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Cover of Kojo In København by Kojo Antwi.

Kojo Antwi

Kojo In København

Music For Dreams

Copenhagen's unstoppable Balearic heroes Music For Dreams team up with Fyraften Musik for a mega reissue of Kojo Antwi's highlife disco anthem "Hini Mi". Recorded in Denmark in 1986 by the then up and coming afro pop singer Kojo Antwi from Ghana, the tunes were issued in limited numbers as he was leaving Denmark on the hunt for wider international acclaim. Though a popular favorite on cassette in Ghana his debut album was only released in small numbers in Europe and never achieved the same attention. The tracks selected here showcases Kojo’s transition from the highlife sound of the Classique Vibes to the more drum machine driven highlife disco on ‘Hini Mi’ aswell as the deep, computerized reggae on ‘Emeribi Be Ba’.  Remastered and cut on a 45rpm 12” this reissue brings the songs to new levels in terms of fidelity.
The two first tracks on his release are a document of the first solo recordings Kojo Antwi did and some of the most intriguing African music recorded on Danish soil (perhaps anywhere). The A-side ‘Hini Mi’ was done together with Solomon, Osibio and Danish saxophonist Michael Nielsen (who had record with ghanese super star Pat Thomas a year earlier in Togo) in 1986 in Custom Sound Lab in the heart of Copenhagen. Fusing the 80s highlife reggae sound of the Vibes with an uptempo disco/house beat of that era creating a unique song that became a hit in Ghana but unfortunately never got the recognition it was due here. The second track on this EP ‘Emeribi Be Ba’ – a slow computerized reggae song - was together with Hini Mi part of Kojo’s debut album. The album was released twice first on Kojo’s own imprint (which was shelved) and later on the German burger highlife label Kame records. For some reason which for some reason is also very scarce. The final track on the EP ‘Miribe-Bom’, lifted from the second Classiq Vibes album recorded in 1985, ranks amongst some of the finest mid 80s highlife and shows were Kojo was coming from musically.


STAFF COMMENTS

Patrick says: Oi Kenny, slow down a bit! Not content with the Balearic-folk of a Prins Emmanuel LP and the AOR excellence of Okinawa Delays, Mr Bager's Music For Dreams team up with fellow Danes Fyraften Musik for this reissue of Kojo Antwi's Afro-disco masterpiece "Hini Mi". All those people who went daft for Tabu Ley Rocheau's "Hafi Deo" need to take note, this proto-house Afro heater is every bit as good. Chuck in a killer digi-reggae cut on the flip and a Highlife hit and you've got a record of the week on your hands.

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Cover of Champagne And Valium by Kevin Ayers.

Kevin Ayers

Champagne And Valium

Charly

    THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Kevin Ayers, the hugely influential and much-loved British singer-songwriter, founder member of Soft Machine and free spirit, died on 18th February, 2013. Thirty years previously, Kevin released his controversial album 'Diamond Jack And The Queen Of Pain' from which the two stand-out songs, the chillingly beautiful 'Champagne and Valium' and the driving electronica of 'My Speeding Heart' were released as a single by Charly Records.

    Exclusively for Record Store Day 2017, both tracks have been cut directly from the recently discovered original Audiofilm Studios analogue master tape by Matt Colton at Alchemy Studios and pressed on "champagne" coloured vinyl and released as a strictly limited edition 7-inch single. The single features a full-colour picture label of Kevin while the picture sleeve adapts the original Charly sleeve with beautiful imagery from the singer's home in Deià.

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    Cover of Joy Of A Toy by Kevin Ayers.

    Kevin Ayers

    Joy Of A Toy

    Harvest

      After leaving Soft Machine in 1969 Kevin Ayres returned from composing new songs in Ibiza to London to record sessions that eventually became his classic debut album "Joy Of A Toy". It's his characteristically eccentric mix of lyrical ballad ("Lady Rachel"), the psychedelic ("Stop This Train (Again Doing It)" with a mad organ solo from Mike Ratledge) and on "Song For Insane Times" true progressive rock with the Soft Machine providing the backing track. This remastered edition now features six rare tracks including the long lost session featuring Syd Barrett on guitar on Ayers's aborted debut single "Religious Experience (Singing A Song In The Morning)".

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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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      Reduced Cover of Life (2016) by Karl Bartos.

      Karl Bartos

      Life (2016)

      Trocadero

        Advance vinyl 7" single, announcing the re-release of Karl Bartos’ 'Communication' album, originally released in 2003. A classically trained percussionist and keyboard player, Karl Bartos was a key member of Kraftwerk's classic line-up between 1975 and 1990 "the second from the left". As you would expect from the man responsible for co-writing Kraftwerk masterpieces such as ‘The Model’, ‘The Robots’, ‘Numbers’ or ‘Pocket Calculator’ - which have gone on to shape the current musical world as we know it, electronic or otherwise ,the album 'Communication' often referred to as the artist’s 'Lost Album' - contains plenty of melody-driven numbers that operate in a dual universe of pop and electronica. Thirteen years down the line, Bartos is re-releasing his first real solo album now complete with a pristine re-mastering. The lead single ‘Life’ perhaps being the most perfect representation of this: 'Finally, I have to get on with my life' he sings. Lyrically it speaks volumes but sonically it almost seems to pay a return thank you to New Order in its breezy, harmonious yet infectious structure. New Order being a group clearly in admiration of Bartos’ work in and out of Kraftwerk and also in which the pair (Bartos and Bernard Sumner) would work together under the guise of Electronic, along with Johnny Marr in 1996.

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        Cover of Lighght by Kishi Bashi.

        Kishi Bashi

        Lighght

        Joyful Noise Recordings

          Violinist, singer, and composer Kishi Bashi releases his new album. The album entitled “Lighght” (pronounced “Light”) continues and expands the sound of his critically acclaimed debut, “151a” - which earned Kishi Bashi the *title* of “Best New Artist” by NPR. Since the profoundly successful release of “151a” two years ago, Kishi Bashi has toured relentlessly, captivating audiences across the globe with his loop-based live show, and fostering a groundswell of devotees. “151a” was crafted over a four-year period while Kishi Bashi was touring and recording with Regina Spektor, Sondre Lerche, and of Montreal (where he was a full-time member and co-producer). In late 2012, after the success of “151a”, Kishi Bashi decided to focus solely on his own music and began composing the new material which has become “Lighght”. “Lighght” takes its title from the one-word poem by minimalist poet Aram Saroyan.

          As Kishi Bashi explains, “The poem’s blatant assault on literary convention and classical form was attractive to me.” It is apparent that such an approach informed the new album, which has both broadened and redefined his classical foundations. “Though I have studied classical composition, I prefer to take an unconventional path when it comes to creating and thinking about music,” says Kishi Bashi. Though violin remains his primary instrument and songwriting muse, Kishi Bashi has expanded his palette to include more diverse and nuanced instrumentation. Bright and soaring avant-pop songs are prevalent, as are Eastern-tinged arrangements, gentle ballads, Philip Glass inspired improvisations, and more than a few moments that flirt with 70s prog (in the tradition of ELO or Yes). If this sounds jarringly kaleidoscopic, that’s because it is. But it works. Listen and see.

