synth-pop . alt-R&B . cold wave . industrial




    The eleven blistering tracks from the trio, made up of Ella Harris and Josh Baxter (who share lead vocals as well as handling synths, guitars and production) alongside drummer and percussionist Louis Satchell, are made from a formula of acid, disco, blistering synths, the release of the dancefloor and cathartic sprechgesang post-punk.

    On their debut album PVA carry that same energy from the live circuit, while also building out a holistic world full of texture and heart. 'Blush' is rich with industrial-sized beats that pack a heavyweight punch, jagged punk spirit, and moments of hushed contemplation from Harris’ poetic lyrics.

    It sprints tirelessly throughout, linking influences including Portishead, PC Music, Laurie Anderson, and cult rave-pop duo The Pom-Poms with ease. The album was produced by the band alongside friends Ben Romans-Hopcraft (Warmduscher) and Jamie Neville (Pumarosa) over a two week period at Neville’s home studio in South London. They then mixed the record at FOLD, the club hidden away on a trading estate in East London.

    One place intimate, another industrial; this is PVA’s world.


    A1. Untethered
    A2. Kim
    A3. Hero Man
    A4. Interlude
    A5. Bunker
    A6. Comfort Eating
    B1. The Individual
    B2. Bad Dad
    B3. Transit
    B4. Seven (feat. Tony Njoku) 

    Working Men's Club

    Fear Fear

      Songs created in the shadow of terror and loss, but that crackle and pop with defiance Fear Fear is a record made for agitating and dancing, for heart and soul, for here, now and tomorrow. It’s a record that explores juxtaposition; that of life and death, acceptance and isolation, environment and humanity, hope and despair, the real world and the digital world. That top to bottom rigour, the complete vision is what makes the second album from Working Men’s Club such a stunning and unique achievement.

      Their critically acclaimed self-titled debut album, released in summer 2020, was the sound of singer and songwriter Syd Minsky-Sargeant processing a teenage life in Todmorden in the Upper Calder Valley. He was 16 when he wrote some of those songs, now 20, he had to get up and out of the Valley. “The first album was mostly a personal documentation lyrically, this is a blur between personal and a third-person perspective of what was going on.” Fear Fear documents the last two years. Yes, there is bleakness – but there is also hope and empathy. “I like the contrast of it being happy, uplifting music and really dark lyrics. It’s not a minimal record, certainly compared to the first one. That’s because there’s been a lot more going on that needed to be said.”

      Making the busy feel finessed and the dreadful feel magical – Fear Fear manages those feats, and then some. Or, as Syd Minksy-Sargeant puts it: “We just set out to make the best-sounding album we could.”

      Fear Fear was produced by Ross Orton (Arctic Monkeys, MIA, Tricky) and recorded at Orton’s studio in Sheffield.


      Barry says: Working Men's Club return for one of the most anticipated follow-up LP's around. This time sees them treading similar ground to the post-punk indebted debut debut, but imbued with a more dancefloor friendly groove. It's a heady mix, and one that stands as the perfect follow-up for a band at the peak of their game.


      1 19
      2 Fear Fear
      3 Widow
      4 Ploys
      5 Cut
      6 Rapture
      7 Circumference
      8 Heart Attack
      9 Money Is Mine
      10 The Last One

      After immersive and emotive contributions from Jan Schulte and Moonboots, Music For Dreams' collectors series continues to delight with this playful and profound selection from Growing Bin curator Basso.

      A longtime friend of the legendary Copenhagen label, Basso is a 5th dan black belt in the ancient art of digging, a fearless selector and adroit editor who knows more about records than anyone you know. On its journey from blog to shop to label, the Growing Bin has become the perfect embodiment of its creator - smarter than the average bear, eagle-eared and very very funny - the kind of cat who's just as comfortable serving cocktails by the pool as taking an esoteric road-trip. So sit back, let the falanghina chill and load up on sonic sunscreen.

      Armed with birdsong, backbeat and Spanish guitar, Hans Hasse says hello via the sumptuous Austrian Balea-rock of 'Welche Farbe Hat Der Wind', an AOR albatross which soars high above the cliff tops, chills on the jet-stream then dives deep into scat silliness. This impactful opener gives way to cucumber cool 'The Dawn', a forgotten jazz break from stoner heroes DJ Food built entirely from tender tabla, horizontal synthlines and positive energy - strictly high grade folks...

      How do you follow such a downbeat delight? With something from Golden Pudel resident and acid-techno warlock RVDS of course! But before you raid your medicine cabinet, remember that beauty can be found everywhere, and nestled away in Richard von der Schulenburg's 2016 outing "Shadows" was ketamine bossa lullaby 'Minuet de Vampire'. As the clean bass tones and simple rhythm stroll through the shadows, a haunting harp line tugs at your heartstrings, pulling you into the light and holding you tight. The harp-healing continues on Horizont's 'Light Of Darkness', an esoteric odyssey with the greatest key change you'll ever hear, and a dreamy segue into Xiame's sedate jazz-pop pearl 'Nosso Destino'.

      Basso brings the first disc to a close with an all time Growing Bin favourite, Mico Layczak. Here the NDW queen is in more restrained mode, conjuring an avant pop paradise with the atmospheric 'Im Garten' - a dead cert for any fans of MFD alumni 55 Canri E.

      At the top of the C-side, Massimo Stella's 'C'è Una Donna Sola' explores another Growing Bin speciality - acceptable fusion. This sweet Mediterranean shuffler makes a delightful defence of jazz's most maligned sub-genre before the esoteric, organic and new age flavours intensify on Trimolo's 'Tempo 100', a subtle groover topped by breezy flute and clipped guitar licks. Moving from woodland to wave, Basso introduces a man who definitely wore his sunglasses at night, unsung synth popper Diedel. Eerie and emotional, 'Wo Seid Ihr' is the sound of Don Johnson driving that white Spyder down the autobahn at night.

      Taking a turn towards the dance floor, Basso serves up Mikey D's 'I Need You', an exceptionally rare German streetsoul bomb in dubform, complete with sampled vox and high school prom vocals before flexing his scalpel skills via an expert extension of German rockers' Wolfsmond's groovy 'Fühl Dich Frei', a serious secret weapon for any Balearic DJ.

      The tempo drops to a cinematic stroll with Ghia's 'You Won't Sleep On My Pillow', a sweet synth pop serenade which cuts straight to the heart of the break up, keeps its cool and soundtracks your slow dance at the end of the night. And to finish, how about the most moving electronic jam ever, Jean-Philippe Rykiel's "Fair Light", a shimmering, shining jazz-rock opus played entirely on synth.

      So there you have it, a selection of rare cuts, Plattenrille discoveries, organic excursions and electric lullabies, all perfectly at home in the Growing Bin. Whether you're coping some rays, watering the plants or tackling the tax return, 'Proper Sunburn' will ensure you keep your cool and stay smiling. Copenhagen's Music For Dreams has done it again with this release for the proper connoisseurs.


      Patrick says: On active digging duty since his pre-teen trips to the flohmarkt, Basso knows a thing or two about records. From mixing ‘The House Sound Of Chicago’ compilation for classmates at his 11th birthday party, through encyclopaedic retention of vintage rap verses and German jazz sessionists, to cross continental road-trips with contemporaries Tako and Chee, the Hamburg man has dedicated his life to discs. And while some vinyl obsessives share a passion for stinginess and exclusion, Basso has always enjoyed music best with friends. If you pay a visit to his blog or online boutique, you’ll discover a wealth of information on Black Forest jazz, organic wonders and killer European pop songs, saved from the pound bin and served by the pool. So race to the sun lounger, lay down a towel and leave your worries behind, this is Balearic with a twist, served with emotion, humour and honesty in classic Growing Bin style.


      A1. Hans Hass - Welche Farbe Hat Der Wind 04.29
      A2. DJ Food - The Dawn 04.55
      A3. RVDS - Minuet De Vampire 05.42
      B1. Horizont - Light Of Darkness 05.29
      B2. Xiame - Nosso Destino 04.50
      B3. Miko - Im Garten 03.10
      C1. Massimo Stella - C'e Una Donna Sola 04.08
      C2. Trimolo - Tempo 100 04.53
      C3. Diedel - Wo Seid Lhr 03.52
      C4. Mikey D - I Need You (dub) 05.59
      D1. Wolfsmond - Fühl Dich Frei (Basso Maxi Version) 05.59
      D2. Ghia - You Won't Sleep On My Pillow 03.48
      D3. Jean Phillipe Rykeil - Fairlight 04.21

      Christine And The Queens

      Redcar Les Adorables Etoiles

        Redcar is only the beginning. This is all an opera.

        It will take some time to unveil, the same way it is unveiling to Redcar, as he acknowledges his crazy freedom. Angels and stars, the sovereign verb, the heart at its center.

        Redcar is not really there to affirm anything but the need to say who we are and what we pray for every day.


        1. Ma Bien Aimée Bye Bye
        2. Tu Sais Ce Qu'il Me Faut
        3. La Chanson Du Chevalier
        4. Rien Dire
        5. La Clairefontaine
        6. Les étoiles
        7. Mémoire Des Ailes
        8. Looking For Love
        9. My Birdman
        10. Combien De Temps
        11. Je Te Vois Enfin
        12. Angelus
        13. Les âmes Amantes

        Pye Corner Audio

        Let's Emerge!

          Pye Corner Audio releases a new album, 'Let’s Emerge!', for Sonic Cathedral. It’s his first studio outing for the label following the acclaimed live recording 'Social Dissonance', which was released earlier this year, and it features Ride guitarist Andy Bell playing on five of its ten tracks.

          From the first glimpse of the artwork to the first note of the music it’s a marked deviation from Pye Corner Audio’s more traditional shadowy sounds. Whereas his last outing for Ghost Box (2021’s 'Entangled Routes') was inspired by the underground fungal pathways through which plants communicate, this one is very much above ground, bathed in sunlight and acid-bright psychedelia. “This is a departure to sunnier climes, but a departure nonetheless,” says Pye Corner Audio, aka Martin Jenkins. “It’s something that I’d been thinking about for a while. I try to tailor my work slightly differently for the various labels that I work with, and this seems to fit nicely with Sonic Cathedral’s ethos.”

          Designer Marc Jones’ ultra vivid artwork consciously references the likes of LFO, Spacemen 3 and the early output of Stereolab. “I think it mixes together many of my earliest influences,” explains Martin. “I’ve been a long-time fan of Spacemen 3 and Stereolab. Their moments of repetition and drone have always seeped into what I’ve tried to create. “I was living in a small apartment and I’d stripped down my studio set-up when I was recording this album. This enabled me to focus on a few key pieces of equipment and explore them fully.” The recordings were fleshed out by Andy Bell, who Martin first met at the Sonic Cathedral 15th birthday party at The Social in London back in 2019 – the same show that became the live album 'Social Dissonance'. “New alliances were formed and friendships made in that basement in Little Portland Street,” recalls Martin. “When I met Andy, we agreed that we needed to work together in some way. After I’d remixed a few tracks from his album 'The View From Halfway Down', he kindly repaid the favour.”

          The end results are incredible, from the first stirrings of opener ‘De-Hibernate’, via the glorious ‘Haze Loops’ and ‘Saturation Point’, the album slowly but surely awakens, blinking and feeling its way into the light. It all culminates in the epic closing track ‘Warmth Of The Sun’ which, with its vocal harmonies and acid breakdown, is seven and a half minutes of pure release. “That one’s about life’s simple pleasures,” concludes Martin. “The Beach Boys, tremolo guitars, infinite drones, Spacemen 3. Let’s emerge from this darkened era and feel the ‘Warmth Of The Sun’. “The last few years have seen huge changes, both personally and in a wider perspective. The album title is a reaction to this, a collective (tentative) sigh of relief. Here’s to new beginnings and a sense of hope.”


          Barry says: I love Pye Corner Audio, always have. We had Andy Bell in the shop a couple months back and he was telling us he'd worked with Martin on some music but I did NOT expect this. Gorgeous, plaintive washes of synth and reverbed guitar, echoes of melody within the expansive, electronic atmospheres. A stunning first one for the great Sonic Cathedral.


          Side A
          1. De-Hibernate
          2. Lyracal
          3. Does It Go Dark?
          4. Haze Loops
          5. Let’s Emerge Part One
          Side B
          1. Saturation Point
          2. Sun Stroke
          3. Let’s Emerge Part Two
          4. Luminescence
          5. Warmth Of The Sun

          Belief (Stella Mozgawa & Boom Bip)


            With a back catalogue at Lex Records that spans half a dozen studio LPs as Boom Bip, plus another two as one half of electronic pop duo Neon Neon, Bryan Hollon has already made a name for himself as a Mercury prize-nominated producer and multi-instrumentalist. Equally impressive are the credits to Warpaint drummer Stella Mozgawa’s name; she’s contributed percussion to albums by Kurt Vile, Cate le Bon, Courtney Barnett, Sharon Van Etten, and Kim Gordon, among others. But as improvisational techno duo Belief, the pair make music that harkens back to ‘90s acts like LFO and 808 State – artists that indelibly, but near-anonymously, altered club and rave culture, mostly identifiable by clean, bold logos on 12” sleeves. “They didn’t have much of an image – you didn’t really know what the guys looked like, it didn’t matter at all,” says Hollon. “Their logos kind of define them.”

            Hollon met Mozgawa just after she joined Warpaint, when Boom Bip shared a rehearsal space in Echo Park with the band. The two quickly bonded over a love of early Warp Records, drum breaks, acid house, and Y2K-era rave flyers. They swapped playlists and ideas when Mozgawa played drums for Neon Neon’s 2013 West Coast tour, but due to busy schedules, it would be another three years before they packed every piece of gear they collectively owned into Eric Wareheim’s Absolutely Studios for an initial jam session. “The actual rat’s nest of midi cables was so overwhelming and intense. But for some reason when we just started jamming, it just felt like we intuitively knew how to make something sound the way that both of us wanted it to sound,” says Mozgawa. “We had a kind of mutual taste or something. It just came so easily once there was another mind there.”

            Instinctively playing to each other’s strengths and whims – and recording the session to build on later – allowed Mozgawa to explore a style of music she’d long considered a dark art, and pushed Hollon, known for his meticulous planning in previous work, to be more spontaneous. “There is a looseness and jam quality to it that my other music doesn’t have. We have hours of improvised sessions, which is something I always wanted to do but never took the time in my solo work nor have I ever trusted anyone as much as Stella in knowing exactly what to do and when to do it,” Hollon says. “We connect on another level that you can only tap into when improvising.” They found pockets of time to revisit the project over the next four years, even playing some early shows where they billed themselves as ‘Beef’ – a comedic wink to the project’s pulsating minimalism.

            While it was all in good fun, more reverent threads began to emerge as they began finalizing and recording headier, more enigmatic tracks. “As the music started developing, it was a bit more soulful and deep,” Hollon says. “There was always that little bit of a religious element in early rave culture… it gave us a bit of a box to work within.”

            When they’d hit on something during a performance, they’d make a note to record it; samples they’d used as placeholders were reworked with the duo’s personal touches; Mozgawa tapped bandmate Emily Kokal to record some vocal textures during Warpaint studio time; Hollon chopped, looped and arranged the jungle breaks Mozgawa had recorded from memory; and finally, the two returned to a mostly complete album during pandemic down time to flesh out and warm up some of the cooler machine-like tones, an invaluable final step.

            “The house-y acid-y stuff works really well in the live setting but when it came to recording the stuff, some of it just didn’t feel as warm or as whole as it should, to represent Stella and I,” says Hollon. “We were able to go back and inject a lot of personality into the music, so I’m really happy that we didn’t rush it and spent more time digging a little bit deeper into the songs.”
            “We were also very aware of not overcooking it,” adds Mozgawa. “It’s such a delicate balance.”

            Though governed by the central question – What Would Mark Bell Do? – Belief were careful not to create anything too derivative. “It’s something that really does come up a lot when we’re making decisions in the studio. We felt a kindred connection with one another over that music,” says Mozgawa. “It’s definitely a record that we made with our own influences and capabilities but there’s still this prevalent thread of wanting to add to that conversation in the musical universe, like making a contribution to that out of reverence to what came before.” Born out of an oddly divine foresight the duo share, Belief pays homage to the pioneers of techno, the synergy of two devout tastemakers building a shrine to inner peace and outward pleasure.

            TRACK LISTING

            Side A
            1. I Want To Be
            2. Anx
            3. Bayo
            4. Luther
            5. Dreams
            Side B
            1. Nebo
            2. WOT
            3. Ulu
            4. Jung
            5. Art Of Love

            Hannah Peel

            Fir Wave

              The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music.

              Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music - it’s always an organic dis-covery of old and new.” As Delia Derbyshire revealed in 2000 to BBC sound engineer, journalist and academic Jo Hutton: “I like new things that don’t seem new . . . as though they’ve always been there.”

              Known more recently for curating and presenting on BBC Radio 3’s Night Tracks, the Northern Irish Emmy-nominated composer and producer’s work is ambitious and forward-looking, adapting and re-inventing new genres and hybrid musical forms. Recent albums include the solo electronic and pop work of Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; the electronic ruralism of Chalk Hill Blue, an album recorded with the poet Will Burns; and the space and the unparalleled vastness of Mary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’. 

              STAFF COMMENTS

              Barry says: While i'm a big fan of archival synth business, it's often hard to really listen to it in any other situation other than chin-scratching synth-nerdery. I know, i'm a fan of that and while the more esoteric synth explorations are great fun, they have nowhere near the amount of sheer depth and replayability that you get with 'Fir Wave'. A dynamic and cohesive set of rhythmic electronic pieces, moulded with the legendary influence from KPM. Stunning.

              TRACK LISTING

              Side A
              1 Wind Shadow
              2 Emergence In Nature
              3 Patterned Formation
              4 Carbon Cycle

              Side B
              1 Ecovocative
              2 Fir Wave
              3 Reaction Diffusion 

              A Farewell To Hexes


                A Farewell to Hexes is one of a number of pseudonym / side projects of Adam Leonard who has quietly – and noisily – tinkered at the edges of eccentric English folk, electronic music, and more recently garage art-rock with Invaderband, (issuing a plethora of original music to critical acclaim via highly regarded boutique labels such as The Great Pop Supplement, Northwestern Recordings, Tectona Grandis, Polytechnic Youth, Castles In Space, Bibliotapes and TDO Cassettes) attaining a ‘Northern Ireland Music Prize’ nomination in the process.

                The “Rendlesham” LP is an incredible record of often eerie, Radiophonic workshop-esque electronics and the story behind it is equally momentous. The events across two nights December 25 & 26 1980 in Rendlesham Forest, Suffolk, have gone down in history; nowadays often dubbed the UK’s most famous UFO incident or “Britain’s Roswell”.

                While Adam himself reveals more to the story below, artist and label strongly urge you to further investigate, it’s an incredible passage of events with long lasting repercussions to the present day.

                Returning to the record here, and by way of introduction Adam himself says: “the album is an instrumental, electronic record, soundtracking arguably Britain's most remarkable UFO occurrence, from Suffolk 1980. Side 1 soundtracks the bizarre Christmas/Boxing Day case (which includes local Sergeant, Jim Penniston encountering and receiving a binary code from a "craft of unknown origin") and Side 2 which brings to life the curious events witnessed by Lt. Colonel Charles Halt and his team in the forest in the early hours of 28th December 1980, incorporating original micro-cassette recordings (‘The Halt Tape’) captured at the time.

                The album ends with ‘Aftermath’, featuring the voice of Attorney Patrick Frascogna speaking at a 2011 U.S. court hearing attempting to gain access to Penniston, and colleague John Burroughs’ medical records (both airmen suffered life-threatening ailments after coming into contact with the “craft” in 1980).

                The music on the record is intentionally redolent of British underground electronic music at the time of the Rendlesham Forest incident. For best results this album should be listened to in the dark with eyes closed. You will enter the forest...”

                A wonderful record, released as a limited pressing of 250 in reversed board sleeves with accompanying insert, it is expected not to hang around long as it’s predecessor cassette release went within a day! 

                STAFF COMMENTS

                Barry says: It's safe to say the original cassette release of this for TDO went shockingly well, meaning that this vinyl version for the ever-amazing Polytechnic Youth is a much needed addition to any collection. Haunting synths, woozy atmospherics and saturated, crackling bliss. Superb.

                The Hardy Tree

                Common Grounds

                  Frances Castle is the illustrator/owner behind the Clay Pipe record label and The Hardy Tree is her on- going musical project. Common Grounds was started during the first 2020 lock down - when time moved very slowly and travel away from home became impossible.

                  The album was recorded at home by Frances, then mixed to tape with Ed Deegan at Gizzard Analogue Studios in East London. Ed plays drums on three of the tracks.

                  “Like many others with nowhere else to go, I walked the streets of my neighbourhood for exercise and well-being. I rambled like I might in the country side; stopping every now and then to take in the view, or notice something I’d missed before. I took to looking up local streets in historical newspapers, and read reports of mysteries and crimes that had happened here in the past. I researched the names of the people who had lived in my flat before me, viewed old census returns from the surrounding area, and noted the birth places and livelihoods of past residents. I began to see the ghosts of these people on my walks, and notice the things that they had left behind; shapes of ancient tram tracks creeping under the tarmac, an old gas street lamp in an alleyway, a tiny metal sign indicating a culverted river. I spent my evenings writing and recording the music on this LP, and then the following day would listen to the rough mixes as I walked, the music began to soundtrack the walks, and the walks began influencing the type of music I was creating.” - Frances Castle, 2022

                  STAFF COMMENTS

                  Barry says: A beautiful mix of plaintive, swooning instrumental wooze and folky, off-kilter ambient business. I've been a big fan of Clay Pipe and The Hardy Tree specifically for some time now, and I think Common Grounds is without a doubt the most beautiful HT outing yet. A meditative and evocative journey.

                  TRACK LISTING

                  1. A Garden Square In The Snow
                  2. The Spire Of St Mary's
                  3. St Saviour's Through The Railings
                  4. Shop Fronts And Parked Cars
                  5. The New River Path, August
                  6. Railway Tracks
                  7. Mist On The Playing Fields
                  8. Face At The Window, Seaforth Crescent
                  9. Up On The Hill

                  Whether you’re floating free to antipodean ambience or toasting the sunset with a Baltic beauty, you can always count on Growing Bin to take you someplace new for a while. Swapping bucolic Poland for the buzz of the Big Apple, the Hamburg imprint reaches a magnificent seven in the company of synth-pop dreamer Shy Layers (JD Walsh to his mum) and his sublime self titled debut.

                  Over the course of ten emotional pop serenades, the New York musician recalls lost days sofa surfing to the lounge electronica of Air, Mellow and early Phoenix or the swooning lo-fi psychedelia of a pre-MD Simian. Shy Layers welcomes us aboard with the shimmering pads and soothing soft synths of ‘Black & White’, a drifting soundtrack to a John Hughes-directed episode of ‘In The Night Garden’. From there we swerve into the wistful synth-pop of ‘Famous Faces’, locking into the rattling Tears For Fears groove while the West Coast guitar licks and vocoder vocals float off into the distance. ‘You Won’t Find Me’ shuffles through afro-tronic keyboard lines, Beta Band breakbeats and loose funk guitar before the sweltering ‘Stabilized Waves’ dips a toe in the Med, swaying gently to the fluid bass, acoustic strumming and cascading electric guitar. Swapping continents to close the A-side, ‘Too Far Out’ finds Walsh working highlife guitars and fuzzy sanza sequences into a piece of perfect off-kilter pop. The B-side begins in glitchy fashion with the flying hats and seesaw synths of ‘Holding It Back’, before ‘Playing The Game’ offers sprinklers over summer lawns, dub fx, jangling guitars and cooing vocals. The afrobeat influence shines through once again on the rhythmic ‘Bees & Bamboo’ before ‘SEG’ sees Shy Layers don Mario’s Red Wing cap for a chip-set safari through the bright blue sky. Playing us out with the same cinematic splendour with which we began, Walsh conjures a woozy, sun-dappled mood for the sumptuous ‘1977’.

                  Andy Bell

                  See My Friends EP

                    The two tracks from Andy Bell’s debut solo single reworked by Pye Corner Audio, with the original tracks remastered by Heba Kadry.

                    TRACK LISTING

                    1.The Commune (Pye Corner Audio Remix)
                    2.Plastic Bag (Pye Corner Audio Remix)
                    3.The Commune
                    4.Plastic Bag

                    Pan Amsterdam


                      EAT is the brand new album from your favourite rapper trumpeter, Pan Amsterdam. Made with fans of both food and hip hop in mind, the LP opens up a new pocket in the Pan Am dimension: the rapper-producer album. The whole thing’s a collaboration with underground legend and Def Pressé family Damu The Fudgemunk.

