MAGIC MIX

ALL GENRES

BACK CATALOGUE - M

Marvin Gaye

Sexual Healing: The Remixes

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

    Red smoke coloured Vinyl. 35th anniversary package of remixes, including Kygo club hit.

    Madonna

    The First Album

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

      Replica of - MADONNA The First Album (Rare 1983 Japanese 8-track Picture Disc LP, complete with the original lilac card insert, fold-out page Japanese biography / lyric insert & clear PVC outer with the pink heart-shaped obi-sticker.

      MC5

      I Can Only Give You Everything / I Just Don't Know

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

        The first ever domestic reissue of one of the first ever MC5 singles! Packaged in new space age envelope style sleeves, with rare unseen band photos! The Motor City 5 pressed on black vinyl at Third Man Pressing in the Motor City!!! Includes brand spankin' new liners by David Fricke of Rolling Stone, who says, "This session, at the city's famed United Sound, was soaked in local R&B aura; John Lee Hooker cut his studio debut, 'Boogie Chillen,' there in 1948. 'I Can Only Give You Everything' was in that spirit and faster: a rolling-thunder feature of the MC5's live sets pulled from Van Morrison's 1966 album with Them, Them Again. ‘I Just Don't Know' was the band's own bravado, a Bo Diddley-style gallop with a boxer's barrage of power chords."

        MC5

        Looking At You / Borderline

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

          One of the earliest MC5 singles! Packaged in new envelope style sleeves, with rare unseen band photos! The Motor City 5 pressed on black vinyl at Third Man Pressing in the Motor City! Includes brand spankin' new liners by David Fricke of Rolling Stone, who says, "In a 1966 live recording, the MC5 played 'Looking at You' like Motown raga. At United Sound, the band hit the zigzag riff at light speed and stayed there, framed by searing lead guitar and explosive drumming. 'Borderline' was a frantic jigsaw of power-chord jolts and sheet-like harmonies detonated again, at the Grande, for the live recording of the MC5's first LP, Kick Out the Jams."

          Mogwai

          Ten Rapid (Collected Recordings 1996-1997)

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

            Ltd coloured vinyl repress of long out of print collection of Mogwai singles, b-sides and rarities.

            Molly Nilsson

            These Things Take Time (RSD18 EDITION)

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

              Edition of 500 CLEAR VINYL for RECORD STORE DAY It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with handfolded sleeve, Nilsson’s debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude was released as a double vinyl a beautiful edition featuring unreleased bonus tracks across two discs, it sold out within a month of release.. Now repressed for RSD18

              Max Richter

              The Blue Notebooks - 15 Years

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

                Exclusive RSD blue vinyl edition of original album + bonus tracks + remixes.(180g, coloured blue 2LP in transparent plastic sleeve gatefold) “The Blue Notebooks” is one of Max Richter’s most successful albums to date and it was originally composed in the run-up to the 2003 invasion of Iraq. Richter has described it as "a protest album about Iraq, a mediation on violence – both the violence that I had personally experienced around me as a child and the violence of war, at the utter futility of so much armed conflict." The album was recorded about a week after mass protests against the war. It features readings from Franz Kafka's The Blue Octavo Notebooks and Czes_aw Mi_osz's Hymn of the Pearl and Unattainable Earth. Both readings are by the British actress Tilda Swinton.

                Masimi Akita & Russell Haswell

                Satanstornade

                Akita (AKA Merzbow) and Haswell team up to create this ultra-extreme electronic noise experiment. Probably the most 'pop' record Merzbow's done to date, and would make the perfect christmas present for your mum! (Only kidding!).

                MAPS is a project by a London-based Lithuanian drummer and producer, Marijus Aleksa. This labour of love is the culmination of many hours spent touring and in-session with some of the greats of London’s bubbling contemporary jazz scene, resulting in Marijus’s first solo project to date. The EP combines elements of jazz, afrobeat and electronic music through free-form jamming and remixing, with movement and the dance floor firmly in mind.
                Musicians featured on the record have been playing and recording with likes of The Sun Ra Arkestra, Blue Lab Beats, Tony Allen, Mark de Clive Lowe, Ibibio Sound Machine, Seun Kuti, Matthew Herbert and many others.
                The record has received air play and support from the likes of Bradley Zero, Marshmello, Aaron L and Ashley Henry to name but a few.

                STAFF COMMENTS

                Sil says: Organic, jazzy and playful set of tracks on this afrobeat tinged ep that is perfectly suitable for an electronic music set. One of the standout 12" this week that would work wonder warming up the dancefloor.
                My favourite choice here is 'Run the Sun'. A slow builder with delicate elements joining the party as the track advances. Just beautiful and soothing.

                Marisa Anderson

                Mercury

                  Portland guitar virtuoso Marisa Anderson is back with a new set of home recorded instrumentals. This time around we find Marisa exploring structures more based on the Apallacian folk tradition. The bluesy cadences of Marisa's other Mississippi release - Golden Hour - are still there but more in an emotional sense than a structural. It's rare to find a record that has just one instrument with no vocals that can achieve real emotional communication - but here 'tis. Marisa thoughtfully composed & recorded this LP over the course of the last two years. It was worth the wait. A contemporary record that can hold its own against the various re-issued folk music on our label.

                  Marcelo Antonio

                  Suspension / Males De Otro Lugar

                  Periodica offshoot Futurible continue to treat us more than kindly with a wonderous bit of Balearic boogie / sublime soft synth serenade (delete as appropriate) from Chilean musician Marcelo Antonio Galleguillos Torres. Though he may sound like the kind of South American midfield enforcer you'd expect to cause a career threatening injury after boshing too much per-match powder, Marcelo's actually a sensative soul with a musical mind. "Suspension" shifts through sunblushed PPU guitar licks and Roland claves, two steps around late 80s George Michael synth riffs and weaves a spell with wonderful Spanish vocals. Light as you like, the track trots the same saccharine streets as the more uptempo moments of the Menage A Trois catalogue, always a good thing in my book. Over on the flip, "Males De Otro Lugar" drops in with dreamy DX7 leads, breathy Berlin pads and divine pop vocals, hurting my heart but making me smile.

                  STAFF COMMENTS

                  Patrick says: Futurible's fresh 7" comes all the way from Valparaiso Chile, where Marcelo Antonio wanders the streets, trading in the most sensual synth pop around. Absurdly Balearic and totally limited, this is A-grade buy on sight tackle.

                  How To Kill Detroit returns with more of their unique, speaker-testing SLUDGE sound; fresh off the streets of the D. Two of the scene's dominating forces (and early pioneers), Marshall Applewhite and The Friend here on a collaborative match up full of attitude and mayhem. "Where Is Harry Truman" kicks things off with a near rabid slo-mo acid assault. Biting, lazer-beam 303s circulating against a pitch down Dance Mania beat (the genre's typical ident). "Your Gut (A/S/L)" keeps the vibe going as the deadly duo turn the resonance down but the low pass filter up for some throbbing sub-bass acid, peppered with mechanical drums and saturated, pumping sidechains. "Axif" opens the B-side with gliding, pitch bent tones sweeping over heavily fucked up vocal sections, pummeling drums and horror sound effects. A dark, menacing ride into the sludge sound executed with the accuracy of a serial killer. "Axig" tears apart the master tape as Applewhite & Friend set to destroy the recording medium through sheer hardware abuse. Cavernous drums careering through thick walls of reverb and black matter, the occasional acid niggle signifying changes in the conscious state. Finely, "Blark" sees us tumble into a bath of lysergic acid, all self-consciousness dripping out of every orifice as the HTK mob deliver the most haunting dose of psychedelic technoize to ever have existed. This sludge sound can take some getting used to, don't get me wrong, but with Applewhite & The Friend, How To Kill have found their opus. Highly recommended!

                  A stunning survey of the 1970s heyday of this great Japanese singer and countercultural icon. Deep-indigo, dead-of-night enka, folk and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarised versions of Oscar Brown Jr and Bessie Smith collide with big-band experiments alongside Shuji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. Hotly recommended.

                  A leftfield haven, happy at home on the fringe where boundaries blur and textures intertwine… It was only a matter of time before Jennifer Cardini and Noura Labbani’s Dischi Autunno imprint featured the bewitching sounds of Mehmet Aslan. Following outstanding documents from Dollkraut and The Magic Ray, Berlin-based Swiss-Turk Mehmet makes his label debut with four singular works of art. ‘Alysha’ takes the lead; 22nd century desert funk with sand storm atmospheres, mushroom clouds of slide guitar and a hefty dose of blues, it sets us perfectly for the rest of the EP. Elsewhere we’re sucked deep inside the dream machine in slo-mo as ‘Beasts’ lollops and thumps with warped insistency, we have the stately swampy cosmic stomps and trippy breakdown surprise of ‘Exotica’ before a collaboration with UK kindred spirit Jonny Rock (’H?yar’) closes the show with a sense-blurring psychedelic tagine of interlaced hooks and the tangiest riff this side of Istanbul. Beguiling business as always from Dischi Autunno. Bon voyage…

                  STAFF COMMENTS

                  Patrick says: Mehmet Aslan drops by Dischi Autunno with a quartet of low slung, psychedelic chuggers, drenched in dub fx, sherm stick strangeness and Turkish spice. Groove-heavy and clothed in swirling textures, each of these cuts is highly playable. Straight into the bag!

                  Strut continue their essential work with the “Godfather Of Ethio Jazz”, Mulatu Astatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

                  Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

                  Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

                  Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and Fela Kuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

                  ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by Mulatu Astatke.

                  Mulatu Astatke

                  Mulatu Of Ethiopia

                  Strut present the first official reissue of a landmark album in the field of African music, Mulatu Astatke’s ‘Mulatu Of Ethiopia’ from 1972. Recorded in New York, the album arrived at a time when Astatke had begun to master the delicate fusion of styles needed to create Ethio jazz. “I left the UK for America and studied at Berklee College in Boston. I learnt the technical aspects of jazz and gained a beautiful understanding of many different types of music. That’s where I got my tools. Berklee really shook me up.”

                  Journeying regularly to the Big Apple to play and watch live shows at the Cheetah, the Palladium and the Village Gate, Astatke met producer Gil Snapper on the circuit. “Gil was a nice and very interesting guy. He produced music and worked with all kinds of musicians.” The meeting would lead to a series of albums on Snapper’s Worthy label. The first, ‘Afro Latin Soul’, documented Astatke’s new-found directions. “Mulatu has created a new sound,” enthused Snapper on the album jacket. “He has taken the ancient five-tone scales of Asia and Africa and woven them into something unique and exciting; a mixture of three cultures, Ethiopian, Puerto Rican and American.”

                  A second volume of ‘Afro Latin Soul’ followed before Astatke began to hone his sound further, infusing funk and cultural influences into the mix. Returning to a downtown Manhattan studio with Snapper and working with some of the city’s top young jazz and latin session players, ‘Mulatu Of Ethiopia’ began to take shape. “We rehearsed for 3-4 weeks,” remembers Astatke. “it took them a while to get the right feeling in the music.”

                  The resultant album represented the first fully formed document of Astatke’s trademark Ethio jazz sound. It features ‘Kulunmanqueleshi’, ‘Dewel’, and ‘Kasalefku-Hulu’, tracks that Mulatu would return to regularly on singles and in live shows, the Ethio-Latin workout ‘Chifara’ and the self-titled groover ‘Mulatu’ (“I wanted to make a track for... myself!”).

                  This definitive reissue of the album comes in a limited edition 3LP 6-panel gatefold set featuring the stereo album master, a pre-mix mono master and a selection of out-takes from the sessions, giving the listener rare access to the DNA of the studio process. Also available are standard 1CD and 1LP formats.

