MAGIC MIX

ALL GENRES

BACK CATALOGUE - F

First Aid Kit

You Are The Problem Here

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

    Taken from the new album "Ruins". Studio version & a version recorded live in Stockholm. 

    Fleet Foxes

    Crack Up / In The Morning

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

      Crack Up (Choral Version) / In The Morning (Recorded Live in Montreaux)

      Florence And The Machine

      Sky Full Of Song / A New York Poem (For Polly)

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

        60gram white splatter on clear, double a-sided 7", embossed sleeve.

        Released without warning in partnership with Record Store Day, a limited edition, double-A-sided 7” vinyl will follow on April 21st.

        Discussing ‘Sky Full Of Song’ for the first time today, Florence writes: “this was a song that just fell out of the sky fully formed. Sometimes when you are performing you get so high, it’s hard to know how to come down. There is this feeling of being cracked open, rushing endlessly outwards and upwards, and wanting somebody to hold you still, bring you back to yourself. It’s an incredible, celestial, but somehow lonely feeling.”

        The Record Store Day release of ‘Sky Full Of Song’ will be backed by a recording of ‘New York poem (for Polly)’, taken from ‘Useless Magic’: a collection of lyrics, artwork and poetry which will form Florence’s first book, and offers a unique, personal insight into her creative process. ‘Useless Magic’ will be released on July 5th via Fig Tree / Penguin.

        Frank Zappa

        Lumpy Gravy: Primordial

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

          Lumpy Gravy: Primordial contains Frank Zappa’s first orchestral-only edit of the music sessions recorded at Capitol Studios during 1967. This self-described “ballet” was never officially issued until 2008 on the posthumous collection Lumpy Money. This April it makes it’s debut on limited edition 12” 45rpm mono translucent burgundy colored vinyl, mastered from the original 1967 1/4” mono master tape, with FZ’s original gatefold album design lovingly restored.

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

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

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

          Fatima Al Qadiri

          Shaneera EP

          Shaneera is the English mispronunciation of the Arabic word shanee’a, literally meaning "outrageous, nefarious, hideous, major and foul.” In one iteration of the word, as queer slang used in Kuwait and some Arab countries, a positive and desirable light is shed on these attributes. Shaneera refers to a gender-defying persona, of being an evil queen. You know a Shaneera when you behold one. Over five energetic club tracks, Al Qadiri explores this dark-sided character with friends Bobo Secret (the leading vocalist on the record), Lama3an, Chaltham, and Naygow, in their debut recorded appearance.

          The lyrics are suggestive, imploring, shady and loving, some original and some re-recorded material from Grindr chats, online drag and femme comedy skits. The language is a mixture of Kuwaiti and Egyptian Arabic, and one Iraqi proverb, Sonically, the record combines Khaleeji (Arab Gulf), Western drum kits and Arabesque melodies. On the cover, Al Qadiri appears as Shaneera, her evil extreme femme alter ego, the design inspired by stale pop diva record cover imagery from the Arab world. Conceptually, the EP follows Al Qadiri’s long term exploration of gender identity and performance in the Gulf. Her natural look, at odds with the conventional presentation and performance of femininity in the region, is transformed on the cover into a maximum femme look inspired by a mid 2000s Kuwaiti trend of extreme makeup. What would pass at a cursory glance as femme drag was actually the norm at a specific time in Kuwaiti women’s fashion. ‘Shaneera’ the record lands somewhere in an undisclosed setting and is a love letter to evil and benevolent queens around the world.

          Fred Anderson & Hamid Drake

          From The Ocean To The River

          Following up on their 2004's acclaimed "Back Together Again" on Thrill Jockey, Drake and Anderson set out to show just how much they've grown, how beautifully their work together has evolved. The closest of relationships gives its members space to expand, change, develop, and play. Tenor saxophonist Fred Anderson and drummer Hamid Drake have just that kind of partnership, one that has seen them periodically move apart and work extensively on other fronts. Over the course of some three decades, master saxophonist and prodigy percussionist have continued to reconfirm their commitment to their joint project. Drafting an all-star band consisting of fellow-Chicagoans, the twosome entered John McEntire's Soma Studios and proceeded to record their most relaxed, perfectly balanced date yet. In a discography that has gone from a handful of rare LPs fifteen years ago to a staggering number of discs on various labels today, it may seem hyperbolic to call "From The River To The Ocean" Fred Anderson's greatest album yet, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a ringer.

          Francis Bebey

          African Electronic Music 1976-1982

          A retrospective of truly incredible, clued up and innovative electronic songs music from Francis Bebey.

          Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, and some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the 1970s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. he embraced the technique of 'sound on sound' recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records ('Savannah Georgia,' 'New Track', 'Haiti'), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments.

          Born Bad Records present 'Psychedelic Sanza 1982-1984', a thrilling collection of material from Cameroonian artist Francis Bebey. A follow-up to 'African Electronic Music 1975 - 1982', this release focuses on music built around the sansa, a traditional African 'thump piano'. Combining his own global interests and electronic pursuits with the traditional sound of the sansa, he fashions an irresistible body of work for full immersion. 'Sanza Tristesse', with its lilting tempo and creaking vocals, could fit in any 80s disco set, while 'Forest Nativity' is an earthy nature walk. This collection is not to be missed.

          "The first time I saw a sanza (a type of African thumb piano), it was just sitting there on a piece of furniture in my family's living room - a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. We knew our father loved to collect anything that could produce a sound. I don't know where he got this sansa. It was rather crude, clearly handmade, with only a few "keys" or "tines". I don't think he really played this one. The sounds it produced seemed particularly bizarre; to my young musician's ears, trained in Western classical music, it sounded out of tune. That's because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father's passion for "unusual sounds" did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my "serious" English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept "world music." Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like "Agatha" and "La condition masculine." But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: "Let's see what you can do with it!" That's when I really discovered something. Exploring the instrument and playing, I transcended the "imperfect" aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his "laboratory." Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don't become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" - Patrick Bebey


          Findlay Brown

          Losing The Will To Survive / I Will (Ghost Ship)

          With influences ranging from Simon and Garfunkel, Jackson C. Frank, The Band, Spirit and Family to Funkadelic and Kraut-rock Findlay has a deep vein to mine for musical inspiration. These solo acoustic songs were recorded in the bedroom of his producer, Simon Lord, formerly the singer with psyche rockers Simian. They illustrate Fin's understanding of the craft of song-writing, an understanding he shares with the likes of David Crosby or Jose Gonzalez. Blessed with a voice that will inevitably melt hearts, Findlay drapes "Losing The Will To Survive" in lush vocal harmonies, reminiscent of a long lost classic. "I Will (Ghost Ship)" is a heart breakingly beautiful and intimate ballad. This is the first release on new label All Good Things, whose philosophy is to release accessible records big on personality, right across the musical genres.

          FORMAT INFORMATION

          CDS Info: CD single includes bonus track "Don't You Know I Love You".

          Super Rhythm Trax unveil their brand new side label Bleeper, which will concentrate on a slightly tougher strain of techno than the rattling warehouse beasts previously purveyed. First out of the gate are Ford Foster who've previously graced Unknown To The Unknown and Opal Tapes. Joined by Frankie Castle with "Bounce That", an ingenious ghetto house jam with a serious twist. Backed with a Jerome Hill remix that strips the whole thing down leaving the bare ingredients to do damage on the dancefloor. Also included are an instrumental version of the original, and the slo mo banger "Shake That". With its parent label Super Rhythm Trax a highly coveted label we expect these units to move quick sharp...

          STAFF COMMENTS

          Matt says: More illicit nightclub weaponry from the same folks that brought you Super Rhythm Trax.

          Neapolitan born Franco Chiari was an eclectic artist whose polymathy on the keyboard made him stand out from the crowd. He played the piano, accordion, synthesizer, vibraphone and marimba in both jazz and symphony and picked up countless acolades for his virtuoso skills. For three consecutive years (1957/58/59) he won the National Jazz referendum, was vibraphonist in the national TV Orchestra and participated in numerous important broadcasts. In this album however, originally released in 1973 and now his most sought after work, he rearranges the compositions of Mario Bertolazzi electronically with the use of synthesizer on rhythms ranging from latin beats to funk. The result is a groovy voyage through lounge funk ("Rio Tu Ed Io"), electronic oddness ("Mi Manchi Troppo"), proto chipset ("Love Rides To Montecarlo") and dusty Bossa ("Bossanova Du Du Da").

          FORMAT INFORMATION

          Ltd LP Info: Numbered limited edition with digital downloads included and an amazing cover with splashes of paint, making each copy unique and unrepeatable.

          Frank Cordell

          Demon - From The Original Motion Picture Soundtrack

          Stylotone in association with The Frank Cordell Estate and writer, director & producer Larry Cohen is proud to announce the World Premiere Release of ‘Demon - From the Original Motion Picture Soundtrack’.

          A joint Academy Award and Golden Globe-nominee in 1970 for his soundtrack to ‘Cromwell’, Frank Cordell also composed the infamous unused score to Stanley Kubrick’s ‘2001: A Space Odyssey’.

          The 4-Track 45rpm Vinyl Only 7” EP features music from the Original Motion Picture Soundtrack to the cult 1976 horror film ‘Demon’ (also known as ‘God Told Me To’). The EP has been assembled, mastered and cut by Sean Magee at the world famous Abbey Road Studios in London.

          Frankie Cosmos

          Next Thing

          Greta Kline's musical output as Frankie Cosmos exemplifies the generation of musicians born out of online self-releasing. Kline initially built a reputation with her prolific catalog of bedroom recordings and as a performer and advocate of New York's All Ages DIY scene. The beauty in Kline's writing does not lie within immense statements and large gestures, but instead can be found in her ability to examine situations and relationships with heartbreaking sincerity.

          In 2014 Kline released her first studio album, Zentropy. Within months of its release, Zentropy became one of the most critically acclaimed independent albums of the year and was named New York Magazine's #1 Pop album of 2014. In 2015 Kline signed to Bayonet Records, immediately releasing an EP where she experimented with writing in an electronic setting. The EP Fit Me In was well received and garnered a Best New Track from Pitchfork. Kline then began recording her next album appropriately titled, Next Thing. Like Zentropy, Kline approached Next Thing by fleshing out several old home recordings, and by writing half of the album from scratch. Next Thing explores new emotional and instrumental territory for Kline.

          FORMAT INFORMATION

          Coloured LP Info: Limited sky blue vinyl for Indie stores only.

          Francesco De Masi

          Fuga Dal Bronx

            Fuga Dal Bronx - Original Motion Picture Soundtrack LP. Music by Francesco De Masi. Original Artwork by Luke Insect. Pressed on 180 Gram Black Vinyl. 

            FUGA DAL BRONX (also known as ESCAPE FROM THE BRONX) is one of Director Enzo G. Castellari's crowning achievements. It's part of his low budget MAD MAX-inspired trilogy that started with 1990: THE BRONX WARRIORS and I NUOVI BARBARI. FUGA, though, is the jewel in that particular crown, and is so over the top it makes MAD MAX 2 seem like a Disney film.

            Dispensing with story all together, Casterllari is able to go wild with crazy over-the-top stunts, explosions and gratuitous violence. Francesco De Masi's score is nothing short of masterful proving why he is one of the greatest (unsung) composers that worked in Italian genre pictures during the exploitation heyday of the '70s and '80s.

