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.

    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.

      Michael Chapman

      Another Story

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

        Eight tracks selected by Michael Chapman from four CD albums recorded between 1999 and 2010 and mainly sold at gigs

        Madonna

        La Isla Bonita (Super Mix)

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

          Replica of the Japan-only EP release of “La Isla Bonita: Super Mix EP”, originally released on May 1987 by Warner-Pioneer Japan. Includes “La Isla Bonita” (Extended remix), “Open Your Heart” (Extended Version), “Gambler”, “Crazy for You” and “La Isla Bonita” (Instrumental). This version appears on green colour vinyl.

          Mastodon

          Stairway To Nick John

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

            10" Black Vinyl single

            Moules Frites

            I Should Care B/w I'm Glad

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

              "Moules Frites is perhaps the inevitable denouement for two ‘seasoned’ musicians, Rose Elinor Dougall and Louis Eliot. After a brief and ultimately disastrous stint on various European cruise ships, (erasing memories of that final performance aboard the Plymouth to Santander back in 2009, has proved difficult for the few unfortunate witnesses), the unlikely pair retreated to the studio, to produce what was intended as their opus magi, a work of unparalleled ambition and genius. A decade later that somewhat unwieldy project is apparently ‘still cooking’ according to Eliot, so in the meantime they have offered up a couple of stripped back versions of two of their favourite songs from the old set. Recorded to tape, late at night, at Vacant TV Studios by cohort Euan Hinshelwood, these tracks are intended as an homage to two of the greats, Julie London and Barney Kessel."

              Mark Ronson & Miley Cyrus

              Nothing Breaks Like A Heart

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

                Recent Top 3 single. Available as a x3 trk, 12" Vinyl single. Includes:- 'Radio Edit', 'Dimitri From Paris Remix', 'Boston Bun Remix'.

                This release is an EP and it's individually 500 hand-numbered limited edition. The first 100 copies are pressed on WHITE & YELLOW MARBLED vinyls (AR018). It's dedicated to the 1983 Balearic / Pop / Soft Rock masterpiece and now so in demand by the Italian Musician and Songwriter Mario Acquaviva. Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s. All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images. Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time. All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

                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.

                Mulatu Astatke

                Mulatu Of Ethiopia

                  Mulatu Astatke's "Ethio Jazz" collection of his stunning, (and ultra-rare!) Ethiopian jazz-funk tracks has been one of our best sellers this year... Well, if you bought it and were left wanting more - your prayers have been answered! This is a repress of a 1972 LP recorded in America - a lot more vibes-heavy than his African LPs and more of a US-funk sound, but still with those amazing Arabic / North African melodies that made "Ethio Jazz" so special!

                  FORMAT INFORMATION

                  LP Info: The few original copies change hands for seriously big bucks as you can imagine, so grab this quality repress ASAP! 180g pressing!

                  "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.

                      Myra Barnes / Barbara Gwen

                      The Message From The Soul Sisters / Right On

                      The Soopastole label have pulled out all the stops again by bringing us Myra Barnes and Barbara Gwen for this limited-run 7”. Soul sensation Myra’s ‘The Message From The Soul Sisters’ is an absolute classic to treasure from the golden era. Barbara Gwen also brings the best of the best with ‘Right On’. Only 300 copies made so be quick!

                      FORMAT INFORMATION

                      7" Info: Limited to 300 copies.

                      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.

                      What better way than to escape writer's block than to outrun it! International Feel boss, and contemporary Balearic titan Mark Barrott swaps the sunkissed calm of Ibiza for the...sunkissed calm of Uruguay, returning his label to its roots and reigniting his creative camphor. The result, "Sketches From A Distant Ocean" sees Barrott back in his groove, fusing jazzy bass, Methaniac guitar and tropical synth tones for slinking sunset jam (Galileo), offering an esoteric, ethnomusicological excursion (Low Lying Fruit), embracing the anthemic (The Rowing Song) and gliding over the horizon (Xarracó). Welcome back!

                      STAFF COMMENTS

                      Barry says: Synths, sunset guitars and soothing sounds from Mark Barrott here as he returns to his native International Feel. Currently soundtracking my summer holiday perfectly.