                  All formats feature a new interview with Mulatu Astatke and rare photos.

                  STAFF COMMENTS

                  Martin says: If ever there was an example of the positive consequences of an open mind and the potential within cross-cultural pollenization, Mulatu Astake is it. Born in Western Ethiopia, he settled in Wales, then London, before moving on again to Boston (U.S.). He worked with musicians schooled in Latin tradition while in New York; it was absorbing these influences that led him to approach his own traditions in a new way, and "Ethio-jazz", with it's western instrumentation, funk and Latin spice and evocative Ethiopian scales and structure was born. Genius might be an overused word, but I don't have another.

                  Three tracks of left-of-centre dance music music from the Ears Have Eyes label bosses Murun B and Ivor E.

                  The track names draw on imagery from hazy memories of cartoons from our childhood.
                  Detroit leaning techno, breakbeat-house and 3am trippy goodness. 

                  Maureen Bailey

                  Takin' My Time With You / I Want You (All For Myself)

                  Both these songs are arranged by Gene Page from the heyday of his work in the 70s with Barry White. Lushly orchestrated, “Takin’ My Time With You” has the additional benefit of being an awesome ‘modern soul’ dance record, a track largely undiscovered until recently and now heavily in demand. The original 7” released in 1976 is impossible to find and has exchanged hands for £500. Maureen Bailey is from and was contracated as a songwriter with Motown. She worked with artists including Thelma Houston, 5th Dimension, Jermaine Jackson and Syreeta. She recorded three singles as a solo artist.

                  In demand modern soul floor filler

                  Original worth £500

                  "Laughing Boy", the second solo album from Matteah Baim, was recorded in Chicago, where it was produced, arranged, and mixed by Baim with engineer Jamie Carter. Expanding on the sounds hinted at with her previous band, Metallic Falcons, and her first solo record, "Death of The Sun", Baim has created her most lush and beautiful recordings yet with "Laughing Boy". Matteah Baim was born and raised in Milwaukee, Wisconsin. In 1996, at the age of 17, she moved to California to study painting and drawing at the San Francisco Art Institute. After graduating, Baim moved to New York where she met Sierra Casady. In 2005, the duo began to write music together and formed the 'soft metal' Metallic Falcons. Voodoo Eros released their first record, "Desert Doughnuts", in 2006, recorded in Brooklyn, New Mexico, and Chicago, with performances by Antony, Devendra Banhart, Jana Hunter, and Greg Rogove. After the Metallic Falcons disbanded, Baim moved to Los Angeles and began writing and recording material (both at her Venice Beach home and at Chicago's CarterCo studio) for "Death Of The Sun". She spent the next two years touring and writing material for "Laughing Boy", working on music for several films, and exhibiting drawings.

                  Meg Baird & Mary Lattimore

                  Ghost Forests

                    Musical conversations between Meg Baird (Espers) and Mary Lattimore are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out Bull of the Woods heavy haze, and modern re-imaginations of epic traditional balladry all while touching on the strange and otherworldly places between these stations.

                    Matt Baldwin

                    Paths Of Ignition

                    One of the more unexpected - if worthwhile - by products of the 21st-century underground American folk revival is a renewed interest in solo acoustic guitar music. Spare, haunting, pastoral sounds have struck a new chord, and the names John Fahey and Takoma are hip again. Matt Baldwin, raised in California's rustic Pacific Grove, educated in the alternative mecca of Berkeley, sits in the center of this quiet, swirling scene. He is the visionary wildcard of today's solo guitar music, the ambitious fever dreamer, the serpent in the grass. Unlike many of his peers, he looks beyond the traditions of Fahey (whom he calls 'a teacher', not a god), bringing portentous and progressive elements into his music, alongside a dreamy country lilt. He covers krautrock legends Neu! ("Weissensee") and metal Vikings Judas Priest ("Winter"), and culls inspiration from prog heroes yes on the closing epic "Rainbow". His music comes on like a creeping moss, verdant but threatening, comforting yet unsettling.

                    Marty Baller

                    Baller Nation

                      A$AB Mob affiliate Marty Baller, started his career out as A$AP Ferg’s hype man, before becoming a serious solo artistic his own right. The last year and a half has seen Baller steadily building up to the release of ‘Baller Nation’ with co signs from A$AP Mob and support tours with the likes of Future. ‘Baller Nation’ is Marty’s second mixtape, following 2016’s ‘Marty G Raw.’ The concise 10 track tape sees Marty upping the stakes, with confident lyrics, big trap beats and an all start features list including A$AP FERG, Rich The Kid, Rob $tone and Smooky Margeilaa. Omerta Inc will be bringing Marty Baller’s ‘Baller Nation’ to vinyl for the very first time, to celebrate the 1st anniversary of the albums original release. Limited to 150 copies pressed onto 180gm cocaine white vinyl. Each copy will be individually hand numbered in gold pen and come housed in a high quality matte finish sleeve with original artwork

                      FORMAT INFORMATION

                      Coloured LP Info: Limited edition cocaine white vinyl individually hand numbered in gold pen.

                      Double LP compilation of Dutch electronic artist Michel Banabila focusing on his incursions into otherworldly and imagined realms. LP1 is a compilation of works spanning over 20 years that acts as a bridge between his earliest work and his contemporary practice. LP2 is a reissue of his early masterpiece Marilli, a highly sough-after album that acts as both an LSD inspired DIY tribute to Byrne and Eno's Ghosts and a youthful exploration of Banabila's personal background and his experience as a squatter in Amsterdam in the early 80s. Gatefold LP with archival pics, essay and artwork by Alan Briand.

                      International Feel impressario Mark Barrott returns for 2017 with this four tracker of brand new compositions inspired by life's moonlit moments and the intimacy of night. "Schopenhauer's Garden" opens the set with "Chariot's Of Fire" style sequences, snaking sax licks and naive guitar melodies all treading their soft steps over a vaguelly dubby beat. Reminiscent of Peter Gordon's collaboration with Factory Floor if you play it at 33 (a trademark Patch Balearic secret there), this track warms us up nicely for the rest of the release. The A2 swims through crystal clear new age waters, chasing a irresistibly female with almost the best name out there. The sax makes a welcome return as the synths sing of the man of twists and turns driven time and again off course, much like Barrott himself in fact. Over on the B-side, "Mokush?" carries us through the neon lit night-time streets of Tokyo on swelling bass synths, spaced out sine waves and trance inducing tones. The naive melodies and opiated electronics continue on EP closer "Lysander" as Barrott composes his own version of Blade Runner's love theme.

                      STAFF COMMENTS

                      Patrick says: IFEEL leader Mark Barrott invites us into his marble mansion for a nightcap, scoring the moonlight with four tracks of free flowing synthesis and swirling saxaphone.

                      Certain places have a history that allows things to happen outside the norm. Ibiza is one of those. A place where anyone with an open heart can find their space. A place where maverick thinking still matters. It's this environment that in turn nurtured and created the music and style known as Balearic.

                      Mark Barrott’s (ex Future Loop Foundation) ‘Sketches From An Island’ compresses this Balearic heartbeat into nine warm gems which paint a picture of the island, the people and the magnetic beauty that pulses through it. Recorded in Ibiza's northern hills using “weird percussion, some slide guitars and a few borrowed synths,” it’s a melodic and mysterious representation of a place seeped in a rich and rebellious history.
                      Opening track ‘Baby Come Home’ radiates with carefree tropical sounds and upbeat harmonies. The blues-soaked melodies of ‘Essene’ perfectly navigates the tension between heart-bursting happiness and melancholy and ‘Go Berri Be Happy’ is like Prefab Sprout gone to Ghana. It’s colour smudged hazy emotions swirl between Brian Eno, Penguin Café Orchestra and Compass Point vibes into a free-flowing cascade of live playing and synthesized sound, perfectly epitomised on the future classic 'Formentera Headspace Blues'.

                      “'Sketches' is inspired by those weird, unique little oddities that would turn up on early José Padilla mix tapes that he’d sell in the Las Dalias hippy market, before he even went to the Café Del Mar,” says Barrott. “It’s influenced by living in Ibiza year-round, and by the feeling of what I think Balearic sounds like.”

                      It’s warm and widescreen music for the days when you need musical sunshine. Or as original Café Del Mar’s José Padilla, has it: “This is what I call Balearic.”


                      Not content with an extensive A&R schedule and running a new Balearic empire, International Feel impressario has still managed to find time to retire to his home studio, resurfacing with another 12" of sublime new material. The title track is an elegant wash of Tangerine Dream synths and shuffling, tribal percussion, rhythmic and purposeful without ever leaving its deck chair. Fluttering lead synths bring the track right up to the here and now, while the bubbling bassline should keep the bleary eyed ravers swaying while the sun comes up. The flipside sees Barrott harness the sultry swelter of tropical climes, topping a lush field recording with ambling bass, acoustic guitars and gentle synths. Put simply, it's more music to drift away to.

                      Mark Barrott

                      Nature Sounds Of The Balearics

                        Nature Sounds of The Balearics is Mark’s debut LP on Running Back Incantations.

                        Mark Barrott is the man behind International Feel, Roca, Future Loop Foundation, as well as being a founding member of the Balearic boy-band “Talamanca System” alongside Gerd Janson & Lauer.


                        FORMAT INFORMATION

                        Ltd LP Info: Gatefold 180 gram vinyl.

                        Experimental accordion player Mario Batkovic’s debut full length album released on Invada Records, an utterly captivating and resolutely unique solo album, which carelessly expands the possibilities of the accordion.

                        The accordion heard as never before - a magnificently intense ocean of pulsating and shifting notes, with engrossing and mesmerising melodies which deeply grip human emotion.

                        This release will appeal to fans of Nils Frahm, Stephen O’Malley, BEAK>, Colin Stetson and Lubomyr Melnyk.



                        Masaki Batoh

                        Brian Pulse Music

                          ‘Brain Pulse Music’ is the result of years of research into the bioelectric functions of the human brain combined with the traumatic aftermath of Japan’s Great East Earthquake.

                          When Batoh initially conceived the idea for this project, it was purely to realize music from extracted brain waves. There have been performers in the past who have made similar claims, but they have utilized electric current, static electricity and blood flow volume in the brain. ‘Brain Pulse Music’ is contrived from brainwaves, in the purest sense of the word. Notes included in the album package further explain the science behind Batoh’s methods.

                          Batoh’s intention was to create a Brain Pulse Music (BPM) machine, similar in function to an effects pedal, which would interface with the brainwaves in a therapeutic way, allowing the user to make adjustments to normalize brainwave levels, which could prove to be an effective means of treating depression and anxiety disorder.

                          The album was to be made entirely of BPM machine music, but the Great East Japan Earthquake of 2011 altered this plan, while emphasizing the importance of its deepest concern. Since that day, patients complaining of mental instability increased at Batoh’s acupuncture clinic, and people were ridden with anxiety. With his family still in evacuation as he concentrated on treating his patients, the concept of this album slowly began to come into focus. What was initially to be an austere demonstration of experimental bioelectric procedures was fully realized as part of Batoh's ongoing effort to use electronic and musical processes to reconcile the spirit and the body.

                          All seven ‘Brain Pulse Music’ tracks are a prayer / requiem to the victims of the Great East Japan Earthquake. Two pieces are composed of BPM machine recordings and the remaining five are rhythms and melodies commonly heard in religious rituals and provincial festivals using traditional Japanese instruments.

                          The ‘Brain Pulse Music’ recordings are the furthest incursion Batoh has made into the deep space and mystery of the human condition. The acoustic recordings are the purest expressions of his traditional folk influence that he’s released in over twenty years of music-making, a deep and soulful expression intended to calm and aid in the healing of all around him.

