Sexy Boy


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

    Arcade Fire

    Arcade Fire EP (RSD18 EDITION)


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

      Anne Briggs

      Sing A Song For You (RSD18 EDITION)


        Alex Somers



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

          Cutting his teeth on the UK bar DJ circuit with gigs six nights a week, as well as being a member of production duo Casio Social Club, Henry Greenwood has nurtured an understanding of the vital ingredients required for a killer dancefloor groove. From the early days of breaking both the pause buttons on his family stereo system (whilst crafting his first reworks) to spinning alongside Derrick Carter at London's disco-flavoured club night Slide, Henry is carving a razor-sharp niche in the ever-evolving re-edits movement.

          ‘Buffalo Dance' is the opening statement of new imprint A & R Edits; a mid-tempo piano house edit of a late 80s classic. The mix was a true labour of love: as anybody who has heard the 'Scratchapella' mix of Neneh Cherry's ‘Buffalo Stance' will be able to tell you. Her 12" B-side mix comes bundled with a frustratingly top-heavy drum kick, before stopping completely midway through the second verse. Henry pillaged every official remix that was released for the parts to his version, the Japanese 3" CD single being particularly useful, and thankfully the original producer's reluctance to share the full vocal was balanced by how many of the other elements feature in isolation on the remixes. Henry's beautifully crafted extension features the lingering familiarity of the original's two chord progression that ultimately gives way to the opening verse of Neneh Cherry's unforgettable vocal, a tip of the hat to the original track.

          On the flip, Henry has revisited George Benson's 1977 single, 'Nature Boy', originally a Nat King Cole classic from 1948. It was a radio edit heard whilst driving that initially caught his attention, and, after hunting down the original cut, he looped up a prominent 8-bar section to forge an instrumental deep house burner. After some direction from Greg Wilson, and encouragement to reincorporate more of the vocal, his 'Voice of Nature' version was born, an early doors gem that has been a staple in Wilson's sets during recent times.

          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


            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. 


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

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

            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!


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

            2xColoured LP includes MP3 Download Code.

            A Certain Ratio

            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.


              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.


              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.


              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


                    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.

                      FORMAT INFORMATION

                      LP Info: Limited edition in green PVC sleeve.

                      LP includes MP3 Download Code.

                      A Certain Ratio

                      To Each

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

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

                      FORMAT INFORMATION

                      2xColoured LP Info: Limited edition double red vinyl.

                      2xColoured LP includes MP3 Download Code.

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

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

                      FORMAT INFORMATION

                      2xColoured LP Info: Light blue vinyl!

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

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

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

                      A Foot In Cold Water

                      A Foot In Cold Water

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

                      A Giant Dog


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

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

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

                        FORMAT INFORMATION

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

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

                        A Grave With No Name

                        Feathers Wet, Under The Moon

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

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

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

                        FORMAT INFORMATION

                        LP includes MP3 Download Code.

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

                        A Grave With No Name


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

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

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

                        A Hawk And A Hacksaw

                        Forest Bathing

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

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

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

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

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

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

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

                          A Minor Forest

                          Flemish Altruism / Inindependence


                            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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                            They definitely did. 

                            STAFF COMMENTS

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

                            A Place To Bury Strangers


                            “That’s the most intense fear and feeling - when you go to a show and you’re actually scared,” says Oliver Ackermann, guitarist and frontman of Brooklyn trio A Place To Bury Strangers. “Or you can palpably feel the danger in the music,” adds bassit Dion Lunadon, “Like it’s going to fall apart at any moment and the players doing it are so in the moment they don’t give a shit about anything else. They’re just going for it. It’s a gutter kinda vibe; everything about it is icky and evil and dangerous.”

                            The same could be said the band’s fourth album, ‘Transfixiation’. Rather than fixate on the minute details like they may have done in the past the group, rounded out by drummer Robi Gonzalez, trust their instincts and try to keep things as pure as possible. Music is much more exhilarating when it’s unpredictable - even on repeat plays - and this is very much an unpredictable record.

                            Gonzalez makes his recording debut with the band here and it’s obvious that he’s helped pushed the band’s recordings closer to the level of their infamous live shows. “The one thing we have in common is this fire when we’re playing,” adds Gonzalez. “I don't know; it’s real intense.”

