This is a reissue of ‘Casioworks’ by Gust De Meyer, originally released as a cassette on Ding Dong Tapes and Records in 1983. This stuff has been making crooked collectors, old and young minimal-wave heads and other music lovers going bonkers for years. At the age of 35, back in 1983, Gust De Meyer was working as an assistant at the Faculty of Social Sciences of the Catholic University of Leuven, were he did some groundbreaking work. He got a PhD in musical industry and introduced the study of video games.
Besides that he was busy writing texts and selecting records for a weekly 4-hour pioneering radioshow called ‘Funky Town’ on Belgian national radio. The show was specialized in the Afro-American dance music of the era: discofied electronics, funk, boogie and rhythm & blues. Next to brand new American records, from Chicago, Philly and New York there was also room for European stuff, sharing a likewise bouncy character or electronic groove: italo-boogie, kraut-grooves and some local danceable new-wave. Slick, glossy and commercial but also groundbreaking and goddamn funky. No wonder this radioshow became a hit in no time, even outside the national borders.
The producer of this radioshow was the now world famous composer of minimal and soft classical music Wim Mertens. Around 1981 he started up his Soft Verdict project. The first LP Wim released under this name, was in fact a collaboration with Gust: ‘For amusement only’, a rather radical and raw experimental album concentrating on sounds made by pinball-machines and early computer games like Space Invaders and Pac-Man. It was released in 1982 on the now legendary Les Disques du Crépuscule label. This label was promoting a fresh and eclectic mix of ambient, post-punk, exotic electro-pop and contemporary music, all nicely dressed up in well designed sleeves.
Continuing the interest in the chipset sounds of those early videogames, Gust soon released his own magnum opus and: ‘Casioworks’. After which he, strangely enough, never ever released music again.
‘Casioworks’ was made at home with only one instrument: the then very popular and cheap Casio VL Tone 1 synthesizer. Every track was recorded in one take on a porta-sound Fostex 250 4 track cassette recorder/mixer. For a first record it’s very focused and mature but also playful and heavy with urgent and visceral power.

TRACK LISTING

1. Casiowork 1.1.1
2. Casiowork 1.1.2
3. Casiowork 1.1.3
4. Casiowork 1.1.4
5. Casiowork 1.2.1
6. Casiowork 1.2.2
7. Casiowork 1.2.3
8. Casiowork 1.2.4 

Echovolt have proven themselves excellent exponents of high grade house music. Through some expertly timed re-issues and ingenious originals they've become a fully established tour de force on the modern landscape.

"Time Heals All Wounds" is a new EP from George Earnest & Der Opium Queen containing three tracks that perfectly encapsulate the deep, epic and euphoric sides of house music that seem to epitomize Echovolt's ethos.

"Ultralush" kicks off with swirling pads, ascending arps and evocative bird song; it's that hi-def deep house sound with rainforest inflections that we go absolutely ape shit for here at Picc HQ.

"Rainy Day" blends wistful pad lines, dewy-eyed keys and beautifully formulated sfx with a smooth and simple broken beat for a moment of dreamlike relaxation with just enough thrust for you to bob your head to it.

Finally, "Time Heals All Wounds" ends the journey on a heavenly high note, a meandering organ part highlighting all that is good in the world as it travels through shuffled house drums, woozy synth riffs and a raise-your-sprits-to-the-sky chord progression. Add that impeccably timed, incredibly evocative spoken word vocal part (that appears just at the right time) and you have, my friends, a slice of deep house perfection few will rival all year! Form an orderly queue please!

STAFF COMMENTS

says: The title track, "Time Heals All Wounds" is a beautiful and blissful house track that's gonna be in my box all Summer and probably all Autumn. I suggest you check it out!

TRACK LISTING

A1. Ultralush
B1. Rainy Day
B2. Time Heals All Wounds

Before your very eyes, and lucky ears, Garland return with their second album on LFI. The follow up to their debut "Preludes # 1" is a surreal journey in which the duo further explore their shared interest of sample based music, minimalism and arrangement methods found in the dub tradition. By combining analogue and digital technologies with found sounds and acoustic instrumentation, Cologne based DJ Phillip Jondo and Glasgow based artist Simon Weins invite the listener to delve deeper into their exploration of time, space, texture and form...
Returning with a more refined body of work, Garland sets the tone on # 2 by shifting attention to the ever-changing nature inherent to sound itself. Worlds in which the origin of sound is untraceable and where micro events become the basis for extended explorations.

TRACK LISTING

1. S.Am
2. Gar.Ske
3. (((Noh)))
4. Eps.Ans
5. Tom.Pt
6. Candy.Blp
7. Detar.Hu
8. Fa.De
9. E.Ijyh

Lullabies for Insomniacs deliver the debut release from the intoxicating Garland. A project which emerged years ago and subsequently developed and transformed through overseas exchanges. Influenced by popular media and musical practices the duo channels a resonating wonderland that echoes, calling for magic to ignite. 

TRACK LISTING

1. Amb.Guit
2. Dada.Dub
3. Kat.Ar
4. Lead.Dub
5. Smo.Dve
6. Bas.Ic
7. Single.Dub
8. Sum.V 

By now you should be familiar with the witching hour electronics on offer from the Neubau stable, and this new 12" from Gil.Barte is just about as ketty as they come. Title track "L.i.G" layers corrosive synth blasts and dystopian waveforms over a slow and slanky techno-tropical rhythm, sounding somehow dubby, urban and ritualistic at the same time. A primo example of the dark wired sound here and an an uncompromising slow-burning tool for the club. Next up Lamusa II drops by to shift the gravitational field, exposing the title track to a nugget of radioactive material and wrapping it in a strange sonic mist. B-side bonus "AGH" cuts the pace to a K-Hole stroll for a strange and psychedelic trip into wormhole sonics and cough-syrup sludge - A-grade weirdshit for twisting nerves.

TRACK LISTING

L.I.G
L.I.G. (Lamusa II Remix)
AGH

More amazing music from Jamal Moss' Mathematics Recordings - celebrating 22 years of cutting edge electronic music! It's a spiritual house odessy for the 104th sonic missiv to date, with Giorgio Luceri on production duties and featuring the vocal talents of Gregg Fore.

If you like your house deep, emotional and with a certain tribal edge, then you'll be in for a treat here: think NDATL, Robert Owens, Kai Alce and half Jamal's past signing that he's knowingly groomed and nutured, creating a roster of artists he can truly call his own. 

"All That We See Or Seem" grabs us by the hands and takes us on a star-lit tour of Chicago house history, from the jacking, mechanized drum beats, to the string-soaked emotive epics and back through late night, speaker friendly almost-techno, it's an inventive and captivated listen from the off. 

STAFF COMMENTS

says: Ridiculously strong Mathematics' release that turns up at the club way past midnight. Emotional, fractured and with deep rooted tribalism; this is the edgy shit to keep you hooked till morning.

TRACK LISTING

I Am Love (feat Gregg Fore) (6:17)
Giove A Favore (8:22)
Can Move On Without U (4:55)
I Am Love (feat Gregg Fore - Ambience Version) (7:18)

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

This Record Store Day Exclusive 7” Red Vinyl contains two previously unreleased mixes of the classic single ‘Your Generation’ and later b-side ‘Trying For Kicks’ by Alan Winstanley. During the recording of the album for the band to take away and listen to. Both tracks are previously unreleased and are Exclusive to this release and do not feature on the Deluxe Ediiton. No download.

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

2000 LPs on black vinyl pressed for the world. Unreleased First ever live recording of Green River from the bands personal archives. For fans of Mudhoney, Green River, Pearl Jam.. Recorded on Sept 28,1984 at the Tropicana in Olympia Washington. From the original tapes. Pressed at RTI. Includes Original Concert Poster. Tracks : Against The Grain, 10,000 Things, New God, Corner Of My Eye, P.C.C., Strange Ways, Tunnel Of Love

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

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King. Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969. Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label, For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz. Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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ìA Ghostî, the A-Side is from Greg Dulliís debut solo album ìRandom Desireî The b-side is exclusive to this limited Record Store Day release and is a cover of the Bob Dylan classic ìGirl From the North Countryî. The recording features Mark Lanegan (The Gutter Twins, Screaming Trees) as guest vocalist.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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3-sided double LP (side 4 is custom etching) Limited edition of 2000 black vinyl copies. For the first time ever on vinyl, a special limited edition of Galaxie 500ís only live recording, Copenhagen. An official Record Store Day release, co-sponsored by Dogfish Head Craft Brewed Ales, who are releasing a limited edition Danish-style beer to enjoy alongside, and staging a RSD 2020 live tribute to Galaxie 500 at Brooklynís Rough Trade Records featuring Magnetic Fields, Xiu Xiu, Surfer Blood and others. Galaxie 500ís last show of their last European tour was captured to 24-track tape by Danish National Radio on December 1, 1990, and first released (on CD only) by Rykodisc in 1997, following the success of their 1996 box set reissue of all Galaxie 500ís studio albums. Copenhagen ìis a bullet to the head of those who maintain that the band was best heard on record,î as critic/sage Byron Coley has written. ìIt is abundantly clear, as the trio spirals through an inspired set of covers and originals, that the introverted disengagement of their early live work has been replaced by a unique, powerful and controlled presence that allows them to deliver the goods emotionally as well as sonically. The blend of heart and hand is stunning.î Mark Richardson wrote in Pitchfork: "The live album, Copenhagen, which is heavy on songs from This Is Our Music and in almost every case improves upon them, turns out to be the ideal closing chapter. During the 1990 show in Denmark, Galaxie 500 play magnificently to what sounds like a pretty small crowd. But that small crowd is into it. Sometimes bands work like that. They never made it big, but during their short run, Galaxie 500's often quiet and always beautifully rendered music had a profound impact on a few people, including this writer. It needs to stay out there, where it has a chance of finding a few more.î

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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Soul Brother Records are delighted to reissue on vinyl for the first time one of the most in demand and best 'Holy Grail' Soul and Funk albums for RSD 2020.'My Queen' by self contained band Gaston was recorded in North Carolina in 1978 for the independent Hotlanta label and has been in demand for the last 30 years.The album consists of seven excellent Soul and Funk tracks including 'Clap Song' sampled by Sporty Thievz in 1998 and the also sampled two stepper 'My Dreams'. Original copies are rarely seen and command £500 on ebay.This limited edition of 1500 hand numbered copies is likely to be very popular with Soul collectors and sell out fast. LTD 1k RSD 2020 release.Machine Numbered Sleeve

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Available exclusively to RSD2020, the much loved and respected UK indie band Gene reissue the classic live album "Rising For Sunset" for the first time on vinyl. Recorded in 2000 at LA's The Troubadour, the recording has the band in their prime performing stand out tracks "London, Can You Wait?", "As Good As It Gets", "For The Dead" and signature track "Olympian" Pressed on three sided 180g Orange and Yellow heavyweight vinyl, including an etched fourth side.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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In November 2019, Girl Band played back to back sold out shows at Dublin's iconic Vicar street, this was following the release of long awaited second album 'The Talkies' hailed as 'more abstract and more focused than their debut' and a sold out East coast U.S & European tour.Recognised for their ferocious live shows which have been described as chaotic, electrifying and 'genuinely dangerous, like one last rave before the apocalypse', these shows were highly intimate and intensely sought after creating an air of 'you had to be there'.This is their first ever Live vinyl and features tracks from their whole repertoire, some of which have only been performed a handful of times.1.Pears for Lunch ñ 3.35 2.Fucking Butter ñ 7.49 3.Lawman ñ 6.14 4.Heckle The Frames ñ 1.31 5.The Last Riddler ñ 1.21 6.Laggard ñ 5.56 7.Salmon of Knowledge ñ 6.21 8.Amygdala ñ 1.43 9.The Cha Cha Cha ñ 0.29 10.Shoulderblades ñ 6.07 11.Prefab Castle ñ 7.39 12.Why they hide their bodies under my garage? 13.Going Norway ñ 4.13 14.Paul ñ 6.54

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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7" release by one of the world's best-known Dutch bands Golden Earring of one of the biggest Dutch hits ever "Radar Love".This 7 inch was never released before with this track listing, as both the original UK version as the Moontan LP version of "Radar Love" are included.Pressed on gold coloured vinyl, the package also includes an exclusive/collectable "Golden Earring" adapter.

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Gold colour vinyl, limited edition of 500.The best hip hop group from a small town in South Wales are back .Newport's Goldie Lookin Chain's latest album on limited edition gold vinyl for RSD.Once again GLC skilfully combine beats, rhymes and swearing to create the ultimate collection of rap essentials to play loud in your car, on your boom box or just to annoy your mum.

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D-Sides is a 2007 compilation album by the British virtual band Gorillaz.The album contains B-sides and remixes from singles and bonus tracks for the band's second studio album Demon Days, as well as previously unreleased tracks recorded during the same sessions.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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G Sides is a B-sides collection by Gorillaz from their first studio album session, Gorillaz and the Tomorrow Comes Today EP.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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20th anniversary reissue of 2000 EP, pressed on ultra clear translucent 10" vinyl

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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Limited edition 12" on grey vinyl with two unreleased Kenny Summit remixes of the huge Giorgio Moroder 'Right Here Right Now' featuring vocals from none other than Kylie Minogue.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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The limited edition companion 3LP of Garyís sold out show with The Skaparis Orchestra at The Bridgewater Hall, Manchester. The setlist includes songs from his highly successful Savage album and classic tracks including the No.1 single ëAre ëFriendsí Electric?í. Gary Numanís previous studio album Savage: Songs From A Broken World, was released in September 2017 through BMG and earned the best reviews of Garyís career. He entered the UK charts at No.2, a fantastic achievement for the iconic and highly influential artist. The British electro pioneer was also awarded The Inspiration Award for songwriting and composition at the Ivor Novellos in 2017 and has been receiving outstanding live reviews since. In 2018, Gary performed a series of exclusive, sold out orchestral concerts taking place in Cardiff, Birmingham, Newcastle, Manchester, London and Glasgow. Gary Numanís music has always had a filmic quality, but with The Skaparis Orchestra joining his regular band, that mix of hard electronic and soaring cinematic atmosphere was truly realised in his spectacular live shows.

