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BACK CATALOGUE - D

Desmond Dekker

Pretty Africa

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

    Recorded at Chalk Farm Studio in the summer of 1973, this long-lost album, showcasing the talents of reggae superstar Desmond Dekker and his backing group, the Aces, was recently discovered in the legendary Trojan archives. Comprising 7 superb sides performed by Desmond Dekker himself, and a further five highlighting the not inconsiderable vocal talents of the Aces, we are sure fans will agree that the 45 year delay in the release of this previously unissued collection has certainly been well worth the wait!

    Dillinger

    CB 200

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

      First issued in 1976. Available on CD and digital but vinyl has been out of print since the mid-80s. 2000 only worldwide. By the 1970s Reggae had spread from Jamaica and become an international phenomena. Enter Dillinger, who rose up with the El Paso Sound System as part of the second generation of Jamaican toasters. His name came from American gangster John Dillinger at the suggestion of none other than Lee Perry (who produced his first album). A deal with Island Records followed, with sessions happening at Channel One Studios with Joseph ""Jo Jo"" Hoo Kim producing. Recording at Channel One in mid-70s meant Dillinger and Jo Jo were tapping into an immense talent pool in the form of The Revolutionaries, the studio’s in-house band. CB 200 features contributions from Earl “Chinna” Smith, Aston “Family Man” Barrett, Ansel Collins, Sly Dunbar, and Tommy McCook among others. The release also brought forth the career defining cut “Cokane In My Brain”, a hit record on an international basis. Despite the success of CB 200 and “Cokane In My Brain” the release has remained out of print in all formats since the mid-1980s. Get On Down is about to change that, with their Record Store Day 2019 reissue of this too often overlooked Reggae masterpiece. Tracks : 1. CB 200 2. No Chuck It 3. Cokane In My Brain 4. The General 5. Power Bank 6. Plantation Heights 7. Race Day 8. Natty Kick Like Lightning 9. Buckingham Palace 10. Crankface

      Daniel Pemberton

      Black Mirror: USS Callister - OST

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

        1000 only - soundtrack from much loved cult episode of ‘black mirror’.

        first time on vinyl, bespoke artwork from butcher billy, includes ltd edition poster art print. 2lp red vinyl. “a brilliant take on star trek homages, gaming and toxic geekery” the guardian // the emmy nominated soundtrack from the much-loved emmy winning episode of black mirror. daniel pemberton’s score for black mirror’s ‘uss callister’ is available for the first time on vinyl with bespoke artwork from butcher billy and limited-edition poster art print. taken from the first show of the show’s fourth season, it’s the ‘star trek’ episode when a gifted programmer becomes frustrated with his job and creates digital clones of his co-workers for his own dark adventures in space. the ivor novello award winning, golden globe award and multi bafta nominated and acclaimed composer shifts effortlessly between symphonic and electronic instrumentation. “a brutal star trek scenario that’s half comedy, half indictment of silicon valley leadership” the verge // “one of hollywood’s most sought-after composers” screen daily.

        Dennis Alcapone

        Guns Don't Argue

          Cementing his reputation as the star toaster with the small but popular El Paso sound system, based in the Waltham Park area, Dennis Alcapone was one of the first deejays to rise to prominence following U Roy’s breakthrough in the late 1960s. Born Dennis Smith in the rural district of Culloden, he became immersed in sound system culture after settling in western Kingston. Once El Paso became big on the sound system circuit, dental technician-turned-producer Keith Hudson brought him into the studio for his debut recordings, which led to a debut album for Studio One and hit material for Duke Reid, some cut in concert with his deejay sparring partner, Lizzy. Alcapone’s longstanding links with Bunny Lee yielded the excellent "Guns Don’t Argue" album, first issued in 1972, on which the toaster raps with style over some of Lee’s all-time greatest rhythms, including Delroy Wilson’s "Better Must Come", John Holt’s "Left With A Broken Heart" and Slim Smith’s rendition of the Temptations’ soul classic "Ain’t Too Proud To Beg."

          David Allred

          The Cell

            Meant as a companion piece to The Transition, The Cell picks up where The Transition left off, with David continuing the search to find his place in the world. “The Cell is about warmly acknowledging the darkness in our individual lives as a strategic method of gaining a deeper understanding of how to move forward in a vastly dissonant world with optimism, harmony and light.”

            Opening with the title track, The Cell immediately draws us into David’s unique world of storytelling, displaying his peculiar skill of weaving feelings and characters with wandering melodies. The five-minute opener peaks with David’s emotional falsetto repeating “In the mind”, acting as an alarm call for himself and his surroundings. Lead track Nature’s Course finds David delving deeper into existential questions about the human condition and its relation to nature, set to a gentle, melancholy piano ballad.

            “Nature’s Course is a feeling pertaining to the way our subjective human experience is subconsciously directly related to the slow steady pace of nature and our ability to cope with our inner struggles accordingly” explains David.

            The Cell further cements David’s place among the American songwriting tradition, from the slow methodical spacey instrumental Mandatory Soul to the poetic solo piano number Family and the dense and continuous Lexington Hills. With each piece we are transported to David’s unusual but rich and textured little world.

            Hailing from Loomis, a small town outside of Sacramento, via Portland, Oregon – David worked as a sound engineer and session musician, featuring on multiple recordings by the likes of Birger Olsen, Brigid Mae Power, Brumes, The Beacon Sound Choir, Chantal Acda, Heather Woods Broderick, Jung Body, Masayoshi Fujita, and many more. He quickly found himself touring Europe with Peter, culminating in a Royal Festival Hall performance, and contributing the arresting voice and double bass piece Ahoy to the Erased Tapes 10th anniversary box set 1+1=X.

            STAFF COMMENTS

            Barry says: They're becoming quite the collective this lot. With Allred recently collaborating with the splendid Peter Broderick, and he in turn collaborating with Chatal Acda and the superb Bridgid Mae Powers, the musical ouroboros continues to produce the goods. Allred is a hugely talented individual and clearly knows exactly how to accentuate his beautiful pieces with the help of some good pals. Lovely stuff.

            Hailing from Loomis, a small town outside of Sacramento, via Portland, Oregon – David worked as a sound engineer and session musician, featuring on multiple recordings by the likes of Birger Olsen, Brigid Mae Power, Brumes, The Beacon Sound Choir, Chantal Acda, Heather Woods Broderick, Jung Body, Masayoshi Fujita, and many more. He quickly found himself touring Europe with Peter, culminating in a Royal Festival Hall performance, and contributing the arresting voice and double bass piece Ahoy to the Erased Tapes 10th anniversary box set 1+1=X; only to return to where he started, Loomis, and finally write and record The Transition as his first full-length statement in just one month.

            “At 26 years old, I found myself back in the town where I grew up, feeling a bit like a failure for not “making it” out there in the years I spent living and working on my own. I picked up a job working in a retirement home, surrounded by those who are at the very end of their lives, and they’ve kept saying the same thing: that they had no idea life would happen that fast. So I decided to make an album inspired by my recent experiences and stories I heard through working with them,” he explains.

            With the release of The Transition, David Allred takes his place among the classic American songwriting tradition whilst revealing a peculiarity to his storytelling. Isolated and cut off from the outside world, David began unravelling his life and putting it on record. With a double bass in his bedroom and a piano in a church across the street, the stories started to unfold until a set of ten songs came to life. Vignettes and feelings from his own experiences, as well as characters he met along the way, inspired a rich tapestry of stories and melodies. Songs like the lead single The Garden show a maturity, depth and thoughtfulness beyond his years. Randy and Susan, a song about love, betrayal, greed and getting old, was made up from various stories David collected at his day job as a caretaker. It was written as a companion piece to Hey Stranger, “a poignant tale of a disappeared friend” (Mojo) from his collaborative release with Peter, and an attempt to make peace with this unresolved situation. 


            Douglas Armour

            The Light Of A Golden Day, The Arms Of The Night

            "The Light Of A Golden Day, The Arms Of The Night" is the debut album from Los Angeles located Douglas Armour. This album finds the artist expertly blending tons of our favourite poptones from days past to create a hyper-literate pastiche that's equal parts nostalgia and forward-thinking. Echoing its title, the album has a structure that plays off binary oppositions to create one of the most varied pop albums we've heard in a long time.

            Dan armstrong makes the sort of widescreen ambient music that makes you sit up and listen, eagerly drawing in all the tentative synth swells and panned industrial churns. Opener, 'Alpha Wave' for example, is a growing swell of ambient synth churns joined by drawn-out long-envelope pads and reticent twinkling peaks. Though the echoic churn is a gritty analogue mono drone, the glimmering airy spikes glisten with a warm digital air, ofsetting the doomy drone behind.

            It's this sort of build-up and release that lend the key changes and slow seismic shifts further gravitas, with pieces like the stunning 'Epsilon Wave' providing a more rhythmic and dynamically forward juxtaposition, and relying upon a foundation of euphoric beats and repeated themes overlaid on top of each-other rather than the moody but hugely effective drone of earlier.

            Dan has crafted a beatiful album here, tastefully and unintrusively flickering between the more serene moments of rhythmic beauty and full-spectrum sonic walls of sound. 

            The new album from Daymé Arocena is a vivid return to her Havana roots. Backed once again by a killer band of fellow Cuban musicians, the visionary singer, composer and songwriter has stripped everything back to the core. Holding sessions in a simple, repurposed artist’s studio in Havana, Daymé produced the record herself, taking the reins to make “Sonocardiogram” her most raw and arresting outing yet.

            A jazz-tipped record rooted in the rhythms of rumba, she draws on the island’s intertwined rituals of family, music and religion. Ringing with echoes of the greats, songs nod to the likes of Tito Puente and La Lupe, inspirations which carry the sound of Cuba’s sun-baked, vibrant daily existence. Odes to Santería deities are underscored by the sacred frequencies of the batá drum, translated to be played on a Western drum kit. It’s an intoxicating window into a singular artist’s worldview.


            STAFF COMMENTS

            Millie says: Exploring her Havana roots Daymé Arocena’s jazz infused LP with traditional upbeat rhythms and soaring strong vocals. Fitting into the Brownswood family circle perfectly! Absolutely stunning stuff.

            Dan Auerbach/ Robert Finley / Sonny Smith

            Good Sound Comes Back Around Vol. 1

              Eight-time GRAMMY–­winner, Dan Auerbach, announces a 7” Easy Eye Sound sampler, Good Sound Comes Back Around Vol. 1, which will be released as part of Record Store Day’s Black Friday initiative. The new 7” is a preview of upcoming releases on Auerbach’s label and features ‘Cellophane Angel’, an exclusive and unreleased track Auerbach recorded with the Preservation Hall Band, on Side A, and Robert Finley's ‘Medicine Woman’ – the first single on his new album Goin’ Platinum! due December 8 – and Sonny Smith's ‘Pictures of You’ on Side B

              David August

              D'Angelo

                Fusing laidback pop sensibility with moody cinematographic soundscapes, David’s newest album D’ANGELO is the sound of a young artist getting in touch with their roots, exploring new landscapes and freeing inhibitions. Where he channelled this journey into ambience on DCXXXIX A.C. – his debut on his own label, 99CHANTS - D’ANGELO has David deconstructing pop atmospheres while in search of his past and reforming them into something deeply moving.

                He admits that while his strongest emotions have their roots in his formative years, growing up in the picturesque mountain town of Palestrina outside Rome, he never used those emotions creatively, keeping them private until now. “I had never tried to have a dialogue with myself within the music that I was making,” he explains. “Suddenly there were all these questions about identity, my childhood, and an obsession with truth. Although I was scared to confront these questions – when in your life could you fully answer them? – I had to at least approach them to keep creating.”

                D’ANGELO’s spiritual inspiration is rooted in Italy’s rich and complex artistic history, and how certain artists broke boundaries, such as Giovanni Pierluigi da Palestrina, who mastered the art of polyphonic and counterpointed composition during the Renaissance. “I looked at the Italian culture I grew up with, that has always been present since I was a kid.” He says. “I had to start with a deeper study of these artists, composers, and writers who formed the cultural and emotional bonds I feel towards Italy.”

