MAGIC MIX

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BACK CATALOGUE - K

Dimensions Recordings' fifth release sees the label step into the world of the long player with Istanbul native, KEREM AKDAG's self-titled debut album.

Kerem has already been winning fans of the ilk of Gilles Peterson through his previous output of dusty house and tripped out beats in the last few years, and of course via his Getdownsoclose offering on Dimensions' debut release. His debut album however, sees Kerem deliver a mature piece of work, bright and timeless, equally effective in the club as it is at home and brimming with ideas, hooks and must have songs.

Across eight tracks Kerem demonstrates a breadth of skills that most artists would work a lifetime to achieve. From the stepping beats of When I Think Of You to his subtle vocal layers on Isolated and from the woozy beach vibes of Sultan to the squelching, rasping synths of Unite it's clear that there's very little that's outside of Kerem's arsenal. The album rounds out fittingly with Drums Please, which perfectly displays Kerem's jazz tendencies, a slow grooving track whose crescendo of stabs and drums create a song that's more powerful than its parts.

Kerem Akdag's debut album clearly sets out the stall for a man who has a lot to say and has the capability to say it loud! LISTEN UP!

It wouldn't be summer without a deep, sweltering slice of eyes-down soulful house music from the NDATL camp so here's label head Kai Alcé to bring the heat as we progress through August. "Take A Chance" features vocals by Rico & Kafele Bandele and is unfathomably deep and soulful! Kai Alcé is out there with Amp Fiddler, Recloose and Cool Peepl with this shit, whether it's 'on trend' or not these cats never veer away from lashings of organic goodness all over their tracks. This particular effort has rich conga rhythms paired with breathy Rhodes, elegant sax and sensual male vocals; an absolutely delightful languid burner for your all day house party. Aptly, Larry Heard gets on remix duties and even brings in his alter ego Mr Fingers to boot! The loosefingered (geddit?), early pioneer of this sound gives us three different versions of Alcé's original but it's the Mr. Fingers Ambience Acid Mix that really does it for me! Keeping much of the original elements intact but adding an extra layer of tasty 303 goodness, it just takes the track that liiitle bit deeper and sets it apart from the rest of the pack. Storming stuff from the New York legend. 

Native Detroiter and NDATL label head Kai Alce makes his Kolour LTD debut with this three tracker of warm and organic house sounds deep enough to swim in. "Ahh!" opens the set in simple and melodic fashion, laying an airy synth refrain on top of a buttery groove and then adding the occasional blissed out vocal for good measure. As summery as it gets, this number bathes you in golden light from start to finish. The limber rhythm of "Be-Bop" sets the stage for some jazzy keys and a scatting vocal sample as Kai cooks up a luxurious house anthem for refined floors. On the flip, Spring (KZR’s MAIN) instantly conjures up images of BBQs, flowers in bloom and the mile wide smiles of bank holiday all dayer parties. Kai utilises live bass and guitar to create a languid groove which lazily stretches out for 9 minutes of pure joy. Yet more heat from the D! 

FORMAT INFORMATION

12" Info: Limited black and white smudged vinyl.

Sheffield's Shadeleaf return, this time backed by a mightily strong US firm to construct this, their twelfth release to date. Damon Bell hails from Oakland and contributes to Deepblak Recordings. Known for his polyrhythmic, organic, and soul-filled musical releases on Deepblak Recordings & Sound Of Speed Records Japan, he has also scored critically acclaimed releases recently on Burek, Meda Fury, and Don't Be Afraid. This is collaborative EP with vocalist and friend Khalil Anthony and Sheffield's Thamanmonkz. Deepblak is further represented as Afrikan Sciences get drafted in on remix duty. "Anniversary" trickles off the wax with liquid keys and gushing arpeggios spilling through the mix. It sounds like Floating Points' favourite synth the ARP Odyssey. Anthony's vocals carry on like Robert Owens meets Charles Bradley, equal parts soul and grit. On "Black Magic" Anthony's vocals take a more west coast slant, as Damon Bell & Thatmanmonkz provide a thoroughly electric soundbed, full of rhythmic keyboard sequences, gurgling 303s and kinetic drum machines. Flip and "The Lesson" continues with the acidic approach, squelchy drum hits ricocheting against sturdy acid lines and hushed vocal sections. Possibly the deepest offering on the EP, save this bad boys til the early hours when the floors putty in your hands. Finally, "Anniversary" gets some Afrikan Sciences treatment, turning out one of their suitably disjointed offerings littered with percussion artifacts and a tribal sensibility.