                            “[A Place To Bury Strangers] sculpts something unexpectedly elegant out of the type of din you’d expect to hear on an airport tarmac” - Spin Magazine

                            “Hypnotic and forward-looking, A Place To Bury Strangers sound more vital than ever” - Allmusic

                            “A real sonic adventure that never relinquishes its grip on structure, despite the fact that the guitar effects pedals are practically stomped into the floor” - Popmatters

                            FORMAT INFORMATION

                            Ltd LP Info: Two tone pink and blue coloured vinyl LP exclusively available to independent retailers (limited to 200 copies for the UK & Eire).

                            Ltd LP includes MP3 Download Code.

                            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, to be released on November 9th, 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, hazey 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.

                            STAFF COMMENTS

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

                            FORMAT INFORMATION

                            2xLtd LP Info: Limited double vinyl.

                            A Winged Victory For The Sullen

                            A Winged Victory For The Sullen

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

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

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

                            STAFF COMMENTS

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

                            A Winged Victory For The Sullen


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

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

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

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

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

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

                            FORMAT INFORMATION

                            2xLP Info: Double LP in a gatefold sleeve.

                            2xLP includes MP3 Download Code.

                            A Winged Victory For The Sullen

                            Atomos VII

                              Erased Tapes are pleased to announce the release of A Winged Victory for the Sullen's ‘ATOMOS VII’. The first installment leading up to the release of the second full length studio album 'ATOMOS', and score for choreographer Wayne McGregor's long form dance piece.

                              McGregor was heavily influenced by the duo's 2011 self-titled debut, playing it 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 recorded more than sixty minutes of music over a four-month period during the summer of 2013 in Brussels, Berlin and Reykjavik with the help of their longtime collaborative sound engineer Francesco Donadello. This EP also sees the involvement of Ben Frost, who composed the music for McGregor’s previous work 'Far'.

                              McGregor, mastermind behind the Random Dance Company and resident choreographer at the Royal Ballet since 2006, is known in popular culture circles for serving as movement director for the film 'Harry Potter and the Goblet of Fire'. He has also choreographed the Radiohead video 'Lotus Flower' and 'Ingenue’ by Atoms for Peace.

                              IN THEIR OWN WORDS:
                              ‘While we were re-amping guitars at Greenhouse studios, Ben expressed interest and admiration in the sounds we had created. We were planning for the B-side to be a metamorphosis of part VII, and Ben seemed the obvious choice. With the multi-tracks transformed, it follows a trajectory that we had not felt comfortable with before. But with Ben's involvement and influence, it was a painless entrance to this crooked, distorted world.’
                              – 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

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

                              Ltd LP includes MP3 Download Code.

                              A-Sun Amissa

                              Ceremony In The Stillness

                                For its fourth full-length, A-Sun Amissa plunges deeper than before. Guitars come to the fore. Heavy, distorted chords are present from the off, complemented by desolate ambient passages of sound. The claustrophobic atmospheres remain but combine with a new density and sonic experimentation to present a huge leap forward in structure and composition.

                                Ceremony in the Stillness hints at themes from the previous three outings while very much pushing the project into new territories. The intricate nuances and lulling melodies from Desperate in Her Heavy Sleep (2012) reappear while the billowing guitars of You Stood Up For Victory, We Stood up For Less (2013) are referenced throughout. In comparison to 2017’s The Gatherer it’s clear there is a firmer direction in the song-writing as the album weaves through elements of doom, dark ambient and post-rock, placing its very own unique mark firmly into the ears of the listener.

                                A-Sun Amissa is the project of Richard Knox (founder of Gizeh Records and member of The Rustle of the Stars, Shield Patterns and Glissando) and while Knox takes the central role on Ceremony in the Stillness , again we see several collaborators contributing to the record.

                                As album opener The Black Path unfurls, the cello of Jo Quail creeps through the thick wall of guitar to offer a moment of calm before the song comes to life with the introduction of drums (from Archelon’s TJ Fairfax) for the first time on a A-Sun Amissa record. Alongside a dense and hypnotically repetitive riff, it’s A-Sun Amissa’s heaviest moment to date as the song collapses under its own weight to leave a crumbling and uneasy passage of cello and guitar drone. Intertwining guitars take centre stage on the melancholic With Wearied Eyes as the atmosphere harks back to the debut album, before the hefty guitar riffs return on To the Ashes . The Skulk eminisces on The Gatherer as David McLean’s saxophone unravels around the ondes Martenot of Christine Ott amongst a shifting tide of oscillators and drones. The record then takes a turn as No Perception of Light ’s soporific opening gives way to a mesmerising beat and bassline, developing into a wall of crunching guitars and electronics. The closer, Remembrancer , features chiming guitars, conversing over bowed strings, the melancholy returning again as an enveloping, haunting orchestral outro brings the record to a conclusion.

