MAGIC MIX

ALL GENRES

BACK CATALOGUE - L

Lydia Ainsworth

Darling Of The Afterglow

‘Darling Of The Afterglow’ is Lydia Ainsworth’s sophomore record and follow up to the Juno-nominated and critically acclaimed ‘Right From Real’ (2014).

The album features a team of local Toronto musicians, woven into Ainsworth’s programming, samples and string arrangements. “I usually have to be out of my element to get that spark of inspiration,” she says of songwriting. The songs on ‘Darling Of The Afterglow’ were all begun away from home, before being brought to fruition in her hometown.

Mixing yearning pop with other-worldly synthetic sounds, plush classical settings and weird-gothic R&B influences, Lydia Ainsworth’s new album is a richly imagined, richly felt work of future-pop classicism: an album of intimate emotions projected in heightened widescreen. The stunning, 11-track ‘Darling Of The Afterglow’ - from the lush lullaby of ‘Afterglow’, to the immersive ‘Into The Blue’, to the masterful cover of Chris Isaak’s ‘Wicked Game’ - showcases a great leap forward from Right from Real’s already prodigious experi-pop riches.

Lily Allen

No Shame

    Lily Allen has had three UK number 1 singles, two number 1 albums and she has sold over 5 million albums worldwide. After a decade of being a pop star, Lily Allen is back with her most personal, insightful and fully-formed record to date. No Shame marks a kind of rebirth for Lily, who went back to the drawing board after several tumultuous years, eventually producing a beautifully raw and truthful set of classic pop songs that take her right back to the DIY spirit of her first two albums, Alright, Still (2006) and It’s Not Me, It’s You (2011).

    The record has been four years in the making, beginning life in 2015 in a rented house in Los Angeles, where she and long-time collaborator and friend Fryars focused purely on writing songs, before bringing what they’d done back to London, where Lily set up her own studio space.

    Having worked with Mark Ronson and Ezra Koenig from Vampire Weekend on the heartfelt love letter My One in Los Angeles, it was in London that the majority of the record was made.

    Features on the album include Giggs, Lady Chann and Burna Boy.

    FORMAT INFORMATION

    Ltd LP Info: 180g heavyweight vinyl.

    Lesser Gonzalez Alvarez

    Why Is Bear Billowing?

    Lesser Gonzalez Alvarez was born in Havana, Cuba in 1983. He is a member of the venerable Wham City collective in Baltimore with Dan Deacon and others and will participate in the Wham City Round Robin tour this fall featuring Dan Deacon, - Ponytail, Adventure and others. Lesser is also an accomplished visual artist whose work can be seen at www.thinplastic.com Lesser's wide-ranging musical projects also include playing guitar in the drone-tinged country-folk group The Tall Grass as well as an electronic side project called The Ruby Stallion Ensemble. It should therefore come as no surprise that his first solo record is just Lesser and his acoustic guitar crafting some of the prettiest folk tunes you'll hear this year or any. A testament to the beauty of simplifying your life, Lesser delivers his songs with a sense of whimsical earnestness, and has garnered comparisons to Nick Drake, Jeff Buckley, John Fahey, Donovan and contemporary artists like Adem.

    Nonesuch Records releases Laurie Anderson and Kronos Quartet’s "Landfall". The piece, which was inspired by Anderson’s experience of Hurricane Sandy, is the first collaboration between the iconic storyteller/musician and the groundbreaking string quartet, who perform together on the recording. "Landfall" juxtaposes lush electronics and strings with Anderson’s powerful descriptions of loss, from water-logged pianos to disappearing animal species to Dutch karaoke bars. Kronos Quartet and Laurie Anderson have performed Landfall at commissioning presenters Clarice Smith Performing Arts Center, Adelaide Festival, Barbican Centre, Montclair State University, Perth International Arts Festival, Stanford Live, and the University of Texas at Austin, among other venues. The New York Times said the piece’s presentation at Brooklyn Academy of Music ‘set the auditorium awash in elegiac string sounds and postmillennial gloom. Performed by the composer and the tirelessly innovative Kronos Quartet, the work, written in New York during that epic storm, often resembled the flotsam bobbing on the receding floodwaters, with poignant snippets and small treasures.

    ‘(Anderson) doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life. Those mysteries – and the nature of language itself – were at the heart of Anderson’s Landfall, a riveting, gorgeous new multimedia work that she premiered this weekend … in collaboration with the equally venerable Kronos Quartet.’ – Washington Post.


    STAFF COMMENTS

    Barry says: Kronos Quartet and Laurie Anderson blend together their venerable talents in this emotive and impeccably realised suite of ambient modern-classical and visceral spoken word. Superb.

    FORMAT INFORMATION

    2xLtd LP Info: Heavyweight, double 140 gram high-performance vinyl, with download card.

    Leda Annest

    Portrait Of Leda

    Rare exotica album from 1958 on Columbia's 'Adventures In Sound' label by this monster abstract vocalist Leda Annest! Backed by orchestral and kitsch tiki music composed by Phil Moore, Annest uses her voice as an instrument in a strange and somewhat scary way. If you like Diamanda Galas or Yma Sumak, check this out!

    FORMAT INFORMATION

    LP Info: Original sleeve artwork with hilariously pretentious sleeve notes!

    "As one man findeth shelter under the eaves of his neighbour’s wife, so shall he be plagued by the sparrow. And lo, where fields of wheat once grew lush upon the soil, lies now the infernal desert of the pestilential sparrow." - Lawrence Arabia, 2012

    Introducing the new album from New Zealand singer / songwriter / producer Lawrence Arabia. The Sparrow is Lawrence Arabia's third solo album, the evocative follow up to the critically acclaimed and award-winning Chant Darling. Venturing away from the harmony-laden, classic pop production of Chant Darling, The Sparrow is a more measured and minimalist work, drawing particularly on the influence of the symphonic late-sixties work of Scott Walker and Serge Gainsbourg.

    The songwriter, known to his bosom compadres as James Milne, explains: "I'd been turned off the infinite possibilities of Pro Tools production by the process of making my last album. You can mimic any sound from any part of pop history and stack them up on endless tracks and edit them in endless ways. It's maddening. Instead I became totally enamoured with the mystique and aesthetic limitations of these late-sixties and early-seventies records where there was so much space in the arrangements and you can really luxuriate in the sounds of individual instruments."

    While various ominous words like "mature" and "serious" come to mind, there are still strong traces of the witty pop songwriting that defined the first two Arabia albums. "Travelling Shoes" is a recollection of a young man (not unlike the young James Milne) defining himself against the prevailing culture of his provincial upbringing. "The 03" muses on the same character's possible shameful return to that same setting having gone out into the world to achieve his dreams, and failed...

    The material for The Sparrow was accumulated throughout 2010, while Lawrence and his band The Prime Ministers toured in support of Chant Darling. Images like the "crude moustache, exposed brains" seen on a poster of Zac Efron in the New York subway, the jaded conversation with the Tom Tom on a rainy British motorway, "the last breaths" of a London house party that dragged on just a little too long, were collected throughout the year as context-free scribbles in a diary, waiting for songs to attach themselves to.

    These images found homes during a fairly frenzied period of writing in borrowed lounge rooms and rehearsal spaces at the end of another abject London summer. During the same period, the enigmatic title "The Sparrow" surfaced and became some kind of mysterious guiding image for the aesthetic of the album, the angst of the inexorably approaching thirties, represented in the form of a small, malevolent bird... God knows why.

    In late 2011, with Elroy Finn and Connan Mockasin, Lawrence recorded the basic tracks for these new songs, live, at a large house in Surrey that became known as the Japanese Academy. Strings and horn overdubs were added in a couple of sessions at Auckland's Roundhead Studios. The Sparrow was produced and mixed by Lawrence Arabia.

    Lail Arad

    The Onion

      Singer-songwriter Lail Arad releases her second album, ‘The Onion’, through The Vinyl Factory.

      ‘The Onion’ is the follow-up to London-born Lail’s 2011 debut ‘Someone New’ and was co-produced between a snowy winter in Geneva and a summer heat wave in NYC. The album came together patiently, with Lail writing, erasing, demoing and dallying; the result is a striking marriage of assured maturity and childlike spirit.

      An acute sense of perspective permeates the album, from its subtle themes to its classic production and from each lyrical twist to its unassuming delivery.

      Lead track ‘Lay Down’ quickly escalates through a resolute guitar hook and captivating signature vocal into a vast upbeat chorus that is incongruous with its troubled lyrical meaning. Lail says: “This track is as about as angsty as I get. Oh heartache! Oh vulnerability! Turn it up loud and drown out the warning bells!”

      “A cool-as-hell depiction of youthful insecurity matched to infinite possibility” - Clash


      Following his debut for Favorite Recordings, here comes “Solar”, new and second solo album by acclaimed Brazilian composer Lucas Arruda, filled with his fusion style, mixing influences and elements from his Latin musical background, with his genuine admiration for Jazz-funk and soul. On “Melt the Night” for example, Lucas asked legendary producer Leon Ware for his help, reminding his collaborations in the 80s with Marcos Valle, when they perfectly merged together the sophisticated boogie and yacht-soul touch from California, with the blazing sense of rhythm from Brazil. They also recorded a blowing version of Marvin & Diana’s classic ballad “Stop! Look, Listen (To Your Heart)“, featuring vocalist Guida de Palma’s (Jazzinho).

      For “Uma Onda”, Arruda invited Azymuth bassist Alex Malheiros to pay tribute to their fusion sound and influence on the Brazilian music scene. Finally the song “Agua”, co-written with his long-time friend Fabricio Di Monaco, is a beautiful ballad which illustrates perfectly Lucas’ passion for soul music stars such as Stevie Wonder or Curtis Mayfield. Extra authenticity was created during the recording and mixing process at Sala A Studio in Brazil and Finland, using all analogue equipment, including a Neve 8108 console from 1978, and a Studer master tape to record the final pre-master.

      The result is a timeless album, which should definitely established Lucas Arruda as one of the finest and most talented Brazilian musicians these days.


      Louie Austen

      Easy Love

      "Easy Love" is the first single from the forthcoming album of the same name. This track is an almost straight ahead Sinatra style crooner, from this dapper geezer who has worked with labelmate Peaches in the past.

      FORMAT INFORMATION

      CDS Info: The CD is a limited edition.

      Luis Enriquez Bacalov

      L’amica (O.S.T.)

      L'AMICA (1969) is an intriguing Alberto Lattuada film starring Lisa Gastoni  Gabriele Ferzetti, Elsa Martinelli, Ray Lovelock, Jean Sorel and Frank Wolff.  
      This stunning soundtrack highlights the excellent piano technique and the jazz stylings of Bacalov mixed with exotic and erotic atmospheres characterized by extraordinary orchestration, harp, congas and the typical persuasive vocalism of those years (all by the great Nora Orlandi). It’s followed by "Rio, Zona Sul", refined samba-jazz on a massive percussive tapestry. "'Round Nassau” offers an elegant and dreamy atmosphere in Les Baxter’s style adding flute and female wordless vocals. "Swingin' easy in Tanganyika" is another extraordinary jazzy piece, primarily piano and drums with flourishes of resplendent fute. The side is closed by a previously unpublished version of the theme that was not included on the original Fonit Cetra LP.
      The B-side rearranges the themes in a more melancholy and symphonic style without renouncing jazz as in the gem “Episodio in 3/4". The ballad "The Bitter Truth" is sung by Fiorenza Mormile in English.

      Luis Bacalov

      La Seduzione

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

        Italian soundtrack holy grail and one of the most regarded scores by the majestic Oscar Award winning maestro Luis Bacalov. Original soundtrack for the Drama/Erotic film directed by Fernando Di Leo, shot in beautiful Sicily, IT. Totally destroys all his Soundtrack productions with a big orchestra selection featuring some of the best Italian grooves ever - terrific Funk beats, mind-melting scats, Brazilian influenced music with loads of dope Exotic vibes. A gigantic Italian music masterpiece finally available for the joy of collectors!

        Limited edition of 500 copies exclusive for RSD 2017.

        Luis Bacalov

        Carrefour / Sistemo L'america E Torno

        The Italian funk god Luis Enriquez Bacalov is celebrated here with this unmissable 7-inch record, featuring two of his grooviest tracks ever: on the A-side, the legendary CARREFOUR is maybe his funkiest soundtrack piece, here released for the first time in its entirety, with an unexpected introduction via a powerful horn section, which was cut from the original 1976 RCA 7’’. Behold an eternal jazz-funk masterpiece with solid drum breaks and hip hop heavy beats, funky congas, wah wah guitar, psychedelic organ. This track was used for the 1976 movie “Colpita da improvviso benessere”, directed by Franco Giraldi, but was originally conceived for the 1974 movie “Sistemo l'America e torno” by Nanni Loy. For the B-side, we have chosen from this same score another killer groovy track which was already compiled on our ESTERNO NOTTE Vol. 1 compilation.

