MAGIC MIX

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BACK CATALOGUE - J

Jodie Abacus

For A Real Life And Not Pretend

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

Hailing from the “wonderful world of people from different cultures” that is South London, Jodie Abacus sprang onto the scene this year with a sound that is as classic as it is futuristic.

It’s Jodie’s infectious and humorous attitude that is truly the driving force behind his music. His inspiring lyrics, quirky nature, and vibrant visuals create a surreal and original world, all stitched together with a humble yet animated approach.

Enamoured with the LA school of funk (think Thundercat and Dam Funk) but taking inspiration from artists like Stevie Wonder and The Beach Boys, Abacus is creating uplifting soul music, filtered through contemporary, electronic beats. Whilst being described by many in the same breath as Pharrell Williams, Jodie knows he has a long way to go and can’t wait to share more of his neo-funk pop tunes with us.

John Abercrombie

Cat 'n' Mouse

Add the considerable talents of violinist Mark Feldman to the sensitive guitar stylings of ECM stalwart John Abercrombie and you've got the makings of one of this brilliant artist's finest recordings for a number of years.

Jennie Abrahamson

Gemini Gemini

    Fourth album from Swedish Jennie Abrahamson. Includes collaborations with Johannes Berglund (The Knife, Owen Pallet).

    Johan Agebjörn releases a new solo album, ‘Notes’; a dreamy, melancholic and mostly instrumental collection of songs.

    The starting point for the album was the electric piano sound of the Casio MT-52, a cheap keyboard from the early 80s that was mostly used on an amateur level. It's used (together with other sounds) on almost every track on the album.

    Agebjörn says “There's some kind of unintended sadness, simplicity and authenticity in the Casio MT-52 sound. Most of the tracks are without drums. Lately I've felt that drums are mostly in the way, taking attention from details of the harmonies in the music, especially when there are a lot of notes (e.g. in arpeggios). Often I've had long drumless intros on my productions, for that reason, and since this is not at all intended to be dance music, I (in most cases) decided to let the harmonies stand for themselves. It sounds more naked and clear, though on some tracks I used some drums to obtain some more energy and motion.

    The album includes collaborations with Sally Shapiro, Loney Dear and Young Galaxy (as well as a remix for Brain Machine that fits to the album's style). Some songs sounded like instrumental versions of pop songs, so I decided to have vocals on them. It was of course natural to ask Sally on two tracks. Loney Dear and Young Galaxy are both making dreamy music with great expression, so I thought they would both be exciting collaborators on this album, and I'm honored they wanted to sing on my productions."


    FORMAT INFORMATION

    2xCD Info: Includes bonus CD 'Music With Less Electricity'.

    Lifelong wax digger and underground producer Jay Airiness puts on the editor's hat for this new release on Digging Deeper, packing out this four tracker with a whole host of Mediterranean and Oriental grooves. Skipping the preamble, Jay gets himself straight into it with the fizzy euro disco swagger of "Magik Carpet", a late 70s strutter reshaped for modern times. Alongside an infectious rhythm we're treated to some treated wah guitar, choral vocals, eastern synth riffs and sunny funk organ as the cut rocks casbahs and camels. Next up, Jay treats us to a tight edit of one of my all time favourites, Slim's superb "Arabian Disco". A cosmic disco killer complete with off the wall oud, Dr Zhivago strings and wailing solos, this was already a jam, and Jay uses the full range of mixer FX and edit techniques to take it somewhere new. B-side opener "Cornes De Gazelles" takes us over dunes and under stars to dance at a distant desert oasis. Shimmering like a mirage, the track shifts between disco bassline, jazzy percussion, proggy sequences and wonderfully naff synth leads, upping the energy every time it does. An uplifting, uptempo groove, rocky guitars and infectious middle eastern vocals ensure that "Walla Walla" brings the set to a strong finish and leaves us dancing beyond dawn.

    Four new loose and beautiful metropolitan house grooves from prolific NYC producer J Albert aka Jio Albert whose fast becoming a bit of a mainstay here at Piccadily HQ. In addition to the grime beats he’s been releasing on Soundcloud under the DJ Osom alias, Jio has also explored other genres with a recent Black Opal release and a 12” on his own Exotic Dance Records imprint. “Strictly J”, though is his scruffy take classic house and zones into the Hot Music-Soho vibes. Characterized by busy percussion, off-kilter downtown beats, stops and starts, scattered breaks, and weirdly breezy melodies; these tracks reek of stifling yet intoxicating Summer heat. Perfect for soundtracking your outdoor dance party but packing enough grit and bite for extended club play too. J. Albert should be your new favourite house producer. Recommended. 



    South Florida’s very own J. Albert and Person of Interest come together for Exotic Dance Records on this highly anticipated four-track 12” of sweltering summer heat! Albert jumps on the dials for "Thank You For Believe In Me", a slapping house beat carrying a soaring vocal refrain through rattling percussion and fretless bass. Still at the controls, Albert shifts into darker, warehouse territory on "See You At The Bank", as an enticing brass motif dances on top of titillating pulses, punchy breakbeats and an authoritative bounce. On the flipside, Person of Interest’s homegrown “Pompano Acid” trades melodious acid with sun-soaked oscillating piano stabs on top of a shuffled boom-bap garage rhythm. Both delicious and intoxicating in equal measure. “Still” made an appearance in last year’s Bronze / Palace Paramount video and here provides a nice finisher to Exotic Dance’s inaugural 12”. It switches the groove back to a swinging 4/4 with cracking snares and tasty vocal snatches. Essential summer 12"! Move quick...

    The elusive and enigmatic J. Albert returns to Exotic Dance Records with 4 tracks from last year's "Dance Slow" cassette, here getting the wax treatment for the very first time. And rightly so! Currently getting us most of the dance music underground quite excited by his new and exciting directions, Albert seems to be expertly mixing the blurred, THC-laden sounds of Vancouver with a lysergic, club friendly aesthetic more akin to Proibito or Future Times. Anyway, let's move onto the music and the title track is a very sultry, moody affair with delicate, melancholic vocals quietly mixed against rough and rugged drums and sloppy vox snatches. "2AM" flips the mood entirely for a bursting club banger, containing so much energy it's almost fizzing off the wax! Stone cold, lose-yourself-in-the-smoke-machine classic, those spiraling acid lines and explosive hats are gonna cause a whole manner of chaos on't floor. "My Passenger" is up next and again, displays another side to J. Albert - this time its pitch black warehouse territory; disgustingly brutal synth tones converging on a machine-code beat and darting rave melodies. Perfecto! Finally, "Truth And Understanding" finishes on a nice, warm, welcoming number, taking Mary Jane Girl's "All Night Long" (and possibly a flute hook of another tune of the same era?), looping up the infectious bassline and hook then adding his rattling, tripping-on-NOS drums. Another moment of brilliance from this supremely talented new producer. Who's gonna be first to book him for Manchester then...?

    Jamie Anderson & Content (Jesse Rose)

    Body Jackin'

    This is the first release by Jesse Rose and Jamie Anderson on Gigolo Records. And what better way to debut for the label than with a new track based on four times Grammy nominee Steve 'Silk' Hurley's classic house hit "Jack Your Body". 20 years after the track originally scored US and UK number ones, Rose and Anderson pay respect to Silk with "Body Jackin'".

    Jason Anderson

    The Hopeful And The Unafraid

    With six officially released albums, two more in the can, four probably-never-to-see-the-light-of-day records in his closet, a few live albums on the shelf and a Myspace song-a-day project, the quietly prolific Jason Anderson returns to K with "The Hopeful And The Unafraid". While he also played guitar in Mount Eerie, has drummed with Tilly And The Wall, and played piano with David Dondero, you've probably heard little about him. "The Hopeful.." was made at Soma Studios in Chicago, on a two-day tour break in January of 2006. Recorded in a matter of hours-tracking the vocals, guitars, and drums simultaneously-Jason's goal was to make an organic documentation of songs he'd been playing every night for half a decade. Thusly, all the vocal parts are first takes. There were some indulgences, though, as some guys who used to play in Magnolia Electric Co. came by to put down pedal steel and guitar leads. The album takes a stab at capturing some of the energy Jason loves putting into every show he plays, whether there are five or fifty people present.

    Joey Anderson

    Earth Calls

    Arriving completely out of the blue and unexpectedly, Joey Anderson supplies the deep dark electronics on the latest Deconstruct release. Deconstruct records became hugely sought after the small runs causes nightclub devastation through tracks by Levon Vincent and DJ Qu. This is only the forth release since 2008! Joey Anderson is relatively unknown apart from a collaboration with DJ Qu and a solo EP on UntilMyHeartStops. The title track "Earth Calls" is one of those mind-bending electronic house trips synonymous with this and their parent label Underground Quality. The super extended arrangement (well over ten minutes) moves through an eerie collage of loose piano notes, gliding synth bass, darting leads and some really unique dub / echo artifacts; making for a brilliant atmosphere track, a mood setter of the highest order, and a great way to get your already-filling-up-quite-nicely dancefloor into a squashed-like-sardines-and-ready-to-dance-mosh-pit! "Hydrine" on the flip uses big synthesized tom toms and some metallic leads and washes to create a suspended trip through a mechanized futurescape. Soon enough you're lost deep within the nuclear core of the record, far from reach of any human interference. The track fizzes and crackles on regardless, its machine code rhythms relentless in their actions. Superb record! Act NOW!

    FORMAT INFORMATION

    Ltd 12" Info: one copy found!

    John Andrews & The Yawns

    Bit By The Fang

      "Bit by the Fang is the first solo album from singer / songwriter John Andrews and his imaginary backup band The Yawns. Andrews began recording the album in 2013 while working at a Salvation Army in the Amish country of Lancaster, PA, his home at the time. As the new year rolled around, he followed a demanding schedule of writing, recording and touring with both Quilt (drums) and Woods (keys). It wasn’t until a well-earned break that he found the time and energy to complete the solo record he started months before. He recounts the difficulties involved: ‘Traveling so much caused my whole living scenario in PA to kind of fall apart,’ he tells, lamenting over the comfort only home can provide. As he moved back to his hometown of Yardville, NJ, he set up camp in his grandparents’ empty living room to record and perform everything entirely by himself once again.

      “Warm acoustic guitars, honky-tonk piano, lap steel, singing saw and fluttering violins all sing together on this well crafted, yet comfortingly sloppy, psych-country / R&B record. A self-taught piano player, Andrews maneuvers with the precision of a player well beyond his years. Lyrically and stylistically he tackles the subject of death with the lightheartedness of a Saturday morning cartoon in ‘”I’ll Go to Your Funeral (If You Go to Mine).’ It’s hard not to conjure comparisons to Michael Hurley, Daniel Johnston or Kevin Ayers. This album is a great introduction to the grandiose fables of characters at the mercy of Andrews’s oddball mind.” - Jeffrey Silverstein.

      FORMAT INFORMATION

      Includes MP3 Download Code.

      John Arnold Feat. Ty

      Style And Pattern (Nuff Version) - Moonstarr Remix

      After dropping the ace "Rise Up" on the "Heavyweight" sampler, John Arnold returns with a storming club joint featuring Big Dada's Ty on vocals, who flexes his lyrical dexterity over frantic broken afro beats and a rude bassline. The resulting "Style And Pattern" (also the title track from Arnold's sophmore LP for Ubiquity - due Autumn 2005) is top drawer DJ ammunition and comes in original or more stripped-down Moonstarr reworks. Essential!!

