and noisy ambience; you can usually spot a DJ Guy joint from its advanced programming, highly detailed textures and vintage hardware presence.

                            For newcomers to this guy's sound, this expansive double pack from Exotic Robotis is more than a good place to start - it's a perfect snapshot of his multi-faceted sound - from the blissed out UK techno of "July 1St 2014 Broke (2017 edit)" (excuse the track titles - alot are simple time stamped entries) thru the winding soundsystem swagger "Oct 2nd 2014 Seq" which owes as much to Sheffield as it does to London and Detroit. There's some excellent displays of more downbeat, chillout flavas - the opening trio of track offering relaxed breakbeats and velvety textures over endorphic strings and bubbling keys.

                            Frankly, everyone needs a bit of DJ Guy in their collection; and this is a superb collection of tracks that really show off one of Wales' best, yet strikingly underground producer. Totally recommended. 

                            STAFF COMMENTS

                            Matt says: Just look at all dem tracks!! Bargin bin price really for this huuuge double pack from one of my top rated producers. Big ups Guy and Exotic Robotics for compiling this one. TIP!

                            Shortly after completing their critically acclaimed Top 20 album "Marble Skies" Django Django found themselves in the midst of an extended rush of inspiration. Before "Marble Skies" had even been released, they returned to their HQ to record a selection of new material with drummer Dave Maclean on production duties. The result is this all-new six-track EP "Winter’s Beach".

                            The lead track "Swimming At Night" - which was premiered by BBC 6Music’s Lauren Laverne - is Django Django at their most gloriously unpredictable. Its deceptively linear beat soon progresses into something altogether more leftfield, with a coherent collision of vintage synths, vocoders, tight vocal harmonies and surrealist lyrics about 'living with life forms under the water.'

                            FORMAT INFORMATION

                            12" Info: Black vinyl. Comes with CD.

                            Five track EP inspired by Irish folklore of mistaken burial, and with input from Will Carruthers who introduces sparkling synthesized passages and an organic ‘cosmic-blues’ to Documenta’s already lush sonic expanse. Following on from their sold-out LP for Touch Sensitive and a digital reissue of its predecessor, Documenta take a break from their "Drone Pop" trilogy to introduce the "Lady With The Ring". Margorie McCall - 'lived once, buried twice'. McCall lived in rural Ireland in the early 18th century. She succumbed to a fever and was hastily buried in Lurgan’s Shankill cemetery. Her grave was visited by 'a tramp of disreputable character with a reckless and thieving disposition' who drew blood as he tried to prise the ring from her finger, awakening the dead woman who subsequently lived for many years after. "The Lady With The Ring EP" sees Documenta’s regular seven-piece lineup temporarily swell with narration from author and musician Will Carruthers (Playing The Bass With Three Left-Hands, Spacemen 3, Spiritualized) providing counterpoint to Roisin Stewart’s hazed vocals as she tells the story from the dead woman’s lips. Self-recorded in one weekend a stone's throw from McCall’s grave and subsequently re- worked and shaped by the group, "Lady With The Ring" is an enthralling and evocative listen.

                            Making his return to the label after last year's springtime favorite, Everlast, is Dorsi Plantar. Better Listen's twelfth entry in the main run marks their first repeat of an artist, and the Copenhagen man does not disappoint.

                            Tack Farsan is a balanced sample-driven EP intended to milk the last of summer's flavors for the dancefloors enjoyment.

                            The top side hosts sunny disco affairs in the release's title track, and a polished collab with label mate Sune. The logo side, on the other hand, explodes into deep latin affairs.

                            STAFF COMMENTS

                            Sil says: Hot hot hot for all disco house DJs out there. Four slabs of uncompromising, original and off the beaten track edits that will complement any house set smoothly. Worth every penny.

                            To be released on World Mental Health Day, part of the album’s proceeds will be donated to a UK-based mental health charity. 'I often wonder how sadness moves through people,”' Emika says, 'through time, through stories and history, and if it's something that becomes us rather than coming from us.'

                   Invites fans to anonymously share their experiences of depression and create a waterfall of comments inspired by the song "Wash It All Away Studio".

                            Given its years of manifestation behind the scenes of other projects, "Falling In Love With Sadness" reflects a renewed understanding of Emika’s own genealogy, kindred lineage and its connection to modernity. Marking a drastic departure from the menacing, stripped-down qualities of albums past, Emika has surfaced with a new upwelling of sound gracing the bittersweet, melancholic and sanguine.

                            With the interplay of genres both rhythmically and melodically intertwining between spacey, dub tinged "Promises", lush synth pop hooks on "Escape" and the title track's soulful electro wriggle, a full spectrum of musicology remains primary to the ever-evolving chroma of Emika’s umbrous sound.

                            Further characterized by the breathy sibilance and sultry tones of Emika’s noirish, vocal aesthetic, the album navigates through the morose and trappings of misanthropy by illuminating a narrative of emotional resilience and recovery.

                            Co-produced with Robert Witschakowski of The Exaltics, and continuing her collaboration with guitarist Chris Lockington (as heard on "Drei" and "Dva"), "Falling In Love With Sadness" provides a fifth solo album for Emika, but moreover, defines itself as an overture for her future works.

                            FORMAT INFORMATION

                            Coloured LP Info: Vinyl limited edition, includes album poster and lyrics booklet, crystal clear vinyl, silver layer printed on cover art, % donated to charity.

                            Exit Group

                            Adverse Habitat

                              From the dank warehouse recesses that brought us Useless Eaters and Dry Erase, Castle Face introduces Exit Group—sharply futuristic post-punk with a pissed-off lean, antisocial lyrics spit over an abnormally locked-in guitar / bass / drums triangle, wound up tighter than a Swiss watch. Post-everything sample tweakery and chromedipped guitar tonality lend a darkly robotic sheen, abraded riffs pop up everywhere but where you think they should be, clanging and clanking inhumanly around elaborate Rube Goldberg patterns, tessellating under flickering municipal neon. Adverse Habitat is bone-dry furious, turning on a dime just to slap the drink out of your hand. 

                              The music is taken from a project originally commissioned by London’s Science Museum to live score Fritz Lang’s 1927 cinematic landmark, Metropolis on it’s 90th anniversary. The band performed the score live at the Science Museum’s IMAX in April 2017 in an event that was part of the acclaimed Robots exhibition and series. This new release is a studio recording of the 150 minute score, recorded in its entirety and mixed by Nik Void with the exception of the tracks ‘Heart of Data’ and ‘Babel’ which was mixed by award-winning producer Marta Salogni. ‘A Soundtrack For A Film’ will be made available for the first time as a box set comprising four x 12" vinyl on the band’s own imprint H/O/D Records.

                              The artwork is by British artist Haroon Mirza adapted and arranged by Nik Void in collaboration with illustrator Sam Moore. Factory Floor are Nik Void and Gabriel Gurnsey whose electronic improvisational style of performance has seen them at home in gallery spaces like Tate Modern, to clubs like fabric and Berghain to a remote volcanic Island of Stromboli in collaboration with artist Haroon Mirza. Their critically acclaimed second album 25 25 was released in the summer of 2016 on DFA Records. 

                              Fad Gadget

                              Fireside Favourites - Mute 4.0 (1978>Tomorrow) Edition

                              Fifteen years and four stone ago I used to hang out at Manchester's Retro Bar, a cheap n cheerful scenester haunt with a proper sleazy basement. Amongst other attractions on offer there was a night called Barbed Wire Kisses run by the infamous Jake Barnes. An acolyte of the Dark Wired Sound, Jake introduced me to many a musical oddity, but none were as strange, terrifying and totally irresistible as Frank Tovey's Fad Gadget. The first signing to Mute, Tovey operated at the foremost fringe of the UK's DIY electronic movement, composing lust-songs for drum machine and synth from his 80s bedsit. Bursting onto the scene like an electronic Iggy Pop with a penchant for uncompromising performance art, Tovey spent the next two decades auto-asphyxiated by the microphone lead, covered in tar and feather while shaving his pubic hair - all on stage.
                              Despite his best efforts to outweird anyone and everyone, these challenging antics did nothing to distract from the music, and a quick listen to the soundclips here should tell you exactly why. Wasting no time on the foreplay, "Fireside Favourites" dances from the skewed white funk of "Pedestrian" through the low slung growl of "State Of The Nation" to the unhinged electro pop of "Salt Late City Sunday". Then comes the unstoppable, unparallelled sleaze synth hit "Coitus Interruptus". Not only was this the first Fad Gadget track I ever heard, it has remained my favourite ever since, and a constant feature in my record box. The titular "Fireside Favourite" closes the side with a completely batshit and utterly hilarious pub-rock piss take. 
                              I could keep going, maybe mention the serrated post punk of "Newsreel", the uncompromising techno of "Insecticide", medicated storytelling of "The Box" or cinematic scuzz of "Arch Of The Aorta", but ultimately, words will never do this justice. The finest moment in the Fad Gadget repetoire, and arguably the best synth pop record ever made, this is an essential item folks. Now available on orange vinyl.

                              STAFF COMMENTS

                              Patrick says: I love my job. Today I got to listen to my favourite Fad Gadget record, from start to finish, at punishing volume. Bedsit synth's most uncompromising figure, Frank Tovey is a legend around my gaff, and his debut LP is also his best. Twisted, tongue in cheek lyricism set to infectious (and infected) synth grooves, "Fireside Favourite" balances the funk and punk spirit in the most visceral fashion.

                              FORMAT INFORMATION

                              Coloured LP Info: Limited edition of 500 on orange vinyl.

                              The Fall

                              I Am Kurious Oranj

                                I Am Kurious Oranj is The Fall’s eleventh studio album. Released by Beggars Banquet 30 years ago, in 1988, it contains some of their most loved songs including “Cab It Up!”, “New Big Prinz” and “Jerusalem” which takes its lyrics from a poem by William Blake.

                                The album was written as the soundtrack to an avant-garde ballet titled I Am Curious, Orange, produced by the experimental Michael Clark Company and performed in London with The Fall playing live. As it said in the original ballet program, replicated inside this reissue, “Mark E. Smith is a history buff and admirer of Michael Clark, and I Am Curious, Orange spawned the idea of a thematic delving into the foibles and little-known psyche of William of Orange.”

