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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 travelers 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".


"Spoki (Ghosts)" is the sound of an artist putting their private world to tape. Of exploring and pushing the limits of themselves and technology to realise the music in their head. Recorded in Riga between 1988-2011.
As Ingus Baušķenieks himself explains: “My own world differs a little from my friends' tastes. And - as my father said - the collective art is not art at all." 
The music of Ingus Baušķenieks is both deeply private and completely alien. Experimental yet happy to celebrate pop influences such as Engelbert Humperdinck, Simon & Garfunkel or Fleetwood Mac. It is shaped by the artist’s engagement with technology and his strive to put to record his ‘own world’.
As Ingus explains, it is the sound of him: “doing what I like to do.”

STAFF COMMENTS

Patrick says: The Stroom hot streak continues this week with the strange and beautiful world of Riga musician Ingus Bauskenieks. The eleven tracks on offer cover 23 years of odd-pop experiments, bedroom sonnets and synthed up chuggers. In other words, this is power Balearic, Latvian style…

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 And The Blockheads

      New Boots And Panties!

      Stiff Records specialised in making stars of left-of-centre acts that didn't fit neatly within boundaries. Former pub-rocker Ian Dury's debut, "New Boots and Panties!" set forth the manifesto of a visionary nearly on par with short-term label mate Elvis Costello. Linking a savage verbal wit and a fiction writer's eye for detail with a command of music from punk parody (the hilarious "Blackmail Man") to sophisto-funk ("Wake Up and Make Love with Me"), Dury was one of the most English of artists. More to the point, though, he was the only Dury-ish one.

      FORMAT INFORMATION

      Ltd LP Info: Drastic Plastic remastered edition. Orange vinyl with original printed inner sleeve.

      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.

            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.

            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.

              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

              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.

              I Am Kloot

              Morning Rain

              Another fine track (my favourite) taken from the "Natural History" album.

              FORMAT INFORMATION

              CDS Info: The CD single include the demo version of "Proof", plus a live version of "Twist".

              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.

                The tale behind the waves of sound is well known to children in Wisconsin, Michigan and Illinois. Descendants of immigrants who worked in the forests and on the ships that took timber down Lake Missouri to Chicago, and city dwellers of Chicago all know about Captain Santa (Herman E. Scheunemann) and his proud, but old and infirm sailing rigger (the Rouse Simmons). All were lost in 1912 in a late November storm as they made a dash to the Christmas berths to sell thousands of Christmas trees to the Chicagoans, as they had done for thirty years past. Steamships were taking over by then, and The Christmas Ships made few trips after that year. The world had changed and worse was to come. This EP features five instrumental tracks recorded in a single take, along with a 20 minute film on DVD.

                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.

                I Love You But I've Chosen Darkness

                I Love You But I've Chosen Darkness

                Produced by Britt Daniel of Spoon in summer 2003, I Love You But I've Chosen Darkness' eponymous debut perfectly captures the band's strong pop-sensibility also found on their debut longplayer "Fear Is On Our Side" from earlier this year. Included among the EP's five tracks is the live favourite and venerable set closer "Your Worst Is The Best" which features duelling vocals over a chiming Rhodes and epic guitar lines.

                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".

                I Monster

                Neveroddoreven

                  80s style Northern (Sheffield) electronics, odd samples, cool Air-ish grooves and classic pop songs... What more could you want? It's the sound of Summer kids! 

                  Originally released on CD in 2003 it now gets a much needed vinyl reissue.

                  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.

                    I Roy

                    Don't Check Me With No Lightweight Stuff (1972 - 75)

                    I-Roy was another member of the group of pioneering deejays (toasters) of the late 60s and early 70s that included Dennis Alcapone, Scotty, Sir Harry and more, all inspired by the legandary U-Roy. Hailing from Spanish Town's Son's Junior sound system, I-Roy was soon laying down vocals on rhythms built by Keith Hudson, Errol Thompson, Winston Edwards and many more, which this collection brings together.

                    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


                    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


                      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).

                      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.

                      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.

                      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.

                      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).

                      STAFF COMMENTS

                      Barry says: Switching from nodded-out psychedelic shambling melodies to driven garage-rock interludes, Iceage are brimming with spirit and equally matching their loosely laid melodic foundations with a relaxed but effective approach to songwriting.

                      Just out of their teens, it seems Copenhagen’s Iceage have only added to the anxiety and tension that made their debut album, New Brigade, so compelling. But now, with two years of touring behind them, they’re challenging their raging emotions instead of simply expressing them.