        SISTEMO L’AMERICA E TORNO - SEQ. 7 has a tremendous rhythm section, a wonderful guitar riff, psychedelic flute, and stunning Hammond organ solos. This is another future classic from the golden age of Italian soundtracks, and an absolute must-have for any and all jazz-funk DJs worldwide!

        FORMAT INFORMATION

        Ltd 7" Info: Limited to 400 copies.

        Recorded in Nashville, Tennessee at Battletapes with engineer Jeremy Ferguson and producer Tim Kerr, Lee Bains III & The Glory Fires' Youth Detention captures the band in raw form. Each song was cut live to tape, with the four performing in the same room without headphones or baffling.

        The result is thoroughly human, Lynn Bridges' mix retaining the band's live energy and looseness at the expense of a few out of tune strings. The Glory Fires music draws deeply from punk, but also soul, power pop, country, and gospel. Its equal parts careful curation and geographic inheritance. Its the sound of my place, says Bains. I want to know it. I want to argue with it. I dont want to be a band from anywhere that could be doing anything. For me, thats what punk is about -- figuring out who I am and how to be the best version of myself. I cant do that by pretending to be something Im not.

        The songs are deeply rooted in Bains experience of his hometown, Birmingham, AL. Youth Detention depicts a Southern city in the decades surrounding the turn-of-the-millennium: in the throes of white flight, urban disinvestment, racial tension, class struggle, gentrification, gender policing, homophobia, xenophobia, religious fervor, deindustrialization, and economic upheaval. The lyrics could ring true anywhere, though. The South exists in the world and, like the South, the world is increasingly beholden to many of these same tensions and forces. The songs on Youth Detention are meant as small acts of resistance to those systems. Documenting minor moments -- the refusal to sit quietly through a display of bigotry, the act of quieting down and listening to somebody's struggle, sticking up for friends targeted for their difference -- that, hopefully, serve as the beginnings of a more profound awakening.

        Laura Baird

        I Wish I Were A Sparrow

          With a musical timeline dating back to her early childhood, Laura Baird is an exceptionally talented multiinstrumentalist and singer-songwriter, best known for her projects with her sister, Meg, as The Baird Sisters, and guitarist Glenn Jones. Baird’s own sound stems from the Appalachian folk tradition, and she connects to it via family lineage—her great-great uncle I.G. Greer’s folk recordings for the Library of Congress are a large influence. Also woven in are classical composers like Bach and Satie, and modern day musicians such as Opal and Yo La Tengo.

          With this debut solo album, I Wish I Were A Sparrow, Baird plays odes to the traditions from which she learned, combining Appalachian balladry and the roughness of old field recordings, but there is also a dose of dreaminess and solitude that captures sleepy central New Jersey. This is where she departs from tradition, leaving the communal origins of folk music to capture the singular self. The lyrics also present an amalgam of old and new, with half of the songs, including “Dreadful Wind and Rain” and “Pretty Polly,” being passed down from the folk tradition, and the other half, including “Wind Wind “and “Love Song From The Earth To The Moon,” coming from Baird’s own hand. While the most salient part of her previous Baird Sisters project was the melding of familial voices and various instruments, Baird’s solo effort is centered around the combination of her virtuosic banjo playing and prominent but airy vocals. 


          STAFF COMMENTS

          Barry says: It seems now that winter is drawing in, the record labels think we all like to put a blanket on, have the fire blazing and listen to some lovely folk music. Now that I mention it, it sounds lovely, and even moreso if Laura Baird can be the music in question. Not too frantic, but driven and melodic plucking banjoes flicker over pulled strings and Baird's haunting vocals.

          Lars Bartkuhn

          Dimensions - Inc. Marcus Worgull Remix

          Tired of all the restrictions in the world of club music and bored with house music cliches, Frankfurt's Lars Bartkuhn composed "Dimensions" with two aims in mind; displaying his love for heavy grooves, harmonies, complex strings and keyboard arrangements and creating something really timeless and unique. Using syncopated funky broken beat, catchy descending keyboard hook and gentle scat vocals Lars has created a real nu-jazz gem here. On the flipside Marcus Worgull of Innervisions fame comes up with a very effective and DJ friendly tech-house remix, where the tension rises beat after beat.

          Lee Bates

          Why Don't You Write / Gonna Make You Mine

          Man, soul as sweet as this doesn't come round that often! Blessed with a vocal tone not dissimilar to a bourbon sipping Isaac Hayes on a second date, Bates delivered a slew of hot soul 7" throughout the seventies, wooing the world from his New Orleans base. These two winners originally moved and grooved their way through the summer air and local dances on the Instant Records imprint in 1971, though they sound every bit as good in the faltering spring of 2017. "Why Don't You Write" sees Barnes hitting the highs and lows of deepest longing over a brisk soul instrumental which incorporates more orchestral flair than your average bear (bass clarinet included). Meanwhile on the turnaround, "Gonna Make You Mine", wigs out wonderfully with tabla, fluttering flute and a wildly psychedelicized funk-folk groove - perfect for summer afternoons and fireside dances.

          * Officially licensed reissue
          * Remastered from the original tapes
          * Liner notes interviewing lyricist Giulio 'Mogol' Rapetti
          * Deluxe gatefold “tip-on” Stoughton jacket
          * 180-gram vinyl

          If Lucio Battisti was Italy's answer to France's Serge Gainsbourg, then 'Amore E Non Amore' is his own 'Histoire De Melody Nelson', a concept album that's widely regarded as a formative artistic achievement (if far from the most hit packed album) of his respective career. Both albums were released in 1971. For Battisti, the concept came from that dichotomous title: there's a rocky 'non-love' side of the album, which has songs about obsession and adultery, and a 'love' side of dreamy, prog-rock instrumentals.

          The album saw Battisti working with lyricist Giulio 'Mogol' Rapetti, with whom he'd collaborated closely since 1965, enjoying huge hits with the likes of “29 Settembre" and “Sognando La California,” an Italian version of “California Dreamin’". It was Mogol who first convinced Battisti to perform his own songs, and who conceived the idea for this record. Mogol supplied the inspiration, the title and the titles of its songs, many of them evocative sentences that flesh out the visual picture where lyrics are absent. Take, for example, “Davanti Ad Un Distributore Automatico Di Fiori Dell'aereoporto Di Bruxelles Anch'io Chiuso In Una Bolla Di Vetro,” which translates as “In Front Of A Flowers Vending Machine In Brussels Airport I Am Closed In A Glass Bowl Too”.

          In an incredibly rare English language interview accompanying this lavish reissue, Mogol speaks of the album's conception. "I had an understanding that Lucio was a great musician, a great composer," he says, "And in my opinion, I felt bad that he was limited exclusively to a pop genre. I wanted him to become a musician; I was really hoping, I had said to him, that he would become an orchestra conductor, a star who would make his own songs, and so I tried to convince him to make songs without lyrics."

          'Amore E Non Amore' was to be a watershed moment for Battisti. His label considered it to be too experimental and advanced for the Italian audience, and refused to release it. They were wrong: it instead set Battisti on a liberating course of artistic freedom and widespread success, and gifted the world one of Italy's greatest musical exports.


          STAFF COMMENTS

          Patrick says: 'Amore E Non Amore' was the album which saw Italian legend Lucio Battisti break free of the mainstream to explore the psychedelic fringes of rock, funk and folk. Conceptual, creative and cool as a cucumber, this is one hell of a trip man.

          Lars Behrenroth

          Ice On The Sun - Inc. Version Remix

          On his Freerange debut Lars has pulled out the stops to produce two tracks of forward thinking electronic club music. First up we have "Ice On The Sun", a sublime slice of minimal deep house that retains an understated energy whilst filters slowly open and close to build the arrangement. It's a real slow burner that'll warm things up nicely. "Feel The Sunshine" is up next and treads a similar path but with the addition of some nice vocal hooks and all important Detroitesque synth lines layering things up. The key to Lars sound is his stripped back approach to production where he keeps all the elements as dry as possible for maximum sonic impact. Charles Webster and Atjazz get busy with their Version remix of "Ice On the Sun", turning in a supremely confident belter of a track. This is a heads down groover that builds nicely and is loaded with attitude and dancefloor-pleasing sensibility.

          Leon Bridges

          Louisiana Sun (From The Coming Home Sessions)

            THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            The ltd (x1000) 10” Vinyl EP, “Louisiana Sun (from the Coming Home sessions)” contains x5 new tracks.



            Texan soul singer Leon Bridges releases his debut album 'Coming Home' on Columbia Records. Produced by Austin Jenkins and Josh Block of White Denim, the album features the previously released tracks 'Better Man', 'Coming Home' and 'Lisa Sawyer'. Inspired by 60s soul sounds, and specifically the legendary Sam Cooke, Bridges pays homage to the the classic era of soul. One for fans of Truth & Soul, Daptone, Amy Winehouse, Aloe Blacc etc.

            FORMAT INFORMATION

            LP includes MP3 Download Code.

            Leon Bridges

            Good Thing

              Columbia Records release the eagerly anticipated follow up to the brilliant, Gold certified debut album, "Coming Home".

              This is a x10 song album, available on LP Vinyl & standard CD.

              The record was produced by Ricky Reed, Niles City Sound & Bridges himself, with the album having more of an R&B feel. 

              Classic Rock N' Roll mixed with elements of Chilli Peppers-esque subtle spoken word and neon funk. 'Confusion' fuses rapid trap drums and distorted guitar sweeps topped with repeated hip-hop vocal stylings musing on life and identity. 'Baby Grow' kicks off with a sliding surf-rock guitar and segues into a regionally recognisable British indie vocal (think Jamie-T or Jake Bugg) over Jangly guitar work, danceable and frenetic. 'Ragdoll Mama' is more on the blues-rock end of the spectrum, deep southern sweeps, and scorching fuzzed-out solos, While 'Kundalini Express' plays out like a swooning college indie-rock anthem, heartfelt but driven, with beautifully realised instrumentation before breaking into the imitable vocal breakdown. A varied and well accomplished outing throughout, always changing enough to keep things interesting and fresh. 

              FORMAT INFORMATION

              CD Info: 3D Gatefold CD case, comes with 3D Specs!

              Leroy Burgess

              Heartbreaker / Stranger

              Just when you thought it was safe to put away your wallet, Salsoul go and reissue another diamond from their extended vauts, pleasing the ears of any with a single boogie bone in their body. Originally released in 1983, this killer double A-side "Heartbreaker / Stranger" features the songwriting prowess and vocal majesty of the mighty Leroy Burgess, alongside the one and only Shep Pettibone on the mix - Pow! "Heartbreaker" hooks you in right from the off, boasting the most groovesome boogie bassline around alongside classic Jomox programming before sizzling synths and Leroy's deep and soulful vocal delivery lift us up to cloud nine. On the flip, "Stranger" sees Leroy in euphoric mood, working some soulful seduction over an MJ-esque backing complete with tuneful backing vocals and killer horns - I dare you to stand still when this one drops. 


              Leroy Burgess is one of the great unsung heroes of soul music. A prolific songwriter, producer and singer who started with the vocal harmony group Black Ivory in the early 1970s, by the late 70's / early 80's he had created his own sound, recording under a multitude of different names: Convertion, Phreek, Aleem, Logg etc, but rarely under his own name. His characteristic highly rhythmic deep underground boogie sound, and soulful delivery has made him highly revered by the UK soul fraternity and across the world. This album, consists of 12 previous unreleased tracks: Some are Leroy's original demos of songs recorded by other artists, like "Fly Girl", "Moment Of My Life" and "Its So Easy – You Can Do It". Others are completely unheard tracks that will be rated amongst the strongest and best of his work.