      John Arnold

      We're Not

      "We're Not" is an electronic broken beats groover with treated vocal snippets. On the flip Ayro's mix is on more of a deep Basic Channel style electronic-dub-house tip. All that and a weird electronic squelcher "Fabric" too.

      James Arthur's Manhunt

      It's Working

      JAMES ARTHUR (former member of the NECESSARY EVILS and GOLDEN BOYS, to name but two) has been rattling ear drums with his newest combo, JA's MANHUNT) for several years now. On this latest single the band is channeling some serious Hawkwind vibes with one song stretched over both sides of the single. Dense, wild and excellent. Edition of 500.

      Juan Atkins & Moritz Von Oswald Present Borderland

      Riod

      Juan Atkins and Moritz von Oswald - the two indispensable protagonists of the Electric Garden - plug back into the wilderness.

      ‘Transport’ - the new full length effort of the Borderland collaborative project - brings together a new set of studio-refined sequences aimed at colonizing some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not ‘on the grid’. ‘Riod’ is the first streak to bolt through.

      The Detroit-Berlin axis triangulates to a third point which, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz which cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making.

      The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for sixty seconds in every minute.


      FORMAT INFORMATION

      Includes MP3 Download Code.

      Juan Atkins & Moritz Von Oswald Present Borderland

      Transport

      Juan Atkins and Moritz von Oswald - the two indispensable protagonists of the 'Electric Garden' - plug back into the wilderness.

      ‘Transport’ - the new full length effort of the Borderland collaborative project - brings together a new set of studio-refined sequences aimed at colonising some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not ‘on the grid’.

      The Detroit-Berlin axis triangulates to a third point which, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz which cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making.

      The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for sixty seconds in every minute.


      STAFF COMMENTS

      Sil says: To those of us that reminisce the Basic Channel output, here we have a release that builds on the main ingredients of such influential record label. There is no Mark Ernestus here, but we have revered Detroit techno maestro Juan Atkins working in partnership with Moritz von Oswald. The result is a driving, soothing, profound journey into techno perfection. But this is no bumping thumping dancefloor techno, this is great timeless home listening which sounds as fresh today as it will do in twenty years time. Highly recommended and something that has been on heavy rotation here in the shop.

      After more than two decades of behind the scenes collaboration Juan Atkins & Moritz Von Oswald present 'Borderland' - their first album together using their own names - on Tresor Records.

      The album - made up of eight tracks, which seamlessly blend the styles of both masters (although leaning further towards Von Oswald's dub-techno sound) - was recorded at the beginning of 2013 over various studio sessions in Berlin and is released as a series of three 12"s and a CD album.

      The CD opens with 'Electric Garden (Deep Jazz In The Garden Mix)', which features German trumpet player Sebastian Studnitzky, whose muted, treated notes work perfectly with the loping dub-techno grooves. "Footprints" was the second work to be produced in the 'Borderland' studio sessions. It's a robust house groove reminiscent of earlier collaboration between both men such as the anthemic “Starlight” released on Metroplex 18 years ago, or Moritz' 'M' series. 'Treehouse' revisits classic house adding the ample proportions characteristic of the duo’s sound. "Mars Garden" returns to the "Electric Garden" theme with a high dose of ultra deep gritty spiralling kosmische dub-funk of 'Mars Garden'. 'Digital Forest' feels like a dystopian soundtrack to a drive through old Detroit slowly transforms into colossal dancefloor jam.


      Tresor deliver the definitive Juan Atkins Detroit techno / electro record label Metroplex, featuring compositions by Atkins under various psuedonyms; Cybotron, Model 500, 3mb, Infiniti etc. Featured here are ground-breaking early works such as "Alleys Of Your Mind", "Clear", "No UFO's", "The Chase", "The Passage" and "Off To Battle" - electronic compositions that will always be counted as foundation blocks for a music style that endures to the present day. Inspired by the European computer music of Kraftwerk and Depeche Mode, and the US P-Funk of Parliament / Funkadelic, Juan Atkins delivered a new sound that changed the face of electronic music forever.

      Joan Baez

      In Concert Part 2

      "In Concert 2" captures Joan Baez at her best, stood before a receptive audience, with only a Gibson for company, perfoming an exquisite mix of traditional and contemporary folk tracks that have a timeless perfection about them.

      Bailey is a prolific songwriter, having published over 300 songs, many of them classic soul tracks co-written with Ken Williams. More recently the title track from this 1974 LP was recently featured on Gilles Peterson's "Gilles Digs America" compilation. The original productions on the album (many home made on a basic tape machine), were enhanced with strings, rhythmic overdubs and other instruments to create one of the best soul albums of all time. Everything about this album oozes quality from the great songs, the arrangements and JR's soulful vocals - pure magic! After seven years of trying, Soul Brother have finally been able to license and reissue this classic album, which has been heavily in demand for many years with original copies fetching up to £200.

      Jessica Bailiff

      At The Down-Turned Jagged Rim Of The Sky

      Kranky was a bit surprised earlier this year when Jessica Bailiff contacted them and asked they wanted to preview her new album for possible release. They had no idea she had even been working on an album, let alone had completed one, and they were rewarded with a listen to her most compelling album to date.

      After being in Europe for 5 weeks as a touring member of Boduf Songs, Jessica Bailiff spent much of 2011, writing and recording At the Down-Turned Jagged Rim of the Sky in her spartan home studio. Sequestering herself through the hot summer months until finished, she then passed the tracks on to her friend Odd Nosdam for final mixing.
      *Down-tuned, distorted bass guitar adds a new color to her palette, but familiar ones also come into play: fuzzed and delayed electric guitar, organ, piano, cello, and drums. Noisy pop-tinged love songs nestle slyly in a bed of off-kilter lullabies and dark, metallic waltzes.

      No need to recycle descriptives like “lo-fi” or “hushed vocals” - these are spurious words. This is another intimate collection of songs recorded entirely by Jessica at home, in a room next to where she sleeps. If you listen carefully, you might hear her dreaming.


      A brand new compilation of rare material by John Baker from the BBC Radiophonic Workshop!

      John Baker (who worked for the BBC alongside Delia Derbyshire) ranks as one of the world’s most influential electronic musicians. His talent as a jazz pianist and ability to manipulate tiny fragments of tape into new sound is legendary.

      Whilst working on ‘The John Baker Tapes’ compilation for Trunk Records, producer Alan Gubby unearthed several reels of music and sound effects from the 1960’s BBC TV series ‘Vendetta’ - a mafia themed cop thriller starring Italian actor StelioCanelli (Barbarella, Django, Planet Of The Vampires). The theme tune for the show was composed by John Barry whilst Baker produced all the incidental music. He created brilliant, tense, rhythmic and unhinged James Bond style themes for the show between 1966 & 1968, featuring radiophonic beats, twanging bass lines and screaming jazz solos.

      Available for the first time ever, Baker’s soundtrack for Vendetta displays his skill in fusing groovy tape loops, ambient drones and bass textures with real instruments. The music is thrilling, sleazy, deranged and very hip. Highlights from the score are presented on this compilation alongside other rare and previously unreleased Baker tracks, all digitally remastered by Mark Ayres from the Radiophonic Workshop archive.


      This 3CD set compiles the original soundtrack albums for Zulu and Four In The Morning, both composed and conducted by John Barry, together with other recordings he made for the Ember label.

      Barry was one of the best known composers of film music in the world. His early career found him working as in-house arranger for EMI, leader of hit instrumental combo the John Barry Seven, and composer, arranger and conductor on the first UK soundtrack album (the Adam Faith vehicle Beat Girl). After Barry’s involvement as arranger on the first James Bond film Dr No in 1962, he was appointed as primary composer for the film franchise.

      The BAFTA-nominated Zulu (1964) was directed by Cy Endfield. The film depicts the heroic defence of Rorke’s Drift mission station during the Anglo-Zulu War of 1879. Originally released in 1964, and here mastered from original stereo tapes, the album comprises soundtrack music (with two of the tracks incorporating narration by Richard Burton), followed by “A Selection of Zulu Stamps”, essentially southern African-influenced beat instrumentals, performed by the John Barry Seven.

      Originally released in 1965, the soundtrack album to Anthony Simmons’ Four In The Morning comprises John Barry’s original haunting score, plus four excerpts of dialogue featuring Judi Dench, Ann Lynn, Norman Rodway, Brian Phelan and Joe Melia. The dialogue only exists in mono, so we have presented the entire album in mono, followed by the music-only tracks in stereo, again mastered from original tapes.

      Both soundtrack albums were originally released on British independent label Ember, where John Barry was associate producer and head of A&R in the early sixties. A third disc spotlights other John Barry recordings for the label. These include two UK hit singles: the From Russia With Love theme (here also in an alternative version with organ) and the Barry-produced “Christine”, a satirical commentary on the Profumo affair, credited to the mysterious Miss X, as well as “Fancy Dance”, which served as the theme to the BBC’s twice-weekly soap The Newcomers from 1965 to 1967.


      Julianna Barwick’s revelatory third album, ‘Will’, is the Brooklyn experimental artist’s most surprising left turn to date. Conceived and self-produced over the past year in a variety of locations, the compelling ‘Will’ departs from the weighty lightness of 2013’s ‘Nepenthe’.

      If ‘Nepenthe’ conjured images of gentle fog rolling over desolate mountains, then ‘Will’ is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds ominous and restorative all at once.

      ‘Will’ comes after Barwick’s busiest period to date in her career following ‘Nepenthe’ - a spate of activity that included playing piano for Yoko Ono, performing at the 25th annual Tibet House Benefit Concert alongside such kindred spirits as The Flaming Lips and Philip Glass, releasing the ‘Rosabi’ EP and delivering a reimagining of Bach’s ‘Adagio’ from Concerto In D Minor.

      Her life over the past several years has largely been lived in transit and as such the genesis of ‘Will’ was not beholden to location; Barwick reflects on this cycle of constant motion. “You’re constantly adjusting, assimilating, and finding yourself in life-changing situations.” That sense of forward propulsion is largely owed to ‘Will’s synth-heavy textures, an ingredient she was inspired to add to her vocal loop-heavy formula after demoing a new prototype analogue sequencer for Moog.

      Another new wrinkle ‘Will’ introduces in Barwick’s sound: Mas Ysa’s Thomas Arsenault, who lends his richly complex vocals to ‘Same’ and ‘Someway’.

      The beguiling, beautifully complicated ‘Will’ is the latest proof yet of Barwick’s irresistibly engaging talent as a composer and vocalist.

      Julianna has recently collaborated with Moog and MoMa, lending her prestige as both a musician and artist as a whole.

      FORMAT INFORMATION

      Coloured LP Info: Available exclusively to independent retailers on rose gold coloured vinyl.

      Includes MP3 Download Code.

      In his dynamic mixes, we've heard Vangelis to Shuggie, and Delia Derbyshire to Sergio Mendes. Now, we hear more of Jeen Bassa's universal and dextrous style in his third release for South London family, 22a. "Time Waves" is a straight-to-the-point, 10 track EP that mixes up slo-mo, mechanised funk with hues of neon soul and blue, jazz notes. Percussion heavy and likely informed by the Rhythm Section club night that most of this generation of producers frequented, it's easy to see how Bassa, Al Dobson Jr, Reginald Omas etc have carved out their own unique niche in the overcrowded capital. Obviously the sketch-book like workflow and arrangements of J Dilla and Madlib spring to mind instantly, but the whole thing is cloaked in a smog and haze that could have only been born out of the UK, and more specifically, South London. If you want an aural picture of post-carnival chill, the hustle and bustle of one of the most multi-cultural parts of England and the sound of a generation who look to all corners of the globe for inspiration, then this mini album is the snapshot in time that you require. Recommended.