                Michelangelo Merisi da Caravaggio painted the realities of the streets over the ideals of the heavens, taking those who blended into the background of the streets and painting them as saints, as figures of ideation. “Caravaggio was a leading inspiration throughout this process. He was someone I looked up to all the time and had so much respect for; someone who was always trying to picture the implacable reality, and not compromising. Having his paintings on one screen – and my DAW on the other – was one part of the process. It was an attempt to soundtrack his art – his reality – in real time.”

                D’ANGELO is an impassioned, melancholic album that exists in a space that is not easy to translate into words…but do the words always matter?

                Daniel Avery + Alessandro Cortini

                Illusion Of Time

                  Renowned UK producer Daniel Avery and acclaimed experimental musician and Nine Inch Nails synth artist Alessandro Cortini announce their debut full-length collaboration, ‘Illusion Of Time’, set for release on Phantasy.

                  Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation.

                  “It was very much a shared process,” notes Avery. “I would like to credit Alessandro with his belief that music has a life of its own, as well as the importance he places on the first take... That even something that may be considered out-of-step by some should be respected. Some of the tracks were borne simply out of a tiny synth part, or a bit of tape hiss that we had recorded. And that approach taught me a lot. It’s a record that’s been worked on hard, but not laboured over.”

                  “I was a big fan of Daniel’s, and his work always spoke to me in a certain way,’’ explains Cortini. “Then, when we started working together, it just clicked. It’s very hard to explain, but I can always hear the love in his work, and that is true on this record. After our first collaboration, we just kept sending each other music and maintaining that dialogue. Next thing you know, we’re sitting in a hotel room in New York and had finished the record in three hours.”

                  FORMAT INFORMATION

                  Coloured LP Info: LP pressed on transparent magenta heavyweight vinyl plus embossing with machine gloss on sleeve and digital download code.

                  Five years after his critically acclaimed debut Drone Logic, London-based producer Daniel Avery announces his highly anticipated second album Song For Alpha, set for release on March 9th 2018 through Phantasy. The album is preceded on January 19th by a 4-track limited edition 12” vinyl EP titled Slow Fade.

                  The new long player, on which the track ‘Slow Fade’ will appear, follows 2013’s incendiary debut Drone Logic. Upon its release the latter was called “A mesmerising debut" by Mixmag, “Exceptional” by the Times and "A benchmark for so many other dance albums to aspire to" by Dummy, while Pitchfork proclaimed “Avery owns this space.” “Underground dance music with this sort of ambition hasn’t been heard in quite a while", noted Resident Advisor, and Q hailed  "The arrival of a new left­field dance superstar."

                  In the years since, Avery has helmed a DJ-Kicks mix CD, resided over a monthly radio show for NTS Live, curated an extensive remix compilation and collaborated on a series of side-projects including a recent collaboration with Nine Inch Nails synth specialist Alessandro Cortini; he has toured relentlessly, cementing a reputation as one of the defining techno DJs of the decade. He has also worked studiously on what he wanted to say next as a producer. 

                  With newfound energy and time to develop, Avery’s sonic vocabulary has expanded. Here, the booming sound of the big room is brilliantly countered by the music of the small hours. Where celestial ambient lullabies ‘First Light’ and ‘Days From Now’ sit perfectly next to the mesmeric techno assault of ‘Diminuendo’ and ‘Sensation’; where both ‘Projector’ and ‘Clear’ evoke early rave records, only ones engulfed by waves of beautiful cyclonic distortion. William Basinski, Warp’s Artificial Intelligence, Brian Eno plus his own excursions with Alessandro Cortini all serve as touchstones for a record that sees Avery take his signature psychedelic-electronic sound to new dimensions, a sound that plays to the head as much as the body.


                  STAFF COMMENTS

                  Barry says: Delicately presented electroacoustic compositions, supported with a finely honed backbone of melodic suggestion and hypnotic rhythmic pulse, Avery once again proves he is one of the masters of his craft.

                  FORMAT INFORMATION

                  2xLP Info: Double 180 gram vinyl.

                  2xLP includes MP3 Download Code.

                  "Earth Rot" is visionary composer / arranger / producer David Axelrod’s third album, and the last of his Capitol trilogy. Recorded as a concept album about the decrepit state of the environment in 1970 Los Angeles, and scheduled for release on the first Earth Day, it features choral vocals and marks a departure for Axelrod’s signature sound, which would take on a jazzier feel in the 1970s. This definitive version of "Earth Rot", overseen by Now-Again’s Eothen Alapatt in conjunction with Axelrod’s estate is an audiophile reissue, with the vocal version lacquered directly from Axelrod’s original master tapes at Capitol Records by Ron McMaster. The master was approved by Axelrod’s son Michael, who adapted ancient lyrics for the album in one of three collaborative projects he did with his father. Contains a 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview. “There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.” T-Ray. 

                  FORMAT INFORMATION

                  LP Info: Comes Packaged In A Gatefold Jacket With A 28-Page Booklet!

                  "Includes Never Before Issued Instrumentals! Comes Packaged In A Gatefold Jacket With A 28-Page Booklet! Earth Rot is visionary composer/ arranger/ producer David Axelrod’s third album, and the last of his Capitol trilogy. Recorded as a concept album about the decrepit state of the environment in 1970 Los Angeles, and scheduled for release on the first Earth Day, it features choral vocals and marks a departure for Axelrod’s signature sound, which would take on a jazzier feel in the 1970s. This definitive version of Earth Rot, overseen by Now-Again’s Eothen Alapatt in conjunction with Axelrod’s Estate, fulfills a request Axelrod made while alive – to see the instrumentals of this album, never beforereleased, issued. They see release here as the second LP in a 2LP set. This is an audiophile reissue, with the vocal version lacquered directly from Axelrod’s original master tapes at Capitol Records by Ron McMaster. The master was approved by Axelrod’s son Michael, who adapted ancient lyrics for the album in one of three collaborative projects he did with his father. Contains a 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview.

                  This is the first Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy – "Song of Innocence", "Songs of Experience" and "Earth Rot" – which will see release through 2018. This audiophile reissue was transferred directly from Axelrod’s original EQ’ed master tapes at Capitol Records by Ron McMaster. Axelrod’s debut, and a ‘60s masterpiece.

                  Celebrated as psychedelic, the birth of jazz-fusion, the harbinger of hip-hop, "Song of Innocence" is a hybrid that no one, not even Axelrod himself, could describe. Grounded by Wrecking Crew vets Earl Palmer and Carol Kaye’s funk, torn between the juxtaposition of musical elements, put at ease, Axelrod’s sweeping arrangements, which utilize brass and strings in a way that no one of his era did. It’s both violent and sublime. LP/CD Contains 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics’ Brian Digenti. 

                  David Axelrod

                  Songs Of Experience

                    “Songs of Experience was supposed to have a different feel than Song of Innocence. You see, music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to William Blake, what was going on in my life took precedence.” – David Axelrod. Songs of Experience is visionary composer/arranger/producer David Axelrod’s second album; it was recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with mortality and spirituality – the solitary, pastoral musings of William Blake set to the urban bombast of a full Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk.

                    This is the next Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy – Song of Innocence, Songs of Experience and Earth Rot – which will see release through 2018. LP Contains oversized, 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics’ Brian Digenti. (CD 32 page booklet) “There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.” 

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

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

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

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

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

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

                    FORMAT INFORMATION

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

                    Derek Bailey

                    Company 1983

                      Derek Bailey, Evan Parker, Jamie Muir, Joelle Leandre, Hugh Davies, Ernst Reijseger, John Corbett, JD Parran, Vinko Globokar, Peter Brotzmann.

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

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

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

                      FORMAT INFORMATION

                      12" Info: REPRESS DUE!

                      Devendra Banhart was born in Houston, Texas, and moved with his mother to her native Caracas, Venezuela, when his parents separated. The family relocated to Los Angeles during his teenage years; it was there that he learned to speak English, skateboard, and play music. Banhart first began to perform in public while attending the San Francisco Art Institute. He has since lived in New York City, Paris, San Francisco, and Los Angeles, where he currently resides.

                      Banhart first attracted international notice with his 2002 debut album, Oh Me Oh My… The Way the Day Goes By the Sun Is Setting Dogs Are Dreaming Lovesongs of the Christmas Spirit – a collection of recordings he had made for himself. Subsequent albums include Rejoicing in the Hands (2004), Niño Rojo (2004), Cripple Crow (2005), and Smokey Rolls Down Thunder Canyon (2007), and What Will We Be (2009). Mala, his Nonesuch debut, was described by Q as a ‘career-best’ and by the Wall Street Journal as his ‘most concise, hushed and winsome effort to date’. Banhart has collaborated with fellow musicians including Anohni (formerly known as Antony) and the Johnsons, Beck, Vashti Bunyan, Os Mutantes, and Vetiver. He also has performed with both Gilberto Gil and Caetano Veloso, and was part of a David Byrne–curated concert at Carnegie Hall.

                      An accomplished visual artist, Banhart’s distinctive, minutely inked, often enigmatic drawings have appeared in galleries all over the world, including the Art Basel Contemporary Art Fair in Miami; the San Francisco Museum of Modern Art; the Palais des Beaux-Arts in Brussels; and Los Angeles’ Museum of Contemporary Art. In 2015 Prestel published I Left My Noodle on Ramen Street, a collection of his of drawings, paintings, and mixed media pieces. He has created the cover art for most of his records, and in 2010 his artwork and packaging for What Will We Be was nominated for a Grammy.

                      Ape in Pink Marble, Devendra Banhart’s ninth album, was written, produced, arranged, and recorded in Los Angeles by the singer/songwriter/guitarist with his longtime collaborators Noah Georgeson and Josiah Steinbrick, both of whom also worked on Banhart’s most recent album, Mala (2013). 




                      Devendra Banhart

                      Ma

                        Devendra Banhart's new album, Ma, is due September 13, 2019, on Nonesuch Records. This is Banhart's first album since 2016's Ape in Pink Marble. Ma, bursting with tender, autobiographical vignettes, displays a shift from the sonic experimentation of his previous albums to an intricate, captivating story-telling and emotional intimacy. Banhart favors organic sounds to accompany his voice and guitar, the arrangements bolstered by strings, woodwinds, brass, and keyboards. 

                        "Kantori Ongaku" translates from Japanese to "country music" and is a nod to experimental pop legend Haruomi Hosono, a founding member of the influential electronic band Yellow Magic Orchestra. The song's video features a full circle journey of vignettes that play on the dream-like quality of intimate activities. The video, colorfully directed by Giraffe Studios, also features guest cameos and a brief infomercial pleading for donations to the I Love Venezuela Foundation.

                        Daniel Blumberg

                        Minus

                          Daniel Blumberg announces his debut album release for Mute, ‘Minus’, the first release under his own name.

                          An astonishing work, the record weds an improvisational, free-music ethos to the rawest emotional songwriting, rooted deep in the personal turmoil Blumberg experienced whilst making the record.

                          The album was recorded live with legendary producer Peter Walsh (Scott Walker’s collaborator since ‘Climate Of Hunter’) in just five days during a remote residential stay in Wales, amidst a debilitating breakup with his partner of seven years along with Blumberg's ongoing struggle with mental illness which resulted in his hospitalization just a week before recording.

                          Still only 27 years old, Blumberg has written himself a rich musical history; from his teenage band who signed to XL whilst he was still at school, onto and through the projects of Yuck, Oupa and Hebronix, whilst solidifying close creative partnerships with the likes of David Berman (Silver Jews), Low, Lambchop and Royal Trux’s Neil Michael Hagerty (with whom Blumberg has performed as a member of the Howling Hex).

                          With ‘Minus’, though, there is a sense that Daniel Blumberg has finally arrived at the place he has been searching for - an arresting and progressive work, one which is set to establish him as one of Britain’s most unique contemporary voices.

                          Dean Blunt

                          50 Cent / Trident

                          Hype Williams man Dean Blunt preceeds his soon-come 'Black Metal' LP with this super-limited 12". Showcasing more of Blunt's eclecticism, '50 Cent' combines spacious, shimmering, reverb-laden lo-fi shoegaze guitar work and simple kick-snare machine drumming used as a hip hop break. Over this Williams adds a melancholic rap, duetting with a choral female vocal in a call and response style. 'Trident' offers a more straight forward rap, but again over an inventive dark and grimey backing track. It's indie hip hop, but not as you know it.