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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 Nature's Got Away by Karl Blau.

          Karl Blau

          Nature's Got Away

          K Records

          Though born, raised and even presently living in the 'smallness' of Northwest Washington's Skagit Valley, Karl Blau's sound could be described as a melting pot of the world's last 50 years of cultures, styles and periods. That said, in "Nature's Got Away", Blau sings less with the world in mind. Instead he invites you, the listener, into his fold - into his village. Then as a tribe member, you are beckoned to sit by the fire and hear accounts of travel, tales of the town, and even partake in the spiritual lore unique to you the autochthonic.

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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 Zebra by Karl Blau.

            Karl Blau

            Zebra

            K Records

            Listening to Karl Blau's albums and trying to describe what you hear is like walking through a local farmer's market and describing all the vegetables grown in that area. The common thread running through Blau's records is a love felt for homegrown music. Most anyone can sense the passion this cultivator has for his trade. In a world of instant access to musical cultures near and far, Blau overtly mirrors African musical influences with hints of blues, soul and rock steeped in l'herbe de Northwest and he calls it "Zebra". This striped burro was birthed in the trusty analog setting of Dub Narcotic Studios in Olympia, Washington. For "Zebra" Blau explored the frontiers of folklore, adding one instrument at a time (drum, guitar, bell, keys, saxophone, flute, piano) in an organic process of response to this confluence of sounds. A restless thinker, Blau is adept at imaginative and sweet songs about education, work, love and society. Blessed with an expressive and gentle baritone, Blau asks the eternal question: 'what's next?' Every generation has its own revolution and we need heartfelt music now as much as ever.

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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.

            STAFF COMMENTS

            Millie says: This precious album ‘Childqueen’ is entirely created by Kadhja Bonet from start to finish. Her beautiful vocals are submersed in a lovely swoony softness. It’s unlike anything I’ve heard, her style is truly unique and a joy to listen to.

            Patrick says: In an era of mass-information, instant gratification and branded identity, Kadhja Bonet is a glorious enigma. An artist who’d rather let the music do the talking, the LA-based multi-instrumentalist lives outside the spotlight, at her happiest when her hands are busy and her mind is active, striving to create something honest and beautiful. Harking back to the psychedelic soul of Minnie Ripperton and Terry Callier’s Woodstock jazz, Kadhja crafts deep and dreamy vignettes, evocative episodes which perfectly fuse the pastoral and the personal. Delicate chimes, swooning strings and airy flute drift atop woozy grooves, joining Bonet’s multi-tracked vocals to form a hazy sonic web. Warm timbres and analogue textures lend the LP a vintage feel, echoed in the faded rainbow of the sleeve.
            Recommended if you like:
            Minnie Ripperton, Solange, Laura Misch.

            FORMAT INFORMATION

            Coloured LP Info: Limited coloured vinyl.

            Coloured LP includes MP3 Download Code.

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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 Inna De Yard by Ken Boothe.

              Ken Boothe

              Inna De Yard

              Wagram

              A famous French chemist and philosopher once said, 'Nothing is lost, nothing is created, everything is transformed'. Does the same apply to music? From Mozart to Serge Gainsbourg, the greatest creators have always drawn on the works of their predecessors and contemporaries, before becoming influences themselves. So yes, music is about influence, borrowing from others, covering songs and... performing. This is particularly true of Jamaica, where producers record the same hit several times, performed by different singers. Artists cover - and sometimes change - other people's songs, and the public and producers have always looked to their American neighbours for inspiration, drawing from its catalogue. In this respect, Ken Boothe is definitely a very Jamaican artist. The first track on his new album (his first for 25 years, at least internationally), "Speak Softly Love", has a back story that perfectly illustrates this aspect of music. The song is known for having been written by Italian composer Nino Rota (lyrics by Larry Kusik) for the film "The Godfather" by Francis Ford Coppola. The original soundtrack became legendary at the time but was disqualified from its category at the Oscars: Nino Rota had already used the theme in another film twenty years before!1 What's even more intriguing is that this famous theme tune was itself borrowed from... Verdi's opera "La forza del destino". Ken Boothe covered the song in 1974, two years after the film's release, presumably inspired by Andre Williams's version in the USA. Suggested and produced by the brilliant Jamaican musician and producer Lloyd Charmers, it was released on Ken's best-selling album in England: "Everything I own". The singer put his own personal spin on it, showing how the quality of the performer can give music and lyrics a new lease of life and make them universal. More than forty years later, on the terrace of a house in the open air, he recreates the magic and transports us once again with this acoustic version: there's no doubt, he truly is 'the Godfather'. Like his contemporary Bob Marley, with whom he took his first steps in the studio, Ken Boothe was heavily influenced by great American soul singers. Like him, he successfully covered a number of hits. And while the future global reggae star was linked to Curtis Mayfield, Ken himself was compared to Wilson Pickett. But far from contenting himself with imitation, his inspirations fuelled his creativity. An iconic voice of ska, he was also a big name of the style that followed, and preceded reggae: "Rocksteady". To the point that he was crowned "Mr Rocksteady" on the eponymous album released in 1968. And so, from a fascination for American music, Ken Boothe helped craft new musical styles introduced by Jamaica to the world, rewriting the history of their country as well as that of music. While he is this historical figure of Jamaican music, and while he is undoubtedly one of the greatest performers of love songs on the island, whose charm and sentiment he expresses so well, Ken Boothe is nonetheless imbued with Rasta culture, having seen its birth and spent his life alongside it. Without having shown it ostensibly at the time of reggae roots, when each artist proudly lay claim to dreadlocks, ganja and rasta militancy, the great Jamaican singer is nevertheless a fervent rasta, in a more intimate capacity.



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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 Risin' To The Top / You're The Best by Keni Burke.

              Keni Burke

              Risin' To The Top / You're The Best

              RCA

              Keni Burke’s signature hit ‘Risin’ To The Top’ gets an official remastered, reissue alongside the 12 inch mix of his ’81 killer jam ‘You’re The Best’.

              ‘Risin’ To The Top’ quickly became a clear favourite of the soul crowd back in the ‘80s, with Keni’s sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised ‘Risin’ To The Top’ as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.

              On the flip, ‘You’re The Best’, takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni’s infectiously soulful vocals. It’s early eighties synth boogie at it’s best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.

              STAFF COMMENTS

              Patrick says: Total erection section thruster here from sensual soul man Keni Burke, who totally killed it with the low slung genius of “Risin’ To The Top”. Over on the flip “You’re The Best” zooms from boogie into the sparkling synth zone at the heart of the proto-house universe.

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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

                    FORMAT INFORMATION

                    2xLP Info: Double heavyweight vinyl.

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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.

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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 Remasterd In Vinyl I by Kate Bush.