            His score veers from tense, smokey, jazz-inspired moodiness to full on rousing funk action, masterfully composed and beautifully orchestrated. It's another essential Italian score that deserves to be in your collection.

            FORMAT INFORMATION

            Ltd LP Info: Limited to 150 copies.

            Floyd Dixon / Tony Harris, JJ Jones And Band

            Ooh Little Girl / Try This Li'l Ole Heart

            Two killers from the Ebb stable back to back! On side A Floyd Dixon hits us with the brilliant jivin' rock & roller "Ooh Little Girl", while on the flip Tony Harris, JJ Jones And Band deliver hollering slinkie slowie "Try This Li'l Ole Heart".



            FORMAT INFORMATION

            7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

            Fabiano Do Nascimento

            Tempo Dos Mestres

            "Tempo dos Mestres" (Time of the Masters) is the second album from the tireless, young Brazilian guitarist Fabiano Do Nascimento. It finds its roots in the depths of the Amazon rainforest, passed down through generations of Native Brazilians, and is imbibed by the Afro-Brazilian culture that arose after Portuguese colonization. This blend is not new in Brazil, and is represented musically by great Brazilian musicians both known and celebrated - the guitarist Baden Powell and catalyst Hermeto Pascoal, both direct influences on Do Nascimento - and less exposed, like the experimentalist Carioca, one of Do Nascimento’s mentors, and the Brazilian psychedelic pioneer Lula Cortes, whose album Paebiru rewrote Brazilian rock’s history in 1975. It is the third Brazilian album released on Now-Again, following Seu Jorge and Almaz and Do Nascimento’s debut "Dança dos Tempos". Do Nascimento's is joined on Tempo dos Mestres by his long time percussionist, Ricardo "Tiki" Pasillas on trap drums and percussion, and Sam Gendel on saxophone and flute. Vocals are performed by Thalma de Freitas and Carla Hasset. These tracks were recorded live in the studio with no overdubs, straight to 2” analog-tape, and only sparingly mastered to focus on the subtleties of the performances. 

            STAFF COMMENTS

            Patrick says: Less acoustic than its predecessor, "Tempo Dos Mestres" sees Do Nascimento embrace a fuller, more rhythmic sound on this follow up, treating us to a well rounded taste of Brazil.

            FORMAT INFORMATION

            LP includes MP3 Download Code.

            Francois Dubois & Master H

            La Balance - Inc. Dirt Crew Remix

            Everyone's favourite Gallic alter ego meets a real Frenchman as the master of the deep and Funk D'Void's uncanny doppelganger François DuBois comes head to head with Master H. "La Balance" is an upbeat house builder with techy touches and an irresistible funky, percussive driving groove going on. On the flip the Dirt Crew take the track on a deeper tech-house trip, ironing out the percussion and tying the track to a rigid, solid driving kick and stabby acidic bassline.

            'More guns than Goodfellas, more cocaine than Scarface', F**k Me USA was started in February 2006 as a concept, a group designed as an idea; everything, from the lyrics, the notes, the artwork, the instruments and the press shots needed to be in place before a single note was played. What followed was twisted film noir storylines over a 150BPM beat, sung in a style not dissimilar to Alan Vega's from '77s New York punk scene. F**k Me USA are Chris Olley and James Flower sometime members of Six By Seven.

            F**k-Off Machete

            If Gold Was Silver And Silver Was Gold

            Fuck-Off Machete are the latest beautiful new animal born from the fertile Glasgow scene. Quick on the draw and a force to be reckoned with, they formed in 2003 after the demise of bassist & vocalist Natasha Noramlys previous band Ganger (Domino), and began recording their debut album a mere three months after inception. Fuck-Off Machete's music is as strong as it is catchy, displaying a stripped-back and raw three-piece dynamic. Fractious guitars flanked by mighty bass and solid rhythms propel the centrepiece of vocals simultaneously both innocent and commanding. Descriptions such as 'noise-pop' do little to describe the pulverising hooks and seductive stage presence, and references such as Sonic Youth, Polvo, and Joy Division will still leave you unprepared.

            F/i

            Space Mantra

              First time on vinyl for nearly 30 years for this classic slice of American space rock. Milwaukee's F/i have been an ongoing concern since 1981, pioneering a certain brand of experimental rock which encompasses elements of industrial and psychedelic space-rock sounds. Originally a purely electronic outfit heavily influenced by Throbbing Gristle and prolific in the underground tape scene, they made the transition to 'rock band' in the mid '80s, and for many, 1988's Space Mantra LP remains the high point. With fuzzed guitars, metronomic rhythms, swirling synths and occasionally bucolic forays into blissful acoustics, it's a masterful take on cosmic music during the Reagan years. It was previously only ever released on LP once by the famed RRRecords label - Sorcerer is proud to see it back in print as it was. Limited edition of 500 copies. Recommended for fans of: Hawkwind, Amon Duul, Causa Sui, Cluster.

              Fabio Fabor / Armando Sciascia

              Infini

                THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                First ever commercial release for this ultra-rare Holy Grail 1972 Library/Production Music
                Limited Edition 200 GRM Deluxe Replica LP with exclusive scholarly liner notes (by Alvin Lucia) and exclusive commissioned inner sleeve artwork
                Full dynamic range 2016 remaster direct from the first generation analogue master tapes

                Co-signed by the mysterious Fabio Fabor and the renowned Armando Sciascia, Infini is a masterpiece of avant hauntological orchestration.

                Prepared pianos collide with subterranean VCS3 synthesis and mournful ornate strings, spectral choral arrangements ride menacing drones and eldritch bass rumbles in a phantasmic cinematic skin. Recorded between 1970 and 1971(and issued on the esteemed French ‘Musique Pour L’Image' Library label in 1972), these sublime and concise symphonies of apocalyptic pulp dread receive their first ever commercial release here and are presented with 4 incredibly rare extra tracks from the original sessions.


                With engineer / producer Alex Newport and Fat Mike on production duties Fabulous Disaster are charged up and ready to steal your underwear with an all-out punk rock "Panty Raid!". 14 songs that are true to the band's gritty live sound, while retaining their knack for melody and hooks. Fabulous Disaster are up there with other women bands like The Donnas and The Distillers.

                Fabulous Disaster

                Put Out Or Get Out

                All girl band on Pink & Black : torn fishnet stockings tattoos and punk-fire. They play tighter than an elephant-sized cork shoved in a gnat's arse! It's all about the devastation and the smeared lipstick! Touring and more tattoos to follow.

                Fabulous Dynamics

                Get Hip To Yourself / Every Time I See A Pretty Girl

                Big Crown brings us a recording that could have easily been lost forever like so many others from its era. Taken from the only known copy of this acetate that appears to be a rehearsal recording for the group to solicit local gigs, these stripped-down versions of “Get Hip To Yourself” and “Every Time I See a Pretty Girl” are American relics. The only information about the acetate is handwritten on a piece of masking tape affixed to the A side, the name of the group, The Fabulous Dynamics, and the track listing. Of the 6 songs on the demo, we pulled the 2 most buttery, delectable, sweet & savory slices of mid 60’s group soul. Stripped down to vocal harmonies and acoustic guitar, both sides of this 7 capture the lo-fi, intimate sonic landscape of yesteryear, something that is often emulated, but never quite duplicated. Another pretty cool detail about this acetate, it was found in the personal record collection of Lamont Dozier.

                The Fabulous Silver Tones

                Hey Sally Mae / Stranger In Paradise

                House band for the Soc Hop, The Fabulous Silver Tones had obviously played together a lot before laying down these two killer cuts because they're just so tight. "Hey Sally Mae" is a rocker with great guitar, "Stranger In Paradise" offers something a bit more crossover.


                FORMAT INFORMATION

                7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                Face To Face

                How To Ruin Everything

                "How To Ruin Everything" sees Face To Face reaffirm their status as one of the 1990s new-punk trailblazers who have often been cited by bands like Blink 182 and the Alkaline Trio as major influences. Trever Keith, Scott Shiflett and Pete Parada formed as a trio in 1991 with a passion for old skool punk rock and this direct, no nonsense approach is there to be heard on this 2002 punk epistle.

                Faces

                First Step - Orange Vinyl Edition

                  When Steve Marriott left The Small Faces, Ronnie Lane and Ian McLagan recruited Ron Wood and charismatic frontman Rod Stewart and changed their name to The Faces. First Step, which was released in 1970, was their first LP. Gone was the smart, tight Mod sound (and style) of their previous incarnation, and in came a looser, bluesy rock’n’roll. As its name implies, this is the sound of a band finding its feet, and although it’s slightly shambolic, it’s all the better for it.

                  Faces

                  Ooh La La

                    The Faces' 1973 valedictory effort was initially received in critical communities as something of a disappointment – a kind of hangover record following the vaulting heights of Long Player and A Nod Is As Good As A Wink … To A Blind Horse. Over the course of time, it has become the band's defining work. Blues-inspired workouts like "Cindy Incidentally" and "Glad And Sorry" demonstrate that the Faces have lost nothing off their considerable fastball, while the caution to the wind fuck-around "Borstal Boys" almost dares punk rock to happen. Finally we have Lane's ruminative title track at the album's conclusion – a gorgeous and wry concession to youth as a kind of slow gathering death. "I wish I knew what I know now / When I was younger" may qualify as the greatest and most knowing final salvo line ever authored by a truly legendary band.

                    FORMAT INFORMATION

                    LP Info: Limited red vinyl.

                    FACS

                    Negative Houses

                      FACS sprung forth in early 2017 , Brian Case, Jonathan van Herik & Noah Leger were formerly of Chicago band Disappears. "Negative Houses" is their debut recording; an abstraction of their former outfit, even more minimal and bare than what came before. "Negative Houses" approaches the stark, gothy post-punk previously perfected more rhythmically and abstract than in Disappears, with Leger's motorik, machine-like drumming taking the forefront (see the tunes 'Skylarking' and 'Others') and van Herik's guitar alternating between slashes of dissonant ambience and percussive accent. Case switches from guitar to bass in FACS, adding an economical throb to the band's drive on songs like 'Just A Mirror' & the album's centerpiece, the near nine-minute, sax-soaked tour-de-force 'Houses Breathing', whose electric heartbeat lumbers forward, sounding like an outtake from Cold Storage Studios circa 1979. 

                      FORMAT INFORMATION

                      Coloured LP Info: Metallic gold vinyl.

                      Factory Benelux

                      Durutti Column Postcard Box

                        A look at the images, graphics and material from the much loved and revered Factory artist The Durutti Column.

                        The set features images from Mark Warner, Philippe Carly, Annik Honoré, John Nicholls, Paul Coerten, Yoshimasa Hatano; graphics conceived by Anthony H Wilson and Alan Erasmus; and designs from 8vo.

                        Produced in association with FBN, this set contain 25 litho printed postcards and is presented in a hand finished buckram textured box, made in Manchester.

                        In Stock Now!

                        A Factory Benelux Edition published by Polite.

                        Factory Floor

                        25 25

                        Factory Floor return in 2016 with 25 25, their second album for DFA and the follow up to their hugely acclaimed 2013 self-titled debut. With their music stripped to a mesmerising dance of percussion, fragmented voice and melody, 25 25 captures the next vital stage in the evolution of one of the UK's most restless and exploratory groups. Today the band share 'Dial Me In', the album's lead single that is available now on a limited 12".