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.

Kevin Ayers

Champagne And Valium

    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.

    Kevin Ayers

    Joy Of A Toy

      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)".

      Copenhagen’s Music For Dreams continues its run of great releases with a tasteful 12 inch from label boss Kenneth Bager who presents four on-the-money remixes of his single "Sunshine Stereo" taken from forthcoming album "Follow The Beat". Currently enjoying heavy rotation on P3 (Denmark’s answer to Radio One), this summery anthem gets makeovers from Denmark’s Jazzbox, Greek duo Bonnie & Klein and from Mr Bager himself who teams up with Napoli-born producer extraordinaire Tuccinelli to give us not only a superb extended vocal mix but also an on-fire dub version of the track that’s sure to be a future classic both for the Balearic brigade and all lovers of funky downtempo dubbed-out weirdness. Treading the same territory as the fabulous Frankie Knuckles’ ‘Hallucinogenic’ mix of "Ain’t Nobody", this dub is full of tricks, teasing and pleasing the dancefloor and already getting strong support from Moonboots, Amnesia legend Leo Mas and Danish DJ Peter Visti. Elsewhere Jazzbox deliver a great uptempo beach boogie version full of soul and groove making great use of the unmistakeable voice of Damon Scott, known for his work with Storm Queen, while Bonnie & Klein produce a very special percussive jazzy dub mix. The pair are on a roll at the moment and this remix with its warm marimba vibes creates that Mediterranean vibe we all love. A real sun-soaked winter warmer, this 12” feels like a knitted sweater in the cold! Limited vinyl.

      Kris Baha with a colon rupturing, five track assault of EBM, darkwave and experimental electronics. Sharing a same industrialized edge, spine-chilling atmospheres and reverb-laden vocals meet juddering low end arps and crashing gated drums. Intoxicating and nihilistic, brutalist workouts for the tuffer and seedier end of the spectrum. Recommended! 

      STAFF COMMENTS

      Matt says: Doning black eyeliner and goth boots, this industrialized chugger from Kris Baha is the kind of strung out tension that freaks on the continent go crazy for.

      Ka Baird

      Sapropelic Pycnic

        ‘Sapropelic Pycnic’ is the Drag City and world debut of music presented under the name of Ka Baird. While this record is a commencement of many sorts, it is in no way a mere beginning. Ka’s ritual is well underway here, her craft clearly already a dedicated mastery; it finds her on the hunt for new discoveries with a humble desire for the transfigured, the sublime.

        This has been among the goals since early times, when Ka was one of the founding members of experimental psychlings Spires That In The Sunset Rise. Formed in 2001 out of the Chicago scene and described by late guitar legend Jack Rose as a “female Sun City Girls,” Spires’ sisterhood of sound deepened the New Folk slant with an array of avant- and world-flavoured directions drawing them ever further into the source.

        Ka relocated to NYC in late 2014 and immediately embarked upon new directions - exploring piano improvisations, electroacoustic intervention, extended vocal technique, physical movement and the electronic processing of her flute playing. The singular force that is Ka is represented on two releases under the Sapropelic Pycnic name - the improvised piano album ‘See Sun Think Shadow’ (released in November 2015 on Brooklyn’s Perfect Wave imprint) and the Coltrane tribute ‘A Love Supreme’ (on Chicago’s No Index label in January 2016).

