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Cover of Disconnected / Sovereign Light Café by Keane.

Keane

Disconnected / Sovereign Light Café

UMC

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

    This release is a double A side 7” single, comprising of previously unreleased versions by Dave Fridmann of the singles ‘Sovereign Light Café’ and ‘Disconnected’ from Keane’s fourth studio album ‘Strangeland’. It will be released on limited edition green vinyl, has brand new artwork exclusive for Record Store Day and comes with a digital download card.

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    Cover of Extra Wax by KT Tunstall.

    KT Tunstall

    Extra Wax

    Virgin EMI

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

      In celebration and support of Record Store Day 2019, KT Tunstall releases an exclusive 7” titled EXTRA WAX. The grey coloured and numbered 7” featuring tracks John The Conqueror and Throw Down Boy, which initially appeared on deluxe physical release of latest album WAX, in addition to cover of Violent Femmes – Blister In The Sun released for the first time! Grey 7”, numbered outer sleeve

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      Cover of Intuition by Kendra Amalie.

      Kendra Amalie

      Intuition

      Beyond Beyond Is Beyond

        A sweeping introduction to an artist deep into their practice, Kendra Amalie’s Intuition is a star map to a new and developing sound space. An exploratory and (sometimes) shredding finger-style 12-string guitarist (both acoustic and electric), band leader, synthesist, new media creator, and experimental producer, the Wisconsin-based musician is also a songwriter occupying an ethereal zone between galaxy-brain cosmic transmissions and deep, personal expression. There’s a concept and narrative arc to Intuition, too, the action moving from underwater locales to boat to city to global consciousness to farmland to the etheric plane and back to water. Shifting her music-making energies over the past several years, Intuition is the sound of a powerful new voice in focus. Intuition is a sound-based cross-section of a larger body of work. An arrival and a destination, Intuition is also surely a stopover, too. Meet Kendra Amalie.

        FORMAT INFORMATION

        Coloured LP Info: Indies exclusive transparent orange vinyl.

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        Cover of Barely Alive (Timothy J Fairplay/Job Sifre/Das Ding Remix) by Kris Baha.

        Kris Baha

        Barely Alive (Timothy J Fairplay/Job Sifre/Das Ding Remix)

        (Emotional) Especial

        The label is delighted to welcome Kris Baha with his first 12" for Especial. After killer remixes of Sfire and Red Axes for the label, his name as an artist, with his darker take on dance music, has risen and risen.

        With releases on Bahnsteig 23, CockTail d'Amore and Pinkman, Baha has become a respected artist in just a few years. Building analogue equipped studios in Melbourne and Berlin, DJing, producing and mixing have all led to atonal ear, where success came through dedication.

        Following his debut album Palais, Barely Alive acts as release from these years of sweat. A call to all in this modern world, the song exemplifies a move from club music to a freedom in sound and song, as vox crash against 808 and Arp 2600. Remixes start with Timothy J Fairplay a name synonymous with Especial. Here TJF laces his trademark echoplexxed wash for a cold wave mover. Next prodigy Job Sifre builds on his acclaimed debuts with a remodel that goes straight to 'that' basement, mixing his love of electro, new wave and industrial. To close, the legend of Das Ding creates a re-alternate remix, fusing his unique fuzz with Baha's ode for a brittle finale.


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        Cover of You & Me by Kevin Barker.

        Kevin Barker

        You & Me

        Gnomonsong

        "You & Me" is Kevin Barker's debut album, released by Gnomonsong. Though it's his first solo release under his own name, Barker's no newcomer to the scene - he's spent the last few years recording, touring, and collaborating with Devendra Banhart, Joanna Newsom, Vashti Bunyan, Vetiver, Antony and the Johnsons, and Espers, to name just a few. Essentially acting as everyone's favourite sideman, Barker has influenced and helped create a sound with which this generation is happily familiar. During his college days, Barker became interested in the finger-style guitar playing of John Fahey and Bert Jansch and began to record under the name Currituck County. This solo project (sometime a duo with Vetiver / Espers drummer Otto Hauser) recorded albums for Teenbeat Records, Troubleman Unlimited, and the UK's Track and Field Organisation. Now Barker has assembled an unbelievable group of musicians for "You & Me". The album features Pat Sansone (Wilco), Joanna Newsom, Jonathan Wilson (Elvis Costello, Jenny Lewis), Eric Johnson (Shins, Fruit Bats), and Otto Hauser (Vetiver, Espers). Full of sunny, rural country rock, "You & Me" recalls the rustic grooves of The Band and The Grateful Dead, the heady melancholy of Roy Harper, and the golden harmonies of CSNY.

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        Cover of Omoiyari by Kishi Bashi.

        Kishi Bashi

        Omoiyari

        Joyful Noise

          Omoiyari is Kishi Bashi’s fourth album, following the acclaimed 151a (2012), Lighght (2014), and Sonderlust (2016). Channeling the hard-learned lessons of history, Omoiyari reflects the turbulent socio-political atmosphere of present day America. “I was shocked when I saw white supremacy really starting to show its teeth again in America,“ Kishi Bashi says. “My parents are immigrants, they came to the United States from Japan post–World War II. As a minority I felt very insecure for the first time in my adult life in this country. I think that was the real trigger for this project.” Kishi Bashi recognized parallels between the current U.S. administration’s constant talk of walls and bans, and the xenophobic anxieties that led to the forced internment of Japanese-Americans in the months following the attack on Pearl Harbor.

          So he immersed himself in that period, visiting former prison sites and listening to the stories of survivors, while developing musical concepts along the way. The unique creative process behind Omoiyari has been documented in a film scheduled for release in early 2020. “I gravitated toward themes of empathy, compassion, and understanding as a way to overcome fear and intolerance. But I had trouble finding an English title for the piece. Omoiyari is a Japanese word. It doesn't necessarily translate as empathy, but it refers to the idea of creating compassion towards other people by thinking about them.

          I think the idea of omoiyari is the single biggest thing that can help us overcome aggression and conflict.” Stepping away from his past loop-based production model, he embraced a more collaborative approach when recording, and for the first time included contributions from other musicians, such as Mike Savino (aka Tall Tall Trees) on banjo and bass, and Nick Ogawa (aka Takenobu) on cello. Kishi Bashi’s spectacular trademark violin soundscapes are still an essential component of his sound, but the focus of Omoiyari is centered squarely on its songs. While the theme of Omoiyari is rooted in 1940s America, the album’s message is timeless. In exploring the emotional lives of the innocent Japanese-Americans who were unjustly incarcerated, Kishi Bashi hopes to nurture a sense of empathy, or omoiyari, in all who hear the album.

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          Cover of Introducing Karl Blau by Karl Blau.

          Karl Blau

          Introducing Karl Blau

          Bella Union

          On ‘Introducing Karl Blau’, released by Bella Union, the enigmatic vocalist charts a new vision of country music. A Northwest indie hero, Blau channels darkness and hope in a cinematic collection of Nashville country hits from the 60s and 70s.

          Produced by Tucker Martine, the record features performances by Jim James (My Morning Jacket), Laura Veirs, Jon Hyde, Eli Moore (Lake), Steve Moore (Earth, SunnO))), among others.

          It all started with cutting a 7” single, a cover of the 1969 Tom T Hall hit ‘That’s How I Got To Memphis’. Blau, whom Martine had come to know from sessions with Laura Veirs among others, asked if he could try singing it. “I knew what a special artist Karl was, but I had no idea what a powerful interpreter of songs he was,” Martine says. The collaboration, pairing Blau’s deeply sonorous voice with Martine’s warm, modern arrangements, recast the Nashville hit in a new light. “He was able to communicate the essence of the song in such a moving way that we started dreaming of making a whole record based around our excitement for that collaboration.” The result was the single and, now, ‘Introducing Karl Blau’.

          FORMAT INFORMATION

          Coloured LP Info: The LP format is pressed on blue vinyl and includes a
          digital download code.

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          Cover of Out Her Space by Karl Blau.

          Karl Blau

          Out Her Space

          Bella Union

            Sequestered away in rural bliss, 90 minutes north of Seattle on the Washington state coast, Karl Blau has been making records for 20 years but never with European distribution. So, when Bella Union released ‘Introducing Karl Blau’ in 2015, it shone a belated and deserved light on “one of the great hidden treasures of music,” claimed album producer Tucker Martine.

            However, given ‘Introducing’s specific agenda - a set of gorgeous, lush cover versions drawing mostly on vintage Nashville’s country-soul with Blau concentrating on his rich, reverberating voice - his latest album ‘Out Her Space’ is so different that it could be titled ‘Reintroducing Karl Blau’.

            ‘Out Her Space’ features Blau’s own material, production and multi-instrumental skills and forges a gorgeous, languid and hook-infested gumbo of soul, funk, some jazzy blowing and Afro-pop, to arrive somewhere else entirely. Or as the Secretly Important blog says of Blau: “He manages to find what’s unique about a genre and throws it against the wall like a fist full of wet noodles; over and over, until what’s stuck is a unique genre amalgam.”

            The album also testifies to Blau’s studio skills, as he captures the glimmering, humid depths of those sweltering southern influences, despite his north-western heritage. But then Blau has engineered and produced a heap of records for himself and others, often at his home in Anacortes, releasing records on Washington’s favourite indies K and Knw-Yr-Own, as well as through his own Kelp Lunacy Advanced Plagiarism Society subscription service.

            FORMAT INFORMATION

            Coloured LP Info: Limited edition red vinyl.

            Coloured LP includes MP3 Download Code.

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            Cover of Childqueen - Piccadilly Exclusive Bonus Disc Edition by Kadhja Bonet.

            Kadhja Bonet

            Childqueen - Piccadilly Exclusive Bonus Disc Edition

            Fat Possum

            THE PICCADILLY RECORDS ALBUM OF THE YEAR 2018.

            PICCADILLY RECORDS EXCLUSIVE: 
            For a limited period only, buy either the vinyl or CD of 'Childqueen' and get a free 3 track 'Outtakes'             CD bonus disc. 

            Kadhja Bonet’s second album, Childqueen is something of a Hero’s Quest. In the opening Procession, above a muted drummer’s march, an unseen oracle announces to you, the listener: “every morning is a chance to renew, a chance to renew.” This is your first clue, setting you upon a path not to treasure, nor a grail, nor even a long lost love, but highest of all, what Kadhja has christened the “childqueen,” that innermost self that you were truthfully and instinctively before the press of the world came crushing in.

            As with her 2016 debut The Visitor, the songs on Childqueen are never casual, never ditties. Instead they invite us into a world not wholly our own, a half-mythical atmosphere where past and future meet in a parallel, yet faraway, present. The lyrics and melodic lines nudge us along a path of self-discovery— or act as breadcrumbs along her own path. Everything that you hear on Childqueen was written, played, produced, and even mixed by Kadhja, who has always produced all her own music, insisting on a total vision that is nearly as difficult to co-create as a dream. The result is a soundscape the listener sinks into, a sound that combines softer enchantments with an ever-listenable experimentalism, unplaceable in genre and decade from beginning to end.

            FORMAT INFORMATION

            Coloured LP Info: Limited coloured vinyl.

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            Cover of The Visitor by Kadhja Bonet.

            Kadhja Bonet

            The Visitor

            Fat Possum

              “The newly signed, genre defying Kadhja Bonet has announced the release of her debut The Visitor. On the album, Kadhja – pronounced “kod-ya” – invites us into a world not wholly our own, where past and future meet in a parallel, yet far lovelier, present. In anticipation of the release, Gorilla vs. Bear has shared the first track “Honeycomb”. Now available for streaming and free download, the song drifts listeners into a timeless, unplaceable realm of Kadhja’s own making. Fat Possum and Fresh Selects, two respected labels from different genres, have joined forces to bring us this transcendent debut – available in full on October 21.

              The Visitor opens with an awe you’d expect from the golden age of cinema. In its half-mythical atmosphere, “Earth Birth” offers keys and choirs science-fictionally echoing down from deep space. This overture fades and Kadhja’s voice velvetly emerges on “Honeycomb” with a timelessness sending listeners scrambling to find her nearest genre. After running through classical, jazz, soul, folk, and even psychedelia, you find it ultimately impossible to comfortably place her. This is all by Kadhja’s design. For if she were “folk” it would only be the folk of some future aeon, a thousand hears hence. If her rich instrumentation of strings and wind strikes us as a “classic,” it’s not because it harkens to any past era, but because Kadhja paints perennial imagery that could as much be now as then as any other time.

              Kadhja stays pretty mum – if not a little mysterious – about her own life story. She insists that her audience convene with her on imaginative and musical planes, instead of through byword associations with any scene or venue, be it in Los Angeles or on the beaches of Rio De Janeiro. What we do learn and should know about Kadhja is her early and formal training in classical music quarters, where she mastered violin and viola, learned flute and guitar, and gained the sharp compositional talents that frame every note and curve of The Visitor.

              All writing and arrangement— except for the Jaco Pastorius melody put to her words on Portrait of Tracy— is entirely of Kadhja’s creation. While calling in friends like Te’amir Yohannes Sweeney for drums, as well as Low Leaf, Peter Dyer, Randal Fisher, and Itai Shapira for harp, synth, flute, and bass, Bonet still plays a good half of the instruments herself, including guitar, violin, flute, and the backup vocals that fill up the skies of her music. Kadhja also produced The Visitor, though with much of its mixing and engineering handled by her assistant producer Itai Shapira, one of the few souls trusted behind the curtains of her musical process.

              The Visitor is an opus unpolluted by the mixed advice or overproductions that plague other albums. It plays through like one individual’s lucid dream in what is sometimes an all-too-dreamless musical landscape. Once we hear it, we recognize it as something that’s been harder and harder to find in the last thirty or forty years, though so badly missed. Kadhja has humbly learned from her predecessors while following their signs ever forward.” 

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              Cover of Everything I Own by Ken Boothe.