                                According to Mark E. Smith in his book, Renegade, “We adapted the title from a Swedish porno film--I am Curious, Yellow. I was trying to make the point that we all share some kind of common knowledge that’s within ourselves; that comes out in all sorts of things. Some people call it a gene pool. It’s as if you already know subconsciously about historical incidents. You don’t have to have been taught it. It’s in-built. At the time I wanted to put this across, basically as a loose explanation of what was happening in Belfast: it’s in the head and bones and there’s nothing you can do about it. I was on a roll at the time. I’m rarely short of ideas, and I’m not into preserving them much, either. If it’s in your head and you’ve got the right people around you them there’s no better time to tell the story.”

                                FORMAT INFORMATION

                                Coloured LP Info: Orange coloured vinyl. Contains the replica of original programme of the ballet play performed at Sadler Wells Theatre.

                                It's been four years since Eglo Records' Fatima released 2014's Blue Note-approved, critically acclaimed debut Yellow Memories. This September, the London- via -Stockholm, Sweden songstress, returns with her second album, And Yet It's All Love — an emotional, yet entertaining trip through the full cycle of a romantic relationship, told in Fatima's now-familiar soulful style.
                                From first singles "Somebody Else" and "Caught In A Lie" to "Waltz" and "Just To Hold You" — listeners are transported from first meet, the blinding honeymoon period and struggle right through to the break-up and eventual fallout. Once again, she calls on a talented array of producers and instrumentalists to paint that picture; from Stones Throw's MNDSGN, J.D Reid (Mabel, D Double E), Purist (Daupe), Taz Arnold (Kendrick Lamar), Swarvy and regular collaborator, Natureboy Flako.

                                For the uninitiated, Fatima, has earned a reputation as one of the UK's most respected vocalists. Her debut LP Yellow Memories featured heavyweight collaborations with Floating Points, Theo Parrish and Anderson Paak producer Knxwledge. It was met with critical acclaim winning Gilles Peterson's 'Album Of The Year' at the 2014 Worldwide Awards as well as ranking No.10 in Rolling Stone Magazine's Top 20 R&B albums of the year before being re-released by the legendary Blue Note records.

                                STAFF COMMENTS

                                Millie says: Fatima has been quiet for four years, until now. ‘And Yet It’s All Love’ is her usual soulful style but shown in an array of emotions, from some sassy hip hop to heavenly heartfelt vocals, my personal favourites are ‘Only’ and ‘So Rite’. So so good.

                                Huuuuge retro-tinged break hardcore / jungle bizniz here from Myor Massiv and new skool jungle stars FFF & Coco Bryce.

                                A-side cut features FFF delivering some spiraling, lazer-grabbing, fairground jungle. With vintage drum programming similar to Photek giving it that sci-fi edge and huge bass swells this one means business!

                                On the flip label head Coco Bryce lets the chipmunks out the cage on "Lovin U" which is rich with melody and saccharin sweet. Perfect for riding the dodgems at top speed.

                                Super limited copies from this new jungle stable. Won't hang around long!

                                Genius of Time's phenomenal "Juno Jam" gets repressed for those that missed it first time round or new fans who've discovered it via John Talabot's groundbreaking DJ Kicks comp.

                                Lead track, "Juno Jam" utilizes Roland's impressive vintage keyboard to devastating effect. Concocting a series of interweaving sequences right across the frequency spectrum whilst tuned perc and ethnic drum hits hammer out some primal rhythms.

                                "Tom Jam" is even more percussive; and takes advantage of both synthesized and sampled drum hits. Again, 100% tribal in nature, its nod to the future doesn't deter from the indigenous nature of the rhythms presented, rather, it allures to them existing in time immemorial.

                                "Djungel Jam" closes proceedings with an ode to Joe Claussell's Instant House project. Full on rainforest house business with a plethora of perc lines meeting low bass rumble and wildlife SFX. Wonderful!

                                Light the beacon, sound the alarm, blow up the balloons, break out the champagne, warm up the lube...Rejoice and prepare for merriment however you want, coz there's a brand new Ruf Kutz in stock! Sticking with the RK system, the fourteenth instalment of everyone's favourite boutique label is home to OGs not edits, lovingly made by label favourite Glowing Palms. Ruffy and GP go way back and it's a match made in heaven..or at least Rainbow Road. 
                                Glowing Palms starts the party on the A-side with the technicolour funky/house hybrid "I Don't Need This Man". Brisk and bubbling, the cut hits us with neon synths, infectious and unexpected rhythms and a big room vocal sample, switching moods and styles at ADHD pace. The Holodeck experiences include beach front raves, Rimini sex clubs and VIP lounges dripping in Cristal. We just threw it on the shop player and summoned a flashmob - heavy scenes. The fun continues on the B1 as GP takes a tight grip of the joystick and jumps right into the bleeping heart of TRON. Detailed and delightful drum programming drives along with frenetic energy, taking care of your waist while the sonar bleeps and spangled sequences overload your brainstem - music for a techno-tropical percussion party I reckon. Last but not least "Beejaye" bounds along like a lost dub encounter between Wally Badarou and Vybz Kartel, all frisky, crispy drums, Streetsounds Electro keys and alleyway moods.
                                All killer, no filler - all batter, no chatter - super limited and better than your rest. Buy on sight I reckon.

                                STAFF COMMENTS

                                Patrick says: HUGE new Ruf Kutz from the unique mind of label favourite Glowing Palms. Offering OGs not edits, GP goes in deep with a trio of fluro-hardware jamz which vibrate between house, tropical, dancehall and Italo - thoroughly fucking up any system you'd care to suggest. Fiyah!



                                  Rhythms' is the debut album by Goatman, a new solo project by one of the mysterious members from the Swedish collective GOAT.

                                  Recorded in GOAT’s northern Swedish home town of Korpilombolo In late 2017 - the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters.
                                  Rhythms is a very apt title for the album as each track is an exploration of the ‘groove’. From the Fela Kuti‘esqe drums and horns jam of Jaam Ak Salam, to the frantic gospel-jazz of Carry the Load. From the fuzzed Can via the ‘Bristol sound’ track of Hum Bebass Nahin, to the cinematic, Spacemen 3‘esqe drones of the album closer Baaneexu. The end result is quite an astonishing and very unique album, like what you would expect from an album made by a member of GOAT – an album that is hard to put your finger on, but one that you will keep revisiting, the more it’s sounds reveals itself.

                                  Goatman plays all the instruments on the album bar some additional drums by Hanna Östergren from fellow Swedish bands Hills and Träd, Gräs & Stenar, and an added horn section courtesy of Johan Asplund, David Byström. One of the standout highlights of the album though is the collection of great guest vocalists Goatman has enlisted. Tracks Jaam Ak Salam and Aduna feature the very special voice of Senegalese singer Seydi Mandoza. You will also hear the vocals of Swedish based singers Amanda Werne on Carry the Load and Amerykhan on Hum Bebass Nahin. Goatman’s passion for traditional and contemporary music from around the world can be clearly heard when listening to Rhythms.

                                  The level of authenticity and willingness for exploration that Goatman has captured truly shows a fanatical respect for the music he is greatly influenced by. But at the end of the day, Rhythms is an album that has a sole purpose, and that is for to you to enjoy, dance and have fun too! 

                                  STAFF COMMENTS

                                  Barry says: Who doesn't want more Goat related music? Everything they've put out has been gold, and this side project by the MAN from GOAT (get it?) is no exception. Snappy percussion, rolling horns and fuzzed-out psychedelic soloing, pulsing grooves and richly hypnotic bass. If you liked Goat, there's no way you won't like this.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Indies exclusive pink/black swirl edition.

                                  LP Info: Black vinyl edition.

                                  It's been a hell of a recent past for John Grant, who, aside from getting the unquestionable delight of getting to see our faces every time he comes to Manchester (and us, his), has produced a superb album with Stephen Mallinder of Cab Voltaire and Wrangler fame under their collaborative moniker, 'Creep Show', and a string of live dates in the diary. All of this while recording his oft-teased new LP, 'Love Is Magic'. 

                                  'Metamorphosis' kicks things off, bringing together stabbing saw-waves and Grant's unmistakeable vocal acrobatics, tumbling atop off-piste melodic turns and new-beat percussives, setting a brilliantly warped precident before what may well be Grant's finest work to date in the stunning titular piece, 'Love Is Magic'. Treading familiar minor-key ground, we get a solemn but hopeful progression played out by stabbing synth lines and huge gated snare hits, covering all the sonic space necessary while keeping the mess down to a minimum and allowing John's voice to really shine before launching into the mindblowingly beautiful chorus (the vocal harmonies, attributed to Paul Denton of Midlake have an ethereal and dynamic momentum that is unmistakeable) and staggered but determined forward-thrust. 

                                  I could keep running through the tracks, but some of our readership would doubtless give up or expire before i'd finished blathering on, so i'll keep it to a few key points. 'Smug Cunt' while clearly filled with the wry venom we've come to know and love from Grant is an unimaginably deep cascade of dytopian synth pulses and resonant bass,  launching into a spine-tinglingly effective culmination of gloom and euphoria. 'He's Got His Mothers Hips' brings the camp disco vibes spectacularly, with a truncated snappy analogue bassline swirling around beneath the syncopated vox before exploding into a major key serotonin release in the hand-waving chorus. 

                                  Move on a little and the spoken-word commentary of 'Diet Gum' takes an admittedly hilarious step into the leftfield, perfectly illustrating JG's clever tongue-in-cheek sense of humour 'Did you really think you could seduce me in a leisure suit?... well.... fair enough' and captivating presence before bringing it back to the sublime with the tear-inducing majesty of 'Is He Strange'. Stunning piano and vocal harmonies meet together into the perfect storm of majesty and misery. The closing duo of 'The Common Snipe' and 'Touch And Go' are once again perfectly matched, with the minimalistic backline and flickering sample and hold synth lines peaking lightly behind the former, and the anthemic, rolling stagger of the latter closing off a stunning and career-defining collection. It's a testament to Grant's sphere of influence and ability as a songwriter and producer that so many influences can be absorbed into his sound without sounding forced or disjointed. A brilliantly melodic, heart-warmingly anomalous wonder.  

