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A Man Called Adam

Farmarama Remixes - Inc. Prins Thomas / Carrot Green Remixes (RSD19 EDITION)

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

For those whose fingers are far from the pulse, A Man Called Adam blew us away with the release of their first album since 1998, rekindling that Balearic, emotional, pop-not-pop feel they are famous for over 11 sumptuous tracks. Here they get into the RSD swing with a sampler 12" featuring three remixes, one from the band themselves, the others from Brazil's Carrot Green and Norwegian hero Prins Thomas. It's the Full Pupp boss who starts this party, transforming the already ace "Paul At The Disco" into one of his sprawling fireside jams. More mushrooms than MDMA, this trippy transformation makes adept use of the fx units, flips out with spacey synths (think his Jape remix) and keeps on grooving. Next up Carrot Green rocks the acid disco with his version of "Ou Pas", pairing a gurgling acid line with a thick synth bass and those almost Bollywood vocal motifs. Deep disco house for the carnival crowd. Finally, A Man Called Adam take to the desk for their own "Too Much" dub of title track "Farmarama", cutting the vocal to a hypnotic mantra and reinforcing their low slung arrangement into a jazzy house bomb a la Versatile. 

Acid Mothers Temple

Does The Cosmic Shepherd Dream Of Electric Tapirs?

    THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Mustard coloured heavyweight 180 gram audiophile vinyl double LP with new artwork layout. Re-mastered by John Rivers at Woodbine Street Studio especially for first time vinyl release.

    Air

    Surfing On A Rocket

      THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      Limited 1 x 140g 12" picture vinyl single for RSD 2019.



      Anderson .Paak

      Bubblin'

        THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        Anderson .Paak’s Grammy-nominated “Bubblin” is now available in an exclusive, never-before-seen vinyl colorway made especially for RSD19. This is the first time the track has been released physically making it a rare and desirable piece to add to your collection. With the “Bubblin” (Remix) ft. Busta Rhymes included on the B-Side, you don’t want to miss out on this limited release.

        Art Of Noise

        Daft As A Brush!

          THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

          Limited edition 4 x 12" box set and a vinyl companion piece to the renowned 1986 CD compilation, Daft. Hear a fresh take on three game-changing records – 'Beat Box, Close (to the Edit)' and 'Moments in Love' – while a fourth disc finally unleashes Trevor Horn and Paul Morley’s mythical post-AoN project, Art and ACT. Featuring 25 tracks across four discs, including hidden tracks, brand new artwork and liner notes. 20 tracks previously unreleased on vinyl with the entire set remastered from the original master tapes.

          Associates

          Club Country

            THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            The classic 1982 Associates (Billy Mackenzie & Alan Rankine) ‘Club Country’ single is re-issued exclusively for Record Store Day 2019. Released on 12” limited edition white vinyl the single was re-mastered from the original master tapes and includes the original b-sides, ‘A.G it’s you again’ and ‘Ulcragyceptemol’ plus a rare demo version of ‘Club Country’ available for the first time on vinyl. The single originally charted at number 13 in the UK charts.

            Aidan Moffat And RM Hubbert

            What The Night Bestows US

              THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

              Recorded live in November 2018 on a 5-date tour of England, the album features new and intimate stripped-back arrangements of album tracks as Aidan & Hubby are joined for the first time by violinist and vocalist Jenny Reeve. It also includes completely reworked versions of Party On and Wolves of the Wood, the latter being a particular highlight for the band: "As we walked on stage, we decided to ask the audience in Oxford to join us for the new version of Wolves and howl as best they could all through the song – they were brilliant and it turned out lovely, and it's probably my favourite track of ours we've ever released," says Aidan. There's also a cover of Rosalie Allen's post-war anti-fascist song Hitler Lives, while the album ends with Car Song, the first track the duo wrote together back in 2012. Available on heavyweight clear vinyl with download code.

              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 Band Called Flash’s third EP on the J4J record label continues to expand with a new set of electronic dance heaters. "Dracula" kicks things off, a highly anticipated number after being previewed across the hype machines, this is a big room pleaser for fans of Azari & III, Tensnake and Shamir. “There Will Be A Time” effortlessly continues the theme - another soul-infused Summer romp through slow house which is destined for multiple radio plays with its highly prized vocal.

              "Song For Spike" sees the band turn their efforts to peak time disco business. Guided by a frenetic b-line and hallucinatory keyboard phrases this is 360° glitterball action sure to get you crashing into folks, tables and maybe even the DJ booth - caution advised!