              Lucien Caine is a singer, songwriter and composer based in Manchester. His songs are dark, lustful, haunting and cinematic and his music is already being compared to artists such as Serge Gainsbourg, John Barry and Elliott Smith. EP1 is the first of four EPs to be released over the next 12 months. It begins with "The Only Man That Matters" mixed by Andy Green who has produced albums for Keane and KT Tunstall. Then the intricate string arrangements and haunting vocals of "Advice From Strangers" a downtempo gem. "Black Widow", track three, is a pounding, noirish elegy of seduction and murder, and the EP closes with the "Those Days Are Gone". 'I wanted to create and develop a sound and a mood... I like it to sound dark and romantic. I want the songs to flirt with the listener, and then deliver!' Lucien Caine

              Lucien Caine is a singer, songwriter and composer based in Manchester. NOW STOP, have no preconceptions do not picture Badly Drawn Boy do not imagine another Stephen Fretwell, get acoustic troubadour out of your head. Lucien Caine is none of the above! His sound is more John Barry than Nick Drake. His songs of love, obsession and excess are more Leonard Cohen than Bob Dylan. The attitude is all Scott Walker and Serge Gainsbourg transported from the sixties to now. In the summer of 2008 a plan was hatched to release four EP's; EP1, EP2, EP3, EP4 in 12 months to showcase Luciens songs. EP2 continues where the first left off. The first track (again mixed by Andy Green producer of Keane, KT Tunstall, to name but a few) is the lushly romantic "The Beat That My Heart Skipped", imagine driving along the winding coastal roads of the French Riviera in a vintage Italian sports car with the top down, this is the soundtrack that would be playing in your head. The second track is the very dark and lustful "Internal Affairs". "Let Us Be The Rumour" is a beautifully crafted and intense lament on a private relationship that becomes public. And finally "She Loves To Lose" a gorgeous seductive and intense duet sang with the Icelandic chanteuse Heidrun Bjornsdottir (formerly of GusGus and Gloss).

              FORMAT INFORMATION

              Ltd CDS Info: Limited to 250 hand numbered and signed copies.

              If you've never heard the music of Lucien Caine till now don't worry. To listen to his next release EP3 as an introduction is a good place to join the story. Lucien Caine (aka Glyn Thomas /formerly Alpinestars ), with the work of John Barry , Serge Gainsbourg, Scott Walker and Leonard Cohen forming the primary influence on his pallet and taking some of the electronic influences from his first band has written some of the most distinct , accomplished and beautiful music being recorded anywhere.


              Lomond Campbell

              Black River Promise

                Originally hailing from the Scottish borders and a former long-time resident of Edinburgh, Campbell, eager to flee the clamour and turbulence of the city, upped sticks a couple of years ago, setting up home and studio in a leaking, decrepit, asbestos-ridden school house in the shadow of Ben Nevis.

                ‘Black River Promise’ is very much a chronicle of this transition from the white noise of the city to the near-silence of his new highland home. Deep, rich, astonishing and lyrically engaging, the album effortlessly skips between melancholic introspection and joyful euphoria and includes a 10-piece string ensemble assembled by cellist / arranger Pete Harvey (King Creosote, Modern Studies, The Leg).

                Laura Cantrell

                Humming By The Flowed Vine

                "Humming By The Flowered Vine" is the much-anticipated third album by Nashville-born, New York-based performer Laura Cantrell. It features ten extraordinary songs both crafted and caught. As on her two previous albums, "When The Roses Bloom Again" and "Not The Tremblin' Kind", Laura's own compositions are some of the highlights; "Khaki & Corduroy" is a meditation on being a transplanted Southerner in New York City, "California Rose" was inspired by the West Coast country music pioneer Rose Maddox, and "Old Downtown" draws on the story of World War I hero Sgt. Alvin York. New York figures prominently in both Emily Spray's infectious "14th Street" and "Letters", a previously unreleased Lucinda Williams song dating back to her days as a struggling folk singer living in the city.

                Though most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with Rose Colored Corner, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on LHI Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story.

                In the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny & Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’

                Her sole 1967 45 “The Lady Barber" b/w "Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now.

                Just because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” - Lynn Castle


                Lula Circus

                Passive Memories - Inc. Alexis Raphael Remix



                  For its thirtieth EP release, Culprit eagerly dips into the ever-expanding pool of Italian production talent to welcome back Lula Circus. The release also features remixes from one of London’s rising stars Alexis Raphael and L.A favourite Urulu.

                  The last few years has seen a veritable explosion in quantity – and quality – of inspired electronic house and techno coming from Italy. Culprit has been fortunate to receive its fair share of attention from the emerging artists who have found a kinship with the feel and overall creed of the Los Angeles-based label. Along with Nico Lahs, Dirty Channels, System of Survival and the veteran Luca Bacchetti, the Lula Circus duo has been at the forefront of Culprit’s burgeoning Italian connection. Their work is already stamping its mark on Culprit’s still-young identity. Following their infectious introduction to Culprit - last year’s ‘She Loves Me’ track that anchored the ‘Above the City’ compilation - Lula Circus graduate to a full EP release on the imprint.

                  The two originals on the EP are the work of artists rapidly and confidently coming into their own, marrying their deep but pulsating electronic house style with Culprit’s preference for emotionally charged dance music, with a natural flair for drama and an underlying sense of story-telling. ‘Passive Memories’ has been one of this year’s favourite DJ staples for the Culprit inner circle: a moody mid-paced groover that builds and builds, adding layers of subtle electronic throb, minor melody and deep funk, a track that seduces rather than bashes. ‘Theory of Folds’ is the (slightly) more “maximal,” more overtly joyous take on its counterparts subtlety. It’s modern deep house meets retro Italo Disco, precise in execution and ambitious in its melodic sweep.

                  Two remixes on the EP come courtesy of another two stellar talents, London’s Alexis Raphael and Los Angeles’ own Taylor Freels aka Urulu. Refreshingly, they offer two completely different takes on ‘Theory of Folds’: Raphael’s dance-floor ready, bassline-driven jam and Urulu’s sunny homage to classic 90’s Deep House. They contribute to making this an exceptionally well-rounded release


                  Linda Clifford / Eighties Ladies

                  Runaway Love / Turned On To You

                  Clifford's epic 1978 slo-mo disco-soul cut was originally out on Curtis Mayfield's Curtom label, and is a sure fire classic. Eighties Ladies' "Turned On To You" has another 70s legend behind it; Roy Ayers wrote and produced this 1981 jazz-funk-disco cut, and it's another instant floor filler!!

                  Linda Clifford

                  Runaway Love / Don't Give Up (Special Disco Mix)

                  Yet another replica 12" to hit the shelves, most of you will know the A-side. Linda Clifford's "Runaway Love" is just one of those classic mid 70s (1976) midtempo soulful disco gems that always causes a rush to the dancefloor - pure sing-a-long brilliance. Over on side-B is "Don't Give Up (Special Disco Mix)" is another one with a big vocal, not matching the A-side's singability, instead this is a touch more of a sultry groove, a nice alternative to the classic on side-A.

                  Leonard Cohen

                  Can't Forget: A Souvenir Of The Grand Tour

                    Columbia/Legacy release this new 10 track live album, taken from Leonard Cohen's recent "Old Ideas World Tour". Includes 2 new and original songs & 2 previously unrecorded cover versions.

                    "Popular Problems" is the 13th studio album from legendary singer-songwriter and poet Leonard Cohen, who celebrates his 80th birthday the day after release. A dynamic album of 9 songs, produced by Patrick Leonard and mixed by Jesse E. String and Bill Bottrell.

                    Leonard Cohen

                    Songs From A Room - 180g Legacy Vinyl Edition

                      By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most original and influential singer-songwriters, building a large and legendary body of work that continues to inspire artists and listeners alike. Much of Cohen's reputation and mystique was established by his early work for Columbia Records, particularly the five albums he recorded between 1967 and 1974. Now, these five classic albums, unavailable on vinyl for two decades, have been lovingly restored to their original LP format. For their new Sundazed editions, all five albums have been meticulously remastered and have been sourced from the original Columbia Records stereo masters in order to preserve the sound of the original albums. In keeping with the exacting standards for which Sundazed has become known, each album is pressed on high-definition vinyl, with complete original cover art. 

                      Cohen's sophomore effort "Songs From A Room" (recorded with producer Bob Johnston, renowned for his work with Bob Dylan, Johnny Cash, the Byrds and Simon and Garfunkel) was a worthy follow-up, boasting such enduring compositions as "Bird On The Wire", "Story Of Isaac" and "A Bunch Of Lonesome Heros".

                      Leonard Cohen

                      Songs Of Leonard Cohen

                      'A breathtaking and perfect debut, "Songs of Leonard Cohen" marked the emergence of one of the most enduring, unique, and brilliant voices in popular music. Led off by the gorgeous "Suzanne," previously a hit for both Judy Collins and Noel Harrison, the album is an exposed nerve, a Fellini-esque parade of losers, victims, and fallen angels. Brittle and unforgiving, tracks like "So Long, Marianne," "Winter Lady," and "Sisters of Mercy" are unflinchingly honest and desolate; the subdued beauty of the songs' spartan backdrop only adds to their force — Cohen takes acoustic folk, for so long a musical expression of empowerment and hope, and bleeds it dry of all its redemptive qualities. A masterpiece of perversity and pain.'

                      FORMAT INFORMATION

                      CD Info: Digitally remastered including two bonus tracks, "Store Room" and "Blessed Is The Memory". Lavishly packaged in a hard cover Digipack.

                      Leonard Cohen

                      Songs Of Leonard Cohen - 180g Legacy Vinyl Edition

                        By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most original and influential singer-songwriters, building a large and legendary body of work that continues to inspire artists and listeners alike. Much of Cohen's reputation and mystique was established by his early work for Columbia Records, particularly the five albums he recorded between 1967 and 1974. Now, these five classic albums, unavailable on vinyl for two decades, have been lovingly restored to their original LP format. For their new Sundazed editions, all five albums have been meticulously remastered and have been sourced from the original Columbia Records stereo masters in order to preserve the sound of the original albums. In keeping with the exacting standards for which Sundazed has become known, each album is pressed on high-definition vinyl, with complete original cover art. 

                        1967's "Songs of Leonard Cohen" is one of the decade's most audacious debut albums, with producer John Simon's artful arrangements animating such haunting Cohen standards as "Suzanne", "Sisters Of Mercy" and "So Long, Marianne".

                        STAFF COMMENTS

                        Darryl says: The word classic springs to mind!!! A haunting masterpiece - "Suzanne", "Sisters Of Mercy", "So Long, Marianne" what more needs to be said - shut the door to the rain, get your PJ's on and croon along..

                        Leonard Cohen

                        Songs Of Love And Hate - 180g Legacy Vinyl Edition

                          By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most original and influential singer-songwriters, building a large and legendary body of work that continues to inspire artists and listeners alike. Much of Cohen's reputation and mystique was established by his early work for Columbia Records, particularly the five albums he recorded between 1967 and 1974. Now, these five classic albums, unavailable on vinyl for two decades, have been lovingly restored to their original LP format. For their new Sundazed editions, all five albums have been meticulously remastered and have been sourced from the original Columbia Records stereo masters in order to preserve the sound of the original albums. In keeping with the exacting standards for which Sundazed has become known, each album is pressed on high-definition vinyl, with complete original cover art. 

                          With 1971s "Songs Of Love And Hate", Cohen delivered one of his most emotionally intense sets, with such memorable numbers as "Avalanche", "Famous Blue Raincoat" and "Joan Of Arc" ranking with his greatest compositions.

                          Leonard Cohen

                          I'm Your Man

                            180g vinyl repress of Leonard Cohen’s 1998 album which Includes “First We Take Manhattan” and “Everybody Knows”.

                            FORMAT INFORMATION

                            LP Info: 180g vinyl.

                            Leonard Cohen

                            Toronto '88

                              By 1988 Leonard Cohen had undergone something of a renaissance in North America, propelled by the success of Jennifer Warnes’ Famous Blue Raincoat album in 1987. He supported his widely acclaimed and synthesizer-heavy I’m Your Man album with a tour of Europe, the US and his native Canada, where this superb performance, broadcast live on CBC Radio, of his release was captured. It’s presented here with background notes and images.

                              FORMAT INFORMATION

                              2xColoured LP Info: Limited Edition 1000 only Hand Numbered Blue Vinyl 2xLP 180gm

                              It was a strange twist of fate which saw Leonard Cohen die so shortly after the release of his 14th, and ultimately final studio album. Unlike Bowie though, earlier in the year, "You Want it Darker" wasn't composed with his own death in mind. Naturally, mortality gets mentioned, but on which Leonard Cohen album didn't it!?

                              In his second interview to promote the record, Cohen had backtracked on a previous recent statement that he was "ready to die" and when distant muse and lover Marianne passed away earlier this year, Cohen's email to her in her final days had been made public, saying "I think I will follow you very soon". But his backtracking was funny and flippant saying he'd always had a gift for drama and intended to "live forever". Two further records were also suggested. As we now know, this wasn't to be.