      Joe Bataan

      Chick-A-Boom / Cycles Of You

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

        Limited to 150 copies for the UK. 2016 edition of the single that marked the return of Joe Bataan in 2004. A dancefloor favourite by the King of Latin Soul! Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album "Call My Name", written and produced by Daniel Colls. But first came out the preview 45 'Chick-A-Boom' / 'Cycles Of You', which quickly became a DJ favourite and guaranteed dancefloor filler, long out of print until now.

        A brilliant Latin-soul / boogaloo album from Joe Bataan, and the biggest selling Latin LP of 1968, so it obviously needs checking out. There are some real winners here, including "It's A Good Feeling (Riot)", "What Good is A Castle" and the classic "Ordinary Guy".

        FORMAT INFORMATION

        LP Info: US import reissue with authentic replica artwork.

        Joey Beltram

        Energy Flash - Remastered Edition

        Sit down and take your notebooks out, it's time for a history lesson kids. In 1990, when your parents were giddily necking smarties like they were, well, smarties, the soundscape was light, uplifting and harmonious. Still basking in the afterglow of the summer of love, the clubs were full of diva-sampling, piano vamping odes to togetherness, tenderness and other hippy nonesense. Then Joey Beltram unleashed this pitch black blast of pure evil into the clubbing consciousness and began the process which eventually spawned your beloved Berghain. In his mind, he was creating a harder and darker strain of house music, but to the Europeans, he'd opened the floodgates for a form of techno brutalism a million miles away from Detroit's Belleville Three. The New Yorker extracted unyielding tension from a tough 909 program, bolstered it with the most malevolent and menacing bassline and created a classic with the addition of eerie choral vox, skewed string samples and the guttural whisper of "Ecstacy". Don't fuck around, just make sure you own a copy.


        Joey Beltram

        Vol.1

          Official R&S reissue of the 1990 12" that launched a million copycat producers. But none could replicate the incredible bass signal that New York's Joey Beltram created on "Energy Flash". One of the first techno classics to come from outside of the Detroit-Chicago axis, such was the demand for "Energy Flash" that it was quickly licensed to Derrick May's Transmat imprint.

          John Beltran continues his relationship with Delsin Records with the release of a new ambient album, 'Espais'. Beltran has long been a master of his art, turning out seminal LPs and EPs on labels like Peacefrog, Millions of Moments and Text Records. 'Espais' is an absorbing soundtrack featuring 17 pieces of immersive, sonically lush and rich music. As he has throughout his career, Beltran makes use of modern techniques and classical composition to craft a wide range of blissfully soul soothing moods and supple, subtle grooves.

          Tracks like "Espais" are uplifting and heavenly with their sombre chords, "Přestávka" is angelic and crystal clear, where "Ruimten" is rather more meaning and forbidding. Its textures are frazzled and almost industrial. Elsewhere efforts like "Dream Tangle" blend synthetic machine made sounds with more organic strings and the results are truly moving throughout. Unfolding like a proper journey with a carefully threaded narrative, this album is yet another testament to Beltran’s ability to sculpt sound in intricate and compelling ways.

          Jorge Ben

          Jorge Ben

            Jorge Ben (now known as Jorge Ben Jor) pioneered the funky samba-rock (or samba-soul) style, and represented the Rio wing of Brazil's tropicalia movement. Born to an African mother, Ben embraced African and African-American music -- especially funk and soul -- far more successfully than other tropicalia stars.

            An excellent album, with some of his catchiest songs, many of which often make it onto best-of compilations. Wildly inventive, syncretic, experimental pop music, ranging from San Francisco-sound psychedelia to spaghetti western schmaltz, and deep, heavy samba-soul. The album is both soulful and playful, as when he sings the last half of "Pais Tropical" in a nasal voice, with his nose pinched shut, or when the string section veers into bent-note atonality. (The album is also one of the best-realized efforts of tropicalia arranger Rogerio Duprat, whose influence here includes both compositional elements and fascinating experimental production techniques, such as isolating unexpected elements in the sound mix -- bringing percussion to the fore, while burying the guitars. In general, this is a lushly multi-layered, challenging and delightful record, one which has a deserved and enduring appeal, generations after it was made.) The album art shows Ben with the emblem of the Flamengo futbol team on his guitar, and broken manacles on his wrists -- the latter presumably a statement both about the history of slavery in Brazil, and about the military dictatorship which was running the country at the time, and actively trying to repress the tropicalia movement. One of his best records... definitely worth tracking down!

            A samba soul masterpiece from Jorge Ben – one of the most brilliant records to come out the fertile late 60s Brazilian scene – and an incredible album that works with the psychedelic flourishes of Ben's contemporaries and a deeper undercurrent of soul & funk! This is one of the most amazing early Jorge Ben LPs, recorded at the end of the 60s, when Jorge was singing with a stone-cold soul sound. The sharp, tight arrangements by Rogerio Duprat & Jose Briamonte made tracks like "Pais Tropical", "Take It Easy My Brother Charles", and "Que Pena" immediate classics – while the percussion and rhythms of Trio Mocoto provide a good part of the unique backdrop. The album is a mix of funky samba, soaring Brazilian soul, and sweeping orchestrations that give the whole thing a jazzy finish – and it's some of the best work that Jorge Ben ever recorded! Other tracks include "Criola", Cade Tereza", "Domingas", "Barbarella", "Quem Foi Que Roubou A Sopeira" and more.


            Another fantastic compilation from Sunkissed featuring six incredible Afro Latin flavoured Balearic rarities from 70s / 80s Brazilian singer / songwriter Jorge Ben. A stunning selection of hard to find tracks that all found favour both on Italy’s Afro-funky Cosmic scene and on the dancefloors of Ibiza and beyond. Standouts include the floor friendly ‘Ponta De Lanca Africano (Umbabarauma)’ and ‘Energia Bom Bom’ as well as the brilliant ‘Falcao’ only ever available before as an in-demand limited 1983 seven inch but all the cuts are essential and a great way to collect some of the best work by such a wonderful artist. Top stuff!

            John Bender

            I Don't Remember Now / I Don't Want To Talk About It

              John Bender recorded voraciously between 1978 and 1980 at his home in Cincinnati, Ohio. Not even song titles could slow down his creative pace, as he named all the tracks after their position on the original tapes. “36A2,” for example, was cassette #36 side A, piece #2. To close the DIY aesthetic circle, Bender made sleeves by hand with no two covers alike and pressed the LPs in hyper-limited editions on his own Record Sluts imprint.

              I Don’t Remember Now / I Don’t Want To Talk About It, Bender’s first album from 1980, is the holy grail of minimal lo-fi electronics. Layers of fractured melodies, distorted synthesizers, hollowed-out rhythms and claustrophobic vocals unfold over the 40 minutes of this lost masterpiece. “It’s A Rainy Day, Sunshine Girl,” one of Faust’s greatest songs, is perfectly deconstructed by a distinct punk-meets experimentalist sensibility.

              While I Don’t Remember Now is impossibly rare and the man behind the music remains shrouded in self-imposed mystery, the real surprise is that it has taken 35+ years for listeners to discover Bender’s warm, art-damaged immediacy. This first-time standalone reissue is recommended for fans of Pere Ubu, Brian Eno and Robert Ashley.

              • First-time reissue of 1980 minimal wave holy grail.

              FORMAT INFORMATION

              Coloured LP Info: Red vinyl with handmade jackets, each one unique. Limited to 1,000 numbered copies.

              Jojo Bennett With Lynn Tait & The Jets / Leslie Butler & Count Ossie's Drums

              Living Soul AKA The Loop / Gay Drums

              Sonia Pottinger was Jamaica's first and foremost female record producer; her husband, Lyndon O. Pottinger, was one of the unacknowledged founding fathers of Jamaican music. Lyndon O. Pottinger started producing records in 1961. In 1964, he sold his recording equipment to Duke Reid at Treasure Isle. The following year his wife, Sonia Pottinger, began to produce records for her Gay Feet and High Note labels. Sonia now started to produce a series of releases that included some of the most elegant rock steady records ever made. Three of these are now available again as strictly limited 45rpm re-presses.

              Limited edition pressing from Sonia Pottinger's Gay Feet label of just 600 copies. On side A is Jojo Bennett's 'Living Soul' which was also known as 'The Loop'. Soulful heartfelt and smooth. The B-side is a thunderous poly-rhythmic percussive Nyabinghi assault by Count Ossie, with Leslie Butler on the organ. 



              Emotional Rescue is proud to present the first ever collection of works from Spanish song writer Javier Bergia. As a member of Finas Africae his name is finally coming to prominence. Now with this selection of his music from 1985 to today, the depths of his acoustic, folk and Balearic writing can be heard. Born in Madrid in 1958 to a family steeped in both classical and Spanish traditional music, Javier's unique mastery of guitar, percussion, voice, poetry and composition is drawn from both this grounding and upon his lifelong musical inquisitiveness. Since 1980 he has been an integral part of the ancient music group Atrium Musicae. In 1984 he founded, with Juan Alberto Arteche and Luis Delgado, the groundbreaking group Finis Africae as a sonic investigation into a fusion of diverse ethnic musical forms incorporating both indigenous instruments and electronic elements.

              For "Eclipse" Emotional Rescue boss Chuggy and Balearic shepherd Moonboots took a stroll through Bergia's 25 year solo career, picking out their personal favourites amongst the embarrassment of riches. While the exotic flavours of "Ballenas" and "Himalayas" recall the finest moments of the Finis Africae project, sweet vocal cuts like "Midnight Round Mekines" display Bergia's mastery of the pop format, giving Fleetwood Mac a run for their money in the soft rock stakes. Beautifully packaged and expertly selected, "Eclipse" should warm the cockles right through til next winter.

              FORMAT INFORMATION

              CD Info: CD includes 5 bonus tracks.

              James Bernard

              Nosferatu

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

                • 180 Gram Audiophile Vinyl
                • Exclusive Record Store Day Release
                • Pvc Protective Sleeve
                • Limited Edition Of 3000 Numbered Copies On Silver Coloured Vinyl

                Nosferatu, eine Symphonie des Grauens (translated as Nosferatu: A Symphony of Horror) is a 1922 German Expressionist horror film. The film was an unauthorized adaptation of Bram Stoker's Dracula. The film came to be regarded as an influential masterpiece of cinema, as it is Rotten Tomatoes' second best-reviewed horror film of all time.

                The original score composed by Hans Erdmann has been lost, and what remains is a reconstitution of the score as it was played in 1922. James Bernard, composer of the soundtracks of many Hammer horror films in the late 1950s and 1960s, has written a score for a reissue. This particular 7" version contains audio performed in 1997 by The City of Prague Philharmonic Orchestra, conducted by Nic Raine.

                The sleeve of this highly collectible 7" was designed by Diego Scaglia Rat from Engravers Dungeon.

                Jac Berrocal, David Fenech, Vincent Epplay

                Antigravity

                'Antigravity' is a new trio album from legendary trumpeter Jac Berrocal and two fellow travellers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock & roll.