              A Certain Ratio

              Acr:box

                Following on from 2018’s compilation, acr:set, acr:box showcases the diversity of the singles, B-sides and alternative versions of tracks that A Certain Ratio have released, but without repeating tracks recently made available. acr:box collates everything that fans had been missing from the recent reissue campaign, and compliments that with a selection found after a deep delve into the archive to find all the hidden gems that had been talked about over the years, but never heard – even a few releases the band had forgotten about!

                Looking to make the box set as comprehensive as possible, even the original tapes from the session they recorded for a collaboration with Grace Jones were uncovered and reworked. This session includes the cover version of Talking Heads’ ‘Houses In Motion’, using Jez Kerr’s guide vocals (pre to him becoming the band’s singer). Grace Jones never completed her vocal take, after attending one of the recording sessions with the band.

                The box set, which marks the 40th anniversary of A Certain Ratio’s debut release, the Martin Hannett produced ‘All Night Party’ (Factory Records’ first single release) was described recently by Record Collector as “a statement of future intentions: to set funk off against nervous angst.” They went on to be hailed universally as pioneers of what became known as “punk funk” thanks to the success of their second single, ‘Shack Up’, represented here via a radio edit from Electronic, featuring Bernard Sumner and Johnny Marr. 


                FORMAT INFORMATION

                LP Box Set Info: Vinyl colours match the 6 colours on the artwork.

                FREE SHIPPING This item has FREE UK shipping!

                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

                  THE PICCADILLY RECORDS REISSUE/COLLECTION OF THE YEAR 2018.

                  A Certain Ratio were born of the Manchester punk/post punk explosion of the late 70s, but while they took on the bleak aggression of the former and the spiky experimentation of the latter, they were rooted in another tradition. By the time their second single, the incredible opium funk dream of "Flight" was released in 1980 on Factory Records, it was obvious that the apparently unlikely union of brooding post punk with dub and funk rhythms was a marriage made in heaven - If heaven is the right word.

                  "Set" follows their current set list (hence the title), pulling material from across their incredibly diverse career. It's perhaps only fitting that two thirds of the collection dates from 1979-1986, while they were signed to Factory, when they arguably produced their finest and most inventive material. If "Shack Up" added a mutant snarl to the Banbarra classic and "Flight" was eerie and sublime, "Knife Slits Water" was a signpost for their future direction, moving away from the paranoia and angst of their earlier sound and introducing a lighter and more loose limbed samba, jazz dance and tropical funk groove. The brighter feel was further cemented by "Wild Party", a moody boogie blend incorporating street soul and electro which perfectly conjured it's title, and the P-funk genius of "Mickey Way” which went on, appropriately enough, to become a Hacienda favourite.

                  The move to A & M brought another diversion, into acid house euphoria, represented here by "Good Together"; this, and the silky, emotive pop of "Won't Stop Loving You", here remixed by Bernard Sumner, were both enhanced by the gorgeous vocal talents of Denise Johnson. There is new material here too, in the shape of "Dirty Boy" featuring Barry Adamson; but, even leaving aside the astonishing span and prolific nature of their output, what is truly amazing is that through all the extraordinary range of their sound they have always maintained a distinct and coherent identity. That takes real talent.


                  STAFF COMMENTS

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

                  FORMAT INFORMATION

                  2xColoured LP Info: Dark green and silver coloured vinyl.

                  2xColoured LP includes MP3 Download Code.

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

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

                            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.

                            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.

                              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.

                                Returning after a long-lasting hiatus is no mean feat - how to stay relevant, to plug the gap and come back as strong as where things were left off. A Man Called Adam’s return however, is as emphatic as it is endearing. Sally Rodgers and Steve Jones are back with a brand new album of melodic, emotional, pop-not-pop tracks, bringing fresh layers of feeling, from warmth and passion, to sentimentality and sorrow.

                                Displaying a wealth of knowledge gained through two lifetimes spent immersed in music, "Farmarama" showcases a myriad of styles and richness in arrangements. Moving from soulful slow jams to lo-fi disco, Balearic house to dub, post-rock electronica and art-house ambience, there are glistening horizons and windswept beaches conjured up at every turn.

                                Take the likes of ‘Mountains & Waterfalls’, ‘Farmarama’ and ‘Michael’ and hear dancefloor, disco tinges that marry live percussion, sultry Rhodes and hearty basslines, oozing emotion. But venture deeper to uncover a pensive, yet equally expressive side to the record through tracks like ‘Higher Powers’ and ‘Top Of The Lake’. Take the later as an example, a neo-classical slice of magical ambience, that wouldn’t be out of place soundtracking sweeping views of shimmering scenery. Or ‘Spots Of Time’, beginning as a frenetic, glitched out piece of electronica, before opening into a brooding breakbeat journey.

