MAGIC MIX

ALL GENRES

BACK CATALOGUE - B

Blanck Mass

Odd Scene B/w Shit Luck

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

    These two tracks have been recorded specifically with RSD in mind, and were committed to tape in the space of a frenzied two day session in January 2018. Neither track will appear on any Blanck Mass album. They are in a style that is not normally associated with Blanck Mass. BM wanted to do something special and as RSD is a special day for all music fans and collectors of one off releases by their favourite artists, this is the perfect release date. 

    Baxter Dury

    Miami

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

      Heavyweight 180g White vinyl                                                                              
      Speaking on the remix, Baxter stated:Jarvis I guess isn’t interested in doing things politely, this is a different song, possibly a better oneMiami (Original)BBC 6 Music:B-LISTED: MIAMI w/c 02/10, 09/10, 16/10A-LISTED: MIAMI w/c 23/10Miami - (Jarvis Cocker and Parrot Remix)the Queitus - 6th top track of 2017 http://thequietus.com/articles/23768-tracks-of-the-year-songs-2017Trevor Jackson - "can't start to tell you how much i love this mix, love the original too and hearing this made me buy the album, which i love too! thanks for sending."Joe Goddard / Hot Chip - "Amazing tune"Kelvin Andrews / wONK / Soul Mekanik / Creative Use - "I'm a big fan of Baxter. This is just great. Nice work Parrot & Jarvis! Thank you! Playing this out loads!"

      Bernard Herrmann

      OST Hitchcock Themes - Vertigo / North By Northwest

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

        Bernard Herrmann is the undoubted master of the film score and his music for Vertigo and North By Northwest remain as vital a component as the director, actors and script. Vertigo crackles with tension as James Stewart’s character Scottie goes through an emotional wringer. Herrmann blew away the lush melodies that dominated music in films of previous decades and delivered harsh, stinging, repetitive themes overlaid on a deceptive symphonic score. The sound is as experimental as the film, which 60 years from release remains one of the milestones of cinematic history. One year on and in North By Northwest, Cary Grant is the new man in peril. This time it’s not mentally but physically as he is pursued by a spy network and the police. Herrmann ratchets up the tension with an orchestral tour-de-force, highlighting the thrill of the chase. He described it as, “a kaleidoscopic orchestral fandango designed to kick-off the exciting rout which follows."

        Bad Religion

        My Sanity/Chaos From Within

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

          Exclusive RSD standard black 7" limited print - as part of their upcoming album released in May 2019

          Bananarama

          Bananarama Remixed: Vol. 1

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

            A limited-edition release for collectors, fans and disco/house fans alike this limited-edition RSD release exclusively features Ewan Pearson’s huge remix of ‘Aie A Mwana’, Tom Moulton’s classic disco mix of ‘Cruel Summer’ plus on the flip Leo Zero gives us two interpretations of their smash hit ‘Venus’. Commissioned by the newly reformed London records (now part of Because Music) this exclusive blue vinyl is part 1 of a Bananarama remixed series. Packaging: 12" colored blue vinyl in single with no spine and holes in front and back.

            Brigitte Bardot

            B.B. La Legende

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

              1LP on Pink Vinyl / Gatefold sleeve. The gatefold sleeve opens to a stunning spread of a recclining Bardot! This RSD LP release opens with “Sidonie” sung by Brigitte Bardot and taken from the soundtrack to the 1962 movie ‘Vie Privée’, this song was her first ever single. Other highlights are songs from the original soundtrack to the classic 1956 Roger Vadim film ‘Et Dieu… Créa La Femme’ – better known as ‘And God Created Woman’ (In the USA with the tag line; “But The Devil Invented Brigitte Bardot”!). This was the film that catapulted B.B. to fame, launching her into the public spotlight and immediately creating her “Sex Kitten” persona. The album has a stunning picture on the inner gatefold sleeve, and is pressed on pink vinyl. Ooh La La 

              Bastille

              Other People's Heartache

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

                Exclusive limited edition vinyl release of the 4th instalment of Bastille’s Other People’s Heartache mixtape series. The mixtapes are huge amongst the Bastille fans and have even thrown up a Top 3 single (Bastille’s No.2 single Of The Night started life as an illegal bootleg on OPH Pt.1) The mixtape features covers of hits by: Cat Stevens, SFA and Charles and Eddie. Guests include: Craig David, Jacob Banks, Moss Kenna, Lily Moore and many others. Available as a 12” clear vinyl in a PVC sleeve.

                Big Stick

                Drag Racing

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

                  Amazing! Reissue of the very first Big Stick 7" to announce the launch of their own label Drag Racing underground, Big Stick are reissuing their first single, as the 4 track 7" it came out as in 1985, remastered and recut..with repro sleeve..

                  Blossoms

                  Cool Like You / BBC Sessions (RSD19 EDITION)

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

                    In support of Record Store Day 2019, Blossoms release new track ‘I’ve Seen The Future’ alongside their critically acclaimed second album ‘Cool Like You’. The second LP on this limited edition exclusive double vinyl features a range of live covers taking straight from Blossoms’ BBC Sessions, including a cover of The Stone Roses – ‘She Bangs The Drums’, and John Lennon’s classic ‘Woman’

                    Broken Social Scene

                    Let's Try The After

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

                      Featuring the band's signature style of anthemic rock and baroque indie pop, 'Let's Try The After' is the follow up to the band's critically revered 2017 full length album 'Hug Of Thunder'. Limited to 5,000 copies worldwide. 12” black vinyl with download card.

                      Bronski Beat

                      Smalltown Boy

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

                        To celebrate 35 years of Bronski Beat playing their first gig, London Records recently reissued ‘The Age Of Consent.’ This limited-edition picture disc exclusive to Record Store Day features the era-defining pop classic ‘Smalltown Boy' remastered from analogue tapes. Plus for the first time on vinyl the huge recent KDA remix of the track, the extended club mix and the Wax Wings remix of 'Why?' Packaging : 12" picture disc with original Bronski Beat logo in clear plastic sleeve with flap.

                        Basil Kirchin

                        Worlds Within Worlds (RSD19 EDITION)

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

                          Worlds Within Worlds (Part I and II) is one of the most important improvised jazz-based recordings of all time. Released in 1971 it sold just a handful of copies, but has become a keystone in the development of experimental and ambient sounds - originals now fetch £1000+.A perfect released for RSD, this will be the first time this exceptional, unique and highly desirable record has been repressed. Built up using layers of treated and slowed field recordings with Derek Bailey and Evan Parker improvising, WWW offers listeners a mesmerizing sonic experience that remains years ahead of its time. This pressing features a new gatefold sleeve (Kirchin hated the original sleeve), with images of Kirchin, his original field recording tapes and notes by WWW fan Thurston Moore. There are just 1500 being pressed with 250 on gold vinyl, which will be mixed randomly in with the 1250 black versions. There will be no way of telling which colour is which as all LPs will be sealed. The LP will not be repressed. Tracklist:Side One - Part One - Integration (Non-Racial)Side Two - Part Two - The Human Element

                          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.

                          Barry Adamson

                          Oedipus Schmoedipus

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

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

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

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

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

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

                            STAFF COMMENTS

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

                            FORMAT INFORMATION

                            2xColoured LP Info: Limited edition gold coloured vinyl.

                            Brian Amsterdam

                            Concrete Myths

                              Brian has been playing music since the age of 6. He was born in New York, and grew up paying close attention to his father's record collection in New Jersey. Around the age of 17, Brian started drifting away from home due to family problems. He was befriended by psychedelic, ex-Mormon gypsies who opened him up to a world of spiritual enlightenment and took him on journeys throughout North America. At this time, Brian began studying philosophies on duality while recording 4-track, lo-fi covers of Charles Manson and John Lennon songs. After travelling around America and Canada for several months in the summer of 2006 in support of his 2005 debut "The Sore Score", Brian began writing what is now his second solo release, "Concrete Myths". An old friend John Zambricki, who was at the time making a living doing session work as a fiddle, violin, viola, and cello player in Nashville, TN, took a Greyhound bus up to the small studio in Freehold, New Jersey where Brian was recording. They met in a small cafe before the session and rehearsed everything one time. two more sessions took place to capture other instruments played by Brian, old-time friends, and long lost lovers. During the time of the recording, Brian would often find himself sleeping in the studio, sleeping in ex-girlfriend's arms, and even sleeping in ATM booths in bank branches to keep warm and dry. A few days into the mixing, Brian received a phone call from an acquaintance in New York saying that a close friend of his had passed away. Unfortunately, he couldn't even make it to the funeral due to a lack of money in his pocket. Heartbroken, weak, and tired, Brian retreated to the small ghost-town of Asbury Park, NJ. He put the record on hold, not knowing if he was ever going to finish it or ever release it and decided to press a four song 7" independently on his own Yes & No Recordings label. That followed by the creation of band he started called Werewolves and resumed DJ'ing in NYC. He returned to New York with his bandmates and completed the double 7" Werewolves "ES" EP in three days. While moving from Manhattan back to Brooklyn, Brian found a copy of "Concrete Myths" in one of his moving boxes. He returned to Blue Room Studios in New Jersey to finish the mixing of a record that he never thought or hoped would see the light of day. After the final mix was complete, friends of friends who managed to find bootleg copies of the finished full-length began calling it the post-expressionist soundtrack to Arthur Rimbaud's literary masterpiece, 'A Season In Hell'. An old friend, Shawn Butler (BNS Sessions), convinced Brian to finally get the record mastered and pressed. Brian Amsterdam's "Concrete Myths" paints a picturesque vision that can perhaps be taken from a scene from Easy Rider or even Paris, Texas. Infusing elements of Van Zandt and Leadbelly transcend the auditory pleasures with a resounding underlying production of percussion and engineering that are reminiscent of early 70s Spector.

                              Brendon Anderegg

                              June

                                The music of Brendon Anderegg is a hall of mirrors, multi-layered and self-obscuring. Largely filtered through Mountains - his pioneering electronic project with Koen Holtkamp - Anderegg emerged as a solo artist in the late 90s. He returns now with ‘June’, a vinyl-exclusive release on Thrill Jockey.

                                The music on ‘June’ is a complex network of layers, paradoxically a calm and soothing listen. Collapsing history into its own contemporary sonic movements, Andregg’s methodically created work falls in the lineage of electronic pioneers like Bernard Parmegiani and early ambient projects like Tangerine Dream, Popul Vuh and Cluster and puts his solo work in the realm of New Age figures like Michael Stearns and JD Emmanuel. ‘June’ is a singularly beautiful and challenging work that marks the long overdue re-emergence of Brendon Anderegg as a solo voice.

                                Brendon Anderegg is a Brooklyn-based, Emmynominated composer with clients ranging from Pitchfork to ESPN.

                                Available only on vinyl, ‘June’ is pressed on virgin vinyl and includes a free digital download coupon.

                                Daniel “Blackbelt” Andersen has been active in the Norwegian dance music community for a number of years. The Blackbelt sound can be described as Juan Atkins jamming with Airto Moreira, with a bit of Larry Levan thrown in for good measure. Sparkling tech-tinted house meets cosmic disco is the order of the day here, with lush synth washes, arpeggiated keyboard lines, simple 4/4 beats and tripped-out vistas.

                                A few words from Prins Thomas: 'The raw material which became “II” has the same DNA as Blackbelt’s debut. His ideas might lay around for 5-10 years before that crucial missing “middle part” pops out of nowhere (or in this instance: two old ideas gets combined into a new one) but essentially they all come out with the same colour, taste and smell… and they all sound like nothing but Blackbelt Andersen. Over a three month period in 2011 I invited Daniel into the mess that I call K16 Studios for a hectic but creative reworking of the material that he had piled up. The idea was to use Daniel’s tracks as templates and use whatever kind of tool we had at our disposal to colour in the white fields. Kalimbas, cheap old throwaway synths, guitar amps and effect boxes…'


                                Recently, a mysterious album titled Jesus turned up on the popular music site Bandcamp, uploaded by an artist calling himself "b". Soon, the LP was discovered to be the latest work from enigmatic L.A. rapper Blu, and within hours, it was the talk of the blogosphere. The album was soon removed, but now it's back, this time in physical form. New World Color is proud to present the latest lo-fi masterpiece from one of hip-hop's most intriguing figures. Officially the debut for alter-ego "b", Jesus is sure to satisfy the cult-like fan base that's been steadily growing around the artist most famously known as Blu. 

