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BACK CATALOGUE - I

Idris Ackamoor & The Pyramids

Rhapsody In Berlin Part 1 And 2

After the reissue of their three private pressed albums from the 1970s, followed by the release of a new album, The Pyramids - led by multi-instrumentalist, multi-talented artist - Idris Ackamoor - seem to have revived the burning fire that once gave birth to an ecstatic musical concept. The Pyramids' honest love for music, their firm belief in its social impact have shaped their story and style: after studying with free-jazz icon Cecil Taylor, the Pyramids left for a journey through Africa in 1972 where they connected with their cultural roots and developed their own musical vision.

On "Rhapsody in Berlin" this vision is still vibrating: a melodic horn theme interplays with a Pygmy flute, some driving riffs and a heavy funk rhythm. The music will walk you through an enchanted jungle that seems somewhat quiet at first - despite the sense of its hidden power. Suddenly but elegantly the music explodes and the saxophone takes off and flies freely before merging with a singing violin into an ecstasy of percussion.

This Philophon release is produced by Idris Ackamoor and Max Weissenfeldt at Ru-Ting Clan Sound Lab, Berlin.

Idris Ackamoor & The Pyramids

Tinoge Ya Ta'a Ba, Pt. 1 & 2 (feat. Guy One)

2016 was the year for Idris Ackamoor & the Pyramids: their album "We Be All Africans" (produced by Philophon and released on Strut Rec.) vaulted them among the global top acts of the current Spiritual Jazz renaissance. The strength of the group is its deep connection to Africa: not just that their music is inspired by the spirit of Africa, they actually founded themselves on an extended trip to the Motherland in 1972.

On that trip Idris Ackamoor visited the tiny town Bolgatanga in Northern Ghana to play with local Frafra musicians - an experience which changed his life. Now, after 45 years, Idris dives once more into the magical music of the Frafra people by teaming up with master musician Guy One, the no. 1 Kologo artist of the vital music scene of Bolgatanga. On "Tinoge Ya Ta'a Ba" Guy One sings about the power of unity - a unity you hear clearly on this Afro-Euro-American cooperation: a driving rhythm, a eulogizing saxophone, a gripping voice and in total a journey into another dimension.

Idris Ackamoor & The Pyramids

An Angel Fell

    Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, ’An Angel Fell’. “I wanted to use folklore, fantasy and drama as a warning bell,” explains Ackamoor. “The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.”

    Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early ’70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting ‘Soliloquy For Michael Brown’ and the lilting, beautiful album closer, ‘Sunset’.

    The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a “cultural odyssey” across Africa, the group recorded three independent albums, ‘Lalibela’ (1973), ‘King Of Kings’ (1974) and ‘Birth / Speed / Merging’ (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album ‘Otherwordly’ and in 2016, they released their first album for Strut, the acclaimed ‘We Be All Africans’.

    2005 debut album from the Sheffield born alternative singer songwriter. Written by one man and his guitar and produced by a duo more used to putting together breaks and beats this album has a lavish, transatlantic and timeless feel to it. The songs themselves, although based in a traditional songwriter approach, have a strong sense of individuality and self; a diverse and eclectic air about the sound, not least because it was almost three years in the making. Strong and soulful vocals and tasty guitar work interspersed with interesting, dramatic arrangements.

    Ivan Conti

    Azul (Max Graef, Contours & Glenn Astro Remixes)

    With Ivan ‘Mamao’ Conti's new solo LP on the cards for next year, the Azymuth drummer allows three of the new jazz-house fraternity loose on his wild stems for a seriously funky set of remixes that should serve as a primer for the album proper in 2018. The second 12” of the series, it sees local lad Contours joined by Germany's Max Graef and Glenn Astro. All three tracks are ridiculously good expansions on the jazz standard as well as forays into hybrids of house and beatdown. Contours' contribution more than hold its own; a smoked out vibe permeating through soft bass, brilliantly stylized drums and fluttering organ chords taking the mood deep and bluesy. Glenn Astro's drunkard, wobbly leads characterize his take on "Azul", as a rambunctious 4/4 struggles to keep in line, tumbling through the scales and passages with carefree abandon. Max Graef keeps things chilled and wavy on his version; spewing luminous synth guys on another syncopated and well compressed MPC-style beat construction. Expert stuff here most enjoyable. 

    Inga Copeland

    Don't Look Back, That's Not Where You're Going

    Second solo release from Inga Copeland, and debut release on her World Music Imprint, the label shared with fellow Hype Williams collaborator Dean Blunt. The three tracker comes with co-production from DVA (Hyperdub) and 3024 boss Martyn.

    Opener 'So Far So Clean' has Copeland delivering a deadpan vocal over a gnarled and growling post-dubstep shuffle with spooksome synth hooks. The DVA-produced 'Speak' offers broken beats and wistful vox from Inga. Lastly we get 'A&E', co-produced by Martyn. This track possits retro rave breaks (pitched down, obviously) underneath lush pads and techno textures for a dream-like quality.


    Ian Curtis

    So This Is Permanence: Joy Division Lyrics And Notebooks (Hardback Edition)

      So this is permanence, edited by Jon Savage with a foreword by Deborah Curtis, presents the intensely personal writings of one of the most enigmatic and influential songwriters and performers of the late twentieth century, Joy Division's Ian Curtis.

      The songs of Joy Division, infused with the energy of punk but steeped in a resigned longing, were born of Manchester in the late seventies - a once flourishing industrial city in decline. They were the songs too of Ian Curtis's inner tragedies, as he battled depression, epilepsy and debilitating stage fright. Ian Curtis committed suicide in 1980, on the eve of the band's first American tour.

      Interspersed with the lyrics are previously unpublished facsimile pages of Ian's notebooks, which throw his highly emotive lyrics into fascinating relief and cast light on the creative process of this singularly poetic songwriter.

      FORMAT INFORMATION

      Hardback Book Info: Deluxe cloth-bound hardback edition. 304 pages, 21 x 3 x 28.8 cm.

      Ian Drennan

      The Wonderful World

        The greatest innovators are often characterized by their love - hate relationship with popularity and acceptance. To accept what is ‘now’ is to stagnate, yet to reject it is to become irrelevant. The true harbingers of the ‘new’ reach for the stars with one arm while clinging to the ground with the other. In essence, dragging us forward. Such is the case with The Wonderful World, Ian Drennan’s debut solo work, to be released September 11, 2012, as a double LP on Underwater Peoples.

        The Wonderful World is as gratifying as it is unnerving, the music weds perfectly with the boundless number of variables facing those alive, today. The sensitive listener in search of a thesis statement will enjoy voyaging through Bill Nelson's melodic lure and Otomo Yoshihide's stylized noise, yet they may find an optimistic message to murky and fucked to be considered a workable form of positivism. Ian Drennan's first solo effort is sorrowful, active and curious; a vast record that is exponentially enjoyed by the emotionally attuned.

        FORMAT INFORMATION

        2xLtd LP includes MP3 Download Code.

        Ian Dury

        New Boots And Panties - 40th Anniversary Edition

          Continuing the successful Demon Records Deluxe range, the next title is Ian Dury’s classic debut album New Boots And Panties!!. Coinciding with the 40th Anniversary of this album and released the same day as the anniversary box set.

          Originally released on Stiff Records in 1977. It’s often cited as one of the first classic UK punk albums, the record covers a diverse range of musical styles reflecting Dury’s influences and background in pub rock, taking in funk, disco, British music hall and early rock and roll. It’s considered Dury’s best album and it was also his most successful after it was certified Platinum in the UK 2 years after its release.

          Packaged as a double-LP gatefold with printed inner sleeves with lyrics, on orange and green splattered heavyweight vinyl. This premium edition is a limited run and numbered. This double LP contains the classic album along with a bonus LP of a BBC live performance at the Paris Theatre in London from 1978.

          Ian Felice

          In The Kingdom Of Dreams

            In The Kingdom Of Dreams is the debut solo album from Ian Felice of The Felice Brothers. The album was recorded in his childhood home of Palenville NY, with his brother Simone Felice on production duties. Simone produced and co-wrote recent hit albums from The Lumineers and Bat For Lashes. On the album, Ian was joined by fellow Felice Brothers James Felice on keys, Simone Felice on drums and Josh Rawson on bass. The Felice Brothers was conceived in 2006 after the recording of Iantown, a 10 song album of Ian’s first songs recorded in one night in January of 2006. In The Kingdom of Dreams is a collection of songs Ian wrote in 2016 and recorded over the course of 4 days in February of 2017, with his brother Simone at the helm.

            Ibrahim Ferrer

            Buena Vista Social Club Presents Ibrahim Ferrer

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

              Two years after the release of Grammy Award winning, six million selling Buena Vista Social Club, many of the same musicians went back into the studio to record the debut album of Ibrahim Ferrer, one of the stars of the BVSC.

              Available for the very first time on double vinyl, it’s pressed on 180 gram heavyweight vinyl and housed in gatefold sleeve alongside a beautiful 16 page booklet and download card.

              With Ry Cooder and Nick Gold producing, the release went on to sell over one and half million copies world-wide and elevate Ibrahim to superstar status. The album is a collection of eleven songs by the golden voice of Cuban music. Using the Buena Vista Social Club rhythm section and featuring the piano of Rubén González, this album takes the listener on a very different journey to that of any other Cuban record.

              Iona Fortune is a composer and producer from Glasgow and presents the “Tao of I” album as her debut release. Inspired by Eastern Philosophy and slated to be the first in an 8 album series exploring all the symbols of the I Ching, her music is influenced by oriental sounds and features a palette of instruments that includes the Guzheng, Gamelan and Synthi AKS. The overall effect is a singular and beguiling sound that loosely fits in with the Fourth World concept imagined by Jon Hassell, and indeed Iona Fortune has also contributed a track to Optimo Music’s new Fourth World compilation “Miracle Steps”.

              STAFF COMMENTS

              Patrick says: On her debut release, Glaswegian composer Iona Fortune layers mystical and meditative Eastern tones over tremulous bass swells and melancholic electronics delivering a retro futurist vision of megacities and acid rain. Blade Runner vibes. Essential.

              FORMAT INFORMATION

              Coloured LP Info: The initial vinyl edition will come on a white vinyl pressing with inside sleeve and original artwork by Iona Fortune.

              Gnawa is a uniquely Moroccan sound with roots in Islam and links to a healing ritual called Lila (Arabic for night). From this heritage comes Innov Gnawa, the only New York-based Gnawa group made from Moroccan natives, led by the Mâalem (Master) Hassan Ben Jaâfer.

              In 2016, Pique-Nique Recordings presented their debut EP together and, since then, the band have also featured on 'Bambro Koyo Ganda' from Bonobo's latest album. Aicha is their much anticipated follow-up. Alongside the joyous call and response between the Maalem and the group that's common in Gnawa, there are also hints of electronic programming interspersed between the traditional live instrumentation; no doubt an influence of Nicolas Jaar collaborator Dave Harrington who produced the EP.

              Even from the very first 'wikka', anyone on the planet can spot the classic theme from Shaft. Creative juices in full flow, the mighty Isaac Hayes penned a Blaxploitation theme so funky, fresh and orchestrally superior that it seized control of the collective pop consciousness with a vice-like grip. But if you look and listen beyond the ubiquitous title, Hayes delivers four sides of melodic and conscious mood music, only rivaled by Curtis Mayfield's "Superfly" for the genre's top spot. The contemplative groove of "Bumpy's Lament" found favour with Mobb Deep and Dr Dre, "Ellie's Love Theme" did the trick for Biggie Smalls while "Do Your Thing" prompted Big Daddy Kane to get super smooth. Each and every track is worth a mention, especially the breezy soul jazz sway of "Cafe Regio's", but rather than hear me wax lyrical, you should just cop a load of this wax - Black Moses in full effect!

