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Cover of In Transition by Jeff Buckley.

Jeff Buckley

In Transition

CMG / Legacy

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

    In Transition celebrates the 25th anniversary of Grace, the sole studio album released by Jeff Buckley during his lifetime, with seven previously unreleased studio performances. Recorded during his first studio session for Columbia Records in 1993, this album, true to its name, paints a vivid picture of Buckley’s evolution from stripped-back live troubadour to worldly, captivating performer whose style inspired a generation. In Transition includes stunning early versions of original songs released on Grace (“Mojo Pin,” Last Goodbye”) as well as unique interpretations of other people’s songs (Nina Simone’s “If You Knew,” an early rendition of Leonard Cohen’s “Hallelujah”), further underscoring the power of Buckley’s forever-enduring musical style.

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    Cover of The Stutterer by Jamie Alexander.

    Jamie Alexander

    The Stutterer

    Jelly Roll Soul

    Jelly Roll Soul cohort Jamie Alexander makes his production debut with the Scottish party crew’s second release. The aptly named "The Stutterer", opens proceedings, rocking a stunted, Pittman-like groove squashed under lo-fi drums and discordant, gremlin like acid lines. "The Growler" furrows a more subterranean path - all dark grubby beats, disembodied voices and a menacing and proper speaker-testing bass line. Closing track "The Dreamer" contrasts neatly, with a more wistful and err dreamy? vibe but still enough punch on that low end to keep yer dancefloor moving….Out there stuff from this promising talent of the burgeoning Scottish scene. TIP!

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    Cover of Fire And Earth by Joseph Allred.

    Joseph Allred

    Fire And Earth

    Scissor Tail Editions

      Joseph Allred fits the Guitar Soli realm perfectly, fully embodying the guitar loner typecast - he falls in line with Robbie Basho not only in his 12-string playing that has a leaning towards Eastern musical traditions and droning free form raga, but also in his educational background in philosophy and religious studies. Scissor Tail Editions decided to put out Fire An Earth after hearing only thirty seconds of the track “Leitmotif” - there’s a sincerity in Allred’s music and way of life that has been missing from the modern age for a long time.

      Allred has been quietly releasing records for years, painstakingly designing and hand-printing most of the packaging, never promoting any of them. He hand-painted the covers for Fire and Earth and letterpressed the back covers of Dylan Golden Aycock’s latest. Now inhabiting land that’s been in his family for two hundred years, he says he’s trying to find a place in the family legacy. In Fire An Earth, there is a searching and spiritual quality to the music, and also integrity.

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      Cover of The Hopeful And The Unafraid by Jason Anderson.

      Jason Anderson

      The Hopeful And The Unafraid

      K

      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.

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      Cover of Icy Roads (Stacked) by Joe Armon-Jones.

      Joe Armon-Jones

      Icy Roads (Stacked)

      Brownswood

        Wildly talented keys player Joe Armon-Jones is back with new single ‘Icy Roads (Stacked)’, a head-spinning blend of luminous jazz-funk synths, off-kilter drums and a languorous, ear-worm bassline. Featuring in-demand kit man KwAkE bAsS (who’s worked with Kate Tempest, Sampha and Joey Bada$$) and bassist Mutale Chashi (part of KOKOROKO), this is a tight trio hitting all the right notes. It features killer artwork nodding to Thrustera Herbie Hancock. Plus the vinyl comes backed with an exclusive b-side, the gloriously loose and languid ‘Aquarius’.

        It follows celebrated 2018 debut album “Starting Today”, praised by Pitchfork, Loud & Quiet and The Wire, the latter describing it as “bass-rich music hustle straight out of the London soul-jazzdance lineage.” He’s performed on Boiler Room, Worldwide FM and toured across the UK and Europe, including a sold out hometown show at London’s Village Underground. Away from his solo project, he’s a co-founder of Ezra Collective, regularly plays with London peers like Nubya Garcia, and has toured with the likes of Ata Kak and Pharoah Monch.

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        Cover of Starting Today by Joe Armon-Jones.

        Joe Armon-Jones

        Starting Today

        Brownswood

        This debut album, by prodigious keys player, composer and producer Joe Armon-Jones, is buoyant, celebratory and welcoming. With a background in jazz, he draws from influences in dub, hip-hop and soul. Different traditions are infused and commingled together. Soulful brass arrangements are coloured with carefully-tuned atmospherics; individual flashes of brilliance are bound into the album’s bigger picture.

        He’s part of London’s young, jazz-influenced music scene. Drawn from that same close-knit circle, the album features the likes of Moses Boyd, Nubya Garcia and Oscar Jerome. It’s playing with those – along with Ezra Collective, which he co-founded, and touring with the likes of Ata Kak and Pharoahe Monch – which has honed his playing and grown his ideas.

        It’s made for a record with an unmistakable depth. He draws on deep musical understanding, making music which is warm and has a feeling of joy. A document of his vision for bringing together his different influences, it’s also a testament to hard-earned, head-turning musical virtuosity.

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        Cover of Starting Today In Dub by Joe Armon-Jones.

        Joe Armon-Jones

        Starting Today In Dub

        Brownswood Recordings

        South London virtuoso keys wizard Joe Armon-Jones returns with two freaked out dub versions, re-rubbing two entries from his debut for Brownswood earlier this year. ‘Starting Today Dub’ is stripped back and stretched out to maximum effect. ‘Mollison Dub Vocal Version (Feat. Asheber)’ spaces out the original and adds in extra vocals from West London dub staple Asheber.

        His debut album, Starting Today, came out in May 2018. Part of the vibrant young jazz scene in London, it brought together a bunch of players under that umbrella. It was praised by Pitchfork, Loud and Quiet and CLASH. In the words of The Wire, it’s "bass-rich music hustle straight out of the London soul-jazz-dance lineage.”


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        Cover of Transport by Juan Atkins & Moritz Von Oswald Present Borderland.

        Juan Atkins & Moritz Von Oswald Present Borderland

        Transport

        Tresor

        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: Hypnotic, deep and mesmerizing. These three adjectives arguably define partially the form and function of minimal techno. This album is no dross as the genre has become. In contrast, Transport has been crafted by two well-seasoned techno maestros who bring their own influences to this masterpiece, a deeply satisfying convergence of Detroit and Berlin.
        Von Oswald, precursor of dub techno (Basic Channel, Chain Reaction, et al) and Atkins (widely credited as the originator of techno) join forces to demonstrate that the genre is not passé and can still surprise. Appropriate for both dancefloor and home listening. Those into dubby ambient and deep techno will not be disappointed as every track is standout material which should be added to any serious music collector.

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        Cover of Borderland by Juan Atkins And Moritz Von Oswald.

        Juan Atkins And Moritz Von Oswald

        Borderland

        Tresor

        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.


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        Cover of 20 Years Of Metroplex by Juan Atkins.

        Juan Atkins

        20 Years Of Metroplex

        Tresor

        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.

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        Cover of At The Down-Turned Jagged Rim Of The Sky by Jessica Bailiff.

        Jessica Bailiff

        At The Down-Turned Jagged Rim Of The Sky

        Kranky

        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.


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        Cover of Candy / For Your Precious Love by JJ Barnes.

        JJ Barnes

        Candy / For Your Precious Love

        Super Disco Edits

          Detroit legends come together for some previously unissued material. J J Barnes teamed up with ex Motown producers Mike Theodore and Dennis Coffey during the late 1970's early 1980's and recorded one song penned by Mr Barnes called "Candy". A brilliant feel good modern soul disco tune where he lusts for the sultry "Candy" She certainly was a woman In demand with songs by Brothers of soul and later on the famous Cameo tune! Flip it over and we have a superb rendition of Jerry Butlers' "For Your Precious Love". 


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          Cover of Soundtracks & Singles 1963 - 1966 by John Barry.

          John Barry

          Soundtracks & Singles 1963 - 1966

          Fantastic Voyage

          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.


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          Cover of Will by Julianna Barwick.

          Julianna Barwick

          Will

          Dead Oceans

          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.

          STAFF COMMENTS

          Millie says: ‘Will’ is Julianna Barwick’s third album filled with ghostly, breath-taking compositions pieced together with delicate vocals. The haunting and fixating notions are developed from the ominous looping chords which are most prominent in the song Nebula; harrowing and captivating Barwick’s vocals are truly angelic. Many songs feature heavy and sharp synth-lines that blossom into a shadowy spiral of fragile reverb and eerie hymn-like echoes. The opening song ‘St. Apolonia’ has an incredibly calming presence and at times transcends into moments of inaudible whispering vocals, (inaudible meant of course in the most beautiful sense), it’s almost as the songs are so emotive that words are unnecessary and Julianna Barwick’s voice blends in with the magnificent soaring instrumental segments. ‘Will’ is a precious find and is full of conviction; an album to be cherished as one of the most sensitive and tender albums of the year.

          Sil says: Loads of reverb and atmospheres emanating from all songs. Made mainly with a loop pedal, a piano and a synth. Simplicity that opens a lot of possibilities makes this album ultimately timeless.

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          Cover of Tropical by Jorge Ben.

          Jorge Ben

          Tropical

          Oficial Arquivos

          One of Brazil’s greatest songwriters, Jorge Ben rarely dwelled on any particular musical style, even the ones he helped create. By the mid 1970s, Ben had already innovated several groundbreaking new twists on the classic samba sound, in the process creating many tunes that became epoch-defining hits for South America’s biggest country — not to mention the world at large. For 1977’s Tropical, he made the controversial decision to rework an album’s worth of his most beloved songs in the new, disco and funk influenced Afro-Samba style he was exploring at the time. As a result, classics like “Chove Chuva,” “Taj Mahal” and “Mas Que Nada” get polished updates, alongside deeper rarities like “Georgia” and “Jesus de Praga,” making Tropical a sensual, sultry counterpoint to other Jorge Ben collections. 

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          Cover of Pop Surgery by John Bender.

          John Bender

          Pop Surgery

          Superior Viaduct

            Following the release of lo-fi electronic masterpiece I Don’t Remember Now / I Don’t Want To Talk About It and his brilliant follow-up Plaster Falling , Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982. While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.

            Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style. “I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.” This first-time standalone reissue is recommended for fans of Suicide, TG’s 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

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            Reduced Cover of Wicked Streets / On Fire by J. Bernardt.

            J. Bernardt

            Wicked Streets / On Fire

            Pias

              Double A-side from J. Bernardt, the alias of Jinte Deprez, co-frontman of hugely successful Belgian indie-rock outfit Balthzar.

