MAGIC MIX

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BACK CATALOGUE - A

Air

Sexy Boy

    THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Picture Disc of Air's cult single 'Sexy Boy'

    Arcade Fire

    Arcade Fire EP (RSD18 EDITION)

      THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      First time on Vinyl for this 12" transparent Blue coloured & individually numbered EP, with augmented Gold artwork. Originally released in 2003 as a CD demo only available at live dates.

      Anne Briggs

      Sing A Song For You (RSD18 EDITION)

        THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.




        Alex Somers

        Untitled

          THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

          Previously available as limited edition runs of 100, with hand painted sleeves, at the Nor_ur og Ni_ur festival, December 2017, now being made available in a run of 500 for RSD

          Following up on the sell out success of Volume 3 (thanks in no small part to Sophie Lloyd's sublime version excursion of Herb Alpert's "Rise") A & R Edits return with the tape-tapping talent of Fingerman. The A-side sees Seal's "Crazy" getting a balearic sunrise make over with those soulful vocals wrapped in warm pads and swirling atmospherics, while the B-side features the yacht rock stylings of The Doobie Brothers' "What A Fool Believes" given some extra dancefloor weight by that Fingerman.


          A Certain Ratio

          ACR:MCR

            As part of the ongoing collaboration with Mute Recordings Several of their albums will be released, including the long out of print albums 'acr:mcr' and 'Good Together.'A Certain Ratio embraced the ethic and culture of the late seventies post-punk explosion, but sounded like nothing else around them and refused to fit in. Formed in 1978, the band had various members throughout their career, and a core line-up of Jez Kerr, Martin Moscrop and Donald Johnson.

            Hailed universally as pioneers of what became known as “punk funk” thanks to the success of ‘Shack Up’ on both sides of the Atlantic, their sound is not easily pigeon holed and their influence can never be understated. The band introduced the avant-garde elements of funk, jazz, electronics, tape loops and technology to the pop song, wrapping it in a post punk aesthetic, adding great clothes and the coolest haircuts. They have gone on to influence generations of musicians - from LCD Soundsystem, Happy Mondays, Franz Ferdinand, ESG, Factory Floor and Andrew Weatherall. 


            FORMAT INFORMATION

            2xColoured LP Info: Double clear vinyl remastered at 45rpm for optimum sound quality

            A Certain Ratio

            Acr:set

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

              FORMAT INFORMATION

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

              A Certain Ratio

              Change The Station

                This is the latest instalment in an ongoing collaboration with Mute and follows the release of The Graveyard And The Ballroom, To Each, Force, acr:mcr, I’d Like To See You Again, Up In Downsville and the long out of print album Good Together.
                Change The Station (1986) – An abstract album that sees A Certain Ratio bring the funk to laid back ambience in a way that only they could. The party is still there and it’s more hypnotic than ever.



                FORMAT INFORMATION

                2xColoured LP Info: Blue vinyl.

                2xColoured LP includes MP3 Download Code.

                Re-release of the fifth album by iconic post-punk funk outfit A Certain Ratio, originally released by Factory Records in November 1986 and described by drummer Donald Johnson as "the Mike Tyson of funk".

                Force marked a return to form for Ratio, mixing the robust funk grooves of lead single Mickey Way with more downtempo tracks, as well as Si Firmi O Grido, the percussive tour de force that still provides a reliable climax to live performances. In addition to pin-sharp rhythm and groove the album also displayed a certain pop sensibility, courtesy of guest vocalist Corinne Drewery of Swing Out Sister. The album was also one of the first to utilise the brand new Akai S900 sampler.


                FORMAT INFORMATION

                LP includes MP3 Download Code.

                Springing forth from the punk era of the late 70s, A Certain Ratio carved their own niche by marrying the gloom and gristle of the Manchester's Factory era with a whole load of groove. Hailed universally as pioneers of what became known as ‘punk funk’ thanks to the success of ‘Shack Up’ on both sides of the Atlantic, their sound is not easily pigeon holed and their influence can never be understated. The band introduced the avant-garde elements of funk, jazz, electronics, tape loops and technology to the pop song, wrapping it in a post punk aesthetic, adding great clothes and the coolest haircuts. 

                Alive and well and on A&M after the Factory split, A Certain Ratio were in euphoric and emotive form for 1989’s Good Together. Bursting with the boundless positivity of the acid house era, the LP sees ACR divert their usual funk into the baggy sound of the time, exploiting conventional song structures to convey themes of togetherness and hope. Soulful, smooth and packed with proper anthems, including the saucy eyed serenade ‘The Big E’ and the wriggling acid pop of the title track, ‘Good Together’ remains the ACR of choice for ageing ravers everywhere.

                FORMAT INFORMATION

                2xColoured LP Info: Double white vinyl.

                A Certain Ratio

                I'd Like To See You Again

                  Following the new wave classic Sextet, this Manchester/New York post-punk funk unit's third album, I'd Like to See You Again, points toward a more minimal, stripped-down funk sound. This was apparently influenced heavily by the New York club scene of the early '80s, in which A Certain Ratio immersed themselves following their formation in Manchester. The departure of vocalist Martha Tilson left the band working in a more rhythmic instrumental approach, eschewing the pop forms of Sextet and focusing on a harder electro-funk sound. While this revealed the influence of time spent in club culture and marked a radical departure from the melancholy Manchester sound of their previous albums, the band kept their melodic passages intact, which created a tension between bright and dark moods that was the striking characteristic of their best work. The fact that this album fared well on the dancefloor some 20 years after its release may indicate that A Certain Ratio was ahead of their time. Their influence could be heard cropping up in strains of the Brit-pop, techno, post-rock, and house of the late '90s. Hence, I'd Like to See You Again is an album that deserves a revisit. Essential listening for fans of the Factory sound that spawned the British club sound exemplified by New Order and the New York wave of minimal funk groups, like Liquid Liquid and ESG.. 

                  FORMAT INFORMATION

                  Coloured LP Info: Transparent Yellow Vinyl.

                  A Certain Ratio

                  Mind Made Up

                    Produced by Ratio in Manchester between 2006 and 2009, "Mind Made Up" marks a stunning return to hard-edged funky form. 'The songs are timeless and true to ACR's roots,' says Donald Johnson. 'The emphasis was placed on keeping it simple in the studio. Trickery was kept to a minimum and we never took more than three takes on any track.' Adds Martin Moscrop: 'Most songs we jammed in rehearsal one week and recorded the next, so that they were rough round the edges. And the lyrics are some of the best Jez has ever produced. You'll also hear old ACR influences throughout the album. "Teri" was actually the first song ACR ever wrote, but it has never been recorded or released until now.' 

                    FORMAT INFORMATION

                    2xColoured LP Info: Purple vinyl.

                    2xColoured LP includes MP3 Download Code.

                    A Certain Ratio

                    Sextet

                      Self-produced at Revolution Studio, Sextet saw the original Ratio quintet of Donald Johnson, Jeremy Kerr, Martin Moscrop, Simon Topping and Peter Terrell joined by co-vocalist Martha ‘Tili’ Tilson. Written and recorded following a transformative sojourn in New York in late 1980, the album reflects Latin, samba and even jazz influences (eg Skipscada; Day One), while still retaining Ratio’s signature brittle funk textures, heard in full effect on Lucinda, Gum and trancelike floor filler Knife Slits Water. .

                      “It all came together for us on Sextet really,” confirms bassist (and latterly vocalist) Jez Kerr. “We were all working together - more involved in the recording, and what went down onto tape. It's definitely got something that the other albums haven’t.” 

                      FORMAT INFORMATION

                      Coloured LP Info: Orange vinyl.

                      Coloured LP includes MP3 Download Code.

                      A Certain Ratio

                      The Graveyard And Ballroom

                      ACR's debut release for Factory Records, this was originally released as a Factory cassette in 1980. Produced by Martin Hannett, tracks 1-7 were recorded at the Graveyard Studios in Prestwich, while the remaining tracks were recorded live at The Electric Ballroom, hence the title.

                      FORMAT INFORMATION

                      LP Info: Limited edition in green PVC sleeve.

                      LP includes MP3 Download Code.

                      A Certain Ratio

                      To Each

                      This first album was originally only released on cassette and was compiled from a collection of early four-track recordings and a set of live tracks recorded when the band was opening for the Talking Heads. The sound is good for lo-fi recordings, and the band is, for all of their musical amateurishness, precise and controlled. Those seeking an idiosyncratic, interesting art-funk band can do no wrong with this release.

                      “A Certain Ratio embraced the ethic and culture of the late seventies post-punk explosion, but sounded like nothing else around them and refused to fit in,” reads the press notes. “ACR always do what I don’t expect, who wouldn’t want to work with artists like that?” Mute Records boss Daniel Miller adds. Though various members have come and gone, a core line-up of Jeremy Kerr, Martin Moscrop and Donald Johnson has always remained.

                      FORMAT INFORMATION

                      2xColoured LP Info: Limited edition double red vinyl.

                      2xColoured LP includes MP3 Download Code.

                      Springing forth from the punk era of the late 70s, A Certain Ratio carved their own niche by marrying the gloom and gristle of the Manchester's Factory era with a whole load of groove. Hailed universally as pioneers of what became known as ‘punk funk’ thanks to the success of ‘Shack Up’ on both sides of the Atlantic, their sound is not easily pigeon holed and their influence can never be understated. The band introduced the avant-garde elements of funk, jazz, electronics, tape loops and technology to the pop song, wrapping it in a post punk aesthetic, adding great clothes and the coolest haircuts. 

                      If Good Together saw A Certain Ratio translating the acid house ethos through conventional song, Up In Downsville was a sweat drenched return to the heart of the dance floor. Released on Rob Gretton’s plainly named imprint, the LP shuffles through melodic house, slick acid jazz and brooding electro-funk, pulling together the disparate strands of Manchester’s clubland into one infectious whole. The groove is king throughout but never hits harder than on LP closer Up In Downsville Pt.2, a flute led masterpiece of Mancunian funk which forms a wonderful contrast to enduring Balearic classic ‘Salvador’s (Fish)’, the album’s finest moment.

                      FORMAT INFORMATION

                      2xColoured LP Info: Light blue vinyl!

                      Landscapes both seen and felt, real and imagined, lie at the heart of In All That Drifts From Summit Down, the vast debut full-length release from nomadic duo A Dead Forest Index. Comprised of brothers Adam Sherry (vocals/guitar) and Sam Sherry (drums/piano), the group crafts ethereal and intensely intimate compositions that defy trends and labeling, instead shaping an aural experience as organic as it is unpredictable. Forsaking instrumental complexity in favor of richly dense vocals and an otherwise minimal palette, the band evokes heaviness with the atmosphere they create rather than through blunt force.

                      Teaming-up with Sargent House on the heels of a recent European tour supporting labelmate Chelsea Wolfe, A Dead Forest Index are poised to introduce their sound to a global audience in 2016. A Dead Forest Index was initially the solo project of Adam Sherry, begun in 2008. By 2010, it had evolved into a collaboration, with Sam Sherry supplying percussive depth to his brother’s distinctively hymnal approach to vocals, itself characterized by cyclical harmonies and experiments with drone. Untethered by place (or, for that matter, era), they’ve spent the past few years developing their sound, touring extensively between 2012-2014, and issuing the EPs “Antique” and “Cast of Lines” in the process. The latter was released by Jehnny Beth of Savages’ Pop Noire label, a precursor to the collaborative Savages/A Dead Forest Index composition and performance titled “In What I’m Seeing; the Sun” for the Barbican’s Station to Station Festival in 2015.

                      Their debut album, is a testimony to the sublime divinity of nature and the cold reality of time’s passage. Unfolding over 13 tracks, the album imagines natural phenomena as poetic metaphor for the human condition, the lyrics evoking stone, cold air, unyielding emptiness and erosion, while the enveloping warmth of Adam Sherry’s layered, choral vocals makes for an intriguing contrast.

                      A Foot In Cold Water

                      A Foot In Cold Water

                      1972 debut album by these unusually named Canadian psyche / progsters was originally released on the Daffodil label. Musically confident it veers from progressive, through to melodic pop / rock and winding up in a hard heavy psychedelic mode. Paul Naumann is a very talented guitarist and vocalist Alex Machin is so much better than most.