                          FORMAT INFORMATION

                          12" Info: Limited pressing. 200 copies only.

                          MMW1 and DFA are proud to present a special duo release from Dan Bodan and Alexis Taylor (Hot Chip). A call and response, the release features an original demo recording from 2009 by Bodan and a recent cover version by Taylor.

                          Written and recorded in New Orleans during a summer of too much JT Leroy and True Blood, Dan Bodan’s original demo of ‘Under a Cancer Sky’ is a Ballardian ballad dedicated to the gods of Sex, Cars and Zodiac.

                          Taylor’s take on the song is decidedly more sensual, abandoning the gothic highways of Route 66 for a night ride through Dubai or Neo-Tokyo, effortlessly zipping along between blinking skyscrapers in a self-driving car.

                          FORMAT INFORMATION

                          7" Info: Limited white label 7" in printed plastic sleeve.

                          Deborah Bonham

                          The Old Hyde

                          Tragedy seems to have been on Deborah Bonham's shoulder since her uncle John Bonham, drummer with Led Zeppelin, died suddenly in 1980. In the candid and compelling descriptions she writes to introduce each song, one can't help but admire her for coming through it all and being all the stronger for it. It certainly shows in the songs.

                          David Bowie

                          Heathen - 180g Vinyl Edition

                          2002's 'Heathen' reunited David Bowie with producer Tony Visconti ('Space Oddity', 'Heroes', 'The Man Who Sold The World') for the first time in 20 years and featured guest appearances by Who legend Pete Townshend and Foo Fighter Dave Grohl. Townshend, who last worked with Bowie on the 1980 Scary Monsters And Super Creeps track "Because You're Young," contributes an incendiary lead guitar line to the track "Slow Burn," which Bowie called "the most eccentric and aggressive guitar I've heard Pete play."

                          "Slow Burn" also features a performance from The Borneo Horns, who accompanied Bowie on the Serious Moonlight tour while Grohl takes lead guitar duties on the Neil Young cover "I’ve Been Waiting." Other standout tracks on Heathen include the sublime "I Would Be Your Slave," the uptempo "Afraid," the epic "Slip Away" and "Everyone Says Hi," a beautifully melodic tune with a classic Visconti string arrangement.

                          “Heathenism is a state of mind,” explained Bowie. “You can take it that I’m referring to one who does not see his world. He has no mental light. He destroys almost unwittingly. He cannot feel any God’s presence in his life. He is the 21st Century man. There’s no theme or concept behind Heathen, just a number of songs, but somehow there is a thread that runs through it that is quite as strong as any of my thematic type albums.”


                          David Bowie

                          Alabama Song - 40th Anniversary Picture Disc

                            Originally released in the UK on 15th February, 1980 ‘ALABAMA SONG’ was initially written as a poem by Bertolt Brecht in 1925 and was put to music by Kurt Weill for the 1927 play Little Mahogany. David Bowie was a longstanding Brecht fan and included the song in the setlist for his 1978 Isolar II tour.

                            The studio version of ‘ALABAMA SONG’ on the A-side of this release was recorded on July 2nd 1978, the day after the final show of the European leg of the tour, at Tony Visconti’s Good Earth Studios in Soho, London.

                            The AA-Side features two previously unreleased tracks; A rendition of “Heroes” track ‘JOE THE LION’ recorded at the soundcheck of the tour’s final Earls Court show on the 1st July 1978. Though rehearsed for the Isolar II tour ‘JOE THE LION’ would not make its live debut until the Serious Moonlight tour of 1983.

                            The second track on the AA-side is a live version of ‘ALABAMA SONG’ also recorded July 1st 1978—a different performance than the one featured on the live album Welcome To The Blackout.

                            David Bowie

                            Changestwobowie

                              This follow up to David’s hugely successful first Best Of compilation CHANGESONEBOWIE, has not officially been available since the late 1980’s. Featuring iconic cover photography by Greg Gorman, it was first released in 1981 and was only briefly available on CD in 1985 but has long since been deleted.

                              Drawing on material spanning from HUNKY DORY (1971) to SCARY MONSTERS (AND SUPER CREEPS) (1980) it achieved gold status in the U.K. album chart in 1982. It will be reissued on the 13th April with all tracks remastered on CD in a digipak sleeve, high-resolution 192/24 and 96/24 digital and standard digital for streaming and download,

                              The 180gram vinyl edition will be available randomly on its initial limited manufacturing run in black and blue vinyl before reverting solely to black vinyl.


                              FORMAT INFORMATION

                              Ltd LP Info: 180g vinyl available randomly on black or blue vinyl.

                              David Bowie

                              David Live (2005 Mix)

                                This live album, was recorded during the Diamond Dogs tour. Although drawing of mostly Ziggy era songs, stylistically it sees Bowie moving from glam rock into a new Philly soul influenced direction.

                                David Bowie

                                Diamond Dogs - 45th Anniversary Edition (Red Vinyl)

                                  AVAILABLE TO INSTORE CUSTOMERS ONLY. 
                                  RELEASED ON MAY 24TH @ £18.99.


                                  See Instore for ordering details.


                                  Released on 24th May 1974 Diamond Dogs gave David Bowie his third UK number one album and his first top 10 album in the US.

                                  To celebrate the 45th anniversary of this iconic album Parlophone have released a special limited edition red vinyl version of Diamond Dogs on 24th May 2019, exactly 45 years since its original release.

                                  Preceding the album by more than 3 months, Rebel Rebel peaked at number 5 on the official U.K. singles chart. The original single mix was substituted by the shorter, ‘phased’ New York Remix single version in North America, featuring a new arrangement and overdubbed vocals. The album originally peaked at number 1 in the official albums chart in the U.K. and number 5 in the Billboard album chart in the U.S..

                                  This is only available to ‘bricks and mortar’ retail stores and not through on-line stores.


                                  David Bowie

                                  Glastonbury 2000

                                    DAVID BOWIE ‘GLASTONBURY 2000’ documents Bowie’s legendary Sunday night headline performance on 25th June at the most famous festival on earth. 

                                    Features Bowie’s diary, and new artwork from jonathan barnbrook (who worked with bowie on various album sleeves) with notes from the renowned author and bowie fan caitlin moran.




                                    David Bowie

                                    Heroes - 2017 Remastered Edition

                                      The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                                      "Repeating the formula of Low's half-vocal/half-instrumental structure, Heroes develops and strengthens the sonic innovations David Bowie and Brian Eno explored on their first collaboration. The vocal songs are fuller, boasting harder rhythms and deeper layers of sound. Much of the harder-edged sound of Heroes is due to Robert Fripp's guitar, which provides a muscular foundation for the electronics, especially on the relatively conventional rock songs. Similarly, the instrumentals on Heroes are more detailed, this time showing a more explicit debt to German synth pop and European experimental rock. Essentially, the difference between Low and Heroes lies in the details, but the record is equally challenging and groundbreaking." - Allmusic.



                                      David Bowie

                                      Japan 90

                                        Limited to 350 numbered copies on mint coloured vinyl.

                                        David Bowie

                                        Legacy (The Very Best Of David Bowie) - 2CD Deluxe Edition

                                        Music, art and fashion would not be in the place it is today without the seminal influence of David Bowie. A titan of popular music and pioneer of changing culture, it is not surprising that his death in January was met with such shock and sadness across the globe.

                                        Throughout his life, David Bowie has amassed such an influential and varied musical back catalogue, that he leaves behind him a body of work that can be unrivalled – a true legacy.

                                        In this must-have Bowie collection, you can experience Bowie’s genius from start to finish. From his early days as the iconic Ziggy Stardust, to the final days of Blackstar, ‘Legacy’ brings you the best material from Bowie’s star-studded career.

                                        Not only is ‘Legacy’ the ultimate Bowie collection to own, but it also features a previously unreleased mix of his renowned song ‘Life On Mars ?’. With a more orchestrated and cleaner mix, this unreleased version was mixed by Ken Scott the original producer of the track.

                                        This 2 disc deluxe version of the album features not only more hits but also fans favorites such as This Is Not America, Fashion and I Can’t Give Everything Away from the mighty Blackstar.

                                        Packaging takes the form of a deluxe digipack with additional photos.


                                        David Bowie

                                        Live Nassau Coliseum '76

                                          Recorded live at the Nassau Coliseum Uniondale, NY, U.S.A., 23rd March, 1976, the album is the official document of the Isolar/Station To Station tour.

                                          Known to fans for many years as the Thin White Duke double album bootleg (among various other titles), the record didn’t get an official release for over thirty years, when it was finally issued as part of the Station To Station deluxe set in September, 2010.

                                          It is now finally available a vinyl album in it's own right.


                                          David Bowie

                                          Lodger - 2017 Remastered Edition

                                            The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                                            "On the surface, Lodger is the most accessible of the three Berlin-era records David Bowie made with Brian Eno, simply because there are no instrumentals and there are a handful of concise pop songs. Nevertheless, Lodger is still gnarled and twisted avant pop; what makes it different is how it incorporates such experimental tendencies into genuine songs, something that Low and Heroes purposely avoided. "D.J.," "Look Back in Anger," and "Boys Keep Swinging" have strong melodic hooks that are subverted and strengthened by the layered, dissonant productions, while the remainder of the record is divided between similarly effective avant pop and ambient instrumentals. Lodger has an edgier, more minimalistic bent than its two predecessors, which makes it more accessible for rock fans, as well as giving it a more immediate, emotional impact. It might not stretch the boundaries of rock like Low and Heroes, but it arguably utilizes those ideas in a more effective fashion." - Allmusic.



                                            FORMAT INFORMATION

                                            LP Info: 180 gram.

                                            David Bowie

                                            Loving The Alien 1983 - 1988 (BOX SET)

                                              The follow-up to the awarding winning and critically acclaimed DAVID BOWIE ‘FIVE YEARS (1969 – 1973)’ and DAVID BOWIE ‘A NEW CAREER IN A NEW TOWN (1977 – 1982)’ will be released on 12th October.

                                              The box contains newly remastered versions of David’s most commercially successful period ‘LET’S DANCE’, ‘TONIGHT’, ‘NEVER LET ME DOWN (ORIGINAL and 2018 VERSIONS)’, the live album ‘GLASS SPIDER (Live Montreal ’87)’, the previously unreleased ‘SERIOUS MOONLIGHT’ live album, a collection of original remixes entitled ‘DANCE’ and the non-album / alternate version / b-sides and soundtrack music compilation RE:CALL 4.

                                              The highlight of this latest box is the brand new production of the 1987 album ‘NEVER LET ME DOWN’ by Bowie producer / engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass) as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on ‘Shining Star (Makin’ My Love)’.
                                              The seeds of this new reimagining of the albums were first sown in 2008 when David asked Mario McNulty to remix the track ‘Time Will Crawl’ and record new drums by longtime Bowie drummer, Sterling Campbell along with strings. The track was issued on the iSelect compilation to much acclaim, and in the notes, for that record, David remarked ‘Oh, to redo the rest of that album’.
                                              The new re-workings have revealed ‘Never Let Me Down’ as a very strong collection of songs with a dark thematic thread running through them. Fans listening to ‘NEVER LET ME DOWN (2018)’ would be forgiven for thinking that they were listening to a brand new ‘lost’ Bowie record.

                                              Also in each box is the never before released ‘SERIOUS MOONLIGHT’ live album recorded in Montreal in 1983. Originally mixed at the time by Bob Clearmountain, the double album captures Bowie on what at that time was his most successful tour. The artwork features shots taken by photographer Denis O’Regan.

                                              Exclusive to each box is ‘RE:CALL 4’ and ‘DANCE’. The former a new compilation featuring remastered contemporary single versions, non-album singles, album edits, b-sides and songs featured on soundtracks such as Labyrinth, Absolute Beginners and When The Wind Blows. ‘DANCE’ features 12 contemporaneous remixes some of which are appearing on CD and vinyl for the first time and is named after an unreleased Bowie remix album that was originally slated for release in November 1985.

                                              The box set’s accompanying 84 page book features rarely seen and previously unpublished photos by photographers including Denis O’Regan, Greg Gorman, Herb Ritts and many others as well as historical press reviews and technical notes about the albums from producers/engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith. 


