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Chaka Demus & Pliers

Tease Me

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

    25 years after its original release comes the reissue of Chaka Demus & Pliers’ debut single. “Tease Me” was in the UK Singles Chart for three months back in 1993, and now it's on yellow vinyl.

    Creation Rebel

    Dub From Creation

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

      40th anniversary reissue of the debut Creation Rebel album, originally released on pre-On-U Sound label Hitrun in 1978. This is the seminal first studio work by revered dub producer Adrian Sherwood (Ministry, Nine Inch Nails, African Head Charge), and engineered by Dennis Bovell (Fela Kuti, The Slits, Orange Juice). A classic of the genre unavailable on vinyl since original release and now commanding high prices second-hand. Includes DL card for full album plus two bonus tracks, and printed inner sleeve telling the story of the recording in full.

      Cymande

      Promised Heights (RSD18 EDITION)

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

         180 gram vinyl, mastered from original tapes, replica original artwork, official Mr Bongo reissue.

        Chantal Acda

        Let Your Hands Be My Guide

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

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

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

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

        Chantal Acda

        Live In Dresden

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

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

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

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

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

        Moskenstraumen, Christopher William Anderson’s first and only release under his own name, sees him saying goodbye to the electric guitar as the instrument of choice for solo compositions.

        The tracks were crafted using a Gretsch Duo Jet and numerous tape and digital delays/loopers into something far removed from the sound of the source.

        Originally self-released 3 years ago almost to the day and sold in painstakingly produced hand crafted packaging only a few were lucky enough to grab a copy. Now we are incredibly privileged to help "Moskenstraumen" see the light of day again amongst the increasing ranks of Sacred Tapes releases.

        Written and recorded by Christopher Anderson between 2009-11


        FORMAT INFORMATION

        Cassette Info: Limited C60 reissue of twenty copies worldwide.

        After a decade spent at the height of the music industry, touring solo and with large pop bands, Courtney Marie Andrews has realised her desire for a place to come home to. She found that in a small rural town in the deep forests of Washington. There, she posted up at a local bar, slinging drinks, basking in the simplicity and reflection it allowed. She has emerged with a new fire on Honest Life, melding indie-folk and Americana with a rebellious country flavour reminiscent of her Southwestern roots.

        Honest Life is the culmination of Andrews' life on the road, absorbing the stories, traditions and heartbreaks along the way. The songs on Honest Life touch on personal coming-of-age stories ("Rookie Dreaming"), the stunning beauty of resiliency ("How Quickly Your Heart Mends"), take-no-shit self-determination anthems ("Irene"), and thoughts on how to accept emotions like loneliness and vulnerability in your life ("Table for One"). Andrews' heart-wrenching songwriting and crystal-clear vocal style are as captivating as they are invigorating. It's no wonder Ryan Adams called Andrews "a phenomenal songwriter." True to her own vision, Andrews produced the entire record herself and recorded it at Litho Studios in Seattle with recording engineer Floyd Reitsma, whose recent credits include Noah Gundersen and Pearl Jam.

        STAFF COMMENTS

        Barry says: A beautifully rendered and heartfelt collection of Americana anthems and soulful country, all topped by Andrews' powerful and immensely emotive voice. Pristinely produced, relentlessly melodic and irresistibly enduring.

        The highly anticipated follow up to Courtney Marie Andrews' critically acclaimed 2017 breakthrough album, Honest Life.
        Courtney Marie Andrews’ new full-length album, May Your Kindness Remain, will be released March 23 on Loose in the UK & Europe and Fat Possum Records/Mama Bird Recording Co. in the USA. In advance of the release, the album’s title track is premiered as part of NPR Music’s “Songs We Love” series.
        Produced by Mark Howard (Lucinda Williams, Bob Dylan, Emmylou Harris, Tom Waits), the album was recorded over eight days at a rented house-turned-studio in L.A.
        UK fans fell for Courtney’s breakthrough album Honest Life last year, when as the BBC put it, she became an “overnight success” after 10 years trying to break into the business. UK media such as The Guardian, Daily Telegraph and Sunday Times compared her music to the work of classic artists such as Guy Clark, John Prine, Joni Mitchell, Emmylou Harris, Linda Ronstadt and Glen Campbell alongside modern references such as Laura Marling and Julie Byrne. The album became one of the biggest breakthrough records of 2017 in the UK, with 4-5 star reviews from publications including Daily Telegraph, Uncut, Mojo and Q Magazine, as well as reaching #1 on the Official U.K. Americana Chart Independent Album Breakers Chart. In April 2017, Andrews made her debut on the BBC’s legendary “Later…With Jools Holland” programme.


        STAFF COMMENTS

        Barry says: A beautiful mix of deep Americana, new country and the forward thrust of todays melodic indie, Courtney Marie Andrews has not failed to impress yet, and 'May Your Kindness...' is no different. Stunning.

        FORMAT INFORMATION

        Coloured LP Info: Indies exclusive gold vinyl edition.

        Courtney Marie Andrews

        No One's Slate Is Clean

          Reissue of Courtney Marie Andrews' early record, No One's Slate Is Clean, from Fat Possum / House Arrest.

          Her local alt-newsweekly once called Andrews “the biggest star in the pop-folk scene in Phoenix.” In the same article, Jim Adkins of Jimmy Eat World, who had Andrews sing backup vocals on the band’s 2010 release Invented, called the young singer “all pro.”

          But being huge in Phoenix isn’t big enough for Andrews, who hits the road relentlessly. She visits Upland’s The Wire Sunday, Jan. 29, bringing her somber, Carole King-ish crooning and Zooey Deschanel bangs to the stage.

          The self-taught songbird is influenced by artists as far reaching as Sun Kil Moon and Billie Holiday to Joni Mitchell and Pink Floyd. But what inspires her creativity most, she says, is change—people, places and things, continually evolving.

          Touring, which provides plenty of spark for songwriting, is part of the deal for the desert dweller. “It’s bad and it’s also vital for my sanity,” Andrews says. “I really like the stories,” she says, adding that nearly every song on No One’s Slate is Clean was written in a hotel room.

          Many of Andrews’ tunes are autobiographical, of course, sometimes intimately, painfully so. “But there are always those little stretches of truth,” she concedes. “But that is what makes a story a story.” The ones that come easily usually end up as tracks on the album, she says. But that doesn’t mean they are Andrews’ favorites.'"

          Courtney Marie Andrews

          On My Page

            Re-issue of Courtney's debut album.

            For a decade or so since Courtney’s been a session and backup singer and guitarist for nearly 40 artists – from Jimmy Eat World to Damien Jurado - but she never stopped writing her own material. With plans to settle down for a bit and focus on her own songs, Courtney moved to Seattle in 2011 and recorded her last full-length record On My Page. However, the record had hardly been released before she was on the road again performing other artists’ songs, eventually leading her overseas to play guitar and sing with Belgian star Milow. It was during this time that Courtney also wrote many of the songs on Honest Life.

            FORMAT INFORMATION

            LP includes MP3 Download Code.

            Craig Armstrong

            As If To Nothing

            Brilliant CD on Massive Attack's Melankolic label. This is a lush, beatless mix of electronica and orchestration. Includes collaborations from Evan Dando, McAlmont, Photek, Bono etc.

            Craig Armstrong

            Kiss Of The Dragon

              More cinematic gear from Craig. Leftfield electronic downbeat etc.

              Cameron Avery has arrived as a new breed of nocturnal crooner, a train-wreck romantic creating timeless, ambitious music for the modern age. Utilizing his soulful wit, shrewd arrangements, and a deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks to expertly walk the fine line between vulnerable and venerable.

              Hailing from the late 2000’s-era Perth, Australia, a healthy scene of hard-hitting garage rock bands, including a long stint as the drummer of Pond, Avery found his musical footing while playing with friends but sought the reward of his own outfit. Encouraged by his friend Kevin Parker of Tame Impala to record on his own, Avery started The Growl as his solo project in 2007, making an EP and an album of aggressive, distorted psychedelic rock and roll.

              When Parker asked him to join Tame Impala as its touring bassist in 2013, Avery jumped at the chance and rose with that band to the top of the psych-rock heap, but all the while remained focused on carving out his singular identity as an artist and following his own muse. On a break from touring, Avery decided to head to the US to work on his album. He would settle in Los Angeles at the behest of Jonathan Wilson, the Echo Park musician and producer who also encouraged Avery to shine a spotlight on his baritone singing voice, unlike the snarling, obscured vocals of The Growl. It was a lofty idea, but one to which Avery aspired, encouraged by the challenge. Melancholic machismo is written into the very DNA of Ripe Dreams, Pipe Dreams.

              From the classical, finger-picked guitar on the opener “A Time and Place” and the orchestral vamping of “Do You Know Me By Heart?” to the bombastic, self-assured swagger of “Dance with Me.” He takes an emotive page from the Leonard Cohen songbook-of-longing on “Big Town Girl” just as naturally as he thumbs an aggressive note of Bad Seed strut and Cramps rut on “Watch Me Take It Away.” And by the time he purrs that earnest refrain of “Baby, it’s you” on the album’s closer “C’est Toi,” Avery has surely mastered that drunken tightrope dance. Now a resident of New York City, Avery looks to continue his search for the ultimate sensations from a fresh vantage point.


              STAFF COMMENTS

              Laura says: The fact that Jonathan Wilson has produced this album is more of an indicator of it's sound than the bands Cameron Avery has previously been involved with: Pond, Tame Impala, The Growl. His rich baritone is perfectly suited to the romantic, string laden, swoon-some songs that make up the majority of this album, but it's equally suited to the more robust numbers and the bluesy stomp of "Watch Me Take It Away" which is one of the album stand outs. Comparisons have been make to Leonard Cohen and Scott Walker amongst others, but on gems like "Wasted On Fidelity" and "An Ever Jarring Moment" and "C'est Toi" I'd say Richard Hawley fans should take note. Lovely stuff.

              First up is Carola Baer's The Story of Valery, which is comprised of music from a one-off demo cassette found in a thrift store. Beautiful personal & emotionally resonant drum computer mantras in the key of Dead Can Dance, The Cocteau Twins and classic 4AD.

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

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

              Carl Barât & his new band The Jackals announce the release of their debut album Let It Reign through Cooking Vinyl Records on Monday 16th February.

              Let It Reign was recorded in LA and London and was produced by Joby J. Ford (The Bronx) and features guest musicians, such as Beastie Boys percussionist Alfredo Ortiz on Glory Days. "I actually started making this record solo, but the long and short of it is I just didn’t like my own company," says Carl, adding that he soon realised that he wanted to get a new band together.

              Rather than call up some old mates to recruit for The Jackals, Carl decided to post a few ads online asking if there were any likeminded souls out there who wanted to try their luck at playing with him. The response was overwhelming, with thousands of people replying. Carl adds "I was lucky, because I found a bunch of people who genuinely fit together as a gang."