                          Kate Bush

                          Remasterd In Vinyl I

                          Fish People

                            The legendary and unimitable Kate Bush is releasing Kate Bush Remastered in Vinyl I, a compilation of some of her most Iconic early work including her chart topping debut album ‘The Kick Inside’ which contains one of her biggest hits, the UK number one hit ‘Wuthering Heights’. The Boxset also sees new reissues of her hit albums ‘Never Forever’ , ‘Lionheart’ and also her 1982 album ‘The Dreaming’, which was produced entirely by Bush and is often characterized as her most uncommercial and experimental release. This hugely anticipated release sees her early catalogue completely newly remastered by Kate and James Guthrie for the first time in a 180g Heavyweight vinyl package. 

                            FORMAT INFORMATION

                            FREE SHIPPING This item has FREE UK shipping!

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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 III by Kate Bush.

                              Kate Bush

                              Remastered In Vinyl III

                              Fish People

                                The legendary and unimitable Kate Bush is releasing ‘Kate Bush Remastered in Vinyl III’, which spans the work of her later musical 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 track and comes packaged in 180g Heavyweight vinyl, retaining all of the Album’s 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 I by Kate Bush.

                                  Kate Bush

                                  Remastered Part I

                                  Fish People

                                    The legendary and unimitable Kate Bush is releasing her CD Boxset I Studio Albums which sees a compilation of some of her most Iconic early work including her chart topping debut album ‘The Kick Inside’ which contains one of her biggest hits, the UK number one hit ‘Wuthering Heights’. The Boxset also sees new reissues of her hit albums ‘Never Forever’ , ‘Lionheart’ and also her 1982 album ‘The Dreaming’, which was produced entirely by Bush and is often characterized as her most uncommercial and experimental release. This hugely anticipated release sees her early catalogue completely newly remastered by Kate and James Guthrie for the first time on CD, with the individual studio albums retaining their original artwork, whilst the external cover art work takes a fresh perspective and combines redesigned elements from the originals.

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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 Haromony (Remixes) by Kerri Chandler.

                                              Kerri Chandler

                                              Haromony (Remixes)

                                              14th Level Of Paradise

                                              There are oldschool psychedelic classic deep jazzy house EP from NYC based legendary Mr Kerri Chandler. His remixes are superb as always. He wrapped attractive original chords and melodies - as well as some alien-sounding motifs of his own - around a shuffling, tech-tinged deep house groove. Throughout 14th Level Of Paradise Records' deeply-rooted classic house history and its ongoing transcendent surge into the future, there are certain special moments in underground house music history to acknowledge. This brings us to B-side on this release installments. It starts with a nice chilled guitar rift, then drops The Temptations vocal "Harmony is the key my sisters & Brothers", then the percussion kicks in driving a bit, more energy into the tracks, building into a really nice grooves. Keep it deep & Deeper than DEEP!

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                                              Cover of Lovers by Kingsley Chapman And The Murder.

                                              Kingsley Chapman And The Murder

                                              Lovers

                                              Too Pure

                                              As frontman and creator of northern English artrock band The Chapman Family, Kingsley flirted continuously between success and failure for a number of years before finally calling time on the group in the summer of 2013.

                                              From becoming the first ever unsigned band to play the coveted NME Radar Tour in 2009 to performing in Japan, mainland Europe and the USA in 2011 (on the back of releasing their debut album "Burn Your Town") the band were unrelenting, angry and loud. They went out with their heads held high and dignity still intact - releasing a single on the day of their final sold out show in their home town of Stockton-on-Tees in the North East of England. Job done.

                                              But those days are gone and after a prolonged period in hibernation Kingsley is back with a brand new band and an exciting new sound to take on all comers and attempt to battle the 21st Century disease of apathy once again.

                                              Taking references from the mythology of iconic rock and art The Murder are a dizzying mix of thundering Viking warrior drums, sparkling avant garde pianos, ominous romantic strings and barbed wire guitars all underpinned by Kingsley's savage croon.

                                              FORMAT INFORMATION

                                              Ltd 7" Info: Limited edition - 150 copies only.

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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 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 Manchester: Looking For The Light Through The Pouring Rain by Kevin Cummins.

                                                Kevin Cummins

                                                Manchester: Looking For The Light Through The Pouring Rain

                                                Faber & Faber

                                                  Manchester, its bands, its fashions, its attitude, has defined pop culture for the best part of four decades. Joy Division, The Fall, Buzzcocks, New Order, The Smiths, Happy Mondays, Stone Roses, Oasis. These were the bands that shaped two generations of teenagers and changed the course of pop music.

                                                  Manchester: Looking for the Light through the Pouring Rain is a portrait of these individuals, the city, and their times. Whether it be on a rain-soaked stage in Brazil, a rented room in Whalley Range, or on the dancefloor of the legendary Hacienda, Kevin Cummins' exquisite photographs capture the anarchic energy of the Manchester pop moment. This stunning visual record of the city and its pop history is complemented by four textual contributions from Paul Morley, Stuart Maconie, Gavin Martin and John Harris. What is it about that city that makes it the Memphis of the UK? Cummins' photographic record of the past 30 years captures the highs, the lows and the transcendent pop moments of Manchester's most famous sons.

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                                                  Cover of Punk : The Blank Generation Postcard Box by Kevin Cummins.

                                                  Kevin Cummins

                                                  Punk : The Blank Generation Postcard Box

                                                  Polite

                                                    Kevin Cummins' career as a photographer began just as Punk emerged in Manchester. He'd been inspired by influential bands like Iggy and the Stooges along with a nucleus of people who nearly all went on to form bands - and he was perfectly placed to document what was to become one of the most significant movements in music and cultural history.

                                                    Kevin Cummins understood from an early age that there’s no fire without smoke. He used his photography to create a mythology around Manchester’s music, from which icons could emerge, but only once all eyes were looking. Our latest collection of photo postcards feature images that are not only up close and personal snapshots of Manchester’s world-renowned punk scene but in large, they are the reason for it.

                                                    Watch our interview with Kevin about this set here

                                                    Contains 31 litho printed postcards including images including:

                                                    Iggy Pop, The Clash, Buzzcocks, Sex Pistols, X-Ray Spex, Warsaw, Jayne County, The Slits, The Fall, The Damned, The Adverts, The Boomtown Rats, The Drones, Howard Devoto & Linder Sterling, Siouxsie Sioux, Sham 69, The Ramones, Penetration, Patti Smith, Marc Bolan, Magazine, John Cooper Clarke, Television, The Negatives, Slaughter and the Dogs, The Pretenders and The Jam...

                                                    Presented in a hand finished box – made in Manchester.

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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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                                                      Cover of Are You Mine? / Wish I Was by Kim Deal.

                                                      Kim Deal

                                                      Are You Mine? / Wish I Was

                                                      Not On Label

                                                        "Are You Mine?"
                                                        I sang and play guitar. Lindsay Glover played drums and Armando Lopez is on Bass. We recorded this onto a Tascam 388. It's a 1/4" 8 track machine. What a bitch. It was always breaking down. We had to get Billy Zoom from the rock band, X, to fix the machine. We had like 4 of these 388 machines around the house. They sound great but they are "consumer grade" man. But I digress. I ended up transferring it to 2". Then I added a harmony vocal with Steve at Electrical and he mixed it down.

