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

Moss Side Story

    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.

    Nurturing a vision of The Great Soundtrack, Barry returned to Manchester’s mean streets in 1989 to compose the autobiographical thriller ‘Moss Side Story’ - the themes for a film that never existed.

    Uncovering Adamson influences, from John Barry to Ennio Morricone to Lalo Schifrin, the album set a precedent for inventive forms and thinking through echoes of cinema past.

    The album also features guest appearances by Diamanda Galas and Rowland S. Howard.


    Laura says: Former Magazine and Bad Seeds bassist Barry Adamson, took his love of film scores by the likes of Morricone, Barry and Shifrin for inspiration on his debut solo album.
    It's an edgy, sinister soundtrack to an imaginary film shot in the dark streets of Moss Side, and captures the noir vibe perfectly.

    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’.

      Barry Adamson

      The Long Way Back Again

      One of the most underrated Manchester musicians ("Moss Side Story" is a lost classic!) returns with a less filmic, more song-based sound. "The Long Way Back Again" is a melodic country-tinged strum-along with Barry's superb vocal croon over the top and great Animals-esque keyboards wailing away in the background.

      ‘Love Sick Dick’ is a new six track special EP from Barry Adamson. Hot on the heels of last years eclectic album, ‘Know Where To Run’, Adamson zero's in on the theme of messed up, crazy unrequited love and lust, a theme that is often hinted at on his other albums but now under scrutiny and focus here as Adamson screws around with and convolutes the blues as he understands them.

      Sweet Misery, the first single from the EP, hits the troubled character of Adamson's own making directly in the guts until he spills them and from there, just like branches on a tree, the other five tracks lay testimony to the character's powerlessness and his need to keep searching within and find answers to this bizarrely acute situation of all the human conditions.

      Like a forensic scientist, Adamson revels in discovery, epiphany and the heart's ultimate failing, whether it be in a wrangled out Nina Simone style rant in six-eight time, an electronic emulation of how the fifties might of sounded if synths were around then, or cranked up disco blues where repetition and longing hammer the point home.

      The record takes the listener through a whole menu of musical delectation, an expected, almost given in Adamson's work, leaving you unlike the character in this hideous analysis, craving more for it's own sake, but rather feeling like going back to your favourite eatery with an appetite that simply wants to delight in savouring.

      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.

        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…'

        Brett Anderson

        2011 Live At Koko - Coloured Vinyl


          Brett Anderson's fourth solo album, "Black Rainbows", was released in September 2011 and in October he undertook a six date tour: Leuven, Paris, Luxembourg, Manchester, London and Istanbul. The album is pressed on dark green vinyl, and the inner sleeve features previously unpublished photos from the rehearsal sessions.

          At Koko in Camden on 12th October, Brett and his band (Jim Dare on guitars and backing vocals, Didz Hammond on bass and backing vocals, and Kriss Sonne on drums) played a rousing set that concentrated on "Black Rainbows" and its predecessor "Slow Attack" from September 2009. The best performances of the evening, seven songs from "Black Rainbows" and five from "Slow Attack", have been re-mastered by Didz Hammond especially for this exclusive Record Store Day release.

          Brian Auger

          With The Soul Sisters EP

            Brian Auger had figured highly in the 1964 Melody Maker Reader’s Poll “Jazz Piano” category, but after he heard Jimmy Smith, he switched to Hammond organ and never looked back. In the wake of the successful UK Tamla Motown Revue in 1965, the door opened for other US soul acts to tour Britain and in the summer of 1965, the Soul Sisters crossed the pond and teamed up with Brian Auger’s Trinity for a dozen or so dates on the club circuit, from Manchester’s Twisted Wheel to Portsmouth’s Bird Cage. Whilst they were here, they managed to fit in some radio broadcasts and here they are for the very first time. 

            ‘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.

            The B-Girls

            Bad Not Evil

              Limited Ed. Pink vinyl w.insert and liner notes by B-Girl, Cynthia Ross. Includes the band’s only single on Bomp!, Fun at the Beach, plus studio recordings from 1977 thru1981, and two live tracks. THE B GIRLS ARE BACK ON BOMP! ... WHERE THEY BELONG!!! BAD not EVIL is The B Girls first full-length vinyl release. It includes the band's only single on Bomp!, plus studio recordings from 1977 up to 1981, and two live tracks. The songs are produced by Debbie Harry of Blondie, Mick Jones of The Clash, Craig Leon (The Ramones, Blondie, Richard Hell, Suicide, The Zeros), Liam Sternberg (Rachel Sweet, Kirsty McColl, The Bangles), Bob Segarini (The Wackers) and The 'B' Girls, with engineer Robin Brouwers (Teenage Head). Peter J. Moore restored and digitally re-mastered all tracks.

              The release is a LIMITED EDITION ON PINK VINYL and includes an insert with LINER NOTES BY CYNTHIA ROSS, and photos by Rodney Bowes, Theresa Kereakes and Bob Gruen. Active 1977 thru 1981 - Toronto based first wave punk band – relocated to NY and part of the scene there, Debbie Harry and Mick Jones produced demos for them. They sang back up on Blondie’s Auto American as well as Stiv Bators solo effort, Cynthia was engaged to Stiv for a time. They never put out a full length and are rumored to have been an influence to The Go-Go’s. There was a 1997 release via Other Peoples Music (Redeye) that has scanned 285 units across CD/digital formats.


              LP Info: Limited edition pink vinyl with insert and linear notes by B-Girl.


              They Forget / Trash & Mystery


                Previously unreleased demos from 80s new wave band B-Movie. Their 1982 single "Nowhere Girl" became an international club hit, earning the band a worldwide fan base. In 1981 B-Movie signed to the Phonogram imprint Deram and had their biggest UK commercial success with the single “Remembrance Day”, which reached No 61 on the UK charts. A must for all collectors of new wave / synthpop.

                Three tracks of left-of-centre dance music music from the Ears Have Eyes label bosses Murun B and Ivor E.

                The track names draw on imagery from hazy memories of cartoons from our childhood.
                Detroit leaning techno, breakbeat-house and 3am trippy goodness. 