                                  STAFF COMMENTS

                                  Barry says: Once again, John Grant pulls out a diverse range of influences (we've seen what records he buys!) into a cohesive and superb combination of off-piste vocal timbres, mind-melting synths and spine-tingling melodies. Punctuated with moments of introspective melancholy but quickly resolved into a warm bath of huge rock progressions and gritty synth swirls. Absolutely brilliant, and undoubtedly the best work of his career.

                                  FORMAT INFORMATION

                                  2xColoured LP Info: This deluxe version is 140g clear vinyl. Includes 16 page 'Hymn Booklet' containing lyrics along with a 24 page photo booklet which includes photos taken by John Grant.

                                  2xLP Info: 140g black vinyl. Includes 16 page 'Hymn Booklet' containing lyrics.

                                  Victor Simonelli opens up the vaults once more to unlock Groove Committee's "Dirty Games", the follow up to the seminal "I Want You To Know".

                                  Taking the blueprint from his timeless house classic, Simonelli reworked the bassline for this '92 follow up whilst holding onto that sublimely simple yet powerful chord progression, one that never fails to put a smile on the face. Add in a helping of swung hats and crunched up shakers and this is a classic by anyone's standards. The vocals - a charged up, evocative warning to a mistreating lover - fit the NYC garage house rhythm so perfectly and deliver a raw emotion to the track.

                                  Next up the "Dubb Mix" kicks off with the accapella vocals laid bare in all their glory, before that piano progression lays the path for the full force of "Dirty Games" to make its impact. There's more space between the vocals in this dub mix, allowing Simonelli's production prowess room to breathe. A surefire spine tingler from start to finish.

                                  On the B side, Simonelli offers up his 1993 re-edit, extending, elongating and beefing up certain elements to captivate audiences all over again. Closing out the e.p. is Groove Committee's '93 track "I Wana Hold You" produced in collaboration with Glenn 'Sweety G' Toby' - it follows that same garage house shuffling rhythm, with soul-laden organs and Paula Brion's killer vocals.

                                  Another much welcomed reissue of some of Victor Simonelli's most sought after tracks, remastered by the man himself for a new generation of listeners.

                                  STAFF COMMENTS

                                  Matt says: Everyday's a school day here at Picc HQ. This track lifts the piano line from Soft House Co.'s exquisite 1990 hit "What You Need", conjuring up instead, a fiery garage house slammer. House music history lesson over for today folks!

                                  The Groundhogs

                                  Blues Obituary

                                    50th Anniversary limited edition die cut sleeve with liner notes from Mojo’s Dave Henderson. The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pestelnik on drums. The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove. Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’. Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs. According to Tony in Zig Zag’s John Tobler’s sleeve notes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.” “A deep excursion into musical depths further down than Canned Heat ever dared go.” The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, an aching solo Tony TS McPhee track. 

                                    FORMAT INFORMATION

                                    Coloured LP Info: Blue vinyl version.

                                    Coloured LP includes MP3 Download Code.

                                    Pleasureland is the newest work from Canadian-born artist Haley McCallum, known professionally as Haley Bonar for the past 15 years. In 2017, she changed her surname to reflect her maternal family name, now performing under thename HALEY.Stark, minimalist, and melodically entrancing, Pleasureland stands in a class entirely of its own, forging new but not unfamiliar ground for the Minnesota-based artist HALEY.

                                    Harkening back to her 2011 release Golder, which featured two instrumental tracks, McCallum has taken the instrumental concept a few steps further in a bold musical statement which features no vocals. This time, McCallum’s musicianship and artistry take the lead. Transitioning from the erratic, synth-driven intro of "Credit Forever Part 1" into the deeply enchanting "Give Yourself Away", which blends piano melodies in the style of French Romanticism with the production stylings of Brian Eno to build a sonic landscape which is as lovely as it is uneasy.

                                    In the stoner-metal burner "Syrup", McCallum’s lead guitar swaggers lazily over a fuzzed out, intense layer of distortion, featuring long-time collaborator and guitar wunderkind Jeremy Ylvisaker and Low's Steve Garrington on bass. The intimate and devastating "Pig Latin" showcases McCallum’s extraordinary gift for melody, carried by world class saxophonist Mike Lewis (Happy Apple, Bon Iver), tracked live in Haley's bedroom.

                                    Mixed by Shuta Shinoda (Anna Meredith, Ghostpoet), McCallum’s production shines through in a new light. Sparsely interlacing the organic and digital, Pleasureland moves through the gamut of grief, perception, and empowerment, eliciting both the uneasiness of a world shifting unexpectedly as well as the innate capacity for goodness and beauty. Here, McCallum displays her long time mastery of simple and haunting melodies that remain with the listener long after, replacing explanation through words with a pallet of sonic exploration wrapped up into just twenty-seven minutes.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Indies exclusive white vinyl with red splatter.

                                    Coloured LP 2 Info: White vinyl edition.

                                    Three edits by Mancunian maestro Andi Hanley on the superb Magic Wand label.

                                    A lesser-known but prolific character on the local scene, various credentials proceed this cat including warming up at the prestigious Body & Soul night in New York, as well as curating the soundtrack to one of the Grand Theft Auto games! With a top tier pedigree at identifying infinite grooves and hidden hits, Andi's source material often strays into the leftfield and weird, yet what comes out the other end of the factory line is something that's generally ineffably beautiful, engrossing and often very danceable - with his extended edits often holding you in their grip till the very last bar.

                                    This record starts with "Tied Up", a proper wigged-out afro-cosmic jam that plays with a vocal chant and percussion line throughout, building up tension and intensity until a huge brass-led lead section erupts towards the end of the track. Being skilled in the art of the looonnng DJ session, Andi's poise and attenuation of dynamics is what sets him apart from the clang-a-thon also-rans.

                                    "Lucky Number" is indeed, one of those wacky, unknown leftfield edits, where he picks a song not normally associated with 'dance' music but with a few careful chops and loop points, emphatically exerts its presence on any nightclub floor.

                                    Finally, "Happy Together" revels in a moment of perfection - a slow motion soul jam with rising strings, sumptuous lead synth part and a crazy sexy vocal that should get the whole club swaying - we've been lucky enough to hear Andi play this out a few times this year and every time it 100% slays all in its path.

                                    One of the most under-rated edit specialists on the scene drops one of his hottest three secret joints for your listening and DJ'ing pleasure - go figure!

                                    STAFF COMMENTS

                                    Matt says: Top drawer and rather quite illicit weaponry here for the working DJ and dancers that like it more under-the-radar than a Russian submarine.

                                    Harrison BDP follows up strong releases on Lost Palms, Piff and Music Is Love with a proper doozy for London's Phonica Records.

                                    Gilded in a nightclub patina, the three track EP kicks off with "Life Unlimited" which, after a DJ friendly intro complete with bouncy kick-bass interplay, drops into a heady, chiming piano passage with jacking snare patterns and old skool bleep melodies.

                                    "Fish In The Tank" takes a deep turn into thick, dubby house territory complete with elastic leads and ricocheting delays. It's not a million miles away from the eponymous Chain Reaction sound but is unique enough in its own right with a driving energy and intricate sound design.

                                    Finally, flipping the script one more time, "It's All Good" sees a ridiculously infectious UKG hybrid pour outta the stacks. If that skitty beat and soulful vox weren't enough, BDP supplies a sub-woofer tickling bassline and staccato tuned vocal chops that's sure to send carnival crowds spiraling into oblivion when they hear this blasting out the main rig.

                                    One of those rare EPs that ably shows off three completely different styles from one producer but with each one equal to the others in terms of quality. We heart Harrison BDP! Recommended. 

                                    "Cochin Moon" (コチンの月 Kochin no Tsuki) is Haruomi Hosono's fifth solo album. Initially intended as a collaboration with illustrator Tadanori Yokoo, who traveled to India alongside Hosono (as part of a group) for inspiration; Yokoo ended up only drawing the cover, having been the worst victim of an outburst of severe diarrhea amongst the group during the trip, rendering this as a Hosono solo album. Cochin Moon was conceptually written as the soundtrack of a non-existent Bollywood film, a trait inspired by the artists' trip. The album includes performances by Tin Pan Alley keyboardist Hiroshi Satō and Yellow Magic Orchestra members Ryuichi Sakamoto & Hideki Matsutake. Despite being Hosono's first completely electronic solo album (at the time YMO's debut was still being recorded, making this Hosono's first electronic album to be released), the exotica feel of Hosono's previous solo work is still present. The first half of the album (named after an Indian hotel that the group was in for the trip, a picture of the hotel's front appears in the back of the album's packaging) consists of three thematically themed songs, the second half of the album (and Hosono's keyboard performance) is credited to "Shuka Nishihara" (西原朱夏), a pseudonym Hosono created as a play on Hakushū Kitahara's pseudonym.

                                    The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

                                    Hosono House is debut solo album by Japanese musician Hosono, released on May 25, 1973. Besides Hosono, this album also features performances by the group "Caramel Mama" (featuring Hosono's fellow Happy End member Shigeru Suzuki). Hosono wanted to emulate The Band's Music from Big Pink and James Taylor's One Man Dog. With this album, recording equipment technology had evolved enough for domestic recordings of good quality to be feasible, and going to the center of the city to reach a recording studio was somewhat inconvenient. The album was recorded for five hours every afternoon in a 144 square foot large bedroom in Hosono's residence in Sayama, Japan (with a 16-track mixing console in his living room). The instruments were recorded unprocessed from the amplifiers in a small room, leading to the album's unique sound. Hosono continued to develop the tropical style of Hosono House in his following works, Tropical Dandy and Bon Voyage co..

                                    Repress of this early, self-distributed Light Of Other Days release. We only got on board with the label five records in, and with only 150 copies of this initially pressed, it's become somewhat of a cult collector's item amogst fans of this emergent label.

                                    Hove's debut EP is full of fuzzy melodies fused with shimmering arpeggios and reduced cosmic beats. Produced at the Light of Other Days headquarters in the heart of Zurich, Hove developed his sound out of various live-jams, which he recorded onto a Tascam cassette recorder. These recordings alongside numerous field recordings build the foundation of the EP "Journey to Arendal".

                                    Influenced by the sound aesthetic of early electronic producers from the 80’s and 90’s, as well as contemporary house, disco or techno, Hove’s music always has a certain kind of warmth to it. Dusty, shuffling grooves meet woozy guitar chords while crystal clear synth melodies are paired with field recordings of rivers, birds or nocturnal city atmospheres. 