        With the release of ‘Sapropelic Pycnic’, Ka manifests an evolving selfhood, expanding upon the essence of her first two albums’ artist name, while replacing and thus becoming that name on her own. ‘Sapropel’ is a contraction of the ancient Greek words sapros and pelos - putrification and mud. ‘Pycnic’ draws from pyknos - dense; stocky. This wordplay is meant to suggest a physical consumption, ingesting of the nutrient-rich mud found at the bottom of seas, lakes and rivers. Very much akin to the gorging of this metaphorical sludge, on ‘Sapropelic Pycnic’, Ka Baird imbibes sounds to provoke unseen forces within the wilds of her own unconscious, then brings them into the play.

        Emphasizing breath, via voice and flute, ‘Sapropelic Pycnic’ is a possession, a physical catharsis, a transformation, comprised of burry, guttural rhythms, loops and clusters of flute figures with gliding vocal and synth melodies. Reaching toward the ancient roots of music, Ka utilizes electronic manipulation to take the ear past preconception, combining the linearity of the physical with the abstraction of the cerebral, crafting textural rhythmic noise alongside lush operatic passages, containing multitudes.

        Conceived live as a series of solo vignettes and played that way by Ka (featuring contributions from Max Eilbacher - electronics, Sandy Gordon - vibraphone and Troy Schaefer - violin), ‘Sapropelic Pycnic’ draws from primordial ooze and raises high a sacrifice to the immemorial concept of the sacred, citing Chris Hedges in ‘The Power Of Imagination’: “A society that loses its respect for the sacred, that ignores its oracles and severs itself from the power of human imagination, ensures its obliteration.”

        "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.

        Karl Bartos

        Life (2016)

          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.

          Kishi Bashi

          Lighght

            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.

            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.

            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.

            Karl Blau

            Out Her Space

              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.

              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.

              Kenny Bobien

              Dance For Life 2003

              Japan's Flower Records supremo Little Big Bee adds some spiritual soul and latino vibes to this falsetto vocal gospel house tune. On the flip is Kenny 'he-shopped-in-here-once-you-know' Carpenter's garage mix. Little Louie Vega's been playing it out!

              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.

              FORMAT INFORMATION

              Coloured LP Info: Indies exclusive flume coloured vinyl.

              Coloured LP includes MP3 Download Code.

              Kadhja Bonet

              The Visitor

                “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.” 

                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

                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.



                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...


                Keni Burke

                Risin' To The Top / You're The Best

                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.

                Kate Bush

                50 Words For Snow (Remastered Edition)

                  Kate Bush

                  Ariel (Remastered Edition)

                    In March 2014 Kate Bush announced plans to perform 15 shows in London in August and September that year, her first live shows since 1979. The shows sold out so quickly that a further 7 were immediately added, with all shows selling out in 15 minutes. Kate’s own website crashed with the demand.
                     
                    The first night of the shows prompted a complete media frenzy with the Evening Standard declaring that the show was “an extraordinary mix of magical ideas, stunning visuals, attention to detail and remarkable music – she was so obviously, so unambiguously brilliant, it made last night something to tell the grandchildren about.”
                     
                    Later that year the show won the special Editor’s award at the highly prestigious London Theatre Awards, the only contemporary music show to do so.

                    The live album “Before The Dawn” will be released on CD and vinyl – 3 CDs and 4 vinyl. The conceptual heart of the show is reflected in the CD format, which is split over 3 discs centred around the two integral pieces – ‘The Ninth Wave’ and ‘A Sky Of Honey’.
                     
                    CD1 ends with the pivotal track ‘King Of The Mountain’ which bridges into ‘The Ninth Wave’ suite of songs on CD2.

                    The album was produced by Kate Bush. Nothing on the record was re-recorded or overdubbed.

                    STAFF COMMENTS

                    Barry says: A complete and beautifully presented collection of Bush's greatest hits, all presented in the context of an internationally renowned and heralded 2014 live show. Brilliantly visceral, fantastically performed genius from one of the forebears of modern pop music.

                    Kate Bush

                    Director's Cut (Remastered Edition)

                      Kate Bush

                      Hounds Of Love (Remastered Edition)

                        Kate Bush

                        Lionheart (Remastered Edition)

                          Kate Bush

                          Never For Ever (Remastered Edition)

                            Kate Bush

                            Remasterd In Vinyl I

                              · The Kick Inside
                              · Lionheart
                              · Never For Ever
                              · The Dreaming

                              FORMAT INFORMATION

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                              Kate Bush

                              Remastered In Vinyl II

                                · Hounds Of Love
                                · The Sensual World
                                · The Red Shoes

                                FORMAT INFORMATION

                                FREE SHIPPING This item has FREE UK shipping!