                Electro-Soma I & II

                  One of Warp’s original signees B12 reissue their cult classic ‘Electro-Soma’. Originally released in the early 90’s, a key era for hugely influential electronic music. With its gleaming surfaces, supple rhythms and utopian strings, B12’s Electro-Soma is among the most distinctive albums of this time. B12 went from anonymous figures on the fringe of the dance scene to emblems of techno and IDM. The duo were also involved in the Artificial Intelligence series from which this was the fourth edition, other releases included Aphex Twin (under the Polygon Window guise), The Black Dog and Autechre. Electro-Soma was a compilation hand picked by Warp founder Rob Mitchell from the tracks he loved on early B12 Records 12"s, with a few pieces made specifically for the album including ambient opening theme ‘Soundtrack of Space’ 

                  Originally inspired by punk, pirate radio, East London soca parties and above all Detroit techno, the B12 sound has inspired generations of electronic artists and the tracks are still played out at underground clubs around the world. 

                  All tracks on the reissue have been remastered from original sources and the package includes track-by-track annotation, a new essay about the early years of B12 by Ben Murphy, plus archival photos, flyers and other memorabilia from the period.

                  This 2CD collection also includes Electro-Soma II - a companion volume compiled by B12 of other early B12 Records track of same vintage, deep cuts, rarities.

                  One of Warp’s original signees B12 announce the reissue of their cult classic "Electro-Soma". Originally released in the early 90’s, a key era for hugely influential electronic music. With its gleaming surfaces, supple rhythms and utopian strings, B12’s "Electro-Soma" is among the most distinctive albums of this time. B12 went from anonymous figures on the fringe of the dance scene to emblems of techno and IDM. The duo were also involved in the Artificial Intelligence series from which this was the fourth edition, other releases included Aphex Twin (under the Polygon Window guise), The Black Dog and Autechre. "Electro-Soma" was a compilation hand picked by Warp founder Rob Mitchell from the tracks he loved on early B12 Records 12"s, with a few pieces made specifically for the album including ambient opening theme "Soundtrack of Space" 
                  Originally inspired by punk, pirate radio, East London soca parties and above all Detroit techno, the B12 sound has inspired generations of electronic artists and the tracks are still played out at underground clubs around the world.

                  "Electro-Soma II" is a companion volume compiled by B12 of other early B12 Records track of same vintage, deep cuts, rarities - on vinyl for the first time.

                  All tracks have been remastered from original sources and the package includes track-by-track annotation, a new essay about the early years of B12 by Ben Murphy, plus archival photos, flyers and other memorabilia from the period.

                  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.

                  Pascal Babare

                  Thunderclap Spring

                    Possessed of a looseness, a lightness and a prodigious songwriting ability that belies his years, Pascal Babare is a future slacker superstar who demands the attention of all fans of Vetiver, Elliott Smith, Iron & Wine, Peter Broderick, Grizzly Bear, Bright Eyes and Animal Collective. Recorded across three continents, 'Thunderclap Spring' is an ecstatic collection of morning ragas, evening croons and kaleidoscope melodies; these wide-eyed mantras set the trajectory for a new artist destined for truly great things. Already attracting the attention of celebrity fans and tastemakers, Pascal's first album delivers a set of uniquely charming songs that will creep under many a skin this Autumn moon. Warm, rickety, direct and honest, "Thunderclap Spring" confirms Pascal Babare as a serious prospect and a highly unusual talent.

                    FORMAT INFORMATION

                    Cassette Info: Available as a limited cassette with download code in an edition of 300, and digital download, ‘Thunderclap Spring’ precedes a full scale Babare release scheduled for Spring 2010, and is the first album from blackmaps limited, a Tokyo and London based label.


                    Your Love / It's Not Easy

                      Third single from West London five-piece.
                      New single from Babestation, with lush synths and strings creating a warm, atmospheric, alt-pop song.

                      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.

                      The Babies

                      The Wilds

                      LebensStrasse Records are very proud to present the EP "The Wilds" 7”, from the much loved and wildly band The Babies. In a limited and hand numbered edition of 500 copies.

                      The Babies are a New York adventure, comprising the Vivian Girls frontwoman Cassie Ramone, the bassist from Woods Kevin Morby, the Bossy’s drummer, Justin Sullivan and Nathanael Stark. With releases out already on Keep It Yours Records and Shrimper (their 2011 debut long player), there has been much excitement about this ultra-limited EP.

                      LebensStrasse say; 'Their songs portray, in a beautiful and intense way, the experience of those who, consciously or unconsciously, are facing the contradictions of a city, wanting to live there like in a house full of friends on the beach front. If they were a drawing, they would be a tattoo illustrating a trip, which departed, then with the skin covered by the dust of a desert road, sometimes with the hair covered by the wave’s foam in an endless and empty beach.'

                      Baby Charles

                      Back Of My Hand / Coming From A Higher Place

                      The long-awaited debut Baby Charles single is finally here! This limited edition 45 precedes the band's debut album, and includes irresistible R&B stomper "Back Of My Hand", featuring vocals by Dionne Charles, and instrumental deep funk monster "Coming From A Higher Place". If you dig Sharon Jones & The Dap Kings, Quantic Soul Orchestra, Sweet Vandals or Nicole Willis & The Soul Investigators, you'll definitely love this 100% deep funk and soul goodness.

                      FORMAT INFORMATION

                      7" Info: Limited dinked 45.

                      'A retro romo romp through a New York ghost world that is neither the drainpipe-and-denim sweat pile of CBGBs nor the mirrorball glitz of Studio 54 but somewhere in between' – Uncut. 'Imagine if fate had been kinder and Ian Curtis was still with us and recording with Money Mark, producing low-fi paeans to the everyday struggles of life and love writ through with a wry irony. A crooner for our times, Baby Dayliner's monotone voice and cranky instrumentation belies a hopeless romantic who would make Serge Gainsbourg and Leonard Cohen smile' - Wallpaper Magazine.

                      One of entertainment’s most flamboyant musical artistes of the last decade, Baby Dee is back with a new album, "Regifted Light", on Drag City Records.