                      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.”


                      Most music does not come out of nowhere. Arising and appearing in a pre-existing system of influences, cross-references, roots, memories and desires, it either directly points towards a heritage or into the future. Mark Barrott’s "Nature Sounds of the Balearics" is a bit of both. The mastermind behind the International Feel label and the Sketches from an Island series presents an intermediary.

                      Technically, it’s his departure from a software based workflow and onto (or back to) a hardware driven creative point of view. Philosophically, it deals with the schizophrenia of our times: the late Paul Virgilio’s dromology and logistics of perception versus a decelerated life outside of cities, internet algorhythmics (sic!) versus meditation, the excessive stock market (all track titles are derivates of that world) against a tactile way of living.
                      Musically, it is the outcome of what Barrott himself described as his "techno album". For people whose definition of techno has to do with speed (again) and kick drums that might seem like a misinterpretation. Listeners who remember the Artificial Intelligence and Freezone compilations, various chill out channels or Detroit’s mellow moments, will tend to agree. "Nature Sounds of the Balearics" miraculously evokes those days and times, without breaking his neck. It is as much at home in a Caribbean water utopia between dolphins and old fishing boats as it feels current and applicable in a Ridley Scott dystopia. And if meta levels aren't your thing: it’s just a beautiful album.

                      STAFF COMMENTS

                      Barry says: Moving away slightly from the beach-bound cocktail-fuelled halcyon lysergia of the previous outings, Barrott opts for off-kilter melodies and hardware-based sequencing to create a more rhythmically diverse offering, as fascinating as it is engrossing. Lovely stuff.

                      FORMAT INFORMATION

                      Ltd LP Info: Gatefold 180 gram vinyl.

                      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.

                      Matt Berry

                      Music For Insomniacs

                        Originally released in 2014, Matt Berry’s ‘Music For Insomniacs’ was an exploration into Matt’s love of the classic electronic experimentation of the 1970s, typified by the recordings of both Jean Michel Jarre and Mike Oldfield.

                        With the original vinyl issue being limited to 500 units and never being repressed, Acid Jazz Records are making a special blue vinyl reissue available.

                        On release, ‘Music For Insomniacs’ was critically acclaimed, receiving four star reviews in Mojo, The Times and The Sunday Times and the following acclamations from the NME - “much too good to fall asleep to” and Shindig - “quite brilliant”. Intrigued by the work, Jean Michel Jarre asked Matt to work with him on a track and also involved Matt in his career retrospective podcast.

                        This reissue comes on the back of the widespread success of Matt’s latest album ‘TV Themes’, which charted in the UK Top 40 and was almost universally acclaimed by Will Hodgkinson in The Times to David Holmes and The Orb. A BAFTA Award-winning actor, Matt is currently filming two new TV series but will be back in the studio during 2019.

                        FORMAT INFORMATION

                        Coloured LP Info: White vinyl.

                        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’.

                          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.

                          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.


                            The first Where To Now drop of 2019
                            Fans of Lee Gamble, Tomoko Sauvage, Mark Fell, RKSS, Holly Herndon, Christian Marclay take note here and dive in. 

                            Myriam Bleau is a composer, digital artist and performer based in Montreal. She creates audiovisual systems that go beyond the screen, such as sound installations and performance-specific musical interfaces. Her hybrid electronic practice explores music performance as a codified cultural manifestation and recontextualizes pop culture elements and music history tropes. For ‘Lumens & Profits’ Myriam has exported this ethos towards pure sound design, deconstructing a palette of familiar musical forms into 8 pieces of wandering, weightless movements; where Vocal samples and percussive rushes launch themselves from empty space, repeatedly shattering any vibe you were about to ease yourself into. Rhythms scatter, violently collapse, and pick themselves up again grinning with hands aloft, sprinting towards the light.