                                Whether Ceremony in the Stillness represents a permanent shift in direction for A-Sun Amissa remains to be seen. What’s clear is that Knox is comfortable being on the outside looking in, and on expanding A-Sun Amissa’s palette of sounds even further it only adds to the intrigue of what comes next.

                                FORMAT INFORMATION

                                Ltd LP Info: All LP sleeves are individually silkscreen-printed, packed and numbered by hand at SmilingPaperGhosts.

                                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!


                                Black Night Burning

                                  The force behind the prolific NZ imprint Pseudo Arcana, Antony Milton has, both on his own label and elsewhere, released a ton of music - possibly literally. Is there such thing as too much of a good thing? Yes. And what better way to O.D. than with Black Night Burning, a 7-track shitstorm of fuzzy fury, released under his A.M. alias. Taking centre stage are layers of looping riffs and wailing solos eminating from what must once have been guitars, occasionally aided by mistreated synths and vocals.

                                  This is truly a 666-string assault however, and, over the course of 39 minutes, Mr. Milton's knackered speakers do the best they can, swinging blindly at the air while wheezing and coughing out the sonic sputum with the defiantly heroic vim of a de-fibrillated ex-heavyweight champ in his last few tragic seconds before the final K.O. But there's only one winner in this fight, and that is you, dear listener. The uber-grunge is all-enveloping; you are trapped in a dark alley, wedged in by metal dumpsters violently ablaze and stuffed full of discarded amps howling a chorus of feedback which peaks at the climax of track 'Dom. Bliss'. And bliss it is.

                                  Something is bravely keeping check on the audio blast furnace - it could be a drum machine, it could be your exasperated neighbour beating on the floor above with a broom - it's hard to say. Regardless of where the rhythms are coming from one thing's for sure - apart from the sub-2min interlude of 'Spacer' there's a repulsive propulsive groove carrying the whole album along with a steady uptempo pulse. Head-nodding and fist-pumping would not be entirely inappropriate and, depending on what volume you can crank this to, possibly unavoidable.

                                  True to it's title, it's dark and it's hot. Tune in - turn on - burn out!

                                  FORMAT INFORMATION

                                  LP Info: VERY limited edition coloured vinyl LP. The LP comes with digital copies of the tracks on the record.

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

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

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

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

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

                                  STAFF COMMENTS

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



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

                                  FORMAT INFORMATION

                                  CD Info: Enhanced CD with video clips.

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

                                  STAFF COMMENTS

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

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

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

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

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

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

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

                                  The Abbasi Brothers

                                  Something Like Nostalgia

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

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

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

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

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

                                    STAFF COMMENTS

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

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

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

                                    Of Sudanese heritage, the bassist Ahmed Abdul-Malik (1927-1993) was born Jonathan Timms in Brooklyn. After working with Art Blakey and Thelonious Monk, among others, Abdul-Malik studied music of other cultures. He was among the first to incorporate Middle Eastern and Indian influences into Jazz. A mindblowing mix of jazz and Middle Eastern influences— and a rare ‘60s treasure from Thelonious Monk’s former bassist! Ahmed Abdul-Malik blends together percussion, bass, and oud with some soulful solo work from Seldon Powell on tenor and flute, and Ray Nance on cornet - stretching out over long tracks with an exotic vibe.

                                    Ahmed Abdul-Malik

                                    The Eastern Moods Of Ahmed Abdul-Malik

                                    (...)The music on this album, in spite of the unorthodox instrumentation and exotic titles, should prove itself readily accessible to any listener with an open mind and an interest on the fascinating and original fusion of different musical cultures which it represents. (...) from original liner notes

                                    One of the most compelling albums ever recorded by Ahmed Abdul-Malik! The set’s got a style that’s very strongly in keeping with the “eastern moods” of the title – with less of a jazz sound than some of Abdul Malik’s other work, and more spare, exotic instrumentation overall. The group on the set is a trio – Ahmed on bass and oud, Bilal Abdurrahman on alto, Korean reed flute, and percussion, and William Henry Allen on bass and percussion. With that kind of lineup, you can imagine the feel – lots of spare rhythms, with snaking reed work over the top, done in a very evocative way – and although there’s less jazz than usual, the alto sax solos still give the record enough of a jazz component to set it apart from straight world music. The album kicks off with a surprisingly great, and incredibly haunting take on “Summertime”, then rolls into some really wonderful original tunes that include “Ancient Scene”, “Magrebi”, and “Shoof Habebe”.