              FORMAT INFORMATION

              2xLP Info: 180 gram vinyl.

              2xLP includes MP3 Download Code.

              Isaac Hayes And The Bar-Kays

              Do Your Thing

                The full 33-minute, unreleased, psychedelic funk jam session by Memphis rhythm kingpins the Bar-Kays, mixed directly from the original tapes. Contains bonus rhythm section instrumental and booklet detailing the history of this never-before-heard version of one of Isaac Hayes’ most famous songs by Hayes historian Bill Dahl.

                Hayes was already a cutting-edge funk master at Stax Records when he accepted the unprecedented assignment of creating a soundtrack for the 1971 action flick Shaft. At a time when R&B songs routinely timed out at three minutes and under, Hayes’ albums for Stax’s Enterprise imprint had been breaking new ground since 1969. His masterpiece Hot Buttered Soul consisted of only four tracks, two songs on The Isaac Hayes Movement clocked in at a hair under 12 minutes, and one selection on his …To Be Continued stretched to 15:33.

                But his epic “Do Your Thing,” one of the cornerstones of the two-LP Shaft soundtrack, outdid them all. Occupying nearly the entire last side of the set, it concluded after 19-and-a-half grooving minutes with the overdubbed sound of a needle scratching violently across a piece of vinyl. No one knew that jarring ending masked the existence of another 13 minutes of “Do Your Thing.” Consigned to the vaults, those improvisatory extensions—somewhere in between free-jazz and psychedelic rock—were seemingly destined never to be heard. Until now.

                Released back in 1971 as the follow up to the global smash "Shaft", the double LP "Black Moses" is a personal favourite of the late great Isaac Hayes, and for good reason. Hayes covers hits from the likes of the Jackson 5, Carpenters and Dionne Warwick here, and as per usual, makes them all his own. Cinematic, psychedlic and oh so spiritual, Hayes arrangements ooze with musicality and soul, transforming the easy listening style of some of these originals into something utterly transcendental. Adding in a handful of effortlessly funky originals, Hayes fully delivers on this LP, with short interludes like "Ike's Rap II" threatening to steal the show. Not only did this form the basis of Portishead's "Glory Box" and Tricky's "Hell Is Round The Corner" (trip hop classics both), but I heard Moodymann play it at peak time in Sankeys once, reducing the world's worst crowd into a room of slow-dancing sweethearts. Any tune with the power to pull off that transformation deserves a place in any record collection.

                FORMAT INFORMATION

                2xLtd LP Info: 180-gram double vinyl, includes a download card.

                The full 33-minute, unreleased, psychedelic funk jam session by Memphis rhythm kingpins the Bar-Kays, mixed directly from the original tapes. Contains bonus rhythm section instrumental and booklet detailing the history of this never-before-heard version of one of Isaac Hayes’ most famous songs by Hayes historian Bill Dahl. Hayes was already a cutting-edge funk master at Stax Records when he accepted the unprecedented assignment of creating a soundtrack for the 1971 action flick Shaft. At a time when R&B songs routinely timed out at three minutes and under, Hayes’ albums for Stax’s Enterprise imprint had been breaking new ground since 1969.
                His masterpiece "Hot Buttered Soul" consisted of only four tracks, two songs on "The Isaac Hayes Movement" clocked in at a hair under 12 minutes, and one selection on his "…To Be Continued" stretched to 15:33. But his epic “Do Your Thing,” one of the cornerstones of the two-LP Shaft soundtrack, outdid them all. Occupying nearly the entire last side of the set, it concluded after 19-and-a-half grooving minutes with the overdubbed sound of a needle scratching violently across a piece of vinyl. No one knew that jarring ending masked the existence of another 13 minutes of “Do Your Thing.” Consigned to the vaults, those improvisatory extensions—somewhere in between free-jazz and psychedelic rock—were seemingly destined never to be heard. Until now. 

                STAFF COMMENTS

                Patrick says: Way before he was caught up in an alien obsessed cult, or cooking up Chocolate Salty Balls in the SP Elementary kitchen, Isaac Hayes was redefining funk, soul, disco and R&B one record at a time. Finally, for the first time ever we get to hear the totally psychedelic, stone-jamming brilliance of funk masterpiece "Do Your Thing" in its full 33 minute form, alongside a totally tripped out percussion mix. Far out!

                Isaac Hayes

                Hot Buttered Soul - 2018 Remastered Edition

                Originally released at the end of the 1960s, "Hot Buttered Soul" set the precedent for how soul would evolve in the 70s - simultaneously establishing Isaac Hayes as a major music force. Includes the totally awesome 18 minute-long version of "By The Time I Get To Phoenix". 

                FORMAT INFORMATION

                Ltd LP Info: 180-gram vinyl, includes a download card.

                Isaac Hayes

                Shaft - 2018 Remastered Edition

                Even from the very first 'wikka', anyone on the planet can spot the classic theme from Shaft. Creative juices in full flow, the mighty Isaac Hayes penned a Blaxploitation theme so funky, fresh and orchestrally superior that it seized control of the collective pop consciousness with a vice-like grip. But if you look and listen beyond the ubiquitous title, Hayes delivers four sides of melodic and conscious mood music, only rivaled by Curtis Mayfield's "Superfly" for the genre's top spot. The contemplative groove of "Bumpy's Lament" found favour with Mobb Deep and Dr Dre, "Ellie's Love Theme" did the trick for Biggie Smalls while "Do Your Thing" prompted Big Daddy Kane to get super smooth. Each and every track is worth a mention, especially the breezy soul jazz sway of "Cafe Regio's", but rather than hear me wax lyrical, you should just cop a load of this wax - Black Moses in full effect!

                FORMAT INFORMATION

                2xLtd LP Info: 180-gram double vinyl, includes a download card.

                Isaac Hayes / Brainstorm

                I Can't Turn Around / Journey To The Light

                The Beedle boy gets to re-edit some choice disco gems for Strut. Isaac Hayes' anthem, "I Can't Turn Around" was famously covered by Farley Jackmaster Funk and "Journey To The Light" is an ace slice of jazz funk / disco. Both tracks on 12" for the first time ever!

                'So Low is an occasional night in Glasgow run by Iona Fortune, JD Twitch, Katie Shambles and Becky Marshall. So Low is strictly for creatures of the night and plays music that could perhaps be described by the words dark wave / cold waves / minimal synthesis / maximal industrial / lo-nrg / forgotten Flemish goth Bands, teutonic apocalyptic Beats +++'

                It is now also a label, administered by Optimo Music.

                Third release on this carnal new hub of nastiness comes from Ian Hicks, formerly one half of Soft Metals. 5 tracks of seriously analogue wavage ranging from the post-XTC fall-out of “Character Collapse” and “Depths Of Psyche” to the shockwave klang of “Chemical Environments” and “Specter”, perhaps leaving the very best to last with the ultimate erotic hypno-throbber: “Continuous”. Wicked and unrelenting but with a deliberately slow and meticulous pace, examining the body from top to toe and inflicting its filthiest, fleshiest desires on the listener.

                Full colour picture sleeve designed by So Low collective member and acclaimed Glasgow artist Katie Shannon. 


                I Admit Defeat

                I Admit Defeat

                Debut album from Manchester metalcore five piece, I Admit Defeat. They've created their own sound and style, taking influence from bands such as Underoath, Trivium, Norma Jean, Alex Is On Fire and Senses Fail.

                I Am A Robot And Proud

                Grace Days

                Based in Canada, I Am Robot And Proud is the name Shaw-han Liem works under to create his singular brand of hypnotic, beguiling electronic pop music.

                I Am Arrows

                Sun Comes Up Again

                A skilled multi-instrumentalist - he played every instrument on the album - and an extraordinarily talented songwriter, in Razorlight, Andy Burrows aka I Am Arrows, was an intrinsic part of the success of that band’s multi-million selling eponymous second album before his departure in 2008.
                After a long time (literally) taking a backseat, Andy Burrows and his songs are now front and centre. Ideas, for so long stoppered up, are flooding out of him. You can hear this – the relief, the fun, the ambition, the talent – in the songs bursting all over the album.
                Beautiful pop songs that suggest Seventies soul, modern ‘beats and bleeps’, and timeless melodies. Heartfelt songs about love, doubt, confusion, romance and, here and there, the mercurial ‘bromance’ he had with his former bandmates. The songs are small but huge, warmly fuzzy but perfectly formed, instantly appealing and naggingly unforgettable.

                Following a well received two tracker a few months back, local four piece I Am Blackbird release their debut EP.
                They kick off proceedings with the fiery "This Town", despite its nice lilting intro it soon twists into an uncompromising ode to the darker side of small town life. Track two, "Setting Sun" keeps up the firey delivery and adds some great Morricone-esque guitar twangs. Third track "One Good Reason" is a gorgeous slowey with bluesy vocals over strummed guitars and percussive drumming, and finally they up the tempo with "They Don't Speak For Me", which switches tempo between a galloping drum / vocal rhythm and a choppy chorus with subtle Mariachi-trumpets.


                STAFF COMMENTS

                Laura says: There's an abundance of folk-tinged bands around at the moment but I Am Blackbird really stand out from their contemporaries. They write great songs delivered with a real passion and honesty. Superb stuff - grab one now while you can!

                I Am Kloot

                From Here To There (Official Soundtrack)

                The masterful I Am Kloot will release the soundtrack to the TV Drama ‘From There To Here’. Staring Philip Glenister (Life on Mars), the plot centres around the tragic and comic misadventures of two families in Manchester at the time of the ‘96 IRA bombing. Kloot’s deft handling of the soundtrack provides both light and shade that recalls some of their greatest work.


                Bio (amended from Peter Jobson, bassist of I Am Kloot)

                So we were invited to score a drama set in our home town of Manchester and we were delighted as it was something that we had always wanted to do. The name I Am Kloot is inspired by the classic Jane Fonda and Donald Sutherland noir drama “Klute”. The 1996 IRA bomb had a big effect on everyone living in the city and in the drama it acts as a trigger that begins to unravel a family. The events of June 15th 1996 were something we witnessed, lived through and worked through and so the story is close to our hearts.
                We were initially given three pieces of footage and asked to compose music for each as way of an audition. The first scene lead up to a bomb exploding, the second depicted a romantic meeting between two characters and the third was a montage which the music composed set the tone for the entire series. There are three members of I Am Kloot so we took a scene each and produced very different pieces of music which has inspired us to change the approach to the way we work. Our usual approach would be three of us in a room following each other’s ideas to an agreed conclusion.

                Producing each piece separately resulted in three diverse pieces of music. “The bomb” was composed by Andy Hargreaves (Drummer) and is very rhythm orientated based on a discussion around how the Dirty Harry scores of Lalo Schifrin were so evocative and effective and predominately composed of drums. The romantic scene “Joanne and Daniel (part 1)”, was composed by myself Peter Jobson (Bass player / multi-instrumentalist) and was set on a pier by the sea so the sounds of waves lapping sat beneath a major scale country blues acoustic guitar progression with a harmonica melody that implies burgeoning romance but uncertainty. The third piece “From There To Here” was composed by John Bramwell (Singer / multi-instrumentalist). This piece was used as the main theme of the drama reoccurring throughout the series in different guises. It consists of a Minor key acoustic guitar progression with a very evocative melody played on different instruments each time it appears in the drama. Firstly the melody is played on a melodica, then an acoustic guitar and lastly whistled. The theme as well as the melody being played on different instruments has a different tempo and velocity each time it appears so as to suit the mood of the scene.