                        Following the release of their debut album Factory Floor in 2013, the band - consisting of Nik Void and Gabriel Gurnsey - slimmed down to a duo. Having already boiled the scorched textures of their early singles down into their debut's hallucinatory club-not-club stomp, they both seized the opportunity to voyage further along the pathway, mixing the album with razor-sharp precision via David Wrench (FKA Twigs, Caribou).

                        Inspired by playing a growing number of late night club shows, the pair's music gradually evolved into the sound captured on their second album and in their current live incarnation: a stark, ultra-minimalist and eerily soulful dancefloor pulse, yet one that still bears Factory Floor's unmistakable hallmarks of hypnotic repetition and jagged, punkish intensity.

                        Speaking of 'Dial Me In', Void says: "Being openly progressive has always been the Factory Floor way, be it via improvisational live shows, early Blast First releases, DFA reworks, or open studio collaborations and residencies.
                        'Dial Me In' was the first track Gabe and I wrote together for this record. At this time we were both exploring new set ups - some unfamiliar gear like modular systems, as well as various machines combined with regular old stuff like my Roland sampler, live drums and effected live vocals.

                        Our shows between 2014-2015 where steadily moving towards late night club stompers, and gradually our tools were becoming more and more mobile within two Peli cases wheeled across the continent. We were forever testing out changing sets from one place to the next. This single is all about transition, adjustment and transparency - something we needed to get out there so that dots can be joined and the next page can be turned ready for 25 25."

                        STAFF COMMENTS

                        Barry says: Straight out of the gates with a sub-heavy truncated saw-wave synth lead that holds it's own superbly before the trademark rasping 808 snare kicks in launching into full-body workout territory. Title track '25 25' is essentially just one repeated and gradually accentuated drum loop, minimalistic but effective to the end. This whole album gradually works through the tropes of techno and house but without feeling staid, it is simply a skillful and rousing summary of electronica in all it's forms. Acid resonant squelching bass-lines and 16th beat hats, thumping kicks abound. This is dancefloor music, and you will dance.

                        FORMAT INFORMATION

                        2xLP includes MP3 Download Code.

                        The wait's finally over and one of the most hotly anticipated records of the year is on the platter. "Turn it Up" opens the record in sparse fashion, a heavy duty drum track with plenty of rhythmic complexity and some trippy vocals, but where are the synths? Patience is a virtue. Building up out of near silence, a whirling arpeggio sets "Here Again" in motion, as human and machine percussion marry perfectly amongst a backdrop of ever changing sounds and fx. Theirs is a music repetitive and metronomic in tempo and signature yet ever shifting, ever surprising, ever ear-boggling. A battered drum kit, Jomox Xbase drum machine and Roland SPDS sample pad create the tools for deep and effective hypnosis.  A Fender Telecaster is brutalised with fists and fraying violin bow, an assault complimented by Roland SP555 sampler. For those in the know, previous singles "Fall Back" and "Two Different Ways" appear here, perfectly exemplifying the collision of analogue techno, heavy synthesis, EBM vocals and industrial acid which the trio have made their own. On their own terms and in their own league, Factory Floor have lived up to the hype and then some.


                        STAFF COMMENTS

                        Philippa says: When making music, like art, part of the process is knowing when a particular piece is finished. The temptation to embellish, to fill-out, to just-add-one-more-thing is often given in to. Factory Floor (Gabriel Gurnsey, Dominic Butler and Nik Void) show us exactly how much is enough on their debut eponymous album. All excess fat is trimmed from these tracks – even the geometric pattern on the sleeve alludes to this with its tessellating Stanley knife / cutter blade shapes. This is dancefloor music pared down to muscle and bone. The London trio combine heavy synthesis and live instrumentation – human and machine – to create alt-dance music of dynamism, tension and relentless propulsion. Gurnsey’s tight, metronomic kit drumming sets the pace, pushing the tracks forward, while Butler’s layered, oscillating analogue synths and arpeggiated, sequenced keyboard lines fill the space above with morphing, modulating complexity. Void’s detached, treated robotic vocals sound like the broken transmissions from a computerised dystopian future. Crashing Linn drums, guitar feedback, woodblocks and cowbells complete the picture, but there is always still enough space between the instruments, giving the tracks room to breathe. With a lineage that can be drawn through krautrock, post-punk (they’ve previously worked with New Order’s Stephen Morris), electrodisco, industrial (Void records as Carter Tutti Void with Throbbing Gristle’s Chris Carter & Cosey Fanni Tutti no less), EBM, acid house and even other DFA acts, Factory Floor have moved beyond direct influence and pastiche to create electronic dance music that is totally their own. Raw, brutal, intense, this is EDM Factory Floor style.

                        FORMAT INFORMATION

                        2xLP Info: Limited double white vinyl pressing in die-cut outer sleeve and full colour printed inner sleeves.

                        Vinyl comes with CD version of the album enclosed.

                        Factory Floor

                        Heart Of Data / Babel

                        Factory Floor were originally commissioned by London’s Science Museum to write a brand new live score for Fritz Lang’s 1927 silent cinematic landmark, "Metropolis" (see also: Jeff Mills' inspired version - ed). The 150 minute score was performed live at the Science Museum’s IMAX in April 2017, coinciding with the 90th anniversary release of "Metropolis" and as part of the acclaimed Robots exhibition and event series. "Heart of Data" and "Babel" are the first 12” releases on Factory Floor’s own imprint H/O/D Records.

                        An inspired six and half minute track, "Heart of Data" bears all the hallmarks of a Factory Floor record but as you’ve never heard them before. An animated modular synth groove sets in motion the atmospheric textures within the spacial arrangement. The b side "Babel" which traverses many scenes in the film, retains a transient meditative pulse in pursuit of space and time. Both bring together an emotive relationship between the machine like qualities of their instruments and visual images provided by Fritz Lang’s industrial masterpiece. Following the success of the London Science Museum event, Factory Floor’s reimagined "Metropolis" score was performed live at Sheffield’s Sensoria Festival in October 2017 and the recorded audio was showcased at the Brighton Film Festival at the Attenborough Centre for creative arts on November 2017. The H/O/D label art was designed by British artist Haroon Mirza, adapted by Sam Moore and Nik Void.


                        Factory Records

                        A Factory Sample - T-shirt (Grey)

                          'A Factory Sample' double 7" single was Factory Records first vinyl release (catalogue number FAC2). Peter Saville's sleeve design is now used on this Factory Records t-shirt.

                          Factory Records

                          Fac Off T-shirt (Grey)

                            Factory Records sweary-ish t-shirt.

                            Factory Records

                            Logo T-shirt (Navy)

                              Peter Saville's iconic Factory Records logo printed in white on a navy blue t-shirt.

                              Factory Records

                              Use Hearing Protection Logo - Mug

                                Price is for ONE mug.

                                The Use Hearing Protection warning symbol was Peter Saville's original logo (with the catalogue number FAC1) for the Factory club in Hulme, used as a yellow print on black posters at the club in 1978 / 79.

                                Factory Road

                                45 RPM Adapters (Pack Of 18) - YELLOW

                                  UK based company Factory Road have come up with a great redesign of the classic spider 45rpm apapter for all you dinked 7" owning vinyl junkies out there. Made in England from recycled plastic, available in various colours, and has extra fat teeth for great grip. Pack includes 18 YELLOW spider adapters.

                                  Factory Road

                                  Santa 45 Adaptor Christmas Card

                                    A5 Christmas cards with Factoryroad's own 45rpm adapters attached!

                                    The archetypal 'stocking filler' or pressie for the audiophile and record collector.

                                    Supplied with sturdy turquoise C5 envelope and individually wrapped in cellophane.

                                    SB Traxx returns for their second outing, flexing four original club Traxx from Anthony Fade. 'Mind Games' opens things up - a Jackin' acid drum machine workout awash with 707 hits and 303 squelch. The A2 'M1 Cause Everyones Gotta Have Fun' then hits you with a piano rave weapon - gritty and hard hitting coupled with those classic M1 stabs.

                                    Flip it over for a top-down summer anthem in 'I'm Weak' marrying RnB tinged vocals and shuffling rhythms before 'Dr. Ice' closes it out with a golden-era hip hop inspired deep house groover.

                                    Faded Grey

                                    A Quiet Time Of Desperation

                                    Formed from the ashes of Tomorrow's Gone, Faded Grey have been honing their sound for the last two years and these are their strongest recordings so far. Fast driven hardcore with a ton of heart and sincerity that can't fail.

                                    Fader

                                    First Light

                                      First Light is the debut album from Fader – a new band formed by Neil Arthur (Blancmange/Near Future) and Benge, whose work includes his own solo albums, co-production with Gazelle Twin, plus he’s in two other critically acclaimed bands – Wrangler and John Foxx And The Maths. The music was recorded and mixed at Benge’s MemeTune Studios while Arthur worked on lyrics and vocals in his home studio. The resulting album is full of powerful electronic pop songs – up-tempo, dark, with flickers of beauty in the sounds and rhythms that echo old Joy Division tunes and even bands like The Sound at their most synthesizer heavy. Opening with the psychedelic strangeness of ‘3D Carpets’ (inspired by Hunter S. Thompson’s Fear And Loathing In Las Vegas), the album launches with a salvo of exhilarating electronic rock/pop songs including ‘Check The Power’ - an OCD meltdown with fierce electro surges – and Fader’s debut single, ‘I Prefer Solitude’ (due out on 7 June) with its brilliantly insistent chorus. From that point the record buries deeper into melancholy nostalgia; internalized, dead-of-night fears; stream-of-conscious visions of city life and evocative descriptions of lost and lonely figures who find themselves out of time and out of place. The slower tracks such as ‘Laundrette’, ‘Trip To The Coast’ and ‘Liverpool Brick’ are full of longing, with Arthur writing some of the finest lyrics of his career. 

                                      The debut album from legendary Sheffield band Faerground Accidents sees a brilliant collection of late night songs, a missive from bohemia laced with perfect melodies and a bright and thrilling rush of neon melodies and great acidic lyrics from a band that Adam Ant calls the best new band in the UK and are also tipped for success by the likes of Richard Hawley and Jarvis Cocker.

                                      “With witty vignettes comparable with the bedsit psycho-sexual melodrama of the likes of old Moz himself, witty kiss offs (“I went to the supermarket after every one of those/And I spent my last pennies on a value meal for one”) capturing the futility, fumblings and fragility of affairs of the heart, it’s a rather smart tune indeed..” GODISINTHETV

                                      “An eclectic group that merges the fey eroticism of Pulp with the solid chops of a machismo rock band. Faerground Accidents have managed to forge a distinctive style that’s both enigmatic and direct. And, quite frankly, that I can’t get enough of!”
                                      Lee Adcock (Dandelion Radio).


                                      FORMAT INFORMATION

                                      Ltd LP Info: Limited to 500 copies.

                                      Ltd CD Info: Limited to 500 copies.

                                      Scott Fagan’s debut album, ‘South Atlantic Blues,’ is a genuine lost classic - a mystical, mythical and deeply soulful masterpiece.

                                      Recorded when Scott was just 21, virtually homeless and with pennies to his name, it was released in 1968 on Atco Records but remained obscure, confounded by a series of frustrating near-misses. From being mentored by Doc Pomus to being discovered by Jasper Johns, Scott’s incredible story and music unfolds on ‘South Atlantic Blues,’ remastered and reissued for the first time ever on CD and vinyl on Saint Cecilia Knows (the label that also released the acclaimed Mickey Newbury box set, ‘An American Trilogy) in association with Scott Fagan’s own lil’fish records.