                      A Giant Dog

                      Toy

                        Toy, the fourth LP from A Giant Dog and their second for Merge, shows the Austin quintet at the height of their powers. A solid year of road-dogging and woodshedding has made the band tighter than ever, the charging dynamo of Andrew Cashen and Andy Bauer's guitars in lockstep with the primal chug of the rhythm section Graham Low on bass and the recorded debut of Daniel Blanchard on drums. Singer Sabrina Ellis turns in another masterful performance, in equal parts brash, defiant, vulnerable, and raw.

                        Lyrically, Sabrina and Andrew have a gift for making their personal frustrations and fuck-ups, fears, lusts, and addictions feel universal. While they have always given voice to the weirdos and creeps—showing that their peccadilloes and peculiarities are much more deep-seated and widespread they dig even deeper on Toy. “I feel I’ve revealed more in this album than ever before,” Sabrina confesses. Still, the band doesn’t sacrifice an ounce of catchiness or charm when tackling issues like aging, agency, and mortality. For proof, just look at “Photograph,” the sweetest love song about physical longing and enduring devotion to one’s lover, even as their body succumbs to the ravages of time.

                        The band recorded Toy with Grammy-winning engineer Stuart Sikes (Loretta Lynn, Cat Power, The White Stripes, Reigning Sound), and singer/songwriter/guitarist/wildman Cashen produced it. "Andrew as producer makes a lot of sense," Sabrina says. "He composes the songs and knows better than anyone what they should sound like in the end. With him at the helm, we've arrived at a raw, truthful, risky, and rangey album." Toy is also sonically huge, pulling from a range of influence s as diverse as Tinariwen and Thin Lizzy. 

                        FORMAT INFORMATION

                        CD Info: CD & LP packages include lead singer Sabrina Ellis’ handwritten lyrics + a photo of the band.

                        London's A Grave With No Name mine their own distinctive vein of haunted freaked folk and art rock, tracing delicate fissures in the emotional radiography of loss and longing to spellbinding effect. The second vinyl only release since 2010's acclaimed 'Mountain Debris' debut, these three piano led tracks bring the vulnerability and honesty of frontman Alexander Shields' songwriting to the foreground of his desolate and beautiful home recordings. 220 for sale.

                        A Grave With No Name

                        Feathers Wet, Under The Moon

                        A Grave With No Name is the recording project of London’s Alexander Shields. The follow up to 2013’s ‘Whirlpool’, Shields’ first foray into a recording studio, eschewing the bedroom recordings of his previous releases, ‘Feathers Wet, Under The Moon’ sees him returning to a studio, this time trading the foggy confines of London for the rolling hills of Nashville, TN. Says Shields, “I travelled to Nashville on my own in April 2014 to record with Mark Nevers at his Beech House studio. Mark has produced loads of artists I admire such as Bonnie Prince Billy, Silver Jews, William Tyler, Lambchop (whom he is a member of ) and Vic Chesnutt. Mark and I worked on our own for a while and then we started calling in local Nashville musicians for overdubs such as guitarist William Tyler (who made one of my favourite albums of the past few years) and Tony Crow (who is from Lambchop, and the most amazing piano player I’ve ever seen). My best friend Daniel Blumberg (who now records under the name Hebronix and used to play in Yuck) came out to visit in the second week and helped out with some guitar and piano as well. The whole record took two weeks to track and then I travelled back to London and we spent a month sending mixes back and forth via email. It felt a long, long way away from recording alone in my bedroom.”

                        The approach to recording on ‘Feathers Wet, Under The Moon’ was an entirely new method of recording for Shields. In the past, he had been used to writing every note of each song and then performing and recording everything himself, or carefully instructing the players how he wanted it to sound. For this record, he presented the bare bones of a song to the group, then Mark would hit the record button and they would just play, often creating the arrangements on the fly. The resulting record however is an exercise in precision and restraint that belies its creation.

                        With slowly unfolding melodies, atypical song structures and a sense of meandering melancholy, ‘Feathers Wet, Under The Moon’ takes us on a personal journey that somehow feels universal.

                        FORMAT INFORMATION

                        LP includes MP3 Download Code.

                        "Mountain Debris" is the first full-length from A Grave With No Name, a haunting, bewitching history of the band thus far and a glimpse of the compelling future that awaits them A Grave With No Name have always mined their own distinctive vein of haunted, freaked folk/art rock, tracing delicate fissures in the emotional radiography of loss and longing to spellbinding effect. "Mountain Debris" collects together tracks from their (sold out) releases to date – the split 7" single with Natural Numbers and the self-titled EP, released earlier this year – and adds a slew of previously unheard recordings, to create a remarkably beautiful and cohesive whole, albeit one that always seems to be on the verge of imploding into itself, so rarefied and brittle is its beauty. But then, nothing about this record is remotely predictable. The fragile, windblown melodies of "The Sun Rises" and "And We Parted Ways At Mt Jade" open the album, only to be blown away by the stadium-sized guitars of "Sofia", which juxtaposes the galloping drums with AGWWN figurehead Alex Shields' odd, affecting refrain of 'pleased to meet you, I'm so sad'. Similarly, "Silver" roars out of the speakers with almost-anthemic immediacy and urgency, while elsewhere the trembling, piano-led "Underpass" sounds like the most moving song that Palace Music never wrote, and "Open Water" finds the band on fine, mischievous form. 16 songs long and yet still clocking in at just over half an hour, "Mountain Debris" is something of a small miracle.

                        A Grave With No Name

                        Whirlpool

                        ‘Whirlpool’ completes a narrative trilogy of records for A Grave With No Name, beginning in 2009 with ‘Mountain Debris’, and continuing with 2011’s ‘Lower’. It’s a narrative that confronts the theme of loss, something which could be considered a well trodden path within popular music - yet Alex Shields, the songwriter behind A Grave With No Name, has managed to mine his own distinctive voice, tracing a delicate fissure in the emotional radiography of longing to spellbinding effect.

                        This record has seen a more collaborative approach to song construction, with contributions from the likes of Linda Jarvis (Echo Lake), Akiko Matsuura (Comanechi) and Alanna McArdle (Ides).

                        An album of contrasting beauty, from the hushed lullaby of ‘Bones’, to the euphoric glee of ‘Origami’, and the album’s opening song ‘Aurora’.

                        A Hawk And A Hacksaw

                        Forest Bathing

                          Forest Bathing, or Shinrin-yoku, is a term that means “taking in the forest atmosphere.” It was developed in Japan during the 1980s and has become a cornerstone of preventive health care and healing in Japanese medicine.

                          “Taking in the forest atmosphere” became the inspiration for A Hawk and A Hacksaw’s newest album. Their forest bath of choice is the Valle De Oro National Wildlife Refuge in New Mexico. This new album features ten original compositions by Heather Trost and Jeremy Barnes. The opening track “Alexandria” features Barnes on the Persian Santur, an ancient hammer struck dulcimer, and Trost’s string and woodwind melodies. The composition evokes the long trader’s route between what is now Bulgaria and the wealthy cities of Istanbul and Alexandria.

                          The band has always had a bird’s eye view of this part the world— looking for the connections between places and even eras: a belief in the power of music to reach across borders and unite. The band is based on the idea of collecting music and inspiration through travel. They are not of a place, but their music evokes places along a route. This is not urban music. It’s rural: songs of the woods and roads where there are no sidewalks or street lamps to light your way.

                          While the bulk of the music heard on this record is played by Barnes and Trost, they do have some incredible guest performances, namely the clarinet virtouso Cüneyt Sepetçi, from Istanbul, Hungarian cimbalom master Unger Balász, and closer to home, Chicago trumpeter Sam Johnson, Deerhoof’s John Dieterich and Noah Martinez, of the band Lone Piñon.

                          A Hawk and A Hacksaw, the duo of Jeremy Barnes and Heather Trost, known for performing traditional and original music steeped in Eastern European folk traditions, present their sixth album You Have Already Gone to the Other World: Music Inspired by Paradjanov’s Shadows of Forgotten Ancestors.

                          The sixteen tracks feature seven originals along with nine Ukrainian, Hungarian and Romanian traditional songs re-imagined and arranged with inspiration taken from the legendary 1964 film Shadows of Forgotten Ancestors by Russian filmmaker Sergey Paradjanov. Taking their cues from the surreal folk magic of Forgotten Ancestors, Barnes (of Neutral Milk Hotel) and Trost (who lends vocals and violin on Josephine Foster’s latest album) began composing new music to perform along with the film and, in 2012, took the project on tour, accompanying the movie live in cinemas and theaters internationally.

                          The new album is the product of those tours and the evolution of the music into something that can stand on its own. Produced by John Dieterich of Deerhoof, this is the first A Hawk and A Hacksaw album for some time to feature only its two primary members (with the exception of two tracks where Dietrich lends guitar) but the instrumentation is not minimal. Dieterich’s sense of musical experimentation has driven the group into new territories of folk psychedelia that explodes with rich ornamentation. It’s also the band’s most dynamic album since they began their Eastern European adventure, with the thundering percussion and dramatic arcs of violin on the title track counterpointed by majestic solo pieces for Persian Santur, and piano, stately organ-led processionals and original sound and melodies from the film woven throughout.

                          A Minor Forest

                          Flemish Altruism / Inindependence

                            THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                            Classic albums from the early days of Thrill Jockey.

                            Originally released in 1996/1998 - these have been out of print on vinyl for nearly a decade.

                            Both albums are being re-issued and will be sold as a 4xLP set.

                            ‘Flemish Altruism’ will feature new/updated artwork.

                            Both will include download coupons for the first time.

                            A Minor Forest recently reunited and played a very well received show in San Francisco (with a Bay Guardian cover story)

                            The band will tour the US in April & May of this year.

                            Limited to 60 copies for the UK and Ireland.

                            A Mountain Of One deliver this limited edition white vinyl 12" featuring exclusive unreleased remixes from the outfit's critically acclaimed long player "Institute Of Joy". First up we have a Time and Space Machine (Richard Norris' forward thinking psych project ) remix of "Bones" which drives along in typically mid-tempo style with plenty going on for the head. Next Sweden's Tiedye (Italians Do It Better) come up with a rework of the same track. Slightly more up-beat, this has a really lovely Balearic-disco feel to it. Over on side two "Ahead Of The Curve" is taken on by Richard Gateaux aka Manchester-based producer Neil Dunn, who enters a futuristic cinematic sci-fi disco zone. Lastly we have a Bad Passion / FORC remix of "Hail Pleasure". The Bad Passion project are a collective of London-based DJs, producers and creatives, who are also involved in the creative art project FORC. This remix has a touch of the progressive house about it, mixed with cosmic disco touches.


                            The first release in the LAMC 7" singles series from Famous Class Records.

                            The series is in memory of promoter and partner at Famous Class, Ariel Panero.

                            The series gets its name from the epic Less Artists More Condos concerts that Ariel threw, showcasing amazing bands in some strange and unique venues. Ariel’s driving force was a desire to get the bands he believed in the recognition he felt they deserved. This series simply tries to honor that idea.

                            For each LAMC split 7” the label have asked one of their favorite bands to provide them with an unreleased track for the A-side. They then asked them to pick their favorite emerging artist to provide a track for the B-side. Ariel’s LAMC shows introduced New Yorkers to bands they might not have otherwise discovered – the idea is that this series will do the same.

                            Six of these split singles are due for release in the coming months, including releases from Future Islands and Thee Oh Sees, and it looks set to be a great little collectors series.

                            Try, if only for a moment, to envision a scenario in which you could still be completely *surprised* by a rock band. It’s not easy. In fact, it’s increasingly rare.

                            A couple of years ago, A Place to Bury Strangers were in search of a new drummer. Lia Simone Braswell, an L.A. native, had recently moved to New York, and was playing drums in shows around Brooklyn "just to keep her chops up." As it turned out, APTBS bassist Dion Lunadon caught one of those shows and, after seeing her play, was moved to ask her if she’d want to come to a band practice sometime.