              Ken Boothe

              Everything I Own

              Music On Vinyl/Trojan

              Arguably the finest Jamaican soul singer of his generation, Ken Boothe burst onto the international stage when his sublime rendering of Bread’s melancholic "Everything I Own" topped the UK charts in the autumn of 1974. Within months of this success, the native-born Kingstonian returned to the national listings with the captivating “Crying Over You”, which made number 11 later that year. To coincide with the release of the latter, Trojan Records released this album, "Everything I Own"; a supremely soulful collection that featured his two international hits alongside a number of sublimely produced songs, cut in both Jamaica and the UK. Unavailable on vinyl since ‘74, this essential LP is now available on the format for which it was created, with the use of the original analogue masters and artwork ensuing complete authenticity. A must for all Ken Boothe fans and those who like their reggae sweet and soulful. 

              FORMAT INFORMATION

              Coloured LP Info: 180 GRAM AUDIOPHILE VINYL
              FIRST 750 NUMBERED COPIES PRESSED ON
              ORANGE VINYL

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              Cover of Just U And Me by Kingsley Bucknor.

              Kingsley Bucknor

              Just U And Me

              Left Ear Records

              Left Ear's procession of perfection continues with a long-awaited reissue of Kingsley Bucknor's Nigerian synth winner "Just U And Me". After cutting his teeth playing with Fela in the 70’s and releasing two Afrobeat LPs on his own, Kingsley travelled the globe before landing in London. Booking into Audiovisual studio in Chelmsford, Kingsley laid down 6 distinctive electro-funk tunes inspired by both African rhythms and music he’d heard through his travels in the States and in Europe. Originally issued on Kinglsley’s own KAB records in ’85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB. Musically, the set offers nods to MJ's 'Off The Wall' (check out the upbeat boogie of 'Someone Is Talkin' & Shoutin'), West End classics and Ashford & Simpson, while retaining that stretched and spangled sound you only find in African disco...


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              Cover of 50 Words For Snow (Remastered Edition) by Kate Bush.

              Kate Bush

              50 Words For Snow (Remastered Edition)

              Fish People

                Kate Bush's 50 Words for Snow follows Director's Cut, a dramatically reworked collection of catalog material, by six months. This set is all new, her first such venture since 2005's Aerial. The are only seven songs here, but the album clocks in at an hour. Despite the length of the songs, and perhaps because of them, it is easily the most spacious, sparsely recorded offering in her catalog. Its most prominent sounds are Bush's voice, her acoustic piano, and Steve Gadd's gorgeous drumming -- though other instruments appear (as do some minimal classical orchestrations). With songs centered on winter, 50 Words for Snow engages the natural world and myth -- both Eastern and Western -- and fantasy. It is abstract, without being the least bit difficult to embrace. It commences with "Snowflake," with lead vocals handled by her son Bertie. Bush's piano, crystalline and shimmering in the lower middle register, establishes a harmonic pattern to carry the narrative: the journey of a snowflake from the heavens to a single human being's hand, and in its refrain (sung by Bush), the equal anticipation of the receiver.

                FORMAT INFORMATION

                2xLP Info: Double heavyweight vinyl.

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                Cover of Aerial (Remastered Edition) by Kate Bush.

                Kate Bush

                Aerial (Remastered Edition)

                Fish People

                  For those who purchased much of Bush's earlier catalog because of its depth, quality, and vision, Aerial will sound exactly like what it is, a new Kate Bush record: full of her obsessions, lushly romantic paeans to things mundane and cosmic, and her ability to add dimension and transfer emotion though song. The set is spread over two discs. The first, A Sea of Honey, is a collection of songs, arranged for everything from full-on rock band to solo piano. The second, A Sky of Honey, is a conceptual suite. It was produced by Bush with engineering and mixing by longtime collaborator Del Palmer.

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                  Cover of Director's Cut (Remastered Edition) by Kate Bush.

                  Kate Bush

                  Director's Cut (Remastered Edition)

                  Fish People

                    During her early career, Kate Bush released albums regularly despite her reputation as a perfectionist in the studio. Her first five were released within seven years. After The Hounds of Love in 1985, however, the breaks between got longer: The Sensual World appeared in 1989 and The Red Shoes in 1993. Then, nothing before Aerial, a double album issued in 2005. It's taken six more years to get The Director's Cut, an album whose material isn't new, though its presentation is. Four of this set's 11 tracks first appeared on The Sensual World, while the other seven come from The Red Shoes. Bush does have her own world-class recording studio, and given the sounds here, she's kept up with technology. Some of these songs are merely tweaked, and pleasantly so, while others are radically altered. The two most glaring examples are "Flower of the Mountain" (previously known as "The Sensual World") and "This Woman's Work." The former intended to use Molly Bloom's soliloquy from James Joyce's novel Ulysses as its lyric

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                    Cover of Hounds Of Love (Remastered Edition) by Kate Bush.

                    Kate Bush

                    Hounds Of Love (Remastered Edition)

                    Fish People

                      The legendary and unimitable Kate Bush is proud to announce the breakout release of some of her most Iconic work as part of her massively anticipated 2018 reissue campaign. This includes the breakout re-release of her fifth, and arguably most commercially successful studio album ‘Hounds of Love’. The album includes the lead single and number on hit ‘Running up that Hill’, and also other hit singles such as ‘Cloudbusting’ and ‘Hounds of Love’. The Studio Album has been fully remastered by Kate and James Guthrie.

                      FORMAT INFORMATION

                      LP Info: 180 gram heavyweight vinyl.

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                      Cover of Lionheart (Remastered Edition) by Kate Bush.

                      Kate Bush

                      Lionheart (Remastered Edition)

                      Fish People

                        The legendary and unimitable Kate Bush is pleased to announce the breakout release of some of her most Iconic early work as part of her massively anticipated 2018 reissue campaign. This includes the breakout re-release of her second album ‘Lionheart’ which chronicles the young teenage Bush’s writing career, the period where she composed most tracks from the title. The Studio Album has been fully remastered by Kate and James Guthrie.

                        FORMAT INFORMATION

                        LP Info: 180 gram heavyweight vinyl.

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                        Cover of Never For Ever (Remastered Edition) by Kate Bush.

                        Kate Bush

                        Never For Ever (Remastered Edition)

                        Fish People

                          The legendary and unimitable Kate Bush is proud to announce the breakout release of some of her most Iconic early work as part of her massively anticipated 2018 reissue campaign. This includes the breakout re-release of her third studio album, the 1980 number one hit ‘Never For Ever’. The iconic album was the first ever album by a British female solo artist to top the UK album chart, as well as being the first album by any female solo artist to enter the chart at number 1, whilst the title includes hits such as ‘Babooshka’ and ‘Breathing’ . The Studio Album has been fully remastered by Kate and James Guthrie.

                          FORMAT INFORMATION

                          LP Info: 180 gram heavyweight vinyl.

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                          Cover of Remastered In Vinyl II by Kate Bush.

                          Kate Bush

                          Remastered In Vinyl II

                          Fish People

                            The legendary and unimitable Kate Bush is releasing ‘Kate Bush Remastered in Vinyl II’, the second vinyl boxset of her massively anticipated reissue campaign, which includes the chart topping studio albums ‘Hounds of Love’, ‘The Sensual World’ and ‘The Red Shoes’and hit singles such as This Woman’s work and Rubber band Girl . The Boxset is newly remastered for the first time by Kate and James Guthrie, whilst it comes cased in 180g heavyweight vinyl and maintains its original artwork. 

                            FORMAT INFORMATION

                            FREE SHIPPING This item has FREE UK shipping!

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                            Cover of Remastered In Vinyl IV by Kate Bush.

                            Kate Bush

                            Remastered In Vinyl IV

                            Fish People

                              The legendary and unimitable Kate Bush is releasing the fourth and final Vinyl Boxset of her eagerly anticipated reissue campaign’ Kate Bush Remastered in Vinyl IIII’ , which sees many rarities which were previously unavailable in Vinyl until now including an entire disk of cover versions. This Boxset has no breakouts thus every release is exclusive to the boxset, whilst these new vinyl editions are cased in a premium 180g Heavyweight package.

                              FORMAT INFORMATION

                              FREE SHIPPING This item has FREE UK shipping!

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                              Cover of Remastered Part II by Kate Bush.

                              Kate Bush

                              Remastered Part II

                              Fish People

                                Kate Bush is proud to present her CD Box II Studio Albums, boxset which spans the work of her later career and includes albums such as ‘Ariel’ and ‘Director’s cut’, right up to her most recent release - 2011’s ’50 Words for Snow’. This Massively anticipated release includes newly remastered versions of every studio album track, whilst the box comes exclusively with the Live Album ‘Before the Dawn’ in its original mastered form, and also much sought after 12” Mixes Rarities. The boxset comes in a CD package which creatively retains all of the album’s original artwork, whilst the exterior of the box sees a new artwork design reflecting the dynamics of the boxset’s classic and contemporary contents. 

                                FORMAT INFORMATION

                                FREE SHIPPING This item has FREE UK shipping!

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                                Cover of The Dreaming (Remastered Edition) by Kate Bush.

                                Kate Bush

                                The Dreaming (Remastered Edition)

                                Fish People

                                  The legendary and unimitable Kate Bush is releasing the breakouts of some of her most Iconic early work as part of her massively anticipated 2018 reissue campaign. This includes the breakout re-release of her fourth studio album, 1982’s ‘The Dreaming’. The album was produced entirely by Bush and is often Studio Album has been fully remastered by Kate and James Guthrie.

                                  FORMAT INFORMATION

                                  LP Info: 180 gram heavyweight vinyl.

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                                  Cover of The Kick Inside (Remastered Edition) by Kate Bush.

                                  Kate Bush

                                  The Kick Inside (Remastered Edition)

                                  Fish People

                                    The legendary and unimitable Kate Bush is proud to announce the breakout release of some of her most Iconic early work as part of her massively anticipated 2018 reissue campaign. This includes the re-release of her chart topping debut album ‘The Kick Inside’ which contains one of her biggest singles, the UK number one hit ‘Wuthering Heights’ , notably written and produced in Bush’s teens. The Studio Album has been fully remastered by Kate and James Guthrie.

                                    FORMAT INFORMATION

                                    LP Info: 180 gram heavyweight vinyl.

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                                    Cover of The Red Shoes (Remastered Edition) by Kate Bush.

                                    Kate Bush

                                    The Red Shoes (Remastered Edition)

                                    Fish People

                                      The legendary and unimitable Kate Bush is proud announce the breakout release of some of her most Iconic work as part of her massively anticipated 2018 reissue campaign. This includes the breakout re-release of her seventh Studio album which includes singles such as ‘Rubberband Girl ‘ and ‘Eat the Music’ and ‘The Red Shoes’. The Studio album is considered to one of Kate’s more collaborative pieces, with features from artists such as Prince, Eric Clapton and Jeff Beck. The album has been fully remastered by Kate and James Guthrie.

                                      FORMAT INFORMATION

                                      2xLP Info: 180 gram heavyweight vinyl.

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                                      Cover of The Sensual World (Remastered Edition) by Kate Bush.

                                      Kate Bush

                                      The Sensual World (Remastered Edition)

                                      Fish People

                                        The legendary and unimitable Kate Bush is announcing the breakout release of some of her most Iconic work as part of her massively anticipated 2018 reissue campaign. This includes the breakout re-release of her sixth Studio album which includes hit singles such as ‘The Sensual World’ and ‘This Woman’s Work’. The Studio Album has been fully remastered by Kate and James Guthrie.

                                        FORMAT INFORMATION

                                        LP Info: 180 gram heavyweight vinyl.

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                                        Cover of Dream Memory by Ken Camden.

                                        Ken Camden

                                        Dream Memory

                                        Kranky

                                        Guitarist Ken Camden returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences.

                                        The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album.

                                        The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole. 

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                                        Cover of Montage Of Heck: The Home Recordings by Kurt Cobain.

                                        Kurt Cobain

                                        Montage Of Heck: The Home Recordings

                                        UMC

                                        Hailed as one of the most innovative and intimate documentaries of all time, Kurt Cobain: Montage Of Heck is the only fully authorised portrait of the famed music icon. The highly anticipated soundtrack album, comprised from various early and raw cassette recordings made by Kurt alone, allows a rare, unfiltered glimpse into Cobain’s creative progression from early song snippets and short demos to musical experiments and ultimately, pieces of songs or lyrics that eventually appeared on later Nirvana albums.

                                        The 31 track deluxe soundtrack showcases tracks from the documentary including spoken word, demos and full songs

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                                        Cover of Showboat Honey by Kyle Craft & Showboat Honey.

                                        Kyle Craft & Showboat Honey

                                        Showboat Honey

                                        Sub Pop

                                          Kyle Craft and his now solidified backing band, dubbed Showboat Honey, reflect the sturm und drang of life with their self-titled album, the contemplative yet restless ‘Showboat Honey’. “This is basically an album centered around bad luck and good fortune hitting at the same time,” Craft explains “Then, out of nowhere, I find love. Everything went to shit except that. I guess that’s how life works.”

                                          The sticky-sweet title of the album is lifted from the brightly choral ‘Buzzkill Caterwaul’: “I wanted to make something that sounded like a raucous collision of Leon Russell and Patti Smith,” he says, “But ‘Buzzkill Caterwaul’ was the only tune that ended up showcasing that vision.” Though aesthetics veer from song to song, ‘Showboat Honey’s steadfast formula remains the same. Drummer Haven Mutlz holds down the machine with a 60s/70s fast-molasses groove that locks in with the slinky rolling bass of Billy Slater. When Kevin Clark isn’t bouncing across the piano, his mellotron strings swell in and out of frame. Jack of all trades Ben Steinmetz’s organ parts well up from the deep of the songs, while lead guitarist Jeremy Kale’s solos rip through them like electricity. On top of it all, sits the tongue-in-cheek phantasmagoria created by Craft’s lyrics, in which perspectives shift to imbue life into a cast of intriguing, mysterious characters, à la Bob Dylan. (“There is not a single thing in my life that has affected me more than the first time I heard Dylan,” says Craft. “It immediately changed my life.”)

                                          Craft started writing about as soon as he could play the guitar at the age of 15. He grew up in the isolated Mississippi River town of Vidalia, Louisiana where his chops weren’t honed in a woodshed but rather an old, dingy meat freezer that was out of commission. After years of touring, two albums with Sub Pop Records and solidifying the band, he’s grown into a prodigious songwriter, to say the least. The band recorded ‘Showboat Honey’ - co- produced by Craft, Clark and Slater - at their own Moonbase Studios in Portland over 2018. “We approached this record differently for sure,” Craft says. “I’d make a demo, and after putting the songs together, shoot it to the band for ideas.” Kyle and the members of Showboat Honey worked at such a feverish wine-fuelled pace that they actually ended up with two completely different albums. At the end of the day, they decided to combine the two into what is now ‘Showboat Honey'.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indies exclusive loser edition on clear and blue translucent vinyl with red spots.