                          A concomitant objective of ‘Brain Pulse Music’ is to donate the proceeds from the sales of this album to the disaster victims through Japan Red Cross.

                          Michael Beharie And Teddy Rankin-Parker

                          A Heart From Your Shadow

                          "A Heart From Your Shadow" is the debut collaborative LP from Michael Beharie (New York) and Teddy Rankin-Parker (Chicago). Since graduating together from Oberlin College, Beharie and Rankin-Parker each veered into markedly different avenues. Beharie joined up with the ever-confounding New York ensemble Zs (Northern Spy, The Social Registry). Rankin-Parker became an on-demand cellist for his prowess in the work of improvisation and avant-garde music, lending his talents to a wide array of collaborators such as Primus, Iron & Wine, Steve Reich, and Pauline Oliveros. Rather than jump into stream-of-concious improvisation, Beharie and Rankin-Parker chose to focus the album's themes via intricately composed pieces. "A Heart From Your Shadow" could be described as protest music, brimming with intense energy, harrowing anxiety, and steadfast optimism. Produced by Michael Beharie, mixed carefully by Jim O'Rourke, mastered by James Plotkin and cut to LP at D&M Berlin.


                          FORMAT INFORMATION

                          LP Info: Black virgin vinyl housed in poly-lined inner sleeve in reverse board-printed double-width spine jacket with spot UV finishing.
                          First pressing of 300 copies.

                          Marco Beltrami

                          Carrie OST - Blood Red Vinyl Edition

                          Carrie is the 2013 remake of the classic horror tale about Carrie White, a shy girl who is outcast by her peers and sheltered by her deeply religious mother. Carrie unleashes telekinetic terror on her small town after being pushed too far at her senior prom.

                          Based on the best-selling novel by Stephen King, Carrie is directed by Kimberly Peirce with a screenplay by Lawrence D. Cohen and Roberto Aguirre-Sacasa, with top actresses Chloë Grace Moretz and Julianne Moore signing for the lead roles.

                          The haunting classical score by Marco Beltrami vividly accompanies the eerie and terrifying scenes of the film. The dynamic soundtrack is wonderfully suited for a vinyl issue, making this without a doubt an audiophile collectible.

                          • 180 gram audiophile vinyl
                          • insert
                          • gatefold sleeve
                          • first 1000 copies numbered and pressed on bloody red vinyl!



                          Whether you’re familiar with Matt’s Live shows or want to understand what they are like, this album takes you there! From the excited audience chatter to the clarity of his pulsing KORG, each element resonates with perfect clarity. Berry and The Maypoles' musical prowess shines through their prog-folk excursions and trombone flairs which are reminiscent of an early Acid Jazz release, all with the a nod to Berry's surreal and panoramic world-view.

                          Having recently completed a Christmas special of The IT Crowd (Channel 4), his own series Toast Of London (Channel 4) Matt Berry currently features in Vic Reeves and Bob Mortimer’s new series House Of Fools (BBC) – which has seen Matt described as “probably – the funniest person on television right now.“ by The Guardian. 

                          Far from being content with just acting, Matt released two critically-acclaimed records of idiosyncratic folklore pop 2011’s Witchazel and 2013‘s Kill The Wolf (an ablum descibed as “equal parts serious, beautiful, English & charming” by Josh Homme) It’s of little surprise that Matt‘s forever fertile mind has been affecting his sleep. About a year ago, found himself suffering from insomnia... but he turned the deprivation into a new expressive outlet: Music For Insomniacs. 

                          An album on which every note was recorded by Matt in solitary only during the nights at his flat. 

                          Cover art originally painted by Matt Berry.

                          Matt Berry

                          Music For Insomniacs Part IV

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

                            Having recently completed a Christmas special of The IT Crowd (Channel 4), his own series Toast Of London (Channel 4) Matt Berry currently features in Vic Reeves and Bob Mortimer’s new series House Of Fools (BBC) – which has seen Matt described as “probably – the funniest person on television right now.“ by The Guardian.

                            Far from being content with just acting, Matt released two critically-acclaimed records of idiosyncratic folklore pop 2011’s Witchazel and 2013‘s Kill The Wolf (an album descibed as “equal parts serious, beautiful, English & charming” by Josh Homme)
                            It’s of little surprise that Matt‘s forever fertile mind has been affecting his sleep. About a year ago, found himself suffering from insomnia... but he turned the deprivation into a new expressive outlet: Music For Insomniacs part IV.

                            Every note was recorded in solitary during the nights at his flat. Cover art by Matt Berry. Available as a limited edition 7“.

                            Matt Berry

                            Night Terrors

                              Following last year’s ‘The Small Hours’ album, Matt Berry presents ‘Night Terrors’, a collection of various remixes, outtakes and alternate versions of tracks culled from ‘The Small Hours’ sessions.

                              ‘Night Terrors’ is released through Acid Jazz Records and available on CD and digital download album.

                              ‘Night Terrors’ features a remix of the title track courtesy of Warp Records recording artist Clark. As Berry explains, “being such a huge fan of Clarke’s work, it’s way beyond an honour that he’s spent time remixing one of my songs.”

                              ‘Night Terrors’ also undergoes the remix treatment from Saint Etienne, whilst ‘Lord Above’ features a collaboration with Ivor Novello-nominated songwriter Pugwash and there are interpretations of Pink Floyd’s ‘Any Colour You Like’ and Zappa’s ‘Mr Green Genes’.

                              FORMAT INFORMATION

                              Indies Exclusive LP Info: Available to independent retailers on 180g vinyl.

                              BAFTA award winning actor Matt Berry looks to his formative years in this fascinating and unique take on the TV themes that have influenced and inspired him in his life.

                              Recorded in his brand new studio with his regular band The Maypoles, Matt tackles eleven classic themes including well known titles such as Are You Being Served, Rainbow, The Liver Birds & The Good Life alongside some less obvious choices such as Picture Box, Wildtrak & World In Action.




                              STAFF COMMENTS

                              Barry says: Quite often, I find myself sitting in front of the tele, watching some TV classics and wondering how good this theme would be if it was covered by Steven Toast. Turns out that as ridiculous as it sounds, it's actually REALLY good. A little odd, perhaps but the combination of Berry & The Maypoles' ear for melody along with the classic and unmistakeable collection of tunes here, we have a definite win.

                              Matt Berry

                              Witchazel

                                Matt Berry’s 2011 debut album for Acid Jazz gets a special yellow vinyl release.

                                Featuring ‘Take My Hand’, the theme from his BAFTA Award winning TV show ‘Toast Of London’, ‘Witchazel’ is his biggest selling album to date and has been out of print on vinyl for several years.

                                Critically acclaimed at the time of release, The Guardian said “‘Witchazel’ is enchanting... genuinely impressive,” while The Times labelled it “psych-folk genius.”

                                Part of the on-going 30th Anniversary celebration of the Acid Jazz label.

                                Mark Berube is one of Canada's most captivating and unfaltering talents, having devoted himself with the spirit of a craftsman to the art of song over the course of the last decade. With one foot rooted in the folk music tradition of story-telling, the poetry of spoken-word and the other planted in a childhood love of South African music, psychedelic folk pop and a smattering of jazz, Berube has a broad and eclectic base from which to build his albums, all bound together by his warmly potent voice. His shadowy co-conspirator Kristina Koropecki adds layers of cello, autoharp, saw and a classical music vocabulary to the mix, resulting in rich, lush and adventurous sonic landscapes.

                                “I’ve Been Loving You” sees Manford Best finally laying the ghosts of The Wings to rest and emerge as a serious player in the glittering new world of Afro boogie. Recorded in London, with Nigerian super producer, Jake Sollo, at the desk, it is a highly polished collection of disco classics, guaranteed to fill any dance floor in the world. The title track gets the party started with an irresistible bass line and chirpy horn section. Written by Best while he was still in The Wings, the song is unrecognisable from the one that topped the Nigerian charts in 1973. "Let’s Spend The Night Together" has a groove that suggests Manford has the dancefloor on his mind, not the bedroom. "I Feel Like Dancing", written by Jake Sollo and featuring the vocals of Nigerian diva, Pat Henry, is sophisticated and sexy and a stone cold classic of the era. “I’ve Been Loving You” is an extraordinary metamorphosis. Manford Best, the rough and ready guitarist from the back blocks of eastern Nigeria, emerges as a glittering ‘disco’ butterfly, ready to strut the dance floors of London – and the world.

                                Mary Black

                                The Best Of 1991 - 2001

                                Though her music is firmly based in the Irish tradition, Mary Black is equally at home with Lennon & McCartney, country, pop, jazz, show tunes and American gospel too. Her first influences included Sandy Denny and the bonus disc of this compilation of her best work recorded between 1991 - 2001 is a haunting version of the Denny classic "Who Knows Where The Time Goes".

                                FORMAT INFORMATION

                                2xCD Info: Limited edition with extra CD.

                                Mykki Blanco

                                Mykki

                                   A singular artist who has made an indelible mark on the pop music landscape with a string of street-level releases and mixtapes, Mykki Blanco releases his debut album “Mykki“. Produced by Woodkid and Jeremiah Meece, the album finds Blanco simultaneously at his most fearless and his most accessible.

                                  “I realised as an artist I need to focus on myself and on my work. Arguments with people online distract from that. I used to have a problem with the media trying to define me, either as a drag queen, or a transvestite, as a homosexual rapper, a transsexual or an HIV positive pop star, but most people need labels and my true fans know who I am and what I'm about".

                                  Mykki Blanco’s referential framework is both archival and futuristic; a myriad of culture references, spiritual anecdotes, designer labels, make-up brands, hippie jargon, Fendi here and Snapchat there, all perfectly reflecting the reative dialogue digital landscape we live in.


                                  Marc Bolan

                                  Marc Bolan At The BBC - Electric Sevens 2

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

                                    4 x 7" set.

                                    Limited to 500 copies.

                                    Marc Bolan & T-Rex

                                    Get It On

                                    Featuring a string of his most memorable hits including "Ride A White Swan", "Get It On", "Jeepster", "Hot Love", "Life's A Gas" and "Debora" as well as some of his lesser known 1967 acoustic output, this is a great value T-Rex collection.

                                    Mike Bones is New Jersey-born songwriter Mike Strallow, who lives and works in New York City. Of his pseudonym, Strallow offers: 'Bones is a nickname a friend gave to me when I was a kid. Making records as Mike Bones removes my voice from the song, at least in my own mind and leaves a song's meaning and intention ambiguous. I don't have to show my cards.' The resulting album is a collection of songs akin to the later recordings of Leonard Cohen, where the literary and folk-based nature of his work became 'contaminated' by a seemingly incongruous and vulgar computerized instrumentation. Mike Bones' songs certainly come from the folk tradition, but they leave behind the front porch, communal vibes for a much starker aesthetic.

                                    With Wolves The Lamb Will Lie is M G Boulter’s second full-length solo release, following 2013’s The Water & the Wave. Relocating this time from the shores of the Thames Delta in Essex to the peak district of Sheffield, Boulter has worked closely with award-winning producer Andy Bell (Bellowhead, Seasick Steve and Teenage Fanclub) to produce an album of lyrical depth and quiet brilliance. As with former projects, Boulter has surrounded himself with an array of musicians from different genres to help forge his vision; here one finds Ben Nicholls (The Full English, Seth Lakeman), Toby Kearney (These New Puritans), Sheffield songwriter Neil McSweeney and folk artist Lucy Farrell, among others. With Wolves The Lamb Will Lie reaffirms M G Boulter’s ability to conjure up compelling stories and mesmeric musical arrangements.