                We got the green light on the project from these three pieces and subsequently were given all three hour long episodes to watch and absorb. We were then provided with specific times and durations of pieces that were required to be composed. Some of the pieces were very short and some up to nine minutes long.
                For the first time we found ourselves working as individuals on the same project; emailing each other files of musical ideas. This after fifteen years of recording all together in one room was very refreshing and resulted in a varied piece of work allowing each member of the group to play to their strengths with no time pressures being applied. A hint at what may come in the future from the band as we all enjoyed this way of working. Each member of I Am Kloot has quite different musical tastes and influences. This project allowed for many disparate approaches. It was an ideal remit for us in that we were able to discuss our ideas and take on specific tasks separately; allowing each of us to draw on our personal influences and then score what we imagined. This made for a diverse piece of work and more so we discovered a great deal about ourselves musically that up until now we did not know. Old dog new tricks, Eureka, Satori, call it what you want; for the lads it’s a fuckin result!

                Most of the pieces of music were written and recorded spontaneously playing live along to the visuals which gives the pieces energy and is very in keeping with the way we like to compose. Our initial ideas are the best, we were never great revisers. A small amount of arrangement then takes place which nearly always entails removing rather than adding to the piece as space in music is a crucial part of the dynamic, it also gives the instruments that are recorded the sonic space required to provide their full tonal range. In a three piece band space is a welcome unpaid fourth member.

                Inspired very much by the work of Bernard Herman, John Cage and the cartoons of Walt Disney we used what is really Foley artist techniques; everyday sound affects mixed in within the music. There are moments of swords pulled across stone, coins dropped and ratchet spanner clicks all of which create a mood you do not hear much of in television scores. In my opinion there is no substitute for these techniques, not only is it a joy to discover, record and place these sounds, the variety of what Shane Macgowan calls “music that’s in the ground” is limitless. These for me are the magic sounds within music. As a listener you are not sure if they are in the score, in the room or in your imagination; Subtle and fleeting to the point of existential. Delicious.


                I Am Kloot

                Hold Back The Night: I Am Kloot Live

                “I Am Kloot are astounding” - The Guardian

                “John Bramwell is as fine a wordsmith as Morrissey” - NME

                “Intimacy and romanticism colour Kloot’s noir-ish shadows, savage, lucid and lovely” - The Independent

                The dawning of the new Millennium saw I Am Kloot mark their live debut with a show at London Kashmir Club supported by nascent four-piece The Libertines.

                Sixteen years later and the two become entwined once more with the release of the live album ‘Hold Back The Night’ nestling rather appropriately on Walk Tall Recordings / PIAS, an imprint for Peter Doherty to realise his and others’ aural dreams.

                ‘Hold Back The Night’ is drawn from the band’s catalogue and includes tracks from 2010’s Mercury nominated ‘Sky At Night’ and their last studio album, 2013’s ‘Let It All In’, alongside earlier gems such as ‘Twist’ and ‘86 TVs’, recorded on I Am Kloot’s 2013 winter tour.

                FORMAT INFORMATION

                2xCD Info: Includes download code featuring 6 bonus tracks.

                Label review from release date back in 2001:

                "Easily one of the most accomplished bands of the new acoustic movement, I Am Kloot songwriter John Harold Arnold Bramwell strikes a highly successful balance between folksy acoustic numbers and mini rock epics throughout ‘Natural History’s 12 tracks.

                Catchy vocal passages crop up left and right, psychedelic guitar passages mingle readily with moments of quiet sublime romance, and the band isn’t beyond throwing in the occasional refreshing jazz arrangement.

                It’s not surprising that the music sounds as lush as it does, since Elbow frontman Guy Garvey produced, engineered, and mixed the album, along with offering snippets of harmonica, sound effects, some percussion, and backing vocals. Acoustic guitars, a sombre bass, and hushed drums percolate slowly as they twist and twirl around Bramwell’s vocals.

                Lyrically Bramwell is clearly a chap who know how and when to turn a killer phrase. As endearingly quirky as some of the songs might be, there's an ample supply of beautiful ballads on hand to vary the mood. Weird near-genius standout tracks ‘To You’ and ‘Twist’ sit perfectly alongside the sweet, perfect ‘No Fear Of Falling’ and the eclectic, jazzy wonder of ‘Sunlight Hits The Snow’. ‘Natural History’ is a wonderful debut album."


                Now digitally remastered, ‘Natural History’ is reissued on CD, featuring 3 previously unreleased bonus tracks - ‘Titanic’, ‘Over My Shoulder’ and ‘Stand Another Drink (Proof)’.

                I Break Horses is the nom de plume of Maria Lindén and her musical partner Fredrik Balck. Residing in the Swedish capital of Stockholm, the duo have been meticulously crafting the nine incredible tracks that make up debut album "Hearts" throughout stolen moments gathered up over the past two years.

                The task of capturing the sonic density of Lindén’s compositions was painstaking, while Balck’s lyrics, constantly teasing the senses, are at times insular and cold to the touch. It’s only when interpreted by Maria’s gorgeous vocals that a warmth is added, like the first rays of sun on a winters morning. A balancing act of light vs. dark that reveals an exquisite beauty within the darkness.

                Although heavily (and openly) influenced by My Bloody Valentine, Slowdive, Jesus & Mary Chain et al - Hearts is far from an exercise in typical shoegaze fayre. Maria, waif-like and unassuming in person, is transformed on record to sound 10 feet tall. And, perhaps where certain contemporaries would hypnotize the listener into their world by sheer volume alone, I Break Horses lock firmly onto the very thing that makes each and every one of us ‘tick’: our pulse. Our Hearts. The common thread that links the nine songs together; always present, always beating - the album's strength and presence guided entirely by it.

                Coupled with Lindén’s vocal, a seductive Scandinavian croon that’s bathed in an ocean of reverb and tremelo, Hearts is quite the sonic experience. It can’t be defined via a few meagre adjectives or genre classifications; you have to live it, live inside it. It will soak you up, embrace you and give back what you put in… and so much more.

                STAFF COMMENTS

                Darryl says: Hypnotic, reverberating music that's a million miles ahead of the standard shoegazing fayre. Couple that with the seductive and velvety vocals of Maria Linden, makes this yet another winner on Bella Union.

                I Ching

                It's Me / Drive

                I Ching is Rollo Smallcombe and Kevin Emre. The pair met at art college in London and soon after started to make music together.

                Although writing as a duo, the band play live as a four piece, adding Andrew Ford (keys) and Tom Jones (drums) to the line up. They currently write from a home studio in Finsbury Park.

                I Ching are influenced by pop, the avant-garde, 60s psych and Turkish garage, as well as early 80s synthesiser music. With an emphasis on colour and texture in their sound, the songs are written and produced to probe the imagination and imagery inside the listeners’ head.

                ILiKETRAiNS

                Progress Reform

                  It isn't very often that an alternative record references Scott of The Antarctic, chess Grandmaster Bobby Fischer and Dr Richard Beeching (he of the infamous report which took an axe to the British Railway system in the '60s) but 'Progress Reform' by iLiKETRAiNS - about to be reissued on 12" vinyl for the first time - was, and indeed is, one such record. These people were not Dizzee Rascal. Rather, they were David Martin (lead vocals, guitar), Guy Bannister (guitar, synths, vocals), Alistair Bowis (bass, synths, vocals), Simon Fogal (drums) and Ashley Dean (images, cornet).

                  Originally released on compact disc on fierce panda on June 26 2006 this mini-album of slowburning eloquence and quite excellent walls of guitars followed up three early singles - one on Dance To The Radio, and two on their own label - and captured a nominally post-rock outfit at their shadowy peak, carefully laying doomed vocals over cinematic musical soundscapes.

                  Their terrific gigs featured a film show which illuminated the historical reference points and saw the band dress in old fashioned British Rail uniforms. For the part-animated (and award-winning) video for the Top 132 single 'Terra Nova' all the band members even grew beards for a cameo appearance as intrepid explorers rocking out in a tent. That's called itching for your art.

                  I Love UFO released its first album in 2006 ('Wish' on Record Makers)  produced by Vicarious Bliss (Ed Banger), "Dirty Animals" is their long overdue follow up. Primal and cosmic this new album is an explosive rock record that should attract much love from the UK rock press.

                  "Bastards sons of R. Smith and the Mary Chain (…) Just the right nods to the dark revival that's been apace" NME
                  "Absolutely amazing !" - Kerrang !
                  "Sonic Youth's feedbacks, Queens Of The Stone Age fury and the memory of the MC5" Rolling Stone.

                  Original Italian library music from the vaults of Nelson Records, recorded between 1970 and 1976. All tracks performed by I Marc 4, one of the key acts in the birth and development of the New Italian Library Sound, formed by Maurizio Majorana on bass, Antonello Vannucchi on Hammond organ and piano, Roberto Podio on drums and guitarist Carlo Pes. Funky, psychedelic and occasionally slinky, this is high grade Library tackle for all the family. 

                  The new single, their first release since 2004's "Neveroddoreven" album, sees the I Monster duo of Dean Honer and Jarrod Gosling enlist the vocal talents of Philly, the ill wind of Michael Somerset Ward and the pounding drum cakes of Ross Orton. "A Sucker For Your Sound" comes backed with the exclusive "No Nice Strippers". The pair have been far from quiet over the last few years. In between journeying to the centre of the earth, vampire hunting and building kitchen extensions, they've co-written and produced tracks on both Finnish artist HK119's and Roisin Murphy's new albums, spent some time in the studio with queen of pop Cathy Dennis and worked on rapper Lupe Fiasco's Grammy winning "Daydreamin'" single, the track based entirely on their big hit "Daydream In Blue".

                  Bright Sparks, a multi-media project which pays tribute and documents the stories of a number of electronic music pioneers and companies, launched via its website, www.brightsparks.movie on Wednesday 9th December, 2015.

                  Beginning life with I Monster as a concept album paying tribute to the various people and companies involved in the early days of the synthesizer, the band began to look for a more interesting way of presenting the record and approached Dave Spiers and Chris Macleod, vintage synthesizer curators and owners of GForce Software, a company which replicates classic analog instruments for computers.

                  Picking a number of the most influential companies, MOOG, BUCHLA, ARP, CHAMBERLIN, MELLOTRON, EMS, EDP and FREEMAN, the album was recorded using a number of their most revered synthesizers.


                  STAFF COMMENTS

                  Barry says: This collection is a testament, and huge compliment to the greatest synthesisers of all time. Whilst modular synthesisers have a reputation of creating obtuse, and atonal pieces, what we have here are beautifully constructed, sunshine synth-jams. Traditional tone definitely present, and unmistakeable to the initiated, but with less commonly-displayed flair and melody. Awesome

                  Bright Sparks, a multi-media project which pays tribute and documents the stories of a number of electronic music pioneers and companies, launched via its website, www.brightsparks.movie on Wednesday 9th December, 2015.

                  Beginning life with I Monster as a concept album paying tribute to the various people and companies involved in the early days of the synthesizer, the band began to look for a more interesting way of presenting the record and approached Dave Spiers and Chris Macleod, vintage synthesizer curators and owners of GForce Software, a company which replicates classic analog instruments for computers.

                  Picking a number of the most influential companies, MOOG, BUCHLA, ARP, CHAMBERLIN, MELLOTRON, EMS, EDP and FREEMAN, the album was recorded using a number of their most revered synthesizers.


                  STAFF COMMENTS

                  Barry says: This collection is a testament, and huge compliment to the greatest synthesisers of all time. Whilst modular synthesisers have a reputation of creating obtuse, and atonal pieces, what we have here are beautifully constructed, sunshine synth-jams. Traditional tone definitely present, and unmistakeable to the initiated, but with less commonly-displayed flair and melody. Awesome

                  I-Node

                  La Souteneur Numeridue

                  Valentine Records' resident bedroom-studio maverick Michael O'Connor (aka I-Node). Taking its cue from early electro and acid house records (such as 808 State's "Newbuild" and Stakker's "Eurotechno") "La Souteneur Numerique" is a 38-minute introduction to the weird and wonderful world of this self confessed "Digital Pimp".

