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Keane

Disconnected / Sovereign Light Café

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

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

    KT Tunstall

    Extra Wax

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

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

      Kendra Amalie

      Intuition

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

        FORMAT INFORMATION

        Coloured LP Info: Indies exclusive transparent orange vinyl.

        Kollington Ayinla And His Fuji ’78 Organisation

        Blessing

        Kollington Ayinla’s celebrated 1978 album "Blessing" is a rare lost classic of Nigerian Fuji music and features Ayinla’s sharp political lyrics together with his new band Fuji ’78. "Blessing" blends the heavily percussive style of Fuji music with a stunning array of modern instruments, including synthesizers, Bata drums and guitars, to create one of the most forward-thinking and heavily danceable sounds ever to come out of Nigeria - a highly successful mixture of profound Fuji rhythms and Fela Kuti-style Afrobeat.

        Kollington Ayinla ranks alongside his friend and competitor Ayinde Barrister as the two most important artists to dominate Fuji music from its inception in the 1970s through to the 1990s by which time it had grown to become one of the most popular dance genres in Nigeria. At the start of the 1980s Ayinla started his own record company, Kollington Records, to release his music and remains to this day an extremely prolific artist, having recorded over 50 albums, most of which have never been released outside of Nigeria.

        This is a one-off pressing (1000 copies) of this unique piece that has only ever previously been released in Nigeria. 

        Kris Baha's first 12" for Especial. With releases on Bahnsteig 23, CockTail d'Amore and Pinkman, Baha has become a respected artist in just a few years. Building analogue equipped studios in Melbourne and Berlin, DJing, producing and mixing have all led to atonal ear, with success achieved through dedication.

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


        STAFF COMMENTS

        Matt says: Jagged, razor sharp EBM that proudly dons its goth boots and trench coat. Kris Baha is one of the tastiest shadow-lurkers in the scene. Peep dis!

        "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.

        Kishi Bashi

        Omoiyari

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

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

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

          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.

          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.

            Kadhja Bonet

            Childqueen - Piccadilly Exclusive Bonus Disc Edition

            THE PICCADILLY RECORDS ALBUM OF THE YEAR 2018.

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

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

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

            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

              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...


              Kate Bush

              50 Words For Snow (Remastered Edition)

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

                FORMAT INFORMATION

                2xLP Info: Double heavyweight vinyl.

                Kate Bush

                Aerial (Remastered Edition)

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

                  FORMAT INFORMATION

                  2xLP Info: Double heavyweight vinyl.

                  Kate Bush

                  Director's Cut (Remastered Edition)

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

                    Kate Bush

                    Hounds Of Love (Remastered Edition)

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

                      Kate Bush

                      Never For Ever (Remastered Edition)

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

                        Kate Bush

                        Remastered In Vinyl II

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

                          FORMAT INFORMATION

                          FREE SHIPPING This item has FREE UK shipping!

                          Kate Bush

                          Remastered Part II

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

                            FORMAT INFORMATION

                            FREE SHIPPING This item has FREE UK shipping!

                            Kate Bush

                            The Dreaming (Remastered Edition)

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

                              FORMAT INFORMATION

                              LP Info: 180 gram heavyweight vinyl.

                              Kate Bush

                              The Kick Inside (Remastered Edition)

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

                                FORMAT INFORMATION

                                LP Info: 180 gram heavyweight vinyl.

                                Kate Bush

                                The Red Shoes (Remastered Edition)

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

                                  Kate Bush

                                  The Sensual World (Remastered Edition)

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

                                    FORMAT INFORMATION

                                    LP Info: 180 gram heavyweight vinyl.

                                    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. 

                                    If all the youngsters in the house could take a step away from their hacked copies of ableton for a second and let the VSTs cool down, Nervous have very kindly dropped by to teach us a lesson in proper deep house. The man in the bow tie is none other than NJ legend Kerri 'Kaoz 6:23' Chandler, so sit up and give the man you're full attention.