                                              FORMAT INFORMATION

                                              LP Box Set Info: 88 Page hardback book
                                              Let’s Dance (remastered) (1LP)
                                              Serious Moonlight (Live ’83) (previously unreleased) (2LP)*
                                              Tonight (remastered) (1LP)
                                              Never Let Me Down (remastered) (1LP)
                                              Never Let Me Down (2018) (previously unreleased) (2LP - side 4 is etched)*
                                              Glass Spider (Live Montreal ’87) (previously unreleased on vinyl) (3LP)*
                                              Dance (2LP)*
                                              Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (3LP)*

                                              FREE SHIPPING This item has FREE UK shipping!

                                              David Bowie

                                              Low - 2017 Remastered Edition

                                                The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                                                The powerful reach of Bowie's masterpiece, the first part of the much feted 'Berlin Trilogy' created with the aid of Brian Eno, is still being felt strongly almost 30 years on. Air's wonderful four hour Essential Mix began with this album's opener "Speed of Life", Q Magazine rated the album #14 in it's Greatest British Albums Ever, and Pitchfork, the New Testament for the New Indie generation, recently decreed "Low" as the #1 album of the 1970's. Side A (or tracks 1-7 for those more familiar with the CD format) are classic Bowie ("Sound and Vision", "Be My Wife"), although dealing with the unfamiliar and slightly darker topics of lethargy, depression and estrangement, highlighting Bowie's overcoming of his cocaine addiction. Over on Side B the album's true colours really come through - four ambient tracks, originally rejected for the soundtrack to "The Man Who Fell To Earth" (the source of Low's iconic cover image), which see Bowie pay homage to Can, Neu! and Eno himself. The word 'timeless' was invented for such moments as these.


                                                FORMAT INFORMATION

                                                LP Info: 180 gram.

                                                Featuring the three final David Bowie studio recordings made during the sessions for his 28th and final album, ★, the No Plan EP is now being made available as a CD and two special vinyl versions.

                                                Previously released as the No Plan digital EP (and before that, available exclusively on the Lazarus Cast Album), the songs: “No Plan,” “Killing A Little Time” and “When I Met You”, along with Cast Album title track “Lazarus”, are now available for pre-order on special physical formats. This follows wishes from fans for CD and vinyl versions after the release of the digital EP.

                                                The No Plan EP artwork has been designed by long-time Bowie collaborator Jonathan Barnbrook. Both vinyl configurations of the No Plan EP feature a special laser etching on side B.

                                                FORMAT INFORMATION

                                                12" Info: Black etched vinyl edition.

                                                David Bowie

                                                Reality

                                                  'Reality', the 23rd album of David Bowie (2003) followed up on the heavily successful formula of Heathen, combining infuences of Bowie’s Seventies’ past (say, from Heroes to Scary Monsters) with a contemporary new millennium vibe. David produced this album together with Tony Visconti, the dream team that also made Heathen a true work of art, resulting in yet another sure fire production and memorable songs. The album made it to the top 30 of the Billboard 200, and set the course for great Bowie albums to follow.

                                                  David Bowie

                                                  Scary Monsters (and Super Creeps) - 2017 Remastered Edition

                                                    The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

                                                    "David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have the vision of his other classic records, it wasn't designed to break new ground -- it was created as the culmination of Bowie's experimental genre-shifting of the '70s. As a result, Scary Monsters is Bowie's last great album. While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s." - Allmusic.


                                                    David Bowie

                                                    Space Oddity - 50th Anniversary Edition

                                                      50th anniversary edition of Bowie’s seminal album featuring a brand new mix by original producer Tony Visconti, and a new die cut O-card.

                                                      The vinyl will be randomly distributed worldwide with a mixture of hand-numbered labels; numbers 1 to 1969 on silver vinyl numbers and 1970 to 2019 on gold vinyl, with the remainder being black vinyl.

                                                      Originally released 14th November 1969, the sophomore effort from Bowie was a big turning point from his 1967 debut. The album most famously introduces the character of Major Tom in ‘Space Oddity’ which would go on to be one of his most enduring classics.

                                                      The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the track listing in its initially intended position before it was originally dropped due to time constraints of vinyl.


                                                      FORMAT INFORMATION

                                                      CD Info: CD w/ Die Cut O-card.

                                                      David Bowie

                                                      Space Oddity - Limited 1972 Picture Disc Edition

                                                        13th March 2020 – 17th April sees the release of a very special limited picture disc version of the 1972 edition of the DAVID BOWIE album retitled as SPACE ODDITY. The picture disc features the iconic Ziggy Stardust era artwork and comes with a replica of the poster which was part of the package at the time.

                                                        The November 1972 reissue of DAVID BOWIE was released in the wake of Bowie's breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and in chart terms outstripped the original making No. 17 in the UK chart and No. 16 in the United States. The picture disc will feature the 2009 40th anniversary remaster of the album which was undertaken to match as closely as possible the original vinyl issue.

                                                        "Taking the detached plastic soul of Young Americans to an elegant, robotic extreme, Station to Station is a transitional album that creates its own distinctive style. Abandoning any pretense of being a soulman, yet keeping rhythmic elements of soul, David Bowie positions himself as a cold, clinical crooner and explores a variety of styles. Everything from epic ballads and disco to synthesized avant pop is present on Station to Station, but what ties it together is Bowie's cocaine-induced paranoia and detached musical persona. At its heart, Station to Station is an avant-garde art-rock album, most explicitly on "TVC 15" and the epic sprawl of the title track, but also on the cool crooning of "Wild Is the Wind" and "Word on a Wing," as well as the disco stylings of "Golden Years." It's not an easy album to warm to, but its epic structure and clinical sound were an impressive, individualistic achievement, as well as a style that would prove enormously influential on post-punk" - Allmusic.

                                                        STAFF COMMENTS

                                                        Barry says: From the bouncy quirks of TVC15, swaying along on a bedrock of keys and shuffling drum hooks to the funky majesty of 'Stay', this is one of the most diverse and exciting Bowie outings yet. Disco, rock and soul all get a look in, and it's all brilliantly measured and just as groundbreaking as the day it was released.

                                                        One of Britain's most celebrated, much cherished, original and iconic figures, David Bowie returns after a 10 year absence, with this brilliant new album on ISO Records.

                                                        FORMAT INFORMATION

                                                        2xLtd LP Info: Limited double LP vinyl includes a white label CD insert.

                                                        David Bowie

                                                        Tonight (2019 Remastered Edition)

                                                          Tonight is the sixteenth studio album by David Bowie. Originally released on 29 September 1984, this vinyl edition is newly remastered.

                                                          David Bowie

                                                          VH1 Storytellers

                                                            On the 23rd of August 1999, David Bowie played an intimate set for invited guests at The Manhattan Centre’s Grand Ballroom in New York for the VH1 Storytellers series. Ten years later in 2009 a CD/DVD/Download of the evening was released, and now 20 years on the most complete version available will be released as a strictly limited-edition double vinyl LP.

                                                            The Bowie set has long been regarded as one of the most memorable episodes in VH1 Storytellers history, with David delving deep in to his catalogue to perform tracks such as ‘Can’t Help Thinking About Me’ for the first time in 33 years, Aladdin Sane’s ‘Drive-In Saturday' which he had not performed since 1974 and ‘Word On A Wing’ which received its first outing in 23 years.

                                                            Bill Flanagan, Executive Producer of the VH1 Storytellers “We were used to dealing with legendary musicians. Still, landing David Bowie was more than a big booking. There's no way to say this without being corny: it was an honour. Bowie has a unique place in rock & roll. He is not only one of the most influential musicians of the era, he does nothing unless he is fully committed”.

                                                            David Bowie

                                                            Zeroes (2018) / Beat Of Your Drum (2018)

                                                              This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October.

                                                              NEVER LET ME DOWN (2018), is a new production of Bowie’s final ‘solo’ album of the ‘80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, ‘hours…’, Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and ‘hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass.

                                                              ZEROES, the lyrics of which reference Prince’s Little Red Corvette was Bowie’s salute to the ‘60s. He described it as “The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia”. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton’s sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels”.

                                                              Of BEAT OF YOUR DRUM Mario McNulty says, “David Torn’s ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.”


                                                              FORMAT INFORMATION

                                                              Ltd 7" Info: Double A Side Limited Edition 7" Picture Disc.

                                                              David Bowie

                                                              Aladdin Sane - 2013 Remaster Edition

                                                                "Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic." - AllMusic.


                                                                STAFF COMMENTS

                                                                Andy says: David Bowie's follow-up to "Ziggy Stardust" stayed in the Glam style but with loads of other arty stylings that it kept him streets ahead of the rest. Includes the classic stomper "Jean Genie".

                                                                ★ is David Bowie’s 28th album.

                                                                Spring 2015 brought the announcement of the off Broadway theatre production Lazarus, a collaboration between Bowie and renowned playwright Enda Walsh, to be directed by Ivo Van Hove. Lazarus is inspired by the novel The Man Who Fell To Earth by Walter Tevis, and centers on the character of Thomas Newton, famously portrayed by Bowie in the 1976 screen adaptation. It will feature new Bowie songs alongside fresh arrangements of music from his back catalogue.

                                                                On October 6, 2015, an excerpt of Blackstar, a brand new original Bowie track, was revealed in the opening credits of The Last Panthers, a major new crime drama premiering across Europe on Sky Atlantic on November 12th.

                                                                On October 25 it was confirmed that Blackstar would be the title of both the forthcoming single and album from David Bowie. The single will be released on November 20th and the album will follow on David’s birthday, January 8th 2016.

                                                                Throughout his 50-year career, David Bowie’s work has always surprised, captivated and exhilarated. 2016 will be no exception. 

                                                                FORMAT INFORMATION

                                                                LP Info: Black vinyl edition in a die-cut sleeve.

                                                                David Bowie

                                                                David Bowie AKA Space Oddity - 180 Gram Vinyl Edition

                                                                  The album, produced by Tony Visconti (bar "Space Oddity" itself which was produced by the late Gus Dudgeon), was a giant leap forward in terms of songwriting for Bowie compared to his eponymous debut, and can be considered as the first truly essential David Bowie album. Noted for a list of collaborators, including session players Herbie Flowers, Tim Renwick, Terry Cox and Rick Wakeman, the album delves into psychedelic folk-rock, as well as prog, with its genre-defying template creating a blueprint of what would become over the next decade and more, one of the most inimitable British artists.

                                                                  FORMAT INFORMATION

                                                                  LP Info: 180 gram audiophile vinyl.

                                                                  David Bowie

                                                                  Hunky Dory - 180 Gram Vinyl Edition

                                                                    "After the freakish hard rock of The Man Who Sold the World, David Bowie returned to singer/songwriter territory on Hunky Dory. Not only did the album boast more folky songs ("Song for Bob Dylan," "The Bewlay Brothers"), but he again flirted with Anthony Newley-esque dancehall music ("Kooks," "Fill Your Heart"), seemingly leaving heavy metal behind. As a result, Hunky Dory is a kaleidoscopic array of pop styles, tied together only by Bowie's sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class. Mick Ronson's guitar is pushed to the back, leaving Rick Wakeman's cabaret piano to dominate the sound of the album. The subdued support accentuates the depth of Bowie's material, whether it's the revamped Tin Pan Alley of "Changes," the Neil Young homage "Quicksand," the soaring "Life on Mars?," the rolling, vaguely homosexual anthem "Oh! You Pretty Things," or the dark acoustic rocker "Andy Warhol." On the surface, such a wide range of styles and sounds would make an album incoherent, but Bowie's improved songwriting and determined sense of style instead made Hunky Dory a touchstone for reinterpreting pop's traditions into fresh, postmodern pop music." - Allmusic.

                                                                    FORMAT INFORMATION

                                                                    LP Info: 180 gram audiophile vinyl.