                                    M G Boulter is the principle songwriter and lead singer of Southend-based roots-rock band The Lucky Strikes and is a much sought after session musician who has toured with The Duke and the King, Simone Felice and Blue Rose Code, as well as recording with Dirk Powell, Rosalie Deighton and Vera Van Heeringan among many others. He has most recently been touring as a member of BBC Folk Award winner Emily Portman’s band.

                                    M G Boulter is a member of The Simone Felice Group, as well as frontman for The Lucky Strikes. He is also a session player for the likes of Neil McSweeney, Dead Flowers and many others. For fans of: Neil Young, The Jayhawks.

                                    This is the first solo release by M G Boulter under his own name. He has previously released records under the name ‘The Whispering Pines’ (2012), and self-released a selection of songs as ‘Blue Vinyl Island’ in 2008. The album documents the life of his coastal home in Essex, which he came to re-appreciate after touring with both The Lucky Strikes and the Simone Felice Group in 2012.

                                    The album features members of the Lucky Strikes and London folk trio Troubadour Rose, as well as legendary session drummer Pick Withers who has played for Bob Dylan, Joan Baez, Bert Jansch and Dire Straits among others.

                                    Boulter is the singer and guitarist of British rock band The Lucky Strikes and he plays lap steel and mandolin in the US-based Simone Felice Group. He has played for many other artists including Conor Oberst, Neil McSweeney, Dead Flowers and Deer Park.

                                    'Moogmemory' is the latest album from multi-award winning pianist and composer Matthew Bourne, who has turned his considerable talents to the world of analogue synthesizers.

                                    Very much in demand as a collaborator and co-conspirator, Bourne has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Amon Tobin and Broadway Project.

                                    Growing from spontaneous improvised live performances, the album took shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators, creating beautiful, brooding landscapes of thick impasto and translucent sunbursts.

                                    The seed for this project was planted when Bourne acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany .

                                    Created without the use of computers or sequencers,Moogmemory is the first album to be recorded using only the Lintronics Advanced Memorymoog.

                                    Bourne will tour moogmemory in collaboration with brilliant visual artist Michael England, who has worked with Autechre, Bola, Leila, Demdike Stare and many more.

                                    STAFF COMMENTS

                                    Barry says: Bringing to mind the more ambient, beat-less works of Alessandro Cortini (or indeed Nine Inch Nails), or the early electronics-heavy compositions by Nils Frahm ; Moogmemory is unsurprisingly, unashamed synth-worship. Through the impeccably textured compositions and characteristic, classic sound of a legendary instrument, this collection is breathtaking.

                                    Moses Boyd is at the forefront of the New British jazz scene having worked and recorded with like of Giles Peterson, Four Tet, Sons Of Kemet, Zara McFarlane and more. With 2 MOBO Awards to his name and Multiple Releases via his Label Exodus Records. Moses has established himself as one of the leaders in bringing the worlds of Jazz and Electronic music together.

                                    This latest release is taken from the same sessions that brought us Rye Lane Shuffle. Displaced Diaspora is a collection of music from Moses Boyd recorded in 2015 that features some of the now leaders of the New British Jazz Scene Such as Theon Cross, Nubya Garcia and Nathaniel Cross. As well as the Iconic British Soul Vocalist Terri Walker, Saxophonist and Bata Player Kevin Haynes and his group, Grupo Eleggua and Rapper Louis VI. The music is a mix of Jazz, Yoruba chants with Hip Hop and electronica influenced beats.

                                    STAFF COMMENTS

                                    Millie says: Moses Boyd is back with a bang, returning with more beautiful jazz. I should insert my usual ‘I love jazz so much’ segment here, but it really is brilliant. Matched with several contributors such as Kevin Hayes, Zara McFarlane and Terri Walker... it's a work of art!

                                    The second in the salva of recent Edit Select laser-guided club missiles. Head to the bunkers! Stroboscopic Artefacts man Markus Suckut remixes UK Techno legend Mark Broom for side A. "She Don't Like The Collar" gets transformed into a rabid, cavernous stomper with eerie, suspended strings occasionally shunting into the aggressive, crabs-in-a-barrel mix. On the B side, Markus Suckut drops "False" - a straight up wall-shaker containing sizzling hot hats and rampant hand claps. Clever changes in percussion templates see subtle changes in dynamics achieved through the coarse of the track though the energy levels remain firmly in the red.

                                    Michael Bross

                                    Oddworld: Stranger's Wrath OST

                                      Following on from the sold-out Oddworld: New N' Tasty 12", Oddworld Inhabitants, Inc. has again teamed up with Black Screen Records to release more music from the Oddworld catalogue. limited edition 2 x 12" collection of music from Oddworld: Stranger's Wrath. The music, on 180 gram coloured vinyl, has been remastered especially for this release, produced and overseen by original composer Michael Bross.

                                      **In addition, for the first time ever, we are showcasing two brand new tracks from the game, never heard before, as part of a Volume Two teaser. "Here are 2 more original tracks from Oddworld Stranger's Wrath that have not been released until now," said Michael Bross. "The music was specially mastered for this vinyl release, and I hope the fans enjoy it!" The two brand new tracks come on a limited edition 7" that is included in all two variants. Oddworld: Stranger's Wrath won numerous awards and kudos (88% Metacritic, with Gameshark calling it "insidious" and Talk Xbox saying it "outstrips even the mighty Halo") when it was originally released for the Microsoft Xbox in 2005. Remastered versions of the game have since appeared on PC, Mac, PS3, PS Vita and Mobile, and it remains a fan favourite even today

                                      FORMAT INFORMATION

                                      2xLtd LP Info: Limited 2xLP + 7"

                                      Mansur Brown

                                      Shiroi

                                        It’s not often we mention Jimi Hendrix and Trap music in the same sentence. Or Brixton and George Benson. In this case Mansur Brown embodies all of these. An integral part of the groundbreaking Yussef Kamaal album, he now releases his debut album on Black Focus Records.

                                        As Thundercat claims the Bass Guitar, Robert Glasper the keys, the 21 year old prodigy from south east London claims the Guitar. Welcome to Shiroi.

                                        Meggie Brown

                                        10 / 6

                                          Speaking on ’10 Out of 6’, which was produced by Alex Kapranos at Edwyn Collins’ studio in the Scottish Highlands, with the pair both providing backing vocals on the track, Meggie offers:

                                          "Mental health and all the chaos that we all quietly deal with day to day yet find hard to open up about despite all being in the same boat. You find yourself moving to a surreal place behind the eyes, you can see travel in others eyes passing through places of nostalgia and torment. Amendment of friendship within yourself. Encouragement to let go of mistakes, to keep moving and cross your own private bridge before your pushed off it. Until you do, it's 10/6." 

                                          Birthed from hours spent in a windowless North London rehearsal room, doubling as a shared bedroom, with pedals cluttering the floor and lyrics on brown paper covering the walls, ’10 out of 6’ follows Meggie’s debut single ‘Coming Back Again’ which was released earlier in the year.

                                          The single follows a run of bullish, intense live shows in support of Franz Ferdinand and Bodega – which, coupled with her own busy basement headline shows are cementing Meggie Brown as one of the capital’s most exciting newcomers.


                                          Having played his way through the 1970s in various rock combos (Medusa, Nine Days’ Wonder), Michael Bundt embarked on a solo career in the latter part of the decade, going on to release three albums which saw him explore the vast potential of electronic music. Delightfullly varied and typical of his willingness to experiment, his music orbits around Krautrock, Berlin School electronica, spacefuturism and synth pop. Electri City was his last album. Electri City was created in 1980 in Bundt’s own studio.

                                          Molly Burch

                                          First Flower

                                            Molly Burch burst onto the music scene in 2017 with her debut Please Be Mine– a ten-track ode to unrequited romance written after studying Jazz Vocal Performance in Asheville, NC – and earned immediate praise from critics for her smoky, effortless vocals and bleeding-heart lyrics. Following a year of touring all over North America, Europe and the UK alongside the likes of Ought, Alex Cameron, Grizzly Bear and Courtney Barnett amongst others, Burch then returned to Texas to decompress. Finding herself suddenly devoid of stimulation and with nothing but time on her hands, she began anew, bouncing ideas off her bandmate and boyfriend Dailey Toliver – who contributed guitar parts and orches-tration suggestions – and, slowly, an album took shape; soon after, First Flower became real.

                                            A walk-through Burch’s most intimate thoughts – broken friendships, sibling relationships and overwhelming anxiety – First Floweris a bright, beautiful album peppered with moments of triumph with Burch’s voice as strong and dexterous as ever. Opening track “Candy” is a swinging, playful hit, while “Wild” deals with pushing away fear. Title track “First Flower” is classic Burch, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album’s true stand-out is “ToThe Boys”, a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. “I don’t need to scream to get my point across/I don’t need to yell to know that I’m the boss,” she coos over a sparse guitar riff. First Flower is a shapely sonic stage to let Burch shine on. The composition and production carefully constructed to compliment and not over power


                                            FORMAT INFORMATION

                                            Coloured LP Info: White vinyl.

                                            Molly Burch was exposed to the arts at an early age. Growing up in Los Angeles with a writer / producer father and a casting director mother, Burch’s childhood was filled with old Hollywood musicals and the sounds of Patsy Cline, Billie Holiday and Nina Simone. After finding her voice in adolescence, Burch packed up for the University of North Carolina in Asheville to study Jazz Vocal Performance.

                                            “I was always really interested in singing before songwriting. I didn’t always have the confidence to write,” Molly says, “Initially it was more about finding the right songs to complement my voice.” That voice is the first thing you’ll notice on Burch’s debut album, ‘Please Be Mine’. It’s smoky, with an incredible range, effortlessly evocative of her early influences. It was in Asheville where Burch would meet guitarist Dailey Toliver, who plays on her debut and who inspired much of its music.

                                            Searching for a bigger pond, Burch moved to Austin, Texas in an effort to stand on her own two feet. There Burch began to write her own music in earnest, with the lovelorn Everly Brothers and Sam Cooke as her songwriting guides. Joined by Toliver in Austin a year later the two connected with Dan Duszynski of Cross Record and they recorded all the songs on ‘Please Be Mine’ at his idyllic studio in Dripping Springs, Texas. Motivated by the hourly rate, Burch and her band recorded all the basic tracks and vocals live in one room and in one day, with minimal overdubs for keys and back-up vocals happening a day later. A difficult task for any talented musician, it becomes more mind-blowing when you hear her belt it on tracks like ‘Downhearted’ and ‘I Love You Still’. A debut album of beautiful, wistful love songs of loss, loneliness and reconnecting.

                                            STAFF COMMENTS

                                            Barry says: Picture, if you will, a smokey jazz-lounge in the swinging 60's. People are drinking, people are talking, there are staff carrying drinks round on trays one-handed, and the cameras focus in on the singer draped over a piano with a martini glass in her hand, singing longingly to the pianist. That's Molly Burch that is.

                                            A huge departure from his known works, Marcos Cabral appears on L.I.E.S. with his most dynamic and experimental work to date, the 'False Memories' double album. Compiled from various cassette tape recordings spanning the years of 1998-2000, here we have the early experiments from an accomplished producer, which showcase the unharnessed energy of youth when it crashes head on with the technology of the day. The tracks created by Cabral reflect his attempts of the music of the time falling somewhere in between techno, dub-techno, IDM, and even noise (actually, especially noise - you'd think our new 'technoise' section had been created just for this release!). An engaging and timeless listen the whole way through.

                                            Marcos says: "I recently found about three hours of my unreleased tracks from 1998-2000 on old cassette tapes. The collection that I set aside for LIES is pretty much all from 1998. During that time, I lived in upstate New York in a 3000 square foot loft with just one other friend. Both being DJs we would use our loft for fairly large parties... Cajmere from Chicago definitely being a highlight. I knew nothing about "making" music at this time and was using this fairly primitive wav. looping program called Acid. I just started recording my crappy Roland MC-303 into my computer and would just mash loops together over and over. Listening to these tracks now, I have a really vague memory of making them, and feel that their naive nature and the happy accidents that happened here are pretty exciting to listen to."