                                          Coloured LP includes MP3 Download Code.

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                                          Cover of Full Circle Nightmare by Kyle Craft.

                                          Kyle Craft

                                          Full Circle Nightmare

                                          Sub Pop

                                            Ever since his debut album Dolls of Highland was released on Sub Pop in 2016, Kyle Craft has been a critic's dream. Based in Portland, he serves up all the observational, storytelling talent with none of the attitude that so often comes with male singer-songwriter territory. “I've found my place,” he says. “I'm not one of those people that approaches music for anyone other than myself. My favorite part about music is when it's just me and a notebook.” Speaking of, his second forthcoming album Full Circle Nightmare is entirely autobiographical. Sonically, thematically, lyrically, it's a huge leap forward from his 2016 release.

                                             The title Full Circle Nightmare refers to a moment where Craft saw his life for what it is and told himself to be satisfied. “But that's nightmarish to me,” he laughs. He described his debut record as: “like walking down this long hall of bizarre characters and surreal experiences, moving through the spider web of love and loss.” This album is when you get to the end of that hallway, turn around and see all the stuff you've been through, then walk through the door, close it and start a new chapter in an even crazier hallway. A straight-up rollicking rock'n'roll album, it traverses all the different nuances of the genre; from the bluegrass twang of 'Exile Rag,’ to the gothic style of 'Gold Calf Moan,' it's a timeless piece that could exist in any of the past five decades.
                                            In terms of contemporary peers, Craft likes to stay in his own lane. He's an old soul who sticks to his tried and tested influences. Social media is not his game - it's just not interesting to him. He's not fussed about preaching his politics or discussing the status quo either. “I don't really like writing a time piece. I don't wanna get trapped in the 'Donald Trump era of Kyle Craft,' you know? I'm a very off-the-grid sort of person. As much as I am traveling across this giant place sometimes I just feel so outside of it. Also, I'm not necessarily a stand-up citizen so it's hard for me to say: here's Kyle Craft's America, ladies and gentlemen.”

                                            The ironic thing is that Full Circle Nightmare sounds exactly like Kyle Craft's America. That is what he's built for us: the story of one man's trials and tribulations to find his passion and voice for art and creativity in this vast opportunistic country. Where did he find it? Among the historic riches of America's most honest sounds.


                                            STAFF COMMENTS

                                            Barry says: Sliding guitars, tinkling pianos and the percussive sound of saloon doors opening in a hurry, tastefully hinting at classic Americana anthems, but tempering them with a melodic and progressive sensibility rarely heard in classic country rock.

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                                            Cover of The Karen Dalton Archives Box by Karen Dalton.

                                            Karen Dalton

                                            The Karen Dalton Archives Box

                                            Megaphone

                                              Including for the first-time ever on Vinyl - 3 LP : the 1962 double live album Cotton Eyed Joe remastered.... + the 1963 home recordings album Green Rocky Road remastered - 4 CD : same albums + 1CD of unreleased home recordings including a mesmerizing take on "God Bless The Child" - 52 PAGE BOOK with scans of KAREN DALTON PERSONAL ARCHIVES (writings, photographs, memos) disclosed here for the first time.

                                              DIGITAL DOWNLOAD CARD

                                              Press about ‘Cotton-Eyed Joe’ (1962/2007) and ‘Green Rocky Road’ (1963/2008)
                                              "All the informality of someone thinking aloud, which suits her signature vocals perfectly. In overdubbing, she seems to consider tempos and time signatures almost as restricting as a real studio. A particularly personal statement, a career marker"

                                              "Like a lost book of the Old Testament. Less like a folk record and more like a warp in the space-time continuum. The most beautiful and harrowing album you'll hear this year. The results are startling. Her rendering of "Katie Cruel" on In My Own Time has been hailed as definitive but she improves it here. Bewitching." "Proving her masterly command of both the material and the audience" "Using her uncluttered fingerpicking and keening phrasing to a reimagine a pair of lesser known Ray Charles numbers to devastating effect" "Sounds great. The set captures a side of Dalton that her original releases never could. Such a personal statement it's far more challenging"

                                              "An invaluable treasure" Pitchfork 8/10.


                                              FORMAT INFORMATION

                                              Ltd Box Set Info: Packaged in Ampex studio tape style cardboard box (size: 12.8x12.8x1.1)

                                              FREE SHIPPING This item has FREE UK shipping!

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                                              Kevin Devine

                                              Travelling The EU

                                              Defiance

                                              Kevin Devine is taking a leaf out of the books of emo darlings like Chris Cabbarra of Dashboard Confessional and Jonah Mantranga. A set of simple, six stringed, heartfelt melodies and his shivering and stirring voice. Now "Travelling the EU" features three new songs from Devine, including his interpretation of "You Are My Sunshine", cruising the continent for all you punk-rock romantics out there.

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                                              Cover of Spheres (Original Score) by Kyle Dixon & Michael Stein.

                                              Kyle Dixon & Michael Stein

                                              Spheres (Original Score)

                                              Invada

                                              ‘Spheres’ is a celestially immersive experience focusing on the human connection with the cosmos - with music composed and performed by Kyle Dixon and Michael Stein.

                                              Written and directed by Eliza McNitt (‘Fistful of Stars’, ‘Without Fire’), ‘Spheres’ will be released on the Oculus Rift and is presented by City Lights and Protozoa Pictures. Darren Aronofsky and Ari Handel are executive producers.

                                              Grammy nominated Kyle Dixon and Michael Stein need no introduction as two of today’s most highly regarded film score composers, having worked on ‘Stranger Things’ series 1 and 2 and ‘Butterfly’, as well as being members of S U R V I V E.

                                              STAFF COMMENTS

                                              Barry says: Two D&S scores in one week?! This one is equally as excellent, but a little more geared towards the ambient end of the spectrum, with cavernous echoing reverb and subtly panned swirls of industrial machination, this is equally as superb as their previous work but considerably darker. A perfect flipside to the coin.

                                              FORMAT INFORMATION

                                              Coloured LP Info: The LP format is pressed on white vinyl and
                                              housed in a heavyweight spined sleeve. Includes
                                              digital download card featuring the binaural mixes
                                              of the score for the most immersive experience
                                              possible.

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                                              Cover of Stranger Things 3 - Original Score From The Netflix Original Series by Kyle Dixon & Michael Stein.

                                              Kyle Dixon & Michael Stein

                                              Stranger Things 3 - Original Score From The Netflix Original Series

                                              Invada

                                              S U R V I V E members Kyle Dixon & Michael Stein's score to Stranger Things 3.

                                              GRAMMY Nominated and EMMY Winning composers Kyle Dixon & Michael Stein's score to 'Stranger Things' is perhaps the show’s secret ingredient. A mixture of icy new-wave hooks, spooky ambient textures and menacing drones which bring a spine-tingling ambience and a hauntingly beautiful nostalgia all at once.

                                              It’s 1985 in Hawkins, Indiana, and summer’s heating up. School’s out, there’s a brand new mall in town, and the Hawkins crew are on the cusp of adulthood. Romance blossoms and complicates the group’s dynamic, and they’ll have to figure out how to grow up without growing apart. Meanwhile, danger looms. When the town’s threatened by enemies old and new, Eleven and her friends are reminded that evil never ends; it evolves. Now they’ll have to band together to survive, and remember that friendship is always stronger than fear.


                                              STAFF COMMENTS

                                              Barry says: Dixon! Stein! Bad-ass kids with super and / or not super powers! Winona! The neverending story! A Mancunian graphic design god! all GREAT things, and all involved in Stranger Things. Bonus points for the hot pink 80's vinyl. Amazing stuff.

                                              FORMAT INFORMATION

                                              2xColoured LP Info: Neon pink vinyl housed in deluxe heavyweight gatefold sleeve.
                                              The package features stunning artwork throughout designed by Kyle Lambert.

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                                              Cover of Stranger Things Season 1, Vol. 2 by Kyle Dixon & Michael Stein.

                                              Kyle Dixon & Michael Stein

                                              Stranger Things Season 1, Vol. 2

                                              Invada

                                              With its pillowy synth-pads and rich textures, the soundtrack to Volume Two seamlessly wanders through the 80s world of ‘Stranger Things’, breeding an unthreatening serenity with a gentle shift toward a darker mood. Floating between sweeter moments which temporarily blossom amidst the danger and decay, Volume Two is the second part of the ‘Stranger Things’ score, reaching climactic highs as the series comes to an end.

                                              This soundtrack is instantly reminiscent of works by John Carpenter (‘Halloween’, ‘The Thing’), Tangerine Dream and Vangelis (‘Blade Runner’), whilst also delving into the ambience of Aphex Twin and more modern composers such as Cliff Martinez (‘Drive’, ‘Solaris’).

                                              STAFF COMMENTS

                                              Barry says: Having been entranced with Stranger Things, reading this tracklist is like a 'skip to the end' recap of the latter half of the series, listening obviously makes it all the more enthralling. Moody synth ambience, throbbing saw waves and eerie sweeps. Unsurprisingly brilliant.

                                              FORMAT INFORMATION

                                              2xColoured LP Info: The vinyl for Volume Two is pressed on clear coloured vinyl, with a red blob on the first disc and a black blob on the second and is housed in a thick 425 gram heavyweight gatefold sleeve. A printed insert is included which features additional artwork and credits.

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                                              Cover of Stranger Things Season 2 by Kyle Dixon & Michael Stein.

                                              Kyle Dixon & Michael Stein

                                              Stranger Things Season 2

                                              Invada

                                              Dixon and Stein return for the latest addition to their overwhelming spate of excellence over the past couple years. Following on from the first series waas never going to be easy for anyone involved, with it's 80's buddy-movie hauntology vibe being perfectly accentuated by Survive's less shadowy alter-ego on soundtrack duties, but series 2 has lived up to that expectation in every way. I know, that episode was pretty ridiculous, but you don't have to listen to it do you. 

                                              We kick things off with the haunting melancholy beauty of 'Walkin In Hawkins', perfectly capturing the eerie ambience of the city streets after the discovery of an analogue hell, hidden behind a bit of your local school. It's a moment we're all familiar with i'm sure, but Dixon & Stein manage to make its duality seem alluring, pressing forwards with paddling apreggio's and swelling pads.  Pieces like 'Eulogy' and 'On The Bus' talking things slowly forwards, opening the filters into an edgy benzoed bliss.

                                              As we move onwards, things shift from a resolved optimism, into the inevitable downturn of a threatened society, with pieces like 'Descent Into The Rift' and 'Escape' providing a darker edge to things, moving towards the inevitable crescentic audiovisual finale. It's a brilliant companion to the programme, and just as much a divine pleasure in it's own right. Impeccable. 

                                              STAFF COMMENTS

                                              Barry says: Brilliant pulsing synths, eerie atmospheres and soaring, crackling pads. An equal amount of pastoral, suburban meanderings, and supernatural, hellish drive. Stunning stuff once again.

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                                              Cover of Darlings by Kevin Drew.

                                              Kevin Drew

                                              Darlings

                                              City Slang

                                              Kevin Drew is the frontman of Broken Social Scene, solo recording artists, and co-owner of independent music company Arts & Crafts. His 2007 solo debut, Spirit If..., was widely loved for unearthing the affirmative grooves and experimental pop songwriting churning at the heart of indie vanguards Broken Social Scene. Darlings, his first solo recording since, showcases Drew's more mature pop sensibilities and his earnest and playful lyrics soaring over hook-laden songs like first single “Good Sex”.

                                              In the tradition of post-Velvets Lou Reed or post-Genesis Peter Gabriel, Darlings shows Drew stepping out to create a breakthrough personal statement of true artistry. Darlings was recorded at the Banff Centre in Alberta with Graham Lessard and then taken to a house in Northern Ontario with Dave Hamelin (The Stills, Eight and a Half) for final recording and mixing. The album also features longtime collaborators Charles Spearin and Ohad Benchetrit (Do Make Say Think, Broken Social Scene) along with Dean Stone (Apostle of Hustle). Darlings was co-produced by Kevin Drew, Graham Lessard, and, for the first time, Dave Hamelin.

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                                              Cover of Imperial Horizon by Kevin Drumm.

                                              Kevin Drumm

                                              Imperial Horizon

                                              Hospital

                                                "Imperial Horizon" by Kevin Drumm is a further examination into sustained tone as most recently heard on his previous Hospital Productions benchmark album, "Imperial Distortion", stretching out minimalism to unreached heights of serene ambient. Lulling electronic drones slowly transform over the course of the hour plus piece in constant flux, echoing both an existential terror and Zen calm. Mutations grow so quietly only the body opens to identify this change while the mind closes. The ephemeral and seeming lightness of the tones hang with taut balance in contrast to the method in which they are overlapped and rotated with deadly weight. How wildly divergent emotions rise, hover, and fall using so little is a mystery that only Kevin Drumm can provide. While you may not find an answer, you can certainly get lost in the question.

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                                                Cover of The Church by Keith Emerson & Goblin.

                                                Keith Emerson & Goblin

                                                The Church

                                                Death Waltz

                                                La Chiesa” (The Church) is a 1989 film, directed by Michele Soavi (“Dellamorte Dellamore”) and produced by the master of Italian horror Dario Argento, who also participated in the writing of the story and screenplay. The soundtrack is composed by Keith Emerson and Goblin. Classical, prog rock and electronics sounds are skillfully blended to create a late entry Italian masterpiece. Emerson, in particular, makes extensive use of a church organ, mindful of his work for Dario Argento’s film “Inferno” a few years earlier (1980), while Goblin continue with the bombastic electro-prog rock they had fine-tuned during the previous 20 years. Audio is taken directly from the Cinevox archives.

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                                                Cover of The Tales People Tell by Kelly Finnigan.