                                                                    The powerful reach of Bowie's masterpiece, the first part of the much feted 'Berlin Trilogy' created with the aid of Brian Eno, is still being felt strongly almost 30 years on. Air's wonderful four hour Essential Mix began with this album's opener "Speed of Life", Q Magazine rated the album #14 in it's Greatest British Albums Ever, and Pitchfork, the New Testament for the New Indie generation, recently decreed "Low" as the #1 album of the 1970's. Side A (or tracks 1-7 for those more familiar with the CD format) are classic Bowie ("Sound and Vision", "Be My Wife"), although dealing with the unfamiliar and slightly darker topics of lethargy, depression and estrangement, highlighting Bowie's overcoming of his cocaine addiction. Over on Side B the album's true colours really come through - four ambient tracks, originally rejected for the soundtrack to "The Man Who Fell To Earth" (the source of Low's iconic cover image), which see Bowie pay homage to Can, Neu! and Eno himself. The word 'timeless' was invented for such moments as these.

                                                                    David Bowie

                                                                    Scary Monsters

                                                                      "David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have the vision of his other classic records, it wasn't designed to break new ground -- it was created as the culmination of Bowie's experimental genre-shifting of the '70s. As a result, Scary Monsters is Bowie's last great album. While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s." - Allmusic.


                                                                      David Bowie

                                                                      The Man Who Sold The World - 180 Gram Vinyl Edition

                                                                        "Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, is the beginning of David Bowie's classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie's strangled, affected voice. The sound of The Man Who Sold the World is odd, but the music is bizarre itself, with Bowie's bizarre, paranoid futuristic tales melded to Ronson's riffing and the band's relentless attack. Musically, there isn't much innovation on The Man Who Sold the World - it is almost all hard blues-rock or psychedelic folk-rock - but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums." - Allmusic.

                                                                        FORMAT INFORMATION

                                                                        LP Info: 180 gram audiophile vinyl.

                                                                        One of Britains most celebrated, much cherished, original and iconic figures, David Bowie returns after a 10 year absence, with this brilliant new album on RCA Records. From the assault of opener 'The Next Day' through the mournful balladry of 'Where Are We Now' and on to the ambience and grandiose gothic imagery of 'Heat', this is a hugely worthwhile collection to any music fan's library, and further evidence of Bowie's incomparable talents, and impact on today's musical landscape.  

                                                                        FORMAT INFORMATION

                                                                        Ltd CD Info: A deluxe single disc CD format containing three bonus tracks and an exclusive poster.

                                                                        David Bowie

                                                                        The Rise And Fall Of Ziggy Stardust - 2012 Remaster Edition

                                                                          Originally released through RCA Victor on 6th June 1972, Ziggy Stardust was David Bowie’s fifth album, co-produced by Bowie and Ken Scott. Incredibly, the album was written whilst Bowie was recording 1971’s Hunky Dory album, with recording beginning a couple of months before that album’s release. It was recorded at Trident Studios, London between 8th November 1971 and 4th February 1972, with the line up: Mick Ronson (guitar, piano, backing vocals, string arrangements), Trevor Bolder (bass), Mick Woodmansey (drums), Rick Wakeman (keyboards) and backing vocals on ‘It Ain’t Easy’ by Dana Gillespie. As well as performing vocals, Bowie also played acoustic guitar, saxophone and harpsichord on the album and was involved in the arrangements too.

                                                                          The album eventually peaked at #5 on the UK Album Chart on 22nd July having entered the chart at #15 on 1st July. Key to the album’s rise in the UK were the two TV performances of “Starman” on Granada TV’s Lift Off With Ayshea and nationally on the BBC’s Top Of The Pops. The album’s influence is immeasurable – it converted legions of fans, becoming the zeitgeist and a major influence on the next generation, particular those who were involved in the punk movement – musicians, artists, designers – and the subsequent re-birth of rock and pop.

                                                                          Famously Bowie killed Ziggy at his peak at London’s Hammersmith Odeon, on July 3rd, 1973, though Ziggy Stardust’s influence was to redefine popular culture forever: pop music was never the same again.

                                                                          David Bowie

                                                                          The Rise And Fall Of Ziggy Stardust And The Spiders From Mars - 180 Gram Vinyl Edition

                                                                            Originally released through RCA Victor on 6th June 1972, Ziggy Stardust was David Bowie’s fifth album, co-produced by Bowie and Ken Scott. Incredibly, the album was written whilst Bowie was recording 1971’s Hunky Dory album, with recording beginning a couple of months before that album’s release. It was recorded at Trident Studios, London between 8th November 1971 and 4th February 1972, with the line up: Mick Ronson (guitar, piano, backing vocals, string arrangements), Trevor Bolder (bass), Mick Woodmansey (drums), Rick Wakeman (keyboards) and backing vocals on ‘It Ain’t Easy’ by Dana Gillespie. As well as performing vocals, Bowie also played acoustic guitar, saxophone and harpsichord on the album and was involved in the arrangements too.

                                                                            The album eventually peaked at #5 on the UK Album Chart on 22nd July having entered the chart at #15 on 1st July. Key to the album’s rise in the UK were the two TV performances of “Starman” on Granada TV’s Lift Off With Ayshea and nationally on the BBC’s Top Of The Pops. The album’s influence is immeasurable – it converted legions of fans, becoming the zeitgeist and a major influence on the next generation, particular those who were involved in the punk movement – musicians, artists, designers – and the subsequent re-birth of rock and pop.

                                                                            Famously Bowie killed Ziggy at his peak at London’s Hammersmith Odeon, on July 3rd, 1973, though Ziggy Stardust’s influence was to redefine popular culture forever: pop music was never the same again.

                                                                            FORMAT INFORMATION

                                                                            LP Info: 180 gram audiophile vinyl.

                                                                            Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer Frick, is set to release his second solo album for London imprint Erased Tapes on October 12th. Titled Channels, the new record follows the release of the London and Berlin based producer’s solo debut Eternal Something from 2017. The seven-track LP is Brandt’s biggest statement yet, with the album’s thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes, rich electronic textures and hints of dark cinematic pop. Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich’s Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing meld of expansive works. Intricate floor-filler and lead track ‘Flamingo’ synthesises the measured pacing of Detroit techno with an orchestral background. As with all of the tracks on Channels, ‘Flamingo’ began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; “It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,” explains Daniel. “The actual typical rock band recording style that I never had the chance to do before.”

                                                                            The album’s most immersive, club-ready track ‘Sailboats III’ is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming cosmos of ‘Cherry Dream’ is informed by Tangerine Dream’s iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. ‘Daze’, co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a rhythmic percussive pulse, whilst the understated ‘Ltd’ was stylistically inspired by Steve Reich’s Electric Counterpoint as well as Daniel and his band’s live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track ‘Channels’ melds instrumental ambient with melodramatic embellishments, whilst the record’s closer ‘Twentynine Palms’ takes its name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature. With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album’s creative ideas reference a rich visual palette. He directed the video for ‘Flamingo’, a sideways glance at the art world that takes the concept behind John Cage’s 4’33” and turns it on its head. “The video for Flamingo is deliberately non performance — people sitting in a room and watching basically nothing, never really sure if anything is ever going to happen. It’s also a play on John Cage’s 4’33”, except in this instance there isn’t even a performer present.” — Daniel Brandt

                                                                            Daniel’s passion for film even prompted him to kick start his own online television channel Strrr.tv in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes.

                                                                            Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons.

                                                                            Dee Dee Bridgewater

                                                                            Afro Blue

                                                                              If you collect vintage 70’s soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together.

                                                                              Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70’s to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee’s career with her debut album ‘Afro Blue’. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

                                                                              ‘Afro Blue’ features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of ‘People Make The World Go Round’, ‘Love From The Sun’, and ‘Afro Blue’. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

                                                                              Dee Dee Bridgewater

                                                                              Just Family

                                                                              Recorded while pregnant with her second child, Dee Dee's "Just Family" features a stellar line up of musicians - Stanley Clarke, George Duke, Chick Corea and Alphonso Johnson amongst them.

                                                                              In the ten years since Danny Brown’s magnum opus XXX was released, he has permeated both underground and mainstream music culture with an authentic and ever-evolving persona and a sound wholly his own, transcending genres and any parameters the world around him might impose. He set the blueprint for many of today’s critical darlings and opened doors for so many following his personally audacious start. Today, Brown announces his long awaited and much anticipated return with his fifth studio album uknowhatimsayin¿, slated for a physical release on November 8th via WARP. Executive production is from the iconic rapper and producer Q-Tip of A Tribe Called Quest. Q-Tip’s involvement in uknowhatimsayin¿ marks the first time the legendary artist has executive produced an album since Mobb Deep’s The Infamous. Brown’s lyrics balance earnest storytelling with laugh-out-loud one-liners, especially apparent on “Dirty Laundry” as Danny raps about his sexual exploits and reminisces on his rocky path to stardom. Brown’s star turn as an artist and individual are both clearly demonstrated on uknowhatimsayin¿, the next stop on Brown’s journey and one that solidifies his reputation as an innovator and hip-hop’s favorite curiosity. In the truest sense, it is a modern classic that defies genre and reimagines what a hip-hop album can and should be in 2019.

                                                                              STAFF COMMENTS

                                                                              Matt says: One of the most recognizable voices in modern rap, and a flag bearer for Detroit, comes through with a new album. A tasty bunch of collaborators, Q-tip (!!) on production duties plus Brown's completely unique lyrical style mean this'll be a last minute entry to rap albums of the year. Check!

                                                                              FORMAT INFORMATION

                                                                              LP includes MP3 Download Code.

                                                                              Dave Brubeck

                                                                              Time Out

                                                                                Dave Brubeck's "Time Out" ranks alongside Miles Davis' "Kind Of Blue" as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of "Time Out", with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon.

                                                                                The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented piano style, and the airy, delicate "Everybody's Jumpin'" showcases the lyrical splendor of saxophonist Paul Desmond. With bassist Gene Wright and drummer Joe Morello keeping the tricky rhythms agile and swift, the Dave Brubeck Quartet blended complexity and accessibility for pure jazz pleasure on "Time Out", an album everyone should own.


                                                                                FORMAT INFORMATION

                                                                                LP Info: 180g vinyl & CD.

                                                                                Dana Buoy has spent the better part of the last decade as the percussionist for Akron/Family.

                                                                                Dana Buoy’s debut album, Summer Bodies, is a rhythmic and vibrant dedication to the joyous feelings of summer love.

                                                                                What started as hopeful love notes left on an answering machine in Oregon were later crafted into an album in a bungalow near a jungle lagoon in Thailand. Armed with nothing more than a laptop, an MPC1000, and the enchantment of the paradise found there, the songs began to take shape, mimicking the tropic forms that surrounded them.

                                                                                The record was completed months later in Brooklyn and was fleshed out almost solely by Buoy with live drumming, guitar, thumb piano, and samples built from omnichords, analog synthesizers and iPad apps. During the recording, Buoy and his engineer weathered an earthquake, followed by Hurricane Irene - neglecting to evacuate and maintaining days of isolation brought on by the tropical storm.

                                                                                The result is Summer Bodies, the culmination of over a year of songwriting and travelling. A dream pop record combining elements of Afro beats, synth pop, and what Buoy refers to as “Tropicore”. The songs connect the dots between Paul Simon and Drake, providing a sonic spaceship ride from the beach party to the after party.

                                                                                STAFF COMMENTS

                                                                                Ryan says: As the percussionist for Akron/Family, you can expect many similar melodies & harmonies from Dana Bouy, overall this is a stunning release. Akron/Family fans, give it a try!

                                                                                Recorded slap-dab in the middle of the decade, "Places And Spaces" represents a high water mark level for 1970s jazz-funk, and is another Mizell Brothers-produced winner. Includes the Larry Mizell-penned anthems "Change (Makes You Want To Hustle)" and "Wind Parade" plus classics like "(Fallin' Like) Dominoes" and the title track itself. Essential!

                                                                                "Here Lies Love" is a double-disc song cycle, improbably poignant, decidedly surreal, surprisingly thought provoking - about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to light-hearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Roisin Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on "American Troglodyte", a send-up that wouldn't have seemed out of places in Talking Heads' "True Stories".

                                                                                FORMAT INFORMATION

                                                                                2xCD/DVD Info: Deluxe with 104 page cloth-bound book with 2 CDs & bonus DVD.

                                                                                American Utopia fits hand-in-hand with Byrne’s vision for his series ‘Reasons To Be Cheerful’ - an ongoing series curated by Byrne of hopeful writings, photos, music, and lectures – named for the song by the late Ian Dury. Over the last year, Byrne has been collecting stories, news, ideas, and other items that all either embody or identify examples of things that inspire optimism, such as a tech breakthrough, a musical act, a new idea in urban planning or transportation – something seen, heard, or tasted. Just as the album questions the current state of society while offering solace through song, the content of the series recognizes the darkness and complexity of today while showcasing alternatives to the despair that threatens us. 