                                            New York's Marcos Cabral steps up for his first full release on Dimensions Recordings, with the "Nature Walk EP". Following on from his epic Prochainement masterpiece on Dimensions 002, the EP provides a glimpse into the mind of a well-established and hugely respected artist. "Nature Walk" is a broad EP that demonstrates just why Marcos's records have been finding their way into a multitude of DJs' bags for the last fifteen years.
                                            From his work with Jacques Renault as Runaway, and his coveted Hamilton Dance Records output to his more recent deeper and darker leanings for leading labels such as Clone, L.I.E.S. and Mule Musiq, Marcos has quietly and studiously worked at developing an impressive catalogue which most folks who have brushed with house and techno will have heard…whether they know it or not. The EP provides a snapshot of some of the tastes and styles that Marcos has experimented with over the years, the rolling, energetic and optimistic sounding, not quite house, not quite techno of "Wishful" gives way to the brooding, dub techno of title track, "Nature Walk".
                                            "Cape Cod" sees Marcos in classic house mode with a cut that could easily have dropped on NYC's Nu Groove Records, whereas "Rice A Roni" is a no nonsense nugget of twisted, grinding, acid. The EP rounds off with "Let's See How The Light Goes Through It", a spacey hypnotic workout for the late hours and a fitting end to a stand out EP from the self proclaimed, Hardest Working Man!

                                            STAFF COMMENTS

                                            Matt says: The Dimensions series continues in earnest with Marcus Cabral the latest producer to drop some heat.

                                            NYC producer Marcos Cabral coming correct with three choice weapons from his private arsenal. On the A-side we have "Pest Control", the title track and EPs dark, techy opus. Cabral's industrialized rhythms permeate through the entirity of the track, vast machines driven into frazzled intensity through repetitive processes and a monster workload. "In The Red" features fellow noise maker Entro Senestre and draws indesipherable vox backwards through an engine room flanger before rearranging with skeletal beats and glitching synth bleeps. Final track, "Standing On The Corner" sees Cabral capably explore the realms of blissed out, late night deep house; tipping his hat to the THC-soaked sounds of Vancouver along the way. Ace!




                                            Marti Caine's infamous Point Of View is a groovy blend of slow-mo funk, dark disco and precise pop. Originally released on BBC Records in 1981, it has attracted a considerable cult following this century. The odd charity shop score aside, it has been impossible to find a copy for less than eye-watering sums (often selling for over £200) and, as such, it's an honour to present the first officially licensed vinyl reissue of this sublime record. Featuring expert liner notes written by Bill Brewster - perhaps the record's most notable champion - this lovingly curated release is limited to just 500 copies.

                                            Marti Caine was a popular UK TV entertainer in the late 1970s onwards and Point Of View presented her with an opportunity to proceed in a hip direction by working with British R&B heavyweight Barry Blue. His legendary reputation was secured with a string of great records, among them the first three Heatwave albums, the Balearic hit "Afro Dizzi Act" by Cry Cisco and the cult smash "Breakin' In" by Javaroo. However, despite the array of talent working on the album, Point Of View sank without trace at the time. It's something that Blue attributes to the bizarre way BBC Records worked, and he entertainingly expands upon this within the liner notes.

                                            Musically, the highlights are many and memorable. Its most notorious track is the sublime soul stepper "Love The Way You Love Me", the reason most people covet this album so profoundly. However, from the dark dubby disco of "Snowbird City" to the moody ballad "Love Is Running Through Me", the lesser heralded tracks are nothing short of exquisite. Indeed, the chugging elegance of sleazy disco opener "Can I Speak To The World Please?" showcases a string-drenched strutting-funk that would've been enviable the world over. It's that good.

                                            The outlandish artwork - presenting a striking, green-eyed Marti treating a tiger to a headlock - has been faithfully restored and is arguably worth the price of admission alone. With access to the original tape transfers, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Sadly, Marti died of lymphatic cancer at the tragically early age of 50 in 1995, so is not here to experience what we hope will be a long overdue reappraisal of the hitherto underheard genius of Marti Caine, the singer.

                                            STAFF COMMENTS

                                            Millie says: Marti Caine slaying it with this groovy disco and funk-filled reissue of Point of View. Featuring the legendary track ‘Love The Way You Love Me’ which is an anthem in itself. This Be With release is super limited so don’t hesitate.

                                            Timmy Regisford and Quentin Harris turn to fellow New York resident Milton Cardona - a giant on the Afro-Cuban jazz circuit - and remix "Ebioso" from his 1994 LP "Bembe". Essentially it is a more natural, organic take on the all-conquering Shelter idiom, with its reliance on synths and programming replaced by 'real' instruments. The instrumental version keeps the complex percussion and organ for a more stripped back approach that retains the spiritual club vibe.

                                            Mlle Caro & Frank Garcia

                                            Pain Disappears

                                            After a series of compilations and mix CDs, this is the first ever artist album from Ben Watt's trailblazing imprint Buzzin' Fly. With releases on Crosstown Rebels, Sismic Music and Buzzin' Fly, the pair should already be known to fans of all things deep house / tech-house. With nice groovin' minimal tech-house backing and gentle Euro-inflected vocals this CD should be right up your street.

                                            Mary Chapin Carpenter

                                            Time . Sex . Love

                                            A mature and accomplished set of 14 songs on the timeless subjects of love, sex and the passage of time, with Chapin Carpenter at the peak of her powers writing with an assurity and vision seldom found in the more disposable aspects of today's music industry.

                                            Martin Carthy & Dave Swarbrick

                                            No Songs

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

                                              50th Anniversary re-issue of this rare classic instrumental EP from two of the finest musicians on the UK folk scene. Released to commemorate the life of Dave Swarbrick who died in 2016.

                                              Re-mastered for vinyl. Just like the original release, this 7" EP comes in a front-laminated, flipback sleeve, but with a beautiful new inner bag illustrated with rare photographs.

                                              Martin Carthy

                                              Martin Carthy

                                                THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                Martin Carthy's debut album on 180g vinyl, with optimized mastering specially for this 50th anniversary release. A classic first album, and one whose influence has continued to grow over the past fifty years.

                                                1965 saw the release of this groundbreaking LP, and heralded the arrival of a master folk singer and guitar player, with an uncredited appearance by his future longtime collaborator Dave Swarbrick on fiddle and mandolin.

                                                Martin Carthy With Dave Swarbrick

                                                Selections

                                                Two giants of the English folk scene with a canny selection of tracks from their early years together. Carthy has never been better than on "Lucy Wan", "Davy Lowston" and the equally haunting "Long Lankin" all songs dripping in blood and death. The understanding between the two players is there for all to see and the intervening years has simply enhanced these tracks.

                                                Treehouse 44 release the first known recordings by British folk guitar hero Michael Chapman. Previously unreleased, these are the earliest known recordings of this great British guitar hero, or as Michael Chapman calls it "The album I had no idea I had made!" This follows on the heels of Light in The Attic'c catalogue re-issue programme.

                                                The story of how Michael Chapman turned pro as a musician, walking into a Cornish pub and offering to play a gig in return for shelter from the rain outside is both well known and well told. These "lost" recordings catch up with our hero of the piece some eight months later as he played a show at Folk Cottage, Mitchell near Newquay in Cornwall on Good Friday, 24th March 1967.

                                                The Folk Cottage was established in 1963 and the former granite built farm workers building had secured it's reputation as a seminal venue on the circuit, with a host of talented local folk artists such as John The Fish and Brenda Wotton performing there as well as it proving to be a haven for the likes of Wizz Jones and Ralph McTell.

                                                At the time Chapman was being billed as "exciting new blues artist" and that is reflected in some of the material captured in these recordings ("Baby Please Don't Go", "Parchman Farm" and "Kansas City") but there is also the odd surprise in store for Chapman fans, including a cover of Buddy Holly's "That'll Be The Day" as well as three original instrumentals that highlight the emergence of Chapman's innovative and instantly recognisable guitar style that we know today.

                                                The original recordings are quite remarkable given the equipment and set up at their disposal. With the exception of editing out some re-tuning of guitars (sorry Michael!) we have preserved the performance in its entirety, providing a unique insight into the emergence of Michael as the artist we know today as well as a vivid soundtrack of a venue pivotal to the British folk and roots scene.

                                                After five decades of recording and touring, veteran British songwriter and guitar sage Michael Chapman has finally made what he calls his "American record," and the aptly titled 50 now stands as his late career masterwork, a moving legacy statement by a legend. Backed by a collaborative group of friends and acolytes - Steve Gunn (who also produced), Nathan Bowles (Pelt, Black Twig Pickers), James Elkington (Jeff Tweedy, Richard Thompson), Jason Meagher (No-Neck Blues Band), Jimy SeiTang (Rhyton), and fellow UK songwriting luminary Bridget St John - Chapman tears into both bold renderings of new songs and radical reinterpretations of material from his revered catalog, the crack band adeptly scaling the same rarefied sonic heights of classic Harvest albums like Fully Qualified Survivor, guided by a true survivor's instinct, wit, and wisdom. The result is a sublime chiaroscuro self-portrait, more shadow than light, as an invigorated Chapman wrestles with weighty themes of travel, memory, mortality, and redemption, his world-weary whispers assuming the incandescent power of prophecy.

                                                The deluxe LP package includes tip-on jacket, printed inner sleeve, lyrics, and download card with two bonus tracks; the CD features a gatefold jacket, lyrics, and two non-LP bonus tracks. The album includes both radical reinterpretations of obscure material from Michael’s catalog as well as three new compositions: “Sometimes You Just Drive,” “Money Trouble,” and “Rosh Pina.” A longstanding but freshly urgent preoccupation with (as Michael sings in a beloved early tune) “time past and time passing” is evident straightaway, from the album title and the first line of the first song through the final lyric of the record. Never before in his storied career has Chapman gazed so steadily into the abyss of time lost and regained; never before has he engaged so intimately with his legacy and the changing meanings of his own music over time.

                                                That he manages to do so without succumbing to nostalgia or sentimentality bears testament to the steely fortitude of his ruminative, tough-minded songs, which survey both inscape and landscape with the same stoical detachment. With 50, Chapman faces mortality with both guitar and chainsaw in hand, and endures. It’s the unguarded sound of Orpheus descending, the snake riding the guitar down the river Styx and returning upstream to tell his story. 

                                                Michael Chapman

                                                LIVE VPRO 1971

                                                  For a self confessed ‘journeyman’ musician who has spent most of his 50 year career on the road live Michael Chapman albums are curiously rare items and even more rare from his earlier years. This one, recorded by dutch “hippie” radio station ‘VPRO’ on 6th May 1971 is the earliest known live recording so far discovered of Michael Chapman after he started releasing records on the legendary UK based Harvest / EMI record label in 1969. This period is for Chapman fans the classic period, that more recently has drawn belated media coverage and recognition in response to the more recent kudos bestowed upon Michael from the likes of Thurston Moore, Kurt Vile, Jim O’rouke and the late, great, Jack Rose. A beautiful clear, warm and intimate recording of Chapman duetting with long time collaborator Rick Kemp on electric bass and which documents material from all three albums in a free flowing improv inflected style very much in favour at the time. it is with this free flowing vibe in mind that we include with both CD & vinyl editions the complete 90 minute concert via a download code card so listeners can experience the whole set. Chapman sounds in a confident, gentle and relaxed mood. The Audience Is Initially Tentative, Possibly Unfamilar With chapman’s work but gradually warming to his complex dexterous ‘not folk’ playing. The recordings make for a fascinating snapshot of the time, with a loose and open approach that offers a rare chance for guitar buffs to evesdrop between songs on some those bespoke Chapman guitar tunings!. The set begins with another very rare Chapman item – a cover version - in this case of Tim Hardin’s 1965 “A Reason To Believe’. A song which had just reappeared that year as the A side of a Rod Stewart solo single (The B side being ‘Maggie May’!). 