              Courtney Barnett

              Kim's Caravan / Close Watch

                THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.




                FORMAT INFORMATION

                Ltd 12" Info: 1 copy only left!

                Courtney Barnett

                Sometimes I Sit And Think, And Sometimes I Just Sit

                Following the runaway success of her EP collection, 'The Double EP: A Sea of Split Peas', Courtney Barnett returns with her debut album. Recorded in the Autumn of 2014 in an intense 10 day session at Head Gap studios in Melbourne, the album finally brings Barnett's incisive vision into stark, unflinching focus; her wit sharpened to a knife edge, her melodies more infectious and addictive than ever.

                'Sometimes I Just Sit and Think, and Sometimes I just Sit' cements Barnett's standing as one of the most distinctive voices in indie rock. Mixing witty, often hilarious observations with devastating self-assessment over a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Depressing rentals and dead foxes, go-nowhere relationships and dead end suburbs, even her own fears, doubts and insecurities - nothing escapes Barnett's caustic sense of humour.

                If 'The Double EP' announced the arrival of a major new talent, 'Sometimes…' consolidates that promise and marks Courtney Barnett as one of the best and most unique voices around, period.


                STAFF COMMENTS

                Philippa says: Just how talented is Courtney Barnett? She not only has an ear for the catchiest tunes, with songs that have the musical freshness and immediacy of punk, or pub rock, but her conversational stream of consciousness lyricism is at once playful and insightful. How could you fail to fall for her charms once again?

                FORMAT INFORMATION

                2xLtd LP Info: Indie stores exclusive - Limited deluxe 2LP is a double gatefold heavyweight orange vinyl and also includes MP3 download card.

                Lead single ‘Avant Gardener’ is a vivid display of Courtney Barnett’s magic. A hookladen fug of country roots and discordant psychedelia with a dreamlike narrative.

                The collection is a record of two halves, and collates her story so far. It fittingly begins with six brand new songs and is then backed with six older tracks which were originally released in the form of her 2012 debut EP. Together, ‘The Double EP: A Sea Of Split Peas’ spans genres and stories, and is a unique introduction to an incomparable and exciting new talent.

                As well as ‘Avant Gardener’, selected highlights include the gorgeous and woozy piano-strewn opener ‘Out Of The Woodwork’, which shows the darker side of her writing. ‘Anonymous Club’ sees Courtney at her romantic, melancholic best, while the infectious, Dylan-esque cavalcade that is ‘History Eraser’ was recently nominated alongside Tame Impala for the APRA Song Of The Year back in Australia.

                A conversation between friends, documented in raw, unvarnished song form, brimming with personal history, crackling with energy and shot through with humour - this is the collaborative album of Courtney Barnett and Kurt Vile. Two of the most acclaimed and gifted song writers of our generation “Lotta Sea Lice” also sees them roping in friends such as Dirty Three, Stella from Warpaint and Mick Harvey to create a body of work that sounds organic & candid.

                The shared chemistry is immediately apparent in the breathtaking jam of opener and first single “Over Everything”, with dovetailing vocal lines and intricate, shimmering guitar stylings from the pair. The lyrics play out as a rambling dialogue as they compare notes about song-writing and inspiration – it was the first song written for this project, and comes accompanied by a beautiful black and white video from Australian director Danny Cohen which features Courtney and Kurt swapping lines over series of jaw dropping backdrops in rural Victoria and New Jersey as well as Melbourne and Philadelphia. It’s deceptively simple but incredibly effective.

                Other tracks include the bluesy “Let it Go”, which itself was inspired by texts and emails between the duo, and the drop dead gorgeous ‘Continental Breakfast”, which showcases a more melodic side as the two harmonise over finger-picked acoustic guitars.

                There are even more surprises in store, however, when the pair tackle each other’s tracks, with Vile delivering a delicious, souped-up version of “Outta the Woodwork” backed by Barnett herself, and Barnett taking on Vile’s “Peepin’ Tomboy” completely solo, to spine tingling results. The overall effect is that of Barnett and Vile throwing open the doors to their house to listeners - this is certainly Courtney and Kurt’s party alright, but this time, everyone is invited.

                STAFF COMMENTS

                Andy says: Originally intended as a one-off 7-inch single ("Over Everything") but quickly developing into so much more, this album features a handful of originals (all excellent!) a couple of covers (Jen Cloher and the Breeders) and both heroes doing a version of each other's songs. More Kurt than Courtney, but hey, that's alright! The slacker king and queen create something kooky'n'cool with some nice tunes to boot!

                FORMAT INFORMATION

                LP includes MP3 Download Code.

                Courtney Barnett

                City Looks Pretty / Sunday Roast

                  Exclusively for Record Store Day Courtney Barnett releases a new track 'City Looks Pretty' + for a limited time only you'll be able to hear album track 'Sunday Roast' only via this 12"! After the release of the critically acclaimed 'Sometimes I Sit And Think, And Sometimes I Just Sit' and the 'Lotta Sea Lice' collaboration with Kurt Vile, a life on the road and all of its quirks appears on track 'City Looks Pretty' while 'Sunday Roast' sees Courtney her most reflective & emphatic self in a beautiful down tempo moment. A release that perfectly captures the many facets of Courtney's upcoming second album 'Tell Me How You Really Feel' released May 18th

                  Courtney Barnett

                  Nameless, Faceless

                    First taster from the new Courtney Barnett LP, "Tell Me How You Really Feel", and needless to say we're all very excited here at Piccadilly!

                    Limited edition numbered copies.

                    The Grammy and Brit nominated Courtney Barnett returns with her second album - 'Tell Me How You Really Feel.' It follows her critically acclaimed 2015 debut album 'Sometimes I Sit And Think And Sometimes I Just Sit', and a recent top 10 collaborative record, 'Lotta Sea Lice', with Kurt Vile. One of the most distinctive voices in music, Courtney is known for mixing witty observations with unflinching self-assessment - fast forward to now and although all of the cleaver turns of phrase and an eye for story telling are still there; this new collection of songs see a more serious and outwardly tone capturing the current social landscape yet still retaining moments of intimacy and warmth. As the world becomes more familiar with Courtney Barnett these songs feel comforting and emphatic yet that raw energy and the ability to make the listener think still remain.

                    STAFF COMMENTS

                    Barry says: Another absolute stormer from Courtney, though you might have already heard the superb 'Nameless, Faceless' from the 7" a little while ago, and 'City Looks Pretty' and 'Sunday Roast' from the RSD 12", there are a bunch of gems to uncover on this including the snarling skate-punk melodicism of my personal highlight, 'Charity'. Killer.

                    FORMAT INFORMATION

                    Coloured LP Info: Indies exclusive in gatefold mirror board sleeve. Limited red vinyl.

                    Coloured LP includes MP3 Download Code.

                    Deluxe CD Info: Limited hardback with exclusive 24 pp photo booklet.

                    Courtney Barnett

                    Sometimes I Sit And Think, And Sometimes I Just Sit (Special Edition)

                      The CD version includes 'Live From Electric Ladyland Studios NY' audio CD with card wallet, a download card with the exclusive cover of John Cale’s 'Close Watch', an A4 poster of 'Sometimes...' album cover and 4 x Polaroids taken by Courtney Barnett.

                      The LP Version includes gatefold double yellow vinyl of 'Sometimes I Sit And Think, And Sometimes I Just Sit' album audio, plus a download card of mp3s of the album, the live tracks and the John Cale cover. There’s also an A2 poster of 'Sometimes...' album cover and 4 x Polaroids of Courtney & CB3.

                      Following the runaway success of her EP collection, 'The Double EP: A Sea of Split Peas', Courtney Barnett returns with her debut album. Recorded in the Autumn of 2014 in an intense 10 day session at Head Gap studios in Melbourne, the album finally brings Barnett's incisive vision into stark, unflinching focus; her wit sharpened to a knife edge, her melodies more infectious and addictive than ever.

                      'Sometimes I Just Sit and Think, and Sometimes I just Sit' cements Barnett's standing as one of the most distinctive voices in indie rock. Mixing witty, often hilarious observations with devastating self-assessment over a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Depressing rentals and dead foxes, go-nowhere relationships and dead end suburbs, even her own fears, doubts and insecurities - nothing escapes Barnett's caustic sense of humour.

                      If 'The Double EP' announced the arrival of a major new talent, 'Sometimes…' consolidates that promise and marks Courtney Barnett as one of the best and most unique voices around, period.

                      Colin Bass

                      Acoustic Songs

                      An acoustic show recorded in Poland and featuring the Camel bassist on fine form in front of a rapturous audience.

                      Colin Bass

                      Live At Polskie Radio 3

                      This live concert from 13-4-99 is a real find. Bass is, funnily enough, the bassist from Camel and his music echoes their style of melodic, thoughtful prog.

                      What can be said about this absolute CLASSIC that hasn't already been said? A true, blue gay anthem and much loved and sampled dance record, it really doesn't get any bigger to be honest. How about a super high quality 2018 reissue with all of the BIG mixes in one place? Sounds good, right? Featured here on this brand new pressing are Shep Pettibone's 'Better Days' and club mixes, Tom Moulton's version AND Larry Levan's live edit mix. Need we say more? Bag yourself an essential piece of Disco and dance music history, remastered and reissued for today! A 100% legit collaborative repress made by Above Board distribution.

                      Chuck Berry

                      Roll Over Beethoven

                        180g double vinyl with digital download insert.

                        The ultimate Chuck Berry rock ‘n’ roll album: 28 original tracks that established the foundations of rock ‘n’ roll.

                        Christopher Bissonnette

                        Pitch, Paper & Foil

                        Christopher Bissonnette is a Canadian musician/sound artist/designer living and working in Detroit and Windsor. He has released three full-length albums for Kranky and a collaborative recording with David Wenngren (Library Tapes) on Home Normal.

                        Continuing the explorations of the analog synthesizer first revealed on his last album, Bissonnette's deft touch in recording and mixing is a joy to experience. While most contemporary analog synth slingers find themselves unable to not overload the sound-field with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control.

                        Since his first full album release, Periphery, ten years ago, Bissonnette has been expanding his aural vocabulary and production techniques incorporating elements of concrete, field recording and modular synthesis.

                        This new series of works reflects an evolution of my adeptness with modular synthesis. As with my previous release Essays in Idleness, Pitch, Paper & Foil was constructed from a range of synthesis and compositional techniques. The goal with this album was to form a collection that exhibits more restraint than previous works.

                        Modular synthesis can be an unruly medium and taming it in order to produce delicate or subtle tones can be challenging. As with Essays..., I have allowed the artifacts of the process to find their way into the finished product. Tape noise, distortion and by-products of the random sequencing method all contribute to the character of the final recordings.