                                    Released on the legendary label in 1998 "The Mood EP" still stands head & shoulders above its contemporaries, despite being one of Chandler’s lesser spotted releases. Opening cut "Just Livin'" is one of those killer deep house grooves so beloved of Dimitri, Idjuts and Harvey in that era, effortlessly combining the shuffling rattle of polyrhythmic percussion with a limber baseline and top moog action to take you sky high. "Dreamscape" sees Chandler make for the ocean floor, weaving a lively bassline around aquatic pads and jazzy Rhodes riffs. Dope! On the flip "Union City Nights" takes us straight into beret and elbow patches territory thanks to some heavy jazz funk instrumentation and a whole load of cocaine. The unrestrained noodling rides a rolling bassline and skipping drum track right into your next Loft set. And now for the vocal bomb! If you're looking for the quintessential example of late nineties deep house, you're in luck with "Rain". Chandler lays jazzy keys and the exotic marimba riffs on top of a trademark rhythm track and a skippy bassline, creating the perfect home for the earnest vocals! Massive. Fresh, essential & lovingly re-mastered & reissued for 2014, get inovled!

                                    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 & Showboat Honey

                                    Showboat Honey

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

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

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

                                      FORMAT INFORMATION

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

                                      Coloured LP includes MP3 Download Code.

                                      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.

                                        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.

                                        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.

                                        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.

                                        Kahil El'Zabar And David Murray

                                        Kahil El'Zabar's Spirit Groove Ft. David Murray

                                          Kahil El’Zabar’s ‘Spirit Groove’ on Spiritmuse Records is the latest musical inspiration from a spiritual jazz master Kahil El’Zabar, featuring the legendary tenor sax colossus, David Murray.

                                          El’Zabar’s and Murray’s collaborative efforts span over 4 decades of exceptional explorations in the varied realms of spiritual jazz. Joining them on this project are 2 extraordinary young talents, Emma Dayhuff on acoustic bass and Justin Dillard on keyboards/organ. ‘Spirit Groove’ is an innovative journey into the core soul of jazz and groove, where all are one in Spirit.

                                          Kelly Finnigan

                                          Catch Me I'm Falling

                                          “Catch Me I’m Falling” featured in prominent Bose ad all fall of 2018. The lead single that kicked off Kelly's solo career. Ultra-sweet, super mellow, just one of the most tender moments on Kelly Finnigan's solo LP The Tales People Tell. Utilizing the pocket playing of Max and Joe Ramey from The Ironsides, Kelly's falsetto shines bright for all to hear. For fans of Lee Fields, Thee Lakesiders and Durand Jones. B-side is exclusive to this 7-inch and will not be on LP.

                                          FORMAT INFORMATION

                                          Ltd 7" Info: Very limited Pink coloured vinyl is exclusive to Indie stores.

                                          Especial welcomes Kim Ann Foxman to debut on the label with an ode to the power of the moon. The sample heavy, acid vocal cuts no slack and shows Foxman confidently developing as a producer and is backed with a stellar set of remixes from Roza Terenzi, Dawl & Sween and Violet.

                                          Revered by many as an on point clubber, dancer, singer, DJ and producer, her breakthrough in Hercules & Love Affair was a start, soon carving out her place as a solo artist and global DJ, while fitting in time to run the Firehouse - recently featuring Richard Sen and Kasra V - and SELF-TIMER labels - home to new project, Pleasure Planet.

                                          As veteran of the San Francisco 90s heyday, slipping breaks around a 4/4 kick is a blast of past meets acid future, as 303 meets M1, while Foxman's lyrics - written during the Blood Moon over London - extols the power of the tides, nature's internal and external flow.

                                          The remixes are a manner of breaks-heaven, as Roza Terenzi rips a steppas dub, Tone Dropout's Dawl and Sween master a latter day M25 anthem, before finally Violet, edits, strips, builds and takes things deep.

                                          Make me lust, make me bleed.

                                          Kim Gordon

                                          No Home Record

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

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

                                            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. 

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

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




                                            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.

                                              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

                                                Kristin Hersch

                                                Crooked

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

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

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

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

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

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

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

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

                                                  FORMAT INFORMATION

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

                                                  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.

                                                    Kim Hiorthoy

                                                    Live Shet

                                                      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.

                                                      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.

                                                      Kito Jempere

                                                      DB7 003

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

                                                      Kito Jempere

                                                      Uohha! / To Marvin

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

                                                      STAFF COMMENTS

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

                                                      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

                                                        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

                                                          Weight / Cold

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

                                                            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.

                                                            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.

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

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


                                                            Kacy & Clayton

                                                            Carrying On

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

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

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

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Indies exclusive pink marble vinyl.