                                Full of vintage warmth, analogue synths and intricate textures, Rodgers, Jones and new collaborator, Paul Smith, combine experimental touches with an undeniable catchiness, balancing electronic elements, with acoustic sparkles. In harmony with this, the contemplative, poetic verses, that considers life as a hi-definition, Westworld-like simulation, a Farmarama, and disco as a way of being, meld and morph a conceptual narrative that tugs on the heartstrings of life.

                                "Farmarama", then, isn’t your archetypal album. It’s an emotionally charged, intelligent and enlightening body of work that’s Balearic to the bone. 

                                STAFF COMMENTS

                                Patrick says: In an era of overwhelming cynicism, the honesty and emotion of "Farmarama" is entirely refreshing, much like the breezy blend of Balearic soothers, coastal coolers, disco drivers and downbeat gems which make up this pop-not-pop triumph from A Man Called Adam. Welcome home...

                                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-Moms

                                  Strawberry Cheese Cake / Modern Noise

                                    This is THE single. 1979. Detroit, Michigan. A-Moms, a.k.a. Algebra Mothers, were one of the Midwest's early cutting-edge new wave punk groups, who would go on to play shows with like-minded artists Pere Ubu and Destroy All Monsters. And this is their only release ever, that is, up until Third Man released a compilation of unreleased and live material last summer. Now you have the chance to own a reissue of the single that sparked it all.

                                    “Strawberry Cheesecake” is absolutely frantic and infinitely catchy, popping right off of the platter into your ears. Lightning bolt melodic synth punches, desperately human but then briefly robotic vocals and no shortage of freewheeling guitar solos make no secret why this track so beloved. On the flip side, “Modern Noise" is an alien punk keyboard-cram blaster with a decimating, canonical guitar freakout feedback ending that successfully melts minds.

                                    Australian newcomer A Most Wanted Man joins with the Monologues Records family with a sumptuous debut EP that shows he's very much one to watch.

                                    'Hep Cat' is a peppy, soulful slow-burner which gradually reveals a triumphant string sample, 'Voice From Above' is another buoyant beauty with feel-good strings and vocal cuts, and 'Importance Of The Hi-Hat' is a more stripped-back slice of warm deep deep house.

                                    Fellow fast-rising Aussie, Jad & The, pursues his passion for tonking breakbeats on his remix of the latter, making for a spooky, mysterious workout.

                                    A Place To Bury Strangers

                                    Fuzz Club Session

                                      For over a decade Brooklyn’s A Place To Bury Strangers have been dealing in pure sonic destruction. Famously lauded as the loudest band in NYC, their thunderous noise-rock has seen them pick up a cult following and shatter many unsuspecting eardrums across the globe. With no release or live show similar to the last, APTBS have continually twisted their malevolent sonic assault into something not of this world. Following 2018s Pinned LP (Dead Oceans) the trio is back once again – this time with a live session LP on London-based imprint Fuzz Club. Whilst in London at the end of a European tour in support of Pinned, the band spent the day at Love Buzz Productions in South London to lay down a Fuzz Club Session, due for release February 15th as a vinyl exclusive alongside a collection of videos which will be released online.

                                      Raw, punishing and unpredictable, the LP – recorded live in one take - perfectly captures the APTBS ethos through-and-through and sees the unwavering intensity of their live show committed to wax like never before. “It’s good to record at the very end of the tour,” reflects Oliver Ackermann, the band’s vocalist/guitarist and founding member: “You’ve been playing these songs all tour and there’s a certain point when you kind of get tired of them so you have to reinvent what they mean and what happens in them. I feel like that always pushes things to the next level. It’s exciting.” Some songs on the session may date back a decade but, true to the APTBS way, they’re totally reconfigured and pushed to their very limits.

                                      Spanning their lengthy back- catalogue, there are two tracks from Pinned (‘Never Coming Back’ and ‘Punch Back’), one from 2015’s Transfixiation (‘We’ve Come So Far’), one from 2012’s Onwards To The Wall (‘Drill It Up’), another from their 2007 S/T album (‘Ocean’) and a previously unreleased track (‘Chrome Shadow’). What makes this LP stand out is the way in which the live setting perfectly captures the band’s ability to work as a collaborative unit; every member feeding off one another, their tight-knit playing hardened by months on the road. Ackermann’s visceral guitars and FX pedal manipulations may be what defines the APTBS sound but just as integral on this LP is Dion Lunadon’s scuzzy, remorseless basslines and the primal percussion and snarling vocals of Lia Simone Braswell, who joined the band just last year. There aren’t many bands who can make deafening chaos sound so tight and meticulous but that’s just how APTBS roll. The Fuzz Club Session LP serves as a perfect indoctrination into the fuzzed-out world of A Place To Bury Strangers - taking you through a no-holds-barred tour of their discography whilst also offering a glimpse into the almost-hypnotic power of their live show. This is an album just as much for fuzz veterans as it is for the uninitiated. 