              Displaying an altogether different sound from Balthazar, both tracks are taken from J. Bernardt’s debut album ‘Running Days’.

              ‘On Fire’ is the opening track of ‘Running Days’ and is a subtle statement of intent, with warm piano chords, persistent guitar hook and gospel infused harmonies.

              ‘Wicked Streets’ brims with jazzy mellifluous horns.

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              Cover of XY Chelsea - Original Soundtrack by Jehnny Beth / Johnny Hostile.

              Jehnny Beth / Johnny Hostile

              XY Chelsea - Original Soundtrack

              Pop Noire

                Original Soundtrack for the Showtime produced movie based on the history of the whistleblower Chelsea Manning. Composed by Jehnny Beth & Johnny Hostile (singer and producer of post-punk band Savages).

                In 2018, director Tim Hawkins contacts Jehnny Beth and her life-long collaborator Johnny Hostile to ask if they would like to write the entire score for his new documentary about Chelsea Manning. For Hostile and Beth, this is an opportunity they have been preparing for. Hours of practicing instrumental compositions in Johnny Hostile’s Pop Noire studio could finally be put to great use. May 2018 and the pair starts working relentlessly until the end of summer.

                The relationship with Hawkins is fluid and easy. Same generation, same references, the director gives total freedom of interpretation to the musicians while offering a constructive frame of work to allow efficiency. Hawkins even admits to have lengthen his last scene in response to the enchanting piano track written by Johnny Hostile for the film’s ending.

                Manning’s portrait by Hawkins reveals the character’s humanity, her flaws, her doubts and her triumphs. Hostile and Beth have spent months looking at Manning on screen hit extreme high and low points while they try to transcribe as faithfully as they can all her emotions into sounds. The avoidance of manichean stands and predictable clichés in the film inspire the duo to write music with nuances, concentrating on deciphering the mysterious persona of one of the most important historical figures of our time.

                Jehnny Beth (Savages)
                Considered as one of the most powerful woman in rock music, Jehnny Beth founded the label Pop Noire in 2011 alongside Johnny Hostile, with whom she moved to London in 2005. Front singer in the band Savages, she champions sexual exploration and self-empowerment while challenging the cliches surrounding what it means to be a woman in a band. In addition to having traveled the world with Savages and performed on stage with the XX, LCD Soundsystem, Suicide or Primal Scream, she has recently collaborated with artists such as Gorillaz, Julian Casablancas, and Trentemøller. From 2016 to 2018, Jehnny Beth hosts the weekly radio show "Start Making Sense" on Beats 1 (Apple Music) where she has received an impressive list of artists from the international independent musical scene: Brian Eno, St Vincent, Johnny Marr, David Byrn, Anna Calvi, Damon Albarn, Peaches, Alison Mosshart, Massive Attack... She is currently working on new projects that will see the light in 2019/2020, including her awaited debut solo album. Returning to Paris two years ago, Jehnny Beth has also been acting again, first in CatherineCorsini'sU nAmourImpossible in 2017, for which she was nominated for a Césars in January 2019. Jehnny Beth is currently working on other film projects in France and abroad.

                Johnny Hostile (Savages, Lescop)
                Johnny Hostile is a French composer, producer, musician and founder of Pop Noire. After graduating from the conservatoire in electroacoustic and musique concrète fields, he moved to London in 2005 with his partner Jehnny Beth. Two years after the creation of Pop noire in 2011, J. Hostile unveiled his solo work as a support on Savages’ world tour. In 2015, he invited Julian Casablancas and Jehnny Beth to sing on the cover of ‘Boy/Girl’, produced several French artists such as Lescop, Izia Higelin and Etienne Daho. From 2016 to 2018, he produced the 'Start Making Sense' weekly radio show on Beats 1 (Apple Music) presented by Jehnny Beth. He directed the musical line-up for the show concentrating exclusively on contemporary music, with an impressive list of guests from the international independent music scene. With his debut album ‘(dys)function’ released on Pop Noire in 2018, he emancipated himself from any genres of music that he had been producing for over a decade. He decided to compose the music that had been at the center of his life for years: ambient and experimental. He now lives and works in Paris where Pop Noire studios are based. Hostile is currently working on new projects coming up in 2019, including new Pop Noire artists and Jehnny Beth's album.

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                Cover of Sieg Howdy by Jello Biafra With The Melvins.

                Jello Biafra With The Melvins

                Sieg Howdy

                Alternative Tentacles

                  Like WW I had its WW II and the Gulf War had its Iraqi Freedom, you can't expect an event of epic proportions to end without proper follow-through: hence, Alternative Tentacles presents the first and second installment from Jello Biafra With The Melvins ! Never Breathe What You Can't See (2004) fed the world, in alternating fistfuls, the Melvins' sonic brutality and Biafra's erudite lyrical jesting, and the world cried for more. Sieg Howdy features songs recorded during the Never BreatheŠ sessions, as well as remixes by Al Jourgensen (Ministry, Lard), Dalek and Dale Crover (Melvins). And you know that Biafra, the consummate record collector, would not even think of releasing another record unless it's good enough to stand on its own! It doesn't matter if you missed the boat the first time or if you couldn't get enough, the dominion of Jello Biafra With The Melvins is far from over: be prepared yet again to let the most twisted minds in rock detonate your mind. 

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                  Cover of Jade Bird by Jade Bird.

                  Jade Bird

                  Jade Bird

                  Glassnote

                  Twisting big themes of disillusionment, divorce, cheating, sorrow into the realities of an independent-minded, modern British teenager, Jade’s music transcends genre with a wealth of influence coming from everywhere, and anywhere. Classic, contemporary, and a total breath of fresh air in the current musical landscape, Jade Bird is that rare, next-generation artist who appears as clued up on the past as she is determined to learn from its lessons: in control, sometimes in your face, and in possession of gifts beyond her years.

                  The debut self-titled debut album via Glassnote Records. Featuring breakthrough singles Lottery, Uh Huh & Love Has All Been Done Before.

                  STAFF COMMENTS

                  Barry says: Jade Bird's voice is simply astounding for someone so young, perfectly capturing the spirit of 70's psychedelic Americana mixed with the more subtle tones of modern emotive pop. Bird's songwriting shines through whatever medium it may present itself, from the more downbeat piano ballads and the more rocking, effusive pieces, this whole outing is an absolute delight.

                  FORMAT INFORMATION

                  Coloured LP Info: Indie exclusive white vinyl edition.

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                  Cover of Fantomas: Le Faux Magistrat by James Blackshaw.

                  James Blackshaw

                  Fantomas: Le Faux Magistrat

                  Tompkins Square

                  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.

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                  Cover of Overgrown by James Blake.

                  James Blake

                  Overgrown

                  Atlas

                  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.


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                  Cover of The Colour In Anything by James Blake.

                  James Blake

                  The Colour In Anything

                  Polydor

                  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.


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                  Cover of Assume Form by James Blake.

                  James Blake

                  Assume Form

                  Polydor

                  Mercury award winner James Blake releases his 4th studio album Assume Form. The album features collaborations with Travis Scott, André 3000, Metro Boomin, Moses Sumney and Rosalía (BBC sound poll 2019). In the past 2-3 years James has been very busy collaborating with Beyonce, Kendrick Lamar, Travis Scott, Jay Z, Frank Ocean, Oneohtrix Point Never, Mount Kimbie and contributing to the Black Panther soundtrack. As unrestricted by genre as it is always underpinned by classic, emotionally-open songwriting, James Blake’s new album is arguably his most direct, eclectic and pure artistic statement to date. Assume Form also follows a rich period of creative and personal evolution for James, who has spoken candidly about his experiences of mental health, modern-day masculinity, and finding peace. Even the album artwork would appear to represent a fundamental shift for Blake, no longer distorted by illustration, landscape or design, but staring right at you – and into the future.

                  James Blake’s is an influence that can be felt throughout the modern musical landscape, often hiding in plain sight; allowing the man himself – as his fourth album suggests – to always evolve. To never settle. To Assume Form.

                  STAFF COMMENTS

                  Barry says: Calling on a wealth of talent, James Blake continues his domination of the post-dubstep sound, with clicking trap-lite percussion, soaring synth echoes and a who's who of today's electronic music guests. Tackling sensitive issues with delicacy and grace, Blake is a singular talent, and continues to show his capabilities.

                  FORMAT INFORMATION

                  2xColoured LP Info: Limited edition green coloured LP set. Includes additional track, "Mullholland".

                  2xColoured LP includes MP3 Download Code.

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                  Cover of We Are Raiders by Jahdan Blakkamoore.

                  Jahdan Blakkamoore

                  We Are Raiders

                  Dutty Artz

                  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.

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                  Cover of In The Shade Of Sun by John Blum.

                  John Blum

                  In The Shade Of Sun

                  Ecstatic Peace

                  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.

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                  Cover of Percussions Pour La Danse by Jean-Pierre Boistel / Tony Kenneybrew.

                  Jean-Pierre Boistel / Tony Kenneybrew

                  Percussions Pour La Danse

                  Left Ear Recordings

                  Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80’s. It’s here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70’s.

                  The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to “dance slowly, rapidly and change speeds without changing the tempo!”. This work of rhythmic research was based on the “Balance of The Walk”; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.

                  Jean-Pierre’s use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.

                  STAFF COMMENTS

                  Patrick says: Left Ear hit us with some eso-ethno jazz for the dancefloor here via Boistel and Kenneybrew's late 80's percussion accompaniment contemporary jazz-dance classes. Fusing African instrumentation, Western Jazz arrangements and computer technology, the duo dropped a techno-tropical treat which lands somewhere between Dave Samuels' New Math and new age. Fully endorsement from the Talking Drums crew...

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                  Cover of Personal Growth by James Booth.