                                    Mark Isham

                                    Arkangel : Black Mirror

                                      The soundtrack to Arkangel from the hit TV series Black Mirror (series four, episode two, directed by Jodie Foster). An epic score for a disturbing tale of child tagging and exposure to graphic violence and pornography. A brooding, malevolent, claustrophobic, unnerving episode brought to life by Grammy and Emmy award winning composer Mark Isham (Point Break, The Crash, The Hitcher, etc). “Isham is firmly entrenched in the A-list of film composers…” Josef Woodard, JazzTimes. // Part of the cult Black Mirror legacy which Charlie Brooker claimed offers “more hope”. Really?!? // Prickly, moody, melancholy, too close for comfort, dark, dangerous, haunting, a gem of modern composing that perfectly captures Brooker’s warped vision of the future. 

                                      The final release on Trevor Jackson’s previously unreleased archive label Pre- is an album under his own name titled "System"

                                      8 tracks originally recorded between 2002-2010, these works consist of music taken from the same sessions that became his highly ambitious Vinyl Factory music and installation project "Format" in 2015. Edited and complied from a series of lengthy nocturnal synthesizer, drum machine & 8 bit sampler improvisations they range from melodic IDM, driving electro, Motor City techno & tripped out house excursions.
                                      The album originally launched at the London Independent Label market in May this year, was only available as an ultra limited edition of 150 CD’s and sold out immediately. This second final edition is packaged in a unique screen printed case designed by Jackson himself, and marks a symbolic end to his musical past (after making over 100 unreleased tracks available during the past 3 years) and a long overdue venture into unchartered new musical territories.

                                      Jerry Paper

                                      Like A Baby

                                        Jerry Paper is the creative persona of LA-based multi-instrumentalist, songwriter and producer Lucas Nathan.

                                        ‘Like A Baby’ is his first album for Stones Throw, following releases on boutique labels Bayonet and Orange Milk.

                                        Album co-produced by Matty Tavares of BadBadNotGood; features Weyes Blood and Alex Brettin of Mild High Club.

                                        For fans of Homeshake, Mac DeMarco, Connan Mockasin, Mild High Club.

                                        Jerusalem In My Heart

                                        Daqa’iq Tudaiq

                                          Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq , the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If I f If If If (ye ar-end li sts at The Wire (#39), Th e Quietus (#24) and A C loser Listen (Top 10) , among other accolades). Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and abetted by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'i q Tudaiq translates as “minutes that bother/oppress/harass”—which presumably needs no further explanation—and features two distinct album sides of music.

                                          Side One realizes a long-held dream of Moumneh’s to record a modern orchestral version of the popular Egyptian classic “Ya Garat Al Wadi” by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of mallet and percussion instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (Oriental scales). Moumneh’s melismatic lead vocals and electronic production sensibility pay homage to the genre’s documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission. 

                                          Justin K Broadrick, drops a new album on Speedy J's Electric Deluxe label as JK Flesh.

                                          Broadrick has resolutely inhabited some dark and punishing corners of the musical landscape in his three decades of music production. Whether as a songwriter, guitarist, drummer, label head, studio producer or electronic alchemist, Broadrick has defined the sublime overlap of misanthropy, noise and arson-spirited audio.

                                          Making his initial marks with grindcore and industrial bands Godflesh and Napalm Death beginning in the late 80s, Broadrick’s musical career has arched from blast-beats to head bobbing hypnosis. With a slew of recent releases from his JK Flesh moniker for EDLX, Hospital Productions, Downwards, Pi Electronics and on AnD’s Inner Surface, Broadrick has increasingly taken low-fi cerebral sound exploration into techno’s polluted ozone layer; drifting amongst violent collisions of rusty space junk and taking aim at the outmoded species below.

                                          "New Horizon" continues his assault on the failings and folly of humanity with a bludgeoning tour of dub influenced techno and swampy electronix. A study in resolution, timber and distortion, the album’s tracks are diverse in mood and groove, but are united by the dark, porous and undulating surface texture of rippling analog treatment. Contemplation of humanity’s chances for extinction or evolution provided Broadrick with the mental scaffolding upon which the album’s inky and caustic eruptions precipitate. Titles like “Different Species” and “Super Human” on the album’s A-side betray his interest in futurist’s trans-humanist musings, while thumping garage baseline and searing interplanetary emergency sirens anchor the tracks in Broadrick’s mastery of noise.

                                          The album is generally packed with full-form bass, percussion and machine sounds. Though tracks like the B-side’s “External Transmission” juxtapose rubbery and wiry timbers, like the best of acid, over the low-end’s boiling black cauldron. “Earlier Forms of Life” and “Macromolecules” take morose side-long glances at the dance floor, but primarily develop elegantly grime-filled grooves under the constricting spacial canopies of hyper-detailed delay and reverb. Surface detail and dusty timbers rake the listener’s ear across the minimal composition of “The Next Stage”. The albums closing track, “Homo Sapiens”, drops you into the hopelessly gigantic hull of ship, echoing with sonar, heavy machinery and dulled low-frequencies as your iron tomb cuts across the dead oceans of our planet, or, as Broadrick has spent his musical pursuit, in search of a new one. 

                                          Calvin Johnson

                                          A Wonderful Beast

                                            The new Calvin Johnson album “A Wonderful Beast” is an experiment in sound. Using the theory "rock'n'roll will never die" as a starting point, Calvin entered the audio eagle studio in Nashville, tn. Working closely with producer Patrick Carney and chief engineer marc Whitmore, the team tested the resiliency of such time honored materials as the electric guitar, modular synthesizer and trap drum kit, combining them in various ratios with elements like musical chords a, c and dm. The results are a Frankenstein's monster of an album, a wonderful beast. Michelle branch, who score many hits in the early double-0 decade as a solo artist and as a member of the wreckers and lives next door to audio eagle, provides back-up harmony vocals on three songs. Following in the tradition of such brill building songwriting teams as Leiber-Stoller, Greenwich-Barry and Goffin-King, all the songs on a wonderful beast are a collaboration between Calvin Johnson and Patrick Carney. Carney, best known for his work as a member of the Akron, oh powerhouse the black keys, established audio eagle to further exactly this type of rock'n'roll workshoping, allowing the music and songwriting of now to rocket launched into the future. Calvin first met Patrick in 2005 while touring the united states following the release of his second solo album before the dream faded… [klp170].

                                            The two kept in touch over the years. Patrick suggesting some sort of collaboration; they got together with only the belief that music can ooze from the savage breast, and a wonderful beast emerged from the primal dross. An important element of the sound success of a wonderful beast is the contribution of chanteuse michelle branch, who provides back-up harmony vocals on three songs. Ms. Branch, who score many hits in the early double-0 decade as a solo artist and as a member of the wreckers, lives next door to audio eagle. Intrigued by the sounds ratcheting forth from the lonesome shack that houses the studio, she walked over to see for herself what all the hubbub was about. Before long she was singing like a bird, in three part harmony (thanks, Michelle!). A rock’n’roll combo is being formed around Calvin Johnson to tour the world behind a wonderful beast. Like that monster of dr. Frankenstein’s, this rock’n’roll will never die. Also available from Calvin Johnson: before the dream faded

                                            In this age of constant connectivity, switching off has become one of the great luxuries of modern life and it’s one of the reasons Jaakko Eino Kalevi has called his new album ‘Out Of Touch’. He explores what he calls this “essential, blissed out” state on his second album for Weird World as he meditates, in classic Jaakko fashion, on the merrygo- round of the daily grind.

                                            FORMAT INFORMATION

                                            Indies Exclusive LP Info: Indies exclusive features deluxe insert featuring comic strip designed by Jyrki Nissinen plus LP pressed on 180g heavyweight black vinyl with digital download

                                            "Kawuku Sound is the coming together of UK producers Contours & Cervo and Ugandan percussion troupe Fonkodelis Arkestra. This is the culmination of a month-long creative process that was born out of the Nyege Nyege affiliated Boutiq Studio in Kawuku, Kampala - Uganda.'

                                            "Kawuku Sound" features traditional East African Buganda drumming interpolated with electronic production and ideas from the two Mancunian producers. Perfectly encapsulating the Banana Hill ethos it seeks to update and reinvent trad African sounds with more nightclub-focused production.

                                            Musically, the hypnotic and incessant percussion lines of the Fonkodelis Arkestra permeate through every track, giving each tune a sense of urgency and drama thats in keeping with the dramatic local landscape. Wooden flutes glide effortlessly into synthesized pads, while on other tracks, Contours distinctly jazzy influences licks and passages take centre stage, with the ethnic percussion simply ushering it forward at a steady pace.

                                            It's also undeniably NOW. With physical borders and cultural isolation being extinguished through the global world wide web, now more than ever are we seeing the cross-pollination of ideas alongside the co-ownership of ideas and artworks. While some see this as a negative, rife with cultural appropriation, I personally see it as an expansion of the global consciousness, as we seek to reach out and merge with other cultures and peoples and surely a positive message to the future generations - we are one!

                                            STAFF COMMENTS

                                            Matt says: Local badmen (in the good sense, they're a pair of gents!) Contours and Cervo come together with Ugandan percussionists Fonkodelis Arkestra to create this deep, jazzy and soulful fusion LP, which translates traditional African sounds to a contemporary club setting.

                                            Kings Of Leon

                                            Aha Shake Heartbreak - Coloured Vinyl Reissue

                                            Produced by Ethan Johns and co-produced by Angelo, the twelve-song album is fast-paced. Lyrically shocking at times, the album appropriately reflects the last eighteen months of the guys' lives; over-indulgence, debauchery and general fast-living. But that's where the cliches end, because who else is marrying f**ck-off Southern blues / boogie with intelligent, niftilly-played, NYC new wave? No-one, and that's why this lot are so adored. They've got the spirit, the attitude, and now with this set of songs weighing in even stronger than last year's, they've really proved themselves musically. Where's the beards though?!

                                            FORMAT INFORMATION

                                            2xColoured LP Info: Double album, pressed on clear vinyl. Includes download code insert.