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
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Available on limited edition pink vinyl, with extra previously unreleased tracks included on the download card, this Record Store Day exclusive is a repackaging of a long out-of-print vinyl version of Gemma Ray's sophomore solo album "Lights Out Zoltar!", on its 10th anniversary. Recorded and produced at home in London with Michael J Sheehy (Dream City Film Club, Miraculous Mule), it showcased Gemma as an original and ambitious writer and producer, an independent with a wondrous box of tricks up her sleeve.As such it received rave reviews from the international press (below), whilst "100 mph (in 2nd Gear)" was Single of the Week on BBC Radio 2's Mark Radcliffe show. "By rights she should be a household name.This album is a rare treat indeed" - John Doran (BBC/QUIETUS) "Had Phil Spector forced his girl groups in a more noir-soundtrack direction, this might've been the result.Ray has a truly impressive feel for vintage pop flourishes, layered to lavish effect.And all those details are what you're supposed to be paying attention to, right up until the blade hits your back." SPIN "Three months after I first got the album I'm still marveling at the way Ray has synthesized a whole slew of retro references into a cinematic psychedelic sound.Ray's sound is like one of those Willy Wonka Gobstoppers: it's massive and composed of layer upon layer of aural tastes and colours" - VANITY FAIR "An eerie aural kaleidoscope that conjures up thoughts of what an album by Mary Weiss of the Shangri-Las produced by David Lynch would have sounded like.Though it echoes with references to mid-'60s melodramatic pop, it's of the moment and

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LP with split coloured black & white vinyl Early in 2016 Ali Chant texted me, asking if I still wanted to record some stuff at his studio - as property developers were about to knock it down.Another creative space bulldozed away for capital gain.Politically it was a shit year.The noise building for the Brexit referendum that would fuck with the future of the young was in full swing.Bowie died, and on the morning of the first recordings I had the worst migraine.I left the building and threw up in the street.I wanted to commit to the lyrics and sing live so I think I was stressed about getting them ready to sing. I had a batch of songs I wanted to record but I didn't have a record label or any plans of what to do with them. I gathered incredible musicians from my square mile in Cardiff in the van and drove to Bristol.Kliph on drums, Steve on bass and Osian on piano. I sang and played guitar - We recorded live takes for 3 days then I sat on the songs for almost 2 years.Eventually handing them to composer Stephen McNeff to work on orchestral arrangements. I called the album that was mixed by Samur Kouja; Babelsberg - and I'm very happy with it. This album meanwhile is an exploration of how it came to be - and the songs in their raw state.A companion piece rather than the definitive article. Most tracks are similar to the final work except for Selfies in The Sunset which is pre-duet and much longer. At some point it would be great to release the amazing orchestral elements too.Maybe both records could be played at once.In the meantime please enjoy the fruits of Kliph Scurlock's mixes and demo digging for (Don't) Welcome The Plague As A Blessing. I'm very grateful to Lisa Jen and Mirain Haf from the band 9 Bach for singing the background vocals.Kliph for overseeing this project, Rough Trade for their enthusiasm and thanks to the designers; thanks Uno Moralez for agreeing to have his incredible Babelsberg sleeve illustration carved up, and ace designer Mark James for this final article. Further thanks to Ali, Steve, Osian and also to Robin Turner for lending his ear at the time. 1. Frontier Man 2. The Club 3. Oh Dear! 4. Limited Edition Heart 5. Take That Call 6. Drones in the City 7. Negative Vibes 8. Same Old Song 9. Architecture of Amneisa 10. Selfies in the Sunset

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE OCTOBER 24TH DROP DAY AT 6PM.
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Although the previous night from 5/8/77 at Cornell University, one of the most famous Grateful Dead shows in their history, is most commonly referred as the best show of 1977, one of the shows that most often gives Cornell a run for its money is 5/9/77 at the Buffalo Memorial Auditorium.An exceptional show start-to-finish, Buffalo features what many Dead Heads consider to be best-ever renditions of a few songs, including Help On The Way>Slipknot!>Franklin's Tower and Comes A Time.The crisp and clear sound of Buffalo, mastered by Jeffrey Norman, reveals the nuanced excellence of this magnificent concert, in a vinyl release that is sure to continue the long-standing debate of which show is the best, Cornell or Buffalo.

TRACK LISTING

Help On The Way
Slipknot
Franklin’s Tower
Cassidy
Brown-eyed Woman
Mexicali Blues
Tennessee Jed
Big River
Peggy-o
Sunrise
The Music Never Stopped
Bertha
Good Lovin’
Ship Of Fools
Estimated Prophet
The Other One
Drums
Not Fade Away
Comes A Time
Sugar Magnolia
Uncle John’s Band

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE SEPTEMBER 26TH DROP DAY AT 6PM.
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Originally released on cd only in 1995, this score to the first film ever developed for the massive gaming franchise will get the lp treatment in conjunction with the film’s 25th anniversary. side a features the iconic mortal kombat logo, while side b features goro, a fan favourite from the game and film who is generally considered by gamers to be one of the most memorable and difficult bosses in gaming culture. in fact, the four-armed fighter did not lose a battle for 500 years before a first ever loss to mortal kombat hero, lui kang. the music was composed by george s. clinton with a heavy assist from the guitarist, buckethead, who appears on 10 of the 26 tracks.

Emotional Rescue and Jamwax come together to present the first of three essential 12”s from NY/Jamaican label Capo Disco, all officially licensed and remastered for the first time. The brainchild of reggae vocalist, musician, producer and label owner Glen Adams, the label married disco with his Caribbean roots to perfection. Born and raised in Jamaica, Adams story is a similar one to the performers of the golden period post-Independence. Initially discovered as a vocalist by Coxsone Dodd, he went on to work with such luminaries as Ken Boothe and Stranger Cole before co-founding The Heptones and working Duke Reid, Bunny Lee and Lloyd Charmers.
As a session organist he worked for The Hippy Boys, The Reggae Boys and later with Lee Perry’s The Upsetters, he came in to the orbit of The Wailors, touring England with them in the early 70s and with Perry co-wrote Mr Brown. When most of The Upsetters became Marley’s rhythm section, Adams stayed with Perry before making the move to Brooklyn in 1975.
There he started Capo Records, running it and it’s sub-labels, successfully until the mid-80s. During these later years he ventured in to mixing Reggae with Boogie and Disco rhythms and released just four 12”s under Capo Disco as well as recording boogie and hip-hop influenced releases with T Ski Valley and as Glen Adams Affair for SAM and Moonglow Records.
Here then the spotlight is on Adam’s nascent disco releases and the series starts with the wonderful, uplifting "A Beat For You". Actually appearing on a one off sister-label, Top Secret, this is a beautiful “Lovers” anthem from Adams over a laidback dub-bass riddim. Backed with a simple instrumental Version, the space and interplay of the keys and guitar over drum and bass is superlative. “There is a beat in my heart, just for you…just for you.”

STAFF COMMENTS

says: Jamwax meet Emotional Rescue up town for this reissue 12", offering a fresh pressing of Glen Adams seriously groovy disco/dub hybrid "A Beat For You". Boogie synths, serious dancefloor power and a more than a hint of digi-dub result in an essential slab of wax for anyone of a cosmic/Balearic bent.

Fresh from touring with Hugh Masekela (“The Boy’s Doin’ It”), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.

“I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with
Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh
sound which was mostly percussion oriented. Yes I knew about Hugh’s music before I met him. Infact when we started playing
together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments,
but Hugh and myself shared the same 3 bedroom apartment”.

“We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was
a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use.
We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the
Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie
Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US.”

TRACK LISTING

1. Funky City
2. Baby, My Love For You
3. Ere Aladun
4. Adua (Prayer)
5. Colourful Environment
6. I Stilll Love You
7. Agberede 

Extremely hard-to-find Ghanaian LP from legendary musician Gyedu-Blay Ambolley, originally released in 1980. Tough Highlife, funk and boogie moods with added synthesizer! Ambolley is still actively touring today, keeping these vibes alive - he will be touring Europe throughout 2019. This is the third Gyedu Blay Ambolley LP that we have reissued on Mr Bongo, following on from his seminal ‘Ambolley’ and ‘Simigwa’ recordings. Official Mr Bongo reissue licensed from Gyedu-Blay Ambolley.

TRACK LISTING

Control
Woye De Adolfo
Don’t Go
Mercy Kae Dabi
Take Am So
The Message (God Is Love)

Extremely hard-to-obtain album from the Ghanaian master composer, producer and musician. Originally released in 1982 by the WEA International label and then again in Germany in 1985 by Ambolley himself; this is one of his finest albums in our opinion.
Ambolley fuses Highlife, disco and boogie sonics perfectly and features the anthemic club cut, Highlife, that we have spinning for a while - always does the job!  Official Mr Bongo reissue. Licensed from Gyedu-Blay Ambolley.

TRACK LISTING

A1. It's High Life
A2. Walking Don The Street
A3. 'Cos I Love You
B1. Cut Your Coat
B2. Adwoa
B3. Simigwa
B4. Franfranta

Written and produced with Ebo Taylor and originally released in 1975,  "Simigwa" is Ambolley's debut solo album. It's a legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk.
Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.
‘Simigwa’ was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.

TRACK LISTING

Kwaakwaa
Akoko Ba
This Hustling World
Toffie
Adwoa
Fa No Dem Ara

On “Dizzy Strange Summer”, Genevieve Artadi offers a window into her ad-lib creativity and the LA community where it’s been nurtured. This is the vocalist, composer and producer’s second solo album, and it sees her stake out her own ground outside of her other groups KNOWER, Expensive Magnets and Everything’s Under Control. She brings her own slant to the DIY LA scene that she’s grown up in, melding influences from jazz, psychedelia, bossa nova and avant-garde electronics. “Dizzy Strange Summer” marks not only Artadi’s debut on Flying Lotus’ Brainfeeder imprint, but her first self-produced project released on any record label.

An impulsive spirit underwrites every part of the album, something reflected in the energy Genevieve devotes to create the videos to accompany them. It’s an honest, unmediated reflection of the period in which she created the music, supported by a close circle of like-minded musical friends including - but not limited to - Louis Cole (Brainfeeder), Sam Wilkes (Leaving Records), Henry Halliwell, Daniel Sunshine, Adam Weissman (Pollyn / Real Bad Man), Ruslan Sirota, Ross Garren, David Binney and Jacob Mann — each of whom she tapped up to add their flavour to songs where she felt their styles or talents aligned. Most tracks would begin life on her laptop, be sent to a friend for them to add their spin to it, before coming back to Artadi to be elevated to their final form. Reflecting on what drives her to create, she says: “Sometimes I just really get that burning feeling to make something and get it out there.” Above all, this is an album that speaks to that drive: to create something and share it with people.

The album was written in a time of upheaval, something reflected in both the lyrics and the sound of the record. “I was pretty lost… but enjoying feeling lost,” Artadi says. Drawing inspiration from the tumult around her and she relished the opportunity to express herself uninhibited by the shackles of compromise associated with collaboration. Crucially, this often means a silly, playful side being played off against a serious one; but she doesn’t think the former undercuts the latter, seeing the two as vital shared ingredients to what she does. “I don’t feel like I would be giving an honest picture if I didn’t do both,” she says.

“Dizzy Strange Summer” revels in juxtapositions, unleashing high energy assaults at full tilt before giving way to soft-focus melancholia, allowing Genevieve to show off the full spectrum of her vocal prowess. On the first single ‘Living Like I Know I’m Gonna Die’ for example, her delivery is beautifully understated and airy: “Living like the future is a guess, living like I’m smaller than a speck”. “I sing it softly ‘cos it’s an internal proclamation... a message to myself,” she explains. She displays this vulnerability on ‘All I Want For Now’, ‘Before The Dark’ and ‘Will You Tell Me’ too - the latter a stunning duet with harp. Elsewhere, on ’Godzillaaaa’ for example, her delivery is informed by ESG and Talking Heads, stomping past on a stark riddim in a whirlwind of distorted percussion and synths.

TRACK LISTING

Side A
01. I Hate When I Can’t Feel My Heart
02. Living Like I Know I’m Gonna Die
03. Godzillaaaa (feat. Real Bad Man)
04. Nowhere To Go
05. Edge Of The Cliff (feat. David Binney, Louis Cole)
06. Will You Tell Me
07. Loneliness Grows
08. Hot Mess

Side B
01. Hope Song
02. Is What You Believe
03. Feelz Tru
04. Oo Ya
05. All I Want For Now
06. Mad Child
07. Before The Dark
08. Cupcake5 

Greg Ashley has tracked across the States’ metropolises, fringes and sticks for years now, releasing records under his own name and earlier on with black magic psych cult The Gris Gris.

Now together with the Western Playboys, you can hear the dusty technicolor Rio Grande fl owing in the veins of these new recordings. Many of these songs are Greg’s indomitable take on waltz, country swing and golden honky-tonk songwriters like Cowboy Joe Babcock and Hank Mills, but lest we forget the cover of Estrus records’ finest garage rock nihilists The Makers. This 12” EP plays out from start to finish like a band in a washed out juke joint at a desert outpost from a Barry Gifford novel - strung out, sharp-witted and never dull.
Square it up and spin it now!

Greg Ashley has been a ¬fixture on the underground music scene since the late 90’s while stra¬ng eardrums as a teenager in Houston in garagepunk band The Strate-Coats. Since then he’s proven himself not only as a songwriter, singer and guitar player in bands like The Mirrors & The Gris-Gris, but also as a producer / sound engineer.

His career as a solo artist is vast & varied, spanning the gamut between fried & beautiful psychedelia, gorgeous & cathartic symphonic suites & gentle, damaged folk music, beginning with 2003’s “Medicine Fuck Dream” & last leaving us with 2014’s “Another Generation of Slaves”. His latest, “Pictures of Saint Paul Street” carries forward that album’s musical palette (a rootsy amalgam of tortured, Cohen-esque folk tinged with the beer soaked recklessness of a West Texas honky-tonk).

The songs on “Pictures of Saint Paul Street” are lush & beautiful autopsies of society’s underbelly, with stark and brutally honest ruminations on humanity. Songs like “A Sea of Suckers” & “Pursue The Nightlife” pull no punches, while “Jailbirds & Vagabonds” and “Blues For A Pecan Tree” carouse on a more abstract, human (almost romantic) level. By the time you’ve hit the album’s centerpiece; “Bullshit Society”, Ashley’s songs move from ballads of hopeless misery to rallying anthems for the dispossessed.

TRACK LISTING

1. A Sea Of Suckers
2. Goodbye Saint Paul Street
3. Blues For A Pecan Tree
4. Two Person One Man Band
5. Bullshit Society
6. Jailbirds And Vagabonds
7. Self-Destruction Derby
8. Medication #9
9. Pursue The Night Life
10. Six A.M. At The Black And White

Greg Ashley has been melting minds since he was a teenager growing up in central Texas; first in his paint-peeling garagepunk band The Strate-Coats, then in lysergic psych band The Mirrors, and finally to great acclaim in his highly influential quartet The Gris Gris. If that weren’t enough, Ashley has peppered multiple solo albums in between all of these releases tracing along a path that veers to & fro from heady psychedelic freakouts to sensitive, folky tunesmithing. “Another Generation of Slaves” is a bold step off that acid-soaked artery, the nine tunes herein are Ashley ’s most directly poetic suite of songs both melodically & lyrically. “Another Generation...” FEELS different. Recorded in 2013 with a cadre of jazz musicians, the malleablity of his players belies dizzying results, allowing Ashley to focus on communicating the feeling of the tunes in addition to playing them. Lyrically, Ashley has never been one to mince words, but the songs are almost joyously direct.