                      The album is not merely charming, nor simply enchanting and / or deeply touching - it is also an unusually arrayed album, scattering four vocal performances among eight smartly arranged, classically focused instrumentals, creating quintessential Baby Dee in all her unconventional glory.

                      "Regifted Light" was produced by the amazing Andrew WK. The arresting cover is the distinctive work of the acclaimed Dutch artist Christina De Vos.

                      Baby Dee’s musical career has seen her perform worldwide with musical connoisseurs such as Will Oldham (who co-produced ‘Safe Inside The Day’ with Matt Sweeney), Antony Hegarty, Marc Almond, Alex Neilson and David Tibet.

                      Baby Huey

                      Hard Times / Listen To Me

                        Baby Huey drew comparisons to Otis Redding, but a fatal heart attack in 1971 prevented him seeing the fruition of a successful career and the actual release of this Curtis Mayfield penned song. An original pressing on Curtom originally sold for over £300. “Hard Times” has been sampled over 50 times by artists including A Tribe Called Quest, Lil Wayne, Biz Markie and The Chemical Brothers. “Listen To Me” has been sampled by Eric B & Rakim, Wu-Tang Clan. Public Enemy, Grandmaster Flash and many more. This is the first time these tracks have been released in the UK

                        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!'

                        STAFF COMMENTS

                        Sara says: A big fellow with a big soulful voice, worth a listen if you haven't heard it.

                        Baby In Vain

                        More Nothing

                          Baby In Vain are a three-piece from Copenhagen, Denmark. Think Queens Of The Stone Age, Black Rebel Motorcycle Club and Sonic Youth. Their debut album, ‘More Nothing’, was produced by Rob Ellis (PJ Harvey, Torres, Bat For Lashes).

                          The band have previously toured with The Kills, Thurston Moore, Ty Segall, Jesus and Mary Chain.

                          Partisan Records released the ‘For The Kids’ EP in April 2016 and it went to #1 in the Denmark vinyl charts.

                          “Denmark’s Baby in Vain are giving guitar music a snarling shot of adrenaline” -NME

                          “A band whose sheer unrelenting attack can leave you breathless” - Clash

                          “Songs that thrum with fearlessness and great confidence” - The Guardian

                          “A visceral combination of Sleater Kinney, Babes In Toyland, and Queens Of The Stone Age with boss-ass results” - Noisey

                          “The Danish trio don’t fuck around.” - DIY

                          FORMAT INFORMATION

                          LP includes MP3 Download Code.


                          "BBF" Hosted By DJ Escrow

                          Sleeve-art that has the online world foaming at the gills, fresh collaborations with Arca, and Mica Levi, a press release written by British DJ / Hollywood actor Idris Elba, track-titles like ‘Greezebloc’, ‘Esco Freestyle’, ‘Killuminati’ - it can only mean the glorious return of Dean Blunt (alongside other, as yet unrevealed, Babyfather members).

                          Over 50 minutes Blunt takes us on a trip through 23 tracks that reference everything from hip hop, grime and trap to the moody, claustrophobic weed-addled atmospherics of Massive Attack (indeed, with his monotone vocal and often melancholic lyrics, Blunt could be a Millennials Tricky). There's deft samplism, post-Dilla beatscapes and screwed guitar shapes, all underscored by classic art-pop sensibility, and interspersed by the Quasimito-style helium pirate radio style chatter of DJ Escrow (presumably a pitched-up Blunt). So far, so 'settle down on the sofa for some smokers downbeat', but beware, as Dean has mined the album with randomly placed noise terror tracks, and a trio of cuts ('Stealth', 'Stealth Intro', 'Stealth Outro') featuring mantra-like repetitition ("This makes me proud to be British") over mind-numbing muzak to have you running for the volume control and >> button respectively. Mostly brilliant, sometimes head-scratchingly confusing, '"BBF" Hosted By DJ Escrow' is one of the inventive albums of 2016.

                          “Without a doubt, I guarantee that it will be in rotation at every club, at every party and coming out the speakers of every car... this makes me proud to be British ” Idris Elba.

                          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.

                          Luis Bacalov

                          La Seduzione


                            Italian soundtrack holy grail and one of the most regarded scores by the majestic Oscar Award winning maestro Luis Bacalov. Original soundtrack for the Drama/Erotic film directed by Fernando Di Leo, shot in beautiful Sicily, IT. Totally destroys all his Soundtrack productions with a big orchestra selection featuring some of the best Italian grooves ever - terrific Funk beats, mind-melting scats, Brazilian influenced music with loads of dope Exotic vibes. A gigantic Italian music masterpiece finally available for the joy of collectors!

                            Limited edition of 500 copies exclusive for RSD 2017.

                            Luis Bacalov

                            Carrefour / Sistemo L'america E Torno

                            The Italian funk god Luis Enriquez Bacalov is celebrated here with this unmissable 7-inch record, featuring two of his grooviest tracks ever: on the A-side, the legendary CARREFOUR is maybe his funkiest soundtrack piece, here released for the first time in its entirety, with an unexpected introduction via a powerful horn section, which was cut from the original 1976 RCA 7’’. Behold an eternal jazz-funk masterpiece with solid drum breaks and hip hop heavy beats, funky congas, wah wah guitar, psychedelic organ. This track was used for the 1976 movie “Colpita da improvviso benessere”, directed by Franco Giraldi, but was originally conceived for the 1974 movie “Sistemo l'America e torno” by Nanni Loy. For the B-side, we have chosen from this same score another killer groovy track which was already compiled on our ESTERNO NOTTE Vol. 1 compilation.

                            SISTEMO L’AMERICA E TORNO - SEQ. 7 has a tremendous rhythm section, a wonderful guitar riff, psychedelic flute, and stunning Hammond organ solos. This is another future classic from the golden age of Italian soundtracks, and an absolute must-have for any and all jazz-funk DJs worldwide!

                            FORMAT INFORMATION

                            Ltd 7" Info: Limited to 400 copies.