                  James Booth

                  Personal Growth

                  Growing Bin

                  You could be forgiven for thinking Basso‘s been hitting the plant food of late. Last time out we took a trip with Trance, and now our esoteric expert nods his head, rolls his shoulders and drops a h-h-h-house record on our unexpecting asses. That‘s right folks, roll up the rug, push the sofa back and enjoy some ‚Personal Growth‘ from James Booth.
                  Operating a million miles away from the kick and hiss of the trendy lo-fi folks, the Berlin based producer favours subtle rhythms, delicate textures and tender melodies - turning out a string of sophisticated dance floor winners for 100% Silk, Church and No Bad Days. Now he brings his organic house stylings to the Growing Bin with a fresh five-tracker packed with all the warmth of a Tempelhof picnic on a balmy July afternoon.
                  Emerging from the watery depths of the Drexciyan ocean, opener "Mood" strides calmly through the morning dew, stretching those loose limbs and seeking out Hardcastle‘s rainforest. Drifting freely through immersive, aquatic pads and soft focus melodies, the track takes in a little R&R before snapping electro percussion, cascading synthlines and a rolling rhythm up the intensity. The deepness continues on the A2 as "Dream Precipitation" offers a medicated vision of Debussy doing P-Bar while Lynch rolls the cameras. Syncopated hi-hats, jazzy keys and star-gazing sine waves wrap themselves around your cerebellum, expanding your mind as a steady kick moves your body into the pleasure zone. Booth takes a Derren Brown tip on the flip, imbuing "You" with the kind of mesmeric rhythm that can make the staunchest wallflower pull a Pink Panther on a packed dance floor. The exotic tumble of woody percussion and hissing castanets keep up a fascinating rhythm, driving the titular mantra and snaking synth melody through bursts of slapped bass and subtle 4/4. "Dhoop Stick" stays on board with the boogie hypnotism, weaving its way through celestial melodies, squelching bass and toasty Rhodes before "The Chorus" brings down the curtain with wailing FM vox, military snares and the dreamy synth pop charm of a lost Sheffield classic. Warm, woody and entirely organic, this is the birth of Green House...you heard it here first!

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                  Cover of Space Echo Track / Locus Of Control by James Booth.

                  James Booth

                  Space Echo Track / Locus Of Control

                  Glowing Pin Records

                  The Growing Bin may have taken a hiatus for AW18, but don't be fooled into thinking this is a deciduous operation; after all the most powerful plantlife grows from below. Moving through the mulch, Basso traces the mycellium network from Hamburg's forests to the gentle slopes of Hasenheide, reconnecting with James Booth for the first Growing Bin release of 2019.

                  Emerging from the green house with a heroic dose of wavy caps, the Mancunian export unleashes A-side sizzler 'Space Echo Track', a little post-minimal magic for the peak time shamans. Built around the polyrhythmic patter of organic percussion, a touch of UK shuffle and the occasional blast of soundsystem bass, the track rolls and rattles from start to finish, tailor made for mid-set hypnosis. And while neon leadlines dance with disorienting sampler vox and papaya whistles summon the ethno-flute melodies, Booth brings us to a new level of future primitive consciousness, unlocking the Stargate once and for all.
                  Onto the B-side and we're hurtling through galaxies, submerged in the entheogenic frequencies of 'Locus'. Shimmering swathes of angelic synth vox and dreamlike pads drift freely, forming a perfect counterbalance to the warp factor thrust and rasping resonance of the wormhole sequences. Beatless in space, 'Locus' balances ambient techno and acid gurgle, cleansing your synapses like a Sven Vath warm down circa '94. This is music for the microdosers...


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                  Reduced Cover of My World, Your Life by Johnny Borrell.

                  Johnny Borrell

                  My World, Your Life

                  Gearbox

                    Despite his success over the years, Johnny Borrell’s appetite remains undiminished. On this new release, the world-travelled Borrell and his band draw from a musical palette of rich colour. Their generous brush strokes sweep new life into the blues / rock genre, filling it with flamenco flourishes and all manner of world influences.

                    This release is the fourth in a series of totally valve mastered recordings featuring Gearbox’s vintage Decca valve mixer in association with their Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head and Telefunken U73B tube limiter.

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                    Cover of We Keep The Beat, Found The Sound, See The Need, Start The Heart by Jonathan Boulet.

                    Jonathan Boulet

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

                    Modular

                    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.

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                    Jean-Paul Bourelly

                    Trance Atlantic (Boom Bop II)

                    Double Moon

                    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.

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                    Cover of Leave Alone The Empty Spaces by John Bramwell.

                    John Bramwell

                    Leave Alone The Empty Spaces

                    All Points

                    I Am Kloot’s songwriter and frontman, John Bramwell, has announced the release of his first studio solo album “Leave Alone The Empty Spaces” The record is a stunning showcase of John’s skillful, widely acclaimed songwriting and his unique voice.

                    It’s the first completely new collection of songs by John as a solo artist since he started his adventures away from I Am Kloot. “Leave Alone The Empty Spaces” has been inspired by John’s travels around the UK and Europe performing more than 300, intimate solo gigs.

                    Travelling in his VW Campervan with his dog Henry, the experience allowed John to explore parts of the country hitherto unknown, develop his solo sound and ideas, and meet an awful lot of interesting people...

                    The album is inspired by the spirit of liberty, independence, adventure and solitude that John has enjoyed on the road, as well as the diverse emotions that escape and travel can bring about - from sadness to exhilaration.

                    It’s about rediscovering the romance, intimacy and magic of the live music experience, one to one with the audience.

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                    Cover of AM FM Etc by John Brenton Aka Metrotone......

                    John Brenton Aka Metrotone.....

                    AM FM Etc

                    Enraptured

                    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.

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                    Cover of Lady Bird by Jon Brion.

                    Jon Brion

                    Lady Bird

                    Fire Soundtracks

                      Fire Soundtracks and Lakeshore Records release Jon Brion’s acclaimed score ‘Lady Bird’ for the first time on vinyl on February 23rd 2018. Jon Brion’s previous films include the Grammy nominated ‘Magnolia’, ‘Punch-Drunk Love’, ‘Eternal Sunshine Of The Spotless Mind’ and ‘I Heart Huckabees’. Known for his songwriting with The Grays and Jellyfish, Jon Brion has also produced records for Kanye West, Fiona Apple, Rufus Wainwright, Robyn Hitchcock, Sky Ferreira and is a well-known collaborator with Evan Dando and Elliot Smith. Winner of Best Director from the National Board Of Review, actor-turned-director Greta Gerwig’s incredible directorial debut ‘Lady Bird’ is one of this year’s most acclaimed films.




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                      Cover of Black Caesar - OST by James Brown.

                      James Brown

                      Black Caesar - OST

                      UMC

                      Black Caesar is James Brown’s original soundtrack album for the 1973 blaxploitation film classic by the same name - reissued on 180-gram vinyl LPs by Polydor/UMC, with faithfully replicated artwork. Released in February 1973, Black Caesar is a gangster drama set in Harlem, written and directed by Larry Cohen and starring Fred Williamson, Gloria Hendry, D’Urville Martin, and Julius Harris. Pieces of Brown’s soundtrack, which also features the J.B.’s and Lyn Collins, have since been notably sampled in tracks by top rap artists, including “The Boss,” sampled by Ice-T in “You Played Yourself,” by Trick Daddy in “Take It To Da House,” and by Nas in “Get Down,” among others. Black Caesar’s soundtrack also features the Bodie Chandler and Barry De Vorzon-written single arranged by J.B.’s band director Fred Wesley, “Down And Out In New York City,” which peaked at No. 13 on Billboard’s R&B chart and at No. 50 on the Pop chart. 

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                      Cover of Get On The Good Foot - Vinyl Reissue by James Brown.

                      James Brown

                      Get On The Good Foot - Vinyl Reissue

                      UMC

                      The hardest working man in showbiz, godfather of soul, funk and possibly fuck, James Mu'Fuckin' Brown dropped this masterpiece back in 1972 and it's slapped suckers silly ever since. Now we get a f-f-f-fresh double vinyl reissue of "Get On The Good Foot" with new and improved sound quality for 2019. The album's title track was issued as a two part single on its release and predictably topped the Billboard's R&B chart at the time. Elsewhere "The Whole World Needs Liberation" takes a conscious direction while "Cold Sweat" just gets down and dirty for the dancers.

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                      Cover of Motherlode  by James Brown.

                      James Brown

                      Motherlode 

                      UMC

                      '‘Motherlode’ is a classic James Brown compilation album, primarily focusing on his funk recordings of the late 1960s and early 1970s, & including live performances and remixes as well as studio recordings. This is the first vinyl edition of the 2003 expanded version of ‘Motherlode’, a 2-LP on 180g in a gatefold jacket, featuring a number of tracks never before available on LP. Highlights include a live “Say It Loud – I’m Black and I’m Proud”, “I Got Ants in My Pants (and I Want to Dance)”, the chart hit “She’s the One”, and more.

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                      Cover of Say It Live And Loud (Expanded Edition) by James Brown.

                      James Brown

                      Say It Live And Loud (Expanded Edition)

                      UMC

                      On August 26, 1968, two weeks after releasing his civil rights anthem, “Say It Loud – I’m Black And I’m Proud,” James Brown recorded his concert at Dallas, Texas’ Memorial Auditorium. First released on CD in 1998, Brown’s Say It Live and Loud: Live in Dallas 08.26.68 album makes its vinyl debut in an expanded 2LP 50thAnniversary Edition.

                      "Say It Live and Loud..." captures James Brown and his band laying it down onstage in the heat of a tumultuous summer, just months after the assassinations of Martin Luther King Jr. and Robert Kennedy, and on the same night the turbulent Democratic National Convention opened in Chicago. The album features the first-ever live recordings of “Say It Loud – I’m Black And I’m Proud,” which Brown performed twice.

                      The new 2LP vinyl edition add two previously unreleased recordings, “That’s Life” and “The Popcorn,” as well as an updated essay by James Brown’s former tour manager, Alan Leeds. An essay by Public Enemy’s Chuck D, written for the album’s 1998 CD package, is also included. 

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                      Cover of Sho Is Funky Down Here by James Brown.

                      James Brown

                      Sho Is Funky Down Here

                      Now-Again Records

                        Sho is Funky Down Here and The Grodeck Whipperjenny are a pair of albums that are the result of an unlikely but highly productive musical relationship between James Brown, a superstar at the creative and commercial peaks of his long career, and David Matthews, a then young arranger-musician whose limited professional experience had little or nothing to do with the funk and soul of his collaborator. James Brown – Sho Is Funky Down Here James Brown’s psychedelic album, created by his then-bandleader David Matthews, and issued at the same time as Matthews’ classic The Grodeck Whipperjenny. Underground, fuzzy, rambling psych-funk. The genesis of Brown’s “Talking Loud And Saying Nothing,” a 1990s hip hop sample staple, informing A Tribe Called Quest, Large Professor, Brand Nubian and others. Both albums were lacquered directly from the original master tapes at Capitol Studios. This is the first official reissue of both of these rare titles. Each album contains an extensive booklet with full annotation, liner notes by Brown historian Alan Leeds and never-before-published photos. 