                                                        "Wish I Was"
                                                        I recorded everything on this one in a studio in LA. Kelley played one of the keyboards. Matt Ward (do you know who he is?) played the guitar that appears on the right side of the speakers and the solo in the pretty solo in the middle. I had some nice words but Kelley HATED my melody so I just put it out as an instrumental. Mixed by Albini at Electrical.

                                                        All recorded analog and mastered DMM at Sterling by Ryan.
                                                        This artwork was done by Vaughan Oliver/v23
                                                        There is also an insert image glossy sheet that have the credits on it.

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                                                        Cover of Biker Gone / Beautiful Moon by Kim Deal.

                                                        Kim Deal

                                                        Biker Gone / Beautiful Moon

                                                        Not On Label

                                                          In her own words: "I recorded the guitars and the bass guitar on the choruses. Kelley played the verse bass guitar. Britt Walford (Slint) played the drums. We all went to Albini's and Steve recorded us at his studio, Electrical Audio, in Chicago.
                                                          Ryan Smith at Sterling Sound in NYC mastered this DMM" I recorded this at my house in Ohio on my Tascam 16 track (1/2"). I got a CD mix of it and Ryan made a 1/2" from it and mastered it DMM.
                                                          Chris Bigg did the artwork. He used to work at 4AD with Vaughan Oliver.

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                                                          Cover of Hot Shot / Likkle More by Kim Deal.

                                                          Kim Deal

                                                          Hot Shot / Likkle More

                                                          Not On Label

                                                            Hot Shot:
                                                            "I played electric guitars, bass guitar and vocals. Jose Medeles (a previous Breeders drummer) played drums. This was recorded at Type Foundry and with Steve at Electrical. And Greg Norman mixed it at Electrical, in Chicago.

                                                            All recorded in the analog domain. All mastered by Ryan Smith at Sterling Sound in NYC using Direct Metal Mastering.
                                                            I played the guitars and vocals and Steve Kille (Dead Meadow) recorded it for me in the cellar of the house I was renting out in Los Angeles. It was recorded on my Tascam 1/2" - 16 track machine. Likkle More is "see you later" in patois, btw. Likkle More:

                                                            This was mixed by Greg Norman at Electrical in Chicago. All analog, all mastered DMM.

                                                            Artwork by Chris Bigg using photograph by Ed Deal, 1958, of Fred Deal (Kim's other grandaddy), Chief Deputy of Wyoming County, West Virginia Sheriff's Office.

                                                            The 7" package has an insert. It's a glossy print card that has a picture of my crazy face. It looks like a Polaroid. Because it was a Polaroid of me. And we made copies of the Polaroid and we stick them into each record. And I sign some of them"...


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                                                            Cover of The Root / Range On Castle by Kim Deal.

                                                            Kim Deal

                                                            The Root / Range On Castle

                                                            Not On Label

                                                            "The Root"
                                                            This song was written by me and a woman named Morgan Nagler. Her band, Whispertown 2000, opened for the Breeders. I am singing this and playing all the instruments. Morgan is singing harmony. We recorded this in LA in different places and I took it to Electrical Audio in Chicago and Greg Norman mixed it down. This song was recorded and mixed analog and mastered DMM.

                                                            "Range On Castle"
                                                            This song is also written by me and Morgan. Morgan takes the lead and sings this one. I sing the harmony. I play all the instruments except the drums. Lindsey Glover played the drums on this one. We recorded it in LA.
                                                            Now we mixed this one to a CD and used the CD to make a 1/2" tape. Then we gave the 1/2" to Ryan at Sterling and he mastered DMM. Vaughan Oliver/v23 designed this cover.

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                                                            Cover of Walking With A Killer / Dirty Hessians by Kim Deal.

                                                            Kim Deal

                                                            Walking With A Killer / Dirty Hessians

                                                            Not On Label

                                                            "Walking With A Killer"
                                                            Recorded with Lindsay Glover on drums, Jeff Cairns on the creepy moaning guitar panned left, Dan Elkan on the lead guitar panned right. I played the other stuff…bass guitar, rhythm guitar, crazy lead section. Carrie Bradley who played on Pod and Last Splash is playing violin. We recorded this in Los Angeles at 5 Star Studio with Bryce Gonzales. Then I took the 2" tape to Steve Albini and he mixed it for me at his place in Chicago at Electrical Audio. I went up to Sterling Sound in NYC and mastered it with Ryan Smith. The lacquer was cut using analog playback to vinyl master. So this track stayed in the dimension of time, baby. And that's why I put that little guitar thing-y with the words Recorded All Wave. I am a geek.

                                                            "Dirty Hessians"
                                                            I recorded everything on this at Type Foundry in Portland. Recorded in the analogue domain. This was also mixed by Steve in Chicago with me and then mastered from analog tape using Direct Metal Mastering. The artwork was done by Chris Biggs and features a photograph of Kim's grandaddy on a mantrip working a mine near Bluefield, West, by God, Virginia, 1945.

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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 2000! by Klaus Dinger & PreJapandorf.

                                                            Klaus Dinger & PreJapandorf

                                                            2000!

                                                            Gronland

                                                              THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                              Previously unreleased album from German Kosmische Musik legend Klaus Dinger (NEU!, La Dusseldorf, et al).

                                                              Beautifully manufactured LP sleeve with artistic ‘inside out’ paper.

                                                              Released for RSD because it's the last album of Klaus Dinger that isn't available yet.

                                                              For this special recording, Klaus Dinger teamed up with various musicians in order to create a new recording experience, “turning documentary into art” would indeed be the best way to describe this album.

                                                              Limited to 500 copies for the UK and Eire.

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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 Afro-Cuban - Remastered Vinyl Edition by Kenny Dorham.

                                                              Kenny Dorham

                                                              Afro-Cuban - Remastered Vinyl Edition

                                                              Blue Note

                                                                This mid 50s Blue Note album was one of the first jazz recordings to fuse jazz and the Latin sounds of Cuba. If the line-up of players doesn't seduce you (Hank Mobley, Cecil Payne, Horace Silver, Jay Jay Johnson, Oscar Pettiford, Art Blakey, Carlos 'Potato' Valdes and of course Dorham himself), then the music will!

                                                                Blue Note President Don Was says, “Two years ago, we began remastering the jewels of the Blue Note catalogue in hi-def resolutions of 96k and 192k. In order to develop a guiding artistic philosophy for this delicate endeavor, we donned our lab coats, ran dozens of sonic experiments and carefully referenced every generation of our reissues. Ultimately, we decided that our goal would be to protect the original intentions of the artists, producers and engineers who made these records and that, in the case of pre-digital-era albums, these intentions were best represented by the sound and feel of their first-edition vinyl releases. Working with a team of dedicated and groovy engineers, we found a sound that both captured the feel of the original records while maintaining the depth and transparency of the master tapes... the new remasters are really cool!