                                STAFF COMMENTS

                                Millie says: No wonder this album had a huge response online. Lo-fi hazy rapping over an array of sampled soul loops, you need to hear this one.

                                ‘Dada’ conceived first as a dream, then manifested into reality as instruments and voices recorded onto magnetic tape — is the newest sonic artefact by the group known as B Boys.

                                Over the course of the album, the 13 songs explore connections between language, self-awareness, introspection and unconventional serenity.

                                A nod to the collective unconscious by way of personal reflection. Experiential wisdom filtered through a tin of mints and a fresh pair of chinos.

                                Debut Album.

                                Hometown: Brooklyn, NY / Denton, TX.

                                “B Boys have a knack for brevity, establishing ideas and concepts and moving on before they get stale” – Exclaim.

                                “Warm and heavy with grit, the tracks on the EP build on the foundation of many classic punk acts from Wire to Parquet Courts, with flangy guitars and ambivalent vocals over tight, frantic rhythms” – Stereogum.

                                “Wildly charismatic vocals, sudden textual shifts, snappy song lengths and driving groove across the board” – Popmatters.

                                Limited edition unreleased 12" containing two italo disco and proto house classics anthems : Who, What, Where, When & Why on the side A and No Promises on the flip side.
                                Both taken from the Magic Spell Album produced by Mario Boncaldo & Tony Carrasco in 1983, the same guys from Klein & MBO, Plastic Mode, Amnesie and Ris. This unreleased 12" contains for the first time the extended disco versions of these two precious gems taken and re-mastered from the archive collection of the legendary Tony Carrasco.

                                Taking its name from two renowned members of The Red Army Faction, the album tells the story of the organisation and was recorded by Haines between Auteurs albums.

                                Long unavailable, the album has been remastered and expanded with five bonus tracks, including four previously unreleased tracks taken from a remix EP that was never commercially released.

                                The album comes with brand new sleeve-notes by Luke Haines.

                                Iceland born, Norway based producer, BG Baarregaard, drops in for the inaugural vinyl outing of Austin, TX based imprint, Whiskey Pickle Records (possibly an early contender for label title of the year). "The Buskerud Tales EP" comes complete with four, silky smooth original productions that lie somewhere between street soul and 80s boogie, Balearic beat and classic soulful / deep house. It's the latter that begins proceedings as we get the sumptuous textures and soulful vox of "Get Up". "Tokyo 1988" is a nice clean Balearic tune, super slick digital production and a strong sense of musicality marking this lush, dreamy little number. "Kick The Burger" touches on that sunblushed, street soul sound and will go down a treat with the Full Beam! FM crew. Finally, "From Oslo To Aal (By Train)" allows a cushiony soft, blissed out Balearic-house hybrid to serenade our tired minds and bodies, offering up a sensuous aural massage to wash away and pains and strains. Let BG Baarregaard into your world for some sonic healing! Wonderful stuff.

                                Babies Three

                                File Under Retaliation

                                Kent band in hardcore / emocore shock!! This great little band sound bloody good. It's authentic and totally enjoyable emo with that darker,harder edge to it and at a great price for a longish disc.

                                Baby Huey

                                The Living Legend - The Baby Huey Story (180g Vinyl Edition)

                                Legendary soul singer Baby Huey was graced with a stunning, fierce voice on par with Otis Redding and Howard Tate, wailing and howling one moment and tender and sentimental the next. 'The Living Legend - The Baby Huey Story' is his only album, released in 1971 postmortem by his manager Marv Heinman and Curtis Mayfield (who also has writing credits for "Mighty, Mighty", "Running" and "Hard Times").

                                While Baby Huey was in the midst of recording tracks for his debut album, he died as a result of a heart attack in 1970. Heinman and Mayfield took what had already been recorded, added some instrumental tracks that had been recorded previously and managed to gather up enough for the album's release.

                                A quarter century after its release, 'The Baby Huey Story' went on to become a cult classic among soul musicians and hip hop fans. Its single "Hard Times" in particular has been sampled many times, by artists such as Ice Cube, A Tribe Called Quest, and Ghostface Killah, and was covered by John Legend & The Roots in 2010 for the album 'Wake Up!'

                                Parlophone are thrilled to announce that the third Babyshambles album Sequel To The Prequel. The album was recorded at Question Du Son, Paris and mixed in The Bunker, London, with producer/mixer and long time 'Shambles collaborator Stephen Street.

                                Filled with hooks and humour, the album features some of the band’s finest ever lyrics ranging from the tender to the downright hilarious. Musically it has already been called their most accomplished and collaborative work to date.

                                As Peter Doherty told the NME recently, “I don’t want this to be half arsed, I want to get up there and really fu*king smash it out. Babyshambles aren’t back, this band has always been here”.

                                The album - featuring sleeve artwork by Brit-art icon Damien Hirst - is released on CD, and on heavyweight 12" clear vinyl LP (including a CD of the album, plus artwork poster).

                                STAFF COMMENTS

                                Andy says: Proper songs and a solid production make this a surprisingly coherent effort from the erstwhile Libertines man.

                                A broad range of influences shine through on this album, from the Kinks, through to punk, Stone Roses, a touch of Soul 2 Soul, 80s indie, Madness, Blondie, Motown, Britpop and even one inspired by their UK number four hit single "Fuck Forever". Lyrically, the album captures the many facets of Peter's character: storyteller, lyricist, street poet, hopeless romantic and chronicler of British life. From capturing the feeling at sunrise after a night on the tiles, to delving into a self-destructive 20 year marriage ("Baddie's Boogie") this is an album of rare emotional breadth. The album even manages to immortalise Peter's doodle invention (and "Down In Albion" cover star) French Dog in one of the album's highlights "French Dog Blues". All songs are written by Peter Doherty, with contributions from Mick, Adam and the band. "Shotter's Nation" is a record for fans and newcomers alike with each listen revealing new complexities in the arrangements. Forget the obsessions of celebrity media: this is about the music. This is the album that Peter Doherty and Babyshambles have always promised to make.

                                The Babys

                                On The Edge

                                Often described as a 'turntable band' (played a lot but few sales) The Babys really were on their last legs by the time they recorded this 1980 album. There is so much quality in both songwriting and performance on thaes reissues it's hard to say what went wrong--most of it has to be down to bad timing, if you like hard tight rock licks this is the stuff for you.

                                Luis Enriquez Bacalov

                                L’amica (O.S.T.)

                                L'AMICA (1969) is an intriguing Alberto Lattuada film starring Lisa Gastoni  Gabriele Ferzetti, Elsa Martinelli, Ray Lovelock, Jean Sorel and Frank Wolff.  
                                This stunning soundtrack highlights the excellent piano technique and the jazz stylings of Bacalov mixed with exotic and erotic atmospheres characterized by extraordinary orchestration, harp, congas and the typical persuasive vocalism of those years (all by the great Nora Orlandi). It’s followed by "Rio, Zona Sul", refined samba-jazz on a massive percussive tapestry. "'Round Nassau” offers an elegant and dreamy atmosphere in Les Baxter’s style adding flute and female wordless vocals. "Swingin' easy in Tanganyika" is another extraordinary jazzy piece, primarily piano and drums with flourishes of resplendent fute. The side is closed by a previously unpublished version of the theme that was not included on the original Fonit Cetra LP.
                                The B-side rearranges the themes in a more melancholy and symphonic style without renouncing jazz as in the gem “Episodio in 3/4". The ballad "The Bitter Truth" is sung by Fiorenza Mormile in English.

                                Bacao Rhythm & Steel Band

                                1 Thing / Hoola Hoop

                                Following up on the massive success of their sophomore full length “The Serpent’s Mouth”, Bacao Rhythm & Steel Band is back with another dance floor classic. Side A is their already infamous cover of Amerie’s smash hit “1 Thing”. Done up in what is now their signature fashion, they take on the break originally lifted from The Meters, and believe it or not….step it up a notch. Steel pans play her infectious vocal melody lines over the raucous and crushing drum track. This will have the dance floor turning to the booth in amazement and wonder as soon as the pans come in. An absolute essential for DJs across the globe. The B Side, “Hoola Hoop” is a BRSB original tune, the stuff that B Boys dream about…Setting it off with a killer breakbeat intro that drops into pan hits and flute flourishes, never losing the groove and full of energy. They trade off leads from flute to steel pans while running through turnarounds and drum fills building more energy the whole time like a snowball rolling down a mountain headed right for the speakers.


                                STAFF COMMENTS

                                David says: Boom! Amerie and steel drums! What more could you ask for? Sounds like carnival without having to leave the house.

                                Bacao Rhythm & Steel Band

                                Great To Be Here / All For Tha Cash

                                  "By popular demand, Bacao Rhythm & Steel Band is back with another must have of a two sider. Two tracks finding their way to vinyl for the first time that were cut during The Serpents Mouth sessions but only made it to the cd and digital release. A lot of people wrote us asking for it, and here it is, a 7 inch release that lives at the intersection of Funk, Soul, and Hip Hop. The A side is Bacao's crushing cover of the Jackson 5's B-Boy classic "Great To Be Here". A tune that a lot of people probably thought had steel pans on the original version, a misconception that lead to BRSB choosing it for their inimitable treatment. They open the tune with a chunky open drum break that gives way to the steel pan work banging out the infectious and instantly recognizable guitar lines from the J5's version. The B side finds Bacao diggin deeper into the hip hop crates again and coming up with a monster of a Gang Starr track to cover. Taking on their underground street a nthem they cut for their Full Clip compilation, "All 4 Tha Ca$h". BRSB tease the tune in with the two top notes of the riff for the first 8 bars catching listeners ears and giving the DJs a record to work with. When the whole riff drops and they give away what the tune is they are covering awww shits & ooooooohs are sure to be heard out in the crowd." 

                                  Daniel Bachman

                                  Brother Green / Honeysuckle Reel

                                    Daniel Bachman is a 22 year old musician born and raised in Fredericksburg, Virginia. He has been playing what he describes as "psychedelic appalachia" since he was a teenager, releasing small run editions of tapes, CDs and LPs for the past three years, with a sound that evolved from drones and banjos to a now guitar centered focus.

                                    Touring off and on since the age of 17, Bachman has managed to cover thorough ground across the US, sharing stages with like minded folk such as fellow Fredericksburg native Jack Rose, for whom he fashioned the artwork for the posthumous release of 'Luck In The Valley'.

                                    His newest effort is the full length LP 'Seven Pines', sprung from a year living and working in the city of Philadelphia. The sound results in a combination of homesick worried blues and the ecstatic buzz of fresh experience and a new life in unknown territory. Familiar and known, but also seeking to access memories from lives past, dead and gone.

                                    This 7" was available only (until now!) on Bachman's Spring 2013 full US tour. Limited to 500 copies.


                                    Daniel Bachman

                                    Jesus I'm A Sinner

                                      Jesus I'm a Sinner is the 4th LP by Daniel Bachman. The album was recorded in Rappahannock County Virginia at Forrest Marquisee's studio inside his father's woodshop in May of 2013 after spending just around 8 months on the road. The first song Sarah Anne is a song for one of his best friends and sister Sarah Anne Bachman, and is also his first full song for the lap guitar. Honeysuckle Reel is a springtime tune. For that first day when the heat and humidity sets in and the smell of the honeysuckle bloom creeps in your open windows driving. Happy One Step is a guitar/fiddle duet with Sally Morgan of the Black Twig Pickers/The Freight Hoppers. It is a Cajun tune by Dennis McGee. Jesus I'm a Sinner is for cutting loose. Variation on Goose Chase is a version of Virgil Anderson's Goose Chase.