                                            ‘Of Desire’ is The KVB’s most fully formed record to date, taking in influences such as Death In Vegas, Scott Walker and Roxy Music to create something that is at once familiar and yet inventive and original.

                                            Steeped in musical history, ‘Of Desire’ is an album that hums with devotion and captures a band ready to emerge from the underground and embrace an ever-growing audience.

                                            This will be The KVB’s second album on Geoff Barrow’s Invada Records label, home to similarly experimental artists such as Anika, College and Barrow’s own Beak>.

                                            The band were invited to Barrow’s Invada Studios to record ‘Of Desire’ using his “wonderful synthesisers” as they began to flesh out ideas from bedroom demos dating back to Wood's earliest recordings.

                                            FORMAT INFORMATION

                                            Coloured LP Info: The LP is pressed on half red / half blue
                                            translucent vinyl with digital download card

                                            Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait.

                                            FORMAT INFORMATION

                                            2xColoured LP Info: Transparent natural vinyl.

                                            Debra Laws

                                            On My Own / Very Special

                                            Debra Laws is sister to Ronnie Laws, Hubert Laws and Eloise Laws, all of whom have enjoyed solo success. The family came together in 1981 on Debra’s solo album “Very Special” with vocal, musical, songwriting and production contributions alongside other outstanding names of the day. “On My Own” was written and produced by Ronnie Laws who also features on sax. The song was one of the classiest dance floor records of its day and has become sought after again on 12” vinyl. “Very Special” again features Ronnie Laws and features Arthur Adams on guitar. It is co-produced by Hubert Laws, original 12” copies of this exchanging hands for up to £150. It has been sampled by Jennifer Lopez (featuring LL Cool J), Big Daddy Kane, Mary J. Blige and others. This is the first time both these tracks have been combined on the same 12” release.

                                            Les Big Byrd

                                            Iran Iraq IKEA - Piccadilly Exclusive Bonus Disc Edition


                                            PNKSLM Recordings are beyond excited to announce the second full length from Stockholm's Les Big Byrd. Consisting of Jocke Åhlund, Nino Keller, Frans Johansson & Martin "Konie" Ehrencrona, Les Big Byrd have been consistently one of the most exciting bands at the forefront of the Swedish music scene. Following on from 2014's "The Worshipped Cats" LP (A Recordings). 

                                            Long awaited second album from this stargazing psychedelic pop collective, with a slick production that ensures the trip is an aural joy.

                                            Fans of follakzoid / hookworms / will find much to lose themselves in on this album!!

                                            STAFF COMMENTS

                                            Barry says: Part psych, part electronic, part motorik rock, Les Big Byrd manage to take every idea from their sphere of influence and mix them into a cohesive and absorbing whole. Brilliantly dynamic, hugely varied and most of all, richly rewarding. Well worth getting early for that bonus disc too! Ace.

                                            FORMAT INFORMATION

                                            Coloured LP Info: Ultra limited white vinyl edition - limited to just 350 copies worldwide.

                                            Little Victor

                                            Deluxe Lo-Fi

                                              Multiple award-winner guitarists, harp player, songwriter, singer and producer Little Victor Mac - a.k.a. The Beale Street Blues Bopper- is back after eight years with his ground-breaking new album Deluxe Lo-Fi. The record -also produced by Victor- features Kim Wilson of The Fabulous Thunderbirds (Muddy Waters, Eric Clapton, Bonnie Raitt,), Steve Lucky (Blues Persuaders, Johnny Copeland, Spin Doctors, Blues Travellers... ), Carl Sonny Leyland (Chuck Berry, James Cotton, Louisiana Red, Lowell Fulson... ), Brent Harding (Social Distortion) and other great musicians.

                                              Little Victor believes Lo-Fi is the new Hi-Fi and he explores all types of lo-fi sounds -from "slightly" lo-fi to "ultra" lo-fi and It caters to a wide range of styles from 50’s rockin’ blues to raw late 50’s/early 60’s R&B and soul, and from “pre-war” to blues “boppers.” Lot of danceable numbers on this album. Victor even goes back to his rock and roll roots with a fun Little Richard type of song. He tried to make this new opus sound like a collection of vintage scratchy obscure 45s and 78s. Little Victor claims this is the best album he ever done since the “Back To The Black Bayou” and features some of the best songs he ever wrote and also some of his best performances as a vocalist and guitarist.

                                              Liza Anne

                                              Live At Third Man Records

                                                Recorded right before the release of her Arts & Crafts instant-fan-making debut Fine But Dying, both the A-side "Take It Back" and the B-side "Overnight" are from local popster Liza Anne's self-released album Two. "Take It Back" is moving, propulsive indie pop at its finest, somehow better with the strong conviction of their message captured live.

                                                "Overnight" starts out as a threadbare folk rock tune and compounds and builds up until, finally, the smoke clears again right before the finale, creating an impactful air around the last words sung.

                                                Los Campesinos!

                                                Hold On Now, Youngster - 10th Anniversary Remastered Edition

                                                  ‘Hold On Now, Youngster’ is the classic debut album by Los Campesinos! back on vinyl for their 10th Anniversary. Newly remastered and backed with a second piece of vinyl / digital download featuring covers and B-sides from the time of the album’s release.

                                                  Recorded with David Newfeld (Broken Social Scene), the album features the band’s indie disco floor filler ‘You! Me! Dancing!’.

                                                  The second piece of vinyl / digital album collects rarities including non-album singles ‘The International Tweexcore Underground’ and ‘We Throw Parties, You Throw Knives’, B-sides and covers of tracks by Pavement, Bikini Kill, Black Flag, Heavenly and more.

                                                  Los Campesinos!

                                                  We Are Beautiful, We Are Doomed - 10th Anniversary Remastered Edition

                                                    ‘We Are Beautiful, We Are Doomed’ is newly remastered and available on vinyl for the first time outside of North America.

                                                    Impressively, the album was originally released just eight months after the band’s debut and was the first album Los Campesinos! recorded with their now long-time collaborator John Goodmanson (Blonde Redhead, Sleater-Kinney, Bikini Kill, Wedding Present).

                                                    The album’s title track has become something of an anthem in the band’s live set, providing a cathartic release as crowds singalong to some of the band’s best lyrics.

                                                    Mang Dynasty are the collective force of Bill Brewster and Ray Mang. Both should need no introduction! Together they combine to form the mighty Mang Dynasty, and deliver 'Crash the Box' - a riot of afrobeat, house and disco stylings, laced expertly with horn stabs and vocal chops, guaranteed to light up any club or festival stage.
                                                    On the remixes are two exciting up and coming producers currently making waves: Lord Leopard offers a chunky, abstract bumping house version that's good for the floor. Tee Mango takes a loopy disco excursion, with squelchy synth stabs and party starting vocal."

                                                    STAFF COMMENTS

                                                    Sil says: Exciting things happen to everything that Ray Mang touches! Like with the Idjut Boys, expect funky beats with tons of reverb and echo. Warm house disco afrobeat kind of thing for the discerning folk.

                                                    After a short hiatus the ever-dependable Mark E returns to his own Merc label with three new tracks in his own inimitable style.

                                                    Displaying a depth and flair for aural innovation like no other, Mark plots a course through a heady trio of beautifully constructed machine-funk jams done in that slow and creeping style that's become his ident over a storied career. "Twilight Fade" leads us seductively into a slowly unfurling sonic soup, containing gurgling organs, a plethora of perc and a mélange of jazzy artifacts that recall a lost early Sound Signature joint. "Quarttz" opts for more nocturnal moods, with a glimmer of space techno, albeit highly opiated, peeking through the mix. Finally, "First Thing" on the B side, stretches out a few simple ingredients into a cerebral sonic banquet that's so undeniably Mark E it simply could not emanate out of anyone else's mind! Wonderful stuff from this mainstay and innovator. 

                                                    STAFF COMMENTS

                                                    Sil says: Since I met Mark E on Jisco Music I have followed him closely. He has had his ups and downs - like all of us, but this is truly his back to form come back. Chuggy is the word and dark is the vibe. You know the drill by now but be warned this is very very good. A builder and a staple in any good DJ record bag.

                                                    As part of the widely respected BBE J Jazz Masterclass Series, Koichi Matsukaze's incredibly rare and much sought-after album Earth Mother sees a deluxe repress on BBE Music.
                                                    Regarded as one of the most sought-after yet elusive albums from a pivotal era in Japanese jazz, “Earth Mother” was originally issued in 1978 on ALM, a private label home to some of the most innovative jazz, contemporary classical and free improvisational music released in Japan during the late 70s and early 80s. It was here that “Earth Mother” found a natural home among the experimental and transgressive, destined to remain in obscurity for decades until the album’s muscular, bass-driven title track was included as the opening cut on BBE’s acclaimed compilation “J Jazz: Deep Modern Jazz From Japan 1969-1984”. It was a fitting way to start such a landmark collection and the track quickly became a favourite among DJs and jazz fans.
                                                    “Earth Mother” sees saxophonist Matsukaze team up once again with legendary drummer and band leader Furusawa Ryojiro; joined by Tamio Kawabata on bass to form the core trio which is augmented by Daitoku Toshiyuki on acoustic piano and Fender Rhodes.
                                                    This is a mythic album, seen and heard by very few; often among the top wants for even the most hardcore jazz collectors. The album ranges from heavyweight spiritual jazz and post-bop burners, to Dolphy-esque experimentation (“Don't Worry About Tenor Saxophone”) and a singular take on the classic, “Round Midnight”.
                                                    To optimise the sound of the music, “Earth Mother” is now issued as a 180g vinyl double album, with exact reproduction artwork, obi strip, insert and labels plus translated notes. It is also be available on CD and across digital formats.

                                                    Melodic Energy Commission is a Canadian gem and an interesting branch of the Hawkwind family tree (featuring Del Delmar on electronics.) Hailing from British Columbia, their unique blend of space rock, progressive and hippie psychedelia began in 1977 as a recording-only project titled "The Melodic Energy Commission of Collected Artists." This LP incorporates the proggy end of the jazz spectrum, avant garde electronics and a load of lysergic nonsense to provide a full frequency listening experience.

                                                    Jassbusters is Connan Mockasin’s third album and first in five years. An unclassifiable, unconventional album that neither picks up from nor abandons the modes of 2013’s widely-embraced Caramel or its 2010 predecessor Forever Dolphin Love, Jassbusters foreshadows a five-part melodrama film titled Bostyn 'n Dobsyn, created by Mockasin.