                        The musical mind of Christian Bland seems to overflow with colors. The lyrics and even titles of his output with, The Black Angels drip with kaleidoscopic imagery. “Indigo Meadow”, “Black Grease”, “You In Color,” “Yellow Elevator #2”. Christian Bland & The Revelators has followed a similar path, and has released a red album, 2010's The Lost Album, and 2012's Pig Boat Blues.

                        Beyond that the thread which runs through all of Bland’s work - whether it’s his visual artwork, music with The Black Angels, and the myriad projects of The Reverberation Appreciation Society - Austin Psych Fest and it’s offshoots, and now an East Austin record store - is a timeless spirit of rock and roll, and in particular the psychedelic kind, circa 1968. He champions it. Lives and breathes it.

                        And what will attentive listeners discover they see when they hear “The Unseen Green Obscene”? The past? The future? The answer will be colored by your own.

                        Charlie Boyer And The Voyeurs

                        Things We Be

                        Charlie Boyer & The Voyeurs have announced details of the release of a new single. Available on 7” and featuring the B-side Feathers & Tar, it follows their debut single, I Watch You, which was released last October.

                        Both tracks were produced by Edwyn Collins & Seb Lewsley at West Heath Yard Studios in January 2013 as part of the their album sessions.

                        Having supported TOY on their U.K. tour at the end of 2012 and recently played with them at their NME Awards Show at London’s Scala, Charlie Boyer & The Voyeurs also have their own London headline show around the release of the single.

                        Details of their debut album, to be released in late spring 2013, and further U.K. dates will be announced shortly.

                        Charlie Boyer & The Voyeurs are: Charlie Boyer (vocals & guitar), Danny Stead (bass), Sam Davies (guitar), Samir Eskanda (drums) & Ross Kristian (keys).

                        Charlie Boyer & The Voyeurs seem set on leaving distinctive footprints – The Guardian

                        Dapper, immaculate and melodic, Charlie Boyer & The Voyeurs are hard not to love – The Fly

                        They have a keen eye for Velvets styled magic - NME

                        Carla Bozulich

                        Quieter LP

                          Legendary art-punk singer, songwriter and sound artist Carla Bozulich (The Geraldine Fibbers, Ethyl Meatplow, Evangelista) follows up her tremendous and acclaimed 2014 album Boy with a new collection of powerful, intensely atmospheric, emotive songs rounded up from various recent collaborations. With guests Marc Ribot, Sarah Lipstate (Noveller), Shahzad Ismaily, Ches Smith, Freddy Ruppert, Andrea Belfi, Jhno and more.. As Carla Bozulich enters her fourth decade of uncompromising, unceasing devotion to artpunk ethics and creativity, the nomadic singer-composer-writer-artist has recently been hanging her hat back in Los Angeles. After years of tireless vagabondage in pursuit of DIY performance opportunities wherever they might take her — and following her extraordinary, widely acclaimed 2014 album Boy — Bozulich has lately found herself a bit more settled in one place, keeping busy with a number of archival and reissue projects.

                          Her first (and classic) 2003 solo album Red Headed Stranger was re-released by Folktale Records in 2016 and her mid-90s band The Geraldine Fibbers’ equally classic 1995 album Lost Somewhere Between The Earth And My Home was reissued on Jealous Butcher Records in 2017. Carla also penned the devastatingly poetic and powerful rape-survival essay “Thanks, Motherfucker” for The Quietus in 2016. And of course she’s continued playing venues small and large, including OFF Festival in 2017, opening for Godspeed You! Black Emperor in 2015, and for Swans at their farewell NYC shows in 2017. This recent period has also found Bozulich reflecting on 25+ years of life on the road, the labour and hustle of DIY touring, with its ecstasies, agonies, succour and sacrifice: “still a fantastic job to have” as Carla writes in the liner notes to her new album Quieter.

                          Quieter is an enchanting collection of previously orphaned and one-off tracks, a couple left over from the bountifully productive Boy sessions, others featuring collaborations with the likes of Marc Ribot, Sarah Lipstate (Noveller), Freddy Ruppert, Shahzad Ismaily and more. The album is the result of Bozulich sifting through unreleased/unfinished material, recovering from tour-inflicted ear-damage, and being drawn to the quieter stuff (relatively speaking) in her abundant archives. Ranging from the searching, searing opener “Let It Roll” – “the most honest work I’ve ever done” says Carla – to the chiming, deconstructed lullabies of “Glass House” (composed by Ruppert) and “Sha Sha” (with her mid-2000s project The Night Porter) and the album’s sultry closing track “End Of The World”(a duet with Ribot, who penned the song), Quieter is a brilliant addition to Bouzlich’s impressively diverse, adventurous, and unwaveringly authentic body of work

                          FORMAT INFORMATION

                          LP Info: 180gram vinyl includes artworked inner sleeve + 12”x24” poster + 320kbps DL card

                          Soul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album 'No Time For Dreaming', and his ascent has continued long after the release of his triumphant second album, 2013’s 'Victim of Love'. Dubbed “The Screaming Eagle of Soul,” the singer will release his third album 'Changes' on April 1, 2016 on Daptone Records imprint Dunham Records.

                          The album is named for his popular cover of the Black Sabbath track, previously only available as a Record Store Day 45. “I think about the lyrics very closely when I sing ‘Changes’ and get emotional,” says Bradley. “It makes me think of my mother and the changes in my life since she passed away.”


                          STAFF COMMENTS

                          Millie says: ‘Changes’ is a beautiful and soulful album that is brimming with passion, creating a swaying jazz sensation. Outstanding style and compelling warmth, definitely a must hear!

                          FORMAT INFORMATION

                          LP includes MP3 Download Code.

                          Charles Bradley

                          Soul Of America DVD

                            "Charles Bradley: Soul of America" takes you behind the scenes in the months leading up to the release of his debut album "No Time for Dreaming." Now with the release of his second album “Victim of Love” it’s your chance to see where Charles Bradley’s journey began. Features interviews with Gabriel Roth and Thomas Brenneck. Directed by Poull Brien.

                            Growing up in Atlanta, Chris Brann discovered house and electronic music by the somewhat longwinded way of getting sent tapes from Europe. He began assembling a home studio but it wasn't until 1994 that he began his music career in earnest and formed Wamdue Kids with DJs Deep C, and Udoh.

                            In 1995 they released the classic "Higher" on the Acacia label, which led to the Wamdue Kids signing to Peacefrog and the release of their seminal debut album "These Branching Moments". Following the success of this the next year Chris released his first solo album "Deep Fall", reflecting a different direction to that of his productions with Wamdue.

                            "Deep Fall", originally released in 1997, is a delicious collection of deep tech-house. Stand outs are the aptly named title track with beautiful synth washes and a single mournful modulated violin at its centre; and the emotional "Journey To The Centre" which is nothing short of epic.


                            With a couple of releases under his belt on Robsoul and LowDown Music (thank-you Discogs!), Craig Bratley now joins the five star-rated Instruments Of Rapture label for his latest vinyl offering. "Birdshell" follows the IOR fashion for chugging, mid-tempo cuts, shuffling the deck with a nice snappy bassline, marimba percussion and a touch of acid, giving it the feel of Cultural Vibe's proto-house classic "Ma Foom Bey", twisted with some baggy Balearic house sounds... 'a slow motion slab of electronic funk' is what the sales notes give us. Listen, decide. On the remix tip Burnt Island Casuals (Harri & The Revenge) turn in a driving midtempo deep hypno-house refix that'll keep the crowd shuffling, and 6th Borough Project inject some hooky hip hop vocals and a touch of soul for another late 80s / early 90s style slo-mo house take. All killer, no filler.


                            STAFF COMMENTS

                            Neil says: 6th Borough Project mix is the one for me. Turn it up.

                            Chris Brokaw & Geoff Farina

                            The Boarder's Door

                              Chris Brokaw was a founding member of Codeine (Sub Pop), the band that kicked off the Slowcore scene in the late 80s. He left Codeine to form Come(Matador/Sub Pop) with Thalia Zedek. He now drums in The New Year, and plays guitar for Thurston Moore, Evan Dando and a wealth of other high achieving acts, most recently in 'Martha's Vineyard Ferries' with Bob Weston (Shellac).

                              Geoff Farina is best known for his 12 years with Karate (Southern). Farina’s charismatic voice, and versatile guitar playing are also heard on a number of excellent solo albums, and as one-half of Secret Stars, the seminal early-90s duo. He now fronts Glorytellers and is a favourite of Swedish folk-Athiest Jose Gonzalez.

                              "The Boarder's Door" is eleven new songs and recordings from the peripatetic ramblers.

                              Craig Brown Band

                              Overthinking

                                Craig Brown Band represents the closer-to-Canada, mostly Midwestern take on a sound that has long belonged to Nashville. Consider this the bastard child of Neil Young and Bob Seger. This is diet twang with a backbone. This is Northern Country.

                                Craig Brown is a Detroit hero and the closest thing to a proper mayor the city has had in years. He’s one part blue collar and no parts ivory tower. He is a dude. He makes music. He is essential to the fabric of the scene.

                                When he isn’t constantly touring with Terrible Twos, Liquor Store, King Tuff, or running the merch table for Natural Child, you can find him behind the counter at El Club or Lager House or just around.

                                Go Pistons.

                                Clifford Brown & Jeen Bassa Ft. Ella Mae Sueref

                                Samba Del Sol - Banoffee Pies Beats 03

                                Banoffee Pies Records drop their third Beats release “Samba Del Sol” with Clifford Brown & Jeen Bassa Ft. Ella Mae Sueref - The album is influenced by Carnival and Latin sounds with Hip Hop drums and Soul roots - meeting in middle ground as an expression of the production duos upbringing, John’s heritage in Mauritius and Cliffords childhood in South America. Partnered with Ellas Spanish language fluency and soft Badhu acclaimed voice as previously heard on the single “Stop Rewind” credited by the like of Gilles Peterson and Mr. Scruff.
                                The tracks were recorded on Garageband by Clifford Brown and Jeen Bassa with 2 Karaoke Microphones, mixed in Bath and later buried on a hard drive for over 6 years never to be heard again. Sliding into the forgotten darkness of lost tracks and rediscovered in 2017. The production, originally just an instrumental, was then found and reignited, revamped with a vocal insert from the wonderful Ella Mae Sueref.
                                The 10 track album demonstrates a flurry of drums, latin inspired sampling, and mesmerizing vocals from start to finish. For the music and the lovers. Living room jams made in smoke. 

                                STAFF COMMENTS

                                Millie says: The story of forgotten tracks brought back to life is always a good one, but especially when it sounds as good as this does. Layered with Ella Mae’s vocals throughout makes for a perfect balance with the hip-hop soul Latin groove weaved into each song. Summer is in full swing, and this is the one to hear to finish the mood perfectly.