                The Berrocal / Fenech / Epplay trio’s first album together, 'Antigravity' is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece ‘Rock 'n Roll Station’, which first appeared on his ’77 LP 'Paralleles' with chain-wielding, leather-clad wildman of British rock & roll, Vince Taylor, singing the lead, and Berrocal on mic’d up bicycle; here, the Frenchman takes the vocal reins. A barely recognisable interpretation of Talking Heads’ ‘The Overload’ pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum machine rhythms, humid electronics and jagged guitar phrasing, while ‘Where Flamingos Fly’ reroutes the Gil Evans Orchestra’s classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio’s reading of ‘Kinder Lieder’, the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker’s Climate of Hunter.

                Originals include the agitated Iberian psychedelia of ‘Spain’, and ‘Panic In Bali’, which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered ‘Lonely Woman’ quotations. ‘Solaris’ is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal’s trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay - like 'Antigravity' at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humour pervading: see the anarchic cross-hatch of ‘Ife Layo’, or ‘L’essai des Suintes ou le bal des Futaies’, Berrocal’s poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow and the ReR axis will find much to chew on. Play, as we know, is a serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let’s go.

                Jehnny Beth & Julian Casablancas

                Boy / Girl

                  Pop Noire Records are pleased to announce the release of a collaboration between Julian Casablancas (The Strokes/The Voidz) and Jehnny Beth (Savages). The two joined forces to duet on a cover of “Boy-Girl”, originally released by seminal Danish punk band, Sort Sol featuring Lydia Lunch. “Sort Sol are cult in Denmark, and today very influential in the Copenhagen scene (Iceage etc...). I would be pleased to make their name known better”, adds Jehnny Beth.

                  The collaboration stems from the pair’s mutual admiration after meeting while on tour in South America, and having an interest in finding a way to work together. The idea to collaborate became to take shape when Johnny Hostile (Savages producer) suggested the song to Jehnny. “It really made sense when I heard it for the first time. It was the perfect song for Julian and I” says Jehnny who recorded the bulk of the song with Johnny Hostile in Paris, before it was handed to Julian to perfect.

                  Casablancas notes: “I had never heard the song before and still have no idea what the hell the words are talking about. It sounds like a Danish dude trying sound like he’s saying English sounding words”. The video, that pays tribute to the original version released in the 80’s, was directed by long time visual collaborator and Cult Records' creative director, Warren Fu. Shots of Jehnny Beth were filmed in London by Giorgio Testi. Pop Noire is an independent record label based in Paris, established in September 2011 by duo of artists, Johnny Hostile and Jehnny Beth, along with French director and graphic designer, Antoine Carlier.

                  Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni.

                  Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish prog-rock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.

                  In 1982 Bibiloni set up his own label Blau in order to highlight the much overlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.

                  Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new sounds and technologies; fusing tape loops, drum computers and synthesizers.

                  Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, ‘El Sur’ sets out to highlight Joan Bibiloni’s unique ambient fusion and sun-drenched Mediterranean beach boogie.

                  Jherek Bischoff

                  Eyes / Young & Lovely

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

                    The latest signing to The Leaf Label is multi-talented Seattle-based composer/arranger/producer Jherek Bischoff

                    His first release for the label will be this strictly limited edition 7” single for RECORD STORE DAY

                    ‘Eyes’ is a collaboration with ex-Talking Head and international treasure David Byrne

                    There will be just 500 of these singles released in Europe by Leaf.

                    The two songs are a taster for Jherek's forthcoming album Composed, out in late May

                    ‘Young And Lovely’ features the talents of Parenthetical Girls’ Zac Pennington and acclaimed French vocalist Soko

                    The individually hand-numbered 7” is packaged in a full-colour die-cut sleeve

                    The songs will ONLY be available in this format until the release of the album

                    Cistern is the second album by prodigiously talented musician, collaborator, composer, arranger and producer Jherek Bischoff. Gloriously cinematic, these modern orchestral recordings showcase Jherek’s unerring ability to pull at the heartstrings.

                    Intrinsically linked to the space in which it was conceived, Cistern was born from time spent improvising in an empty two million gallon underground water tank in Washington state. A space which forced Bischoff to slow down, to reflect, to draw on his childhood growing up on a sailing boat; an emotional journey from the city back to the Pacific Ocean, via the Cistern.

                    The album itself was recorded with a live orchestra, the New York-based Contemporaneous ensemble, in a converted 19th century church in Hudson, NY.

                    Cistern follows on the heels of Strung Out In Heaven, a moving string quartet tribute to David Bowie, created with Amanda Palmer and featuring the significant talents of Anna Calvi and Neil Gaiman. They performed ‘Black Star’ at the recent all star Bowie tribute show at Radio City Music Hall in New York. Jherek will also take part in the Bowie tribute at the Royal Albert Hall as part of the BBC Proms in July.


                    STAFF COMMENTS

                    Barry says: Haunted, dusty chamber-classical mini-movements. Staccato strings and violin sweeps. Cataclysmic percussion bursts and ambient echoes mix to form a cacophonous cocktail before breaking into multi-part melodies. Terse peppered electronic shards slowly morph into triumphant but cautious minor-key swells and ethereal waves of symphony. Superb.

                    FORMAT INFORMATION

                    Deluxe LP Info: Limited edition deluxe vinyl, including a printed inner sleeve and a CD of the full album.

                    Jo Bisso was born and raised in Yaounde, the political capital Cameroon. He grew up being a fan of American soul music such as Otis Reading and Wilson picket. In 1971 he left Cameroun to pursue his musical career. Beginning an 8 year stint of Paris to New York jet trips the young ambitious man forged his musical career on his own terms; Staring off with the minor hit "Flying To The Land Of Soul" which he signed to Decca and moving on to produce, finance, write and create several albums released under his own name and other artsits such as Sookie and Venise.

                    In 1975 Jo created his genre blended debut album "Jo Tongo" on the Paris based Disques Esperance label. Sung in English and his native language it was way ahead of its time for the day, blending Jazz, Funk, Soul, afro rhythms and the sounds that were at the time being come to be known as Disco. The album was produced by Jo who plays a wide variety of the instruements and contributes his baritone "Barry White" tinged spoken vocals about life and love.

                    The album opens up with the title track "Dance To It", A slice of groovy lounge-funk. Part 1 is all about the driving catchy groove which is layered with a downtown funk saxophone lead line. Part 2 brings in Jo's spoken vocals in his native language and English, setting the tone of the album to come. "Disco Madonna" introduces a Latin flavour with Spanish vocals, a rumba groove and darting percussion. "Ramaya" melds a playful, summery, euro melody with Jo's throaty, fun-loving vocals and a nascent use of synthesizers.

                    "Let's Keep It Together" is a song in two parts. The first half builds the groove over washy guitar, and chords before breaking into a solid soul riff with bass, Rhodes and guitar. Over this Jo layers the catchy, soulful vocals, summer-breeze guitars and jazzy keys. A real treat. Flip over to the Vinyl B side for what is probably the albums most "getting down" moment. The driving funk of "Give It Up". Stabby brass, whirling organ and tight bass which is all wrapped up in a one tight arrangement. Add in doses of Jo's sulty vocal and that is a recipe for a real winner.

                    "Don't Fight The Feeling" again furthers into real deep funk territory. Jo opening up with a sermon on "love and sex". The album closes with the swinging soul of the pensive Jo and his thoughts on life, "Odwa". What is going down?

                    The Give It Up track was a highlight of the recent Africa Seven debut release "African Airways Volume 1: (Funk Connection 1972-1979). To Follow that up Africa Seven are proud to repress the debut Jo Bisso album in its full glory.

                    Jo moved back from the US in 1981. From 1981 to 1989 his lived in Cote D'Ivoire. He now lives in Paris and although he sometimes "finds it hard to listen to his albums", he does thinks it great that people love his music and his debut album is getting a re-release all these years later.

                    James Blackshaw

                    Apologia

                      Apologia is the 'lost' first solo guitar recording by James from 2003, which self-released on CD-R in an edition of 30. Now released on vinyl in a limited edition of 500.

                      "‘Apologia’ was written on a cheap Yamaha guitar with a ridiculously high action over the course a couple of months in 2002 and recorded in February 2003, a few months before I picked up a 12-string guitar for the first time and wrote and recorded my first release, ‘Celeste’. I’d just started fingerpicking and had gotten comfortable enough with some techniques to experiment with open tunings of my own devising and write my own compositions, which were at that time very inspired by the musicians I adored - John Fahey, Robbie Basho and lots of old country blues players like Mississippi John Hurt, Blind Blake and Reverend Gary Davis. I burned about 30 CD-Rs with homemade covers in jewel cases, gave most to friends and family and sold a few in the record shop I used to work in Soho. I felt for some time afterward like I was only just starting to find my own voice with ‘Apologia’ - the songs are shorter and more straightforward and the cyclical structures and appreciation of drones and overtones really came to the fore later on, as did my appreciation of adding other instrumentation and experimenting with sounds generally. Plus, I wasn’t entirely happy with the sound of the recording (some small EQ changes and reverb was added for this edition) and let’s just say the situation in the studio was far from ideal, but that’s another story. For that reason, I never chose to reissue ‘Apologia’. Now, almost 12 years later, I’m hearing them in a different way, realising the songs' charms rather than simply concentrating on the flaws. It doesn’t sound quite like anything I’ve ever done since and there’s a simplicity and raw energy about them that I’ve grown to appreciate. It’s an interesting snapshot of where I was then and how things have changed. It is an absolute pleasure for me to work with Bladud Flies! to release ‘Apologia’ as a limited edition LP now - something I would never have dreamed of back in 2003." - James Blackshaw.

                      In celebration of the centenary of Louis Feuillade’s Fantômas silent film series, James Blackshaw was invited by Yann Tiersen to perform a live score to the fifth and final film, Le Faux Magistrat, at the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013.Fantômas – a master of disguise and symbol of terror – is one of the most popular characters in French crime fiction, as well as a favourite with the avant-garde, particularly the surrealists.Tim Hecker, Amiina, Yann Tiersen and Loney Dear also performed during the event (which was broadcast live on the European ARTE channel) each bringing their own unique sonic perspective to the other installments in the series.Written during the course of a few months, Blackshaw drew influences from French impressionist composers, Brazillian guitar music, musique concrete and the works of other film composer such as David Shire and Pino Donaggio, to create a noirish score that is in turns sinister, quietly profound and thrilling.Personally invited by James Blackshaw, experimental musicians Duane Pitre and Simon Scott (also of Slowdive) contributed drums, electronics, synth, bowed guitar, bass and more to Blackshaw’s nylon string guitar and grand piano, with multi-instrumentalist Charlotte Glasson adding violin, vibraphone and several wind instruments to the 75 minute long work.

                      The past couple of years have seen creative explosions and new generations coming through in both dancefloor electronics and heartfelt, introspective singer-songwriting, but self evidently they’ve remained mutually exclusive genre islands. Until now. With a uniquely emotional electronic production style every bit as deeply personal and impassioned as his voice or songwriting, James Blake is sketching out his own place in the musical universe.

                      When a teenage James first visited the pivotal London dubstep night FWD>> in 2007, he’d already been to drum ’n’ bass nights with schoolfriends, but the music and atmosphere there were unlike anything he’d experienced. This was what James had been waiting for – he just hadn’t realised. This midnight epiphany in Plastic People’s Shoreditch cellar led, in a few short years, to the James Blake of 2010, a surefooted 22-year-old composer whose extraordinary tracks are not so much breaking down existing musical barriers as leaping over them and creating an entirely new kind of pop that belies its author’s tender age.