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                        Cover of Slaughters Big Rip-Off (Original Soundtrack) by James Brown.

                        James Brown

                        Slaughters Big Rip-Off (Original Soundtrack)

                        Blue Note

                        James Brown’s original soundtrack album for the 1973 blaxploitation film classic Slaughter’s "Big Rip-Off" gets the 180-gram reissue treatment here, with faithfully replicated artwork including Slaughter’s Big Rip-Off’s gatefold.

                        Released in August 1973, "Slaughter’s Big Rip-Off" is the sequel to 1972’s "Slaughter". Set in Los Angeles, the Gordon Douglas-directed mob drama stars Jim Brown, Ed McMahon, Don Stroud, Brock Peters, Gloria Hendry, and Dick Anthony. James Brown’s original soundtrack includes score pieces, plus “Brother Rapp,” Brown’s previously released single which peaked at No.2 onBillboard’s R&B chart and at No. 32 on the Pop chart, as well as “Sexy, Sexy, Sexy,” Brown’s sped-up rework of his 1966 hit, “Money Won’t Change You,” with different lyrics. That track was released as a single from the Slaughter’s Big Rip-Off soundtrack, peaking at No. 6 on Billboard’s R&B chart and at No. 50 on the Pop chart. The soundtrack’s “Happy For The Poor” is a Latin-styled version of the 1971 J.B.’s single, “Gimme Some More.”

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                        Cover of Grace by Jeff Buckley.

                        Jeff Buckley

                        Grace

                        Columbia

                          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.

                          FORMAT INFORMATION

                          Coloured LP Info: Gold & purple coloured LP Vinyl.

                          Coloured LP includes MP3 Download Code.

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                          Cover of You And I by Jeff Buckley.

                          Jeff Buckley

                          You And I

                          Columbia

                          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.

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                          Cover of Mystery White Boy by Jeff Buckley.

                          Jeff Buckley

                          Mystery White Boy

                          We Are Vinyl

                            This classic album by American singer-songwriter JEFF BUCKLEY, was recorded 'live' between 1995-1996 & originally released in 2000. The album is a x12 song compilation of live recordings, that Buckey's mother, Mary Guibert compiled from DAT recordings made while Jeff was touring the "Grace" album.

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                            Cover of Live At Sin-e - Legacy Edition by Jeff Buckley.

                            Jeff Buckley

                            Live At Sin-e - Legacy Edition

                            Columbia

                            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.

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                            Cover of On My One by Jake Bugg.

                            Jake Bugg

                            On My One

                            VirginEMI

                            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.

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                            Cover of Shangri La by Jake Bugg.

                            Jake Bugg

                            Shangri La

                            EMI Virgin

                            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.

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                            Cover of Hearts That Strain by Jake Bugg.

                            Jake Bugg

                            Hearts That Strain

                            Virgin EMI

                            Jake Bugg releases his stunning new album ‘Hearts That Strain’, recorded in Nashville, September 1st on Virgin EMI. The first taste of which is the breezy single ‘How Soon The Dawn’, a collaboration with Dan Auerbach (The Black Keys), video out 04.08.17. Working with Grammy Award winning producer David Ferguson and Matt Sweeney, Jake recorded the album in Nashville with some of the best players in the history of popular music. As part of American Sound Studio’s legendary house band The Memphis Boys, Gene Chrisman and Bobby Woods provided the chops on such pivotal records as Dusty In Memphis, In The Ghetto, Suspicious Minds and Dark End Of The Street, cutting their teeth in sessions with Wilson Pickett, Aretha Franklin and Dionne Warwick.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

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                            Cover of Lake Monger LP by Jack Burton.

                            Jack Burton

                            Lake Monger LP

                            Analogue Attic Records

                            Analogue Attic continues to draw from the fresh stream of talent running out of Australia, this time with Jack Burton, a composition student from the prestigious Victorian College of the Arts.
                            His debut LP "Lake Monger" was composed across two cities over a period of a year, and features contemplative synths, techno and experimental influences.

                            The record climaxes in the three-part, 12-minute title track that swells in energy and intensity, drawing influence from ambient masterpieces of the 90's with modern day production, demonstrating impressive compositional maturity. Beautiful!

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                            Cover of Not Even Happiness by Julie Byrne.

                            Julie Byrne

                            Not Even Happiness

                            Basin Rock

                            Sometimes it can take years to find your calling. Not so, for wanderer Julie Byrne; whose power of lyrical expression and melodic nous seems inborn. But often, what comes naturally demonstrates against speed. Julie’s second album Not Even Happiness has taken time to evolve, but as it spans recollections of bustling roadside diners, the stars over the high desert, the aching weariness of change, the wildflowers on the coast of California and the irresolvable mysteries of love. Her new album archives a vivid world that would've otherwise been lost to the road and in doing so, Byrne exhibits her extraordinarily innate musicality.

                            In fact, some of the album’s songs took two years of fine tuning to get where they needed to be. And if you were to ask her why the follow up to 2014's Rooms With Walls And Windows has taken so long, you’d only be greeted with a bemused smile as though it's the strangest question she's ever been asked; “Writing comes from a natural process of change and growth. It took me up to this point to have the capacity to express my experience of the time in my life that these songs came from.”

                            Having counted Buffalo, Pittsburgh, Pennsylvania, Northampton, Massachusetts, Chicago, Illinois, Seattle, New Orleans as her home in recent years. For now, Julie has settled in New York City where she moonlights as a seasonal urban park ranger in Manhattan. Whether witnessing the Pacific Northwest for the first time (‘Melting Grid’), the morning sky in Colorado after staying up through the night at a house party in the mountains of Boulder (‘Natural Blue’), recording the passage of freight trains on the outskirts of Buffalo, New York ('Interlude'), or a journey fragrant with rose water; reading Frank O’Hara aloud from the passengers seat during a drive through the desert of Utah into the rainforest of Washington State (‘All The Land Glimmered Beneath’), Not Even Happiness is Julie’s beguilingly ode to the fringes of life.

                            Self-taught on the guitar after picking it up when her father became ill and could no longer play the instrument himself, Julie readily admits she can’t read music and doesn't even listen to it all that much - the first vinyl she owned was indeed, her own. Recorded with producer Eric Littmann (Phantom Posse), Julie laid down the new album in her childhood home in western New York state and offers an altogether bigger picture to its predecessor through a wider, yet subtle, exploration of instruments and atmospherics, Not Even Happiness reveals an artist who has grown in confidence over time.

                            Byrne's debut album was released back in January 2014 on Chicago based DIY label Orindal after initially being as two separate cassettes releases. Rooms With Walls and Windows went onto become a true modern-day word of mouth success story (it would have to be for an artist who shuns all forms of social media) and ended the year being voted number 7 in Mojo magazine's best albums of the year, with the Huffington Post calling it "2014's Great American Album". A collection of hushed intimate front porch psych-folk songs, that unknowingly recalled the greats, but felt very much for our time. It saw her travel to Europe over two summers playing the Green Man festival and End Of The Road, as well as lesser trodden tour paths around Europe.

                            Julie Byrne will take the songs from Not Even Happiness (the first release on a new record label Basin Rock, based in the Lancashire / Yorkshire border town of Todmorden) on the road throughout 2017.


                            STAFF COMMENTS

                            Barry says: Lightly strummed and impeccably arranged folk guitars meet with swaying and mournful vocals all purposefully and beautifully delivered as a shining example of minimal affectations with maximum results.

                            FORMAT INFORMATION

                            LP Info: LP jacket is gloss laminate with front & back folds on the outside.
                            The back panel is uncoated/matt varnish - 300 gsm card and 180g vinyl.
                            Digital Download included.

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                            Cover of Rooms With Walls And Windows by Julie Byrne.

                            Julie Byrne

                            Rooms With Walls And Windows

                            Basin Rock

                              Rooms With Walls and Windows was the debut album by Seattle-by-way-of-Chicago-by-way-of-Buffalo singer, songwriter & guitarist Julie Byrne. Blending psychedelic and traditional folk elements, Julie Byrne creates a highly personal and quietly mystical world that echoes the early work of Leonard Cohen & Vashti Bunyan.

                              Rooms With Walls and Windows' twelve tracks were collected from two limited edition cassette releases, recorded between 2011 & 2012 by Jake Acosta in Chicago, Illinois. Each song was recorded live, with Julie accompanying herself on fingerpicked acoustic guitar. Rooms With Walls and Windows was lovingly remastered by Owen Ashworth & Matthew Barnhart.

                              Julie Byrne released her second album Not Even Happiness in January to mass acclaim and will take the songs from her two albums on the road throughout the whole 2017.


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                              Cover of San Francisco Museum Of Art, January 16th, 1965 by John Cage, David Tudor & Christian Wolff.

                              John Cage, David Tudor & Christian Wolff

                              San Francisco Museum Of Art, January 16th, 1965

                              Modern Silence

                                Recorded live by KPFA Radio in the halls of the sculpture court of the San Francisco Museum of Art on January 16, 1965, the day of 39th birthday of fellow pianist and longtime associate David Tudor, this historic concert with John Cage opens with a duet for Cymbal with contact microphones agitated by a wide gamut of objects and concludes with Variations IV in which loudspeakers outside the performance space interacted with speakers next to the audience. First release on vinyl for a very important piece in the history of minimalist music.

                                FORMAT INFORMATION

                                Ltd LP Info: Limited edition 180 gram 2LP.

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                                Cover of Early Electronic & Tape Music by John Cage.

                                John Cage

                                Early Electronic & Tape Music

                                Sub Rosa

                                'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

                                Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

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                                Cover of Church Of Anthrax - Remastered Edition by John Cale & Terry Riley.

                                John Cale & Terry Riley

                                Church Of Anthrax - Remastered Edition

                                Esoteric

                                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.

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                                John Cale

                                Sun Blindness Music

                                Table Of Elements

                                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.

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                                Cover of Jazzrock by John Cameron.

                                John Cameron

                                Jazzrock

                                Be With Records

                                Be With have raided the KPM archives to re-issue another of their favourites from the KPM 1000 series.

                                They say: A Dramatic Suite Of Themes, Montage, Sequences And Generics.

                                We say: An enormously influential and heavy KPM set of timeless, killer funk breaks from 1972 by the mighty John Cameron.