                                      Steeped in delicate psych, soul and resonant acoustic guitars “that stroke and stone you to the core” (Shindig). It’s an epic song cycle about Fagan’s hard-scrabble life in the Virgin Islands, where he was raised and lived until 19 before returning to his birthplace of New York City. A teenage prodigy, mentored and managed by songwriters Doc Pomus and Mort Shuman, Scott recorded early material for Columbia and Bert Berns’ BANG label before signing with Atco. In 1969, artist Jasper Johns discovered ‘South Atlantic Blues’ in a cut-out bin, fell in love with the record, and used it as the inspiration for three artworks, known as ‘Scott Fagan Record.’

                                      The pieces are now housed in the permanent collections of MOMA, the Met and the Walker Art Center. Born on 52nd Street, Scott was the son of a sax player and singer who fraternized with jazz greats. That familial connection with music would come full circle when Fagan discovered he was the biological father of songwriter Stephin Merritt of the Magnetic Fields. They did not meet until the premiere of a documentary about Doc Pomus in 2013. A conversation between the two is included in the liner notes of this CD release. The initial pressing of the vinyl comes as a limited edition, hand-numbered, 180g vinyl with a reproduction of Jasper Johns’ 1970 lithograph, ‘Scott Fagan Record,’ as cover art, and includes a digital download.

                                      The CD comes with extensive liner notes, rare photos, and a download of five bonus tracks—the original 1965 demo for Doc Pomus as well as a recently-discovered acetate, the only copy in existence of a previously-unknown Doc Pomus song, All For The Sake Of Love, that only Scott Fagan recorded. 

                                      John Fahey

                                      Death Chants, Breakdowns, And Military Waltzes

                                        Acoustic guitarist John Fahey was impossible to classify. His eclectic music included traditional-sounding folk pieces, Indian ragas, blues, and unpredictable modern works, not fitting securely into any specific category but somehow always sounding personal. The founder of the Takoma label (named after his hometown of Takoma Park, MD), Fahey performed instrumentals that, because of his use of space and atmosphere, hinted at New Age a couple of decades before that genre was born, but his music generally contained much more variety and expressed quite a few different moods, often unpredictably.

                                        1963's Death Chants, Breakdowns, And Military Waltzes is Fahey's second album, following the brilliantly apocryphal Blind Joe Death. As massive as that earlier work was, it represented only a tentative first step towards the fields of hodologic splendor that our hero would go on to create. Death Chants represents a much more fully realized syncretism of the modernist and primitive poles between which Fahey wobbled. It is also the first album he deigned to release entirely under his own name and the one with which he truly began to cast a shadow across the blandly-lit landscape of the world's subconscious.

                                        Although containing original material, Fahey’s music often looks back to the 1800s not only with nostalgia but with a bit of whimsical distortion. How else to explain songs with the titles of "The Downfall of the Adelphi Rolling Grist Mill” and "Dance of the Inhabitants of the Palace of King Philip XIV”?

                                        John Fahey

                                        Your Past Comes Back To Haunt You (The Fonotone Years 1958-1965)

                                          Oversized, hardback book with Gatefold Portfolio housing 5 CDs inside Slipcase. More than 10 years in the making, this box set features the earliest recordings and the first book ever written about one of the most influential guitarists from the 1960s and ‘70s, John Fahey.

                                          The five CDs feature 115 tracks, most of which are available on CD for the first time. The audio was remastered from Joe Bussard’s reel-to-reel tapes to achieve pristine sound quality. As for the accompanying book, the list of scholars who contributed essays includes Eddie Dean, Claudio Guerrierri, Glenn Jones, Malcolm Kirton, Mike Stewart and John’s childhood friend R. Anthony Lee. Byron Coley contributed a poem about John, and Douglas Blazek’s 1967 interview with Fahey is published for the first time.

                                          Released 10 years after John Fahey’s death, this set puts one of the final puzzle pieces of Fahey’s career in place. Everyone can now hear where this guitar legend got his start – a smoky basement in Frederick, Maryland. Co-produced by Dean Blackwood of Revenant, Glenn Jones, and Lance Ledbetter of Dust-to-Digital, this set is released with the support of Joe Bussard and the John Fahey Estate. The set is dedicated to John’s mother, Jane C. Hayes and the late musician Jack Rose.

                                          “...the folk guitar-playing equivalent of William Burroughs or Bukowski. (Fahey) had a real edge to him.” - Pete Townshend
                                          “His music has that great feeling like in short fiction. It's unpredictable but inevitable. You're surprised but you realize that's how it had to happen, even though the elements are unpredictable. Every note was perfectly placed but unpredictable.” – Dean Blackwood, co-producer of Your Past Comes Back to Haunt You
                                          "John was an essentialist, and the only thing essential to him was his art—his writing and his music—and everything else was just a distraction." – Dean Blackwood, co-producer of Your Past Comes Back to Haunt You
                                          “Fahey was the first to demonstrate that the finger-picking techniques of traditional country and blues steel-string guitar could be used to express a world of non-traditional musical ideas -- harmonies and melodies you'd associate with Bartok, Charles Ives, or maybe the music of India." -- Dr. Demento (Barry Hansen)
                                          "as monumental and singular a musical talent as any this country has produced." – Byron Coley
                                          “Playing a six-string acoustic guitar, Mr. Fahey used country-blues fingerpicking and hymnlike melodies in stately pieces with classical structures. Wordless and unhurried, his music became a contemplation and an elegy, a stoic invocation of American roots, nameless musicians and ancestral memories. Behind its serene surface, the music was both stubborn and haunted. ...From the beginning, he was an iconoclast and a maverick.” -- Jon Pareles, The New York Times
                                          “It is Mr. Fahey's moment as he rides back into view as an avant-garde father figure, whom the guitarist Thurston Moore of Sonic Youth has acknowledged as a ''secret influence.''
                                          "…Mr. Fahey's music is conceptually slippery: it belongs to no genre. Musicians within folk, neo-acoustic blues, New Age and now, strangely enough, post-everything avant-garde rock have claimed him as an inspiration...he may be best understood in the same category of self-inventing American composers as Charles Ives and Brian Wilson." -Ben Ratliff, The New York Times
                                          “As much as any single person, Fahey advanced a persuasive case that the blues, jazz, and hillbilly performers of the '20s and '30s created the most vital and enduring American music of the past century… Though it began as somewhat of a lark, the Blind Thomas material reveals Fahey the musician already in full bloom, ransacking old blues and country songs for ideas to flesh out his excursions and meditations.” – Eddie Dean
                                          "What attracted me to Fahey's music was that it was solitary — very austere but very emotional." – James Blackshaw.

                                          ● 115 tracks on 5 CDs
                                          ● 88 page Hardback Book
                                          ● Extensive Notes and Essays
                                          ● Never-before-seen Photographs
                                          ● A co-release between Dust-to-Digital and Revenant

                                          The delightful Fair Ohs release their second full length, Jungle Cats. Inspired by trips to North Africa, the lost music of forgotten tribes, San Francisco psych, James Brown’s unequalled dedication to the Holy Groove and Carlos f**kin’ Santana; Jungle Cats is a record to seduce to.

                                          Fair Ohs formed four years ago in a haze of beer-soaked free love party-vibes. Eddy, Joe and Matt came together like young romantics, vowing to show everyone the meaning of true love. The years that followed the consummation of their musical marriage on that hot summer’s day saw them release a series of 7″ singles and cassettes – some shared with the likes of Women, Male Bonding, and Cold Pumas – that made people like Pitchfork say “hey, these guys are A-OK!”. But no one was prepared for the earth shattering power of debut album Everything Is Dancing. A record so inventive and hip-shakingly awesome that fans and critics alike regularly begged them for locks of hair, sweat-drenched t-shirts and babies. But Fair Ohs gave them nothing, the music was the gift they shared, not their love.

                                          Everything Is Dancing was the sound of East African guitar music colliding with Indian ragas and Cuban rhythms in the hands of three shirtless London punk virtuosos. And it was rad. They toured after that, playing to the braying masses. All furious and drunk and hypnotic, they bewitched Europe and Great Britain, casting their magical musical spell in the tiniest of dives and the most sun soaked of festivals. But then they rested, and waited, and created. Setting the ‘desert vibe’ tone from opener Green Apple Milk – full of crackling, dusty Ethiopian jazz samples and three-part saxophone harmonies that eventually descend into a slow and psychedelic Santana and Earth-inspired desert trip – and featuring 2012’s ‘Salt Flats’ albeit a new far jazzier version of the hit flexi single - this is a record to be naked to…. A record to dance all night with your crush to…. An endless fiesta that Lionel Richie promised, but never delivered.

                                          Jad Fair & Kramer

                                          The History Of Crying

                                            JAD FAIR has been one of the premiere artists of the American Indie Music scene since the late 1970’s. He has recorded with many of the best musicians and bands in the history of the world, including Half Japanese, Yo La Tengo, Daniel Johnston, R. Stevie Moore, Teenage Fanclub, Moe Tucker, The Pastels, Danielson, and KRAMER. He's released over 50 albums. Not content with being a pretty boy rock & roll legend, Jad is also an accomplished artist, and has had 16 books of his art published in Europe, Japan and America. He and Kramer have worked together since Kramer produced two seminal LP’s from Half Japanese in the 1980’s; MUSIC TO STRIP BY, and THE BAND WHO WOULD BE KING.

                                            They first collaborated as a duo in 1988 when they released ROLL OUT THE BARREL, and then again ten years later with THE SOUND OF MUSIC. KRAMER is a world unto himself. After paying his dues for 5 years with Eugene Chadbourne in both The Cadbourne’s and Shockabilly, Kramer joined the BUTTHOLE SURFERS in 1985 but only remained with the band through their first European tour before departing and establishing NOISE NEW YORK, his own 16-track recording studio in NYC. It was there that he founded his notorious SHIMMY-DISC record label, producing and releasing music by artists as diverse as DANIEL JOHNSTON, KING MISSILE, GWAR, GALAXIE 500, PUSSY GALORE, and his own bands, B.A.L.L. and BONGWATER. He then moved to a state-of-the-art 24track recording studio, Noise New Jersey, where he produced some of the greatest recordings by WILL OLDHAM, URGE OVERKILL (“Girl, You’ll Be A Woman Soon” - for the Pulp Fiction Soundtrack), DANIELSON, and the first two LP’s by LOW. THE HISTORY OF CRYING is JAD FAIR & KRAMER’s third collaboration, and their first in almost 20 years; 12 brand new songs produced by Kramer at his Florida studio, Noise Miami. Longtime fans of Jad Fair will be stunned by how he SINGS on this LP. No other LP in Jad’s storied career features him singing complex melodies in the manner he does here. From a life in music spanning over 40 years, It is unlike anything he has ever done before, and it is a wondrous thing to behold. Jad SINGS! This LP also features guitar solos by PAUL LEARY (BUTTHOLE SURFERS), whose contributions to this LP cannot be overestimated. BS fans will go hog wild. 

                                            Fairewell is the new project of Sheffield-born, North London-based Johnny White, formerly of The Rollercoaster Project.