                  I Ribelli

                  I Ribelli

                    I Ribelli were an italian band originally set as Adriano Celentano's accompanying group. They soon become a powerful Beat band featuring the amazing vocals of the late Demetrio Stratos.

                    This album, originally released in 1968 via Ricordi, is a collection of great songs which includes their hit single Pugni Chiusi and an incerdible version of the Supremes' hit You Keep Me Hangin' On (Chi Mi Aiuterà).

                    Never properly reissued since its 1968 release, excluding a cheap re-release on Ricordi's own budget line Orizzonte to cash on Demetrio Stratos' success with Area, this is one album you can't really miss.

                    Original artwork. Sound restoring and master done by Roberto Zamori at Film Music Art Studio.

                    Huge plumes of thick black smoke drift over Manchester city centre. A sign perhaps that the recent troubles are not quite over. Police remain, patrolling the streets in vast numbers amidst a chorus of sirens as fire engines race to attend to this the latest in a long line of disturbances engulfing the city. A fire spreading rapidly through a derelict warehouse in nearby Salford is to blame. Nestled away in a basement rehearsal space just a stones throw from all the commotion are I See Angels. Formed in 2008 their music, with its surreal twisting soundscapes, dynamic highs and lows and enigmatic lyrics burning with frustration and desire, makes for a rather fitting soundtrack to the drama unfolding on the streets above them. Not that they know it. The band, Paul Baird (vocals, guitar, piano), Martin Cowan (bass) and Chris Norwood (drums) are busy rehearsing for upcoming shows to promote the release of their self-titled debut album. And it seems no riot or looting spree is going to stop them.

                    "I'm actually really angry that people think it's okay to behave this way. To see them trash parts of the city and disrespect the people and places we love sickens me." say's the bands songwriter/frontman Paul Baird. "I'm just glad we didn't run with our first choice of album cover now. It would have seemed tastleless I reckon. You won't believe it but it showed a young couple fucking in the middle of a riot!" A strange coincidence maybe. Thankfully artist Tash Willcocks (Elbow) presented the band with a better choice for the album cover.

                    Having received critical praise in publications including Music Week, Mojo and the Manchester Evening News, while being favourably compared to the likes of Pavement, Mercury Rev and early Radiohead, expectations for the band are riding high. “We are hugely excited to be working with I See Angels at this pivotal stage in their career.” states Brent Thurrell, Manager at Manchester independent record label Mimic This. “We all share a vision and a belief that this band will one day be a huge influence on the Northern music scene and beyond.”


                    STAFF COMMENTS

                    Andy says: Dark but beautiful, introspective pop, like Elliott Smith's early work but with a full band. At times this is heavy, elsewhere it's fragile, but it's always powerful and straight from the heart. Really good stuff.

                    I Speak Machine are vocalist and synth nerd Tara Busch and filmmaker Maf Lewis. Together they make brooding soundtracks and horror/sci-fi films, creating the audio and visual in unison and giving both elements equal prominence. Their approach is inspired by Spaghetti Western cinema duo Ennio Morricone and Sergio Leone, who used to play with score ideas for scenes while scripts were being written. Following the release of The Silence (the score to their own sci-fi short film) in 2014, Busch and Lewis have teamed up with Benge from Wrangler/John Foxx & The Maths to work on their latest short film and album, Zombies 1985

                    * For analogue synth enthusiasts and fans of John Carpenter scores.
                    * Tara Bush has previously collaborated with John Foxx, Clint Mansell, and Bat For Lashes


                    FORMAT INFORMATION

                    Coloured LP Info: Limited Edition 180g Red Vinyl – Limited to 300 copies.

                    Hailing from the fjords of Norway, but with a tinge of Glasgow and California, I Was A King are the an intriguing blend of So-Cal 60s surf-pop fed through an early 90s indie fuzz filter. Opening with the spiralling reverb heavy "Still" and rattling through the sub 3 minute college-pop of "Step Aside" and "Golden Years", frontman Frode Stømstad takes us on a romp through 15 snippets of nostalgia and hope. The album features collaborations from Emil Nikolaisen (Serena Maneesh ), Sufjan Stevens, Daniel Smith (Danielson) and Gary Olson (Ladybug Transistor) . The album was recorded at Marlborough Farms (Brooklyn, NY) and mixed by Nick Terry (Primal Scream, The Libertines, Klaxons). The band released a 7" single ("Norman Bleik") through Sonic Cathedral in the UK in November 2009 that was given some radio love from tastemakers Lammaq, Macconie, Huw Stephens and A-listed on NME Radio. They follow up before the album release with a release for Too Pure's 7" singles club in January 2010, with a new version of album track "Not Like This" and a cover of Guided By Voices' "Your Name Is Wild".

                    'Imagine Matthew Sweet's "Girlfriend", only with Kevin Shields and J Mascis subbed in…and you get an idea of I Was A King's cumulative, generation-spanning appeal'. - PITCHFORK.

                    STAFF COMMENTS

                    Darryl says: Pining for a new Teenage Fanclub record? Well here's the perfect album for you.

                    I-Dear

                    Wooden Stand Speaker

                      This cute mini wooden stand speaker is one of three speaker designs that we have from I-Dear. It measures 60mm x 36mm  x 20mm approx and comes complete with usb cable to charge it via your computer, and mini jack connection to plug it into your iphone/ipod.

                      Output - 1.5 watts
                      Battery life - up to 5 hours
                      Charge time - 2 hours


                      Back when my jeans were too skinny and my eye make-up too fat, a good friend told me that this record would be relevant until the end of time. Well, those style choices may have rightly died a death, but this little number still endures. Beaming in from another galaxy in 1997, "Space Invaders Are Smoking Grass" revived an ailing electro scene, brought a playful spin to the po-faced techno-sphere and created the glam and ghastly marvel which was electroclash. Made on a knackered Nord lead, some lagging sequencers and a Surinamese vocoder, recorded to rotten tape and rescued by some mastering wizardry, this garbled fusion of fizzing synth work, indecipherable vocals and fairly traditional song structure more or less changed the world on its release. Taken in tandem with the flawless "Mixed Up In The Hague" (oh you like Italo-disco?) CBS (I-F's online radio station) and its cultish forum (homepage for Abel, Tako, Les Yeux Orange, Morgan Geist, Basso etc...) this masterpiece turned a whole generation onto a totally different set of electronic sounds and invited us all to dig deeper and push harder. Alongside that little piece of musical history sit the steely, chrome and neon pulse of "Secret Desire" and "Playstation 2", a pair of the finest European electro creations you're ever likely to hear and the brand new, completely unreleased weirdness of the Debbie Deb sampling "Us And Ours And You And Yours". You need this record in your life!

                      STAFF COMMENTS

                      Patrick says: Before some Guardian prick tries to write him out of history, let's take a moment to recognise a central figure in Europe's electronic music history. When all your favourite diggers and DJs were young pups, I-F led the way with an exceptional online hub of rare music and challenging ideas. When techno and house were interminably dull, I-f turned us all onto Italodisco; and when the world needed a new sound, I-F dropped "Space Invaders" and invented electroclash. This isn't a reissue, it's a work of art!

                      I-Robots Present: Jordan Fields

                      The Sound Of Chicago1986-1991 The Lost Trax Part 1

                      Always hard at work unearthing interesting new projects or forgotten old gems, Opilec Music is now serving up a retrospective compilation of highly esteemed Chicago producer Jordan Field's best work from 1986 - 1991.

                      Field has been active now for some thirty years (on labels like Rush Hour, Headphoniq and Mo Wax) but his best work was arguably done in his first decade or so. Now Opilec boss I-Robots has been given access to a collection of Field's early recordings and has selected, compiled & conceived this project himself. It will be presented as a full-length album but will also arrive in a few select EP parts, with this being the first one.

                      Says Jordan about the project "This album is one of my most important works to date, as it contains recordings captured during a very special moment in my life circa 1986-1991. At this point I had much knowledge about DJ culture and the art form of house music, I was a product of my environment. I was young, but I had already experienced so much in my first 5 years of absorbing it all! While that may not seem like a lot of time, you have to understand House Music was not even a decade old at this point. What's important for me to explain is I had already gone through my baby steps by the time I was recording the trax that are on this album. This is the point where I was at the next level, chapter 2." Up first is the classic jack of 'That's How It Is' with its perfectly analogue synths and drums conjuring a warm, human and organic mood. Acid lines and slapping percussion all interact and ooze Chicago house authenticity.

                      ‘The Answer' is a much rawer and more dishevelled sounding affair with lumpy, rough hewn drums and crisscrossing percussion that screams to be played loud in a warehouse. 'Future Thought's' is alive with the sound of classic Roland cowbells and shuffling drums. It's deep and mystic and sounds as if it's come from somewhere far off in deepest darkest space. Finally, 'Rhythm of Romance' gets a little sleazy with its tight loops, thumping kick drums and mechanical metal hooks. They sound all out of control but are off set by some seriously sombre chords in the latter half.

                      Often imitated but never bettered, this is the true sound of Chicago house music in all its forms from one of its finest sons.

                      I-Roy

                      Musical Shark Attack

                      Fantastic deejay set from '76. Produced by Joseph Hookim at the Channel One studios, backed by the Revolutionaries (inna rockers style).

                      The awesome run of hit singles that the late, great I-Roy voiced for Niney The Observer during 1976 and 1977 are collected together here on LP for the very first time. Versioning a serious selection of roots reggae classics, including ‘Here I Come, ‘Wolf & Leopards’, ‘Satta Amassa Ganna’ and ‘Weeping’, ‘The Observer Book Of I Roy’ showcases I-Roy’s lyrical lexicography for Niney in fine style. This is foundation deejay music at its very, very best. Let there be version!


                      The man, the maestro, the mystery..... the Cube! That's right, you read that correctly, new music from the mind of one of Europe's freshest, not just one record, but two. At the same time. Right here. Versatile's main man (alongside Monsieur Gilb'R) returns to the fray with a hotly anticipated set of tracks that will surely stand alone in their uniqueness, but if you're reading this then you already know that. I:Cube has been busy, and he's keen to share the fruits of his labour with lucky us on this, the 120th release on Versatile. The sounds here are diverse, impeccably mixed, arranged and selected by the man himself and will surely find their way into the ears and minds of those who come into close contact effortlessly.

                      From the lost world dreamy trance of the first track 'Flutes Souterraines' to the acid indigestion inducing fingering of the 'Troglo Dance', to the deep cavernous bass-line creepings of 'Ramurc', this collection of six stellar cuts is a stunning return to form and a perfect example of why I:Cube should be regarded as one of the legends!

                      I:Cube

                      Etire En Avant / XXXX (Abel's Edit)

                      Times of innocence; « Etire en avant » is a track by I:Cube from 1996 recorded straight to tape, when he was still doing music in his bedroom at his parents’ house. This slow jam contains french hypnotizing aerobic lyrics combined with a funk filtered sample, perfect for a tantalising disco sleaze
                      late night set.

                      On the flip side, Abel from the infamous Red Light Records Amsterdam offers us a surprising re-jam based on the original « XXXX » track released last year on the Oeil Cube E.P.
                      Speeding it up from 33 to 45 rpm, and then extending it for maximum effect.
                      From cinematic slow boogie to proper boogie monster.

                      I.Q.

                      The Seventh House

                      I.Q's new studio album hits you straight between the ears with a visceral punch to the solar plexus. Heavy and epic but with the flowing melodic passages also well in evidence.

                      Inspired by the infinitely numbered harmonies transmitted by Vista, a benevolent being from a distant dimension, Iasos broke ground for a new age of electronic sound manipulation. His was pioneering work - done from a bohemian boat-slip home office - on some of the first commercially available synthesizers and, on stage, into the kaleidoscopic heart of psychedelic-era concert visuals.