                                                Kelly Finnigan

                                                The Tales People Tell

                                                Colemine Records

                                                Kelly Finnigan's debut solo album for Colemine Records represents the culmination of his 15 years of experience - in the studio as a songwriter, multi-instrumentalist, engineer, producer - and touring the US and Europe as a singer, musician, and band-leader. The content within reflects his dedication to expression through the rich American music traditions of soul, gospel, doo-wop, and R&B. The subject is love. Its ecstasies and heartaches. Love sought, found, betrayed, lost, and rediscovered. The result is a marvelous collection of songs and performances that run the gamut from whispering tenderness to roaring appeals; from lean and mean to lush and lovely. And always, always, manifestly honest, and undeniably soulful. With Finnigan guiding these songs from their conception all the way to the record pressing plant, the new release provides the singular voice missing from soul music: a visionary that writes, records, performs and produces his own material. 

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                                                Cover of Debris by Keeley Forsyth.

                                                Keeley Forsyth

                                                Debris

                                                The Leaf Label

                                                  The songs comprimising Keeley Forsyth’s debut, are, she states simply, “like blocks of metal that drop from the sky”. Minimal arrangements place that elemental voice front and centre. Nerves are quietly frayed over its running time; an intimate document of personal change, we’re held in limbo until the final note is left to ring. Debris explores the darker corners of domestic life, balancing the need to create with the responsibilities that come with a family, a partner and a career. Seismic ruptures behind closed doors. “There was a lot going on in my life that was heavy and hard,” she adds. “Songs were made under that moment.”

                                                  Born and raised in Oldham in the north-west of England, Forsyth first made her name as an actor. Her enigmatic voice is so indelible even she is sometimes provoked to refer to it as a third person, like the characters she’s inhabited as an actor, this time populating songs sharing tales of the high and low tides, of freedom and entrapment, and of hard-won triumphs. “They’ve been in my mind for a while,” she concludes. “I have sung them to my children, and at home alone, and making this album has been an opportunity for me to discover the voice and being who sings these songs. It has changed me, and will continue to. I recognise my life again.”

                                                  With sparse arrangements by pianist and composer Matthew Bourne and producer Sam Hobbs, Keeley Forsyth’s music is centred around a singular, emotionally raw and magnetic vocal delivery

                                                  The first single ‘Debris’ is accompanied by an evocative video directed by Maxine Peake.Maxine also gave ‘Debris’ its first radio play on BBC 6 Music Early support from Mary Anne Hobbs, John Doran, Laura Barton, Stuart Maconie and Late Junction A second single and video will be released ahead of the album


                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Limited edition indies-only gold vinyl.

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                                                  Cover of Anna Melara EP by Kolja Gerstenberg.

                                                  Kolja Gerstenberg

                                                  Anna Melara EP

                                                  Lumberjacks In Hell

                                                  German percussionist Kolja Gerstenberg supplying some funky fresh house music for Vogel's long established Lumberjacks In Hell imprint. Previously releasing on Suol and Smile For A While, the producer combines his love of drums with some classic house music tropes - deep organ lines, chopped soul vox and of course, the all important bite and swing of the MPC!

                                                  Moods range from bright and breezy to deep and moody across the four tracks which do away with any superfluity and get straight down to business on each and every cut. Disco-indebted cut, "Want You" is sure to be the big crossover hit, but the other three are gonna do plenty of damage to.

                                                  Lumberjacks ride again!




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                                                  Cover of No Home Record by Kim Gordon.

                                                  Kim Gordon

                                                  No Home Record

                                                  Matador Records

                                                    With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.

                                                    It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Exclusive white vinyl edition.

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                                                    Cover of Du Bist So Symmetrisch by Klaus Johann Grobe.

                                                    Klaus Johann Grobe

                                                    Du Bist So Symmetrisch

                                                    Trouble In Mind

                                                    Swiss group Klaus Johann Grobe have been at it since 2012, and as they prepare to release their third album "Du Bist So Symmetrisch" (and third on Trouble In Mind), the group continues to defy description & blur the lines between electronic pop, dance music, synthesis & kosmische. "Du Bist So Symmetrisch" follows the inevitable path laid out by their previous album (the Basel Prize-winning "Spagat der Liebe"), incorporating the slinky, jazz-fusion-laced grooves populating late night clubs and braiding them together with the band's own blend of mutant electro-funk.

                                                    Driven by an organic, metronomic beat aligned with synth, chant-like vocals, and a monstrous funky bass, the music aims towards a certain kind of hypnosis, particularly as the sleeping pill echo-heavy vocals cycle over the locked grooves the pair throw down. "Du Bist..." begins with the cascading arpeggio of a synth, edging into view, before lurching into the placid dancefloor groove of the first single "Discogedanken". While the band invariably feels more at home in the club, Klaus Johann Grobe certainly aim towards the more dance-orientated arena of German music (see "Der König" or "Von Gestern"), aligning the metro pulse of Klaus Dinger and Kraftwerk's later techno work to more biological factors - like moss growing on the mainframe. 

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                                                    Cover of Falling Star by Kayla Guthrie.

                                                    Kayla Guthrie

                                                    Falling Star

                                                    Wild Flesh Productions

                                                    A misty glow flows along the recumbent silhouette of Kayla Guthrie’s new EP, "Falling Star". This is the body of the artist as aural ghost, her figure lit by shuddering rhythms and synthesized echoes, and she knows what she is doing when she stands in front of that light. Not only did she build it but she has written all about it, gathered the notes and transcribed the lyrics onto paper that is as sunshine. Guthrie is dazed and dazzling with so much light, yet the clouds roll in toward the light every time. Her translucent voice lifts your hem and so tender is her bite, so weird, so intense. This is new music spinning fast in a dance with archangels (Jarboe, Cocteau Twins, Lydia Tomkiw and Leslie Winer) and barreling straight through heaven’s gate.

                                                    Mixed by Ben Greenberg. Cut by Josh Bonati. Photography by Lena Shkoda, lettering by Will Sheldon. Edition of 200.




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                                                    Cover of American Dollar Bill - Keep Facing Sideways, You’re Too Hideous To Look At Face On by Keiji Haino & SUMAC.

                                                    Keiji Haino & SUMAC

                                                    American Dollar Bill - Keep Facing Sideways, You’re Too Hideous To Look At Face On

                                                    Thrill Jockey


                                                      SUMAC, the trio of Aaron Turner (ISIS, Old Man Gloom, Mamiffer), Nick Yacyshyn (Baptists, Erosion) and Brian Cook (Russian Circles) present their first collaboration with Japan’s cultural provocateur Keiji Haino. 
                                                       
                                                      Japan’s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his freeform musical improvisations and diverse collaborations. Whether deconstructing American blues to a few rogue notes hanging across chasms of empty space in his solo endeavours, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O’Rourke, Stephen O’Malley, John Zorn and Peter Brötzmann for fleeting aural experiments. Haino’s work is never preplanned or structured but rather a completely spontaneous exploration of chemistry, texture and dynamics.

                                                      SUMAC’s tenure is much younger than Haino’s, though guitarist / vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations, from the sedated drones of recent projects with Daniel Menche and William Fowler Collins to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved
                                                      the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

                                                      Throughout the course of its hour-plus length, ‘American Dollar Bill’ pushes and pulls at the strictures of metal and bends the stylistic formalities of improvised music to create a sonic purge unencumbered by convention.


                                                      FORMAT INFORMATION

                                                      2xLtd LP Info: 2xLP pressed on virgin vinyl, packaged in a wide spine jacket printed on uncoated stock with custom slipcase also printed on uncoated stock with
                                                      metallic ink and free download card.

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                                                      Cover of Now While It's Still Warm Let Us Pour In All The Mystery by Keiji Haino /Jim O Rourke/ Oren Ambarchi.

                                                      Keiji Haino /Jim O Rourke/ Oren Ambarchi

                                                      Now While It's Still Warm Let Us Pour In All The Mystery

                                                      Black Truffle

                                                        Following on from last year’s acclaimed ‘Imikizushi’ (BT 07), ‘now while it's still warm let us pour in all the mystery’ is the fourth release from the established power trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi, recorded in January 2012 at their yearly concert at SuperDeluxe, Tokyo. While the trio’s two previous double LP releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio’s interactions, from holy minimalism to cave-man rock.

                                                        The record begins with the trio joined by special guests Charlemagne Palestine and Eiko Ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to Haino’s angelic vocals. This ten-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from Haino, is steeped in the same mysterious atmospherics as Haino’s great folk-drone project, Nijumu. When Haino turns to the flute on the LP’s second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that Haino has developed from traditional Japanese aesthetics, O’Rourke and Ambarchi transform into the delicate and probing rhythm section of a classic 70s fusion side.

                                                        When the trio return to the crushing free-rock of their last two records, O’Rourke’s heavily effected bass rolling alongside Ambarchi’s tumbling rhythms as Haino’s guitar squeals and slashes above them, their performances display a new purposefulness and concision. Now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs, O’Rourke and Ambarchi instantly locking into solid riffs over which Haino alternates between jarring no-wave chords, intense soloing and his signature vocalisations. When the trio slow down and stretch out, the rhythm section plods like an abstracted Crazy Horse on the brink of collapse, and Haino elicits long, mournful solos reminiscent of the first classic Fushitshusha double live LP.

                                                        (Perhaps more accessible than the trio’s previous recordings because of its range and concision, ‘now while it's still warm let us pour in all the mystery’ exudes the dark, alien quality of Haino’s greatest recordings and testifies to the strength of the musical bond that has developed between these three players. Francis Plagne, Jan 2013.

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                                                        Cover of FTC001 by Kyle Hall.

                                                        Kyle Hall

                                                        FTC001

                                                        Forget The Clock

                                                        First new Kyle Hall record we've had in in tiiiiime! The Detroit upstart comes correct with more of his trademark kix-hats-n-perx, supplemented with a jazz / boogie-informed palette and direction.

                                                        It's certainly worth the wait as this star of the D showcases his unique, playful & psychedelic style. A master of synthesis, the level of depth and control he has over his machines is often unfathomable.

                                                        Seriously limited copies, first come first served!

                                                        Artwork By Michio James

                                                        Pieces to Share Mixed by Kyle Hall & Steve Lehane @ Rust Belt Studios

                                                        Mastered By Matt Colton: Alchemy Mastering London

                                                        Photography By Em Gorzelnik


                                                        STAFF COMMENTS

                                                        Matt says: Purple bursts and hydraulic splurges galvanized with Motor City bump and grind? It can only mean Kyle Mother F***in Hall is back in tha area! Form an orderly queue plz...

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                                                        Cover of Float by Kristian Harting.

                                                        Kristian Harting

                                                        Float

                                                        Exile On Mainstream

                                                        Exile On Mainstream Records are responsible for putting out a wide variety of releases over the years, and more recently their catalogue couldn't be more eclectic. From the psychedelic doom of Obelyskkh and the math-rock/sludge of Beehoover to the glacial compositions of A Whisper In the Noise and the celestial drone of Darsombra - to name a few. The label also released the powerful collaborative work of Wino and Conny Ochs, and of course their respective solo albums. In 2014, Exile On Mainstream will venture into sonic territory unknown for something very special indeed…

                                                        Inspired by sufi-music, mali-blues, western low-fi pop and avant-garde, Kristian Harting composes songs using his guitar, voice, circuit-bending and effects-pushing to create sounds that are gritty and noisy yet beautiful and pretty - culminating in diverse electronic and acoustic trips. He positions his attitude and approach as “a spiritual journey as well as a physical one", Harting continues to embellish, "it is my way of communicating freely and truthfully and articulate the ever-changing waves of confusion, emotions, ideas, people, power and surroundings, that is my life.”

                                                        Exile On Mainstream are proud to release Kristian Harting's profoundly personal debut solo album "Float" which channels this approach into a genre-bending form, exorcising the demons he had to battle in his most recent past. In a very personal approach the title refers to what he describes as survival-strategy in a period of his life characterised by an extreme personal, emotional and financial turmoil, so chaotic and exhausting that it almost devastated him: “I had to be like water. Just float. Not think, not try to organise nor control the chaos, the perpetual beats to my chest and slaps in my face. I had to be like water or I would break. Just float around and away. Not crack like a rock or blow out like a fire. It was a spiritual journey. A test.”

                                                        The work on this album was a free harbour where he could unload the harvest from a furious sea by creating, playing and arranging each part on his own – writing, producing, recording, mixing – finding his own true place. By listening to the intimate recording you can feel the tensions inside it's creator, grabbing, shaping and channeling true emotions into music – an archaic approach but representing what Kristian believes music is made for. Whilst these songs come from a chaotic, dark and desperate place, for Kristian, they remain full of hope and love…“My wish is that anyone listening to them will feel this too.”…he sums up the attitude behind the release.

                                                        Exile On Mainstream urge you to give this music a spin and find yourself drawn into one of the most emotional and challenging albums the label has ever put out, opening a new world, even for them. Label owner Andreas Kohl remarks "the ever changing wish to explore new territories, geographically and musically brought us here and we are truly celebrating one of the finest moments in the label’s history with bringing you this album. Enjoy."

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                                                        Reduced Cover of You by Keaton Henson.

                                                        Keaton Henson

                                                        You

                                                        Sony BMG

                                                          THIS IS A RECORD STORE DAY 2013 EXCLUSIVE.

                                                          One Sided Etched 7" Vinyl of Keaton Henson Exclusive Artwork

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                                                          Cover of Crooked by Kristin Hersch.

                                                          Kristin Hersch

                                                          Crooked

                                                          Fire Records

                                                            “Her significant solo output has been remarkable” Drowned In Sound. Following a special vinyl release for this year’s Record Store Day celebrating its tenth anniversary, ‘Crooked’ will be reissued on black vinyl and CD on 27th September.

                                                            ‘A figurehead for feminist indie rock’ (Classic Rock), Kristin Hersh achieved a music and publishing first when her eighth solo album was initially released as a multi-media book in 2009. Hersh’s “poetic, provocative and puzzling songcraft” (The Washington Post) makes ‘Crooked’ a stunning record. The resplendent, melancholic ‘Flooding’ came to Hersh in the form of song but was also a premonition of the imminent death of close friend and musician Vic Chesnutt. Mainstay in her recent live shows, ‘Mississippi Kite’ is snarly and unsettling whilst the spectral psychedelic tones of ‘Rubidoux’ stem from a 50foot Wave car ride and a late-night recording session. The songs still lead the way hitting Hersh fully formed but it’s her beguiling raspy vocals paired with guitar, and any other instrument that she chose to play on this album, that has a beautiful intensity that’s jarring, unpredictable and inherent in her music. “She's still as powerful a presence as she ever was.” Pitchfork… 

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                                                            Cover of Possible Dust Clouds by Kristin Hersh.