                      EAT lands in the wake of the success of Pan Am’s second album, HA Chu. Food, of course, was a vital component in the culture of that work, with GUTS-produced single Carrot Cake receiving plaudits from the likes of BBC 6 Music, and interludes taking place over Chinese food. HA Chu was named his ‘hostile industry diss record’ by Bandcamp and ‘a jazz musician’s vision of what hip-hop can be’ by The Times.

                      Whereas HA Chu was conceptualised while Pan Am’s real life alter ego Leron Thomas was on tour as Iggy Pop’s bandleader (Iggy had loved Pan Am’s debut LP, The Pocket Watch, leading to him asking him to write and produce his 2019 album Free), and saw guests such as Sleaford Mods’ Jason Williamson and Doves’ Jimmy Goodwin in his El Diablo guise, EAT’s genesis was slightly different.

                      About to fly on tour in Europe last year, Pan Am was in need of a DJ. Up steps Damu The Fudgemunk, fresh from creating his KPM library-sampling opus Conversation Peace (on Def Pressé Editions). Tour life led to a mutual musical respect, Damu creating soundscapes in his head as he got to know Pan Am’s intricacies whilst performing together.

                      ‘We had some good hangs and talks,’ recalls Pan Am. ‘In those hangs and talks, it seems Damu was taking musical notes because the music he would give me was fitting like a glove. It reminded me that artists be observant and it pays off in the end. Damn fun making this project.’

                      Perceiving the world in terms of taste, EAT is musically wistfully joyous and lyrically playful, a full menu with Pan Am your maître d' and Damu the chef du cuisine. Damu’s beats are deep, warm, melodic and progressive, a perfect playground for the duality of Pan Am’s beat poetry and Leron’s caressing trumpet, which as always is a persona in itself.

                      TRACK LISTING

                      A1 Rigatoni
                      A2 Mogwai
                      A3 BLT
                      A4 Duck Wok
                      A5 Hungry Hippo
                      A6 Fish Tacos
                      A7 Besh
                      A8 H-Bar
                      B1 Blue Agave
                      B2 Stick Around
                      B3 EAT
                      B4 Da Da Dim Sum
                      B5 Shimmy
                      B6 All Purpose Sauce

                      Confidence Man


                        In this world, nothing is certain except taxes, death and Confidence Man. They are unstoppable, unquenchable, undeniable, and if you get in their way, you’re gonna get hurt. Not even a global pandemic could stop Janet, Sugar, Reggie and Clarence from producing an album so fierce, flirty and full of anthems that you might need to sit down before you hit play. Welcome to Tilt, Confidence Man’s second album released on Friday April 1st 2022 on Heavenly Recordings.

                        Holiday, the first track to be lifted from the album and today premiered with an as you’d expect technicolour video, was an epiphany. All of a sudden it was there and somehow complete from the get go. Conceived in just a 6 hour session and born from a warped mashup of Underworld and MIA, it’s a child so wrong it’s simply perfect. If life gives you lemonade, drink it.

                        Confidence Man’s debut, Confident Music For Confident People, was one of the joys of 2018, laced with savage lyrics and rapturous melodies; a north star of euphoria in an increasingly joyless world. Since then they’ve teased us with the occasional dance-floor snack, but with their follow up album Tilt they are finally serving us the main meal.

                        “We’ve been trying for the most epic, hands up, euphoric anthem for a while and this is the first time we’ve come close… Turns out it’s pretty difficult, but nothing’s too hard for con man.” Sugar Bones circa 2021

                        “No one tells Confidence Man what to do. Who said a Holiday can’t last forever? Spend big and live free, that’s our motto. And it can be yours too. A vacation is just sunburn at premium prices but a holiday is a state of mind.” Janet Planet circa 2021

                        STAFF COMMENTS

                        Barry says: As we see from Confidence Man's newest outing, they've not calmed down any and are still bringing the same level of unfettered optimism and inimitable party spirit. Swimming with influence from dance music over the ages but coming together like a seamless entity in it's own right this is a rightful follow up to one of the best LP's of '18.

                        TRACK LISTING

                        1. Woman
                        2. Feels Like A Different Thing
                        3. What I Like
                        4. Toy Boy
                        5. Luvin U Is Easy
                        6. Holiday
                        7. Trumpet Song
                        8. Angry Girl
                        9. Push It Up
                        10. Kiss N Tell
                        11. Break It Bought It
                        12. Relieve The Pressure

                        C Duncan


                          ‘Alluvium’ is the fourth album from C Duncan, Glasgow’s classically trained multi-instrumentalist and singer-songwriter, released through Bella Union. After the haunting raptures of Architect (2015), the Twilight Zone-inspired reveries of The Midnight Sun (2016) and the richly melodic Health (2019), Alluvium is a sublime palate-refresher for Duncan (C for Christopher), brimming with revitalised fluency: a warming dispatch from the daylight zone, if you like.

                          TRACK LISTING

                          We Have A Lifetime
                          Bell Toll
                          You Don’t Come Around
                          I Tried
                          Sad Dreams
                          The Wedding Song
                          Upon The Table

                          The Rhythm Method

                          How Would You Know I Was Lonely?

                          The Rhythm Method were recently described by The Guardian as 'a Balearic vision of romance as imagined from a parochial nightclub dancefloor'. Formed half a decade ago in a Thameside squat protection scheme intended for professionals but inhabited by the barely-employed, the duo of lyricist/vocalist Joey Bradbury and top-liner/singer-songwriter Rowan Martin turned a summer of FIFA tournaments, cosmic breakdowns and 4pm beers into a series of bizarre, outsider-music iPhone demos that became a Soundcloud, then a band, then a live show and now an album.

                          "How Would You Know I Was Lonely?" is a journey through the present - a descent into late 20's, late-capitalist mind-funk; 12 stories of near-romances, yellow label dinners, chemical catatonia and lack-of-identity politics. Its influences are strange and diverse, not always entirely credible or tangible; Scritti Politti, Aswad, Irish Pub karaoke, ITV4, YouTube freestyles, Celtic standards, Golborne Road radios and more than a dose of Rod Stewart.

                          Pocket symphonies such as "Sex and The Suburbs", "Local, Girl" and "Cruel" sound like the Saturday night playlist from a Quantum Leap FM Radio station – ostensibly pop songs, but ones in possession of a rare intelligence, frankness and deep weirdness. The references may be initially esoteric, but the themes are palpably universal. Opener "Salad Cream", referring to a mid 90’s Heinz campaign, is about creating social demand for yourself via scarcity. "Cruel" is pub-karaoke paean to the spectre of addiction. "Single Life" explores the dark, bleak desperation of romantic dejection, set to sleazy noir funk and muted trumpets. Joey Bradbury's verses could be a man on the verge of a nervous breakdown recording the voice notes of his crack-up, whilst Rowan Martin's choruses ask questions you never thought you'd hear in such hummable form.

                          Fans and supporters have ranged from spiritual forbearers such Mike Skinner (who produced "Cruel", which also features London electronic pop artist Zoee), Squeeze frontman Chris Difford (who lends a knowing baritone to the chorus of Zone 2 opus "Wandsworth Plain"), Elton John and Suggs; contemporaries including The 1975’s Matty Healy (who is responsible for half of the band’s YouTube views), Wolf Alice and Shame; actress and poet Michaela Coel and Denise Welch; highlighting the varied magnetism of the lyrical insight, classic songcraft and inquisitive spirit at the heart of these off-kilter pop tunes.

                          STAFF COMMENTS

                          Matt says: Not my usual cup of tea, quirky indie, but the lol'ing genius of some of these lyrics combined with the tongue-in-cheek approach throughout has won me over. Comedy genius + catchy tunes = massive hit for boring afternoons!

                          TRACK LISTING

                          A1. Salad Cream
                          A2. Ode 2 Joey
                          A3. Tomato
                          A4. Something For The Weekend
                          A4. Single Life
                          A5. Magic Hour
                          B1. Local, Girl
                          B2. Continental Breakfast
                          B3. Anonymous
                          B4. Cruel Ft. Zoee
                          B5. Sex And The Suburbs
                          B6. Wandsworth Plain Ft. Chris Difford

                          Working Men's Club

                          Working Men's Club

                            A rumble on the horizon. Gritted teeth, nuclear fizz and fissured rock. A dab of pill dust from a linty pocket before it hits: the atom split, pool table overturned, pint glass smashed — valley fever breaking with the clouds as the inertia of small town life is well and truly disrupted. Here to bust out of Doledrum, clad in a t-shirt that screams SOCIALISM and armed with drum machine, synth, pedal and icy stare are Working Men’s Club, and their self-titled debut album.

                            It’s hard to believe that the three fresh-faced music college kids who bounced out of nowhere and onto the 6 Music playlist with the sweet-but-potent, twangy guitar-led ‘Bad Blood’ (Melodic Records) in 2019 are the same band who clattered back there with maddening techno-cowbellpuncher ‘Teeth’ less than half a year later — and that’s because for the most part, they’re not. Having signed to Heavenly and with the hype around them building, underlying tensions came to a boil a mere five days before the band’s all-important first London headline show, and wunderkind frontman Syd Minsky-Sargeant was left high and dry; guitarist Giulia Bonometti had decided to focus on her blossoming solo career, and drummer Jake Bogacki was against the new electronic direction Minsky-Sargeant saw Working Men’s Club taking. (“I guess WMC started off as a bit more guitar-based, tryna copy stuff in our own way, like the Velvets and stuff like that, but I didn’t want it to be that anymore. It became dancier and dancier as I tried to experiment”, he explains.) All that remained of the outfit was Minsky-Sargeant himself, recently recruited bassist Liam Ogburn, and — given the band’s indebtment to wood panelled, community-run venues for an early leg-up — a rather pertinent name. But with staunch determination burning in his belly, Minsky-Sargeant quickly assembled a lineup consisting of himself, Ogburn, and Mairead O'Connor (The Moonlandingz) and Rob Graham (Drenge, Baba Naga) — both of whom he had met at the Sheffield studio of producer Ross Orton (The Fall, M.I.A., Arctic Monkeys) — replaced the live drums with a drum machine, and rush-rehearsed the new setup before going ahead with the show. “If it wasn’t for Sheffield then we probably wouldn’t have played that gig” he says. “I was shitting myself, because I didn’t know what would work or not.” Luckily, something stuck: “After about three gigs with that lineup it was already way better than what we’d had before.” Two original members lighter and three new ones the richer, Working Men’s Club took on a new hard-edge permutation, their shows becoming ever more sweaty, pulsating and rammed to the rafters; their energy raw; their vigour renewed; their interplay as musicians growing ever-more intuitive and elastic. Their eponymous collection of songs is equal parts Calder Valley restlessness and raw Sheffield steel; guitars locking horns with floor-filling beats, synths masquerading as drums and Minsky-Sargeant’s scratchy, electrifying bedroom demos brought to their full potential by Orton’s blade-sharp yet sensitive production.

                            It was at home in the town of Todmorden in the Calder Valley, West Yorkshire, feeling hemmed in, that 18-year-old Syd Minsky-Sargeant first began assembling these 10 songs. “There’s not much going on, not much stuff to do as a teenager” he says. “It’s quite isolated. And it can get quite depressing being in a town where in the winter it gets light at nine in the morning and dark at four”. It is this sense of cabin fever, of “thinking that you will never escape a small town in the middle of nowhere” on which the album opens, with the boredom-lamenting and rave-reminiscent ‘Valleys’. In a post-punk talk-sing over an old-skool beat, Minsky-Sargeant begins:

                            Trapped, inside a town, inside my mind

                            Stuck with no ideas, I’m running out of time

                            There’s no quick escape, so many mistakes, I’ll play the long game

                            This winter is a curse

                            And the valley is my hearse, when will it take me to the grave?

                            Fortunately for Syd and a thousand other bored-shitless, dark-dwelling teenagers, the Calder Valley boasts a burgeoning grassroots music scene, chiefly centred around The Golden Lion in Todmorden, and the Trades Club in Hebden Bridge — both of which were instrumental in the early life of the band. “Without those venues we probably wouldn’t have been able to get into playing live music”, Minsky-Sargeant reflects. Working Men’s Club’s first ever gig, at The Golden Lion, was self-booked and self-promoted, landlord Waka having allowed the band to use the 100-capacity room above the pub for free. Even before booking himself onto the stage though, Minsky-Sargeant regularly snuck into the venue to watch the internationally renowned DJs, like Justin Robertson and Luke Unabomber, who passed through its doors. This, combined with the discovery of 808 State, his stepdad’s extensive afrobeat record collection, YouTube videos of Jeff Mills making beats on a Roland TR-909, and a chance festival encounter with Soulwax, provided sustenance and inspiration for Working Men’s Club’s developing sound. Though it is songs almost entirely written and sung by Minsky-Sargeant that appear on the record, he is quick to point out the influence of the other members of his band on the record too; that “everyone that’s been involved in this band, from the old lineup to the new lineup, played on the record, contributed and shaped it in some way, through the phases”, wheedling in and around Minsky-Sargeant’s songs, embellishing them with their own bass, guitar, key or backing vocal parts. And without Orton, “it wouldn’t have been half as good a record.” Working with the producer radically changed MinskySargeant’s songwriting practice — “I tried to replicate what he was doing in his studio in my bedroom, and think more about drum sounds and making them more complicated and messing around with synths and stuff like that. It made me think about more components than just a guitar.”

                            The songs following ‘Valleys’ come fast and relentless — momentum ever increasing, mission well and truly stated as the frenetic, pew-pewing ‘A.A.A.A’ speeds through to nonchalant existential groove ‘John Cooper Clarke’ — centred around the realisation that yes, even the luckiest guy alive, the Bard of Salford himself, will someday die.

                            Hard holds hands with soft, and rough with smooth. On washily-vocalled, Orange Juicily-guitared ‘White Rooms and People’, there are simultaneously beautifully blooming flowers and ‘people talking shit about you’, and the hazy, ricocheting ‘Outside’, the gentlest track on the album, flips straight into the tough-as-shit, industrially-geared ‘Be My Guest’, which opens the second half of the record with markedly E. Smithian brio. The opening bars of ‘Cook A Coffee’ are momentarily reminiscent of ‘Bad Blood’, but spiral into direct and uncomfortable eye contact in song-form; a lost Joy Division number from an alternate universe, about taking a dump live on the telly. ‘Tomorrow’ glitches and glimmers, whilst outro track ‘Angel’ moves between psychedelic languidity and hardcore thrash, the album playing itself out on a 12-and-a-half-minute noodle.

                            It is with war, free-fall, and re-birth already behind them that Working Men’s Club emerge, resilient; inspiration from across breadth of eras, genres and tour-mates merely strata in their very own indie-cum-dance-cum-techno niche in the crag.

                            Diva Harris, February 2020

                            STAFF COMMENTS

                            Laura says: It's perhaps unsurprising that a band from the Calder Valley on the edge of the Pennines draws on influences from both sides of the hills. Todmorden’s WMC have done just that, splicing the synth led sounds of 80s Sheffield with doomy Mancunian post punk stylings to create a forward thinking monster of a debut album. The acidic synths and pulsing beat of album opener “Valleys” encapsulate the claustrophobia of growing up in a small town and the smothering intensity is maintained through the industrial clatter of “A.A.A.A.”. With its funk fuelled grooves, nonchalant vocals and bitter sweet chorus, “John Cooper Clarke” could easily be an undiscovered classic from early Factory days. As side one draws to a close, the mood is lifted with the choppy guitar groove of “White Rooms and People”, and on “Outside”, it feels like they’ve escaped the town for sun kissed wide open spaces. Side two reverts to pounding industrial grooves and distorted guitars on “Be My Guest”. “Tomorrow” marries monotone vocals with a super catchy chorus while “Cook a Coffee” takes a cheeky snipe at a certain TV presenter. “Teeth” is aimed squarely at the dancefloor with its relentless synth stabs interwoven with doomy guitar riffs and “Angel” brings the album to a triumphant close: Jangling guitars and crashing cymbals over a driving rhythm that morphs into a sprawling psychedelic wig-out.

                            They set out to make a dance record that wouldn’t be pigeonholed as a dance record. I think they’ve nailed it.

                            TRACK LISTING

                            1 Valleys
                            2 A.A.A.A.
                            3 John Cooper Clarke
                            4 White Rooms And People
                            5 Outside
                            6 Be My Guest
                            7 Tomorrow
                            8 Cook A Coffee
                            9 Teeth
                            10 Angel

                            Holly Johnson

                            Unleashed From The Pleasuredome

                              The classic concert at Koko in London, from October 2014, at which Holly performed new material, solo singles, all of the Frankie hits and more!

                              TRACK LISTING

                              Atomic City
                              Warriors Of The Wasteland
                              Welcome To The Pleasuredome
                              Rage Hard
                              Love Train
                              Follow Your Heart
                              In And Out Of Love
                              Heaven's Here
                              Lonesome Town
                              Disco Heaven
                              Dancing With No Fear
                              Penny Arcade
                              So Much It Hurts
                              Watching The Wildlife
                              Two Tribes
                              The Power Of Love 

                              The Communards

                              Red - 35 Year Anniversary Edition

                                The Communards and London Records release a 35 year anniversary edition of their sophomore album ‘Red’ featuring the hit & cult classic ‘Never Can Say Goodbye’.

                                Upon the release in 1987, it’s since earned platinum status and sold over 300,000 copies worldwide.

                                TRACK LISTING

                                Double Coloured Vinyl Tracklisting

                                1. Tomorrow
                                2. T.M.T. Love T.B.M.G.
                                3. Matter Of Opinion
                                4. Victims
                                5. For A Friend

                                1. Never Can Say Goodbye
                                2. Lovers And Friends
                                3. Hold On Tight
                                4. If I Could Tell You
                                5. C Minor

                                1. I Just Want To Let You Know
                                2. Scat
                                3. 77 The Great Escape
                                4. I Do It All For You
                                5. Zing Went The Strings Of My Heart
                                6. When The Boy In Your Heart Is The Boy In You Arms
                                7. Piece Of Saxophone


                                1. Tomorrow (Stephen Lipson Extended Version)
                                2. There’s More To Love (Jalapeno Mix)
                                3. Never Can Say Goodbye (San Paulo Mix)

                                Black Vinyl Edition Tracklisting

                                1. Tomorrow
                                2. T.M.T. Love T.B.M.G.
                                3. Matter Of Opinion
                                4. Victims
                                5. For A Friend

                                1. Never Can Say Goodbye
                                2. Lovers And Friends
                                3. Hold On Tight
                                4. If I Could Tell You
                                5. C Minor

                                Expanded CD Tracklisting

                                1. Tomorrow 4:52
                                2. T.M.T. T.B.M.G. 4:28
                                3. Matter Of Opinion 4:27
                                4. Victims 4:32
                                5. For A Friend 5:03
                                6. Never Can Say Goodbye 4:53
                                7. Lovers And Friends 4:16
                                8. Hold On Tight 4:49
                                9. If I Could Tell You 4:17
                                10. C Minor 5:11
                                11. I Just Want To Let You Know 3:25
                                12. Scat 3:29
                                13. ‘77 The Great Escape 2:17
                                14. I Do It All For You 5:07
                                15. Romanze For Violin, Piano And Hedgehog 4:26
                                16. Zing Went The Strings Of My Heart 2:45
                                17. When The Boy In Your Heart Is The Boy In Your Arms 2:24
                                18. Never Can Say Goodbye (Spanish Vocal) 4:50
                                19. Piece Of Saxophone 3:29

                                1. Never Can Say Goodbye (The 2 Bears Remix) 9:59
                                2. There’s More To Love (Jalapeño Mix) 7:47
                                3. Tomorrow (Overnight Mix) 5:27
                                4. For A Friend (Remix) 5:02
                                5. Never Can Say Goodbye (Shep Pettibone Extended Mix) 11:14
                                6. C Minor (Live) 3:36
                                7. Victims (Storm Paris) 5:16
                                8. Hold On Tight (Storm Paris) 3:48
                                9. There’s More To Love (Percapella) 5:07
                                10. Tomorrow (demo) 4:54
                                11. Never Can Say Goodbye (rough Mix) 4:54
                                12. For A Friend (Rough Mix) 4:34
                                13. Hold On Tight (demo) 4:40

                                Hot Chip

                                Freakout / Release

                                  Freakout/Release is another dizzying high in a multi-decade career that’s seen Hot Chip continuing to innovate and develop a rich, resonant songcraft. And while they continue to operate at peak form, the album also feels like a new chapter for the group—a collection of flesh-and-blood songs that finds the band reaching into the darkness to emerge as a true creative unit, their gazes fixed positively on the future ahead. The album features Canadian rapper Cadence Weapon, British DJ & musician Lou Hayter & production work from Soulwax.



                                    South Londoner Wu-Lu’s stunning new album contains post-genre war dubs that speak directly to these richly troubled times.

                                    The twelve simmering tracks from the producer, multi-instrumentalist and vocalist are made of depth-charged post-punk, thrashed-up skate-park screamo, and the gauzy hip hop that Knwxledge might make if he’d got lost round the back of The Windmill on Brixton Hill.

                                    It’s laced with revvy, ethereal guitars that warp and loom like electric pylons, concrete walls of bass that power out of drill-influenced, triplet-laced drums and piano melodies that pull you through. It teleports between Factory Records in the darkest 1980s and classic albums from DJ Shadow or early ‘90s Slipknot. LOGGERHEAD pulls from the past and reshapes it for now.

                                    STAFF COMMENTS

                                    Barry says: Loggerhead is a gigantic, sprawling suite of fiery anthems and fragmented instrumental heft, its hip-hop influence is strong but lurches between dark instrumental weirdness and avant rock a-la Anticon Records, it's a wonderfully dynamic and wildly inventive behemoth.

                                    TRACK LISTING

                                    A1. Take Stage
                                    A2. Night Pill Feat. Asha
                                    A3. Facts Feat. AmoN
                                    A4. Scrambled Tricks
                                    A5. South Feat. Lex Amor
                                    A6. Calo Paste Feat. Léa Sen
                                    B1. Slightly
                                    B2. Blame
                                    B3. Ten
                                    B4. Road Trip
                                    B5. Times
                                    B6. Broken Homes



                                      Renaissance (written as Act I: Renaissance) is the upcoming seventh studio album by American singer Beyoncé, released through Parkwood Entertainment and via RCA Records in the UK.

                                      Shortly after Beyoncé announced 'Renaissance', Jem Aswad of Variety reported that the album will include dance and country-leaning tracks, with contributions from songwriter Ryan Tedder and producer Raphael Saadiq. British Vogue confirmed that the album would feature influences from 1990s garage, 1980s "excess", and a "glittering retro-futurism." According to Metro, Beyoncé was paying attention to the works of MistaJam, David Asante, MNEK, Kamille, and Azealia Banks while brainstorming, and referenced South African pop music honoring artists like Brenda Fassie. 

                                      TRACK LISTING

                                      Side A
                                      1. I'M THAT GIRL
                                      2. COZY
                                      3. ALIEN SUPERSTAR
                                      Side B
                                      1. CUFF IT
                                      2. ENERGY
                                      3. BREAK MY SOUL
                                      4. CHURCH GIRL
                                      Side C
                                      1. PLASTIC OFF THE SOFA
                                      2. VIRGO'S GROOVE
                                      3. MOVE
                                      4. HEATED
                                      Side D
                                      1. THIQUE
                                      2. ALL UP IN YOUR MIND
                                      3. AMERICA HAS A PROBLEM
                                      4. PURE/HONEY
                                      5. SUMMER RENAISSANCE


                                      Summer Breeze

                                        Led by guitarist/vocalist Keisuke Yamamoto, Piper was formed in Hamamatsu in Shizuoka Prefecture. A move to Tokyo was followed by the release of their first single on Yupiteru Records, thanks to original guitarist Yuji Suzuki who had became an A&R man for the label. Citing British bands like Wishbone Ash and Camel as influences, Yamamoto and Piper nevertheless conjured up classic American sounds on Piper’s recordings, utilizing unusual recording techniques and new technologies like Linn drums to effortlessly blend styles of funk, soul and fusion and simultaneously evoking summer vibes, autumnal breezes, and wintery shimmer.

                                        Summer Breeze is Piper’s second album, originally released in 1984 on Yupiteru. Inspired by the sounds of Masayoshi Takanaka and Tatsuro Yamashita, as well as the concept of “BGM” (background music) championed by YMO, Summer Breeze was a conscious about face from their debut to create a new signature sound and become masters of summery resort vibes. Its smooth sounds belie the bevy of experimentation utilized on the recording, from vocoders and drum programming to recording guitars direct through the board. Even the iconic cover art, with the surfer wearing an impossibly short crop top, is deceiving in its simplicity – it was one of the most expensive jackets produced by the label at the time, due to its use of special spot colors and custom handlettering. The original album featured the marketing copy “Good Weather! Good Sounds!” which perfectly encapsulates the sounds contained on the album.