                                      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.

                                      Psychic Yes and Tech Startup founder Rafael fortuitously met on a Berlin dance floor in late 2017. A long period of digital correspondence followed between Berlin and Seattle, culminating in the inaugural release of the Seattle-based Tech Startup label: "TS000001". The project is comprised of 5 tracks built up from initial recordings of percussion, trumpet, and synthesizers honed into drum-focused dance pieces in the melancholy Berlin winter of 2018. Split in function between the two sides, Side A features dancefloor-ready tracks with Side B containing introspective songs geared towards a home-listening environment.

                                      Field recordings of Scottish stone slates mark the opening track "Stone Sound", a tribal-leaning dancefloor cut highlighted by syncopated, pounding percussion and discreet melodies. "Spacemaker" features organic, sparse breakbeats cloaked in bright, hazy melodies. "Delicated" is a track that delights as a series of melodic characters move around one another in a foggy electronic atmosphere. "Aldhini Theme" emerges as the standout track on Side B commencing with undulating sequenced bloops and bleeps that slowly build into a hypnotic slow-burner that resolves on a melody.


                                      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.

                                      FORMAT INFORMATION

                                      2xLtd LP Info: Limited double vinyl.

                                      A Vision Of Panorama

                                      Delicious Saw

                                      A Vision Of Panorama continues his synth exploration, expanding his vision towards new synthesizer motifs and dreamy chords on a vast array of late night cosmic g-funk grooves, modern funk and boogie inspired tracks. This time covers a different spectrum of sounds and atmospheres which merge to form a harmonious whole that can stands on territories of accomplished future soul, jazz and funk. Distinctly deeper and visibly more emotive deep house than just a technique of smooth Balearic instrumentation.

                                      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.

                                      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

                                      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!

                                      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.

                                      Aaron

                                      Jos Vois (Crossroads) / Taikausko (Superstition)

                                      After opening his new reissue series with the killer cosmic funk of Emilia, DJ Ionik introduces another lost Finnish gem, this time from the singular Aaron. Rather than giving us a pound 4 pound reissue of a charity shop (or whatever the Finnish equivalent is), Ionik instead takes the best two tracks from Aaron's 1975 "Miten Ois?" LP, both cover versions, and slaps them either side of a transportable 7". On the A-side Aaron tackles Neil Sedaka's "Crossroads" with new Finnish lyrics from Chrisse Johansson, maximising the inherent AOR funk, and minimising the general Sedaka-ness for a much more pleasing sonic experience. On the flip, Aaron works his magic on Stevie Wonder's funk masterpiece "Superstition", treating the lovingly obtuse DJ to a refreshing alternative to Stevie's OG, which retains all that funk power without causing the out-of-towners to dance on tables like a pissed auntie at a wedding.

                                      STAFF COMMENTS

                                      Patrick says: Major flavours for the AOR funk / Balearic disco crew here, as Aaron's ace covers of Neil Sedaka and Stevie Wonder leap off his 1975 LP and onto the grooves of a freshly pressed 7".

                                      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.

                                        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.

                                        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.

                                          Aboutface

                                          Co-ordinates #1

                                          'All temporal things, whether material or mental, are compounded objects in a continuous change of condition, subject to decline and destruction.'

                                          Recital of Friedrich Nietzsche's 'Will to power' by Jenna Whelan

                                          The inaugural release on enigmatic conceptual artist and Freerotation regular Aboutface’s new label Coordinates- a limited physical release series exclusively showcasing his music and original art, depicting conceptual themes and exploring the aural terrain of two sets of location coordinates around the world. Coordinates #1 explores the relationship between a human cohabiting bat colony in Lincolnshire, England, and the ancient mayan culture of the Zinacantecs from the Chiapas region in Mexico, who in their native tongue refer to their land as - Sot’s’lab (Land of Bats).

                                          The theme is articulated through triggered ultrasonic bat recordings from the Collegiate Church to affect the rhythm and timbre of live synthesis and instrumentation, alongside the cultural history of the Zinacantecs - a bat worshiping mayan community of the Chiapas region of Mexico, influencing the tonality and mood

                                          The research and experimentation is used to articulate a conceptual sonic narrative of the impermanent nature of existence; the cycles of birth, prominence, decay and rebirth of all things. Exploring the ebbs and flow of religious identity, cultural tradition, the universal ecology of all living things, urbanisation and the perception of the role of the the subconscious, all locked in fleeting circles of rise and decay, phasing in and out of alignment.