                              "You Want It Darker" is definitely more sombre in tone; minimal and stately, he uses a co-writer for the instrumentation, and tastefully takes in soul, doo-wop and ofcourse folk traditions. But lyrically, whilst he mentions putting his "house in order", he's far from singing his own last rites. He does say in the title track that he's "ready Lord", but then treats us to such beautiful poetry and subtly varied sounds that the listener can't help but respond, " fair enough, but not YET!?"

                              An excellent album then, made instantly more dramatic by his sudden demise, but whilst the record comprises "lullabies for suffering" and yes it's soothing (and funny) as ever, he also notes that he "struggled with demons, they were middle class and tame." Acceptance, humour, just as you'd expect. A noble and fitting ending for one of the counter-culture's (remember that!?) true greats.

                              STAFF COMMENTS

                              Andy says: Stunning final album from the master poet.

                              Lloyd Cole And The Commotions

                              Rattlesnakes - Bonus Tracks Edition

                              'Rattlesnakes' (1984) is the debut album by Lloyd Cole and the Commotions, featuring their debut single “Perfect Skin”, “Forest Fire” and “Rattlesnakes”. The album reached number 13 in the UK Album Charts.

                              The album was recorded during the British summer of 1984 in The Garden studio in Shoreditch in east London (built and owned by former Ultravox frontman John Foxx), with Paul Hardiman producing. The album cover is a picture by renowned photographer Robert Farber which was chosen by design company Da Gama from a selection of stock photographs.

                              Cole described the songs on 'Rattlesnakes' as “about the things people do when they are in love. People get in all sorts of weird scenarios and I quite like the idea of that. I write about that more than anything. Sometimes it is comic, sometimes tragic, sometimes funny and tragic at the same time."

                              Hailed as one of the finest debuts of the ‘80s, 'Rattlesnakes' is without a doubt a college rock masterpiece of smart, ironic lyrics and sympathetic, jangly folk-rock-based melodies.


                              STAFF COMMENTS

                              Andy says: An absolutely perfect jangly folk-pop, student bohemian (cringe, I know, but it doesn't matter a jot 'cause it's so flippin' good) record that doesn't have one single bad song. It's young and naive whilst actually trying so hard to be cool and sophisticated, but in 1984 I just LOVED THE SONGS and I still do today! Beautiful.

                              FORMAT INFORMATION

                              LP Info: 180g audiophile vinyl with insert. Includes 4 bonus tracks.

                              Loren Connors & David Grubbs

                              Arborvitae

                              "Arborvitae" opens and closes with the pairing of David on piano and Loren on an electric guitar played so quietly that at times his pedal-stomping is wondrously distinct. "Blossom Time" and the title track positively float, with Loren alternating between soaring single-note lines and playing the rough, barnacled anchor to David's relentless tide.

                              I Wish I Didn’t Dream, the new album of duets by guitarist Loren Connors and vocalist Suzanne Langille,was cut in just a few hours of studio time. But the pieces started falling into place 15 years earlier on the 10th floor of a nondescript building in the Chelsea section of Manhattan. It was there, at the old location of the Brecht Forum, that Connors got to know writer and WFMU DJ Kurt Gottschalk, who was curating a concert series there. On occasion Tom Abbs (now President of Northern Spy Records) would co-program weekend festivals there, sometimes bringing in MP Landis to do live painting during the performances. Flash forward to the present. Gottschalk was selecting paintings and writing text for a book of Landis’ paintings and the two begin imagining a soundtrack for the book. The obvious choice would be Connors, a painter himself, and Langille, an admirer of Landis’ work. The more they talked about it, the more
                              plausible it seemed. Gottschalk had already produced a Northern Spy release with Connors and Langille (Haunted House, Blue Ghost Blues, NS012, with Andrew Burnes and Neel Murgai) which featured one of Landis’ paintings on the cover. Within a few months a session had been booked in the same studio where Blue Ghost Blues was recorded. The process was simple. Slides from Landis’ WD series of paintings were shown on a screen and Connors and Langille responded. There was no advance preparation other than a folder of verses (her own as well as Keats, Denis McCarthy and some nearly lost to history) Langille brought to the session. The resulting album, their first duo record in 14 years, is as vulnerable as it is beautiful. Langille sings as if she’s speaking cautiously, Connors’ guitar barely whispers, but at any turn either might erupt in screams. Do they not want to yearn for more, or do they fear their nightmares? Their dreams are a haunting mystery.

                              Loren Connors

                              The Murder Of Joan Of Arc

                                'Mazzacane Connors' minimalist art, fragile yet forceful at the same time, gives a sound that encloses the most profound depths of a long forgotten America, a wellspring of melody that dissolves into a multitude of harmonics... It's almost superfluous to say that this music belongs to the realm of dreams, it's music for the mind, abstract and yet wholly present to itself and therefore totally concrete too.' - Thierry Jousse

                                FORMAT INFORMATION

                                LP Info: Lovely over printed clear vinyl.

                                Terrestrial Funk comes through with their first release. A reissue of the ultra rare Miami funk LP, Lang Cook's "She's Hot With 2,000 Watt's". Featuring guitarist Teddy Studstill, Miami soul legend Willie Clarke, and Andrew 'Le Spam' Yeomanson. A deeply passionate musician, Lang poured his heart and soul out through his own vocals, the Fender Rhodes, Roland SH-2000, bass, and guitar. This is a truly scarce piece; the last time one came up at auction was in 2017 and went for over £600! - and don't even think about snapping one up discogs! Stylistically it skirts between the various DIY bedroom boogie flavours a la Jeff Phelps, Uku Kuut & the majority of the PPU back catalogue. Cook's vocals are impassioned and suave, with a snap-back reverb that gives them extra character. He's not afraid to get smoochy in the choruses either. Originally out in 1984, this was the sole release on Evolution Record (it also spawned a tiny 7" single - "Chocolate Stuff" - included here). A truly collectors piece, made available legit and correct and presented with love from Terrestrial Funk. You need.

                                Lee F Cullen is predominantly a multi- instrumentalist/ bedroom-based producer who has written in excess of 500 songs. For live work Lee has the help of an ever changing group of musicians collectively named 'The Corvidae Family' who radically alter the songs on stage to keep them breathing and organic. After the break up of his last band, the funk orientated Big Wow he returned to his first love of psychedelia and 'song' orientated material. Drawing inspiration from The Nice, Procol Harum, July, Bill Fay, Barclay James Harvest, Baroque Music, Ray Manzerek, John Carpenter and the D.I.Y ethic of home taping artists – Lee strives to create swirling technicolour music. Working with a P.C. and Reel-to-Reel Tape Machines lee writes, records, and produces songs at an alarming rate, "Wild Honey Arabesques" is the first work of a series of albums. "Wild Honey Arabesques" was written during the fallout of Lee's last band Big Wow. Using instrumentation such as Mellotron, Organ, Harpsichord and Piano as the main voices Lee concedes that he doesn't remember writing any of these songs! Being, as they were, little more than fragments amassed from hours of tapes written while experiencing writers block. The album is about the 'Dispossession Of The Self' and what happens when one is led astray from their own path. This is not nostalgic psychedelia; psychedelia is used here, as it is the chosen medium for artistic expression with clichés subverted to produce introspective psych closer in spirit to singer songwriters like Leonard Cohen and Bill Fay than Tintern Abbey. Actually think Tintern Abbey covering a Bill Fay Song and you're not so far off!

                                !K7's contemporary classical offshoot 7K! rises from its slumber with "Endless" – the new album played entirely by Luca D’Alberto – the Italian composer who counts Wim and Donata Wenders, Peter Lindbergh and Lars Von Trier’s Zentropa as fans. Driven by pristine piano and rich strings, "Endless" is sonically opulent with vivid, wonder-evoking pieces conveying wintry, widescreen panoramas and a propulsive arpeggio-fueled energy. Luca composed, arranged and played all instruments on "Endless" himself – the violin, viola, violectra, cello and piano. It was produced by Martyn Heyne (who has worked with Nils Frahm, Lubomir Melnyk, Peter Broderick, Tiny Ruins and The National), with additional production by the lauded DJ/musician Henrik Schwarz. D’Alberto graduated ‘summa cum laude’ with a Ministerial Mention at the Istituto Superiore di Studi Musicali G. Braga in Teramo, Abruzzo, where he was born and raised. He has performed at prestigious events including the Tanztheater Wuppertal Pina Bausch in Germany for the ‘Pina40 Festival’, and has worked with various influential figures in the Italian movie and theater world: These include ‘Lampedusani’ - a film-based art project by Luca, the award winning director Costanza Quatriglio and the renowned novelist/poet Erri De Luca, whilst orchestration and full scores were provided by D’Alberto for films including Giorgio Albertazzi's 'Giacomo Puccini', Michele Placido's 'La Scelta', plus 'Sembra Mio Figlio' and '9X10 Novanta' by Costanza Quatriglio.

                                FORMAT INFORMATION

                                Coloured LP includes MP3 Download Code.

                                “Cinematic feasts of dramatic strings and cascading pianos that will satisfy fans of Nils Frahm and Ólafur Arnalds” The Ransom Note.

                                That certainly seems the case as the crushing emptiness of "Her Dreams" slowly emerges into the sonic space. Old school veterans Richard Dorfmeister and Stefan Obermaier are on hand to remix the track - transforming it into a epically mournful piano piece, galvanized with droning electronics and rumbling sub oscillators. "Screaming Silence" is touched up by Howie B who does a sterling job of organizing all the elements into a dreamy, crisp, high definition soundscape. Drifting synth parts meeting frenetic percussion and detailed low end perfectly, a blissed-out electro-disco missiv for the up-all-weekend dreamers. Check! 


                                Luca D'Alberto

                                Wait For Me (Remixes)

                                  While the original contained 'cinematic feasts of dramatic strings and cascading pianos that will satisfy fans of Nils Frahm and Ólafur Arnalds' (The Ransom Note) we now get two hot producers on remix duties, electrifying the ambience and adding plenty of forward momentum. Edward steps up to the plate first, providing two hi-tech, futuristic interpretation shimmering with modern industry and mis-placed optimism. Personal preference lands on the "Ambienca" version, which isn't ambient at all, just floaty, blissful, groovy tech-house executed with finesse and style. Dixon Avenue star and one of house music's most promising upstarts, Marquis Hawkes delivers a slamming remix on the flip, with scuffed snares, looping vox and buzzing synth work. All in all a captivating and propulsive double header of remix action, complementing the original beautifully and sympathetically. Recommended!

                                  Richmond, VA-based songwriter Lucy Dacus is the latest addition to the renowned Matador Records roster.
                                  Lucy Dacus's No Burden is full of surprises—sharp lyrical observations, playful turns of musical phrase, hooks that'll embed themselves in your frontal lobe for days. But the most surprising thing about this album might be the fact that it's a debut; it has a keen sense of self about it, and it nearly glows from the self-possession held by the woman at its core.

                                  The 21-year-old Dacus grew up in Richmond; she was adopted at a young age, an experience that informed her curious, openhearted songwriting. "When my parents were explaining what adoption was—which was very early on in my childhood—they always said that my birthmother thought I was worthwhile even though she couldn't be my mom," she says. "And so from essentially infancy, I was taught that life was innately worthwhile because a bunch of people had worked together to set me up with one.”

                                  Dacus started playing around Richmond while in college, opening for local acts and eventually meeting Jacob Blizard, a guitarist who invited her to make a record for a college project of his. No Burden, which originally came out in February on the Richmond label EggHunt Records, opens with the forthright, almost brutally honest "I Don't Wanna Be Funny Anymore," the last song Dacus wrote before the album's day-long recording session at Starstruck Studios in Nashville. Dacus delivers scalpel-sharp observations about resisting pigeonholing over chunky guitars, ticking off ideals of femininity and youth until the track's not-quite-resolution.

                                  These themes extend to the lyrics of songs like "Strange Torpedo," a whirling portrait of a friend whose "bunch of bad habits" who, Dacus sings, has "been falling for so long… [and hasn't] hit anything solid yet." "I've been that friend watching a loved one do what they know is bad for them and not understanding why," says Dacus. The song offers a simple message: "I love you, why don't you love you? You're the one in your body so you get to choose what to do with it, but if I were you I'd treat me differently.”

                                  The rest of No Burden, which was produced by Collin Pastore, puts Dacus's voice center stage, allowing the glinting poetry of her lyrics to shine even more brightly. "Trust," which Dacus wrote in late 2013, showcases her alone with her guitar, her faint vibrato floating over strummed chords as she sings of self-redemption. And the diptych "Dream State…" and "…Familiar Place," which revolve around Dacus repeating "Without you, I am surely the last of our kind/ Without you, I am surely the last of my kind," capture disappointment and loss in a jaw-dropping way; the music trembles around her while her voice stays steady, anticipating whatever might come next.