                                            The debut album ‘Poor, Poor Grendel’ features ‘Born Under A Bad Sign’, which was featured on Lauren Laverne’s BBC 6 Music show.

                                            ‘Born Under A Bad Sign’, with its video featuring a boy unwittingly leading a sheep to its untimely demise, became a blog hit.

                                            Musically veers from elegiac post-rock to saturnine synth-pop. Radio Dept-style indie makes way for lengthy instrumentals which bring to mind M83 covering ‘Songs From The Big Chair’-era Tears For Fears.

                                            What is Fairhorns? Fairhorns is the sound of the dirty future to come. More prosaically - but not by much - Fairhorns is Bristol based multi-instrumentalist Matt Loveridge, best known for his role as guitar abuser and keyboard/synth manipulator in acclaimed experimental rock trio Beak> alongside Billy Fuller (Fuzz Against Junk) and Geoff Barrow (Portishead, Quakers).You may also know Matt as Team Brick, whose 2009 debut album Alogon was greeted with considerable praise. Prior to that, Team Brick had garnered a reputation for unpredictable, exciting and often confrontational live shows, suggesting a British-born hybrid of R Stevie Moore, C Spencer Yeh (Burning Star Core) and Mike Patton. After a number of years of getting thoroughly puzzled with itself - and self-releasing a succession of limited-run CDRs covering ground from chiptune pop to heavy drone and Power Radiophonics - Team Brick splintered into several different projects, each one focusing on a separate element. Thus, Fairhorns was born.

                                            Released via forward-thinking UK label Invada, DOKI DOKI RUN is the project’s debut album. Matt describes Fairhorns as “the fuzzed out, too-much-coffee haze of an all-night YouTube binge. Blackened Kraut. Ur-Step. Half-remembered kids TV theme tunes on a locked groove. Autistic blues - music for angry nerds who like to groove stoically and immobile.” The discerning listener may detect elements reminiscent of Hospital-era Cold Cave, Xeno & Oaklander, La Dusseldorf and even avant-doom pranksters Crom in the album’s quixotic flow, ranging from clattering electro-percussive assault to organ-led dreamscape.

                                            “Baffling , startling , Doki Doki Run is an eccentric gem that rewards and encourages careful listening” – 9/10 Loud & Quiet

                                            STAFF COMMENTS

                                            Ryan says: A collection of messed up, oddly dark drone ramblings for anyone who likes something a bit weird.

                                            In 1974 Jad and David Fair teamed up to form a band called Half Japanese. The route was simple, at first. If one pounded on drums the other could squeeze sounds from an electric guitar. There were no other band members to stay in tune with, so there was no particular reason for them to worry about tuning the guitar in a traditional manner or learning traditional chords. They were free from the start to express their music in their own way. They traded off the guitar and drumming rolls. Whichever one sang the words also played the guitar and the other one drummed. For a couple of years they wrote, recorded and performed this way, without the convention of more members. When they did decide to expand they went big. They first thought of recruiting an outside drummer, so that both could play guitars at the same time.

                                            In 2014 Jad and David stripped things back to the roots. They went back to recording as a duo. One sang and played guitar, the other one drummed. 40 years had passed, but they slipped right back into the original roles and churned out a number of breath-stealing songs. 40 years later; 40 years better. One pick, two sticks and heart-warming vocals...... That's all they needed; two brothers, still rockin' the same damn deal! 

                                            The words and primary voice are those of Jad Fair, that enduringly idiosyncratic artist revered in discerning pockets of the global indie rock underground for decades. Danielson’s Daniel Smith has long admired Fair, drawing inspiration from Half Japanese (the band Fair formed with his brother in the ‘70s) on through to his prolific career today. Their discussions of collaborating finally came to fruition when Joyful Noise Recordings designated Fair its “Artist In Residence” for 2014 and Danielson was tapped as one of 4 artists (including R. Stevie Moore; Teenage Fanclub's Norman Blake; and Strobe Talbot) to record separate respective albums with him for a boxed-set limited release.

                                            “Flattered and honored” is how Smith sums up his feelings about the project -- and grateful to get a game-plan for what always seemed a complementary pairing. Sounds Familyre will be doing their own non-limited release of Solid Gold Heart in June, on CD, digital and gold vinyl. The 11 tracks of sweet collaboration collected under said title sound like what you might expect, given the respective artists: gleaming tunes of sincere sing-speak, resplendent with sparkling back-up vocals and warmly melodic, inventive instrumentation; a sunshine-bright outlook of positive encouragement to keep “rockin’ on the side of gooood” -- because, after all, “We deserve chocolate cake/ We deserve apple pie/ Enjoy your life ...”

                                            The collaborative process commenced with Fair sending Smith his unique vocal demos of recited lyrics with articulated mouthsound musical qualities (some bits remain in the final mixes). Smith then wrote music for each chosen track, eventually getting Fair and drummer Gilles Rieder into his Clarksboro, NJ studio to record their parts during a few hours break from touring. Aside from Smith’s own guitar-playing and singing throughout the album, there were contributions made by his brothers David and Andrew on percussion, and sisters Rachel and Megan along with wife Elin on vocals. Spicing things up at Fair’s behest were members of Texas art-polka band Brave Combo: Carl Finch on accordion and keys; Jeffrey Barnes on sax and woodwinds; and Danny O’Brien on trumpet. Bringing things full-circle was Kramer (Shockabilly, Bongwater, B.A.L.L. et al.) on bass, who also co-mixed and mastered the album.

                                            The result is a beguiling blend that builds off each participant’s strengths, truly a fresh sum that is greater than its parts. “The goal was to make 3-minute pop songs, as accessible and fun and immediate as possible,” notes Smith. And that’s what you’ll hear, each track an uplifting, mutually enhanced concoction. Anyone who ever had a Solid Gold Heart -- wouldn’t they want to turn around and share it? Of course they would. Jad Fair and Danielson are happy to offer up theirs.

                                            Jad Fair

                                            His Name Itself Is Music

                                              Jad Fair is by his own admittance a prolific artist, 'It takes a lot of work, and bands spend way more time in the studio than I do. Most of my albums have taken three or four days to record'. It comes as no surprise then that whilst releasing "Beautiful Songs - the Best Of Jad Fair", an album featuring both Jad’s own material and those created with Half Japanese and boasting over 100 tracks, that Jad can offer yet another contribution "His Name Itself Is Music", to what is already a considerable and esteemed bank of work, "His Name Itself Is Music" see’s Jad continue to embrace his emotive and raw approach to music making. An un-tuned guitar, his voice for beats and his expressive singing wavering in and out of pitch as if momentarily plucked from his generous subconscious.

                                              'I love him for his boundless enthusiasm and shy genius' says Everett True, '.. maybe it’s wrong to call Jad naïve because he knows what he’s doing, but he has a child-like wonderment that to me is at the core of most great music I can name. The Shaggs, Leadbelly, Jonathan Richman. He makes my feet want to move, and there’s no higher compliment, I’ve seen Jad play concerts with a rolled-up newspaper and upturned wastebasket for rhythm, with just his voice for colour. I’ve also seen Jad play stadiums in precisely the same fashion – with a band behind him, sure, but with the spirit intact – in front of crowds of over 15,000, in support to Nirvana on their final tour'.

                                              The Fairlanes

                                              Welcome To Nowhere

                                              12 songs dealing with the uncertainty of life and those troublesome emotional issues that crop up from time to time. Getting older but not necessarily wiser and finding that the American Dream is a bit of a nightmare. For fans of 'quality soft core' such as the Alkaline Trio, NOFX and Lagwagon.

                                              This is the debut LP from Fairmont on Border Community. And it is pretty much what you'd expect both from the artist and the label that brought you Holden's recent LP and Nathan Fake's "Drowning In A Sea Of Love". Basically that means there is a techy undercurrent to the proceedings, with a large percentage being aimed at the floor, and a few slow burners and ambient interludes. The one thing that sets Border Community apart is their kookiness, strange electronic squiggles, drones, FX and otherworldly noise all permeate the tracks, this all points to "Coloured In Memory" being the next triumph in the BC cannon. Very good indeed.

                                              Weapons Of Desire welcome Tim Fairplay to their barracks. "Key To Paradox" is a lazer-guided assault of automatic 303 fire and machine gun drums. The tension and drama is accentuated through taut, overhead synthlines. Iron Blu is enlisted for remix duties, changing the attack to a somewhat more deliberate, slow paced marched with intricate percussion nuances and proper pounding low end. Both are sure to cause 'nuff damage out in the field. Super limited weaponry, buy now!

                                              Timothy J. Fairplay

                                              False Visions

                                                Seven track cassette only release. All original & unreleased material. Limited run of 100 for Cassette Store Day 

                                                Timothy J. Fairplay

                                                The Promise Of Midi

                                                  Seven track cassette only release. Limited run of 100 for Cassette Store Day - 27th September 2014 on Centurians of Rome.

                                                  The tracks where originally recorded for an album a little while ago, but Antoine stole the master tapes so it never got released.

                                                  Timothy J. Fairplay returns Höga Nord Rekords in 12" format this time round. "Mindfighter" is described as 'photosensitive electronic music from one of the pillars of the modern meaningful dance music scene'. Personally, I'd plummet for 'lightspeed cosmic-acid ravager with added rave boosts"! This is really summat folks. Combining a dizzying array of swirling 303s, frenetic lo-fi beats and a massive rave stab harks back to '92 this is a lovely concoction of styles and executed with all the grace we associate with Mr. Fairplay. "Nightmare City" respectfully tips its hat to John Carpenter or Fabio Frizzi as minor key melodies immerge from the horror-movie sequences laid before it. "Lost In The Mirrow Maze" further cements the dystopian nature of the EP with more splurging synths meeting dusted drum boxes and plenty of minor key chord progressions. Finally, "Jennifer Has Some Strange Ideas" closes proceedings with old school jack rhythms and incessant electronic bass. The title of this EP comes from a cult computer game from the eighties. The game is about a boy with supernatural psychic abilities who wakes up in a post nuclear war Southampton, in an England run by right wing extremists. A theme not impossible to put in present time!

                                                  Fairport Convention

                                                  Moat On The Ledge - Live At Broughton Castle

                                                    THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                    Moat on the Ledge: Live at Broughton Castle, August '81 is a live folk rock album by Fairport Convention. The album was produced by Simon Nicol and Dave Pegg.

                                                    DELUXE VINYL EDITION!!!!

                                                    Fairport Convention

                                                    "Babbacombe" Lee

                                                    Digitally remastered with bonus tracks, "Farewell To A Poor Man's Son" and "Breakfast In Mayfair", enhanced packaging and extra sleeve notes.

                                                    Fairport Convention

                                                    167-2002 - The 35th Anniversary Album

                                                    For 35 years Fairport Convention have trod a winding road to where they are today. They are a very different outfit from the glory days of Sandy Denny, Richard Thompson and Ashley Hutchings. Now the line up of Simon Nicol, Ric Saunders, Dave Pegg, Chris Leslie and Gerry Conway make no bones about trying to be groundbreaking folk rock flagbearers, these are older, professional musicians, an institution and one to be cherished in their own right for the honest, simple and accessible music they're still churning out.

                                                    Fairport Convention

                                                    From Cropredy To Portmerion

                                                    Recorded live on Fairport Convention's Winter tour in 1990. Dave Pegg, Simon Nicol, Ric Sanders, Martin Allcock and Dave Mattacks.