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Limited red vinyl version.

                                                  Coloured LP includes MP3 Download Code.

                                                  CD includes MP3 Download Code.

                                                  Michael Chapman

                                                  VDSQ Solo Acoustic Vol. 11

                                                    The godfather of alternative guitar returns with an all-instrumental album, Homages, in tribute to his influences and contemporaries. Summoning the spirits of some of the greatest guitarists of all time, Chapman proves again that he stands among them.

                                                    Michael Chapman

                                                    Fish

                                                      In recent years, the revered British guitarist and songwriter has seen his classic Harvest records from the 70's reissued by Light In the Attic, and he's toured with Bill Callahan, Kurt Vile, Thurston Moore and Bonnie "Prince" Billy. On the eve of the Fully Qualified Survivor's 75th birthday, 'Fish' finds Chapman vital as ever. Tompkins Square also released Chapman's 2010 double CD 'Trainsong : Guitar Compositions 1967-2010' and a tribute album, 'Oh Michael, Look What You've Done : Friends Play Michael Chapman' featuring Hiss Golden Messenger, William Tyler, Lucinda Williams and Thurston Moore among others.

                                                      "The footnotes and legends that line Chapman's 40-year career are the stuff of thick biographies and fireside storytelling sessions." – PITCHFORK 

                                                      * First vinyl reissue in decades
                                                      * Features a pre-Bowie Mick Ronson on lead guitar and Rick Kemp of Steeleye Span on bass
                                                      * Produced by Gus Dudgeon (right after Gus did Bowie’s “Space Oddity” single)
                                                      * Includes Chapman’s "Postcards of Scarborough" - a psychedelic guitar masterwork
                                                      * Liner notes by Mick Houghton (Uncut)

                                                      Although not as well known as his peers (Roy Harper, John Marytn, and Bert Jansch), the name Michael Chapman is an important one in the linage of English folk rock guitarists and singer/songwriters of the late 60’s/early 70’s. For those unfamiliar with Chapman’s work, Roy Harper might be his closest musical cousin (and both artists were signed to EMI’s seminal stoner record label Harvest – also home to Kevin Ayers and Syd Barrett).

                                                      Like other Harvest artists, Chapman’s music contains a slightly drugged out feel, sublime guitar playing and intense lyrics. Chapman recorded 4 albums for Harvest between 1968 and 1972, of which 1970’s "Fully Qualified Survivor" is hands down considered the classic amongst the whole highly coveted bunch.

                                                      What makes "Fully Qualified Survivor" such a special album (besides being a vehicle for a young Mick Ronson’s mindblowing guitar heroics) are the layers of beautiful acoustic guitars, deranged vocals, floating conga drums, and the cello of one Paul Buckmaster – the same man who provided the intense strings on Elton John’s dark masterpiece “Mad Man Across The Water.”

                                                      File this record between Roy Harper’s "Flat Baroque and Berserk", John Martyn’s "Inside Out", and Bert Jansch’s "Jack Orion" and you’ll be fine. The perfect album for a blissful day and a joint.

                                                      Martin Christie, beat-box poet and purveyor of electronic music open mic's across the country brings us his newest outing, 'The End Of All Things', brimming with snappy chiptune percussion, bitcrushed wordsmithery and tongue-in-cheek political commentary. We kick things off with the pocket-operated pinging envelopes and panned percussive glitches of 'No Stranger To Controversy', as hypnotic and propulsive a beginning as you could hope for. The machinated and industrious instrumental backline providing a stark contrast to the warmingly frank lyrical themes. 

                                                      The following duo of 'All The Worlds Strangers' and 'Smells Of London' clearly owe a little more to classic singer-songwritery than the opener, with the former holding a frankly jaw-dropping falsetto amongst it's warmingly full-sounding folky soundscapes and perfectly recorded sparkling acoustic guitar, and the latter edging more towards mellow indica-dominant downbeat, flecked with spikes of snares punctuating the solid synth bassline. 

                                                      As we move into the latter half of this delightful mini-album, Christie shows his diverse range of skills, with minimalistic vocal synth-pop (Hurricane Desmond) and pulsing, machinated synth swirls coupled with bit-crushed squeals and blipping, off-kilter percussives (Fighting Men). Finishing things off with the killer closing duology of 'Silent Spring', redolent of classic folk-pop moving slowly and gracefully into the end of all things, 'The End Of All Things' moving back into glitched-out Italo territory for a finishing and frankly spine-tinglingly effective closing salvo. 


                                                      STAFF COMMENTS

                                                      Barry says: Christie is both a clear talent and undeniable bastion of the DIY electronic scene, offering a keen ear for melody and an understated and frankly astounding vocal accompaniment. Superb stuff.

                                                      Marius Circus

                                                      Shorelines - Inc. Rollmottle Remix

                                                        Norwegian producer Marius Circus has been steadily carving out a name for himself over the past few years, with releases on Prins Thomas' revered Full Pupp imprint, a ten minute acid tinged rework of Seahawks for the Ocean Moon imprint and recently the launch of his very own In The Garden. Sentrall Records very own Rollmottle, one half of Project Sandro, steps up to deliver his take on "Shorelines". The original has all the feels and flavoures of the Med, with coastal melodies hung delicately on a Balearic-beat, chiming keys and playful perc completely the holiday package in fine style. Rollmottle's version is even more blissed-out and opiated, lapping against our ears like the waves of the ocean, gentle arps bob and undulate around a wish-washing rhythm section as we fall tenderly into our hammock-habitat, nothing but white sands, an ice cold cocktail and a the blue sky our friends. Pefecto!

                                                        Until the film "20 Feet from Stardom" rolled around, Merry Clayton was most famous as Mick Jagger’s vocal foil on “Gimme Shelter,” but on her own she recorded a series of tough, soulful albums for the Ode label during the early ‘70s. "Merry Clayton" is her 1971 self-titled second album, which, like the first, has never seen a vinyl reissue prior to our release. And it’s something of a lost soul classic, featuring Merry’s passionate takes on songs by Neil Young (“Southern Man”), Leon Russell (“A Song for You”), Bill Withers (“Grandma’s Hands”), and James Taylor (“Steamroller”), with production by Ode’s own Lou Adler and arrangements by Carole King and Billy Preston.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Maroon vinyl limited to 1200 copies

                                                        Maya Jane Coles

                                                        Take Flight

                                                          Maya Jane Coles releases her second album "Take Flight" on her own label I/AM/ME. The long awaited follow up to her debut album “Comfort” and “Nocturnal Sunshine", she has written, produced, engineered, arranged, mixed and performed all of the tracks even designing the artwork herself. The album features appearances from Chelou, GAPS and Wendy Rae Fowler. Drifting between the direct, mechanized and cerebral styles of house music she's slowly been improving and building on through her career, we get a really solid and quite substantial collection of tracks that take electronic house music ever closer to its natural zenith. Chunky and funky is MJC's style and its fully apparent throughout the album as a plethora of guest vocalists provide some stellar contributions. Add to that a stylish grasp of techy sounds and rippling textures and you've got a producer with a fully established and highly enjoyable style. There's a heady, balmy feel running through the album which aligns itself with perfectly with the summer months and a vacated state of mind!

                                                          Mikey Collins

                                                          Hoick

                                                            Hoick is the solo album from Allo Darlin’ drummer Mikey Collins, who combines his love of solid grooves and joyous harmonies to create a fun and sonically varied record. Mikey played most of the instruments and mixed the record himself, with some assistance from Laura Kovic (Tigercats) on vocals and fellow Allo Darlin' member Paul Rains on lead guitar. The flicker of his previous band provided the building blocks of an upbeat, positive record, but Mikey wanted to add his own quirky, disco spin & sonic expansiveness. The aim to make a record that people stood a chance of being able to dance to. Mikey draws on influences as far flung as Dexy's, Bruce Springsteen, Night Works, Matthew E White & Father John Misty. Mikey began working on the album while he was in Allo Darlin’.

                                                            The last few years were a conveyor belt of change as he; got married, had a child, bought a house, moved from London to be by the Kent coast and opened a residential studio Big Jelly Studios (Girl Ray, Metronomy, Pete Doherty, Mt Wolf, Seamus Fogarty & ELVA). In short, he grew up. The record journeys through these changes but has its roots firmly grounded in his new seaside habitat. His identity with and connection to the area is even incorporated into the album artwork – a startling photograph by local photographer Jason Evans (Radiohead / Keiran Hebden/Fourtet), incorporating flora and fauna of the region, an outer ring of pop glow that hints at the neon din of the seaside. 

                                                            FORMAT INFORMATION

                                                            LP includes MP3 Download Code.

                                                            Matthias 'Wolfboy' Connor / Alexis Taylor

                                                            To All The Girls In Oklahoma

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

                                                              A new and collaborative work between Matthias Wolfboy Connor and Alexis Taylor (Hot Chip). #4 Matthias 'Wolfboy' Connor / Alexis Taylor (Hot Chip) (spoken word / poetry release) 

                                                              Mike Cooper & Derek Hall

                                                              Out Of The Shades

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

                                                                First-ever reissue of Cooper’s rare first recordings and PoB’s first Record Store Day release. RIYL Mike Cooper, Michael Chapman, Jackson C. Frank, Davey Graham, Bert Jansch, John Renbourn, Wizz Jones, or Clive Palmer. Available on virgin vinyl as a limited-edition 45 rpm 7”, with heavy-duty color jacket, restored original artwork, and notes. In 2014 Paradise of Bachelors reissued iconoclastic English-born, Rome-based folk and experimental music legend Mike Cooper’s classic triptych of early 1970s avant-folk-rock records—Trout Steel (1970) and Places I Know/The Machine Gun Co. with Mike Cooper (1971-72)—to widespread critical acclaim, including Best New Reissue recognition from Pitchfork and Rolling Stone. But Cooper sowed the seeds of his deconstructivist music five years earlier in his rare earliest recordings, until now scarcely known and never reissued—fitting fodder for PoB’s very first Record Store Day release. Named for The Shades, the Reading, UK folk club where he regularly performed, and which employed and housed guitar prodigy Derek Hall—who later played on Cooper’s 1969 debut LP Oh Really!?—the little-heard Out of the Shades EP was released in an extremely limited edition by local label Kennet Recordings in 1965 as KRS 766. The songs were recorded live to a single microphone in the kitchen/bathroom/former outhouse of Mike’s rambling Georgian apartment, on a portable Ferrograph reel-to-reel that the engineer otherwise used for “recording birds and trains.” By 1965 Mike had already progressed beyond and exhausted his interest in electric Chicago blues with his first band The Blues Committee. He was now a peer of British folk scene stalwarts like Davey Graham, Wizz Jones, Bert Jansch, and John Renbourn, hosting folk nights up to five nights a week at venerable Reading and London clubs like Les Cousins, The Latin Quarter, The Elephant, and The Shades, Hall’s home base. Cooper recalls his former partner’s artistry and skill with fondness and wonder:

                                                                FORMAT INFORMATION

                                                                Ltd 7" Info: 500 only on black vinyl.

                                                                Discrepant presents the first ever vinyl release of 'Kiribati', the very first instalment in the acclaimed Ambient Exotica Soundscapes series by veteran English experimentalist Mike Cooper. ''This was the first release on my Hipshot CDr label in 1999. I wanted to create an album of imaginary soundscapes from imagined exotic places based on my travels in the Pacific Islands and South East Asia."  