                            This is the sound of an artist who clearly has a deep interest in modern tropes of UK bass music and contempory electronic composition, but due to Myriam’s historical grounding as a tactile, experimental audio visual artist these genres become uniquely filtered through a performative, Musique Concrete focused lens. In this sense the pieces end up as somewhat hybrids, absorbing Myriam’s rich performance based musical history and sweeping into the mix the outer corners of avant garde 80’s sampler experiments, Hip-Hop Turntablism, and classical elements. With ‘Lumens & Profits’ Myriam has managed to create something which sounds distinctly fresh in approach, whilst managing to playfully & respectfully nod towards a tidal wave of cultural movements.

                            ‘Lumens & Profits’ is heavily influenced by Myriam’s own ‘Musical Spinning Top’ A/V performance ‘Soft Revolvers’ (viewing a section of the spellbinding performance does the piece far greater justice than I could ever try to clumsily put into words - https://vimeo.com/104996493). Whilst inspiration was gleamed from the performance Myriam is keen to separate the two projects, explaining - “While composing these pieces, I was very occupied by the idea of modulated speed or tempo that came from my spinning top performance. Seeing instruments on different tempos that fluctuate rather than run on different strict patterns. I tried to imagine freely moving instrumental lines that only momentarily align, rather than a grid or tempo that would control all the elements. A lot of the pieces rely on algorithmic arpeggiation (custom max patches), as a way to create processes that control the speed and timbral width of sounds dynamically.”




                            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.

                            Michael Boothman & Family Tree

                            Tabu

                              Band from Trinidad & Tobago, led by the internationally renowned lead guitarist guitarist and songwriter Michael Boothman. Tabu and So Dey Say were recorded in 1972 and would remain Family Tree’s only recordings. Limited edition of 500 copies worldwide!
                              .
                              Family Tree represented a new generation re-discovering Trinidadian folk music forms and giving them a contemporary treatment. Family Tree infused old Shango rhythms in their new sound and were the first to experiment with steel pan fused with standard instrumentation.

                              Tabu is a cover of a Cuban standard made popular in Trinidad by 1950s calypso musicians Cyril Diaz and his Orchestra and So Dey Say was an original composition by David Boothman.

                              Although they only ever recorded these two songs, the band toured with Derek Walcott's Trinidad Theatre Workshop and forged long standing musical connections with some of the country's leading musicians. 

                              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.

                              '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.

                              Re-issue of Mark Broom's "Drift" and "Flip Flop" tracks originally released on Mosaic in 1998. Remastered and adjusted versions, "Flip Flops" jumps off the wax with vibrancy and clarity, it's plethora woodblock hits ratcheting up that primitive, unrelenting techno energy perfectly while that soft-play bassline rubs up in the erogenous zones giving the track a sexy edge. Other lead track, "Drift" begins life in a more spacious and cerebral realm, before dropping into a precise, sniper-shot of jack drums and fizzing bass, those phazed pads drifting in and out of focus throughout. Mega.

                              Other tracks skirt between electro-infused wobblers and glitched out technoid breaks - all possessing that Broom-esque flair and ingenuity. This is a boss bumper pack of bad boy teck - you need!


                              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.

                              STAFF COMMENTS

                              Millie says: The Black Focus label has added another gem to it's name, Mansur Brown, a mixture of funk driven guitar and a broken beat vibe.

                              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


                                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."

                                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!



                                The "Utopia EP" is Mira Calix’s first release on Warp in a decade. A decade in which mixed media installation and exhibition work, with a focus on classical instrumentation, has been the main focus of her practice. Her most recent project was a sound installation that featured an ambitious choral work, performance artists and a unique speaker diffusion system. Part of Beyond the Deepening shadow at the Tower of London, it ran from 4-11 November and saw over 300,000 visitors, creating an international media storm.
                                The basis for the new EP title and lead track - rightclick - was Utopia, a Random Acts film written and directed by internationally acclaimed novelist Adam Thirlwell (released on 6 December 2018). In the short film starring Lily Cole and Lily McMenamy, a girl tries to set up a commune in a tiny apartment and finds her ideals of utopian living tested and expanded as an alternate version of Calix’s fragmented track acts as the bedrock throughout.
                                Calix’s return to electronic instrumentation and the laid-back dance floor, is routed in the physical landscape. By creating these frameworks and parameters she uses found sound, off cuts of existing sonic material from her personal library, taking a collage approach to music. Exploring this fragmented approach further, she deploys her own voice as an instrument, a cut up that refractures and recontextualizes the material in order to conceive a sound that is directly influenced by sight.
                                "Rightclick" was made specifically for the film, the subsequent 3 tracks followed on and were very much conceived as an EP in graphic form, a sonic découpé if you will. The concepts behind the individual tracks’ riffs stem from the role of the muse, the male gaze, nostalgia vs modernity and the distribution and categorisation of art and the utopian idyll: "Upper Ups" references the muses of some of the world’s most famous artists, "Bite Me", a podcast discourse on art, while "Just Go Along" explores escape, obsession and the male gaze.
                                Calix has always created drawings and graphic material as part of composition process - visible on her Calix Portal - where she has been releasing material old and new from installation-based work over the past 18 months.