                                      Although attempted to adapt to the guitar, playing it on the banjo was the only way to keep the feel of the original version. Under the Shade of the Trees has the undertone and drone of the 17 year cicada hatch that hit Virginia summer of 2013. The title is taken from Stonewall Jackson's last words on his deathbed "Let us cross over the river, and rest under the shade of the trees". Chattanooga is played by Sally Anne Morgan (fiddle) and Charlie Devine (banjo). This version was taken from Blaine Smith. Blenheim is the name of the Latané family's property in Westmorland Co. Virginia. Its a song for good food, drinks and solid company nestled on the banks of the Potomac River. Leaving Istanbul (4 AM) is a frustration song and the feeling of being very tired thousands and thousands of miles away from home.

                                      Every major record released by Daniel Bachman has rightly been greeted by critical acclaim. Starting with 2012’s Seven Pines and running through 2014’s Orange Co. Seranade, each album has been lauded as his best release to date. In each of these instances, the critics have been correct. Even more impressive than the breadth and depth of each album has been the fact that Bachman has continued to top himself with respect to composition, technique, instrumentation and artistry on such a consistent basis. Given this sort of track record, what can we expect from River?

                                      Simply stated, River is Bachman’s best album. Everything written previously by the critics about his albums applies once again with one change: he just got better. Unconventionally, it opens with the breathtaking and robust fourteen minute epic “Won’t You Cross Over To That Other Shore.” Proving his ability to write music that keeps the listener engaged (even across such a long tune), Bachman successfully uses tempo changes, varied picking patterns and melodic exploration, all without ever getting lost in pointless improvisation too far from the overall theme.

                                      Bachman has always been quick to have his music serve as a homage to his musical and geographical roots in Virginia. River is no exception. Here he tips his hat to Jack Rose (“Levee”) and William Moore (“Old Country Rock”) through his interpretations of their songs. Bachman’s playing and flourishes on these tracks simultaneously acknowledge the influence each of these men has on his development and style. His love for old American music and deft skill at adapting traditional tunes allows listeners of all levels of sophistication to feel welcome at his musical table.

                                      Whether one is newly discovering the world of American primitivism, or is already deeply into the experimental world, Bachman’s playing draws the listener in and takes them places.

                                      On three of River’s successive tracks – “Farnham,” “Song For The Setting Sun I” and “Song For The Setting Sun II” – Bachman takes the listener on an aural journey through the back roads of the foothills of the Blue Ridge to calm coastal waters. Much like driving by a stunning vista and feeling compelled to pull over and take it all in, “Song for the Setting Sun I” continually surprises with a beautiful set of melodies that cause you to stop anything else you are doing in anticipation of how the music will continue to unfold. This track alone demonstrates the leap that is River in Bachman’s maturity of both artistry and compositional understanding. The album closes with a reprise of “Won’t You Cross Over To That Other Shore.” As its notes play out, it is almost certain that you will continuously hum one or another of the album’s rich melodies long after play has ended.

                                      Over the course of the last several years Daniel Bachman has stepped out of the shadow of influential solo guitarists past and present. River, the definitive document of his skill and talent, proves that Bachman is pushing the boundaries of solo acoustic guitar. 

                                      FORMAT INFORMATION

                                      LP Info: LP version pressed on 140gram Dutch vinyl and housed in a gatefold jacket with download card.

                                      Eric Bachmann

                                      No Recover

                                        There was something sinister about Crooked Fingers, both the name of the project and the music that Eric Bachmann wrote at the helm of its ever-shifting lineups over 15 years. He retired the moniker a couple of years ago, but with his third album under his own name, the transformation feels gorgeous and final and irreversible: No Recover. The drunken louts and red devil dawns are a thing of the past now, monuments to a different time. Bachmann, husband and recent father, has some new lenses through which to view the world. But while No Recover is decidedly mellow and reflective, do not mistake it for the work of a relaxed, satisfied songwriter, sitting on some Georgia porch with a stalk of wheat between his lips, gently rocking a cradle with his foot and whistling an old tune.

                                        No, the Eric Bachmann of 2018 seems to view life with a sort of disgruntled maturity and righteous resignation. No Recover is both harrowing and beautiful, and its mellowness can be deceiving. The album is mostly just him, a classical guitar, some treated rhythm tracks, and otherworldly drop-ins from singer Avery Leigh Draut and guitarist Eric Johnson, Bachmann's old pal from their Archers of Loaf days. He's got a lot on his mind, only some of it pretty. The sunset on the album’s cover might be the end of a cruel world for the duo in “Jaded Lover, Shady Drifter,” who introduce No Recover; they feel like flip-side lovers, both sonically and lyrically, of the couple at the center of Bring On the Snakes’ “The Rotting Strip.” But that dark sentiment is quickly reversed with “Daylight,” one of Bachmann’s most stunning vocal performances ever: For a guy who earned his stripes by shredding his vocal cords in the ’90s, he sure can croon.

                                        And though the words cast some shadows—“fight for your life,” he implores—ultimately there is hope. “If you try, you can be loved.” Same goes, to a less direct degree, for “Waylaid,” the record’s jauntiest song, and a meditation on failure and love that leaves room for Johnson’s bright-but-mournful electric guitar to take center stage. But leave it to Bachmann to save the best for last: No Recover ends with one song for his wife and another for his son.

                                        Killer Nu Groove / 90's NYC House style tracks on Tartelet

                                        B FROM E (Frej Garcia Levin) represents a new generation of talented young artists making waves in Copenhagen. Of Mexican-Danish descent, and born and raised in the notorious tower blocks of the south-western suburbs of Copenhagen, the 27-year old is on the up-and- up. In high demand as the founder of boom bap rap group NATKAT, producer of pop outfit Ny Sensei (New Sensei) and head of tape-only label Buddahood, the multi-talent seems to have a hand in everything at the moment. His 2017 debut ‘Porno TR-XXX’ (C.U.P) saw some of the hottest names in the game spinning B FROM E at last year’s Dekmantel festival, resulting in offers from several well-known record labels.

                                        His new record on Tartelet Records comes as four cuts exploring different paths of the garage house sound. The opener ‘Dark Energy’ is fueled by filthy breaks and a nostalgic theme that would not be out of place in an early Atari computer game. ‘The People (Dream Mix)’ is a trippy tour through subtle layered melodies, carried by a stripped-back groove.

                                        On the B-side you will find ‘Positive Sister (2605 Tool)’: a chunky cut with a serious bassline. Saving the best for last, ‘You Will See’, rounds off the record in style. A feel-good tune that is sure to get plenty of spins this summer. HOT TIP!

                                        Bad Astronaut V Armchair Martian

                                        Split EP

                                        Bad Astronaut from Santa Barbara, CA consist of Joey Cape (Lagwagon, Me First And The Gimmie Gimmies) on guitar and vocals, Marko 72 (Nerfherder, Swingin¹ Utters) on bass, and Derrick Plourde (Lagwagon) on drums. They've released a CDEP on Fat Wreck Chords and will soon be releasing their debut full length. Armchair Martian have released three full-length CDs. This release consists of each band covering three of the other bands' songs and a collaborative effort on the seventh. All songs are exclusive to this split EP.

                                        Bad Astronaut

                                        Acrophobe

                                        From Santa Barbera, California, a 10 song mini album entitled "Acrophobe". This is cracking emo-core from Joey and Derrick from Lagwagon and Marko 72. A real departure from the Lagwagon sound, with the use of keyboards and a variety of stringed instruments. I think it's one of the best and most varied releases on the excellent Honest Don's label for ages.

                                        Bad Astronaut

                                        Houston, We Have A Drinking Problem

                                        Great title and great band featuring three members of Lagwagon and now expanded to a septet. Their unique sound of synthesized space / rock / pop punk has just got bigger. "Houston, We Have A Drinking Problem" is the band's first full length and is an assured and exciting mix of electronics like drum machines, computers, and sequencers, along with an equal showing of analog synths, piano, electric guitars, traditional percussion, real strings, and even a bit of harmonica.

                                        BadBadNotGood is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future.

                                        With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler, The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers.

                                        Now, the inseparable friends are prepping to release their biggest project to dateIII on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless.

                                        Bad Boys Blue

                                        Heartbeat

                                          The second album by the phenomenally popular 80s group Bad Boys Blue, “Heartbeat” was originally released in 1986 and is BACK on vinyl with remastered sound and with high quality embossed sleeve and poster. It features a couple of international hits, “Kissed And Tears” and “I Wanna Hear Your Heartbeat”. MIRUMIR music publishing create a Deluxe edition, which everyone will want to get, even if they have an original LP.

                                          Bad Boys Blue

                                          Hot Girls, Bad Boys

                                            Attention, Eurodisco fans! The classic 80's sound is back on vinyl! Bad Boys Blue, one of the most important pop bands of that era, is again available on deluxe edition audiophile vinyl, remastered sound, with high quality embossed sleeves and posters. The first album “Hot Girls, Bad Boys”, released in 1985, features top International hits “You’re A Woman” and “Pretty Young Girl”.

                                            Bad Boys Blue

                                            Love Is No Crime

                                              In 1987, during the recording of the single “Come Back And Stay” Tony Hendrik and Karen Hartmann decided to replace lead vocalist Trevor Taylor with John McInerney. Since then John has become a kind of special feature of Bad Boys Blue. "Love Is No Crime” has two hit-singles: “Charlene”, a song from the repertoire of Roxanne, another Tony Hendrik and Karin Hartmann artist, and, of course, the classic title track.

                                              First album in 5 years from the legendary hardcore group.

                                              "This album takes us back to self-produced record shines with Bad Brains' true sense of freedom and musical experimentation, with blends of soulful backgrounds meshed with blistering hardcore and metal riffs, with classic dub," says Darryl Jenifer of Bad Brains.

                                              Considered to be the "holy grail" of punk rock, Bad Brains are one of the definitive American punk groups who garner the same respect as Sex Pistols, Black Flag, The Ramones and The Clash. It's a return to form for the band that helped define American Punk and Hardcore music.

                                              Bad Religion

                                              Age Of Unreason - Clear Vinyl Edition

                                                Bad Religion began in the sprawling suburbs surrounding Los Angeles, with the teenage punks offering an impassioned counterpoint to a culture of consumerism and anti-intellectualism. Founding members Greg Graffin, Brett Gurewitz, and Jay Bentley were eventually joined by guitarists Brian Baker of Minor Threat, Mike Dimkich of The Cult, and drummer Jamie Miller of …And You Will Know Us by the Trail of Dead. Bad Religion have been highly influential force in modern punk, producing beloved international hits like “Infected,” “21st Century (Digital Boy),” and “Sorrow,” and building a devoted worldwide following. Bad Religion are set to release their new album Age of Unreason, which can be described as “a musical manifesto on the current political landscape.” In a world still brimming with rampant anti-intellectualism, inequality and oppression, the band’s signature brand of sonically charged humanist dissent seems as relevant as ever. 

                                                FORMAT INFORMATION

                                                Coloured LP Info: RSD stores exclusive, 180 gram clear vinyl.

                                                Cincinnati duo Bad Veins are set to release their new album “The Mess We’ve Made” via a new deal with the Heist or Hit Records in the UK. The album, recorded over a three-month period in a church turned recording studio, is the follow up to their self-titled US debut album released on Dangerbird Records in 2009. A single “Don’t Run”, from the album, is being released in the run up.

                                                Bad Veins – Benjamin Davis (vocals, keyboard, guitar, etc,) and Sebastien Schultz (Drums), take to the stage in army uniforms. Seb thrashes his kit like 2 demented punk drummers, while Ben croons laconically over the top. Their show also features a vintage megaphone, a rotary telephone and the 3rd member of the band – a reel-to-reel tape player named Irene. In 2007 they took their extraordinary performance and began relentlessly crisscrossing the US, climaxing with a high profile New York CMJ Festival show, where they were awarded the ‘Breakout and Of The Year’ accolade. Not only did they build a massive cult following, but they also toured with the likes of Frightened Rabbit and We Were Promised Jetpacks and won the first ever “Target Music Maker Award” at the Tribeca Film Festival.

                                                Angelo Badalamenti

                                                Twin Peaks: Fire Walk With Me

                                                  Fire Walk With Me is an altogether more brooding affair than the Twin Peaks series soundtrack. Badalamenti won a grammy for the title track of this LP and it’s not hard to see why- it’s dangerous, and bursting with smokey jazz thanks to Jimmy Scott. Death Waltz went back to the master tapes in the Warner Archives and had this recut to fit across two LPs as the score clocks in at 51 minutes. It sounds incredible and punchy, but super nuanced too.