                                        STAFF COMMENTS

                                        Patrick says: Originally released in 1985, this sophisticated Japanese classic from Piper has been at the top of the collective wantlist for years. Serving the City Pop cocktail with a resort twist, Summer Breeze shimmies through synth pop, fusion and AOR grooves to deliver a sound as iconic as that surfer’s crop top.

                                        TRACK LISTING

                                        Shine On
                                        Summer Breeze
                                        Hot Sand
                                        Gentle Shower
                                        Samba Night
                                        Starlight Love
                                        Night Shore
                                        Angel Smile
                                        Moonlight Beach

                                        International Teachers Of Pop

                                        Pop Gossip

                                          Music and dancing is one of the last great unifiers that we have. It doesn’t discriminate, it doesn’t care about race, sexual preferences, religion or what side of the fence you are on politically. Music chooses you and you just have to submit yourself to its peculiar yet tender headlock! ‘Don’t Diss the Disco’ is about that. It references Studio 54, Grace Jones & Bianca Jagger on a White Horse - but it’s mainly about clubs where we and our friends frequent like ‘Homoelectric in Manchester. This is a song for our kind of freaks and miscreants and the incessant snobbery faced by them for liking good pop music, good disco, genre’s that on the surface might not be deemed cool, but actually save souls. Says ITOP founder Adrian Flanagan (The Moonlandingz/ Eccentronic Research Council/ Adult Entertainment).

                                          Singer Leonore Wheatley adds.
                                          We wanted to capture that sweaty, hazy, manic, exciting mess in a song, that captures those halcyon days of Clubbing in Sheffield & Manchester, that moment the adrenaline kicks in and everyone in the room is your brother or sister.”

                                          Talking about the album, Adrian said:
                                          We recorded it all and produced it all ourselves at Dean’s Bowling green studio in Sheffield, it’s the best thing we’ve done since the last thing we did, which I know sounds unbelievable, but it really is! We also included Katie Mason on this record who sings live with us as a double pronged two headed front person with Leonore - and their voices together work like a harmonious dream. Katie & Leonore have been friends since primary school so you can’t fake that dynamic, it’s unbreakable) .

                                          Leonore adds:
                                          We decided to go deeper into the club realm. We wanted the record and live shows to go hand in hand, bringing the spectators more into becoming part of the performance. Dean Honer who mixed the album and who has worked with everyone from Jarvis Cocker to Britney Spears said:
                                          I like that we have a disco song about fillicide commited by the Queen. (The Tower) I wonder if Meghan and Harry heard our early demo?

                                          STAFF COMMENTS

                                          Barry says: ITOP return with their newest LP of thumping basslines, sparkling arpeggios and stone-cold groove. It's a heady combination that really captured our attention on the self-titled debut but goes even further this time. Neon grooves, huge monophonic basslines and all of the heart of the debut. Incredible record.

                                          TRACK LISTING

                                          1. Don’t Diss The Disco
                                          2. Gaslight
                                          3. I Stole Yer Plimoles (feat. Jason Williamson)
                                          4. Flood Club
                                          5. A Change
                                          6. Prince (The Final Wheelie) (Introducing Katie-Mason)
                                          7. The Red Dots (Dirty Mind)
                                          8. Beats Working For A Living (For Martin)
                                          9. Ein Weiterer Stein In Der Wand (End Of Days Mix)
                                          10. Femenergy
                                          11. The Tower

                                          Ambienti Coassiali

                                          Vol. 1 - Room 1-6

                                          Ambienti Coassiali began in the '80s as a parallel project of Capricorni Pneumatici, in Milan and surrounding areas. Ambienti Coassiali's debut release, simply titled Vol. 1, was self-released as an incredibly limited cassette in 1988. The compositions were recorded solely with a Yamaha DX7 and two track Revox A77 tape machine, creating straight-to-tape minimalist ethereal FM synthesis compositions. Both the name of the project and the title of the pieces, numbered 1 to 6 corresponding to as many rooms (stanze), recall the concept of ambient music that underlies Vol. 1 - it is music that gradually reveals itself in its surreal development, and aims especially at the subconscious of those who do not listen carefully.
                                          Parallel to the musical project Ambienti Coassiali, a video project has developed - not by chance called "Empty Heads" - which is based upon the same concepts. Originally prepared as ambient "video wallpaper", the video project incorporates synthetic images generated with analog electronic television equipment. Empty Heads participated in video festivals around the world in the late 1980s and the project has evolved over the last 30 years, realizing the finished Ambienti Coassiali Vol. 1 visual project in 2017. Remastered and issued on DVD, the Vol. 1 video project will be released for the first time in its entirety through Incidental Music.
                                          With the release of 2017's Spare Rooms on Italy's legendary Artisti Del 900 (ADN) label, Incidental Music's 2018 vinyl re-issue of Vol. 1, and the forthcoming Vol. 2, Ambienti Coassiali continues to surprise with new compositions nearly 30 years later.

                                          TRACK LISTING

                                          A1. Room 1
                                          A2. Room 2
                                          A3. Room 3
                                          B1. Room 4
                                          B2. Room 5
                                          B3. Room 6

                                          La Roux

                                          La Roux - 2022 Reissue

                                            Originally released in very limited quantities on vinyl in 2009, the album, La Roux, contains the UK No. 1 single Bulletproof as well as Top 3 smash In For The Kill. La Roux was shortlisted for the 2009 Mercury Prize and won Best Electronic/Dance Album at the 53rd Annual Grammy Awards in 2011.

                                            La Roux was a refreshing addition to the world of pop. Brixton-born Elly Jackson was inspired more by the music of Nick Drake and Neil Young than synth pop, and when Ben Langmaid first heard her, she was playing her songs on an acoustic guitar. Together, they updated the template for the synth duo, Langmaid resolutely in the background, while Jackson became the face and mouthpiece for the group.

                                            Their debut single, Quicksand, was released on Kitsune Records in December 2008, and soon after Polydor signed them, and amid a flurry of press attention, In For The Kill came out in March 2009, rising to No. 2 in the UK. In June that year, Bulletproof topped the charts, paving the way for the album, which was received warmly in the UK and made huge inroads into the US charts.

                                            Jackson’s androgyny and the duo’s musical style evoked the 80s, yet this was no mere pastiche. The songs had heart and soul and were delivered with matchless panache. “People don’t just want R&B girls thrusting their groins at them,” she told The Guardian. “It gave me hope. People bought the record even though it was fronted by this odd boy-looking ginger girl.”

                                            La Roux is presented with scrupulous attention to the detail of the original UK first pressing and available in audiophile 180gm vinyl. Whether replacing a much-loved original copy, or adding to a collection afresh, this is a superior way to enjoy such enduring and influential music.

                                            TRACK LISTING

                                            1. In For The Kill
                                            2. Tigerlily
                                            3. Quicksand
                                            4. Bulletproof
                                            5. Colourless Colour
                                            6. I'm Not Your Toy
                                            7. Cover My Eyes
                                            8. As If By Magic
                                            9. Fascination
                                            10. Reflections Are Protection
                                            11. Armour Love
                                            12. Growing Pains

                                            Black Peaches follow up their acclaimed 2016 debut with a dazzling display of musicianship on their explosive new album Fire In The Hole.

                                            “Black Peaches existed inside me before I was aware of it,” says the band’s Rob Smoughton, also known as a member of Hot Chip and Scritti Politti. “It’s the culmination and continuation of the music I love. I started to notice how Brazilian rhythm, funk, soul, classic country and pop were all combining in the music I was writing, and I looked for other band members to join me to bring it alive.”

                                            And he found other members to bring that combination alive in Susumu Mukai, Charlie Michael, Nick Roberts and Thomas Greene. Together they released 2016’s acclaimed Get Down You Dirty Rascals and now return with an album that continues to throw genres together with all the seamless grace of a seasoned cocktail maker but free of the postured affectations associated with such moves.

                                            Black Peaches are a place where genres collide and musical eras meld. On their second album the band has absorbed all the tropical sounds, glistening melodies and funk-ridden grooves into a sound that is truly their own. “I wanted the combination and layering of our influences to be organic,” says Smoughton. “To create Black Peaches music. To take the ideas from the first record further into our own place.”

                                            The result is a record that skips with the vibrancy and buoyancy of a band still in love with the idea of bringing their record collection to life, but the band now understand themselves as much as the music that inspires them and have created something new and refined.

                                            Given the eclectic styles rooted in the make-up of the band, to enter into the world of Black Peaches is often to feel like one is flying from country-to-country with each new song. For Smoughton this musical traversing is a key part of the experience of the band. “I find the combination of mythology, history and geography to be romantic and I want our music to elicit the same thrill. I think the album conjures up the adventure of moving from one place to another; from Spain into Northern Africa, where North America tips into the South. Narratively the songs inhabit a place between the conscious and subconscious - between dreams and waking life.”

                                            This globetrotting sonic voyage creates a sense of the unknown in the record, where each track exists as a new and unpredictable path. This is all done under the mission of creating a record that is capable of pure musical transcendence. “I really believe that music has the ability to transcend and move people emotionally and spiritually,” Smoughton says. “Our music is not about the separation between musician and audience but about the space in between.”

                                            Yet the album also works on an intuitive and physical level. On top of its narrative of the world between the conscious and the subconscious, it is also simply a collection of songs to make you dance and move. Whether it’s the Delta blues influenced strut of “Lemonade”, the “slinky and naughty” dance floor pounce of “The Black Peach Boogie” or the Afro-Brazilian skip of “Cuatro Berimbau.”

                                            Perhaps the most emblematic song of all when it comes to capturing the essence, power and groove of the album is the title track “Fire in the Hole”. “It comes from a phrase that miners would shout it to warn others that they had charged an explosive,” Smoughton says. “It’s to tell you something is about to explode. In this case it’s about being unable to resist the urge to dance. About giving over to rhythm and sound.”

                                            TRACK LISTING

                                            1. Cuatro Berimbau
                                            2. Lemonade
                                            3. Fire In The Hole
                                            4. Barracuda
                                            5. The Black Peach Boogie
                                            6. Spice Route
                                            7. Pillars Of Hercules

                                            Bonus Dinked 7”
                                            Side A
                                            Bad Luck
                                            Side B
                                            Dub Peach Boogie

                                            Totally Enormous Extinct Dinosaurs

                                            When The Lights Go

                                              Recorded predominantly in Orlando’s studio in Los Angeles, ‘When the Lights Go’ is his first album since 2012’s critically acclaimed ‘Trouble’. The new album marks a departure in sound, defined, of course, by the events of the last few years. Encompassing songwriting, ballads and a pop-centered aesthetic, it’s full of depth, feeling, storytelling and woe - presented in a compelling manner, as only he can.

                                              ‘When the Lights Go’ is a substantial body of work, containing 17 tracks, representative of the duration between albums, “I feel grateful to know that there are people who are interested in more music from me. So I want to give them something significant in length”, he says. When the Lights Go also marks a shift into the pop domain, Orlando’s vocals take centre stage with arrangements that complement the sadness in the songwriting.

                                              TRACK LISTING

                                              Side A
                                              1. Crosswalk
                                              2. Persuasion (interlude)
                                              3. Blood In The Snow
                                              4. Never Seen You Dance
                                              Side B
                                              1. Forever
                                              2. The Sleeper
                                              3. Story
                                              4. Sound & Rhythm
                                              Side C
                                              1. When The Lights Go
                                              2. Basement
                                              3. Friend
                                              4. Be With You
                                              Side D
                                              13. Treason
                                              14. Through The Floor
                                              15. Silence
                                              16. Blue Is The Color
                                              17. Thugs

                                              Martyn Ware

                                              Electronically Yours Vol. I: My Autobiography - Signed Edition

                                                The long-awaited memoir of The Human League and Heaven 17 legend, Martyn Ware.

                                                This is a music autobiography to remember. This is the story of Martyn Ware. The Human League and Heaven 17 were among some of the most pioneering bands of the 1980s, with Ware having played an integral role in each of their numerous successes. A young lad from the heart of post-war Sheffield, Ware formed The Human League a few years out of school in his early twenties. Described by David Bowie as 'the future of music', it wasn't long before the band become known for their innovative and infectiously catchy singles such as 'Being Boiled', touring with the likes of Siouxsie and the Banshees and Iggy Pop before Ware's departure. Heaven 17 followed suit, with their soon-to-be classic albums, Penthouse & Pavement and The Luxury Gap, featuring several colossal hits. Ground-breaking icons in new wave and synth pop, both groups remain some of the biggest-selling bands across the UK and worldwide.

                                                In Electronically Yours, Martyn takes us through his incredible route to stardom; from his austere upbringing in various council houses and close teenage friendship with formerbandmate Phil Oakey, to the white-hot experimentation in the 'Synth Britannia' era and his production career, which allowed him to work with some of the world's greatest singers, including Tina Turner. But it's not just his life inside the industry which is compelling; a proud socialist, Martyn writes poignantly about politics - how it can be a soulful, personal, moral duty - and its role in his music creation and Britain today. With charming meditations on culture, humour, travel and sport, Martyn also shares his love of 60s films, explains why Venice is the most beautiful city in the world, and reveals how Sheffield Wednesday has forever been his first and eternal passion.

                                                A huge page-turner and always warmly told, Electronically Yours sees Martyn talk candidly for the very first time about his extraordinary journey. Discover amusing anecdotes, raw confessions, and moving reflections of a life well and truly lived at the height of the music industry.

                                                Davy Kehoe

                                                The Pilot

                                                Wino go full Zeppelin! Inspired by a recent trip to New Orleans and the deep South, Davy & Co. wrangle sliding basses and pumping organs into 20 minute rock n’ roll-on odyssey. Chugging locomotives fall into an infinite groove on the A side, while the B takes the underneath perspecitve- rattling out subdued sub bass frequencies. Full sleeve artwork by (the legend) The Germ . Mastered by the Bastard.

                                                STAFF COMMENTS

                                                Patrick says: After that Wino-D release made us freak last year, the Irish outfit return with a new style for the new era. The modular bleeps and buzzing circuitry remain, pluming acrid smoke from the fresh solder, but now they play ensemble with motorik percussion, blazing guitars and wailing vocals, raging away until the bassline brings the groove. Flip it and journey further into the freakzone. This is neo-PZYK magik for the next generation - don't get left behind.

                                                TRACK LISTING

                                                A1. The Pilot (part 1)
                                                B1. The Pilot (part 2)

                                                Placid Angles, alias of seminal electronic artist John Beltran, drops an EP on AD93. Heading back to his roots on this one, the record veers from dreamy 303-laced ambient soundscapes into endorphin-rushing new rave breaks and ethereal brain dance before settling on a kinda vintage-indebted sunrise acid lullaby; like you're watching the day break at Castle Morton.

                                                RIYL: RX-101, BOC, Four Tet / KH, B-12, Firescope.

                                                Limited copies! 

                                                STAFF COMMENTS

                                                Matt says: Nicely braindanced and flecks with acid, Placid Angels make you feel like your watching a saturated VHS of all the raves you went to as a kid.

                                                TRACK LISTING

                                                A Perfect Swim
                                                Stormy Angel
                                                Moonlight Sunset
                                                Setting Suns

                                                Zola Jesus


                                                  There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned to a place that’s already wrapped inside you but obscured from conscious experience. This place has been buried because it tends to hold pain, but it’s also a gift, because once it’s opened, once you’re inside of it, it can show you the truth. Zola Jesus’s new album, Arkhon, finds new ways of loosing this submerged, stalled pain.

                                                  On previous albums, Danilova had largely played the role of auteur, meticulously crafting every aspect of Zola Jesus’s sound and look. This time, she realized that her habitual need for control was sealing her out of her art. Arkhon sees Zola Jesus’s first collaboration with producer Randall Dunn (Sunn O))), Earth, Mandy soundtrack, Candyman soundtrack) and with drummer and percussionist Matt Chamberlain, whose prior work appears on albums by Fiona Apple, Bob Dylan, and David Bowie. Arkhon runs the spectrum from songs whose weight lies in their bare simplicity, like “Desire,” an elegiac piano composition about the end of a relationship that was recorded acoustically in a single take, to towering, groove-oriented tracks like “The Fall” and the tight, interlocking percussion and samples of a Slovenian folk choir in “Lost,” which propel narratives of collective despair and mutual comfort in kind. Through these turns, Arkhon reveals itself as an album whose power derives from abandon. Both its turmoils and its pleasures take root in the body, letting individual consciousness dissolve into the thick of the beat.

                                                  Despite the darkness curled inside reality, there is power, too, in surrendering to what can’t be pinned down, to the wild unfurling of the world in all its unforeseeable motion. That letting go is the crux of Arkhon, which marks a new way of moving and making for Zola Jesus.

                                                  STAFF COMMENTS

                                                  Barry says: Zola Jesus' music has always been uncompromising, and had a distinct identity all of it's own, but on 'Arkhon', Danilova mixes her distinctive compositional style with a number of collaborators, resulting in a fractured, visceral hybrid of modern industrial music and abstracted synth-pop.

                                                  TRACK LISTING

                                                  1 Lost
                                                  2 The Fall
                                                  3 Undertow
                                                  4 Into The Wild
                                                  5 Dead And Gone
                                                  6 Sewn
                                                  7 Desire
                                                  8 Fault
                                                  9 Efemra
                                                  10 Do That Anymore 

                                                  Stephen Mallinder

                                                  Tick Tick Tick

                                                    Cabaret Voltaire co-founder Stephen Mallinder’s second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and “wonky disco” into a riveting rhythm suite ripe for our age of escalation: tick tick tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at MemeTune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond “cowbell on every track, and entirely no reverb.”

                                                    From the first coiled cybernetic groove of opener “Contact,” the album’s spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, “rhythm is the default, the bedrock, the building block – even the melodies are rhythmic.” Across 40-plus years of electronic musicianship, Mallinder’s sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial (“ringdropp,” “Shock to the Body”) crossfade into no wavy punkfunk (“Guernica Gallery,” “Galaxy,” “The Trial”), bad trip IDM (“Wasteland”), and jittery vapor house (“Hush”), at the threshold of modes both familiar and foreign.

                                                    Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder’s main muse: “Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation.” This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: “I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together.”

                                                    TRACK LISTING

                                                    SIDE A:
                                                    A1. Contact
                                                    A2. Ringdropp
                                                    A3. Galaxy
                                                    A4. Wasteland

                                                    SIDE B:
                                                    B1. Hush
                                                    B2. Shock To The Body
                                                    B3. Guernica Gallery *
                                                    B4. The Trial
                                                    B5. Tick Tick Tick

                                                    * CD Bonus Track

                                                    Nurse With Wound

                                                    The Ladies Home Tickler

                                                      This expanded collection is the definitive version of The Ladies Home Tickler. An essential historical document for the new and lifelong NWW follower. Classic tape cut ups, radio sludge, surrealism and abstract chaos. The birth of NWW, a project that is now in its 5th decade. Recorded back 1980, the NWW line-up for these recordings was: Steven Stapleton: Record player, cassette machine, noise. Jim Thirlwell: Bass, ergonomic jack plug, Wasp. William Bennett: Guitar, Wasp.

                                                      TRACK LISTING

                                                      Side 1:

                                                      A. Registered Nurse (The Second Coming/Come Organisation)
                                                      B. BONUS TRACK- Nana Or A Thing Of Uncommon Nonsense

                                                      Side 2:

                                                      A. Back, Sack And Crack (Oxymoron Version, Automating Vol 1/United Dairies
                                                      B. BONUS TRACK – Human, Human, Human…

                                                      Side 3:

                                                      A. Duelling Banjo’s (Hoisting The Black Flag/United Dairies)
                                                      B. BONUS TRACK – Wisecrack

                                                      Side 4

                                                      A. Registered Nurse (Tickler Version)
                                                      B. BONUS TRACK – Monsanto Moon Perfectly And Loving Remastered By Andrew Liles. 

                                                      Hannah Peel & Paraorchestra

                                                      The Unfolding

                                                        There are pieces of music that seek to tell us deeper stories. Others harness the talents of the players at their disposal in adventurous ways. Then there are the rare, generous works that make us think back to our roots as human beings and to our shared beginnings in the universe, that lift us in their melodies, rhythms and textures, that carry us with them.

                                                        The Unfolding is all of these things. An extraordinary eight-part collaboration between composer Hannah Peel (Mercury Prize and Emmy nominee) and Paraorchestra, it was made over three years in precious morsels of time around a global pandemic. These circumstances – unexpected when the collaboration began – add weight to its explorations in sound about who we are, where we came from, and who we could all be. The Unfolding also explores Paraorchestra’s progressive idea of what an orchestra should be, mixing analogue, digital and assistive instruments with a unique ensemble of disabled and non-disabled musicians to make magic happen, and accessible to all.

                                                        STAFF COMMENTS

                                                        Barry says: Surpassing the meditative shimmer and oscillating beauty of last years' 'Fir Wave' was never going to be easy, but this is the most strikingly beautiful piece of work I think she's ever done. Choral and otherworldly, but imbued with a levity and optimistic glimmer that Peel does so well. Mindblowing.

                                                        TRACK LISTING

                                                        Side A
                                                        A1. The Universe Before Matter [10:58]
                                                        A2. Wild Animal [3:55]
                                                        Side B
                                                        B1. Passage [5:22]
                                                        B2. The Unfolding [5:47]
                                                        Side C
                                                        C1. If After Weeks Of Early Sun [4:16]
                                                        C2. Perhaps It Made Us Happy For A Minute [4:17]
                                                        C3. We Are Part Mineral [6:06]
                                                        Side D
                                                        D1. Part Cloud [10:31]
                                                        D2. The Unfolding Credits Instrumental Version [02:19] *vinyl Exclusive Not On CD*
                                                        D3. The Unfolding Credits [02:19]


                                                        Baby, We're Ascending

                                                          HAAi's debut full-length album is her most collaborative, energetic and vibrant collection to date. Baby, We're Ascending, a 13-track sonic adventure that takes you along for the ride – from hardcore, echoey beats to sweeping, colourful synth lines and bright, warped vocal samples. The voices on the album are vast and eclectic – from Jon Hopkins and Hot Chip's Alexis Taylor to singer Obi Franky and spoken word poet and activist Kai-Isaiah Jamal.

                                                          The album follows the release of ‘Lights Out’, her collaboration with Grammy-nominated producer Fred Again.. and Romy of The xx, and is supported by a series of worldwide shows.

                                                          TRACK LISTING

                                                          1 Channels
                                                          2 Pigeon Barron
                                                          3 Bodies Of Water
                                                          4 Human Sound Feat. Kai-Isaiah Jamal And Obi Franky
                                                          5 Louder Always Better
                                                          6 Biggest Mood Ever Feat. Alexis Taylor
                                                          7 AM
                                                          8 FM
                                                          9 I’ve Been Thinking A Lot Lately
                                                          10 Purple Jelly Disc Feat. Obi Franky
                                                          11 Baby, We’re Ascending
                                                          12 Orca
                                                          13 Tardigrade

                                                          Pneumatic Tubes

                                                          A Letter From Treetops

                                                            A Letter from TreeTops is the debut album from Pneumatic Tubes, the solo project of multi-instrumentalist Jesse Chandler. Grounded here in his own bucolic makings, Chandler opens his imagination to the world with this very personal and contemplative album. It’s a kind of American Kosmiche Music, a paean to the wild landscapes of the Adirondacks and Catskills of Upstate New York where he grew up. (TreeTops is the name of a summer camp, fondly remembered by several generations of the Chandler family.)

                                                            The album came to Chandler almost as an automatic transmission. Shortly after the death of his father, he holed up alone in the old family home with a few synths, a couple of vintage keyboards, percussion instruments and of course his beloved flutes and clarinets - the “pneumatic tubes” of his nom de plume. Channelling raw memory and landscape, Chandler laid down most of the material for this mystical and elegiac suite of music in just a few days. He later called on some talented friends to flesh out the final recordings; Paul Alexander on bass, Bill Campbell on drums, Marissa Nadler backing vocals and Robert Gomez on electric guitar.

                                                            The result is a series of beautifully faded musical photographs. Gentle melodies are propelled along by synth arpeggiators or laidback sidestick and felt beater drums. Chandler’s wind instruments are woven throughout like wild vines binding the elements together. Towards the end of the album an underlying note of melancholy swells into grief during the very moving Witch Water, which is subtly underpinned with Marissa Nadler’s haunting voice. The clouds soon clear, the mountains reappear, and the wheel of the year and of the generations turns again as A Letter from TreeTops signs off with the same lilting melody on which it began.

                                                            Originally hailing from Woodstock, New York and now living in Denton, Texas, Jesse Chandler is the keyboard and woodwinds player for the bands Midlake and Mercury Rev. His particular warmth as a composer and improviser is informed by a childhood ensconced in the mystical Catskill mountains, where he absorbed the area’s rich musical history and developed a fascination with keyboard and woodwind instruments.

                                                            A Letter from TreeTops is not his first appearance on Ghost Box, he also contributed organ and flute on the Soundcarriers’ incredible Entropicalia album.