                            "I told some of my friends about it before I met up with them," Braswell says, of the rehearsal that would soon lead to her joining the band. "They told me, 'You’re just gonna have to keep up as much as you possibly can.’"

                            "To be fair, she had also never seen us live," Lunadon adds. "She didn’t necessarily know what she was getting into."

                            What she was getting into: For well over a decade now, A Place to Bury Strangers-Lunadon, founding guitarist/singer Oliver Ackermann, and, officially, Braswell-have become well known for their unwavering commitment to unpredictable, often bewildering live shows, and total, some might say dangerous volume. They don’t write setlists. They frequently write new songs mid-set. They deliberately provoke and sabotage sound people in a variety of cruel yet innovative ways. They can and will always surprise you. "When something goes wrong on-stage, a lot of bands will crumble under the pressure," says Ackermann. "We like the idea of embracing the moment when things go wrong and turning it into the best thing about the show."

                            This April marks the release of Pinned, their fifth full-length and an album that finds them converting difficult moments into some of their most urgent work to date. It’s their first since the 2016 election, and their first since the 2014 closing of Death By Audio, the beloved Brooklyn DIY space where Ackerman lived, worked, and created with complete freedom. "After DBA closed, I moved to an apartment in Clinton Hill," he says. "I couldn’t make too much noise, couldn’t disturb my neighbors. I would just sit there and write with a drum machine. It had to be about writing a good song and not about being super, sonically loud."

                            There are searing meditations on truth and government-led conspiracies ("Execution"), as well as haunting, harmonized responses to the tensions of our current political climate ("There’s Only One of Us"). It all opens with "Never Coming Back," a frightening crescendo of group vocals, vertiginous guitar work, and Lunadon’s unrelenting bass. "That song is a big concept," Ackermann says. "You make these decisions in your life…you’re contemplating whether or not this will be the end. You think of your mortality, those moments you could die and what that means. You’re thinking about that edge of the end, deciding whether or not it’s over. When you’re close to that edge, you could teeter over."

                            It’s a clear and honest statement of intent, not just for everything that follows, but for this band as a whole. "As things go on, you don’t want them to be stagnant," Ackermann says. "Being a band for ten years, it’s hard to keep things moving forward. I see so many bands that have been around and they’re a weaker version of what they used to be. This band is anti-that. We try to push ourselves constantly, with the live shows and the recordings. We always want to get better. You’ve got to dig deep and take chances, and sometimes, I questioned that. It took really breaking through to make it work. I think we did that."

                            They definitely did. 

                            STAFF COMMENTS

                            Barry says: Throbbing bass, snappy distorted vocals and churning, machinated minimal-wave vox and NIN-esque claustrophobic ambience, all held withing a solid and impenetrable shell of gnarly, saturated guitars. Superb.

                            FORMAT INFORMATION

                            2xColoured LP Info: Indies only double pink vinyl edition.

                            A Silver Mt Zion

                            Born Into Trouble As The Sparks Fly Upward

                            Second album that finds the band expanded to a six member core. The addition of cello, second violin and second guitar has allowed them to develop a much broader sound with more vocals and guitar. Think of a sound somewhere between Godspeed.., Spiritualized and Rachels. Fantastic stuff!!!!!

                            STAFF COMMENTS

                            Barry says: Post-Godspeed, A Silver Mt. Zion rise from the ashes, more overtly (and lyrically) political, filled with zeal and drive. Their debut was tear-jerkingly morose, but equally stunning. This is a slightly more hopeful affair, filled with long string bursts and reverb-drenched piano. One of the most startling and moving albums to have come out of Canada since GYBE themselves.

                            Riding on the current shoegazing revival, and then upping it a few notches with all manner of sounds, A Sunny Day In Glasgow are here to save our souls. Using mandolins, banjos, noise, samplers, lots of cuttin' n pastin', and all of the normal band instruments, Philadelphia's A Sunny Day In Glasgow adds lush female vocals and dance-y rhythms to make dreamy pop music. Distorted guitars alongside Robin and Lauren's vocals glisten for thirteen storied tracks on "Scribble Mural Comic Journal". The album succeeds in marrying Cocteau Twins' other-worldliness, JAMC white noise, the best aspects of early Aphex Twin, and the jangle of "Strawberry Wine" era MBV to create pop music that somehow makes sense despite making no sense.

                            FORMAT INFORMATION

                            Ltd CD Info: Now at cheaper price.

                            A Tribe Called Quest

                            People's Instinctive Travels And The Paths Of Rhythm - 25th Anniversary Edition

                            One year after De la Soul re-drew the map for alternative rap, fellow Native Tongues brothers A Tribe Called Quest released their debut, the quiet beginning of a revolution in non-commercial hip-hop. People's Instinctive Travels and the Paths of Rhythm floated a few familiar hooks, but it wasn't a sampladelic record. Rappers Q-Tip and Phife Dawg dropped a few clunky rhymes, but their lyrics were packed with ideas, while their flow and interplay were among the most original in hip-hop. From the beginning, Tribe focused on intelligent message tracks but rarely sounded over-serious about them. Includes "Can I Kick It?", "Bonita Applebum", "I Left My Wallet In El Segundo", "Description Of A Fool", "Luck Of Lucien" etc.

                            FORMAT INFORMATION

                            2xLP Info: Double, gatefold, heavyweight, Black LP Vinyl format.

                            A Tribe Called Quest

                            We Got It From Here... Thank You 4 Your Service

                            Just when it looked like The Avalanches had the 'unlikely comeback of the year' award sewn up, legendary hip hop ensemble A Tribe Called Quest return with their first album in eighteen years, months after the death of group member Phife Dawg. Recorded at Q-Tip's home studio after the group's reunion on Jimmy Fallon, the set sees Q-Tip, Phife and Jarobi swapping the mic at will, exchanging couplets and finishing each other's lines like they'd never been apart. Musically, "We Got It From Here..." finds the group flipping their well loved jazz samples into contemporary arrangements alive with collaborative performances from a whole host of A-list guests, while the free flowing lyrics meditate on culture, sociology and the total shit show which is US politics. As a longtime fan of ATCQ, I'd have been happy with a decent rehash of their early nineties stylings, but "We Got It From Here" excels with modern production and pointed subject matter, serving up a stinging critique of society's ills over the most infectious grooves. Simply put, it's a masterpiece.

                            STAFF COMMENTS

                            Patrick says: Musically, "We Got It From Here..." finds the group flipping their well loved jazz samples into contemporary arrangements alive with collaborative performances from a whole host of A-list guests, while the free flowing lyrics meditate on culture, sociology and the total shit show which is US politics. Simply put, it's a masterpiece.

                            FORMAT INFORMATION

                            2xLtd LP Info: Limited double vinyl.

                            A Winged Victory For The Sullen

                            A Winged Victory For The Sullen

                            'A Winged Victory For The Sullen' is the first installment of the new collaboration between Stars Of The Lid member Adam Wiltzie and L.A. composer Dustin O'Halloran. The duo agreed to leave the comfort zone of their home studios and develop the recordings with the help of large acoustic spaces, hunting down a selection of 9ft grand pianos that had the ability to deliver extreme sonic low end. Other traditional instrumentation was used including string quartet, French horn, and bassoon, but always juxtaposed is the sound of drifting guitar washed melodies.

                            The recordings began with one late night session in the famed Grunewald Church in Berlin on a 1950s imperial Bösendorfer piano and strings were added in the historic East Berlin DDR radio studios along the River Spree. One last session on a handmade Fazioli piano in a private studio on the Northern cusp of Italy, before the final mixes took place in a 17th century villa near Ferrara with the assistance of Francesco Donadello. All songs were then processed completely analogue straight to magnetic tape. Their secret to harvesting new melodic structures from the thin air of existence was for the duo to push themselves to dangerous territory, realising that clear thinking at the wrong moment could stifle the compositions.

                            The final result is seven landscapes of harmonic ingemination. In 'Requiem For The Static King Part One' - created in memory of the untimely passing of Mark Linkous - they have taken the age-old idea of a string quartet and then shot it out of a cannon to reveal exquisite new levels of sonic bliss. Of the 13 minute track 'Symphony Pathétique', Wiltzie says 'after almost 20 years of struggling to create interesting ambient drone music, I feel like I have finally figured out what I am doing'. Notable guest musicians include Icelandic cellist Hildur Gudnadottir, as well as Erased Tapes label comrade Peter Broderick on violin. A Winged Victory For The Sullen is not a side project - it is the future of the late night record you have always dreamed of.


                            STAFF COMMENTS

                            Martin says: The coming together of Stars Of the Lid and Dustin O'Hallaran is a happy marriage of the sweeping, contemplative drones of the former and the filigree piano led delicacy of the latter. An exquisite and meditative neoclassical wonder.

                            A Winged Victory For The Sullen

                            Atomos

                            Adam Wiltzie and Dustin O’Halloran return with their second studio album inspired by contemporary dance and new instrumentation.

                            After releasing a first glimpse in the form of the ‘Atomos VII’ EP earlier this year, A Winged Victory For The Sullen finally reveal their second full-length album entitled ‘Atomos’, which besides familiar piano, string and drone sounds also sees the duo introduce flurries of electronics, harp and modular synthesisers.

                            In 2011 A Winged Victory For The Sullen introduced themselves to the world with a self-titled album, showcasing their unique collaboration of ambient guitar drone from Stars Of The Lid member Adam Bryanbaum Wiltzie and sparse piano tunes by contemporary classical composer Dustin O’Halloran, winning them fans around the world. "An immersive, and inevitably cinematic, ambient gem" ★★★★ – Mojo

                            Wayne McGregor, founder of Random Dance Company and resident choreographer at the Royal Ballet, was one of these fans and chose to play the album repeatedly during practices with his core group of dancers. After noticing the group's reaction with the music, he contacted Adam and Dustin to see if they could write the score for his new oeuvre. The duo were given complete artistic freedom and they treated the score with the same care and attention as their debut album. They recorded more than sixty minutes of music over a four-month period during the summer of 2013 across studios in Brussels, Berlin and Reykjavik, with the help of their long time collaborative sound engineer Francesco Donadello. During the recording process they realised, that this would become their official second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique record.

                            IN THEIR OWN WORDS:
                            “As a wise man once said, one who procrastinates their own choosing will inevitably have their choice served to them by circumstance. We had virtually no time for second guessing ourselves. That being said, we tried to balance the discordance between being creative, and fulfilling our duties for a commissioned soundtrack with a very strict deadline, and all the while staying true to our collective melancholy.” – Adam Bryanbaum Wiltzie

                            “We never imagined 2013 would be such an explosively creative year. The first record took us two years from start to finish, but in the micro span of time over last summer we were able to change the formula for the way we write, record, and let go. It was incredibly liberating.” – Dustin O'Halloran.

                            FORMAT INFORMATION

                            2xLP Info: Double LP in a gatefold sleeve.

                            2xLP includes MP3 Download Code.

                            A Winged Victory For The Sullen, the otherworldly collaboration between Adam Bryanbaum Wiltzie and Dustin O’Halloran, return with their third full-length titled Iris – available worldwide via Erased Tapes. Adam Bryanbaum Wiltzie and Dustin O'Halloran first met the director Jalil Lespert after he had discovered A Winged Victory For The Sullen on a music search online. After listening to their music, he immediately knew: "it was the sound of my new film". With an excellent cast of France’s finest actors Romain Duris, Charlotte Le Bon, and the director himself, plus a script filled with tension, sexuality and darkness, they knew there was a lot of musical territory to mine. It was agreed that they wanted to explore more analogue electronique experiments as well as working with a large string ensemble, to create something that felt very modern and still cinematic.

                            “Despite A Winged Victory For The Sullen being associated with film score type music, trying to survive the process of creating the modern film score is not for people with fragile egos. It requires those who are the most responsive to change. The director and the film presented a new set of challenges, so we decided to stop thinking about cinema as an object, and moved closer to using the film’s images as triggers for experiences. The more we were able to let go, and see the music as something that happens, like a process – not a quality, the more we were able to reach a place that sounded like us. It was as if we were making our first record all over again, except being filtered through another language littered with dead metaphors”, the duo elaborate. The recording sessions began with their long time sound collaborator Francesco Donadello in the form of some modular synth sessions in Berlin. Dustin and Adam began working from the script in their own studios, and after filming commenced they continued to create music that could be used for first edits of the film – each day getting new scenes that triggered ideas that would become the base of the film score. Over the course of the next few months the two slowly crafted the music with weekly discussion from their studio to the editing room. The final sessions to what is now the score of Iris were recorded with a 40-piece string orchestra at Magyar Radio in Budapest.