                                                  • Director approved artwork
                                                  • Composer approved audio
                                                  • Sleeve notes by film critic Mark Kermode (approved by David Lynch and Angelo Badalamenti)
                                                  • Vinyl re-master by Tal Miller at Warner Archives
                                                  • Laquers cut by David Cheppa at Plush Vinyl
                                                  • 2 x 180G Cherry Pie vinyl
                                                  • 425gsm Gatefold sleeve housed inside a bespoke black die cut outer jacket with black spot varnish finish, complete with obi strip.

                                                  "Lucy, put Harry on the horn." And so began the most unique, iconic and absurd series in the history of television. For two glorious seasons we pressed our nose to the glass and watched the strange and beautiful goings on in Washington's weirdest logging town. We looked on in awe as Cooper drank coffee, ate cherry pie and savoured the woodland smells, got close to Audrey but kept a respactable distance. We rooted for Norma and Ed, Harry and Joan, Andy and Lucy, Margaret and her log, and laughed ourselves queasy at James and Donna's hilariously wet highschool romance. We tried to find Laura Palmer's killer, figure out the Red Room and the Black Lodge and work out exactly how Cooper got in touch with Diane. We failed, gave up and enjoyed the goings on anyway. And throughout it all, we were swept along on the thematic perfection of Angelo Badalamenti's sublime score. From the swelling bass and dreamy chords of the title music to the bittersweet beauty of "Laura's Theme", from Audrey's seductive jazz to the smokey sweetness of "Dance Of The Dream Man", the score never put a foot wrong. And now, for the first time in 25 years it's back on vinyl (coffee coloured no less), freshly remastered and properly pressed by Death Waltz with the full approval of director David Lynch and composer Angelo Badalamenti. Aces!



                                                  STAFF COMMENTS

                                                  Patrick says: In a rare triumph of synchronicity, the finest TV show ever made also boasted the best soundtrack ever written. And that gorgeous, glorious, dreamy soundtrack is now available on vinyl for the first time in 25 years, on coffee coloured vinyl no less. As lovely as Audrey and as cool as Agent Cooper, this is aces!

                                                  Wally Badarou

                                                  Echoes - 180g Vinyl Edition

                                                  Badarou was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah “Sticky” Thompson), the in-house recording team of Compass Point Studios responsible for a long series of albums of the 1980s recorded by Grace Jones, Tom Tom Club, Joe Cocker, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. His keyboard playing can also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, Talking Heads, Foreigner, Melissa Etheridge, Manu Dibango and Miriam Makeba.

                                                  Limited 180g vinyl reissue of synth maestro Wally Badarou’s classic futuristic instrumental album ‘Echoes’ from 1983. Superb from start to finish, this electronic tour de force spawned several monster tracks including the wonderful Joe Claussell and Larry Levan favourite ‘Chief Inspector’, a bumping bouncing Korg and Moog-laden bomb which made its mark in the charts as well as on the dancefloor, showcasing the strong jazz-funk sensibility you’d expect from long-term Level 42 collaborator Badarou. Also features the hauntingly beautiful ‘Mambo’, a mesmerizing slo-mo epic instantly recognisable for its enormous contribution to Massive Attack’s hit ‘Daydreaming’ as well as hitting big for DJs such as Kevorkian at the time. Other gems on this amazing instrumental-only album include the sophisticated funk of big Baldelli play ‘Endless Race’, quirky afro-funky delight ‘Hi-Life’ and the cool and elegantly mellow ‘Waltz’ amongst others. Not to be missed!

                                                  BADBADNOTGOOD X Little Dragon

                                                  Tried

                                                  Canadian Jazz group BADBADNOTGOOD unite with Swedish electronic band Little Dragon for their beautiful and melancholic single, Tried.The single follows a myriad of successful collaborations from BADBADNOTGOOD with Kendrick Lamar, Kali Uchis, Snoop Dogg, Thundercat, Kaytranada, Charlotte Day Wilson and Sam Herring (Future Islands) and Little Dragon’s 2018 “Lover Chanting” EP.

                                                  STAFF COMMENTS

                                                  Millie says: BADBADNOTGOOD's new collaboration with Little Dragon demonstrates their mellow side of beautifully slowed-down jazz rhythm, matched with the sweet vocals of Little Dragon is a heavenly retreat for the ears.

                                                  BadBadNotGood is the talented young quartet of Matthew Tavares on keys, Chester Hansen on bass, Alex Sowinski on drums & Leland Whitty on saxophone. They formed and became inseparable friends at Humber College's Music Performance program in 2011 and have been on a critically acclaimed, rule bending musical journey ever since. BBNG took the music world by storm with their 2014 LP, 'III', a brash yet refined record of angular jazz improvisations, lush ballads, krautrock and futuristic hip-hop tinged rhythms which led to a couple years of touring the world and collaborating with some of the best and brightest artists around the globe.

                                                  The boys are back with the new album 'IV', their most impressive and highly anticipated project yet. IV continues their forward thinking progression, sounding something like a jam session in space between Can, John Coltrane, Herbie Hancock's Headhunters, Weather Report, Arthur Russell and MF DOOM.

                                                  With tracks like "Time Moves Slow" featuring haunting vocals from Sam Herring of Future Islands, the syncopated groove of "Lavender," a collaboration with Montreal based producer Kaytranada, the rumbling fusion build of "Confessions Pt. II" featuring Colin Stetson on the bass sax, "Love" which is highlighted with smokey left field raps from Mick Jenkins and the epic chords of "Speaking Gently", 'IV' is an exploration in post-genre virtuosity.

                                                  STAFF COMMENTS

                                                  Ryan says: These guys never cease to amaze me, whilst also making me wish I'd have stuck it out at music school and studied Jazz. I can't get enough of this one, the production is perfect and they couldn't have chosen better people to collaborate with.

                                                  FORMAT INFORMATION

                                                  2xLP Info: Gatefold 2LP + Download.

                                                  Baddies found themselves in a strange position at the end of 2009. They had released the debut album, toured the world and ticked off a hefty amount on the 'things to do' list Reading Festival? Check. Glastonbury? Check. Japan? Check. You get the idea. The aftermath of all this hard work and globetrotting saw the band stationary in their hometown of Southend, catching their breath and realising they had rinsed everything possible from the debut campaign. It was now time to turn the page and begin a new chapter; the second album.

                                                  Tucked away in a dim and dusty studio, Baddies tinkered with new ideas and soon enough what emerged were the best bits of the old sound - spiky, scratchy guitars, hooks around every corner and manic vocals brought to life with an electronic pulse... creating an overall impression of a grander, broader and more mature version. Before long, Baddies had acquired enough material to finally make album number two and opted to make a swift return to the legendary Rockfield Studios. The next hurdle to overcome was how to fund this? One option could have been to queue up outside record labels, cap in hand and ask for a mammoth pot of money. In the scheme of things this was both unrealistic and not how Baddies wanted it. Instead, find a new way, retain independence and create a stronger bond with fans.

                                                  Enter, stage left, Pledge Music. Baddies launched the pledge campaign on Monday 2nd May 2011. To kick things off, the band released new single ‘Tiger Face’ on June 6th through Yoyo Acapulco which also featured an exclusive remix from DPPLGNGRS. Highlighting the huge fan base which Baddies have amassed over the years, the band quickly raised over £10,000 and 277 pledges in just over 3 months. In July, Baddies locked themselves away at Rockfield Studios and began the recording of the second album, with good friend and top producer Sean Genocky.

                                                  Awesome 1997 debut album from Philadelphia's neo soul queen Erykah Badu. After several years of mainstream pop R&B the main output from the soul scene, her more organic boho soul-jazz vibes and Billie Holidayesque vocals came as a breath of fresh air. Includes such classic tracks such as "On & On", "Certainly (Flipped It)" and "Next Lifetime". Essential!

                                                  FORMAT INFORMATION

                                                  2xLtd LP Info: 180g vinyl.

                                                  Erykah Badu

                                                  Mama's Gun

                                                  'Mama's Gun' is the second studio album by neo soul singer Erykah Badu, released in 2000. Recorded at Electric Lady Studios in New York City, the album incorporates funk, soul and jazz styles. Covering themes of insecurity, social issues and personal relationships, Badu delivered a highly intimate and personal album that reached Platinum two months after its release. 'Mama's Gun' features substantial contributions from several members of the Soulquarians outfit, of which Badu was a member. It also features guests such as soul singer Betty Wright and trumpeter Roy Hargrove.

                                                  The album contains the single "Bag Lady" which, with its colorful, artsy music video, shot to #1 on the R&B charts, and also into the Top 10 on the billboard charts. "Bag Lady" was nominated for the Grammy Award for Best Female R&B Vocal Performance and for Best R&B Song. Also the song "Didn't Cha Know?" was nominated for Best R&B Song.

                                                  Rolling Stone magazine applauded her for taking "chances the way Stevie Wonder or Nina Simone did in their prime" and went on to say "she has taken her art to the next level." Entertainment Weekly called the album a "'70s soul homage featuring live musicians and a smooth-funk sound that wouldn't be out of place on a CTI record."



                                                  FORMAT INFORMATION

                                                  2xLP Info: • 180 gram audiophile vinyl
                                                  • Gatefold sleeve

                                                  New label Concentric Circles open their account with a vinyl release of Carola Baer's "The Story of Valery", which is comprised of music from a one-off demo cassette found in a thrift store. Beautiful personal & emotionally resonant drum computer mantras in the key of Dead Can Dance, The Cocteau Twins and classic 4AD.

                                                  The discovery of a cassette of Carola Baer's early 90s private home recordings was like finding a needle in a haystack. Made as a one-off mixtape of newly recorded songs, and given to a long-since
                                                  forgotten recipient, this cassette was found in 2017 at a Goodwill "bins" location in Portland, Oregon. These chaotic, by-the-pound thrift stores contain 1000's of unsorted items in constant flux, which are only available for the public to buy for a limited time before they are discarded. The prospect that this obscure relic would be rescued from its untimely fate is nothing short of a miracle. As this tape was the only one in existence, with no back up versions of many of the songs, it's more than likely that this
                                                  music would have been lost forever.

                                                  "The Story of Valerie" is made up of songs culled from that cassette, with a few additional tracks from the time, and is the first time Carola Baer's solo material has been heard by the public. The intense emotion of the music is brought upon by the primary themes of the album: the cruelty of humanity, isolated life as a British immigrant in the US, and the pain of doomed relationships. Despite being inspired by classic 4AD acts like Dead Can Dance and Cocteau Twins, Baer's home recordings have a sound and style that is uniquely her own. Many of the tracks feel like musical exorcisms, with Baer's spine tingling voice soaring above minimal arrangements for Yamaha DX-7 and Casio CZ-101 synthesizers. Like finding a stranger’s diary, the listener is granted access to music that is emotionally raw and deeply personal.

                                                  STAFF COMMENTS

                                                  Patrick says: Even without the totally improbable and wonderfully romantic backstory (one off cassette found among thousands in a thrift shop bin), Carola Baer's "The Story Of Valerie" is irresistible. Mournful, melodic, epic and unique, Baer takes the bedroom synth pop stylings of the Cocteau's and twists it into something entirely her own. Be thankful that this one got saved from the tip.

                                                  Baggy Kidz

                                                  Straight Outta Gorton

                                                    New Struktur artists The Baggy Kidz deliver five tracks of meaty electronics. Also includes the "Fiesta Slagz" video.

                                                    Baggy Leggins

                                                    Mondo Disco / Bug Wax

                                                    Anyone who caught previous Baggy Leggins banger "Expensive Sheeeeet" and "Disco Lando" will be in mega-buzz for this hand stamped 7" of all new action. On the A-side. "Mondo Disco" is a fury filled foundation of bongos, beats and bass, with layers of rolling piano and hypnotic movement of brass, giving nothing else but good time vibes for the dance floor with plenty of outro for any discerning DJ. On the flipside "Bug Wax" brings a rewind for vintage 70’s retro kitsch ditchsco, as rhythmic bass guitar, enchanting flute and swirling strings entwine with subtle vocals and hints of electronic glitch over a pumping beat.