                                Clarence 'Gatemouth' Brown

                                Back To Bogalusa

                                'Gatemouth' Brown has a wicked, laid back cajun blues style with some superb guitar solos and a real downhome Louisiana traditional sound. This is 13 tracks of quality blues / americana from a real personality.

                                Corrado Bucci

                                Open Your Eyes - Andres / Bostro Pesopeo Remixes

                                  Rebirth's talent Corrado Bucci gets a full single release, exciting us again with his eclectic music. Since the previous works 'Brooklyn' and 'Chewing Bubble' Corrado has being gaining a great support in the electronic scene. With influences from jazz to funk, he explored new musical territories and started to play real instruments, refining his artistic expression ! Already hammered by Gilles Peterson, Jazzanova and Moodymann, and n.1 as most charted track on RA, 'Open Your Eyes' is an effective track with strong breakdowns, a warm house groove and old school vocals. Detroit's Andrés (Mahogani Music / Slum Village) delivers his signature vibe and smooths it out even further into a soulful neo-disco-house interpretation ! On the B Side Bostro Pesopeo follows his releases on Permanent Vacation with a tasty hypnotic dreamy version of '23 Years Old'. Super limited and extra hot Ep!

                                  Charles Bukowski

                                  Bukowski On Bukowski

                                    Bukowski on Bukowski booklet is a great introduction to the wild world of cult author Charles Bukowski. It features Bukowski's views on various topics including Drinking, Writing, Sex, Death, Loneliness and fame and is interspersed with lively illustrations and a bonus CD to boot!

                                    Chaz Bundick Meets The Mattson 2

                                    Star Stuff

                                    Given the state of modern music and its fabricated pop icons, what Chaz Bundick Meets The Mattson 2 achieves is a collective music victory in a new era of progressive soundscapes. World-renowned composer/producer extraordinaire Chaz Bundick (Toro Y Moi, Les Sins) has teamed up with the psychedelic-jazz grooves of The Mattson 2 for an album that unifies a trio's creativity into a refreshing project of unhinged sonic originality.

                                    Oddly enough, this collaboration may not have happened if The Mattson 2 hadn’t forgotten a drum throne at an Oakland performance in 2014. The twin’s longtime friend and photographer, Andrew Paynter, came to the rescue and called his friend Chaz to ask about borrowing the throne. Jonathan, the Mattson drummer (who’d also never met Chaz), accompanied Andrew to Chaz's home in Berkeley where they were greeted by Chaz with a warm smile, a drum stool in hand, and Michael, Chaz's dog (which his Les Sins record Michael is named after).

                                    The next day Andrew and the twins met Chaz at a cafe in Berkeley to return the gear. Over coffee they waxed about music, design, furniture, and skateboarding. After a series of hangs with Chaz in the Bay Area, the crew decided to join forces and schedule studio time for their newfound trio. And the rest, as they say, is intergalactic, mega-creative history.

                                    In February of 2016 the relationship was officially christened the night they finished tracking their new record. And to tie the knot with flare, they scheduled a secret show at the Battery and a historical public show at the Starline Social Club in Oakland, where the trio performed all new music from the project for the first time live.

                                    The group and the album, Chaz Bundick Meets Mattson 2, explores psychedelic, jazz, and improvisatory influences ranging from Afrofuturistic Sun Ra, to electric Miles Davis, to groove-fueled Serge Gainsbourg and The Zombies. Grounding the album are break-beats, synthesizers, acoustic strums, and guitar fuzz reminiscent of David Axelrod and Arthur Verocai. With cosmic structures, timeless influences, rich harmonies, and melodic interplays, the trio brings an intergalactic edge to both their live shows and an album worthy of repeated visits


                                    Charmaine Burnette / Session In Session

                                    Am I The Same Girl / Direct Response

                                    Reggaefied version of the Barbara Acklin classic! It was 1968 when The Maytals brought out ‘Do the Reggay’, and that same year Barbara Acklin gave us the sound of soul with ‘Am I the Same Girl’. Fast forward 13 years, and legendary UK producer Dennis Forbes had the genius to combine the pretty melody of Acklin’s hit with the pulsating new reggae sound of Lovers Rock.

                                    In 1981 Charmaine Burnette was pretty much unknown and untested as a singer, but Forbes heard potential in her voice and gave her a chance. Summoned to London’s Chinatown where Dean Fraser and an all-Jamaican band were gathered in a basement studio, Burnette recorded her first single ‘Am I the Same Girl’, recorded in the same session as Sugar Minott’s ‘Got a Good Thing Going’. Both records were released - the former song bombed and went nowehere, the latter was picked up by RCA and went on to reach #4 in the UK charts, assuring Minott’s place in UK reggae history. The same cannot be said of Burnette, who has since faded into obscurity.

                                    Perhaps Forbes was right in thinking that the heavy bass drum and sweet vocal combination wasn’t right, but in fact it was way ahead of its time, just right for today’s fat subwoofers and deep bass bins – crank it up and feel the sound of super heavy reggaefied soul!

                                    Carter Burwell

                                    Hail, Caesar! Original Motion Picture Soundtrack

                                      Mondo is beyond honored to present their very first Coen Brother's soundtrack, as well as our first Carter Burwell score, the magnificent soundtrack for the Coen's latest farce Hail, Caesar! which marks Burwell's 16th collaboration with the brothers. Prior collaborations include Blood Simple, Raising Arizona, Miller's Crossing, Barton Fink, The Hudsucker Proxy, Fargo, Intolerable Cruelty, The Ladykillers, No Country for Old Men, Burn After Reading, A Serious Man and True Grit.

                                      A good part of the magic of this movie comes from the music of Carter Burwell, who dove deep into the period of the film, and the multiple film genres that it explores in each of its many tangents (including a musical number performed by Channing Tatum.) Also, drawing heavy on the red-scare, bringing selections performed by the Red Army Choir to add bombast to the scenes with would be antagonists of this story.

                                      Discussing his work on Hail, Caesar!, Burwell says: “The challenge and the fun of composing the score to Hail, Caesar! is that the it contains scenes from many films-in-the-making, and each of those was scored in a manner authentic to the period— basically MGM in the 1950s. There is an Esther Williams water ballet, a Hopalong Cassidy Western, a Roman Christ epic, and all of these are subsumed by a kidnapping mystery, which is itself subsumed by a studio executive’s crisis of faith. Melodies are shared between these bits of bright cloth to tie them together into a whole, and some of the recording was even done on the same stage where the MGM classics were recorded.”



                                      FORMAT INFORMATION

                                      LP Info: Tip-On Style Single Pocket Sleeve. 180 Gram Black Vinyl.

                                      Solo album from leader / guitarist from Silver Ray. "Go Slow" contains five Butler original alongside the re-working of the traditional sea shanty "Shenandoah". Although Silver Ray are often compared to Mogwai, Explosions In The Sky etc. this album goes much further. Imagine the atmospheric guitar twang of Friends Of Dean Martinez meeting the epic instrumentals of David Axelrod on "Songs Of Innocence".

                                      Following their retrospective 'Screaming Ghosts' collection, Emotional Rescue and Malka Tuti return with the first of two EPs where the C Cat Trance's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
                                      Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
                                      Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
                                      In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
                                      To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.


                                      Volume 2 of retakes of C Cat Trance's unique post-punk meets world beat brings the collaboration between Malka Tuti and Emotional Rescue to a close. Here again, the label's call in a selection of heads to re-envisage a modern vision of the music to present a perfect representation for today.

                                      Starting with Red Axes retake of an almost untouchable classic, the booming, sound system-quaking version of Shake The Mind is a heads down mover that should add to their reputation and finally give DJ's a follow up to utilise.

                                      Next, Jamie Paton gives the perfect trance-inducing, dubbed edit of Take Me To The Beach. Looping the drums and horns infinitum, building through repetition was never truer, before release. His individual take on remixes is again displayed, deep dubs from the brethren.

                                      To close the 2 EPs, the final side is given to a meeting of older and established artist and new, upcoming, but already respecting crew. In Prins Thomas, the psychedelic protagonist of the heralded northern disco lights, his name was first to be penciled. His live, drum-heavy reversions have become trademark and in Sudaniyya, it's all there. Subtle, confident and alluring, Thomas builds to a steady jam of machine and man, letting it all hang and simply, groove along.

                                      In finale, Khidja bring in friend and fellow Romanian production rising star, Borusaide to cover Simple Helen. A slow-burning ode in original form, their genius reversion captures the essence and much more, giving C Cat Trance's music a whole new lease, while presenting their production talent and musicianship. As was the hope and intention of these updated versions - Re-mixes for the 21st Century - with a nod to the past, but feet firmly in the future. Play loud and play out.


                                      Reissued on Stones Throw's fledgling disco label Soul-Cal, this is some superlative disco from Enyx Records circa 1976. Formed at Syracuse University, the New York disco band hit the scene with "The Stranger", a perfect combination of funky ensemble jamming and swirling vocals. It comes in two forms, a 7'38" disco mix and a slightly less frenetic 8'32" 'edit'.

                                      C-Soul

                                      Breaking Vision

                                      Brighton based Swedish duo C-Soul present a four track EP (two versions of two separate tracks) for the infamous Midlands deep housers, DiY. Tasty deep house with a touch of Naked garage.

                                      C.O.C.O.

                                      Play Drums + Bass

                                      C.O.C.O.'s mission is simple: "Play Drums + Bass" and that credo was the inspiration for their third ­ without a doubt their best - record. The musical spectrum continues to expand into the nether regions of dub reggae (for a tribute to the late great Tamara Dobson) all the way to the sunny side of surf rock (the albums closer, aptly titled "The End"). The album's lead track is "Good", and the song is exactly that, combining nasty garage with an infectious dance floor rumble. "Your own secret way" is their most smooth, sultry and experimental recording to date, with Ness crooning over a rhythm composed solely of bass and found objects. "We Gotta Right" is a vicious call to arms, with Chris snarling personal emancipation to the sounds of furious toms and a bleeding bass guitar screaming for mercy. Not ones to pigeonhole themselves to the terrestrial, "Asteriods" is a light speed nuclear explosion of dance pyrotechnics that is sure to excite the inner cerebral cortex all the way to the vast stretches of the galaxy. Don't be fooled if you feel that these eclectic descriptions sound like the mixtape of a mad scientist (it is), the message of "Play Drums + Bass" is clear and concise - the rhythm section is the foundation of the dance.

                                      ‘#7885 (Electropunk To Technopop) features classic tracks such as ‘Nag Nag Nag’, ‘Do The Mussolini (Headkick)’, ‘Sensoria’, ‘Landslide’, ‘I Want You’ and ‘Just Fascination’.

                                      Curated by Richard H Kirk, who explains, “I decided to gather the more concise elements of the work… Hence the choice of 7” singles, edits and shorter album tracks, a kind of soundbite take on CV.”