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

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

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

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

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

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

                                                              Kaibosh

                                                              & Now For Plan C

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

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

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

                                                              FORMAT INFORMATION

                                                              LP includes MP3 Download Code.

                                                              A West Coast classic back on vinyl at last!

                                                              Recorded in 1968, the lone album by the group known as Kak is a beloved masterpiece, full of the inspiration and promise associated with the California psychedelic dream.

                                                              The oddly-named, eminently talented quartet from the college town of Davis was together less than a year from start to finish, yet within that short time created a record renowned for powerful performances, solid production values and the brilliance of its song craft, with a full playlist of compelling material like ‘Electric Sailor’, ‘Lemonaide Kid’ and ‘Trieulogy'.

                                                              Kak can stand nobly alongside records like Surrealistic Pillow, Electric Music For The Mind And Body, Sailor or the first Moby Grape album, as one of the most satisfying listens of the late 1960s SF rock renaissance.

                                                              This newly remastered vinyl edition features extensive liner notes by Kak aficionado Alec Palao, with contributions from band members Gary Lee Yoder, Dehner Patten, Joe-Dave Damrell and Chris Lockheed.

                                                              “First rate westcoast psych” – Patrick Lundborg (Acid Archives).


                                                              FORMAT INFORMATION

                                                              Ltd LP Info: Housed in heavy cardboard sleeve plus OBI.
                                                              Colour four panel insert with photos and liner notes by Alec Palao.

                                                              Kalbata / Mayaan Nidam

                                                              The Town

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

                                                              STAFF COMMENTS

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

                                                              Kalev

                                                              Cutting At Nothing

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

                                                              FORMAT INFORMATION

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

                                                              Jaakko Eino Kalevi

                                                              Jaakko Eino Kalevi

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

                                                              STAFF COMMENTS

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

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

                                                              STAFF COMMENTS

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

                                                              FORMAT INFORMATION

                                                              LP includes MP3 Download Code.

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

                                                              Stephen John Kalinich

                                                              A World Of Peace Must Come

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

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

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

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

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

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


                                                                FORMAT INFORMATION

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

                                                                Ariel Kalma

                                                                Open Like A Flute

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

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

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

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

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

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


                                                                STAFF COMMENTS

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

                                                                This new anthology on Afrosynth brings together six songs by South African disco star Kamazu, spanning his career from 1986 to 1997. The six track set perfectly traces an evolution of dance music over that period, moving from the boogie/proto house heat of his biggest hits ‘Korobela’ and ‘Indaba Kabani’ (think a South African Inner City) to the MTV new wave of the more obscure ‘Victim’ and ‘Why’, to a couple of slow and slamming tracks from his kwaito comeback, ‘Mjukeit’ and ‘Atikatareni’. Virtuoso playing, super cool synth sounds and great vocals throughout.

                                                                Kanaan

                                                                Double Sun

                                                                  Kanaan from Oslo, Norway is back with their 2nd album in 2020. Following the impromptu Odense Sessions with Causa Sui guitarist Jonas Munk released in February, Double Sun is a different beast all together: Treading the same path as their 2018 debut Windborne, Double Sun is a studio effort in the best sense of the word. Perfectly balanced on the edge of dynamic improv, throbbing beats sizzled in scorching fuzz and topped off with deeply layered soundscapes. This album sees Kanaan reach a new plateau. Kanaan presents a unique perspective to psychedelic rock, painting with a wide palette that includes jazz and post-rock. Double Sun devotes as much energy to sonic colour as it does to groove and energy. The spirit of experimentation is everywhere: From the savory, pastoral sounds of opening track Worlds Together, to the soaring exploratory paths of the two-part title track. In the creative process, Kanaan dived deep into the possibilities of the studio, adding intricate layers and twists and turns to these tunes: acoustic guitars, percussions & synthesizers embrace and enhance the Norwegian modern day version of a power-trio. T