                                                                                While David Byrne has collaborated on joint releases with Eno, Norman Cook (aka Fatboy Slim), and most recently St. Vincent over the past decade, American Utopia is Byrne’s first solo album since, 2004’s Grown Backwards, also on Nonesuch. American Utopia morphed during the writing and recording process, beginning with longtime collaborator Eno, and eventually growing to include collaboration with producer Rodaidh McDonald (The xx, King Krule, Sampha, Savages) alongside a diverse cast of creative contributors including Daniel Lopatin (aka Oneohtrix Point Never), Jam City, Thomas Bartlett (St. Vincent producer, aka Doveman), Jack Peñate, and others. The album was recorded in New York City at David’s home studio, Reservoir Studios, Oscilloscope, XL Studios, and Crowdspacer Studio and in London at Livingston Studio 1.

                                                                                Speaking about the album, Byrne said:
                                                                                Is this meant ironically? Is it a joke? Do I mean this seriously? In what way? Am I referring to the past or the future? Is it personal or political?

                                                                                These songs don’t describe an imaginary or possibly impossible place but rather attempt to depict the world we live in now. Many of us, I suspect, are not satisfied with that world – the world we have made for ourselves. We look around and we ask ourselves – well, does it have to be like this? Is there another way? These songs are about that looking and that asking.

                                                                                This album is indirectly about those aspirational impulses. Sometimes to describe is to reveal, to see other possibilities. To ask a question is to begin the process of looking for an answer. To be descriptive is also to be prescriptive, in a way. The act of asking is a big step. The songs are sincere – the title is not ironic. The title refers not to a specific utopia, but rather to our longing, frustration, aspirations, fears, and hopes regarding what could be possible, what else is possible. The description, the discontent and the desire – I have a feeling that is what these songs touch on.

                                                                                I have no prescriptions or surefire answers, but I sense that I am not the only one looking and asking, wondering and still holding onto some tiny bit of hope, unwilling to succumb entirely to despair or cynicism.

                                                                                It’s not easy, but music helps. Music is a kind of model – it often tells us or points us toward how we can be.


                                                                                STAFF COMMENTS

                                                                                Barry says: From what I garner from reading Byrne's comments on his newest release, he is commenting (possibly) sarcastically on the duality of American life... or possibly he wasn't. What is less ambiguous is just listening to the album, taking in the excellently written songs and the latent, wry politicism peppered throughout. It's wonderful, that's all you need to know.

                                                                                FORMAT INFORMATION

                                                                                Ltd LP includes MP3 Download Code.

                                                                                David Byrne

                                                                                True Stories, A Film By David Byrne: The Complete Soundtrack

                                                                                  In conjunction with The Criterion Collection’s special-edition DVD and Blu-ray release of David Byrne’s 1986 film True Stories, Nonesuch and Todomundo Records release a comprehensive soundtrack, collected for the first time in one package and in film sequence: True Stories, A Film by David Byrne: The Complete Soundtrack. David Byrne was inspired by tabloid headlines to make his sole foray into feature-film directing, an ode to the extraordinariness of ordinary American life and a distillation of what was in his own idiosyncratic mind. Byrne plays a visitor to Virgil, Texas, who introduces us to the citizens of the town during preparations for its Celebration of Specialness. As shot by cinematographer Ed Lachman, Texas becomes a hyper-realistic late-capitalist landscape of endless vistas, shopping malls, and prefab metal buildings.

                                                                                  In True Stories, Byrne uses his songs to stitch together pop iconography, voodoo rituals, and a singular variety show. Byrne calls the record “an immersive audio voyage into the little town of Virgil, Texas, in the mid-eighties.” He continues, “I always imagined that the music written for True Stories should be heard as it is in the film. It makes the most sense this way. Me singing the song that was written for John Goodman’s character, Louis Fine, always felt weird to me. It was written for that character, not for me.”

                                                                                  FORMAT INFORMATION

                                                                                  2xLtd LP Info: Heavyweight 140 gram high-performance double vinyl.

                                                                                  Simon Joyner, who over the course of thirteen albums has released a unique and influential body of work on a myriad of independent labels, and Dennis Callaci, who has recorded nearly as many records with his band Refrigerator and runs one of those said labels, present their second record together. Their first collaborative release was a one-sided vinyl-only release on Catsup Plate Records a decade back entitled Stranger Blues, a direct-to-one-track live recording of the two playing together and sharing one mic.

                                                                                  Though recorded in the same spot (i.e. the living room of the Callaci home), New Secrets is a different record altogether - a call and response exercise of sorts, with a Joyner song answering the plea to the preceding Callaci dirge. Recorded and mixed live by Jarvis Taveniere (noted for his Rearhouse recordings and as a member of Woods) over the course of three days, the duo was backed up by Joyner's band from the Ghosts record of last year. Augmenting the album's eleven tracks are guest appearances by Franklin Bruno (Human Hearts, Nothing Painted Blue) and Kevin Morby (The Babies). Reuniting the original cast from the first release, noted artist Rob Carmichael designed the cover art around Callaci's drawings. 

                                                                                  All new music from Simon Joyner and Dennis Callaci (Refrigerator) 
                                                                                  Follow-up to 2003 Stranger Blues EP
                                                                                  Recorded and mixed by Jarvis Tavernier (Rearhouse, Woods) and Joyner's full backing band, guest spots by Franklin Bruno and Kevin Morby (The Babies).

                                                                                  All tracks produced and arranged by DJ Don Carlos, 8 tracks never released on vinyl taken from the album "The Cool Deep". The first 12" include A1. Voyage A2. House Of Bluse B1. Equinox B2. Playa Serena...

                                                                                  Big release from the master of Italian Deep house!

                                                                                  Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record label Jazz re:freshed

                                                                                  Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

                                                                                  Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint

                                                                                  Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

                                                                                  Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

                                                                                  At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

                                                                                  Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

                                                                                  'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

                                                                                  'Interlude 1', 'Interlude 2' and Interlude 3' contain excerpts of 'Listen, Mr. Oxford Don' (c) John Agard 1985 reproduced by kind permission of John Agard c/o Caroline Sheldon Literary Agency Ltd

                                                                                  Alongside a killer long player from label mainstay Lexx, Phantom Island treat us to a new solo effort by Zurich based Drummer and Multi Instrumentalist Domi Chansorn. He is best known for playing in and producing numerous Swiss bands like Fai Baba or Evelinn Trouble. Everything you hear was written, played, sung, arranged, produced, recorded and mixed by Domi Chansorn. With "Strawberry Moon" he has created a timeless psychedelic Pop-Opus which takes the listener on a trip to another sphere. The aforementioned Lexx pops up on remix duties, dropping a typically Balearic mix combining dub swelter, open hearted melodies and an irresistible day time disco groove.

                                                                                  Dave Clarkson

                                                                                  A Blue Guide To Shore Ghosts And Sea Mystery

                                                                                    Linear Obsessional Recordings conclude Dave Clarkson's "coastal trilogy" with a new themed collection of music based on supernatural and mysterious aquatic subject matter. Expanding the pallette from the field recordings and subdued electronics of the previous releases ("Music for Lighthouses" and "Coastal Quicksands of the British Isles") to include drum kits, guitars, scratched '78s and harmonica as well as guest musicians Graham Massey (of 808 State and Biting Tongues) on saxophones and assorted percussion, and Ruth Davies on Cello. The resultant music is a triumphant combination of unsettling but absorbing sounds with a new interest in acoustic instrumentation, and even a Krautrock feel at moments."Shore Ghosts and Sea Mystery" sees Clarkson exploring expansive new waters...

                                                                                    Dave Cloud & The Gospel Of Power

                                                                                    Fever

                                                                                    Like some latter-day Captain Beefheart kidnapping his band to force them to knock out "Trout Mask Replica", Cloud dragged the ever-changing Gospel Of Power band, Matt Swanson (also of Lambchop) Ben Martin (Clem Snide) and Matt Back across the Atlantic to record "Fever" at Fire Records' Stoke Newington studio. But where the notorious Captain turned his musicians into fanatical cadavres, the ever amenable Cloud has created another record of fractured garage and garrulous lo-fi, bizarre character studies and paeans to ladies and love. Just as on his Fire Records debut, the compilation "Napoleon Of Temperance" and last album, "Pleasure Before Business", Cloud once again roughs up the Nashville tradition. You're as likely to hear him collaborating with a Norwegian folk group to knock out a dishevelled version of sea shanty "What Should We Do With A Drunken Sailor" as paying reverential homage to the sound of his home city. But that's what this personable old cove is all about: hazy round the edges, always on hand with a sly wink. So the title track takes the melody of the song that Peggy Lee made famous for a late night drink in a seedy bar where it never really wanted to go, while "The Citadel" even out-swaggers'n'sleazes the The Rolling Stones' original. Over the murky atmosphere and hungover Spanish guitar of "Surfer Joe", Cloud ponders the price of lobster, cats and ponies, and pronounces Mexico like a drunken sheep. 'South of the border yeaaaoooww, south of the border yeaaaoow' he growls. "In The Distance" has Cloud in full spoken word flow over echoes of rolling piano, a tale of a man who 'put his battered bugle to his lips... and played the only love song she had ever heard him sing' in honour of a girl with 'magnetic brown eyes... made as a perfect sculpture.' It's a surprising end to Cloud's peculiar journey, but you'd be a fool not to join him on it. 'All Things Weird & Wonderful'.

                                                                                    Deborah Coleman

                                                                                    Livin' On Love

                                                                                    Deborah Coleman is unquestionably one of the blues most exciting young talents. "Livin' On Love" is her best yet, her guitar playing is by turns ferocious and understated and her voice more supple and expressive than ever.

                                                                                    Dan Croll

                                                                                    Grand Plan

                                                                                      Two years ago, the Liverpool-reared singer-songwriter had reached rock’s “stupid club” age (27) and found himself at a crossroads. This graduate of the Macca-founded Liverpool Institute of the Performing Arts had released two albums – Sweet Disarray (2014) on a major, Emerging Adulthood (2017) on Communion (launchpad for Michael Kiwanuka, Catfish and The Bottlemen and Bear’s Den) – and had enjoyed solid success. And yet, and yet…

                                                                                      There was good radio support, a couple of banging syncs (Compliment Your Soul made it onto FIFA 14, From Nowhere was on Grand Theft Auto V), a busy international gigging schedule.

                                                                                      “Suddenly I was making a living from music.” But almost without noticing, “I’d gone into the pop world, making very produced, layered tracks, all clocking in at three-minute-30 on the dot… I was a little bit burnt out. It felt like it wasn’t really me.

                                                                                      So time for action. Decisively, impulsively, Dan Croll bought a one-way ticket to Los Angeles. It was far away, it was sunny, and it was the source of so many of the classic records he loved. He only knew one person there, a musician/podcaster called Danny who’d once interviewed him and said that if he ever fancied coming to LA…. This new album tells the chronological story of Dan's move to LA, finding his feet.

                                                                                      Starting in February 2018, over the next 12 months Croll turned his experiences into 20-odd songs, eventually whittling them down to a solid dozen chapters. Then, in spring 2019, he spent a month with the estimable Matthew E. White in Virginia. Every day the artist, the producer and his crack local players would meet at midday, have lunch and a laugh, then get to it, bringing to life Dan Croll’s songs in the inimitable Spacebomb country-psych-soul style.

                                                                                      With his previous 2 albums he’d needed a full band to perform live his multi-layered indie-pop compositions but for album 3, Dan felt it was time to reconnect with his inner singer-songwriter and with the music that first inspired him - James Taylor, Joni Mitchell, Burt Bacharach and more.

                                                                                      Each song tells a story, in narrative order. To pinch a title from one of those great albums he loves, think of this as his greetings from LA. To also pinch the title of a great LA/Hollywood memoir, think of these as postcards from the edge.