                                                            Kristin Hersh

                                                            Possible Dust Clouds

                                                            Fire Records

                                                            A highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din. A ten-track album, her tenth studio set.

                                                            Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record creating with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty.

                                                            Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet. Messing with both extremes of the sonic spectrum: atonal and arrhythmic, a unique sound and a glorious return to form for one of alternative rock’s true innovators.

                                                            “Sometimes the most subversive thing I can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes, and sometimes a story is lived a thousand times before we can ride it like a roller coaster. Nothing wholly unfamiliar is gonna make you look twice. When you can describe a record as being “deceptively” anything, you’re hinting at the sociopathic nature of music. Something I love. Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that...we can’t, really. Darkness we’ve seen.” Kristin Hersh, July 2018.

                                                            “She's still as powerful a presence as she ever was.” Pitchfork

                                                            “The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.” The Quietus.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Silver coloured vinyl LP is for Indie stores only.

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                                                            Cover of Wyatt At The Coyote Palace by Kristin Hersh.

                                                            Kristin Hersh

                                                            Wyatt At The Coyote Palace

                                                              Kristin Hersh came to prominence in the late 1980s as the leader of the Throwing Muses before launching a solo career emphasizing her acoustic guitar. 

                                                              “Wyatt at the Coyote Palace” is a beautifully presented hard cover book of essays and Lyrics with two CDs included. It gets its name from an abandoned apartment building behind Kristin’s studio that her son Wyatt spent the majority of this recording session exploring.

                                                              FORMAT INFORMATION

                                                              Book & CD Info: Deluxe Format of Wyatt At The Coyote Palace Includes:The full studio album on 2CD's
                                                              Photographs and artwork by Dave Narcizo and Kristin Hersh. Lyrics for each song stories
                                                              and essays by Kristin Hersh to accompany each track.

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                                                              Cover of Live Shet by Kim Hiorthoy.

                                                              Kim Hiorthoy

                                                              Live Shet

                                                              Smalltown Supersound

                                                                Having played all over the world the last four years, both Hiorthøy and Smalltown Supersound have received many requests for his live material. That is why Hiorthøy has now collected and recorded his favourite live tracks. The material on this CD has been performed at venues in Barcelona, Bergen, Berlin, Brussels, Chicago, Copenhagen, Gothenburg, London, New York, Normandy, Oslo, Rome, San Francisco, Skotbu and Stockholm during 2002 and 2003. In a way it works as a new album, as it isn't recorded live, but also it differs from the music he is known for on record.

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                                                                Cover of Entering The Dragon by Keith Hudson.

                                                                Keith Hudson

                                                                Entering The Dragon

                                                                Secret / Trojan

                                                                This 1974 release by Keith Hudson is something of a lost gem - with his gravelly vocal style gaining more and more prominence in recent years. Housed in some sunshine cover art, 'Entering The Dragon' with the man Keith bringing an abrasive edge to the proceedings that probably sounded quite startling in its day, now acts as a sign-post to the dancehall/hip-hop evolutions that were to come.

                                                                With particular highlights including 'Will You Come Out Tonight', 'It Was When Friends Started to Talk About You' and 'Rage Of Love', Keith Hudson's classic is available for everyone to enjoy on 180 gram vinyl.

                                                                This expanded version more than doubles the length of the original set with the addition of a whopping 17 bonus tracks dating from 1971-1976, creating a patchwork overview of Hudson’s work along the way.

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                                                                Cover of Pick A Dub by Keith Hudson.

                                                                Keith Hudson

                                                                Pick A Dub

                                                                VP Records

                                                                "Pick A Dub" showcased the enduring strength and pivotal importance of the rhythm to the development of reggae music. Keith Hudson’s complete mastery of the genre and the unqualified praise that followed its release was fully justified. The album’s “œaustere sonic qualities” are awe inspiring, the superb rhythms are given full rein, unencumbered by extra effects and studio trickery. The overall effect is as mesmerising now as it was over forty years ago. Both CD & double LP set contain bonus tracks featuring eight vocal cuts of the featured dub including two previously unreleased tracks.

                                                                STAFF COMMENTS

                                                                Martin says: One of the greatest dub albums ever released, certainly in the top 5, and imperative listening for any appreciator of the form. Carlton and Aston Barrett and Augustus Pablo contributed music, while vocal fragments include Hudson, Horace Andy and Big Youth. Hudson's sparse handling of production and lack of studio ornamentation allow the heavyweight rhythms and echoing, dreamlike vocal melodies space to shine.

                                                                FORMAT INFORMATION

                                                                2xLP Info: Limited edition includes a bonus LP, 'Pick A Vocal'.

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                                                                Cover of Love Time by Kang Tae Hwan Trio.

                                                                Kang Tae Hwan Trio

                                                                Love Time

                                                                VHF

                                                                "Love Time" is Korean alto player Kang Tae Hwan's debut release; his trio includes Makoto Kawabata (Acid Mothers Temple) and percussionist Ichiraku Yoshimitsu (known for his work in Omoide Hatoba). More minimalist than free jazz "Love Time" centres on Hwan's long circular tones. Active since the 1970's Hwan has recorded for Japanese Victor and DIW labels.

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                                                                Cover of DB7 003 by Kito Jempere.

                                                                Kito Jempere

                                                                DB7 003

                                                                Duca Bianco

                                                                Saint Petersburg disco spinner, deep house don and advanced level digger Kito Jempere joins the ranks of the Duca Bianco mafia, shunning the fancy handshake and instead securing his entry with two top notch edits of exceptional obscurity. On the A-side, "FKA Lany" chugs along like a peak time power ballad, with a killer synth riff replacing any guitar histrionics. Armed with a bassline which walks slowly downstairs, plenty of fx use and a big emotive female vocal, this is primed for end of night deployment. Over on the flip, "Drakon" shakes asiatic melodies, pop-fusion and Fairlight stylings into a killer bit of 80s pop - in other words, well Balearic!

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                                                                Cover of Uohha! / To Marvin by Kito Jempere.

                                                                Kito Jempere

                                                                Uohha! / To Marvin

                                                                Hell Yeah

                                                                The forthcoming Director’s Cut of Kito Jempere’s "Sea Monster" album on Hell Yeah is filled with gems, and two of them are now getting pressed up on a limited edition run of only 100 7”s. Not only does this special package come mastered and cut by Andreas at Schnitstelle, it's also hand written and hand numbered by Andrea Amaducci with a double sticker in a high quality plastic sleeve.
                                                                The Russian genius Kito Jempere dazzles again on the A-side with “Uohha!”, which swaggers on lazy drums with expressive vocals conveying a sense of carefree emotion. Think the Avalanches soundtracking the emotional finale of a Richard Linklater movie. “To Marvin” is then a jazzed up number, with keys and trumpets, twisted synths and loose drums all getting you up on your toes. This is a sure-fire secret weapon that you need in your collection. 

                                                                STAFF COMMENTS

                                                                Patrick says: Super spezial, ultra limited 7" from the Hell Yeah camp, containing two of the special cuts from Kito Jempere's expanded "Sea Monster". Quirk heavy leftfield Balearic with a late nineties sampledelic feel.

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                                                                Cover of Bones You Have Thrown Me And Blood I've Spilled by Kathryn Joseph.

                                                                Kathryn Joseph

                                                                Bones You Have Thrown Me And Blood I've Spilled

                                                                Hits The Fan

                                                                  Kathryn Joseph released her debut album "bones you have thrown me and blood I've spilled" in January 2015; what started as an album "kickstarted" by dedicated fans has quietly and organically become a much loved, critically acclaimed album of 2015 and in June became the winner of Scottish Album of the Year (the longlist included Young Fathers, Belle & Sebastian, Mogwai and Paulo Nutini)

                                                                  Prior to her debut release  Kathryn Joseph was regarded one of Scotland's best-kept secrets; prodigiously talented and criminally underrated her voice possesses the other-worldly quality comparable to Ms Newsom and Björk; but she is by no means of an ilk. Better compared with Anthony Heggarty; she is an artist in every way; unique and soulful, and at the core a beautiful unnerving truth.

                                                                  Kathryn Joseph's debut album "bones you have thrown me and blood I've spilled" paints a delicate moving, at time visceral but always intricately beautiful description of her life until now. Lyrically compelling and sonically stunning, her album evokes a stark, cinematic journey. Written in a period during which life took Kathryn between northern bothies, east coast beaches, the forth bridges and ultimately the east end of Glasgow where she recorded the album.

                                                                  It was captured predominantly live in just a week by Scottish music industry veteran Marcus Mackay at the diving bell lounge (Frightened Rabbit, Snow Patrol, Trembling Bells, Alasdair Roberts, Sparrow and the Workshop).

                                                                  Kathryn's on record, and sometime-live collaboration with Marcus offers an unmissable, heart heavy and gut wrenching but understated performance. Those lucky enough to catch her at one of her rare performances are sure to be captivated, moved and perhaps a little disturbed.


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                                                                  Cover of Bones You Have Thrown Me And Blood I've Spilled by Kathryn Joseph.

                                                                  Kathryn Joseph

                                                                  Bones You Have Thrown Me And Blood I've Spilled

                                                                  Hits The Fan

                                                                    Kathryn Joseph released her debut album "bones you have thrown me and blood I've spilled" in January 2015; what started as an album "kickstarted" by dedicated fans has quietly and organically become a much loved, critically acclaimed album of 2015 and in June became the winner of Scottish Album of the Year (the longlist included Young Fathers, Belle & Sebastian, Mogwai and Paulo Nutini)

                                                                    Prior to her debut release  Kathryn Joseph was regarded one of Scotland's best-kept secrets; prodigiously talented and criminally underrated her voice possesses the other-worldly quality comparable to Ms Newsom and Björk; but she is by no means of an ilk. Better compared with Anthony Heggarty; she is an artist in every way; unique and soulful, and at the core a beautiful unnerving truth.

                                                                    Kathryn Joseph's debut album "bones you have thrown me and blood I've spilled" paints a delicate moving, at time visceral but always intricately beautiful description of her life until now. Lyrically compelling and sonically stunning, her album evokes a stark, cinematic journey. Written in a period during which life took Kathryn between northern bothies, east coast beaches, the forth bridges and ultimately the east end of Glasgow where she recorded the album.

                                                                    It was captured predominantly live in just a week by Scottish music industry veteran Marcus Mackay at the diving bell lounge (Frightened Rabbit, Snow Patrol, Trembling Bells, Alasdair Roberts, Sparrow and the Workshop).

                                                                    Kathryn's on record, and sometime-live collaboration with Marcus offers an unmissable, heart heavy and gut wrenching but understated performance. Those lucky enough to catch her at one of her rare performances are sure to be captivated, moved and perhaps a little disturbed.


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                                                                    Cover of From When I Wake The Want Is by Kathryn Joseph.

                                                                    Kathryn Joseph

                                                                    From When I Wake The Want Is

                                                                    Rock Action

                                                                    Kathryn Joseph releases her new album From When I Wake The Want Is, via Glasgow’s Rock Action Records. The follow up to 2015’s acclaimed debut Bones You Have Thrown Me And Blood I’ve Spilled, which was named the Scottish Album of the Year, this album is a captivating set that documents both life’s traumas and their resolutions. Produced by Marcus Mackay, who also worked on her debut album, 'From When I Wake The Want Is' mixes new songs with material gathered over the past ten years to create an intimate and often devastating portrait of Joseph’s world.

                                                                    STAFF COMMENTS

                                                                    Barry says: Echoing piano and dusty atmospheric washes with touches of jazzy percussion make for a beautifully mournful but immersive backdrop for Joseph's evocative vocal touches. A stunningly fragile but brilliantly immersive listen.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Heavyweight clear vinyl.

                                                                    Coloured LP includes MP3 Download Code.

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                                                                    Cover of Weight / Cold by Kathryn Joseph.

                                                                    Kathryn Joseph

                                                                    Weight / Cold

                                                                    Rock Action

                                                                      The last single to be taken from ‘From When I Wake The Want Is’, Kathryn’s second album, released last Summer, features an exclusive new track on the B- side.

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                                                                      K-Solo

                                                                      Tell The World My Name

                                                                      Atlantic

                                                                      Classic 1990 debut LP from Hit Squad family member K-Solo. Erick and Parrish provide their trademark beats for this highly gifted MC to flex his high-speed rhyme skills over. Check his crazy S P E L L I N G style on the wicked "Spellbound"!! Class old school action for EPMD fans.

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                                                                      Cover of Be Glad You Create Anything by K15.

                                                                      K15

                                                                      Be Glad You Create Anything

                                                                      Wotnot Music

                                                                      The totally prolific K15 returns to WotNot after more killer releases on Eglo & Wild Oats, a collaboration with Henry Wu, and remixes for Nubya Garcia, Colm K (on Tiff's Joints) and WotNot's own William Florelle, not to mention the beautiful record earlier this year under his Culross Close alias.
                                                                      We're all creative but somehow, being 'creative' has become a class within itself, often defined and measured by the whims of popular culture and monetary gain, which leads us to devalue what we create if we are not successful by those metrics. We are all creative, we all use our experience, talent and feeling to shape and we should "Be Glad We Create Anything".

                                                                      This EP holds onto this mantra tightly throughout, reflecting both the meditative and joyful effects of unimpeded creativity. The title track begins with K15's signature introspection, deep washes of jazz-inflected textures before exploding into a rapturous syncopated synth groove. B1 "Communion" explores the spiritual angle with a devotional piano cadence over bouncing drum pattern, with interlocking bass and synth rhythms adding to the hypnotic mood.

                                                                      Wrapping up the release is a warm, deep-soak hip hop instrumental titled "You're Alive (There's Still Time)", a message to self but also a beacon of hope to those who have maybe not created as much as they would have liked, or have strayed from the path the intended to take.