                      Although loosely tethered to the cutting edge of contemporary electronics, James’s songs possess uncommon grace and soulfulness. Whether intended for the FWD>> dancefloor or, like new single "Limit to Your Love", destined to melt hearts and prick ears, his music is characterised by a playful and arresting honesty, a human touch that, despite his status as a hugely in-demand DJ, naturally aligns him with contemporary artists such as Bon Iver or Laura Marling or the xx.

                      Yet more than this, it is the shock of the new in James’s music that’s causing real commotion: the sounds, that voice, the silence, the rhythm (or lack of it), the waiting, the tension. You have to know the rules in order to break them with such conviction, and by daring to be different, James stands head and shoulders above his peers. No doubt, you’ll remember where you were when you heard tracks like "Limit to Your Love" or "I Never Learnt to Share" for the first time.


                      FORMAT INFORMATION

                      2xLP Info: LIMITED deluxe double 180g vinyl pressing in gatefold sleeve with full colour inner sleeves.

                      Two years after his self-titled debut album took UK bass culture down previously unimagined roads of introspection, James Blake returns with the epic ‘Overgrown’, an incredible album that sees James growing as a singer and songwriter while at the same time returning to the brain melting electronic perfection of his early releases on Hemlock and Hessle, moving way beyond any post-dubstep pigeonholes to include stunning reinterpretations of both hip-hop and house.

                      In retrospect ‘James Blake’ can now be viewed as another stepping stone on Blake’s musical evolutionary journey which started with ‘Air & Lack Thereof’ back in 2009. Always travelling a different path to his peers, James is as much a singer-songwriter as he is a bass music producer. On ‘Overgrown’ his latest transitional shift has been made, the layers stripped back to reveal a selection of stark, beautiful and emotive songs, all with James’ heart-wrenching vocals at their centre, set in a simple framework of subtle electronic sounds and beats.

                      Title track ‘Overgrown’ sets the scene, offering a Nick Drake style ballad reborn as a spiritually uplifting electronic soul masterpiece. ‘I Am Sold’ recalls the sparse beatbox melancholia of Portishead, while ‘Life Round Here’ also has a certain Bristolian downbeat feel, opening with almost baroque-like keyboard motifs and rimshots and slowly building with electronic noise. RZA adds a rap to ‘Take A Fall For Me’, a bold fusion of hip hop beats and folktronica. ‘Retrograde’ has been used as the album’s teaser track, and you can see why; an amazing song in the style of ‘Limit To Your Love’, with a dense cascade of pitch-shifting synths. Piano / vocal piece ‘DLM’ sees Blake dispensing with the electronic production altogether, an interlude before the dull heartbeat thud, scattering snares and rave airhorns of ‘Digital Lion’ (think Portishead’s ‘Machine Gun’). The differing opening dynamics of ‘Voyeur’ – part love song, part sub bass rumble - evolve into a proper dancefloor track with 4/4 beats, cowbells and synth drones. Set against a ticking rhythm and mechanical scrape, Blake’s vocal soars skyward on the beautiful ‘To The Last’, while the album closes with ‘Our Love Comes Back’, a devastatingly simple ending.

                      Garnering equally enthusiastic reviews across the blogosphere and print media alike, ‘Overgrown’ is a work of immense talent that will leave breathless with both its scope and simplicity, and have you already salivating at the thought of Blake’s future inventions.


                      Fresh from bringing the sad to Beyonce's 'Lemonade' long player and Frank Ocean's soon-come sophomore outing, James Blake returns as a solo artist with his third full length album. Not so solo though as 'The Colour In Anything' features a number of collaborations as well, with Ocean, Justin Vernon (Bon Iver), Connan Mockasin and Rick Rubin all playing a part in the album's evolution.

                      However, like the grey skies on the album's sleeve (illustrated by another famous Blake, Sir Quentin), the singer-songwriter / producer still seems to be situated under his own personal rain cloud, providing us with 17 tracks and 76 minuted of heartfelt melancholia. Blake's deep, sparse, spacious electronica provides the perfect backdrop for his lyrical repetition and sorrowful vocals. At times moving further towards an alt-R&B sound, his plaintive solo vocal and piano songs have a meditative, almost gospel-tinted edge to them. A cathartic meditation on loss of love and relationship breakdown, but with deceptive strength at its core, Blake's songs see 'The Colour In Anything', as long as that colour is blue.


                      Jahdan Blakkamoore is a Brooklyn local hero. Beloved for his charismatic stage presence, pointed lyrics, and powerful voice, Jahdan brings the perspective of Rasta sufferation to the streets of New York in the post-9/11 landscape. Born in Guyana, after crossing into the US alone and undocumented at the ripe age of 8, he quickly began to absorb the swirl of music that thumps out of car trunks and crackles across the pirate airwaves of the borough of Kings. Making his first impact with NYC's golden-era street rap legends Boot Camp Click, Jahdan has been bridging the gap between hip hop, dancehall and roots reggae ever since. This CD / EP finds Jahdan touching down on deep dub-inflected Cumbia beats from Buenos Aires by Chancha Vía Circuito, synthetic dancehall from Vienna's Stereotyp, plus three riddims from lifelong Manhattan boy Shadetek which both reflect and bend the UK dubstep sound. The set includes vocal and dub versions.

                      John Blum was born in New York City, April 15, 1968 and has been a mainstay of the free-jazz community there for over 15 years. While in Europe in 1992, he recorded with Clarinetist Tony Scott's Trio which included Antonio Grippi on Alto Sax. Upon returning to New York City, Blum became a member of the Improvisers Collective (1993-1995) and also initiated projects as a soloist and a group leader. By early 1998 he joined together with Antonio Grippi on Saxophone, William Parker on Bass, and Denis Charles on Drums to form The 'Astrogeny Quartet'. A CD of this group was released on Eremite records in 2005. In 2001 Blum recorded a solo piano CD for Drimala Records entitled "Naked Mirror", and was also featured on Butch Morris' "Conduction 117" released on JumpArts Records. In 2003, Blum recorded with Sabir Mateen on Tenor Sax in Sunny Murray's Trio and is featured on Murray's CD "Perles Noires Volume 2" on Eremite Records. He joined the Steve Swell Quintet in 2005 and a CD was released on NotTwo Records of their 2006 NYC Vision Festival performance. In addition to this Trio recorded in 2008, Blum also recorded a solo CD "Who Begat Eye" to be released on Konnex Records in 2009.

                      Joe Boots & The Fabulous Winds With Floyd Syandifer Orch.

                      Rock And Roll Radio / That's Tough

                      Reissue of the original Celestial label release. "Rock And Roll Radio" is fab and tasteful strollin’ R&B mid-pacer from Seattle-based Joe Boots. Apparently Mr. Boot downed a full bottle of whiskey during the recording. Glug, glug, glug... On the flip we have the rollin' "That's Tough".


                      STAFF COMMENTS

                      Philippa says: Feelgood strollin’ R&B killers!

                      FORMAT INFORMATION

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

                      Jagger Botchway Group

                      Odze Odze

                      Jagger Botchway is most famous for his work with the Hedzoleh Soundz and Hugh Masekela. Jagger was also the driving force behind the highly sought-after Ghanaian afro-funk masterpiece 'Moving World' by the Kelenkye Band. Deano Sounds, along with Voodoo Funk’s Frank Gossner, teamed up to release the Kelenkye Band’s later material, 'Jungle Funk', back in 2012.

                      Jagger went back into the studio with a group of musicians he had played with from various points in his career to record an album of unique soca and highlife sounds. What was put down on tape was a heavy mix of percussion, striking highlife guitar lines and futuristic synth stabs with soaring African voices.

                      Deano Sounds and Jagger rescued the original multi-track DAT tapes that were hiding in obscurity in Ghana. Cultures of Soul invited a host of today’s best remixers to give them the freedom to create their own interpretations of the material. These producers include Berlin’s Africaine 808, Manchester’s Ruf Dug, Switzerland’s Alma Negra and New York’s Names You Can Trust.



                      Jonathan Boulet

                      This Song Is Called Ragged / Trounce

                      Sydney upstart Jonathan Boulet gives you his new single, 'This Song Is Called Ragged', from the forthcoming album 'We Keep The Beat, Found The Sound, See The Need, Start The Heart'.

                      A swirling, percussive uprising of the most positive kind, 'This Song Is Called Ragged' is released as a double A-side 7” picture disc b/w 'Trounce' on Modular Recordings.


                      STAFF COMMENTS

                      Laura says: An uplifting, heady rush of calypso beats, tribal chants and pop hooks. If this doesn't will the sun to come out in our rainy city, nothing will! While ‘Trounce’ on the flip is a pummelling tribal beat that suddenly explodes into a thunderous collision of drums and guitars. Ace!

                      Jonathan Boulet

                      We Keep The Beat, Found The Sound, See The Need, Start The Heart

                      We Keep The Beat… is a soaring burst of melody and harmony, built on the blocks of primal, incessant rhythm. It features choruses of chanting choirs, speedball drum lines and junkyards of melodic percussion. It’s a dense, cathartic record of unbridled energy and heavy pop.

                      On another level it’s collective music. It’s a call to arms for those who are not just listening, but actually hearing it, and it’s best listened to in group situations - the more the merrier.

                      Jean-Paul Bourelly

                      Trance Atlantic (Boom Bop II)

                      Jean-Paul Bourelly is widely regarded as one of the most gifted electric guitarists in Europe today. On the evidence of "Trance Atlantic" it's easy to see why. Along with drummer Dennis Chambers and sax player Vincent Henry he rips into a set of high eneregy jazz fusion tracks that bite and never let go.

                      Jackie Brenston

                      Rocket 88

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

                        The Story of Rocket 88:"Rocket 88" is a rhythm and blues song that was first recorded in the studio of producer Sam Phillips Memphis, Tennessee, on March 3 or 5, 1951. The recording was credited to Jackie Brenston and his Delta Cats, who were actually a 19 yr old Ike Turner and his Kings of Rhythm. The record reached no. 1 on the Billboard R&B chart. Many experts acknowledge its importance in the development of rock and roll music, with several considering it to be the very first rock and roll record. The new sound being due to the broken amp of the guitarist producing a fuzzed up sound.Ike Turner himself said, in an interview with Holger Petersen:...Anyway, we recorded "Rocket 88" and you know that's why they say "Rocket 88" was the first rock'n'roll song (well, they use the language "It's been said about 'Rocket 88'"), but the truth of the matter is, I don't think that "Rocket 88" is rock'n'roll. I think that "Rocket 88" is R&B, but I think "Rocket 88" is the cause of rock and roll existing ... Sam Phillips got Dewey Phillips to play "Rocket 88" on his program – and this is like the first black record to be played on a white radio station – – the fact remains that the record in question was possessed of a sound and a fury the sheer, utter newness of which set it apart from what had come before.

                        John Brenton aka Metrotone, Landshipping, Ojn, Tonfedd Oren & Southville Enraptured proudly releases a “best-of” collection comprising radio-friendly tracks from five related projects that Bristol-based John Brenton co wrote and developed as well as his solo work.This is a collection of lesser known tracks that have nevertheless been fiercely loved over the past twenty years, and supported loyally by a number of radio shows including John Peel and Steve Lamacq.Originally released on small labels, usually on vinyl with typical pressings of less than a thousand, sometimes with mail-order only distribution, the tracks are notable for the disproportionate amount of radio play garnered over the years.