                                Kate Bush

                                Remastered In Vinyl III

                                  · Ariel
                                  · Director’s Cut
                                  · 50 Words For Snow

                                  FORMAT INFORMATION

                                  FREE SHIPPING This item has FREE UK shipping!

                                  Kate Bush

                                  Remastered In Vinyl IV

                                    12" Mixes
                                    The Other Side 1
                                    The Other Side 2
                                    In Others' Words

                                    FORMAT INFORMATION

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                                    Kate Bush

                                    Remastered Part I

                                      The Kick Inside
                                      Lionheart
                                      Never For Ever
                                      The Dreaming
                                      Hounds of Love
                                      The Sensual World
                                      The Red Shoes

                                      Kate Bush

                                      Remastered Part II

                                        Aerial
                                        Director's Cut
                                        50 Words for Snow
                                        Before the Dawn (Original Mastering) 12" Mixes
                                        The Other Side 1
                                        The Other Side 2
                                        In Others' Words

                                        FORMAT INFORMATION

                                        FREE SHIPPING This item has FREE UK shipping!

                                        Kate Bush

                                        The Dreaming (Remastered Edition)

                                          Kate Bush

                                          The Kick Inside (Remastered Edition)

                                            Kate Bush

                                            The Red Shoes (Remastered Edition)

                                              Kate Bush

                                              The Sensual World (Remastered Edition)

                                                Kate Bush

                                                The Whole Story

                                                  "The first compilation of highlights from Kate Bush's work is still one of the better ways of getting introduced to her music, even 20-plus years after its original release. Bush made a special effort on behalf of this collection - originally an LP - by re-recording and remixing her debut hit "Wuthering Heights"; she felt that her teenaged vocal didn't properly represent the song and, in fact, at one point thought to re-do the vocals on several other of the early numbers included. The collection is an excellent overview, presenting the many sides of her music, and bookending her whole career through 1984, from her debut to her then newest single, "Experiment IV"; nor is it confined exclusively to major hits, as important lesser-charting entries are also featured." - All Music.

                                                  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. 

                                                  Kate Carr has been investigating the intersections between sound, place and emotionality both as an artist and a curator since 2010. Her work has taken her from the Arctic Circle to the borderlands of South Africa, with stops in rural Thailand, fishing villages in Iceland and rainforests in Mexico, along with extensive explorations of Western Europe, Ireland and the British Isles.

                                                  Kate Carr's new album 'I Had Myself A Nuclear Spring' is an eerie symphony of cracking power lines, cries of water birds and the high pitched wine of nuclear towers. Carr's recordings trace the temporary wetlands of Marnay-sur-Seine, situated alongside a large nuclear power plant, just after the flooding of the river.

                                                  “[A] sound palette in perfect balance, both soggy and industrial, wild and harshly electric... a vivid portrait of technology, flora, water and fauna in unexpected proximity.” - Luke Turner / Caught By The River

                                                  Definitely within my favourite three house records of all time. Kerri Chandler's Atmosphere EP was originally released in 1993 and is nothing more than the bare bones of what the truest house/garage sound should be. Raw stripped back beats and bass, organ stabs, a bit of piano, some vocal samples and the best kick drum sound ever. If you don't own this record and you like house music, you're in for a treat. Totally ace record, still works on the floor and moreover still the blueprint for today's club music.

                                                  Kingsley Chapman And The Murder

                                                  Lovers

                                                  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.

                                                  Kurt Cobain

                                                  Montage Of Heck: The Home Recordings

                                                  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

                                                  Kyle Craft

                                                  Full Circle Nightmare

                                                    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.

                                                    FORMAT INFORMATION

                                                    Indies Exclusive LP Info: Indies Exclusive Loser edition coloured vinyl.