                            Bacao Rhythm & Steel Band

                            Scorpio / 8th Wonder

                              Big Crown Records is proud to present Bacao Rhythm & Steel Band’s new 45, “Scorpio” b/w “8th Wonder”. Coming after the smashing success of their debut full length “55” they drop 2 B-Boy classics back to back on this tough two sider that comes in a beautifully illustrated picture sleeve. The A side “Scorpio” is a killer cover of the Dennis Coffey breakbeat staple. BRSB turn up the tempo a touch on the original doing the tune justice with crushing drums they have become known for. This is sure to be in every breakbeat enthusiasts box. The B side features the non album cut, BRSB’s cover of The Sugarhill Gang’s 8th Wonder, a tune that lends itself to pans like it was written for them. Another dance floor winner sure to be in DJs sets the world over shortly.

                              "My Electric Family" is an arresting development in the world of sweet pop music. Bachelorette's music beams to us through a universe of unconquered pop music, where long beams of sunlight extend to infinity, and blue moons rise wistfully in the deep purple expanse. She stands in the cradle of modern songwriting, that of psychedelic pop music. The sense of infinite possibility felt in those songs, the desire to manipulate a collective sensation to become anything at all, informs Bachelorette's journey. Bachelorette's song structures are traditionally examinations of love and longing, the exploration of self versus self and in relation to the surrounding, silent universe. The songs of "My Electric Family" emphasize a particular fascination: the meeting of man and machine.

                              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.

                                  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


                                  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.

                                  FORMAT INFORMATION

                                  2xLP includes MP3 Download Code.

                                  Bad Boys Blue


                                    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.

                                        Recorded in a snake pit, in a quarry, on top of a mountain, in the desert, at night, during a thunderstorm, BAD GUYNAECOLOGY is the second album from Hackney’s BAD GUYS. Not only that, they will be playing an album launch show on FRIDAY 13th MARCH – yes, you heard that right, unlucky for some but not for BAD GUYS – at London’s infamous Lexington venue ahead of a full run of UK dates.

                                        Full of heavy riffs, pounding drums and wild vocals laid down on seven foot wide steel tape, then smelted into WAVs by an irritable dwarf in an ancient forge, in space - BAD GUYNAECOLOGY truly is the soundtrack to your generation. Whoever you are.

                                        Bad Guys are a southerner, a midlander, a Canadian and a Hungarian.

                                        Production duties on this album fell to esteemed metal producer Jaime Gomez Arellano (Ghost, Cathedral, Angel Witch).

                                        Bad Guys have played at several ATP festivals without ever being asked, razed a chalet to the ground on one occasion and got heavily fined, then next time played directly outside the security guards’ accommodation and got shut down. Learning from experience they opted to play inside the main building next time and were shut down due to being a fire hazard.

                                        They’ve played on the fourth plinth in Trafalger Square as part of Anthony Gormley’s ‘One and Other’ art installation, they were told to shut down then as well even though you were supposed to be able to do whatever you like.

                                        They’ve played in a theatre, as part of a poorly judged bit of experimentalism by a director. They weren’t shut down but it was clear everyone wanted them to leave. Then they played in the life drawing room in the Royal Academy (the oldest life drawing room in the country), where they performed naked and people drew them, with varying degrees of success. They weren’t shut down and lot’s of intellectuals said it was interesting.

                                        As well as all this stuff they’ve played in countless pubs and clubs and parties up and down the country and around Europe and have been generally very well received. Apart from in Glasgow where the promoter didn’t bother turning up, the DJ played techno to warm up and one drunk woman kept shouting at them to shut up.

                                        FORMAT INFORMATION

                                        CD Info: CD limited to 500 copies in digipack sleeve.

                                        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.

                                        You know that feeling you get when you’re shook awake in mid-dream? You were teetering on the ledge of a building, or maybe trying to free a butterfly from a spider web while wearing cricket gloves? Perhaps you’re running late for a train and your short cut takes you through a bad part of town, you’re being followed but the ever changing reflection in the shop window is a younger you, a healthier person – with a better hairstyle. It’s an anxiety thing, an off-kilter almost world, best summed up on the soundtrack for Blue Velvet, David Lynch’s 1986 film that nods somnambulantly to the shadowy netherworld of film noir. Oedipal fantasies, finding a severed ear on your way home, voyeurism, crime and retribution, violence; they’re all there in abundance in the movie, a rotten sleazy commercialism set off against a set of strange situations that the edge of the seat is never far away from. And what soundtrack would suit such an experience? Of course a mix of orchestral pieces from composer and conductor Angelo Badalamenti inspired by Shoshtakovich’s 15th Symphony (which rumour has it Lynch played onset to create the ‘mood’) mixed up with trashy Hammond-led boogie and overblown baroque pop from Roy Orbison and Ketty Lester, suitable for any dive’s jukebox. That awkward mix plays itself out in Isabella Rossellini as Dorothy’s rendition of the song ‘Blue Velvet’ that melds beautifully and indeed hauntingly into ‘Blue Star’, a broken piece of vintage pop. Similarly, the track ‘Going Down To Lincoln’ with its narrative audio shtick takes all of the previously-mused elements to create a perfectly disjointed travelogue. The soundtrack album starts with Bernard Hermann-styled Hitchcock-esque strings and violin slashes, which dally before deconstructing the themes and motifs into a disturbing procession that climaxes with Julee Cruise’s funereal ‘Mysteries Of Love’, a fittingly titled epilogue to an epic that concludes with the hero’s true love’s reality of a simplistic birdsong dream from earlier in the film. It’s a cyclical trip that feeds directly back to the beginning and, yes, there’s that severed ear again, now ant infested laying on the ground, proving that dreams become real, or is it reality that becomes a dream?

                                        FORMAT INFORMATION

                                        Coloured LP Info: Limited edition coloured vinyl LP pressed on split colour blue and black vinyl.

                                        Angelo Badalamenti

                                        Music From Twin Peaks

                                        "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 and CD, freshly remastered and properly pressed by Warners ahead of a brand new series! 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 ahead of a BRAND NEW SERIES! As lovely as Audrey and as cool as Agent Cooper, this is aces!