                            Upon label founder Robert Raths' request the over sixty minutes of material were then edited down to a concise album listen at forty-one minutes with a physical release set for January 13, 2017. The digital bonus track edition includes two solo pieces by Adam Bryanbaum Wiltzie entitled The Endless Battle Of The Maudlin Ballade Part 2 and The Endless Battle Of The Maudlin Ballade Part 3, as well as tracks by Petite Noir, dOP, DJ Pone and The Shoes which feature in the film. The artwork was created by Berlin based illustrator Stephanie F. Scholz who also created the iconic cover for Nils Frahm's Music for The Motion Picture Victoria.

                            STAFF COMMENTS

                            Barry says: ‘Iris’ builds on their already stunning canon with a smattering of pulsing synthesis joining their trademark modern classical soundscapes.

                            FORMAT INFORMATION

                            Coloured LP Info: Limited edition of 1000 copies on clear vinyl.

                            Ltd LP includes MP3 Download Code.

                            In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano, and an ital dose of tape delay. They called the song "Trouble" and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism.
                            The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally ungoogle-able 30 years later. The result of their adolescent studio idealism sounds akin to otherdisco misfits like Arthur Russell, Maximum Joy & Talking Drums (The Scots, not our own cosmic weirdos) and wouldn't sound out of place on legendary NYC label 99 Records. This Seance Centre reissue comes remastered with an extended Club Dub formaximum dance-floor action.

                            STAFF COMMENTS

                            Patrick says: Hells Yeah! After aligning our chakras nicely with a string of ambient and new age releases, Seance Centre switch it up with a big bomb for the dance floor. Originally released in 1982, this disco-not-disco bomb was recorded at Mad Prof's studio and sounds like Arthur Russell, ESG and Tom Tom Club cutting loose at Black Ark. Top drawer!

                            Opening with the prophetic 'Ocean Of Ideas', A/T/O/S present a smooth suite of Alt-R&B and soulful electronica. 'Trees' is formed through a heady combination of sub-bass booms and scattered electronics, ridden by silky smooth vocal refrains before introducing instrumental hip-hop style breaks and subby booming. 

                            Move further along, and '4intercom People' is a dystopian synth-led anthem, once again carried along by dusty drum machines and industrial churning. Through small changed in sound, their sound develops from a darkened cocoon into a restrained but flourishing post-dubstep murk. 

                            'Liquid Gold Dreams' is a much more stripped back affair, opting for vox accompanied  by just a bit-crushed guitar loop and quick decaying kick-drums. Reminiscent of the soulful tones of Lauryn Hill and the innovative beatmanship of Dilla, fed through a fuzzy distortion box and a wall of colourful compressors. As things progress, we get the frenetic skittering of 'Give It Up', pitching gated drums and saturated hats through a dusty filter, and augmenting with blipping sine waves. 

                            'Wake Up (Save Us)' is probably the most visceral and gloomy piece through this whole collection, based around drums and bass, and those heartfelt lyrical meanderings, surgically dissected with expertly placed shards of synth detritus. 

                            We end on a high with the comparitively anthemic 'Blackout', which grows organically into a blooming and hopeful cresendo of downsampled loops and weighty bass, before breaking down into a glitched and rolling D'N'B groover. 



                            STAFF COMMENTS

                            Barry says: A soulful, brittle and brilliantly conceived collection of End-Of-Days pop and broken machinery rhythms. Heartfelt, conceptually fascinating and executed to perfection.

                            A18

                            Foreverafternothing

                            Featuring founding members of classic California hardcore bands Outspoken, Insted and Chorus of Disapproval. A18's message is not new, but their commitment is particularly refreshing. No room for compromise in their musical vocabulary. This is powerful, loud and demanding hardcore at its best.

                            FORMAT INFORMATION

                            CD Info: Enhanced CD with video clips.

                            Astonishingly talented, relentlessly inventive, frustratingly young(er than me) and full of artistic integrity, Nicolas Jaar has spent a decade flying in the face of convention, expressing himself in whatever manner he chooses. This multidisciplinary approach, especially in the digital age, unfortunately leaves us vinyl fans lacking, and Nico's A.A.L. (Against All Logic) album ‘2012-2017’ was originally a digital only disc. As word of mouth, setlist and mixtape has turned this lowkey release into the jewel in the Other People crown, Nico has finally done the decent thing and given the people what they want. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds engrained deep within Jaar’s listening habits and a record collection evidently packed to the brim with classic soul, house and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that leans heavily on the beefed-up kick drums and reverb units, Jaar creates a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, wherever they may be. 

                            STAFF COMMENTS

                            Patrick says: Harking back to those stunning soul edits he cut his teeth with, Nicolas Jaar delivers a danceable (in a brilliantly unconventional fashion) set of mangled and manipulated club gems. Everywhere you look he expresses the unexpected, be it the blasts of needle bruising distortion on opener "This Old House Is All I Have", the radio friendly pop chorus of "I Never Dream" or dusty textures of "Hopeless". If you dig on Romare's sampledelic club collages, or Herbert's disruptive dance, then you're gonna love this club oriented set from undoubted genius Nicolas Jaar.

                            Damon Aaron, ex-member of Breakestra, The Rebirth and Divine Styler, steps out on his own with an album of bittersweet cosmic campfire electronics and melancholic dreams. Songwriter, producer, and multi-instrumentalist Aaron pens love songs and personal anecdotes that float over spacey hip hop beats and polished basslines. He cuts and pastes in swirling strings and acoustic guitars that decorate his minimal soundscapes and cast light on traditional folk and songwriting roots. Aaron is an eclectic musician who equally embodies California craftsman, Renaissance man and soul boy. His late night collection of stories directs nods towards an eclectic list of influences, including Massive Attack, Flying Lotus, Nick Drake and Sam Cooke.

                            Sharing a seaside home and studio with fellow Brightonians The Magic Gang, the Abattoir Blues of today - vocalist Harry Waugh, guitarists George Boorman and Sam Pitman, and drummer Scott Kennedy - are a far cry from the beer-swigging, stage-smashing brutes of old. Taking equal influence from the grizzly post-punk of The Fall and the dark atmospherics of the Nick Cave album from which they take their name, their swarm of sound engulfs the senses, while drawing on a social conscience reminiscent of punk’s early greats: recent singles ‘Sense’ and ‘Fading’ reflected on mental illness and the refugee crisis respectively.

                            “You should talk about those things if that’s what matters to you,” Harry states. “I feel like, more than ever, there’s a big apathy problem. People are so alienated by the way politics is and the way the world’s run that they switch off and disassociate from things.”

                            “It’s important to encourage people to engage,” agrees George, “we want to stimulate discussion.”

                            It’s a captivating, call-to-arms take on modern punk that’s drawn more than a few eager ears - that “monstrous noise” was heralded by The Guardian at the start of 2016, while NME praised their “abrasive post-punk that’s big on atmosphere and meaning”. DIY joined them in dubbing Abattoir Blues one of 2017’s most essential new acts – further nods from Noisey and Radio 1’s Huw Stephens followed.

                            New EP ‘Blinded’ is the sucker-punch moment that Abattoir Blues have been building towards. The anthemic likes of ‘Change Your Mind’ and the record’s title-track put those years of tight-knit companionship to tape, while ‘Trying Everything’ bites harder than they’ve ever dared before. Closer ‘What You Mean To Be’, meanwhile, is as beautiful and melodic as British punk has ever been one second, and a thrashing monster the next. Abattoir Blues thrive on that light-and-shade duality.

                            The Abbasi Brothers

                            Something Like Nostalgia

                              "Something Like Nostalgia" is a film for your ears, a cinematic glimpse into the purity of everyday life. Written over two years, these 15 scenes are like snapshots of daydreams, their soundscapes are their subtitles, and the origin is not so very foreign. Yousuf and Amman Abbasi represent a new generation of evocative and epic instrumentalists. Following in the footsteps of the late 70s output of Eno & Byrne and Rodelius, then wading through the enigma of early 80s 4AD, they arrive in the 21st century with a sound that is familiar and yet all their own. Intensely motivated by the moving image, The Abbasi Brothers have created a new lexicon of music using digital instruments, electronics, guitar, piano and found sound. Through dreamlike 'sound-scenes' that celebrate nostalgia and the gentleness of the mundane in our day-to-day living they manage to make the ordinary extraordinary. While engulfed in their take on life-as-film made super-real is so rewarding one doesn't want the simple moments to ever end. Intricate and evocative, this is music to accompany the dance of waving hands as the train leaves the platform.
                              here.

                              Serious Poke is the debut solo from Fred Abbott the London-based musician, until now, best known as lead guitarist and keyboard player in the recently disbanded Noah And The Whale.

                              A supremely talented multi-instrumentalist and songwriter, Abbott joined Noah And The Whale in 2009 and went on to huge success, especially notable being his contribution to 2011‘s Platinum-selling and highly acclaimed Last Night On Earth.

                              Abbott enlisted the help of his Noah And The Whale compadres and other friends for the recording of Serious Poke, with sessions taking place at West London’s British Grove Studios over the past year. The album was co-produced by Fred with Martin Hollis, whose diverse credits include Grinderman, The Rolling Stones and Take That.

                              A great little single from this Halifax 5 piece. A blend of taught drums and Morse code guitars mixed with a fine layer of loose vocals make "Thieving Magpie" a jaunty and rattling number whereas on the flip there's a more emotionally downbeat "Friend of Mine".


                              STAFF COMMENTS

                              Laura says: Think The Strokes covering The Smiths, but with a cool female vox.

                              Debut UK album release for DJ Format's hugely popular, regular vocal sparring partner, Abdominal. Originally recorded back in Canada with his usual music partner DJ Fase in 2001, imports trickled into the UK, which is how DJ Format found out about Abdominal, and got him to add vocals to "Music For The Mature B-Boy". The tracks on "Flowtation Device" are easy-on-the-ear hip hop head nodders that go down a treat.

                              This is Abdominal's first solo record and the guest list flows off the tongue: "Escape From The Pigeon Hole" features production by DJ Format, DJ Fase, DJ Serious, Cut Chemist and Young Einstein (Ugly Duckling), as well as MCs Circle Research, cuts by World DMC champion DJ Dopey and a special appearance by local jazz phenomenon Elizabeth Shepherd. The record is Abdominal's richest, most vibrant, most artistically diverse project to date.

                              John Abercrombie

                              Cat 'n' Mouse

                              Add the considerable talents of violinist Mark Feldman to the sensitive guitar stylings of ECM stalwart John Abercrombie and you've got the makings of one of this brilliant artist's finest recordings for a number of years.

                              Aberfeldy

                              Hypnotised

                              This is the first single taken from their second long player "Do Whatever Turns You On". Aberfeldy front man Riley Briggs explains, 'It was a pretty basic kind of pop song,' admits Riley 'I like nice, easy-to-trip-off-the-tongue lyrics, and lots of alliteration. The song was written in the context of ID cards and CCTV everywhere. You're being watched and monitored all the time and being encouraged to switch off at the same time'.

                              FORMAT INFORMATION

                              CDS Info: The CD single includes "I'll Be Good This Time" and "Friend Like You (Instrumental Version)".

                              About Group

                              Start And Complete (RSD 2011 Edition)

                                THIS IS A RECORD STORE DAY EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                Recorded in one day at Abbey Road an impressive improvised performance from personnel usually associated with This Heat, Spring Heel Jack , Derek Bailey & Hot Chip. The vinyl album arrives ahead of full release & with a bonus 7" featuring "Something New And Wonderful" and "Plastic Man".


                                FORMAT INFORMATION

                                Ltd LP Info: Limited to 500 copies only.