                                      ‘#7885 (Electropunk To Technopop)’ compiles two distinct periods of Cabaret Voltaire - 1978-81 and 1983-85 - for the first time together on one release and follows the remastered vinyl release of ‘Red Mecca’ and already legendary sold out box set ‘#8385 (Collected Works 1983-1985)’.

                                      The compilation travels from 1978-81 with a line up of Richard H Kirk, Stephen Mallinder and Chris Watson, when Cabaret Voltaire were (mostly) recording at the Western Works Studios in Sheffield and releasing records on Rough Trade and from 1983-85 after Watson’s departure when Kirk and Mallinder released via the Some Bizzare label on Virgin Records. Kirk points out that this “was a time where we got to do what we do, but in different areas, we wanted to push the boundaries of electronic music, we wanted to place what we were doing into places where it really shouldn't be. We certainly didn't want to carry on repeating what we'd done for the ten years previous.”

                                      Cabaret Voltaire formed in 1973 and, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s. Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 40 years.

                                      “Way, way ahead of their time” - DJ

                                      “True, unflinching pioneers of electronic music” - Loud & Quiet

                                      FORMAT INFORMATION

                                      2xLP includes MP3 Download Code.

                                      Cabaret Voltaire

                                      Nag Nag Nag

                                      Originally out in 1979 on Rough Trade, this searing electro-punk anthem was at the forefront of the wave of electronic tracks in the UK at the time, and it still sounds fantastic today! There's remixes by The Cabs' (as I think we called them back then) own Richard H Kirk, electro-clash duo Tiga & Zyntherius and electronic deconstructor Akufen. It even comes in a similar sleeve to the original!!

                                      FORMAT INFORMATION

                                      12" Info: 12" part one includes the original mix and Richard H Kirk 2002 remix.

                                      CDS Info: CD single includes the original, Richard H Kirk, Tiga & Zyntherius and Akufen mixes.

                                      Cabaret Voltaire

                                      The Covenant, The Sword And The Arm Of The Lord

                                      This is Cabaret Voltaire’s seventh studio album, originally released in 1985. The album peaked at #57 in the UK charts. ‘I Want You’ went on to be the single.

                                      Cabaret Voltaire, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s.

                                      Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

                                      All audio remastered from the original tapes.

                                      Vinyl cut by Stefan Betke aka Pole.

                                      Exciting new label Eclipse Tribez kicks off its imprint with a 12" by Cabasa
                                      who the label 'A&R'ed' at the Worldwide Internet Memes Meeting in Daussoulx (BE) back in December 2014 (!!!). The offspring of a major player from the Belgian New Beat scene back in the late 80’s, Cabasa is the continuity of his father’s passion. Drawing influences from electronica to jungle and techno, he’s seeking for boundaries between beatless and rhythmic compositions; looking for the most danceable and esoteric music.

                                      Credentials aside, this is some highly arresting musica. "Uso Sketch" announces its arrival through a tribal drum chorus bolstered with some 808 subs and snippets of vintage breaks. "A L’école' returns to the drum cirlce with some newer additions - electronic drums, Roland hand claps and a skitty rhythm that recalls General Ludd's frenzied experimentation. "Defective" sees more poly-rhythmic intricasies explored with aplomb, as Cabasa hammers home his obsession with the beat. "Uncle Sigmund Lost In Qattara" concludes, nodding to the recent Aiwo camp with its haunting breakbeats and ethereal textures. Stumpendously strong release from a camp to watch - major T I P on this one folks...

                                      Cabbage have finally released their highly anticipated debut album, following on from a trio of EP's, released under the delightfully tactful 'Young, Dumb & Full Of...' (Rum, I assume.) 

                                      We start off with the thrashing garage rock of 'Preach To The Converted' with twanging distorted guitar and the sort of snarling vocals you could imagine being venemously spat from the edge of the stage before launching into the fuzzy off-kilter rock of Arms of Pleonexia, reminiscent of a younger Ty Segall swagging around the stage before a baying croud after one too many bottles of corner-shop white lightning. Things continue at this frenetic pace with 'Molotov Alcopop' providing a bit of nuanced rhythm before the gothic rock of 'Disinfect Us' suggests a more mature suite of influences, from the militant march and languid blues overtones of early White Stripes. 

                                      Further on, we get syncopated guitars over a meandering drum machine on the brilliantly swaying 'Pendurabo' and jangling hazy indie, topped with a curiously (but effectively) distorted vocal affectation over the top. 

                                      Brilliantly varied, but held together with a persistent narrative thread, 'Nihilistic Glamour Shots' lives up to the hype of the earlier 3 EP's, with a willingnes to experiment but a knowing nod to all of their numerous influences. 

                                      STAFF COMMENTS

                                      Barry says: Thrashing garage rock, thudding post-punk and jagged riffage all round, Cabbage manage to surpass their excellent musical form with a well-heeled and cleverly written debut.

                                      FORMAT INFORMATION

                                      Coloured LP Info: RSD stores exclusive limited edition red heavyweight vinyl.

                                      LP Info: Black vinyl edition

                                      CD Info: Digi file soft pack inc pull out poster.

                                      Cabbage’s Record Store Day release, a double vinyl compilation of their first 3 EPs entitled 'Young, Dumb & Full Of…’, was one of the days most in-demand releases, with all 1000 copies selling out in hours. 'The Extended Play of Cruelty' is the latest offering from the bro-punk outfit. The band recently signed to Infectious Music (Alt-J, Drenge, Albert Hammond Jr, Leftfield, DMA'S).

                                      The Cable Car Theory

                                      The Deconstruction

                                      Influenced by the NYC and DC hardcore bands they grew up with, Cable Car Theory have created their own distinct take on good, aggressive, melodic music. The music that appears on "The Deconstruction" is at times brutal, at times earnest, both engaging and challenging to the listener. This is another quality release from Defiance.

                                      A huge departure from his known works, Marcos Cabral appears on L.I.E.S. with his most dynamic and experimental work to date, the 'False Memories' double album. Compiled from various cassette tape recordings spanning the years of 1998-2000, here we have the early experiments from an accomplished producer, which showcase the unharnessed energy of youth when it crashes head on with the technology of the day. The tracks created by Cabral reflect his attempts of the music of the time falling somewhere in between techno, dub-techno, IDM, and even noise (actually, especially noise - you'd think our new 'technoise' section had been created just for this release!). An engaging and timeless listen the whole way through.

                                      Marcos says: "I recently found about three hours of my unreleased tracks from 1998-2000 on old cassette tapes. The collection that I set aside for LIES is pretty much all from 1998. During that time, I lived in upstate New York in a 3000 square foot loft with just one other friend. Both being DJs we would use our loft for fairly large parties... Cajmere from Chicago definitely being a highlight. I knew nothing about "making" music at this time and was using this fairly primitive wav. looping program called Acid. I just started recording my crappy Roland MC-303 into my computer and would just mash loops together over and over. Listening to these tracks now, I have a really vague memory of making them, and feel that their naive nature and the happy accidents that happened here are pretty exciting to listen to."

                                      New York's Marcos Cabral steps up for his first full release on Dimensions Recordings, with the "Nature Walk EP". Following on from his epic Prochainement masterpiece on Dimensions 002, the EP provides a glimpse into the mind of a well-established and hugely respected artist. "Nature Walk" is a broad EP that demonstrates just why Marcos's records have been finding their way into a multitude of DJs' bags for the last fifteen years.
                                      From his work with Jacques Renault as Runaway, and his coveted Hamilton Dance Records output to his more recent deeper and darker leanings for leading labels such as Clone, L.I.E.S. and Mule Musiq, Marcos has quietly and studiously worked at developing an impressive catalogue which most folks who have brushed with house and techno will have heard…whether they know it or not. The EP provides a snapshot of some of the tastes and styles that Marcos has experimented with over the years, the rolling, energetic and optimistic sounding, not quite house, not quite techno of "Wishful" gives way to the brooding, dub techno of title track, "Nature Walk".
                                      "Cape Cod" sees Marcos in classic house mode with a cut that could easily have dropped on NYC's Nu Groove Records, whereas "Rice A Roni" is a no nonsense nugget of twisted, grinding, acid. The EP rounds off with "Let's See How The Light Goes Through It", a spacey hypnotic workout for the late hours and a fitting end to a stand out EP from the self proclaimed, Hardest Working Man!

                                      STAFF COMMENTS

                                      Matt says: The Dimensions series continues in earnest with Marcus Cabral the latest producer to drop some heat.

                                      NYC producer Marcos Cabral coming correct with three choice weapons from his private arsenal. On the A-side we have "Pest Control", the title track and EPs dark, techy opus. Cabral's industrialized rhythms permeate through the entirity of the track, vast machines driven into frazzled intensity through repetitive processes and a monster workload. "In The Red" features fellow noise maker Entro Senestre and draws indesipherable vox backwards through an engine room flanger before rearranging with skeletal beats and glitching synth bleeps. Final track, "Standing On The Corner" sees Cabral capably explore the realms of blissed out, late night deep house; tipping his hat to the THC-soaked sounds of Vancouver along the way. Ace!



                                      Chris Cacavas

                                      Bumbling Home From The Stars

                                      Great melancholic Americana from the ex Green On Red / Giant Sand man. Dark, sparse tales of pain, loneliness, regret and loss.

                                      An impossible to find album, reissued for the first time ever on vinyl. 1979's Sei Note in Logica is Italian experimental composer Roberto Cacciapaglia's second LP, a minimalist album that features one continual composition "for four voices, computer, and orchestral ensemble," in the same vein as Fred Rzewski, Steve Reich, and Terry Riley. Unlike anything else coming out of Italy at the time, Cacciapaglia (who worked for Italy's national Department of Phonology) was also quite advanced in his use of computer-based technology. A major influence on the likes of Jim O'Rourke and others of his ilk. Presented on 180-gram vinyl with a bonus CD containing an acoustic version of the entire album. 

                                      FORMAT INFORMATION

                                      LP Info: Including bonus CD

                                      Orlando Cachaito Lopez

                                      Cachaito

                                      This is what Latin music is all about, a superb sensuous rhythmic triumph from beginning to end. More top quality Cuban music from the Buena Vista Social Club set.

                                      Caddywhompus

                                      Live At Third Man Records

                                        Caddywhompus are lions of a noisy, emotive new school of math rock which has thrived in recent years, especially in the South. At this point, you’re just as likely to fi nd their records in the racks of a DIY space as you are on the walls of record shops around the world. With close ties to Community Records, they are rightful benefi ciaries of a nationwide grassroots underground support built on their consistently excellent output, tireless touring and necessary live show.

                                        These 3 live tracks, being their first official live release, encapsulates what is so magnetic about the duo - nimble yet mushrooming euphoria in each composition. The A-side single, Decent, is a chugging, arpeggiated and absolutely contagious live sing-along that can also be heard on their 2017 LP Odd Hours on highly respected NYC indie Infl ated Records.