Songs like “Brother Raymond” & “Prisoner #1131267” are character studies, while somber cuts like the folky opener “East Texas Plain” & the sultr y “Patterns Of Days” are extremely insular tunes, unquestionably personal & beautifully unfolded. Ashley ’s grown so comfortable in his ability to craft songs, that even the breezy “Awkward Affections”s brazenly honest lyrics don’t feels forced, but like another piece of the puzzle here. The stories fit together like Ashley ’s own version of “Songs Of Love & Hate” or “Trouble Is A Lonesome Town”. A collection that doesn’t work unless the listener is fully immersed in it ’s world, shackled to it ’s narrative.

The first vinyl edition is pressed on randomly mixed 150-gm vinyl, includes a printed inner sleeve with lyrics & a download code. All other pressings will be on basic black.

RIYL: Kurt Vile, Lee Hazlewood, Leonard Cohen, Nick Cave, Bill Fay, Mikal Cronin.

TRACK LISTING

1. East Texas Plain
2. Brother Raymond
3. Awkward Affections
4. Medication #7
5. Bruises
6. Miser Y Again
7. Patterns Of Days
8. Prisoner #1131267
9. December Melodies

In 1976, a brand new, exhilarating musical revolution was beginning to gather momentum in London, instigated by grown ups, but embraced and spearheaded by a dissatisfied youth, bored of the stagnant stench of a music industry that said, and meant, nothing to them. 200 miles North up the M1 was a city that was primed ready and able to play it’s part in the growth of punk rock in the U.K; Manchester.

This book aims to explain why punk was the ideal natural musical progression in the city, as told by the people who were there at that embryonic stage before it entered into mainstream consciousness. In a time when hairstyle and dress sense defined your personality, nailing your colours to the mast of a grey and monochrome backdrop. Where people’s indifference to difference was measured in punches, and intolerance of tolerance was metered out in kicks. Working class kids from the inner city council estates who found escape from their surroundings in music and fashion. Not off the peg fashion, but homemade ingenuity, glamour through austerity, there’s nothing like a bit of individuality to make the natives restless.

Manchester has been the home of many musical firsts; Halle Orchestra, Top Of The Pops, Sex Pistols on television, Independent record release. An infamous gig that spawned a plethora of bands, writers, photographers, artists. It was home to The Electric Circus, Pips, Rafters, Band On The Wall, venues which are all (predominantly) fondly remembered as memories of a well spent youth.

The book charts those protagonists from their early life growing up, socially and musically, the impact that punk had on their lives, including the bands that sprung up from it, how it allowed them to express their beliefs, and how it’s ideology has stayed with them up to the present day. The time line is between the early 1960’s until December 1977 (ish). The story is predominantly told through the words of the subjects, after hours of editing face to face interviews and emails, interspersed with my narrative connecting and introducing the differing topics and chapters.

It is a social history document as well as a musical coming of age memoir, a time capsule of days of which we will never again see the like.

TRACK LISTING

Chapter Breakdown
1: History Of Manchester’s Slum Dwellings From The 19th Century To 1960’s.
2: Interviewee’s Experiences Of Growing Up In The Inner City. Musical Influences And Access To Physical Musical Output.
3; Nightclubs/Bars Of Manchester. The Gay Scene, Pips, The Ranch Bar. Bowie/Roxy
4; The Electric Circus. Early Gigs Including Sex Pistols And Buzzcocks.
5; So It Goes- Sex Pistols First Appearance On T.V. Recollections From The Producer.
6; Early Punk Fashion In The City. People’s Stories Of Homemade Clothing.
7; Violence On The Streets Of Manchester And The Terraces. Football And Punk.
8; Venues Of Manchester; Band On The Wall, Rafters, The Oaks, Apollo Theatre.
9; The Growth Of Punk In Manchester, Interviewee’s Gig Memories.
10; So It Goes Second Series. Recollections Of Outside Broadcasts From Director And Video Assistant.
11; The Closure Of The Electric Circus.
12; The Dissolution Of Punk At The End Of 1977. The Lasting Legacy Of What Punk Meant To The People Interviewed For The Book.

Copenhagen’s Tartelet continues its 10 th anniversary with another an EP from Glenn Astro, serving up five exclusive tracks across a multifaceted 12". The EP takes inspiration from Keith Haring’s celebrated 'Crack is Wack' mural in New York, which was a reaction to the drug epidemic of the time. Only 250 copies will be released worldwide.

In a short space of time, Glenn Astro has cooked up his own unique musical world. He has released full-lengths on Ninja Tune alongside Max Graef, and recently on Apollo Rec, sister label of R&S, in conjunction with Hodini.

The opener "Crack Is Wack" is a loose and live sounding jam with warm synth chords, alternating 808 drum patterns and breaks. It has a celebratory feel as expressive keys and walking basslines take turns to take the lead and move things forwards. The feel good "Der Langweiler" is a much slower and loveably lazy joint, incorporating a cosmic 808 drum groove mixed with arpeggiated Wurlizer chords and a grooving e-bassline sinking you deep into the late night groove.

On the flip and switching up the vibe again is "Der Maschine", which has frazzled electronic synths next to wooden hits and a playfully distorted drum machine to make for something that brims and bristles with dance floor energy in inventive new ways.

"Boring Times On Beleuse Five" is a tripped out sci-fi track with percolating drums and heavenly chords. It’s sparse and dynamic but with a compelling rhythm. "Discomania" is an exclusive and vinyl-only cover version of Piero Umiliani’s eponymous electronic disco classic, is a gorgeously spaced out disco instrumental with expressive keys, drums and percussion all adding up to something impossibly infectious.

This is another remarkable EP of effortlessly fused sounds, showcasing Glenn’s new steps exploring cosmic and electronically driven aesthetics.

STAFF COMMENTS

says: Playful and trickski Glenn has a sound and outlook completely of his own. He's carved out this identity through some carefully constructed, sympathetic constructions that add an elven magic to a cauldron of downbeat, hip-hop, house raw elements. Almost impossible to describe but always fun to listen to!

TRACK LISTING

A1. Crack Is Wack
A2. Der Langweiler
B1. Der Maschine
B2. Boring Times No Beleuse Five

Five years after his critically acclaimed debut album "Throwback", electro-jazz futurist Glenn Astro returns with his ambitious and highly creative new album "Homespun". Made up of ten tracks spanning 45 minutes, the record twists and turns between electronic meditations, soulful vocals by Ajnascnet, and hi-tek electro, carving out a world of spacey eclecticism that is as nostalgic as it is experimental as it is mutant.

“This album is in all facets different from the first one, which was a deliberate decision. No vintage sounds and references, no sampling, combined with futuristic sound design and song structures. I tried to keep it as current and intuitive as possible,' he says.

Known for his chunky beats and fuzzy textures, Glenn Astro has released on labels such as Ninja Tune and Apollo, leaving a distinctive signature on everything he touches. But Glenn Astro has quietly been crafting a new sound for himself. Sometimes taking detours - morphing into his dark alter ego and experimenting with artist collaborations.

On the introspective first single and album title track “Homespun,” Ajnascent’s vocals lend a sincerity to the melancholic production. “It’s about the regret of not taking chances and giving in too much, but also about taking responsibility and being honest with yourself. Homespun is a nod to nostalgia and a desire for simplicity and prudence, being equally the culprit and the cure,” elaborates Ajnascent.

On “The Yancey,” an homage to J Dilla, Glenn Astro paints his vision of contemporary dance music with shimmering melodies, deep ambient soundscapes, and advanced drum programming. “Moreira” and “Look at You” feel like spaced-out electronic funk hybrids, while “Taking Care of Business” goes back to the future with Glenn Astro’s take on jungle. Other tracks such as “Mezzanine,” “Slow Poke Flange,” and “Viktor’s Meditation” provide the finest dubby electronics. It's a wide-screen, multi-dynamic experience from beginning to end and we're here in the shop absolutely f---in love it! 

STAFF COMMENTS

says: Not content with letting Max Graef snag all the glory, Glenn Astro confidently lets one go on Tartelet. Rivalling his best mate's output with Employee "Homespun" is an epic, technicoloured, multi-genre opus for 2020. Humbly developing his style through myriad electronic devices the Berlin-based producer hits a creative purple patch.

TRACK LISTING

A1. Homespun (feat. Ajnascent)
A2. The Yancey
A3. Moreira
A4. Mezzanine (feat. Mirek)
A5. Look At You (feat. Ajnascent & Eyal Lovett)
B1. Elyisa (feat. Ajnascent)
B2. Slow Poke Flange
B3. Taking Care Of Business (Album Cut)
B4. MoStLy GhOsTlY
B5. Viktor’s Meditation

Hailing from Georgia’s capital Tbilisi, Gacha Bakradze is one of the national scene’s leading electronic music exponents. He returns to Lapsus Records with his new album 'Obscure Languages', his second release for the Barcelona label.

Following the superb LP 'Word Color' [Lapsus Records, 2018], which appeared in several ‘album of the year’ lists for publications such as Pitchfork and XLR8R, the prolific producer now presents 'Obscure Languages'. This new piece of work could well be described as a sound continuation from his previous album and maintains a powerful narrative at its core.

‘Obscure Languages' delves into the world of cinematic soundscapes, replete with microscopic details and fragments that showcase a luscious IDM style audio palette, laced with ambient, avant-techno, bass and sound design.

TRACK LISTING

A1. Indivisible
A2. Thank You For This Upload
A3. Driver
A4. Frame
B1. Impression
B2. Lift
B3. Lead
B4. Endless Tool
B5. Slow Heart

After being completely sold out on vinyl, Geoff Barrow & Ben Salisbury’s "DROKK: Music Inspired By Mega-City One" has been reissued as a special edition on double LP with beautiful new bespoke packaging and bonus material. This incredible new package is designed by Marc Bessant and features a spined ‘sombre grey’ outer sleeve with deboss and die-cut revealing the reverse board inner sleeve and vinyl label.

"DROKK" is a synth heavy score with a relentless darkness, a cold atmosphere where the tension never drops. Although it is a soundtrack of sorts, Barrow and Salisbury instinctively felt that music for MC1 should steer clear of the rich orchestration common to many contemporary film scores. Even for electronica the music is often purposefully stark and spare, with the majority of tracks created exclusively on the Oberhiem 2 Voice Synthesizer with a cameo from Beak>.

STAFF COMMENTS

says: Absolutely one of my favourite synth albums to this day, Barrow & Salisbury's DROKK is finally available again for everyone I constantly recommend it to. Brilliantly restrained atmospheres and dusty synth soundscapes perfectly capture the Dreddian atmosphere better than the original soundtrack could ever hope to (sorry Silvestri). An essential cinematic synth staple.

TRACK LISTING

1. Lawmaster / Pursuit
2. Helmet Theme
3. Titan Bound
4. 301-305
5. Justice One
6. Scope The Block
7. Exhale
8. Council Of Five
9. Puerto Luminae
10. Miami Lawgiver
11. Eagle
12. Clone Gunman
13. Inhale
14. Iso Hymn
15. 2T[FRU]T
16. Dome Horizon
17. End Them
18. Helmet Theme [Reprise]
19. The Men Who Never Learned
20. Heista
21. Cal
22. Dark Judges
23. Fish
24. Justice 1 (Demo)
25. Miami Lawgiver (Alt. Version)
26. Call-Me-Kenneth
27. Scope The Block (Alt. Version)

Geoff Barrow and Ben Salisbury return to score Ben Wheatley’s 1970s based epic shoot-out ‘Free Fire’, executively produced by Martin Scorsese.

Compiled by director Ben Wheatley himself, the soundtrack will be released on CD and double LP, featuring the full score by Geoff Barrow and Ben Salisbury, dialogue from the film and licensed tracks (The Real Kids, Creedence Clearwater Revival, John Denver).

‘Free Fire’ sees Barrow and Salisbury take a huge directional curve away from their intense, synth-based Ivor Novello award winning score for ‘Ex Machina’, with the composers curating a prog rock, free jazz, psychedelic journey influenced by bands such as King Crimson, Camel and Magma and tips its hat to the Lalo Schifrin thriller genre scores of that era.

Both the LP and CD will include a digital download card which features the full soundtrack as well as additional unheard bonus material not used in the score.

TRACK LISTING

Where We Going?
Do The Boob (The Real Kids)
I’m I.I.F.M
Sledgehammer Cracks Nut
This Is Ord
Docks Beat
Step Into My Office
Run Through The Jungle (Creedence Clearwater Revival)
Raw Onions
Vern
Come Out
Gorgeous As Ever
Money Count
Nice Teeth
Harlequins Reunion
Steven’s Been Reprimanded
Stevo Apologises
Suck On This
First Shot
Mostly The Suit
Martin Shot
Will Everybody Calm The Fuck Down
Snipers
Good To Go
Free Firing Gunshot Solo
The Phone Rings
Watch And Vern
Crawl Chase
So That’s What A Fucking Brain Looks Like
Lead Lobotomy
Poke Him In The Eye
We Can’t All Be Nice Girls
That’s Why I Appreciate The Arts
Leary
Aiming For The Nose
Oh Fuck
Where Do You Think You’re Going Little Harry
Annie’s Song (John Denver)
A John Denver Story
Justine’s Theme
This Old Guitar (John Denver)

Invada Records and Lakeshore Records announce the release of the soundtrack to Amazon Prime’s ‘HANNA: Season 1’ on vinyl.

Pressed on white double vinyl housed in a deluxe gatefold sleeve.

For the first time, composers Ben Salisbury and Geoff Barrow were able to put together a team of musicians to work together to form a collaborative score for the whole series.

The soundtrack consists of tracks by Karen O and Beak>, plus an original score by Ben Salisbury, Geoff Barrow, The Insects, Simon Ashdown and Yann McCullough.

“Because of the size of the ‘HANNA’ series, we had the opportunity to bring our own team of artists and composers. The producers had already contacted the amazing Karen O whose song ‘Anti-Lullaby’ formed a theme that was continued throughout the series. It was also great to work with our friends The Insects (Massive Attack co writers Bob Locke & Tim Norfolk), Simon Ashdown and music editor turned composer Yann McCullough” - Geoff Barrow

Yeah Yeah Yeahs’ singer Karen-O’s wandering, ominous ‘Anti-Lullaby’ appears on the soundtrack along with her Goth rendition of Smashing Pumpkin’s ‘Bullet With Butterfly Wings’, with Beak>’s ‘Wulfstan II’ appropriately closing the album.