                                    STAFF COMMENTS

                                    Patrick says: Ahmed Abdul-Malik's esoteric, spiritual jazz masterpiece is reissued on vinyl for the first time ever, in Audiophile style no less. At times slinky (THAT version of "Summertime"!) at others haunting, but always mind expanding.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Audiophile Clear Vinyl is made using the highest quality co-polymer available and processed without any carbon additive in order to dramatically reduce the “electrical distortion” often found on records.
                                    By itself the co-polymer of vinyl is transparent. In order to make the record black in color the plant must use a carbon additive with trace metals that can become magnetized. This is what causes electrical distortion during playback.
                                    That is the reason why we choose to offer our records i

                                    John Abercrombie

                                    Cat 'n' Mouse

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



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

                                    FORMAT INFORMATION

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


                                    Fast Love EP

                                      Abjects (Noemi, Yuki and Matt) met in the big smoke and started banging out music in early 2013. Despite the band’s self confessed lack of technical ability they manage to play two minute noisy nuggets of music that pay homage to 60s psychedelia. They say, ‘It’s an ode to an individualist and nonconformist view of life. It sounds punk and cult at the same time and we like that.’



                                        Introducing your favourite new 3 piece: Abjects, a new London trio who have been winning over fans all over the world with an impressive set of edgy garage tunes, perky bass-lines washed over with lashings of jagged and disjointed guitar work. Hotly tipped by Manchester’s PINS - who released their debut EP ‘Fast Love’ (Haus of Pins) - Abjects have been a prominent garage punk band in the London live circuit since their emergence in 2013. Self-sufficient and capable, they’ve created their own scene, put on their own nights, designed their own merch – fully immersing themselves with the DIY ethos which allowed them to be picked out by the likes of Jon Spencer & the Blues Explosion, Mikal Cronin, Shannon and the Clams, The Coathangers or the larger than life Fat White Family. Their latest offering comes from their ‘Gone’ EP with lead single ‘Gone’.

                                        Recorded by rising starlet producer Syd Kemp - which is to be released on Stolen Body Records (Brown Brogues, Thee MVP’s & more) on May 11th 2015 both digitally and on limited edition 12” vinyl. Influences on the band come in the form of The Shangri-las, The Slits, Lydia Lunch, The Stooges and Sonic Youth. With such potent esteemed artists helping to sculpt their sound it is clear to see where Abjects gather their signature clout.



                                          Ablaze! fanzine to be relaunched after 22 year hiatus For the first time in 22 years, there is gonna be a new edition of the notorious Ablaze! fanzine! Ablaze! operated in Leeds and Manchester between 1987 and 1993, and made an impact on the UK’s very healthy fanzine scene by being bigger, more colourful and cheekier than its peers. in 2012 the zine’s story was told in The City Is Ablaze!, a book that could have been subtitled The Art Of Upsetting Popstars. Here are some quotes about Ablaze! from that time: There are other people to condemn, Karren – aren’t there? – Morrissey I forgive and hope for Karren A - Thurston Moore Fuck off! - Ian Brown Editor Karren Ablaze! is now feeling sufficiently inspired by what’s going on musically to bring back Ablaze! as a real live paper magazine.

                                          This special relaunch edition will include features on Sleaford Mods (cover stars) , Viv Albertine (The Slits), The Chills, Peaches, Jeffrey Lewis, Conrad Keely (And you Will Know Us By The Trail of Dead), Laetitia Sadier (Stereolab), Katie Harkin (Sky Larkin, Sleater Kinney), Slum of Legs, Esper Scout, Trepàt, Hysterical Injury, and maybe even The Dismemberment Plan, Cowtown and Joanna Newsom! Plus: Indie music in India!, Barcelona scene report, DIY versus austerity, Riot grrrl and spirituality, Behind the scenes at Norman Records, record reviews, book reviews, live reviews and more.

                                          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.


                                            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.

                                            Leo Abrahams And Oliver Coates

                                            Crystals Are Always Forming

                                              “There was a process governing this record. A tiny sound, frozen, becomes prismatic – this metaphor was useful: the properties of a single complex sound (as if crystalline) extrapolate in every direction. Once this was established as our basic unit, we generated a set of “absent narratives”. The space and stasis are themselves framed, so that meaning might be activated by the listener.” - Oliver Coates.