                                STAFF COMMENTS

                                Matt says: What's going on here then?! An assured return of glitch / micro-house flavors for the new year? Sign me up boss! Essential listening for fans of Burnt Friedman, Marionette, Jan Jelynek, Vladislav Delay etc.

                                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.

                                After a break of some 10 years producer and DJ Mat Carter felt the time was right to wake his imprint from hyper sleep.

                                It was started as, and will continue to be an outlet for both Mat’s own material and that of other like-minded beings and as the name Varial suggests the label is not limited, instead it reflects Mat’s tastes and touches on many styles.

                                Varial launches with the remaster and re-release of the much sought after cult classic, "Zark Time EP". Written and produced by Mat himself, this EP pulls on influences of fractured imagery, fuzzy electronics and dense soundscapes to form five tracks of warm, funk-fuelled jams that 17 years on still refuses to neatly conform with any one genre. As Mat himself says, 'I can’t help my influences.'

                                There's a playfulness as work here, alongside some very skilled sound design which finds it perfectly co-inhabiting the quirky and multilayered soundscapes of Bitstream and Aphex. Highly recommended!



                                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.

                                Michael Chapman

                                True North

                                  The masterful follow-up to his universally celebrated 2017 album 50, Michael Chapman’s True North finds the elder statesman of British song writing and guitar plumbing an even deeper deep and honing an ever keener edge to his iconic writing. This authoritative set of predominantly new, and utterly devastating, songs hews to a more intimate sonic signature—more atmospheric, textural, and minimalist than 50, stately and melancholy in equal measure. Recorded in rural West Wales, True North unflinchingly surveys home and horizon, traveling from the Bahamas to Texas to the Leeds of Chapman’s childhood, haunted by the mirages of memory and intimations of mortality. Joining him on this introspective journey is a cast of old friends and new disciples: once again Steve Gunn produces and plays guitar, and fellow UK song writing hero Bridget St John sings, collaborating with cellist Sarah Smout and legendary pedal steel player BJ Cole, who has accompanied everyone from John Cale to Scott Walker, Elton John to Terry Allen, Felt to Björk.

                                  The album begins with the gnawing regret of “It’s Too Late,” and every song Chapman sings thereafter directly references the passing of time—its blind ruthlessness, its sweet hazy delights in noirish language almost mystical in its terseness and precision. (The two transportive, gorgeous instrumentals, one per side, both have appropriately evocative—though decidedly not Northern—pastoral place names for titles: Eleuthera is an island in the Bahamas where Chapman habitually holidays every winter, and Caddo Lake straddles the border between Texas and Louisiana.) This is Chapman at his darkest and most nocturnal, yes, but also his most elegant and subtle, squinting into the black hours with an unseen smile. By the time True North is out in the world, Chapman will be seventy-eight years old and will have released nearly as many records, a staggering achievement. True North represents the most nakedly personal album of his career, his most authoritative, unguarded, and emotionally devastating statement. His universally celebrated full-band 2017 album 50 flirted with much-deserved triumphalism, offering a retrospective of his illustrious career, revisited in the company of the fellow UK song writing hero Bridget St John and a rowdy gang of younger acolytes including Steve Gunn, James Elkington, and Nathan Bowles. The production hearkens back to Chapman’s classic Millstone Grit (1973), as well as recalling Bob Dylan’s Time Out of Mind (1997); True North shares something of that album’s spectral gloaming, midnight heartache, and sly, self-knowing winks. Compared to 50, these recordings feel narrower in range, less overtly narrative and dynamic and more impressionistic and restrained, but they are correspondingly more piercing and arrow-like in their rending impact, more concerned with an archer’s deadeye aim than pyrotechnics. Whereas 50 featured two new songs among radical reinterpretations of material from Chapman’s deep catalogue, True North includes twice as many new numbers among its quiver of eleven arrows—“It’s Too Late,” “Eleuthera,” the fiery “Bluesman,” and slow-rolling album centre piece “Truck Song”—confirming the exultant return of Chapman the songwriter. The other songs were selected from various obscure corners of Chapman’s vast catalogue (“Youth Is Wasted on the Young” was previously recorded with Thurston Moore and Jim O’Rourke for a compilation, for example.) In these renderings they receive their definitive treatments, utterly transformed.