                                                                While these new versions will become available in digital hi-def, CD and Mastered for iTunes formats, the allure of vinyl records is WAY too potent to ignore. This year, Blue Note - along with our friends at Universal Music Enterprises - is launching a major 75th Anniversary vinyl Initiative that is dedicated to the proposition that our catalogue should be readily available, featuring high quality pressings and authentic reproductions of Blue Note's iconic packaging. Although this program begins in celebration of Blue Note's 75th Anniversary, our catalog runs so deep that we will faithfully be reissuing five albums a month for many years to come!”

                                                                FORMAT INFORMATION

                                                                LP includes MP3 Download Code.

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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 Experiment No. X by Kim Byoung Duk.

                                                                  Kim Byoung Duk

                                                                  Experiment No. X

                                                                  Daehan Electronics

                                                                  Growing up in the bustling port city of Busan and running his own record shop there from the late ‘70s,
                                                                  Kim Byoung Duk had a front-row seat to th​e finest in foreign record imports and a taste for the psychedelic
                                                                  that naturally evolved into spiritual, ambient and avant-garde sounds. His growing interest in Tao
                                                                  philosophy and the meditative music that accompanied it provided a fertile environment for his audio
                                                                  imagination. Unhampered by limited access to musical gear, he made use of a wide assortment of self-
                                                                  sourced pots of various sizes and curvature, cymbals, wooden sculpted flutes and percussion tools—each
                                                                  chosen for its unique harmonic vibration—to create an entirely new and unique body of work.

                                                                  Experiment No. X retraces the oeuvre of Kim Byoung Duk, assembling tracks from Experiment No. 2, Pot
                                                                  Concerto and New Trilogy, illustrating a meditative journey from the freeness of the Tao sound, in the
                                                                  borders of ambient music and the avant-garde, to later groove-oriented jams which introduce rhythmic
                                                                  elements to the palate.

                                                                  This fully licensed release is the first collection of Kim Byoung Duk's music, remastered from the original
                                                                  tapes and including for the first time on vinyl songs from the very scarce CD New Morning. Includes four-
                                                                  page booklet with photographs and an interview from Kim's personal archives.

                                                                  All Music by Kim Byoung Duk.
                                                                  A Meditative Morning, brought by Another Planet Publishing.
                                                                  Daehan Electronics, 2017

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                                                                  Cover of Cowgirl Blues by Katie Ellen.

                                                                  Katie Ellen

                                                                  Cowgirl Blues

                                                                  Lauren Records

                                                                    Shortly after the disbandment of their critically acclaimed indie punk band Chumped in early 2016, lead singer Anika Pyle and drummer Dan Frelly started Katie Ellen as a fuzz pop two-piece. The duo then recruited friends Anthony Tinnirella (guitar) and Eric Sheppard (bass) to round out the sound and record their debut LP – Cowgirl Blues. Cowgirl Blues is ten songs of twangy, pop forward indie punk with subtle country underpinnings, showcasing Pyle’s knack for punchy, melodic songwriting familiar to fans of Chumped while exploring more dynamic and intimate arrangements that nod to contemporaries like Waxahatchee, Alvvays, All Dogs and Pinegrove.

                                                                    Pyle notes 60s girl groups, Patsy Cline and Jenny Lewis as writing influences. The name Katie Ellen is an adaptation of Pyle’s great grandmother’s radio stage name – Kaytee Ellen. “Calling the project Katie Ellen felt like taking something back grandmother as a person and deemed her on-air personality disposable and replaceable by any other woman. It also lent me a bit of creative anonymity to try new things and explore my own identity, especially as it pertains to autonomy, femininity and vulnerability.”

                                                                    That sentiment permeates Cowgirl Blues, a record steeped in the discourse between freedom and commitment. Pyle notes, “I wrote the record at the end of a formative creative project and an eleven-year relationship that lasted for much of my young adult life. It represents, to me, the reimagining of identity and the search for personal truth, a process that can be harrowing. If following your truth requires upheaval of the normative and the status quo, stay and you could be happy but you will always be at odds with yourself. Go and you accept a path of rebirth and constant negotiation, not always ‘happy’ but wild, free and true.” 

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                                                                    Cover of Girl In A Band by Kim Gordon.

                                                                    Kim Gordon

                                                                    Girl In A Band

                                                                    Faber & Faber

                                                                      There are few artists who inspire such reverence as Kim Gordon. In Girl in a Band she tells with complete openness the story of her family, her work in the visual arts, her move to New York City, the men in her life, her marriage, her relationship with her daughter, her music and her band. It is a rich and beautifully written memoir, taking us back to the lost New York of the 1980s and '90s that gave birth to and nurtured Sonic Youth and the alternative revolution in popular music they spearheaded. But at its core, Girl in a Band is an examination of what partnership means - and what happens when it dissolves.

                                                                      Evocative and edgy, filled with the sights and sounds of a changing world and a remarkable life, Girl in a Band is the moving chronicle of an extraordinary artist.

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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. 

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Limited indies-only blue vinyl.

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                                                                      Cover of 24 Hours In A Disco 1978 - 1982 by Kiki Gyan.

                                                                      Kiki Gyan

                                                                      24 Hours In A Disco 1978 - 1982

                                                                      Soundway

                                                                      Hailed as Africa’s answer to Stevie Wonder, Ghanaian multi-instrumentalist Kiki Gyan was a musical wunderkind who by 1975 had risen from the lowly status of high school dropout to being ranked eighth in a poll of the greatest keyboardists in the world (occupying the rarefied air of the top ten with heavyweights like Steve Winwood, Billy Preston, and Stevie Wonder) as well as becoming an in-demand session player in the top recording studios of London - all before his twenty-first birthday.

                                                                      Out on his own, he produced a series of highly ambitious disco records aimed at positioning him as an international star, but weighed down by the excesses of the era, Gyan saw his meteoric rise matched by an equally swift fall back into obscurity. Loved dearly by his contemporaries and sorely missed since his death in 2005 the story of the life of Kofi Kwarko ‘Kiki’ Gyan is one often told with warning by his friends to the new generation of aspiring Ghanaian popstars.

                                                                      Soundway Records now collects the best of Gyan’s work as a frontman and solo artist, featuring an array of electrifying disco grooves that still sound contemporary (and in some cases futuristic) decades after their initial release.

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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 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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                                                                          Cover of Non Ex Orbis by Karl Hector And The Malcouns.

                                                                          Karl Hector And The Malcouns

                                                                          Non Ex Orbis

                                                                          Now-Again Records

                                                                            Kraut-jazz-rock produced by JJ Whitefield (Poets of Rhythm/Whitefield Brothers). The long-standing band’s third album. Featuring Marja Burchard (Embryo). Download card for WAV files included. It’s been over ten years since Karl Hector and the Malcouns’ Sahara Swing saw release on Now-Again in 2008. The album swung with influences from across the African diaspora and set the stage for a cult, but influential following. Hermes designer Christophe Lemaire picked tracks from Karl Hector and The Malcouns as amongst his favorites in the Now-Again catalog, and included them on his Where Are You From anthology. Festival promoters intrigued by the possibility of resurrecting the careers of once forgotten African mavericks – from Ghana’s Ebo Taylor to the progenitors of Zambia’s Zamrock scene – brought Hector and crew across Europe playing festivals for ecstatic fans.