                                                            Evocative liner notes are provided by Justin Hopper, author of Old Weird Albion and writer of the Ghost Box spoken word album Chanctonbury Rings. By happy coincidence Hopper also grew up in New York State and has his own deep connection to the landscapes there.

                                                            STAFF COMMENTS

                                                            Barry says: The wonderful Jesse Chandler of other-bands fame (Midlake, Mercury Rev) brings his debut solo LP to Ghost Box, and it's a beautifully warm distillation of light, folky instrumentation and swimming orchestral atmospheres. Cosmic, soaring wooze. Thoroughly stunning.

                                                            TRACK LISTING

                                                            1. Summer's Children
                                                            2. Joyous Lake
                                                            3. TreeTops
                                                            4. The Big Deep
                                                            5. Mumbly-Peg
                                                            6. Slow Fawns
                                                            7. Camp Sunfrost
                                                            8. Overlook Mountain House
                                                            9. Saw Teeth
                                                            10. Witch Water
                                                            11. Magic Meadow
                                                            12. Summer's End

                                                            Stroom's valentine special for 2019 sees the label excavate some lovely wave from Venice, Italy (1981-1984). Though the city may be best known for gondolas, the biennale and romantic getaways, it seems those canals spawned some vital contributions to Italy's vibrant underground pop scene in the 80s, not least the DIY sounds of Ruins. The collaborative project of Alessandro Pizzin and Piergiuseppe Ciranna, Ruins took inspiration from British post punk, US electro, the robots from Düsseldorf and the sleek new wave topping the international charts at the time. Opener "Elegant Shout" fuses crunchy electronics and grooving bass and guitar to create a bedroom pop beauty which could easily have made it onto MFM's "Uneven Paths" comp. "Alone" is a punchier affair, more obviously directed at the leftfield dancefloors with insistent synths and the kind of garbled chorus you get from no-wave. Cut a rug in your baggiest trousers with the early-Spandeau stylings of "You're Like A Cigarette", then go wild with the drunk in the jazz club weirdo post-punk of "Skeleton In Love". The flipside keeps the hits coming, be it the slow and sleazy "Fit Of Nerves", tropical pop bangers "Boys & Girls" and "Everybody Knows Me" or the whacked out white funk of "It's Not Too Grand". Long live Stroom and their endless knowledge of alternative wave greats.

                                                            STAFF COMMENTS

                                                            Patrick says: Skinny ties, skew-wiff sounds and the weirdest, white funk around - sounds good to me. Sitting at the groovier end of the post punk/synth pop spectrum, "Occasional Visits" is a wavey masterpiece from Italy's 80s underground. Time to dance differently...

                                                            TRACK LISTING

                                                            A1. Elegant Shout
                                                            A2. Alone
                                                            A3. You're Like A Cigarette
                                                            A4. Skeleton In Love
                                                            B1. Fit Of Nerves
                                                            B2. Boys & Girls
                                                            B3. Everybody Knows Me
                                                            B4. It's Not Too Grand

                                                            John Carpenter

                                                            Lost Themes

                                                              John Carpenter, the legendary director and composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ on Sacred Bones Records. 

                                                              John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

                                                              “Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

                                                              As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Singularly titled to inspire dread with such names as “Vortex,” “Dominion,” “Abyss,” and “Purgatory,” but all linked into a unified whole, Lost Themes has a mesmerizing power. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and the raging guitars and chiming percussion of Goblin’s Suspiria. “’Both classical music and rock and roll are part of my musical language, which is riff-driven,” Carpenter explains. “So if you listen carefully, I’m sure you can hear some echoes from my past. But I’m sure that’s true of any composer. You just bring your music along with you.”

                                                              TRACK LISTING

                                                              1. Vortex
                                                              2. Obsidian
                                                              3. Fallen
                                                              4. Domain
                                                              5. Mystery
                                                              6. Abyss
                                                              7. Wraith
                                                              8. Purgatory
                                                              9. Night

                                                              Gemma Cullingford

                                                              Tongue Tied

                                                                ‘Tongue Tied’ is the sophomore album from Gemma Cullingford (Sink Ya Teeth). Written and produced from Gemma's humble home studio in Norfolk, ‘Tongue Tied’ blends many styles of electronica from 70's experimental and new wave, early 80's electro, acid house and techno to noughties electro clash, topped with her own vocal style to produce a unique and fresh sound. It explores relationships and the different emotions they can bring, from paranoia, yearning and helplessness to lust, shyness and just downright wanting to dance.

                                                                ‘Tongue Tied’ is a progressive follow up to her debut ‘Let Me Speak’ which garnered support from the likes of Steve Lamacq, Amy Lame, Nemone, Chris Hawkins, Jamz Supernova, John Kennedy and James Endeacott, plus glowing reviews in Mojo, Uncut and Electronic Sound.

                                                                For the cover artwork on ‘Tongue Tied’, Gemma has collaborated with visual artist Kelda Storm who shares Gemma's love for bright, contrasting neon colours and minimal bold designs. She uses the iconography of feminine lips across her work as a symbol of speech and voice.

                                                                RIYL: Sink Ya Teeth, Lonelady, A Certain Ratio.

                                                                TRACK LISTING

                                                                Side A
                                                                1. Accessory
                                                                2. Tongue Tied
                                                                3. Bass Face
                                                                4. Holding Dreams
                                                                5. Mechanical
                                                                Side B
                                                                6. New Day
                                                                7. No Fail
                                                                8. Chronicle Of Sound
                                                                9. Red Room
                                                                10. Daisy


                                                                The Pink Album

                                                                  THE PINK ALBUM, is dawn and dusk, the epic and the intimate. This 22-track double album, its title inspired by the artwork of Julian House, features collaborations with Jarvis Cocker, Étienne Daho, Raven Violet and Jon Spencer. Pink has its modulations: shocking at times but signifying also tenderness, intimacy, the carnal. THE PINK ALBUM knows the shades of love, its nuances, and how it can be delicious - and frightening. Marvellous – and aching. Rather than be the silver lining to the cloud, THE PINK ALBUM mines deeper, to a precious ore, dark and glittering.

                                                                  Unloved: Jade Vincent, Keefus Ciancia, David Holmes. The machinations of a benevolent fate brought them together. A glorious serendipity. In Los Angeles, Ciancia - producer, keyboardist, creator of soundtracks, True Detective among them - met David Holmes, the innovative, inquisitive and ingenious Belfast DJ who recast himself as master of song and image for film and television. Ciancia invited Holmes to the Rotary Room in Los Feliz, where the extraordinary Jade Vincent was singing.

                                                                  Tuesday nights in the Rotary Room in Los Feliz: a place of thrilling sonic alchemy, where musicians could experiment and collaborate at Ciancia and Vincent’s long-running salon. Holmes was asked to DJ and then to curate another night – and then another.

                                                                  Nights bled into later nights. Conversation spun into collaboration. These three artists, kindred spirits, sonic familiars, spoke the same language, one whose lexicon included Jack Nitzsche, Morricone, Nino Rota, the electronic sounds of Raymond Scott, the vocabulary of vocal instrumentalists and fearless raconteurs, Edda Dell’Orso, Ruth White, Françoise Hardy, Connie Francis, Brigitte Fontaine, Jacques Brel, Elvis and Lee Hazlewood. Finding sound and programmed beats, Keefus and David excavated and innovated, experimented and re-interpreted, creating a landscape for Jade’s melodies and lyrics, for sublime songs of lament and confession. The legendary Hollywood Vox Studios was where the Unloved trio formally came together as a band, in a studio almost original to its 1936 incarnation.

                                                                  In the spring of 2016, Unloved were guilty, their album Guilty of Love wholly modern yet steeped in the rich, redolent depths of the past. In 2019, they were heartbroken, with the audacious voodoo spells and sweet delights of Heartbreak. And all the while, Unloved’s immersive power and playful menace has fitted the slippery thriller series Killing Eve like a velvet glove, the thread to the needle. The music and sound of Unloved plays an integral role as their music is the soundtrack, the score, one of the core characters unseen.

                                                                  And now, in 2022, it’s the magnificent, metaphysical PINK ALBUM. Be seduced by the whispered, languorous, bluesy, not so sweet nothings of “Love Experiment” and the lippy insouciance of “Turn of the screw”. Thrill to the infinite variety: “Mother’s been a bad girl” is brazen, and “I don’t like you anymore” gloriously sultry. “Foolin’”, where languid, world-weary jazz sounds are skewed by a phantasmagoric organ from a funfair hallucinated, and there’s the sparkling fury and celestial chorus of “Rainbrose”, as though some flower-festooned goddess is emerging.

                                                                  Go from the jaunty keyboards and hey! hey! hey! of “WTC” to the melancholic poise of “Ever”, the jittery electropop of “Girl can’t help it”, to the spacious Morricone-tinged “Lucky”. Be reminded that the past is a snare, the future doesn’t care. All we have is Now. There is psychedelic world-warping sound, but also times when reality is acutely, achingly, present. “Number in my phone” is a beautiful, wistful paean to those no longer here. Jade’s remarkable voice - whispering, icy, lush, wounded, smoky - unifies the album with its striking diversity.

                                                                  Unvarnished, unabashed, unbridled, uncensored: rising from the ashes, this is raw emotion transmogrified. This is experimental free-flow form, from instrumental arrangement to voice. It’s Man, Woman, Human, Love and Death.

                                                                  TRACK LISTING

                                                                  01. Rainbrose
                                                                  02. Waiting For Tomorrow
                                                                  03. Now
                                                                  04. Girl Can't Help It
                                                                  05. I Don’t Like You Anymore
                                                                  06. Foolin'
                                                                  07. Mother’s Been A Bad Girl
                                                                  08. Boowaah
                                                                  09. Lucky
                                                                  10. WTC
                                                                  11. Sorry, Baby
                                                                  12. Number In My Phone
                                                                  13. Call Me When You Have A Clue
                                                                  14. No Substance
                                                                  15. Love Experiment
                                                                  16. Turn Of The Screw
                                                                  17. To The Day I Die
                                                                  18. Walk On, Yeah
                                                                  19. Accountable
                                                                  20. There’s No Way
                                                                  21. Ever
                                                                  22. Thinkin' About Her

                                                                  Mila Anatoli

                                                                  Too Late / Kathy - Inc. Skyrager / Jonny Rock Remixes

                                                                  For every musician who tastes significant success, there are countless others who fall through the cracks: artists whose dreams of carving a career out of their passion were dashed, despite the quality, inventiveness and imaginative nature of the music they made. Most never get to see the music they slaved over get released, or a new generation of listeners appreciate the demos they worked so hard on for an extended period of time.
                                                                  Mila Anatoli is one such artist. Had it not been for Spacetalk’s Danny McLewin grabbing one of only 10 acetates pressed of her early 1980s demo recordings from a record dealer in New Jersey, her remarkable story and impressively off-kilter music would never have seen the light of day. Yet Anatoli deserves her moment in the spotlight and a chance to tell her tale.
                                                                  Despite the hand-written information on McLewin’s acetate being almost 40 years out of date, Spacetalk managed to find to find her – Mila had married and changed her name some years ago making the search significantly harder.
                                                                  The small amount of information the acetate provided led the search to celebrated jazz producer and photographer Hank O’Neal who had hung out with Mila back in the early 80s New York. He regularly took her to events and used his contacts to offer introductions to a mixture of local heroes and global music stars. Through O’Neal, Anatoli met Arthur Russell, Astrid Gilberto, Michael Moriaty and photographers Bert Stern and Berenice Abbot. At one point, O’Neal even took Anatoli to a downtown studio to watch The Clash making a recording with Allen Ginsberg.
                                                                  Amazingly Hank still had many photographs of Mila taken during their time as friends in NYC and the images used on this new release have all been taken from Hank’s archive. Completing the reissue package alongside the original songs Danny McLewin in his Skyrager guise and Jonny Rock have added their editing skills to two of the tracks.

                                                                  TRACK LISTING

                                                                  A1. Too Late
                                                                  A2. Kathy
                                                                  A3. To Be Cruel
                                                                  B1. Too Late (Skyrager Edit)
                                                                  B2. Kathy (Jonny Rock Edit)

                                                                  The Associates

                                                                  Sulk - 40th Anniversary Edition

                                                                    Formed in Dundee, Scotland in 1979, the Associates were comprised of vocalist Billy Mackenzie and multi-instrumentalist Alan Rankine.

                                                                    Built on an eclectic mix of influences and interests ranging from art rock to glam and disco, the duo found early success with their debut record 'The Affectionate Punch' in 1981. Their second studio album 'Sulk', released in 1982, was the group's definitive statement, a fascinating blend of lush, new romantic popcraft and dark, surreal cabaret stylings. Upon its release, the album was voted the album of the year by Melody Maker. Billy Mackenzie recalled before his death in 1997, “Sulk was a real liberation. It had the essence of what I’m about. I realized I could create my own sunshine.”

                                                                    Black Bones

                                                                    Nairobi Night Train / FAD

                                                                    Shamanically leaning late night tribalism here from Black Bones with a unique take on afro, techno and post punk which puts the production duo firmly in the covenstead of Hoga Nord. This is their first 7" on the label but with the diecast sonic voodoo they're demonstrating here, I doubt it'll be there last display!

                                                                    Black Bones use familiar components in surprising ways: electronics and loops swirl over sequenced pounding backbeats, but when the aggressive stereo bass kicks in on “Nairobi Night Train”, Kenya’s border stretches all the way up to the British Isles and a huge savannah opens its horizons just south of Belfast.

                                                                    This is an alluring mix of European and African music tradition - harness by electronic wizardy and wrapped in a magic that'll tempt everyone into the dance! 

                                                                    STAFF COMMENTS

                                                                    Matt says: Höga Nord Rekords continue to provide the aural spells for the witch's coven. Broomsticking into datura realms of sound and space. Only for the spiritually strong!

                                                                    TRACK LISTING

                                                                    A. Nairobi Night Train
                                                                    B. F.A.D

                                                                    Sofie Royer


                                                                      The Viennese singer/songwriter Sofie Royer, fka Sofie, returns with her second album Harlequin for Stones Throw, the follow up to her well received debut album Cult Survivor in 2020.

                                                                      Harlequin journeys between Sofie’s adolescence and adulthood, blending her nostalgia for early aughts reality television and American mall punk subculture with her passion for medieval performance, European cabaret, and Vienna’s ballet and opera history.

                                                                      For her new record, Sofie adopts the visual aesthetic and gestures of the court jester, clown and cabaret artist, from the album artwork through to her live performances.

                                                                      TRACK LISTING

                                                                      A1 Schweden Espresso
                                                                      A2 Court Jester
                                                                      A3 Love Park
                                                                      A4 Baker Miller Pink
                                                                      B1 Klein-Marx
                                                                      B2 Feeling Bad Forsyth Street
                                                                      B3 Ballad Of Bobby Beausoleil
                                                                      B4 Sick Boy
                                                                      B5 Someone Is Smoking


                                                                      More D4ta

                                                                        For bands, a “hiatus” is usually just a polite way of announcing a break-up, but sometimes, a hiatus is just that—a hiatus. Back in 2017, when Moderat announced that they’d be taking an extended break following a final concert in their hometown of Berlin, many assumed that the group was basically calling it quits. After all, they’d already completed a celebrated trilogy of albums, repeatedly broken into the pop charts and performed all around the globe (including MainStage sets at some of the world’s biggest festivals including Coachella, Roskilde, Rock Werchter, Glastonbury, Primavera, Sónar and many many more)—what else was left for the German trio to accomplish? Moderat, however, always knew that they’d find their way back to one another.

                                                                        10 TRACKS
                                                                        MORE D4TA, the group’s fourth album, arrives more than six years after its predecessor (2016’s III), yet its contents are quintessentially Moderat. Although the trio’s hiatus was absolutely real—exhausted after years of touring, Apparat (a.k.a. Sascha Ring) and Modeselektor (a.k.a. Gernot Bronsert and Sebastian Szary) spent two years away from one another, focusing instead on their own respective projects—once they decided to resume working together, the music (eventually) started flowing again.

                                                                        46 MINUTES, 33 SECONDS
                                                                        It wasn’t an easy process. It’s never been easy for Moderat, an outfit who tellingly titled their debut EP Auf Kosten Der Gesundheit (translation: At the Cost of Health) and then needed seven years to put together a follow-up. Back in those days, the group’s members were essentially remixing each other, but over time, they’ve gradually developed into a proper band, writing together and developing a workflow that’s totally distinct from their other projects. (In a band where all three members are artists, producers and mixing engineers, striking that sort of creative balance is trickier than it might seem.)

                                                                        494 WORDS
                                                                        Created largely during a time when touring (and most traveling) was off the table, MORE D4TA is an album that wrestles with feelings of isolation and information overload—issues that have become particularly pronounced over the past two years. Many of its lyrics are rooted in Ring’s frequent trips to Berlin’s Gemäldegalerie museum (often with his infant daughter in tow), where he’d seek refuge in the great paintings of the past while worrying about the future.

                                                                        490,6 MB
                                                                        MORE D4TA is rooted in that same collaborative spirit, but long before any of its tracks were laid down, Moderat spent months hanging out and getting musically reacquainted, indulging in extended bouts of experimentation and slowly fleshing out ideas as they dove into modular composition, field recordings and other sonic oddities. That said, MORE D4TA is very much a Moderat album. No matter how far the band ventures into music’s outer realms, they always wind up back in their own unique soundworld, a place where emotive pop and fluttering electronic soundscapes walk hand in hand. What they make isn’t necessarily dance music, but it is something that shines brightest in the dark of night, the group’s rich melodies and Ring’s ethereal vocals emitting a warm, almost bioluminescent glow.

                                                                        MORE D4TA
                                                                        Although the LP’s title is an anagram for “Moderat 4,” there’s more to it than cheeky wordplay. In a time where everyone is constantly bombarded with content, and taking part in the cultural conversation requires engaging with digital platforms more interested in harvesting data than celebrating art, it’s easy to feel overwhelmed and disillusioned. MORE D4TA acknowledges that reality, but it also refuses to be cowed by it. Moderat’s new album is ultimately just another addition to the content pile—there’s no escaping that—but the trio still yearns to create and connect. They’re not a conceptual outfit, and never have been: After spending the better part of two decades making music together, they’ve carved out a sound and aesthetic that are all their own, and MORE D4TA showcases a group that’s creatively recharged and fully dedicated to its craft. Maybe bands should take hiatuses—real ones— a little more often.

                                                                        STAFF COMMENTS

                                                                        Barry says: As expected, this collaboration of these two musical masterminds sees a perfect juxtaposition of laid-back mellow electronica and more dancefloor orientated heft, and is probably the most refined of their musical visions thus far. Both brilliantly produced and endlessly deep, it's a wonderful journey.

                                                                        TRACK LISTING

                                                                        1. FAST LAND
                                                                        2. EASY PREY
                                                                        3. DRUM GLOW
                                                                        4. SOFT EDIT
                                                                        5. UNDO REDO
                                                                        6. NEON RATS
                                                                        7. MORE LOVE
                                                                        8. NUMB BELL
                                                                        9. DOOM HYPE
                                                                        10. COPY COPY

                                                                        The Sound Of Science

                                                                        The Sound Of Science

                                                                          Dean Honer and Kevin Pearce present a beautifully designed original soundtrack of songs taken from a science show for children and adults alike.

                                                                          Dean Honer is a Sheffield based musician, producer and founding member of many iconic electronic music bands including The All Seeing I, I Monster, The Moonlandingz and The Eccentronic Research Council. He has worked as a producer for bands such as The Human League, Add N to X and Roisin Murphy.

                                                                          Kevin Pearce is a songwriter from Essex. He has received plaudits for his work from The Independent, The Guardian and Mojo magazine. His music has been used on HBO programmes in the USA as well as BBC TV shows in the UK.

                                                                          Castles in Space is proud to present The Sound of Science. Dean explains the background and inspiration for the album:

                                                                          “The idea for The Sound of Science had been in my head for a number of years.

                                                                          “Being a parent of young kids I endured a lot of very cliched and awful children's songs that were attempting to combine education and entertainment. These quickly became a form of torture to me, something that the CIA might use in covert operations to flush out a drug cartel from their hideout. It became apparent that there was a desperate need for informative songs and music that were appealing and bearable for both children and their parents.

                                                                          “I recruited my friend Kevin Pearce, (who I have produced and collaborated with on various projects over the years), to bounce ideas off and who could put together a nice series of chords and could sing! Which helps when writing songs. Kevin is from an acoustic folk background and I'm more of a one finger synth player in the Human League tradition. I thought it would be interesting to mix the folk and electronic element together for children’s songs. Something that harks back to both the BBC Radiophonic Workshop in the 60's and 70's and also the folk songs of TV programmes like Play Away, public information films and music from various weird and oddball kids TV from that era.

                                                                          “We then recruited various artists to sing on the tracks including PsychFolk singer Sharron Kraus, performance artist Heidi Kilpaleinen (HK119), synth goddess Tara Busch, artist and ex Add N to X man Steven Claydon and vocalists Liza Violet and Tom O'Hara.

                                                                          “Kevin and I are both interested in science and astronomy so that was the obvious direction for the album. Writing songs about various scientific subjects was interesting and a challenge. Aiming them at children meant that we didn't need a PHD for the lyrics. It became more about conveying a sense of wonder and presenting some amazing facts to audience.

                                                                          “In 2018 we were asked by Sheffield University to work on a live version of the album and to collaborate with some of their senior scientists on the project. This turned The Sound of Science into a live performance spectacular involving scientific experiments on stage, a live band performing the songs, plus 3D visuals created by Human in Sheffield. We performed 3 shows over two days and the reaction from kids and their parents was amazing. More festival shows due in 2020 were curtailed because of the pandemic, but we hope to get the show back on the road in 2022.”

                                                                          STAFF COMMENTS

                                                                          Barry says: An absolutely stunning package here, once again for the ever-brilliant CiS, and a landmark release for their 100th cat no. too! Beautiful kosmische synths, robot vocals and airy arps, bringing to mind Kosmischer Laufer or Panabrite, but imbued with a percussive drive and Hohner-exclusive humour. Really beautiful stuff in sight and sound.

                                                                          TRACK LISTING

                                                                          1. Photosynthesis (Love The Green Machines)
                                                                          2. What Makes Sound
                                                                          3. Everything’s Made Of Atoms
                                                                          4. These Are The Elements
                                                                          5. Global Warming
                                                                          6. The Water Cycle
                                                                          7. The Speed Of Light
                                                                          8. Gravity
                                                                          9. Nebulae
                                                                          10. The Planets And Moons Of The Solar System
                                                                          11. Black Hole (Sagittarius A Star)
                                                                          12. A Total Solar Eclipse

                                                                          Nilüfer Yanya


                                                                            Painless is the follow-up to Nilüfer Yanya’s renowned 2019 debut album Miss Universe, which fully established her as a singular artist and a distinctive voice that simply has to be heard. The critically acclaimed Miss Universe - a widescreen concept record that took a tongue in cheek swipe at the most self-involved corners of the health and wellness industry - was followed last year by the three song EP Feeling Lucky?, which further explored Yanya’s fascination with ‘90s alt-rock melodies and drew on themes of resentment, her fear of flying, and the concept of luck. Pitchfork summed up Feeling Lucky? and her now peerless songwriting aptitude best: “Nilüfer Yanya’s melodies have a pull so strong they almost necessitate their own law of physics.” Yanya also re-released her early EPs on vinyl for the first time this year on the record Inside Out. The release is a fundraiser for Artists in Transit, a collaborative not for profit group she founded with her sister Molly that delivers art workshops to displaced people and communities in times of hardship.

                                                                            As the daughter of two visual artists (her Irish-Barbadian mother is a textile designer and her Turkish-born father’s work is exhibited at the British Museum) creativity was always destined for Nilüfer Yanya’s future. Now she enters the next stage of her creative journey, Yanya is running head first into the depths of emotional vulnerability on her sophomore record Painless. The album was recorded between a basement studio in Stoke Newington and Riverfish Music in Penzance with Miss Universe collaborator and producer Wilma Archer, DEEK Recordings founder Bullion, Big Thief producer Andrew Sarlo, and musician Jazzi Bobbi.

                                                                            Where Miss Universe stretched musical boundaries to include a litany of styles from smooth jazz melodies to radio ready pop, Painless takes a more direct sonic approach. By narrowing down her previously broad palette to a handful of robust ideas that revolve around melancholy harmonies and looped industrial beats to mimic the insular focus of the lyrics, Yanya has smoothed out the idiosyncrasies of previous releases without losing what is essential to her.

                                                                            Painless is a record that forces the listener to sit with the discomfort that accompanies so many of life’s biggest challenges whether it be relationship breakdowns, coping with loneliness, or the search for our inner self. “It's a record about emotion,” Yanya explains. “I think it's more open about that in a way that Miss Universe wasn't because there's so many cloaks and sleeves with the concept I built around it.” She adds, summing up the ethos of the new album, “I'm not as scared to admit my feelings”.