                                          Considering a connection between sociopolitical and environmental change through interspecies solidarity and utilization of the subconscious mind.


                                          STAFF COMMENTS

                                          Matt says:

                                          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.

                                          Rudolf Abramov

                                          Krass Kontrast

                                            Rudolf Abramov is a duo based in Berlin and Israel, which seem to have been a door opener to unexpected musical encounters, because it’s an almost impossible task to sum up their sound in a comprehensible way. In their own words their music is ”a response to a seemingly endless conflict about disgust, acceptance and love.” Now Höga Nord Rekord is releasing their Mini-LP ”Krass kontrast”. Rudolf Abramov is Roland 303, programmed drums, oriental samples, eastern mysticism and instrumentation dressed as German machine funk, Disco, Turkish psychedelia, Krautrock, EBM and so on, and so on…their music is cosmic, beautiful and boundless. The arpeggio on the track ”Projekt 4” is running on infinite repeat in a parallell reality where 1982 never ended, where Rudolf Abramov move freely through different dimensions and where they are in total control of their unpredictable creation! 

                                            Abstract Orchestra

                                            Madvillain, Vol. 1

                                            Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in promotion of their debut LP "Dilla" and follow up 45 "New Day feat. Illa J", 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. "Madvillain Vol. 1" takes the template of their debut LP "Dilla" and applies the same approach to the collaboration of MF Doom and Madlib, aka Madvillain and their albums Madvillainy and Madvillain 2. Sampling the likes of Sun Ra, Bill Evans, Freddie Hubbard, George Duke, Dr. Lonnie Smith, Quincy Jones and Stevie Wonder gave the albums a jazz-oriented feel and ethos which in turn lend themselves perfectly to the deconstruction and re-imagining of Abstract Orchestra. As with their debut, all the tracks were recorded live in the studio with very few overdubs. They explored sounds that were menacing, angular, dissonant, frantic and yet captivating. They were also able to write music that was the flip side of all that dark chaos, and write lush and beautiful music. Arranging and scoring up Madvillain Vol 1. Has allowed me to explore these sounds that I've always loved, yet keeping a strong hip-hop identity as the core of its sound.

                                            STAFF COMMENTS

                                            Millie says: Abstract Orchestra adapt another legendary hip hop album and this time it’s the infamous masked Madvillian. The 40-piece band create sound big jazzy beats on this release, play Accordion and Fancy Clown loud!!

                                            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!

                                            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.

                                            The record opens up with the poisonous title-track 'Two Scorpios', where sharp analogue leads lean on a relentless disco-funk groove, thrusting us out straight against the sweaty walls of the Chicago's Muzic Box. The airy and enchanting spirals of 'Solenoid' create a detachment for a sonic trip through circling arpeggios and sparkles. On the flip side, we reconnect Abyssy to the Young Soulomon of early 90's by a warm and robotics 'Dusty House'. The mood turns definitely more freaky with 'Slomo Kid': sampling divertissement with a punkish flavour and emphatic rhythmics, it is the perfect tune to shake down the whole ball of wax. 

                                            Acc-sees Pro Vinyl

                                            Anti-static Record Cleaning Cloth

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

                                              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.

                                                Born in Windsor CT and based in Bushwick Brooklyn, AceMo is a rising producer / DJ in the NYC underground. Growing up in a Nuyorican / Dominican household Ace was raised on salsa and soul, playing in Latin jazz youth ensembles and marching bands. A multi-instrumentalist and lifelong musician, Ace started producing in 2009 at age 16. After a string of releases culminating with the ‘Black Populous’ full length on Bootleg tapes, AceMo returns with an eponymous 4 tracker on Vanity Press, showcasing a clean style of production balanced with dirt and grit.

                                                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).


                                                FORMAT INFORMATION

                                                2xColoured LP Info: Repress on limited blue vinyl. Housed in a deluxe gatefold Stoughton tip-on jacket.

                                                2xDeluxe LP Info: Double black vinyl. 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.

                                                  Reverse Of Rebirth In Universe

                                                  Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.

                                                  In recent years, they’ve experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...

                                                  ‘Reverse Of Rebirth In Universe’ sees the band return to their old label Riot Season for the first time since 2012’s 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.

                                                  Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.

                                                  If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.