                                        Following on from his critically-acclamed debut "Breaking Kayfabe", Cadence Weapon aka Rollie Pemberton returns with the epic "Afterparty Babies". Dedicated to 'all the accidents out there', the set is mixes hip hop with an electroclash edge. Funny, heartfelt, fiendishly clever, testosterone-pumped, sensitive, a pure aderenalin rush, "Afterparty Babies" is the real thing - a unique, genuinely original hip hop record. One to check for fans of Spank Rock, TTC etc.

                                        Cadillac Blindside

                                        The Allegory Of Death And Fame

                                        Cadillac Blindside, on a first listen may resemble an early Get Up Kids when they were rocking and less heart broken and this new six song EP is full of good songs delivered with an energy and assurance that leaves you a-raving!

                                        Caesars

                                        Fun And Games

                                        The lead track is ripped from the Velvets "Oh Sweet Nuthin" so naturally it's fantastic. Elsewhere there's new wave power pop and a lovely echo-soaked slowie called "Since You've Been Gone".

                                        Names like Arthur Russell or Beck get cited often as influences, but it is rare that upon listening to a modern artist you feel the genre-fusing depth of either of these legends. New Jersey’s Caged Animals are the exception to the rule. Smudged round the edges, shrouded in shadows and fog, but full to bursting with heart and soul, Vincent Cacchione offers swoon-some pop, unafraid to deal with the depths of emotion, or to put the song at the forefront of his pursuit for the ultimate organic-electronic hybrid, even more so than current innovators Atlas Sound, or Animal Collective.

                                        “If Alan Vega was 40 years younger, he'd be doing this. Or if they remade Blue Velvet, this could work as the soundtrack” - The Guardian



                                        Caged Animals is Vincent Cacchione, a New Jersey-born Italian living in Brooklyn. Known previously for the nearly noir folk-rock of his former band, Soft Black, Cacchione carries a strong songwriting gene in his Caged Animals brand of glitch-friendly pop - as inspired by the classicism of Jeff Magnum or John Lennon's solo material, as the melancholic R&B twist of James Blake or Frank Ocean, or the perfect fusion of Chad Van Gaalen's raw & pop qualities.

                                        In The Land Of Giants is a record about family, faith and hope and its’ recording became an opportunity to do everything that Cacchione does best in one audio space - marrying the sonic experimentation of his love for electronica with the undeniable penchant for lyrical and emotional resonance he developed in Soft Black, a band he formed with (Zachary) Cole Smith of DIIV.

                                        This is an intimate yet grand Pop record from an artist that is not afraid of stirring emotions amidst a mountain of melody, and certainly not afraid to risk being seen as uncool in order to deliver something genuine. Cacchione himself states “This is the most spiritual record I've made. It necessitated a huge shift in my worldview and a concentrated effort to distill all of my strengths into a focused idea. For me, this album was about making something emotional, direct and human within the context of computer-made, electronic music. My previous recordings dealt heavily with some serious issues from my past. On 'In The Land Of Giants', I'm seeing the clouds part and trying to describe the beauty of my first view of the sky". How cool is that?

                                        If you’ve heard ‘Girls On Medication’, the shimmering debut UK single from Brooklyn’s Caged Animals, you might think you have them pegged as connoisseurs of perfectly tuned, gorgeously ethereal soundscapes.

                                        Their new single ‘Teflon Heart’ however – the first to be taken from the forthcoming debut album ‘Eat Their Own’ - is set to blow those preconceptions out of the water, taking, as it does, a sharp stylistic swerve into bold iconic pop territory.

                                        FORMAT INFORMATION

                                        Ltd 7" Info: The vinyl 7” single is limited to just 250 copies in
                                        the UK, has striking artwork and is pressed on pink
                                        vinyl.

                                        Cagedbaby have been picking up widespread interest in the last few months, which is set to continue. Championed by Tiga, Trevor Jackson, Eddie Temple Morris, Erol Alkan, Ivan Smagghe and Rob Da Bank to name a few, this album is a definite one to watch. If you liked the electro-pop and electro-dance of Mylo, Cut Copy and Hot Chip, then you'll love the tracks laid out for you here. Not scared to grab the mic and grapple with some killer tunes, "Will See You Now" feels like a proper album, not just a few killers and a load of fillers, which might be due to the fact that Cagedbaby are actually a live band too, made up of Jim Carmichael (drums), Jimmy Day (Keys), Kan Lailey (guitar) with Tom on vocals.

                                        FORMAT INFORMATION

                                        CD Info: Upfront copies!

                                        John Cage, David Tudor & Christian Wolff

                                        San Francisco Museum Of Art, January 16th, 1965

                                          Recorded live by KPFA Radio in the halls of the sculpture court of the San Francisco Museum of Art on January 16, 1965, the day of 39th birthday of fellow pianist and longtime associate David Tudor, this historic concert with John Cage opens with a duet for Cymbal with contact microphones agitated by a wide gamut of objects and concludes with Variations IV in which loudspeakers outside the performance space interacted with speakers next to the audience. First release on vinyl for a very important piece in the history of minimalist music.

                                          FORMAT INFORMATION

                                          Ltd LP Info: Limited edition 180 gram 2LP.

                                          'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

                                          Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

                                          Recruited by Chez Damier at a very young age to release on Balance, Jorge Caiado took on the house and techno pioneers’ teachings to shape his own sound. Also early on he got involved with the local scene by joining Groovement, where he releases music and also helps to develop the artistic side of the label. His new “Sunny Days Are Coming” 3 track EP refers to the beautiful Lisbon light but also to the idea of his music being a deep but uplifting journey full of discovery. It is clear that Jorge’s sound is always evolving, be it in house or techno realms, therefore this new record raises the bar once by exploring the edge of electronic music field. Tested with great reaction at LUX dancefloor in Lisbon, this EP will appeal to classic Balance fans but will go beyond by reaching Detroit and Berlin music aficionados also.

                                          FORMAT INFORMATION

                                          12" Info: Vinyl only yo!

                                          Lucien Caine is a singer, songwriter and composer based in Manchester. His songs are dark, lustful, haunting and cinematic and his music is already being compared to artists such as Serge Gainsbourg, John Barry and Elliott Smith. EP1 is the first of four EPs to be released over the next 12 months. It begins with "The Only Man That Matters" mixed by Andy Green who has produced albums for Keane and KT Tunstall. Then the intricate string arrangements and haunting vocals of "Advice From Strangers" a downtempo gem. "Black Widow", track three, is a pounding, noirish elegy of seduction and murder, and the EP closes with the "Those Days Are Gone". 'I wanted to create and develop a sound and a mood... I like it to sound dark and romantic. I want the songs to flirt with the listener, and then deliver!' Lucien Caine

                                          Lucien Caine is a singer, songwriter and composer based in Manchester. NOW STOP, have no preconceptions do not picture Badly Drawn Boy do not imagine another Stephen Fretwell, get acoustic troubadour out of your head. Lucien Caine is none of the above! His sound is more John Barry than Nick Drake. His songs of love, obsession and excess are more Leonard Cohen than Bob Dylan. The attitude is all Scott Walker and Serge Gainsbourg transported from the sixties to now. In the summer of 2008 a plan was hatched to release four EP's; EP1, EP2, EP3, EP4 in 12 months to showcase Luciens songs. EP2 continues where the first left off. The first track (again mixed by Andy Green producer of Keane, KT Tunstall, to name but a few) is the lushly romantic "The Beat That My Heart Skipped", imagine driving along the winding coastal roads of the French Riviera in a vintage Italian sports car with the top down, this is the soundtrack that would be playing in your head. The second track is the very dark and lustful "Internal Affairs". "Let Us Be The Rumour" is a beautifully crafted and intense lament on a private relationship that becomes public. And finally "She Loves To Lose" a gorgeous seductive and intense duet sang with the Icelandic chanteuse Heidrun Bjornsdottir (formerly of GusGus and Gloss).

                                          FORMAT INFORMATION

                                          Ltd CDS Info: Limited to 250 hand numbered and signed copies.

                                          If you've never heard the music of Lucien Caine till now don't worry. To listen to his next release EP3 as an introduction is a good place to join the story. Lucien Caine (aka Glyn Thomas /formerly Alpinestars ), with the work of John Barry , Serge Gainsbourg, Scott Walker and Leonard Cohen forming the primary influence on his pallet and taking some of the electronic influences from his first band has written some of the most distinct , accomplished and beautiful music being recorded anywhere.


                                          CAIN is back with a bang this summer! The smile inducing "Eshu" is probably one of the biggest tracks he has made to date and one that's been held back for too long. As always, the other two tracks are equally as varied and surprising: 'Phoenix' is bathed in synth madness and vocal sweetness. More beat added than in 'Eshu' will make this one a perfect piece for your set. And to finish it all off you get  monster 'Hoji' filled with some far east vocal sample and a melodic instrument that sounds like a harp but it clearly is not. All of it driven smoothly by the relentless drum beaat. Heard it through the grapevine (and a bit on the press release) that this is currentely a Lena Willikens top hit.  So there you go, folks. 

                                          STAFF COMMENTS

                                          Sil says: Surprising and refreshing as all the High Lifes we proudly get and sell. Always experimenting on the boundaries and in a good way.

                                          Playing with other artists over the years, Emmett Kelly has exhibited an encompassing approach to music which lends flexibility to The Cairo Gang’s song-style. He’s a harmony singer of supreme skill, bringing not only a sweet and supple voice but also a tremendous sympathy to the singing of it (as anyone who’s caught Cairo onstage with Bonnie ‘Prince’ Billy will ever know). Now a couple of albums and tapes and singles and things into it he’s making streamlined music for the ears, constructing with a heavy hand in order to have a heavy impact with more than just sounds but songs and beaming them in on bright bolts of sunshine.

                                          ‘Gone Missing’ isn’t just an awesome, awesome-sounding record of guitar pop that rocks, of songs sweetly hung with candified hooks; also it’s a new report from the side of the road. The Cairo Gang have made tracks and travelled distances from their former states of mind, their former hooded selves.

                                          The Cairo Gang have found themselves - their most perfect alignment to date, taking a more intuitive path to the song, letting go of the sense of design, letting it write itself, as it will in the right hands.

                                          ‘Gone Missing’ was written in between places, on the run, recorded in a variety of rooms. Lines appear to have been straightened - yet still, blood beats sidewise inside Cairo’s temples, their rebel heart is drunk on the outskirts of town. The impulse to dig underneath the bittersweet heart, to invert meaning, shapes the songs of ‘Goes Missing’.

                                          The Cairo Gang’s music is a refreshing dip in the pools of classic youth-pop, with songs of star-crossed breakthroughs and guitars cross-talking with a bejewelled ennui and a sly sting that appeals to a higher order.