                                                                            STAFF COMMENTS

                                                                            Barry says: Poppy melodies, clashing percussion and Yanya's unmistakeable voice weave around each-other, sometimes hinting at the vocal rhythms of R&B, but much more akin to a stylistic mix of electronic indie and scattered art-rock.

                                                                            TRACK LISTING

                                                                            1. The Dealer
                                                                            2. L/R
                                                                            3. Shameless
                                                                            4. Stabilise
                                                                            5. Chase Me
                                                                            6. Midnight Sun
                                                                            7. Trouble
                                                                            8. Try
                                                                            9. Company
                                                                            10. Belong With You
                                                                            11. The Mystic
                                                                            12. Anotherlife

                                                                            Kaitlyn Aurelia Smith

                                                                            Let's Turn It Into Sound

                                                                              Acclaimed composer, artist, and producer Kaitlyn Aurelia Smith returns to Ghostly International with Let’s Turn it Into Sound, her most ambitious, intuitive, and inviting work to date. Though ambient and modern new age circles have embraced Smith’s catalog, Let’s Turn it Into Sound favors a more baroque and robust form of avant-pop. The music bursts with vertiginous vocal harmonies and detailed sound design, forming a truly unique sonic vision.

                                                                              “Art is awe, art is mystery expressed,” writes Kaitlyn Aurelia Smith. “Art is somatic, even if it is experienced cerebrally. It is felt.”

                                                                              The central mysteries of Smith’s ninth studio album, Let’s Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we’re feeling? How do we translate our experience of the world into something that someone else can understand?

                                                                              For Smith, a self-described “feeler,” the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let’s Turn it Into Sound strives to use sound to communicate what words alone cannot.

                                                                              “The album is a puzzle,” Smith says. “[It] is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them.” The energized “Is it Me or Is it You” comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets “There is Something” refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound.

                                                                              This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing—a booklet which accompanies the album.

                                                                              Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. “I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff [my inner community] wants to communicate but it doesn’t have the English language as its form of communication, and so [this album was a form of] giving space to let it talk and not judge it and just let it play.” By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

                                                                              TRACK LISTING

                                                                              1. Have You Felt Lately?
                                                                              2. Locate
                                                                              3. Let It Fall
                                                                              4. Is It Me Or Is It You?
                                                                              5. Check Your Translation
                                                                              6. Pivot Signal
                                                                              7. Unbraid: The Merge
                                                                              8. Then The Wind Came
                                                                              9. There Is Something
                                                                              10. Give To The Water

                                                                              Make A Dance change things up for their third release, ushing in rising Yorkshire post-punk outfit Deadletter to collaborate.

                                                                              "Line The Cows" is a kinda wobbly, post-punk reggae-disco jam. Like Yard Act meets ESG and Jah Wobble with lyrical direction from John Cooper Clarke. A skeletal drum machine groove supporting winding bass and Zac's deadpan, well pronounced vox cutting through like a knife and providing some clever and insightful phrases. The second track is a recording of the band doing a full live take in London’s Pony Studios showcasing just how tight this 6 piece band are.

                                                                              On the flip Make A Dance get to work with the remix package with broken beats and arpeggiated baselines, turning the track into a dark twisted monster fit for a 4am bass bin workout.

                                                                              STAFF COMMENTS

                                                                              Matt says: Make A Dance present rising Yorkshire firm Deadletter. The OG should appeal to fans of Yard Act and ESG whilst MAD are on hand with two wobbly, electrified disco-not-disco jams. Killer!

                                                                              TRACK LISTING

                                                                              A1. Line The Cows
                                                                              A2. Line The Cows (Live At Pony Studios)
                                                                              B1: Line The Cows (Make A Dance Remix)
                                                                              B2: Line The Cows (Make A Dance Dub)



                                                                                New single from Caroline Polachek entitled “Billions” and the second to be taken from her upcoming, sophomore album. The single features new B-Side & rework of Brooklyn-based musician, artist, composer, & Mercury Music Prize nominated producer Oneohtrix Point Never’s “Long Road Home” from his 2020 album “Magic Oneohtrix Point Never.” Caroline Polachek is a Grammy-Award winning artist and songwriter who’s lead single “Bunny Is A Rider” was chosen by Pitchfork as their “Best Song of 2021.” The LA-based artist released her solo album PANG in 2019 to critical acclaim, receiving praise from Pitchfork (7.3), The Guardian (4/5), NME (4/5), TLOBF (9/10), Paste (8/10), & more. She is confirmed as direct support for Dua Lipa across her North American Stadium Tour, as well as Coachella 2022

                                                                                TRACK LISTING

                                                                                1. Billions
                                                                                2. Long Road Home


                                                                                Exorcising Ghosts - Half Speed Master Edition

                                                                                  Exorcising Ghosts (1984) is a 16-track 2LP set compiled and produced in consultation with lead singer David Sylvian, two years after Japan dissolved.

                                                                                  This career spanning ‘Best of’ features three recordings from the band’s early career on the Hansa Records label (including 1979’s “Quiet Life”) but mainly focuses on material from their two seminal studio albums on Virgin Records; Gentlemen Take Polaroids (1980) and Tin Drum (1981).

                                                                                  TRACK LISTING

                                                                                  Side A
                                                                                  Methods Of Dance
                                                                                  Gentlemen Take Polaroids
                                                                                  Quiet Life
                                                                                  Side B
                                                                                  A Foreign Place
                                                                                  My New Career
                                                                                  The Other Side Of Life
                                                                                  Side C
                                                                                  Visions Of China
                                                                                  Taking Islands In Africa
                                                                                  Songs Of Pioneers
                                                                                  Side D
                                                                                  Voices Raised In Welcome, Hands Held In Prayer
                                                                                  Life Without Buildings
                                                                                  Talking Drum
                                                                                  The Art Of Parties

                                                                                  Gloria Jones / Soft Cell

                                                                                  Tainted Love - Music Box

                                                                                    Whether Gloira Jones' Northern Soul classic is your thing or Soft Cell's great synth pop reworking, you'll love this gorgeous music box version!

                                                                                    Comes with a certificate of authenticity.

                                                                                    Taylor Swift

                                                                                    Fearless - Platinum Edition

                                                                                      Taylor Swift's 2nd Album was released in October 2008 and has sold over 10 Million albums in the USA alone. The album features the hit singles- ''Fifteen'', ''Love Story'', ''You Belong To Me'', ''Fearless'', and ''White Horse''.


                                                                                      7" Single Storage Carry Case - Black

                                                                                        - Portable 7" Single Record Storage Box
                                                                                        - Carry handle in matching colours
                                                                                        - Protective chrome effect aluminium trim on corners and all edges of the box
                                                                                        - Hinged lid with strong closing clasp
                                                                                        - Will hold up to 80 7" singles in their sleeves 

                                                                                        Denai Moore

                                                                                        Modern Dread

                                                                                          Denai Moore is a British- Jamaican artist who rose to prominence as a guest vocalist on SBTRKT's 2014 album ‘Wonder Where We Land’. Moore was born in Spanish Town, Jamaica, where she started to learn to play keyboard from her father. Her family moved to Stratford, London when she was 10. 

                                                                                          TRACK LISTING

                                                                                          Too Close
                                                                                          Don’t Close The Door
                                                                                          Fake Sorry
                                                                                          Grapefruit On The Porch
                                                                                          To The Brink
                                                                                          Motherless Child
                                                                                          Turn Off The Radio
                                                                                          Offer Me
                                                                                          Wishin’ You Better


                                                                                          12" Record Storage Carry Case - Dark Blue

                                                                                            - Portable LP record storage carry case
                                                                                            - Robust vinyl covering
                                                                                            - Protective chrome effect trim on corners and all edges of the box
                                                                                            - Hinged lid with 2 closing clasps and carry handle in matching colours
                                                                                            - Holds approx up to 50 LPs / 12"s in their sleeves
                                                                                            - 3.8 KG


                                                                                            12" Record Storage Carry Case - Black

                                                                                              - Portable LP record storage carry case
                                                                                              - Robust vinyl covering
                                                                                              - Protective chrome effect trim on corners and all edges of the box
                                                                                              - Hinged lid with 2 closing clasps and carry handle in matching colours
                                                                                              - Holds approx up to 50 LPs / 12"s in their sleeves
                                                                                              - 3.8 KG

                                                                                              All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

                                                                                              Manchester’s LoneLady has been a firm favourite with most of our rotating assembly over the last decade. Her infectious mix of kinetic drum rhythms, thin and funky, picked guitar lines and completely distinctive vocal style has proven a winning formula for lovers of post-punk, (any)wave and electro-indie hybrids alike. Her intrepid DIY approach sees her writing and playing all instrumental and vocal parts herself, furthering her credentials as an all-in-one modern studio songstress. On Former Things the blueprint reaches its natural zenith – seeing her galvanized grooves emanate from a modest arsenal of instruments with a spontaneous magic. Whereas previous outings were inspired by the industrial Victorian warehouses which once populated the Manchester cityscape, this new set sees her move location to a shooting range in Somerset, offering up expansive, shiny, dare-I-say-it, playful territories within her music. There’s a degree of sonic affluency which reflects her journey from urban to rural.

                                                                                              A detailed equipment list accompanies the LP, going someway to explain how she creates these twangy, bass-banging, arp-studded mechanics. Each arrangement evolves from a basic beat to an unignorable earworm within a typical 16-bar period; the familiarity of her solid construction meaning every single track on the album gets its hook right underneath your skin. Her nonchalant yet candy-covered yearnings remain anthemic across every track; there’s no denying Julie Campbell’s mastery of the chorus!

                                                                                              Huge with indie disco heads AND electronic aficionados this LP has remained a constant feature of my record bag throughout 2021 and garnered rightful accolades from the sincerest corners of the creative community.

                                                                                              STAFF COMMENTS

                                                                                              Barry says: An absolutely top tip for any fans of machine funk or disco, this newest LoneLady outing sees Campbell brilliantly offsetting the more hefty synth grooves with an acoustic levity and lightness of touch. It's dynamic and exciting, filled with moments of clever production and every bit the deserving follow-up to 2015's 'Hinterland'.

                                                                                              TRACK LISTING

                                                                                              Vinyl Tracklisting:
                                                                                              Side A
                                                                                              A1. The Catcher / (There Is) No Logic
                                                                                              A2. Former Things / Time Time Time
                                                                                              Side B
                                                                                              B1. Threats / Fear Colours
                                                                                              B2. Treasure / Terminal Ground

                                                                                              CD Tracklisting:
                                                                                              1. The Catcher
                                                                                              2. (There Is) No Logic
                                                                                              3. Former Things
                                                                                              4. Time Time Time
                                                                                              5. Threats
                                                                                              6. Fear Colours
                                                                                              7. Treasure
                                                                                              8. Terminal Ground

                                                                                              Mannequin Records boss Alessandro Adriani lands on L.I.E.S. with a new four track EP of his melodic and driving signature Italo-EBM-electro fusion.

                                                                                              A master of machine music, Adriani lets them do the talking throughout the EP, with heavy arpeggios, big Juno basslines, and slamming 808s bringing the tracks to a head. Go directly to the symphonic and epic opener "Ecstatic Feeling" with its beautiful melodies, dramatic arpeggios and reverb saturated snares, all reminiscent of Yello meets Robotnik with pent up tension waiting to explode. This is an anthem to say the least! The remainder of the ep follows suit laced with traditional EBM and electro stylings being manipulated by the hands of Adriani in his studio. Limited!

                                                                                              TRACK LISTING

                                                                                              Ecstatic Feeling
                                                                                              Abductio Ab Nihilo
                                                                                              Clap Trap
                                                                                              Technological Death

                                                                                              Hand Stamped, Hand numbered, Limited press, with insert.

                                                                                              An oddly familiar / familiarly odd entity floating about the relatively cohesive surface of contemporary electronic music, Belgium-via-Italy based duo Front De Cadeau has been knocking genres askew and blowing overused terminologies out of the water with unrelenting panache over the past decade. Championing a sound unmoored by vanishing trends and cross-pollinating approaches, F2C punch back in on Antinote with their anticipated debut album, “We Slowly Riot”, an 8-track mishmash of tunes previously released and not.

                                                                                              Bastardizing tried-and-tested rave tropes by slowing the tempo down to barely recognizable shapes and contours, Hugo Sanchez and Maurizio Ferrara dish out a new high in their ever expanding discography. Free-falling down the K-hole with no parachute on, “La Ketamine” burns slow but steady. A practically immersive dub filled with processed minutiae and vibrational drums out a mystic forest, it’s a helluva trippy post-industrial joint that unfolds, heady and empyreumatic to the bone. “We Slowly Rot” puts on offer a buggy script-like swing, adorned with F2C’s trademark blend of spoken word and jacuzzi-warm vibes, whereas “There is Something Wrong” steers us into further sizzling, syncopated groove territories through a fevered meshwork of sliced-and-diced vox samples, overheated machine talk and primitive percussions on a African Headcharge tip.

                                                                                              Draped in eerie, 8-bit-infused layers and Arabian Nights ambiences, “Slam is Slam” treats us to a spookily fun Oriental mix of hot-tempered darbukkahs and FX-soaked riffs. The outrageously sensual “Ouvre Ta Bouche” is a tactile invitation to get down in some dark alcove of sorts and more if you hit it off. A steely dub primed for post-party divagations, “Climate Change” slowly veers off into verbed-out industrial jazz as bars run by, while “Legal Illegal” cuts a path of acid-dipped dancehall from outer-space across the club. Last but not least, Jewish clarinets quietly move along waves of sedated bass on “Casa Gaza”, rounding it all off on a dreamy, cinematic note that serenely phases into a liquid-like roller over one solidly deeper-than-deep home stretch.

                                                                                              TRACK LISTING

                                                                                              La Ketamine
                                                                                              We Slowly Rot(Alternative Version)
                                                                                              There Is Something Wrong
                                                                                              Slam Is Slam (Bass Version)
                                                                                              Ouvre Ta Bouche (Fm Dub)
                                                                                              Climate Change
                                                                                              Legal Illegal
                                                                                              Casa Gaza

                                                                                              Rudolf Abramov

                                                                                              Paracetamol / Clonex

                                                                                              Rudolf Abramov is taking a step in a different direction from his last release on Höga Nord Rekords. This 7” contains the works of deep mining in an old hard drive during the introversion of the pandemic quarantine. These two gems have been given a bit of tasteful polishing before reaching the point of release and the result is a punk meets stoner rock experience propelled by hard sequencers and drum machines.

                                                                                              This record is as English / Irish as you find em: straight forward instrumentation and lyrical performance presented with a dirty and rough production. The beats are stripped with an edgy punch and the synthesizers are overdriven, giving them guitar like qualities.

                                                                                              The “Paracetamol / Clonex” 7” is a release of covid demons, and the sound of spitting out the bitter taste of isolation, or to use his own words: ‘On this 7" you will find absurd and desperate lyrics accompanied by heavy English and Irish accents, driven robotic drum machines, dirty synths, crunching bass, and as unpolished as your dad's old Angle grinder.’

                                                                                              STAFF COMMENTS

                                                                                              Matt says: One of the shining lights of the underground, Höga Nord Rekords, continues to usher in a crucial roster of artists eschewing music trends and Instagram stardom for a dark, nocturnal, gothy inspired sound all of their own. Equally at home in the rock club or warehouse; this is uncompromising music strictly for those who like it strange!

                                                                                              TRACK LISTING

                                                                                              A. Paracetamol Feat. Matthew Johnson
                                                                                              B. Clonex Feat. Brendan Cleary

                                                                                              “The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“.

                                                                                              Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

                                                                                              Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

                                                                                              Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

                                                                                              They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

                                                                                              Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

                                                                                              TRACK LISTING

                                                                                              1. Absolute Power
                                                                                              2. Earth Girls
                                                                                              3. Fearless Like A Child
                                                                                              4. Kids Today
                                                                                              5. Intermezzo
                                                                                              6. Sweet Smell Of Success
                                                                                              7. Obnoxiously Talented
                                                                                              8. Avoid Heaven
                                                                                              9. Take Me To Your Leader
                                                                                              10. They Will Pay
                                                                                              11. Pompeii

                                                                                              Duran Duran

                                                                                              FUTURE PAST

                                                                                                British music icons, Duran Duran have sold over 100 million records, had 18 American hit singles, 21 UK Top 20 tunes and have continued to perform to huge concert audiences around the world since the band first formed in 1980.

                                                                                                Consistently fusing art, technology, fashion and a signature sense of style with their unique and infectious brand of music, singer Simon Le Bon, keyboardist Nick Rhodes, bassist John Taylor and drummer Roger Taylor have proven themselves timeless, always innovating and reinventing, to remain ahead of the curve.

                                                                                                New album FUTURE PAST is the highly anticipated 15th studio album from Duran Duran and boasts esteemed producers Erol Alkan, Giorgio Moroder and Mark Ronson behind the board. It features special guests Graham Coxon of Blur on guitar, Mike Garson from David Bowie's band on piano, and guest vocals from Lykke Li, with more exciting collaborations to be announced.

                                                                                                Music From Memory are excited to introduce another new group for 2021, this time presenting the self-titled debut album from Loveshadow.

                                                                                                Currently based in San Francisco, the duo of Anya and Izaak initially met whilst working in an Oakland cafe in 2016. The two Californians quickly bonded over a track by the ’80s disco band Aurra which was playing over the radio and almost immediately their separate journeys in music became interwoven. They soon began to write music and creating their own work would become a way for the pair to get closer to the sound they were searching for, as well as enabling them to discover the healing power of making and listening to music.

                                                                                                ‘Loveshadow’ was recorded predominantly in the Bay Area between 2017-2020 as well as whilst traveling to NYC, Chicago and around Portland. Having released previously as the outfit ‘S Transporter’ alongside Detroit friend Ryan Spencer, Loveshadow is formed of Anya as singer and song writer alongside Izaak on synthesizers, bass and percussion. This eight track album is the duo’s first release; exploring emotive Pop and DIY Funk leanings it stands as a joyful homage to the music they bond over, as well as an ode to their own love and friendship.

                                                                                                TRACK LISTING

                                                                                                A1. 7
                                                                                                A2. No Control
                                                                                                A3. Passthru
                                                                                                A4. Severance
                                                                                                B1. More
                                                                                                B2. Pleasure Idler
                                                                                                B3. Tableaux Vivant
                                                                                                B4. Wildflowers

                                                                                                Released in 2020, Rheinzand’s self-titled debut LP heralded an authentic vibe of retro-futuristic disco-pop, distinguishing themselves in the current climate of dance music. The album was met with acclaim, picked by Piccadilly Records as their nr. 1 album of the year. Since, the material on that album have proven fertile ground for practitioners in the art of the remix. On this EP, we release a selection of those efforts.

                                                                                                On the first slot, we have Running Back label owner and longstanding DJ heavyweight Gerd Janson polishing off his house music fluency with a gleaming take on ‘Blind’. The swerving vocals of Charlotte Caluwaerts’ reverberate through space ray arpeggiators and burnished drum gates.
                                                                                                Belgian compatriot Blitzzega, the neon-drenched moniker of composer Bjorn Eriksson, features with a dizzyingly switched-on version of ‘Mi Mundo’, sporting gnawing synths and hijacked funk licks.

                                                                                                Next, dub-pop wizards Peaking Lights serve up a heady brew of plugged-up melodies braided around Reinhard and Charlotte’s shuffling vocals. This remix blends the magenta glow of synthwave with the deep grooves of maybe late Theo Parrish. We round off the EP with a treat form Dennis ‘Citizen’ Kane, the iconic dance music figure who emerged in mid-90s NYC downtown scene. A veteran DJ and disco-head, Kane applies a luminous hand to Rheinzand’s ’14 Again’, deepening the vibe of kittenish mystery through carefully layered work of phasing drones, wandering synths, and mushrooming rhythm section (think T-Connection). 

                                                                                                STAFF COMMENTS

                                                                                                Mine says: After the success of the first remix EP we'll again be stocking an exclusive 12" by our album of the year winners Rheinzand, this time featuring remixes by Running Back mastermind Gerd Janson and shop favourites Peaking Lights. LUSH!

                                                                                                TRACK LISTING

                                                                                                A1. Blind (Gerd Janson Dance Mix)
                                                                                                A2. Mi Mundo (Blitzzega Mix)
                                                                                                B1. Synti (Peaking Lights Disco Dub Mix)
                                                                                                B2. 14 Again (Dennis Kane Remix)



                                                                                                  MUNA is magic. What other band could have stamped the forsaken year of 2021 with spangles and pom-poms, could have made you sing (and maybe even believe) that “Life’s so fun, life’s so fun,” during what may well have been the most uneasy stretch of your life? “Silk Chiffon,” MUNA’s instant-classic cult smash, featuring the band’s new label head Phoebe Bridgers, hit the gray skies of the pandemic’s year-and-a-half mark like a double rainbow. Since MUNA — lead singer/songwriter Katie Gavin, guitarist/producer Naomi McPherson, guitarist Josette Maskin — began making music together in college, at USC, they’d always embraced pain as a bedrock of longing, a part of growing up, and an inherent factor of marginalized experience: the band’s members belong to queer and minority communities, and play for these fellow-travelers above all. But sometimes, for MUNA, after nearly a decade of friendship and a long stretch of pandemic-induced self-reckoning, the most radical note possible is that of bliss.

                                                                                                  MUNA, the band’s self-titled third album, is a landmark — the forceful, deliberate, dimensional output of a band who has nothing to prove to anyone except themselves. The synth on “What I Want” scintillates like a Robyn dance-floor anthem; “Anything But Me,” galloping in 12/8, gives off Shania Twain in eighties neon; “Kind of Girl,” with its soaring, plaintive The Chicks chorus, begs to be sung at max volume with your best friends. It’s marked by a newfound creative assurance and technical ability, both in terms of McPherson and Maskin’s arrangements and production as well as Gavin’s songwriting, which is as propulsive as ever, but here opens up into new moments of perspective and grace.

                                                                                                  Here, more than ever, MUNA musters their unique powers to break through the existential muck and transport you, suddenly, into a room where everything is possible — a place where the disco ball’s never stopped throwing sparkles on the walls, where you can sweat and cry and lie down on the floor and make out with whoever, where vulnerability in the presence of those who love you can make you feel momentarily bulletproof, and selfconsciousness only sharpens the swell of joy.

                                                                                                  TRACK LISTING

                                                                                                  1. Silk Chiffon (feat. Phoebe Bridgers)
                                                                                                  2. What I Want
                                                                                                  3. Runner’s High
                                                                                                  4. Home By Now
                                                                                                  5. Kind Of Girl
                                                                                                  6. Handle Me
                                                                                                  7. No Idea
                                                                                                  8. Solid
                                                                                                  9. Anything But Me
                                                                                                  10. Loose Garment
                                                                                                  11. Shooting Star

                                                                                                  Pip Blom

                                                                                                  Welcome Break

                                                                                                    There are approximately a great deal and very many ‘Welcome Breaks’ scattered throughout the sprawling motorways of the UK.

                                                                                                    Now, regardless of whether that statement’s true or not… when life’s become a series of long-stretches and welcomed breaks, it’s to no avail that sometimes all it takes to alleviate spirits is the simplest, of experiential indulgences.

                                                                                                    Be it the buzz of an overly exhausted tour van, or the green light and smell of sausage rolls in the near Beaconsfield distance... inspiration can be found in the funniest corners of this place we call home; and it’s in the heart of day-to-day simplicities and sprawling services, that we gladly receive Amsterdam’s beamy-grinned, indie-pop powerhouse Pip Blom, back into lives.

                                                                                                    Following an extensive touring schedule which saw the Dutch 4-piece roam over field, oceans, and Glastonbury’s John Peel stage following the release of their debut record ‘Boat’, any such cool-cat would be forgiven for wanting to kick back, and indulge in some very appreciated, time off.
                                                                                                    As is often the way, such timely-abandon cannot be said for Pip Blom however, who immediately began to gather up all her soaked-up inspirations taken from the road, and manifest a re-energised sense of self, and ritualistic songwriting.

                                                                                                    Cosying down in a room of her parents’ house (which she shares with her brother and fellow bandmate Tender Blom), Pip, a self-confessed “fan of deadlines”, set aside three months to write twenty songs- sixteen of which
                                                                                                    were to become demos for the band to structure and flesh out, once in the studio together.

                                                                                                    It’s at this stage in our indie-fairy-tale that things start to get ever so 2020. Whilst the world was suddenly put on hold as a result of Covid-19, Pip Blom, who’d made plans to return to their favourite ‘Big Jelly Studios’ in Ramsgate, England, were suddenly faced with a very sticky, kind of dilemma. “We’d scheduled to go into the studio in September but summer started moving and there were a couple of countries not allowed to go to the UK anymore... a week before we had to go, the Netherlands was one of those countries”- notes Pip.