                                                    Indies Exclusive LP includes MP3 Download Code.

                                                    Kevin Cummins

                                                    Manchester: Looking For The Light Through The Pouring Rain

                                                      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.

                                                      Kevin Cummins

                                                      Punk : The Blank Generation Postcard Box

                                                        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.

                                                        Karen Dalton

                                                        The Karen Dalton Archives Box

                                                          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

                                                          DVD of a film interview of Greenwich Village Folklore Center founder (1957-1973) Izzy Young by Megaphone label's Stéphane Bismuth about the Greenwich Village Folk Scene and Karen Dalton.

                                                          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!

                                                          Kim Deal

                                                          Are You Mine? / Wish I Was

                                                            "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.

                                                            Kim Deal

                                                            Biker Gone / Beautiful Moon

                                                              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.

                                                              Kim Deal

                                                              Hot Shot / Likkle More

                                                                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"...


                                                                Kim Deal

                                                                The Root / Range On Castle

                                                                "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.

                                                                Kim Deal

                                                                Walking With A Killer / Dirty Hessians

                                                                "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.

                                                                Kirk Degiorgio + Elergy

                                                                Circuits Fading EP

                                                                  The ART maestro returns to his spiritual home on New Religion, his analogue machines oiled and his Mac rebooted to produce four new tracks of deft Detroit finessed techno music. The A-side cuts offer confident Transmat sounds. Meanwhile, the B-side Elegy productions verge on the soundtracky, with the soft thump of "4D Harmony" and the beatless "Circuits Fading". NB - The third track is "4D Harmony", not "Elegant Systems" as it was erroneously labelled on our promo copy.

                                                                  Kevin Devine

                                                                  Travelling The EU

                                                                  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.

                                                                  Klaus Dinger & PreJapandorf

                                                                  2000!

                                                                    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.

                                                                    Kyle Dixon & Michael Stein

                                                                    Stranger Things Season 1, Vol. 2

                                                                    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.

                                                                    Kyle Dixon & Michael Stein

                                                                    Stranger Things Season 2

                                                                    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.

                                                                    Kyle Dixon & Michael Stein

                                                                    Stranger Things: Halloween Sounds From The Upside Down

                                                                      Stranger Things composers and electronic veterans Kyle Dixon & Michael Stein return with Stranger Things: Halloween Sounds From the Upside Down, which features 14 original unreleased tracks from the series specifically curated to be as creepy and atmospheric as possible. Total electronic ’80s nostalgia with just enough of a modern twist to produce something unqiue and unforgettable. The vinyl is housed in a heavyweight spined sleeve with brand new artwork by John Bergin.


                                                                      FORMAT INFORMATION

                                                                      Ltd LP Info: Pumpkin orange coloured vinyl housed in a heavyweight spined sleeve.

                                                                      Kenny Dorham

                                                                      Afro-Cuban - Remastered Vinyl Edition

                                                                        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.

                                                                        CD Info: Rudy Van Gelder edition.

                                                                        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.

                                                                        Kevin Drumm

                                                                        Imperial Horizon

                                                                          "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.

                                                                          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

                                                                          Katie Ellen

                                                                          Cowgirl Blues

                                                                            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.” 

                                                                            Karen Elson's transformation from fashion’s favourite redheaded ingénue to beguiling chanteuse has been something of a slow burn. In 2003 she provided vocals for a version of Robert Plant's "Last Time I Saw Her" and in 2006 she recorded an English language version of "Je T’Aime… Moi Non Plus" ("I Love You… Me Neither") with Cat Power for a Serge Gainsbourg tribute album, but her main musical outlet has been as a founding member of New York City cabaret The Citizens Band, a downtown collective of musicians, performers, artists and acrobats whose lively Weimar-esque performances have enjoyed successful theatrical runs of their politically thematic shows.