                                                                  Kanaan

                                                                  Odense Sessions

                                                                    With their 2018 debut album, ”Windborne”, Oslo based trio Kanaan quickly established themselves as one of the most important groups in the youngest generation of psychedelic impro-rockers. As accomplished players – all three educated in jazz – they marry fiery energy with musical intricacy, and possess a rare ability to balance power and Delicateness. They devote as much energy to exploring airiness and atmosphere as they do to intensity. On this set the trio join forces with Causa Sui guitar player and producer Jonas Munk, for a series of semi-improvised sonic excursions. Recorded in Jonas Munk's Odense studio, where most of the El Paraiso magic happens, the band explores a looser side of their sound. Jonas Munk joins on guitar on every track, and occasionally synths as well, unlocking new modal possibilities and a Grateful Dead-esque dual-guitar flow that suits the band well. These four tracks unfold in a panoramic slow burn, only occasionally exploding in blazing leads. They know just when to hold back and when to let loose. On the final track, ”Urgent Excursions To The Tundrasphere”, the four eventually let it all rip, creating a complete sonic meltdown. For fans of freeform psychedelic rock this is as essential as it gets

                                                                    FORMAT INFORMATION

                                                                    LP includes MP3 Download Code.

                                                                    Kanda

                                                                    It's A Good Name For You

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

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

                                                                    Kandodo 3

                                                                    K3

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

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

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

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

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

                                                                      Settle in for the long haul and ….

                                                                      STAFF COMMENTS

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

                                                                      FORMAT INFORMATION

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

                                                                      Often regarded as Japan’s first female singer-songwriter, Sachiko Kanenobu created an enduring legacy with Misora, a timeless classic of intricate finger-picking, gently soaring melodies, and rustic Laurel Canyon vibes.

                                                                      Originally released in 1972 on URC (Underground Record Club), one of Japan’s first independent record labels, the Haruomi Hosono-produced album remains one of the most beloved works to come out of Japan’s folk and rock scenes centered around Tokyo and Kansai areas in the early 1970s.

                                                                      Kanenobu made her songwriting and recording debut as part of Himitsu Kessha Marumaru Kyodan, whose sole single was released on URC in 1969. After years of being pushed aside by the label in favor of newer male artists who were more 'folky' in a traditional sense, it was her friendship with the groundbreaking band and labelmate Happy End that ultimately helped her secure the opportunity to record a solo album. With Hosono on board as producer, Kanenobu spent seven days recording the songs that would become "Misora", with most songs recorded in a single take.

                                                                      By the time "Misora" was released in September 1972, Kanenobu was gone. She had left for America, eager to start a new life with Paul Williams, a music writer who had founded Crawdaddy Magazine in 1966. Without the artist to promote it, '“Misora" was asleep for a long time,' she said. Meanwhile Kanenobu settled near Sonoma in Northern California, retiring from music and concentrating on raising her two children. It wasn’t until Philip K. Dick, the famed writer and family friend, heard "Misora" and encouraged her to get back into music, that Kanenobu felt the urge to pick up the guitar again. Soon new songs started flowing, and Dick helped finance a single for Kanenobu in 1981. He was committed to producing a full length when he died unexpectedly in 1982.

                                                                      While she enjoyed success (especially in Germany) with her hard-hitting group Culture Shock in the 1980s, and continued to release albums in American and in Japan in the 1990s, it’s "Misora" that keeps coming back to her. Every few years a new generation of fans discover the album. Devendra Banhart, Jim O’Rourke, Steve Gunn, and many others continue to tout its greatness.

                                                                      Kanenobu played a series of sold-out homecoming shows in Japan in 2018, playing "Misora" in its entirety. Surviving members of Happy End came out to support, some even playing in her backing band. Audience members included old and young, some young enough to be her grandchildren. 'I love it,' she said. 'They love Misora, they’ve heard it so many times. And here it rose from death…because for them, they can’t believe it- she’s still alive!'


                                                                      FORMAT INFORMATION

                                                                      Ltd LP Info: Vinyl housed in a deluxe, uncoated gatefold jacket with 12-page liner notes book.
                                                                      Vinyl pressed at RTI.

                                                                      Kano

                                                                      Runes

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

                                                                        FORMAT INFORMATION

                                                                        Ltd LP Info: Ltd to 1000.

                                                                        Kansas Smitty’s

                                                                        Things Happened Here

                                                                          As the London Jazz Scene moves more and more towards the dancefloor, Kansas Smitty’s is the cinematic and meditative side of instrumental music. The new record from Kansas Smitty’s “Things Happened Here” is a modern classic. It’s a concept album who’s sole concept is to capture the complexity of the age we live in; lamenting its hardships and reflecting its beauty. Whilst their own-operated venue and bar was one of the conception points for the current jazz boom, Smitty’s have developed a musical voice wholly unique from what’s happening around them.