                      As life-affirming and attuned to spirit as Iasos' soul portraits were, prestigious psychology departments heard in them the tones humans hear at the precipice between life and death. Before ambient and New Age were so named and codified, the "Paradise Music" of Iasos (represented here by 13 selections transmitted between 1975 and 1985) brought Earth - transcriptions of a vast and galactic soundhealing to a planet much in need.

                      Ibeyi

                      Ash

                        French-Cuban twins Ibeyi are back with their second album ‘Ash’, a record that tackles subjects as diverse as womanhood, spirituality, activism and racism, all conveyed in Ibeyi’s own unique blend of modern pop, hip-hop and electronic influenced music that incorporates the traditional sounds of Yorùbá. ‘Ash’ is the follow-up to the twin’s 2015 critically acclaimed, eponymous debut album that made Ibeyi a globally recognized name.

                        While Ibeyi’s first album grappled with the past—the sister’s relationship, origins, loss, and roots. It earned them fans and collaborators in some of the most iconic and crucial artists of today, Beyoncé and Alvin Ailey included. By contrast, Ash is a more visceral and potent political statement, and while firmly rooted in Afro-Cuban culture and history, finds itself entirely concerned with Ibeyi’s present: Who Lisa-Kaindé and Naomi are, what’s important to them, and how they live today, especially given that the spheres, both personally and politically, are entirely different from when Ibeyi was recorded.

                        ‘Ash’ was recorded in November 2016 in London with producer Richard Russell at his studio The Copper House. The album features twelve new tracks, including ‘Away Away’ which was released in June, and includes appearances from Kamasi Washington, Mala Rodriguez, Chilly Gonzales, Meshell Ndegeocello.

                        ‘Deathless,’ the second track to be debuted from ‘Ash’, features the incomparable Kamasi Washington on saxophone, and was written in the wake of an experience that Lisa-Kaindé had when she was sixteen that involved her being wrongly arrested by French police. She went home and wrote the emotive ‘Deathless,’ in which she describes her experience: “I was writing ‘Deathless’ as an anthem for everybody!” Lisa-Kaindé says. “For every minority. For everybody that feels that they are nothing, that feels small, that feels not cared about and I want them to listen to our song and for three minutes feel large, powerful, deathless. I have a huge amount of respect for people who fought for, what I think, are my rights today and if we all sing together ‘we are deathless, ’they will be living through us into a better world”.

                        Step out of the gloom and into Ibeyi’s world, a place of optimism, openness and acceptance. The modern world never looked so beautiful as it does through Ibeyi’s lens

                        STAFF COMMENTS

                        Martin says: The French-Cuban twins return with their sophomore release ‘Ash’, fusing a unique blend of hip-hop, jazz, modern electronic pop and the traditional sounds of Yorùbá.

                        FORMAT INFORMATION

                        Ltd LP Info: Initial pressings come in a foldout sleeve, housed with a yellow bellyband.

                        Ibibio Sound Machine finally release their hotly anticipated debut album on the ever brilliant Soundway Records. The self-titled set sees the group effortlessly combine diverse genres with an ease I've not heard since the days of LCD Soundsystem, pulling together elements of West African highlife, disco, post-punk, psychedelic electro soul and nasty ass P-funk. On the squelchy bassed "The Talking Fish" and the 6 Music fave "Let's Dance" and the more traditional highlife cuts "I'm Running", "Uwa The Peacock" and "Woman Of Substance", Ibibio Sound Machine pack the wax with pure effusive energy. Elsewhere, "The Tortoise", "The Talking Fish" and "Prodigal Son" are bursting with raw funk power, with British / Nigerian vocalist Eno Williams in particularly fierce form. Folk stories, recounted to Eno by her family as a child in her mother's South-Eastern Nigerian Ibibio language form the creative lyrical fabric of the album, as can be seen with the natural and proverbial track titles. What I love most about this record is the fact it flows together as an album so well, with a nice progression from highlife to funk and electro disco aided by the excellent musicianship of the players. The album has soul in abundance, bookended as it is by two beautiful spiritual pieces, but will keep the dancefloor just as happy as the congregation. After all, they're pretty much the same aren't they?


                        STAFF COMMENTS

                        Sil says: Fronted by London-born Nigerian singer Eno Williams, Ibibio Sound Machine is a clash of African and electronic elements inspired in equal measure by the golden era of West-African funk and disco and modern post-punk and electro. It is the perfect amalgamation of African beats and electronic atmospheres put together in perfect balance, ready to be loved and danced to.
                        When we played this in the shop for the first time, we were all happily surprised. The album oozes energy and good feelings throughout, with Williams channeling it all via her unique and compelling voice.
                        The varied compositions range from the Gregorian chant-like sound found on “Voice Of The Bird (Uyio Inuen)”, to the breathless pace of “I’m Running”, and “Uwa the Peacock (Eki Ko Inuen Uwa)”. “The Talking Fish (Asem Usem Iyak)” exudes funkiness and elements of jazz, while “The Tortoise (Nsaha Edem Ikit)” offers a perfect communion of trumpet and up-tempo African rhythms. “Woman of Substance (Awuwan Itiaba)” – a personal favourite - has catchy dialogues between the guitar and trumpets. In “Prodigal Son (Ayen Ake Feheke)” we find sophisticated use of deep synthy electronica. And last but not least “Got to Move, Got to Get Out! (Ana Nkpong Ana Nwuoro)” reminds me of Michael Brook and Nusrat Fateh Ali Khan’s album “Night Song” on Real World Records with its lingering and moody electronic soundscapes.
                        There is not one filler on this album - they are all killers that point toward the fact that Soundway is not only committed to its critically-acclaimed reissues, but also to bringing to the forefront new vibrant sounds like the ones on this masterpiece.

                        The descending motif of new wave synths, buzzing electro bass and sunkissed disco rhythms of "Give Me A Reason" signal the glorious return of Picadilly faves Ibibio Sound Machine and their second LP "Uyai". The album title (pronounced ‘you eye’) means “beauty” in Ibibio language and refers to the strength and free spirit of women in general and in particular, the courage of the women in lead singer Eno Williams’ family, to whom she often refers in her writing. The perfect clash of African and electronic elements inspired in equal measure by the golden era of West African funk, disco, modern post-punk and electro, "Uyai" is every bit as dynamic, danceable and infectious as its predecessor, while boasting greater variety and diversity in the songwriting.
                        The album opens with “Give Me a Reason,” a song about the 276 Chibok girls who were abducted in northern Nigeria in 2014 and remain missing to this day. A raw bassline, urgency and restrained aggression of the track mirror public feeling about the tragic incident. "One That Lights Up" offers a moment of repose in the midst of the body moving beats, opting instead for sultry and organic funk grooves with just a hint of dub. “The Pot Is On Fire” is a food dance celebrating the “happy place” when the food will be ready soon. Elsewhere "Quiet" introduces spiritual ambient, "Joy" bangs through Afro-electro and abrasive punk motifs and "Lullaby" fuses emotive vocals and delicate melodies with Streetsound rhythms. Folk stories, recounted to Eno by her family as a child in her mother’s Ibibio tongue, form the creative fabric from which the band’s unique musical tapestry is woven. Evocative poetic imagery and empowering messages set against an edgy, Afro-Electro soundscape give the band a unique space within the current wave of modern Afrocentric sounds sweeping across the globe.


                        STAFF COMMENTS

                        Patrick says: Building on the genre mashing majesty of their debut, Ibibio Sound Machine return with a diverse, danceable and dynamic sophomore LP which just about edges their debut. Amid constant changes of rhythm, focus and mood, the ensemble never comes close to a misstep or mistake, dancing comfortably into a bold future.

                        Jamal Moss (aka IBM (Insane Black Man)) is a lost warrior of sonic truth. We first uncovered his music through his own Mathematics Records, where we were shocked to find a unique permutation of the Chicago Jack gene. We came to find out that Jamal was educated in the biz by Adonis and Steve Poindexter, and the last of the line of producers directly inspired by two pillars of influence: Ron Hardy at the Muzic Box and the club Medusa’s. This makes him uniquely qualified to write a new chapter of Chicago's history.

                        Digging through shoe boxes of cassettes, video tapes, and mini discs, we have collected the secret tapes of one Insane Black Man. This is an archive of the impetus of his genius, containing perhaps the holy grail of all Jamal Moss tunes “The Land of Rape and Honey” and “Tribal Retribution”. Artists on labels like LIES are still searching for these originals. We have taken them from their dusty and damaged condition and painfully & meticulously restored them, using the mastering labs of Neel’s Enisslab Studio in Rome, and for the few that even he couldn’t do, we had Carl at TruTone finish the restoration. Now we can present these fragile raw and pure visions with the greatest level of quality. Finally the full impact of these ideas can be felt.

                        Jamal describes his music as “post industrial angst in an urban environment.” His first experience at the Muzic Box was standing outside the warehouse space on 326 Lower Michigan Ave just watching people come outside to catch air, fascinated by the energy he was experiencing. At a later location he was finally able to get in and describes the experience as “overstimulating, I never saw anything like that, you could see the heat, it was like a sauna of raw sweat.” Later, he would spend much of his formative years at Medusa’s experiencing the city’s more alternative culture. Many people may find this surprising, going from the Muzic Box to Medusa’s, from the roots of House Music (and Techno) to the home of the Industrial sound that perhaps Wax Trax best represents. But that kind of stereotypical thinking doesn’t allow for the truth of what actually happens, people cross boundaries, experience other scenes and cultures, absorb them and add to them. No one should be prescribed a set of interests because of where they are from or what race they are born.

                        Jamal reminds me that Duane Buford, creator of the first record on Dance Mania and co-writer with Jesse Saunders and sometimes Vince Lawrence of such early house songs as “Funk-U-Up” (Jes’say 1984) and Le’ Noiz’s horror house bad trip jam “I’m Scared” (Trax 1985), was also a member of the Revolting Cocks and Ministry. Before Mathematics took off, Jamal was in talks with 4AD to make an industrial record for the label. These towers of influence collide easily in the mind of the Insane Black Man. Why must we call him insane? That may be society’s futile view, which would prefer to put everyone in easy boxes, whereas we would be more likely to call him a visionary.


                        In his own words:

                        Purpose & Reasoning of Collection of Works: None just for therapeutic purposes 2 Exercise The Demons 2 keep oneself from
                        going over The edge . All material collected from various cassette tapes / VHS / Mini Disc stored away in old grey shoe boxes.

                        Genre : Industrial / Experimental / Art / Tribal Noise / EBM / Social Distortion

                        All Compositions created between 1995 - 2005

                        Equipment & Devices implemented in Making this Album:
                        Korg DW 8000 - Yamaha DX7 - Boss Dr 5 - Ibanez X-ING Midi Guitar - Korg Electribe EM-1 Black - Sp 303 Dr Sampler
                        Vintage Apex Aural Exciter Type B - Emu Drumulator - Roland TR606 Drumatix - Roland JSQ-60 - Korg DDD-1 - Orbitron Studio Reverb - Sony VCR Cassette Recorder - Panasonic Portable Cassette Recorder - Gemini Stereo Disco Mixer Echo effects in Wooden casing & a Sony Mini Disc recorder . 

                        Hey, this aint no “follow up” number, this is a the other arm getting a shot; this is the Slave Vows era of the Icarus Line getting its I’s dotted. A sort of finality at play here, “Avowed Slavery” is the companion release to 2013’s well received SLAVE VOWS album, this completes the circle of fury.

                        With the video release of “City Job” at the end of 2013, and the Slave Vows album still making people talk, it was time to put these songs to wax, prepare the world for The Icarus Line's next move. Five tracks spread over the two sides, this mini album serves as aSlave Vows booster jab, the feral verocity of the last album is in spades here, maybe even more so, the fire in the band’s belly is roaring, and its only when the last track closes down do you realise quite fully, the impact.