                                  STAFF COMMENTS

                                  Barry says: Chapman once again providing a tender but devastatingly evocative suite of brittle acoustic numbers, slowly strummed or skilfully picked cascades of guitar, all topped with Chapman's husky but perfectly fitting vocal accompaniment. Encompassing aspects of outsider folk and campfire revelry with the characteristic shadowy acoustic undercurrent inherent in all of his work. Quintessentially Chapman.

                                  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.

                                      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.

                                      Max Cilla

                                      La Flute Des Mornes

                                        Open your windows wide and let the summer breeze in, Max Cilla's "La Flute Des Mornes" is simply sublime music from Martinique — free-flowing, mystical roots, with lilting jazz, Latin and Cuban rhythms. Cilla dedicated himself to the revival of the bamboo flute 'of the coastal hills', which he fashioned by hand from a single piece of wood, according to ancient Indian traditions. In this recording from 1981 — a kind of Antillean sister-star to Don Cherry's Mu albums — it is featured alongside the traditional percussion instruments of Martinique. Good for souls and sundays...


                                        FORMAT INFORMATION

                                        LP Info: ONE COPY FOUND!

                                        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!

                                          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.

                                            '"White Shadows In The South Seas" is the title of a book written in 1919 by Frederick O’Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O’Brien’s book and Flaherty left the film after a few months leaving Van Dyke to finish it. I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and ongoing fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

                                            My eclectic and diverse musical and artistic interests extend into 'Hawaiian', ‘Exotica’, ‘Ambient’ and 'Electronic' Music.

                                            "White Shadows In The South Seas" features some of the music presented in my live screenings of the 1929 silent film. '

                                            - Mike Cooper

                                            Mike Cooper plays – Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

                                            It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

                                            All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

                                            Recorded and Mixed at the Steelworks in Rome 2012/2013.


                                            FORMAT INFORMATION

                                            2xLP Info: In silk-screened sleeves, with metallic ink.

                                            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.


                                            Mikal Cronin

                                            Undertow / Breathe

                                              It’s easy to get caught up in an undertow, pulled down into the water, weightless and directionless. The current stirs and you lose your way. But eventually, if you’re lucky and patient, you can float back up to the surface and take a breath. This is my first new music in a while - my gulp of air. Many talented friends joined me, the basic tracks were recorded live together for the first time in my recording career. This felt good. Jason Quever recorded it in Los Angeles, December of 2018. Thanks for listening." 

                                              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.

                                              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

                                              Canada's art school technopop queen, Mlle Marie Davidson smashed it right out the park, off the charts and up yer ahem with her recent "Working Class Woman" LP, reframing Italo, proto-industrial and electro influences into the kind of sleek but slamming club cuts Miss Kittin used to cook up. The difference here though, is that where Kittin could often be accused of style over substance, Davidson packs her productions with pointed observations on club culture and more oblique critiques of the modern world. Darkly humorous, textured and taut, "Working Class Woman" was a big hit at Piccadilly HQ. 
                                              The ‘So Right’ EP includes an extended club version of the titular tickler and a heavyweight basement techno-meets-razor sharp electro via a bit of breakbeat remix by John Talabot. The EP also includes new track ‘La Ecstase’, a dark and deranged coldwave collaboration with Lamusa II which is accompanied by a slamming industrial remix by Silent Servant.