                                                    Sami Baha is a Turkish producer based in South East London. His music was introduced to the world via his 2016 EP 'Mavericks'. Sami got into producing through being a rapper himself, working with local rappers in Turkey and producing beats for them, before setting his sights outside the country. 'Free For All' features MCs from all corners of the globe: UK drill squad 67's Dimzy, Stockholm's Yung Lean and Chicago rapper and singer DJ Nate (aka Flexxbabii). The record also features Egyptian MCs Dawsha and Abanob. Sami's production is refined and elegant, familiar tropes are reassembled in original ways, the instrumentation reflecting his background and influences simultaneously. Everything Sami brings to the album sounds relaxed and minimal, but tough, built from thoughtful arrangements and instruments, shot through with emotion and a dreamy night-time feel. 

                                                    Baiano & Os Novos Caetanos was a band formed by prolific and multitalented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirising Brazil’s Tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos ‘Baiano’ and ‘Paulinho Boca de Profeta’ poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously.

                                                    Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth’s free and funky psych sounds combine with accordion, harmonica, brass and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk and soulful samba rock.

                                                    The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira.

                                                    Stephen Bailey

                                                    9

                                                      The last we heard from Stephen Bailey was a year and a half ago, when he released his debut album Silo, a sprawling collection of warped psych-pop that zigzagged between classic 60's rock and eerie freak folk, and served as an impressive introduction into his expansive sound. It has been a little bit of a break, although he certainly hasn’t been resting on his laurels - Stephen also fronts Perth heavy-hitters Mt. Mountain, who just dropped their third album - but that makes it all the more exciting to reveal that his second Stephen Bailey album ‘9’ comes out on the 22nd Feburary. ’9’ picks up where Silo left off, creating a familiar sense of warmth and lushness - however, this time around things feel more considered, compared to the lo-fi bedroom psych pop nature of ‘Silo’. Led by woozy keys that constantly stab over a laid-back drum and bass grooves while grainy guitar chords chime in as instruments leave plenty of space for Stephen’s warbly voice to cut through, up close and delicate, as he weaves the track’s strongest hooks almost effortlessly. Expressions of indecisiveness towards love, misinterpretation and happiness in isolation litter the lyrics of ‘9’ creating a introspective mood that suck you further into the lush atmosphere of Stephens recordings.

                                                      ‘9’ is presented in a 350gsm Card Sleeve with a double sided, full sized colour insert and download code.

                                                      FORMAT INFORMATION

                                                      Coloured LP includes MP3 Download Code.

                                                      Jessica Bailiff

                                                      At The Down-Turned Jagged Rim Of The Sky

                                                      Kranky was a bit surprised earlier this year when Jessica Bailiff contacted them and asked they wanted to preview her new album for possible release. They had no idea she had even been working on an album, let alone had completed one, and they were rewarded with a listen to her most compelling album to date.

                                                      After being in Europe for 5 weeks as a touring member of Boduf Songs, Jessica Bailiff spent much of 2011, writing and recording At the Down-Turned Jagged Rim of the Sky in her spartan home studio. Sequestering herself through the hot summer months until finished, she then passed the tracks on to her friend Odd Nosdam for final mixing.
                                                      *Down-tuned, distorted bass guitar adds a new color to her palette, but familiar ones also come into play: fuzzed and delayed electric guitar, organ, piano, cello, and drums. Noisy pop-tinged love songs nestle slyly in a bed of off-kilter lullabies and dark, metallic waltzes.

                                                      No need to recycle descriptives like “lo-fi” or “hushed vocals” - these are spurious words. This is another intimate collection of songs recorded entirely by Jessica at home, in a room next to where she sleeps. If you listen carefully, you might hear her dreaming.


                                                      "Laughing Boy", the second solo album from Matteah Baim, was recorded in Chicago, where it was produced, arranged, and mixed by Baim with engineer Jamie Carter. Expanding on the sounds hinted at with her previous band, Metallic Falcons, and her first solo record, "Death of The Sun", Baim has created her most lush and beautiful recordings yet with "Laughing Boy". Matteah Baim was born and raised in Milwaukee, Wisconsin. In 1996, at the age of 17, she moved to California to study painting and drawing at the San Francisco Art Institute. After graduating, Baim moved to New York where she met Sierra Casady. In 2005, the duo began to write music together and formed the 'soft metal' Metallic Falcons. Voodoo Eros released their first record, "Desert Doughnuts", in 2006, recorded in Brooklyn, New Mexico, and Chicago, with performances by Antony, Devendra Banhart, Jana Hunter, and Greg Rogove. After the Metallic Falcons disbanded, Baim moved to Los Angeles and began writing and recording material (both at her Venice Beach home and at Chicago's CarterCo studio) for "Death Of The Sun". She spent the next two years touring and writing material for "Laughing Boy", working on music for several films, and exhibiting drawings.

                                                      All too often, rare records suck ass. Yeah they're rare, and only wotzizname from wherever the fuck has a copy, but they tend to be average variations of well known jams, with their scarcity merely a novelty.

                                                      But then there are records like this, popping up out of nowhere only to blow your musically obsessed mind! From a quick scan of the centre label, you'd be forgiven for thinking this is your standard Chicago acid track, desireable only for the posibility of a few motivational spoken word cuts. When you whack the platter on the player however, you experience something very different indeed. A spiritual journey through cosmic keys and subtle percussion, which vibrates at your very core, enriching your soul with every passing moment.

                                                      Frustrated at her students' lack of cultural awareness, Miami-Dade public school teacher Dr Mary Sullivan Bain recorded ‘Do You Know Black History’ in 1985, self releasing it as a single for educational purposes. Original copies didn't make it much much further than Florida’s public school libraries and the record has been shrouded in mystery up until now. Produced with no label constraints, this cross-genre grail sits comfortably in many boxes... 808’s, bass synths, deep chords, live percussion and effects dubbed into the mix. The production leans towards the electronic diy framework that informed the local sound on the Miami south side. The vocal side offers an inspirational account of Black history, full of passion and pain, while the instrumental side strolls through outer space and Ibizan sunset, sounding exactly like the kind of sublime ambient cut you'd find on a battered old Café del Mar. Reissued officially for the first time ever by Backatcha, this is a total one of a kind.

                                                      FORMAT INFORMATION

                                                      12" Info: REPRESS DUE!

                                                      Recorded in Nashville, Tennessee at Battletapes with engineer Jeremy Ferguson and producer Tim Kerr, Lee Bains III & The Glory Fires' Youth Detention captures the band in raw form. Each song was cut live to tape, with the four performing in the same room without headphones or baffling.

                                                      The result is thoroughly human, Lynn Bridges' mix retaining the band's live energy and looseness at the expense of a few out of tune strings. The Glory Fires music draws deeply from punk, but also soul, power pop, country, and gospel. Its equal parts careful curation and geographic inheritance. Its the sound of my place, says Bains. I want to know it. I want to argue with it. I dont want to be a band from anywhere that could be doing anything. For me, thats what punk is about -- figuring out who I am and how to be the best version of myself. I cant do that by pretending to be something Im not.

                                                      The songs are deeply rooted in Bains experience of his hometown, Birmingham, AL. Youth Detention depicts a Southern city in the decades surrounding the turn-of-the-millennium: in the throes of white flight, urban disinvestment, racial tension, class struggle, gentrification, gender policing, homophobia, xenophobia, religious fervor, deindustrialization, and economic upheaval. The lyrics could ring true anywhere, though. The South exists in the world and, like the South, the world is increasingly beholden to many of these same tensions and forces. The songs on Youth Detention are meant as small acts of resistance to those systems. Documenting minor moments -- the refusal to sit quietly through a display of bigotry, the act of quieting down and listening to somebody's struggle, sticking up for friends targeted for their difference -- that, hopefully, serve as the beginnings of a more profound awakening.

                                                      Laura Baird

                                                      I Wish I Were A Sparrow

                                                        With a musical timeline dating back to her early childhood, Laura Baird is an exceptionally talented multiinstrumentalist and singer-songwriter, best known for her projects with her sister, Meg, as The Baird Sisters, and guitarist Glenn Jones. Baird’s own sound stems from the Appalachian folk tradition, and she connects to it via family lineage—her great-great uncle I.G. Greer’s folk recordings for the Library of Congress are a large influence. Also woven in are classical composers like Bach and Satie, and modern day musicians such as Opal and Yo La Tengo.

                                                        With this debut solo album, I Wish I Were A Sparrow, Baird plays odes to the traditions from which she learned, combining Appalachian balladry and the roughness of old field recordings, but there is also a dose of dreaminess and solitude that captures sleepy central New Jersey. This is where she departs from tradition, leaving the communal origins of folk music to capture the singular self. The lyrics also present an amalgam of old and new, with half of the songs, including “Dreadful Wind and Rain” and “Pretty Polly,” being passed down from the folk tradition, and the other half, including “Wind Wind “and “Love Song From The Earth To The Moon,” coming from Baird’s own hand. While the most salient part of her previous Baird Sisters project was the melding of familial voices and various instruments, Baird’s solo effort is centered around the combination of her virtuosic banjo playing and prominent but airy vocals. 


                                                        STAFF COMMENTS

                                                        Barry says: It seems now that winter is drawing in, the record labels think we all like to put a blanket on, have the fire blazing and listen to some lovely folk music. Now that I mention it, it sounds lovely, and even moreso if Laura Baird can be the music in question. Not too frantic, but driven and melodic plucking banjoes flicker over pulled strings and Baird's haunting vocals.

                                                        Meg Baird & Mary Lattimore

                                                        Ghost Forests

                                                          Musical conversations between Meg Baird (Espers) and Mary Lattimore are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out Bull of the Woods heavy haze, and modern re-imaginations of epic traditional balladry all while touching on the strange and otherworldly places between these stations.

                                                          Memphis, TN-based songwriter Julien Baker is the latest addition to the Matador Records roster. The 21-year-old’s devastating and vulnerable debut album, ‘Sprained Ankle’, which was originally released in 2015, is now being made available again. A 7” single by Julien Baker is also being released at the same time.

                                                          For years, Baker and a group of close friends performed as the band Forrister (formerly The Star Killers) but when college took her four hours away, her need to continue creating found an outlet through solo work. The intent was never to make these songs her main focus, yet the process proved to be startlingly cathartic. As each song came into shape, it became more apparent that Baker had genuinely deep, surprisingly dark stories to tell from her thus far short life. Tales of her experiences are staggering and when set to her haunting guitar playing the results are gut wrenching and heartfelt, relatable yet very personal. There’s something wonderfully hypnotizing about Baker gently confessing her soul with such tremendous honesty.

                                                          “Richly poetic songs of trauma and redemption, moving from almost unbearable fragility to confessional strength.” - The New York Times

                                                          STAFF COMMENTS

                                                          Sil says: Sounds that are as raw as they feel with lyrics that offer brutal emotional honesty. Depression, drugs and a deep end well of loneliness. A monster album filled with blues and sensibility.

                                                          FORMAT INFORMATION

                                                          LP Info: Vinyl reissue!

                                                          Aidan Baker

                                                          Liminoid/Lifeforms

                                                            'While Alien8 Recordings has had the pleasure of releasing three full-length albums by Aidan Baker’s ambient doom project Nadja, as well as his collaborative effort Fantasma Parastasie with Tim Hecker, this marks our first solo release with the artist. Although we consider "Liminoid/Lifeforms" to be a solo effort, there are in fact no less than eight guest musicians helping out on the recording. These include Canadian noise legend Knurl (a.k.a. Alan Bloor) who has been released three times on Alien8 Recordings prior to this recording, as well as members of Arc, Picastro, Forest City Lovers and Whisper Room. "Liminoid" is a composition for large ensemble exploring sonic immersion in drones and textures, rhythms and pulsations. Incorporating composed and improvised segments, the piece uses elongation of sound and layered polyph-ony in an attempt to create a liminal and/or numinous state. This recording of "Liminoid" is from its premier at The Music Gallery’s X-Avant Festival in Toronto, October 25, 2008. The piece features a powerful vocal performance with every member sharing the vocal duties. The lyrics have been adapted from 5th-8th century Coptic Christian texts and inspired by the book Ancient Christian Magic by Marvin W. Meyer & Richard Smith. The ensemble members for this performance were: Aidan Baker (guitar/ voice), Clara Engel (guitar/voice), Nick Storring (cello/voice), Jakob Thiesen (drums/voice), Richard Baker (drums/voice), Tillman Lewis (cello/voice), Laura Bates (violin/voice) and Jonathan Demers (guitar/voice).