                                                                                                    Sentimentalities, and pre-established friendships (by way of Grammy award-winning engineer Caesar Edmunds) took president, and the decision was made to pack up their gear and a variety of board games and exercise equipment, all in preparation of a fourteen-day quarantine faced upon arrival in the UK.

                                                                                                    In total, three weeks were spent recording what would become the groups sophomore release; a Al Harle engineered love-affair which was self produced entirely by the band and culminated in a legally intimate, fully seated album play-back, to six, of Ramsgate’s most chorus-savvy and ‘in the-know’ residents.

                                                                                                    Getting out of their hometown and into an environment which removed all notions of “normality” or personal space, was an atmospheric godsend in terms of motivation; an act which encouraged Pip Blom to re-adjust and buckle down as a unit again, after spending so long in mandatory isolation.
                                                                                                    Much like the danceable-realism of Pip’s beloved Parquet Courts, the key to an album well done, is the balancing act of fine-production, and capturing that core live-essence we all miss. “We always play one live track three times and after we then build that track in the studio” says Pip, assembling together amalgamated “live-energies” in order to produce a capsule of environmental-satisfaction, that can be appreciated during any time of day, or life’s little moments.

                                                                                                    Actively seeking out moments of creative-authenticity, be it via a slightly out-of-tune guitar or proudly-fuzzed vocals, Pip Blom take us back full circle and introduce us to their ‘Welcome Break’- an eleven-track release which resonates with about as much decisive allure as it’s ‘Boat’ precursor, but this time with a bit more contemporary chaos to boot.

                                                                                                    Where ‘Boat’ reckoned as a fresh-faced, yet gloriously fearless game changer, ‘Welcome Break’ is the self-assured older sibling who, with an additional year or two behind themselves, isn’t afraid to speak out, take lead, and instigate a liberated revolution-come-bliss-out.

                                                                                                    Lead single’s ‘Keep It Together’ and ‘You Don’t Want This’ are glistening masterclasses in feel-good chorus- the very kind of coming-of-age relatability where a soul would want to let down their hair, stick their arm out the window of their best friends car and roll with the motions in a rapture of soundtracked euphoria, and jangled adventure.

                                                                                                    Unhinging genre in our instant-access era of musical snoot, no-one does an enthused-chorus quite like Pip Blom yet much can be said for this gang being far from one-trick-ponies.

                                                                                                    Anthemic drifters ‘Different Tune’ and ‘It Should Have Been Fun’ are slow building, amplified highlights. Carrying all the weight of convicted fearlessness on their shoulders, Pip Blom unhinge pre-disposed expectations of crafted alternative like graduates straight outta Kim Deal’s school of rock, whilst closing number ‘Trouble In Paradise’, sets the tone for what will only be the ultimate, set-list once gigs resume again.

                                                                                                    With Pip Blom, no mood is untouched nor sense of renewal left behind. The trick to it all? As Pip reveals: “I just really like catchy songs and I feel like that’s something we try to do. I’d classify it as being sentimental – it’s not sugar-happy Pop.... more like ‘Titanic’ pop songs...”

                                                                                                    For those of us missing the buzzed adrenaline of communal music exploration, the idea of escapism in cramped and sweaty crevices can seem quite lifeless. If it's a sense of community you’re after then look no further than ‘Pip Blom Backstage’.

                                                                                                    Streaming goodness 24/7 as a fan-centric loyalty app, ‘Pip Blom Backstage’ gives access to exclusive news, premium content, and, a chat box for the Pip Blom Backstage community; further cementing Pip Blom as undeniable pals for life as fan-clips, spotify playlists and even a cooking lesson from bassist Darek Mercks, are all made available from the VIP lounge of your own back-pocket.

                                                                                                    In conclusion, there're actually thirty-five ‘Welcome Break’ pit stops a weary traveller can make in a lifetime spent on the M1, and it’s associates. Whilst the road’s presently a little less travelled, Pip Blom’s ‘Welcome Break’ is adamantly nothing to do with the present state of affairs. In fact, it doesn’t have anything to do with much at all and that’s the way they like it.
                                                                                                    ‘Welcome Break’ is but two nouns of which when placed together in context, ring confidently with prowess, intent, and a radiant true-spirit - much like Pip Blom herself. 

                                                                                                    STAFF COMMENTS

                                                                                                    Barry says: Both thoroughly melodic and swimming with that airy haze we've come to expect from this Dutch outfit, but with moments of distorted heft and crashing post-punk groove, the new one from Pip Blom is every bit the essential purchase. Ram-packed with hooks and brilliantly produced, it's definitely their most accomplished work to date.

                                                                                                    TRACK LISTING

                                                                                                    1 You Don't Want This
                                                                                                    2 12
                                                                                                    3 It Should Have Been Fun
                                                                                                    4 Keep It Together
                                                                                                    5 Different Tune
                                                                                                    6 I Know I’m Not Easy To Like
                                                                                                    7 Faces
                                                                                                    8 I Love The City
                                                                                                    9 Easy
                                                                                                    10 Holiday
                                                                                                    11 Trouble In Paradise


                                                                                                    Honeymoon Suite

                                                                                                      Recorded in a one bedroom flat in the depths of UK lockdowns, the songs on ‘Honeymoon Suite’ are a blend of love, grief, anxiety, resilience, danger, heartbreak and hope. Part pop record, part electronic soundscape, part interior still life, ‘Honeymoon Suite’ will be released on Hand Mirror, the label Harkin founded in 2019 with her wife, the poet Kate Leah Hewett.

                                                                                                      Speaking about the video, Harkin said "I was a big fan of Pastel Castle's work and felt like this song would be a perfect fit. I wrote and recorded it during lockdown in a flat with no outdoor space. My brother loaned me a Nintendo Switch and I found solace in games with large maps to explore. Songwriting and gameplay can both have the power to transport and the video Pastel Castle has created takes me on a beautiful and perilous quest."

                                                                                                      Adding to this, Pastel Castle commented "The video for 'Body Clock' is a piece of frame-by-frame pixel art animation, which I had the best time making here at my little home studio in Leeds. Many days were focused entirely on tailoring the movement of Katie's Sprite / Avatar to align with the mood of the track. I'm very happy with our collaboration and feel inspired now to go on a bit of an adventure of my own."

                                                                                                      The album marks a significant shift for an artist who had previously built a career around collaboration. In addition to her own bands, Harkin has been a touring member of Sleater-Kinney, Wild Beasts, Flock of Dimes, and Kurt Vileand Courtney Barnett’s Sea Lice. She performed backing vocals for Dua Lipa on Saturday Night Live. She dueted with comedian Sarah Silverman on 'Tiny Changes: A Celebration of Frightened Rabbit's The Midnight Organ Fight'. Her studio work includes contributions to Waxahatchee’s 'Out In The Storm'. Outside of the music world, Harkin has composed for Turner Prize-winning artist Helen Marten and British comedian Josie Long. She even has a Saturday Night Live sketch named after her (Fred Armisen’s 2016 ‘Harkin Brothers Band’).

                                                                                                      Where her self-titled first record is infused with the expansiveness which birthed it - written and recorded while touring the globe - ‘Honeymoon Suite’ is an entirely different affair. The album was written in the same room in which Harkin and her wife ate all their meals, held their virtual wedding reception and attended a funeral over zoom. As Harkin describes it, ‘Honeymoon Suite’ is “a ship in a bottle of that time”.

                                                                                                      The album takes its title from the couple’s affectionate nickname for the flat they found themselves living in after relocating from their then-home in Hudson, New York, where Harkin’s wife was working as a live music promoter until the pandemic was declared. When it became obvious that they would both be out of work indefinitely, they joined many others heeding the call of their home nations to repatriate. In addition to that frenzied move back to the UK, the couple’s planned wedding also took a hard left turn. They had intended to hold a wedding for 150 in September 2020. Instead, they got married in a small, outside ceremony in front of their bubbled parents and siblings. They were married in the Derbyshire village of Eyam, coincidentally famous for quarantining itself during The Bubonic Plague. The flowers in the image on the album’s back cover are their wedding bouquets. “I followed a YouTube tutorial and made our bouquets out of the wedding flowers our friends sent us. We didn’t take a honeymoon and still haven’t. Instead, the flat in Sheffield became our honeymoon suite.”

                                                                                                      The album’s DIY ethos continued through its artwork. “Kate took the cover photo and designed the layout. She also designed our original wedding invitations so it felt apt.”

                                                                                                      The album also marks Harkin’s first forays into self-producing, a journey she began immediately after her move back to the UK. At that time, her best friend, cinematographer Ashley Connor, asked her to create the soundtrack for an experimental short film she was making for Sam Abbas’ quarantine movie ‘Erēmīta (Anthologies)’. “I’ve worked in all manner of studios and assumed many different roles in music making. I had thousands of flight hours but I had still never been the pilot. Owning the role of producer was more of a mental block than anything else, but circumstance dissolved that intimidation. Working on Ashley’s soundtrack early in the pandemic gave me the confidence to continue producing my own solo work. I won a grant from the PPL Momentum Accelerator Fund which would cover the mixing and mastering if I could be self-sufficient in recording. It felt like the quest I needed to push me into discovering this new direction.”

                                                                                                      In terms of instrumentation, ‘Honeymoon Suite’ is more electronic than Harkin’s previous work and this too was for largely practical reasons. “Kate took a remote call centre job when we first got back. This meant we were in the same room, her taking customer service calls and me working on the album. The flat was also above a pub, so I had to record strategically. I’d program drum machines and synths in the day, record guitars in the evenings over the din of the pub-goers, and I’d squeeze vocals into the quiet weekend mornings.”

                                                                                                      Indeed, most of the tracks on ‘Honeymoon Suite’ emerged out of synth drones, a refuge for Harkin during the weeks at a time that she didn’t feel like bursting into song. “The album’s glitches and degrading samples reflect the limitations of the digital intimacy we were all relying on during that time as we literally phoned it in.”

                                                                                                      Harkin freely admits that the enormity of the task was no walk in the park for the first time producer. “Being my own mirror was ego-crushing at times; I knew these songs deserved extra gusto that I had to outsource.” That’s where the brass by Nate Walcott (Bright Eyes) and Aaron Roche (Lower Dens, Sufjan Stevens, Anohni, Flock of Dimes), slide guitar by J.R. Bohannon (Torres) and backing vocals by Sophie Galpin (Soft Lad, Self Esteem) came in, sent down the wire from their respective homes. It was even mixed and mastered remotely (mixed by Jeff T Smith in Leeds and mastered by Guy Davie in London).

                                                                                                      As Harkin puts it, “for me, this album was a rabbit hole and escape hatch. It’s a very vulnerable record. There are no performances - I made it alone. Releasing it into the world feels like an extension of the solitary process and remote collaboration which created it. I hope it travels far and wide.”

                                                                                                      TRACK LISTING

                                                                                                      1. Body Clock - 3.27
                                                                                                      2. A New Day - 3.34
                                                                                                      3. Here Again - 3.39
                                                                                                      4. Matchless Lighting - 4.33
                                                                                                      5. (Give Me) The Streets Of Leeds - 3.16
                                                                                                      6. Mt. Merino - 3.07
                                                                                                      7. Talk Of The Town - 2.55
                                                                                                      8. To Make Her Smile - 3.13
                                                                                                      9. Listening Out - 5.17
                                                                                                      10. Driving Down A Flight Of Stairs - 11.20

                                                                                                      X Ray Pop

                                                                                                      Ding Dong Songs

                                                                                                        Femme fronted pocket punk and domestic-synth pop from French DIY workaholics X Ray Pop. Compiled from the mastertapes of the original 1980s privately pressed vinyl LPs and minuscule cassette runs.

                                                                                                        X Ray Pop are a group of whom are easy to scratch the surface, but almost impossible to get the bottom of. With an iconic moniker, telltale graphic style and demanding ‘buy me’ Day-Glo colour coding policy the French vinyl output of X Ray Pop as a specialist subject is, at first glance, memorable and achievable. Cocksure fans of Euro wave pop often proclaim X Ray expertise from behind many a record shop counter or blog page but the truth of the matter is that no-one, not even the band members themselves, have the knowledge or mental capacity to truly understand the splatter range of the god speed anti-tactics that have turned this interchangeable, unarrangable and thirty-year sustainable auto-pop combo into one of uber-legendary status. For those that tread the chemins of 80s Gallic record racks, from agit pop to Zeuhl-school (bridging synth pop to Celluloid) these 7″ square flags reading El Gato, L’Eurasienne, Alcool and Fuzzy Christmas are merely alluring landmarks pointing to another sebaceous underground of magnetic tape that flows swiftly (like Magma) awaiting Pirates and liberators alike. X marks the spot!

                                                                                                        Peeping out of a warren of unexplored passages their seminal self-distributed debut singles and appearances on the genre defining alternative funk Alternative Funk Folie Distinguée compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a generation and influenced many more to follow. But beneath the trademark fluo- rescent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elusive back catalogues of all their cut ‘n’ paste French funk contemporaries. Plundering the depths of a self-estimated 400 recorded songs, X Ray Pop founder Didier Pilot has joined up with Finders Keepers sister label Cache Cache to reassess, rescue and reissue some of the bands most underexposed sonic snapshots, many of which were distributed in issues of less than 50 up to 500 for exclusive global releases in France, Spain, Portugal, Japan and America (where bands like Brian Ladd and Julie Frith’s Psyclones and The Beastie Boys championed the band as a likeminded inspiration.

                                                                                                        TRACK LISTING

                                                                                                        Ding Dong
                                                                                                        Petit Animal
                                                                                                        Bulle De Sang
                                                                                                        Dream Of A Shadow
                                                                                                        Marilyn Au Paradis
                                                                                                        Klac Klac
                                                                                                        Le Bateau Cellulose
                                                                                                        Ca Te Mouille Le Bec
                                                                                                        Pam Pam
                                                                                                        Alain Aime Samantha
                                                                                                        Living Dead
                                                                                                        Oh Quel Supplice
                                                                                                        Rock N Popoff
                                                                                                        Les Nonnes En Noir
                                                                                                        Oh Oui J'Aime
                                                                                                        Le Mouchoir Violet
                                                                                                        La Mort
                                                                                                        La Morte (Doc Pilot Solo)
                                                                                                        Alcool (Doc Pilot Solo)
                                                                                                        L'Eurasienne (Doc Pilot Solo)
                                                                                                        Contact / I Wanna Be A Dog Medley (Live)

                                                                                                        You know us Piccadilly cats are gonna keep it ALFOS 4 LYFE, and this record right here is a total doozy, straddling the ol' Indie-Dance divide like an ad-hoc bridge built out of Bez, copies of Screamadelica and Pollock-patterned bucket hats. For you see, the hazy, Roses-esque jangle of Andy Bell’s debut solo album "The View From Halfway Down" has been radically reworked by synth-wielding maverick Pye Corner Audio. 
                                                                                                        The resulting EP offers squirming acid lines, thunderous 4/4, baggy breaks and hallucinogenic dreamscapes, all topped by the shifting shimmer of Andy's mystic vocals, themselves twisted into a whole new language. If that weren't enough to have you reaching for the glow sticks, Andy's also added an edit in his GLOK alias.

                                                                                                        STAFF COMMENTS

                                                                                                        Patrick says: Spectacularly psychedelic dancefloor tackle here as PCA unspools Andy Bell atop a plethora of spangled synthery. Indie Dance in its most essential form and totally recommended for the ALFOS / Baggy brigade. File next to Beyond The Wizard's Sleeve, Weatherall and Unkle.

                                                                                                        TRACK LISTING

                                                                                                        1. Indica (Pye Corner Audio Remix)
                                                                                                        2. Skywalker (Pye Corner Audio Remix)
                                                                                                        3. Cherry Cola (Pye Corner Audio Remix)
                                                                                                        4. Love Comes In Waves (Pye Corner Audio Remix)
                                                                                                        5. I Was Alone (Pye Corner Audio Remix)
                                                                                                        6. Indica (Pye Corner Audio Remix – GLOK Re-edit)


                                                                                                        I Love You Jennifer B

                                                                                                          London-based duo Jockstrap (Georgia Ellery and Taylor Skye) will release their hotly-anticipated debut full-length record I Love You Jennifer B via Rough Trade Records.

                                                                                                          Commenting on the album release, Jockstrap’s Georgia Ellery and Taylor Skye said: “I Love You Jennifer B is a collection of Jockstrap tracks that have been 3 years in the making. Everything on it is pretty singular sounding so we hope there is a track on there for everyone and something that speaks to you and says ‘I’m a banger.’” Skye added of ‘Glasgow’ (their new single): “‘Glasgow’ is our coming of age, moving forward, long-distance, travelling, beautiful bosk, wonderful thicket song.” And Ellery said of the song’s subject: “Glasgow is a great city, perhaps my favourite in the UK! Only downside is that it’s so damn cold all the time.”

                                                                                                          When Georgia Ellery and Taylor Skye make music as Jockstrap, the process and result has one definition: pure modern pop alchemy. With their debut album I Love You Jennifer B, Jockstrap will cement themselves as one of the most vital young groups to emerge from London’s melting pot of musical cultures in years.

                                                                                                          TRACK LISTING

                                                                                                          Jennifer B
                                                                                                          Greatest Hits
                                                                                                          What’s It All About?
                                                                                                          Concrete Over Water
                                                                                                          Lancaster Court
                                                                                                          50/50 (Extended)



                                                                                                            Following four studio albums and one live album, HVOB are about to release their sixth album: TOO is an angry, tender, vulnerable, determined account of a generation's search for life. The album explores extremes in concept, content and sound. TOO is dedicated to the state of mind of a generation in search of inner and outer belonging: the album captures a life in the dichotomy of one's own and other people's expectations, in the feeling of not living up to these expectations, in renewed attempts to free oneself from these expectations.

                                                                                                            TRACK LISTING

                                                                                                            1. Bruise
                                                                                                            2. Capture Casa
                                                                                                            3. 2:16
                                                                                                            4. Eyes Alive
                                                                                                            5. Kid Anthem
                                                                                                            6. The Lack Of You
                                                                                                            7. Gluttony
                                                                                                            8. A Piece Of Me 

                                                                                                            James Righton

                                                                                                            Jim, I'm Still Here

                                                                                                              ‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

                                                                                                              TRACK LISTING

                                                                                                              1. Livestream Superstar
                                                                                                              2. Pause
                                                                                                              3. Touch
                                                                                                              4. Release Party
                                                                                                              5. Real World Park
                                                                                                              6. Never Give Up On The City 
                                                                                                              7. A Day At The Races
                                                                                                              8. I Want To Live
                                                                                                              9. Lover Boy
                                                                                                              10. Empty Rooms
                                                                                                              11. Playing To Win
                                                                                                              12. Farewell Superstar

                                                                                                              Pol Rax's album (simply titled "Pol Rax") with the artist's recordings from the years 2000-2010, including the ultra-hit "Dla Ciebie", is an electro-banger that simply had to be put on vinyl!

                                                                                                              The Very Polish Cut Outs and Superkasety Records, have chosen, together with the artist, 8 tracks recorded in the first decade of the new millennium - some of them are released for the first time, others have so far lived to see only digital editions (by Seek Records), and only "Dla Ciebie" was released earlier on CD (by the famous French label Kitsune).

                                                                                                              For a long time single tracks of Pol Rax were available only on YouTube, and after releasing those few tracks mentioned before, the artist from Wroclaw put the synthesizers aside and retreated into the shadows. It was then that - as Eltron aptly put it - 'a legend was born'.

                                                                                                              "Dla Ciebie" and other tracks were gaining popularity on Youtube, famous Polish footballer Artur Boruc even danced to the rhythm of Pol Rax's "#borucdance" and club dancefloors were heating up with tracks like "Rock Your Video" and "Za Pozno".

                                                                                                              This album, played and sung entirely by Pol Rax and a few guests, is full of electro-disco bangers for the club and ambitious synth-pop that derseves repeat radio play. There's also the highly cosmic funk of "Goraco" feat. Julee, or the erotic Italo-inspired: "Zatrzymac sie". Pol Rax himself mentions among his inspirations (for the music, but also for the lyrics he writes) the new wave of the 80's, the raw pop of early Bajm or the synth sound of Dwa Plus One.
                                                                                                              These sources can be perfectly heard in his music, but there is also something else - sometimes a bit of French touch in the spirit of Daft Punk, other times minimal wave or boogie funk. It a delciously accomplished album that doesn't take itself mega mega serious yet somehow delivers something elegant, mature and likely to be one of your most rotated records of the year. Highly recommended! 

                                                                                                              STAFF COMMENTS

                                                                                                              Matt says: TVPCO come up trumps here with a fabulous LP by Pol Rax. Utterly cosmic in every essence, it skilfully navigates various tempos & moods without ever going on with itself and keeping every last musical utterance vital & mellifluous. A tour de force of modern cosmic prowess. You need!

                                                                                                              TRACK LISTING

                                                                                                              A1. Dia Ciebie
                                                                                                              A2. Rock Your Video
                                                                                                              A3. Goraco Feat. Julee
                                                                                                              A4. 78 Km/h
                                                                                                              B1. Zatrzymac Sie Feat 4 Letters
                                                                                                              B2. Szal Sezonowej Mody Feat. Nice2mu
                                                                                                              B3. Za Pozno
                                                                                                              B4. Full Of Shame Feat. Nice2mu


                                                                                                              Day-Glo (Based On A True Story)

                                                                                                                Erasure present their new album, ‘Day-Glo (Based on a true story)’. An unexpected album, featuring 10 brand new songs, each track created using elements from ‘The Neon’ universe.

                                                                                                                Familiar but unexpected, the songs bear little resemblance to the original album, although echoes of ‘The Neon’ can be heard from time to time. The album is an alternative look at Vince and Andy’s world and marks the closure of this chapter of ‘The Neon’.

                                                                                                                TRACK LISTING

                                                                                                                1. Based On A True Story
                                                                                                                2. Bop Beat
                                                                                                                3. Pin-Prick
                                                                                                                4. The Conman
                                                                                                                5. Now
                                                                                                                6. Inside Out
                                                                                                                7. Harbour Of My Heart
                                                                                                                8. 3 Strikes And You're Out
                                                                                                                9. The Shape Of Things
                                                                                                                10. The End

                                                                                                                Du Blonde


                                                                                                                  Du Blonde is back with new album ‘Homecoming’ and with it, her own record label, clothing brand and all-round art house Daemon T.V. Written, recorded and produced by Du Blonde (aka Beth Jeans Houghton), ‘Homecoming’ is a refreshing taste of pop-grunge finery, featuring guests including Shirley Manson, Ezra Furman, Andy Bell (Ride/Oasis), The Farting Suffragettes, and members of Girl Ray and Tunng among others. The album began as a few songs hashed out on a porch in LA in early 2020, and as Houghton’s desire to create something self-made and self-released merged with the then incoming pandemic. Admirers of Du Blonde’s previous two studio albums (2015’s ‘Welcome Back to Milk’ and 2019’s ‘Lung Bread for Daddy’) might be surprised to find that ‘Homecoming’ takes on the form of a pop record. The garage rock, grunge and metal guitar licks that have come to define Du Blonde are still there in spades, but as a whole the direction of the album is pop through and through.Houghton’s freak flag is still flying high however, a fact that’s no more apparent than on ‘Smoking Me Out’, a bizarre mash up of 80’s shock rock, metal and 60’s pop group harmonies. This defiant and energetic attitude can be heard throughout ‘Homecoming’, whether writing about her medication (30mg of citalopram, once a day), her queerness on 'I Can’t Help You There' (“I’ve been a queen, I’ve been a king, and still I don’t fit in”), to the joyous and manic explosion of 'Pull The Plug' (“say that I’m deranged, but I’ve been feeling more myself than ever”), Houghton is nothing if not herself, full force and unapologetic in her approach to writing, playing and recording her music.

                                                                                                                  TRACK LISTING

                                                                                                                  1. Pull The Plug
                                                                                                                  2. Smoking Me Out
                                                                                                                  3. I Can't Help You There
                                                                                                                  4. Ducky Daffy
                                                                                                                  5. Medicated
                                                                                                                  6. I'm Glad That We Broke Up
                                                                                                                  7. All The Way
                                                                                                                  8. Undertaker
                                                                                                                  9. Take One For The Team
                                                                                                                  10.Take Me Away

                                                                                                                  Various Artists

                                                                                                                  Eins Und Zwei Und Drei Und Vier - Deutsche Experimentelle Pop-Musik 1980-86

                                                                                                                    A double album and single CD exploring the explosion of wealth of music springing from the squats and bedsits and artschools of Cologne, Dusseldorf, Hamburg and West Berlin in the aftermath of punk from the likes of Der Plan, Holger Hiller, Palais Schaumberg, Conrad Schnitzler and a host more.