                        This compilation makes many of these tracks available on CD and download for the first time.Highlights include Metrotone's “Kiss Me Awake”, which led to the well-received Peel Session in 1998, and Landshipping's “Penguin New Writing”, which was a collaboration with Isan. More recent work under the name Tonfedd Oren, got air-play on Jen Long’s Radio One show, as well as elicited praise from Welsh language media, Tonfedd Oren being Welsh for, ‘Orange wave length’.

                        Many DJs gave air-play to one or more of these tracks, but special thanks are due to: the Late and greatly missed John Peel, Steve Lamacq, and Jen & Ally on BBC Radio 1, Thierry Nollet on Contrast Internationale, Harald Are Lund on NRK Petre, Jalal on Popscene Radio Bremen, Duyster on Studio Brussel, Paul Baskerville on NDR4, Adam Walton on BBC Radio Wales, Planet Claire on Aligré FM, Huw Stephens on C2 BBC Radio Cymru, Cam O'r Tywyllwch on Radio Cardiff and Resonance FM, John Cavanagh on Radio Six International, Gideon Coe on 6music and BBC Radio Bristol Introducing.

                        She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk’s little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism - stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the 70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

                        “I realized that, in many instances, it didn’t matter what you said, it mattered how you said it: the tone of the voice, the rhythm, the sound.... Because sound has an incredible effect on other people, it can make them dance, put them into trances, it can control emotions by a certain pitch, a certain depth.” – Joanna Brouk


                        No People Records collection would be complete without a contribution from the Godfather of Soul himself. "Escape-Ism" is 70s-era James Brown at his finest, supposedly written to kill time while he and The JBs waited for Bobby Byrd to arrive at their studio. A winding, two-part funk/soul epic, spanning both-sides of the single, the track reached #6 in the Billboard R&B charts, #25 in the pop charts, and would later be sampled by The Beastie Boys, Public Enemy, and Big Daddy Kane. It's now presented here for the first time in over 30 years, in its original 7" single format.

                        James Brown

                        The Get Down / Hyped Up Ants - Marc Hype & Naughty NMX Remixes

                        “The Get Down” (Marc Hype & Naughty NMX Rework) takes one of our favorite James Brown tracks of all time, “The Boss” and gives it the full treatment by not only giving it a once over in the mix department but also beefing it up in the drum department so heavy that it’s guaranteed to knock in a sound system. The flip side, “Hyped Up Ants” (Naughty NMX Rerub) combines James Brown "I Got Ants In My Pants" with elements of "Don't Believe The Hype" from Public Enemy and made what in our opinion could very well be “the lost” PE instrumental track if one ever existed.


                        Jack Bruce

                        Fields Of Forever / Drone

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

                          TWO TRACK 7” RECORD STORE DAY ONLY SINGLE

                          LIMITED TO 500 COPIES WORLDWIDE.

                          EXCLUSIVE TO INTERNATIONAL RECORD STORE DAY

                          ESOTERIC ANTENNA is pleased to announce the release of an official Record Store Day limited edition Seven-inch single by the legendary JACK BRUCE. A supremely talented instrumentalist and vocalist, eminently respected by his peers, Jack’s pioneering bass playing style has influenced successive generations of bassists, including such luminaries as Paul McCartney, Jaco Pastorius and Sting, alongside more contemporary musicians such as Flea of the Red Hot Chilli Peppers. He is also the possessor of one of the most powerful voices in modern music and a composer of some of the most original and influential music of the past forty-five years. As a songwriter he has written some of popular music’s enduring classics such as ‘Sunshine of Your Love’, ‘White Room’, ‘I Feel Free’ and ‘Theme from an Imaginary Western’.

                          ‘Fields of Forever’ and ‘Drone’ are taken from his stunning new album,“Silver Rails”, his first studio in ten years, recorded at the world famous Abbey Road studios.

                          This release is strictly limited to 500 units, has been newly re-mastered from the original master tapes and fully restores the original release artwork.

                          QTY FOR UK: 240

                          Jack Bruce Band

                          How's Tricks

                          "How's Tricks" was recorded in 1976 by the second incarnation of the Jack Bruce Band with Hughie Burns, Tony Hymas and Simon Phillips. The highlight of this remastered edition however, is the original line-up of Mick Taylor on guitar, Carla Bley and Ronnie Leahy on keyboards and drummer Bruce Gary performing "Without A Word" included as a bonus track and issued for the first time.

                          Jack Bruce

                          Jet Set Jewel

                          Recorded with the same band that recorded "How's Tricks" in 1976, "Jet Set Jewel" is, if anything, a stronger album. The band of Bruce, Simon Phillips, Hughie Burns, Tony Hymas and Dick Heckstall-Smith (on a couple of tracks) have a greater understanding and the songs are really strong. An irony then that "Jet Set Jewel" has remained unissued since its 1968 recording. This was partly due to Bruce and Robert Stigwood falling out and partly due to Polygram (who were buying Stigwood out) only being interested in punk -it was 78 after all. Such a shame as tracks like "The Best Is Still To Come", "She's Moving On" and the title track are amongst the best songs of his solo career.

                          Jack Bruce

                          Shadows In The Air

                          15 new tracks from ex-Cream bassist, Glasgow's finest Jack Bruce. He has Eric Clapton helping him out on "White Room" and "Sunshine Of Your Love" and Gary Moore plays some great guitar on another stand out track "Heart Quake"

                          Jeff Buckley / Sly & The Family Stone

                          Everyday People

                            Jeff Buckley's interpretation of Sly Stone's Classic Everyday People along with the original. Pressed on standard black vinyl.

                            FORMAT INFORMATION

                            Ltd 7" Info: Black Friday exclusive!

                            Jeff Buckley

                            Grace

                              Originally released in 1994, Jeff Buckley's solo debut "Grace" is now considered by many to be one of the best albums of the 90s. "Grace" displays a dazzling array of influences from an artist still developing his craft.

                              Jeff Buckley

                              Grace - 180g Vinyl Edition

                              "Grace" is the only complete studio album by Jeff Buckley, originally released on August 23, 1994. After the death of Jeff Buckley in 1997, the album grew to be one of the most important album's of the 90s. The album was produced by Andy Wallace who had mixed Nirvana's album "Nevermind".

                              In addition to seven original songs, the album included three covers: "Lilac Wine", based on the version by Nina Simone, "Corpus Christi Carol", from Benjamin Britten's A Boy Was Born and "Hallelujah" by Leonard Cohen. Jeff recorded the album with bassist Mick Grondahl, drummer Matt Johnson and guitarist Michael Tighe.

                              For his proposed second album, Jeff Buckley recorded an album's worth of material with producer Tom Verlaine. Deciding that the sound wasn't quite right, the perfectionist Buckley, moved to Memphis to record the album all over again. But then disaster stuck, and Buckley died in a freak accident, disappearing under the waves of the Mississippi River, and the album was never finished. His mother and his record label decided to round up the existing tracks he had been working on, including the Verlaine sessions, and released them as this two CD set, "Sketches For My Sweetheart The Drunk". It is a poignant and fitting epitaph for an unfulfilled talent.

                              Recently discovered in the vaults – 10 previously unreleased and virtually unheard studio recordings.

                              Including covers of Bob Dylan, Sly & The Family Stone, The Smiths, Led Zeppelin, Bukka White and Jevetta Steele, in addition to the first ever studio recording of his signature song ‘Grace’ and ‘Dream Of You And I’, an unheard original recording which informs the deeply intimate and profoundly personal mood of the album. These recordings represent the breadth of Buckley’s influences and talent for interpretation.

                              Recorded prior to the sessions which would become his seminal debut album ‘Grace’, these tracks offer a unique insight in to the creative process of a developing genius and inimitable immerging talent.

                              The Columbia/Legacy release of Jeff Buckley's You and I has been overseen by the artist's mother, Mary Guibert.

                              FORMAT INFORMATION

                              2xLtd LP Info: Double 180 gram vinyl.

                              Recorded for Radio Broadcast in New York & Boston. Many music critics of the day were not only intrigued but enamoured by Jeff Buckley when his musical career began to take off in the early nineties. Jeff Buckley born in California in 1966 and as the name suggests, he was the son of legendary singer, composer and guitarist, Tim Buckley, hence the early fascination with his artistic potential. Appearing on the world stage in 1994 with the critically well received album, Grace Jeff Buckley was poised to become a successful artist through the nineties and into the new millennium. However this sadly never happened as he would die in the spring of 1997 before fully realising his potential and only a half finished second album which was subsequently released posthumously.

                              This double album of radio broadcasts contains a wide and eclectic range of songs and performances, including songs that would appear on Grace. Drawn from broadcasts both before and after Grace, these performances show another side to Jeff Buckley. The songs featured here include Hallelujah, a song now strongly identified with Jeff Buckley and many covers of songs by Bob Dylan, Van Morrison and Elton John. More importantly for the first time this release includes the full unedited performance from WMFU at Upsala College on the 11th October 1993.

                              • This package contains Rare Radio Broadcasts and performances from singer song writer Jeff Buckley
                              • Includes complete unedited Radio performance from October 1992
                              • Includes rarely heard songs and cover versions
                              • Rarely Seen Photographs
                              • Liner notes by Broadcaster/Author Jon Kirkman. 

                              Jeff Buckley

                              Live At Sin-e - Legacy Edition

                              Columbia finally get around to giving the EP (long only available on import) the deluxe 'Legacy Edition' treatment. Expanding the original four tracks over a boggling two discs, this album was actually taken from a number of performances over a few months. Embryonic "Grace" originals sit alongside an array of covers that run the gamut of musical eclecticism; Bob Dylan, Nina Simone, Nusrat Fateh Ali Khan, Led Zeppelin. One wonders how he managed to have such a wonderful voice, broad musical tastes and the ability to reinvent them so uniquely, AND to be able to do it all with just a voice and guitar. An essential testament to one of the most talented artists in the history of popular music.

                              The 19 year old singer songwriter from Nottingham releases his much anticipated debut album. He recently supported The Stone Roses in a secret London gig and Noel Gallagher personally requested Jake to join him and his High Flying Birds on tour in Europe and the US.

                              Jake wrote all eleven songs, played most of the instruments, and produced most of the album (Jacknife Lee produced 3 tracks). The results are simply staggering. Following the incredible success of his first two albums, the double platinum 2012 debut ‘Jake Bugg’ and the top five 2013 follow-up ‘Shangri La’, this new disc firmly establishes Jake as one of Britain’s most exciting talents.

                              Recorded in London, Los Angeles and Nottingham, highlights are many and include the moving ‘Love Hope And Misery’ driven by a huge chorus, the stomping ‘Bitter Salt’, the soulful ‘Never Wanna Dance’ and the defining title track.

                              Jake Bugg is back with his brand new record 'Shangri La', following his debut “Jake Bugg” and coming just over a year since that record went straight to Number 1 and sending him into the record books as the youngest solo male to debut at the top of the charts with their first release. It’s fast-approaching sales of one million worldwide and cemented him as one of the most exciting new talents to emerge in recent years. Now hooked up with legendary producer Rubin, he is set to scale new heights. His new album is a much more fully-formed piece of work than its predecessor and is a stand out release of this or any year.

                              On top of the success of his debut, Jake has toured with Noel Gallagher and Snow Patrol in the US. He is currently nominated for two Q Awards (Best New Act, Best Solo Act) and the Barclaycard Mercury Prize. These nominations follow similar nods at this year’s Brit and NME Awards. He drew one of the biggest crowds of the weekend at Glastonbury, as well as at Reading/Leeds Festival, T In The Park and Summer Sonic in Japan. He returned to Nottingham to headline Splendour this summer, a triumphant homecoming show in front of 17,000 adoring fans.