                        Reference points take in a whole gamut of genres, styles, sounds, stances…… Cardamone leads the gang once more into the rough, the desecrated warzone that is the music industry, american culture and love , they (Cardamone, Hallet, De Guzman, Arnao) create their brand of “hellfire and brimstone” rock and roll…

                        Leeches and Seeds is a frenetic blast of noise with Hallets drums threatening to collapse your ears, driving you into live favourite Junkadelic. The bastard offspring of Clinton and Bargeld this grooves and slithers, winding its earworm abilities into your whole shuddering psyche…..

                        Raise Yer Crown closes off side one, with their LA swagger back in full effect, thump and grind from the Icarus Line, this is Los Angeles NOW…

                        Side two opens with the long awaited studio version of other live fave “Salem Slims”, first aired on the Killing Joke support tour in 2012, this fearless headrush is so adamantly an Icarus Line song, that theres no other comparison, howling stoogian vocal, building-destroying rhythms, shards of guitar gloss stunning all within range, this headrush of almost-insanity then moves into the last track, “The Father,. The Priest” , is this the calm after the storm, is this the comedown, is this the penance for the passion? Or is this the Vows era Icarus Line laying down tools to prepare for the next go?

                        Listen at full blast
                        - Joe Cardamone

                        FORMAT INFORMATION

                        LP includes MP3 Download Code.

                        Brand new album from LA hellions, the Icarus Line, is quite possibly their best album yet. Harking back to the fury of Mono, the fire of Pennance Soiree and dragging the swagger out of the Black Lives / Wild Life albums, "Slave Vows" is quite simply a fearsome vitriolic rock and roll outpouring that starts, and never lets up for every 45 minutes of Stoogian styled glory.

                        Evoking Funhouse, Everything Went Black, Goats Head Soup and Maggotbrain in one fell swoop, it could be said that the Icarus Line have finally made the album they set out on making in 2001... this is not for the fainthearted! Some of these songs were blooded on their support slot with Killing Joke on their European tour in 2012, this album also features the best rhythm section the band have had (new drummer Ben Hallett and original bassist Lance Arnao completely NAIL IT!), underpinning the white hot guitar flow from singer/leader Joe Cardamone, the songs..ebb, and flow, slash and burn...cauterizing any that stand in their way.

                        This is pure rock and roll hellfire distilled onto vinyl and CD.

                        BRAND NEW album from legendary LA firestarters, The Icarus Line. Their third full length release for Agitated (their eigth album in total), following on from their imperious return to the fray in 2013 with the much lauded release of 'Slave Vows', followed up by its companion "album release" 'Avowed Slavery' in 2014.

                        Recorded and arranged live as a group in Cardamone's studio, Valley Recording Company in Burbank, the sessions "were very private and conducive to conjuring," the frontman describes. "If you are lucky, you can capture something before it dies. I feel like all great music is a fleeting inspiration. You only have so much time to capture it before it either turns into routine or it turns its back on you."

                        The album features a guest appearance from legendary outsider artist Joe Coleman who helped coin the album title. Also appearing is Bad Seed / Grinderman/ Dirty Three band leader Warren Ellis who helped pen the track "Bedlam Blue" with Cardamone.

                        Art work for All Things Under Heaven was found during the making of the record. Veteran news photographer Randy Taylor was receiving attention for some works of his that were created out of destruction. During the Sandy hurricane his archive was flooded and many of his photos were "destroyed". The pictures that would make up the record's sleeve were simply a document of a 4th of July cookout but after the waters of Sandy they became the american dream in a car crash with mother nature. The perfect visual to compliment a document about a melted american dream.

                        All Things Under Heaven packs the kind of swagger, raunch & ascent that would make Iggy Stooge and Sun Ra proud parents. It is a record that expands the vocabulary of what rock music can be without sacrificing the critical spirit that makes it Rock N Roll. The Icarus Line have summoned up the demons from the past, paid their homage and taken the sound in an entirely new direction; because this band are never ones to be caught on their knees. The album is a sprawling sonic landscape that has a timeless quality about it as it traverses between low valleys, towering skyscrapers and all the dirty alleyways that connect them. It's a record that's as sprawling as the city of Los Angeles to which The Icarus Line have always called home. It's a fuck you to the bite size society that has become music consumption. Life is bigger than that. And just like LA, this is a record that from the opening hollow echo swallowed pounding drums of "Ride Or Die" to the final free jazz funeral lullaby of "Sleep Now" is all its own world.

                        The Icarus Line have been deep in the rock 'n' roll trenches since their debut album Mono in the late 90s, yet sound more significant now than ever. Over the years The Icarus Line have proved to be one of the most exciting and unpredictable live bands around, again and again. Their performances are explosive, dangerous and sexy all at the same time.

                        "Joe Cardamone slanks in a room like some sick fuck who actually knows how to live on the street, instead of pretending that he still does," writes Permanent Midnight author Jerry Stahl. "Walking down Vulnerable Hardass Ave " the one where OG rock'n'rollers, the early eat-their-arms screamers and bar walkers that paved the way for posers and haircuts to come, first started screaming out the truth that was eating them alive."

                        For fans of all music styles American Primitive: Ayler, Patton, Howlin Wolf, Gira, Velvet Underground, Funkadelic, Sun Ra, The Psychedelic Stooges, Black Flag, Charlie Feathers, Tony Conrad.


                        STAFF COMMENTS

                        Barry says: As brash as ever, The Icarus Line return to the fore with this, their latest outing since 2013. All Things Under Heaven sees the band in a more grungy, punk-influenced mood. Snarling vocals, and screaming call-to-arms refrains atop driving distortion and thumbing kick drums. Never likely to be accused of being boring, this is a new direction from a band that can do no wrong. A Political noise-punk statement, and a righteous performance from one of the greatest post-hardcore bands of all time.

                        Vocalist Joe Cardemone sings, spits, or screams into his mic with surreptitious pleasure over jagged, crunching guitars and erratic rhythms. A consummate blending of "Funhouse" styled thuggery, "Gimme Shelter" / Altamont era Stones death rock, the visceral pop shimmer of "Loveless" and a fierce twist of their own Los Angeles angst.

                        Ice Black Birds

                        As Birds We'd Be Fine

                        Debut release from Laissez Faire Club Records is the second single from Brighton based Ice Black Birds, "As Birds We’d Be Fine". It’s a slice of blues fueled, anthemic indie rock fit for the summer festival season, and has already been championed by Huw Stephens on Radio 1 as well as Steve Lamacq and Tom Robinson on 6Music.

                        The flip side is live favourite "Doors", a highly charged rock ‘n’ roll riot all over in two-and-a-half minutes – like they used to make in the good old days.

                        Fans of CCR, Kings Of Leon, White Denim and The Black Keys will love this.

                        Iceage

                        Beyondless

                          Beyondless radiates joy. It’s an album that shows Iceage finally catching up with their ambition, all the while retaining the rich character of the band’s brash beginnings. It’s important to pay attention to the journey, from New Brigade (2011), a juvenile delinquent take on post-punk, full of cold, distant condemnation, and onto the ecstasy of You're Nothing (2013), shedding the more aggressive hardcore influence and dragging in more light, a tendency followed on Plowing Into The Field Of Love (2014). Throughout their career, the band’s charm has rested in their running ahead of themselves with blind confidence; on Beyondless, they are treading with a disarming assurance, but no loss of charm.

                          The album was produced by the band with Nis Bysted, and recorded all-analog by Mattias Glavå at Kungsten Studios in Göteborg, Sweden, and mixed by Randall Dunn at Avast Studios in Seattle. The album was played entirely by Iceage with additional performances by Nils Gröndhal (violin), horns by Kasper Tranberg (trumpet), Lars Greve (saxophones) and Morten Jessen (trombone).

                          Icecross

                          Icecross

                          Rare as a bass eunuch this is 1978 Icelandic prog, vinyl copies are selling for £400 and musically it's good too. A trio with Axel Einarsson proving to be a dab hand on the old fretboard.

                          Feeling like you’re missing a funk shaped hole in your life? Ice’s official rare reissue soul funk jam 'Reality' via Athens of the North Records is here to cure that. Super rare modern soul, this massive boogie tune is needed in every collectors’ record shelf. First played by Ian Wright and a few others on the Deepfunk scene and was then picked up by the Northern soul scene where it flourished and made its way to being an all-time favourite.

                          STAFF COMMENTS

                          Millie says: Look no further for your new favourite funk single. Ice reveals this banging reissue to solve all the searching to be halted, this is the one you need. Smooth funky grooves and impressively swooning vocals, this is a dream.

                          "Ices" is a celebration of flight, levity, and the conviction that you can leave earth. You take wing in an airplane, you go to real places when you dream, you have out-of-body experiences, you get high, you lose yourself in someone else.

                          When we started work on these songs, I was beginning a gradual move to California, constantly traveling back and forth from New York. I was experimenting. I was falling in love. Our studio in the Hudson Valley was full of electronics and computers and the sounds of future ships sailing through the vastness of space, and I sometimes forgot where I was. The first songs we wrote were called "flying 1", then "flying 2", and so on, which eventually evolved into songs on the album. Flight became a metaphor for the ignition of the imagination. The process created a lightness in me, a freedom and positive energy that I¹d never before felt or explored.

                          This recording session became a two year music and spiritual retreat with my psychic twin brother, Eliot. A private journey during which we abandoned old habits and familiar sounds. We got really geeky and experimented in our studio. We obsessed over sympathetic magic, "Ancient Aliens", and the NBA. We allowed everything we loved to find its way in: Persian percussion, hip-hop beats, lo-fi, hi-fi, Pakistani pop, Link Wray, Jason Pierce, gospel, dub. We developed new systems; we worked with synthesis, software, and samples; we became producers. The Hudson Valley was home base, but I wanted to keep flying. I wrote songs in California, recorded vocals in Atlanta, and worked with Clams Casino in Brooklyn.

                          For the first time, Lia Ices felt like an inclusive project with its own identity, not just a name.

                          "Ices" as a whole is devoted to these certainties. While we have evolved, we are still animals. We respond to planets, patterns, and cycles. We require the sounds of our origins. We live in the future but stay bound to the primitive and primordial. We will always want tribe, we will always want rhythm, we will always need music to guide us into our deepest sense of what it means to be human. So we hear sounds from all over the planet in this album. We devour so much music, and with this album we allowed ourselves to claim bits from all of it.

                          Slovenia's Ichisan always comes correct, not least on his 2017 LP "Aperitiv", which was so stupendously good that Bordello A Parigi have opted for a revisit. Four choice cuts have been selected and reworked with a specific instrument focus. The harpsicord version of “Hotel” keeps the intoxicating melody of the original but allows beats to relax as notes shine with an incandescent brilliance. Drums put their feet up for the Rhodes version of “Modri Tunel.” Deep stings and lounging lines mingle in this work of smoke swirling seduction. “Kozmetika (Trumpet Version)” dances to a different tune. Rich bass is again central but this time brash and bold brass intertwine with funk filled bars. The last waltz arrives with the piano version of “Terminal E.” Alluring notes ascend, rising and falling against heartwrenching guitar strings for a finale to end this ballroom inspired beauty.

                          Slovenia's Ichisan always comes correct, not least on his 2017 LP "Aperitiv", which was so stupendously good that Bordello A Parigi have opted for a revisit. Four choice cuts have been selected and reworked with a specific instrument focus. The harpsicord version of “Hotel” keeps the intoxicating melody of the original but allows beats to relax as notes shine with an incandescent brilliance. Drums put their feet up for the Rhodes version of “Modri Tunel.” Deep stings and lounging lines mingle in this work of smoke swirling seduction. “Kozmetika (Trumpet Version)” dances to a different tune. Rich bass is again central but this time brash and bold brass intertwine with funk filled bars. The last waltz arrives with the piano version of “Terminal E.” Alluring notes ascend, rising and falling against heartwrenching guitar strings for a finale to end this ballroom inspired beauty. 