                                                    Fairport Convention

                                                    Heyday

                                                    This is a brilliant compilation of the early BBC sessions of one of the most significant groups in folk / rock history. From their early tentative beginnings in 1968 covering Joni Mitchell and Dylan songs to the classic epic "Tam Lin" in 1969, this CD sees timeless performances from Sandy Denny and Richard Thompson (and the brilliant Dave Swarbrick on two of the additional tracks). An essential purchase.

                                                    Fairport Convention

                                                    House Full - Live At The LA Troubadour 1970

                                                    After the departure of Sandy Denny and Ashley Hutchings, Fairport Convention moved away from the more acoustic folk tradition and into a more rocking and rolling style typified by Richard Thompson's exquisite guitar solos and interplay with Dave Swarbrick. The tighter bass and drums combination of Mattacks and Pegg gave more presence to their stage show and this 1970 LA gig is a classic.

                                                    Fairport Convention

                                                    Liege And Lief

                                                    Remastered with the addition of two unreleased session tracks "Sir Patrick Spens" and "Quiet Joys Of Brotherhood", both featuring Sandy Denny vocals, Island have managed to make what was an all time classic folk rock album an even more essential purchase. Reformed after a fatal car crash which had killed their previous drummer and Richard Thompson's girlfriend, Fairport Convention produced some of the most genuine and original music to emerge in Britain in the last half century. The talent in the band was immense - singer Sandy Denny, guitarist Richard Thompson, fiddler Dave Swarbrick, guitarist Simon Nicol, drummer Dave Mattacks and mister versatility Ashley Hutchings on bass produced weaving rhythms and unique time signatures that moved folk music onto a new and joyful level. The folk ballads are epic and the musicianship incomparable - an altogether wonderful experience.

                                                    Fairport Convention

                                                    Unhalfbricking

                                                      The classic "A Sailor's Life", an eleven minute epic folk-rock track that staddles the centre of Fairport Convention's third album "Unhalfbricking" like some colossus, was startling in its originality and ambition. It has some of Richard Thompson's finest guitar work, amazing playing from (soon to be full time bandmember) Dave Swarbrick on fiddle and one of Sandy Denny's most resonant, yet understated vocals. The rest of the album ain't half bad either with another Denny classic in "Who Knows Where The Time Goes" and the bands only 'hit' single in "Si Tu Dois Partir". It also marked the departure of Ian Matthews and the last recordings before his death of drummer Martin Lamble. "Unhalfbricking" is another essential release and marked the way towards one of the greatest albums of all time, their fourth album "Liege And Lief".

                                                      FORMAT INFORMATION

                                                      CD Info: Remastered with bonus tracks.

                                                      Fairport Convention

                                                      What We Did On Our Holidays

                                                      Fairport Convention are rightly regarded as the greatest band to originate from the British folk rock scene of the 60s. Over the course of their first three albums they shaped a new, unique style by drawing on traditional folk tunes and contemporary American songs as well as the songwriting talents of Richard Thompson, Ashley Hutchings, Simon Nicol and Ian Matthews. A crucial change had taken place since the release of their debut album when Alexandra Elene MacLean Denny (known as Sandy) joined the band. Sandy Denny was the greatest female folk singer of her generation and "What We Did On Our Holidays" opening song "Fotheringay" is a Denny classic - her achingly beautiful and penetrating vocal adding an extra dimension to a band already overflowing with talent. 1969's "What We Did on Our Holidays" is one of their finest albums with its mix of traditional folk songs, their best self-penned songs to date and wonderful cover versions of Dylan and Joni Mitchell tracks.

                                                      FORMAT INFORMATION

                                                      CD Info: Remastered with bonus tracks.

                                                      Fairport Convention

                                                      What We Did On Our Holidays

                                                      Their second album captures Fairport Convention poised between the more embryonic, American-influenced rock of their debut and the more pronounced British folk-rock that would follow. Newly arrived vocalist Sandy Denny contributes her haunting songs and indelibly husky voice, Ian (later Iain) Matthews lofts his angelic tenor into the mix, stacking solid covers of Joni Mitchell and Bob Dylan beside traditional English songs and stirring originals from Denny, Matthews, Richard Thompson, and Ashley Hutchings. As such, "Holidays" works both on its own terms and as a position paper on Fairport's emerging ambition to find a distinctive accent for their alternately hearty, witty, and sombre music.

                                                      FORMAT INFORMATION

                                                      Ltd LP Info: Limited 180 gram virgin vinyl.

                                                      Fairweather

                                                      Alaska

                                                      New EP from the excellent emo-core outfit Faiweather which contains three new tracks. An inspired mix of riff and lyrical intensity with hints of Slint, Fugazi and Sonic Youth.

                                                      Fairweather

                                                      If They Move. Kill Them

                                                      Fairweather : very young, very intense, brooding, energetic and melodic. They've toured loads and are signed to the same label as Saves the Day another excellent young indie/emocore band. Their music is about passion, intensity and movement through life and they're pretty impressive.

                                                      Fairweather

                                                      Lusitania

                                                      Taking a short break to compose and work on their second album has done Fairweather no end of good. They've returned with a no-holds-barred emotionally rampaging disc that builds on the stop gap four-track EP "Alaska" and moves into even more dynamic and sophisticated territory. "Lusitania" is an hour long journey filled with tension, hope and the human condition: a breathtaking album that moves emo in a new and positive direction.

                                                      Faith No More

                                                      Album Of The Year - 180g Gold Vinyl Edition

                                                        The last album of Faith No More was a worthy goodbye to millions of fans worldwide. Having a new guitarist in their ranks, the band recorded 12 fresh songs in the comfort of bassist Billy Gould’s home studio. These sessions produced two hits: “Ashes To Ashes” and “Last Cup Of Sorrow”. Straightforward and concise, the album sequence takes no prisoners and delivers an outstanding Faith No More experience. At its release in 1997 Album Of The Year was pressed on LP in small quantities, making original vinyl copies very hard to find.

                                                        With the reissue of Music On Vinyl, thousands of fans can again enjoy this album the way it should be heard - on wax! To stir up some attention we’ve thrown in a special first run of 2000 copies on GOLD vinyl – must be seen to be believed. Don’t sleep on this one.

                                                        FORMAT INFORMATION

                                                        LP Info: Limited 180g vinyl pressing. First 2000 on gold COLOURED vinyl.

                                                        Faith No More

                                                        Introduce Yourself - Yellow Vinyl Edition

                                                          The second album of Faith No More was released in 1987, featuring vocalist Chuck Mosley for the last time. Introduce Yourself contains 10 highly addictive songs, with the signature slightly out-of-tune singing of Mosley to boot. This consistent and interesting album is a must have for every Faith No More
                                                          fan. To celebrate its reissue, the first pressing will be available as an exclusive run of hand numbered copies on yellow vinyl!

                                                          • 180 gram audiophile vinyl
                                                          • Insert
                                                          • First pressing of 2000 hand numbered copies on yellow vinyl!



                                                          ‘Sol Invictus’, Faith No More’s highly anticipated follow-up to ‘Album Of The Year’, arrives via Reclamation Recordings / Ipecac Recordings.

                                                          ‘Sol Invictus’ is the band’s first new album in 18 years.

                                                          ‘Sol Invictus’ was produced by Bill Gould and recorded in the band’s Oakland, California studio.

                                                          Faith No More have influenced bands of all genres, including System Of A Down, Incubus, Muse and more.

                                                          The single ‘Motherf*cker’ heralded the arrival of the album and was followed by ‘Superhero’. Both songs feature on the album along with eight other brand new tracks.

                                                          FORMAT INFORMATION

                                                          Ltd LP Info: Gatefold LP vinyl with download code of the album and foil block finish. Special limited edition gold vinyl LP (750 copies for the UK & Eire) available exclusively to independent retailers.

                                                          Faith No More

                                                          The Real Thing - Green Vinyl Edition

                                                            The Real Thing (1989) turned out to be Faith No More’s most aptly named record as it presents the band’s most revered line-up. Mike Patton on vocals proved a massive improvement on their previous singer. Added at the last moment to complement a set of strong, funky songs, he joined Roddy Bottum on keys, Jim Martin on guitars, bassist Bill Gould and Mike Bordin on drums. The hit single “Epic” proved to be just that, and is one of the most recognizable Faith No More songs in their repertoire.

                                                            • 180g audiophile vinyl
                                                            • Insert
                                                            • First 2500 numbered copies pressed on green / yellow marbled vinyl



                                                            Marianne Faithful

                                                            Before The Poison

                                                            An album of extraordinary power from a true icon, fuelled by collaborations with and contributions from such artists as PJ Harvey, Nick Cave & the Bad Seeds and Damon Albarn. The core of "Before The Poison", Marianne's first album for two years – are the contributions by PJ Harvey and Nick Cave. Polly Harvey has penned three of the songs and co-written another two with Faithfull while Cave and Marianne jointly wrote a further three tunes. Both PJ Harvey and Nick Cave, together with members of their respective bands, also perform on the album. Damon Albarn has also contributed a song while the remaining track on the album was written by the acclaimed American composer Jon Brion in partnership with Marianne Faithfull. "Before The Poison"'s liner notes are by the renowned novelist and critic Will Self.

                                                            Marianne Faithful

                                                            Rich Kid Blues

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

                                                              Issued on vinyl for the first time since 1985, this Record Store Day 2017 edition is pressed on silver coloured vinyl.

                                                              Produced by Mike Leander, who had produced and arranged much of Faithfull's Decca material, "Rich Kid Blues" is an intriguing album of spare, largely acoustic readings of folk / rock songs, including several Bob Dylan covers, as well as songs by Phil Ochs, George Harrison, Cat Stevens, Tim Hardin, James Taylor and Sandy Denny.

                                                              Few DJs have truly trashed the rulebook like Fake Blood. When his remixes snuck onto the dance scene in 2008, he shied away from the spotlight and, like a dancefloor ninja, managed to keep his identity firmly under wraps. There were no gimmicks, no stadiumsized headpieces or fancy dress masks to obscure him, just a desire for club heads to absorb his music without any preconceptions.

                                                              Four years and four EPs on, Theo Keating is still something of an enigma. He doesn’t prey on fame, he does very few interviews and he isn’t part of a DJ crew; he has always preferred to let his music speak for itself. He’s been in no hurry to release a record either, until now, that is.

                                                              Keating has found a home on Different Recordings, which counts club crusaders like Tiga, Felix Da Housecat and Vitalic among its roster, and is finally ready to present his debut album, ‘Cells’.

                                                              To ready fans for his debut long-player, Fake Blood drops the ‘Yes/No’ EP. The 12” features fan-favourite ‘Yes/No’, a blur of samples, strings and bass that has been a staple in Theo’s sets for a while, as well as ‘End Of Days’, an apocalyptic and cinematic techno opus.

                                                              Fake Ideal

                                                              Carve Me An Edge

                                                              Great angst ridden rock from these four guys from that hot bed of rock'n'roll... Doncaster. Both formats include exclusive tracks.

                                                              FORMAT INFORMATION

                                                              CDS Info: The CD single includes "My Stacatto Hell" and "In The Afternoon".