                                In contrast to its ethereal title, Ben Abraham’s ‘Sirens’ is deeply human. Its songs were written over the artist’s developing years as a writer and the album has become a kind of musical documentary of the loss, longing and growth that carried Abraham from his very first lyric to this, his first album.

                                Abraham first found his voice writing songs whilst working in a hospital. Eight years on, he’s made an album, toured with Emmylou Harris, co-written with Grammy-nominated singer Sarah Barreilles and made ‘Sirens’, his debut album.

                                Originally self-released in Australia, ‘Sirens’ is now receiving a worldwide release via Secretly Canadian.

                                Ben recorded ‘Sirens’ with two local friends, Jono Steer (who was his live mixer) and percussionist Leigh Fisher. A number of other Melbourne musicians joined in on sessions, including Gossling, whose angelic voice can be heard in the opening track. Gotye helped produce the haunting vocals on ‘Speak’, while ‘experimental electronic producer’ Tim Shiel assisted on ‘This Is On Me’.

                                ‘This Is On Me’, co-written / sung with platinum-selling artist Sara Bareilles, has its own story. After Abraham posted a song (‘To Sara, From Ben’) on YouTube, Bareilles’ fans began to tweet the video and it grabbed her attention. When she played Melbourne in 2011, she invited Abraham up on stage to co-sing a cover of Bruce Springsteen’s ‘I’m On Fire’ and an original co-write was subsequently born.

                                Joshua Abrams & Natural Information Society

                                Simultonality

                                An ever present in America's jazz and underground scenes for two decades now, the boundary pushing Joshua Abrams returns with the latest manifestation of his Natural Information Society, "Simultonality". Abrams' highly acclaimed compositions are a fascinating nexus of ideas from non-western traditional musics, minimalism and jazz designed to catalyze his musicians toward a single group-mind organism of sound. He is well-known for exploring new contexts for the guimbri, the three-stringed North African bass lute. Alongside his work with the Natural Information Society, Abrams has recorded with Town & Country, Bonnie "Prince" Billy, Matana Roberts and Tortoise, whose skittering grooves underpin the minimalist frenzy and gnawa melodies of this ecstatic offering. Falling somewhere between jazz, rock, raga and gnawa, "Simultonality" makes its home in that wondrous space between genres, now clear some space in your record collection.


                                Absolute Monarchs

                                To Hell, Let's Masquerade / Thinking Thieves

                                Absolute Monarchs deliver a blend of post-punk and indie rock which has been perfectly captured on record by acclaimed producer Matt Bayles, whose achievements include working with Mastodon, Minus The Bear, Russian Circles and Helms Alee. Across both tracks featured on this exclusive 7” vinyl single, the band display an innate ability for songwriting, for seamlessly combining their rock roots with vocal melodies and boundless energy to create something immediately memorable and utterly captivating.

                                Absolute Monarchs talent hasn’t gone unnoticed. Prior to signing to GOOD TO DIE RECORDS and releasing their debut album 1, the band graced the stage with Red Fang, Les Savy Fav and Cold Cave and have attracted worthy, notable praise from Spin.com, who named them as one of “6 Northwest Bands You Need To Know”. The band have also played a recent live set on influential Seattle radio station KEXP from their main stage show at the Capitol Hill Block Party and have a busy live schedule ahead of them. Absolute Monarchs are another fine addition to the ongoing legacy of Seattle, one of the greatest breeding grounds for rock music in the world.
                                BIG TEA RECORDS is very proud to be releasing a limited edition white vinyl 7” single, the first signing to BIG TEA RECORDS under exclusive license from GOOD TO DIE RECORDS. Limited to just 300 units for Europe and 50 units in the United States, this hand numbered record is instantly collectible whether you’re a fan of the band already or just discovering Absolute Monarchs for the first time.

                                Recently championed by Gilles Peterson on his BBC6 Music radio show, "Dilla" by Abstract Orchestra has been generating a buzz since it's inception in 2016.

                                Led by Saxophonist Rob Mitchell, Abstract Orchestra seeks to reflect the diversity of music sampled by Hip-Hop producers by presenting music that has the complexity of jazz, framed within the simpler structures of Hip-Hop. 

                                Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla. The band itself is based on the classic jazz big band instrumentation of sax, trumpet and trombone and features the cream of the north of England's jazz scene.

                                "Dilla" by Abstract Orchestra is a tribute to the work of the highly acclaimed and influential producer. Opener "Welcome to Detroit/The Diary" takes the the vocal sample from Isaac Hayes's "Man's Temptation" and places it against lush brass and driving beats while "Workinonit" transplants the original 10cc guitar samples from the Dilla original onto biting trumpets and aggressive saxes, underpinned as always by Joost Hendrickx's on point drumming. On "Stop" vocalist Anna Uhuru handles the Dionne Warwick vocal with assurance while the band lay down an arrangement that is reminiscent of the work of David Axelrod and Don Sebeskey.

                                The middle of the album revolves around 2 Dilla medleys featuring versions and sections of"Airworks", "ULove", "Last Donut" and "Welcome To The Show"."Raw Shit" sees Farfisa organ underpinning the insistent brass figures with the bass taking on an almost bassoon-like quality while "Official/Fall In Love" sees Anna & Akin provide a stunning vocal performance, trading lines over the delicate horn arrangement. "Fantastic" features the Rhodes intro of the original which is then taken up by the flutes and baritone sax. Inspired by the work of 20th century classical composers like Barber and Copeland the 2nd half of the arrangement takes on an almost orchestral feel with shades of Gil Evans.

                                "Love","So Far To Go","A.N.G.E.L.", and "Sun In My Face" provide interesting takes on these well known Dilla originals while album closer "Two Can Win"(recently championed by Gilles Peterson on his BBC6 Music show) acts as a showcase for the variety of Anna Uhuru's vocals, blending the style of the original Sylvers track with Minnie Ripperton style harmonies, 70's funk and Lalo Schiffrin/JJ Johnson film score vibes.

                                Let's face it 'Donuts' is probably the best cut up album there is, so how can you not love this?! Awesome.




                                STAFF COMMENTS

                                Millie says: If I could think up a perfect record it would be this exact one. Dilla originals switched up by Abstract Orchestra brings a huge influx of jazzy hip hop beats. So good!

                                Abstract Orchestra

                                New Day (feat. Illa J)

                                Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in the promotion of their debut LP "Dilla" and steadily building a loyal and supportive fanbase.Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material.The band itself is based on the classic jazz big band instrumentation of saxes, trumpets, and trombones and features the cream of the north of England's jazz scene, who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

                                "New Day" is the eagerly anticipated new single and features rapper and J Dilla's brother Illa J on vocals. Supported by a U.K. tour with Illa J throughout February, "New Day" takes the blueprint laid out on last years LP "Dilla" and expands it with Illa J's understated vocal delivery. Radio support anticipated from BBC6's Gilles Peterson who has been an advocate for Abstract Orchestra on both his BBC6 and Worldwide FM shows, as well as Huey Morgan (BBC6), Shawn Lee (Soho) and Dom Servini (Wah Wah 45s). "New day" is the first original work by Abstract Orchestra and builds on the foundations laid on their debut. Flutes and electric piano lay out a gentle pad, propelled forward by Joost Hendrickx's insistent drums. Occasional fragments of saxophones add an urgency to the insouciant groove laid out by the rhythm section as soft trumpets and trombones are gradually added to the flutes. This provides the perfect foil to Illa J's laid-back vocal delivery as he describes a typically relaxed Tuesday morning spent contemplating the day ahead. The B-side is the AO remix which takes the instrumental performances of the A-Side, chopping and fragmenting them and re-framing the original with a slightly harder edge, which should be popular with those DJs and listeners looking for something with a tougher sound.

                                STAFF COMMENTS

                                Millie says: It’s been a long wait for this and it’s finally here! Illa J, Dilla’s younger brother performs the smoothest vocals over the top of Abstract Orchestras’ distinctive instrumental hip hop sound. Fans of Children of Zeus will love this!

                                The Abstracts

                                King Of Clubs

                                Disguised under the name of producer Pee Ditty Pee, Prince Paul is the latest producer to provide two sides of private reel breaks madness for Kenny Dope's cute Sure Shot series.

                                Abyssinians

                                Arise

                                One of the best LPs from one of the 70s greatest vocal harmony trios. Recorded in 1978 at Dynamic, Harry J's and Joe Gibbs studios.

                                Abyss

                                Mind Games / The Dreamer

                                Italian Abyss release their first for Buzzin' Fly, total late night dancefloor darkness. Two tracks of minimal techy house, the first up is "Abyss" which starts off rather subdued and then is led away by the same kind of top end synth that makes Ame's "Rej" a winner, this then gives way to a total mad electro funk drop, which then breaks down into lush synths and back to the bleeps again, excellent. "The Dreamer" on the B-Side treads a similar path only tougher from the outset, with a more muted approach to the noises but a lot heftier in the beats and bass. Top stuff.

                                Acc-sees Pro Vinyl

                                Anti-static Record Cleaning Cloth

                                  Perfect for removing dust, grease and fingerprints from your precious vinyl.

                                  Acc-sees Pro Vinyl

                                  Velvet Antistatic Vinyl Brush

                                    Keep your vinyl collection in pristine condition with this specially designed antistatic brush. Designed to clear the fine grooves of dust and fluff without damaging the delicate playing surfaces - an essential requirement for maintaining optimum reproduction quality.


                                    Acc-Sees

                                    Antistatic Record Cleaning Fluid & Cloth

                                      250ml bottle of specially formulated non-abrasive antistatic cleaning fluid and microfibre cloth for removing dust, dirt and fingermarks from the playing surfaces of your vinyl. Helps reduce static (static is the thing that makes the dust 'stick' to the records). Dries without leaving any smears. Prolongs the playing life of your records.


                                      Acc-sees

                                      Pro Vinyl Carbon Fibre Cleaning Brush

                                        The perfect tool for lifting dust and grit from the grooves of your treasured vinyl, this Carbon Fibre Cleaning Brush is easy to use and long-lasting. Simply hold the carbon fibre bristles against the surface of the record as it spins on the turntable, and move from the centre to the outside - the dirt is attracted to the brush, and can then be swiped off into the bin.

                                        Accatone

                                        A Reason Not To Try - Inc. Matthew Herbert Remix

                                          Portugese producer, Accatone, drops the 'A Reason Not To Try' EP via the ever on-point, Hudd Traxx, imprint this September, backed with a remix from house aficionado, Matthew Herbert.
                                          Accatone aka Jose Reis, has been steadily evolving as an artist over the past four years, racking up a string of releases for Roots & Wings, Apparel Music, and Dabit Records. Here he joins the Hudd Traxx roster, slotting in alongside the likes of Rick Wade, Rolando, Sascha Dive, and DJ Sneak to name but a few.
                                          The release opens with the original version of title track 'A Reason Not To Try', a contemporary house cut, built around raw, loose drums, emotive vocal lines courtesy of Accatone himself and an infectiously hooky bass line. Reis, rides the groove out with these fundamental elements throughout the tracks near seven minute duration, while easing in an organic, marimba style melody in the focal stages, creating an intriguing record full of captivating sounds.
                                          Up next we have 'One Of A Kind', a dark, mood-driven excursion, employing bright, shuffling percussion, a classic organ hook, and a bublous bass hook, alongside ethereal chords, to create an understated, intelligent closing cut.
                                          With such an interesting original version, Matthew Herbert was an apt choice on remix duties, here Herbert reworks 'A Reason Not To Try', stamping his unique twist on the cut, with penetrating saw-wave bass tones laying the foundations, while glitchy synth sweeps and heavy modulation processing keeps the dynamics in a ever-evolving state, and makes for an intriguing listen as expected from this undeniable talent.
                                          Then lastly to close the single, we have 'Walkin & Talkin', which sees Accatone venture down a different path, embracing a more direct house aesthetic as opposed to the more experimental feel of the A-Side, straight 4/4 drums lead the way, while a simple yet effective combination of sub hits, gritty bass stabs, Accatone's unique vocals and playful melodic hooks fuel the musicality and drive of the record.

                                          Chantal Acda

                                          Let Your Hands Be My Guide

                                          Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the With Our Heads in the Clouds and Our Hearts in the Fields (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011.