The score for ‘HANNA: Season 1’ features layers of manipulated organic elements which composer Ben Salisbury describes thusly: “The score for the series was mainly inspired by the character of Hanna herself, and her forest upbringing. Even though the music is sometimes processed, it is always based on something real and organic rather than pure electronics. We often used layers of woodwind instruments (including some fairly unusual ethnic flutes and pipes) as a way of linking Hanna to the natural world in which she was brought up, and also to try and capture her fierce animal spirit and her sense of wonder as she experiences the ‘new world’ beyond the forest.” - Ben Salisbury

TRACK LISTING

We Have Heller
Anti-Lullaby (Karen O)
Training
Connections
Escaping The Hotel
The Ghost Of Her Mother
Relentless / Forest
Memories
Bullet With Butterfly Wings (Karen O)
Berlin Night Drive
Always Hunted
Eric's Theme
Sensing Danger
Beyond
A Cornered Animal
Marisa Held Hostage
Eric Leaves Hanna
Nice Paris Life
Runway Ambush
Wulfstan II (Beak>)

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration.

Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike.

Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz.

Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame.

Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques.

This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

TRACK LISTING

A1 - Harlem To Haarlem
A2 - The Stank
B1 - Leta's Dance
B2 - Uhuru Sasa
B3 - Dr Follows Dance

The shadow that Gary Bartz casts over the last six decades of progressive Black music, and his continued dedication to same, makes him a logical and very welcome contributor to the Jazz Is Dead label. An alto saxophonist steeped in the history and tradition of his instrument who is also restlessly experimental and not prone to purism of any kind, he enjoys both the respect and admiration of his peers and the hero worship of several generations after him – including Adrian Younge and Ali Shaheed Muhammad, which inevitably led to Gary Bartz JID 006.

A look at his body of work reveals dalliances with bebop, hard bop, free jazz, spiritual jazz, soul jazz, jazz-funk, fusion and acid jazz, all while resolutely remaining unmistakably Gary Bartz. There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early ‘70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. And while on the subject of samples, the Bartz catalog has provided hip-hop and other genres with a rich source of them, and artists who have gone to his well when producing beats also include Black Sheep, Jurassic 5, Casual, RPM, Warren G, Photek, Statik Selektah, Chi-Ali, 3rd Bass, Showbiz, ZTrip, Young Disciples, and many others.

The socio-political content of much of Bartz’s work, particularly during the early ‘70s, is another factor that has captured the attention of and influenced many. He was wide awake to the pressing issues of his day, which sadly haven't changed much in a half-century—long before the term "woke" was ever coined—which adds continued relevance and resonance to albums like the two Harlem Bush Music LPs. Speaking his mind and expressing thoughts and feelings lyrically and vocally were a consistent aspect of his work during this era, but even with all this there's always still a space within Gary's oeuvre for the celebration of simple and beautiful basic truths. “Working with Gary Bartz epitomizes the ethos behind Jazz Is Dead,” says Younge. “He’s a luminary that has contributed so much to music culture, for decades. His musical ability is expanding with age and we’re honored to be a part of his world.”

"Day By Day" brings Bartz full circle by placing him in a more modern context which he contributed to creating in the first place. It takes certain sonic cues from Muhammad's old group, A Tribe Called Quest, while also calling to mind neo-soul a little bit. But the icing on the cake is the unexpected and gorgeous vocal chorus which is like the sun coming out and which once again harks back to an element familiar to Mizell fans. With its propulsive bassline steadily prodding the track along, "The Message" is strongly rooted in classic ‘70s modal jazz and serves as the spiritual and emotional centerpiece of the album. The instrumental interplay and textures would have been perfectly at home on the Black Jazz label even though there's also a certain almost intangible postmodern, 21st century approach to that style, perfectly in keeping with Bartz's well-known tendency to look forward, not backwards.

TRACK LISTING

A1. Spiritual Ideation
A2. Visions Of Love
A3. Black & Brown
A4. Blue Jungles
B1. Day By Day
B2. Distant Mode
B3. The Message
B4. Soulsea

A beautiful, dreamlike expression of spiritual jazz recorded at a time when the idiom was completely out of vogue, Gary Bias' East 101 remains little known even by cult-classic standards, but its free-flowing approach demands attention from listeners who believe this kind of LP ceased to exist somewhere around the late 1970s. Recorded with a stellar supporting cast including vibist Rickey Kelly, bassist Roberto Miranda, and pianist David Tillman, Bias unspools a suite of deeply soulful and profoundly far-reaching original compositions that vividly evoke the blue skies of the record's Los Angeles origins. His flute and soprano saxophone somehow divine gravitas from weightlessness, creating music that challenges as much as it comforts.
Jason Ankeny/AMG

TRACK LISTING

Side A:
1. Asiki
2. Dear Violet
3. Arthur’s Vamp

Side B:
1. East 101
2. As Children PLay

Sao Paulo’s Gui Boratto has been an innovator and leading member Brazil's dance music community for some time. His versatility to cross genres and remain faithful to the floor has been proven time and time again. Be it from “Beautiful Life” to “Azzura” or “No Turning Back”, his influence has struck a permanent chord in melodic dance music.

"Pentagram" sees Boratto expand and diversify his catalogue. It opens with the sublime, electrified beauty of "The Walker" before dropping to the drum-kit guided chaos of "The Black Bookshell". Beautiful Life vocalist Luciana Villanova sings on "Overload", a fast paced and evocative track that's ridiculously now, whilst "The Phoenix", featuring another guest vocalist - Nathan Berger - sees more emotive moods contrasted against Boratto's impressive electronic underlay.

Through his signature kaleidoscopic approach, Boratto has delivered a far-reaching, all-encompassing album that's wonderfully accessible. At once able to soundtrack a cocktail party on the beach, a night out on the town with the ladies / lads as well as the Sunday afternoon chores; it's radio crossover potential is also painfully apparent from the very first track with the Brazilian producer embracing a pop-like charm and songwriting style throughout.

Whereas "Spur" (a field-tested 808 and 909-heavy 'purist track', 'very, very old school' Boratto insists) and "Alcazar" are sheer smooth-edged 4/4 epics, the album also has some surprising, startling moments up it's sleeve: the John Barry-esque "Scene 2" (with a hint of Amon Tobin, "Easy Muffin" style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence; or with "Hallucination" (feat B.T.) and the further James Holden-ish title-track "Pentagram" (think 'The Idiots Are Winning'); 'one of those exercises I did when I got my Buchla modular synth', Boratto analyses, 'I think I’ve used more than 30 different snares, with different delays and reverbs. The whole song is alive'. And so is "Pentagram" in its entirety: alive and definitely just as manifold and hopeful as its architectonics are; the stuff of science and dreams all at once. 

TRACK LISTING

A1 The Walker
A2 The Black Bookshelf
A3 Overload Feat. Luciana Villanova
B1 Forgotten
B2 Forgive Me
B3 Scene 2
C1 Alcazar
C2 The Phoenix Feat. Nathan Berger
C3 Halluciantion Feat. B.T.
D1 Spur
D2 Pentagram
D3 618

"Bredow's cast of alumni - the holy trinity o f Atkins, May & Saunderson at the front - fill out this tale with passion, pride and, oddly for music of the future, nostalgia too." - Dazed and Confused

"An enjoyable education into the music, the city and the main players past, present and future." - DJ Magazine

This release contains the finest songs the old man has ever committed to tape - a smorgasbord which encompasses expansive sonic meanderings, unselfconscious indie-rock thrashing, sad-eyed melodrama and the kind of wised-up humour we might expect from a statesman and scholar with such a track record, but which is a rarity in these youthquaking, moronically-earnest and docile times. Here we have George Washington Brown comprehensively topping his past endeavours, having created a truly cherishable thing - a humanistic modern record, a gift from one adventurer to others. For fans of Guided by Voices, Animal Collective, Van Dyke Parks and the Elephant 6 collective.

A double album celebrating the 60th birthday of this wonderful musician. Gavin Bryars is one of Britain's foremost contemporary composers. His work draws together minimalism, ECM style 'chamber-jazz' and classical music creating a sound that merges them all into a perfect symbiosis of sound. The brilliant "Cello Concerto (Farewll To Philosophy)" is just one highlight on this excellent set.

When acclaimed South African musician Guy Buttery first sought out Dr. Kanada Narahari in late 2016, it was as his patient.

“It was a dark time.” Buttery recalls, “I had been bedridden for months and had been suffering from debilitating bouts of fatigue which no diagnosis or medication could help me get to the bottom of. When I first met Kanada, I was at the stage where even picking up my guitar to make music had become a joyless and taxing exercise.”

As Buttery’s searched for a cure, a family member recommended he see Kanada an Ayurvedic doctor who had relocated to South Africa from India and set up a practice in Durban. It was during this consultation, that the musician first experienced how Narahari infused the healing properties of Indian Classical music into his practice. Rather than treating him with a smorgasbord of pharmaceuticals, Narahari played his sitar and set Buttery on a strict daily diet of Raga’s to fast track his recovery.

Buttery was not only struck by his doctor’s musical talents but by the powerful healing properties inherent in his sitar compositions. When he left Narahari’s doctors room that afternoon, he asserts he was feeling decidedly clearer, lighter and stronger.

“Diving into Kanada’s music was definitely one of the reasons I'm still here today.” he admits. “The consistent tonal centre at the heart of Indian Classical Music, literally became my support pillar over this period. A central core of sorts in which to fall back on, strengthen and discover.”

Narahari as it turned out, was not only a prominent music therapist (and one of the only Ayurvedic doctors practicing in South Africa) but like Buttery, a highly accomplished musician with a devoted following back in his homeland.

Born in a small village along the Western Ghats in Karnataka, India, Narahari, at the age of nine, had enrolled to study Carnatic classical vocal and developed an interest in Hindustani Classical music with a particular passion for the sitar. While Buttery had secured his reputation as one of South Africa’s musical treasures, a multi-instrumentalist who commands sold-out performances both locally and internationally and more recently had been awarded the prestigious 2018 Standard Bank Young Artist for Music.
From this consultation, a friendship developed between the two musicians with Buttery soon inviting Narahari to join him in his studio. But it wasn’t all plain sailing in the beginning. While Buttery and Narahari’s sensibilities were very much aligned, there were a range of cultural and musical influences, nuances and inflections that first needed to be navigated and understood.
“I suppose we had to find a common ground.” Buttery says, before adding, “Which in the end turned out to be pretty "uncommon ground" for the both of us.”
It was after a few intensive sessions together that something exhilarating began to emerge. What began as a few idle improvisations soon evolved into feverish and lengthier jams. Whenever time permitted, the musicians would meet, descending deeper into the emerging sounds, while reimagining the realms that existed between their African and Indian heritages.
Over the next few months, the duo would rack up over fifteen hours of recordings in studio, and it was up to Buttery to shape the material into an album which they collectively titled Nāḍī, which Narahari translates from the Sanskrit as "The Channel" or "An Internal River".

During this period, Narahari bestowed upon Buttery, the moniker Guruji while Guy would refer to him, in affectionate return, as Panditji. Each time the musicians would meet, the studio space would be cleared by an impromptu ritual, with Guruji burning African Imphepho while Panditji would chant a Sanskrit mantra dusting Indian Agarbatti clouds over their instruments.

Once the room had been made hazy with this aromatic alchemy (with the ancestors welcomed in) the musicians would pick up their instruments and plunge into shimmering tides of sound. Reflecting on these sessions, Narahari recalls the immense creative freedom he felt throughout: “Guy and I tried to wander as much as possible, without any speculative, preoccupied ideologies or limitations. Love remained at the forefront of our journey together.”

“Those evenings we spent together in the studio” adds Buttery, “felt incredibly rich with purpose and a profound sense of freedom. While improvising, anything could happen and mostly did.”

On a first listen, the tracks on Nāḍī emerge as salty, humid invocations to the inscrutable depths and misty myths of the Indian ocean-- that vast body of water that stretches between, and laps the shorelines, of the artists’ respective homelands.

When asked to describe the sound him and Narahari refined, Buttery prefers to relay a series of evocative images.

“For me” he explains, “Nāḍī is a lighthouse, a beacon that resides at the bottom of the ocean.” As Buttery envisions it, “what once offered light to guide ships to safety, has been submerged and re-purposed by marine life as a coral-reef temple. Similarly, this sunken lighthouse exists as a concealed cenotaph, memorializing the ancient sea-routes and passages that once connected the two distant lands.”

On paper this may sound obscure but listening to the songs, it serves as an apt metaphor.

Across each meditative movement, listeners are able to relive the journey, immersing themselves in a series of incantations, replete with high dynamics, delicate African-Indian inflections and virtuoso string playing of an entirely new order. Further complimenting the fusion of musical dialects are a range of guest artists including Shane Cooper on bass, Thandi Ntuli on vocals, Chris Letcher on organ, Ronan Skillen on tabla and percussion and Julian Redpath on guitar, synth and backing vocals.

Now like the submerged lighthouse, the recordings stand as a monument, a marker and snapshot of this fortuitous meeting, a tribute to the healing gifts of Guruji and Panditji in performance. It’s a process that already, both musicians look back on with reverence and nostalgia.

Buttery ruminates in closing, that when he first met Kanada his illness correlated with the biggest drought South Africa had experienced in many years “…for whatever reason, whenever we would connect and make music together, the sky would tend to open. Even if it was just a few drops. This went on for months, until finally the drought dissipated and my health had been restored.”

By the time the heavens did open across the East Coast, a deep friendship had been forged and with it abundant musical offerings poured down. A treasured sample of which we able to share in every time we press play and immerse ourselves in the sacrosanct musical universe that is Nāḍī.

TRACK LISTING

A1. Kya Baat
A2. Sonokota
A3. Ghandar
A4. Bakithi
B1. Miyan
B2. Raag Kirwani - Gat In Teentaal
B3. A Dichotomy Of Sorts

The in-depth history of the rise, fall and rise of the independent record shop in the UK. Travelling the length and breadth of the UK, Garth Cartwright conducted 100+ interviews with many record shop pioneers, noted musicians and record collectors. Utilising comprehensive research, Cartwright traces record retail history across a century of unprecedented social, cultural and political change.

With foreword by Stewart Lee

From market traders selling music hall 78s via HMV's gloved classical emporium through Soho's post-WW2 jazz, blues and folk scene to mods hungry for imported ska and soul 45s, Going For A Song documents how popular music and youth fashions took shape around influential record shops. Brian Epstein, the genius behind Liverpool's NEMS shops, utilises his trade contacts to launch The Beatles. Psychedelia's golden dawn is overseen at Mayfair's One Stop (Jimi Hendrix's being a regular) while A Clockwork Orange is filmed in the Chelsea Drug Store. The '70’s finds Richard Branson’s Virgin shops leading a revolution in record retail. Rough Trade and Small Wonder launch punk record labels from within their respective shops. Disco and reggae, techno and dubstep, are all shaped by visionary record shops. Then, at the dawn of this century, hundreds of record shops crash. From these ruins rise independent shops surfing the vinyl revival and Record Store Day.