                          Icky Boyfriends

                          Live In San Francisco

                          “You like anchovies? Morning breath? Dried blood? The sun-up residue after a night of hard drugs? Well, you’re gonna love Icky Boyfriends.

                          “I painted houses for a couple years with an old-school San Francisco artist / musician dude who would let me run the boombox while we worked. This was right around the time I became obsessed with Icky Boyfriends. I would play the shit all day and wax about how I much I loved them. He piped up one day and asked what they were called again. ‘Icky Boyfriends,’ I said. ‘Oh yeah, I remember those guys…man, they could clear a room.’ “That’s the Ickys—an acquired taste for people who maybe have eyes that feel natural when trolling the gutter for nutrition. These are stories of strung-out super heroes singing the praises of the old school San Francisco freak scene. Hilarious at times, genius always and as scuzzy as anything you could ever hear. “Live in San Francisco was recorded masterfully by the Castle Face engineers team at the grand SF Eagle. There are many classic favorites here, as well as a couple new jams (I challenge anyone to tell the difference). We’ve kept it primal and simple as the Ickys always have. What a treat, now let’s eat!” - John Dwyer

                          Icons Art Prints

                          Morrissey


                            One of a series of limited edition A3 art prints from the 'icons' series.

                            FORMAT INFORMATION

                            Misc Info: 50 hand numbered copies only.

                            Icons Cards - Dirty Minds Series

                            Prince

                              Blank inside for your own message.

                              Icons Cards - Erotic Politicians Series

                              David Bowie

                                Blank inside for your own message.


                                Icons Cards - Fatalities Series

                                Barry White - 1944-2003

                                  The Icons Fatalities Series features some of our late great heroes.

                                  Blank inside for your own message.

                                  Icons Cards - Fatalities Series

                                  Ian Curtis - 1956-1980

                                    The Icons Fatalities Series features some of our late great heroes.

                                    Blank inside for your own message.

                                    Icons Cards - Fatalities Series

                                    Jim Morrison - 1943-1971

                                      The Icons Fatalities Series features some of our late great heroes.

                                      Blank inside for your own message.

                                      Icons Cards - Fatalities Series

                                      Kurt Cobain - 1967-1994

                                        The Icons Fatalities Series features some of our late great heroes.

                                        Blank inside for your own message.

                                        Icons Cards - Fatalities Series

                                        Notorious BIG - 1972-1997

                                          The Icons Fatalities Series features some of our late great heroes.

                                          Blank inside for your own message.

                                          Icons Cards - Living Dead Series

                                          Shane MacGowan

                                            Good old Shane. His notoriety has given him an Icons series all of his own!

                                            Blank inside for your own message.


                                            Icons Cards - Mancunians Series

                                            Ian Brown

                                              The Mancunians series features some of the coolest musicians our fine city has produced.

                                              Blank inside for your own message.


                                              Icons Cards - Mancunians Series

                                              Morrissey

                                                The Mancunians series features some of the coolest musicians our fine city has produced.

                                                Blank inside for your own message.

                                                Icons Cards - Sugar & Spice

                                                Debbie Harry

                                                  The Sugar & Spice series celebrates some of the lovely ladies of the music world.

                                                  Blank inside for your own message.


                                                  Icons Christmas Cards - 2010 Edition

                                                  Morrissey - There Is A Light

                                                    This great series of Christmas cards have been revamped for this year - New print colours and with a nice bronze envelope this time too!
                                                    Blank inside for your own message.

                                                    Icons Of Filth

                                                    Nostradamdus

                                                    One of the greatest anarcho-punk bands of all time has returned with a brand new album that stands up to their brilliant early releases. Simply put, Icons of Filth have grown in stature to underground punks all over the world. "Nostradamndedus" features their trademark brash guitars and in your face vocals. Their confrontational lyrics take to task capitalism, corporate greed and a gamut of social issues that are more timely and important today than ever before.

                                                    ‘The Icypoles’ Story…The Icypoles grew out of a soundtrack to an experimental film. Here is the scene: a girl writes into a magazine with a problem about her teenage love life. She doesn’t know if she’s too young for love. The magazine is from a by-gone era, the music sounds something like Sixteen Candles with backing vocals to a ‘Dear Editor’ soliloquy. During the recording Isobel Knowles discovered a love for 60s girl group garage bands and film music that creates a particular dark ambience. She work-shopped some band names with her best friends Tara Shackell and Kim White and together with them created the idea of The Icypoles. Suddenly there was a new reason to write music and a small repertoire emerged. The songs featured on debut release, 'Promise To Stay' represent this first collection. Tara and Isobel were invited to join Architecture in Helsinki soon after The Icypoles started playing to audiences and there was a long pause in the development of the band while AIH toured the globe. But the idea stayed strong and more songs showed their faces over the years. The time came to take The Icypoles more seriously. The girls found a new drummer, Lani Sommer, and together went into the recording studio (a kitchen in a temporary house). The recordings were interspersed with shows around Melbourne and small tours (Sydney, Stockholm and New York City!). A cassette came out in London with Sexbeat ‘zine. Eventually some more recordings were made with producer, Haima Marriott and the mixing process began. Isobel and Haima had worked together on those first soundtrack recordings and revisited their recording experiments to come up with a sound for The Icypoles.

                                                    A live favourite and her set-closer, "Oh My God" is loud, punchy and full of attitude; a track which cements Ida Maria's reputation as one of the most exciting new talents to emerge over the last 12 months.

                                                    FORMAT INFORMATION

                                                    CDS Info: The CD single also includes "Keep Me Warm", live from the Borderline.

                                                    Idaho

                                                    The Lone Gunman

                                                    "The Lone Gunman" is Idaho's most keyboard intensive work featuring a collection of pianos, a Wurlitzer and an old Prophet 5. "The Lone Gunman" is already drawing praise as Idaho's most experimental album, 'a richly realized throwback to Eno's early work with Bowie.' Once dubbed 'the ultimate underground band', Idaho has garnered critical acclaim for 12 years, everywhere from the New Yorker to Paris's Liberation newspaper.

                                                    Kensuke Ide With His Mothership Featuring Pongsapon Upani Vs Hair Stylistics

                                                    Otemoyan Isan

                                                    This is the third 12" release in support of the film "Bangkok Nites"; this time it's Kensuke Ide with his Mothership teaming up with Pongsapong Upani, a renowned young khaen player from Kalasin province. Songwriter/Producer Ide, and Upani, who accompanies molam greats such as Chawiwan Damnoen and Angkhanang Khunchai, fuse J-pop with luk thung-molam in a cool, catchy confection, accompanied by an instrumental version, a manically percolating remix by Hair Stylistics (the artist formerly known as Violent Onsen Geisha), and two groovy locked grooves. A sweet J/Thai meeting here, with a great feel, a summery melody, clever lyrics based on a Japanese folk song, attentive production and fine playing.

                                                    In a world in which trance DJs with names like Ferry, Armin and Tiësto plead for votes in the DJmag Top 100, it’s nice to know there are other, stranger, galaxies circling the more secular and mundane one in which we live. One such universe, Planet Idjut, is occupied by two otherwise unemployable characters called Daniel (Tyler) and Conrad (McConnell). It circles the other planets suspiciously, unwilling (or perhaps more pertinently, unable) to conform to the mores and habits of other mere mortals.

                                                    They are, it is true, DJs just like the aforementioned Tiësto and company, but where most are happy to serve up a formulaic and entirely predictable menu to keep the happy E hordes of Ibiza content, the Idjut Boys play, as Conrad once quipped, “Whatever we can get away with.” That could include anything from 70s jock metallists Nazareth to Phil Collins interspersed with perhaps some Underground Resistance for light relief, swiftly followed by the Temptations, something which makes their DJ sets non-conformist, occasionally brilliant, sometimes floor-clearing, but always interesting.

                                                    Amazingly, despite a 20-year career they have never produced an artist album. Until now. Those expecting formulaic disco-not-disco floor-screamers will be disappointed. Many months in the making, many collaborators in its gestation, this is what the Idjut Boys sound like strapped to an Eames chair, cheroot in hand, while their pet tiger Keith sits by the hearth fire. “What we’ve tried to do is make an LP, four tracks a side on vinyl,” reports Conrad. “You stick it on your stereo, have a cup of coffee and read the paper. When it’s finished you stick the other side on. So we’ve made an LP in the traditional way.”

                                                    Although the album was made with the armchair rather than the podium in mind, their approach to music-making as not altered at all. Although neither plays an instrument, they use the mixing board as their Stratocaster or Rhodes, often adding effects live as the song plays. “We do lots and lots of versions and mixes,” says Conrad. “Then we edit stuff from one into another. We try and use as many different sound sources and lots of different musicians. We’ve tried to make this sound as good as possible, so we’ve gone all over the place recording things, like Oslo for Bugge Wesseltoft’s piano, our friend Andy Hopkins’ for the drums and guitar and writing with Sally and Steve from A Man Called Adam in Cornwall.”

                                                    If this gives you the impression the duo have settled down, bought themselves knitted Arran sweaters, flutes and a subscription to Wallpaper*, you’d be wrong. Although the Idjuts are keen for the album to be a listening experience, they are already champing at the bit to start making dance versions (a “drum and bassy dub” of ‘Going Down’ is already in the can). “Hopefully enough of them will buy the LP and think, “Yeah I don’t mind wasting some more money on you fucking idiots.”” Or Idjuts, as the case may be. (Bill Brewster)


                                                    FORMAT INFORMATION

                                                    CD Info: Limited edition comes with exclusive URL link to a THREE HOUR 'Discolimone' online DJ mix.

                                                    The Idle Hands

                                                    Loaded

                                                    The Idle Hands are a five-piece from Minneapolis – a band in the great tradition of cross atlantic influences. "Loaded" has hints of everything here from C86 indie to Brit-pop, while "Sunshine On The Tenements" is a more brash punk pop song, with a dash of the Buzzcocks.

                                                    FORMAT INFORMATION

                                                    CDS Info: The CD single includes "Queen Of Air And Darkness", "The Fall" and "Sunshine On The Tenements".

                                                    The Idle Race

                                                    Idle Race

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

                                                      The Idle Race's second studio album, featuring Jeff Lynne of ELO.

                                                      The Idle Suite are a six piece improv-rock group from Wellington, New Zealand. The band members come together from a variety of NZ underground acts including: King Loser, Sandoz Lab Technicians, Sferic Experiment, and Marineville. Driven by two drummers, the Idle Suite's music is open ended improv rock.

                                                      Since their inception, Seattle's eminently unique noise-benders, Idle Times have enshrouded their unhinged pop dexterity in an entire soiled spectrum of illustrious cloaks, assuring every angle they pursue is leveled with deranged precision. From the instant the lead off track kicks in on their debut LP, it's impossible to ignore the band's brainchild, Brian Standeford, utilizing an unreal and other-worldly scorching guitar tone, which very well might be what locks you in at first. But on closer listens, it's the scraps of distant-yet-familiar sound swatches, seamlessly patched together behind that inimitable guitar and vocal combination that make up the intensely diverse array of songs on their first full-length. It's never been more prominent than on their anxiously-awaited debut LP, where Idle Times are clearly pioneering a sound that's meshing so many degrees of varying styles from track to track, that it becomes easy to get lost in the staggering creativity of each intricate alcove.