                                          After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on.

                                          Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for this project. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group Mum had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room they formed an instant rapport.

                                          The circle completed, Acda had found the 4 worlds that would enable her to record the album in full freedom. Power revealed through vulnerability. Nils Frahm, who plays throughout the record, also took on the role of producer. What began as a journey ended as this wonderful record - one wherein the five musicians were able to find their place and, together, and with great warmth, tell their nine-song story. Let your hands be my guide.

                                          Chantal Acda

                                          Live In Dresden

                                          A nice collectors follow-up to 'Let Your Hands Be My Guide'. Limited edition of 500 hand made/numbered copies for the world..

                                          Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the With Our Heads in the Clouds and Our Hearts in the Fields (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on.

                                          Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for this project. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group Mum had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room they formed an instant rapport.

                                          The circle completed, Acda had found the 4 worlds that would enable her to record the album in full freedom. Power revealed through vulnerability. Nils Frahm, who plays throughout the record, also took on the role of producer. What began as a journey ended as this wonderful record - one wherein the five musicians were able to find their place and, together, and with great warmth, tell their nine-song story. Let Your Hands Be My Guide.

                                          ‘Live in Dresden’ features six songs from ‘Let Your Hands Be My Guide’ played by Chantal Acda, Alan Gevaert, Eric Thielemans & Gaetan Vandewoude.

                                          From the underground of Stavanger Norway one could expect some serious filth and crunch, but Ullis Tapes issues two soft, gentle and almost slick house tracks with bubling acidic melodies and pads on the A-side (with Tom Ace from Club No-No 3) and lengthy slow chorded lullaby house on the flip which feat. Bejjer. Originally released via Fett Distribution with little fanfare, it's nice to get chance to get these soft-house anthemns available for all our customers here at Picc HQ. If you like the dreamier side of Sotofett, Lord Of The Isles, Vakula, Moon B etc, you're gonna love this. Delighltfully rich and textured compositions which straddle boundaries between the celestial and organic. Ace.

                                          STAFF COMMENTS

                                          Matt says: Criminally slept upon first time round, Ullis Tapes offer up another chance for the masses to grab this soft house classic. Don't sleep!

                                          This fall, the independent literary press All Night Menu will publish Sam Sweet’s Hadley Lee Lightcap, a nonfiction novel that traces the backstories of the three members in Acetone, a band that played in Los Angeles for nine years. Though few heard them, their recordings are time capsules of who they were, how they lived, and where they came from. Light In the Attic has partnered with All Night Menu to present Acetone 1992-2001, the first anthology of the trio’s music. 

                                          Counting their early years in the scuzz-rock band Spinout, whose sole self-titled release came out in 1991 on Delicious Vinyl, guitarist Mark Lightcap, bassist Richie Lee, and drummer Steve Hadley played together for a total of 15 years. They disbanded in July 2001, when Lee committed suicide in the garage next to the house where the trio practiced. Afterwards, Rolling Stone ran a short obituary saying Acetone’s albums were “well received” but “failed to make any waves.” It was the first and only time they were featured in the national music press.

                                          Between 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.

                                          They rehearsed endlessly in an empty bedroom in northeast Los Angeles, recording hours of music onto cassettes that were subsequently stuffed into shoeboxes and left in a shed behind the drummer’s house. Those tapes are being released for the first time in this anthology, which also includes highlights from Acetone’s official releases. Taken together, the songs form a companion soundtrack to Sam Sweet’s book, which maps the character of Los Angeles as a place through the lens of these three unique characters bonded by music.

                                          “I think our music is all about moods and feeling but hopefully it will get as weird as it possibly can,” said Richie Lee in 1997. “We want things to get weird in the way that you could hear an Acetone song and know that no one else in the world could make that kind of music but us.”

                                          * First time band anthology.
                                          * Includes 9 unreleased tracks.
                                          * Audio restored and remastered from original tapes.
                                          * Liner notes by Sam Sweet.

                                          “Acetone are one of my all time favorite bands. Their music is still as electrifying and beautiful now as it was back then.” – Hope Sandoval (Mazzy Star)

                                          “A lovely mix of what would it be like if Dick Dale and Neil Young played with Isaac Hayes and The Velvet Underground. A seminal American band.” – Richard Ashcroft (The Verve).


                                          STAFF COMMENTS

                                          Darryl says: Throughout their career Acetone were firm Piccadilly favourites (staff and customers) right up to the heart-breaking and untimely suicide of Richie Lee. Unfortunately, this love didn’t seem to extend to the wider record buying community, and Acetone were largely ignored for most of their career. Completely out of step with the grunge and indie sounds that dominated the scene at the time, the Los Angeles’ trio were famed for their languid country-psych rock, creating beautiful sunburnt soundscapes that perfectly captured the vastness of their surroundings. So, imagine our glee when reissue experts Light In The Attic released this fabulous anthology featuring nine previously unreleased tracks. Maybe now they’ll achieve the acclaim that they always deserved!

                                          FORMAT INFORMATION

                                          2xDeluxe LP Info: Double LP housed in a deluxe gatefold Stoughton tip-on jacket.

                                          Acid Baby Jesus

                                          Lilac Days

                                            Available on 180gm black vinyl. It’s easy to guess Acid Baby Jesus’ shtick just going on their name but to those who aren’t already in the know: don’t be fooled into thinking these are just another quasi-religious, LSD-loving psych-rock band - there’s a reason these Greek garage-rockers have been championed so highly in the European scene. Acid Baby Jesus are less concerned with the spiritual and tripped-out realms that their name foreshadows than they are with pure hip-shaking, rock’n’roll hedonism. After a long three-year wait the Athens four-piece are back with their third album ‘Lilac Days’ – their first on Fuzz Club Records. The LP sees ABJ at their best; their frenetic garage-rock distilling a hazy mix of 60s Western psychedelic pop, traditional Eastern folk and the scuzzy R'n'R sounds of The Stooges or Brian Jonestown Massacre

                                            Representing the primitivism of Athens, Greece, steadily fornicating with the modern humps of the most ancient civilizations hitherto, Acid Baby Jesus has finally assembled a collection of recordings from their past two years on the rotation. The experiments on Selected Recordings were formulated while spending many of those moments on a secluded island in the Mediterranean sea, populated by a(n) (r)evolutionary cast of travelers, all starving for an heady atmosphere and a delicious salad. Many records were played on record players at these assemblages. And many songs were written, and fine tuned, and recorded.

                                            Chrissy "Zebby" Tembo, Zambia’s filthiest lord of feedback & fuzz and king of their Zamrock movement, is the lone artist who made it to cover status with his song “Trouble Maker,” summing up what ABJ has been reaching for. It's never been timelier. Or has it? Every other track is an original - rubbery, and stretching out further than on previous releases. Such is the result from not setting out to record an album while you’re hanging out in Heaven. Guitar lines may or may not be backwards. Conventional in their basic rock’n’roll foundation, these tracks are steeped in layers of organ, Jew's harp, bongos, gongs and a nice assortment of other instruments of the onomatopoeic persuasion.

                                            The single “Vegetable” is a heavily percussive fuzz beater, pushing its way out of a lake of slithering psychedelic clangor and barely escaping. Selected Recordings compiles primal Anatolian dance rhythms not far off from the jungliest bounce of Bo Diddley, and produced like a quadraphonic Les Paul album played on an improperly calibrated turntable. Avoiding the echo box and lava lamp cliches of the brand of "psych" that is omnipresent on the scene today, it is safe to say that true psychedelia abounds here. Thank you, and greetings from the beautiful gardens.

                                            Acid Mothers Temple & The Melting Paraiso U.F.O.

                                            Wake To The New Dawn Of Another Astro Era

                                            Acid Mothers Temple: the Next Generation begins! With the departure of long time bass/drum duo Shimura Koji and Tsuyama Atsushi, AMT now have a new rhythm section featuring two young Japanese musicians, Satoshima Nani on drums and S/T on bass. Thus, Wake To A New Dawn of Another Astro Era is the first record in the second chapter of this legendary Japanese psychedelic rock group. Wake To The New Dawn Of Another Astro Era finds a rejuvenated Makoto Kawabata encompassing the best of what AMT has come to mean in the last 21 years. Deep ambient synth passages fade into deftly composed anthemic jams worthy of crowd favorite status like La Novia and Pink Lady Lemonade. Makoto's guitar prowess reaches unfathomed apexes in epic crescendos while the new rhythm section holds down heavy Kraut-influenced repetition. Straddling the line between composition and improvisation, this is a legendary AMT record for sure. 

                                            Acid Mothers Temple & The Melting Paraiso U.F.O. - at the time of this recording were : Kawabata Makoto : electric guitar, acoustic guitar, fretless bass, bouzouki, electric saz, sitar, synthesizer, electronics, tape, short wave, voice, speed guru Higashi Hiroshi : synthesizer, noodle king Tabata Mitsuru : electric guitar, guitar-synthesizer, acoustic 12 strings guitar, tape, voice, maratab
                                            Satoshima Nani : drums, another dimension S/T : bass (on track3), space & time

                                            FORMAT INFORMATION

                                            Ltd LP Info: The double LP is pressed in an edition of 1000 and features light show artwork by LiquidbiupiL.

                                            Acid Mothers Temple & The Melting Paraiso U.F.O

                                            The Ripper At The Heaven's Gates Of Dark

                                            The renowned Japanese Cosmic freak-out heavyweights return with a brand new studio album and tour, marking ten years since their mothership first descended on the UK ....

                                            Now a steady four piece led by Kawabata Makoto (guitar) and including Tsuyama Atsushi (bass/vocals), Higashi Hiroshi (synthesizer/guitar) and Shimura Koji (drums). The collective recorded the album in the aftermath of the Japan disaster at their mountaintop retreat where the collective still reside.

                                            With the exception of the album's opener 'Chinese Flying Saucer' and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22 minute jam, 'Shine On You Crazy Dynamite' and also the album's closer 'Electric Death Mantra'. The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesiser and at times, really trippy vocals (most prevalent on 'Back Door Man Of Ghost Rails Inn'), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album.

                                            Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. The Ripper At Heaven's Gates Of Dark maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon.


                                            FORMAT INFORMATION

                                            CD Info: CD is limited to 1500 copies, and is packaged in a special first edition 350gsm card gatefold sleeve. Repress will be in standard sleeve.

                                            Acid Mothers Temple & The Melting Paraiso UFO

                                            Hallelujah Mystic Garden Part 1

                                              Halleluja Mystic Garden contains two long sides of blissed out, super tight AMT jams that somehow stretch into the future while staying strongly rooted in the group's celebrated psychedelic history. Hallelujah!, another essential AMT classic including vocals from Cotton Casino! A. Cometary Orbital Drive 2299 B. Third Eye From The Black Sun & Shadow Moon Cotton Casino : voice, astral mama

                                              Kawabata Makoto : guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru Higashi Hiroshi : synthesizer, noodle king Mitsuko☆Tabata : guitar, guitar-synthesizer, voice, kisses & hugs Satoshima Nani : drums, another dimension

                                              S/T "Wolf" : bass, tapes, space & time recorded at Acid Mothers Temple, Jun. 2016 - Mar. 2017 produced and mixed by Kawabata Makoto.


                                              Inspired by the first wave of French house producers, Acid Washed bring us their own take on the ballroom-influence sound with this synth-heavy, arpeggios-set-to-stun electronic disco-house long player for Record Makers. Recorded after going twice around the world, ‘House of Melancholy’ is the soundtrack to Andrew Claristidge and Richard d’Alpert’s recent lives, and one that brings them right back home to France. ‘House of Melancholy’ gives pride of place to strong emotions and melodies. Without ever getting to the shores of electro-pop, the duo puts a little more of real, heavy pop, of 70s Italian variety, of Morricone or Philip Glass soundtracks, and very pure electronics in their dance music. Andrew and Richard surrounded themselves with friends in the recording of this LP: the exceptionally gifted Joakim at the production board, the stentorian Yan Wagner, the too rare Miss Kittin, the swagest Ahmad Larnes behind the mic, the geek comrades Hypnolove, Turzi or La Mverte playing around with keyboards and compressors… ‘House Of Melancholy’ brings the immediate beauty of synthesizers and pure arpeggios curled up around the organic beats spiraling to infinity. ‘House of Melancholy’ is a party, an ode to music which unites body and soul. Acid Washed welcome you to the party.