                                        Angelo Badalamenti

                                        Twin Peaks - Fire Walk With Me

                                        'Through the darkness of future past
                                        The magican longs to see
                                        One chance out between two worlds:
                                        Fire walk with me...'

                                        Seeming to emanate directly from the dark heart of the Black Lodge, "Fire Walk With Me" is an altogether more brooding affair than the Twin Peaks series soundtrack. The surreal atmosphere and airbrushed shimmer remain, but the melancholic notes, minor key melodies and sustained bass tones are perfectly in keeping with the unending disquiet and foreboding which David Lynch achieved. 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. 

                                        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!

                                          Well, this is absolutely massive! Japanese label Disktopia have pulled off an A&R masterstroke, luring the legendary Wally Badarou into the studio for his first vinyl release of solo music since 1989! "The Unnamed Trilogy Vol.1" sees the keyboard king doing his thing for 2k17 with four contemporary recordings completely in step with the unforgettable grooves of "Echoes". "Fisherman (I-Theme) kicks the set off with a stellar drum box rhythm, buoyant bass synth and slick synth-licks which veer into fusion territories before snapping back into the land of cybernetic jazz funk boogie. A rhythmic, chanted vocal adds an almost electro touch to the track, while the coastal cool of the number should delight the Balearic crowd. The tropical tackle continues with "The Daiquiri Diaries (Vintage Extended)", as Wally weaves a little cinematic spell on our adoring asses. Atmospheric, emotional, and laced with percussive subtleties, quayside Rhodes tones and muchos moonlight - this is for the lovers and bad cops. Imagine a tender moment with a loved one immediately before you make a drugs bust. Over on the flip "Awa" brings a decidedly Bubble Bobble vibe to the table, chiming perfectly with the Digital Zandoli comps as it sways, shimmers and squeezes under the Chicken Limbo pole. Surely a must have for OG cyberpunk Ruf Dug, this is more tropical than a line of Lilt dust and totally reminiscent of Zora's Domain and Monkey Island. Finally the synthesised vox, cloudlike calm and digital charm of "Higher Still..." closes the set on an ambient note - definitely one for fans of "Words Of A Mountain". Wally's back! 

                                          STAFF COMMENTS

                                          Patrick says: Holy shit batman! Synthfunk king Wally Badarou is back with new material - and it's fucking class! From the jazzier than your keyboard tie cyber-groove of "Fisherman", through the late night loving by the Quay "Daiquiri Diaries", via the Bubble Bobble zouk banger "Awa" to the aquatic, cinematic, synthscape masterpiece "Higher Still" this is the absolute shizzle! Yes!

                                          After a prolific year as a sessionist in 1979, which saw him lend his silky synthesizer skills to Tumblack, the Gibson Brothers and M ("Pop Muzik"!), Wally Badarou arrived on Riviera LM Recording System, a subsidiary of French powerhouse Barclay, with the sweet soul of his debut solo LP "Back To Scales". Long out of print, and largely overlooked in favour of his admittedly supreme "Echoes" LP, the album has been a secret weapon for the disco, soul and Balearic connoisseurs thanks to the seemless fusion of Wally's enchanting melodies and the emerging electronic sounds of the era. Groove-heavy, soulful and synthetic, "Back To Scales" showcases all the lilting rhythms, intricate keys and potent island funk of "Echoes", while still staying true to the soulful stylings of the time. Out of reach for far too long, this reissue is a gift to everyone.

                                          STAFF COMMENTS

                                          Patrick says: Wally was a legend way before "Echoes", and this pristine Love Vinyl reissue returns his solo debut to shelves after far too long. Within the soulful grooves and perfect pop moments, we hear the origins of the innovative synthesis and pure Island funk we know so well.

                                          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.

                                          Badly Drawn Boy

                                          Born In The UK

                                          The unofficial release of Damon's new vinyl-only 'secret' single "Born In The UK". It comes lovingly packaged in unique Andy Votel designed 'Fish'n'Chip'style packaging, that folds out into a Badly Drawn Boy newspaper. Each of the exclusive one sided test-pressings also includes a Badly Drawn Boy wooden chip fork! it's available in three different colours but we can't guarantee which colour you'll get.... it'll be a nice surprise won't it!

                                          FORMAT INFORMATION

                                          Ltd 7" Info: Sooo limited, you wouldn't believe! JUST FOUND A COPY OF THIS - FIRST COME FIRST SERVED!

                                          Badly Drawn Boy

                                          The Video Collection

                                            After four full-length albums, and 10 hit singles, XL Recordings is proud to issue "BDB DVD - The Video Collection", featuring eleven official videos, the rarely-seen clip for "My Friend Cubilas", exclusive live material, and some nifty hidden extras. The 8 page full-colour book includes a detailed content listing, featuring complete director credits. Badly Drawn Boy's videos have always been on the cutting edge - utilizing the behind-the-camera skills of such acclaimed directors as Nick Brandt (Michael Jackson, Moby, Jewel), Hammer & Tongs (Blur, REM, Fatboy Slim), Grant Gee (Radiohead, Mansun), and more. This collection also features a live performance by the Doves ("Road Movie") and the very first video appearance of superstar Joan Collins. Animated menus include original single cover art courtesy of long-time collaborator and partner, Andy Votel.

                                            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.

                                            LP Info: 9 track US only vinyl. Comes in black stickered sleeve.

                                            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

                                            2xLP includes MP3 Download Code.

                                            Ricardo Baez

                                            The Message EP - Inc. Sei A Remix

                                            The debut EP of DJ Ricardo Baez - including an great SEI A remix!

                                            Riccardo is one of the hot kids of the new Italian house scene. Only 23 years - he is already one of the main figures in Italy. Touring as a support DJ with Kim Ann Foxman (who is a closed friend and supporter), Azari & II, Munk, Ben Pearce, Gesaffelstein. Ricardo has the potential to become a real rockstar in the electronic bizness. Living the vida loca between night life and bedroom producing. 'The Message EP' is his debut. Inspired by 90s UK garage, Voguing, New York (where he has spent some time), Marshall Jefferson, Kevin Saunderson and soul music. Deep, funky, great. This is Ricardo's start - there is a lot more to follow.