                                              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 marries Betty, gets the funk and this is the end result: Along with "Kind Of Blue", but coming from a completely different angle, "Bitches Brew" is probably Davis' most celebrated work. Recorded in three days in August of 1969 and often heralded as the first shot fired in the fusion movement, "Bitches Brew" melds jazz with rock, and as an essential part of any psyche-prog head's record collection as jazz fans. Davis had already spearheaded two major jazz movements (cool and modal jazz) and was about to initiate another major change (the album's cover also sports the phrase "Directions In Music By Miles Davis" above the title). Most of the musicians (Wayne Shorter, Joe Zawinul, Jack DeJohnette, Chick Corea ) who played on the album went on to become giants of the 1970s fusion movement, with "Bitches Brew" being the jump-of point. Artists as disparate as Carlos Santana, Joni Mitchell and Radiohead cite this epic long player as an influence.

                                                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

                                                  Melanie De Biasio

                                                  Gilles Peterson Presents Melanie De Biasio - No Deal Remixed

                                                  Melanie De Biasio received the Best Session Award at the 10th Worldwide Awards, which took place recently in London. The award is for De Biasio’s stunning 2014 live session on Gilles Peterson’s BBC 6Music show.

                                                  A huge fan of the Belgian singer, Peterson has curated a new remix version of her acclaimed album ‘No Deal’. He called upon some of the most exciting names across the jazz, electronic and indie worlds for ‘No Deal Remixed’, including EELS, The Cinematic Orchestra, Hex and Seven Davis Jr.

                                                  Says Peterson; “To my mind, of all the new artists around, the most remix friendly has to be Melanie De Biasio. For a person like me with a DJ mind, the minimalism of ‘No Deal’ makes it perfect. I’ve been dropping ‘I Feel You’ on top of beats anyway and even played ‘I’m Gonna Leave You’ in its original form when the moment arose - it’s such a pure track. In fact the first thing I did on meeting Melanie for the first time this year was to ask her who produced the album. It was me she replied... so not just a pretty voice!”

                                                  Mark De Clive-Lowe

                                                  Love Will Save The Day / Love Supreme

                                                  Mark De Clive-Lowe gets busy with some classic soulful house action here, delivering two big cuts for the dance.

                                                  "Love Will Save The Day" utilizes a disco-flavoured vocal part, pairs it with anthemic piano chords, twinkling keyboards and a MAW-styled B-line. The result - a hand-aloft burst of feel-good energy and maximum grins guaranteed. The kinda track you can pop out at the end of a long session to unite the whole crowd under an umbrella of endorphins.

                                                  "Love Supreme" places a saxophone line at the focus of this expansive house jaunt while grand atmospheres and rushing sweeps add a captivating, almost cinematic quality. Abstract and just slight proggy, it's the kinda track big room DJs like Francois K and MCDE would use to devastating effect. 


                                                  Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its dancefloor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with five albums and two dozen EPs plus millions of miles in the rearview of his biography.

                                                  Bunny is the name of Matthew Dear’s fifth album. His first since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modafinil Blues” and the buoyant, blithe, Tegan and Sara-featuring “Bad Ones.” Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.


                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Very limited white splatter vinyl.

                                                  LP includes MP3 Download Code.

                                                  "Psychic Death Hole”, the ultra limited 6 song cassette released early in 2013 introduced the world to Morgan Delt’s self-produced, genre-bending flavor of brown acid-dosed flowerdelia. Equal parts 'Odyssey & Oracle’ and ‘Parable of Arable Land’ Morgan Delt ’s debut self titled album expands on those initial tracks and brings forth one a fully realized glimpse into the California native’s twisted brain.