                                              Idris Ackamoor & The Pyramids

                                              Rhapsody In Berlin Part 1 And 2

                                              After the reissue of their three private pressed albums from the 1970s, followed by the release of a new album, The Pyramids - led by multi-instrumentalist, multi-talented artist - Idris Ackamoor - seem to have revived the burning fire that once gave birth to an ecstatic musical concept. The Pyramids' honest love for music, their firm belief in its social impact have shaped their story and style: after studying with free-jazz icon Cecil Taylor, the Pyramids left for a journey through Africa in 1972 where they connected with their cultural roots and developed their own musical vision.

                                              On "Rhapsody in Berlin" this vision is still vibrating: a melodic horn theme interplays with a Pygmy flute, some driving riffs and a heavy funk rhythm. The music will walk you through an enchanted jungle that seems somewhat quiet at first - despite the sense of its hidden power. Suddenly but elegantly the music explodes and the saxophone takes off and flies freely before merging with a singing violin into an ecstasy of percussion.

                                              This Philophon release is produced by Idris Ackamoor and Max Weissenfeldt at Ru-Ting Clan Sound Lab, Berlin.

                                              Idris Ackamoor & The Pyramids

                                              An Angel Fell

                                              Strut presents the brand new album from cosmic jazz travelers The Pyramids, led by saxophonist Idris Ackamoor, "An Angel Fell". 'I wanted to use folklore, fantasy and drama as a warning bell,' explains Ackamoor. 'The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.'

                                              Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early ’70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting "Soliloquy For Michael Brown" and the lilting, beautiful album closer, "Sunset".

                                              The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a 'cultural odyssey' across Africa, the group recorded three independent albums, "Lalibela" (1973), "King Of Kings" (1974) and "Birth / Speed / Merging" (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album "Otherwordly" and in 2016, they released their first album for Strut, the acclaimed "We Be All Africans".


                                              The Acorn

                                              Tin-Fist

                                                Tin Fist is being issued on vinyl for the first since its 2007 original release date. The vinyl includes two never before heard bonus tracks ‘Shoot The Moon’ and ‘Sleepwalking’. The Acorn, led by Rolf Carlos Klausener, is very thoughtful, deliberate and at times haunting. Think of the best of worlds encompassed by Bright Eyes, Under Byen and Bruce Springsteen and a song like the dark, mysterious and hushed "Heirlooms" immediately comes to life. Soft and melodic before slowly gaining a harder tone, the track morphs into a tension-filled coda that never breaks through the surface. And while Tin Fist might only be a eight-song EP, this song exemplifies the strength of the effort. "Dents (Glory, Pt.1)" has a distinct folksy nature that gently pushes it along, resembling a fine Appalachian tune that might have been attempted in Wilco's earlier incarnations. Following a warm "Brokered Heart" which has ample twists and turns, the Acorn show another side of themselves with the melodic pop oozing out of "Feral Chile" that sounds like XTC influenced by dance-rock. Carrying on this momentum is the joyful "Spring Thaw" that has the same bounce and panache as songs by the Diableros and the Arcade Fire. – (Taken from a Pop Matters review)

                                                Acronym City

                                                Powermoves

                                                  A little while before Metro Area came into life, there was Acronym City. Originally released on Sub Freq Recordings in 1996, Darshan Jesrani's moniker deals with the impact that electronic music from Detroit had on some inhabitants of said metro area. Long out of print, now carefully restored, re-mastered and slightly re-edited by Gerd Janson, Darshan Jesrani finds the missing link between techno, soul and the sort of contemplative and playful, heavy deep house that New York's underground was bringing forth in the early nineties. Without plagiarizing the one or the other, Acronym City naturally explores form and function of a sound that will never grow old. Backed up by an ethereal stop and go remix version of “Powermoves” by DJ Sprout and escorted by “The Push”, this one is for the heads, dancers and DJs alike and comes fully endorsed by team Piccadilly.

                                                  ACS ER-20

                                                  High Fidelity Earplugs

                                                    ER-20 earplugs are different - they'll protect your hearing without spoiling your enjoyment of music and reduce the risk of serious hearing damage later on. They use a patented, revolutionary filter system that drops the volume but retains all the fidelity and keeps you in the mix. They are ideal for use in most situations where noise is dangerous. ACS ER-20's are re-useable hearing protectors that protect the ear against excessive ambient noise. Due to the special filter, the fidelity of the original sound remains and speech intelligility is hardly affected.

                                                    "The spores of TG breaking out all over. An Alternative bloodline of electronic music; as if interbreeding of Chicago and Industrial resulted in sleeper cells entering a long gestation all over the world. Genesis' postal network as the carrier." 20 Jazz Funk Greats

                                                    And so Public Information splashes into 2013 with an almighty throb, pulse-tone generators at the ready. This is the debut record of malformed electronic-pop and modular fury from from Chicago two-piece Acteurs. From the chest-rattling kick of the opening track to the radon hailstorm of dub-techno epic "Freezing Fog" it's clear that the pair, Jeremy Lemos and Brian Case know their way around a mixing desk. Both have long, immaculate CVs with the cream of the US alternative scene, and here they stretch the studio to its limit.

                                                    Acteurs: proponents of bass to make systems quiver, drums that punch the gloom, electronics to scythe and screech into darkest night - a psychedelic overload. Acteurs: purveyors of pop-not-pop... Itchy Cluster tones... Frazzled Factory keys... LCD oscillations... NEU-motorik thrust... Argabright playgrounds... Repetition, repetition, repetition...

                                                    Dream an Acteurs dream. Sodium streetlights, grey smoke. Chromium staircases and black glass buildings. Acid rains. Cyberpunk racers. Dead TV channels. Amped-out brains. Come join their future-primitive world of stark and brutal groove, metallic avant-pop and precise mechanical funk.

                                                    Action Action

                                                    Don't Cut Your Fabric To This Year's Fashion

                                                    An incendiary chemical reaction resulting from the mixing of equal parts synth pop, spiky, burning guitar riffs, walls of feedback and Mark Thomas Kluepfel's spine tingling, bruising imagery exploring the divergence of life, death, love and war. Features Taking Back Sunday's Eddie Reyes and Gary Bennett of Kill Your Idols.

                                                    Truth Cult proudly presents another whirlwind recording for the Bletchley boys Action Beat, with the follow up to their debut "The Noise Band From Bletchley". Like its predecessor, "Beatings" was recorded at Southern Studios in just two days and this time with at least seven musicians, which is evident in the sheer verve and potency of the album. It would be an understatement to say the boys have lost none of their energy in the recording process. They have taken their perfected improvised noise formula, driven by magnetic interlocking guitar harmonies, pummeling drums and crashing symbols and ramped it up a notch, or three.

                                                    As with their first album, their musical influences such as The Ex and Sonic Youth are still proudly on display, particularly on the songs "Solgunn" and "Bergen to Bletchley". Some of the other album tracks you may recognize if you have caught them at one of their umpteen live shows recently but Action Beat also pull out some original 'never-been-played-before' material, including the track "Daddy Why?"which builds upon the Krautrock-mantra of some of their older material and for the first time ever, utilizes fitting male vocals (provided by House Of John Player). This is the sound of a band maturing. But fear not, for if it was Action Beat's boisterousness that you always admired, that is still very prominent in the artwork.

                                                    True to form Action Beat have once again won the title of 'touring machines' as they set out on the road again and play out the new material from September to what seems like forever. Their mammoth touring schedule predominantly takes them to the Continent but not before a whistle-stop tour of the UK.

                                                    FORMAT INFORMATION

                                                    2xLtd CD Info: First pressing of the CD is limited to 500, comes with a bonus CD of 10 tracks not available anywhere else.

                                                    Action Painting!

                                                    Trial Cuts

                                                      Operating at the more muscley end of the SARAH RECORDS spectrum ACTION PAINTING! burst out of the fanzine scene with three frantic arrogant-riot-pop singles for SARAH and one for DAMAGED GOODS before they dematerialized. The band never realized a full length LP at the time. This collection, assembled by the band, features choice cuts from the bands 4 singles, and also includes a wealth of unreleased material that would have made up the bands debut LP had they survived the dramas of their speed driven youth.

                                                      FORMAT INFORMATION

                                                      LP Info: 12 tracks with 24 track download.

                                                      From the lable that brought you Larrikin Love, Good Shoes and Vincent Vincent And The Villians, comes this storming debut from Action Plan! "Stendhal" is the perfect combination: melodic, emotive and energetic with a pounding rhythm, chunky guitars and great raw vocals. "Beauty Scars" on the flip is equally as good: a slower, more brooding affair it starts off somewhere between Sonic Youth and indie jangle but then bursts into a frantic chorus before reverting back to mellowness, a pattern that it follows through it's entire four minutes, with each chorus getting more and more abrasive. Great stuff!

                                                      FORMAT INFORMATION

                                                      CDS Info: ONE PER PERSON.

                                                      Actors & Actresses

                                                      We Love Our Enemy

                                                      Actors & Actresses are a 3-piece from Kansas City, MO who mix synthetic, pre-recorded, and organic sounds to produce alternately chilling backdrops and intense sequences of heavy post... whatever. While the stage presence of the band is relatively calm, the visual accompaniments, filmed and edited by drummer Dave Sumner, provide textural kinetics, without actually overpowering the complex rumble the band creates. Triggered samples and treated drum loops roll in the background, while the overpowering down-tuned bass, played by vocalist Scott Bennett, bursts at the seams. Moving forward and aft through the stereo field, Andrew Schiller’s guitars provide eerie whines alternating with roaring walls of chords. The band can deftly move from a vast downpour to a quite intimate and delicate singularity, often within mere measures. The lean arrangements of the band’s material allow for the players to concoct a sound all their own, yet deliver full sets of songs, each one sounding very different from the last. As record reviewers often note, it’s easy to hear where Actors & Actresses' influences originate, but they’re somehow able to bring it all within their hazy machinery and make it all seem new again.


                                                      Actress X London Contemporary Orchestra

                                                      Lageos

                                                      Following the release of the ’Audio Track 5’ EP and live performances at the Strelka Institute (Moscow), Barbican Centre and Tate Tanks (London), electronic producer and musician Darren Cunningham AKA Actress and the London Contemporary Orchestra (LCO) release a full album of their collaboration on Ninja Tune entitled ‘Lageos’.

                                                      Originally performed at the Barbican in February 2016, the project was curated by Boiler Room and LCO with support from Arts Council England and Ninja Tune. The music created a synergy between both live electronic and acoustic components, not just in the harmonies but in the way the traditional instruments were spliced into new hybrid instruments. As part of the process, Actress and LCO augmented traditional piano and created sounds from objects as varied as temple bowls and plastic bags. The show, a massive sell-out success, eventually lead to the release of this much anticipated album.

                                                      For the album, LCO recorded the individual instrumental parts as stems at Spitfire Studio then sent to Actress to manipulate, in turn delivering some truly unique new pieces. LCO also went on to reinterpret Actress classics ‘Hubble' and ’N.E.W' among others from his catalogue.

                                                      "In many ways the collaboration is about exploring an ambiguity of sound that sits between electronic and acoustic spaces; something that we’re aiming to push further as part of the live shows,” says the LCO’s Hugh Brunt of the collaboration. “For much of the set we look to realize as close as possible the timbres and colours of Actress’ electronics through acoustic means (which he in turn responds to); something of a physicalisation of those synthesized or sampled sounds. That has involved utilizing various accessories: plastic bags (for white noise or to emulate an EQ’d hi-hat); keys; Blu-Tack (to dampen the piano’s upper strings); milk frothers on harp strings, etc."

                                                      The project’s genesis was very much inspired by, as well as performed at, the mecca of brutalism – the Barbican Centre. Iannis Xenakis, a Greek composer and architect who would create buildings to fit his scores, and scores to fit his buildings was an inspiration, Actress and LCO took architectural layouts of the Barbican and created sounds directly inspired by its shapes.