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                                                                      Cover of African Sunset by Kabasa.

                                                                      Kabasa

                                                                      African Sunset

                                                                      BBE Africa

                                                                      Originally released in 1982 on the short-lived Lyncell Records imprint, BBE Music is excited to present the brilliant and ultra-rare album ‘African Sunset’ by South African band Kabasa. Formed in Soweto by vocalist and bassist Tata “TNT” Sibeko, guitarist Robert “Doc” Mthalane (described as the Jimi Hendrix of South Africa) and percussionist OupaSegwai, Kabasa recorded a trio of powerful albums in early-80s Johannesburg. Having been part of the iconic Afro-rock band Harari, the first ever local black pop band to appear on South African TV, Mthalane and Segwai decamped to team up with Sibeko for Kabasa’s eponymous debut in 1980. ‘African Sunset’ is their third and final album and is produced by the band with songwriting duties shared between founding members Sibeko and Mthalane as well as newly-joined percussionist and flautist Mabote “Kelly” Petlane. Taking in psychedelic rock influences alongside shades of jazz, funk and more traditional sounds, ‘African Sunset’ is a timeless album, standing out to this day thanks to its heavy grooves, great songwriting and superior musicianship. With original pressings of ‘African Sunset’ now virtually impossible to find, BBE Music is delighted to present this carefully remastered version that includes original artwork. Available on vinyl, CD and digital formats.

                                                                      The first ever reissue for this ultra-rare 1982 album by South African band Kabasa. Kabasa was formed in Soweto by vocalist and bassist Tata “TNT” Sibeko, guitarist Robert “Doc” Mthalane (a former member of iconic Afro-rock band Harari, the first ever local black pop band to appear on South African TV). A unique and timeless album taking in psychedelic rock influences alongside shades of jazz, funk and more traditional sounds. Carefully remastered and pressed on heavyweight vinyl, complete with original artwork. Original copies of the LP are now almost impossible to find, fetching hundreds of pounds when they occasionally surface.


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                                                                      Cover of Carrying On by Kacy & Clayton.

                                                                      Kacy & Clayton

                                                                      Carrying On

                                                                      New West

                                                                        The music Kacy & Clayton make is inextricable from where they grew up. They sing about the kind of people you’d find in Wood Mountain, Saskatchewan (population very few.) The hills, barns and remoteness of the area are in these songs, with a bittersweet acknowledgement that this music has taken them far from home. ‘Carrying On’ follows the international acclaim for their previous records ‘Strange Country’ (which Q magazine called “A beautiful album that nudges a classic past into a brave future”) and 2017’s ‘The Siren’s Song’ (described by Uncut as “Ageless and beguiling. A classic record for this or any other time.”)

                                                                        Their sound is equal parts homespun, coming from a family and community where playing music is an ever present part of social gatherings and the rare country, blues and English folk rock these second cousins obsess over and collect. For ‘Carrying On’, Clayton cites as influences: Bobbie Gentry’s Delta Sweete, Hoyt Axton’s ‘My Griffin Is Gone’, Cajun fiddle music and the steel guitar of Ralph Mooney, who played on many of the records that defined the Bakersfield country music scene of the 1950s. Sixties psych has also woven its way into these new songs.

                                                                        Having toured almost nonstop for the last two years, ‘Carrying On’ was conceived and honed on the road and recorded immediately after a jaunt across Western Canada - the songs having been tried and tested before audiences each night. The album was produced once again by Jeff Tweedy of Wilco and Uncle Tupelo fame, at his Loft studio in Chicago.

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Indies exclusive pink marble vinyl.

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                                                                        Cover of Urth by Kagoule.

                                                                        Kagoule

                                                                        Urth

                                                                        Earache

                                                                        Eagerly awaited debut album from Nottingham, UK teenage alt-rock trio Kagoule

                                                                        Produced by Ross Orton (Arctic Monkeys - AM) at 2Fly Studios in Sheffield

                                                                        Tipped by Rolling Stone as "The Artist To Watch in 2015"

                                                                        “They’re part of a new wave of British bands (remember bands?) making a rock noise (remember rock noise?) that includes Royal Blood, Drenge and Southern... It is indeed a cause for celebration, if you happen to enjoy being whomped about the head by more than mildly momentous guitar, bass and drums, delivered with some of the feral power of Pixies.” – THE GUARDIAN

                                                                        “Nottingham three-piece Kagoule are making a play for our hearts and minds and they’re treading a battle-path worn by the Pixies to get there. A perfect blend of melody and brutality.” – NME

                                                                        " A fun little bummer of a record." – ROLLING STONE

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                                                                        Cover of & Now For Plan C by Kaibosh.

                                                                        Kaibosh

                                                                        & Now For Plan C

                                                                        Criminal Records

                                                                        'This North London band go full thrust with powerful tracks and strong melodic vocals. Despite meandering through their mid twenties, their sound has been described as old school rock soul burnt at the edges with a fresh and new perspective, hard hitting rhythms, jazzy keys, riff laden guitars and soaring vocals.'

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                                                                        Cover of Loves Saves The Day - Mario Basanov / Soulclap Remixes by Kaine Feat. Kathy Diamond.

                                                                        Kaine Feat. Kathy Diamond

                                                                        Loves Saves The Day - Mario Basanov / Soulclap Remixes

                                                                        Needwant

                                                                        Balearic pinao-house cut "Love Saves The Day" has been one of our biggest sellers of the early summer, and now NeedWant dish up an equally tasty remix 12". Mario Basanov’s 'Vocal Remake' is a perfectly timed disco shaker, that combines funky guitar licks with an 80s inspired synthy bassline all to a summery and uplifting backdrop. Kathy’s vocal is cut up to perfection with eventually Mario letting the chorus shine. On the dub he takes things direct to the dancefloor with squelchy bassline and punchy kick drum with a piano break that will have hands pointing upwards. Soulclap need little introduction being one of the hottest production / DJ at this moment in time. From the Wolf & Lamb camp, they have impressed with their repertoire of musical abilities whether it be re-editing a pop classic or a deep house workout, they seem to have a magic touch. Their house take on "Loves Saves The Day" delivers in its simplicity. Drums and dubbed out vocals create the perfect heads down groove for sunny afternoons as well as long dark nights.

                                                                        FORMAT INFORMATION

                                                                        12" Info: Comes in plain black sleeve.

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                                                                        Cover of Employment by Kaiser Chiefs.

                                                                        Kaiser Chiefs

                                                                        Employment

                                                                        B-unique

                                                                        The hugely anticipated debut album from one of the most hotly tipped bands around at the moment, hot on the heels of two great pop singles: "I Predict A Riot" and "Oh My God". Fans of their releases so far won't be disappointed the album ebbs and flows nicely between jaunty energetic pop reminiscent of Super Furry Animals quirky pop, and gentler more reflective moments.

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                                                                        Cover of Obaa Sima by Ata Kak.

                                                                        Ata Kak

                                                                        Obaa Sima

                                                                        Awesome Tapes From Africa

                                                                        Ata Kak's cassette 'Obaa Sima' fell on deaf ears when it was self-released in Ghana and Canada in 1994. The music on the recording - an amalgam of highlife, Twi-language rap, electro-funk and disco - is presented with the passion of a Prince record and the DIY-bedroom-recording lo-fi charm of early Chicago house music. The astute self-taught song craft and visionary blend of sounds and rhythms has made the album a left-field cult favorite among adventurous listeners worldwide. Awesome Tapes From Africa founder Brian Shimkovitz found the tape in 2002 in Cape Coast, Ghana - one of only a few ever pressed - and later made it the inaugural post on the Awesome Tapes From Africa blog. Hundreds of thousands of downloads, YouTube views, music video tributes and remixes, as well as years of mystery regarding Ata Kak's whereabouts, culminate in this remastered release featuring rare photos and the full back story of one of the internet age's most enigmatic musicians.

                                                                        FORMAT INFORMATION

                                                                        LP includes MP3 Download Code.

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                                                                        Cover of Songs Of Paapieye by SK Kakraba.

                                                                        SK Kakraba

                                                                        Songs Of Paapieye

                                                                        Awesome Tapes From Africa

                                                                        SK Kakraba is master of the gyil, Ghanaian xylophone made of 14 wooden slats strung across calabash gourd resonators. The buzzy rattle emitted with each note comes from the silk walls of spiders' egg sacs stretched across holes in the gourds, called paapieye in Lobi language. The gyil's earthy sound can be heard in parts of Upper West and Northern Regions of Ghana, as well as C'te d'Ivoire, Burkina Faso and beyond, where it goes by other names. The characteristic buzzing timbre might sound odd to foreign ears. But this distortion is just one of the beautifying sensibilities crucial to SK's gyil music, which he learned as a child from elders in his Lobi community in the far northwest reaches of Ghana. Although the gyil is sometimes played in pairs and with drum and bell, SK lives in Los Angeles these days and plays alone quite often. Songs of Paapieye surveys a deliberate snapshot of SK's hereditary Lobi repertoire heard through the lens of a stripped-down, and sometimes spare-sounding, solo gyil. The album focuses on a selection of SK's favorite song cycles, funeral dirges, improvised interpretations on traditional songs and original compositions - and combinations thereof.

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                                                                        Cover of The Town by Kalbata / Mayaan Nidam.

                                                                        Kalbata / Mayaan Nidam

                                                                        The Town

                                                                        Brush & Broom

                                                                        Kalbata invites Perlon-contributor Maayan Nidam for a superbly ambidextrous two track EP on his Brush & Broom imprint. Both are known to be highly versatile artists, and when joining forces in the studio the results are equally kaleidoscopic. "The Town" drops you into a wormhole of clicking woodblocks and percolating rhythms, your freefall accompanied by trippy fx, bouncy beats and hints of Prelude-style synth vamps. Surely a sound from the neon swamp, this is one for the research chems crowd. Flip it and the weirdness continues via the deep and dark techno voyage of "Chrome Moon", a moody groover with constant movements of metallic underlays and industrial overtones. More to come from this newly-formed duo so keep em peeled!

                                                                        STAFF COMMENTS

                                                                        Patrick says: Holy Sheeeeiitt! Kalbata gets collaborative with Mayaan Nidam here and hooks up a radioactive roller for the 5D party people. Twisted fx, Morse code bleeps and a rhythm section that just won't quit. If you like it darker, you'll dig on the B-side, but I'm all about the neon baby!

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                                                                        Cover of Cutting At Nothing by Kalev.

                                                                        Kalev

                                                                        Cutting At Nothing

                                                                        Road Movie Revival

                                                                        Kalev is a five piece band based in London. They produce dark electronic guitar music, made with pounding rhythms and white noise. The band has come from the rethinking of Stockholm Syndrome, a Lichfield-based post-punk band set up while the members were half way through high school. Kalev have a wide range of influences, including: At the Drive-in, Nirvana, Squarepusher, Tool, Nick Cave And The Bad Seeds, Radiohead, Led Zepplin, Kraftwerk, The Micronauts, The Doors, Joy Division, Aphex Twin and Depeche Mode.

                                                                        FORMAT INFORMATION

                                                                        CDS Info: The CD single includes "Cutting At Nothing (GoodBooks Second Edition)", "Meat Vise (Live)" and the video for "Cutting At Nothing".

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                                                                        Cover of Jaakko Eino Kalevi by Jaakko Eino Kalevi.

                                                                        Jaakko Eino Kalevi

                                                                        Jaakko Eino Kalevi

                                                                        Weird World

                                                                        Finnish songwriter, producer, multi-instrumentalist and tram driver Jaakko Eino Kalevi follows up on the global exposure of his essential Beats In Space release with a glorious LP of oddball pop songs-not-songs. Vivid, sensual and technicolour, the self titular LP sees the musician meld elements of disco, new wave, R&B, house, dub, pop and prog into a record that’s adventurous, original and full of charm. "JEK" opens the LP in emotive synth-soul form before fan favourite "Double Talk" bathes us in drifting new wave beauty. "Deeper Shadows" fuses pastoral prog melodies with a slick Timbaland style R&B groove and dub production, while "Say" and "Night At The Field" update "More Songs About Buildings And Food" for the modern listener. On "Mind Like Muscle", Destroyer, The XX and John Cale get nice and intimate in Jaako's mind, before he takes a leaf out of Ariel Pink's book for "Don't Ask Me Why". The final three tracks on this kaleidoscopic listening experience take in the leftfield disco of Arthur Russell, Laurie Anderson experimentalism and Jean Michel Jarre's "Souvenirs De Chine" to round off a career defining LP.

                                                                        STAFF COMMENTS

                                                                        Martin says: Jaakko Eino Kalevi's output has drawn comparison with Aerial Pink's, but that would be a little misleading. There is irony in the music, but not just that; he undeniably loves the crisp, faultlessly crafted blend of soft rock, electronic pop and Euro-disco he is affectionately sending up. Perhaps it wouldn't be Finnish if it weren't shot through with a hint of melancholy, but that only adds to its strange charm.

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                                                                        Cover of Dissolution by Jaakko Eino Kalevi.

                                                                        Jaakko Eino Kalevi

                                                                        Dissolution

                                                                        Weird World

                                                                        Finnish psych-pop voyager Jaakko Eino Kalevi returns with a new release called ‘Dissolution’ via Weird World. Never one to repeat himself, these seven songs come from a sparkling new constellation in the Kalevi universe as he draws deep for a set that explores the cosmic implications of a life being well lived. On this release, Jaakko teams up with the Berlin- based Taiwanese singer Yu-Ching Huang; as he sings in his native tongue, she responds: “I won’t make contact / I enter the limit state.

                                                                        STAFF COMMENTS

                                                                        Patrick says: Finland's king of psychedelic curveballs, quirky Balearic and off kilter synth jams returns with 'Dissolution', continuing his groove heavy journey into absurdist pop but with deeper emotional connection and a richer sound than ever before.

                                                                        FORMAT INFORMATION

                                                                        LP includes MP3 Download Code.

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                                                                        Cover of Out Of Touch by Jaakko Eino Kalevi.

                                                                        Jaakko Eino Kalevi

                                                                        Out Of Touch

                                                                        Weird World

                                                                        In this age of constant connectivity, switching off has become one of the great luxuries of modern life and it’s one of the reasons Jaakko Eino Kalevi has called his new album ‘Out Of Touch’. He explores what he calls this “essential, blissed out” state on his second album for Weird World as he meditates, in classic Jaakko fashion, on the merrygo- round of the daily grind.