                                                              Fake Laugh

                                                              Better For Me / On Loop

                                                                Fake Laugh (AKA Kamran Khan) kicks off 2018 with a luscious double A Side on limited edition 7” vinyl and digital formats via Headcount Records. Following on from the release of his self-titled, debut album last Summer and ready to hit the road in support of Girl Rey on their UK tour, Kam delivers these two very different but equally peachy cuts. The London & Berlin based songwriter once again recruited Theo Verney to help produce the brutally honest love ballad ‘Better For Me’ and the fuzzed up earworm ‘On Loop’ – both offering a fresh take on the personal journey of Fake Laugh. After his album received support from 6 Music, BBC and X FM, Kam (touring member of The Japanese House) has wasted no time in getting straight back into the studio to finish these two new tracks. With more releases planned for the immediate future, man like Kamran Khan is on a roll. 

                                                                Fake Laugh’s self-titled debut album arrives this summer as a delicate accumulation of years of experimentation. Unfurling slowly, the full length has been a gradual process: part playfulness, part perfection. Whilst perpetually in tune with the digital disconnect of contemporary life, the album is a vivid rummage through sixties US-pop standards and British alternative stalwarts. Fake Laugh showcases a familiar world of love, confusion and self-questioning but refocused through the bright lens of the London/Berlin based artist Kamran Khan. Tirelessly writing and recording whenever he can, a busy 2016 saw Khan release the energetic 'Ice' EP, the bubbly trepidation of double A side 'Mind Tricks/Birdsong Lullaby' and the more complex and serene ‘Great Ideas’ EP. All three were important steps towards manifesting the right combination for the eagerly anticipated debut. Khan confesses that once upon a time Fake Laugh was “a bit of fun on the side”.

                                                                However, now with the project his sole focus, there’s a revitalised commitment to recording that has seen him finishing the album this year. Reuniting once again with producer Theo Verney (Traams, O.Chapman) in Brighton, Khan has brought the intimacy of his bedroom and added it to a more luscious environment. Certain parts of the record date as far back as 2013, whilst others were recorded only in the past few months. The result is a record that flows with a wise but youthful abandon. Echoing latter Belle & Sebastian records - that retained their adolescent flare and longing - Khan has fortified his dreams rather than forgotten them. 


                                                                Fake Left

                                                                Borders Night Train

                                                                Fresh new shit from the Rubadub camp up there in Glasgow. The label has fast become synonymous with cutting edge sounds from the worlds of leftfield, house and techno; and this new release by Glaswegian local and until now unsigned artist, Fake Left, further cements the crucial status the label is quickly achieving. Onto the music and what we have is two tracks of rich, textured, deep house music. It sounds to me like Fake Left is a hardware fanatic, as there's a natural distortion and warmth here that suggests analogue instruments. Not over complicating things, he often stands back and allows the machines to breath, letting gentle phasers and frequency shifts drift through the pulsating sequences. "Borders Night Train" is the more acidic of the two, layering up a gliding, disorientating motif over some wigged out 303s and dramatic string sweeps. Deep and more cinematic than your average acid blaster. "Depth Contours", in contract, is pure liquid deep house pleasure. Casually unfolding under phazed hats, grinding electronics and dreamy pads it's like Jose Rico's Downbeat label soiled with warehouse grime. Excellent stuff. most recommended.

                                                                Fake Love

                                                                Fake Love Vol.1

                                                                Zoooooooommmm! Massive space disco 12" here with absolutely no info! A brief listen through either side will tell you that you're in the land of Hi-NRG, Italo-disco fire power with a specific focus on the more cosmic end of the spectrum. I'm guessing these are edits, and I'm sure I know the source material, though an extra hot This'N'That at lunchtime has left me light-headed and low on memory recall. The A-side offers us a Donna Summer-styled slammer befitting the Fake Love moniker, but with extra Patrick Cowley synth riffery, cosmic disco vox, sci fi samples and a phat vocoder. Over on the flip, we have another poppers-fuelled pounder, this time taking proggy chords, vamping keyboards and a perfectly panned sequence and strapping them to a thumping 4/4. Tops off!

                                                                Fake Love

                                                                Fake Love Vol.2

                                                                More illicit edits from the elusive Fake Love crew. The A side is a stonkingly huge Japanese boogie thing from 1982. Cosmos and "Midnight Shuffle", taken from the album, "Bourbonsuite" and previously titled in Japanese! A copy of the full LP'll set you back between 50 or 75 sheets, but here we get this killer lead track presented on a full clean side of wax and sounded super hot and heavy! - yes cru! Featuring sugary sweet female vox, galvanized bass and big powerful piano chords, this shows the Japanese band equally as apt and conjuring big bolshy disco-boogie crossover hits. Next up a fast paced, Moog-led, disco-funk blaster with fiery synth work, big slap bass and vamping piano licks; jubilant and rambunctious from start to finish, answers on a postcard if you know this one folks! Concludes with a smooth-rolling erection-section groover, with sunshine brass, detailed guitar licks and sloppy boogie drums, this EP is all the working DJ needs to keep the majority of nighttime establishments more than happy as they dance away the evening sipping cocktails. Big smiles all around - 10 / 10.

                                                                STAFF COMMENTS

                                                                Matt says: Bloody hell don't sleep on this pop pickers. Rare-ass Japanese album track boogie and two even harder to identify disco jams from the Fake Love cru.

                                                                Fake Love

                                                                Fake Love Vol.3

                                                                As the early summer sunlight begins to cascade over the red bricks and overpriced flats of our much loved home, those mysterious folks at Fake Love check the barometer and bring us a trio of exciting, exotic and occasionally erotic edits perfect for long summer nights. The A-side here erupts into triumphant technicolour with off beat guitar, calypso keys and all manner of whacky Anatolian synth action, prancing onto the dance floor and getting stuck into some sort of belly dance limbo. Is it a merengue? Is it a meringue? Who knows, it's tasty and it's gonna turn you on! Floating over to the B-side and we're in the Caribbean for sure. As groovy and off kilter as Martin after a sip of rum punch, this mid tempo hip twister comes packed to the rafters with late 80s fusion synth sounds, tropical pop sensibilities and a sort of sexy/sort of silly vibe - one to wind to perhaps? The digi-zouk delights continue on the B2, with a deep and dramatic female vocal topping the steady and strutting beat - I'll looking to Ruffy or Plastic Bamboo for the IDs here...

                                                                STAFF COMMENTS

                                                                Patrick says: Fake Love 3 is here, bringing maximum fun for our minimum sun. Grooving with gusto from a variety of Caribbean islands, this is Balearo-holiday pop at its finest. In my bag!

                                                                Fake Love

                                                                Fake Love Vol.4

                                                                More hot shit from the Fake Love camp - intent on bringing lost classics from the global disco, boogie and soul village to our receptive head spaces; the previous three volumes have all introduced some sterling stuff from all over the world and from the last thirty years of disco dancing.

                                                                Three odd-ball disco / boogie / soul tracks that are highly infectious but head-turningly original. There's a mixture of languages and dialects on offer, leaving me scratching my head as to the origins of these mid 80s jams but enjoying them nonetheless.

                                                                Wherever Fake Love are mining their source material from, it's of exceptional quality. Recommended as always! 


                                                                STAFF COMMENTS

                                                                Matt says: Here come Fake Love again to make us all feel hopeless at ID'ing obscure world disco. I managed to get a few off the earlier volumes but not a single one off this one. 0/10 for KP, 10/10 for FL.

                                                                Nathan Fake / Wesley Matsell

                                                                Cambria01

                                                                  Nathan Fake and Wesley Matsell launch new imprint Cambria Instruments.

                                                                  “A highly expressive, lysergic trip and one of his finest productions to date. All in all, you couldn't hope for a stronger start from a new label.” - Bleep

                                                                  One of the most consistently excellent artists within the Border Community fold, since impressing them with his simultaneously reflective, dance floor jams when just out of his teens in 2003; Nathan Fake is stepping out on his own. With his friend, fellow producer and DJ, Wesley Matsell, Fake has announced the launch of his new imprint, Cambria Instruments, with the first release set to be a split release between the pair.

                                                                  In some ways the title of the imprint follows Fake’s interest in exploring the heritage of Britain – most notably on his 2012 record Steam Days, its tracks’ titles referencing several historical areas around his native Norfolk. “Cambria is a reference to both Wesley and I,” Fake explains. “He’s from Wales, and Cambria is an ancient English/Latin name for Wales, so we thought that summed up where the label was coming from.”

                                                                  Teaming up with Matsell – himself a Border Community club staple – the pair’s first release on Cambria Instruments will be Fake’s nocturnal groove-laden track ‘Black Drift’, coupled with Matsell’s similarly crisp mixture of shifting percussion and submerged oscillations, ‘Bismuth’. Both tracks have a similarly hi-fidelity feel to them, coupled with – as Fake puts it – "new esoteric melodies and textures previously unheard from both artists”.

                                                                  Details are yet to be confirmed on future releases from outside artists, but solo EPs from the co-founders can expected in the future. With Matsell’s far-reaching tastes in everything from fifties electroacoustic, acid house and early Detroit, through to hardcore and rave, nineties techno and noise, the thought of him joining up with Fake’s own naturally eclectically-informed mind is an exciting one indeed.


                                                                  With a new label and a new EP we're beginning to unravel the new stage in Nathan Fake's musical development. Following a departure from Border Community, Nathan Fake and former associate of Border Community Wesley Matsel have together formed a new co-operative 'Cambria Instruments', which sets to highlight the eccentricities of both producers; or as Fake describes, "new esoteric melodies and textures previously unheard from both artistsî. 'Black Drift', the inaugural transmission from C.I. demonstrated the kind of broken beats heard on 'Steam Days' and hinted towards a utilitarian sound aimed directly at the dancefloor.

                                                                  Just as 'Black Drift' hinted towards a contemporary sound pallette, 'Glaive EP' confirms that Fake is on the outside looking in, "I've been listening to more music than usual lately, just trawling the internet for weird stuff. I usually shut myself off from most current things when I'm working on a record". Fake however doesn't want to feed the demand for club conventions and cliches, instead he creates tracks to progress his ever expanding live set, creating new edits and tracks on stage, while pulling material from his previous releases. "I'm trying to make the live versions sound pretty different to the recorded versions, I'll redraw a synth part or make some new beats."

                                                                  To complete such a feat you'd imagine an array of cutting edge equipment surrounding a glowing silver laptop, but the reality is quite the opposite: "I've always been totally turned off by the idea of owning expensive/high-end equipment..". At home Fake's persistence to push his rudimentary equipment to the extreme continues. "Glaive was started with a couple of kick drum sounds I'd made on the SH-09. I've always loved the idea of using quite 'crap' sounds and putting them in the context of a proper track".

                                                                  Once the sounds are accumulated Fake records his performance on the fly in a similar setup to his live performance, giving 'Glaive EP' its unconventional structure and forward momentum. Just as his live performances feed off his released material, the disciplines learned on stage feedback into his recordings, creating an internal loop that allows Nathan Fake to ignore the ever accumulating divisions in electronic music. Whereas other electronic artists focus their attention on subverting the latest trend, Fake chooses to observe and then ignore conventions, releasing EPs like Glaive that are singular and striking from just about any perspective.


                                                                  Nathan Fake has grown from his beginnings as an undeniably skilled, but relatively inoffensive purveyor of twee IDM (see the cutesy electronic rhythms and circuit-bent melodies of 'Drowning In A Sea Of Love') into a powerhouse of challenging electronics and innovative melodic constructions.