                                  No Burden is a forthright, disarmingly catchy statement. And while it's a sterling debut, it only hints at the potential possessed by this passionate, thoughtful young woman.

                                  STAFF COMMENTS

                                  Barry says: I think the first thing that hits you about this is Dacus' voice, it is both enchanting and direct, filled with emotion but almost disarmingly monochromatic, saturated with feeling but structurally unyielding. Place this on top of the head-noddingly groovy bluesy distorted guitars, and galloping drum licks, and you have an end-of year contender. I couldn't imagine anyone who likes any sort of rock/indie/country not enjoying this.

                                  Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock's most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured 10-track statement of intent. "This is the album I needed to make," says Dacus, who views Historian as her definitive statement as a songwriter and musician. "Everything after this is a bonus."

                                  Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.

                                  STAFF COMMENTS

                                  Barry says: Dacus' light Americana leanings of the superb No Burden are sidelined slightly for her grander, more expansive new outing, Historian. Though her smouldering guitar work and unmistakable voice are ever present, they are skillfully woven into an intricate and all-encompassing web of orchestration, grandeur and beauty. This is a stunner, and every bit the successful follow-up.

                                  Lucrecia Dalt

                                  Anticlines

                                    Lucrecia Dalt’s Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

                                    A former geotechnical engineer from Colombia currently residing in Berlin, Dalt’s concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

                                    Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt’s intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia’s collaboration with Australian artist Henry Andersen.

                                    The album opens with “Edge,” bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. “Tar” ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt’s distant and obscured vocals end with, “we touched only as atmospheres touch.”

                                    The sonic rise and fall of “Analogue Mountains” is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that “we might well be living in mountains transferred from Mars.” The steadily winding music on “Concentric Nothings” descends with the lyrical exercise of dissolution “let my touch be indistinct and instinctive.”

                                    Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, “this is what antiforms sound like, and this is what the universe’s indifference sounds like.” Dalt’s ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

                                    Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt’s exploration of the betwixt and between.

                                    In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for “gestures that create tensions with non-existent objects.” Dalt intends “to provide meaning and a place for the listener to meditate or relate to the concerns and ideas” she presents.

                                    Lana Del Rey

                                    Lust For Life

                                      Global superstar Lana Del Rey releases her 4th album ‘Lust For Life’ which features collaborations with A$AP Rocky, Playboi Carti, Sean Ono Lennon, The Weeknd and Stevie Nicks.



                                      "Born To Die" the album is a collection of tracks about which Lana says "The songs I've written are an homage to true love and a tribute to living life on the wild side." Album tracks include "Million Dollar Man", "Off To The Races", "Blue Jeans" and "Carmen".

                                      STAFF COMMENTS

                                      Darryl says: For sure this is a slick 'pop' album, but with her sultry vocal delivery and simply stunning songs like 'Video Games', 'Born To Die' and many others, there's more than enough here to keep an indie kid happy. Recommended!

                                      FORMAT INFORMATION

                                      2xLP Info: Limited vinyl edition.

                                      The album was recorded between Los Angeles and New York.

                                      This is the 3rd studio album from Lana Del Rey, her last record ‘Ultraviolence’ when to #1 in 74 countries and she has worldwide album sales in excess of 9 million. Following the global first play and interview on Zane Lowe's Beats1 show, Annie Mac had 'High By The Beach' as her Hottest Record on Radio 1which included two spins of the track back to back and an interview with Lana. 

                                      FORMAT INFORMATION

                                      Ltd LP Info: Red vinyl LP.

                                      LP Info: Black vinyl edition.

                                      Emotional Rescue returns with the third album in a series based around the music of Luis Delgado and Javier Bergia. After a collecton of Javier's best music and the reissue of their Ishinohana collaboration, the reissue specialists present Delgado's solo debut, "Vathek". The second release on his El Cometa De Madrid label after Ishinohana, the LP is an avant-garde step forward from that collaboration, their work in Finas Africae and also, his previous Mecanica Popular project. In a sense, Delgado is the link that brings many of the country's music of that period together. As a multi-instrumentalist he played his first concert at 14 before becoming an in-house engineer for RCA, a position which led to Mecanica Popular with fellow engineer Eugenio MuNoz (Randomize) and the following projects.
                                      The colder electronics of that project belie Delgado's Andulusian Folk/Rock and Ethnic Fusion compulsion, as came to prominence with Luis Paniagua in their Babia releases and via the later success of Finas Africae. In "Vathek", Delgado pushes beyond these projects to utilise the studio and explore his interest in Eastern music. Subtitled "Procesos Electronicos Para Instrumentos Acusticos," the premise was that even with all the machines, the knowledge to use them is not realised and therefore, the goal was to go deeper within these processes to create an new encompassing sound.
                                      The ten pieces should, therefore, be seen in this exploration, yielding a deepness not associated with this golden period of Spanish music. A truly experimental album that is meditative and mesmorising; a mastery of instrument, studio and thought.
                                      As with Javier Bergia's 'Eclipse' and Ishinohana before it, Vathek comes with wonderful hand-illustrated artwork by Finn Campbell-Notman, from his studio in the Andulusian foothills.

                                      Lizzy Mercier Descloux

                                      One For The Soul - Light In The Attic Edition

                                      * Remastered from the original tapes
                                      * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                                      * LP Includes download card for full album + 2 bonus tracks
                                      * CD includes full album plus 2 bonus tracks

                                      By the time poet, singer-songwriter, and artist Lizzy Mercier Descloux recorded 1984's 'Zulu Rock', she'd marked herself out as both a globe trotter with more passport stamps than Tintin and a musical innovator whose loose, arty spirit could be applied to styles as varied as no wave, Bavarian oompa and Soweto jive. She'd also established a tight-knit threesome with muse/former lover Michel Esteban and producer/on-off lover Adam Kidron, who all reunited to follow 'Zulu Rock' a surprise hit in her native France - with something that, once again, represented a complete about-turn.

                                      The location, this time, was Rio De Janeiro, a suitably exotic location to follow their sojourn in Soweto given that Brazil had recently emerged from twenty years of dictatorship. But unlike 'Zulu Rock''s broad appropriation of the local sound, One For The Soul borrows very liberally from Brazilian culture. The aim, says Kidron, was to "reimagine the blues", but Lizzy’s musical essence was in flux. “A Word Is A Wah" meshes reggae with her beloved accordion, “Women Don't Like Me” is wild, new wave pop, and she even wanders into soul territory, with whispery lounge versions of Al Green's “Simply Beautiful”. Most notable is the album's foray into jazz, and the fact that Chet Baker, the master jazz trumpeter, blew his last on “Fog Horn Blues” and the sensuous “Off Off Pleasure”.

                                      Rio was to be the last great hurrah of Lizzy and Michel’s global recording adventures, and although work proceeded apace, the experience was often quite tense. "The sessions were tough work,” says Kidron, in the new liner notes by Vivien Goldman accompanying this deluxe reissue. “Lizzy never quite got singing, no matter how much she drank, and no matter how hard she tried. Chet was very much at the drug-ravaged end of his life and had very little stamina or dexterity left… but there is a deep, sad, lyrical tone to his performances on the album.”

                                      So fraught were the sessions, it's a miracle that such a cohesive, sparky record emerged. The record-buying public did not agree, and as the album crashed and burned, so did the relationship between its three heroes. Lizzy was, for the first time, about to take on the world alone – and there was but one album left in her. 


                                      Lizzy Mercier Descloux

                                      Suspense - Light In The Attic Edition

                                      * Remastered from the original tapes
                                      * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                                      * LP Includes download card for full album + 6 bonus tracks
                                      * CD includes full album plus 6 bonus tracks

                                      By the time bohemian singer/poet/artist Lizzy Mercier Descloux recorded her fifth album, 1988's 'Suspense', she'd enjoyed a recording career that was as far from the clichés of music lore as is possible, flitting between genres, continents and collaborators, enjoying great success and equally great failure and even stealing the final breaths of master trumpeter Chet Baker for 1986's One For The Soul. When she came to make 'Suspense' she was, for the first time, working without her longtime muse, partner and manager Michel Esteban, with whom she'd first moved from their native France to New York, where it all began.

                                      The pressure was on to repeat the success of “Mais Où Sont Passées Les Gazelles”, a smash hit in France, and Descloux's label were keen to make a conventional artist of her, pairing her with John Brand, an in-vogue producer with a style geared to a big, shiny 1980s chart sound - an approach Lizzy had never experienced before, nor intended to.

                                      In Vivien Goldman's new liner notes, Esteban notes that Suspense sounds "less Lizzy than the other records, less open," but in splitting herself into two – English and Francophone – the album has two personalities too; oddly, it shines a light on the real Descloux that her cultural experiments never did.

                                      Though the initial aim was to make a folky, acoustic album, the pop sound suited the singer, and “A Room In New York” is as fine and sparky as AOR gets. But when early single “Gueule D’Amour/Cry of Love” stiffed, EMI lost confidence and buried the LP. Bound by her contract to the label, Descloux moved away from music and focused on painting. She eventually settled in Corsica, the French island, where she died, aged 48, of cancer. Descloux's musical career ended, therefore, with the aptly titled Suspense. It was only a matter of time before this furiously creative artist's work was re-evaluated, and with these deluxe reissues, that time is now.


                                      Lizzy Mercier Descloux

                                      Zulu Rock - Light In The Attic Edition

                                      * Remastered from the original tapes
                                      * Essay by “Punk Professor” Vivien Goldman, interviewing key players
                                      * LP Includes download card for full album + 5 bonus tracks
                                      * CD includes full album plus 5 bonus tracks

                                      In the course of three albums, Lizzy Mercier Descloux, the rogue poet, artist, and singer-songwriter, travelled on a musical voyage from Manhattan (1979 debut 'Press Color') to The Bahamas (1981 follow-up 'Mambo Nassau') and apartheid South Africa (1984's 'Zulu Rock') - a controversial cultural boycott in protest of the nation's racially divided society.

                                      One place Descloux had never visited was the pop charts, but that changed when “Mais Où Sont Passées Les Gazelles? (Where Have The Gazelles Gone?)” - a reworking of a South African Shangaan disco hit - went all the way to the top spot in her native France, giving her a platform and a profile in the land she'd fled many years before. Recorded at Satbel Studios in Johannesburg, the album followed what her mentor Michel Esteban describes as "an extraordinary adventure" through eastern Africa following the footsteps of 19th century poet Rimbaud through Sudan, Ethiopia, the East Coast.

                                      A socially conscious person, Descloux wanted to use her music to draw some attention to the situation in South Africa, even obliquely, but there were musical motivations too - she was tapping into a hot and little-heard dance music in the aforementioned Shangaan disco, Soweto jive and mbaqanga, the style Malcolm McLaren had mined for his mash-up hit "Duck Rock" a year before.

                                      The music of South Africa seduced, subsumed, and molded Lizzy, who sounds surer and more swinging than ever before throughout 'Zulu Rock', but credit must also go to British producer Adam Kidron, then best known for his work with Scritti Politti, who joined Esteban and Descloux for the entire African journey. Lizzy and Adam’s was a battle of wills from the start, but his insistence on getting Lizzy to sing in a more conventional, tuneful way resulted in an emotional, ambitious, creative power struggle that delivered arguably her best vocals yet.

                                      In Vivien Goldman's new liner notes for this reissue, Kidron says: “My first impression of Lizzy was that she couldn’t sing but that she had that crazy Madonna, Neneh Cherry, Nina Hagen attitude thing going on and a magical way with words — a marketer’s gift for getting to the essence of a feeling or idea.” And for once, on this album, the marketing did itself. 


                                      For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon.
                                      Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct.
                                      They also perfectly illustrate Larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through.
                                      This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago’s toughest neighborhoods.
                                      Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive – what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul.

                                      STAFF COMMENTS

                                      Millie says: Smooth and satisfyingly funky, Larry Dixon brings us a joyful mixture of romantic lyrical rhymes and harmonies.

                                      Star Time continue this celebratory 7" series with another great release from the Chicago funk/soul kingpin. As ever, Larry dicks on (geddit?!) the rest of the modern soul fraternity, delivering the tender and soulful strum of "Next Time". Full bodied and brooding, this one's primed for erection section eruption - As Eddie Kendricks almost said, girl you need a change of clothes....

                                      Chicago soul extroardinaire and LAD Productions Inc. honcho Larry Dixon pulls out a grooving soul number in the shape of 'Saturday Night' backed with an instrumental version on the flipside. 