                      When watching Iceage live you get the feeling the songs could be just about to fall apart before they miraculously recover, always rewarding you with a climax. It’s this menacing energy found in their shows that’s more forceful on You're Nothing. The guitars flay violently and the vocals sound furious at times, but they’re also far more melodic and dynamic than on their debut.

                      ‘Morals’ displays this wider range in emotion, using piano for the first time, repeatedly winding up anticipation before Elias franticly unleashes the questioning “Where’s your morals?” The album finale and title track ‘You’re Nothing’ contrasts New Brigades’ closer ‘You’re Blessed’, best demonstrating the cohesion they’ve now achieved.

                      You're Nothing is the sound of a band pushing their singular mix of punk, Goth, hardcore, and post-punk to even further extremes. In doing so they create an overwhelming number of different ways in which to write a short, aggressive rock song, with each element vying for attention.

                      Taking You’re Nothing as a moment, it captures of four boys making the successful transition to becoming challenging young men. It makes you wonder - they’ve already made such a leap in the past two years, so what will they sound like in three years time at age 23?

                      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

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                                            Icons Cards - Mancunians Series

                                            Morrissey

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

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                                              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 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.

                                                Idjut Boys & Laj

                                                Slateo

                                                The Idjut Boys and Laj (one of Raj Gupta’s lesser-known aliases) were once regular studio partners, laying down a series of now legendary dubbed-out disco and deep house releases on the former’s U-Star label during the mid-to-late-90s. Now one of the trio’s lesser-known gems is returning to record stores for the first time since 2002, courtesy of Claremont 56. “Slateo” first appeared on the 2002 Session Recordings label compilation "Solidsession Vol. 2", the CD version of which was mixed by the Idjuts and also contained a fine cut from Akwaaba, a band whose members included future Claremont 56 founder Paul 'Mudd' Murphy.

                                                Built around undulating bongo beats, fireside-warm dub bass, outer-space chords, delay-laden guitar flourishes and spacey jazz-funk synth solos by regular collaborator Pete Z, “Slateo” sits somewhere between warm-up gold, late night bliss and early morning release. In true Idjuts and Laj fashion, it boasts epic amounts of reverb and dub delay, as well as the kind of enveloping production that’s always been a hallmark of their collaborative work.

                                                16 years after the track first slipped out, it's back, on single-sided 12” single and pressed to gorgeous green and white vinyl. With only 350 copies available worldwide you'd better get them skates on! 


                                                FORMAT INFORMATION

                                                12" Info: half white half orange vinyl with transparent sleeve

                                                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

                                                  Idles / Heavy Lungs

                                                  Danny Nedelko / Blood Brother

                                                    Idles returned this year with their highly acclaimed, Top 5-charting second LP - 'Joy as an Act of Resistance'. Produced by Space and mixed by Adam Greenspan & Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush), ‘Joy as an Act of Resistance’ takes aim at everything from toxic masculinity, nationalism, immigration, and class inequality - all while maintaining a visceral, infectious positivity.

                                                    Now Idles have teamed up with Heavy Lungs for this split 7".

                                                    Heavy Lungs feature the legendary Danny Nedelko as their frontman – made famous by IDLES’ pro-immigration anthem ‘Danny Nedelko’, which features on the 7”. He is a close friend of the band (and Ukranian immigrant). ‘Blood Brother’ is a new track by Heavy Lungs. The song is about Idles’ Joe Talbot. 

                                                    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.

                                                    Bristol, UK 5-piece Idles (aka “the UK's best punk band" - The Guardian) release their sophomore LP - ‘Joy as an Act of Resistance.’ 

                                                    Produced by Space and mixed by Adam Greenspan & Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush), ‘Joy as an Act of Resistance.’ takes aim at everything from toxic masculinity, nationalism, immigration, and class inequality - all while maintaining a visceral, infectious positivity. Singer Joe Talbot summarizes: “This album is an attempt to be vulnerable to our audience and to encourage vulnerability; a brave naked smile in this shitty new world. We have stripped back the songs and lyrics to our bare flesh to allow each other to breathe, to celebrate our differences, and act as an ode to communities and the individuals that forge them. Because without our community, we’d be nothing.”