                                                    Jassbusters soundtracks the unpredictable narrative of the film in eclectic, electric ways.

                                                    Whether bending genres or collaborating with artists like James Blake, MGMT, and Charlotte Gainsbourg, Connan Mockasin has always maneuvered in mysterious ways. After touring with the likes of Radiohead and Neil & Liam Finn (Crowded House), the R&B surrealist continues assembling a cult around his theater, nay spectacle of life with Bostyn ’n Dobsyn screenings and Jassbusters performances throughout October and November 2018.

                                                    STAFF COMMENTS

                                                    Barry says: Smooth as silk, Connan Mockasin smashes out some softly sung utterances and syncopated jazzy flourishes on his newest LP for the excellent Mexican Summer. Weirdo R&B meets with shimmering lounge and almost-vertical soul in this thoroughly entertaining suite. Brilliant.

                                                    FORMAT INFORMATION

                                                    Indies Exclusive LP Info: Limited edition vinyl includes a deluxe fold-out poster.

                                                    Indies Exclusive LP includes MP3 Download Code.

                                                    Kevin Morby

                                                    Live At Third Man Records

                                                      Formally a member of New York folk group Woods, Kevin Morby has made a name for himself with his four acclaimed solo releases (the first album Harlem River is absolutely beautiful). These songs, "Destroyer" and "Black Flowers", come from his third record Singing Saw, which was chosen for Pitchfork Best New Music.

                                                      "Destroyer" is an autobiographical minimalistic keyboard ballad, a distant cousin of the full band album version. "Black Flowers" on this single borrows less from the sweeping orchestras of Leonard Cohen's catalog and more from the melancholic austerity of Bert Jansch.

                                                      Divine Situation are Greg Belson and Paulo Fulci. The former is a veteran DJ and one of the premiere collectors of soul music worldwide. He's known as the go to authoritarian for gospel, is the compiler of the Divine Disco series on Cultures of Soul and presents his radio broadcast Divine Chord Gospel Show on LA's creative hub.

                                                      The latter is a DJ and producer out of Bristol. His work as part of the Situation edit crew has been released and supported for many years. Following on from their incendiary slab of two sided gospel goodness "Born Again" & "Soul Revival", the Divine Situation duo have crafted the next lot of bangin' spiritualized dancefloor destroyers for your record box.

                                                      Here we have an EP catering for several sides to your night. The lead cut is the flat out roof raiser "The Problem Solver", then it's straight into boogie territory with "Brand New Feelin", before they close out with the end of 'nighter, "Try Love". Top stuff! 

                                                      STAFF COMMENTS

                                                      Martin says: Love a bit of gospel disco house music me to get me shuffling around the counter on a thursday. High energy = fast processing!

                                                      Mountain Movers

                                                      Pink Skies

                                                        "Freeway" kicks off "Pink Skies", the seventh album from New Haven quartet Mountain Movers in mid-jam, head down in a motorik, kosmiche choogle. It's a disorienting way to begin, like stumbling into the wrong practice space while a band is rehearsing, but The Movers pull it off, quickly shrugging off any worries with the soft sting of guitarist Kryssi Battalene's fluttering leads. The band settles into the groove immediately and rides it until almost imperceptibly ratcheting up the intensity toward a feedback-drenched ending seven minutes later."Pink Skies", comes closest to capturing what makes The Movers such a thrilling live band, padding the instrumental passages of their primordial psychedelia with lumbering numbers like "Snow Drift" or "My Eyes Are Always Heavy", that stumble forward lead-footed, soaked in a cacophonous clamor with songwriter/guitarist Dan Greene's lyrics floating atop like couplets of magical realism.

                                                        "Pink Skies" coalesces midway through with long-form jammer "The Other Side of Today", an epic near-twelve minute masterclass in modern, improvised guitar music; the rhythm section of drummer Ross Menze & bassist Rick Omonte sizzles like an acid-fried sunset, and lead guitarist Kryssi Battalene showcases what makes her one of the most enchanting guitarists in the game right now (ask a "head", they'll tell ya). A player able to vacillate between low-key solos that crackle to head-splitting, ear-piercing noise, riding that ever-so-thin line between expertly controlled feedback & chaotic discord. The album's final two tracks "This City" and "Heavenly Forest" blend so seamlessly into one another that all of "Pink Skies" second side feels like one long piece of elemental sonic alchemy. 

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Indies-only Pink vinyl.


                                                        Tomorrow Hit Today

                                                          After their successful period in the early days of the grunge Mudhoney spread their wings to the blues and garage rock on their album Tomorrow Hit Today. Referring to the song “When Tomorrow Hits” of their self-titled debut album. Frontman Mark Arm still sings like he is back in those early days and the instrumental parts are equal as impressive. As one of the few remaining Seattle originals they’re hitting the right notes. Part of this can be accounted to the studio talents of legendary Memphis producer Jim Dickinson.

                                                          The alternative rock band Mudhoney can be seen as one of the pioneers from the grunge music. They inspired countless other grunge and rock musicians and will always be linked to the Seattle music scene. 

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: limited edition of 1,500 individually numbered copies on coloured (solid blue, black & solid white) vinyl.

                                                          "Night Walks" is the brand new glittering, nocturnal album from Sarah Nixey. Written whilst struggling with insomnia, the songs are set in a metropolitan sub-world where everyone dodges the dangers of reality. The lyrics describe episodes that take place over one night, spanning several decades, in a tiny enclave, at the heart of London's bohemia. "Night Walks" is a modern, sophisticated album, rooted in classic record making. Nixey won over audiences as the singer of darkly glamorous pop group Black Box Recorder at the turn of the 21st Century, along with fellow band members Luke Haines (The Auteurs) and John Moore (The Jesus and Mary Chain). The band just released a box set of all three albums called "Life Is Unfair" via One Little Indian. Since then, Nixey has honed her own musical voice with an eclectic solo career. "Night Walks" arrives seven years since her second solo album "Brave Tin Soldiers", which was described by The Independent as 'a thing of subtle gorgeousness,' and Uncut called it an 'understated triumph.' Her debut solo album "Sing, Memory", from 2007, was praised by CD UK who said; 'In a time before Alison Goldfrapp and perhaps Sophie Ellis-Bextor, Sarah Nixey was the closest thing you’d get to royalty in the charts.'

                                                          For this new album, Nixey made a conscious decision to move away from her previous solo work by not focusing solely on electro pop or the live instrumentation approach. This time, she wanted to use a blend of electronica and classic 1970s analogue recording. A few years ago, Nixey had just started writing and recording again at her home studio, after taking a break from music to have her third child, but was forced to stop when she became ill. She had entered a long phase of insomnia, which no doubt contributed to her illness, and this sleeplessness continued during her recovery period. In 2016, she began writing songs again, during the early hours of the morning. As Nixey explains; 'I discovered that the best time to write songs was in the middle of the night, and without any interruptions, I also recorded the demo tracks then too.'

                                                          Casa Voyager is back with a diverse EP from Driss Bennis as OCB. This EP ends a remarkable first year for the Moroccan imprint and gathers a large range of influences. UK breaks flavour the A-side as "Aquaquest Pt.2" rearranges a 'Think' break around Ceefax-era acid and techy background atmospheres while "Hard Drive" speeds up said break to a loose jungle tempo and peppers the mix with scorched pads and crepuscular bleeps for an old school flavoured cut that recalls the more abstract and sci-fi areas of the past.

                                                          Flip over and we ditch the jungle for more electro flavoured business, "Studio Felix" floating in on zero-gravity arps and dancing, darting leads that give the impression of floating in outer space. Soon enough a growling subterranean bassline rears its head, grounding us back onto the planet's crust. "Inigo's Kick" sees a similar, rapid-fire drum palette full of flapping kicks and snappy snares offer artillery support to a frenetic barrage of synths and acid flecks - cybernetic space boogie people! 



                                                            Parcels, the young disco-pop breakthrough band hailing from Australia, now living in Berlin. The first emerging band ever to collaborate with the legendary Daft Punk (Overnight single – summer 2017). Worldwide tour in 2018, following their 50+ sold out shows in 2017 including Glastonbury festival, Koko (headline) and key EU festivals.

                                                            FORMAT INFORMATION

                                                            LP Info: Heavyweight 180 gram black vinyl in trifold sleeve with 60x30cm poster.

                                                            Tess Parks & Anton Newcombe

                                                            Tess Parks & Anton Newcombe

                                                            Tess Parks and Anton Newcombe will release their second full-length album on 12th October 2018. The 9-track eponymous album was recorded in Anton Newcombe’s Cobra Studios in Berlin last year and was mostly co-written by the duo. The lead track ‘ Right On’ perfectly showcases the complementary mix of Tess and Anton’s musicianship and style. The pair first collaborated in 2015 on the album ‘I Declare Nothing’, which saw NME call Tess’ smoky, smouldering vocals ‘particularly impressive’, while UNCUT compared them to a ‘darker, edgier Hope Sandoval’.

                                                            STAFF COMMENTS

                                                            Barry says: Another brilliant outing from Tess Parks & Anton of Brian Jonestown Massacre, with the head-nodding psychedelic chug of the latter being beautifully accentuated by the lysergic, drifting vocals of the former. A stunning continuation of their already mindblowing first LP, but much more refined and focused. Brilliant.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Limited clear vinyl.

                                                            Josh T. Pearson

                                                            Last Of The Country Gentlemen - Mute 4.0 (1978>Tomorrow) Edition

                                                              Josh T. Pearson ‘Last Of The Country Gentlemen’: The acclaimed solo debut album by Josh T. Pearson. Rereleased on gold vinyl. The album received phenomenal praise on release; Uncut called it “A stone cold masterpiece” while The Times declared it “Flawless.”

                                                              FORMAT INFORMATION

                                                              2xColoured LP Info: Limited edition gold vinyl.

                                                              2xColoured LP includes MP3 Download Code.

                                                              People Plus are CZ Wang and Joli B transmitting outta a remote Hut in deepest BC.