                                                            "Lifeforms" is a composition for strings, prepared/effected guitar, and amplified metal works. Likewise incorporating written and improvised material, the piece was originally commissioned and performed by The Penderecki Quartet in 2003. This recording was made in August 2008 at Commonwealth Studios in Toronto. The performers were: Aidan Baker (guitar), Nick Storring (cello), Mika Posen (violin) and Alan Bloor (metal works). This recording has been both skillfully mixed from multiple recordings and mastered by James Plotkin.

                                                            After blowing our coiffeued lids with a pair of primo edits to kick off Sterns' new club-oriented concern, Ben Gomori takes another blast at the catalogue, turning his attention to Burkina Faso's much-loved taxi-driver-turned-singer, Amadou Balaké. Balaké ('porcupine' in Mandinka) is Burkina Faso's proudest musical export, and in 2013 he recorded his final album before passing away: 'In Conclusion'. The record saw him revisit some of his most popular tracks from his remarkable 50-year career, backed by an eight-piece Burkinabé band who took the country's traditional sounds and brought them into a contemporary light. Gomori retains the essence of the original recordings - which were mostly captured in one take - and marries them to vigorous afro-house stylings. 'Bar Konon Mousso (Musicien C'est Pas Quelqu'un)', in which Balaké tells of a bar lady being unimpressed by his profession, gets a gentle push towards the modern dancefloor, its wonderful sax lines resplendent in this fresh arrangement. "Massa Kamba" is taken for a drive down the more traditional route, with commanding drums bolstering the original grooves and a marvelous triple harmony brass section at its core. Balaké's freewheeling style suits the hypnotic feel of the edits to a tee. 

                                                            STAFF COMMENTS

                                                            Patrick says: There's always a risk of facepalm and failure when a producer tries to house up and African OG, but Ben Gomori goes 2 for 2 with his second instalment of Sterns Edits, keeping it classy on a pair of seriously groovy sunkissed winners.

                                                            Baldelli needs no intro. A veteran in the music making scene deliver 4 slabs of cosmic beauty. This time his partner in crime is Dario Piana. Together they forge the very solid and clean 'Double Yellow Line'. Cosmic keys and effects are dropped with not warning on a bad boy bassline and a chuggy balearic house beat.

                                                            Followed up by 'Just The Time Of A Trip', which ups the tempo and adds some crazy psych, almost jazzy synths on top to keep the fun going. 
                                                             
                                                            On the B Side, we go full cosmic journey with the aptly titled 'Cosmic Mood'. The tempo is slowed down again and a beautiful melody meanders in and out to produce a classic Baldelli futuristic trip.
                                                             
                                                            Closing affairs is 'Closer To The Source'. A very nice chugger with a heavy bassline and gorgeous synth keys. Some vocals sample with heavy reverb and echo effects thrown in to complete what is my fave track of the pack. 
                                                             
                                                            Classic Baldelli sound that shows the man is not ageing badly. 


                                                            STAFF COMMENTS

                                                            Sil says: Baldelli in true form delivering 4 tracks of blissed cosmic cum balearic house with the help of Dario Piana. No surprises here if you know Baldelli's game. But that is not a bad thing if you love his take on cosmic house.

                                                            Balduin

                                                            Bohemian Garden

                                                              Balduin returns to Sunstone with a brand new LP of material that reflects his travels over the past 3 years. With homages to the likes of The Mops and Tigers of psych Japan, the glissendo Italo-sounds of Goblin, Alessandro Alessandroni and Ennio Morricone next to the soaring pop arrangements of early Harvest ELO, Beach Boys and Beatles.



                                                              Matt Baldwin

                                                              Paths Of Ignition

                                                              One of the more unexpected - if worthwhile - by products of the 21st-century underground American folk revival is a renewed interest in solo acoustic guitar music. Spare, haunting, pastoral sounds have struck a new chord, and the names John Fahey and Takoma are hip again. Matt Baldwin, raised in California's rustic Pacific Grove, educated in the alternative mecca of Berkeley, sits in the center of this quiet, swirling scene. He is the visionary wildcard of today's solo guitar music, the ambitious fever dreamer, the serpent in the grass. Unlike many of his peers, he looks beyond the traditions of Fahey (whom he calls 'a teacher', not a god), bringing portentous and progressive elements into his music, alongside a dreamy country lilt. He covers krautrock legends Neu! ("Weissensee") and metal Vikings Judas Priest ("Winter"), and culls inspiration from prog heroes yes on the closing epic "Rainbow". His music comes on like a creeping moss, verdant but threatening, comforting yet unsettling.

                                                              Marty Baller

                                                              Baller Nation

                                                                A$AB Mob affiliate Marty Baller, started his career out as A$AP Ferg’s hype man, before becoming a serious solo artistic his own right. The last year and a half has seen Baller steadily building up to the release of ‘Baller Nation’ with co signs from A$AP Mob and support tours with the likes of Future. ‘Baller Nation’ is Marty’s second mixtape, following 2016’s ‘Marty G Raw.’ The concise 10 track tape sees Marty upping the stakes, with confident lyrics, big trap beats and an all start features list including A$AP FERG, Rich The Kid, Rob $tone and Smooky Margeilaa. Omerta Inc will be bringing Marty Baller’s ‘Baller Nation’ to vinyl for the very first time, to celebrate the 1st anniversary of the albums original release. Limited to 150 copies pressed onto 180gm cocaine white vinyl. Each copy will be individually hand numbered in gold pen and come housed in a high quality matte finish sleeve with original artwork

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Limited edition cocaine white vinyl individually hand numbered in gold pen.

                                                                Ballet School

                                                                The Dew Lasts An Hour

                                                                A fresh, vibrant take on the lush, emoting tropes of Eighties pop and rock but sounding resolutely 21st Century.

                                                                ‘The Dew Lasts An Hour’s diverse influences place Ballet School at the forefront of pop’s new alternative.

                                                                FORMAT INFORMATION

                                                                2xLtd CD Info: Strictly limited edition 2CD version (bonus CD shrinkwrapped with standard album) featuring unreleased content, available exclusively to independent retailers (200 copies for the UK & Eire).

                                                                I Blame Society is the third album from New York trio The Ballet and their first for new label Fortuna POP! Unashamedly “sissy” and explicitly queer, The Ballet marry the DIY queer ethos of the Hidden Cameras with the wry poeticism of The Magnetic Fields to create literate, infectious pop gems.

                                                                I Blame Society is a continuation of the lyrical themes and songwriting style found in the band’s two previous self-released albums (Mattachine! [2006] and Bear Life! [2009]), though with slightly pared down arrangements and a nuanced production, which highlights songwriter Greg Goldberg’s strengths. Inspired by Stephin Merritt’s body of work, Goldberg draws from an array of pop artists and periods, from 60’s bubblegum to 80’s synthpop and 90’s indiepop, fusing these in sophisticated and novel ways which rewards repeat listening.

                                                                Avoiding autobiographical or confessional modes, Goldberg nonetheless mines his own psychological constitution and intellectual interests to craft songs whose overt musical prettiness is often contrasted by a dark and complex subtext. I Blame Society addresses a number of queer themes, offering a nuanced and refreshing perspective on contemporary queer issues, subtly balancing queer melancholy with self-deprecating humour and stubborn utopianism. While some queer musicians shy away from articulating a connection between their sexuality and musicianship, The Ballet have often contended the opposite: that they are “a bunch of queers who just happen to be in a band.”

                                                                Formed in 2005 by Greg Goldberg and Craig Willse (who are both professors and met whilst at graduate school) with Marina Miranda (who they met at a party), The Ballet are still going strong after eight years of pop magic, retaining their original line-up. That’s not to say they haven’t gone through some line-up changes over the years. Acquired bandmates Ginger Brooks Takahashi and Michael O'Neill left in 2007 to join JD Sampson in MEN. Indiepop luminaries such as Linton from The Aislers Set and Ramesh from Voxtrot have also made guest appearances on previous albums, as have Kaki King and Scott Matthew.

                                                                Ball

                                                                Horny

                                                                  Intensely disturbed, dirty, smut peddling, Swedish slime hardrock-psych-madness from the deepest cesspool of humanity. Fucked up subhuman fuzz guitars. Depraved, screaming vocals. Gut rumbling bass and caveman drums. A nightmare of revolting sounds. Ball is hardrock from hell.

                                                                  Balmorhea

                                                                  Chime / Shone

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

                                                                    Two unreleased tracks the band recorded during the sessions for their previous album Clear Language, itself released in September 2017. The band will be in phase two of their album cycle, and will be touring Europe and the US to promote this release

                                                                    Balmorhea

                                                                    Clear Language

                                                                      A decade-plus on the road, near-constant musical output, and shifting creative priorities caused the revered Austin duo, comprised of multi-instrumentalists Rob Lowe and Michael Muller, to soberly assess the band's future. What, in the form of Balmorhea, was there left to say? And did they have the energy to say it? Stranger, the group's maximalist, genre-leaping full-length from 2012, had already seemed to trace the group's farthest bounds. And, over the years, they'd worked with a roving cast of accomplished string and rhythm players to craft a glassy-eyed, sage-brushed, instrumental Americana that, while celebrated in The New Yorker, Pitchfork and The Atlantic, among myriad other press, and attracting the film, ad, and television worlds risked pigeonholing them for good.

                                                                      As they had in the beginning, in 2006, Muller and Lowe worked simply and with restraint, letting intuition guide them as they molded the 10 elegant, spacious gestures that comprise Clear Language.
                                                                      A relaxed, clear-eyed wonder tumbles through these songs like herons lancing through Kerouac's "hungermaking" fog. Clear Language is the sound of two friends transmitting unfettered meaning in a milieu choked by double-speak at every turn. Co-produced and engineered by David Boyle in Austin’s Church House Studios, Clear Language finds the duo returning to the simplicity of their roots.

                                                                      They eschewed complexity for complexity’s sake, allowing a watery, sand-hued mood to settle over their use of analog synthesizers, piano, vibraphone, electric and bass guitar, violin, viola, field recordings, and, for the first time in the band’s history, trumpet, performed by Tedeschi Trucks' Ephraim Owens. A relaxed, clear-eyed sense of reflection flows gracefully through the album as these two old friends transmit unfettered meaning through simple sonic gestures that resonate with the cosmos as much as they echo the pulse of a human heart. In a culture dominated by the loudest, ostentatious voices, Lowe and Muller continue to prove the power and importance of restraint and minimalism.

                                                                      STAFF COMMENTS

                                                                      Barry says: Oh Balmorhea, how my heart longs for your slowly brushed strings and delicately tinkering reverb-drenched piano refrains. This is, as much as any of their other relases, truly a gorgeous thing to behold. I've owned everything of theirs thus far, and this will be no exception. Lovely stuff.

                                                                      On Stranger Balmorhea continues the cosmic dialog they began with their eponymous debut in 2007. Though the spirit of Texas' early inhabitants and the weight of the night sky inspired previous albums All is Wild, All is Silent (2009) and Constellations (2010), Stranger shifts the focus from the celestial to the terrestrial, or more accurately, it begins to explore the celestial resonance in all things terrestrial. Balmorhea's music has always been guided by the experience of living in Texas, but with Stranger the band moves beyond contemplative reverence for the land and the history of their home state.

                                                                      The most forward-leaning of their catalog, Stranger presents worlds of tenderness, aggression, estrangement, and freedom using an expanded sonic palette including guitar loops, vibes, synthesizers, ukulele, and steel pan drums. In addition to these new sounds, electric guitars and percussion take the stage once occupied by piano and acoustic guitars. Opening with the electric guitar loops, synths, and steel drums of "Days", the band invites us to move forward with them as they explore without pretense or expectation. "Pilgrim" provides the perfect ending, blurring alpha and omega...a concluding gesture taking us back to our beginnings.