                                      Twinkling FM keys and snappy drums form the solid, languid backdrop to swooning pitch-bent synths and Dixon's trademark vocal silk. Brimming with wistful but heartfelt lyricism and finger-clicking funk. 

                                      Brilliant stuff as ever, showing that Disxon is indeed one of the world's foremost early boogie pioneers. 




                                      STAFF COMMENTS

                                      Barry says: Swooning synths, smooth-as-silk vocal outpourings and thumping, gated snare hits make this a starlit ride through the heavens. Stunning stuff.

                                      For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer / song-writer Larry Dixon. Larry's raw songs capture the transition from R&B to boogie as disco was rapidly becoming extinct. They also perfectly illustrate Larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through.

                                      RAW BUGIE on this 7"; the very epitome of the style if you ask me as "Star Time" wraps Larry's effortless vocal and effortless guitar licks around another rock solid slap B-line. Nice and dusty adding to that lo-fi, DIY aesthetic. "You're On Your Own" flips the vibe for side B, a more melancholic number with a crooning vocal style and picked guitar melodies - displaying a softer side to the song-writer with cinematic qualities aligning it to the Winter months ahead. Top stuff!


                                      For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon.
                                      Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct.
                                      They also perfectly illustrate Larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through.
                                      This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago’s toughest neighborhoods.
                                      Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive – what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul.

                                      STAFF COMMENTS

                                      Millie says: Funky jazzy heartbreak song 'I Thought I Was The Only One' is a charming yet slow song from Larry Dixon, which contrasts with side B which is filled with cheery beats which you can't help but dance to compulsively, this seven inch provides you with the best of both worlds.

                                      For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon. Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct. They also perfectly illustrate Larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through. This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago’s toughest neighborhoods. Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive – what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul. Each format includes a unique booklet with the story of Larry Dixon and his friends, written by Jacob Arnold, along with numerous pictures and documents previously never published. Artwork is by Al Kent from Million Dollar Disco.

                                      FORMAT INFORMATION

                                      7" Box Set Info: Limited edition - 500 copies only.

                                      FREE SHIPPING This item has FREE UK shipping!

                                      Lee Dodou & The Polyversal Souls

                                      Basa Basa

                                      As the lead singer of George Darko's legendary Burger-Highlife hit-band, Lee Dodou became the number one voice of 80's Highlife. Born in Kumasi, the epicenter of Ghanaian Highlife, he came to Berlin in the late 70's - by then the uprising epicenter of Burger-Highlife - to work as a back-up-singer for Pat Thomas. ‘Basa Basa’ is a song in the classic "concert party" style, as it was played in the glorious 60's. After a firey horn introduction Lee takes over in that funny and entertaining manner typical for "concert party" music. Buzz Duncker joins Lee's phrases with some gentle clarinet. Highlife at its best!

                                      STAFF COMMENTS

                                      Millie says: Playful and upbeat rhythms, this seven inch is the pinnacle of vibrant Latin music.

                                      Lamont Dozier

                                      You Made Me A Believer / Starting Over

                                      Following his role establishing the Motown sound as part of Holland/Dozier/Holland, Lamont went solo and these two tracks come from his 1981 album “Working On You”. Originally released by Columbia in the smooth, lush sounding style of the day, complete with Lamont’s signature vocal, neither of the two tracks here were released as single despite finding huge favour with modern soul audiences. “You Made Me A Believer” is one of his most enduring soul night floorfillers. Expansion also released the full “Working On You” album on remastered CD.

                                      Produced and arranged by indie rock icon Eric Bachmann (Archers Of Loaf, Crooked Fingers, Azure Ray), "Outside Our Gates" represents a sonic leap forward for Liz Durrett. With Bachmann on board, Durrett's once spare, acoustic downbeats have been supplanted by a more textured and diverse orchestra of sounds. A virtual cacophony of instruments are here, including (but not limited to) tiny nylon-string guitars, backwards electric feedback loops, pizzicato violins, plucky cellos, upright bass, wurlitzers, accordions, grand space pianos and marching drums. Bachmann's score somehow harmonizes these elements seamlessly to provide the perfect setting for Durrett's near dream-state writings and softly unsettling voice. Additional performances by Vic Chesnutt, Brian Causey (Man Or Astro-man?), Amanda Kapousouz (Tin Cup Phrophette) and members of Ham1.

                                      Karl Lukas Pettersson has searched through his vaults of DAT tapes to create a personal album of lost projects, ideas and forgotten gems. The album includes a remastered version of Professor Laphroaigh originally included on his Dr Lindh – Sounds Interesting EP for SCSI-AV

                                      Limited to 300 copies

                                      Little Willie Egans

                                      You Must Be Foolin' / Treat Me Right

                                      "You Must Be Foolin'" is a belting rocker with infectious sax, big vocals and jumpin' rhythm - Egans’ finest moment.. "Treat Me Right" is a little less lively, but still rocks it.


                                      FORMAT INFORMATION

                                      7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                                      Lars Eidinger is an artist, born and raised in Berlin, working mostly as an actor at the Schaubühne theatre in Berlin. He is especially known for his interpretations of the characters Hamlet and Richard III in the eponymous plays of William Shakespeare in productions directed by Thomas Ostermeier. He also appeared in several German movie productions such as "Everyone Else" by Maren Ade, "Home For The Weekend" by Hans-Christian Schmid and "Blooms Of Yesterday" by Chris Kraus alongside international films such as "Goltzius And The Pelican Company" by Peter Greenaway, "Mathilda" by Alexey Uchitel and "Clouds Of Sils Maria" by Olivier Assayas plus German and international TV series like "Tatort", "Polizeiruf 110", BBC’s "SS-GB" and the Netflix series "Sense8" by the Wachowski Sisters. In 1998, during the time he was studying acting he released a 10" called "I’ll Break Ya Legg" under his name on !K7’s sub label Studio 54, produced on a PC in the basement of his parents house on a 4 MB sound card - the whole record is 100% sample based. The resulting sound is Lo-Fi, giving the whole tonal aesthetic a very rough and dark feel with a very melancholic and morbid atmosphere.

                                      The freshest label in Western Africa, Lagos' Odion Livingstone launches with a powerhouse debut, a killer reissue of the sought after Nigerian disco LP rarity "Friday Night" by Livy Ekemezie. A fusion of African sounds and American disco swagger, this bass driven platter is frankly irrepressible, infecting any and all who hear it with an unstoppable urge to shake their shit. "Get It Down" and "Holiday Actions" sizzle and sparkle into a peaktime explosion of red hot disco-funk, sending the mirrorball spinning round the room at a dizzying pace. Ballad "I Wan' My Bab' Back" retains the psychedelic shimmer of the dancefloor cuts while offering a welcome breather before the smooth and soulful groove of "Friday Night" eases us into the dance all over again. Punchy and uptempo, "Classic Lover" should prompt all sorts of clav-led contortions while "Night Party" is a short sharp shock of Afro-boogie brilliance. The set closes with the primo-disco brilliance of "Delectation", a recently edited cut which sounds far better in its original incarnation. Recorded at Goddy Oku's Godiac studio, and pressed onto blue vinyl by none other than William Onyeabor, this legendary LP bears the fingerprints of Nigeria's funkiest forefathers.
                                      As the demand for Nigerian disco originals has grown DJs like Motor City Ensemble have become firm favourites of "Friday Night", so there's no better time for a first ever reissue of the LP the LP to land. Faithful to the original issue, this remastered, blue vinyl pressing features full original artwork along with new interviews with Livy Ekemezie and contributing musician Jules Elong by Odion Livingstone’s Temi Kogbe.

                                      STAFF COMMENTS

                                      Patrick says: Pure dancefloor fiyah found within! Odion Livingstone deliver the first official reissue of this Afro-disco holy grail with the greatest respect to the original pressing. Still on blue vinyl, still insanely groovy, but not out of the price range anymore!

                                      Lizzy Farrall

                                      All I Said Was Never Heard

                                        British singer / songwriter Lizzy Farrall releases her debut mini album, ‘All I Said Was Never Heard’, which will drop just in time for her scheduled UK tour supporting Seaway.

                                        Lyrically the release is about situations she went through in her teenage years and forms a diary of that time.

                                        For fans of Julien Baker, Now Now, Dashboard Confessional, Neck Deep, This Wild Life.

                                        FORMAT INFORMATION

                                        LP includes MP3 Download Code.

                                        Lee Fields & The Expressions

                                        Just Can't Win / Still Gets Me Down

                                        Truth & Soul is proud to present the "Just Can't Win" / "Still Gets Me Down" 45. Two incredible tracks from Lee's "Emma Jean" LP with the super fresh boxing glove art labels.

                                        Side A "Just Can't Win" is a sure shot with the punching drums and heavy production covered by Lee's in the pocket lyrics paying homage to persistence and dedication.

                                        Side B is "Still Gets Me Down" an epic mid tempo ballad about the lingering feeling of an ex even long after life has moved on.

                                        Typical slamming production from T&S with Lee over the cinematic arrangements.


                                        Lee Fields & The Expressions

                                        Coming Home / Precious Love

                                        As Lee is out on the road spreading the love to crowds across Europe we decided to press up another undeniable two sider off the instant classic Special Night album. Another must have for the DJs…. Side A is “Coming Home”, Lee’s incredible take on working, how we get through it, and why we do it. He sings to his wife a story a lot of people can relate to, working all day looking forward to coming home to his family. The Expressions provide the perfect feel good backing to this midtempo masterpiece with beautiful horn arrangements, catchy background vocals, and a guitar riff as catchy as the chorus. Side B’s “Precious Love” is the perfect example of the song writing and arranging prowess the producers (Leon Michels & Tommy Brenneck) and the band have honed over the years. Catchy from the intro, this love song keeps the dance floor and holds up next to the classics. Play this for your precious love. 

                                        Lee Fields & The Expressions

                                        Lover Man / Never Be Another You

                                          Big Crown Records drops another killer two sider pulled from Lee Fields & The Expressions instant classic “Special Night”. With Lee touring the world from sold out show to sold out show supporting his album, the modern funk machine gives DJs and collectors another must have 45. The A side “Lover Man” is equal parts rough and smooth. The production and the band come off with a thunderous backing track that takes it’s time to get to full sail while Lee lays down some tell it like it is lyrics. Fields comes to the microphone with the confidence only a man with his track record could putting down what life is like with him if the woman he is after just let’s it be that way. The B side “Never Be Another You” finds Lee & The Expressions taking another turn on the formula their success has been built on. An unorthodox track to find on a soul album made to fit perfectly, once again pushing the aesthetics of analog soul further into the present. Lee confesses his love and appreciation for his woman walking the fine line of vulnerability and strength. 

                                          Lee Fields & The Expressions

                                          Special Night

                                          There are a few terms that get thrown around loosely, two of which are legend and retro-soul. One of these fits Lee Fields hand and glove, one of these doesn’t fit at all. Very few people in music have both earned the status of legendary and continue to solidify it. 50 years in the game and only getting better, gaining more fans, and evolving his sound on each album, Lee is in fact a Living Legend. This brings us to the misuse of the term "retro-soul" when talking about Mr. Fields. You don’t have to look far to find a younger generation emulating the essence and styles of an era the’ve only experienced through music and movies. It seems unfair to tag Lee with a term that implies imitation when he is part of the generation that actually defined the genre. Plain and simple, this is not that.

                                          "Special Night" is a masterclass in soul music past and present. “I feel that every human being’s purpose is to do what their inner voice says to do,” says Lee Fields. “And my inner voice, my driving force, wants me to put out music and keeping making better records.” Produced by Leon Michels and Thomas Brenneck, and brilliantly performed by the Expressions, Special Night was written, recorded, mixed, and mastered entirely to tape in three weeks at the legendary Diamond Mine Studios in Queens, NY. A sense of urgency, equal parts fun and inspiration, and a decent amount of beer and Jack Daniels were the driving forces during the sessions that produced Lee Fields & The Expressions latest offering. Special Night is also the first record in the Expressions catalogue in which every song was written jointly by Lee Fields and The Expressions. “When I record, I make every song like I actually mean it. I mean every word I say.