                                                                                                                    Do not adjust your sets. Take a step back from the tracking. This is the sound of Germany’s musical youth let loose on cheap synths and pawnshop guitars. A record of a disparate s cene of squat pop-stars, artschool upstarts and committed non-musicians who redefined German music in the first half of the 1980s.

                                                                                                                    By the dawn of the new decade, punk had burnt out in a frenzy of feedback, reshaping the musical landscape before burrowing back into the underground for a period of reinvention. But the scorched earth it left behind proved to be fertile soil, nurturing a new movement grass-rooting through Germany’s major cities. For the first time the country had its own youth culture, spilling out of the squats of Hamburg and West Berlin, occupying the art scene in Düsseldorf and Köln and congregating around independent record shops stocked with angsty import 7”s. Empowered by punk’s DIY spirit, these kids valued conviction over competence, opting to ignore the industry and make music for themselves, sung in their own language. Even the cats we now call krautrock, revolutionary though they were, mostly sang in English, adopting the lingua franca of rock & roll as a shorthand for authenticity for a native crowd who wouldn’t have it any other way. This new scene rejected the expected, celebrating freedom of expression above all else. Armed with unconventional instruments, newly affordable electronics and rudimentary recording gear, they worked from the ground up, building basic rhythms and simple melodies into mutant grooves and following their imagination wherever it took them. The result was a genre-fluid wave of fusion pop pulled from funk, punk, jazz and reggae; united in attitude rather than aesthetic. Lyrically, the groups explored the serious and silly, embracing the irreverence of dadaism to deliberately displease the earnest alternativen of the older generation.

                                                                                                                    TRACK LISTING

                                                                                                                    01. Der Plan – Hey Baby Hop
                                                                                                                    02. Die Partei - Austauschprogramm
                                                                                                                    03. P!OFF? - Mein Walkman Ist Kaputt
                                                                                                                    04. Palais Schaumburg - Wir Bauen Ein Neue Stadt
                                                                                                                    05. Dunkelziffer - Keine Python
                                                                                                                    06. Populäre Mechanik - Muster
                                                                                                                    07. Andreas Dorau (Die Doraus & Die Marinas) - Sandkorn
                                                                                                                    08. Pyrolator - Im Zoo
                                                                                                                    09. Träneninvasion - Sentimental
                                                                                                                    10. Deutsche Wertarbeit - Guten Abend, Leute
                                                                                                                    11. Asmus Tietchens - Höhepunkt Kleiner Mann
                                                                                                                    12. Die Fische - So Verrückt
                                                                                                                    13. Conrad Schnitzler - Auf Dem Schwarzen Kanal
                                                                                                                    14. Carambolage - Die Farbe War Mord
                                                                                                                    15. Xao Seffcheque - Sample & Hold (Wer Bitter Im Munde Hat,kann Nicht Süßpricken)
                                                                                                                    16. Foyer Des Arts - Eine Königin Mit Rädern Untendran (Gerd Bluhm Remix)
                                                                                                                    17. Die Zimmermänner - Erwin, Das Tanzende Messer
                                                                                                                    18. Östro 430 - Sexueller Notstand
                                                                                                                    19. Die Radierer - Angriff Aufs Schlaraffenland
                                                                                                                    20. Holger Hiller - Jonny (Du Lump)

                                                                                                                    A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the “Raingurl” refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away.

                                                                                                                    That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club.

                                                                                                                    What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator.

                                                                                                                    Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online. 

                                                                                                                    STAFF COMMENTS

                                                                                                                    Matt says: SOPHIE's legacy continues to influence new producers from around the world. Here Yaeji combines PC music, booty bass, Baltimore club and expressive sound design into a cohesive pop-friendly package that glows with the right now. Synthesized vox add that benzo-rap flavour whilst murky organs, detuned bass and jacking beats nod to that original deep house vibe. Well good.

                                                                                                                    TRACK LISTING

                                                                                                                    SIDE A: “Yeaji”
                                                                                                                    01 – Noonside
                                                                                                                    02 – New York 93
                                                                                                                    03 – Feel It Out
                                                                                                                    04 – Guap
                                                                                                                    05 – Full Of It

                                                                                                                    SIDE B: “EP2“
                                                                                                                    01– Feelings Change
                                                                                                                    02 – Raingurl
                                                                                                                    03 – Drink I’m Sippin On
                                                                                                                    04 – After That
                                                                                                                    05 - Passionfruit 

                                                                                                                    Acid Klaus

                                                                                                                    Step On My Travelator: The Imagined Career Trajectory Of Superstar DJ & Dance Pop Producer, Melvin Harris

                                                                                                                      ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on November 18 on Yard Act's ZEN F.C. label.

                                                                                                                      The album features contributions from Adrian’s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) – there's the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

                                                                                                                      Flanagan proclaims about the album: “I hereby herald in a masterclass of conceptual brilliance and sonic floor-shaking heroism. A record that is both mocking and hugging in its stance – a solid and weighty brick in the face to the horrid and cod sincere, brat histrionics of the easy-on-the-eye careerist indie minstrel. Where I, an invisible bruised and battered craftsman of high (and low) art for nigh on two decades is finally (and begrudgingly) held aloft like a prize-winning Champion Cock at a village fete whilst a demonically futurist/modernist B-Boy B-Girl group bring the gathered throng, deep, penetrative, body music!”

                                                                                                                      TRACK LISTING

                                                                                                                      1. Step On My Travelator
                                                                                                                      2. Party Sized Away Day (feat Maria Uzor)
                                                                                                                      3. Bethlehem Or Bust (feat. Cat Rin)
                                                                                                                      4. Blow Your Speakers (feat. Soft Focus)
                                                                                                                      5. Crashing Cars In Ibiza (feat Maria Uzor)
                                                                                                                      6. Bad Club Bad Drugs Bad People
                                                                                                                      7. Elevate (feat. Charlotte Kemp Muhl)
                                                                                                                      8. The Three Rooms Of Nightclub Marilyn (feat Lieselot Elzinga)
                                                                                                                      9. I Used To Be A DJ In A Club (But Now I'm Just A DJ In My Bedroom)
                                                                                                                      10. My Hats On Fire (feat. Hannah Hu And Richard Hawley)
                                                                                                                      11. Eulogy To A Quiet Life (feat. Maxine Peake)

                                                                                                                      Form an orderly queue! It's Sworn Virgins on Deewee! The front cover might have Martin in a hot flush but it's the barnstormin, oddball hay disco of the "The Male Man" that's really twisting our melons! Bucking hard in your finest Levi's, cowboy hat not included on this ode to postal delivery persons across the globe! 

                                                                                                                      Three more tracks of wierdo-wave disco accompany the lead track.     Then there's "Searchin For Hiro" which is like Baxter Dury on meth; concluded with the electroid hynagogia of final track, "RWA" which again, has Baxter Dury inflections set to sequences of strung out old drum boxes and broken keyboards.

                                                                                                                      The vinyl is housed in a UV Gloss Sleeve with a heavyweight printed inner. Limited edition. 

                                                                                                                      STAFF COMMENTS

                                                                                                                      Matt says: Barndancing eccentricity from the quirky darlings of oddball disco - Sworn Virgins. Kicks like a mule and possesses one of the funniest lyrics we've heard for a while. Don't sleep!

                                                                                                                      TRACK LISTING

                                                                                                                      A1. The Male Man
                                                                                                                      A2. Slide Little Monster
                                                                                                                      B1. Searchin For Hiro
                                                                                                                      B2. RWA



                                                                                                                        Today, experimental pop artist Shygirl announces her debut full-length album Nymph due September 30th via Because Music. To celebrate the project's announcement, Shygirl shares the lead single "Firefly”. The 12-track album was created with a close-knit group of friends and previous collaborators including Mura Masa, Sega Bodega, Karma Kid, Arca and Cosha along with the producers Noah Goldstein, Danny L Harle, BloodPop, Vegyn and Kingdom. Nymph reveals Shygirl’s inner self-reflection in experimental vocal tones and deconstructed dance melodies and exhibits a new level of intimacy and emotional depth in her songwriting. Simultaneously asserting her power and freedom and yet still longing for love, she delivers us lyrical harmonies and catchy hooks telling stories of relationships, sexual desires and romantic frustrations. Over lush production, Shygirl brings us on the journey of what intimacy is like for a woman who’s seen as ‘too hot to handle’, someone sought after and overlooked at the same time. Shygirl’s melodies intertwine with the sounds of bassline, garage, dancehall and hip hop, all seamlessly flowing together like an artful ribbon dance.

                                                                                                                        Kelly Lee Owens' masterful second album "Inner Song" finds the convention-blurring techno producer and singer/songwriter diving deep into her own psyche—excoriating the struggles she's faced over the last several years and exploring personal pain while embracing the beauty of the natural world. It's a leap in artistry from a musician who burst forth on the scene with a confident, rich sound, and "Inner Song" is endlessly enticing when it comes to what Owens is capable of.

                                                                                                                        "Inner Song" follows the star-making debut of her 2017 self-titled album, a quixotic blend of body-moving beats and introspective songwriting that garnered numerous accolades from the music press. Owens has indeed come a long way from her background as a nurse, since then she has remixed Bjørk & St Vincent, released an indelibly clubby two-tracker, 2019's "Let It Go" b/w "Omen," and teamed up with likeminded auteur Jon Hopkins on the one-off "Luminous Spaces."

                                                                                                                        Her latest album also comes off of what Owens describes as "the hardest three years of my life," an emotionally fraught time that, in her words, "Definitely impacted my creative life and everything I'd worked for up to that point. I wasn't sure if I could make anything anymore, and it took quite a lot of courage to get to a point where I could make something again." So while the lovely cover of Radiohead's "Arpeggi" might strike some as an unconventional way to open a sophomore effort, to Owens the winding take on the classic tune—recorded a year before work on "Inner Song" properly kicked off—represents the sort of sonic rebirth that's so essential to Inner Song's aura.

                                                                                                                        "Inner Song" was largely written and recorded over a month last winter. As with her debut, Owens holed up in the studio with co-producer and collaborator James Greenwood —and letting loose in the studio and being open to whatever sonic whims emerge was essential to Owens' craftwork. The evocative title of the album is borrowed from free-jazz maestro Alan Silva's 1972 opus, which was gifted to Owens by Smalltown Supersound's Joakim Haugland for her 30th birthday: "I'm so grateful for him and his perspectives—he's always thinking outside of the box. Those two words really reflect what it felt like to make this record. I did a lot of inner work in the past few years, and this is a true reflection of that." The hair-raising bass and tickling textures of "Inner Song" drive home that, more so than ever, Owens is locked in to delivering maximal sonic pleasure—as evidenced by the decision to make the album's vinyl release a sesqui album, or triple-sided album: "I'm still obsessed with frequencies that don't do well on vinyl if they don't have the space."

                                                                                                                        "The power of conceptualizing who you are has really informed this album," Owens states about Inner Song's essence, and her second album is truly a discovery of self— the latest statement from a fascinating artist who continues to surprise, gesturing towards a rich and varied career to come.

                                                                                                                        STAFF COMMENTS

                                                                                                                        Patrick says: Three years on from her championship season and KLO returns to the long format with a deeper, more refined distillation of her trademark techno pop style. If her debut album delivered on the promise of those early singles, ‘Inner Song’ offers us a dizzying premonition of just how far she could go.

                                                                                                                        By her own admission, this album emerged after the hardest three years of her life, and even a cursory scan of the lyrics hints at a little darkness before the dawn. “‘On” and “L.I.N.E.” explore the end of a troubled relationship, “Melt” references the climate crisis and “Wake Up” warns against extended screen time. Rather than wallowing in the melancholy though, Kelly strikes an optimistic tone, serving a resilient reminder that we all have the power to overcome adversity, mirrored in the vital beats and healing frequencies which underpin her emotive songwriting.

                                                                                                                        Much like Arthur Russell, an early inspiration, Owens revels in the space between genres, providing a fresh perspective on established styles. Crystalline electronics sit beneath a shoegaze shimmer on “Night”, the bastard offspring of the Cocteau’s and Kraftwerk in a fresh pair of dancing shoes. “Re-Wild” splits the difference between futuristic RnB and taut Detroit techno, a new Minimal Nation woozy on lean, while “Jeanette”, a celebration of the life of her nan, renders an organic landscape in precise electronics.

                                                                                                                        On this complex yet cohesive album, Owens tackles serious subject matter with poetic sensitivity, pop hooks and thunderous beats, all the while retaining the ethereal beauty of her Welsh heritage.

                                                                                                                        TRACK LISTING

                                                                                                                        SIDE A:
                                                                                                                        1. Arpeggi
                                                                                                                        2. On
                                                                                                                        3. Melt!
                                                                                                                        4. Re-wild

                                                                                                                        Side B:
                                                                                                                        1. Jeanette
                                                                                                                        2. L.I.N.E.
                                                                                                                        3. Corner Of My Sky (ft. John Cale)

                                                                                                                        Side C:
                                                                                                                        1. Night
                                                                                                                        2. Flow
                                                                                                                        3. Wake-Up



                                                                                                                          Excess is Automatic’s second album following their 2019 debut Signal. Excess distils themes of 70s and 80s corporate excess, dystopian sci-fi and climate change into 10 new songs. 

                                                                                                                          The motorik and icy atmospheres of Automatic’s debut Signal remain, but Excess sees the band widening their scope, folding catchy pop hooks into their sound.  The band has toured nationally and internationally playing headline shows and sharing the stage with Bauhaus, Viagra Boys and Osees.

                                                                                                                          TRACK LISTING

                                                                                                                          1. New Beginning
                                                                                                                          2. On The Edge
                                                                                                                          3. Skyscraper
                                                                                                                          4. Realms
                                                                                                                          5. Venus Hour
                                                                                                                          6. Automaton
                                                                                                                          7. Teen Beat
                                                                                                                          8. NRG
                                                                                                                          9. Lucy
                                                                                                                          10. Turn Away

                                                                                                                          !!! (Chk Chk Chk)


                                                                                                                            "Wallop", the band’s eighth LP, is another stellar addition to the wildly impressive catalog they’ve built over the course of nearly two decades and stands as a testament to their hardworking approach and ceaseless desire to push things further. Recorded over the past year in lead singer Nic Offer’s Brooklyn apartment, the band picks up where 2017’s "Shake The Shudder" left off, further exploring the fringes of dance music with a focused edge and a care-free spirit.

                                                                                                                            "Wallop" sees friends from across the spectrum appearing on a number of tracks, including Liars frontman Angus Andrew, Maria Uzor of British dance aesthetes Sink Ya Teeth, and Glasser's synth-pop wizard Cameron Mesirow, who all join Offer and !!! co-vocalist Meah Pace on this barn-burning party of a record. With an array of producers lending a hand - including Cole M.G.N. (Ariel Pink’s Haunted Graffiti, Julia Holter), Graham Walsh (Holy Fuck), and longtime collaborator Patrick Ford - "Wallop" was eventually stitched together to reflect the colorful, body-moving tapestry that its end result represents.

                                                                                                                            STAFF COMMENTS

                                                                                                                            Barry says: It's not a party until !!! show up, and they've arrived just in time to soundtrack this new release week. Surprising twists and turns abound (exactly as you'd expect), lots of day-glo melodies and huge effervescent melodies bolstered with huge 80's 'verb. Textbook !!!.

                                                                                                                            TRACK LISTING

                                                                                                                            A1. Let It Change U
                                                                                                                            A2. Couldn't Have Known
                                                                                                                            A3. Off The Grid/In The Grid
                                                                                                                            B1. Serbia Drums
                                                                                                                            B2. My Fault
                                                                                                                            B3. Slow Motion/Slo Mo
                                                                                                                            C1. $50 Million
                                                                                                                            C2. Domino
                                                                                                                            C3. Rhythm Of The Gravity
                                                                                                                            D1. UR Paranoid
                                                                                                                            D2. This Is The Door/This Is The Dub

                                                                                                                            01. Let It Change U
                                                                                                                            02. Couldn't Have Known
                                                                                                                            03. Off The Grid
                                                                                                                            04. In The Grid
                                                                                                                            05. Serbia Drums
                                                                                                                            06. My Fault
                                                                                                                            07. Slow Motion
                                                                                                                            08. Slo Mo
                                                                                                                            09. $50 Million
                                                                                                                            10. Domino
                                                                                                                            11. Rhythm Of The Gravity
                                                                                                                            12. UR Paranoid
                                                                                                                            13. This Is The Door
                                                                                                                            14. This Is The Dub

                                                                                                                            Crack Cloud

                                                                                                                            Pain Olympics

                                                                                                                              Like Psychic TV before them, Crack Cloud have a philosophy, and one that they are not afraid to wear on their sleeves. While their anarchic, phantasmagorical visuals, heavy use of symbology, and seemingly never-ending cast of colourful collaborators have often invited cult comparisons, this really does the collective no justice.

                                                                                                                              There is no apocalyptic death drive here; no cult of personality; no hierarchy of power. While frontman and lyricist Zach Choy is in many ways the face of the group, the collective is one founded on equality, and in his cryptic lyrical blending of poetics, polemics and personal experience, Choy is truly the mouthpiece of something far larger than himself. Nowhere else is this more apparent than on the album’s first single, ‘The Next Fix.’

                                                                                                                              What begins as a caustic, claustrophobic account of addiction swells into a sprawling, euphoric hymn as Choy is joined by a choir of seemingly endless celestial voices. Less a cult then; more a church. Listening to this song or watching  its accompanying self-directed video is a truly spiritual experience, and in its building, jubilant movement it offers a glimpse of Crack Cloud’s most vital message: using community to turn adversity into hope. This isn’t just bravado; its a story born of deep, personal experience. Crack Cloud operate on the frontline of Canada’s out-of-control opiate crisis, mobilising and organizing in Vancouver’s harm reduction programmes.

                                                                                                                              The group themselves have had their fair share of trauma, and the collective offers its members a vital vehicle for rehabilitation and recovery. As the tagline on the album’s back cover makes clear then, this is absolutely ‘based on true shit.

                                                                                                                              TRACK LISTING

                                                                                                                              Post Truth (Birth Of A Nation)
                                                                                                                              Bastard Basket
                                                                                                                              Somethings Gotta Give
                                                                                                                              The Next Fix (A Safe Space)
                                                                                                                              Favour Your Fortune
                                                                                                                              Ouster Stew
                                                                                                                              Tunnel Vision
                                                                                                                              Angel Dust (Eternal Peace)

                                                                                                                              In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world.

                                                                                                                              Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself. The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP. The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the aforementioned subject.

                                                                                                                              Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

                                                                                                                              Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself.

                                                                                                                              This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. 

                                                                                                                              TRACK LISTING

                                                                                                                              01 I Am A Thought 1:54
                                                                                                                              02 An Intention 4:01
                                                                                                                              03 A Kid 5:04
                                                                                                                              04 In The World 3:00
                                                                                                                              05 I Am Consumed 0:54,
                                                                                                                              06 In The World But Not Of The World 3:57
                                                                                                                              07 I Am Learning 3:16
                                                                                                                              08 To Follow And Lead 4:48
                                                                                                                              09 Until I Remember 4:23,
                                                                                                                              10 Who I Am Why I Am Where I Am 5:21
                                                                                                                              11 I Am Curious I Care 3:45
                                                                                                                              12 I Will Make Room For You 4:59
                                                                                                                              13 To Feel Your Best 6:20….

                                                                                                                              Various Artists / Cliff Martinez

                                                                                                                              Drive - OST (Curacao Blue Vinyl)

                                                                                                                                Cliff Martinez’s soundtrack to the cult classic film ‘Drive’ by Nicolas Winding Refn is turning 5, and to mark the anniversary, Invada Records and Lakeshore Records will co-release a limited edition version of the soundtrack, which features Martinez’s score and all other music used in the film, which includes the legendary tracks by Kavinsky, College and Desire. 

                                                                                                                                The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Euro-synth-styled songs by Kavinsky & Lovefoxxx (“Nightcall”), The Chromatics (“Tick of the Clock”), Desire (“Under Your Spell”), College featuring Electric Youth (“A Real Hero”), and Riziero Ortolani featuring Katyna Ranieri (“Oh My Love”). Rolling Stone Magazine named Drive the No. 1 movie of 2011.

                                                                                                                                “One thing that was unique for me about this project was having songs exert such a strong influence on the score,” said Martinez. “That helped to create a unified, one-size-fits-all, style of soundtrack…the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.” 

                                                                                                                                This blending of score and song is the perfect vehicle for Cliff Martinez. Martinez moved to California in 1976, just in time for the punk movement. He had stints as drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, the Red Hot Chili Peppers and the Dickies. He was also the drummer in the final incarnation of legendary iconoclasts Captain Beefheart and the Magic Band.

                                                                                                                                This release features brand new liner notes written by the score’s composer Cliff Martinez, and by the film’s director Nicolas Winding Refn, along with stunning brand new artwork by Lakeshore Records Art Director John Bergin.

                                                                                                                                TRACK LISTING

                                                                                                                                1 Nightcall - Kavinsky & Lovefoxxx
                                                                                                                                2 Under Your Spell - Desire
                                                                                                                                3 A Real Hero (Feat. Electric Youth) - College & Electric Youth
                                                                                                                                4 Oh My Love (Feat. Katyna Ranieri) - Katyna Ranieri & Riz Ortolani
                                                                                                                                5 Tick Of The Clock - The Chromatics
                                                                                                                                6 Rubber Head - Cliff Martinez
                                                                                                                                7 I Drive - Cliff Martinez
                                                                                                                                8 He Had A Good Time - Cliff Martinez
                                                                                                                                9 They Broke His Pelvis - Cliff Martinez
                                                                                                                                10 Kick Your Teeth - Cliff Martinez
                                                                                                                                11 Where's The Deluxe Version? - Cliff Martinez
                                                                                                                                12 See You In Four - Cliff Martinez
                                                                                                                                13 After The Chase - Cliff Martinez
                                                                                                                                14 Hammer - Cliff Martinez
                                                                                                                                15 Wrong Floor - Cliff Martinez
                                                                                                                                16 Skull Crushing - Cliff Martinez
                                                                                                                                17 My Name On A Car - Cliff Martinez
                                                                                                                                18 On The Beach - Cliff Martinez
                                                                                                                                19 Bride Of Deluxe - Cliff Martinez

                                                                                                                                NK* X ST. V* (Nina Kraviz X St Vincent)

                                                                                                                                NK X ST. V

                                                                                                                                  Warehouse find!!!!!
                                                                                                                                  Limited vinyl release of unreleased Nina Kraviz remixes of St Vincent - on 3 separate 12inches sold as a set of singles.

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Matt says: Don't sleep on this tasty little warehouse find we've unearthed over the festive period. Techno poster girl Nina Kraviz remixing indie songstress St. Vincent. Killer!

                                                                                                                                  TRACK LISTING

                                                                                                                                  A1 New York - NK Remix (pre Amp)
                                                                                                                                  Remix – Nina Kraviz
                                                                                                                                  A2 Masseduction (Midland’s Mass Seduction Remix)
                                                                                                                                  Remix – Midland
                                                                                                                                  Songwriter – Annie Clark, Jack Antonoff
                                                                                                                                  B1 Sugarboy (Emika Allegiance Mix)
                                                                                                                                  Mixed By – Emika
                                                                                                                                  Songwriter – Annie Clark, Jack Antonoff
                                                                                                                                  B2 Slow Disco (EOD Remix)
                                                                                                                                  Remix – EOD
                                                                                                                                  Songwriter – Annie Clark, Joy Williams (2)

                                                                                                                                  C1 Fear The Future (PTU Remix)
                                                                                                                                  Remix – PTU
                                                                                                                                  C2 Young Lover (Roma Zuckerman Remix)
                                                                                                                                  Remix – Roma Zuckerman
                                                                                                                                  C3 Pills (Bjarki Remix)
                                                                                                                                  Remix – Bjarki
                                                                                                                                  D1 Young Lover (Laurel Halo Remix)
                                                                                                                                  Remix – Laurel Halo
                                                                                                                                  D2 Pills (Population One Remix)
                                                                                                                                  Remix – Population One
                                                                                                                                  D4 Fast Slow Disco (Steffi Remix)
                                                                                                                                  Remix – Steffi (8)

                                                                                                                                  E1 Slow Dance (Gentle Gabber Version Nina Kraviz)
                                                                                                                                  Remix – Nina Kraviz
                                                                                                                                  E2 Smoking Section (Mala Remix)
                                                                                                                                  Remix – Mala (4)
                                                                                                                                  E3 Smoking Section (Jlin Remix)
                                                                                                                                  Remix – Jlin
                                                                                                                                  F1 Dancing With A Ghost (Pearson Sound Remix)
                                                                                                                                  Remix – Pearson Sound
                                                                                                                                  F2 Savior (Buttechno Remix)
                                                                                                                                  Remix – Buttechno

                                                                                                                                  Twice Mercury Prize nominated, 5 time Ivor Novello nominated and critically acclaimed, Everything Everything launch their new forthcoming studio album 'Raw Data Feel'.