                                                      With such an intense collection of tracks that crush and crackle with deranged delight, Idle Times wield both noisy pop hooks with subdued melodic mastery, and prove that following up Sic Alps/Guided By Voices-style grungy, yet fully jangled scratchy pop hits, with the twang and clang of a fried-out later-era Byrds studio outtake, is truly something fresh and exciting in this never-ending world of recycled ideas and ripped-off innovation. It just doesn't sound like anything else, and as shocking as that may seem, that's most likely why it's just so compelling. After a smashing debut single on Woodsist Records in 2009 and their elusive HoZac Hookup Klub single that followed it a few months later, Idle Times have been hard at work mastering these delicately agonizing tracks into a complete whole, reinstating the value of the full-length with its ability to showcase the broad variety of irresistibly catchy sonic sophistication included within. Dispositions and delusions aside, don't miss out on the Pacific Northwest's most enchanting underground pop ensemble of the moment, and hitch onto Idle Times while you still can breathe in the all-encompassing atmosphere of their wondrous world.

                                                      RIYL: Sonic Youth, Sic Alps, The Intelligence, Times New Viking, The Byrds, Guided By Voices

                                                      Bristol’s finest post-punk polemics IDLES have been promising to do great things for some time now, and with their debut album “Brutalism” they absolutely fulfil that promise, and a furious promise at that. Politically charged, refreshingly confrontational and infectiously volatile, IDLES are a band like no other. Bringing the unsettling reality of the world we live in into their frantic assault on the senses, they are a band that until now could only be truly understood by witnessing in a live environment - but with “Brutalism” it surely feels like they have captured the intensity of that live sound.

                                                      Bottled up here are the abrasive, memorable lyrics of Joseph Talbot delivered with all of the spite and wry humour he puts across on the stage .Dedicated in part to the loss of his mother, who adorns the record’s cover, and partly to a perceived decimation of society, from the NHS to public services across Britain, “Brutalism” is a deadly serious indictment on popular culture. 

                                                      “Idles are one of the most exciting British bands right now and Brutalism is the proof”-The Line Of Best Fit

                                                      ”Visceral anthems that’s timed weirdly well for this year’s madness“ NME

                                                      STAFF COMMENTS

                                                      Barry says: Snarling, pretence-free modern post-punk perfection from Bristol's very own Idles. From the slamming power-chord mayhem of “Well Done”, laying into Tarquin and his love of reggae and football, to the throbbing hook-laden 'Rachel Khoo', this is an unrelenting but perfectly formed juxtaposition of melodic sensibility and brazen, all-out aural warfare. Killer.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Limited to 300 copies on transparent light blue vinyl housed in gatefold sleeve with card inner. Comes with download code.

                                                      Bristol’s finest post-punk polemics IDLES have been promising to do great things for some time now, and with their debut album “Brutalism” they absolutely fulfil that promise, and a furious promise at that. Politically charged, refreshingly confrontational and infectiously volatile, IDLES are a band like no other. Bringing the unsettling reality of the world we live in into their frantic assault on the senses, they are a band that until now could only be truly understood by witnessing in a live environment - but with “Brutalism” it surely feels like they have captured the intensity of that live sound.

                                                      Bottled up here are the abrasive, memorable lyrics of Joseph Talbot delivered with all of the spite and wry humour he puts across on the stage .Dedicated in part to the loss of his mother, who adorns the record’s cover, and partly to a perceived decimation of society, from the NHS to public services across Britain, “Brutalism” is a deadly serious indictment on popular culture. 

                                                      “Idles are one of the most exciting British bands right now and Brutalism is the proof”-The Line Of Best Fit

                                                      ”Visceral anthems that’s timed weirdly well for this year’s madness“ NME

                                                      STAFF COMMENTS

                                                      Barry says: Snarling, pretence-free modern post-punk perfection from Bristol's very own Idles. From the slamming power-chord mayhem of “Well Done”, laying into Tarquin and his love of reggae and football, to the throbbing hook-laden 'Rachel Khoo', this is an unrelenting but perfectly formed juxtaposition of melodic sensibility and brazen, all-out aural warfare. Killer.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Limited to 300 copies on transparent light blue vinyl housed in gatefold sleeve with card inner. Comes with download code.

                                                      After five years away, Scottish alternative rock band Idlewild return with new album Everything Ever Written. The band’s eighth studio recording represents a new chapter, both personally and creatively - featuring twelve tracks of alternative rock woven together from strands of Scottish folk, Americana & Hebridean psychedelia.

                                                      Produced by the band’s guitarist Rod Jones and mixed by John Agnello (Kurt Vile, Sonic Youth, Dinosaur Jr.) whom they collaborated with on their 2002 release The Remote Part and augmented by new members Luciano Rossi (piano, organ & vocals) and Andrew Mitchell (bass, guitar & vocals), Everything Ever Written is Idlewild’s most eclectic output to date.

                                                      “The album was predominantly written on the Isle of Mull”, vocalist Roddy Woomble explains. "The record soundtracks a period of transition. Working without time constraints gave the whole thing a creative freedom. Idlewild is a new band to me now; I’m excited for the future.”

                                                      In October 2014 the group completed a sold out acoustic tour of unique, intimate venues throughout the Highlands & Islands of Scotland, re-introducing themselves to live audiences after a half-decade break, performing re-worked versions of old songs as well as songs from the new album. The still, idyllic settings chosen for the performances hint towards the sense of space afforded in writing and recording the new album.

                                                      Idlewild

                                                      Scottish Fiction: Best Of 1997 - 2007

                                                      Following the initial meeting of Roddy Woomble, Colin Newton and Rod Jones at Edinburgh University in the mid-90s, the newly formed Idlewild put their student loans together and released their debut 7" single in 1997. Now a decade later Idlewild release "Scottish Fiction", a "Best of..." that compiles some of their many musical highlights of the last 10 years. With a tracklisting chosen by the band themselves, "Scottish Fiction" includes classic singles such as "American English", "You Held The World In Your Arms" and "Roseability", as well as selected album tracks from their Food/Parlophone releases and this year's "Make Another World" album on Sequel.

                                                      Iggy & The Stooges

                                                      Raw Power - Vinyl Reissue

                                                        Legacy Vinyl release this classic album from Iggy Pop.

                                                        A double, gatefold, 180gm, black LP Vinyl.

                                                        This was the bands third album release & includes both the original 8 track David Bowie mix & the latter 8 track Iggy Pop mix. 

                                                        Ikebe Shakedown's powerful instrumental soul takes "big unison horns, slinky bass lines, tight little guitar licks-and blends them with tasty grooves culled from '70s-style horn-driven funk (WNYC Soundcheck)." The Brooklyn-based collective is set to follow up their well-received self-titled debut album with the heavier, more mature sound of their second full-length Stone By Stone.

                                                        The self-produced album was recorded at the famed "House of Soul" Daptone Studios in Bushwick, Brooklyn. Notes bassist Vince Chiarito, "Thinking of all the great music that has come out of the Daptone Studio really pushed us to refine our songs and grow as a band. It was really inspiring to record there." The band adds that, "Stone By Stone is a much more layered and arranged album. The self-titled debut captured the raw energy of us playing live and the new record is much more of a studio effort. Psychedelic textures weave in and out of the grooves while the horn section offers an explosive response. The songs are heavy and danceable and show our moodier, more melodic side."

                                                        The seven-piece band-named after a favorite Nigerian boogie record and pronounced "ee-KAY-bay" formed in 2008 and has developed a mighty horn section anchored by tight, deep-pocketed grooves. Following 2009's debut EP Hard Steppin', the band released their self-titled debut full-length LP on Ubiquity Records in 2011 that Okayplayer called "an adventurous trip through time" and "one of the best releases of the year." Their music has also been featured on a number of television shows and commercials including HBO's Eastbound and Down, Mini Cooper and Vans.

                                                        Ikon

                                                        Gruss Vom Krampus / Little Drummer Boy

                                                          Snowflake 8 features two songs by Melbourne postpunk band IKON. IKON was started at the end of the 1980s as Death In The Dark by school friends Chris McCarter and Dino Molinaro, influenced by bands like Joy Division and New Order. The band changed its name to IKON in 1991. Since then, IKON released seven albums, the last 'Everyone Everything Everywhere Ends' in 2014. The band, that still features the two original members alongside David Burns and Clifford Ennis, has done several tours through the years, and has become one of the mainstays of the worldwide darkwave/gothic/postpunk scene. IKON's sound has developed through the years, incorporating acoustic and electronic elements in their dark, postpunk-inspired rock sound. Despite Christmas in Australia usually being sunny and hot, IKON is going to make Christmas 2015 a very dark, cold and even scary one.

                                                          The A-side tells the story of Krampus, the Christmas devil, the helper of Saint Nicholas (aka Santa Claus) according to the folklore of the Alp countries, who punishes children that have misbehaved. The B-side turns the Christmas classic 'Little Drummer Boy' in a scary sounding darkwave song.

                                                          On special request of the band, the single comes in two versions: 200 copies on snow white vinyl and 200 copies on blood red vinyl. - Lucky dip which one you get!

                                                          Ikonika drops her third album to date and the first original material for a sometime after a busy remix and performance schedule. Like so many artists in 2017, Ikonika loads the full spectrum of new musics into her cannon - R&B and hip-hop rhythms fused with techno's modern sheen and the soundsystem rattling power of UK bass. She combines boogie synth licks with grime's urgency on "Noblest", enlisting the wonderfully talented Andrea Galaxy in the process. She collaborates with rising stars throughout the album, notably with MC Jammz on "Sacrifice" a grime slow jam with wickedly devilish intentions and one of the strongest raps I've heard all year. There's an air of futuristic mysticism throughout, depicted perfectly in the album's artwork which takes its inspiration from West London’s Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It’s this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes. As always, the future is now.

                                                          Swedish imprint Service are back with a second helping of Ikons music. Where their previous self-titled debut majored in 'neo-power-kraut galactic drama' (their words), this follow-up offers something a little bit mellower. Taking inspiration from the 60s psych-pop and the 1980s bands influenced by that sound (Jesus And Mary Chain, the Pastels, early Primal Scream, Spiritualized, the Stone Roses and the C86 era) Ikons have with "Life Rhythm" made one of the most majestic albums yet on Service, and they represent with grandour a new generation of music from Göteborg.

                                                          "Life Rhythm" is produced by Ikons, with a vision of a light and open music with the feet on the ground and head in the clouds. A Copernican turn of the debut album. "Life Rhythm" is light, warm and openly flowing. Dreamlike, dotted with pure pop songs. And a boy training a hawk.


                                                          STAFF COMMENTS

                                                          Philippa says: Sweden's Service imprint return with a new album from Ikons. "Life Rhythm" is light, warm and openly flowing. Dreamlike, dotted with pure pop songs - JAMC, C86, Pastels, early Primal Scream, Spiritualized... It's all in here!

                                                          Il Bosco

                                                          Bridge Theory EP

                                                            Il Bosco is back on wax with one of his most anticipated releases to date! This one's been in the mixer, the blender and on the shelf for months or perhaps even years - MCR's eagle-eared stalwart waiting for the precise time to take this bad boy out of the cooler and onto the dancefloors and car stereos of our fair city! Collaborating along the way with Manc label comrades Metrodome & Starion, what we have here is mind melding synth jizz combined with electro chicanery and spicy dub aesthetics! Four tracks that vary in tempo, flip the mood but keep us locked into to Bosco's fine tuned frequencies! 100% rave tested from Manchester to Berlin to Anglesey. Limited to 150. Hand stamped labels and 'theory insert' from Il Bosco. We don't need to tell you - move quick!

                                                            STAFF COMMENTS

                                                            Patrick says: The mighty Red Laser titan and local legend returns with a thermonuclear dance floor banger on his excellent imprint. Across four weighty tracks our man Il Bosco bangs out the high grade Manctalo, shoulder rolling breakbeats and neon tinged house music. Nuff Respect!


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