                                                                'Kiribati' was the first in a series of three CDrs of Ambient Exotica Soundscapes - played on lap steel, electronics, prepared guitar, sampler, live environmental recordings (from Bali, Malaysia, Australia and Italy) and acoustic and electronic percussion. (The other two are 'Globe Notes' and my award winning 'Rayon Hula'.) Kiribati was(and is) dedicated to the people and islands of Kiribati because they were slowly sinking into the Pacific Ocean.

                                                                Although the palm trees are often 25 metres high, the islands themselves, made from gravel and sand, are only 4 or 5 metres above sea level and a rise in sea levels of just 15 centimetres, as has happened over the past 100 years due to global warming, is a disaster. Kiribati was recorded in my studio on a four track cassette, using a Casio SK1 sampling keyboard. A tool I used for many years both for recording and live sampling.'' Mike Cooper, Rome 2016 

                                                                STAFF COMMENTS

                                                                Ryan says: Penned on his travels around the Pacific Islands and South East Asia, 'New Kiribati' is a collection of soundtracks to imaginary exotic islands. Step aboard your long-tail boat, take in the dawn chorus and sail around the islands of Mike Cooper.

                                                                Even arriving at their 82nd release, PPU continue to conjure up weird, wonderful and wonky grooves, this time round from everyone's favourite femme fatale, Maryn E. Coote. After sharing the spotlight with her son Uku on PPU-061, Maryn takes center stage here with a ten track set of previously unreleased studio recordings, out-takes, demos and new material. Switching between funk, RnB, synth-pop, minimal wave and tape worn boogie (that's just on opening cut "Dreamboy - Reserva"), the set is as far from the predictable plod of the mainstream as you could possibly get. For instance, the blissed out Balearic jazz of "I Don't Have To Cry" sees the Estonian-Swedish singer/songwriter welcoming us into her boudoir with whistle-wetting cocktail before the Paisley power of "Emotion" dominates the dark-room in proper S&M fashion. Maryn has dedicated this album to her son Uku, who has been living with A.L.S. for several years now. The sale of this album will directy support his care, and support further research on the disease.

                                                                STAFF COMMENTS

                                                                Patrick says: Fully batshit boogie/funk/synth-pop weirdness from the wonderful Maryn E. Coote - who leaves us in no doubt where her son Uku got his groove from! Curio of the week!

                                                                After a slew of remixes, including the FACT previewed Womb by Borealis, added to an EP and debut album for the Traum Schallplatten sub label Zaubernuss, Nottingham bred Manchester based soundsmith Morris Cowan delivers an album of elegant electronic movements for Wigflex, the labels first foray into album length music. Titled Six Degrees, the album is loosely based around the idea of “six degrees of separation” – These six tracks, interconnected, feed a world of their own, taking the listener from one end to the other. Whereas his fist full length, Circa on the aforementioned, Zaubernuss touched base with tech house, minimal techno and the more melodic side of the UK Bass canon, with Six Degrees Cowan dives headfirst into a world of dense, melodic electronics. With hints of rubbery acid, gloopy analogue leads and pads, displaying an extremely keen and natural ear for harmony, and brimming with effects that enhance rather than detract from the compositions, the album, which brilliantly juggles and juxtaposes the organic with the synthetic takes as much influence from Canada’s Constellation Records as it does from Warp in its heyday, with Cowan himself describing it as “psych-prog rock made on the computers.” Running over 6 tracks only, with some nearly touching the ten minute mark, people would be wrong in assuming that the epic lengths indicate a noodly, wishy-washy approach to the long form. On the contrary, these tracks dip and dive, start and stop, and push and pull the listener in different directions, whilst at the same time remaining completely cogent and relevant to the material that has come before, and that is still to come. With this album Cowan wields his tools like an artist uses his brush, creating a complete and complex world that sucks and entices the listener back in, time and time again. It is an enthralling listen from start to finish. The album also marks a new development for the uniquely placed Wigflex label itself. It is their first foray into the long form game, and a work that, although baring some semblance to their previous offerings, is a markedly different beast displaying very little of their trademark “rude boy techno” memes. Instead, the label throws a curve ball to deliver a distinctive album that delves deeper into the mind than they have before.


                                                                Martin Creed announces a new album, Mind Trap via Telephone Records.

                                                                The album features songs alongside instrumental pieces for orchestra. Martin sings and plays the instruments, supported by gospel singers Dee Alexander and Yvonne Gage (who've worked with The Police, Madonna and R.Kelly) and Andy Knowles (musical credits include stints with the Fiery Furnaces & Franz Ferdinand) playing drums on If You’re Lonely, You Return and Don’t Tell Me. Keiko Owada plays bass on Gift Attack / Don’t Won’t. Co-produced by Martin with Andy Knowles, the album was recorded in London, Chicago and the Czech Republic. Nick McCarthy of Franz Ferdinand and Mark Ralph (who works with Hot Chip) provided additional production. The Chicago songs, which form the heart of the album, were recorded all-analogue at John McEntire's (Tortoise) Soma Studios. Engineered by Bill Skibbe (The Kills/Franz Ferdinand). It also includes 3 specially commissioned orchestral works: Work No. 955 was originally written for the Birmingham Symphony Orchestra, Work No. 994 was composed for the Hiroshima Symphony Orchestra and Work No. 1375 was commissioned by the The London Sinfonietta. These pieces were recorded for the album by the Brno Philharmonic Orchestra conducted by Mikel Toms. All lyrics and music on the album are written by Martin Creed, with the exception of the The New Shutters which is Martin’s arrangement of a traditional Neapolitan folk song. The album sleeve features one of Martin’s paintings, Work No. 1674: Anouchka and was designed by Andy Knowles, who has recently directed videos for Franz Ferdinand and The Cribs. Martin has released one previous album, Love To You (Moshi Moshi) in 2012.

                                                                29th January 2014 sees the opening at the Hayward Gallery of the first major survey show of Creed’s work. This far-reaching retrospective will include all of his best-known works, from the Turner-prize winning installation Work No.227: The Lights Going On and Off (2000), Work No. 293: A sheet of paper crumpled into a ball (2003) to his epic sculpture Work No. 1092: MOTHERS (2011) and will occupy both floors of the Hayward Gallery and its outdoor terraces. To coincide with this exhibition at the Hayward, Southbank Centre has commissioned Martin to compose a new piece for the Royal Festival Hall organ. This will be part of the Pull Out All of The Stops Festival, which celebrates the complete restoration and reinstallation of the organ. Key performances during Martin Creed’s run at the Hayward Gallery will be the premiere of his new organ commission on 30th March (Face to Face with Bach) and the performance of Creed’s ballet Work No. 1020 on 8th April. The Ballet is choreographed by Creed and the music, played live by Creed and his band, will feature songs from Mind Trap. Martin Creed was born in 1968 in Wakefield, England and was brought up in Glasgow, Scotland. He studied at the Slade School of Art, London from 1986-1990. His work has been exhibited internationally and is represented in collections including Museum of Modern Art, New York; The Moscow Museum of Modern Art; The Centre Pompidou–Metz, France; Tate, London; Van Abbemuseum, Eindhoven; The Scottish Gallery of Modern Art, Edinburgh and The Museum of Contemporary Art, Chicago. Recently, Creed’s Work No. 1197: All the bells in a country rung as quickly and as loudly as possible for three minutes opened the 2012 Olympic and Paralympic celebrations as part of the London 2012 Festival.


                                                                Marilyn Crispell

                                                                Amaryllis

                                                                Probably her finest album for ECM, pianist Crispell is sypathetically supported by Gary Peacock and Paul Motian and these 12 tracks have a variety and shape that will entice the listener over many plays.

                                                                Mikal Cronin

                                                                Mikal Cronin

                                                                  Conceived and recorded as a sort of therapy to help cope with adjusting to post-college life, an ensuing break-up and geographic isolation Mikal Cronin steps momentarily away from the rhythm section of Orange County surf-punk bashers, The Moonhearts with his debut solo album. Fans can take heart, this isn't a 'vanity project' or half-baked endeavour - Mikal's solo debut is fully realized, cohesive and beautiful. With themes that are personal as they are universal; questioning the future, accepting the past and living in the moment. Taking influences such as the late sixties Del Shannon and The Everly Brothers and filtering them through his own mutant Californian fuzz, Mikal deftly explores his singer-songwriter side that at moments feel like a punk Harry Nilsson or Curt Boettcher - balancing sweet melodies and chords with chunky, psychedelic guitar freakouts. Don't let the opening Beach Boys harmonies of 'It's Alright?' fool you into thinking this record can be easily pinned down. With long time friend and collaborator, Ty Segall producing, Eric Bauer (Ty Segall, Royal Baths) running the tape machine and guest like John Dwyer of Thee Oh Sees, you can be sure you're in for something special. Once those guitars kick in, and you hit the first transcendent chorus, you'll be hooked....


                                                                  Mikal Cronin’s self-titled debut from 2011 was all about endings: the end of college, the end of a serious relationship, and the end of his time in Los Angeles, where he grew up. So it’s no surprise that his sophomore release 'MCII' - and first disc for Merge Records - is all about new beginnings.

                                                                  “Since the first record came out, my life has changed quite a bit,” Cronin says, referencing his move to San Francisco and tours with Ty Segall as well as with his own band. “I was presented with a whole new slew of problems and situations that I was trying to work through.” “Am I Wrong” and “Shout It Out” dissect his fears over a new relationship, while “I’m Done Running from You” and “Weight” find him freaking out about what it means to grow up in the 21st century. Other than these few exceptions, Cronin played all of the instruments. “It all makes total sense to me, but when I step back, it sounds kind of schizophrenic,” Cronin says. “Hopefully it all sounds enough like me to make sense.”

                                                                  “A debut that will fry your ears and break your heart.” MOJO, on Mikal Cronin.
                                                                  “Small, but near-perfectly formed.” UNCUT, on Mikal Cronin.

                                                                  FORMAT INFORMATION

                                                                  LP includes MP3 Download Code.

                                                                  CD Info: CD in a digipak with booklet.

                                                                  On May 4, Mikal Cronin will return with MCIII. Marked by the lush arrangements, stunning melodies, and deeply personal lyrical work for which Cronin is now known, the album is also a deliberate attempt to simply “go big.”

                                                                  As he did on his self-titled 2011 debut and 2013’s MCII, Cronin arranged and played nearly all of the record himself, including the tzouras, a traditional Greek string instrument he heard and subsequently bought while on tour in Athens. There’s French horn, saxophone, and trumpet. There are mood-altering crescendos and heartbreaking turns-of-phrase, guitars both gorgeous and pugnacious. No longer satisfied with the sound of “just one string player,” Cronin arranged parts for a full string quartet instead.

                                                                  FORMAT INFORMATION

                                                                  Ltd LP Info: Ultra limited CLEAR vinyl edition.

                                                                  Ltd LP includes MP3 Download Code.

                                                                  LP Info: Standard black vinyl edition.

                                                                  LP includes MP3 Download Code.

                                                                  Michael Cutting

                                                                  Stills

                                                                  North UK-based tape musician Michael Cutting makes his album debut with STILLS on Salford’s beloved imprint Ono. Relish- ing in the lo-fi, analogue textures offered by the pairing of fender rhodes piano and reel to reel tape machines, the album’s seven tracks act as vignettes; tempting with loop-induced isorhythms of warping, disintegrating harmonies. An extended re- working of Cutting’s live set for the same instruments, STILLS heavily retains the sense of live process, evoking precariously balanced loops between tape machines and thermoflasks, with the distinctive clicks and clunks of the reel to reels’ buttons and levers an intrinsic element to the sonic discourse.