                                                                                      So this is Dan Croll’s bold and brilliant, evocative and inventive third album. A record he had to make, a diary of something he hoped would be a new beginning (but that could equally have been a dead end). A dozen songs he knew he wanted to sound stripped back but, at the same time, feel rich and evocative. A lovingly recorded and produced project offering a modern take on older sounds. A third album that, finally, felt like him.


                                                                                      Donald Cumming

                                                                                      Out Calls Only

                                                                                        Longtime East Village resident Cumming has been intimately involved in the music and art scenes of downtown New York since he was a teenager. After being featured on the cover of Ryan McGinley’s debut book of photos in 2002 he continued to work as a model and actor before forming The Virgins.

                                                                                        The band released two critically acclaimed albums receiving accolades and rave reviews in outlets such as Rolling Stone Vogue and The New York Times. NME called their last album a “dynamic listen” and described “how classic it sounds Cumming’s posturing sounding as if it’s been lifted straight from a forgotten vinyl covered in dust and suspicious stains. It’s Dire Straits teamed with louche New York cool – a combination that shouldn’t work but totally does.”

                                                                                        Cumming and his new band recently kicked off their album release campaign at New York's Symphony Space as part of punk rock legend and author Richard Hell's interview and performance series Night Out With Richard Hell. March 2015 he supported Brandon Flowers at his NYC solo show.

                                                                                        Recorded at East Village Recording Center with additional work done at Sullivan Street Studios in Manhattan Out Calls Only boasts a sound that transcends The Virgins second and final album 2013’s Strike Gently (released on Julian Casablancas' Cult Records).

                                                                                        Cumming explains "I don't listen to a lot of contemporary music but it seems to a trend that favors aesthetics over content. I don't have a sound that I'm looking for as much as I just want to be as sincere as possible." The talented musicians who accompany him on Out Calls Only include bassist Ian Fenger drummer Skip Johnson and lead guitarists Jack Byrne and Jack Straw. For Cumming working with producers Johnny T. Yerington and Gus Osberg in an organic and loose fashion was tantamount to the outcome of Outcalls.

                                                                                        It was at DMZ that Soulja first heard "Ongie Bongie". Several months later the track becomes the the kick-off riddim for "D1 V3", D1's latest double-pack offering from Tempa. Sounding out the way ahead with the latest sonar technology, "Ongie Bongie" begins at a cautious speed whilst familiarising itself with this new territory and then picks up pace with a funky propulsion that saw it light-up underwater dance, DMZ. Following on from this peak-time dancefloor energy, "Joy" swells progressively, in waves of euphoric chords pieced together with steadily stuttering congas. The second plate is headed by "Cave", a deeply hollowed-out production, heavily sub-led and a current regular in Youngsta sets, whilst anchor track "BG" employs infectious, cascading bass-stabs, which envelop the accompanying trumpet to create the kind of skank out riddim which wouldn't be out of place on a Jammin' era Bingo Beats release.

                                                                                        Ex Harmonia member, and Cluster/Eno collaborator presents his first new album in over seven years. Pure electronic current abstracted into riffs and textural sound poems - unpredictably cutting edge!

                                                                                        D.A.F.

                                                                                        Ein Produkt Der Deutsch-Amerikanischen

                                                                                          The debut by Deutsch-Amerikanische Freundschaft was a feat of musical pioneering. Later to find global fame as a duo, DAF's 1979 line-up of Robert Gorl, Wolfgang Spelmans, Kurt Dahlke (Pyrolator) and Michael Kemner created what was quite possibly the worlds first noise-rock album. Radical, brutish, instrumental.

                                                                                          Originally released in 1979 on Warning Records (later Ata Tak)

                                                                                          Reissue in digipak with liner notes, rare photos and memorabilia.

                                                                                          True DAF connoisseurs will, of course, be aware of the early phase of the Dusseldorf-Wuppertal combo. But most fans of the subsequently world famous duo may well be taken aback when confronted with their debut album: forceful synth bass sounds, snappy rhythms, Gabi Delgado and leather all conspicuously absent. In their place, pure instrumental, unstructured noise-rock, played by long-haired and moustachioed types! A band can barely have undergone a more extreme metamorphosis. Gabi Delgado joined the band before the band discarded the name of YOU and christened themselves Deutsch- Amerikanische Freundschaft. A tape machine and two microphones were set up in Wolfgang Spelmans living room and ten days of unbounded improvisation ensued. And thus it was completed, Produkt der Deutsch- Amerikanischen Freundschaft ; 22 tracks, ranging from 19 seconds to three minutes in length. The influence of Can is clearly audible. Considering the fact that other prominent noise-rock bands such as Chrome, Flipper or even Sonic Youth recorded similar music at a much later date, this 'product of Deutsch-Amerikanische Freundschaf¨ should certainly be recognized as a pioneering work. Possibly even the first noise-rock album.

                                                                                          Produced by the team at Machines With Magnets who have worked with Lightning Bolt, Clap Your Hands, Say Yeah, Fang Island and Battles

                                                                                          When Castlemaine’s Oliver Hugh Perry released his self-recorded debut EP, ‘Tropical Oceans’, D.D Dumbo was born. Led by the spooky strut of the title-track, the lo-fi four song-set of blues-laced, deconstructed pop announced Perry as an exciting newcomer fluent in a language all his own. People took notice and soon he was performing solo with a 12-string electric guitar, two drums and a bunch of effect pedals and on tour with the likes of Daughter, Iron & Wine, Jungle, St Vincent, Tame Impala, tUnE-yArDs and Warpaint.

                                                                                          ‘Utopia Defeated’ is his debut album, an epic, sprawling opus sprung from Oliver’s imagination, written and performed almost entirely by him. Based in the 4AD Studios in London, the album was recorded, engineered and produced by Perry and 4AD’s resident engineer Fabian Prynn.

                                                                                          Featuring the singles ‘Satan’ and ‘Walrus’, the tentrack album hurdles effortlessly over the expectations set by his intriguing debut EP. In an early review, Uncut magazine heralded it as “a looping, globally attuned 2016 update of Jeff Buckley’s ‘Grace’.”

                                                                                          D.K.

                                                                                          Distant Images

                                                                                            Fresh off the back of an exceptional collaboration with Suzanne Kraft for Melody As Truth, the mighty D.K. returns to his usual Antinote haunt for a sublime LP of serialist textures, esoteric electronics and exotic ambience. His fourth release on the label, "Distant Images" sees Dang Khoa Chau heading deeper into his own sonic world, refining his palate, defining his palette as a unique blend of new age pads, fourth world influences and minimalist arrangements. Despite these heady influences and fractal obsessions, "Distant Images" is also D.K.'s most organic album to date - the most attentive ears will hear seagulls on the title track while rain falls softly on "Leaving" - and slightly departed from the digital universes that his
                                                                                            previous records seemed to set in motion. From the most abstract songs, like the Reich-ian "Shaker Loops", to the most evocative ones, the five compositions on Distant Images are like stained glass, gently filtering natural light. It is therefore no coincidence if, of all the senses, the titles of the songs mostly refer to sight: close your eyes while listening to the cinematographic "Days Of Steam" and visions of an industrious city might appear before you. Put this on your player and let your mind be free, there's beauty in the world after all.

                                                                                            STAFF COMMENTS

                                                                                            Patrick says: Simply put, this is breathtaking. Not only is it D.K.'s finest release, but also an arguable highlight of the whole Antinote catalogue. 'Distant Images' sees the Paris based producer combine minimalism, new age and 80s jazz into a kaleidoscopic slow listening masterpiece.

                                                                                            MFM offshoot Second Circle enter 2018 in the company of their newest friend Dang Khoa Chau. Learning of the French producer via his releases on Antinote and Melody As Truth, the crew were keen to welcome him into the Second Circle for some of his hallucinatory dancefloor magic. Titled ‘Mystery Dub’, this new record features two percussive house cuts on the A side with two more evocative compositions on the flip. Recorded in his studio in the 11th district of Paris, the release showcases a wide yet characteristic palette of sounds and textures the Parisian artist has been sharpening over the years: atmospheric/hypnotic strings, warm pads, dreamy landscapes and spacial rhythms. "Stick By The Rules" drops straight into the shamanic bracket, bounding through synthesised birdsong, twinkling chimes, polyrhythms and some properly deep chords. The titular "Mystery Dub" makes the most of the slipstream, breezing along with circular mallets, supersonic siren calls and bright proto house elements, delivering something light and airy for when the oomph gets too much. Over on the flip, "Rebound" offers a panoramic view from a distant mountain top, detailed with the glinting gold of ancient temples, soaring birds and lush foliage. Taking the wind with one of these "Wise Birds", we glide down through the canopy for a sultry slice of fourth world wonderment, evocative and immersive in equal measure.

                                                                                            STAFF COMMENTS

                                                                                            Patrick says: Another amazing addition to the Second Circle series here, as D.K. brings us a deep and mystic vision of shamanic house on the A-side, then cools out with a rain forest exploration on the flip. I can't recommend this one enough...

                                                                                            The final chapter in the D.K. trilogy has arrived adorned in a hooded cloak. Sword by his side, the warrior master is rising. This time taking a decidedly darker and determined approach, D.K. is here to fight the final battle - and make it out alive.

                                                                                            The EP opens with the aptly titled "Storm Of Steel". An industrious cold front brimming with metallic clangs and resonant tubes. You can hear lightning strikes in the snares and thunder in the bass. In "Frozen Sword", the tropes synonymous with this trilogy are neatly tied together again as D.K. opts for glass tubes, gated snares and deep rhythmic baselines. This second track is an epic battle song, conjuring Crouching Tiger, Hidden Dragon / quasi-Matrix fight scenes.

                                                                                            Racing the clock to crack the code in "Code Breaker", alarm sirens sound off in the background as if D.K.’s plans have been foiled. It’s not until a flute motif at 4:14 that you realise our protagonist, all along, had an ace up his sleeve. The EP’s closing and title track "Rising" is a melancholic/euphoric dance between D.K.’s warrior’s emotions of what was won, but also what was lost.

                                                                                            STAFF COMMENTS

                                                                                            Patrick says: In case you haven't noticed yet, D.K. only makes sick records, and this latest EP for Antinote is among his most infectious. Tribal rhythms, razor sharp breaks and voodoo drum machines intersect with metallic leads, synth flute and 16-bit symphonies, totally nailing that cyber-druid videogame vibe. Flawless victory!

                                                                                            D.O.A.

                                                                                            1978

                                                                                              1978 is a 21 track collection of never released demos, rare tracks and early singles from Canada's punk pioneers. Joey Shithead went deep into the Sudden Death vault and came up with some super exciting and raw punk rock. The album title and art concept is spike haired nod of the head to that early, dynamic era of D.O.A. and to the seven great former members of D.O.A., who have passed on. Their spirit and talent played a huge role into launching the band into worldwide prominence.

                                                                                              D.O.A.

                                                                                              Fucked Up Donald

                                                                                                D.O.A., Canada’s punk pioneers know when to take a stand against bullshit. So that’s why they have come up with their new instant single Fucked Up Donald. Joey Shithead, the godfather of hardcore recently said "It did not take too long to realize that Donald Trump, with his anti-Mexican, anti-women, antipeople message was just too much. You can dress a pig up, but in the end you realize it’s really just Donald Trump".

                                                                                                So D.O.A. arranged a quick recording session. It’s a vitriolic take off of a big part of D.O.A’s history from the 80’s. The now released video has 3 million hits and counting.

                                                                                                FORMAT INFORMATION

                                                                                                Ltd 7" Info: Limited edition repress (500 worldwide) on red vinyl.

                                                                                                “Cinematic feasts of dramatic strings and cascading pianos that will satisfy fans of Nils Frahm and Ólafur Arnalds” The Ransom Note.

                                                                                                That certainly seems the case as the crushing emptiness of "Her Dreams" slowly emerges into the sonic space. Old school veterans Richard Dorfmeister and Stefan Obermaier are on hand to remix the track - transforming it into a epically mournful piano piece, galvanized with droning electronics and rumbling sub oscillators. "Screaming Silence" is touched up by Howie B who does a sterling job of organizing all the elements into a dreamy, crisp, high definition soundscape. Drifting synth parts meeting frenetic percussion and detailed low end perfectly, a blissed-out electro-disco missiv for the up-all-weekend dreamers. Check! 