Never before published research documents how a young Bob Dylan records in the basement of a Soho shop while David Bowie, Dusty Springfield, Elton John, Danny Baker and Pete Burns all first entered the music industry via working in record shops. Here friendships were forged, knowledge shared, bands formed and history shaped.

Funk and soul at its finest here as two Chicago classics from the Gene Chandler vault get an official remastered, reissue exactly as they deserve to be.  On the A side, ‘I'll Make The Living If You Make The Loving Worthwhile’ combines heavenly orchestral flair with Chandler’s sweeter than sweet vocals. That early 80’s influence weaves it’s way throughout with a healthy dose of slap bass bringing a flavour of funk to the fore. Take to the B side and Chandler offers up a more disco focused track, complete with a killer boogie tinged bassline, sensuous keys and strings of stratospheric proportions. Those silky-smooth trademark Gene Chandler tones keep the iconic soul running deeply through the veins of this 1980 number. Any self-respecting music lover deserves this remastered version nestled in their collection.

TRACK LISTING

A1. I'll Make The Living (If You Make The Loving Worthwhile)
B1. All About The Paper

Erratic Cinematic is the hugely anticipated debut album from ‘first class warrior-poet’ Gerry Cinnamon. The anthemic tracks, laced with social commentary have captured the imagination of audiences up and down the country. Gerry Cinnamon’s music crosses generations in a way that only a handful of wordsmiths can – relatable, relevant and a true storyteller. Unsigned and unmatched in his ability to operate outside of the mainstream Gerry has become a cult hero and force to be reckoned with. In an age of information overload, it’s clear Gerry Cinnamon cuts through the noise. No longer is the intermediary power with the label or the media. It is between the artist and the listener. Gerry Cinnamon embodies this. The reaction to this critically acclaimed debut album has affirmed Gerry Cinnamon’s place as a writer as well as a inimitable live act. than an artist but a phenomenon, paving the way for the next generation of DIY pioneers.

TRACK LISTING

Sometimes
Lullaby
What Have You Done
Belter
Fortune Favours
The Bold
Erratic Cinematic
Keysies
Diamonds In The Mud
War TV

Gerry’s eagerly anticipated second album ‘The Bonny’ is out on his own Little Runaway label.

“It’s probably not smart to release during a lockdown when the shops are closed and everyone’s isolating but no chance I’m letting folk down. Never gave a fuck about numbers anyway not gny start now. Albums out April 17”.

He’s already exceeded 115 million plays at Spotify, including the recent singles ‘Dark Days’ and ‘Sun Queen’. Everything that Gerry has achieved has been done entirely independently via his own label Little Runaway. It’s the result of making a connection with fans in the purest way. His songs tell relatable stories which have captured the imagination of audiences up and down the country. Gerry makes a habit of whipping the audience into a frenzy which sees them leaving on a high and wanting more!

After ‘The Bonny’ went straight to Number 1 in the UK and Ireland in April, like everyone else, Gerry had to reschedule his 2020 dates until next year. With over 200,000 tickets sold in the UK and Ireland, he was preparing for his biggest ever tour, one of the biggest in the UK, firmly establishing him as one the top live artists in the country. And he was making waves abroad, set to tour in the US, Australia and throughout Europe. With all that on hold until 2021, he took stock and kept creating with more new music expected next year. The Bonny is already the third biggest selling UK album released in 2020 and the Definitive version also includes new recordings of two fan favourites that can finally be included on an LP.

“Been waiting a long time to get those tunes back,” explains Gerry, “Should have been on the first album but that's what happens when you trust the wrong people.Ghost was written around the same time as Kampfire Vampire, Fickle McSelfish, and Roll the Credits so it’s good to have them all on the same record.”

Ghost is classic Gerry and illustrates why he has become one of the most popular artists in the UK and beyond – lyrics sparking rich imagery, reminding the listener of their own life, while deftly telling his own story (“turn into a ghost if you want to disappear, cry tears for someone else some place where I can’t hear”). Anthemic hooks melt with bittersweet sentiment. Certain fan-favourite, Ghost is made for those days when we are all back together and singing our hearts out alongside him.

TRACK LISTING

Canter
Kampfire Vampire
War Song Soldier
Where We’re Going
Head In The Clouds
Dark Days
The Bonny
Sun Queen
Outsiders
Roll The Credits
Ghost
Mayhem
Fickle McSelfish
Six String Gun
Every Man’s Truth

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

10" Vinyl - (500) copies Limited Edition cut at 33rpm. This double A-side is the result of a series of sessions that took place throughout 2017, when Gary collaborated with producer Mike Bennett.

Gene Clark’s 1974 masterpiece gets the reappraisal it’s long overdue.

“One of the greatest albums ever made. Initially celebrated for its obscurity, No Other is now celebrated for its magnificence. It was in every way a magnum opus: epic, sprawling, poetic, choral, rococo.” The Guardian

On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other. Released in 1974 on Asylum Records, a year after the Byrds shortlived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make. Although received warmly by critics, it flopped and was soon deleted, a failure Gene never came to terms with.

However, as The New York Times wrote around the record’s 40th anniversary in 2014, “hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star’s Third/Sister Lovers and Lou Reed’s Berlin,” with the album now being increasingly recognised as one of the greatest of its time, if not all time.

45 years on and recently remastered at Abbey Road, 4AD have given No Other the reappraisal it deserves. 

STAFF COMMENTS

says: Recently remastered at Abbey Road and 45 years on from its original release 4AD are giving Gene Clark’s 1974 masterpiece it’s long overdue reissue. Available on black vinyl, standard CD, a limited deluxe CD edition in a hardbound book cover, and an all encompassing and sumptuous silver box set containing vinyl, three SACD’s, Blu-Ray and an 80 page hardbound book.

TRACK LISTING

LP & CD Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

2CD Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

No Other (Sessions 1)
1. From A Silver Phial (Version 4)
2. Silver Raven (Version 2)
3. Some Misunderstanding (Version 3)
4. Life’s Greatest Fool (Version 2)
5. Train Leaves Here This Morning (Version 2)
6. Lady Of The North (Version 2)
7. The True One (Version 2)
8. Strength Of Strings (Version 2)
9. No Other (Version 2)

Deluxe Boxset Tracklist:
No Other (Remastered)
1. Life’s Greatest Fool
2. Silver Raven
3. No Other
4. Strength Of Strings
5. From A Silver Phial
6. Some Misunderstanding
7. The True One
8. Lady Of The North

No Other (Sessions 1)
1. From A Silver Phial (Version 4)
2. Silver Raven (Version 2)
3. Some Misunderstanding (Version 3)
4. Life’s Greatest Fool (Version 2)
5. Train Leaves Here This Morning (Version 2)
6. Lady Of The North (Version 2)
7. The True One (Version 2)
8. Strength Of Strings (Version 2)
9. No Other (Version 2)

No Other (Sessions 2)
1. From A Silver Phial (Version 1)
2. Life’s Greatest Fool (Version 1)
3. No Other (Version 1)
4. Lady Of The North (Version 1)
5. Some Misunderstanding (Version 1)
6. Silver Raven (Version 1)
7. Train Leaves Here This Morning (Version 1)
8. The True One (Version 1)
9. Strength Of Strings (Version 1)
10. Life’s Greatest Fool (Single Version)
11. Silver Raven (Single Edit)

Exclusive 7”
A. Life’s Greatest Fool (Single Version)
AA. Train Leaves Here This Morning (Version 1)

Documentary
The Byrd Who Flew Alone: The Making Of No Other By Paul Kendall
No Other (Alternate Audio Versions)
No Other (HD Audio Remaster)
No Other (5.1 Surround Mix)
No Other (1974 Vinyl Master)
No Other (2019 Stereo Remix

80 Page Hardbound Book
Extensive Liner Notes
Lyrics
Previously Unpublished Photographs
Essays By Andrew Perry, Jon Einarson, Johnny Rogan, Martin Aston & Sid Griffin.

Gabriella Cohen’s debut solo full-length is the product of ten days and two microphones. Co-produced alongside close friend, bandmate and engineer Kate ‘Babyshakes’ Dillon, the record is the result of what Cohen describes as the “ceremony” of reflecting on a relationship.

The album’s raw, personal side could be traced back to its place of birth at Dillon’s parents’ place in the country, or to the Brisbane streets the songs were composed in. The songs are soaked in the kind of aching nostalgia that is tinged with equal measures of sadness and triumph. On ‘I Don’t Feel So Alive’ Cohen warns: “This could be the last time we get together” and on one hand it’s melancholy but it’s in the spirit of endings that are also beginnings. After finishing the record, Cohen and Dillon hit the road down Australia’s East Coast, from Brisbane to Melbourne, a truck full of instruments and gear following in their wake.

There are two sides to Cohen’s coin though - for every moment of raw, cutting emotion, there’s one of otherworldly ethereality. It’s what makes the record feel timeless, which doesn’t mean old-fashioned - it means that the vocoder on ‘Feelin’ Fine’ and the fuzzy, frenzied drums of ‘Alien Anthem’ don’t feel at odds with the dreamy, ambling melodies and old-school ethos at the heart of Cohen’s songwriting.

‘Full Closure And No Details’ is a definitional labour of love: when Cohen talks about her collaborators she sounds like she’s talking about her family - her bass player and backing singers, ring-ins that recorded after Cohen and Dillon finished up in the country, are ‘dear friends’; and Dillon is her ‘sister’. The songs were written on Cohen’s grandpa’s nylon string guitar and ‘Piano Song’ was recorded on Dillon’s parents’ old, out-of-tune upright, the same piano she learned on as a child.

“‘Full Closure And No Details’ is quietly impressive - a slowburning fusion of defiance and heartache.” - The Guardian

TRACK LISTING

Beachs
I Don’t Feel So Alive
Sever The Walls
Yesterday
Piano Song
Feelin’ Fine
Downtown
Dream Song
This Could Be Love
Alien Anthem

Australia’s sweetheart, Gabriella Cohen struck gold with the release of her internationally acclaimed debut, Full Closure and No Details in 2016. After extensively touring the album worldwide and sharing the stage with musical heavyweights like The Flaming Lips, Marlon Williams and Rodrigo Amarante, fans and industry alike embraced the dreamy, fuzz-soaked popscapes created by Cohen. The Guardian praised: “Seductive, broody and occasionally sinister,” and it drew four-star reviews from MOJO, UNCUT and Q Magazine.

In the summer of 2017, Cohen moved to a farm in countryside Victoria, Australia, to record and self-produce her second album with engineer and partner-in-crime, Kate ‘Babyshakes’ Dillon. There, amidst flocks of screeching white cockatoos and herds of Black Angus cows, they etched the beginning of Pink Is The Colour Of Unconditional Love. The record was almost complete when the band was invited to join Foxygen’s U.S tour, compelling the girls to finish the album on the road. Armed with a microphone and an interface, Dillon and Cohen captured the final touches on a boat in England, the coast of Portugal; in the mountains of Southern Italy, cafes of Mexico, and finally in Venice Beach, Los Angeles.

Pink Is The Colour is an expansive and exciting body of work, showcasing Cohen’s unusually refreshing twists on pop arrangements. ‘Baby’ was born in the graveyard of unrequited love, while ‘Music Machine’ became a swagger of sultry defiance set in LA. Throughout the new album Cohen creates complex and sugary backing vocals. These signature vocal arrangements—contoured with classic harmonies and nostalgic melodies—form songs remarkable in their originality. Honest heartache is woven into glory throughout the record, and during eleven tracks a candid, almost ethereal self-portrait of its songwriter emerges. For Gabriella Cohen, it’s an epitaph of electric wonder, and a definitive fact: Pink is the Colour of Unconditional Love.

“A modern psychedelic prophet who layers drawling vocals, heartache, and healing over a background of Velvet Underground-esque guitar distortion.” - Rookie Mag

TRACK LISTING

1. Music Machine
2. Baby
3. I Feel So Lonely
4. Miserable Baby
5. Mercy
6. Change
7. Neil Young Goes Crazy
8. Recognise My Fate
9. Morning Light
10. Hi Fidelity
11. Sky Rico

It’s been an extraordinary journey for Gaz Coombes, from flashily whiskered pop tearaway to Ivor Novello and BRIT award winning rock star. The mega-watt melodic genius responsible for ten Top 20 hits and six Top 20 albums - 'I Should Coco' was Parlophone’s fastest selling debut since the Beatles 'Please Please Me' - returns with his remarkable new album, entitled 'Matador'.

“There’s this disposable vibe around music at the moment which is odd, because it’s so obviously central to most people’s lives,” says Gaz. “Life is full of moments of fear, loss and longing, but it’s how you get through those things and triumph over them which define you. But there’s as much light as there is dark on this record; there’s beauty in both of those states and that has always intrigued me."

TRACK LISTING

1) Buffalo
2) 20/20
3) The English Ruse
4) The Girl Who Fell To Earth
5) Detroit
6) Needle’s Eye
7) Seven Walls
8) Oscillate
9) To The Wire
10) Is It On?
11) Matador

World’s Strongest Man is the magnificent third solo album by Gaz Coombes. Inspired variously by Grayson Perry’s the Descent of Man, Frank Ocean’s Blonde, Californian weed, British woodlands, unchecked masculinity, Neu! and hip hop (and a whole lot more besides), it’s a truly remarkable collection of eleven deeply personal songs each set to expansive, addictive melody.

TRACK LISTING

1. World’s Strongest Man
2. Deep Pockets
3. Walk The Walk
4. Shit (I’ve Done It Again)
5. Slow Motion Life
6. Wounded Egos
7. Oxygen Mask
8. In Waves
9. The Oaks
10. Vanishing Act
11. Weird Dreams

A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogerio Duprat and Tenorio Jr. amongst others.

Replica original gatefold including the cover that was banned by the Brazil ian military government in 1973 during the brutal dictatorship. ‘

India’ includes the incredible ’Pontos De Luz’ as sampled by Kaytranada on ’Lite Spots’ – one of Mr Bongo’s favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.

A record that Mr Bongo have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

"The Spinning Top", Coxon's seventh studio LP to date, is also his finest yet whether the folky blues shuffle of "Sorrow's Army", menacing thrashes of "Dead Bees", or eight-minute daydream opus, and perhaps album centrepiece, "In The Morning". Comprising 15 original new songs, the album was produced by Stephen Street and featuring collaborators such as Danny Thompson and Robyn Hitchcock. Graham's most intimate and beguiling work to date, "The Spinning Top" ploughs depths, textures and lyrical furrows that few of his contemporaries are still able to muster, especially this far down the line. Conversely, this is the sound of a man rejuvenated and refocused, ready for yet another flourish in an-already compulsive and vital career.