                                          The untouchable stands outside, removed by necessity from the castes of our world. This remove makes him the most reliable narrator in tracking the way of things between people. Throughout ‘Untouchable’, Emmett ‘The Cairo Gang’ Kelly is such a narrator, made bemused and dizzy by the sights swirling around him, the fraying sense of connection and people’s need so keen to be self-aware that we write our own autobiographies before we should ever be called to witness, publish our diary pages and call them entertainment. As these instincts develops into interrelationships, contradictions abound for our singer. Dwelling in the head while noticing things - or waiting to notice things - and lyrical to the bitter-sweet end, The Cairo Gang serve up sweet-and-sorrow reveries of Untouchable, a breath taking series of entanglements and attempts to break free, a trace of dolour wafting through their dancing riff-works.

                                          2015’s ‘Goes Missing’ sang to the listener of dreamy isolation through a disembodied production; parts assembled from different moments, times and places and woven mechanical into an irresistible pop whole. ‘Untouchable’ rewires the machine, spinning tales of dissolution from a shared space on the way to new hope.

                                          Cut live and immediate with shimmering waves of quicksilver guitar, telepathic harmony voices and scraps of yesterday’s rhythm and produced glisteningly by Kelly and Ty Segall, ‘Untouchable’ exemplifies the joy of science and the search for knowing: a tesseract-like bridging of musical and emotional dimensions that has formed the crux of so many essential musical admissions from the past half-century. The shadows of the rock and roll era are cast long across the face of ‘Untouchable’ - from the majesty of the soloing on ‘That’s When It’s Over’ to the twinned leads, ascending arpeggios and Petty-esque sardonicisms of the closer, ‘What Can You Do?’

                                          Bahnsteig bang the box once again with a super-sick six shooter from Toulouse head Caissard DJ. Taking a whole lot of inspiration from worm-based, sand-psych sci fi dynasty Dune, Caissard slices and dices his way through pagan futurism, minimal wave, fourth world abstraction, dub cosmic, EBM and taiko drumming. "Bright Dance" opens the set with fluttering synth tones and fusion funk bass, summoning just enough proto house percussion programming to create the perfect New Age groover. Next up "Market Anthem" turns out tapey drum boxes, DIY synth keys and New Order style bass, marrying all the ingredients necessary to create bedsit pop at its finest. The side closes with the fourth world art punk of "La X5", a metallic blast of white funk which could easily pass for Byrne & Eno or Material. Sticking to the Bahnsteig 23 manifesto, things get absolutely bonkers on the flip, starting with the midtempo synth chug of "Arrakis (Melange Dub)". As seriously wiggy fx wrap you in their disorienting swirl, proggy synth lines, robotic percussion and low tempo thrusters work their machine magic. The dark wired vibe continues with "Demo-cracy", a warped out fusion of wailing psych vocals (think Grace Slick impersonating Cosey Fanni Tuti) and sleazy EBM that should melt minds in the witching hour. "The God Emporer" closes the set with the rhythmic intensity of a South East Asian ceremony, treating us to the occasional snatch of spoken vocal over taiko drumming and incessant chimes.

                                          STAFF COMMENTS

                                          Patrick says: Bahnsteig 23's unflinching commitment to club weirdness continues in earnest here with a six tracker from France's Caissard DJ. Hypnogogic dream dance, tape wave, fourth world experiments, churning EBM and one whacko rhythm tool lie in wait for the intrepid audio explorer.

                                          BBE kick off a new 7" series featuring some of the most iconic house tracks of all time and selected by DJ Spinna and Kai Alce. Part one of this ‘Foundations’ series celebrates Chicago producer Cajmere’s early masterpiece "Brighter Days". Best known in recent years by his Green Velvet moniker, Curtis Jones has been blazing a trail through house and techno since launching his Cajual imprint back in ’91. Reaching #2 on Billboard’s dance chart in 1992, "Brighter Days" was Cajmere’s breakthrough hit and continues to educate and inspire producers, DJs and dancers to this day.

                                          With artwork lovingly adapted from the original 12”, the record’s 'North Side' features a deft Kai Alce edit of the monstrous 10 minute Masters At Work remix. Introducing those distinctive skipping, syncopated rhythms later adopted by UK garage pioneers, Louie’s MAW mix has lost none of its dancefloor impact over the last 25 years. Lurking on the ‘South Side’ you can find the raw, potent ‘Underground Goodies Mix’, a production credited by Rashad and other pioneers as the catalyst for Chicago’s ‘footwork’ movement.




                                          STAFF COMMENTS

                                          Matt says: Takin you back to a time when 'crusty man' walked the North, when happy hardcore adverts graced national TV and white dog poo was not uncommon; this optimistic offering was just the ray of light the charts needed. And has now become solidfied into 'classic house' territory.

                                          Major Problems is well on its way to achieving cult status in the so called underground. Fearlessly releasing brand new music that's often hard to categorize, often with little fanfare and by artists with no online presence or marketing, it's everything I want in a label and more. Delivering the kinda tracks that you'll discover yourself, not through some hype-machine, and cherish them as personal finds and lesser known bombs to use out in the field. Calcium Club's latest addition to the catalogue is no exception: "Cosmic Creeper" sees trend-eschewing warehouse beats and rubber band electro for nightclub mutants and cybernetic b-boys alike while "Columba" delivers a scintillating, late night bliss-cloud of Sheffield bleep melodies, proto-house rhythms and spine-tingling, embrace-all chord progressions. So good! 

                                          Alex Calder / Homeshake

                                          Nankhatai / Stuck Inside

                                            THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                            Split 7” by Homeshake & Alex Calder.

                                            All Proceeds go to the International Refugee Assistance Project.

                                            Montreal bedroom pop artists Homeshake and Alex Calder dig into their vaults of unreleased music for a good cause.

                                            Homeshake — the project of Peter Sagar — contributed the unreleased Fresh Air outtake titled ‘Nankhatai’, while Calder offers up a new cut called ‘Stuck Inside’.

                                            “‘Nankhatai,’ Homeshake’s contribution is named for a delicious Indian biscuit, though the track itself has a vintage and spectral sadness. Calder’s ‘Stuck Inside’ is about earworms you can’t stop listening to, and the song’s addictive, spiralling noisiness might make it another track that gets stuck on repeat” - The Fader

                                            Limited Edition of 500 Copies.

                                            There must be something in the water of Edmonton, Canada that’s gifting the songwriters there with the ability to write sweet and snug pop melodies. After putting in time with fellow Edmontonian Mac DeMarco in Makeout Videotape, Alex Calder packed away his drums to perfect his song writing. Moving back to his mother’s house, he was able to write and record his first solo effort in 2013 with the ‘Time’ EP.

                                            Alex Calder’s sophomore release with Captured Tracks is as familiar as it is foreign - bringing together infectious melodies and texture to create tidy, acid-induced pop sequences.

                                            ‘Strange Dreams’ takes a confident step forward from Calder’s previous release and brings the focus and ambition of Alex’s songwriting to all aspects of his music. The record delivers, while still maintaining the youthful humour that has become his trademark.

                                            Tight rhythms tie down whirling guitars, sparkling textures bounce off of timeless melodies and ambition beyond humble means are realized on Alex Calder’s latest album. Ghostly vibes find their way into his songs that possess a certain sense of urgency, as is unmistakably evident on his lead single, title track ‘Strange Dreams’.

                                            Alex Calder

                                            Alex Calder

                                              It’s surprising that Alex Calder’s self-titled album is only his sophomore long player effort, considering the prolifically consistent stream of lo-fi weirdo psych-pop he’s put out since his introduction via 2013’s ‘Time’ EP.

                                              While the forthcoming album remains true to Alex’s sonic aesthetic, it is a release that clearly exemplifies a moment of artistic evolution and expansion in both influence and the writing and recording process. Alex found himself frequently revisiting Paul Thomas Anderson and old anime films while writing and drawing influences from Stereolab, Broadcast, Pavement, Arthur Russel and Kate Bush, to videogame soundtracks such as ‘EarthBound’ and ‘Zelda Ocarina Of Time’.

                                              “I felt more confident saying things in my songs I actually want to say this time. Things I was scared to sing about before seemed a lot easier for these songs.” Perhaps this is due to the year he spent re-working and perfecting demos until they blossomed into fully-formed, dynamic songs - a process far from the more visceral, off-the-cuff approach he’d taken with his earlier work. “All of my music before has essentially just been demos I’d made at home, and then they end up being records.” This time around, Alex took time and space for himself to discover a greater level of expressive intent behind his lyrics and musical compositions.

                                              A contrast between sound and lyrical meaning is a friction retained consistently across the album’s 12 tracks and this album-long meditation on duality is certainly intentional as Alex explains, “I’m hoping people notice that this is a somber record, but not meant to be a depressing record. I want someone to listen to my music in headphones in their bed if they are having a bad day or to put it on in the background at a house party to heighten the mood.”

                                              It’s fitting, really, that this album be self-titled, as it is a kind of proclamation of self for Alex, an expression, or admonition really, of who Alex Calder is - the good and the bad, the sad and the goofy, someone who loves to joke around but is still capable of being serious and expressing himself more personally. For Alex, these dualities are not contradictory but almost symbiotic - “I feel like the two go hand in hand. It’s a classic sad clown thing.”

                                              A strong love for classic 60s/70s guitar pop (Beach Boys, Beatles) as well as soft spots for Prince and Hall & Oates display his self proclaimed 'fascination with pop music'. While his influences certainly shape his work, it is his natural ear for melody and movement which make Calder's work both fluid and engaging.

                                              His knack and ambition both in his song writing and production provide a solid foundation for Calder's music to drift in an out of psychy realms. There are no over drenched chorus or walls of sound, instead leaving space for melody and texture to beneatly co-existent. Alex has found the sweet spot between slacker-pop jangle and snug rhymtic production to create reassurance his songs are going somewhere. Intimate handclaps and shakers make it easy for one to visualize the living from which it came as Calder's questions what to do with his time both literally and existentially.

                                              This unique collaboration was originally released in 1971 and saw Cale (fresh from his ground-breaking work as a member of the Velvet Underground and now finding his feet as a solo artist) and Riley (noted for his highly influential works “In C” and “A Rainbow in Curved Air”) create a work of atmosphere and uniqueness. All instrumental, with the exception of the song “The Soul of Patrick Lee”, “Church of Anthrax” was the perfect melding of the experimental genius of two unique musicians. Hard to catagorise, the album was recorded a year prior to its release by Columbia in February 1971 and actually preceded Cale’s first solo album.

                                              John Cale

                                              Music For A New Society

                                                ‘Music For A New Society’ is a fully re-mastered album of the long out of print 1982 classic album with three previously unreleased bonus tracks from the original multi-track recordings Library Of Force, Chinese Envoy and Thoughtless Kind ..

                                                The ‘Music For A New Society’ heavyweight vinyl format comes with a download card which includes the three unreleased bonus tracks.