                              Jake Bugg is back with his brand new record 'Shangri La', following his debut “Jake Bugg” and coming just over a year since that record went straight to Number 1 and sending him into the record books as the youngest solo male to debut at the top of the charts with their first release. It’s fast-approaching sales of one million worldwide and cemented him as one of the most exciting new talents to emerge in recent years. Now hooked up with legendary producer Rubin, he is set to scale new heights. His new album is a much more fully-formed piece of work than its predecessor and is a stand out release of this or any year.

                              On top of the success of his debut, Jake has toured with Noel Gallagher and Snow Patrol in the US. He is currently nominated for two Q Awards (Best New Act, Best Solo Act) and the Barclaycard Mercury Prize. These nominations follow similar nods at this year’s Brit and NME Awards. He drew one of the biggest crowds of the weekend at Glastonbury, as well as at Reading/Leeds Festival, T In The Park and Summer Sonic in Japan. He returned to Nottingham to headline Splendour this summer, a triumphant homecoming show in front of 17,000 adoring fans.

                              Jesse Butler With Freddie & The Continental Playboys

                              Dancing Fever / Tear Drops And Pennies

                              "Dancing Fever" is an obscure ‘unknown’ blues blastin’ twisting dance ditty with thrashing guitar. It comes backed with the pleading blues-soul smoocher "Tear Drops And Pennies".


                              FORMAT INFORMATION

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

                              John Cage Meets Sun Ra

                              The Complete Concert - Clear Vinyl Edition

                              If you were going to envision the ultimate avant-garde meeting-of-the-minds jam session, who would you pick? Even the most hopeful fan of strange and innovative music couldn't have seen this one coming: on one afternoon in 1986, at Coney Island's dilapidated freak show, space-age avant-jazz genius Sun Ra met avant-garde "serious music" composer John Cage in an unforgettable performance.

                              You couldn't imagine two figures more opposite. Cage was known for his unusual approach to composition, using objects such as radios and television sets, as well as pure silence, as instruments, often encouraging his musicians to do other things at their whim on stage. Sun Ra, on the other hand, was a jazz arranger known for his "space-age" approach to jazz, adding free-jazz and surrealist elements into a musical form that Cage often disdained - improvisational music. And yet, for one afternoon, they pooled their talents - Ra playing keyboards, leading his small group and reading his unusual poetry; Cage "performing" vocal readings and passages of vocal sound -- plus his trademark silence - designed to baffle and disorient. The combination is breathtaking, both organic and mechanical, free-form and totally composed.

                              For the very first time, Modern Harmonic presents the full and unexpurgated concert from 1986, stretched out across two LPs. In addition to never-before-heard songs and musical passages, this album at last presents the long-rumored co-performance between the two musical giants, all lovingly packaged in new artwork that captures the stark brilliance of the music. Take yourself back to 1986 and a once-in-a-lifetime performance that you can finally hear as it was intended.

                              Recruited by Chez Damier at a very young age to release on Balance, Jorge Caiado took on the house and techno pioneers’ teachings to shape his own sound. Also early on he got involved with the local scene by joining Groovement, where he releases music and also helps to develop the artistic side of the label. His new “Sunny Days Are Coming” 3 track EP refers to the beautiful Lisbon light but also to the idea of his music being a deep but uplifting journey full of discovery. It is clear that Jorge’s sound is always evolving, be it in house or techno realms, therefore this new record raises the bar once by exploring the edge of electronic music field. Tested with great reaction at LUX dancefloor in Lisbon, this EP will appeal to classic Balance fans but will go beyond by reaching Detroit and Berlin music aficionados also.

                              FORMAT INFORMATION

                              12" Info: Vinyl only yo!

                              This unique collaboration was originally released in 1971 and saw Cale (fresh from his ground-breaking work as a member of the Velvet Underground and now finding his feet as a solo artist) and Riley (noted for his highly influential works “In C” and “A Rainbow in Curved Air”) create a work of atmosphere and uniqueness. All instrumental, with the exception of the song “The Soul of Patrick Lee”, “Church of Anthrax” was the perfect melding of the experimental genius of two unique musicians. Hard to catagorise, the album was recorded a year prior to its release by Columbia in February 1971 and actually preceded Cale’s first solo album.

                              John Cale

                              M:FANS

                                ‘M:FANS’ is a radical new reworking of the 1982 masterpiece ‘Music For A New Society’. Back and forth ‘M:FANS’ goes, sampling the original while creating brand new soundscapes, giving Cale the opportunity for closure on one of the most testing eras of his life and a way to keep moving forward.

                                In 1982, ‘Music For A New Society’ sounded exactly like its title: something futuristic, a new kind of songwriting exercise. In 2015, ‘M:FANS’ is exactly that too, full of electrical crackle and disturbed frequencies, a different kind of dystopian future awaits. John Cale forages on; it’s the only way he knows how.

                                FORMAT INFORMATION

                                Includes MP3 Download Code.

                                John Cale

                                Music For A New Society

                                  ‘Music For A New Society’ is a fully re-mastered album of the long out of print 1982 classic album with three previously unreleased bonus tracks from the original multi-track recordings Library Of Force, Chinese Envoy and Thoughtless Kind ..

                                  The ‘Music For A New Society’ heavyweight vinyl format comes with a download card which includes the three unreleased bonus tracks.

                                  John Cale

                                  Music For A New Society / M:FANS

                                    ‘Music For A New Society’ is a fully re-mastered album of the long out of print 1982 classic album with three previously unreleased bonus tracks from the original multi-track recordings Library Of Force, Chinese Envoy and Thoughtless Kind ..

                                    ‘M:FANS’ is a radical new reworking of the 1982 masterpiece ‘Music For A New Society’. Back and forth ‘M:FANS’ goes, sampling the original while creating brand new soundscapes, giving Cale the opportunity for closure on one of the most testing eras of his life and a way to keep moving forward.

                                    In 1982, ‘Music For A New Society’ sounded exactly like its title: something futuristic, a new kind of songwriting exercise. In 2015, ‘M:FANS’ is exactly that too, full of electrical crackle and disturbed frequencies, a different kind of dystopian future awaits. John Cale forages on; it’s the only way he knows how.

                                    ‘Music For A New Society’ and ‘M:FANS’ is released as a double CD package featuring both albums.

                                    John Cale

                                    Sun Blindness Music

                                    These pieces derive their origin from reel to reel Recordings made in the 1960's on the Lower East Side in New York's bohemian artist communes. The 43 minute title track is heavily influenced by Terry Riley's solo organ improvisational minimalism (Cale and Riley would later collaborate on "Church of Anthrax"). The eleven minute "Summer Heat" is an opressive guitar track and the final track is pure electronic sound.

                                    John Callaghan

                                    It Might Never Happen

                                    Ten years after his first single appeared on the legendary Warp Records, John Callaghan's long-awaited debut album is released by Uncharted Audio. Describing himself as an 'unusual songwriter/performer of thoughtful and spiky electronica from Birmingham', he created a stir with "I'm Not Comfortable Inside My Mind" and "You've Got Your Memories, I've Got My Dreams" – two super-collectable vinyl-only releases on Warp. His remarkable live show has graced many a stage across a variety of Europe's more open-minded venues. The album's themes include the human body, our relationship with it and with our clothing – not surprising since he counts nude modelling among his professions. John describes the album as 'my own soundtrack for my life' – the tracks span a period from 1994-2007. Musically it's unlike anything else: a riff played on a fork is pitch-shifted into a gorgeous melody, a buzzing fly is transformed into a throbbing bassline and all manner of vocal chopping and tomfoolery provide the perfect foil.

                                    A master of romantic abstraction, Jefre Cantu–Ledesma is not new to the scene. In fact, he's been releasing a steady stream of music for nearly twenty years. With the brilliant album A Year With 13 Moons, however, the ever–prolific Ledesma appears to be hitting a new high. Or low, depending on how you like to see things.

                                    Using a friend's reel to reel tape player, Cantu employed electric guitar, modular synthesizer, drum machine and concrète sounds from his surroundings at the Headlands, recorded while walking to the studio, cooking in the kitchen, talking with friends, the ocean, films he was watching, driving in a car. Everything was record stereo to tape.

                                    The result is gorgeous, haunting and sprawling. A companion to his last full length LP, Love is A Stream, (Type, 2010), 13 Moons, is a dense, swirling mass.


                                    Essex-born, Liverpool-based songwriter James Canty returns with a new five track EP.

                                    EP title track 'Love' is packed with harpsichords, synthesisers and electronic flourishes, coming across like some amazing future-retro psych-folk experiment. The collection of tracks follows two years on the road across Europe for Canty, with the five songs written and recorded in the home studio of producer and Obscenic Records chief Joe Wills.

                                    "This 6 song symphony of sound juxtaposed with chaos and long stills of almost nothing starts the only way I’d expect it to. The first track “Ballast” comes in with murderous hits, cracks, and drills. It’s hard to put into words exactly what you are listening to. And, that’s what I love about Mr. Cary’s tracks. But, somehow Jeff has forged a signature sound. I have been listening to noise for awhile now. I haven’t hear anything quite like it.

                                    [3:30] as a full body of work is not just a digitally distorted camero with the gas pedal to the floor going through a time warp. It is dynamic and almost peaceful at times. With tracks like “Phosphor” and “Node” where you find yourself lost in an ambient sound scape of breathed gesters and things off in the distance. I admire Jeff’s way of knowing when to hold back or be minimal in his approach while yet still having some sort of rage you can’t quite pinpoint but you know it’s there and you can feel it and it’s about to burst and you like it.

                                    I have seen Jeff live countless times. I got a chance to see him at one of his most recent performances at Club K where he performed a few of these new tracks live. Being a drummer for over 15 years I tend to latch onto the rhythm of any song I hear. Even in noise I somehow subconsciously makeup a beat I bop my head up and down to. I noticed that I didn’t have to magically make an esoteric drum section for Jeff’s performance. It was already there. Tracks like “1001″ make you feel as a drummer or drum machine is being forced through a grinder with a distortion pedal in the chain.

                                    It’s a very purifying experience listening to Jeff Carey‘s works on [3:30]. It’s not for everyone.. But, it sure is hell for noise enthusiasts like me. But, hey.. If you’ve never listened to a “noise” artist before or haven’t gotten down with that scene. Try it out. You might just like this one." - Gutter Magazine.

                                    John Carpenter

                                    Assault On Precinct 13 / The Fog

                                      Much of the power of the best films by the cult director John Carpenter can be attributed to their use of music — music that, more often than not, was composed and performed by Carpenter himself. What began as a necessity for the low-budget productions by Carpenter became a major part of his aesthetic, and established him as a pioneering figure in genre-film score work as well as electronic music in general. Now, flanked by his son Cody Carpenter and godson Daniel Davies, and with two albums (Lost Themes and Lost Themes II) of non-soundtrack material under his belt, Carpenter has decided to revisit some of his most beloved themes.

                                      Assault on Precinct 13 was the first feature film Carpenter made after film school, and he made it partially as an urban reimagining of Rio Bravo, a film by his idol, Howard Hawks. In Carpenter’s movie, a soon-to-be-closed police precinct is placed under siege by a gang who have taken a blood oath to kill someone inside. Assault is a classic, not least of all because it has perhaps Carpenter’s best-loved theme. The theme’s main synthesizer line, partly inspired by the score to Dirty Harry and Led Zeppelin’s “Immigrant Song,” is catchy and dread-inducing in equal measure.