Following March's debut single ‘Wide Boys’ which gained favour from Steve Lamacq, John Kennedy, Amy Lamé, Jamzsupernova, Get in Her Ears to name a few, Outre are delighted to present this solo long player, Gemma Cullingford's quiet public persona as one half of Norfolk's finest disco maidens Sink Ya Teeth and previously with Blast First's KaitO has masked her nature.

On Let Me Speak Gemma finds her voice and noise as a solo artist and songwriter with a very personal body of work. Storytelling through the medium of raw electronic and industrial sensibilities. During Sink Ya Teeth’s downtime throughout the pandemic Gemma has been working on creations of a more personal nature, and it’s just what your ears need right now.

Raised on a diet of Throbbing Gristle, Depeche Mode, New Order, Fad Gadget and A Certain Ratio, Gemma Cullingford's own trajectory has been equally impressive - from playing bass with Blast First / Mute signings Kaito, and more recently as one half of post-punk electronic dance duo Sink Ya Teeth.

This solo offering further adds to her fine body of work. 2020 saw Sink Ya Teeth having to abandon many live gigs and promotion for their second album, so during the band's downtime Gemma worked purposefully in her home studio on solo works of a more personal nature.

TRACK LISTING

Side A
1 The Lizard
2 Sight For Sore Eyes
3 Wide Boys
4 Racer
5 Let Me Speak

Side B
6 Queen Bee
7 Chase The Beat
8 I Like You
9 Ode To Billy Joe
10 Fatal Embrace

Raised on a diet of Throbbing Gristle, Depeche Mode, New Order, Fad Gadget and A Certain Ratio, Gemma Cullingford's own trajectory has been equally impressive – from playing bass with Blast First/Mute signings Kaito, and more recently as one half of post-punk electronic dance duo Sink Ya Teeth. This solo offering further adds to her fine body of work.

2020 saw Sink Ya Teeth having to abandon many live gigs and promotion for their second album, so during the band's downtime Gemma worked purposefully in her home studio on solo works of a more personal nature, the first fruits being this double A sided single. An album entitled "Let Me Speak" will follow in the summer of 2021.

"Wide Boys" is a menacing disco call to action; "It's a message to the average man and woman on the street, many of whom seems to have been brainwashed by both those in power and by the far right. It's saying that every single one of us are being controlled as part of a big, sinister game. This is a response to my own awakening to that" she explains.

"104" is an instrumental electronic jam for feet, limbs and loose minds. "The idea behind 104 came from wanting to start off with real sounding drums that subtly evolve into pure electro over 3 or 4 minutes".

Glenn Davis returns to F*CLR for his 3rd EP on the label and all I can say is that this EP is an absolute killer. It’s been almost impossible to keep the lid on this house track of epic proportions for the last 12 months. Simple, effective and deadly, Ashley Beedle dropped the original on dubplate at one of the now legendary ‘Heavy Disco’ parties at the beginning of 2020 and the crowd lost their minds. Shazam went into meltdown and nobody could find the answer!

Glenn’s original harks back to the halcyon days of classic New York house - think Masters at Work, think Kerri Chandler, think Tony Humphries, think ‘category is taking it to church’. This is what ballroom beats are all about – attitude, realness and taking no prisoners. It really is a thing of beauty and has already gone into the realms of ‘classic’ with all the heads who have had the dubplate. It is the distillation of everything good about true house music – it remains faithful to the early pioneers’ vision of what they hoped house music would become.

Once again, the ‘North Street’ crew, Ashley Beedle, Darren Morris and Jo Wallace, flip the script on their ‘North Street West’ remix of ‘Special’ and inject a late 80’s toughness into the groove while bringing it bang up to date with chopped beats, nasty piano and a jacking tempo that ‘werks’ Glenn’s original track.

TRACK LISTING

A1. Original Mix
B1. North Street West Vocal Remix
B2. North Street West Instrumental

This 1975 album is a studio session organized by Maestro Giacomo Dell'Orso (the husband of Edda) here released under his given name and not the Oscar Lindok pseudonym he's better known for. This album had the simple purpose of a fun and playful session without preconceived models. The result is a carefree album, from the friendly cover (Orso means Bear) to the music that is interwoven with bossa nova, samba, jazz and funk in a style that recalls in many ways the work of Maestro Piero Piccioni. Dell'Orso plays organ, electric piano and Bulisacchio (a synth with metal slats that simulate bass), Nino Rapicavoli on flute and sax, Jimmy Tamborelli on guitars and Ciro Cocozza on percussion.

TRACK LISTING

Side A:
1) Un Italiano A Manhattan
2) Clementina Un Due Tre
3) Sambatico
4) Ieri Sera A Rio
5) Hippy Piu’ Che Mai

Side B:
1) Ciao Carioca
2) Dolce Emma
3) Balla Hermosa
4) Valzer Souvenir
5) Non Mi Va Giu’

For the last 30 years, Greg Dulli, frontman of The Afghan Whigs and The Twilight Singers, has been the poet laureate of the bizarre whims and cruel tangents of desire. A foremost authority on the sell-your-soul rewards of carnal lust, the high voltage epiphanies of chemical enhancement, and the serotonin lows left in their wake.Therein lies Random Desire, the first solo album under Dulli’s own name.

Random Desire started in the aftermath of the last Whigs record, 2017’s In Spades, which Pitchfork named one of the best rock records of the year, hailing it as a “heavy, menacing work of indie rock majesty…thrilling and unsettling.” Drummer Patrick Keeler was about to take a short sabbatical to record and tour with his other band, The Raconteurs. Dulli’s longtime collaborator, bassist John Curley went back to school, and there was the tragic death of the band’s guitarist, Dave Rosser.

In response, Dulli returned to his teenage bedroom roots, finding musical inspiration via the model of one-man-band visionaries Prince and Todd Rundgren. The Los Angeles-by-way-of-Hamilton Ohio native wrote nearly every part of the record from piano lines to drums to bass riffs. As always, the music came first and the lyrics were completed later. Recording and writing way stations included his home in Silver Lake, the village of Crestline high up in the mountains above San Bernardino, and New Orleans. But the bulk was finished amidst the arid beauty and stark isolation of Joshua Tree (at the studio of engineer Christopher Thorne). Dulli handled most instrumentation, but an all-star cast of characters appear across the track-listing including The Whigs’ guitarist Jon Skibic and multi-instrumentalist Rick G. Nelson, Mathias Schneeberger (Twilight Singers), pedal steel wizard, upright bassist, and physician Dr. Stephen Patt, and drummer Jon Theodore (Queens of the Stone Age, The Mars Volta).

Clocking in at a lean 37 minutes, Random Desire is a clinic put on by a veteran master operating at the height of his powers, offering evidence of the hard-fought and weary wisdom learned from setbacks and victories alike. A lucid, confident and self-assured document of the songs of experience, the perils of existence, and the possibilities that offer themselves anew with each breath. Another death and rebirth from an outlaw who has seen it all and somehow lived to tell.

STAFF COMMENTS

says: A wonderfully immersive mix of rich, hearty synths, industrial percussion and the heartfelt vocal outpourings of the great Greg Dulli. Veering from post-rock instrumentals and electronic percussion into more longing stadium rock pieces, this is a perfectly balanced and enthralling listen from one of the UK's most beloved guitarists. Superb.

TRACK LISTING

Side A
1. Pantomima
2. Sempre
3. Marry Me
4. The Tide
5. Scorpio

Side B
1. It Falls Apart
2. A Ghost
3. Lockless
4. Black Moon
5. Slow Pan

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

4 Track EP on limited double gatefold 7" vinyl.

Double Six and Domino Records present ‘All That Must Be’, the second full length album from George FitzGerald. It features collaborations with Lil Silva, Hudson Scott, Bonobo and Tracey Thorne.

‘All That Must Be’ is a record with its psychological roots in two cities - Berlin and London. It documents a period of time when FitzGerald’s decade-long stint in the German capital came to an abrupt end, seeing him back in his hometown of London and becoming a father for the first time. It was against this backdrop that ‘All That Must Be’ started to form and the result is a record that deals with the processes of upheaval, change, acceptance and renewal that affect us all.

TRACK LISTING

Two Moons Under
Frieda
Burns
Roll Back (+ Lil Silva)
Siren Calls
Nobody But You (+ Hudson Scott)
Outgrown (+ Bonobo)
Half-Light (Night Version) (+ Tracey Thorn)
The Echo Forgets
Passing Trains

Part two of our nod to the world of library from Athens of the North introduce Greg Foat journeys into the world of synthesis with good friend James Thorpe. This new LP was recorded in the old Bees Studio on the Isle of Wight earlier this year, a special, different piece of work which I was delighted to receive on ¼ inch tape without warning. Greg's output continues to be prolific without ever tiring, he never plays it safe and is always looking forward whilst having an ear for our musical-heritage.

TRACK LISTING

1. Elementary Physiology, Pt. 1
2. Elementary Physiology, Pt. 2
3. Balloon Ride
4. Circadian Rhythms
5. Diametrically Opposed
6. Grockle Box
7. Living The Dream
8. Platform Game
9. Stacey's Theme
10. Photosynthesis
11. Chronobiology 

Foat has become a versatile mainstay in UK jazz through an acclaimed series of albums on Jazzman and Athens Of The North, moving from soul-jazz workouts to library music to cinematic, haunting compositions and pastoral acid folk. ‘Symphonie Pacifique’ goes expansive and widescreen, building a lush soundscape using choral textures, harp and tubular bells on the atmospheric ‘After The Storm’ alongside sensual groove-based tracks like the undulating ‘Anticipation’, the album title track and Groove Merchant-channelling ‘Nikinakinu’, all driven by Phil Achille on bass, Eric Young on congas and Moses Boyd’s crisp, flowing breakbeats. Other tracks include a moving tribute to KPM library legend Duncan Lamont on the reflective ‘Lament For Lamont’ and the languid, simmering ‘Island Life’.

The album is a truly international collaboration, recorded analogue and produced by Greg Foat at London’s Fish Factory studios with strings recorded in Edinburgh and choir in Gothenburg. The album was mixed by Mattias Glava at Kungsten Studios in Gothenburg. Cover artwork is based on a painting by early 20th Century Algerian / Parisian artist Henry Valensi.

STAFF COMMENTS

says: Greg Foat has always had a firm place on the shop stereo, and 'Symphonie Pacifique' cements that likelihood with a swaying, filmic mash-up of syncopated hooks, frenetic percussion and effortless, jazzy cool. As perfectly redolent of the genre's past as it is it's future.

TRACK LISTING

A1. Prelude
A2. Symphonie Pacifique
A3. Undulation
A4. Anticipation
A5. Mu
A6. Yonaguni
B1. Island Life
B2. Nikinakinu
B3. Man Vs. Machine
C1. Before The Storm
C2. After The Storm
C3. Meditation On A Pedal Steel
C4. Lament For Lamont
D1. Pointe-Vénus
D2. Mother’S Love
D3. Epilogue: Three Tenors

Garron Frith is a singer/ Songwriter from the North West. After playing a gig for Nick Georgia at Popart Garron met producer, musician and one time member of The Willard Grant Conspiracy, Simon Alpin (Devendra Banhart, Teenage Fanclub, Badly Drawn Boy). The result was the making of this debut album. It's acoustic based with some great musicians adding a delicate backdrop to the ten tracks. The debut album features members of Grand Drive, The Willard Grant Conspiracy and Green on Reds Chuck Prophet. If you like early Adams/Damien Rice/Ray Lamontagne/Joe Purdy etc you won't go far wrong with this one.

"Resembling a hybrid of John Martyn and Gerry Rafferty on the inside sleeve photo of his second album, the Stalybridge singer-songwriter also demonstrates throughout a similar knack for innovative songwriting talents as the aforementioned duo.

Away From The Bright Lights is awash with fine, sensitively delivered Frith originals that superbly demonstrate his versatility: smooth acoustic soul on 'Not The Man' stomping bare bone blues on 'Pretty Penny', an absorbing full-band sound with sweeping violin and a perfectly laid-back rhythm section on 'This One' the mandolin and violin colours the celtic flavours of 'RocknRollBand' and the rich strain of gritty Americana that runs through 'Good Thing'.

What sets Frith apart is his warm and welcoming voice, which maintains its authority and stamps its mark on an album of understated confidence, possessing a beautifully brooding mood and atmosphere." - Danny Moore

Like some latter-day beat-centric version of Goffin & King, Georgia and Dudley have been on a collective creative roll in 2007 that shows no sign of stopping yet. Their futuristic hip hop-soul has already been aired on Georgia's "Olesi" and "Patti Blingh" albums, and their "Beautiful Minds" project with Brit DJ / producer 2Tall. Now "The Message Uni Versa" presents a further 20 tracks of the Stones Throw duo's inimitable peace, rhythm and rhyme.

South Central, Los Angeles rapper G Perico has established himself as one of the most promising and consistently great voices in West Coast hip hop over the past year with his updated take on classic gangster rap. Having already released a full-length album in "All Blue" earlier this year and recently following it up with the G-Worthy project that sees him joining forces with rapper Jay Worthy and super-producer Cardo, Perico is now announcing a third album. "2 Tha Left" picks up where All Blue left off and showcases a prolific young rapper who is relentless about honing his craft and is getting better with every new verse he records. The album features LA rappers TeeCee4800, AD, and Polyester alongside Northern California's Nef The Pharaoh and Mozzy in addition to the legendary New Orleans rapper Curren$y. Production on the project is characterized by a modern take on classic G-Funk courtesy of longtime collaborators Poly Boy, Polyester, Westside Webb, and Cardo amongst others.

TRACK LISTING

1. Intro
2. Affiliated
3. Go
4. Everybody
5. Other Side
6. What Up Cuz
7. World On Wheels (Interlude)
8. I Love Thots
9. Fly Around
10. What’s Real
11. Send Her Home
12. Amerikkka
13. One Two
14. Mind Yours
15. The Outro

G-Man's “Quo Vadis”, a track released for the first time in 1995, was one of those seminal tracks which flirted seductively between house and techno camps. A real classic, notibly included in Richie Hawtin's "DE9" mix (*EDIT: It was actually Richie Hawtin's Mixmag CD mix..! - ed), it perfectly encapsulates the mood and energy of those early minimal records and became one of the blueprints of the genre. Back on vinyl for the first time in ages courtesy of Back To Life, who've handily included D. Diggler's energetic remix which wasn't on the original release. "Sparticus", also by G-Man and an equally arresting slice of minimal techno ingenuity is also tagged onto the B-side making this one helluva package for techno lovers! Completely recommended.

STAFF COMMENTS

says: Huge score for me this. "Quo Vadis" caned to death by Richie Hawtin at the turn of the millenium. Most notible on his Mixmag cover CD. Along with Baby Ford, Plus 8, Basic Channel and Akufen, its purity recalls a golden time for music and clubbing.