                                                                            Producer JJ Whitefield even founded an Afro-Rock band, Johnny!, with Taylor’s son Henry. Unstraight Ahead, their sophomore release from 2014, found the band exploring territories even outside of the expansive scope of Sahara Swing: West African sounds of Ghana and Mali met the East African sounds of Mulatu Astatke’s Ethiopian jazz, tied together with the groove heavy experimentalism of The Malcouns’ 70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss and Tomorrow’s Gift. “We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing,” Whitefield stated at the time of Unstraight Ahead’s release. “We’re trying to combine the global experimentalism of Krautrock with the backbeat of funk.” Non Ex Orbis, the band’s third studio album, digs deeper into the Krautrock history embedded deep in the soil of their native Munch - three of the most influential bands of the 1970s experimental German rock scene spurng from there: Amon Düül, Popol Vuh and Embryo.

                                                                            Influenced by these musical heroes, Whitefield shapes a sound that takes the experimental approach of the classic Krautrock era and slides between beat-heavy drone and spacey, prog-rock suites. Marja Burchard, daughter of Embryo mastermind Christian Burchard, fronts the group on keyboard, vibraphone and other-worldly vocals. Al Markovic joins longstanding Malcoun Zdenko Curilija to round out the ensemble. Non Ex Orbis, read by Whitefield and the band as Out Of This World, symbolizes an innocent way of composing and improvising music, free from the influences of our contemporary environment, preserving a childlike way of hearing sounds in their unfiltered purity. “Some will classify this as a retro, but for the band it simply is a form of creating, Whitefield states. “We’re drawing from an established musical vocabulary which was popular at a time in Germany, when underground musical culture had its creative peak”. 

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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 Kindly Now by Keaton Henson.

                                                                              Keaton Henson

                                                                              Kindly Now

                                                                              Pias

                                                                              Brand new album from acclaimed London-based musician and visual artist Keaton Henson.

                                                                              Includes first single ‘Alright’, a wonderfully emotive song, showcasing Keaton’s trademark fragile vocals accompanied by a sparse piano performance and a lush string arrangement.

                                                                              STAFF COMMENTS

                                                                              Millie says: Keaton Henson returns with his new album Kindly Now, his discography consists of the early folk albums then progressing to piano and cello led instrumental scores and then followed an electronic album under the name of ‘Behaving’. It was a welcomed change of direction full of diverse creativity; however Kindly Now has strong remnants of a combination of his progress and new style which is greeted with open arms. Gentle strokes of acoustic guitar matched with trembling voice for heart-throbbing lyrics, this one might just break your heart.

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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 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 Satan Side / Peter & Judas by Keith Hudson, Earl Flute & Horace Andy.

                                                                                Keith Hudson, Earl Flute & Horace Andy

                                                                                Satan Side / Peter & Judas

                                                                                Mafia/Dub Store Records

                                                                                Bit more reggae re-issue business here for you before we close off 2018. Keith Hudson's "Satan Side" was originally out on UK label Duke in 1972, b/w a different track than featured here. Meanwhile, Earl Fute & Horace Andy's "Peter & Judas" originally appeared on a Pyramid 7" in 1973 (also outta UK) alongside Big Youth. There's very little information on backing bands or recording studios used but the quality of both tracks is very high.

                                                                                Mafia & Dub Store have collaborated to reissue these to reggae gold standards again on 7". All rejoice! 


                                                                                STAFF COMMENTS

                                                                                Matt says: Nice roots n dub number here from Keith. As always with this Dub Store reissues the pressing is 5*

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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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                                                                                Reduced Cover of Otemoyan Isan by Kensuke Ide With His Mothership Featuring Pongsapon Upani Vs Hair Stylistics.

                                                                                Kensuke Ide With His Mothership Featuring Pongsapon Upani Vs Hair Stylistics

                                                                                Otemoyan Isan

                                                                                EM

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

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                                                                                Cover of DB7 003 by Kito Jempere.

                                                                                Kito Jempere

                                                                                DB7 003

                                                                                Duca Bianco

                                                                                Kito Jempere. Don Pietroburgo. Capo del branco. FKA Lany. La Russia dall'inno d'amore. Drakon. Nuova meraviglia dell'onda. Vogliamo l'amore tutto intorno !!

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                                                                                Cover of Sea Monster Remixes Part 2 - Inc. Jimi Tenor / Miskotom / Max Essa Remixes by Kito Jempere.

                                                                                Kito Jempere

                                                                                Sea Monster Remixes Part 2 - Inc. Jimi Tenor / Miskotom / Max Essa Remixes

                                                                                Hell Yeah

                                                                                Hell Yeah keep the killers coming, via a weighty 12" featuring fresh interpretaions of Kito Jempere's ace "Sea Monsters" album last year. This second batch of reworks sees accomplished musician Jimi Tenor, Miskotom and Max Essa work their magic before a 7", also taken from the album, lands later in summer.
                                                                                Kicking the party off we have legndary Finnish musician Jimi Tenor, a man who has released on Warp, collaborated with Tony Allen and occasionally plays sax with Kito Jempere Band at live gigs. He flips "Puzzled" into five minutes of stripped back and moody electronics with plenty of his own flute frolicks. Busted drum sounds, spooky sci-fi synths and scattered hits make it woozy late night transmission that is utterly absorbing. If you've kept an ear on the sounds coming out of Pleasure Unit and Balearic, you'll already be acquainted with Lithuanian outfit Miskotom. Here the husband and wife duoreimagine "Ampa" as a beatdown bit of deep house with trudging drums staying low and shimmering synths drifting out in all directions. Crunchy hits bring a subtle sense of funk and reverb drenched vocals bring a heavenly feel to the soul drenched grooves and summery keys.
                                                                                Then comes Max Essa, the Japan based Brit who is a regular on Hell Yeah as well as the likes of Is It Balearic? and Aficionado. His first remix is a huge one that is sure to soundtrack many a boat party this summer. It's a gorgeous rework of 'Ampa' that puts achingly blissful vocals front and centre as low slung bass and slowly turning drums sink you into a pan-pipe laced reverie. Secondly, Essa offers a Dub Reprise that removes the vocals and places all the focus on his churning drums and new age grooves. 

                                                                                STAFF COMMENTS

                                                                                Patrick says: There's a lot to love about this latest Hell Yeah release, not least Max Essa's supremely summery remix and audacious dub reprise. Elsewhere Miskotom turn Kito Jempere's OG into a blissful Balearic house heater, while Jimi Tenor trips "Puzzled" into a fractal blast of crepuscular electronics.

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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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                                                                                    Cover of The Quanta Series by K Á R Y Y N.