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                                                                        Cover of A World Of Peace Must Come by Stephen John Kalinich.

                                                                        Stephen John Kalinich

                                                                        A World Of Peace Must Come

                                                                        Light In The Attic

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

                                                                          "A World Of Peace Must Come is his masterpiece. That was fantastic." - Brian Wilson
                                                                          "'Be Still' is the only song I've ever heard that made me want to be a better person." - Brian Barr, The Seattle Weekly

                                                                          "The only other artist as pure as him is Captain Beefheart." - Bill Bentley

                                                                          Stephen John Kalinich was born in Endicott, New York and grew up in Binghamton. In his early teens, he stared writing poems and articles about World Peace. He first came to California around 1964, fell in love with it, and promptly transferred from Harper College in upstate New York to UCLA.

                                                                          Kalinich found himself immersed in the vibrant anti-War culture of late 60’s California, often writing songs and poems against the War. He found a musical partner and kindred spirit in Mark Lindsey Buckingham. They cut a demo for a track called "Leaves of Grass," inspired by the famous Walt Whitman poem "Leaves Of Grass", and Kalinich started taking demos around.

                                                                          In the mid 60s, it was either at Brother Records or while pumping gas that Kalinich first met the Beach Boys. He hit it off with Brian, Carl and Dennis right away. As the first artist signed to the Beach Boys new label Brother Records, Carl Wilson produced a record for him. His first songs that saw release were "Little Bird" and "Be Still," which he wrote with Dennis and were released on the Friends album. His relationship with Dennis would lead to a number of further collaborations and Kalinich / Dennis Wilson co-writes, including: 20/20 - "All I Want To Do," Hawthorne, CA - "A Time to Live in Dreams", Pacific Ocean Blue - "Rainbows," and Bambu - "Love Remember Me.”
                                                                          A World of Peace Must Come was recorded at various LA studios and Brian's house in Bel-Air in 1969. The tapes were promptly lost, not to be heard again until our discovery of them in 2008. Following the CD-only reissue in that year, this is the first time this timeless snapshot of an era and an ethos will be available on vinyl for Record Store Day 2014.


                                                                          FORMAT INFORMATION

                                                                          Ltd LP Info: * First time reissued on vinyl
                                                                          * Long lost psych poetry album by legendary Beach Boy song-writer
                                                                          * Co-produced by Brian Wilson in Los Angeles in August 1969
                                                                          * Booklet featuring liner notes by Beach Boy archivist Alan Boyd, unseen photos, archival material, and full lyrics
                                                                          * Record Store Day exclusive featuring hand-numbered “tip-on” jacket.
                                                                          * Pressed on “ORANGE” wax for Record Store Day

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                                                                          Cover of Don't Need A Lover by Kalisha.

                                                                          Kalisha

                                                                          Don't Need A Lover

                                                                          Groovin

                                                                          Italy's Groovin' continue their mission through the glory days of house music here with a much needed reissue of Kalisha's 1992 bomb "Don't Need A Lover". As N.Y. as it's possible to get, the cut hits us with M1 organ, chunky pianos and a rolling bassline, totally nailing the ballroom sound - vogue it up! In true '92 fashion, there's a dubbier, smoother and sax topped "Underground Mix" on the B1, which explores a slightly different shade of foundation. Over onto the B1, and "2 Deep" locks down a snapping 4/4, optimistic organ refrain then plunges into the subby bass and slapping toms of any good Humphries / Vasquez mix. If that wasn't enough to get you lost in music, the mighty, massive and totally in demand "I Got Something Here" lands on the B2, bringing us a whole host of First Choice samples (vocals and strings from "Love Thang" and of course the classic "Let No Man Put Asunder" spoken sass-a-thon) and a fierce NY house rhythm section. I'm about 20 mins away from full drag here, so I'll leave you to enjoy!

                                                                          STAFF COMMENTS

                                                                          Patrick says: Strike a mutha-tuckin' pose brothers and sisters! Groovin' go back to old school to bring us a phat reissue of Kalisha's NY ballroom house slammers "Don't Need A Lover" and "I Got Something Here", a pair of properly Vogue-ish bombs straight from the Sound Factory. Work it.

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                                                                          Cover of I Got Something Here Remixes by Kalisha.

                                                                          Kalisha

                                                                          I Got Something Here Remixes

                                                                          Danse Club

                                                                          The storming Danse Club Records are back with another big house classic that comes complete with remixes from Dutch tech-house hero Lauhaus, label bosses Brodanse plus Bass Culture alumni John Jastszebski, whose version is vinyl-only. Kalisha's original is a classic house beat released on N Sync Inc back in 1992, but it still sounds hugely on-point. With garage-inflected beats, grainy, catchy percussion and pristine chord stabs, it is an ebullient jam that brims with personality.

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                                                                          Cover of Open Like A Flute by Ariel Kalma.

                                                                          Ariel Kalma

                                                                          Open Like A Flute

                                                                          Black Sweat

                                                                          Originally composed between 1981 and 1984 and initially appeared only on tape in two different editions, the proposed material from Kalma for this work confirms his pantheistic vision of the ethnic sound that had already emerged in 1978 with the masterpiece Osmose. The deep consciousness of the compositional techniques of Indian ragas it's mixed here with embroidered electronic textures on which flute and sax explore the most secret archetypal elements of nature. In this way Kalma offers to the listener a personal idea of sacred music with luminous and oneirics tones but always dialoguing with a highest cosmic conception of things. With a clever use of effects, harmonium, delays and exotic percussions Kalma becomes the creator of soundscapes from the endless myriad shades.Such a fusion of western avant-garde and eastern traditione approaches the frech musicien to other big names of the international panorama as Popol Vuh, Angus Mclise or Laszlo Hortobagy. The master comes from original 1/4’’ analog tape from the 80’s.

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                                                                          Cover of Black Focus by Yussef Kamaal.

                                                                          Yussef Kamaal

                                                                          Black Focus

                                                                          Brownswood

                                                                          The borders between London’s musical tribes have always been porous. For Yussef Kamaal, the sound of the capital – with its hum of jungle, grime and broken beat – has shaped a selftaught, UKtipped approach to playing jazz. In the states, the genre’s longrunning to-and-fro with hip hop – from Robert Glasper to Kamasi Washington – has reimagined it within US culture. On Black Focus, Yussef Kamaal frame jazz inside the basssaturated, pirate radio broadcasts of London.

                                                                          Taking inspiration from the anything-goes spirit of ‘70s jazzfunk, on albums by Herbie Hancock or the Mahavishnu Orchestra, it’s a loose template with plenty of room to experiment. The pair, made up of Yussef Dayes and Kamaal Williams (aka Henry Wu), have had little in the way of formal training. Instead, their musical tastes – and approach to playing – are indebted to Thelonious Monk’s piano as much as the drum programming of Kaidi Tatham.

                                                                          “It's all about the drums and the keys,” Williams says. “Not to take anything from anyone else, but that's where it all originates from: the chords, the rhythm of the chords and the drums.” Born out of a oneoff live session to perform Williams’ solo material for Boiler Room, it soon became a project in its own right. Coming together as Yussef Kamaal, they played a series of live shows where little more than a chord progression would be planned before taking to the
                                                                          stage.

                                                                          Bringing that unspoken understanding to the recording sessions (engineered by Malcolm Catto of The Heliocentrics), the unplanned, telepathically spawned grooves retain the raw energy of their live shows. “It's not so much about complete arrangement, it's more about flow,” Dayes says. “A lot of the tracks are just made spontaneously – Henry will be playing two chords, I'll fill in the groove and we'll just leave the arrangement naturally.” Both hail from South East London, crossing paths in 2007 as teenagers playing their first pub gigs around Peckham and Camberwell. Dayes drums for cosmicallyinclined, afrobeat outfit United Vibrations, while Williams – on top of drumming and playing keys in different incarnations over the years – has made waves with his solo, synthdraped house 12"s for muchfêted labels like 22a and Rhythm Section.

                                                                          Moving in the same circles but never playing together previously, rhythm underpins an innate musical understanding. As Williams explains, “The way we approach it is all about the energy and the feeling. We just get in there and we feel it out.” Drawing influence from all corners of London’s shapeshifting musical makeup, the sound of Black Focus is distilled – or focused – down to the core interlock between drums and keys.


                                                                          STAFF COMMENTS

                                                                          David says: The purists might argue that this isn't strictly jazz, I'm happy to argue back. It might use elements of broken beat and house on its journey but jazz is the final destination.

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                                                                          Cover of Windborne by Kanaan.

                                                                          Kanaan

                                                                          Windborne

                                                                          El Paraiso

                                                                            “Windborne” is the debut album from young Norwegian power-trio Kanaan. With components from jazz, fusion and post-rock they have created six extended pieces of blazing freeform psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and The Eleventh House in the 1970s, there's a distinctive modern flavour to Kanaan's sonic endeavors. Their Scandinavian genealogy is apparent as well - their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir and Jaga Jazzist. And no doubt the young band has the chops to carry on the pedigree! Opening track ”A. Hausenbecken” feels like a sudden blast of refreshing nordic air, with it's rolling guitar leads and growling Fender Rhodes.

                                                                            But Kanaan aren't afraid to get deep and heavy – the B-side dives into straight-up Sabbath territory, with ”Act Upon The Mundane World” and ”The Groke”, before ending the album with the abstract, free-flowing title track ”Windborne”. From the first note to the last the band keeps high levels of energy and creativity, and although freeform, they never sacrifice focus or direction. 

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                                                                            Kanda

                                                                            It's A Good Name For You

                                                                            555

                                                                            East Coast synth darlings kanda come up trumps with their anticipated debut full length. They trade off boy / girl vocals mixed with a glorious blend of old skool sounds and futuristic beatz. Unashamedly retro and irresistably pop. This is the synthpop record Brian Wilson never made!!!!

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                                                                            Cover of Needless To Say EP by Ray Kandinski.

                                                                            Ray Kandinski

                                                                            Needless To Say EP

                                                                            E-Beamz

                                                                            New Ray K on cult label E-Beamz. One of the lo-fi house OGs that's broke out and found fame outside of the genre - namely on Arcane; here he returns to his roots for a four track cruncher for the vape generation. "Needless To Say" gets split across two parts. The first part is a steady climb, tumbling toms and ratcheting stabs creating a sense of excitement and tension; leaving what's around the corner purely to our imagination. Part 2 seems to up the tempo and the deepness in equal measure; straying away from the obvious and expected to plummet heads down into the speaker stacks for an amphetamine-fuelled fist-pumper of the highest order! I can feel the sweat flicking across the dancefloor now! "See Outside" offers from shimmering, reflective beauty, a contrast to the jagged and full throttle energy of side A, this revels in a seductive charm that'll get people moving closer to each other on the dancefloor. "Ray" concludes by cleverly matching Guy Called Gerald's "Voodoo Ray" to mechanized, slow-n-steady cerebral beats, flipping the mood of the original entirely and coming out with summat pretty heady and narcotic. Ace!

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                                                                            Cover of Strangerinthecity by Kandinsky & Mr. Fries.

                                                                            Kandinsky & Mr. Fries

                                                                            Strangerinthecity

                                                                            Wolf Music

                                                                            Powering their way through 2019 with no sign of letting up, WOLF Music unleash their next house gem, ‘Strangerinthecity’, from German pairing Kandinsky & Mr. Fries. Six slices of soulful deepness, that range from blissfully Balearic and chugging groovers, to hazy jazz-infused sweetness, crunchy beats and sweeping interludes.

                                                                            Kicking off the A side a cinematic intro, laced with movie samples and thundering pianos, gives a grand opening for ‘Stranger’ to slide in with its bongo delights, dusty trumpet melodies, psych guitar licks and fluttering Rhodes. Couple that with the modulated vocal snips and it’s a wave of warmness destined to win over any dancefloor. ‘Fallingasleep’ takes the final slot on the A side, a chuggy bass-arp-fuelled interlude with rippling hats, echoing rides and washes of the sea, to lead you serenely into the second half of the record.

                                                                            On the flip side, ‘Downhere’ and ‘Strollingaround’ sandwich either side of ‘Junkfoodnmusicpt2’, like the juicy pleasures its namesake depicts, encasing it lovingly in two dreamy house numbers. The former is a trumpet laden, smokey cocktail of grooves and the latter a more disco-tinged offering, led by a dynamic bass / guitar combo alongside delicate brass and string tones. The tender filling to this deep-fried delight? ‘Junkfoodnmusicpt2’ – a beatsy trip of glistening, lo-fi, instrumental hip hop that will leave you salivating for more.

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                                                                            Cover of K3 by Kandodo 3.

                                                                            Kandodo 3

                                                                            K3

                                                                            Rooster

                                                                              Brand new studio full length from Bristol based sike-o-nauts, orbiting in the Heads’ realm and led by Heads’ Simon Price.

                                                                              For fans of: Popul Vuh, Parson Sound, Amon Duul, Neu!, The Heads, Spacemen 3, Harmonia, Moon Duo, Carlton Melton, Fripp & Eno.
                                                                              k3 continues the trajectory of outer space excursions found on previous kandodo releases.

                                                                              Recorded over the past three years and aided by fellow Heads types H O Morgan and Wayne Maskell, this album was recorded in Bristol and on Price’s 4 track.. Mastered once again at Optimum by Shawn Joseph.
                                                                              Out of focus, relaxed and expansive vibes fuse together into serpentine rivers of minimalist rhythms and echoed tones, drawing the listener into tunnels of sound and scorched sonic landscapes.

                                                                              It's one for the headphones at 30,000 feet or late night deserted drives.
                                                                              k3 finds three heads taking time out to dive into the dronal repetitions of deep space, 3 psychonauts killing time in the only way they know how; head-nodding drumfuzz layered with creamed strings. Guest guitar from fellow sike-head John McBain on the final half of the 40 minute trip which makes up sides 3 and 4.

                                                                              k3 takes the autobahn, veering left past the sun and heading on till morning. There are no black holes 'cos we're in it: just do the half. The colours will come back with the dawn.

                                                                              Settle in for the long haul and ….