TRACK LISTING

A1. Quo Vadis
A2. Quo Vadis (D.Diggler Remix)
B1. Sparticus

FOR FANS OF.. The Buffalo Killers, The Black Keys, Neil Young, Crazy Horse. From the ashes of the acclaimed Ohio rock band Buffalo Killers, singers/songwriters/siblings Zachary and Andy Gabbard have re-emerged as The Gabbard Brothers. And while there are still similarities to their previous band, with nods to greats like Neil Young, James Gang and Buffalo Springfield, there's a hazier, organic, earthy-psych vibe running through the brothers' new music. Fresh from their Black Keys tour (Zachary and Andy are current bassist and guitarist, respectively, in the Keys' expanded tour group), The Gabbard Bros. are releasing their debut single 'Sell Your Gun Buy A Guitar' via Colemine Records' imprint Karma Chief, which CityBeat music editor Mike Breen called a "great '60s-flavored pop nugget." The B-side, 'Too Much To Feel' - a musical middle finger to the bigots, racists and folks holding on to an old, outdated way of thinking. This new single will be included in their forthcoming debut studio album.

TRACK LISTING

1. Sell Your Gun Buy A Guitar
2. Too Much To Fee

Brimming with creativity, “Fluff” is the debut album from singer-songwriter Andy Gabbard (Buffalo Killers). This is “Modern Grunge Fuzz Pop with 60’s aura”. On “Fluff” you can hear the deeply-solid effects of the grunge genre and mid-90’s ‘alternative music’ in a sonic gestalt. Exhibiting characteristics of fairly recent genres, as well as some classics that surrounded him during his youth, the album breaks barriers of seemingly comfortable, unthreatening music cultivating a physical embodiment of Nirvana, Dinosaur Jr, latter Beatles and even Brian Wilson! Buffalo Killers continue their successful run and now, it’s not running alone. “Fluff” is the start of something great. 

TRACK LISTING

Fluff
Home Suite
Supernational
Everything She Does
Octoman
Lonely Girl
LYSM
More
Look Not Sound
Dreams
DDS

Sampled by Drake (“Jungle”) and G-Eazy (“Running”). Instrumental versions of Gabriel’s Stones Throw Records debut Jardín now available on limited edition wax. Gabriel Garzón-Montano’s formidable skills have come to fruition on Jardín in his Stones Throw debut. “This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,” he said. “I’ve always wanted to make music that is healing, comforting, and funky. I named the album Jardín hoping for it to create a space for healing when people put it on. “A garden is full of life, growth and beauty,” Gabriel said of choosing that unifying image as the title for his new album. “It makes me think of green and white and all the colors as they appear in different flowers.” That vivid spectrum bursts forth on Jardín itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches. From the heartache and aching vocals that float over the dusty drums of “Crawl” to the stutter-step thump of “Bombo Fabrika” to the high falsetto he nails on “Octave,” Garzón-Montano proves himself to already be one of 2017’s biggest breakout talents.

TRACK LISTING

1. Trial (Instrumental)
2. Sour Mango (Instrumental)
3. Fruitflies (Instrumental)
4. The Game (Instrumental)
5. Long Ears (Instrumental)
6. Crawl (Instrumental)
7. Bombo Fabrika (Instrumental)
8. Cantiga (Instrumental)
9. My Balloon (Instrumental)
10. Lullaby (Instrumental)

Lush, hi-fidelity, electronic house music here from Montreal as Gabriel Rei blesses Bienvenue with three tracks of sumptious late nite textures.

Produced with a keen attention to detail and a firm grip of his technologies, all three tracks exude a dreamy expansiveness - with elements of dub techno coalesced with direct dancefloor kinetics and a floaty, melodic touch. Pulsating, rippling and cascading synth licks it's defining feature.

Rei's patches and synthesis are mind bogglingly good; recalling the recently passed D. Ball and his Ourtime output alongside other higher ring operatives. This is pretty special folks, especially for those with a penchant the more techier side of house music - don't sleep!

TRACK LISTING

A1. All And This
A2. Basement Limbo
B. City Of Dreams

Sick of Roy Wood's Wizzard, Cliff Richard's "Mistletoe and Wine" or even carols from Kings? Here's a chance to experince the ambience of the first Mass of Christmas in St. Mark's as it might have been celebrated in Venice around 1600. Featuring the music of Giovanni Gabrieli (1554-1612) and Cipriano De Rore (1516-1565) and exquisitely played on period instruments by the Gabrieli Consort and conducted by Paul McCreesh, this is a brilliant spiritual and joyous disc with the wonderful Archiv Production sound quality that recaptures the reality of the voices and instruments.

Introducing Gabriels - an LA based group made up of singer Jacob Lusk and producers Ari Balouzian and Ryan Hope. ‘Love and Hate in a Different Time’ is their new single and the perfect taster of their genre-defying sound. Their debut single ‘Loyalty’ was released on the seminal R&S Records, that and their follow up ‘In Loving Memory’ received support from the likes of Gilles Peterson, Virgil Abloh and Benji B. Both tracks served as solid stepping stones to reach this point in their fledgling career with a full debut EP due for release before the end of the year.

‘Love and Hate in a Different Time’ is the next piece of the puzzle and comes alongside an incredible short film devised and directed by band member Ryan Hope. The song itself envelops you in comforting joy as its soulful funk elements meld with gospel warmth backed by muffled drums and distant hand claps. Its intimacy is in its rawness and honesty as Jacobs affecting voice sews the song together.

The visual is just as unifying; a series of spliced together film footage of the dancefloor over the decades – from as early as 1894 when Thomas Edison became one of the first to film the dancefloor by shooting ‘Buffalo Dance’ - the Sioux Ghost Dance – up to the present day. The video showcases the true power of dance and how it can bring people together through good times and bad as well as its complicated relationship with technology. The short film ends with footage of Jacob singing impromptu through a megaphone at a recent Black Lives Matter protest in LA – making the footage all that more moving and impactful for the complex present time we’re all living through.

“The actual definition of the dancefloor is something that has always fascinated me. It’s a space we express ourselves ultimately. However as a huge Adam Curtis fan I’ve always been fascinated with origins and definitions. The complex relationships between subjects and the stories we are told to learn about them. When I started researching the history of the dancefloor and found that Edison was one of the first to film a dancefloor and he monetized it in the way he did. I think of where we are at now and ask what have we really learned? That is the concept behind the film for Love and Hate in a Different Time.” Ryan Hope

TRACK LISTING

A1. Loyalty
A2. In Loving Memory
A3. Professional
B1. Love & Hate In A Different Time
B2. The Blind

The story began like this ...We heard Daniel Gadd by pure chance. A flickering neon sign occupied one corner of the stage. Daniel took centre stage. He plays guitar and sings. We happened to be there. Immediately we began to listen. That dark basement in central London, a haven far from the concerns of people on the streets above, was the best place to be in London that night. The audience was spellbound. And then just as he seemed to be finishing up, someone shouted out “one more!” “Okay, thanks…is it okay if I do one more?” asked Daniel, wondering for a moment, not sure if it was. The venue booker by the door did not hesitate and nodded the go-ahead. Daniel played on. And we were very glad to be there. It turned out that Daniel Gadd had somehow got to London via Spain, and he had been in London for a year. He’d trained at Berklee College of Music in Valencia, Spain. He composes and scores for film, and also works as a film composer’s assistant, during the daytime.

At night he likes to play gigs. He’d even recorded an album of songs by the sea at Kalk Bay, a small fishing village that’s now become part of Cape Town. But he hadn’t known what to do next. Well we said we love your music so let’s meet up soon. A few days later we met Daniel at Foyles bookstore café at 107 Charing Cross Road. The album he’d mentioned is his remarkable debut. So here it is…. the album will now be released on CD and digital through Cargo. Daniel named his label 107 Recordings in recognition of the Foyles meeting where the idea for the release of this album was born. Daniel Gadd is 26 years old. He’s British-South African. He grew up in South Africa, he lived in Spain for a year and after that he found his way to London…

TRACK LISTING

1 Siri Linn
2 Some Time Ago (On A Cold Winter Night)
3 Rolling On
4 Sleep Turns Her Face
5 The Trail I'm Tracking 
6 Just Like The Road
7 So Long Old Friend
8 Someways Down A Highway 

Gaika presents his debut album, "Basic Volume" after captivating listeners with a blistering pair of acclaimed, self-released mixtapes "Machine" and "Security" and the Warp-released EPs "Spaghetto" and "The Spectacular Empire". The 15 track collection is co-produced by Gaika, with additional production from similarly forward thinking contemporaries, including SOPHIE, Dutch E Germ, Dre Skull and DADRAS, Aart as well as previous collaborators including Jam City, Nick Leon and Frank Ocean’s "Blonde" and "Endless" collaborator Buddy Ross. Speaking about the album, Gaika says, “Basic Volume" is collection of alchemical parables for all the Immigrants who wander the earth in search of themselves”

TRACK LISTING

Basic Volume
Hackers & Jackers
Seven Churches For St.
Jude
Ruby
Born Thieves
36 Oaths
Black Empire (Killmonger
Riddim)
Grip
Clouds, Chemists And
The Angel Gabriel
Immigrant Sons (Pesos
And Gas)
Close To The Root
Crown & Key
Warlord Shoes
Spectacular Anthem

While they’ve released records on their own, and even collaborated in the past (Orcas), Rafael Anton Irisarri and Benoit Pioulard have never made music quite like they do with Gailes. This is a pure winter doldrums soundtrack, when the stillness after a snowstorm ends elongates into deep contemplation.

It’s not surprising that Seventeen Words was conceived, composed and recorded as the duo weathered a brutal winter squall, the remains of which can be viewed on the album’s artwork. This is bottomless music, minimal in sound yet majestic in presentation. Snow slows, time freezes. This is the world of Gailes, just a fragment of our own writ large for eternity.

TRACK LISTING

1. Requiem For An Airport Television Newsreader
2. That Name (Again)
3. Surface Variations In The Snowfall
4. On Distant Fields

Produced by Ed Bangers’ SebastiAn (Frank Ocean, Kavinsky) and mixed by Tom Elmhirst (Adele, Lorde, David Bowie), the album features collaborations with Sir Paul McCartney, Daft Punk’s Guy-Manuel de Homem-Christo, Connan Mockasin and Owen Pallett (Arcade Fire, Caribou).

Having previously written lyrics with Jarvis Cocker and Air on ‘5.55’ (2006) and Beck on ‘IRM’ (2010), ‘Rest’ is the first album where Gainsbourg penned all the words. Feeling daunted by the desire to poetise her ideas, deliverance would arrive initially courtesy of Guy-Manuel de Homem-Christo, who provided the music for the title track, steering Charlotte toward a forensically focused approach to lyric writing. “Those were the first words that I actually sang on the album. I came in with all my bunches of lyrics… It was too much, really, and Guy-Man was saying, ‘you can’t say all that, you have to simplify it,’ and he reduced it to three words! It felt so innocent in a way, but it was exactly what I needed at that time”. On the album, Gainsbourg addresses personal topics ranging from the death of her father Serge and more recently sister Kate Barry, to the tensions between her shyness and her life as a performer and public figure, to charmingly illogical childhood fears.

The album’s major production lynchpin would be French DJ, remixer and producer Sebastian Akchoté-Bozovic, aka SebastiAn, best known for his releases on French house label Ed Banger and for his production work for Frank Ocean. His background in electronic music accorded with Charlotte’s desire for a sound with a disquieting, mechanistic edge, inspired by Giorgio Moroder and, perhaps unsurprisingly for a revered, award-winning film actress, movie soundtracks, particularly Pino Donaggio’s score for Brian De Palma’s ’70s horror classic Carrie and Georges Delerue’s music for Jean-Luc Godard’s nouvelle vague masterpiece Le Mepris, as well as the chilly, unsettling ambience of films like Stanley Kubrick’s The Shining and Hitchcock’s Rebecca.

The eleven essays on ‘Rest’ are nothing if not sure-footed, proffering a compelling fusion of gleaming, string-emblazoned modern electro-pop and cinematically textured avant-chanson – their magical music box melodies kissed by bruised, introspective, occasionally disquieting lyrics. The album opens with the nursery rhyme enchantment of ‘Ring a Ring a Roses’, a hazy mosaic of nostalgic childhood snapshots – the verses delivered in intimately captured French, the instantly infectious chorus in coolly clipped English – and ends with the electro-disco-flavoured ‘Les Oxalis’ (named after the eponymous woodland flower). “Those two songs were always the bookends of the album”, Charlotte explains. The latter’s rhythmic energy cuts against the lyric, describing a lachrymose promenade through a cemetery. “I remember SebastiAn asking, ‘Are you sure that’s what you want to say against that rhythm?’ But that’s how this album made sense to me, in the contradiction between things, with the music taking you somewhere and the words going the opposite way”.

It’s a potent dichotomy that permeates much of ‘Rest’, from ‘Lying With You’, whose busy drums and angular synths frame a lyric about Serge Gainsbourg’s death (“Like everyone who’s gone through this, you have to deal with the memory of someone who is still alive in your head, and the way you’ve seen them dead. I wanted to talk about the crudity of this”, explains Charlotte), to the frank, self-examining ‘I’m a Lie’ (“…about not knowing if you’re able to collapse or fly. It’s something that I’m always wrestling with”), and the wonderfully Giorgio Moroder-esque ‘Deadly Valentine’, whose lyrics, essentially a string of uncannily delivered wedding vows, play out against a motorik Euro-disco beat and soaring strings.

Another essay, ‘Songbird in a Cage’, was penned for Charlotte by Sir Paul McCartney, no less. “We had a very nice lunch about six-and-a-half years ago”, she recalls. “I couldn’t believe that I was actually sitting next to him. I told him that if he ever had a song for me it would be a dream come true. A few weeks later he sent this track. It was a demo. I didn’t know what to do with it, because I wanted it to be part of the album. We had to reinvent it. Paul very sweetly came to Electric Lady. He did a bit of piano, some bass, a bit of guitar. It was incredible, just to see him work”.

The aides-de-camp may have played their role on Rest, but it remains undeniably the work of a singular artist, one who has explored her personal darkness in pursuit of a sense of purpose and a place of resolution, purging herself of creative shyness and timidity in the process. “This time it felt like flying on my own. I knew I needed the right collaborator, and SebastiAn was always there, but all the same, this time the album is really mine”.

STAFF COMMENTS

says: Brilliant goth-pop, throbbing basslines and the undeniably exotic and infinitely more alluring addition of vocals 'En Fraincaise' (that's french for 'In French'). Lovely.