                                            Joan Baez

                                            In Concert Part 2

                                            "In Concert 2" captures Joan Baez at her best, stood before a receptive audience, with only a Gibson for company, perfoming an exquisite mix of traditional and contemporary folk tracks that have a timeless perfection about them.

                                            Chances are, if you’ve stumbled into a club, wobbled at a party, looked into the light at a festival or dawdled along the radio dial in the last two years, you’ve been inadvertently exposed to the Bag Raiders. Now the boys are finally ready to deliver their long overdue and lovingly anticipated debut album. A collection of thoughts, ideas and memories, Bag Raiders transcends typical dance and pop boundaries, showcasing the creativity of a band at the forefront of modern production. The album ticks the right boxes for electrohouse / Electro-indie fans new and old, coming correct with sing-a-long choruses, deep-breath anthems, blissful chill and pure dancefloor energy.

                                            Limited reissue of Bagarre’s cult classic new wave / Italo disco LP ‘Circus’. Originally released back in 1982 on tiny Italian label Sauvage Musique, this amazing LP, which features the wonderful left field vocals of Ann O’Rack over some killer italo disco grooves and perky new wave pop, has become a real collectors item and is now hugely in-demand. Standouts include the superbly melancholic and sleazy ‘Dirty Love’, oddball gem ‘For Your Pleasure’ and the excellent disco version of ‘Lemonsweet’, but the whole LP is great and a worthy addition to any collection. Top stuff!

                                            FORMAT INFORMATION

                                            LP Info: Two copies found!

                                            Copenhagen’s Music For Dreams continues its run of great releases with a tasteful 12 inch from label boss Kenneth Bager who presents four on-the-money remixes of his single "Sunshine Stereo" taken from forthcoming album "Follow The Beat". Currently enjoying heavy rotation on P3 (Denmark’s answer to Radio One), this summery anthem gets makeovers from Denmark’s Jazzbox, Greek duo Bonnie & Klein and from Mr Bager himself who teams up with Napoli-born producer extraordinaire Tuccinelli to give us not only a superb extended vocal mix but also an on-fire dub version of the track that’s sure to be a future classic both for the Balearic brigade and all lovers of funky downtempo dubbed-out weirdness. Treading the same territory as the fabulous Frankie Knuckles’ ‘Hallucinogenic’ mix of "Ain’t Nobody", this dub is full of tricks, teasing and pleasing the dancefloor and already getting strong support from Moonboots, Amnesia legend Leo Mas and Danish DJ Peter Visti. Elsewhere Jazzbox deliver a great uptempo beach boogie version full of soul and groove making great use of the unmistakeable voice of Damon Scott, known for his work with Storm Queen, while Bonnie & Klein produce a very special percussive jazzy dub mix. The pair are on a roll at the moment and this remix with its warm marimba vibes creates that Mediterranean vibe we all love. A real sun-soaked winter warmer, this 12” feels like a knitted sweater in the cold! Limited vinyl.

                                            Baggy Kidz

                                            Straight Outta Gorton

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

                                              Currently starting basement fires in his new home of Berlin, Melbourne's master of all things Industrial/EBM, Kris Baha, takes a break from his Power Station/Power Cuts duties to drop a snorter for his now local Cocktail D'Amour. Intensely disturbed, sleazy and dirtier than Martin's brew mug, title track "Autora" begins life as a classic EBM cut, rattling our ribs with tough machine beats and a throbbing bassline. Getting weirder as it romps on, "Autora" barks with distorted fx oddities perfectly mashed to an involving balance. "Brink Reality" drops the tempo but up the creep factor, lacing the groove with all manner of mechanical critters. Disembodied vocals whisper and snarl adding a touch of menace, while the occasional break into swooning, synth flute sees us soar into the stars for a brief moment of respite. The beatless "Happiness Disaster" is at once space-aged, scary and cinematic, while B-side opener "10Ways" is a thunder bolt of crushing steel, bouncing percussion and a vocal worthy of Front 242 or Cabaret Voltaire. Closing the EP on a romantic and sweet note, "Start Over" is an italo/wave hybrid ballad tinged with hope and brightness, certain to get some love from the Red Laser massive.

                                              Kris Baha with a colon rupturing, five track assault of EBM, darkwave and experimental electronics. Sharing a same industrialized edge, spine-chilling atmospheres and reverb-laden vocals meet juddering low end arps and crashing gated drums. Intoxicating and nihilistic, brutalist workouts for the tuffer and seedier end of the spectrum. Recommended! 

                                              STAFF COMMENTS

                                              Matt says: Doning black eyeliner and goth boots, this industrialized chugger from Kris Baha is the kind of strung out tension that freaks on the continent go crazy for.

                                              Bailey is a prolific songwriter, having published over 300 songs, many of them classic soul tracks co-written with Ken Williams. More recently the title track from this 1974 LP was recently featured on Gilles Peterson's "Gilles Digs America" compilation. The original productions on the album (many home made on a basic tape machine), were enhanced with strings, rhythmic overdubs and other instruments to create one of the best soul albums of all time. Everything about this album oozes quality from the great songs, the arrangements and JR's soulful vocals - pure magic! After seven years of trying, Soul Brother have finally been able to license and reissue this classic album, which has been heavily in demand for many years with original copies fetching up to £200.

                                              Maureen Bailey

                                              Takin' My Time With You / I Want You (All For Myself)

                                              Both these songs are arranged by Gene Page from the heyday of his work in the 70s with Barry White. Lushly orchestrated, “Takin’ My Time With You” has the additional benefit of being an awesome ‘modern soul’ dance record, a track largely undiscovered until recently and now heavily in demand. The original 7” released in 1976 is impossible to find and has exchanged hands for £500. Maureen Bailey is from and was contracated as a songwriter with Motown. She worked with artists including Thelma Houston, 5th Dimension, Jermaine Jackson and Syreeta. She recorded three singles as a solo artist.

                                              In demand modern soul floor filler

                                              Original worth £500

                                              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.