                                                                          "Things happened here" is the feeling you get when you walk into an old house, an abandoned factory, or an ancient temple. It is that feeling that some combination of great and terrible things have occurred on the ground on which you now stand. It is rare, profound, and humbling. And most of all, it brings our significance or lack thereof into perspective. Because, where things happened, things will happen again.

                                                                          Almost entirely written and produced by Giacomo Smith, the band leader who is at the centre of this seven piece band, and featuring nine original compositions “Things Happened Here” is the snapshot of a band reaching artistic maturity.

                                                                          Kansas Smitty’s formed in 2013, have sold out Ronnie Scotts multiple times along with headline sell out shows at Jazz Cafe, Alexandra Palace Theatre, Shoreditch Town Hall, Cheltenham Jazz festival, Rochester Jazz (NY), North Sea and Love Supreme.

                                                                          They launched their own bar, of the same name, on Broadway Market Hackney in 2015 which now promotes seven nights a week of live music and has hosted performances from artists as varied as Johnny O’Neil to Louis Cole. As well as international acts the venue is much more active as a hub for like minded local musicians to connect and create it has been not far from the centre of the london jazz explosion with Femi Koleso, Moses Boyd performing often and Theon Cross was an active member of Kansas Smitty’s the band until 2018.

                                                                          It is a key space for the band to write and record new material. The band is composed of Giacomo Smith on alto, clarinet and bass clarinet Dave Archer on guitar, Ferg Ireland (Ashley Henry, Ruby Rushton) on double bass, Will Cleasby (Judi Jackson, Kurt Elling) on Drums, Joe Webb (Hailey Tuck) on piano, Alec Harper on Tenor and Mark Kavuma on trumpet.


                                                                          Lucy Kaplansky

                                                                          Every Single Day

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

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

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

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

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

                                                                          - Job Jobse

                                                                          STAFF COMMENTS

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

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


                                                                          STAFF COMMENTS

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

                                                                          Karen O Featuring Michael Kiwanuka

                                                                          Yo! My Saint

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



                                                                            STAFF COMMENTS

                                                                            Laura says:

                                                                            FORMAT INFORMATION

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

                                                                            Matt Karmil

                                                                            STS371

                                                                              Matt Karmil's fifth album is a meditative collection of woozy loops and soft focus house. STS371 is the follow-up to IDLE033, - - - -, ++++ and 2018’s acclaimed Will.

                                                                              Matt Karmil is British born – growing up in the rural town of Salisbury, near Stonehenge. Suffering a prolonged illness as a child, he spent much time indoors whiling away the long hours by playing with a classical guitar. Eventually he was well enough to see the world that had almost left him behind, and he spent his early twenties as an international traveller, DJing, record collecting and working as a producer-engineer in London, Paris, Stockholm and Berlin. In 2012 he decided to settle on Cologne – a city famed for its excellent club scena and ultra-minimal take on techno via the collective of artists and producers around the Kompakt label.

                                                                              With a studio established in Cologne, Matt made his LP debut with the well received (but hard to Google) ‘----‘, combining dusty samples and elegant tape hiss with scuba-diving grooves and minimalist vibes. In the same year he released the jubilant club anthem ‘So You Say’ on Tim Sweeney's Beats In Space label and remixed John Talabot and Axel Boman's (Talaboman) single ‘Sideral’. Recent years have seen a raft of new releases from Matt, remixing XPress 2 for Skint, the albums idle 033 and ++++, as well as 12”s for Yumé Records, Idle Hands, Endless Flight and Studio Barnhus, received with great reviews in publications from The Wire to Resident Advisor and beyond. 2016 also saw Matt much in demand for his skills in engineering, mixing and mastering, working extensively with Matias Aguayo for Crammed Discs, Kornel Kovacs for Studio Barnhus and Talaboman for R&S, among many others. At the invitation of artist Christine Sun Kim, Matt composed a sub-20Hz piece for Bounce House at Sound Live Tokyo 2015, while his video collaboration with Boston’s MIT Media Lab, Time Moods, was premiered in late 2017.