                                "Jazzrock" is an aggressive, percussion-heavy album with an energy that leaves jaws on the floor. Breaks and beats for days with electric piano, bass loops, and pounding percussion. Funky jazz with a deep, tough, soundtrack feel.
                                As with all of their KPM re-issues, the audio for "Jazzrock" comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. They’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.
                                And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!


                                FORMAT INFORMATION

                                Ltd LP Info: 180g vinyl, remastered from the original tapes.

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                                Cover of On The Echoing Green by Jefre Cantu-Ledesma.

                                Jefre Cantu-Ledesma

                                On The Echoing Green

                                Mexican Summer

                                  On the Echoing Green is an elegant work of lush, shimmering sound, rendered with a singular touch by eternal electric romantic Jefre Cantu-Ledesma. In contrast to the haze and hermetic process of previous albums, Green was conceived as a deliberate experiment in clarity and collaboration: “I was interested in trying to bring out more overt pop elements, to let them come to the front and be present. I also have more trust now in letting things happen – trusting other people’s musicianship, and being open to people’s ideas. Eventually, things emerge.” What emerged from this bond are eight rapturous and richly melodic slow dives of swirling guitar, bass, synthesizer, piano, and drum machines, dramatically accented in places by heavenly arcs of voice courtesy of Argentinian singer-songwriter Sobrenadar. Cantu-Ledesma encouraged chemistry and intuition in the studio by beginning the album without any demos for reference; he and his collaborators pursued patterns and hypnotic textures across long-form improvisations until gradually songs began to take shape. This is music of growth and grandeur, of ascent and exploration, played with purpose and passion by a craftsman in tune with the beauty of sound and the harmony of light. In his words: “[This album] feels like spring – things coming alive, blooming, emerging from winter.”

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                                  Cover of Tracing Back The Radiance by Jefre Cantu-Ledesma.

                                  Jefre Cantu-Ledesma

                                  Tracing Back The Radiance

                                  Mexican Summer

                                    Some records aren’t as simple as they seem. Most are capsules of beauty and creative vision, or sublime objects of expression which occupy the abstract realms. But the rare few are also discrete philosophies, realised in sound - a truth brought to the forefront by Mexican Summer veteran, Jefre Cantu-Ledesma’s, latest venture, Tracing Back The Radiance. A radical departure from pop drenched melodies which have defined his recent efforts, its experimental forms offer a dynamic rethinking of the terms and possibilities of discourse and collaboration - a vast ambient landscape of abstraction, texture, and tone, beneath which lingers a veiled vision, addressing the challenges of our increasingly disassociated age. A slow, delicate meditation - open space punctuated by the restrained harmonics of vibraphone, processing, flute, pedal steel, synthesizer, piano, organ, and voice, Tracing Back The Radiance grew from a few simple piano lines, a need for change, and an evolving process which fell somewhere between conversation, singular vision, and a wild game of exquisite corpse - Cantu-Ledesma acting as contributor, servant, and guiding force to the emerging album’s all-star cast of voices - John Also Bennett, Marilu Donavan, Chuck Johnson, Gregg Kowalsky, Mary Lattimore, David Moore, Meara O'Reilly, Jonathan Sielaff, Roger Tellier Craig, and Christopher Tignor, each responding and intervening from various corners of North America. With nods to historic high-water marks in ambient and electroacoustic music, as well Italian minimalist pioneers like Gusto Pio, Lino Capra Vaccina, and Francesco Messina + Raul Lovisoni, Cantu-Ledesma delves forward with one of his most ambitious, elegant, and exciting endeavors of his career, retaining every bit of the ease and openness in musical language which has guided him across the decades. A beautiful, immersive, melancholic, and contemplative balm for the troubled times in which it was made. 

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                                    Cover of Love by James Canty.

                                    James Canty

                                    Love

                                    Obscenic

                                    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.

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                                    Cover of 3:30 by Jeff Carey.

                                    Jeff Carey

                                    3:30

                                    Forwind

                                    "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.

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                                    Cover of Escape From New York - Expanded Vinyl Edition by John Carpenter.

                                    John Carpenter

                                    Escape From New York - Expanded Vinyl Edition

                                    Silva Screen

                                    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.


                                    FORMAT INFORMATION

                                    2xLP Info: 180 gram vinyl
                                    Gatefold sleeve
                                    Limited new pressing of 500

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                                    Reduced Cover of Halloween - Original Motion Picture Soundtrack by John Carpenter.

                                    John Carpenter

                                    Halloween - Original Motion Picture Soundtrack

                                    Mondo

                                      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.

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                                      Cover of Lost Themes by John Carpenter.

                                      John Carpenter

                                      Lost Themes

                                      Sacred Bones

                                      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

                                      LP includes MP3 Download Code.

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                                      Cover of Lost Themes II by John Carpenter.

                                      John Carpenter

                                      Lost Themes II

                                      Sacred Bones

                                      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.

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                                      Cover of Halloween 2 by John Carpenter & Alan Howarth.

                                      John Carpenter & Alan Howarth

                                      Halloween 2

                                      Death Waltz

                                        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

                                        Coloured LP Info: Orange vinyl.

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                                        Cover of Halloween 3: Season Of The Witch by John Carpenter & Alan Howarth.

                                        John Carpenter & Alan Howarth

                                        Halloween 3: Season Of The Witch

                                        Death Waltz

                                          It's been a long, hard road for Halloween III: The Season Of The Witch to be accepted within the Halloween franchise, but it is now widely considered to be one of the best horror movies of the ‘80s. The packaging for this release is also completely singular and jaw-dropping; designed by Alan Hynes it's unlike all of the other re-issues in this series. It's still designed to fit in the collectors box and really helps solidify what an outlier Halloween III is in the overall series.

                                          The film is unique not only due to it lacking Michael Myers (save for a brief appearance on a TV screen) but also for its score. John Carpenter and Alan Howarth completely jettisoned their previous work and deliver nothing short of an electronic masterpiece. The lead track 'Chariots Of Pumpkins' is an epic 4/4 beat-driven synth-banger that has regularly been played by DJs over the last 10 years. The rest of the score features lush pads, Linn drums aplenty and veers from beautiful blissed-out ambient drones to sinister stinger-driven mood pieces. Absolutely outstanding stuff.

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                                          Cover of Halloween OST by John Carpenter.

                                          John Carpenter

                                          Halloween OST

                                          Sacred Bones

                                          When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

                                          The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved.

                                          “We wanted to honor the original Halloweensoundtrack in terms of the sounds we used,” Davies explained. “We used a lot of the Dave Smith OB-6, bowed guitar, Roland Juno, Korg, Roli, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano.”

                                          Unlike the Lost Themes albums, where the composers wrote the soundtracks for imaginary movies, Halloween saw the Carpenters and Davies collaborating on music set to images for the first time. Though it marked a significant change from their previous creative process, the trio thrived under the constraints and tight deadlines that film scoring work demands.

                                          “Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision,” Davies said. “He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything.”

                                          For John Carpenter, who reunited on the new film with original Halloween star Jamie Lee Curtis, composing the score felt like a homecoming. Not only had he not worked on a Halloween movie in 35 years, he hadn’t composed a soundtrack since his 2001 sci-fi thriller Ghosts of Mars.

                                          “It was great,” Carpenter said of the experience. “It was transforming. It was not a movie I directed, so I had a lot of freedom in creating the score and getting into the director's head. I was proud to serve David Gordon Green’s vision.”

                                          For Cody Carpenter, John’s son, and Davies, his godson, it was surreal to work on something that means so much to generations of fans, and that they grew up around.

                                          “It was an honor for us to be involved, and we are really happy to be a part of something that so many people are anticipating and excited about,” Davies said. “Working together with both the director of the new Halloween and the creator of the original Halloween was really a fantastic experience.”

                                          STAFF COMMENTS

                                          Barry says: It's hard to think of horror films without thinking of Carpenter's legendary scores, so it was exciting news that the master of soundtrackery returned with the same collaborators seen on his most recent solo efforts to produce this cinematic masterpiece. Brooding synth throbs, tense string pulls and gloomy, shadowy ambience. As expected, top stuff.

                                          FORMAT INFORMATION

                                          Dinked Edition LP Info: DINKED STORES EXCLUSIVE:
                                          Pumpkin Orange colour.
                                          With a FREE 12"x12" Art Print.

                                          Coloured LP Info: Blood knife coloured vinyl.

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                                          Cover of Dark Star - Original Motion Picture Soundtrack by John Carpenter.

                                          John Carpenter

                                          Dark Star - Original Motion Picture Soundtrack

                                          We Release Whatever The Fuck We Want

                                          - 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!

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                                          Reduced Cover of Know It All by Justin Carter.

                                          Justin Carter

                                          Know It All

                                          Mister Saturday Night

                                            Justin Carter never expected to be known as a DJ. Before the Mister Saturday Night resident had ever put a record on a turntable, his voice and pen were his outlets. As he's gone down the path of the dance, his singing and writing have ticked along quietly in the background, a secret to most. "Know It All," his first record, and the lead single from The Leaves Fall, his debut LP due on Mister Saturday Night Records on January 27, brings that secret into the light. Justin's vocals on "Know It All" are intimate but pointed, with hints of Arthur Russell and John Martyn.

                                            The foundation of the song is a pizzicato cello part from Archie Pelago's Greg Heffernan; reggae-tinted organ hiccups from Jason Lindner, the keyboardist on Bowie's final album, Blackstar, fill the space between. It all hangs together in a subtle mix by Benjamin Tierney, who also worked his magic on Kamasi Washington's The Epic.The song is presented on the seven-inch in two versions. On the A side is the single, with a ghost-ly finish in which the instruments melt away around the vocals. On the B side, the cello stays solid to the end.


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                                            Reduced Cover of The Leaves Fall by Justin Carter.

                                            Justin Carter

                                            The Leaves Fall

                                            Mister Saturday Night

                                            A delicate collection of songs for meditation on spiritual struggle, The Leaves Fall is a window into the parallel reality of Justin Carter. Centered on his intimate vocals, pointed with hints of Arthur Russell and John Martyn; the eight tracks are buttressed by warm acoustic guitars, vibraphones, organs and flourished with modern production. They are familiar but distant, like ghosts living in the present. Carter grew up in a country house in rural North Carolina, a place with a pecan tree and abandoned train tracks in the front yard. On long car rides from home to his dadʼs work as a school teacher, his ears were filled with the prog of Yes, the vocals of Al Jarreau and the complexity of Christopher Parkeningʼs take on Bach. It was his father, who himself has moonlighted as a guitar player and songwriter for nearly 50 years, that taught Carter to sing and play in his early teens.