                                                      STAFF COMMENTS

                                                      Barry says: A less beat-driven adventure for Actress, focusing mainly on the texture and interplay between found sounds and a classical orchestra. Fitting in nicely to his previous dusty electronic workouts, Lageos is a fascinating and impeccably curated suite of brutalist ambience and avant-garde electronica.

                                                      For me, Actress exists in a sparsely populated world of pure muses. Throughout musical history you have people at the very forefront of a generation or culture. Artists who relate to a time and environment rather than appeal to specific genre constraints of an fleeting aspect of club culture. Artists who truly put 'art' before anything else - often challenging the norm and usually way ahead of what the general consensus then later terms as cool. I put Darren Cunningham in this class, alongside Bowie, Kate Bush, Prince, Jamal Moss, AFX, Burial and Madonna. A grand statement I know but as the esteemed producer reaches album number five his artistic focus and future vision is unrivalled. The simplest you could say about "AZD" is that it’s art - the unique creation of a unique mind. There will be few more distinctive, brilliant or visionary suites of music released in 2017. Shimmering through a holographic prism its opening trilogy of tracks shines with new industry and broken societies; mixing dissonance with rhythm unceremoniously. Side B twists and churns through a multitude of audio processes, the very fabric of time space audible as Actress switches our receptors onto maximum sensitivity; offering up two painfully current club cuts in the process ("X22RME" & "Runner"). As side C slide gracefully in with the neo-orchestration of "Falling Rizlas" Actress prepares us for the demonically epic "Dancing In The Smoke" which defies categorization entirely, spinning old school hip-hop vox through an audio spiralizer and swirling metallic washes. Side D opens with the alluring "There's An Angel In The Shower", fluttering electronics gentle serenading us through highly emotive micro-chords. Finally "Visa" sees the Actress depart us in spritely, mischievous form, playful arpeggios rambunctiously motoring away as Cunningham pours hot white noise and electromagnet shards over the recording medium. It's been another awe inspiring, and at time uneasy vision of the future and how it's gonna sound, but Actress welcomes in the new with a wry smile and comforting gaze.



                                                      FORMAT INFORMATION

                                                      2xColoured LP Info: Available to independent retailers as a deluxe 2LP edition pressed on clear vinyl and housed in a metallic silver bag outer sleeve.

                                                      On 2012's "RIP" Darren J Cunningham took a step away from the 4/4s of his early career to explore the realm of dreamlike soundscapes and intangible melody. His latest record, "Ghettoville" sees the producer wake from the dream to find that it's become his reality. The album begins with a thick grime of machinery, occasionally penetrated by dissonant guitar and eerie pads. On "Corner" Actress brings the world into focus. The gangsta rap bassline and keyboard merge with the raw house rhythm conjuring images of burnt out cars and rundown buildings. The lolloping beat of "Rims" combines with a rubbery bassline as the raw outsider techno sound becomes possessed by the ghost of bass music past. The gorgeous ambient soundscapes of "Our" and "Time" will seduce fans of Four Tet or (late) Radiohead with their fragile beauty, while "Bircage" sees Actress experiment with new sounds, constructing a primitive tropical drum house track which borders on the Balearic. Club kids needn't fear though, "Gaze", "Skyline" and "Frontline" are raw jackers that'll keep you moving throughout the darkness. "Rap" and "Rule" are the offspring of hip hop and R&B after a hefty swig of the 'drank', blurred, slowed down and generally spannered. Indeed the album peaks on the closer "Rule" as Actress fuses the pitched down rap lyric with the keys from "Gypsy Woman" to create a beatdown bomb that any local Detroiter would be proud of. "Ghettoville" is a bold and complex album which sees the different strands of Cunningham's sound pulled together into a dystopic futuristic vision, brimming with ideas and filtered through the producer's unique aesthetic. 


                                                      FORMAT INFORMATION

                                                      3xLP Info: Heavyweight 180g black triple vinyl includes rough board inner packaging, and black popset outer sleeve with die cut (square) foil block. Side F features artwork etching.

                                                      Actress’s debut album ‘Hazyville’ will be remastered and released for the first time on white vinyl (with artwork etching on side F) as part of a beautifully crafted ‘Elephant’-skinned box set edition of ‘Ghettoville’, which comes complete with a 40 page artbook, the vinyl format of ‘Ghettoville’, and CD versions of both releases.

                                                      On 2012's "RIP" Darren J Cunningham took a step away from the 4/4s of his early career to explore the realm of dreamlike soundscapes and intangible melody. His latest record, "Ghettoville" sees the producer wake from the dream to find that it's become his reality. The album begins with a thick grime of machinery, occasionally penetrated by dissonant guitar and eerie pads. On "Corner" Actress brings the world into focus. The gangsta rap bassline and keyboard merge with the raw house rhythm conjuring images of burnt out cars and run down buildings. The lolloping beat of "Rims" combines with a rubbery bassline as the raw outsider techno sound becomes possessed by the ghost of bass music past. The gorgeous ambient soundscapes of "Our" and "Time" will seduce fans of Four Tet or (late) Radiohead with their fragile beauty, while "Bircage" sees Actress experiment with new sounds, constructing a primitive tropical drum house track which borders on the Balearic. Club kids needn't fear though, "Gaze", "Skyline" and "Frontline" are raw jackers that'll keep you moving throughout the darkness. "Rap" and "Rule" are the offspring of Hip Hop and RnB after a hefty swig of the 'drank', blurred, slowed down and generally spannered. Indeed the album peaks on the closer "Rule" as Actress fuses the pitched down rap lyric with the keys from "Gypsy Woman" to create a beatdown bomb that any local Detroiter would be proud of. "Ghettoville" is a bold and complex album which sees the different strands of Cunningham's sound pulled together into a dystopic futuristic vision, brimming with ideas and filtered through the producer's unique aesthetic. 

                                                      FORMAT INFORMATION

                                                      LP Box Set Info: 5LP + 2CD Box Set

                                                      Between sleep and the void lies the electronic interzone of Actress. Following the noted 2010 album "Splazsh" South London producer Darren Cunningham returns with a suite of electronic laments, tone structures and dreamtime rhythms which all carry his unmistakable fingerprint. "RIP" comprises 15 tracks painstakingly crafted by Cunningham over recent years, with a conceptual arc taking in death, life, sleep and religion.

                                                      The 15 chapters of "RIP" begin with Ascension and the Book of Genesis and play out through gardens, serpents and mythological caves. Appropriately for exploring the myths of Creation, the sounds Actress creates are completely sui generis. There are no soft synths or plug-ins, and instead he uses meticulous manual sound tinkering to create tones, tunings and textures. The ghosted rhythms and free tunings of these tracks live in a parallel universe to the conventional rigours of the dancefloor. Unlike the sterile sound spaces rendered in so much laptop sound-product, these tracks carry traces of the endless mouse strokes that made them. You feel the sweat and sinew of handmade construction.

                                                      The album begins with the title track, a short tonal requiem for the dead, before drifting into another beatless meditation, the rippling minimalist structure of "Ascending". "Holy Water" and "Marble Plexus" introduce rhythm, although these percussive tics could be equally sourced from sub-bass speaker stacks or marbles rolling around a bowl. "Jardin" and "Serpent" are origami-like constructions which orbit around what could be pizzicato strings or harps. Last-but-one is "IWAAD", whose pulsing 4/4 rhythms and warm hits of low-end vibration hint at a return to the real.


                                                      STAFF COMMENTS

                                                      Barry says: Challenging, subtle, dusty electronics. Infrequent rhythmic outbursts. Heavily reverbed grooves and melodic stabs make for a reasonably challenging listen on first approach, but persevere and the beauty reveals itself. Through minimally varied repetition but a masterful grasp of tension and atmosphere, Actress manages to craft a stunning collection of bleak post-apocalyptic dance masterpieces.

                                                      Darren Cunningham’s eagerly‐awaited new album is an adventurous, ultra-modern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, "Hazyville". Determinedly off-the-map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations alongside Theo Parrish, Anthony 'Shake' Shakir, Daft Punk, ‘binary codes and numeral systems’, and The Avengers (!) He's a hard man to pin down - somehow a key player in the post-dubstep diaspora and yet not there at all - but everything comes across in his shape-shifting, richly textured music. For "Splazsh" the fog has lifted, the sounds are less submerged than on "Hazyville", but still sticky and close - a signature combination of exuberance and introversion, luminescence and puzzlement. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like "Get Ohn" and "Lost". A range of musical influences is redrawn, from speed garage ("Always Human") to grime ("Wrong Potion"), with none crowned king. There is a reflectiveness - the ambient drift of "Futureproofing", the Radiophonic judder of "Supreme Cunnilingus" - in amongst the industrial, synth-wave flavours of "Casanova", and the stirring, stately "Maze". In love with the mysteries of groove and repetition, "Splazsh" is both a culmination and a new beginning for Actress, a substantial and eccentric work from a brave and coolly individual artist.

                                                      The Acutes

                                                      Set On You

                                                      The second single by Leeds band The Acutes, follows "When I Left Work Today". Spikey guitars and abrasive vocals over a manic percussive drum rhythm once again create a quirky, catchy, lo-fi gem.

                                                      Emotional Rescue and Jamwax end their Capo Disco series by returning to Glen Adams and his cover of Bob Marley’s classic. The early 70s Lee Perry produced original raw sound is taken to the disco reggae dancefloors of the early 80s with a bottom heavy jam, while his Capo Crew works a killer dub flipside. 
                                                      “Fussing & Fighting” was originally released on the 1971’s Soul Revolution album and for many came during the pinnacle of Bob Marley & The Wailers output, before the smoothing out of their sound during the later “Island” years. Whichever, the guidance and collaboration with Perry transformed the Wailers from a successful Ska / Rocksteady group towards a visionary, conscious, crossover phenomenon. Perry’s in-house band, The Upsetters, lent so much to this early period, the brothers Aston and Carlton Barrett creating a perfect drum and bass bedrock. With Glen Adams on organ, the original version known simply as is an incessant, rumbling message and in that light, Adams return to it over a decade later makes justified and righteous sense.
                                                      Actually released on both Capo Disco and Marley’s own Tuff Gong, Adams’ vocal marries a disco-dub and guitar groove, dropping, in the latter half, right down to tambourine into perfectly stretched Discomix. Things get even more laid out on “Mad Blank” aka the version. Riding the desk, “Capo” lets each instrument time and space, dropping to just a kick and dubbed piano before slowly coming back with hats, guitar and then when the bass comes, the Gospel purity of dub reggae shines, all before the teasing fade calls for a rewind. Rest and rise, Glenroy “Capo” Adams.

                                                      Ryan Adams And The Cardinals

                                                      Cold Roses

                                                        Piccadilly staffer Andrew McQueen wrote the following review on this record's release in 2005: The chameleon returns. This time there's no posturing. If you found the 80s underground rock or bleak, broken downer songs a little disorientating, then prepare to be puzzled again. Ryan returns to alt-countryville, but these aren't "Gold"'s singalongs, or "Heartbraker"'s Dylanish rollers. Instead, this double CD meanders beautifully, laid back and unusual, and if anyone springs to mind, this time it's Neil Young. Nothing leaps out but you can feel yourself being drawn in. This isn't a pop record at all. It's too early to tell how great this record is: it's a proper double album with some tricky arrangements, but Ryan's using his gorgeous country voice again and not throwing shapes or trying on hats. The real Ryan Adams has just stood up. Maybe! Watch this space.....

                                                        STAFF COMMENTS

                                                        Andy says: A deep, meandering, country rock double album, with some stunning guitar interplay.

                                                        FORMAT INFORMATION

                                                        2xLP Info: Double US import 180g vinyl in a beautiful embossed gatefold sleeve.

                                                        Ryan Adams & The Cardinals

                                                        Follow The Lights

                                                        As Ryan Adams & The Cardinals begin another long stretch of tour dates, they release a new EP on Lost Highway Records. "Follow The Lights" is a seven song collection that includes both new and old compositions, several of which were recorded live in the studio this summer. The two new songs on the disc, "Follow The Lights" and "My Love For You Is Real" will both be featured prominently in the American ABC primetime drama 'October Road'.


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