                                                                              Jindřich Parma originally created this record as a studio project on his own 'Parma Productions' label in '91. The release was the debut of the musician Karya, and although the singer has become fairly prolific, 'Muž Ze Skla' (The Man Of Glass) remains an anomalous release in her catalogue.
                                                                              In fact, the song never actually featured the singer we know as 'Karya' today, and was solely the experiment of Jindřich and Company. With a Balearic house sound that never really had a parallel in the country, this remains a truly unique Czechoslovakian record. Absolutely dripping in choice period features, the cut chugs right onto the Shoom dance floor, fusing the Harry Thumann bassline with a classic Balearic beat while the proggy panpipes, Fairlight choirs and spoken vocals sound cooler than the ice in your cocktail. Flip it for the arrangement adjustment of the remix, which stretches the track out for a tantric build up to the inevitable drop. 

                                                                              STAFF COMMENTS

                                                                              Patrick says: Rare Czech Balearic here from Smiling C, who introduce us to Karya and the mighty "Muz Ze Skla". Coming correct with a '91 breakbeat, snaking bassline and the exquisite New Age combo of Fairlight vocals and synth pan pipes, this is arguably the most Balearic record I've heard all year. Sure, you might have loads of things that sound like this, but you don't have this - and you do need it!

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

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


                                                                              STAFF COMMENTS

                                                                              Barry says: With shimmering, echoed reverb and tentatively delivered vocal shards, K A R Y Y N has crafted a stunningly original juxtaposition of choral ambience and direct, modern electronics. Rife with changes in pace and unexpected slabs of withering gloom before launching once again into a euphoric resolution. It's a gorgeous LP and one that reveals more on every subsequent listen.

                                                                              FORMAT INFORMATION

                                                                              2xLP includes MP3 Download Code.

                                                                              Kasabian

                                                                              For Crying Out Loud

                                                                                Kasabian

                                                                                For Crying Out Loud

                                                                                  With scuzzy beats, trippy keyboard squiggles and vocals 100% full of attitude and belief, these Midlanders seem to have the lot. Like a more brazen Beta Band (similar 60's references, similar use of beats) or prime-time Happy Mondays, some of these songs are like chants or mantras that get right under your skin. It's powerful, low-slung-funky, effortlessly catchy fun!

                                                                                  FORMAT INFORMATION

                                                                                  2xLP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                                                                  With scuzzy beats, trippy keyboard squiggles and vocals 100% full of attitude and belief, these Midlanders seem to have the lot. Like a more brazen Beta Band (similar 60's references, similar use of beats) or prime-time Happy Mondays, some of these songs are like chants or mantras that get right under your skin. It's powerful, low-slung-funky, effortlessly catchy fun!

                                                                                  FORMAT INFORMATION

                                                                                  2xLP Info: Reissued in original 10" double gatefold heavyweight vinyl format in a limited quantity.

                                                                                  Kasabian

                                                                                  Live! - Live At The O2 - Blu-Ray Edition

                                                                                    Filmed in high definition at London’s renowned O2 Arena on 15th December 2011, this is Kasabian’s first stand alone Blu-Ray release. The show came on the back of the band’s No.1 album ‘Velociraptor!’ and the set-list combines tracks from that album with hits and classic album tracks from across their career so far. The concert was part of a sold out arena tour that covered the UK and Ireland at the end of last year. Kasabian are the recipients of numerous awards for ‘Best Live Band’ and ‘Best British Band’ in recent years and this new show with its spectacular and innovative staging will be a must have for their huge and dedicated fanbase.

                                                                                    This special edition includes bonus CD of highlights from the live show.


                                                                                    FORMAT INFORMATION

                                                                                    2xCD/DVD Info: Blu-ray edition.

                                                                                    Kasai Allstars & Orchestre Symphonique Kimbanguiste

                                                                                    Around Felicite

                                                                                    Crammed Discs presents the soundtrack album of Alain Gomis’ film Félicité (Silver Bear Grand Jury Prize at the 2017 Berlin Film Festival), performed by the inspiration of the movie, the Congolese collective the Kasai Allstars. Includes bonus remixes from the likes of Clap! Clap!, Daedelus and Africaine 808.

                                                                                    Deeply impressed by the music of Kasai Allstars, French-Senegalese director Alain Gomis drew inspiration from their music, and from the voice and character of their singer Muambuyi to write and direct his new fiction movie, entitled 'Félicité'. The film's eponymous protagonist is a proud, free-willed woman who sets out on a breakneck race through the streets of electric Kinshasa to save her son. Her profession: singer with the Kasai Allstars!