                                                                  Cutting’s use of melody — plaintive, jaunty, occasionally drifting off-key — perfectly suits the nature of his tape-based ‘instruments’, with their inherent flaws, uncertainties, and means of making sound [...] STILLS is full of such attractive contrasts of melody, harmony, and rhythm, made all the more compelling by the ways in which they incorporate the material nature of the machines and processes that produce them

                                                                  Marie Davidson

                                                                  Working Class Woman

                                                                  Marie Davidson’s new album turns the mirror on herself. "Working Class Woman” is the Montreal-based producer’s fourth and most self-reflective record: it’s a document of her state of mind, of operating within the spheres of dance music and club culture. Drawing on those experiences, as well as an array of writers, thinkers and filmmakers who’ve influenced her, Davidson’s response to such difficult moments is to explore her own reaction to them and poke fun. “It comes from my brain, through my own experiences: the suffering and the humour, the fun and the darkness to be Marie Davidson.” It’s an honest document of where she currently stands. As she puts it, “It’s an egotistical album – and I’m okay with that.”

                                                                  The sound of "Working Class Woman” is more direct than any of her previous outings. She still mines the same influences, from Italo Disco, to proto-industrial and electro, but leadens them with a gut-punching weight, making for a record that’s more visceral than any she’s released before. Industrial heaviness is balanced by Davidson’s spoken text – rather than spoken word, which she sees as a distinct tradition – dark, textured soundscapes are counterweighted by statements that carry a more darkly humourous edge than before, making observations on both aspects of club culture as well as more oblique critiques of the modern world. It’s something that’s encapsulated in the driving momentum of lead single ‘So Right’, which matches pared back lyrics with a melodic bassline and bright synths, her words sketching out a euphoric feeling that chimes with the music.

                                                                  Building on the dancefloor-minded trajectory charted by her previous record "Adieux Au Dancefloor” [Cititrax / Minimal Wave], which drew praise from the likes of Pitchfork (“a project that indicates exciting and near-exponential growth in her ability as a writer and producer”), The Fader and Resident Advisor, and opened up her sound to a new, wider audience, earning support from peers such as Nina Kraviz and Jessy Lanza. 


                                                                  Myra Davies / Beate Bartel / Gudrun Gut

                                                                  Sirens

                                                                    “Sirens" - the new album from Canadian Spoken Word poet Myra Davies with music by Berliners Gudrun Gut and Beate Bartel. Myra Davies is back with a new packet of witty stories and poetic reportage in a dynamic current of electronica by Berliners, Gudrun Gut and Beate Bartel. Movement is a major theme.Davies' eye, insightful yet detached, wanders assertively over land to sea to outer space, through time; past to present to future. Her observations and reflections on art, culture, convention, capitalism, express instability, the contingent even conjectural nature of existence. Yet they suggest (without promising) the possibility of optimistic resolution. For Davies, the personal is political and Art is more so. The album includes a three-track riposte to Götterdammerung, the final opera in Richard Wagner's Ring Cycle. Two tracks tell the story. The third (DO YA) links the epic to us. Wagner was called 'the great seducer' because he aimed to 'take' his audience in an emotional gut grab that's been described as 'artistic rape'. No invitation here to sink hypnotically into the dark ambient tones Gut and Bartel provide for Davies, who in telling the story frequently pops out of it to comment. Indeed, the point of revisiting this End Time for Übermenschen is to draw attention to the eagerness with which we give ourselves to art, politics, love, war, consumption, work, religion, pop culture, technology, vanity, and thus to bondage. Fortunately, the message is delivered in a tempestuous roil of words and music, i.e. - seductively.

                                                                    Myra Davies: A personal Note: The word 'siren' contains both allure and danger warning. Come hither. Stay away. Such isometric emotional dualities can drive a person around a post like a work donkey. I question such 'native' impulses and the Romantic notion that emotion is the seat of authenticity, our true core. Our minds - amygdala included - are colonised. Yet the human brain is flexible. It's possible to take territory, to write our own code. 'Your mission, if you choose to accept it'. Thanks for listening.

                                                                    Miles Davis

                                                                    Birth Of The Cool

                                                                    Eleven tracks recorded by Miles Davis' nonet in 1949 and 1950, 'Birth Of The Cool' may just be the most accurately titled album ever. The tracks just bleed hipness - cool, smooth, and swinging - and practically define the genre of "cool jazz". Unparalleled recordings required for any fan of mid-century American jazz.

                                                                    Miles Davis

                                                                    Bitches Brew LIVE

                                                                      180 gram audiophile vinyl
                                                                      Contains 3 previously unreleased live tracks
                                                                      Includes 12-page booklet
                                                                      Etched D-Side

                                                                      It has been said that jazz stopped evolving when Davis wasn't there to push it forward. Even if that isn't true, Miles Davis certainly was one of the greatest music innovators of the 20th century, pioneering cool jazz (with the 1949 recording of 'Birth Of The Cool'), modal jazz (with 1959's 'Kind Of Blue') and Fusion with 1970's 'Bitches Brew'.

                                                                      'Bitches Brew Live' contains recordings from two performances: the first three songs were recorded at his Newport Jazz performance in July 1969 - a couple of weeks before the Bitches Brew sessions in August of that year - and have remained unissued till this day.

                                                                      Miles performs with Chick Corea on electric piano, Dave Holland on acoustic bass and Jack DeJohnette on drums; musicians who all went on to become leaders of the Fusion movement. (Wayne Shorter unfortunately missed this date because he was stuck in traffic.)

                                                                      The A1 track "Miles Runs The Voodoo Down" is the first professionally live recorded version of this song. The other six songs were recorded at the Isle Of Wight festival in 1970,and contain "Directions" and "It's About That Time" from the In A Silent Way sessions.

                                                                      Included in this exclusive release is a 12 page booklet with a liner note essay by renowned music journalist Michael Azerrad, and a special etch on the D side. Music On Vinyl is proud to bring you this -never before- released double vinyl edition.

                                                                      Miles Davis

                                                                      Kind Of Blue - 180g Double Vinyl Edition

                                                                      So much has been said and written about Miles Davis' "Kind Of Blue", it's virtually impossible to summarise all the necessary info to the length of this page. We could try to explain why it's the best jazz album ever made (and the best selling), but the music itself will do that for you. As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Miles Davis laid out the themes before the tape rolled and the band improvised. The end results were fragile and wondrous. Recorded during two sessions in 1959, "Kind of Blue" worked on many different levels and will do so for many years to come.

                                                                      Music On Vinyl bring us a very special version of the most influential (jazz) album ever. The orginal album in remastered form plus an extra LP containing two tracks that weren't available on vinyl before (an alternate take of "Flamenco Sketches" and a version of "On Green Dolphin Street" recorded prior to the "Kind Of Blue" sessions, with the legendary line-up of Bill Evans, John Coltrane, Paul Chambers and Jimmy Cobb.)

                                                                      STAFF COMMENTS

                                                                      David says: The first time I put this on at home, Lou, my wife, frowned at me and said, 'it sounds like they're making it up as they go along!' Don't worry about that though, if, like me, you've previously been wary of jazz, this is the place to start, absolutely beautiful, despite what Lou says...

                                                                      FORMAT INFORMATION

                                                                      2xLP Info: 180g audiophile vinyl. Remastered Audio. First-time ever 2xLP edition including 2 bonus tracks. Gatefold Sleeve including additional liner notes.

                                                                      Miles Davis

                                                                      Live Evil - 180g Vinyl Edition

                                                                      The first in a continuing series of double-LP extravaganzas released only in Japan in the early '70s, 'Live Evil' mixes four studio tracks from 1970 with four live ones taken from a Washington, DC performance in December of that year. Amidst heavy competition, the live tracks - including "What I Say," "Sivad" and "Gemini Double Image" - are the highlights, featuring some of Miles' best playing of the decade, plus aggressive work on extended solo spots by John McLaughlin on guitar, Keith Jarrett on keyboards, and Jack DeJohnette on drums.




                                                                      FORMAT INFORMATION

                                                                      2xLP Info: 180 gram audiophile vinyl pressing in gatefold sleeve.

                                                                      Miles Davis

                                                                      Sketches Of Spain - Mono Edition

                                                                      ''Sketches of Spain'' is part of Miles' late 50s / early 60s 'blue' era. This is one of the four albums Miles and Gil Evans (arranger and conductor) made together with a small orchestra of horns and percussion, and it was fueled by Spanish melodies - "El Concierto de Arajuez" by Joaquí­n Rodrigo and "El Amor Brujo" by Manuel de Falla - that fascinated Davis to the point he needed to get into them and go beyond. Imagine "Kind Of Blue" but with a Spanish influence and you'd not be far wrong. Davis and Evans put something together that every single music lover should possess, a sketch of some place he'd never been to. As Miles said, 'It's music, and I like it'.

                                                                      FORMAT INFORMATION

                                                                      Ltd LP Info: Limited 180g audiophile pressing.

                                                                      Miles Davis

                                                                      Black Beauty - Miles Davis At Fillmore West

                                                                      "Black Beauty, Miles Davis At Fillmore West", was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles’ classic album Bitches Brew. The album was released in 1973, originally in Japan only. "Black Beauty", a true jazz-rock album, captured one of Davis’ first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list.
                                                                      The songs in the band’s set list were as followed: “Directions”, “Miles Runs the Voodoo Down”, “Willie Nelson”, “I Fall In Love Too Easily”, “Sanctuary”, “It’s About That Time”, “Bitches Brew”, “Masqualero”, “Spanish Key”, and “The Theme”. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.

                                                                      The original Japanese booklet is included in this vinyl package.


                                                                      FORMAT INFORMATION

                                                                      2xLP Info: 180g audiophile vinyl.

                                                                      The live performance which would be the focus of Miles Davis' 1965 album, My Funny Valentine, was the second of two live sets recorded at the recently built Philharmonic Hall in New York. The concert, consisting primarily of slow and mid-tempo numbers, presented a tense and awkward atmosphere to Davis and the latest iteration of his quintet; they were embarking on their highest prestige gig at the time, right on the cusp of the assassination of president John F. Kennedy.

                                                                      Tensions were so high that by the end of the concert they believed that they had botched their performance, and bombed the entire show. Fortunately Davis and his quintet were wrong. Far from bombing, the recordings on My Funny Valentine were critically applauded, with Davis biographer Ian Carr going on to call the album "...one of the very greatest recordings of a live concert." My Funny Valentine features inspired performances by Davis and his crew, who brought solemn depth to compositions by Cole Porter, Richard Rodgers, Victor Young, Jimmy Van Heusen, and a live take on "All Blues", the lone Davis piece on the record. My Funny Valentine would not only rank as one of his finest live recordings, but it would be his last collaboration with saxophonist George Coleman, ushering in the arrival of his "Second Great Quintet" period

                                                                      Miles Davis is essentially synonymous with jazz, and while there's never been a time the great man's been out of fashion, the recent Miles Ahead movie has introduced his plangent horn to a whole new audience. Here is unquestionably the finest, and easily the most panoramic, Miles Davis mini-retrospective ever assembled. For the first time, a two disc set surveys the entirity of the continuously innovative trumpeter-bandleader's monumental recording career, drawing from the catalogues of four of the labels for which he did his most significant work. Thus, the package begins in 1945, when a 20-year old Davis, who had arrived in New York two years earlier to study at the prestigious Juilliard School of Music, was on the bandstand with modern jazz fountainhead Charlie Parker, and concludes in 1984, his Harmon-muted horn still the very essence of lonely lyricism. The singular sound of Miles Davis...absolutely immortal.


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