                                                              Side A belongs to “Olympus Mons”, a song as big as the mountain it's named from. Snake charmer synth lines and vocal roars backed by the baddest rhythm section in a while… wait for the solo! The B side holds “Work It Out”, with broken 4-to-the-floor drumz and revving echo effects supplemented by a phosphorescent bassline that's highly reactionary in air! Taking the coveted B1 spot is the always-smashing “Second Cycle” - a rock solid construction of wooden breaks, gurgling subs and nagging acid shards that together combine to make an unstoppable house music framework that'll lock the dancefloor into its incessant groove.

                                                              High end hippy house hoppers from a dream pairing - don't sleep! 

                                                              FORMAT INFORMATION

                                                              Ltd 12" Info: Limited run, metallic print sleeve

                                                              Sandro Perri

                                                              In Another Life

                                                                The first solo album from Sandro Perri since 2011’s acclaimed Impossible Spaces (Best New Track, Top 50 Albums Of The Year – Pitchfork). Features Dan Bejar (Destroyer) and André Ethier (The Deadly Snakes) as guest lead vocalists on the three-part opus “Everybody’s Paris” Perri has been called “one of the most singular producers in contemporary music” (Boomkat) and his long affiliation with Constellation through various electronic and singersongwriter guises (Polmo Polpo, Glissandro 70, Off World) has produced a uniquely adventurous and iconoclastic discography.

                                                                In Another Life expands on this in peerless fashion. The new album is what Perri describes as “an experiment in ‘infinite’ songwriting.” The title track is a 24-minute pop mantra for sequenced synth, piano, guitar and voice, progressing sideways rather than forward. A relaxed three-chord vamp runs the length of the album’s Side One, peppered with Sandro’s languid, lilting vocal and adorned with continually developing musical details – massaging the listener with the joys of repetition while defying stasis and monotony. Like the longer-form work of fellow-travellers Bill Callahan, Destroyer or Arthur Russell, Perri extends the notion of the meditative minimalist pop song to its literal maximum, flouting ‘commercial’ concerns in our streamingly short-attention-span era – and perhaps implicitly calling for a politics of slow consumption? 

                                                                FORMAT INFORMATION

                                                                LP Info: 180gram vinyl includes 12”x24” art print poster + 320kbps DL card

                                                                Piccadilly Records

                                                                Black Hoodie

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

                                                                  FORMAT INFORMATION

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

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

                                                                  Elvis Presley

                                                                  30 No. 1 Hits

                                                                    It does what it says on the tin! 30 number ones covering his entire career, from Heartbreak Hotel and Hound Dog through to Suspicious Minds and Way Down.

                                                                    FORMAT INFORMATION

                                                                    2xColoured LP Info: "Solid gold" coloured vinyl.

                                                                    2xColoured LP includes MP3 Download Code.

                                                                    Primal Scream

                                                                    Give Out But Don't Give Up - The Original Memphis Recordings

                                                                    “In 1993 Primal Scream went to Memphis to make an album with Tom Dowd and the Muscle Shoals rhythm section, that album never saw the light of day , until now .....” Bobby Gillespie 2018.

                                                                    Following the recent discovery of these tracks in a box lurking in Andrew Innes’ basement, Primal Scream now release the original studio recordings from Memphis of the tracks that eventually became their 1994 album ‘Give Out But Don’t Give Up’.

                                                                    Teaming up with legendary producer Tom Dowd and the Muscle Shoals rhythm section of David Hood (bass) and Roger Hawkins (drums) at Ardent Studios in Memphis, the resulting recordings from those classic sessions showcase the more country soul, rock’n’roll side to a band who continue to surprise. It’s Primal Scream as you’ve never heard them before.

                                                                    Dowd’s deft production, coupled with the merging of this sublime rhythm section and one of the UK’s best ever bands, led to the creation of nine glorious tracks that run the gamut between blues, gospel and brilliant songwriting, available for the first time.

                                                                    “I felt we went down there with such good intent, but somehow we lost our way afterwards,” Bobby Gillespie admits. “There’s definitely a lesson to be learned about how creativity can go down the wrong track. We’re a band that constantly keeps moving and doesn’t look back, but, for years, I felt bad about us going to Memphis and not doing what we set out to do. Hearing these songs after all this time has made everything all right again. I feel redeemed.”

                                                                    After their genre-defying breakout album ‘Screamadelica’ (1991), now widely regarded as one of greatest albums of all time, Primal Scream relocated to Memphis in 1993 to record what would become ‘Give Out But Don’t Give Up’.

                                                                    Once the band and Creation Records’ boss Alan McGee heard the recordings, however, they were both confused and underwhelmed. Their inner punks got the better of them and they brought producer George Drakoulias onboard to overhaul the recordings, with the band replacing, guitar, bass and drum parts over several sessions in the ensuing weeks until they were left with what became ‘Give Out But Don’t Give Up’.

                                                                    STAFF COMMENTS

                                                                    Andy says: Song for song, this is actually The Scream's best album, and this unfiltered version an absolute necessity!

                                                                    FORMAT INFORMATION

                                                                    2xLP Info: 2LP 180 gram heavyweight vinyl, plus free download code.

                                                                    2xLP includes MP3 Download Code.

                                                                    Andy Rantzen ('longside Sheriff Lindo) practically owns the Australian digi-dub genre. Active from the early 90s, unlike Lindo who only really produced two albums, Rantzen (who hailed from an industrial background) carried on producing throughout the 90s and into the 00s; touching on dub, minimal wave, lo-fi and techno with his own unique and intriguing flair. Also well known alongside Paul Mac as Itch-E & Scratch-E his ability to blend all the disparate elements of rave and free party culture into a cohesive, sophisticated and solid body of work is second to known, making him one of the most under-rated and accomplished producers in our humble opinion.

                                                                    Since Efficient Space excavated Andy Rantzen’s mind-bending “Will I Dream?”, the rest of the world has become better acquainted with the darker & dubbier side of one of Australia’s rave superstars. Making it perfect time for another selection of tracks from Andy’s incredibly diverse oeuvre, 6 songs that sit somewhere between 80s digital reggae, 90s rave and the horizon of our accelerating future.

                                                                    "Lifting the Veil" speeds up snappy drum programming and a thundering bassline to breakneck speeds, pitting them against sombre chords and strings, perfectly capturing the reflective headspace of a night drive through babylon. “Cosmic Vibrations” harks back to the development of fully computerised rhythms emanating from Jammy and Tubby’s Waterhouse studios, by way of Erskineville. In the same vein, “Bedtime for Boo Boo” sees Andy joined on the boards by the aforementioned dub technician Sheriff Lindo, creating a dynamic digi-dub number that is sure to come alive on any soundsystem worth its weight - a worthy showcase for two of Australia’s finest reggae talents.

                                                                    Flip the disc to find “Move It”, the most concentrated dose of the jungle vibes that permeate the EP. Rantzen channels the headrush sonics, breakneck drums and euphoria of D’n’B’s heydey, nailing the red-eyed early AM atmosphere of a Sydney warehouse ca. 95 - and it's just as likely to cap off the night of many a secret inner west location to come. “Magic Lantern” marries a dreamy synthesizer melody with a wicked, subby bassline. If there was a dancehall scene in “Ferngully”, this would’ve been the soundtrack, with enough low end to really rattle the treetops. On closer “Dub Generator”, a slightly-creepy mechanized voice urges you to 'leave your worries at the door...come and join your friends upon the floor' - an introduction to the dancefloor or an induction into some sinister cult? Whatever the message, the dub chords and massive bassline lull you into the headspace where these words take hold.

                                                                    All songs recorded at Masking Tapes, Liquid Blue and 1/66 Enmore Rd, 1997-2000.

                                                                    STAFF COMMENTS

                                                                    Matt says: One of the most highly anticipated releases of the year for me this folks. Anyone with a penchant for dub, digital esoterica or lo-fi electronix needs this in their life. Sublime.

                                                                    Five more tracks from man like Jacques. "Bridge Music" kicks us off with a pumpin' and flailing party house bomb. Chopped up horns, strings and disco vox all cemented to a slammin', side-chained house beat. Nice! "Pump That Shit Up" is a deep set number, with emotive synths carrying simple vocal loops; its designed for that time in the evening when you have absolutely no idea what time it is as spine-tingling serotonin courses through your veins; stumbling across a fog filled dancefloor reaching for balance. "Human Nature" sees Renault switch groove to a more two step approach; saccharine sweet vox meeting a gentle garage swing for an accessible and highly infectious number that'll soundtrack any number of moments and feels. "Hand Over" quickly diverts energy back to the club, in particular dark, pumping techno basement with dim lighting and monstrous sound before final track, "Mr. Fox Likes To Party" concludes this rather epic excursion with a totally wigged out, acid fried house bomb that I challenge anyone not to enjoy. Flawless, 10 / 10 - full marks Mr. Renault top of the class!

                                                                    Skippy, catchy AF garage-house hybrids here from Salary Boy - Mall Grab's protege who gets chance to show off to his boss with this able four tracker on the his mentor's label.

                                                                    Obviously destined to be massive across the Steel City, "Back" is the perfect combo sample-beat-hook. All that's left to add is a bit of tasty filter action and you've got yourself a stone cold deep house thriller!

                                                                    The fun doesn't stop there though as "Echo" sees a well constructed blissed-out lo-fi house glider complete with elastic bass, psychedelic vocal  and synth chops and the odd warbled string line. Excellent! 

                                                                    "The Illusion" completes the package with shoulder rolling hi-hats, nice piano chords and more well placed vocal samples - again swinging those beats and veering into garage territory. 


                                                                    STAFF COMMENTS

                                                                    Matt says: It's not all shamanic house nonsense and esoteric weirdness here at Picc HQ these days you know. We still like to get down to a dock off bassline and slamming kick drum you know. Salary Boy more than brings the business here.

                                                                    Pharoah Sanders

                                                                    You've Got To Have Freedom / Got Give It Up

                                                                    Pharoah Sanders has been described as ‘probably the best tenor player in the world’, emerging as a star from playing saxophone with John Coltrane in the 1960s. As a solo recording artist he is best loved by fusion fans for the jazz dance classic “You’ve Got To Have Freedom”. It’s taken from his 1980 album “Journey To The One” featured here for the first time on the complete side of a 12” single. “Got To Give It Up” is Pharoah’s outstanding rendition of the Marvin Gaye classic. It has previously been on 7” but never until now in its full length version on 12” single. It was originally a feature on the 1978 album “Love Will Find A Way” produced by Norman Connors. To have both of these masterful recordings on one 12” single is something special.