                                                                                                                                  On Raw Data Feel, Everything Everything set about revolutionising modern pop music, with Higgs abandoning his own brain and letting technology do at least some of the thinking: feeding LinkedIn T&Cs, Beowulf, 4Chan forum text and the teachings of Confucius into A.I. automation processes and using its responses as a basis for the record's lyrics, song titles and artworking.

                                                                                                                                  This new phase is a rapturous return and - staying true to form - sees the band continue to push the ribbon on melody & rhythm with a heavy helping of electronic exploration.

                                                                                                                                  STAFF COMMENTS

                                                                                                                                  Barry says: Everything Everything are back! This time taking the fruitful modern phenomena of AI generation and neural networks to produce some of the most effervescent and poppy productions we've heard from EE thus far. It's brilliantly surprising in parts, but so seamlessly put together that you can't fail to enjoy it. Sleek pop perfection.

                                                                                                                                  TRACK LISTING

                                                                                                                                  1. Teletype
                                                                                                                                  2. I Want A Love Like This
                                                                                                                                  3. Bad Friday
                                                                                                                                  4. Pizza Boy
                                                                                                                                  5. Jennifer
                                                                                                                                  6. Metroland Is Burning
                                                                                                                                  7. Leviathan
                                                                                                                                  8. Shark Week
                                                                                                                                  9. Cut UP!
                                                                                                                                  10. HEX
                                                                                                                                  11. My Computer
                                                                                                                                  12. Kevin’s Car
                                                                                                                                  13. Born Under A Meteor
                                                                                                                                  14. Software Greatman


                                                                                                                                  Finally Enough Love

                                                                                                                                    This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix was newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

                                                                                                                                    TRACK LISTING

                                                                                                                                    1. “Everybody” (You Can Dance Remix Edit) +#
                                                                                                                                    2. “Into The Groove” (You Can Dance Remix Edit) +#
                                                                                                                                    3. “Like A Prayer” (Remix/Edit)
                                                                                                                                    4. “Express Yourself” (Remix/Edit)
                                                                                                                                    5. “Vogue” (Single Version) +
                                                                                                                                    6. “Deeper And Deeper” (David’s Radio Edit) +#
                                                                                                                                    7. “Secret” (Junior’s Luscious Single Mix)
                                                                                                                                    8. “Frozen” (Extended Club Mix Edit)
                                                                                                                                    9. “Music” (Deep Dish Dot Com Radio Edit)
                                                                                                                                    10. “Hollywood” (Calderone & Quayle Edit) +#
                                                                                                                                    11. “Hung Up” (SDP Extended Vocal Edit)
                                                                                                                                    12. “Give It 2 Me” (Eddie Amador Club 5 Edit) °+
                                                                                                                                    13. “Girl Gone Wild” (Avicii’s UMF Mix)
                                                                                                                                    14. “Living For Love” (Offer Nissim Promo Mix) *+
                                                                                                                                    15. “Medellín” (Offer Nissim Madame X In The Sphinx Mix) – Madonna And Maluma
                                                                                                                                    16. “I Don’t Search I Find” (Honey Dijon Radio Mix)

                                                                                                                                    * Previously Unreleased
                                                                                                                                    +available Digitally For The First Time
                                                                                                                                    # Available Commercially For The First Time


                                                                                                                                    Rage In Eden: 40th Anniversary Half-Speed Master

                                                                                                                                      Following on from the success of 2020’s deluxe reissue of ‘Vienna’, Chrysalis Records are proud to release a 40th Anniversary of the bands second album with Midge Ure, ‘Rage In Eden’.

                                                                                                                                      Originally released in October 1981 and like the band’s previous two albums, ‘Rage In Eden’ was produced by Conny Plank (Kraftwerk, Can, Neu!), this time recorded at Conny’s studio in Cologne over a 3 month period during the summer of ‘81. The album features hit singles The Thin Wall and The Voice. The album reached number 4 in the UK charts.

                                                                                                                                      This new vinyl edition has been mastered and cut at half-speed by Alchemy at AIR from the original 1981 production tapes. The second bonus vinyl includes single versions and B-sides from the two singles released from the album.

                                                                                                                                      TRACK LISTING

                                                                                                                                      Disc 1
                                                                                                                                      1. The Voice
                                                                                                                                      2. We Stand Alone
                                                                                                                                      3. Rage In Eden
                                                                                                                                      4. I Remember (Death In The Afternoon)
                                                                                                                                      1. The Thin Wall
                                                                                                                                      2. Stranger Within
                                                                                                                                      3. Accent On Youth
                                                                                                                                      4. The Ascent
                                                                                                                                      5. Your Name (Has Slipped My Mind)
                                                                                                                                      Disc 2
                                                                                                                                      1. The Thin Wall (Single Version)
                                                                                                                                      2. I Never Wanted To Begin
                                                                                                                                      3. I Never Wanted To Begin (Extended Version)
                                                                                                                                      1. The Voice (Single Version)
                                                                                                                                      2. Paths And Angles
                                                                                                                                      3. Private Lives (Crystal Palace 13/6/81)
                                                                                                                                      4. All Stood Still (Crystal Palace 13/6/81)


                                                                                                                                      The Groop Played Space Age Batchelor Pad Music

                                                                                                                                         ‘The Groop Played Space Age Batchelor Pad Music’ is an 8-track mini album, released in 1993.

                                                                                                                                        Often noted as being one of the most influential and original bands of the 90s, Stereolab were formed by Tim Gane and Laetitia Sadier in London in 1990 and released 13 studio albums, 15 EPs and numerous singles. Simon Reynolds commented in Rolling Stone that the group’s early records form “an endlessly seductive body of work that sounds always the same, always different.”

                                                                                                                                        Theirs is a rich, overflowing palette, readily able to blur the gulf between Os Mutantes and the BBC Radiophonic Orchestra; merge Krzysztof Komeda with the Velvet Underground, Francoise Hardy with Neu! and Burt Bacharach with Esquivel. A deluxe blend, in other words, with ingredients plucked assiduously from pop’s coolest outposts: 50’s lounge, Rive Gauche chanson, Brazilian tropicalia, North American art rock, East European film music, Krautrock. hi-fi test recordings, mood music and more. Somehow they distil these apparently incongruent components into an ageless exotica that is all their own.

                                                                                                                                        TRACK LISTING

                                                                                                                                        Avant Garde M.O.R.
                                                                                                                                        Space Age Bachelor Pad Music (Mellow)
                                                                                                                                        The Groop Play Chord X
                                                                                                                                        Space Age Bachelor Pad Music (Foamy)
                                                                                                                                        Ronco Symphony
                                                                                                                                        We're Not Adult Orientated
                                                                                                                                        U.H.F. - MFP
                                                                                                                                        We're Not Adult Orientated (Neu Wave Live)



                                                                                                                                          ‘Peng!’ is the band’s 1992 debut album. 

                                                                                                                                          Often noted as being one of the most influential and original bands of the 90s, Stereolab were formed by Tim Gane and Laetitia Sadier in London in 1990 and released 13 studio albums, 15 EPs and numerous singles. Simon Reynolds commented in Rolling Stone that the group’s early records form “an endlessly seductive body of work that sounds always the same, always different.”

                                                                                                                                          Theirs is a rich, overflowing palette, readily able to blur the gulf between Os Mutantes and the BBC Radiophonic Orchestra; merge Krzysztof Komeda with the Velvet Underground, Francoise Hardy with Neu! and Burt Bacharach with Esquivel. A deluxe blend, in other words, with ingredients plucked assiduously from pop’s coolest outposts: 50’s lounge, Rive Gauche chanson, Brazilian tropicalia, North American art rock, East European film music, Krautrock. hi-fi test recordings, mood music and more. Somehow they distil these apparently incongruent components into an ageless exotica that is all their own.

                                                                                                                                          TRACK LISTING

                                                                                                                                          Super Falling Star
                                                                                                                                          Peng! 33
                                                                                                                                          You Little Shits
                                                                                                                                          The Seeming And The Meaning
                                                                                                                                          Stomach Worm

                                                                                                                                          All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

                                                                                                                                          As is my taste for the tardy, I was a couple of weeks late to this particular party, belatedly tipped to “that goth disco LP” through an overheard conversation between Mine and Matt. As a first class graduate of the “indie dance” era, I was naturally intrigued and promptly took the plunge into this monochrome masterpiece.

                                                                                                                                          While her Sink Ya Teeth project with Maria Uzor takes a bite out of the Big Apple’s no-wave and post-punk era, Cullingford’s solo-debut splits its time between the steely synth-pop of Sheffield, Chicago’s house heritage and the unapologetic electroclash of Millennial Berlin. This travelogue translates to a sleek set of taut techno pop, topped with zero-fucks speak singing and utterly arch asides. A lesser LP would sink under the stature of single “Wide Boys”, a fleet-footed and flute-led floor burner, but Let Me Speak is made from only the finest ingredients – pass the biscuits please.

                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Barry says: While Sink Ya Teeth definitely took influence from the dancefloor, it's Cullingford's solo output that really pays homage to the sweaty peak of industrial and techno clubgoing with it's own particular brand of momentous rhythm and rich, chest shaking bass hits. Wildly immersive and wonderfully satisfying,

                                                                                                                                          TRACK LISTING

                                                                                                                                          Side A
                                                                                                                                          1 The Lizard
                                                                                                                                          2 Sight For Sore Eyes
                                                                                                                                          3 Wide Boys
                                                                                                                                          4 Racer
                                                                                                                                          5 Let Me Speak

                                                                                                                                          Side B
                                                                                                                                          6 Queen Bee
                                                                                                                                          7 Chase The Beat
                                                                                                                                          8 I Like You
                                                                                                                                          9 Ode To Billy Joe
                                                                                                                                          10 Fatal Embrace

                                                                                                                                          Members Only

                                                                                                                                          The Worst Edits Vol 1

                                                                                                                                          The triumphant return of one of the best underground edit series we've ever had in the shop! Jamal Moss' cult Members Only returns! Culled from 20 year old VHS tapes restored using a baking method, these edits are real deal Chi-town badness with artistic psychedelic filtering of proto house & disco.

                                                                                                                                          Amongst this volume are holographic traces of Black Gold's "C'mon Stop' - a shimmering and bold slice of Prelude electro-boogie churned up with extra horns and other artefacts here by Jamal; a twisted percussion track; and air-raid siren guided take on Dan Hartman's "Relight My Fire" and concluding, with crazed slice of wigged out, loopy electro-disco with extra Franky Goes To Holiday chants and whoops.

                                                                                                                                          The natural predecessor to Ron Hardy & Adonis - there's none that touch him at this shit!


                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Matt says: My no. 1 Chicagoan, tape edits extraordinaire and quite frankly one of the most beautifully eccentric and talented characters in our scene returns with him infamous and cult collected Members Only series. Unmissable for those that dig that OG Ron Hardy Muzic Box vibe.

                                                                                                                                          TRACK LISTING


                                                                                                                                          "Naive overlooked New Beat / New Age project from 1989"

                                                                                                                                          Sometimes in life, a certain incentive is needed to convert talent into productivity. As for the case of MKS, the enigmatic and musical disguise of Nicolas Aubard, it was a merely coincidental encounter at the end of the 80s that set the stone rolling. For Nico, it all began in his hometown of Saint-Quentin in Northern France. At a young age, he got obsessed with Japanese and American cartoon culture. Being a devoted collector of cartoon-related toys and widgets, he spent hours watching anime series on TV and creating scale models of science fiction and horror-related sceneries. Growing up in a musical household, young Nico took on stringent training in classical and jazz piano. But, frustrated with the fact of not being the technical virtuoso he wanted to be, he turned away from his training at the age of 16. “I had no choice, as I felt as if my creativity got limited by my piano. That’s when I got drawn into the world of synthesizers.” Not long after, Nico put together a home studio and started to experiment with ambience and sound-inserts. Despite years of experimentation and music making, all Nico’s productions stayed between the 4 walls of his modest home studio. Something that would change in 1988, when Nico bumped into Emmanuel “Manu” Prevost.

                                                                                                                                          “We met on a night out in Lille”, Nico recalls. “I usually just stood by the dj booth, as I wasn’t a good dancer. So instead of throwing shapes at the dancefloor, I started a conversation with the dj, who happened to be Manu. By the end of the night, I handed him a demo tape of the album I was wanting to do.” Propelled by good fate, a fruitful collab happened between Nico and this dj. For Manu, everything also fell in place: “At the time, I was looking for a composer to work on producing a new beat record. As a dj, I often crossed the Belgian border for gigs and this new style was in full explosion over there. I heard Nico’s songs and naively told him: “Let’s make an album”, without knowing how.” Despite the high hopes for the new alliance, the project turned out to be a shot in the dark. “I assumed Manu already had some experience, as he proposed to do the mastering himself. But funnily he only told me after the release of the record that it was his first time too. But you know, we managed.” Not willing to release under his own name, Nico came up with Musical Keyboard System, abbreviated as MKS. The alias was born and the journey ready to take off.

                                                                                                                                          The album finally released in September 1989. After the release, Nico went on a low-key promo tour together with Manu in Northern France. “We aired a video clip on FR3 for two songs, together with a short interview. In their studio, we created a scrimpy décor with some green plants to resemble the Vietnam jungle (as for the track Nam Revelation) and we shot the clip. Manu even lay down behind a screen operating the fog machine.” As a live act, MKS’ career was rather short-lived, with a first and final gig in the Theatre of Saint-Quentin a few months after the release. “In France, we would remain illustrious strangers. Yet in the meantime, our music got played on new age radios in the USA.” After the end of MKS, Nico moved to Paris and Manu took on his military duty. In the army, Manu met movie animator Jacques Rouxel (the man behind French cult series Les Shadoks) and got him in touch with Nico. The duo collaborated with Rouxel on some compositions, before they went their separate ways at last. Nico went on to pursue his childhood dream, as a pioneer in France for integrating 3D animations into classical cartoons. Manu in turn became a producer for feature films.

                                                                                                                                          TRACK LISTING

                                                                                                                                          A1. The New Age Of House
                                                                                                                                          A2. Twilight Zone
                                                                                                                                          B1. Figure
                                                                                                                                          B2. The Dream
                                                                                                                                          B3. Nam Revelation


                                                                                                                                          The Last Goodbye

                                                                                                                                            Symphonic, vast, and emotionally stirring, ‘The Last Goodbye’ is the duo’s most ambitious album to date. Nostalgic yet rooted in the present, it serves as a sweeping sonic experience that speaks to themes of connection and reminiscence. Interwoven with both the new and the old, the album is interspersed with personal audio clips from home video footage, hypnotherapy sessions and even the voices of the duo’s parents, plus features The Knocks, Bettye LaVette, MARO, Låpsley, Ólafur Arnalds, Julianna Barwick, Izzy Bizu and Charlie Houston. These collaborations follow previous high-profile musical partnerships with the likes of Leon Bridges, Little Dragon, Regina Spektor, RY X, Naomi Wild, and more.

                                                                                                                                            Discussing the album, Odesza say:

                                                                                                                                            “Over the past few years we’ve been able to reflect on who we are, what it means to do what we do, and in the end, who we are doing this for. We became focused and inspired by the impact our families and friends have imprinted on us and how we want to continue to echo that out as we move through this life. We found comfort in the fact that those who we love stay with us, that they become intrinsically part of us, in a way. Is there ever a really a Last Goodbye? We don’t think there is. So, from us to you. The Last Goodbye, the album.”

                                                                                                                                            TRACK LISTING

                                                                                                                                            A1. This Version Of You (feat. Julianna Barwick)
                                                                                                                                            A2. Wide Awake (feat. Charlie Houston)
                                                                                                                                            A3. Love Letter (feat. The Knocks)
                                                                                                                                            A4. Behind The Sun
                                                                                                                                            B1. Forgive Me (feat. Izzy Bizu)
                                                                                                                                            B2. North Garden
                                                                                                                                            B3. Better Now (feat. MARO)
                                                                                                                                            C1. The Last Goodbye (feat. Bettye LaVette)
                                                                                                                                            C2. All My Life
                                                                                                                                            C3. Equal (feat. Låpsley)
                                                                                                                                            D1. Healing Grid
                                                                                                                                            D2. I Can’t Sleep
                                                                                                                                            D3. Light Of Day (feat. Ólafur Arnalds)

                                                                                                                                            A genuine lost and unreleased full-length LP from one of the most mysterious figures of early Italian electronic sound and library music. A missing puzzle piece in the small discography of experimental tape and synthesiser music by the composer known only as Lamartine recorded (but never pressed) in 1974 by the archive that bought you the work of Daniela Casa and the wildest electronic experiments of Alessandroni, Giuliano Sorgini and Fabio Frizzi. Having sat in the can for over 40 years the similarities to the likes of Cluster, Tom Dissevelt and the Radiophonic workshop have yet to be recognised and celebrated.

                                                                                                                                            The name Lamartine was a true mystery of library history.

                                                                                                                                            In keeping with the habitual culture of library music the name Lamartine was very likely to be one of many creative nom de plumes designed to disguise the true identities of the artists – even the likes of Morricone and Bruno Nicolai had their own shrouded monikers (Leo Nichols and Leo Flag respectively). Having faded from the memories of the ex-employees of the defunct production music departments at CAM and RCA, the truth behind this uncelebrated electronic pioneer remained a mystery for over 30 years. As enthusiasts began to unravel the pseudonyms of other composers such as Tomassi and Alessandroni via cue sheets, invoices and interviews, suspicions around Lamartine being of non-Italian origin rose to the surface with rumours that he or she was most probably of German, Dutch or English decent due to his distinct similarities to artists like Kid Baltan from Holland, various electronic artists from the outskirts of the krautrock scene or British tape music composers such as Basil Kirchin or David Cain. All of whom had firm relationships with the international library music scene.

                                                                                                                                            Although most of the records made for the RCA 1000 series were also repackaged for syndication in France via the April Orchestra series, it was unusual that Cronache Dal Mondo didn’t benefit the same service, bringing into question the fact that Lamartine may have secretly been a big name artist legally contracted to exclusive territories or simply the author of music that was too challenging for wider consumption. Even searching for other unconfirmed aliases within the huge independent Italian library network, based of musical similarities or pure speculation, rendered little answers convincing unsatisfied fans that Lamartine had carefully covered his tracks or let the birds eat the breadcrumbs.

                                                                                                                                            It wasn’t until 30 years later that the Italian independent production music label Flipper - the parent company responsible for the imprints Union, Octopus, Flirt and Deneb amongst others - decided to digitise its catalogue that a gleam of hope via a sealed, misfiled master tape shone through the trees. While putting a small archive of back-up recordings through the baking (emulsifying) process the archiving team at Flipper found the name “Lamartine” written on a single tape box with the name 'Reportage' and corresponding legal papers pertaining to a little known Italian conductor and composer for stage and popular song named Mr. Radicchi. Fabio Di Barri at Flipper accounts that throughout the extensive paperwork at Flipper the music of Radicchi or Lamartine was never licensed out for synchronisation and doesn’t appear on any of the associated labels discographies. After cross-referencing track times and titles Fabio could also reveal the full name of the artist to be that of Odoardo (aka Eduardo) Radicchi – a senior member of the Italian music scene from the same generation as Nino Rota, Giorgio Gaslini and Gian Piero Reverberi. 

                                                                                                                                            The late discovery of 'Reportage' by Lamartine provides vintage electronic music enthusiasts with a wider vista of the development of the genre in Italy. The aforementioned names make up a small but closely associated and like-minded family of pioneers exploring a new direction with solo recordings in a very unique industrial capacity. Rendered in the hinterland between Italian cinema’s penchant for psychedelic rock and the onset of the synthesiser music and Italo disco movements later in the decade, these artists and their records represent the laboratory projects that researched the capacity of electronic music before it swept the nation’s media quite unlike anywhere else in the world. Lamartine - once an anonymous, dubious, genius in the library micro-genre - can now be named and recognised as a unique artist with a distinctive sound, adding new colours to the vibrant palette of Italian studio artists and painting a wider sonic picture of the evolution of Italian pop and film music and we believe to understand it.

                                                                                                                                            The Italian library liberation front keeps growing - the genre that keeps on giving. It’s time for artists like Lamartine to name and claim their places in electronic music history.

                                                                                                                                            TRACK LISTING

                                                                                                                                            Congresso Al Terzo Mondo
                                                                                                                                            Corteo Della Speranza
                                                                                                                                            Morte Del Mediterraneo
                                                                                                                                            Desideri Di Pace
                                                                                                                                            Riarmo Nucleare
                                                                                                                                            Sceicchi A Congresso
                                                                                                                                            Fame E Orgoglio
                                                                                                                                            Angoscia Universale
                                                                                                                                            Depurazione Del Mare
                                                                                                                                            Soluzioni E Speranze

                                                                                                                                            An extraordinary twilight world opens while listening to Organizatisya. Adventurous yet humble, they push the limits towards the unknown. One thing’s for sure, it’s fresher than the juiciest peach on a perfect summer day.

                                                                                                                                            Organizatsiya hail from Lyon, France. Leo and Zoe clearly have strong roots in folk and acoustic music. These ‘old worlds’ blend in surprisingly well with more contemporary digital, futuristic sounds. Soothing analog recordings meet hyperdigital compositions reminiscent of IDM creations and peppered with spoken words that dance around in unexpected ways.

                                                                                                                                            Seductive, intelligent and deeply hypnotic, this esoteric material delivers a dreamlike experience.

                                                                                                                                            Like finishing a game and celebrating victory with cheap champagne in a neon light lit bubble bath with the end tune of The Legend of Zelda in the air.

                                                                                                                                            With great contributions from several guest musicians in this record involved. Designed sleeve and printed inner sleeve by Guilhem Prat.

                                                                                                                                            TRACK LISTING

                                                                                                                                            Die Idee Der Toleranz
                                                                                                                                            We Cannot Promise You Privacy
                                                                                                                                            A Song For Marius
                                                                                                                                            Une Comptine Pour Jeanne
                                                                                                                                            Avatha Subumbra Feat Benoit B
                                                                                                                                            Sur La Digue
                                                                                                                                            A Shade Of The Princess Z' Castel

                                                                                                                                            Moonchild Sanelly


                                                                                                                                              The trailblazing South African musician Moonchild Sanelly - real name Sanelisiwe Twisha - signed to Transgressive Records in 2020, kicking off with diverse mini-LP Nüdes. Now, she returns to the international label with her genre-crossing second album Phases. Forming a sonic foundation that veers between Amapiano, Gqom, grime, pop, house and R&B while showcasing her vocal talents on more downtempo songs, Phases 19-tracks document the varying chapters of a toxic relationship and subsequent freedom. A double album, the first side is a journey through the relationship with production reflecting those different moods and aspects of her personality; the second side, meanwhile, leads into a clubbier amapiano space. Collaboration has always been core to Moonchild’s alternate world.

                                                                                                                                              Since her 2015-released award-winning first album Rabulpha! put her on the global map, she has collaborated with local favourites Maphorisa, Sho Madjozi and Thandiswa Mazwai. In the years that followed, she caught the attention of a host of international superstars, leading to high-profile collaborations with artists including Wizkid, Beyonce (featuring on “My Power”) and Gorillaz (on “With Love To An Ex”). Phases is a highly collaborative record, too, with production and guest features from Sad Night Dynamite (their track “Demon” is already a huge hit), Wesley Joseph, Xavier Thomas (Débruit), TOKiMONSTA, Holly and Aramboa.

                                                                                                                                              The album’s title takes on a multitude of meanings: via the range of genres covered across its runtime, the different sounds and styles that it encompasses and the personal journey that Sanelisiwe Twisha has taken to get to this point. But, for Moonchild Sanelly, it’s more literal than that: “I think that, with this album, I’ve managed to piece all the different parts of me together, because I’m known for different things in different parts of the world. I think you get to know me better with Phases - all the different sides of me.”

                                                                                                                                              TRACK LISTING

                                                                                                                                              1. Undumpable
                                                                                                                                              2. Demon (Moonchild Sanelly And Sad Night Dynamite)
                                                                                                                                              3. Cute (Ft. Trillary Banks)
                                                                                                                                              4. April Fool’s Day
                                                                                                                                              5. Strip Club (Ft. Ghetts)
                                                                                                                                              6. Let It Rip
                                                                                                                                              7. Over You
                                                                                                                                              8. Money Tree
                                                                                                                                              9. Favourite Regret
                                                                                                                                              10. Too Late
                                                                                                                                              11. ULi (Ft. Blxckie)
                                                                                                                                              12. Covivi
                                                                                                                                              13. Soyenza (Ft. Sir Trill)
                                                                                                                                              14. Yebo Teacher (Extended Version)
                                                                                                                                              15. Chicken
                                                                                                                                              16. Jiva Juluka
                                                                                                                                              17. Bad Bitch Budget
                                                                                                                                              18. Jump
                                                                                                                                              19. Bird So Bad

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