                                                  STAFF COMMENTS

                                                  Barry says: I can feel the lysergamides oozing out of this one. Slow, hypnotic crescendos are broken by double time psychedelic freakouts before segueing into a simmering stoner dirge. A sprawling, transportative affair, and one to be taken in heroic abundance dried, and with the lights off. AMT do it once again.

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: Limited edition 300 copies on black vinyl housed in a gloss finished 350gsm sleeve with download code.

                                                  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 2

                                                    Hallelujah Mystic Garden Part 2 contains a new deep-pocket groove disco version of fan favorite Pink Lady Lemonade. Side 2 is a slick kosmiche-electro-disco number that unfurls over a period of 20 minutes and is periodically punctuated by Makoto Kawabata's unruly soloing. Last copies of Hallelujah Mystic Garden Part 1 LP are available via Important Records and contain vocals from Cotton Casino.

                                                    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

                                                    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 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.

                                                    What do you get when you combine the best hip-hop producer in Boston with one of the best upcoming lyricists in NY? "Well Done". In the style of classic producer & MC albums, Statik & Bronson deliver intricate rhymes and head-nodding beats on this noteworthy release. Coming straight out of Flushing, Queens, NYC, Action Bronson personifies the golden era of East Coast, New York hip-hop. Repping Boston, New York & New Hampshire Statik Selektah is known as the 'east coast boom bap ambassador' and holds down weekly radio slots on Eminem's Shade 45. He has produced & worked with Nas, Joey Bada$$, 2 Chainz, Mac Miller, 50 Cent, Jadakiss, John Legend, Wale, Bun B & many more. Check out "Well Done” and get reminded of how good rap used to sound.

                                                    STAFF COMMENTS

                                                    Matt says: After working with Freddie Gibbs earlier in the year (and delivering one of my albums of the year...) I was truly excited to see what fruits a Statik Selektah and Action Bronson collaboration would yield... I wasn't disappointed: a sprawling double LP full of the wry New Yorker's wit and dry explicit humour combined with that familiar, all-important old skool BOOM BAP from one of the best beatsmiths on the planet. Essential hip-hop record!

                                                    FORMAT INFORMATION

                                                    2xColoured LP Info: Red vinyl double LP

                                                    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.


                                                      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.

                                                      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

                                                      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.

                                                      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.

                                                        The wait is over and the internet’s current favourite urban legend is now a reality: Ryan Adams' full album cover of Taylor Swift’s 1989 is now available digitally, with the CD to follow on October 30th. The album will get a Vinyl release later this year on PAX-AM/Columbia. 

                                                        Produced by Adams, the first news of this reinterpretation of 1989 was revealed last month on Instagram with the post "Taylor Swift 1989 full album cover night 1. As played by the Smiths.” Several subsequent posts of song snippets revealed much more range than that—including a take on “Bad Blood” that VANITY FAIR called "a lovely Heartbreaker-era style version” referencing Adams’ classic debut, a string quartet-enhanced version of “Blank Space,” what Adams promised to be the “guaranteed saddest version of 'Welcome to New York' ever - or your tears back,” and more.

                                                        STAFF COMMENTS

                                                        Andy says: This is brilliant! Superb pop songs but taken by Rynads and done in the style of Bruce Springsteen's "Nebraska" re-imagined by The Smiths!? Well that's what Ryan said, anyway! Who else would do such a thing?

                                                        "29" has 9 songs on it and they represent the nine years of his 20s (21, 22, 23 etc etc upto 29) He didn't think 20 counted as he still felt 19. It completes the trio of albums in 2005 with "Cold Roses" and "Jacksonville City Nights" being the other two, you may have heard them, they're also very good.

                                                        FORMAT INFORMATION

                                                        Ltd LP Info: US import audiophile pressing 180 gram vinyl.

                                                        Ryan Adams

                                                        Demolition

                                                        These are supposedly demos cut between "Heartbreaker" and "Gold", but there is nothing unfinished, out-take like or second rate about any of this. Whilst namechecking the likes of the Smiths and Radiohead and hailing from the alt.country scene, this is big, beautiful widescreen music most redolent of Springsteen at his best, or even Tom Petty! Whether bruised ballads or sunroof-down rockers, it's so natural sounding, so effortless. Great words, great phrasing it rolls just as it should.

                                                        Ryan Adams

                                                        Demolition

                                                        These are supposedly demos cut between "Heartbreaker" and "Gold", but there is nothing unfinished, out-take like or second rate about any of this. Whilst namechecking the likes of the Smiths and Radiohead and hailing from the alt.country scene, this is big, beautiful widescreen music most redolent of Springsteen at his best, or even Tom Petty! Whether bruised ballads or sunroof-down rockers, it's so natural sounding, so effortless. Great words, great phrasing it rolls just as it should.