                                                                                    The band wrote and performed most of the soundtrack, and appears onscreen playing their own part. Muambuyi's voice is omnipresent, and is being heard every time Félicité (played by Congolese actress Vero Tshanda) sings in the bars of Kinshasa, backed by Kasai Allstars.

                                                                                    The 'Around Félicité' album includes the film's main pieces, performed by Kasai Allstars and by the Kinshasa Symphonic Orchestra (who specially arranged three works by Estonian composer Arvo Pärt), alongside new tracks by Kasai Allstars, as well as interludes consisting of fragments of dialogues and sound bites taken from the soundtrack.

                                                                                    'Around Félicité' comes with a companion piece: 'Félicité Remixes', a collection of ten remixes of Kasai Allstars tracks by electronic music producers from Europe, North America and Africa, including reworks by Clap! Clap!, Daedelus and Africaine 808. 'Félicité Remixes' is available as a bonus disc included in the CD version of the album, as well as a separate digital album available on all streaming and download platforms.

                                                                                    'Around Félicité' also comes out as a vinyl double-LP including the album plus five of the remixes.

                                                                                    FORMAT INFORMATION

                                                                                    2xLP includes MP3 Download Code.

                                                                                    Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.

                                                                                    Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.

                                                                                    The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story" and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As".

                                                                                    This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous 4 page folded insert - has been faithfully restored. Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.

                                                                                    Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.

                                                                                    Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.

                                                                                    The LP opens with Kimiko’s highly desirable version of “I Thought It Was You”, an elegant take on Herbie’s own anthem. Other superb re-workings include the delicately soulful “Butterfly”, jazzy groover “Sunlight”, the smooth and sexy “Tell Me A Bedtime Story” and the beautiful ballads “Maiden Voyage” and “Harvest Time”. A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn’t be missed, the set closes with a jaw-dropping version of Stevie Wonder’s “As”.

                                                                                    This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous 4 page folded insert - has been faithfully restored. Simon Francis’ sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.


                                                                                    Kashmere Stage Band

                                                                                    Texas Thunder Soul 1968-1974

                                                                                    After capturing audience awards festivals like SXSW and the Los Angeles Film Festival, the word is out that Kashmere was the greatest high school band - ever. Their story is tucked in between slabs of hard 70s funk, soul, and jazz: Conrad Johnson transformed a bunch of rough-hewn high schoolers into a band that could compete with any in the nation – professional, or otherwise. Forget high school bands, we’re talking about sixteen year old kids who would give the JBs a run for their money! The Kashmere Stage Band released a total of eight albums and three 45s on Johnson’s Kram label. The band’s best tracks are collected here. Producer Eothen “Egon” Alapatt features an expanded booklet with updated liner notes and essays, more rare photos and ephemera, and a download card which contains the B+/Flying Lotus produced Texas Jewels: The Making Of Texas Thunder Soul short, a recently unearthed 1973 documentary on the band, and a 1972 performance.

                                                                                    FORMAT INFORMATION

                                                                                    2xLP Info: Double LP, including booklet and download card.

                                                                                    Kasso

                                                                                    Kasso Remixed By Frankie Knuckles (Frankie Knuckles/Brett Wilcots Mix)

                                                                                    Not content with towering over the Italian giallo scene as a founding member of Goblin, Claudio Simonetti later lent his unparalleled talents to the sphere of Italo disco and early house, through a string of killer productions under the Easy Going, Capricorn and Kasso monikers. This Best Records reissue boasts two killer 1986 House Remixes of classic WBMX Italo-Disco songs by Kasso mixed by the godfather : Frankie Knuckles, plus the house mix by Brett Wilcots of Walkman on the flip. Check the freaky beat, kalimba melody and club vamps of "One More Round" on the A-side for a hit from the very early days of the house scene, then flip it for a deep and percussive variation on Kasso classic "Walkman", including that deranged and delicious bassline!


                                                                                    A new project featuring members of LSD March and Tenniscoats. Folk-psych folks will be psyched about this bizarre collaborative excursion. A gloriously subdued affair, largely comprised of simple guitar arrangements, stripped-down percussion and soft singing (male and female) punctuated by bouts of power tools and gated feedback. The somber psychedeliosis is embedded in a loose atmosphere of echo and electronics recalling the beautiful ambiguity of Deux Filles; or Joao Gilberto if he fell off a Durutti Column into a vat of mescaline. Duulicious!


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