                                              “Despite being a guitarist, I took a non-performing role – directing Oliver Coates in initial improvisations, and developing and arranging the material that resulted. All the raw material was recorded in a day, and then worked on gradually and sporadically over the following year. This time ratio informs the structure of the pieces themselves, reflecting compositional preoccupations with economy and austerity. Much of the manipulation and automation was done live, so there is a gestural, human quality to many of the treatments. Only the loosest forms are employed and the ear is the ultimate arbiter of structure. They are meditative but tense – static but restless.” - Leo Abrahams.

                                              Joshua Abrams & Natural Information Society


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



                                                ABRA is an outlier. Moving around with her missionary parents, she was born in New York and raised in South London, before eventually landing in Atlanta. Like her upbringing, ABRA’s music isn’t specific to a place, a time, or a sound. Instead, it’s a blend of influences, informed — but not defined — by its surroundings. Utilizing different components of Miami Freestyle and electro-funk 808’s topped with her own airy R&B-tinged vocals, ABRA’s voice and sounds are familiar, but uniquely contemporary.

                                                Every note on the Princess EP, out July 15th on True Panther Sounds, is written, produced, and performed by ABRA – often in the solitude of her bedroom closet. As an introverted youth, she dug into the internet to find community and inspiration. Then, as now, she found inspiration in unique juxtapositions, as seen in her early acoustic covers of Gucci Mane, Waka Flocka Flame and 2 Chainz that she posted on Youtube. Those videos eventually led her to a new community, Awful Records. The Awful crew — a collective of friends, artists and collaborators creating their own hypercolor, DIY version of Atlanta’s burgeoning weirdo-rap movement — embraced her fully. Even within the rap-oriented Awful crew she is an iconoclast: for her own productions, she avoids the conventional sounds of Atlanta trap in favor of drums and synthesizers reminiscent of 1980’s pop.

                                                While still featuring on various Awful Records artists’ music, her own music and image is sacrosanct. She conceives her own videos and acts as art director for all packaging and photo shoots. Princess is a portal into her self-contained universe and it shines with a profound confidence. After a year spent alternating between the mania of worldwide touring and self-imposed recording isolation, Princess is a bold new step for an artist who is growing more accomplished day by day. Never compromising on her vision or artistic process, she has molded her surroundings into her strict aesthetic and vision. No longer a lone outlier, she is a leader and lightning rod for a world of fellow outsiders. ABRA is a true PRINCESS in a monarchy of her own creation.

                                                Absolute Monarchs

                                                To Hell, Let's Masquerade / Thinking Thieves

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

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

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

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

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

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

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

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

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

                                                STAFF COMMENTS

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

                                                Abstract Orchestra

                                                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 ofMF DoomandMadlib, akaMADVILLAINand their albumsMADVILLAINYandMADVILLAIN 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.

                                                Abstract Orchestra'sMADVILLAIN Vol 1. explores the jazz, TV soundtrack and film score aspect of the original work, combining it with classic big band writing and a focus on improvisation. There is a strong influence ofQuincy Jones, Lalo SchifrinandDavid Shire(Composer of the soundtrack toThe Taking of Pelham 123) on the album, and the arranger Rob Mitchell crafts his own sound that inhabits the space between Madlib's production and Quincy Jones' writing. Bandleader and arranger Rob Mitchell says of the record: "'MADVILLAINY' is a jazz album as much as it is a hip-hop album and I wanted to explore this reciprocal territory there has always been between jazz and hip-hop. 70's cop show soundtracks have always captured my interest and imagination, and I discovered so much amazing music through TV themes, Quincy Jones and Lalo Schifrin in particular. 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."

                                                Abstract Orchestra

                                                New Day (feat. Illa J)

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

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

                                                STAFF COMMENTS

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

                                                The Abstracts

                                                King Of Clubs

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



                                                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.


                                                Mind Games / The Dreamer

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

                                                The sixth-biggest-selling album in US history! The Brian Johnson era started with a bang: 'You Shook Me All Night Long'; 'Back in Black'; 'Hells Bells'... Absolutely required rock!

                                                STAFF COMMENTS

                                                Andy says: Their finest hour. Just a pity that their original singer Bonn Scott wasn't around to share it with them (and us!) Not one weak track. That's why it's a classic.

                                                FORMAT INFORMATION

                                                LP Info: LP comes in embossed sleeve with picture inner sleeve.