                                                                              STAFF COMMENTS

                                                                              Barry says: Hazy sun-dappled ambient psychedelia doesn't come any more satisfying than this, with slow-mo Earth-like progressions and weighty clean guitar plucks meander over a satisfyingly hypnotic undercurrent of staggered distorted bass and whirling sine waves. Properly hypnotic stuff here, perfect for phasing out in the sunshine.

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Heavyweight mirrorboard gatefold sleeve, white vinyl pressing of 600 copies.

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                                                                              Cover of Runes by Kano.

                                                                              Kano

                                                                              Runes

                                                                              Subliminal Sounds

                                                                                First ever vinyl release of this unique, dark and sparse, tribal, minimal synth, drone, trance, new age recording from the mysterious Kano. Previously only issued as an obscure cassette back in 1986 which is now much sought after. Runes is much darker and brooding compared to its new age peers of the era. Drums, metalophone, synths and more leads you on a deep inwards trip via damp, cold and foggy caves to the ancients. Runes is an extraordinary musical experience. Kano, described as ’a trance musician from Colorado’ on the original release, was Don Campbell in real life and the Runes cassette was eventually issued under his name too. 

                                                                                FORMAT INFORMATION

                                                                                Ltd LP Info: Ltd to 1000.

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                                                                                Cover of Bottenmannen by Kanot.

                                                                                Kanot

                                                                                Bottenmannen

                                                                                Hoga Nord

                                                                                Yet another new artist emerges from the drug-addled undergrowth of Hoga Nord. Fast becoming the most wacked-out and narcotically fuelled label we stock here in the shop; whether it's lysergic fuzz, interplanetary psyche, E'd up warehouse beats or some psychotropic musical life form yet to be classified, the camp seem to invite anyone with a penchant for getting off it, on it.

                                                                                Kanot's first record and two different flavours contributing to the same psychedelic soup. Anyone remember Sylvestre Anfang II? I can't help draw comparisons with the Amon Düül II-affiliated group. Only there's a bit more synthesizer action from this guy (these guys?). Both tracks glide in through an inviting synthy / drony intro, then burst into the kind of twangy, pagan 'funeral folk' meanderings a la Goat and the above mentioned Sylvester Anfang. It's ace! And yet another ear-grabbing arrow in the bow of this wonderful label. Recommended. 


                                                                                STAFF COMMENTS

                                                                                Matt says: Yeah man, taking us right back to those proto-Goat pagan swagger days when it was perfectly normal to sacrifice a small mammal before heading into work... Campfire voodoo rituals never sounded so good!

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                                                                                Cover of Denya / Sibou Odia - Ben Gomori Edits by Djessou Mory Kanté / Orchestra Baobab.

                                                                                Djessou Mory Kanté / Orchestra Baobab

                                                                                Denya / Sibou Odia - Ben Gomori Edits

                                                                                Sterns Edits

                                                                                Ben Gomori heads up the latest Sterns Edits twelve with two carefully-crafted reworks, both tried and tested to ensure maximum dancefloor impact.

                                                                                Guinean guitar master Djessou Mory Kante's blistering style makes for propulsive dancefloor material when paired with a chunked-up house rhythm, with Gomori utilising the stems available to add subtle FX trickery to the intricate melodics of the original. The whole affair on "Denya" builds and rolls in incessant fashion, with another riveting bassline mirroring and counterbalancing the main motifs.

                                                                                The wild sounds of Senagelese legends Orchestra Baobab's nine-minute-odyssey "Sibou Odia" is a formidable piece of work that shows the band's stunning musicianship in fine style. With only the original track to work from and no stems, Gomori hones in on the sections where the groove is dominant and the raucous solos potently cut through. The skanking rhythms are intact, with a huge bassline pushing the proceedings forward throughout.

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                                                                                Lucy Kaplansky

                                                                                Every Single Day

                                                                                Red House Records

                                                                                Lucy Kaplansky has developed into a songwriter of great humanity and vision and this is, without doubt, her best album yet. Revealing and intimate and a real joy to return to again and again.

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                                                                                Cover of Carnage Hall by Kaputt.

                                                                                Kaputt

                                                                                Carnage Hall

                                                                                Upset The Rhythm

                                                                                  KAPUTT are a recently hatched post punk act from Glasgow, Scotland. Numbering six, Kaputt feature Simone Wilson and Cal Donnelly on guitars and vocals, Chrissy Barnacle also sings and plays saxophone. Tobias Carmichael is responsible for bass, whilst Rikki Will and Emma Smith cover drums and percussion respectively.

                                                                                  Racing away from the playful torn edge of no-wave song, Kaputt blurt out tracks with twitchy charisma, their catchy riffs circle with relish, allowing timely sax stonks and stop-start rhythms to drive things on. Vocals leap, guitars bluster and always the saxophone snakes, hypnotically drawn through the erratic beat. There’s a riot of fun at play in their febrile racket, but there’s also some deeply cerebral grooves and choice lyrical concerns evident too.

                                                                                  The songs on ‘Carnage Hall’, Kaputt’s debut album released by Upset The Rhythm this September, were all written in Glasgow between 2016-2018. Following on from the independence referendum and the subsequent Brexit vote these songs couldn’t help but be influenced by the maelstrom of political hypocrisy and confusion in the air. Other themes prevalent on this energetic corkscrew of an album include the offbeat happenchance of life in 2019, notions of surveillance, identity (personal as well as the biscuit-tin styled persona of the Scottish Highlands), industrialisation and family. There’s a lot of room left for things to turn quietly surreal too. Title track ‘Carnage Hall’ is about an alternative dimension in which Judy Garland’s famous Carnegie Hall show, (one of the group’s favourite albums), was a total bust rather than the roaring success it proved to be. In deciding to call the record ‘Carnage Hall’ the band wanted to reflect on this “deeply uncertain and deeply unstable, odd political time… maybe we are all in an alternative dimension, all living in the Carnage Hall at this moment” alludes Donnelly.

                                                                                  Album opener ‘Rats’ with its refrain of “it’s so much darker now” is a crumpled twist of song. Explosive, ruminative and content to bemuse with a loose political allegory drawn out from a dank pet shop. ‘Accordion’ lilts with more breezy tendency, “forward, forward, I’m always moving forward” they collectively sing as if affirming their musical manifesto. Kaputt excel at fidgety, speedy outpourings of ideas, their songs zap by, multifaceted and bejewelled with detail and colour. ’Parsonage Square’ is another great example of this, it’s a song about public access, panopticons and paranoia hurtled into a motley rip of melody that feels very much like a fairground ride being cranked up a gear. Meanwhile ‘Suspectette’ concerns itself with Mary Weiss of the The Shangri-Las’ FBI file. ‘Think About Your Face’ investigates those certain grimaces made in passionate embrace. Bizarre and wonderfully outlandish, Kaputt enjoy keeping things as unpredictable as the tempo of each song.

                                                                                  Kaputt are skilled practitioners of emotional sleight of hand too, whilst each song on ‘Carnage Hall’ whirls by in frenzied fashion, burning bright with purpose, the group’s lyrics pull you into people’s lives, often damaged, often running low on options. ‘Highlight’ is an a-grade anthem doubling up as an eulogy for shipbuilding, ‘Drinking Problems Continue’ parts 1 and 2 are about Ullapool and generational holidays spent watching “the sun set on the ferry”. “This could be your life” attest Kaputt on the deliriously labyrinthine ‘Very Satisfied’. ‘Carnage Hall’ is an empathic album dealing with memory and place, but most importantly with people. “Swallow your thumbprints” demand the band in rampant stomper ‘Hi, I’m The Wasp’. Maybe this is all the push we need to drop tired notions of belonging. This record asks us to clasp dear what makes us connect with each other over division. It’s searching for an open window to slip through away from Carnage Hall and into the next parallel world, one where we have a chance.

                                                                                  ‘Carnage Hall’ was recorded and mixed by Luigi Pasquini in Anchor Lane Studios in Glasgow in spring 2019, before being mastered this summer by John Hannon at No Studios. Caio Wheelhouse worked with the band on the artwork. ‘


                                                                                  FORMAT INFORMATION

                                                                                  Ltd LP Info: Limited 180g black vinyl. Printed gloss sleeve + offset paper lyric insert. 400 Copies Only

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                                                                                  Reduced Cover of Arc 005 by Kareem Kool.

                                                                                  Kareem Kool

                                                                                  Arc 005

                                                                                  Arcane US

                                                                                  Kareem Kool on Arcane US, the Brooklyn based label run by Edgar Rojas-Masferrer. With a low key but highly specialist artist roster, this is one label to watch if your after the less obvious cuts from the current house spectrum. Kareem Kool contribution is nothing short of inspired, with a sound that meets somewhere between Apron's frazzled aesthetic, Hieroglyphic Being's fearless experimentation combined with an ear for angelic, heavenly and transportive sounds and textures. If the first three tracks don't win you over, then "Town", concluding should crush even the most iron-wrought of hearts, destroying the listener with painfully emotive blasts of yearning melodies, white noise bursts and mechanical rhythms. Genius.

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                                                                                  Cover of Life by Karel.

                                                                                  Karel

                                                                                  Life

                                                                                  De Vlieger

                                                                                  Former Trouw booker and Life And Death kingpin Job Jobse launches a new label De Vlieger, inspired by the desire to release music by some of his nearest and dearest. The first EP offers us a collection of six short songs by synth pop dreamer Karel. Born from the same outsider energy as Bill Nelson, Ariel Pink and John Foxx, Karel's mournful but moving bedroom compositions convey maximum emotional with minimal fuss.

                                                                                  "I will always remember the first time I saw Karel live. Jumping and flying across the room. One moment hanging from the ceiling, the next taking a plunge into the night. His feet in the air and his head in the clouds.

                                                                                  A desire to release music from friends had always been there, but only when I witnessed Karel's unique energy and his ability to write a perfect pop song in just a few lines, this desire took its first form. The results are six synthwave songs that are low on fidelity, but high on feeling. Recorded between 2016 and 2018 at his home studio, using three synthesizers and a drum computer." 

                                                                                  - Job Jobse

                                                                                  STAFF COMMENTS

                                                                                  Patrick says: Killer synth pop here from Karel on Job Jobse's new De Vlieger imprint. Cutting through the tape hiss like a lo-fi Knife with an Ariel Pink songbook, Karel comes correct with a fine set of outsider anthems.

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                                                                                  Cover of Lux Prima by Karen O & Danger Mouse.

                                                                                  Karen O & Danger Mouse

                                                                                  Lux Prima

                                                                                  BMG Rights Management (UK) Ltd.

                                                                                  Karen O says:  “After making music for the past twenty years and embarking on making this record with Danger Mouse I knew a couple things: one was that the spirit of collaboration between us was going to be a pure one, and two was that the more I live the less is clear to me. When you create from a blurry place you can go places further than you’ve ever been. I think we both were excited to go far out.”


                                                                                  STAFF COMMENTS

                                                                                  Andy says: The voice of the Naughties teams up with the producer to the (cool!) stars and the result is stunning! Karen O has been rather quiet lately. Her lo-fi solo record ‘Crush Songs’ (2014) was preceded by the least interesting Yeah Yeah Yeahs record so far (2013's ‘Mosquito’) so it’s really refreshing to firstly hear her in a new context, and secondly, singing some flipping good pop songs again. The title of this record loosely translates as “luxury first” and yes, it does what it says on the tin! Dangermouse mines a similar sonic seam to his cinematic soundscapes with Daniel Luppi (2011’s ‘Rome’) whilst of course staying true to his downtempo template. But with sweeping strings and beautiful blends of funk, pop, soul and disco, all luxuriously spacey and deliciously swoony, you’ll be in for a nice surprise: the mix with Karen’s distinctive voice really does work. She’s never sounded better.

                                                                                  FORMAT INFORMATION

                                                                                  LP Info: Includes a free EOY 2019 CD sampler.

                                                                                  LP includes MP3 Download Code.

                                                                                  CD Info: Includes a free EOY 2019 CD sampler.

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                                                                                  Cover of Yo! My Saint by Karen O Featuring Michael Kiwanuka.

                                                                                  Karen O Featuring Michael Kiwanuka

                                                                                  Yo! My Saint

                                                                                  Karen O

                                                                                    This is a great brooding, bluesy rocker. Despite them both having very distinctive vocals, they work really well together, to create a kind of off kilter haunting ballad that you could well imagine on the soundtrack to a David Lynch film. It's actually from a short film presented by fashion house Kenzo - a full on music/film/fashion colab.



                                                                                    STAFF COMMENTS

                                                                                    Laura says:

                                                                                    FORMAT INFORMATION

                                                                                    Ltd 7" Info: Just found a couple of copies of this!

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                                                                                    Cover of Grapefruit Regret by Karenn.

                                                                                    Karenn

                                                                                    Grapefruit Regret

                                                                                    Voam

                                                                                    Karenn are proud to present their debut album, “Grapefruit Regret”. Written and recorded during an intense studio session in Berlin over the summer, the resulting 8 tracks, as exuberant and colourful as their titles, serve to both compliment and contrast with their infamous live shows. Released on the pair's burgeoning Voam label, Blawan & Pariah remain at the coalface of modern techno with a tuff, technological and militant approach to their productions.

                                                                                    Mastered by Rashad @ D&M

                                                                                    Artwork and design by Sean Bell. 


                                                                                    STAFF COMMENTS

                                                                                    Matt says: voam voam voam!! Blawan & Pariah's technologically advanced techno excursions continue in earnest. Market leaders, the album exudes class and ingenuity throughouth. You need.

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                                                                                    Cover of Keep On Doin' Whatch' Doin' by Ty Karim.

                                                                                    Ty Karim

                                                                                    Keep On Doin' Whatch' Doin'

                                                                                    Expansion

                                                                                    From Mississippi, Veatrice Thomas moved to Los Angeles and in 1967 began recording as Ty Karim. She worked closely with her writer/producer husband Keny Harris since her debut single “Lighten Up Baby” through to the rare groove/modern soul masteripiece “Keep On Doin’” first released in 1980. Both the 7” and 12” have been highly desirable on the collectors scene, exchanging hands for vast sums of money. This is pure quality, as you would expect from Expansion. Features co-lead vocals by George Griffin.

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