                                          Lee Fields & The Expressions

                                          Special Night Instrumentals

                                          The instrumental version of the instant classic "Special Night" by Lee Fields & The Expressions. There are a few terms that get thrown around loosely, two of which are legend and retro-soul. One of these fits Lee Fields hand and glove, one of these doesn’t fit at all. Very few people in music have both earned the status of legendary and continue to solidify it. 50 years in the game and only getting better, gaining more fans, and evolving his sound on each album, Lee is in fact a Living Legend. This brings us to the misuse of the term "retro-soul" when talking about Mr. Fields. You don’t have to look far to find a younger generation emulating the essence and styles of an era the’ve only experienced through music and movies. It seems unfair to tag Lee with a term that implies imitation when he is part of the generation that actually defined the genre. Plain and simple, this is not that. "Special Night" is a masterclass in soul music past and present. “I feel that every human being’s purpose is to do what their inner voice says to do,” says Lee Fields. “And my inner voice, my driving force, wants me to put out music and keeping making better records.” Special Night is also the first record in the Expressions catalogue in which every song was written jointly by Lee Fields and The Expressions.

                                          “When I record, I make every song like I actually mean it. I mean every word I say. On Special Night I’m talking to my lady — literally, expressing the way I feel.” says Lee Fields. “You can tell if a song is real or not, and every moment I’m recording, those moments are real, this is a record about what people do in real life”. For one example, he cites the song “Work to Do,” which tells the story of “a guy going to counseling, drinking too much, apologizing to the old lady and trying to keep family together, doing the manly thing.” On “Make This World”, Lee makes a nod back to his early funk roots with a cautionary tale about the health of the planet. The world was designed to last indefinitely,” says Fields. “We’re the only living species on Earth who can alter that process. I’m hoping that song has a chain reaction, helps somebody put into action whatever contribution they can to change what the world is going through.” As always, sticking to the formula but pushing the boundaries “Never Be Another You” from the first note doesn’t sound like something you would hear on a Lee record, that is until he starts singing anyhow. A low tempo ballad with a head nodding drum track, sparse piano lines, and all the space Lee needs to lay down what is sure to be one of the flyest love songs of 2017.

                                          Lars Finberg

                                          Moonlight Over Bakersfield

                                            “Deep breath: It’s been nearly 20 years of high marks for Mr. Lars Aldric Finberg, shocking as that calculation may be to make. Whether a basher in A-Frames and Thee Oh Sees, secret weapon of Wounded Lion, architect of Puberty and administrator of The Intelligence, his whirlwind presence has been a reliable one; that of an artist whom people look for and look toward. With outlets as varied (be they casual or all-consuming) as this, what, oh what, then prompted the emergence of a solo offering? In truth, In The Red’s outta-nowhere green-lighting of the concept sent Finberg’s brain bubbling toward Moonlight Over Bakersfield, a statement of entirely his own concoction…

                                            A truly swirling step from a guy who’s always movin’ diagonally. “Followers of Finberg’s recording history will immediately detect a plume of confidence around this album, an air that each successive offering has inched toward but now, at long last, has taken full bloom. It’s legitimately wonderful to witness Finberg ordering off the top shelf across every aspect of the album, recognizing this as a collection of experiments and bangers deserving of such treatment. This assuredness carries over thematically, as he tackles both personal and political obsessions with equal honesty and sophistication.

                                            “The favors called in for this occasion bolster the offering as a whole. Frequent collaborators now stew with notable heavies from La Luz and Melvins / Big Business, creating Finberg’s Whole New Sound. The great Mikal Cronin even guests on sax, offering sophisticated bleat as needed. Ty Segall serves as Finberg’s main ally though, both at the controls and in performance. Previous valiant attempts aside, Moonlight Over Bakersfield marks Segall’s first truly great achievement as producer / engineer, as if a partnership with Finberg would result in anything less.” —Mitch Cardwell

                                            Luboš Fišer

                                            Valerie And Her Week Of Wonders

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

                                              As part of one of our most fruitful and gregarious adventures Finders Keepers Records now celebrate 10 years since the first-ever releases of the Czechoslovakian soundtrack to the surrealist new wave masterpieces Valerie And Her Week Of Wonders (Valerie a týden divu) with a very special additional 7” EP of further unreleased variations, vocal tracks and newly resurrected themes from the original master tapes of composer Luboš Fišer.

                                              Possibly the most treasured modern surrealist artefacts from the vibrant and indelible Czech New Wave “film miracle” (alongside Vera Chytilová’’s ‘Daisies’ and ‘Fruits Of Paradise’) ‘Valerie And Her Week Of Wonders’ was directed by the controversial Jaromil Jireš (a member of the original 60’s FAMU film school community) and featured young freak fairytale regular Jaroslava Schallerová (Malá morská víla) and Helena Anýzová (Daisies/The Cremator) but aside from it’s stunning cast and breathtaking design and costumes (by Esther Krumbachova) it was in fact the delicate European cinematic small orchestra music score that went to future-proof this film for decades after it was first released in the eye of a 1970 communist censorship cull.

                                              As a direct inspiration for bands like Broadcast and Espers, this 7 track single also macabre sound design, effects and dark atmospherics which are not available on the Finders Keepers LP version and is housed in unique packaging based on a rare variation of the original Czech film poster.Record Store Day 2017 exclusive.

                                              This very special 7” EP features unreleased variations, vocal tracks and newly resurrected themes taken from the original master tapes that did not feature on the original Finders Keepers Records longplayer (FKR009).

                                              Limited to 700 copies for the UK and Eire.

                                              Sometimes the best course of action is to find your path and stay focused, which is the approach that shaped Lyla Foy’s debut album, ‘Mirrors The Sky’. Everything changed for the 25-year-old London songwriter one day in early 2012, when she cancelled her evening plans to work on music at home. After years of collaborations, she decided to go it alone, and that night produced the gorgeously stripped-down ‘No Secrets’, which she eventually shared with the world under the moniker WALL. “When I first started writing for the project, I wanted everything to be really focused on the melodies, but also really simple and minimal,” says Foy. “Just using a lot of bass, and simple drum patterns. I wanted to try something new, and that one song felt like the beginning of something.”

                                              The reaction to ‘No Secrets’ confirmed Foy’s suspicion that she’d stumbled onto something pretty special. The track led to an appearance on British web-series Black Cab Sessions, and the Black Cab folks formed a label to release WALL’s debut single, ‘Magazine’. The English accolades poured in via glowing reviews and radio spins - BBC Radio’s Steve Lamacq went so far as to call ‘Magazine’ his favourite song of the year - and by the end of 2012 Pitchfork was giving her props for her haunting cover of Karen Dalton’s ‘Something on Your Mind’, and spotlighting the title track from 2013’s ‘Shoestring’ EP.

                                              Foy has now decided to come out from behind her WALL and adorn ‘Mirrors The Sky’ with her given name. She’s still in the same musical mindset that produced ‘No Secrets’ and she still plays with the guys - Oli Deakin (bass, keyboards), Andy Goodall (drums), and Dan Bell (guitar, keyboards) - who helped bring WALL’s songs to the stage.

                                              For a project that began as a single song in a London bedroom, Lyla Foy’s hypnotically hushed songs have come quite a long way over the past two years, figuratively and literally, as her worldwide deal with Sub Pop will find her spending quality time supporting ‘Mirrors The Sky’ around the globe.

                                              STAFF COMMENTS

                                              Ryan says: Beautiful dreamy folk/pop from Lyla Foy previously known as 'WALL'. For fans of Daughter.

                                              After the phenomenal reaction to his solo track ‘Wall of Glass’ and the emotional scenes that accompanied his first solo shows, Liam Gallagher brings us his eagerly anticipated debut album ‘As You Were’.

                                              “I didn’t want to be reinventing anything or going off on a space jazz odyssey,” says Liam. “It’s the Lennon ‘Cold Turkey’ vibe, The Stones, the classics. But done my way, now.”

                                              The album’s cover features an iconic new portrait of Liam which was taken by the influential photographer, fashion designer and creative director Hedi Slimane.

                                              FORMAT INFORMATION

                                              Coloured LP Info: Limited white vinyl edition.

                                              Coloured LP includes MP3 Download Code.

                                              LP includes MP3 Download Code.

                                              Box set Info: Deluxe box set edition.
                                              Contents:
                                              12” (standard) white vinyl
                                              Deluxe CD, poster
                                              Klaus Vormann print
                                              Printed ticket
                                              For What It’s Worth 7” white label
                                              Ted Kessler foreword
                                              Polaroids (in 50 boxsets)

                                              Liam Gallagher

                                              Wall Of Glass

                                                Unlike boxing, rock and roll is not renowned for great comebacks. A few missteps and then it’s usually farewell, have a good life, who are you again? Occasionally, though, a true heavy musical champ loses a bout only to re-emerge even stronger later. David Bowie, for example, went through a long fallow period before his renaissance. Paul Weller had a rocky few years before finding his feet as a solo artist. Now we can add a third era-defining voice to that list of champions who returned to reclaim their belt: Liam Gallagher.

                                                After Beady Eye officially split in 2014, Liam found himself “out of the bubble” of being in an organised rock group with all the appropriate management apparatus for the first time in twenty years. He fell hard. Suddenly just a regular geezer (“just a regular absolute legend” he clarifies), he had to consider what he was going to do. For a while, he toyed with the idea of moving to Majorca and living “Sexy Beast-style” around the pool in the sun. He had a few holidays. He went for lots of jogs. He had a few pints. And he got divorced. And when all that was done he took a long look at himself in the mirror and remembered who he is and what he does. He’s Liam Gallagher, son of Peggy Gallagher, of Burnage, Manchester, the best singer and frontman of his generation. So he decided to start singing some songs again. Majorca could wait.

                                                Playing around in his own idiosyncratic style on a guitar at home in London, he surprised himself by writing a song. “I am definitely not a professional at it,” he says, modestly. “It’s proper Frankenstein tackle. But I suppose everyone has their ways. Even Paul McCartney didn’t just sit down and write Hey Jude straight away.”

                                                The song that he wrote was a heavy dollop of soul-rock called Bold and strong enough to get him signed to Warner Bros. There was something there alright. Eventually, he had a whole batch of songs written which he demoed with a multi-instrumentalist called Dan McDougall in London before he started to meet producers and co-writers. “Warner Bros said to me, ‘Are you up for a bit of co-writing? I was, like, ‘never done that before. Why not?’” He flew out to LA, met a few, but really hit it off with Greg Kurstin. “Greg Kurstin played me a few ideas, we had a chat, swapped some ideas, sorted it out and before you know we had some more songs. I’m as surprised as anyone that it worked, but the songs we did are top.”

                                                These songs include Liam’s incredible first single as a solo artist, Wall Of Glass. If you had to make an equation of all the elements that made the early Oasis singles so apocalyptically good - i.e, huge waves of guitar hooks + melody you can’t shake for…ever + thunderous rhythm + LIAM GALLAGHER’S VOICE delivering an unbelievably catchy chorus - then Wall Of Glass fits in the lineage perfectly. It’s hard to recall a time he’s sung better - it’s like hearing him for the first time again, the same yearning menace that claimed a million hearts by the end of Supersonic’s first chorus. His voice is definitely on point.

                                                “Yeah, well,” he almost agrees. “I’m a good singer, man! Nine out of ten times I nail it. In a studio, without a doubt. Never done a shit vocal there.”


                                                FORMAT INFORMATION

                                                Ltd 7" Info: Limited repress!

                                                “Mnestic Pressure” is Lee Gamble’s first album since 2014 and his first with Hyperdub, a reset that sees a noticeable change in his sound and the concepts that feed into his music. Lee says ‘From “Diversions 1994-1996” (2012) through to “Koch” (2014) - my music felt like I was dealing with signals from elsewhere - signals from the unconscious, sub-aqua, hallucinated, dreamt. “Mnestic Pressure” feels like their decoded offspring, a terra interpretation.’ The title “Mnestic Pressure” comes from Lee’s thinking about how our contemporary memory is pressured, individually, but also collectively.

                                                ‘We live in these strobing, visual times, like a constant subliminal advertisement but, also over the last few years the world seems to have become more and more dreamlike, alien, and parodic itself and there was this part of me that wanted to drag my music back from this Shangri-La, but fully drenched and infected by its ghosts.’ “Mnestic Pressure” as a whole is a simulation of this experience; a flow of targeted information, through contrasting and quickly changing terrain, from one track to another you’re dragged into a new space. The pressure to move is intrinsic to the flow of the album, one thing morphologically transforms into another, zooming in and out from wide angle to detail, reshaping into new forms at a speed Lee’s music hasn’t before.

                                                The music on “Mnestic Pressure” has a hardness, with a structure and melody that was sublimated in Lee’s previous LPs. It builds on his more recent experiments with more functional dancefloor forms. Here his hypermodern production and crunchy, dissembled beats feel like they could be malfunctioning holograms projected onto the hallucinated memories of his early work.