                                                        ‘Heartbreaker’ the debut solo studio album by Ryan Adams, which was hailed as a modern classic on its release in September 2000, is re-released as a deluxe edition. The album, which has been remastered by original producer Ethan Johns, comes in a deluxe box set that features the 15 song album in all its glory plus demos and unreleased outtakes from this landmark record by one of rock music’s most prolific and charismatic stars. The package also includes a DVD featuring a film of the legendary New York show at the Mercury Lounge in October 2000 and a glossy booklet of rare and unseen photos and Ryan Adams ephemera with an essay written by producer, friend and collaborator Ethan Johns.

                                                        STAFF COMMENTS

                                                        Andy says: Incredible , heroic debut. Possibly his finest hour.

                                                        FORMAT INFORMATION

                                                        4xLtd LP Info: Includes DVD.

                                                        Ryan Adams

                                                        Love Is Hell - 1& 2

                                                        This single disc, 16 track album is basically the two Xmas 2003 EPs welded together. So if you bought them, you've got the extra out-take tracks, but you may be slightly miffed to hear that this release has one extra song, and lush, new(ish) artwork. The track is a new version of "Anybody Wanna Take Me Home". If you've not heard this stuff then you're lucky, 'cause: A. It's amazing, and B. You'll get the album as it was originally intended. It was meant to be the follow-up to the multi-platinum "Gold", but the record company rejected it, I think because it's so unremittingly downbeat. Only when Ryan gave them the trashy, sexy, alt. 80s jukebox which was "Rock 'n' Roll" did they agree to "Love Is Hell"'s release. The reviews were ecstatic. Some even called it his masterpiece. Every single song is a saddie! And so romantic, poetic, broken and damaged. Think Big Star's third mixed with lonesome Radiohead. Add The Smiths and you've got the mother of all disenchanted, outsider, life sucks, love's a bitch, what's the point (?) records. Of course the point is this: beauty and magic. They're worth going through the pain for!

                                                        Brilliant new 11 track album from US Americana singer / songwriter Ryan Adams on Pax-Am via Columbia Records. This self-produced album is his first since 2011's "Ashes & Fire". Includes the single "Gimme Something Good" (7" vinyl released 15th Sept).


                                                        STAFF COMMENTS

                                                        Andy says: RyNads returns with a belter! A whole, Glyn Johns produced, mellow LP was shelved (hence the long gestation) for this self-made effort. Ryan says it's a truer reflection of where he's at right now.

                                                        FORMAT INFORMATION

                                                        LP Info: Vinyl limited to 2500 copies.

                                                        LP includes MP3 Download Code.

                                                        Mixing the heartfelt angst of a singer/songwriter with the cocky brashness of a garage rocker, Ryan Adams is at once one of the few artists to emerge from the alt-country scene to achieve mainstream commercial success and the one who most strongly refused to be defined by the genre, leaping from one spot to another stylistically while following his increasingly prolific muse.

                                                        On new album Prisoner, Ryan said: "I was reflecting on the different states of desire and what it means to be a prisoner of your own desire… I felt like I had been robbed of... the most valuable thing in a person's life…Time."

                                                        The twelve tracks that make up Prisoner came to Adams over a prolific period stretching back as far as the week his 2014 self-titled album entered the U.S. album chart at a career high of #4. During that run, Adams toured the world, recorded and released both his Live at Carnegie Hall collection and full-album cover of Taylor Swift's 1989, and saw the aforementioned Ryan Adams garner two Grammy nominations - Best Rock Song for "Gimme Something Good" and Best Rock Album.


                                                        STAFF COMMENTS

                                                        Andy says: A "break-up album" but don't run away! Beautifully poetic lyrics and top tunes put this right up there with RynAd's very best work. Smiths meets Boss in a lonesome bedroom on a lonely highway!

                                                        Barry Adamson

                                                        Oedipus Schmoedipus

                                                          Brought up in Manchester’s Moss Side, Barry Adamson began his career in 1977, learning to play the bass literally overnight for Magazine, Manchester’s most influential band of that era. When they disbanded five albums later in 1981 his definitive touch was spotted by The Birthday Party, with whom he played several times.

                                                          After that band’s final implosion in 1983, Barry became a founder member of The Bad Seeds, along with Nick Cave, Mick Harvey and Blixa Bargeld. · 

                                                          Originally released in 1996 ‘Oedipus Schmoedipus’ garnered him his most widespread acclaim to date as a composer of vision, insight and innovation.