                                            The Leaves Fall was written on and off over the course of about five years, a secret to most. Carter is more familiar, alongside Eamon Harkin, as co-founder of popular New York parties Mister Saturday Night and Mister Sunday, and their label offshoot, Mister Saturday Night Records. As the Mister thrived, his songwriting continued to tick along in the background, days and weeks stolen here and there to write and record in various locations – from remote studios in the Catskills to basements in Venice Beach.

                                            The album features Jason Lindner, pianist on Bowie's final masterpiece, Blackstar; cello from Archie Pelago's Greg Heffernan; and programming by LIES Records and The Trilogy Tapes producer Marcos Cabral. It was mixed by Benjamin Tierney, who also worked his magic on Kamasi Washington's The Epic. It finds its context in the world of Planetarium, a new listening session established by Carter and his Mister Saturday Night DJ partner, Eamon Harkin, where live music is mixed amongst hours of records to create an immersive, communal listening experience focused on quality hi-fi sound in non-traditional spaces; the album will presented in this manner when toured.

                                            “Nothing makes me happier than to see people letting go. My ambition in all my creative work is to make moments where that can happen. As a DJ, I use othersʼ music to create those moments, but itʼs always been in me to make my own music for that purpose. After twenty-five years of writing music for myself, it makes me really happy to have something to share with others.” - Justin Carter

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                                            Reduced Cover of The Leaves Fall by Justin Carter.

                                            Justin Carter

                                            The Leaves Fall

                                            Mister Saturday Night

                                            A delicate collection of songs for meditation on spiritual struggle, The Leaves Fall is a window into the parallel reality of Justin Carter. Centered on his intimate vocals, pointed with hints of Arthur Russell and John Martyn; the eight tracks are buttressed by warm acoustic guitars, vibraphones, organs and flourished with modern production. They are familiar but distant, like ghosts living in the present. Carter grew up in a country house in rural North Carolina, a place with a pecan tree and abandoned train tracks in the front yard. On long car rides from home to his dadʼs work as a school teacher, his ears were filled with the prog of Yes, the vocals of Al Jarreau and the complexity of Christopher Parkeningʼs take on Bach. It was his father, who himself has moonlighted as a guitar player and songwriter for nearly 50 years, that taught Carter to sing and play in his early teens.

                                            The Leaves Fall was written on and off over the course of about five years, a secret to most. Carter is more familiar, alongside Eamon Harkin, as co-founder of popular New York parties Mister Saturday Night and Mister Sunday, and their label offshoot, Mister Saturday Night Records. As the Mister thrived, his songwriting continued to tick along in the background, days and weeks stolen here and there to write and record in various locations – from remote studios in the Catskills to basements in Venice Beach.

                                            The album features Jason Lindner, pianist on Bowie's final masterpiece, Blackstar; cello from Archie Pelago's Greg Heffernan; and programming by LIES Records and The Trilogy Tapes producer Marcos Cabral. It was mixed by Benjamin Tierney, who also worked his magic on Kamasi Washington's The Epic. It finds its context in the world of Planetarium, a new listening session established by Carter and his Mister Saturday Night DJ partner, Eamon Harkin, where live music is mixed amongst hours of records to create an immersive, communal listening experience focused on quality hi-fi sound in non-traditional spaces; the album will presented in this manner when toured.

                                            “Nothing makes me happier than to see people letting go. My ambition in all my creative work is to make moments where that can happen. As a DJ, I use othersʼ music to create those moments, but itʼs always been in me to make my own music for that purpose. After twenty-five years of writing music for myself, it makes me really happy to have something to share with others.” - Justin Carter

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                                            Cover of Tyranny by Julian Casablancas + The Voidz.

                                            Julian Casablancas + The Voidz

                                            Tyranny

                                            Cult Records

                                            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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                                            Cover of 16 Biggest Hits by Johnny Cash.

                                            Johnny Cash

                                            16 Biggest Hits

                                            Music On Vinyl

                                              'I Walk The Line', 'Ring Of Fire', 'A Boy Named Sue', '(Ghost) Riders In The Sky'... and 12 other big country hits from the Man in Black.


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                                              Cover of American III: Solitary Man by Johnny Cash.

                                              Johnny Cash

                                              American III: Solitary Man

                                              American

                                              The third, and to my mind the best of the American Recordings releases. I don't think there's a bad track on this at all, and some of the cover-versions are just awesome. Includes covers of Nick Cave's "Mercy Seat", Will Oldham's "I See A Darkness"(with vocals from Will Oldham), Neil Diamond's "Solitary Man" and "One" by U2.

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                                              Cover of American III: Solitary Man - Back To Black Edition by Johnny Cash.

                                              Johnny Cash

                                              American III: Solitary Man - Back To Black Edition

                                              UMC

                                                Arguably the best of the American Recordings series.
                                                Once again Cash worked with Tom Petty on a couple of tracks including the Neil Diamond-penned "Solitary Man".
                                                The album also includes stunning covers of Bonnie Prince Billy, Nick Cave and U2.

                                                STAFF COMMENTS

                                                Laura says: The Rick Rubin produced American Recordings totally rejuvenated Cash's career, and they're all great. This one just edges it for me with amazing covers of Bonnie Prince Billy, Nick Cave and (suprisingly) U2.

                                                FORMAT INFORMATION

                                                Ltd LP Info: Available on 180g vinyl in the UK for the first time.

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                                                Cover of American Recordings by Johnny Cash.

                                                Johnny Cash

                                                American Recordings

                                                American

                                                The first release in a series of albums for Rick Rubin's American Recordings, is a suberb collection of Cash songs, and stunning cover versions.

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                                                Cover of American V: A Hundred Highways by Johnny Cash.

                                                Johnny Cash

                                                American V: A Hundred Highways

                                                Mercury

                                                In the months leading up to his passing on September 12, 2003, Johnny Cash had been recording new material with producer Rick Rubin. "American V: A Hundred Highways", is the result from those sessions including the last song Cash ever wrote, "Like the 309". Rick Rubin sums up the album, 'these songs are Johnny's final statement. They are the truest reflection of the music that was central to his life at the time. This is the music that Johnny wanted us to hear.' - Rick Rubin

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                                                Cover of At Folsom Prison by Johnny Cash.

                                                Johnny Cash

                                                At Folsom Prison

                                                Sony

                                                  "Johnny Cash At Folsom Prison" fully captures Cash's gritty intensity and hard-headed humanity, capturing a high-energy set performed for an equally spirited audience. With a set list tailored for the occasion, Cash focuses on songs dealing with crime and imprisonment, balancing dark subject matter with wry, playful humor. The album opens, appropriately enough, with the venerable "Folsom Prison Blues," and continues with such outlaw anthems as "Cocaine Blues," "25 Minutes to Go, "The Wall" and "I Got Stripes," alongside such Cash classics as "I Still Miss Someone," "Orange Blossom Special" and "Jackson," with the latter track featuring Cash's wife and frequent duet partner June Carter. The album closes on an inspirational note with "Greystone Chapel," a song written by convict Glen Shirley, which Cash and his band learned especially for this show.

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                                                  Cover of At San Quentin - 180 Gram Legacy Vinyl Edition by Johnny Cash.

                                                  Johnny Cash

                                                  At San Quentin - 180 Gram Legacy Vinyl Edition

                                                  Sony

                                                    Perhaps even more so than its predecessor, "Johnny Cash At San Quentin" captures Cash at his most raw and uninhibited. The artist's raucous rapport with his captive audience is obvious on an inspired mix of Cash classics ("I Walk the Line," "Folsom Prison Blues"), jailhouse ballads ("Starkville City Jail," "San Quentin"), traditional tunes ("Wreck of the Old 97," "There'll Be Peace in the Valley") and well-chosen covers (Bob Dylan's "Wanted Man," the Lovin' Spoonful's "Darling Companion"). The album's most popular track, though, remains the Shel Silverstein-penned novelty number "A Boy Named Sue," which became the biggest hit single of Cash's career.

                                                    FORMAT INFORMATION

                                                    LP Info: 180 gram audio quality "legacy vinyl".

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                                                    Cover of The Essential Collection by Johnny Cash.

                                                    Johnny Cash

                                                    The Essential Collection

                                                    Sony

                                                      Double LP pressing featuring essential cuts from Johnny Cash''s back catalogue, including: Ring Of Fire, Hey Porter, Folsom Prison Blues, A Boy Named Sue and many more!

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                                                      Cover of Sunday Down South by Johnny Cash & Jerry Lee Lewis.

                                                      Johnny Cash & Jerry Lee Lewis

                                                      Sunday Down South

                                                      Warner Proper Exclusive

                                                        Once again, Johnny Cash teams up with Jerry Lee Lewis to deliver a powerpacked, one-of-a-kind package. This time out, the legends delve into their gospel roots and come up with a set that burns as brightly as the star of Bethlehem.

                                                        With Sunday Down South, Lewis and Cash revisit the great standards, such as “Will the Circle Be Unbroken” and “Give Me That Old Time Religion,” as well as interpreting the New Orleans favorite “When the Saints Go Marching In.” While the songs are not all traditional gospel favorites, the blend of folksy Sundayafternoon- drive music makes for a winning package.

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                                                        Cover of American IV - The Man Comes Around by Johnny Cash.

                                                        Johnny Cash

                                                        American IV - The Man Comes Around

                                                        American / Lost Highway

                                                        Yet another awesome album from The Man In Black. He's always done his own thing, regardless of what the country music establishment, record companies, or the media have thought of his work, whether it be an album of gospel songs, or mainstream pop hits. He's never been afraid to experiment and take risks, and now even at the age of 80, he's doing so, more than any of his contemporaries would ever dare. As with the previous three albums in the American Recordings series, this album includes his own songs, versions of old standards, and (often surprising) cover versions, including Jimmy Webb, The Beatles, Paul Simon, Depeche Mode and Nine Inch Nails. Once again he has also collected together a fine group of musicians to work with. On his cover of Hank Williams "I'm So Lonesome I Could Cry" he duets with Nick Cave, possibly the only person who's vocal delivery is anywhere near as dark and powerful as his own. I must admit I'm not too keen on the family sing-a-long version of "We'll Meet Again", but other than that, I can't fault it. Raw, atmospheric, excellent!

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                                                        Cover of Single Rider by Jenn Champion.