                                                    STAFF COMMENTS

                                                    Barry says: Much of the same wry lyricism, insightful and observational social commentary and clever irony as their much-lauded debut but brought into the present with an inter-band chemistry and development of style that the intermittent years have brought out. Snappy, clever and loud.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Limited edition pink vinyl.

                                                    Coloured LP includes MP3 Download Code.

                                                    Deluxe LP Info: Gold glitter embossed sleeve with 18 different artwork variation inserts.

                                                    Deluxe LP includes MP3 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.

                                                    "First Time Out" is a cosmic soul transmission from Nigeria’s own Diana Ross, Theadora Ifudu. The arty co-host of hit TV program, ‘The Bar Beach Show’ hooked up with the guys from Monomono to created an album that is sultry, sexy and effortlessly cool. It’s a smoky, New York Soul Club on wax. A graduate of the New York film school, Ifudu considered herself an artiste, and the opening track, "Hello There!" is arresting in its cinematic scope and intriguing strangeness. After briefly channeling Miriam Makes in "Gbata Ngwa", she moves into full diva mode. "(When Will It Be) Right Time" features vocal runs that Mariah Carey would be proud of and "That Man" has a smoky, jazz club vibe. It’s easy to imagine Theadora, under a single spotlight, dazzling in a sparkling figure-hugging crowd, holding a hard-to-please New York audience in her thrall. At times funky, laidback and smooth, the greatest compliment that can be paid to "First Time Out" is that it sounds international. The musicianship is first class, the vocals faultless and the mood super smooth. Theadora Ifudu, the self-proclaimed ‘moon watcher, ragdoll and artiste’, created an Afro soul masterpiece for the ages. - Peter Moore, www.africanrevolutions.com

                                                    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. 

                                                      Igor B

                                                      Aguas De Septembro

                                                      Rocksteady Disco's second cut this week comes from Igor B who drops "Águas de Setembro" which apparently marks the transition from Summer to Autumn.

                                                      The source material for these tracks comes from two classics of Música popular brasileirac - which Igor transforms into modern dancefloor bombs!

                                                      "Ponteio" should be vaguely familiar with anyone with an interest in vibrant soundtracks and classic earworms; that fluttery, Summery flute melody capturing the soul of anyone lucky enough to hear it. Add rich strings, upright bass and a bustling percussion section and you've got yourself a slice of post-Tropicalia dancefloor fun that everyman and his dog can get down too. Surely coming to a Mr. Scruff / So Flute! / Banana Hill DJ set near you!!

                                                      "Cisco Dois" is a more electronically powered upgrade; digital kicks and glassy arpeggios supplementing the organic material contained within. There's still a hefty dose of human perc and primal rhythms, but the overall feel is much more geared towards late night house music action.




                                                      Ikara Colt

                                                      Chat And Business

                                                      Top notch intelligent, guitar noise from Ikara Colt.

                                                      FORMAT INFORMATION

                                                      CD Info: Limited edition CD with sticker insert, so you can create your own cover!

                                                      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!

                                                        Frank Ilfman

                                                        Big Bad Wolves - Original Soundtrack

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

                                                          Death Waltz Recording Company is proud to release an immediate classic of contemporary film scoring in the guise of Frank Ilfman's score to the Israeli thriller BIG BAD WOLVES. Acclaimed worldwide and called “the best film of 2013” by Quentin Tarantino, the film is a heady and disturbing treatise on violence and the use of torture as a schoolteacher is kidnapped after being suspected of murdering a little girl. Horrific twists and turns follow in a grim tale that you won't fnd easy to forget.

                                                          What stands out immediately is Ilfman's very classical approach to the music. The main theme is beautiful, with searching strings and woodwind counterpoint, and a sense of hope. But there's a sinister undercurrent, giving a sense of inevitability. The percussion has a harsh and jagged edge and provides violence, but there's a sense of humour in Ilfman's music, at one point imitating Prokofiev's 'Peter and the Wolf' suite. It's a menacing piece of work, emotionally intense yet surprisingly beautiful, with the composer not going for what you'd perhaps expect, and the main theme just keeps coming back, relentless, searching. It's an amazing work that has earned its plaudits. Of course, if you don't like it, be careful who you tell. It's a harsh world out there...

                                                          Original cover art by We Buy Your Kids
                                                          Sleeve notes by Directors Aharon Keshales and Navot Papushado




                                                          FORMAT INFORMATION

                                                          Ltd LP Info: PINK & WHITE SWIRL WITH RED SPLATTER - GATEFOLD SLEEVE


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