                                                                                    K Á R Y Y N

                                                                                    The Quanta Series

                                                                                    Mute

                                                                                      Written and recorded over a seven year period, ‘The Quanta Series’ tracks K Á R Y Y N’s movements across continents on a voyage of self-examination. Beginning in 2011 following the death of two relatives in Aleppo, K Á R Y Y N left her native LA for Cherry Valley, upstate New York to process her grief in seclusion. During the 18 months she lived in Cherry Valley, K Á R Y Y N wrote two songs for ‘The Quanta Series’. The first was a visceral, emotional piece rec-orded in one take called ‘Today I Read Your Life Story 11:11’. The second, a musing on impermanence and understanding the impact of our choices called ‘Segment & The Line’.

                                                                                      Over the years that followed, K Á R Y Y N spent time living in Berlin where she wrote 'Purga-Tory’, a song inspired by a memory from her childhood spent in the Forty Mountains of Idlib province in Syria. As she travelled, she found inspiration everywhere, leaning into her own fa-milial legacy, feelings of grief and love and observations on human interaction. A deep connec-tion to her lineage is a concurrent theme in K Á R Y Y N’s work, with an interpretation of tradi-tional Armenian folk song ‘Ambets Gorav’ present on the album plus a beautiful choral pat-chwork called ‘Mirror Me’ providing an introspective break in the album - a track about “fac-ing yourself, the good, the bad; searching for the parts in us that have been lost.”


                                                                                      FORMAT INFORMATION

                                                                                      2xLP includes MP3 Download Code.

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                                                                                      Cover of Boiler Room Teaser by K-Hand.

                                                                                      K-Hand

                                                                                      Boiler Room Teaser

                                                                                      Acacia

                                                                                      Following two impressive outings in 2015 on Nina Kraviz endearing трип label, K-Hand returns home to her own Acacia Records label for the Project 6 EP. The release opens with a grimy, ever-evolving techno-acid number first debuted in K-Hand's Boiler Room Detroit set, receiving massive track ID requests — hence the name "Boiler Room Teaser." Not merely inter webs tested and approved, it's also a proven standout track during her DJ sets around the world, like at Concrete in Paris. Shifting gears on "You Stepped Right," K-Hand delivers a catchy, cutup disco ear worm with more great energy, albeit of a different kind. Book-ending the release is the infectious groove driven "Live," a no-nonsense, chuggy house track with major tech appeal and intense buildups of looped, atmospheric sounds. Big, bold, and unrelenting, it wouldn't sound out of place in a marathon Carl Cox set.

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                                                                                      Cover of Dismania by K-Holes.

                                                                                      K-Holes

                                                                                      Dismania

                                                                                      Hardly ARt

                                                                                        Second full-length from NY’s K-Holes.

                                                                                        Featuring former members of Golden Triangle and Black Lips.

                                                                                        The K-Holes sound is not of the grinning, gregarious panderer. Nor is it of the bored or atease. Rather, it’s the sound of escape.

                                                                                        “This is music that inspires the behavior of heathens: topless dancing, violent sacrifice, Bacchanalian orgies, and New Year’s cleansings” - LA Record

                                                                                        “Throw-you-down-on-the-floor-over-a-chalkdrawn- pentagram-with-a-head-full-of-mescaline music” - Qro Magazine

                                                                                        “It's real noisy and then there’s some sax” - Vice

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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 Don't Stop / Hupendi Muziki Wangu by KID.

                                                                                        KID

                                                                                        Don't Stop / Hupendi Muziki Wangu

                                                                                        Sam

                                                                                        Superb double-headed original Sam Records reissue featuring two in-demand rarities from 80s Italo outfit KID a studio group put together by top disco producer Geoff Bastow. Best known for helping Giorgio Moroder create his seminal electronic dance sound, Bastow has pulled out all the stops for his pet project KID. ‘Don’t Stop’ on side A is a classic electrodisco corker with seriously funky synths and a high-voltage New York style vocal. Even if you're not familiar with the original, you should recognise its use on Alan Braxe's "Most Wanted" - the biggest French filter house of the early 00s. Meanwhile on the flip is the ultra-rare underground dance bomb 'Hupendi Muziki Wangu'. The title translates into English as “You don’t like my music”, hugely ironic considering the quality of this super-catchy boogie-tinted disco instrumental - a showcase for electric keyboards and endless guitar, highlighted by a sinewy percussive groove, bouncy horns and mesmerising strings. Don’t sleep!


                                                                                        STAFF COMMENTS

                                                                                        Philippa says: Anyone who has memories of dancing to "Most Wanted" by Alan Braxe will recognise KID's "Don't Stop" instantly - this is a stone-cold Italo electrodisco classic!

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                                                                                        Cover of Wahala Wahala by K.O.G & The Zongo Brigade.

                                                                                        K.O.G & The Zongo Brigade

                                                                                        Wahala Wahala

                                                                                        Heavenly Sweetness

                                                                                          Under the guidance of the outrageously talented Ghanaian force of nature Kweku Sackey, aka K.O.G, and the whirlwind of energy that is Jamaican rapper Franz Von, the Zongo Brigade deliver infectious, high-energy West African grooves via Sheffield, drawing on Afrobeat, soul, funk, rock, hip hop and reggae which has fast gained recognition in London and all over the UK.
                                                                                          K.O.G’s signature mix of high-energy songs, raps, operatic vocal effects, along with the hard-hitting patois raps from the spirited Franz Von and a dedicated band of serious musical badmen, has led the band to perform on some of the biggest stages including Glastonbury, Reading and Leeds Festivals and numerous clubs and venues around Europe.

                                                                                          Deeply rooted in stories from Africa, the album draws on love, peace and social issues. K.O.G & the Zongo Brigade’s motto “Unity in Diversity” stems from Kweku’s African origins and also embraces the eclectic mix of nationalities which make up the band.

                                                                                          With a backdrop of unmistakeable African rhythms that include electric brass, thunderous percussion and sharp-edge guitar, ‘Wahala Wahala’ takes possession of the body as the words excite the mind. Racism, rejection, inequality, exile - the subject matter is always serious but the delivery irresistibly upbeat and rhythmic, guaranteed to get the feet moving because in every pain, there is also joy.

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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 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 Tangerine Dream by Kaleidoscope.

                                                                                          Kaleidoscope

                                                                                          Tangerine Dream

                                                                                          Chelsea Music

                                                                                            THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                             The 7” will be on ‘Tangerine’ coloured Orange vinyl and features 2 unreleased versions of tracks of the bands legendary 1967 psychedelic masterpiece: ‘Tangerine Dream’.

                                                                                            The two tracks on this 7” are versions that are works in progress that have been culled from the bands own personal archives from one off acetates, which give an intriguing insight into the development of the tracks.

                                                                                            The A Side is ‘Holidaymaker’ which was released as the B-side of the Bands first Single ‘Flight from Ashiya’ in 1967. Whilst the other track: ‘Mr Small, The watch Repairer Man’ - also from the album ‘Tangerine Dream is the B-side.

                                                                                            This special Record Store Day 7” is limited to 700 copies, hand numbered by original lead singer: Peter Daltrey.

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                                                                                            Cover of Faintly Blowing (Alt. Unreleased Version) / Jump In My Boat (Unreleased Track) by Kaleidoscope.