TRACK LISTING

1. Ring-A-Ring O' Roses 
2. Lying With You
3. Kate 
4. Deadly Valentine  
5. I'm A Lie 
6. Rest 
7. Sylvia Says  
8. Songbird In A Cage 
9. Dans Vos Airs  
10. Les Crocodiles  
11. Les Oxalis 

After decades in the making Finders Keepers Records proudly present us with the first-ever pressing of Serge Gainsbourg’s most elusive and coveted soundtrack studio recordings - co-written, arranged and orchestrated by the genius Jean-Claude Vannier (‘Histoire De Melody Nelson’) during what many consider to be the dynamic duo’s most definitive creative period.
Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone’s lost ‘Danger Diabolik’ soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie ‘Les Chemins De Katmandou’ have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.
Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like ‘La Horse’, ‘Cannabis’ and ‘Sex Shop’. Laying the stylistic, futureproof foundations for subsequent decades of forward-thinking Gallic funk mastery.
Comprising Vannier’s signature recipe of thick plucked bass lines, close-mic’d drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to ‘Les Chemins De Katmandou’ (aka ‘The Road To Katmandu’ or ‘The Pleasure Pit’) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.
This previously lost full soundtrack score now exists on vinyl for the first time ever as an infinitely important milestone in the early development of the duo who would shape the sound of French pop music for years to come.

TRACK LISTING

Les Chemins De Katmandou (Titles)
The Pleasure Pit
Colin-Maillard
Le Roi Des Phlébotomes
Flower Child
Cache Cache
Opium Den
Overdose
Oliver
Fallen Rainbow
Colin-Maillard (Vox)
Les Chemins De Katmandou

In 1964 and 1966, when Serge Gainsbourg participated in the two public recordings at the “Maison de la Radio”, he was undoubtedly the outstanding protagonist of the evening. It was at this moment that his, according to his own words, “blue period” came to an end. This period was characterized by left-bank songs, tinged with notes of jazz and exotic rhythms.

Gainsbourg remains the master of chiaroscuro, double meaning and a true poet with caustic irony.

In these eight moving songs, Gainsbourg adopts the figure of the disappointed lover as well as the one of the cynical disillusioned man, accompanied by notes of piano or by a guitar and a double-bass. These original recordings perfectly summarize the first decade of his career.

TRACK LISTING

A1. Le Rock De Nerval
A2. La Recette De L’amour Fou
A3. Les Goémons
A4. La Javanaise
B1. Le Talkie Walkie
B2. Elaeudanla Téïtéïa
B3. Intoxicated Man
B4. Ces Petits Riens

On March 2, 1991 Serge Gainsbourg bowed out and left France orphaned by one of the most important singer-songwriters of French song. Thirty years later, his songs are still with us, proof of their quality. Indeed, beyond the many successes that have marked a career spanning more than thirty years, Gainsbourg's repertoire is abundantly rich.

Always at the forefront of innovation, he has been able to adapt his delicate and classical writing with the most modern musical styles: jazz, reggae, funk ... without ever losing his eloquence or his soul.

This 2LP Set sends us back and shows how Serge Gainsbourg was an emblematic and major figure.

TRACK LISTING

LP 1
1.L'eau à La Bouche - BOF "L'eau à La Bouche
2.Baudelaire
3.La Javanaise
4.Elaeudanla Téitéia
5.New York USA
6.Couleur Café
7.Qui Est "In", Qui Est "Out"
8.Docteur Jekyll Et Monsieur Hyde
9.Comic Strip
10.Chatterton
11.Bonnie And Clyde (with Brigitte Bardot)
12.Initials B.B.
13.Ford Mustang
14.Requiem Pour Un C... - BOF "Le Pacha"
 
LP 2
1.Je T'aime Moi Non Plus (with Jane Birkin)
2.L'anamour
3.69 Année érotique (with Jane Birkin)
4.Sous Le Soleil Exactement
5.ElisaBOFL'horizon  
6.Ballade De Melody Nelson (with Jane Birkin)
7.L'hôtel Particulier - BOF "Melody Nelson
8.La Décadance - Bof Sex-Shop (with Jane Birkin)
9.Je Suis Venu Te Dire Que Je M'en Vais
10.Comme Un Boomerang
11.Ma Lou Marilou
12.Aux Armes Et Caetera
13.Lola Rastaquouère 

Spread over 3 CDs, this collection of 59 tracks, consists of a selection of Gainsbourg tracks (including many new and exclusive versions), interpretations of songs from other performers and a volume dedicated to the music of films is the audio complement of 450 pages of the Gainsbook.

The result of more than twenty years of investigation and sixty interviews bringing together Serge Gainsbourg's historical arrangers, sound engineers and session musicians, this book sheds new light on his phenomenal repertoire.

Also available as a 10 track LP.

Serge Gainsbourg, the French synonym for cool, brought the French tradition of chanson and rock music together in a unique and hip amalgam.

Serge Gainsbourg wrote and composed not like a writer or a musician but like a painter. He used words, notes and instruments as one would use colours, brushes and paintbrushes. Dark or bright, tender, cynical, exalted, pastels, lively, warm or cold, pacified or violent, his poetic images impose themselves on us as if they had been painted.

Chant du Monde have brought together a specially curated collection of songs from the zenith of Gainsbourg’s career - 1958 - 62 - released on vinyl with original artwork.

Collector’s edition box set including three LPs and a 7” EP with booklet.

TRACK LISTING

LP1: ‘Le Poinçonneur Des Lilas’
Le Poinçonneur Des Lilas (Serge Gainsbourg) 1958
Douze Belles Dans La Peau (Serge Gainsbourg) 1958
La Femme Des Uns Sous Le Corps Des Autres (Serge Gainsbourg) 1958
Du Jazz Dans Le Ravin (Serge Gainsbourg) 1958
Ce Mortel Ennui (Serge Gainsbourg) 1958
L'Alcool (Serge Gainsbourg) 1958
Charleston Des Déménageurs De Piano (Serge Gainsbourg) 1958
La Recette De L'amour Fou (Serge Gainsbourg) 1958
Ronsard 58
La Jambe De Bois (Serge Gainsbourg) 1959
Le Claqueur De Doigts (Serge Gainsbourg) 1959
Indifférente (Serge Gainsbourg/Alain Goraguer) 1959
Adieu Créature ! (Serge Gainsbourg) 1959
L'Amour à La Papa (Serge Gainsbourg) 1959
Mambo Miam Miam (Serge Gainsbourg) 1959

LP2: ‘La Chanson De Prévert’
La Chanson De Prévert (Serge Gainsbourg) 1961
L'Anthracite (Serge Gainsbourg) 1959
La Nuit D'octobre (Alfred De Musset/Serge Gainsbourg) 1959
Jeunes Femmes Et Vieux Monsieurs (Serge Gainsbourg) 1959
Cha-Cha-Cha Du Loup (Serge Gainsbourg/Alain Goraguer) 1960
Sois Belle Et Tais-toi (Serge Gainsbourg) 1960
Judith (Serge Gainsbourg/Alain Goraguer) 1960
Laissez-moi Tranquille (Serge Gainsbourg) 1960
Viva Villa (Serge Gainsbourg) 1961
En Relisant Ta Lettre (Serge Gainsbourg) 1961
Le Rock De Nerval (Gérard De Nerval/Serge Gainsbourg) 1961
Les Oubliettes (Victor Hugo/Serge Gainsbourg) 1961
Les Amours Perdues (Serge Gainsbourg) 1961
Les Femmes C'est Du Chinois (Serge Gainsbourg/Alain Goraguer) 1961
Personne (Serge Gainsbourg) 1961
Chanson De Maglia (Victor Hugo/Serge Gainsbourg) 1961

LP3: ‘La Javanaise’
Les Goémons (Serge Gainsbourg) 1962
Black Trombone (Serge Gainsbourg) 1962
Baudelaire (Charles Baudelaire/Serge Gainsbourg) 1962
Quand Tu T'y Mets (Serge Gainsbourg) 1962
Le Sonnet D'Arvers (Alexis-Félix Arvers/Serge Gainsbourg) 1962
Intoxicated Man (Serge Gainsbourg) 1962
Les Cigarillos (Serge Gainsbourg) 1962
Requiem Pour Un Twister (Serge Gainsbourg) 1962
La Javanaise (Serge Gainsbourg) 1962
Ce Grand Méchant Vous (Serge Gainsbourg, Francis Claude/Serge Gainsbourg) 1962
L'Eau à La Bouche (Serge Gainsbourg/Serge Gainsbourg, Alain Goraguer) 1959
Black March (Serge Gainsbourg/Alain Goraguer) 1959
Angoisse (Serge Gainsbourg/Alain Goraguer) 1959
Vilaine Fille Mauvais Garçon (Serge Gainsbourg) 1962
L'Appareil à Sous (Serge Gainsbourg) 1962
Un Violon Un Jambon (Serge Gainsbourg) 1962
7”: ‘Les Loups Dans La Bergerie’
Les Loups Dans La Bergerie [Générique] (Serge Gainsbourg) 1959
Fugue (Serge Gainsbourg) 1959
Les Loups Dans La Bergerie [Thème] (Serge Gainsbourg) 1959
Cha-Cha-Cha Du Loup (Serge Gainsbourg/Alain Goraguer) 1959
Les Loups Dans La Bergerie [Final] (Serge Gainsbourg) 1959

When I think I refused the first one, what an unconsciousness! "It was in these terms that Serge Gainsbourg expressed, in 1977, his joy at seeing his talents as a composer finally associated with the adventures of Emmanuelle, embodied on screen by the sensual Sylvia Kristel.

For a long time, he bit his fingers for declining the offer to compose the soundtrack for the first part of the erotic saga. In France, only one 45 rpm appeared on Philips in 1977, regrouping the song "Goodbye Emmanuelle" and the instrumental "Emmanuelle and the Sea".

However, Goodbye Emmanuelle's soundtrack was released in October 1977 as a nine-track LP reserved for the Asian market (Japan and Hong Kong). Enriched with two bonus tracks, this extremely rare LP is finally available in the UK. 

Directed by Just Jaeckin, the creator of Emmanuelle, starring Françoise Fabian, Madame Claude is inspired by the fictionalized memories of Fernande Grudet, the sulphurous instigator of the most famous luxury prostitution network in Pompidolian France.

The totally disco-funk Original soundtrack of this film released on screens in 1977 from Serge Gainsbourg is sublimated by the immense arranger- Jean-Pierre Sabar". Without forgetting the generic song of Madame Claude “Yesterday, Yes a Day” interpreted by Jane Birkin. 

At last, 12 years after his death, a proper retrospective of France's greatest export! His recording career spanned four decades, taking in everything from jazz to rock to reggae, but it's probably for his orchestral easy listening and low-slung cinematic funk that he's best loved round thse Northern Quarter parts. Everyone from Air to David Holmes and Andy Votel are hugely influenced by his sound. If all you know is "Je T'aime... Moi Non Plus", then prepare to have your life enriched with the delights of "Bonnie & Clyde", "Requiem Pour Un C", "Ballade De Melody Nelson" etc. 23 tracks in all, on both vinyl and CD.

A duo of funky strutting numbers from the Galactic Funk Milita via Sheffield's Black Beacon Sound. On the first part of the Dance Floor Grinder duology, the strutting snappy percussion and super smooth vocal delivery (both rhythmic and melodic) roll around the funked-out rhythmic backline, before peaking in a cacophony of frantic horns and perfectly executed drum licks. 

The second side bring a rubberlips remix, breaking down into more of an instrumental redux, with phasing and instrumental solos taking centre stage, backed by the vox rather than led by them. The wig-out peak hits after a few blissful minutes, breaking down into it's component parts before juddering and fading away. A fantastic remix, taking the component parts and inverting them into a fresh take whilst still retaining the heat of the original. 

TRACK LISTING

1. Dance Floor Grinder 06:54
2. Dance Floor Grinder (Rubberlips Remix) 04:38

Accomplished musician / producer Bryan Richie, bassist for American rock band The Sword, has announced a new solo project under the pseudonym Galactic Protector. Overflowing with bright, synthesizer melodies and blissful, melancholic IDM, the 15 track effort plays out like electronic dream pop songs, hovering between ambient introspection and more active synth pop and post-rock elements.

Tranquil, nostalgic and melodic, 'Evening' pushes sound beyond the realms of IDM and ambient, conjuring a more kinetic, experiential expression of sound. Using an arsenal of analogue and digital synths, Richie's music as Galactic Protector blends new wave and cinematic influences with sophisticated downtempo beat patterns. The tracks initially took shape at Richie's home studio as well as in the Portland studio of producer Tucker Martine (Neko Case, Modest Mouse) during recording sessions for The Sword's 2018 release 'Used Future'.

TRACK LISTING

1. Galactic Protector
2. Space Year 1422
3. Sunset On Saba
4. Tarsier
5. No Soul
6. Infinite Bias
7. Liseran Sand
8. Amaryllis
9. Amuse Bouche
10. Greige
11. Artificial Gravity
12. Dobler Court
13. YM2612
14. Forren
15. Mother

Forgotten side project production from 1986, by Grammy award winning sound engineer Chris Lord Alge. Two versions of an oddball leftfield electro downtempo chugger and one previously unreleased patriotic monologue acompanied by heroic emotional piano - to be served with a sense of sarcasm. 

TRACK LISTING

A1 - Acid Rain
B1 - Acid Rain (Lord's Prayer Version)
B2 - America

New album from Galcid on Detroit Underground.
Tip for fans of the late 90's Aphex / Mike Paradinas.

Galcid - Hope and Fear is the long awaited sophomore album of Japanese techno-artist galcid. Although completed in 2019, the release date of the album was delayed by COVID-19. This was due to both practical and artistic reasons—the titles and identity of each composition reflect various ways in which galcid reflected upon the pandemic.

Music is by galcid
Produced by Hisashi Saito

In the 4 years that have passed since galcid’s debut album hertz (2016), galcid worked on various EPs and albums as SAITO. Juxtaposed to the black and white minimalism of hertz, the palate of Hope and Fear is decidedly more colourful, laden with emotional undertones. The depth of the sound created by galcid’s exclusive reliance on analogue machines invites the listener to follow their own journey along the resulting soundscape

TRACK LISTING

A1. Awareness
A2. Bem
A3. Undulation
A4. Crush
A5. Electronic Flash
B1. Scheme & Impatience
B2. Large Crowd
B3. Ritual
B4. Back To Teenagers
B5. Microscope

Charity Partner for Single will be Action For Children.

TRACK LISTING

1. ‘All You’re Dreaming Of’

After the phenomenal reaction to his solo track ‘Wall of Glass’ and the emotional scenes that accompanied his first solo shows, Liam Gallagher brings us his eagerly anticipated debut album ‘As You Were’.

“I didn’t want to be reinventing anything or going off on a space jazz odyssey,” says Liam. “It’s the Lennon ‘Cold Turkey’ vibe, The Stones, the classics. But done my way, now.”

The album’s cover features an iconic new portrait of Liam which was taken by the influential photographer, fashion designer and creative director Hedi Slimane.