                                                Domino Records reissue John Cale’s classic live album ‘Fragments Of A Rainy Season’, featuring his revered interpretation of Leonard Cohen’s ‘Hallelujah’ amongst many solo versions from his enduring catalogue and previously unreleased outtakes.

                                                ‘Fragments Of A Rainy Season’ was the first live John Cale album to feature him performing solo and ‘unplugged’ - before that term became a mid 1990s buzzword.

                                                In contrast to the jaundiced punk truculence of ‘Sabotage/Live’ (1979) or ‘Even Cowgirls Get The Blues’ (1986), ‘Fragments Of A Rainy Season’ gives us Cale at his most melodic and moving, a mellowed and certainly a soberer man in a Yamamoto jacket and a lopsided haircut running through a selection of his prettiest songs. It’s a Cale many love deeply, a man alone at a concert-hall Steinway revisiting the pop-rock of ‘Paris 1919’ and ‘A Child’s Christmas In Wales’, as wistful and whimsical as any 70s singer songwriter holding court at LA’s Troubadour club. It’s the Cale who disavowed the spiky nihilism and decadence of the Velvets, inspired instead by melodicism of Paul McCartney and Brian Wilson (to whom he’d paid haunting homage on ‘Slow Dazzle’s brilliant Beach Boys pastiche ‘Mr. Wilson’). It’s the Cale who improbably took a staff job at Warner-Reprise in LA and - for an all-too-brief moment - became part of the Burbank producers’ mafia alongside Lenny Waronker and his laidback chums. (Lest we forget, 1973’s ‘Paris 1919’ featured members of Little Feat and The Crusaders among the backing musicians.)

                                                Cale being Cale, ‘Fragments Of A Rainy Season’ isn’t all rueful tenderness. The deceptively jaunty ‘Darling I Need You’ is flippantly introduced as a song about “religious awakening in the southern part of the United States,” while Elvis’ ‘Heartbreak Hotel’ is no less gothic in the solo version here than it is in the Grand Guignol horror show of the original on ‘Slow Dazzle’. ‘Guts’ is as close as Cale ever came to Lou Reed at his most withering.

                                                It’s easy to forget that - years before Jeff Buckley and The X-Factor - he was the first artist to recognize the hymnal majesty of Leonard Cohen’s ‘Hallelujah’, or that it was his original 1991 reading of the song that popped up on the soundtrack of ‘Shrek’.

                                                FORMAT INFORMATION

                                                3xIndies Exclusive LP Info: Exclusive 3LP format is available to independent retailers and includes eight previously unreleased tracks from the original touring period plus digital download code of all content.

                                                2xCD Info: Includes eight previously unreleased tracks from the original touring period.

                                                Domino Records reissue John Cale’s classic live album ‘Fragments Of A Rainy Season’, featuring his revered interpretation of Leonard Cohen’s ‘Hallelujah’ amongst many solo versions from his enduring catalogue and previously unreleased outtakes.

                                                ‘Fragments Of A Rainy Season’ was the first live John Cale album to feature him performing solo and ‘unplugged’ - before that term became a mid 1990s buzzword.

                                                In contrast to the jaundiced punk truculence of ‘Sabotage/Live’ (1979) or ‘Even Cowgirls Get The Blues’ (1986), ‘Fragments Of A Rainy Season’ gives us Cale at his most melodic and moving, a mellowed and certainly a soberer man in a Yamamoto jacket and a lopsided haircut running through a selection of his prettiest songs. It’s a Cale many love deeply, a man alone at a concert-hall Steinway revisiting the pop-rock of ‘Paris 1919’ and ‘A Child’s Christmas In Wales’, as wistful and whimsical as any 70s singer songwriter holding court at LA’s Troubadour club. It’s the Cale who disavowed the spiky nihilism and decadence of the Velvets, inspired instead by melodicism of Paul McCartney and Brian Wilson (to whom he’d paid haunting homage on ‘Slow Dazzle’s brilliant Beach Boys pastiche ‘Mr. Wilson’). It’s the Cale who improbably took a staff job at Warner-Reprise in LA and - for an all-too-brief moment - became part of the Burbank producers’ mafia alongside Lenny Waronker and his laidback chums. (Lest we forget, 1973’s ‘Paris 1919’ featured members of Little Feat and The Crusaders among the backing musicians.)

                                                Cale being Cale, ‘Fragments Of A Rainy Season’ isn’t all rueful tenderness. The deceptively jaunty ‘Darling I Need You’ is flippantly introduced as a song about “religious awakening in the southern part of the United States,” while Elvis’ ‘Heartbreak Hotel’ is no less gothic in the solo version here than it is in the Grand Guignol horror show of the original on ‘Slow Dazzle’. ‘Guts’ is as close as Cale ever came to Lou Reed at his most withering.

                                                It’s easy to forget that - years before Jeff Buckley and The X-Factor - he was the first artist to recognize the hymnal majesty of Leonard Cohen’s ‘Hallelujah’, or that it was his original 1991 reading of the song that popped up on the soundtrack of ‘Shrek’.

                                                FORMAT INFORMATION

                                                3xIndies Exclusive LP Info: Exclusive 3LP format is available to independent retailers and includes eight previously unreleased tracks from the original touring period plus digital download code of all content.

                                                2xCD Info: Includes eight previously unreleased tracks from the original touring period.

                                                John Cale

                                                Sun Blindness Music

                                                These pieces derive their origin from reel to reel Recordings made in the 1960's on the Lower East Side in New York's bohemian artist communes. The 43 minute title track is heavily influenced by Terry Riley's solo organ improvisational minimalism (Cale and Riley would later collaborate on "Church of Anthrax"). The eleven minute "Summer Heat" is an opressive guitar track and the final track is pure electronic sound.

                                                Calendar / Braxton Holmes Presents Cabrini-Greens And Cornbread

                                                Comin' On Strong /Stomps & Shouts (Jamie 3:26 Edits)

                                                Just ahead of a brand new album, edit kingpin and Chi-town poster boy, Jamie 3:26 introduces a double-A side of prime cuts.

                                                At the top of many a vinyl digger’s wish-list since its highly limited white label release in 2010, the Jamie 3:26 edit of Calendar’s 1977 disco stepper "Comin’ On Strong" has become the stuf of legend, played to devastating efect by Theo Parrish among others over recent years. On the fip, Jamie 3:26 heads into classic Chicago House territory with a fiery reworking of impossible-to-find Braxton Holmes banger ‘"Stomps & Shouts", taken from his mythical "Cabrini-Greens and Cornbread" project.

                                                A scintillating teaser of what’s to come later this year when BBE release the full length, "Taste Of Chicago", these two hi-octane edits should keep even the most hot-footed dancers on their toes. Recommended!


                                                STAFF COMMENTS

                                                David says: Back in the day, when I used to be able to stay awake beyond midnight, this Jamie 3:26 edit was both a permanent fixture in my record bag and a certified floor filler. I'm guessing my version might be 'unofficial' but Jamie has done the decent thing and gone all legal on us. Massive.

                                                Calendar Crowd was the duo of Alan Heaton and Terence Tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the ‘70s. In the ‘80s they formed a 6-piece band called Room For Humans and recorded one single “Telephone Telephone / Girlfriend”. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division. In 1982 they released their debut single “Perfect Hideaway / Perfect Hideaway Dub” on 7”. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP “Listen in to the Heart” in 1985.

                                                A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue Dark Entries compiled both singles on one EP featuring all four songs. "Perfect Hideway" is evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance’s squally, vocals guiding the way through volatile synthscapes accented by bright brass stabs. Meanwhile the dub strips back the vocals, adds delayed samples and heart beat pounding drums. On the B-side “Listen in to the Heart” and “Questions Answers” are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. Another synth classic given a new lease of life from the good folks at Dark Entries. 


                                                Iron & Wine's Sam Beam and the members of Calexico convened in December 2004 at Calexico's home base of Wavelab Studios in Tucson, Arizona. The idea of working together had been tossed around for over three years, though neither bands' schedule loaned itself into making it a reality until then. The resulting session "In the Reins", is a mini-album that is a truly harmonious affair sure to satisfy fans of both bands. The seven tracks are Sam Beam originals and were fleshed out by the full Calexico band. The record also features newcomer Natalie Wyants on vocals, Salvador Duran, a local fixture of the Tucson Flamenco scene, on vocals and Botas. Of course no Wavelab experience would be complete without the appearance of Nick Luca (NL Trio/John Doe Band) and Craig Schumacher, both of whom contributed to the record in the form of engineering and performance.

                                                Calexico

                                                Spiritoso

                                                  THIS IS A RECORD STORE DAY 2013 EXCLUSIVE AND WILL ONLY BE AVAILABLE INSTORE ON THE DAY (SATURDAY APRIL 20th) AND LIMITED TO ONE PER PERSON.

                                                  IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE FROM SATURDAY APRIL 27th.


                                                  CALEXICO will be releasing their live orchestral album ‘Spiritoso’ in a brand new limited coloured vinyl edition, exclusively for Record Store Day. The album was recorded in 2012 with two different orchestras in Vienna and Berlin, and features many Calexico hits and selected songs from the band’s latest studio album, ‘Algiers’. Calexico will be on tour in Europe during the summer.

                                                  + Limited to 1000 Worldwide
                                                  + 180g White Vinyl
                                                  + TipOn Coversleeve
                                                  + Album download

                                                  LIMITED TO 300 COPIES IN THE UK

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: Just found 2 copies of this!

                                                  Calexico

                                                  Cruel

                                                  Next edition in the Mini Slang series comes courtesy of the mighty Calexico. "Cruel" is probably my favourite track off "Garden Ruin". The intro sees Joey Burns pick out a probing steel string hook, before we are greeted by the distinctive vocals of John Convertino. With added Love-style horn stabs and layered harmonies, it harks back to their earlier desert soundtrack style, while maintaining the more song based feel of the rest of the album.

                                                  FORMAT INFORMATION

                                                  Ltd 7" Info: Limited edition 7" includes "Deep Down" on the B-side.

                                                  For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With 'Edge of the Sun' they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

                                                  Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burnsʼ brother John Burns lent a hand to some lyrics and songwriting, and the bandʼs keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

                                                  STAFF COMMENTS

                                                  Laura says: Calexico have been honing their Latin-American infused dusty desert blues for the best part of 20 years, and here, they've got it bang on.

                                                  FORMAT INFORMATION

                                                  LP includes MP3 Download Code.

                                                  For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With 'Edge of the Sun' they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

                                                  Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burnsʼ brother John Burns lent a hand to some lyrics and songwriting, and the bandʼs keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

                                                  STAFF COMMENTS

                                                  Laura says: Calexico have been honing their Latin-American infused dusty desert blues for the best part of 20 years, and here, they've got it bang on.

                                                  FORMAT INFORMATION

                                                  LP includes MP3 Download Code.


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