                                                                  The brash and stomping 'Feelings 1' could easily be stretched into a 6-minute long OPN track from his early catalog, but retains its impact and drive in part due to it's brevity, letting up after only a couple short minutes with a thematic segue into the thumping title track. Utilising his tried-and-tested technique of a filtered-out beginning into a revisitation of that theme, but injected with fiery percussion and swooning synthplay, Fake constructs a towering wall of chaotic arps and fizzling saturation, underpinned by distorted kick drums and dusty pads.

                                                                  'HoursDaysMonthsSeasons' is much more along the lines of Border Community heavy-hitters Holden or Luke Abbott, pitching tweeting modulars and syncopated throbs against a droning foundation of fire and brimstone. As with all of Fake's more recent work, this is a deep and rewarding experience, but gives as much as you do, revealing it's complexities through patence and perserverance. 

                                                                  Moving further along (we have convered the towering 'DEGREELESSNESS elsewhere), we move into ambient territory with 'SmallCityLights' which is a relaxing and much-needed respite (make use of it while you can) before the thudding dystopian sidechained duality of 'Radio Spiritworld'. Like a pack of robots fizzing and staggering towards a neon sun, we get chillwave guitars, industrial hammering and crackling electronic connections, coming together into a bracing mix of rampant retro-futurism and forward-thinking outsider 'tron.

                                                                  Providence is as contrary and (I imagine) divisive as anything Fake has accomplished thus far, founded upon his considerable talent for writing a dancefloor stomper, but abstracted into the outer realms of melodicism and rhythm. A challenging, towering behemoth of an album, that will confound and amaze in equal measure. 

                                                                  STAFF COMMENTS

                                                                  Barry says: Nathan Fake does OPN. Shimmering synths, soul-shaking drone and abstracted rhythms mashed together (amazingly) into a brittle and brutal amalgamation of conceptual genius and technical mastery. A++, Will listen again.

                                                                  With a line-up of members from New Brunswick, Canada and Manchester, UK, it should be no surprise that the songs of Faker Junior have the feel of both wide open spaces and urban grit, distilled and blended into brief ringing-guitar symphonies. Strong vocals (singer Ryan Lamey has been compared to both Buckleys, Tim and Jeff), layered guitars and driving rhythms are combined to form cliche-free melodic songs with enough of the sweet and the bitter, the dark and the light, to satisfy in full, but without excess or wasted effort, and with the occasional unexpected turn. Previously a solo singer-songwriter seeking musicians, and a group of musician-writers seeking a frontman, they connected online and first met in Manchester on an appropriately snowy night in December 2008. The chemistry was immediate and within weeks they had pooled resources and their disparate influences to write their first new songs. By February 2009 they were in the studio to record demos of 4 tracks with producer Yves Altana, but the initial results were so good that recording was extended and the finished tracks have become the band's self-funded debut EP, "Need To Know".

                                                                  FORMAT INFORMATION

                                                                  Ltd CDS Info: Four track EP.

                                                                  Ahmed Fakroun

                                                                  Ahmed Fakroun

                                                                  Insanely popular across the Maghreb, name-checked in international spy novels and beloved of music adventurers like David Byrne, Libyan superstar Ahmed Fakroun is the most astounding raï-disco-funk pioneer you never heard of. His 1983 album, "Mots D'Amour", recently reissued by PMG, is regarded as a global fusion classic, and has had the whole Piccadilly staff (along with Natasha Bat For Lashes and Duncan Dutch Uncles) doing some sort of weird shop conga for weeks now. Well, the joy doesn't end there, and PMG have persuaded the Libyan legend to put together this self-titled anthology of songs recorded across Europe in the late 70’s. The grooves are slower, sweeter and lower slung with Fakroun’s multi-instrumentalist chops on the saz, mandol and darbouka drum truly coming to the fore. 
                                                                  In amongst the exotic and esoteric grooves within, we have a welcome return to vinyl for two of Ahmed’s rarest and most sought-after 7”s. The Ned Doheny-via-Benghazi, West Coast grooving of "Nisyan" rubs shoulders with the Tommy Vance produced Balearic classic "Awedny" - alive with haunting flutes and relaxed funk. Elsewhere reggae-tinged lilters of "Falah" and "Yu Hussad" beam sunshine straight from your speakers and "Njoom Al Leyel" boasts a stoned funk one only finds in pre-Italo Italy. "Ahmed Fakroun" is the perfect late night, come-down album. Especially after a hot and sweaty evening in a raï club, somewhere in North Africa. 

                                                                  STAFF COMMENTS

                                                                  Patrick says: After supplying a party power-up with a much needed reissue of "Mots D'Amour", PMG team up with Ahmed Fakroun for an anthology of the Libyan legend's late 70s output. Alongside rare as hens teeth Balearic belters "Awedny", "Nisyan" and "Sinini" we're treated to a whole set of low slung, lightly spiced North African grooves.

                                                                  The sixth installment of Slow Motion’s retro-futuristic international-sister label brings us the debut release of mysterious Russian producer Fakundo. Perfectly in tune with the Wrong Era ethos, Fakundo drops a quartet of leather-bound floor flayers. The whole EP is brimming with hard-hitting electro swagger that conjures up a dystopian video-game underworld, the best bits of Alien Sex Fiend and comes atop a whole bunch of wobbly baselines. "Telo" opens fire with a wrong speed barrage from New Order's drum machine, lurching into a pummeling Belgian bassline and peaking with the bleepiest hook you'll hear all year. "Distract" switches into electro mode, wrapping a rubberised groove round a stuttering 4/4 before bringing the full force of an electronic army on any remaining wallflowers. Toss that pancake and take a big bite out of "TTT", a deranged machine funk mauler that sounds kinda like "Los Ninos Del Parque", but with way more druggy aggression. Fakundo brings the roof down with "Black Ecstacy" a slow and low electro churner dipped in acid and aimed at the jugular. Not for the faint of heart this record is a total dance-floor destroyer.

                                                                  Tav Falco & Panther Burns

                                                                  Hip Flask: An Introduction To Tav Falco & Panther Burns

                                                                    Frenzi Records presents Hip Flask, a comprehensive Best Of collection by maverick American artist Tav Falco and his “wreckabilly” combo Panther Burns, including 2 songs from their brand new studio album Command Performance as well as 17 classic back catalogue tracks.

                                                                    Raised in rural Arkansas, Tav Falco formed the first incarnation of Panther Burns in Memphis in 1979, offering an artful mix of punk, garage, rockabilly and “art damage” influences, and sharing stages with the likes of The Cramps and The Gun Club. Legendary friend and mentor Alex Chilton (ex-Box Tops and Big Star) orchestrated their acclaimed debut long player Behind the Magnolia Curtain for Rough Trade Records, before going on to produce the next three Panther Burns albums, using vintage Memphis studios such as Ardent, Sam Phillips Recording and Easley McCain.

                                                                    Tav Falco & Panther Burns have been cited as an influence by everyone from Jon Spencer Blues Explosion to The Fall, Spacemen 3 and Spiritualized. “Renegade Tav Falco explores a highly personal vision of rock n’ roll,” enthused Edwin Pouncey in The Wire in November 2014. “Possessed by a wide range of influences that range from country and blues, novelty numbers and punk rock, to La Monte Young styled drone. But Falco has earned the right to stand shoulder to shoulder with the musicians and artists he so fervently admires.”

                                                                    Robert Palmer of the New York Times declared of Falco: “He is a singer, guitarist and researcher of musical arcane who hasn’t let his idiomatic mastery and increasing technical expertise compromise the clarity of his vision.”

                                                                    “Tav Falco has spent much of the past two decades crafting a revisionist pop culture history,” said David Sprague in entertainment bible Variety. “He was post-modern when post-modern wasn't cool.”

                                                                    A permanent move to Europe in the late 1980s saw Tav based first in Paris, and subsequently Vienna, and an expansion of Panther’s Burns raw garage sound to embrace Stax, lounge and even Argentinean tango influences (Falco is an accomplished dancer, as well as a photographer and filmmaker). His new set Command Performance was realized in Rome in 2014, and tops an extraordinarily rich back catalogue covering four decades and a dozen studio albums.

                                                                    All 12 are represented on this new cherry-picked collection. “Hip Flask is a genre-hopping portmanteau of tunes and anthems that have propelled, compelled, and haunted the minds, bodies, and feet of generations of celebrants,” explains Tav. “There’s an undercurrent which runs through each of these divergent songs - an undercurrent that wells up from darker waters and lifts the beholder in that wistful, joyous, sensual, and at times terrifying tonal embrace we call music.”

                                                                    Hip Flask is released through bespoke imprint Frenzi, and features a 16 page illustrated booklet with liner notes by Tav himself. To follow are deluxe double disc editions of The World We Knew (1987), Return of the Blue Panther (1990) and Life Sentence in the Cathouse (1991).


                                                                    Tav Falco & Panther Burns

                                                                    Life Sentence In The Cathouse / Live In Vienna

                                                                      Frenzi Records presents a deluxe double disc remaster of Life Sentence in the Cathouse, the sixth studio album by maverick American artist Tav Falco and his “wreckabilly” combo Panther Burns.

                                                                      Raised in rural Arkansas, Tav Falco formed the first incarnation of Panther Burns in Memphis in 1979, offering an artful mix of punk, garage, rockabilly and “art damage” influences, sharing stages with the likes of The Cramps and The Gun Club. Legendary friend and mentor Alex Chilton (ex-Box Tops and Big Star) orchestrated their acclaimed debut long player Behind the Magnolia Curtain for Rough Trade, before going on to produce the next three Panther Burns albums, using vintage Memphis studios such as Ardent, Sam Phillips Recording and Easley McCain.

                                                                      Life Sentence… is the sixth Panther Burns album, produced by Chilton and originally released in 1991. “This was our last album recorded in Memphis,” explains Tav. “We invited the finest musicians we knew in our sphere: Mabon ‘Teenie’ Hodges, the Hi Records guitarist and hit maker for Al Green, wrote a song for the album and played guitar. Jim Dickinson came in on piano and acoustic guitar on which he always played in only one key: open G. On bass we had Roland Robinson, who at 14 years of age started on the road as bandleader for Eddie Floyd. The Easley brothers played dog house bass and guitars.”

                                                                      Stand-out tracks include Torture, Guarda Che Luna and a muscular version of Cropper/Floyd classic My Mind Was Messed Up At the Time. Disc 2 offers a complete (and thunderous) live show recorded at the band’s tenth anniversary show at the Messepalast, Vienna, in May 1988.

                                                                      Tav Falco & Panther Burns have been cited as an influence by everyone from Jon Spencer Blues Explosion to The Fall, Spacemen 3 and Spiritualized. “Renegade Tav Falco explores a highly personal vision of rock n’ roll,” enthused Edwin Pouncey in The Wire in November 2014. “Possessed by a wide range of influences that range from country and blues, novelty numbers and punk rock, to La Monte Young styled drone. But Falco has earned the right to stand shoulder to shoulder with the musicians and artists he so fervently admires.”

                                                                      Life Sentence in the Cathouse is released through bespoke imprint Frenzi in an attractive tri-fold digipack. Also released are deluxe 2xCD editions of The World We Knew (1987) and Return of the Blue Panther (1990), plus ‘best of’ anthology Hip Flask.



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