                                                                                                In case you haven’t heard, D’Angelo is back. The prodigal son of soul and funk dropped his new album online in December 2014, with no fanfare, no hype and no upfront announcement. The soulternet lit up like a Christmas tree. For one so talented 15 years seems like too long a time to wait between albums (we've had to wait so long 'Black Messiah' has been described as “the black 'SMiLE'”), but D'Angelo had demons to slay, issues to resolve, yada yada yada... (for 15 years!?). Anyway, he's back now, reborn, refreshed and sounding as wonderful as ever. The album cooks up a gumbo of the greats - a dash of Marvin, a sprinkle of Minneapolis, some P-funk pepper and Sly salt, all simmered together to make 'Black Messiah' the tastiest real-soul stew around right now. Essential!


                                                                                                FORMAT INFORMATION

                                                                                                2xLP Info: Double vinyl pressing. Includes 16 page 12"x12" photo / info booklet.

                                                                                                D'Angelo

                                                                                                Voodoo - Back To Black Edition

                                                                                                'Voodoo' hit store shelves on January 25th 2000, just a few weeks after the New Year celebrations to end them all. But the first great album of the new millennium was born in the 1990s, and its muggy grooves capture the sound of premillennial anxiety. The album is the product of perfectionism, obsession and paranoia. 1995’s debut 'Brown Sugar' had already strategically positioned D’Angelo - born Michael Eugene Archer and Virginia-raised to a Pentecostal preacher father - as the next Hendrix-like deity in black music, after Prince and maybe Lenny Kravitz. But since its release, D’Angelo had become distracted by weed and weightlifting, he’d been shaken by the deaths of Tupac Shakur and The Notorious BIG and debilitated by sophomore pressure. In the interim he’d fathered two children, switched managers and jumped to a new record label.

                                                                                                Though inspired by the birth of his children and trips back to Virginia, 'Voodoo'’s roots are in 1960s, 70s and 80s funk and soul; a nostalgic nod to the ideas and inventions of black music trailblazers powered by avant-garde hip-hop and jazz-influenced rhythms. D’Angleo’s aim, he said, was to reclaim R&B. He wanted to be like Sly Stone, George Clinton and Al Green. And most of all, he wanted to be like Jimi Hendrix. Where does a potently focused young man go to remake 'Electric Ladyland'? New York’s Electric Lady studios, of course: in the same rooms in which Hendrix and Stevie Wonder reinvented music decades earlier, and on the same equipment too. In an era in which soul musicians were obsessing over all things synthetic, D’Angelo was looking to the warm sounds of the past. Electric Lady’s Studio C became D’Angelo’s brand new creative laboratory.

                                                                                                FORMAT INFORMATION

                                                                                                2xLP Info: 180 gram heavyweight vinyl.

                                                                                                Luca D’Alberto follows up last year's "Endless" with "Exile", his second release with 7K! - K7's sub label dedicated to modern classical, ambient and experimental music.

                                                                                                Comprising of a series of compositions built around powerful and memorable melodies, incisive crescendos alternated with more expansive passages, sound pyramids in which hidden elements emerge and chase each other; an interweaving dance of violin and piano, rhythms that seem to emerge from nowhere to create intriguing layers. All combined with cinematic atmospheres, delicate and melancholic, powerful and vigorous. Behind a solid classical formation, D’Alberto uses electronics as a means to amplify the expressive power of acoustic instruments such as piano, strings, drums of oriental tradition, gongs, and Tibetan quartz bells. This delicate and sensitive operation was brought about in collaboration with Patrick Christensen aka PC Nackt, a prominent figure of the German music scene, composer and multi-instrumentalist and producer for the likes of Apparat and many others.


                                                                                                Da Book

                                                                                                Vixxen

                                                                                                  Borft enlist a personal hero Patrik Book who's early project Ausgang Verboten was a huge inspiration to the label. I can't believe this material harks back to as far as 1984 - it is ridiculously modern sound, with slamming energy and ear-grabbing production, keeping it sharper than a diamond knife edge even by today's standards.

                                                                                                  If you like that mechanized crunch of overworked and underpaid hardware, nonetheless working itself to the bone under the stringent gaze of its studio wizards, then the five tracks here'll have you foaming at the mouth at the spellbound prowess on offer. Highly highly recommended stuff here!


                                                                                                  FORMAT INFORMATION

                                                                                                  12" Info: *ONE COPY FOUND*

                                                                                                  Da Vida

                                                                                                  Art In The Age Of Mechanical Reproduction

                                                                                                  Springing from Manchester, drawing on musical influences from around the globe, with strains of the urban and psychedelic, Da Vida explore the spaces between recognised categories of political, social & spiritual realities. Words and rhythm combine with electronic and acoustic textures to confront the distinctions between order and disorder, male and female, the mask and the face.

                                                                                                  'Art in the Age of Mechanical Reproduction' deals with the transforming affect of technology on music and the arts in general. Thirteen pieces span genres of Chicago blues to hip hop, industrial and avant garde and feature Manchester hip hop artist MC Crystalize and South African vocalist Joyce Moholoagae. Inspiring, provocative, challenging.

                                                                                                  Da' Enna C

                                                                                                  True To Rap EP

                                                                                                    Breathtaking excavation here folks! We've unearthed some copies of this early Dilla production that was re-issued on UR's hip-hop sub-label Hipnotech a few years ago. Discogs prices are slow hiking up on this one!!!

                                                                                                    Da' Enna C (Da Enna Cirkle) were the first group to release a J Dilla production. Entitled "Now" it was featured on the "You Can't Use My Pen" EP on Up Top Entertainment in 1994.

                                                                                                    "True To Rap", also produced by Dilla, showcases the lyrical skills of P-Gruv and Sleeepy D as well as the scratches, cuts and co-production talents of DJ Dez aka Andres (Slum Village / Mahogani Music). Side B - "Natives From Da Unda Ground" features Crystal Clear who is one of Detroit's most gifted female MC's. This single is an example of the Dilla magic early on with his use of keyboards, strings, original basslines and his classic snare knock. "Pack Da House" was first released on Magnum Records with just 2 mixes: vocal and instrumental bassline mixes. With this release, you also get the "No Bassline Mix", which did not make the original 12 inch release in 1996.

                                                                                                    Detroit / Dilla / hip-hop history right here folks. 


                                                                                                    FORMAT INFORMATION

                                                                                                    Ltd 12" Info: *WAREHOUSE FIND* - Limited copies. Extremenly sought after hip-hop 12" from the UR camp.

                                                                                                    Here it is! The first fruits of labour from the new DABJ HQ studio space. Kenny Wasp and Dan Monox (DABJ) team up with Big Miz for four tracks of serial killin' dance floor bombs. The guys have been road testing them worldwide for the past year and it's now time to unleash them to all discerning music buyers. This is also the first release on the label that the DABJ guys have actually been involved in when it comes to writing the music, not bad going for 30 releases in!

                                                                                                    Look out for more from DABJ over the next few months as the newly tweaked studio space grinds into action...

                                                                                                    Enjoy and lets JAIL THE LOT!


                                                                                                    Dabrye

                                                                                                    One / Three

                                                                                                      It was chance that brought about the release of One/Three, Dabrye’s debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late ’90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye’s arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

                                                                                                      On its release One/Three was the rare album that appealed to both fans of Slum Village’s smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

                                                                                                      One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of ’90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: ‘The Lish’ throws a sickly sweet saxophone against digitally fragmented melodies; ‘How Many Times (with this)’ draws you in with an irresistible, clipped guitar groove; the rhythmic stutter of ’Smoking The Edge’ makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

                                                                                                      But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit’s school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they’re constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. “A lot of it is nuance,” Mullinix explains. “I’ve been known to say that I’m not impressed by spectacle. I think that nuance is what really captivates people.”

                                                                                                      Richmond, VA-based songwriter Lucy Dacus is the latest addition to the renowned Matador Records roster.
                                                                                                      Lucy Dacus's No Burden is full of surprises—sharp lyrical observations, playful turns of musical phrase, hooks that'll embed themselves in your frontal lobe for days. But the most surprising thing about this album might be the fact that it's a debut; it has a keen sense of self about it, and it nearly glows from the self-possession held by the woman at its core.

                                                                                                      The 21-year-old Dacus grew up in Richmond; she was adopted at a young age, an experience that informed her curious, openhearted songwriting. "When my parents were explaining what adoption was—which was very early on in my childhood—they always said that my birthmother thought I was worthwhile even though she couldn't be my mom," she says. "And so from essentially infancy, I was taught that life was innately worthwhile because a bunch of people had worked together to set me up with one.”

                                                                                                      Dacus started playing around Richmond while in college, opening for local acts and eventually meeting Jacob Blizard, a guitarist who invited her to make a record for a college project of his. No Burden, which originally came out in February on the Richmond label EggHunt Records, opens with the forthright, almost brutally honest "I Don't Wanna Be Funny Anymore," the last song Dacus wrote before the album's day-long recording session at Starstruck Studios in Nashville. Dacus delivers scalpel-sharp observations about resisting pigeonholing over chunky guitars, ticking off ideals of femininity and youth until the track's not-quite-resolution.

                                                                                                      These themes extend to the lyrics of songs like "Strange Torpedo," a whirling portrait of a friend whose "bunch of bad habits" who, Dacus sings, has "been falling for so long… [and hasn't] hit anything solid yet." "I've been that friend watching a loved one do what they know is bad for them and not understanding why," says Dacus. The song offers a simple message: "I love you, why don't you love you? You're the one in your body so you get to choose what to do with it, but if I were you I'd treat me differently.”

                                                                                                      The rest of No Burden, which was produced by Collin Pastore, puts Dacus's voice center stage, allowing the glinting poetry of her lyrics to shine even more brightly. "Trust," which Dacus wrote in late 2013, showcases her alone with her guitar, her faint vibrato floating over strummed chords as she sings of self-redemption. And the diptych "Dream State…" and "…Familiar Place," which revolve around Dacus repeating "Without you, I am surely the last of our kind/ Without you, I am surely the last of my kind," capture disappointment and loss in a jaw-dropping way; the music trembles around her while her voice stays steady, anticipating whatever might come next.

                                                                                                      No Burden is a forthright, disarmingly catchy statement. And while it's a sterling debut, it only hints at the potential possessed by this passionate, thoughtful young woman.

                                                                                                      Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock's most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured 10-track statement of intent. "This is the album I needed to make," says Dacus, who views Historian as her definitive statement as a songwriter and musician. "Everything after this is a bonus."

                                                                                                      Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

                                                                                                      STAFF COMMENTS

                                                                                                      Millie says: Dacus' light Americana leanings of the superb No Burden are sidelined slightly for her grander, more expansive new outing, Historian. Though her smouldering guitar work and unmistakable voice are ever present, they are skillfully woven into an intricate and all-encompassing web of orchestration, grandeur and beauty. This is a stunner, and every bit the successful follow-up.

                                                                                                      FORMAT INFORMATION

                                                                                                      Coloured LP Info: Indies exclusive clear vinyl.

                                                                                                      Lucy Dacus

                                                                                                      2019

                                                                                                        Recorded in here-and-there studio spurts over the last two years, ‘2019’ is made up of originals and cover songs tied to specific holidays, each of which has dropped/will drop around their respective date: Valentine’s Day, Mother’s Day (and Taurus season!), Independence Day, Springsteen’s Birthday (not an official holiday, though Chris Christie often took that day off, aaparently), Halloween, Christmas and New Year.

                                                                                                        Lucy Dacus uses her gift as a songwriter to help understand and cope with the world around her, including making sense of national holidays, often more geared towards social media boasts and manufactured consumerism than authentic celebration. “What is going on,” she asks herself on these days, retreating from the heightened expectations of holidays to figure out what to make of them and to find her own meaning. “I’ve collected some songs from trying to answer that question,” she says, and “this EP seems like the right place to put them next to each other. These songs are self-contained, not indicative of a new direction, just a willingness to do something different and sometimes even out of character.”

                                                                                                        STAFF COMMENTS

                                                                                                        Millie says: Lucy Dacus’ warm vocals are a welcoming bliss in this miserable November weather. Her ability to cover classics such as ‘In The Air Tonight’ and give it an entirely different tone is breath-taking, while her own song writing in ‘Fools Gold’ are stunningly original and moving.


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