                                                                                            Kaleidoscope

                                                                                            Faintly Blowing (Alt. Unreleased Version) / Jump In My Boat (Unreleased Track)

                                                                                            Kaleidoscope Sounds

                                                                                              THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                              Following hot on the 50th Anniversary celebrations for their debut legendary album 'Tangerine Dream', Kaleisdoscope Sounds present two previously unreleased never heard before tracks out the bands personal archive. The A-side is the title track from the band's second album: 'Faintly Blowing', released April '69 although this versions is an early version of the track dating back record some 20 monthsealier to August '67 & the summer of love and features a different and more upfront guitar and vocals. The b-side 'Jump in my Boat' is an entirely previously unreleased studio track from the band from 1968 and one of a series of recordings the band dug up recently whilst searching through Peter Daltrey's loft. This version is Take 4. Both tracks have been beautifully remastered by the sonic psychedelic pioneer that is Pete Kember of Spacemen 3 who also remastered the bands debut album from Kaleidoscope Sounds last autumn.

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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 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.

                                                                                              FORMAT INFORMATION

                                                                                              Indies Exclusive LP Info: Indies exclusive features deluxe insert featuring comic strip designed by Jyrki Nissinen plus LP pressed on 180g heavyweight black vinyl with digital download
                                                                                              code.

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                                                                                              Cover of (Where Is The) Sunshine by Kalima.

                                                                                              Kalima

                                                                                              (Where Is The) Sunshine

                                                                                              Chuwanaga

                                                                                              For its third release, Chuwanaga goes back in the past with the reissue of “(Where Is The) Sunshine” by Kalima, a rare 7” originally released in 1981 and produced in Baltimore by Afro-American pianist and producer Derrick Amin. Part I on the A side and part II on the B side form a real journey, a beauty in its own style fusing jazz, soul and spirituality as well as political values.

                                                                                              Back in the mid-seventies Derrick Amin brought together young musicians from his Afro-American Muslim community in Baltimore. He told them that “all black music in America is a response to racism and slavery” and “(Where Is The) Sunshine” was their own answer, “a plaintiff query of one immerse in darkness. The darkness of lies, lies that deny the humanity, justice, and equality of people. It’s the impetus of this song”. 
                                                                                              With its splendid vocal parts (thanks to vocalist Sabreen Shareef), a unique major-to-minor chord progression, subtle synthesizer melodies in the chorus and amazing electric piano and sax solos, it really is a very special release. It’s been discovered in a Motor City Drum Ensemble’s jazz set with Gilles Peterson at the J.A.W. Family Reunion in Berlin back in 2016. Still, one must not forget its yet poetic still political message now shared once again with the world. The question asked by Kalima sadly still remains as relevant in 2018: Where is the sunshine?

                                                                                              STAFF COMMENTS

                                                                                              Patrick says: Oooof! Big reissue here for the MCDE / Gilles / Floating Points crowd, as Chuwanaga excavate and recreate this spiritual soul / jazz fusion gem from Kalima.

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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 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 Star Child by Kallaloo.

                                                                                                Kallaloo

                                                                                                Star Child

                                                                                                Kalita

                                                                                                Official reissue of Kallaloo's sought-after 1982 disco single "Star Child" thru Kalita records and accompanied by interview-based liner notes. Originally released on Jeffrey Turpin's Trinidadian record label IDA, "Star Child" has since become highly sought-after by both DJs and collectors alike as an invisible, yet astonishing piece of Caribbean disco.

                                                                                                Kallaloo consisted of various Trinidadian musicians including Keith Alexander and Peter Wayne Barkley. Keith had been well-respected as a member of the Trinidadian group Impact, and was later to become an in-demand producer and composer under the name of Keith Diamond, responsible for various hits by Billy Ocean, Donna Summer, Starpoint and Melba Moore. In contrast, Peter was a well-known recording session drummer, but after "Star Child"'s release he moved to North Carolina to pursue other interests and 'was never heard from again'.

                                                                                                "Star Child" was recorded at Right Track Recording, in mid-town Manhattan, New York. As Jeffrey recalls, the atmosphere in the studio was 'great, with everyone upbeat, the cream of the crop just looking for that break... everyone was talented and just wanted the chance to express their own ideas'. Five hundred copies of the record were released on IDA with a white label design, and they were sold both in Brooklyn, New York and Port of Spain, Trinidad. It was also released on a red label, however this was not to Jeffrey's knowledge at the time. Jeffrey explains that the reason why the record didn't fare well at the time was because of the difficulty in getting the song played on the radio. As he recalls, radio stations were much more likely to play 'radio versions' of songs which lasted for a couple of minutes, rather than five or seven minute 'extended' versions such as "Star Child", which were more suitable to a club environment. In addition, as Jeffrey explains, radio airplay is a 'political business', and also within a short while band members such as Keith got their own breaks, and the Kallaloo era was over as quickly as it had started.


                                                                                                STAFF COMMENTS

                                                                                                Millie says: Massive disco anthem, Star Child is the 80's spirit captured in vinyl format! Highly sought after for a long time so get on it. Tonight's the night, the time is right!

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                                                                                                Cover of An Evolutionary Music (Original Recordings: 1972 - 1979) by Ariel Kalma.

                                                                                                Ariel Kalma

                                                                                                An Evolutionary Music (Original Recordings: 1972 - 1979)

                                                                                                RVNG Intl.

                                                                                                'An Evolutionary Music (Original Recordings: 1972 - 1979)' compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalma’s work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde. Ariel Kalma’s boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue drum machine meditations. Kalma’s story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, 'An Evolutionary Music' offers the imprint of an outright auteur.

                                                                                                Born in France, but rarely in one place for long, Ariel Kalma’s 1970s migrations took flight through the decade’s furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, a place where Kalma would learn circular breathing techniques enabling him to sustain notes without pause against tape-looping harmonies configured through his homemade effects units. Those effects evolved from Kalma’s loyalty to a beloved dual ReVox set-up - two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings.

                                                                                                In France during the mid-1970s, Kalma was staffed as a technician at Pierre Henry’s legendary Institut National Audiovisuel, Groupe de Recherches Musicales (INA GRM) studios - the same music concréte laboratory that spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma’s relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as related universal patterns, in perfect harmony with the people, places and environments it was created. Kalma’s recorded output of the 1970s culminated in the now scarcelyavailable Les Temps des Moissons (The Time of Harvest) in 1975 and Osmose in 1978, a masterpiece of birdsong exploration. Osmose is double album featuring sculptor Richard Tinti, who had supplied Kalma with hours of field recordings from the rainforests of Borneo.

                                                                                                'An Evolutionary Music' harvests uncatalogued music made between Kalma’s private press records and onward through the many small-batch cassette releases Kalma would tender. With this collection of musical hybridity and distinct genre-corrosion, Ariel Kalma’s righteous bucking of both popular music trends and the academic tenets of the avant-garde falls squarely in the spirit of other renegades of sacred new-music such as Terry Riley, La Monte Young, and Charlemagne Palestine.

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