                                      Carpenter’s theme for The Fog is one of his finest, and creepiest. In the film, a weather-beaten old fisherman tells an ancient tale of betrayal and death to fasci¬nated children as they huddle together by their campfire. As a piece of driftwood in a child’s hands glows with spectral light, an eerie fog envelops the bay, and from its midst emerge dripping demonic victims of a century old shipwreck, seeking revenge. The spooky synthesizer tone in Carpenter’s composition evokes the advance of the fog itself, helping to make this a quintessential horror score for a classic horror movie.

                                      This 12" release includes the themes to Assault on Precinct 13 and The Fog, newly rerecorded by Carpenter and his Lost Themes bandmates. May it serve as a bridge between the Horror Master’s legendary, still relevant past and his remarkable present.


                                      FORMAT INFORMATION

                                      Ltd 12" Info: Limited edition picture disc.

                                      12" Info: Deluxe, mylar-sleeve black vinyl.

                                      John Carpenter

                                      Escape From New York - Expanded Vinyl Edition

                                      Originally released on CD in 2000, the expanded soundtrack edition of John Carpenter’s classic 1981 thriller included over 20 minutes of previously unreleased music plus music from scenes deleted from the final print.

                                      The masters were remixed from the original multi-track session tapes by long-time John Carpenter associate Alan Howarth.

                                      This is the first time the expanded edition has appeared on vinyl in its complete form, including original dialogue highlights.

                                      John Carpenter

                                      Halloween - Original Motion Picture Soundtrack

                                        In celebration of its 35th anniversay, MONDO is pleased to present the original soundtrack to John Carpenter's HALLOWEEN. This release features the most comprehensive version of the soundtrack, never before released on vinyl, cut at 45RPM for the best possible sound quality.

                                        FORMAT INFORMATION

                                        2xLtd LP Info: Was £31.99. 180 gram 2xLP in a deluxe gatefold sleeve. One-time pressing on black vinyl and randomly-inserted orange vinyl.

                                        John Carpenter

                                        Halloween / Escape From New York

                                          Much of the power of the best films by the cult director John Carpenter can be attributed to their use of music — music that, more often than not, was composed and performed by Carpenter himself. What began as a necessity for the low-budget productions by Carpenter became a major part of his aesthetic, and established him as a pioneering figure in genre-film score work as well as electronic music in general. Now, flanked by his son Cody Carpenter and godson Daniel Davies, and with two albums (Lost Themes and Lost Themes II) of non-soundtrack material under his belt, Carpenter has decided to revisit some of his most beloved themes.

                                          Halloween was Carpenter’s breakthrough as a feature film director. Made for $300,000, it was the most profitable independent movie of its day, and to date has spawned several sequels, becoming an renowned franchise; its stories, characters and scores known the world over. It tells the story of Michael Myers, who brutally massacred his sister 15 years ago and escapes from from a mental hospital on Halloween night to relive his grisly crime again and again. The film’s pulse is the eerie 5/4 piano theme that Carpenter places at the center of its pivotal scenes. It’s a classic theme that stands tall alongside Psycho, Jaws, and The Exorcist as one of the most famous – and greatest – in horror movie history.

                                          The dystopian action thriller Escape from New York is another Carpenter classic, uniting the director with his greatest muse, Kurt Russell. In the film, Manhattan has been turned into a maximum security prison whose population consists of street punk gang escapees, and Russell’s Snake Plissken must rescue the President, whose plane has crashed on the island. The minimal synthesizer theme that tracks Plissken’s journey across this ravaged vision of NYC is one of Carpenter’s defining works as a composer.

                                          This double A sided 12" release includes the themes to Halloween and Escape from New York, newly re-recorded by Carpenter and his Lost Themes bandmates. These new masters have never been previously released.

                                          FORMAT INFORMATION

                                          Ltd 12" Info: Limited-edition picture disc.

                                          12" Info: Deluxe, mylar-sleeve black vinyl.

                                          John Carpenter

                                          Lost Themes

                                          John Carpenter, the legendary director and composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ on Sacred Bones Records. 

                                          John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

                                          “Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

                                          As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Singularly titled to inspire dread with such names as “Vortex,” “Dominion,” “Abyss,” and “Purgatory,” but all linked into a unified whole, Lost Themes has a mesmerizing power. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and the raging guitars and chiming percussion of Goblin’s Suspiria. “’Both classical music and rock and roll are part of my musical language, which is riff-driven,” Carpenter explains. “So if you listen carefully, I’m sure you can hear some echoes from my past. But I’m sure that’s true of any composer. You just bring your music along with you.”

                                          FORMAT INFORMATION

                                          Includes MP3 Download Code.

                                          On Halloween 2014, the director and composer John Carpenter introduced the world to the next phase of his career with “Vortex,” the first single from Lost Themes, his first-ever solo record. In the months that followed, Lost Themes rightfully returned Carpenter to the forefront of the discussion of music and film’s crucial intersection. Carpenter’s foundational primacy and lasting influence on genre score work was both rediscovered and reaffirmed. So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience.

                                          2016 will host the first ever John Carpenter tour and in true Carpenter spirit, a sequel to Lost Themes: Lost Themes II. The follow-up brings quite a few noticeable changes to the process, which result in an even more cohesive record. Lost Themes’ cowriters Cody Carpenter (John’s son) and Daniel Davies (John’s godson) both returned. Cody was recently also heard as a composer for Showtime’s Masters of Horror series (Cigarette Burns and Pro-Life), and NBC’s Zoo. Davies was a composer for NBC’s Zoo, as well as the motion picture Condemned.

                                          All three brought in sketches and worked together in the same city, a luxury they weren’t afforded on the first Lost Themes. The result was a more focused effort, one that was completed on a compressed schedule — not unlike Carpenter’s classic, notoriously low-budget early films. The musical world of Lost Themes II is also a wider one than that of its predecessor. More electric and acoustic guitar help flesh out the songs, still driven by Carpenter’s trademark minimal synth.

                                          Keep your eyes peeled for John and his co-writers to hit the road next year performing both lost and newly found themes, in addition to retrospective work from Mr. Carpenter’s multi-generational career. Long live the Horror Master.

                                          STAFF COMMENTS

                                          Barry says: Master of Kosmische synth-workouts and general synth-based sountracking legend John Carpenter returns here with the second instalment of his surprising 'not a soundtrack' offering from last year. More twinkling synths, motorik pulses and cavern-soaked reverbed drums. Though soundtracks have always been Carpenters raison d'etre, this outstanding expansion on his lost themes selections just goes to show that Carpenter is indeed the king of the cosmic.

                                          FORMAT INFORMATION

                                          Ltd LP Info: Super limited purple & white swirl vinyl! Includes a download code which also includes a bonus track.

                                          John Carpenter And Alan Howarth

                                          Halloween II - Clear Vinyl Edition

                                            Death Waltz Recording Co. present Halloween II Original Motion Picture Soundtrack by John Carpenter & Alan Howarth. Original art by Brandon Schaefer. Includes sleeve notes from Alan Howarth & Brandon Schaefer.

                                            Death Waltz Recording Company is proud to present the return of one of horror's scariest boogeymen, as well as one of the genre's most iconic theme tunes with John Carpenter and Alan Howarth's score to Halloween II. Set directly after the events of the first film, Rick Rosenthal's sequel sets itself up as the slasher equivalent of The Empire Strikes Back, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth's score is beefier and more intense than before, using layers of electronics to drive the audience to madness.

                                            As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. Halloween II is more overtly synth and is perhaps less focused than the original score, although that certainly means it's nastier and more schizophrenic. The score also brings back the evocative 'Laurie's Theme', incorporating into a score full of harrowing musical effect, its synthesised howls and wails piercing your ears so that by the time 'Mr. Sandman' comes around, you'll feel just like the final girl, delirious at having survived the aural ordeal. And that's just when The Shape wakes up.

                                            FORMAT INFORMATION

                                            Ltd LP Info: 180g frosted clear vinyl.

                                            John Carpenter's

                                            Lost Themes: Remixes

                                              John Carpenter has inspired countless musicians since his earliest minimal, synth-based film scores. The themes to his features like Assault on Precinct 13, Halloween, and Escape from New York have remained instantly recognizable since he penned them nearly four decades ago. In February 2015, Sacred Bones released his first solo record of non-soundtrack music, Lost Themes, to overwhelming critical success. The Horror Master proved that not only could he perfectly score his own films - he could also score the movies in your mind.

                                              Eight pivotal contemporary electronic artists were moved to reshape the original songs on Lost Themes in tribute to one the genre's great pioneers. Several of the remixes were released as part of the digital deluxe edition of the album, but Lost Themes Remixed marks the first time any of the tracks have been on vinyl.

                                              FORMAT INFORMATION

                                              Deluxe LP Info: Ultra limited red and clear swirl coloured vinyl.

                                              LP Info: Standard black vinyl edition.

                                              - The most comprehensive vinyl edition of the original motion picture soundtrack for John Carpenter’s first feature film, Dark Star (1974).

                                              - For the fans of John Carpenter, sci-fi movie soundtracks, electronic experimentations, and strange vinyl releases. Also, for surfers.

                                              - Includes the sought-after "When Twilight Falls on NGC 891" by Martin Segundo & the Scintilla Strings, for the first time ever on a John Carpenter-related release.

                                              - Limited Edition LP + Colour Vinyl 7”

                                              WRWTFWW Records is ecstatic to bring back the original motion picture soundtrack for John Carpenter’s Dark Star (1974) with added bonuses that are sure to satisfy all cult sci-fi soundtrack completists of the galaxy (and beyond).

                                              This limited edition double combo comes with a LP and a 7". The former is a remastered version of the original motion picture soundtrack consisting of incidental music, sound effects, John Carpenter’s synth experimentations, dialogue excerpts, and vintage interferences extracted directly from the film roll.

                                              The 7" is red with a yellow label circled in black (in pure beachball alien fashion) and contains "Ode to a Bell Jar" remade by loyal Carpenter collaborator Alan Howarth (Escape from New York, Christine, Big Trouble in Little China, They Live…), the fan favorite "Benson Arizona" remade by Dominik Hauser, the very sought-after "When Twilight Falls on NGC 891" by Martin Segundo & the Scintilla Strings (in the real world *James Clarke’s Spring Bossa), as well as endless loops of sound effects from the movie to turn your house into your very own scout ship. Oh and there is a very secret hidden bonus track too!

                                              It all comes in slick thermostellar triggering packaging with a brand new artwork and invisible hyperdrive electronics - the best way to relive the Dark Star adventure and celebrate John Carpenter’s first directorial feature film released in 1974 and co-written by (and starring!) all around legend Dan O’Bannon (Alien, Lifeforce, The Return of the Living Dead). Let there be light!

                                              Written and recorded over the past year, the album features Casablancas and Voidz band members Jeramy Gritter and Amir Yaghmai (Salt & Pepper) – guitar, Jeff Kite – keyboards, Jake Bercovici – bass, Alex Carapetis – drums and was produced by Shawn Everett.

                                              The album incorporates world underground music from the 70s and 80s, hardcore/punk and modern harmony, using modern and analog recording and sampling techniques.

                                              Of the album's title Casablancas says, "Tyranny has come in many forms throughout history. Now, the good of business is put above anything else, as corporations have become the new ruling body. Most decisions seem to be made like ones of a medieval king: whatever makes profit while ignoring and repressing the truth about whatever suffering it may cause (like pop music, for that matter)."


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