                                                        Jenn Champion

                                                        Single Rider

                                                        Hardly Art

                                                          Fans of Jenn Champion (formerly “S”) have praised her open-hearted lyrics, expertly-deployed melancholia, technical skill, and willingness to forgo conventions, but mostly they’ve praised her for making albums they could cry to. With the release of Cool Choices in 2014, Champion made what many considered the best record of her career, and a lot of people cried to it.
                                                          On Single Rider, Champion brings with her all those skills and vulnerabilities, but it is not a record for wallowing: it is a record for intense eye contact on the dancefloor. “Sometimes you are sad and you just want to dance about it,” said Champion. Side B of Cool Choices presaged Champion’s agit-pop transformation. “Let the Light In” and "Tell Me" signalled her move toward a more electronic sound, but it was the digital single “No One” (2016) that marked the clear delineation.

                                                          “I feel like a door got opened in my mind with electronic and digital music. There was a room I hadn’t explored before and I stepped in,” said Champion. While she’d initially intended to follow Cool Choices with “a rock record - guitar, a lot of pedals, heavy riffs,” plans changed. “I couldn’t pull myself away from the synthesizers and I realized the record I really wanted to make was more of a cross between Drake and Billy Joel than Blue Oyster Cult.” Soon after the release of No One, Champion’s publishers partnered her with Brian Fennell, aka SYML, and the two co-wrote the song “Leave Like That” (featured on SYML’s Hurt For Me EP). The pair hit it off, and with nearly all of Champion’s Single Rider demos completed, the timing was perfect--she was looking for a producer. “I guess you could say I pursued Brian.” Fortunately, Fennell was open to being pursued and the two spent the next five months working on Single Rider. “In the studio with Brian, I was more open than I had ever been.” With Champion’s vision and Fennell’s expertise, the record evolved from synthy roughs to a hi-fi dance album.

                                                          Despite the new direction in her sound, emotion cuts through on Single Rider in the classic Champion style, weaving simultaneously pleading-and-incensed vocals into anthemic pop songs. Champion wants her listeners to see that the rooms are all on fire and she has not given up. Taking a double “fuck you” approach to the world, to the patriarchy, all the things which screw you up and hold you back, she is dancing right on out of the disappointment apocalypse with her middle fingers in the air, and you can follow if you want to.

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                                                          Cover of Which Way To Leave? by John Chantler.

                                                          John Chantler

                                                          Which Way To Leave?

                                                          Room 40

                                                          John Chantler’s ever-searching sensibilities lead him back to Room40 for a suite of crystalline modular synth intricacies realised at his home studio, now located in Stockholm after stints in Japan and South London, with additional recordings made at his now-local, world renowned EMS facility.

                                                          Which Way To Leave? can be read as a response to his new surroundings; a sort of reflexive reaction filtered and felt out thru finely meshed, gaseous layers of melody and timbral thizz with an absorbing, refreshing sense of strolling momentum and lush mindfulness allowing him to imperceptibly fold in guest contributions from Carina Thorén (his partner in For Barry Ray) on electric bass, and Okkyung Lee on cello.

                                                          It’s a sound that lies on the border between new age optimism and the abstract traditions of 20th century concrète and electro-acoustic traditions, mixing the home-brewed, psychedelic potency of one discipline with the more studious processing, diaphanous dimensions and abstract textures associated to the other realm, making their putative borders porous and interchangeable via subliminal transitions and angular incision.

                                                          STAFF COMMENTS

                                                          Barry says: Modern musique concrete for the discerning synthesist (or those fond of a synth or two). This is a suite of modular synth excursions and woven ambient textures, based on pinging vactrols and glassine hammered tones. Though there is a certain sparseness to the developmental process, it soon becomes warming and full-bodied, introducing washes of close reverb and top-heavy tines. Reminiscent of some of the more stripped-back collections on spectrum spools (Brett Naucke, Outer Space etc). Magnificently engrossing and imbued with a rich and communicable vision.

                                                          FORMAT INFORMATION

                                                          LP includes MP3 Download Code.

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                                                          Cover of Les Archives by June Chikuma.

                                                          June Chikuma

                                                          Les Archives

                                                          Freedom To Spend

                                                          "Les Archives" is composed, arranged, and produced by the elusive Japanese artist June Chikuma. While Freedom To Spend’s reinvented edition bares little visual evidence of its origins in the composer’s name, title, or sleeve design; the album, a whooping gonzo of synthesizers, samplers, drum machines, and a mysterious string quartet, remains as vibrant now as it did when released on Toru Hatano’s Picture Label as "Divertimento" in 1986. In fact, the music of "Les Archives" now glows with a different purpose; one that revises the past while maintaining, and finally elevating, its hidden influence.

                                                          A woman of multiple disciplines and identities, June Chikuma (竹間 淳, Chikuma Jun) has composed for TV, film, and video games over the past thirty plus years. Her proto-techno and drum and bass soundtracks for Nintendo’s Bomberman franchise in the 80s and 90s is an oeuvre unto itself. In more recent years her musical focus has turned toward classic Arabic and Egyptian music. Chikuma studies Arabic nay, playing and performing with Le Club Bachraf ensemble. In a melding of June’s contrasting, colorful worlds, Le Club Bachraf composed part of the original score for the 2007 video game Sonic and The Secret Rings.

                                                          For "Les Archives", Chikuma constructed a sonic stage to animate her imaginings as a one-person show. The primary props, a KORG SDD-3000 digital delay, an audible, overt display of unclassified drum machines and samplers, and a litany of literary references.

                                                          Chiikuma’s neon-vibrant aesthetic would be at home soundtracking films like After Hours or Teknolust. However, "Les Archives" is the score for a movie of mistaken identity – clones redressed in a guise of the artist’s re-coding. The legitimate artifact deceives history. There is no original, but this copy is singular and complete. 


                                                          FORMAT INFORMATION

                                                          LP Info: Comes with limited 7".

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                                                          Cover of Borderland State by J Churcher.

                                                          J Churcher

                                                          Borderland State

                                                          37 Adventures

                                                          Borderland State unfurls amidst the exquisite tones of opener I Remember, whilst expansive new single Riding On Your Love enters the fray, hushed vocals coupled with a cinematic-esque backdrop before cascading headlong into the love-lorn fragilty of The Boardwalk. From it’s inception the album has proven a rich musical canvas for, having excited online with previously unearthed tracks In The Summer and Yesterday, Churcher excels with single-in-waiting, Finding Roxanne awash with fuzzy, reverb drenched guitars, an exhilarating high!

                                                          Recorded in East London with producer, Dreamtrak, Churcher has created an album of dreamy indie-folk, glacial vocals, intricate musicianship that has seen him described as creating a “sonic sandstorm”, evoking memories of Mazzy Star, and at times the Jesus And Chain amidst a backdrop of hazy sun-soaked beauty.

                                                          FORMAT INFORMATION

                                                          LP includes MP3 Download Code.

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                                                          Cover of Visions Of John Clarke by John Clarke.

                                                          John Clarke

                                                          Visions Of John Clarke

                                                          Wackies

                                                          John Clarke - not to be confused with Johnny Clark - had been running with the Wackies operation for six years, ever since moving from Jamaica to New York. He'd cut memorable sevens with co-founder Munchie Jackson for the Tafari label, and with Lloyd Barnes for such Bullwackies imprints as Versatile and Wackies. "Visions Of John Clarke" was a little thrown together for its original release in 1979. Still, its sleeve carried a ringing endorsement from Bullwackies himself and the album attracted the interest of no less than Studio 1 boss Coxsone Dodd, whose bid for distribution-rights was thwarted when the Brooklyn label Makossa quickly put in for a full licence. Out soon afterwards, the new version - entitled "Rootsy Reggae" - duplicated five tracks, but with markedly different mixes, fresh edits, and sometimes new instrumentation.

                                                          FORMAT INFORMATION

                                                          CD Info: CD brings together both "Visions Of John Clarke" and "Rootsy Reggae" albums.

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                                                          Cover of Mystery Movie LP (Themes Reissues) by James Clarke.

                                                          James Clarke

                                                          Mystery Movie LP (Themes Reissues)

                                                          Be With Records

                                                          2018 Reissue – Remastered From Original Tapes, Carefully Reproduced Original Art.

                                                          James Clarke’s Mystery Movie was released in 1974 as “modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema film where music is used to create the mood and carry the action”. So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to finish. Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme “Car Patrol”, the fuzz riffing and ARP soloing of “The Heavies” and the slow-mo strut of “Mystery Moll”. “Study In Fear” and “Empty Streets” are horror soundtrack fodder of the finest sort. However, it’s the understated, plaintive pieces that we find the most rewarding. Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies. Music that evokes the ‘downlifting’ Ronnie Lane and Ron Wood instrumentals from their great Mahoney’s Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise “Waiting Game” from being sampled by melodic downbeat masters Express Rising. Check “Relaxed Theme”, “Quiet Girl”, “Routine Procedure” and “Quietness Sustained” for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work. As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.


                                                          FORMAT INFORMATION

                                                          Ltd LP Info: 180 gram vinyl edition.

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                                                          Cover of Creation Rebel by Johnny Clarke.

                                                          Johnny Clarke

                                                          Creation Rebel

                                                          VP Records

                                                          Among the ranks of singers, only Johnny Clarke comes close to challenging Bob Marley & Dennis Brown for reggae’s crown, through his unequalled run of hit songs. His output of mid-70s classics powered by producer Bunny “Striker” Lee, give Clarke status among the top artists of the period and contemporary relevance on the live show and reggae festival circuit.

                                                          Many of Johnny’s classic roots recordings gathered here, were given international exposure in the 1998 release ‘Dreader Dread’ released by the esteemed Blood & Fire label. Expanded and re-mastered, the release of ‘Creation Rebel’ captures the very essence of what is now regarded as the golden age of roots music.

                                                          Package bonus features include extended length mixes of “Jah Love Is With I,” “Bad Days Are Going,” and “Peace And Love In The Ghetto.” Newly composed liner notes by Noel Hawks. 


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                                                          Reduced Cover of Snap, Crackle & Bop by John Cooper Clarke.

                                                          John Cooper Clarke

                                                          Snap, Crackle & Bop

                                                          Epic

                                                            2005 remastered with bonus tracks, ripe 1980 album from the legendary UK beat poet! Cameo by Pete Shelley from the Buzzcocks.