                                                Acc-sees Pro Vinyl

                                                Anti-static Record Cleaning Cloth

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

                                                  Acc-sees Pro Vinyl

                                                  Velvet Antistatic Vinyl Brush

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


                                                    Antistatic Record Cleaning Fluid & Cloth

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


                                                      Pro Vinyl Carbon Fibre Cleaning Brush

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


                                                        Professional DJ Cleaning Kit

                                                          No, not for cleaning those dirty professional DJs, for cleaning their records! This set includes two 100ml bottles of cleaning fluid (specially formulated to be non-abrasive, it dries without leaving smears and also helps to reduce static), a High Q carbon fibre brush (lifts grit out of record grooves) and a lint-free micro-fibre cloth.


                                                          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.

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

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

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

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

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

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

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

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

                                                            STAFF COMMENTS

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

                                                            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.

                                                              Active since the late 1970's, founding member Makoto Kawabata has directed the Acid Mothers Temple project and its various offshoots for over 15 years, championing an inimitable brand of sonic exploration at once visionary yet steadfast in its refusal to conform to the occasional mundanity of the present, taking in a diverse array of audible and aesthetic influences including Berlin School Krautrock, earlier German Elektronische Musik, British Progressive Rock - particularly its Canterbury contingent - as well as Japan's own hallucinatory pioneers such as Brast Burn, Taj Mahal Travellers and Les Rallizes Dénudés.

                                                              Due for release under the Cosmic Inferno guise, "Doobie Wonderland" sees them utilising these influences to their full extent whilst continuing to expand, finding new inspiration in such genres as Psychedelic Soul, Funk and Disco. This new approach is perhaps evidenced by a shift in line-up; in addition to core members Makoto Kawabata, Higashi Hiroshi, Tabata Mitsuri and Shimura Koji, this collection of material, recorded over the space of five years, features the final appearance from drummer / vocalist Pika (formerly of Psychedelic Punk duo Afrirampo) and marks the arrival of Opera, who also performs with Kochi-based Hardcore group Reveal. Pika's spell with the band marked not only a new sound but a sensibility that extended to a live setting, giving rise to a new sonic and performative method, manifesting in a joyous, often ecstatic character that stands in contrast with the Doom-laden arrangements heard on albums such as "Starless and Bible Black Sabbath" and "Ominous from the Cosmic Inferno".

                                                              This sensibility lives on following her departure, resulting in a refreshingly primitive style that can be heard both live and recorded. A must for converts, and a welcome addition to any Progressive Rock, Psychedelia or even Jazz Fusion collection, this is a trip not to be missed. Come armed with a sense of adventure and without a map.

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

                                                              Wake To The New Dawn Of Another Astro Era

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

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

                                                              FORMAT INFORMATION

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

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

                                                              The Ripper At The Heaven's Gates Of Dark

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

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

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

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

                                                              FORMAT INFORMATION

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

                                                              Acid Mothers Temple & The Melting Paraiso UFO

                                                              Astrorgasm From The Inner Space

                                                              Acid Mothers Temple & The Melting Paraiso U.F.O.'s new album "Astrorgasm From The Inner Space" features their original vocalist Cotton Casino and is being released in conjunction with their two month tour of the USA beginning April 23rd 2014 at the Mercury Lounge in New York City. Available on CD and deluxe double LP.

                                                              As usual, AMT delivers to Important their most scorching tracks. They've included, appropriately since Important is set to issue Grayfolded on triple vinyl, a brand new re-recording of Dark Star Blues with Cotton Casino. On Astrorgasm From The Inner Space, Acid Mothers Temple look towards their source (the band turns 19 this year) while also evolving towards their next stage.

                                                              Acid Mothers Temple & The Melting Paraiso UFO

                                                              Hallelujah Mystic Garden Part 1

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

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

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

                                                                Acid Mothers Temple & The Melting Paraiso UFO

                                                                Son Of A Bitches Brew

                                                                  Son Of A Bitches Brew is a true electric jazz record from the Acid Mothers Temple & The Melting Paraiso UFO. Rooted in the sound of Miles Davis' electric era this record melds jazz, funk and psych with AMT's synth swoops, space whispers and cosmic acid vibe. Tsuyama Atsushi replaces Wayne Shorter on soprano saxophone. Cotton Casino rejoins & AMT goes all in. The only joke here are the titles. Recorded at the Acid MOthers Temple between December 2011 through 2012.

                                                                  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.

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