                                                                      FORMAT INFORMATION

                                                                      2xLP Info: 45 RPM double vinyl.

                                                                      2xLP includes MP3 Download Code.

                                                                      Bella Union warmly introduce us to their latest star signing, Belgian MC, producer and musician Baloji. His music stands at the crossroads of African music, traditional and afro-american music (soul, funk, jazz) discovered through the culture of sampling and electronic music (trance, deep house) which has its roots in part in the region of Belgium where Baloji grew up. Baloji means “man of science” in Swahili, but during the colonial period, that meaning shifted to “man of the occult sciences and sorcery”. By placing his resilience at the centre of his work, Baloji reconciles all these influences to enrich his projects. Baloji is a poet, composer-lyricist, scriptwriter, actor and performer, video artist and stylist, and '137 Avenue Kaniama' is his most complete release to date.

                                                                      Balthazar

                                                                      Fever

                                                                        Fourth album from the acclaimed Belgian quintet.

                                                                        ‘Fever’ follows the band’s self-imposed hiatus, a break that saw frontmen and writing partners Jinte Deprez and Maarten Devoldere pursuing different individual interests from both a personal and creative perspective that has ultimately led the band to fashion their most cohesive album to date.

                                                                        On reconvening the band had no plans, just a simple desire to better their previous works and to further the band’s story. Both primary songwriters agreed on a less serious vision leaning towards a looser, refreshed sound - less melancholic but retaining their unerring ability to create a hookladen armoury.

                                                                        Balthazar are the brainchild of songwriters Maarten Devoldere and Jinte Deprez. Meeting as teenage buskers, the two embarked on a whirlwind writing partnership that led to the quick formation of the band and initial acclaim in mainland Europe. Resisting the temptation to cash in on that wave of interest, Balthazar took the best part of five years to record their debut album, experimenting with different genres and approaches until they were sure that they had the sound they were looking for.

                                                                        With ‘Rats’, that sound has been honed to a focus on melody and subtlety, avoiding the current fashion for bombast to create songs that burst forth in horns or sweep by on strings, underpinned with delicate rhythms that draw on both the pair’s love of the work of Serge Gainsbourg and Leonard Cohen and the hip hop production of the likes of Dangermouse.

                                                                        Whilst on a World Tour playing keyboards for Echo and the Bunnymen Paul Fleming began to write what would come to be his debut album. With a laptop and any instruments that were to hand he would capture, in music, what inspired him in each city around the world; from Texas to Barcelona to Berlin to Copenhagen to Reykjavik and back to the UK in Brighton. In hotel rooms, tour buses, planes, at the end of radio sessions and sound-checks, every opportunity was taken and tracks gradually started to form into an album. A sound was born influenced by works from artists such as Eno, Doves, NEU!, Sigur Ros and DJ Shadow. Written, produced and performed by Paul, the album also features contributions from Simon Finley on drums, Will Sergeant on guitar and Pete Wilkinson on Bass. Paul signed to Blow Up Records in April 2007, and the same Summer took his recordings into Studio B, The Premises in Hackney for additional production and mixing with Nick Terry (Klaxons, Simian Mobile Disco). After some heavy-duty valve and analogue processing, the beats got bigger, the sound-scape was widened and the album was complete!

                                                                        One of the most pivotal figures in the history of Malian music is Sorry Bamba. His work spans five decades and his music bridges the gap between Mali's cultural traditions and new the music which arose from the musical crossovers which occurred in Mali's post-Colonial period. 

                                                                        In 1979 Sorry produced his third LP for the Paris based Sonafric group. Long out of print Africa Seven is pleased to be re-issuing the LP with the authorization of the newly reformed Sonafric group. The re-issue benefits from extensive restoration and re-mastering to a spectral analysis level, bringing and polishing long lost and distorted sounds.The six track masterpiece opens with "Mayel". It blends Afro-space grooves, cowbell and swirling organ with psych guitar and punchy horns. "Kanaga 78" was named after his band of the time. Sounding as fresh (if not more so) in 2016 as it did in 1979 the hypnotic bass, expansive drums, twisting organ and snakelike fuzz-guitar all combine to create a masterpiece of African psychedelia. "Bayadjourou" closes off Side A of the LP with its pulsating, incessant organ hook-line and driving tom drums while adding in layers of Malian vocal from a female chorus and Sorry himself. Side B opens up with "Tjamantie Kolo" which is powered by driving conga and drums layered with traditional vocals and distorted picked electric guitar lines. "N'Nebakaidi" focuses on the song writing skill and delivery of Sorry who delivers a masterful vocal over grooves which somehow manage to sound melancholy but somehow also forlornly uplifting at the same time. The LP closes with "Nani Nani" which is a brass driven wall of African sound. Stay tuned for further re-issues of Sorry Bamba's first and second albums soon on Africa Seven.

                                                                        STAFF COMMENTS

                                                                        Patrick says: Get your oven gloves at the ready, because this record is red hot! Fusing stomping, straight ahead percussion with wild psych solos, swirling organ and proggy synth wig outs, this African trip is Bamba's masterpiece. Back in print for the first time in 27 years - buy on sight!

                                                                        Afrika Bambaataa & The Soul Sonic Force

                                                                        Planet Rock - Glow In The Dark Vinyl Edition

                                                                          Afrika Bambaataa & Soul Sonic Force “Planet Rock” 12-inch re-issue on glow-in-the-dark vinyl (Limited edition of 1982 copies) B-Boy anthem from 1982 lights up any dancefloor…literally! First time ever on glow-in-the-dark vinyl! Fresh off Bambaataa’s historic donation of his vinyl collection to the Cornell University Hip-Hop Collection and the Fall 2014 “Renegades of Rhythm” tour by DJ Shadow & Cut Chemist celebrating his unparalleled contribution to hip-hop, Get On Down celebrates the song for which the Godfather of Hip-Hop is best known: 1982’s “Planet Rock,” a Kraftwerk-meets-Bronx-B-Boy anthem. Renowned the world over as a never-fail floor-filler, this new 12-inch pressing of the single is pressed on glow-in-the-dark vinyl for the first time ever. Although Bambaataa may have gotten top-billing on the release, it was a team effort, with crucial contributions by a team including DJ Jazzy Jay, Afrika Islam, Arthur Baker, John Robie, a Roland TR-808 drum machine (aka Planet Patrol) and of course MCs Mr. Biggs, G.L.O.B.E. and Pow Wow. This edition is housed in a clear, custom-embossed Get On Down poly-bag to let the glow show through.

                                                                          Bambara

                                                                          Shadow On Everything

                                                                            Bambara are a Brooklyn based dark, noise / punk band with a Western slant. The trio consisting of twin brothers Reid (vocals / guitar) and Blaze Bateh (drums) and childhood friend William Brookshire (bass) formed in Athens, GA, deriving their name from a character in the cartoon ‘Aeon Flux’. They moved to a basement apartment in Brooklyn where they recorded their ambitious debut album ‘Dreamviolence’ (2013), their sprawling noise-collage EP ‘Night Chimes’ (2014) and their snarly, apocalyptic sophomore album ‘Swarm’ (2016) to much acclaim.

                                                                            Although Reid plays all the guitar on their records, Bambara recently added two guitarists to their live shows, allowing Reid to sneer and stagger around the stage as he sings unhindered by instruments.

                                                                            You'd be forgiven for not knowing the newest addition to the slowly expanding Claremont 56 roster. You see, there’s been no recorded output from German combo Bambi Davidson since the release of their largely overlooked “minimal post-rock” debut album, 'El Faco', in 2000. Until now, that is. Following the release of their debut set, founder members Robin van Velzen (guitar / vocals) and Hans Christian Fuss (drums) became frustrated with their lot. Bored with “rocking out” as a two-piece, they decided to start inviting other musicians to join them on stage. That meant that each performance was unique, with new tunes - often improvised on the spot - being developed for, or at, every gig. It’s an approach that frequently paid dividends. One particular collaborative gig, with Frank Mollena (most famous for his involvement with fellow German rock outfit Mountaineer) and Sofia Fuss, went so well that both were asked to become permanent members of the band.

                                                                            It was at this point that the newly expanded four piece Bambi Davidson finally headed back into the studio to record a new album, some 15 years after they’d recorded their debut. As you’d expect with a new line-up, things are a bit different this time round. Whereas 'El Flaco' was a stripped-back affair with most tracks featuring just guitar, drums and vocals, Bambi Davidson features additional bass, electronics and keys provided by Frank and Sophia. The result is an expansive but atmospheric album built around sensual, undulating grooves, gentle sun-kissed melodies, lilting pedal steel and woozy, dub-influenced production. Often magical and always immersive, the six tracks that make up 'Brunswick' are delightfully contrary. While pleasingly accessible and capable of inducing broad smiles on the first listen, each carefully considered, drawn-out composition reveals more intricate layers on each listen. This is particularly true of “Foxhunting” - reminiscent of fellow Claremont 56 act Bison, and as a result of similar sonic influences - and opener "Brunswick". Arguably the album's high point, the latter offers a 13 minute-long shuffle through Balearic post-rock territory with Van Velzen’s weary, emotional vocals riding a wave of vibrant colours. Hazy, intoxicating and evocative, it sounds like a horizontal anthem in the making. There are plenty of other highlights, too, from the hypnotic, pitched-down dub-disco-meets-Balearic rock shuffle of "Cattle", to the low-slung krautrock revivalism of "Artist", and the touchy-feely rhythms and stargazing chords of “Hubble”, the four-piece’s most intergalactic cut yet. Give it time, and we guarantee that you’ll fall in love with Bambi Davidson as much as we have.

                                                                            Bamboo

                                                                            Daughters Of The Sky

                                                                              BAMBOO (Nick Carlisle - keyboards, production, also of Peepholes / Katy & Nick) & Rachel Horwood (vocals, electric banjo, also of Trash Kit / Bas Jan) announce their third studio album "Daughters Of The Sky", on Upset The Rhythm.

                                                                              The album was written and recorded over a two year period where ideas and arrangements were allowed to slow-cook and develop over time, in contrast with the last album "The Dragon Flies Away" which came together relatively quickly for the duo. The music comprises the usual (for Bamboo) mix of Horwood's flawlessly resonant folk cadence and Carlisle's pristine synth production, whilst TR808 drum machines and samples lock together with acoustic drums, themselves often given the "Tony Visconti" Eventide Harmoniser treatment of Berlin-era Bowie albums. Ancient ARP synthesisers and Mellotron flutes and horns sit next to contemporary digital sounds and samples in a hauntological tapestry over which Horwood can intone her sometimes mournful, often uplifting vocals.

                                                                              The first single taken from the album, "Weeping Idols", released March 29th reflects upon a recurring theme of religious dogma and spiritual entrapment, and is accompanied by a stunning video shot by Jack Barraclough around the North Coast of Northern Ireland, taking in the Giant's Causeway and the Kinbane Castle ruin. Carlisle's infectiously colourful synth riffs and pop production, featuring sun-burst harp playing from Brighton-based singer/multi-instrumentalist Emma Gatrill, contrasts sharply with the darker tone of Horwood's lyric, jarring in a way reminiscent of "You Have Placed A Chill On My Heart" by The Eurythmics.

                                                                              Although "Daughters Of The Sky" breaks away from the storybook concept format of The Dragon Flies Away, in that sense being more similar to Bamboo's debut album "Prince Pansori Priestess" (2015, ★★★★★ - Record Collector Magazine), there are still recurrent themes that run through the album such as motherhood, the cyclical nature of life, emancipation and liberation. "Branches dancing, bud stems growing, fibres swaying, arms unfurling" Horwood sings in The Deku Tree, a song which roots motherhood in nature's eternal cycle of birth and death. In the title track we see two perspectives of women spanning time and geography, Horwood drawing inspiration from the personal and also political. In 1917 a Russian match stick worker looks out of her window dreaming for a better life; in 2019 a Filipino maid in Hong Kong yearns to return to the children she has left behind. Both share a revolutionary spirit, protesting and fighting for a new world.