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                                                            Cover of Ten Years In An Open Necked Video by John Cooper Clarke.

                                                            John Cooper Clarke

                                                            Ten Years In An Open Necked Video

                                                            Ozit Dandelion

                                                              Around two and a half hours of archive John Cooper Clarke film during the early years of punk. In the punk explosion whilst managed by Martin Hannett and mentored by Hannett and his Rabid Records partner Tosh Ryan Carter, John Cooper Clarke appeared as support artist on major tours with artists such as The Fall ,Joy Division,Sex Pistols, the Buzzcocks, Siouxsie and the Banshees, Elvis Costello, Rockpile and many more. Wherever possible whether it be a dark dank nightclub ( in black and white) or a larger venue( in colour), Hannett and Ryan Carter would capture Clarke's performances on audio tape and film.

                                                              As shown in this great raw archive footage the delivery speed of Clarke's poems was much faster in those early years, and the audience probably read the NME and fanzines rather than The Guardian.

                                                              Includes the following poems and more: Some performances filmed in Black and White some in colour. Informative DVD booklet with period images and artefacts.

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                                                              Reduced Cover of Transit Valley by Joe Coghill.

                                                              Joe Coghill

                                                              Transit Valley

                                                              50% Pure

                                                              Transit Valley is the debut release by Joe Coghill, a multi-disciplinary artist, musician and experimental publisher based in Edinburgh. His practice incorporates sound, video, performance, social sculpture, facilitation and media distribution. Borrowing from multiple spheres of influence, his scattered output operates from a liminal position. Coghill works in an improvised and often haphazard way, incorporating disparate field recordings, modular synthesis and other sonic ambiences to create unpredictable and ephemeral multi-layer audio-visual performances. Alongside this Coghill has been producing music recreationally in his various bedroom studios over the past 14 years.

                                                              The sound is glitchy, IDM-informed and possibly modular driven yet its very essence seems somewhat 'alive' compared to alot of other examples: not human per se, but definitely some exotic, interplanetary species that you've uncovered under some long lost slab of moon rock. Recommended!


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                                                              Cover of Flutes Libres by Jean Cohen-Solal.

                                                              Jean Cohen-Solal

                                                              Flutes Libres

                                                              Flutes Libres

                                                              In a dreamlike fictive and windswept Brittany, hippy pirates and wild women more or less inspired by Gérard de Nerval fight it out in a theatre, the magic of which brings to mind Cocteau, and where musical improvisation has an important role: this is Noroît, a cursed film which was never released in cinemas at the time (1976), directed by the great Jacques Rivette, where Jean-Cohen-Solal, his brother Robert and Daniel Ponsard can be seen and heard playing. The scene is every bit as inventive as that featuring the Art Ensemble Of Chicago in Les Stances à Sophie!

                                                              The same magic and invention can be found on this first album by Jean Cohen-Solal: Flûtes libres. A magic which can be keenly felt on "Quelqu'un", a long contemplative mantra which takes up the whole of the B side and which anticipates the future collaboration in the mysterious universe of Jacques Rivette.

                                                              Jean Cohen-Solal studied flute from all angles, and became one of the great French virtuosi, along with Michel Edelin who at the time was with Triode. This was a period (1972) when flutists were very popular with the public, most of whom had been influenced by Roland Kirk, including Ian Anderson in Jethro Tull. Jean Cohen-Solal tells a different story, richer and centred on the instrument itself, using the magic (yes, that again) of overdubs.

                                                              Perhaps Paul Horn rather than Roland Kirk could be an influence, but stripped of a classical background which was too audible and a tendency for easy listening. In fact, in terms of comparison, "open music" by Bob Downes would be the closest to the electroacoustic experiments of Jean Cohen-Solal, who, by the way, was also close to the GRM and Bernard Parmegiani for whom he occasionally provided sound sources.

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                                                              Cover of A Life In The Limelight: Lagos Disco & Itsekiri Highlife by Julie Coker.

                                                              Julie Coker

                                                              A Life In The Limelight: Lagos Disco & Itsekiri Highlife

                                                              Kalita

                                                              Kalita are honoured to release the first ever compilation focusing on the musical career of Julie Coker, the queen of Nigerian television. Here they collated seven of Julie’s most sought-after Afro disco and hauntingly-beautiful Itsekiri highlife recordings, accompanied by extensive interview-based liner notes and never-before- seen photos.

                                                              After gaining fame as Miss Western Nigeria 1957, Julie began her career in the Nigerian entertainment industry as the country’s first ever (and Africa’s second) female television presenter, as well as a popular national radio host. In 1976, having been surrounded by close musical friends including Fela Kuti and Kris Okotie, Julie entered the Nigerian music scene with the now-invisible psychedelic highlife album ‘Ere Yon (Sweet Songs)’, followed in 1981 by the highly sought-after disco-centric ‘Tomorrow’ to great acclaim. Both now fetch eye-watering prices on the rare occasion that they become available for sale.

                                                              Here they selected select four recordings from ‘Ere Yon (Sweet Songs)’ and three from ‘Tomorrow’, all as contemporary-sounding today as they were when first released forty years ago. These include Julie’s ‘Ere Yon’, which was recently re-interpreted by Anderson Paak on his latest album ‘Oxnard’ released on Dr. Dre’s Aftermath imprint, and the lost Afro disco classic ‘Gossiper Scandal Monger’.


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                                                              Cover of Spitfire by Jonny Cola & The A-Grades.

                                                              Jonny Cola & The A-Grades

                                                              Spitfire

                                                              Scratchy

                                                              On the long road to releasing their second album, Jonny Cola & The A-Grades have faced down more difficulties than most. Forced to put plans on hold for nearly a year while they dealt with literal matters of life and death The A-Grades found their resolve galvanized at the moment many would have lost momentum, and they re-emerged earlier this year grittily determined to make up for lost time. Upon the release of April’s ‘comeback’ single ‘Straight To Video / Marlborough Road’ critics were quick to proclaim The A-Grades an act worth keeping an eye on. The A-Grades deploy immense, instant classic hooks to entice their audience aboard, before revealing a range and depth capable of keeping listeners strapped to their seats throughout a thrill-ride record, which refines the group’s strong identity at the same time as being unafraid to fly full-throttle into new territory. Although the glitz ‘n’ grime of London town remains a major muse to frontman Jonny, his signature Pulp-tapping style of kitchen sink lyricism also explores wild and exotic new ground on ‘Spitfire‘. Frantic opener ‘In The Woods’ flashes the feral, urgent edge of a fledgling Hanoi Rocks, before lead single ‘Tropical Beach’ jets in on honeyed harmonies paying homage to The Barracudas’ Brit bent on surf rock. Available to stream online from July 10th, with a promo video and download release due to follow in August, it gives a seasonably sunny first taste of ’Spitfire’, without giving away all the curveballs and swerves into the shadows this ambitious album has to offer. The common theme pulsing throughout ’Spitfire’s soaring, swooping emotional rollercoaster is a palpable lust for life - often in the most literal, basic sense, but ultimately embracing every high and low of being alive. Much of the material was written last year, as Jonny first battled end-stage kidney disease, and later recovered from a life-saving transplant operation. He now notes the brush with the brink served to heighten appreciation of all life’s pleasures, and told TheQuietus.com that ‘Spitfire’ is “pretty filthy … people will be expecting heart-wrenching songs about mortality, and there is one, but even that’s filth! The desire is heightened when the body is weak”. He added “I’m never out of danger because the donor kidney doesn’t last forever. The average life expectancy of a kidney is about 15 years”, This final fact perhaps offers some insight into the passion and pace with which The A-Grades have worked on ‘Spitfire’. Recorded, mixed and funded in a matter of weeks, the record captures the sound of a band not prepared to waste one word, note or moment. ‘Spitfire’s spirit is succinctly summed up in closing track ‘Out of the Woods’, when Jonny muses “we burn the brightest when the darkness wraps round tight”.

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                                                              Cover of 4 Your Eyez Only by J Cole.

                                                              J Cole

                                                              4 Your Eyez Only

                                                              Dreamville

                                                              Platinum with no features - J Cole ladies and gentlemen. After the success of '2014 Forest Hills Drive', Cole did it again with the powerhouse "4 Your Eyez Only", a response to the endless cycle of police brutality and discrimination which has been on a steady increase over the past decade. One of the first responders to the murder of Michael Brown, Cole embarked on using his fame and position, something he's struggled with since "Friday Night Lights", to stand up against systematic oppression. Powerful and provocative, "4 Your Eyez Only" is a modern classic.

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                                                              Cover of KOD by J Cole.

                                                              J Cole

                                                              KOD

                                                              Interscope

                                                              Inspired by the frenzied energy of Kendrick's "DAMN" tour, J. Cole set about cooking up a new LP, "KOD" ,while he was out on the road himself. Musically inspired by Soundcloud rap, the beats (mostly produced by Cole himself) combine the bass weight and skipping hats of trap with his favoured jazz samples. Lyrically, the album deals with America's enthusiasm to medicate, Cole's own battles with addiction as a means of escape and the ultimate goal of living free from fear and anxiety. As ever, Cole manages to explore complex themes without losing his voice, the smooth beats and technical flow keeping things accessible despite the subject matter. Alongside K. Dot and Childish Gambino, Cole is one of the most important voices in rap today, and his latest LP is another classic.  

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                                                              Cover of The Last Donkey Show by John Wesley Coleman.

                                                              John Wesley Coleman

                                                              The Last Donkey Show

                                                              Goner Records

                                                              'The Last Donkey Show' is the latest album from everyone's favorite freaky Texas troubadour John Wesley Coleman. While Coleman's particular madman swerve still recalls Doug Sahm and Roky Erickson, this collection covers more territory than his earlier work. Does this mean the half-mad misfit has grown up? Not quite-but the songwriting chops are all there, from carney kookiness to fuzz rockers to barstool tearjerkers to dustbowl pop.

                                                              In his own words: "That's right. My new album is called The Last Donkey Show. It is a fucking roller-coaster recorded in Oakland, California, at Greg Ashley's studio The Creamery and also in the country near Lockhardt, Texas, at my good buddy's childhood home. Aaron Blount is his name. He is a bad-ass songwriter friend of mine. We ate BBQ all day and shot BB guns and had a bonfire. There is a cast of characters on this record... It's a floodgate of memories. Every song has a crazy story. I will tell them to you some time. The donkey is a symbol of hard work, humor and death. I love it! See you at town near you. Eat Gus's Fried Chicken!"


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