                                                                    STAFF COMMENTS

                                                                    Patrick says: Not only do you get the spiritual majesty of Pharoah's uber-grooving "You've Got To Have Freedom", but flip it over and taste the freak-funk cool of his lesser known Marvin Gaye cover - wicked!

                                                                    Silicon Teens

                                                                    Music For Parties - Mute 4.0 (1978>Tomorrow) Ediiton

                                                                      Silicon Teens ‘Music For Parties’: The world’s first manufactured electronic pop band. Originally released in September 1980 and called an "undeniably fun record" by AllMusic, ‘Music For Parties’ was the second ever album to be released on Mute.

                                                                      FORMAT INFORMATION

                                                                      LP includes MP3 Download Code.

                                                                      Mike Simonetti

                                                                      Solipsism (Collected Works 2006-2013)

                                                                      "Solipsism" is an archival release of music from Mike Simonetti's tenure as owner of Italians Do It Better Records, spanning from 2006-2013. During that time Mike wrote a lot of music. Some of it was used for films, some for TV commercials, some for fashion shows and he even released a record or two.

                                                                      Influenced by the intersection of 80's arena rock bands like AC/DC and Judas Priest, glam rock/dance bands like Rockets and Supermax, and especially the underground Italian producer Piero Umiliani - the album is chock-full of atmospheric rock-inspired arpeggiated riffs. The mixture of metal and chugging dance music makes for a unique listening experience. Every song has a riff, every song is heavy and dense. Only one song goes above 118 BPM. These are heavy chuggers that make for a tense emotional experience that exceeds your standard, easy-to-write-off “soundtrack” fare, mainly because it was never written with that in mind. It was meant to be a fist-pumping arena rock inspired thumper! You can hear that in the one two punch of “A Prayer For War” into “Illusions", which is an outtake from his "The Magician" sessions. Other songs like “Solipsism” showcase the airy melodies of that were to come with his other project Pale Blue, but that is not typical on this album. If you listen closely, you can hear how Simonetti’s music and dark vibes inspired his then label partner Johnny Jewel to take his own bands Chromatics and Glass Candy in a different, more cinematic direction.

                                                                      This was written and recorded years before the Drive soundtrack and all the hoopla around the sudden soundtrack resurgence. In 2011 Mike was asked to submit some songs for a soon to be released Hollywood remake. He submitted most of the songs from this album, and they were slated for release on the soundtrack, but the project fell apart, and the film went in a different direction and changed producers. Soon after, because of all the drama and foolishness, he left Italians Do It Better to start over with 2MR and Pale Blue. This is the nail in the coffin. Godspeed.

                                                                      FORMAT INFORMATION

                                                                      Ltd LP Info: Comes with bonus 12".

                                                                      With powerhouse production trio Organized Noize, Sleepy Brown orchestrated Atlanta's hallmark sound of the 90s; his slow-cooked southern-fried G-Funk providing hits for TLC, Outkast and Goodie Mob. However, by 1998 and post-Aquemini, his desire was to take centre stage. The dizzying result was Sleepy's Theme and their wonderful throwback LP, The Vinyl Room. Their vintage, 70s soul-steeped magnum opus was promptly passed on by Jimmy Iovine at Interscope, released only on CD on a limited scale, and on.

                                                                      To mark the 20th anniversary, Be With Records finally present the album on the format it was so clearly inspired by yet seemingly destined never to appear on. The inaugural vinyl edition of this landmark record boldly arrives as a DJ friendly double LP, fully remastered and pressed loud and heavy at 180g. Elegantly housed in a sleek, sumptuous gatefold jacket, adorned with an appropriately pimped-out purple foil layer, it features printed lyrics across two double-sided inner sleeves.

                                                                      Blending organic instrumentation from one of the tightest, greasiest, yet sophisticated bands in the land, The Vinyl Roompresented dreamy melodies, warm synth textures, stately horns and wayward beats. Brown conceived his "garage funk band" as adhering to the sonic touchstones of Blaxploitation and he achieved it. Featuring keyboardist/singer Eddie Stokes, drummer Victor Rico Cortez, guitarist Bill Odum, vocalist Keisha Jackson and the late Pimp C, the sound was always going to be in the pocket.

                                                                      While it eschewed contemporary trends, the underground sound was nevertheless fresh and grounded in the hat-tip spirit of hip-hop. With Sleepy bragging that there were no samples, The Vinyl Room comprised a richly textured, mesmerizing and confident sound where the recurring themes were women, cars and weed. As he explained, "the music of the 70s wasn't computerized, it was just realness from the heart and that's what we captured." Indeed, Brown wasn't just inspired by bygone funk; he grew-up in it. As a boy, he travelled to gigs with his music playing father and founder of the legendary Brick: Jimmy Brown.

                                                                      The album lopes at a weed-stoned pace, with sweet falsetto leads, spoken word raps and honey-coated female background vocals with just enough superfly sensibility to give you a contact high. The luscious bass grooves, silk-soft cymbal pats, raindrop-drowsy keyboards and country-fried wah-wah guitar licks conjure Bobby Womack in the lab with Marley Marl, Isaac Hayes laced by Dr. Dre or Curtis Mayfield bring introduced to DJ Quik.

                                                                      Opener "Can't Let Go", with its heist movie aesthetic, morphs into a strung-out love song as Sleepy slurs compellingly throughout. Pimp C's low-riding beat for "Simply Beautiful," a bouncing track brilliantly inspired by Barry White's swaggering "You're the One I Need", is exceptional. Perhaps as a nod to the great Brick, the horn section on "Grind On" is quietly joyous and profound whilst "Curse On You" is a dark groover and features a great vocal from Cee-Lo Green. "Still Smokin'", another rousing track, is a peculiarly laidback anthem; hypnotic, hot and smooth. Perhaps the highlight of the entire piece, "Choked Out Saturday Night" sounds like the old Atlanta. Like rolling in a Cadillac about 12 midnight, going to club after club, passing the churches and juke-joints, preachers and pimps, lush trees and the red dirt.

                                                                      The last word goes to Sleepy, from his recent interview with RBMA: "I just wanted to do the most funkiest album ever. When you play the album, I just wanted you to just sit back and just ride out. If you've had a long day, play the album. If you're smoking, if you don't smoke. Whatever you do, at that time when you got to relax, throw that on."

                                                                      Anna St. Louis

                                                                      If Only There Was A River

                                                                      If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. The tape received notice from NPR: All Songs Considered, Pitchfork, and Stereogum.

                                                                      On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own.

                                                                      “Being from the Midwest means a certain tone is woven into ones’ fabric. And every now and then, someone comes along who has the power to convey that feeling in their cadence alone. And so all hail Anna St Louis, who lets us into her world of heartache, wonder and a never-ending, never-beginning dance with time. Her album is for the mystics, reminding us that the world is full of magic at every turn, if only we let ourselves see it. Sometimes just by stating a simple observation, St. Louis lets us in on an infinite truth that perhaps we wouldn’t have seen otherwise. To step into the world of Anna St. Louis is to step into a world where the heart leads straight to the soul and where everything is cloaked in beautiful mystery. If Only There Was A River is a record of longing-of a soul reaching for more.” - Kevin Morby.

                                                                      STAFF COMMENTS

                                                                      Barry says: Brilliant midwest Americana from Anna St. Louis, bringing a more languid form of country than the deep south tend to produce, full of rich, soaring strings and tenderly plucked guitars, forming a beautiful backdrop to St. Lewis' mesmeric voice. Every bit the hazy summer album.

                                                                      Sometimes in improvised music there can be a distance between listener and players, a sense you’re sitting back and admiring their interplay and abstraction – but with Szun Waves’ second album, you’re right in there with them, inside the playing, experiencing the absolute joy the three musicians feel as they circle around each other, exploring the spaces they’ve opened up.

                                                                      The three members already have sparkling pedigrees of their own. Norfolk’s Luke Abbott is well known for his explorations of the zones between pure ambience and the leftmost fringes of club culture. With Portico Quartet and Circle Traps, Jack Wyllie has been in the vanguard of UK fusions of jazz, classical and club music. Australian drummer Laurence Pike has likewise found a unique voice in improvised and experimental music-making, whether in the bands Triosk or PVT, or as a solo artist.

                                                                      The trio’s musical relationship has grown naturally and steadily, and it shows. From Wyllie adding shimmering sustained sax notes to Abbott’s gorgeous ambient pieces in 2013, Szun Waves emerged when Pike was added to the mix, energizing the sound but still keeping its levitational qualities. Their 2016 self-released debut album hit a natural groove, and now they’re in a place of pure spontaneity: "New Hymn To Freedom" is a document of six entirely live improvisations – no edits or overdubs – and its title couldn’t be more apt. 

                                                                      STAFF COMMENTS

                                                                      Matt says: Phhwwooar. This should keep the youngsters 'turned on' as the jazz cats used to say. A modern spiritual jazz / electronica masterpiece? Youbetcha. NICE.

                                                                      FORMAT INFORMATION

                                                                      LP Info: Repress on black vinyl.

                                                                      The Soundtrack Of Our Lives

                                                                      Behind The Music

                                                                        The Swedish rock band The Soundtrack Of Our Lives released their third album Behind The Music in 2001. It’s the band’s breakthrough record and it was nominated for the Best Alternative Album award at the 2003 Grammy Awards. The album is influenced by the music from the greatest bands of the ‘60s and ‘70s. You’ll hear the melodies of The Beatles, The Rolling Stones and Pink Floyd in the different songs. But it’s their most rocking effort, with psychedelic tunes and even some prog. They’re constantly shifting between tones and mood, making it feels like a journey through the range of rock emotion.

                                                                        Behind The Music is available as a limited edition of 1.500 individually numbered copies on solid gold coloured vinyl.

                                                                        STAFF COMMENTS

                                                                        Andy says: Massive classic rock/pop album from the early noughties much beloved by Mr Noel Gallagher as it did exactly what Oasis used to do but possibly even better! A brilliant record!

                                                                        FORMAT INFORMATION

                                                                        2xLP Info: Individually numbered copies on solid gold coloured vinyl

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