                                                                              What might be the centrepiece of the album, "East Of The Sun / West Of The Moon", an 11 minute epic, begins with a serene, desolate ambient intro which eventually transports us over the waves to some unknown land. Here we track the journey of a displaced people who are rejected from pillar to post, prevented from crossing over political lines, judged by fellow humans by their few differences over their myriad similarities. "And we all walk a different pace, though we end up in the same place" sings Horwood, as the song's new-found rhythm seems to break apart again and slowly splinter away in different directions, the fragments hanging in the air as a new section emerges featuring a rare lead vocal from Carlisle.

                                                                              Bar the brief instrumental coda "Tenebrae", the album ends on an optimistic note with "A World Is Born", an upbeat song of renewal. Horwood sings of the creation of a new world for a new generation, out of the ashes of a society stagnating under the collapsing weight of late capitalism. Saxophones provided by Emma Gatrill (her second guest appearance on the album) answer each vocal line in call and response style over more harmonised drums reminiscent of Bowie's "Low". Carlisle originally wrote the music following the death of Bowie, and Horwood added some Prince-like backing vocals (Prince having been name-checked in the title of the first Bamboo album). Although her lyric makes no reference to the loss of these giants, their influence hang over the song in a way which can only add to the sense of hope and rebirth, a sense which is indeed felt throughout the album.


                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: 180 gram gold vinyl – 500 only for the world.

                                                                              As regular customers can attest, we love a bit of shamanic shit here at Piccadilly, and this latest dose of ritualistic rhythm has me ready to dust off the DJ Froglicker moniker. After a couple of years spent honing his new sound in the studio, French producer Bambounou leaves the mainroom maulers of his 50 Weapons days behind. The music on Parametr Pureskja has a strong and original characteristic which fits exactly DISK’s style: Crisp beats interlocked in edgy grooves shaping a hypnotising drive with a dark tension. Opener "Dernier Metro" fuses the off kilter rattle of organic percussion with eerie synth tones, locking us into a late night mushroom ritual. Bambounou continues his pagan preoccupation with A2's "Kosovo Hardcore", syncing a swinging, lopsided drumbeat with the disorienting melodies of clockwork chimes. Over on the B-side the relentless pulse of "VVVVV" pushes the dance floor ever onwards, entangling one and all in its infectious repetition. Three techno-tribal sounds for psychedelic dancers - buy on sight!

                                                                              STAFF COMMENTS

                                                                              Patrick says: France's Bambounou lands at DISK with a trio of mesmeric, shamanic club cuts, aimed as far from the mainroom as is humanly possible. Dark, tense and way off kilter, this is A-grade mushroom shit.

                                                                              Mighty Whities give us another killer 12". This one is going to twist your brains more than your hips. 'Temple' sports a gorgeous metallic and playful sound marimba style. Do not get stuck on the marimba bit. Give it a listen first. The rest is a cross between Aphex Twin in its more pallatable ways. 
                                                                               
                                                                              'Tour' is the one for me. This one is deep with a solidly formed 4/4 beat and those tribalesque beats and sounds permeating through the track as it evolves. 
                                                                               
                                                                              'Seize Sept' is that track that wants but cannot. Asyncopated beat and a powerful groove welcome a bad boy bassline that can cause serious damage in any club with a decent crowd. This one is one to pay attention to. A true sleeper. 
                                                                               
                                                                              So there you have it, another Whities, another hit in my books. Get it as this label sells out pretty fast. 


                                                                              STAFF COMMENTS

                                                                              Sil says: Terrific 12" on Whities as it is the norm with this monster label. A bit for the head and a bit for the body. This will fly.

                                                                              Double LP compilation of Dutch electronic artist Michel Banabila focusing on his incursions into otherworldly and imagined realms. LP1 is a compilation of works spanning over 20 years that acts as a bridge between his earliest work and his contemporary practice. LP2 is a reissue of his early masterpiece Marilli, a highly sough-after album that acts as both an LSD inspired DIY tribute to Byrne and Eno's Ghosts and a youthful exploration of Banabila's personal background and his experience as a squatter in Amsterdam in the early 80s. Gatefold LP with archival pics, essay and artwork by Alan Briand.

                                                                              Best Records revive an all time Balearic classic for their latest reissue, bringing us the brilliance Bolognian winner from 1983, Band Aid's marvellous "A Tour In Italy". A bona fide White Isle play for Alfredo, Leo et al, this buoyant blast of sunblushed boogie gets full marks from every single member of the Balearic mafia - so you need to get on it. Checking all the boxes that matter (feelgood chug, funky AF bass, Chic-style guitars and delicate chimes) the O.G. whispers sweet and surreal nothings in at least two languages - what more could you want for a Balearic release? Well, maybe a dub - and it's the dub, with its reverb swathed drums, echo laced horns and flipped arrangement which has remained a staple for all these years. Good job it's on here really. This 2018 reissue also boasts an ace brucey bonus, the unreleased "Mediterranean Version", mixed and overdubbed by Pellegrino from Early Sounds Recordings. The Neapolitan hero brings the mallets to the fore, twists the synth sounds and transforms the track into a percussion party on a disco-not-disco tip.


                                                                              STAFF COMMENTS

                                                                              Patrick says: Best treat us to a great reissue of an all time classic here, the carefree and cool "A Tour In Italy" by Bologna's Band Aid. This new version offers up the OG, uber-Balearic dub and a brilliant alternative mix from Early Sounds man Pellegrino. Too good.

                                                                              The Band In Heaven

                                                                              The Boys Of Summer Of Sam

                                                                                Summer is gone, friends, and with the cold bleak months that lie ahead of us in the Midwest, we're excited to unleash another unsettling dose of the band in heaven, churning forth two more direct hits of skull-softening Middle-Eastern tinged space rock destined to drain the fluids from your ears, while seductively stealing your valuable organs for the black market. Since our last release with this West Palm Beach, Florida unit, they've kept true to their style, creating a sinister apparitional vibe out of an inanimate round grooved object, and devolving into a pit of repetition, begging the question, is it heaven or hell? Mastered by Spacemen 3's Sonic Boom, you can't help but feel the soiled sordid psychedelic residue sticking to the dark corners of both tracks here, pulling together even more blackness from this Florida sunshine than ever previously imagined, and settling the tone for the worst case scenario.

                                                                                From the fringes of it's echoing, searing riffs to the cold and unusually cruel rhythms eclipsed only by the penetrating repetition, the band in heaven is the answer to a question you still don't understand, and another reason to look past your outdated boundaries and dive head-first into the undulating abyss. Just as with their debut 7" EP, this new single traps you in a vertigo-inducing vortex of modern psychedelic reverberation, washing you over with waves of petrochemical pleasure, as it takes root deep in the farthest recesses of your mind. - VictimofTime.com

                                                                                Recommended for fans of A Place To Bury Strangers, Soft Moon, Jesus & Mary Chain, Black Tambourine, Warlocks, Teepee, The Kills, Slowdive, Black Angels, Brian Jonestown Massacre

                                                                                400 copies Black vinyl.

                                                                                Band Of Horses

                                                                                Cease To Begin

                                                                                  Band Of Horses 2006 debut, "Everything All The Time" was a big favourite here at Piccadilly and so naturally we're very excited about this follow up. For a lot of reasons, "Cease to Begin" is the perfect title for this record. Not only do the songs themselves weave this theme through the record, but stopping and starting anew is also a reflection of the past year and a half for Band Of Horses. Though they worked with producer Phil Ek again, as they did on "Everything All The Time", much has changed between the fairly recent then and now. There have been band members who have come and gone, including Mat Brooke, who left the band to pursue other interests and his own band. For core members Ben Bridwell, Rob Hampton and Creighton Barrett, there has been a move from Seattle, WA to Mt. Pleasant, SC, a relocation that had been planned for some time so that they could all be closer to their families. And, close friends and family have come and gone-some far too early. Necessarily shot through with these experiences, the songs on "Cease To Begin" are strikingly beautiful, if less elliptical and more straightforward, with more sophisticated arrangements than the last record. It certainly doesn't disappoint.

                                                                                  Band Of Horses

                                                                                  Everything All The Time

                                                                                    Folks, you don't need to buy any records by My Morning Jacket, Flaming Lips or Mercury Rev anymore, Seattle's Band Of Horses have combined all three and only gone and made one of the albums of the year! These are huge, emotive, yearning songs. The sound is reverb-drenched and lonesome: enormo guitars chime whilst Ben Bridewell whacks out his vocals like Perry Farrel's little, lost brother. OK, they sound very similar to M.M. Jacket, but there's a directness here that's exhilarating. The whole record flows, but there's some absolute anthems lurking amidst the drift and echo. It's a towering, beautiful thing.

                                                                                    The follow-up to 2010's Grammy-nominated Infinite Arms, 'Mirage Rock' is the first of the band's records to be produced by Glyn Johns, who was inducted into the Rock and Roll Hall of Fame in 2012 in recognition of his work with The Beatles, Bob Dylan, The Rolling Stones, The Who, Led Zeppelin, The Faces, Eric Clapton and too many others to list.

                                                                                    Recorded at Sunset Sound in Los Angeles, 'Mirage Rock' is arguably Band of Horses' most cohesive and accomplished set of compositions and performances to date.

                                                                                    Produced by Gil Norton (Pixies, Foo Fighters, Patti Smith) and recorded in Rockfield Studios, By Default is the sound of a group on the sharpest form of their career, more engaged and focused than they’ve ever been. The follow up to 2014’s Himalayan, from the English trio - made up of Russell Marsden (guitar, vocals), Emma Richardson (bass, vocals) and Matt Hayward (drums) – the new record came about via a conscious decision from the band to take a step back from their relentless world-wide touring schedule (having never spent more than a month off the road in the last 2 years) to decamp to and write songs in a Southampton Baptist Church-cum-makeshift HQ. 

                                                                                    STAFF COMMENTS

                                                                                    Barry says: From funky staccato guitar to four-to-the-floor drums, three-part harmonies and rhythmically delivered vocals to National-esque introspection and distorted churning bass. 'By Default' is a swooning and morphing beast, no sooner do rousing crescendos appear than they melt into a cauldron of bubbling morosity and jagged tension, with relief never being too far behind. Measured and impeccable, apopleptic and serene. A whole of many halves, and every one of them brilliantly conceived. Highly recommended.

                                                                                    Band Of Skulls

                                                                                    Love Is All You Love

                                                                                      ‘Love Is All You Love’ was recorded in London’s Miloco Studios, The Smoakstack studio in Nashville, and in the Southampton studio of Band Of Skulls founder members’ Russell Marsden (guitar, vocals) and Emma Richardson (bass, vocals). Following the amicable departure of drummer Matt Hayward, Russell and Emma started the writing process for the record in 2017 and quickly accumulated a host of new songs. It was a free and experimental process mixing electronic and live instruments, working quickly, getting ideas down, then moving on.

                                                                                      Work then switched to The Toyshop studio at Miloco to collaborate with Richard X, known for his innovative production with artists from Pet Shop Boys to Goldfrapp to Sugababes, whose ‘Freak Like Me’ was one of the standout singles of the 2000s. Richard X encouraged Band Of Skulls new spirit of experimentation, pushing the combination of live and electronic as mixing the two was creating interesting dynamics. Once the writing was complete the band decamped to Nashville to record the live element of the record with Eagles Of Death Metal’s Julian Dorio on drums.

                                                                                      All these elements added a heavy punch and power to ‘Love Is All You Love’, especially on the unrelenting ‘Carnivorous’ and short sharp shock of ‘That’s My Trouble’. ‘Cool Your Battles is more widescreen, while ‘We’re Alive’ has a heavy dance pulse with a touch of melancholy. The song ‘Love Is All You Love’ focuses on the groove and keeps the feel of when they tracked it live in Nashville. This song in particular seems to encapsulate the sentiment of the whole record.

                                                                                      “This record is tough and tender with a rebellious spirit,” say Emma and Russell. “It is a positive record. It looks to what is possible and how a little love and human kindness can help bring about positive change. We drew on personal experiences, changes in our situation, and couldn’t help but be affected by what has been going on in the world politically, culturally and environmentally. Attempting to overcome that sometimes powerless feeling by creating and connecting with people and making something new.” 


                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: Red vinyl.


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