                                                                            The 11 original compositions on "The Ghost Who Walks" were all written following Karen Elson’s 2005 relocation from New York City to Nashville. While making her home – and raising two children - in the city of country music, Karen took to writing songs for The Citizens Band and found she had plenty of other melodies in her head. Her and spouse Jack White quickly put a band together: Karen’s cabaret cohort Rachelle Garniez on accordion and vocals, The Dead Weather's Jack Lawrence on bass, My Morning Jacket's Carl Broemel on pedal steel and brother-in-law Jackson Smith on guitar. Jack White took the role of producer and provided drums. Karen added a cover of Garniez's "Lunasa" to the recordings and within a matter of weeks she had an album's worth of material. Two of her more theatrical tracks, "100 Years From Now" and "Mouths To Feed", inspired in part by author Tim Egan’s dust bowl saga "The Worst Hard Time", were originally penned for her cabaret troupe. The rest of the album richly evokes the lonesome feel of country ("Cruel Summer"), the tormented side of the blues ("The Truth Is In The Dirt") and the haunted stories of traditional folk balladry ("Stolen Roses").

                                                                            Graphic artist Rob Jones took inspiration from Karen’s penchant for peach and black to create gorgeously smoldering album art.

                                                                            STAFF COMMENTS

                                                                            Darryl says: A surprisingly excellent album from Jack White's missus, awash with sweet country tinged melodies.

                                                                            FORMAT INFORMATION

                                                                            Ltd LP Info: Vinyl is US only on Third Man. 180-gram, in a single-pocket gatefold jacket.

                                                                            Kathleen Emery

                                                                            Sometimes I Feel Like A Motherless Child - Quantic Version

                                                                            Back in 1998, Jazzman thought the old and forgotten jazz, soul and funk obscurities they loved should have a chance to stand out on their own, without being lost, bootlegged or propped up by other songs on a compilation. And so the label was started and their first 45. To make an impact they started with something extra special - the obscure and esoteric "Sometimes I Feel Like a Motherless Child" by Kathleen Emery, which sold the whole 1000 copy pressing in no time! Now even the Jazzman issue of this sells for around $25, and the original pressing on Love records can fetch over $400! Now, nearly a decade later, to celebrate the label's 50th release, Kathleen Emery is available once more, and with an exclusive Quantic remix on the flip! Get 'em while they're hot!

                                                                            FORMAT INFORMATION

                                                                            7" Info: Limited dinked 45.

                                                                            Kim Gordon

                                                                            Girl In A Band

                                                                              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.

                                                                              Klaus Johann Grobe

                                                                              Du Bist So Symmetrisch

                                                                                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.

                                                                                Karen Gwyer returns with 'Rembo', her first full LP for Don't Be Afraid. Reflecting the sheer energy of Gwyer's improvised, undulating and unpredictable live shows, 'Rembo' captures Gwyer in her element as a techno producer not afraid to smudge both the physical and emotional edges of what we may have come to expect in the club.

                                                                                Growing up in Michigan, with Detroit on the nearby horizon, the city's time-honoured musical heritage slowly sank under her skin. First through public radio, late night transmissions and endless cassette recordings, then on the life-changing local dance scene.

                                                                                "Before the internet came along, you were listening to the radio, and you knew who the DJ was, but you had no earthly idea who the records were by", recalls Gwyer. "You just listened to the music, and you didn't listen to the people. And because you didn't ponder their personalities, you weren't engaged in the process. And I loved it, it was pivotal to me. I still have records on tape, and I have no idea who made them. I lie awake at night thinking about how am I ever going to find out what that track is? I have a snippet of it in my mind, but how will I ever know?"

                                                                                'Rembo' then, is in some way a tribute to those transformative moments caught on tape. Rembo is a record that calls firmly to the night; an album to transport both artist and listener to dark, sweaty rooms, to shared escapism and unexpected moments of electronic transcendence.



                                                                                Keiji Haino & SUMAC

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


                                                                                  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.

                                                                                  CD Info: CD packaged in a 4 panel mini-LP style gatefold jacket printed on uncoated stock with metallic ink and 4 panel booklet.

                                                                                  Keiji Haino /Jim O Rourke/ Oren Ambarchi

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

                                                                                    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.

                                                                                    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."

                                                                                    Keaton Henson

                                                                                    You

                                                                                      THIS IS A RECORD STORE DAY 2013 EXCLUSIVE.