                                              STAFF COMMENTS

                                              Patrick says: Words (even mine) can't do this record justice. Sublime, spiritual soul, recorded on synth and 808 which transcends genre confines to blow minds. It'd be record of the week in about five genres on any given week. DO NOT MISS THIS!

                                              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.

                                              Considering they’ve collaborated ever since they were kids living under the same roof, The Baird Sisters arguably could have made an album like Until You Find Your Green years ago. They’ve released two live recordings (the first recorded by their dad) and made plenty of demos, but this marks the first time Laura and Meg Baird decided to write and record a full-length on their own terms. The songs, recorded in Laura’s house, have a familial intimacy joined by skillful depth, the ideal blend for a folk record, an equal mix of comfort and talent.

                                              Growing up surrounded by music, the sisters have traveled separate paths while remaining close. Laura studied piano and trombone in school and has collaborated with Glenn Jones on his recent releases. Meg has played in Espers, Watery Love, and currently drums/sings in Heron Oblivion. She’s also released a few solo albums on Drag City. Laura’s first solo record will be released by Ba Da Bing early next year.

                                              These recordings capture the complexity of seventies progressive folk rock, emphasizing acoustic instrumentation with a lack of self-consciousness that can only come from a private domestic environment. Meg plays guitar, Laura banjo, singing in harmony, and ornamenting their songs with flute, cello, fiddle, mandolin, upright bass, percussion and a cricket chorus. Until You Find Your Green’s songs seem traditional, but that’s deceptive, and they unfold in greater depths the deeper attention paid to them.

                                              Ka Baird

                                              Sapropelic Pycnic

                                                ‘Sapropelic Pycnic’ is the Drag City and world debut of music presented under the name of Ka Baird. While this record is a commencement of many sorts, it is in no way a mere beginning. Ka’s ritual is well underway here, her craft clearly already a dedicated mastery; it finds her on the hunt for new discoveries with a humble desire for the transfigured, the sublime.

                                                This has been among the goals since early times, when Ka was one of the founding members of experimental psychlings Spires That In The Sunset Rise. Formed in 2001 out of the Chicago scene and described by late guitar legend Jack Rose as a “female Sun City Girls,” Spires’ sisterhood of sound deepened the New Folk slant with an array of avant- and world-flavoured directions drawing them ever further into the source.

                                                Ka relocated to NYC in late 2014 and immediately embarked upon new directions - exploring piano improvisations, electroacoustic intervention, extended vocal technique, physical movement and the electronic processing of her flute playing. The singular force that is Ka is represented on two releases under the Sapropelic Pycnic name - the improvised piano album ‘See Sun Think Shadow’ (released in November 2015 on Brooklyn’s Perfect Wave imprint) and the Coltrane tribute ‘A Love Supreme’ (on Chicago’s No Index label in January 2016).

                                                With the release of ‘Sapropelic Pycnic’, Ka manifests an evolving selfhood, expanding upon the essence of her first two albums’ artist name, while replacing and thus becoming that name on her own. ‘Sapropel’ is a contraction of the ancient Greek words sapros and pelos - putrification and mud. ‘Pycnic’ draws from pyknos - dense; stocky. This wordplay is meant to suggest a physical consumption, ingesting of the nutrient-rich mud found at the bottom of seas, lakes and rivers. Very much akin to the gorging of this metaphorical sludge, on ‘Sapropelic Pycnic’, Ka Baird imbibes sounds to provoke unseen forces within the wilds of her own unconscious, then brings them into the play.

                                                Emphasizing breath, via voice and flute, ‘Sapropelic Pycnic’ is a possession, a physical catharsis, a transformation, comprised of burry, guttural rhythms, loops and clusters of flute figures with gliding vocal and synth melodies. Reaching toward the ancient roots of music, Ka utilizes electronic manipulation to take the ear past preconception, combining the linearity of the physical with the abstraction of the cerebral, crafting textural rhythmic noise alongside lush operatic passages, containing multitudes.

                                                Conceived live as a series of solo vignettes and played that way by Ka (featuring contributions from Max Eilbacher - electronics, Sandy Gordon - vibraphone and Troy Schaefer - violin), ‘Sapropelic Pycnic’ draws from primordial ooze and raises high a sacrifice to the immemorial concept of the sacred, citing Chris Hedges in ‘The Power Of Imagination’: “A society that loses its respect for the sacred, that ignores its oracles and severs itself from the power of human imagination, ensures its obliteration.”

                                                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.

                                                  The Bakelite Age


                                                  First in a new limited edition series of 7" only releases from hot new Melbourne label In-Fidelity (they release the Datsuns and Dirtbombs in Australia), and kicking it off is new Melbourne three piece the Bakelite Age. Clever, raw and melodic - like the Ramones meets the Lemonheads. Only 200 of each of this series being pressed to start with.

                                                  The Baker Brothers have been chipping away at this album for the past two years, trying to carve a new sound for themselves, partly through the beautiful vocals of Vanessa Freeman, as well as through collaborative work with individual brass-players. So horn-filled funk instrumentals sit side by side with more soulful numbers featuring Ms Freeman. They're a heavy-funk band coming of age!

                                                  What do The Blackbyrds, Gil Scot Heron, Sly & The Family Stone and even The Steve Miller Band have in common? On "Avid Sounds" the brand new Baker Brothers album, these legendary acts get lots of love as Dan and Rich Baker and Chris Pedley lovingly revisit their favourite soul and jazz funk anthems and update them with the Baker Brothers twist and recruit a famous name or two to assist! The album opens with Vanessa Freemans' faultless vocals taking the spotlight on "Family Tree", then we are fired into orbit as the band stamp their own identity on the wonderful disco-jazz delight that is Manzel's "Space Funk". Hamish Stuart from legendary Scottish soul-funksters The Average White Band sings on The Baker Brothers version of Sly Stone's "If You Want Me To Stay". Steve Miller's soulful psyche-rock anthem "Fly Like An Eagle" is next up for a punchy Baker Brothers reworking, synthesizer and organ throb gleefully together as hornsman Matt McNaughton rests his brass and gives his tonsils a workout. with other covers including Gil's "John Coltrane And Lady Day" and Babe Ruth's b-boy favourite "The Mexican", this CD looks set for big things.