                                                          The album journey opens and closes with ‘Set The Controls For The Heart Of The Pelvis’, a propulsive fusion of rock, gospel and funk featuring guest artist Pulp’s Jarvis Cocker on lead vocal.

                                                          An interval in the journey is provided by former Associate, the late great Billy McKenzie on ‘Achieved In The Valley Of Dolls’, while Nick Cave provides a considered acceptance of a relationship’s demise as guest vocalist on ‘The Sweetest Embrace’.

                                                          Memento Mori charts Adamson’s career from 1978’s Magazine track, ‘Parade’ (co-written by Adamson, from their debut album Real Life), to his work as founding member, alongside Nick Cave, of the Bad Seeds (‘From Her To Eternity’, co-written by Adamson); through his nine solo albums, from 1988’s Moss Side Story to the latest Love Sick Dick EPs, bringing everything up to date with a brand new unreleased track, ‘The Hummingbird’.

                                                          STAFF COMMENTS

                                                          Laura says: When people talk about Manchester music legends, Barry Adamson barely gets a mention, but as this compilation demonstrates, he's been responsible for some of the most incredible, genre-bending music to come out of Manchester in the last 30 years, blending post-punk, jazz, blues, soundtracks, and everything in between in his own inimitable way. Stand out tracks include "The Man With The Golden Arm" from the briliantly noir-ish "Moss Side Story" and "Set The Controls For The Heart Of The Pelvis" from 1996's "Oedipus Schmoedipus" featuring Jarvis Cocker on vocals, along with "Parade" by Magazine and "From Her To Eternity" from his days as a Bad Seed.

                                                          FORMAT INFORMATION

                                                          2xColoured LP Info: Limited edition gold coloured vinyl.

                                                          Ryan Adams

                                                          Ten Songs From Live At Carnegie Hall

                                                          U.S. Alt country/folk/rock musician & singer-songwriter Ryan Adams releases this 10 track live album, taken from the super-limited U.S. released 42 track LP Vinyl box. 

                                                          Ryan Adams' 'Ten Songs from Live at Carnegie Hall' is comprised of live selections from Adams' two night stint at the celebrated New York City venue. The career spanning set includes fan favorite 'New York, New York,' plus new mainstays from Ryan's most recent Grammy nominated eponymous album like 'Gimme Something Good'.

                                                          STAFF COMMENTS

                                                          Andy says: Just Ryan and his guitar. Perfect.

                                                          FORMAT INFORMATION

                                                          CD Info: Standard jewel-cased CD (with 12 page colour booklet).

                                                          This was the debut album from Add N To (X) featuring original members Barry Smith, Anne Shenton and Andrew Averling. The band split from Andrew Averling a few months after this release, recruiting new member Steve Clayton and going on to record for Satellite and Mute. "Vero Electronics" is a must for collectors of the band, showing them in their full uncompromising glory. Tracks from this album have been used in underground films, soundtracks and on TV. Add N To (X) described themselves as moog situationists and pioneers of avant-garde electronica.

                                                          FORMAT INFORMATION

                                                          CD Info: Seven track CD.

                                                          Adderall Canyonly

                                                          Museum Of Fire

                                                            The killer first release for the Polytechnic Youth label by the wonderfully named ADDERALL CANYONLY. “Museum of Fire” contains 8 tracks of uptempo kraut themed, occasionally whacked out electronica, with sporadic nods to a darker more industrial TG groove in places, aligned with classic late 70s / early 80s minimal synth flourishes. In a nutshell, it ticks all the boxes for yr modern day synth nut!

                                                            Little is known about Mr. Canyonly himself, preferring to step out of the shadows intermittently with a number of aliases for different musical projects. Let’s leave it to the man himself to shed a little light on this new one and his background:

                                                            “Adderall Canyonly is a synthesist and string wrangler named Wayne Longer, formerly of Portland, Oregon. In ‘Oxykitten’ he is named Justin Case and is an entirely different person. Sometimes these people overlap, such as the (previous) album "The Cutting Room". A lifelong fan of analog synths and brooding soundtracks but equally raised on a steady diet of post-rock and krautrock, it's generally a confusing time when the “record” button is hit. Much goes in, little comes out, and then much is added later, sometimes without good reason. But that's exactly why someone invented the “fast forward” button”

                                                            Happy to keep his enigmatic persona intact, PY strongly recommends this wonderful length; it’s a pressing of 300 on vinyl and only and is dressed in fabulous cover art. Sure to sell out in super quick style…


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                                                            Thanks for posting about it. It’s here until next Friday May 3rd btw. https://t.co/PgaFhSvpPe
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