                                                                                      One Sided Etched 7" Vinyl of Keaton Henson Exclusive Artwork

                                                                                      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.

                                                                                      FORMAT INFORMATION

                                                                                      Indies Exclusive LP Info: Indies only LP (limited to 500 copies) includes 12” art print personalised by Keaton himself!

                                                                                      Kristin Hersh

                                                                                      In Shock

                                                                                      The first single to be lifted from Kristin Hersh's dazzling new album, "Learn To Sing Like A Star". The former Throwing Muses and 50 Foot Wave front woman presents "In Shock" – an EP backed with three additional tracks that will not appear on the album. Twenty years and fifteen albums into her career, the dazzling disarray of Hersh's early work has given way to a more matured accomplishment. Her voice has grown deeper and richer and the songs now take flight without leaving artist and listener seasick. The gift that once overwhelmed Hersh in her early years has been harnessed — with craft, with age — to magnificent effect.

                                                                                      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.

                                                                                      STAFF COMMENTS

                                                                                      Barry says: Brilliantly noisy fuzzed-out rock, simmering post-punk attitude mixed with motorik rhythms, hypnotic repetition and Hersh's vocals, twisted and delayed into oblivion. Perfectly lucid in intervals, but speckled with noisy, brassy drones and heavy AF bass thuds.

                                                                                      FORMAT INFORMATION

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

                                                                                      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.

                                                                                        Kristin Hersh

                                                                                        Sunny Border Blue

                                                                                        Kristin Hersh returns with her new album, which contains 12 brand new songs, plus a cover of Cat Stevens "Trouble".

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

                                                                                        Multi-talented Norwegian producer Kim Hiorthoy follows his 2000 debut "Hei" with this B-sides, rarities and remixes compilation. His music, which has been classed with the new 'folktronica' movement combines lo-fi electronics, cut-up beats, glitches and samples, field recordings and live instrumentation. Hiorthoy is also a renowned filmmaker, photographer, and graphic designer who produces the cover art for the Rune Grammofon label.

                                                                                        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.

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

                                                                                        STAFF COMMENTS

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

                                                                                        FORMAT INFORMATION

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

                                                                                        Kang Tae Hwan Trio

                                                                                        Love Time

                                                                                        "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.

                                                                                        Kensuke Ide With His Mothership Featuring Pongsapon Upani Vs Hair Stylistics

                                                                                        Otemoyan Isan

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

                                                                                        Kenneth Ishak

                                                                                        Silver Lightening From A Black Sky

                                                                                        New album from Kenneth Ishak, frontman from Norwegian indie-pop legends Beezewax. For fans of singer songwriter music, the likes of Elliott Smith, Neil Young, Gram Parsons, Sufjan Stevens, Brian Wilson etc…

                                                                                        Kito Jempere

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

                                                                                        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.

                                                                                        Kathryn Joseph

                                                                                        Bones You Have Thrown Me And Blood I've Spilled

                                                                                          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.


                                                                                          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.

                                                                                          Kathryn Joseph

                                                                                          Tell My Lover

                                                                                            The ethereal Kathryn Joseph releases this single as a taster of her forthcoming album, her second since the SAY Award-winning ‘Bones You Have Thrown Me And Blood I’ve Spilled’ from 2015 and her first for Glasgow’s Rock Action Records.

                                                                                            The single will appeal to lovers of haunting melodies and beautiful lyrics which will penetrate the corners of your soul.

                                                                                            Fans of the recent Out Lines album, which Kathryn appeared alongside James Graham of The Twilight Sad and producer Marcus Mackay, along with those that enjoy the sounds of Björk, Kate Bush, Anohni and Joanna Newsom, will love the unique talent of Scotland’s best kept secret, Kathryn Joseph.

                                                                                            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.

                                                                                            K-Holes

                                                                                            Dismania

                                                                                              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

                                                                                              K-Solo

                                                                                              Tell The World My Name

                                                                                              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.

                                                                                              KID

                                                                                              Don't Stop / Hupendi Muziki Wangu

                                                                                              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!

                                                                                              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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