                                                  The opening track from the debut Simon Baker album was always going to be a strong choice to be the first single. "No Pressure" has received unanimous praise since the albums release and arrives here backed with new remixes by Art Department and Simon himself.

                                                  It’s rare to get great stand-out vocal tracks that don’t split opinion, but this seems to be one of them. "No Pressure" is slick, deep house of the highest calibre with a stand out hooky vocal from Debukas. Art Department, owners of RA’s number one track of 2010 drop a superb remix, adding new vocals and teasing Debukas back into the mix for a pretty special, hypnotic workout. Simon’s ‘Upstate Dub’ mix finishes things off. It aims things directly at the dancefloor in his signature, deep and twisting style.

                                                  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

                                                  Ltd LP Info: LP format includes bonus 7” featuring the previously unreleased ‘Funeral Pyre’. Only Baker can make a song with such a darkly macabre title so heartbreakingly gorgeous, with her signature hushed-yet-lofty vocals soaring over a quietly fingerpicked melody that crescendos into layered, almost-orchestral beauty. The B-side, ‘Distant Solar System’, is another unheard song from the ‘Sprained Ankle’ sessions.

                                                  Julien Baker releases her highly anticipated second album, ‘Turn Out The Lights’, via Matador Records.

                                                  ‘Turn Out The Lights’ arrives nearly two years to the day after Baker’s debut album, ‘Sprained Ankle’, which was widely acclaimed by outlets including The New York Times, Pitchfork, Rolling Stone, Noisey, and MOJO, among others.

                                                  Recorded at the legendary Ardent Studios in Baker’s hometown of Memphis, TN, ‘Turn Out The Lights’ expands upon the sound and vision of ‘Sprained Ankle’ while retaining the haunting, confessional songwriting style for which she has become known. Throughout the album, Baker reflects on experiences of her own and those closest to her, exploring the internal conflicts that wrestle inside us all: how we deal and cope with our struggles and how it all impacts both ourselves and our relationships of all kinds. The result is a deeply empathetic album that embraces the greys and complex truths of humanity and mental health.

                                                  ‘Turn Out The Lights’ was written and produced by Baker and mixed by Craig Silvey (The National, Arcade Fire, Florence & The Machine).

                                                  STAFF COMMENTS

                                                  Barry says: 'Sprained Ankle' went down a storm in here (was it really that long ago?) and I have no doubt this will surpass that. More heartfelt lyrics, cleverly constructed melodies and introspective moments, all wrapped in that warm veneer of Baker's spellbinding voice.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Clear vinyl.

                                                  Aidan Baker


                                                    '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.

                                                    Known more for their dubby 'kosmische' and psychedelic post-disko, Glasgow label Invisible Inc seem to be wandering closer to the realms of the nightclub these days. Not that anyone's complaining. With recent outings by Strange Culture and Sordid Sound System taking the lead, this one by Budapest's Bal5000 is quite possibly their most dancefloor friendly release yet. All four cuts inhabit a space somewhere at the very edge of 'house' but are steeped in soaringly cosmic italo-esque synth lines and bubbling, motorik arpeggios reminiscent of early '80s minimal. The result is a real sonic treat: hypnotically transcendent, yet beautifully melodic, and all solidly underpinned by some seriously low-end sub-bass, tight rhythms and pistol-sharp 

                                                    STAFF COMMENTS

                                                    Matt says: Invisible Inc. strengthen their grip on the psychedelic discotheque as this club-focused offering from Bal5000 sends them rocketing into the cosmos.

                                                    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.


                                                    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.

                                                      "Most Valuable Player" is the new solo album from the ex-Dirty Projector. Produced by Grizzly Bear's Chris Taylor, it's been called 'one of the finest albums this year will see' by Gramophone. A double bass-wielding instrumentalist and haunting vocalist, Nat Baldwin starts "Most Valuable Player" with the haunting composition "Lake Erie" that sees the 28-year-old at his most confident and emotive. Likened to a contemporary Arthur Russell, Baldwin recorded the album under the masterful hand of Grizzly Bear's Chris Taylor and with help from the Dirty Projector's melismatic maestro Dave Longstreth. The album's title is a nod to Baldwin's days as a Northeast high school basketball champion who turned down scholarship offers to instead pursue jazz. Baldwin studied under free jazz legend Anthony Braxton, an influence evident on unbridled tracks such as "Look She Said", and helps demonstrates the breadth of Baldwin's capabilities, with songs ranging from the full and anthemic "Mask I Wear" to the sparse and melodic "One Two Three".

                                                      Ourtime return with some of the best house and techno music you're ever likely to hear, and guess what - all conceived and made in Manchester! The third release from the iconic label sees D. Ball power up his machines once again for a euphoric trip into house and techno abandon. "Elements" floats in unassuming before quickly becoming one of the most spine-tingly great house anthems released in the last ten years. A perfect B-line, forward propelled drums, tantalizing keys and gut-wrenching strings. Pure emotion, from start to finish, and with a production gloss and sheen that'd make Galaxy 2 Galaxy blush. A2 track, "Doreen" also floats in gently. This time on a wave of synthesized calm and cerebral haze as metallic sheets of sound are slowly introduced. The synth patch D. Ball's using on this beast has gotta be one of the strongest sounding patches to date, and will satisfy literally ANYONE with a penchant for classic house and techno music; and you know what?- there's not even a kick drum on this baby- you don't need one! Power from start to finish. Finally, flip the record for "Healer", another deep techno throbber which flies the Underground Resistance flag for Manchester. Rolling synth stabs tumble into hypnotic repetition while a sturdy bassline and fizzing drums ride aloft. Occasional breaks in the arrangement allow subtle nuances to break through before Ball glides back into full throttle. The third essential track on the EP. A triad of joyous dance music then from one of the true masters of the genre. The real deal folks. 

                                                      STAFF COMMENTS

                                                      Matt says: Can't plug this record enough. Absolutely DESTROYED Ruffy's Lab @ Gottwood this year. There isn't a duff note on the whole EP. Perfect, in every way.

                                                      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.

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