                                                STAFF COMMENTS

                                                Barry says: Fractured urban percussion, MSP-generated synth hits and claustrophobic, bunker ambience. It's a visceral and bracing ride this one, but it's completely worth it. Top stuff.

                                                Lloyd George

                                                Come On Train / Frog Hunt

                                                Lloyd George hits us with huge ‘unknown’ bopper 'Come On Train' which has plenty of harp train efffects and a strong vocal. On superb stroller 'Frog Hunt' the frog parts are played by a honking sax. It's a twin-spinner that will fill the dancefloors.

                                                FORMAT INFORMATION

                                                7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                                                Lisa Germano

                                                In The Maybe World

                                                A gifted lyricist and powerful singer, Germano is also a talented multi-instrumentalist, playing the violin, piano, and guitar with equal aplomb. This new album features some of her best work to date. For fans of PJ Harvey, Marianne Faithful, Cat Power and Bjork, she's had previous albums on 4AD. Other projects over the years included OP8, a collaboration with Giant Sand and Calexico.

                                                La Grande (pronounced in the way of the American West, without any hint of French inflection – “luh grand”) is a town just east of the Wallowa Valley in northeastern Oregon where native Oregonian Laura Gibson found inspiration while writing the songs that would become her new album of the same name. Gibson describes La Grande as a place that “people usually pass through on their way to somewhere else, but which contains a certain gravity, a curious energy.”

                                                It’s an album about strength and confidence – about the tension between wildness and domesticity and the courage required to embark upon either path, about asserting one’s will rather than submitting – and it’s a significant departure from Beasts’ subtle meditations on frailty.

                                                The thematic notion of aggressively taking matters into one’s own hands was at the front of Gibson’s mind during much of the process of developing La Grande, a period in which she also took on the task of transforming a 1962 Shasta trailer into a makeshift studio/private writing place. The twin projects of restoration and transformation – all that sanding, painting and do‐it‐yourself problem solving – seeped into her music, a sometimes surreal blend of styles that doesn’t belong to any particular decade or genre, but leaves the listener with the distinct impression that something old has been repurposed in a brilliant new way.

                                                One reason the sound of La Grande is so purposeful is that, for the first time, Gibson remained in the producer’s chair throughout its making, bouncing between home‐recorded vocal sessions – piling as many as 15 Laura Gibsons on certain tracks – and proper takes at Type Foundry Studios alongside engineer and good friend Adam Selzer (M Ward, Norfolk and Western) and some great players including Calexico’s Joey Burns, members of The Dodos (Meric Long and Logan Kroeber) and The Decemberists (Nate Query, Jenny Conlee), clarinetist Jilly Coykendall, and the drumming duo Rachel Blumberg and Matt Berger (affectionately known as Blumberger).

                                                Don’t get the wrong idea, though. While La Grande’s stage is shared with some very special guests, Gibson is at the center of every last note; contributing bits of bass, guitar, piano, pump organ, vibraphone, synthesizer, marimba, even a marching drum. The result is richer and more revealing than any of her previous records – two solo albums and an experimental LP with Ethan Rose – but it never loses sight of her start as a young singersongwriter who felt more at home playing in an AIDS hospice (where she had a standing weekly gig for two years) than in Portland’s vibrant (and at the time, overwhelming) indie music scene.


                                                STAFF COMMENTS

                                                Andy says: Magical.

                                                FORMAT INFORMATION

                                                LP Info: Includes 11"x11" full colour lyric sheet insert.

                                                LP includes MP3 Download Code.

                                                The follow up to Manchester songbird Liz Green’s rapturously received debut ‘O, Devotion!’ (2011).

                                                Recorded at London’s legendary Toe Rag Studio with producer Liam Watson, Liz’s sophomore album displays a wonderful array of sounds and styles, from the ‘drone-blues’ of ‘Battle’ to the sea shantyinfluenced title track.

                                                In a departure from its predecessor, ‘Haul Away!’ sees Liz bringing the piano to the forefront, influenced by such artists as Thelonius Monk and Nina Simone.

                                                Artwork designed and conceived by Liz herself, including the iconic cover image.

                                                Includes self-styled single and ‘wonky circus tune’ ‘Where The River Don’t Flow’, a jaunty dance of life and death.

                                                FORMAT INFORMATION

                                                CD Info: Initial orders come with a limited edition postcard pack - while stocks last!

                                                Liz Green

                                                Rybka / Where The River Don't Flow

                                                Double A-side single pressed on white 7” vinyl and limited to 385 copies for the UK.

                                                First single to be taken from ‘Haul Away!’, the follow up to Liz Green’s rapturously received debut ‘O, Devotion!’ (2011).

                                                Recorded at London’s legendary Toe Rag Studio with producer Liam Watson.

                                                Artwork designed by Liz herself.

                                                ‘Rybka’ translates as ‘little fish’ in Polish, and that’s precisely what the song is about, says Liz: “the little fish getting lost in the big pond. A boy who tries to do right but always seems to end up on the wrong side of the glass.”

                                                STAFF COMMENTS

                                                Laura says: Two wonderful tracks from Liz Green, ahead of her new album. Title track Rybka's swaying, clarinet led rhythm provides the perfect accompaniment to her distinctive, dramatic voice. Lovely stuff.

                                                Perennial Piccadilly favourites Born Free find the time to turn out one last tonker before the end of 2k17, serving up a searing 3 track EP from Rotterdam-techno explorer Louis Guilliaume. Presumably armed with a phat sherm stick and a battered MPC, Louis gets deep and deranged on the hunt for electronic funk. "Freezse" employs its homonymic technique to fire off a burst of strobe lit stabs over the top of a restless techno perc track, opening the EP with a steely glare across the post-peak dancefloor. From there, "Close Encounter" drops into a totally off-the-wall outpouring of overlapping rhythms, clattering drums and spaced out sci-fi FX, filling our ears with disorienting drug noise before an intergalactic lead line traps us in its tractor beam. Finally "Time Trap" offers heat treated percussion, industrial aesthetics and a mindwarping sequences, closing a killer EP which makes your brain buzz and your tummy bump.

                                                STAFF COMMENTS

                                                Matt says: Some wacked-out shit for y'all here.... Think White Hotel at 6.30am when the gremlins come out to play....

                                                Panagiotis Melidis started writing music as Larry Gus (λάρυγγας [larigas], Greek for larynx) in 2006, after his previous band, the bass and drums duo Ginger, parted ways. Initially his music combined sample-based constructions and psychedelic pop melodies, merged into an infinitely dense amount of layers and polyrhythms. He soon became known for his energetic and chaotic improvised live performances that involve intricate layering of vocals, drums, and electronics… along with lively stage banter.

                                                On his new DFA album, "I Need New Eyes" (a title inspired by a Marcel Proust misquotation), moving slowly out of his sample-based roots and using clearer songwriting structures as his starting point, he stares intensively into his obsessions, anxieties and inadequacies, namely failure, humiliation, subservience, submission, and comparisons with other musicians’ careers, always through the prism of a provincial outsider.


                                                UK producer Laurence Guy delivers his debut for Mule Musiq: three languid house grooves enlarged with a deep musicality which owes as much to Floating Point's jazz-fused tales as it does to the dusted and blunted sound of late 90s downtempo. All three tunes feature a piano that spreads deeply haunting melodies and melancholic, introspective vibes coupled with loose, syncopated house rhythms and a warm, oscillating texture throughout. The broken beats and moody keys will also resonate with the South London massive, from Dego & Kaidi to the more recent Peckham institutions such as 22a and Rhythm Section. Basically if you like it warm and moody and littered with musical nuances then Laurence Guy could be your remedy from the bitter cold. 

                                                Luke Haines goes electronic, with an album was recorded using entirely analogue synthesizers.

                                                A concept album set in the future where Great Britain has retreated to a vast and secret network of abandoned nuclear bunkers and prays to a piece of silverware, referred to as the 'New Pagan Sun'.

                                                “Rock And Roll Animals” is a psychedelic story for grown-ups (and children). Jimmy Pursey is a frisky fox; Nick Lowe – a solid badger and Gene Vincent – a cat who's seen a bit more of life than most of us. Three furry freaks. Three Rock n Roll animals. The fable of our four-pawed shamen is narrated by the good folk of Magic Town.

                                                This is a story of righteous rock n roll and how our three rock n roll animal friends, when not frolicking in the undergrowth, do battle with their most unrighteous nemesis – a fuck ugly bird (from Tyneside) made of steel and wire called The Angel Of The North.

                                                “Smash The System” is the first non-concept solo album by Luke Haines (The Auteurs, Baader Meinhof and Black Box Recorder) in six years.

                                                Smash The System follows on from such critically acclaimed works as “Nine and a half psychedelic meditations on British wrestling from the late 1970s and early '80s” (2010), “New York In The '70s” (2014) and last year’s electronic “British Nuclear Bunkers”.

                                                Think “Hunky 'Dory” or Sabbath's eponymous debut played on pixiephones and Moog, Graham Bond Organisation and Haines' own 1996 classic “Baader Meinhof”, Or Sunn 0))) at the school disco with tunes.

                                                “Smash The System” pays homage to Marc Bolan, Vince Taylor, The Incredible String Band and Morris Dancing to name just a few as Haines makes a melodious return to his rock ‘n’ roll roots… 'Do you like the Monkees?' 


                                                Luke Haines

                                                I Sometimes Dream Of Glue

                                                  It started sometime after World War II – in the late 1940's. A convoy of British Special Services trucks had been dispatched to RAF Middlewych, their cargo - 10 tonnes of experimental solvent liquid. Sticky and deadly. The mission – to drop the toxic liquid over Germany and finish the job of carving up Europe for good. The trucks never made it to their airfield destination, coming off the road – most probably helped by saboteurs – some five miles out of London… 'I Sometimes Dream Of Glue' is the next solo concept album by Luke Haines (The Auteurs, Baader Meinhof and Black Box Recorder). Just off the Westway, in the motorway sidings, you can see a small sign. Actually you probably can't see the sign as it is the size of a child's fingernail clipping. The sign says 'Glue Town.' The name of a village. There is little or no documentation of Glue Town. You will not find any information about it on the 21st Century internet. Gluetown is a rural settlement born out of mutation. Of the estimated 500 or so dwellers, no one is thought to be over 2 ½ inches tall. The citizens of Glue Town exist on a diet of solvent abuse and perpetual horniness. The residents only leave to carry out daring night-time 'glue raids' on Shepherds Bush newsagent shops. On a tiny screen in the town centre, an old Betamax cassette of 'Michael Bentine's Pottytime' plays on a loop all day and all night...

                                                  Luke Haines

                                                  Is Alive And Well And Living In Buenos Aires: Heavy Frenz The Solo Anthology 2001-2017

                                                    Having played with The Servants in the late 1980s, Luke Haines carved a unique niche for himself in the 1990s with witty lyrics, wry humour and some stellar tunes with The Auteurs and other acts (Black Box Recorder, Baader Meinhof).

                                                    By 1999, feeling aghast at the state of the Brit Rock scene in the UK, Luke decided to “start a righteous solo trip”, having been commissioned to write the soundtrack for the film Christie Malry's Own Double Entry (2001). Sticking with Virgin Records, Luke then unveiled his first solo album proper, The Oliver Twist Manifesto, before fronting a new-look Auteurs for Das Capital.

                                                    In due course, Luke switched labels to indie Fantastic Plastic for Off My Rocker At The Art School Bop (2006), followed in 2009 by 21st Century Man. Since then, he’s curated a string of imaginative, amusing and always worthwhile albums for Cherry Red Records.

                                                    Alive And Well… is the first-ever anthology of Luke’s solo work, cherry-picking musical highlights from each of his long players as well as a smattering of B-sides, radio sessions, rarities and – on Disc 4 – a raft of previously unissued material.

                                                    With sleeve-notes by Luke himself, Alive And Well… is a very personal statement spanning the last two decades of the musical life of Luke Haines.

                                                    Luke Haines

                                                    Christie Malry's Own Double-Entry OST

                                                    Film soundtrack from former Auteurs frontman Luke Haines. The soundtrack reflects the thoughts and actions of a lone terrorist who was inspired by a monk / accountant from Renaissance Italy to take revenge against those who crossed him - starting by scratching the paint off expensive cars and climaxing with the death of thousands of people.....


                                                    next 100

                                                    Latest Pre-Sales

                                                    163 NEW ITEMS

                                                    STUFF WE HAVE LEFT. Should zoom, quickly depleting but still some killer titles. Get on it. Open till 5pm today. https://t.co/Mygt5WnC1d
                                                    Sun 22nd - 2:11
                                                    E-newsletter —
                                                    Sign up
                                                    Back to top