                                                  Morgan cites influences from Curt Boettcher to West Coast Pop Art Experimental Band and rounds it out with golden age Sunset Strip heavies like The Byrds and Love. It’s all in there; obsessively studied, mastered and then mutated. Side one opens with the one/two punch of ‘Make My Grey Brain Green’ and ‘Barbarian Kings’ blasting apart 40 years of pop-psych and stitching it back together in a way that is both familiar but also refreshingly new. ‘Beneath the Black and Purple’ soars with a chiming guitar grumble right out of "8 Miles High" & “Chakra Sharks” squirms it’s way out of the speakers like a snake - oiled up with the stink of not only what came before, but what’s happening NOW. The drums pound hard and heavy, while the backups “la-la-la” all over your noggin like a Frankenstein version of The Flaming Lips & Thee Oh Sees. Each track worms it’s way into your brain and takes hold.

                                                  The finale ‘Main Title Sequence’, is all Stu Phillips-worship, right out of the soundtrack to your favorite 60’s cult classic with it ’s angelic backing vocals and lilting tremolo lead but somehow still buzzes with a modern current. As Morgan so keenly described his notion on the current state of genre bending music “I think we’ve become unstuck in time and everything is going to happen all at once from now on.”

                                                  RIYL: Flaming Lips, Thee Oh Sees, Curt Boettcher, Red Krayola, Byrds, Love, White Fence.

                                                  The invocation of classic west coast psychedelia that permeates Morgan Delt's Sub Pop debut LP feels like a continuous sunrise, never concealing its influences yet perfectly putting its songs through a gauzy lens that blurs and obscures. Is such a thing even possible after witnessing umpteen reverb-jockeys creating their own take on the genre? Can anything truly different be done in the realm of being both original and reverent, wearing favorite records and artists' moves on one's sleeve? Definitely the case with our man here. After releasing a 6-song cassette in 2013 followed by a full length for the Trouble In Mind label, the California native now fine-tunes his sound world outwardly rather than honing in on a specific trajectory, allowing all of said influences to coexist together in a unique yet undoubtedly Californian vision.

                                                  The resulting 10-song collection, performed entirely by Delt, recorded in his Topanga Canyon studio, and mastered by JJ Golden, is a home-fi construction with a more subtle, brain-tickling character than its predecessor, and somewhat reflects a realist take on the flower power fantasy of 1967. Doused in echo and haze, slow chords lap in like Pacific waves, flanked by gentle whispers of multi-tracked, cooing vox, phased guitars and fuzz that calmly surrounds the listener's head less than it jabs at the cortex.

                                                  The great thing about Delt's approach to such history is (and sorry to sound harsh) that unlike too many of his so-called L.A. psych-rock peers, there's no costume involved, no application of a conjured identity to match a specific image. He's no psychedelic Civil War re-enactor, so to speak. It's subtle and tactful revisionism without using psychedelia as a crutch/easy marketing tool and letting the sounds come out and make their own case.

                                                  It takes a creative mind to make psychedelic rock music – tablas, drones, hallucinatory vocal effects, and all – without slipping into cliché, but Delt can transport what would normally be a dark-n-druggy blanket into a much more optimistic and friendly listening experience. Despite his voice being channelled through hallucinatory effects, it's warm and inviting, projecting a sense of hope (particularly in “Some Sunsick Day,” which evokes the hopeful “We'll Meet Again” as the world explodes at the end of Dr. Strangelove, later covered by the Byrds). It's more or less just an invite to watch the sun rise too. -Brian Turner, WFMU

                                                  STAFF COMMENTS

                                                  Barry says: Hazy Late-60's tinged psych on the newest LP from hippie music maestro Morgan Delt. Swirling whirs of analogue synths, torn speaker-fabric fuzz and twangy guitars intersperse with sunny blissed-out guitar and delayed falsetto vocals. Mellow, warming summer feels. Lovely.

                                                  Andy says: I loved Morgan's debut but this ups his game tenfold! Still with that fuzzy, warm, home-made feel, but so much deeper and better and with stronger songs all round, this is the perfect soundtrack for your hazy Indian Summer.

                                                  Like the days of Steely Dan, Harry Nilsson or Prince releasing a classic every year (or less) comes Mac DeMarco's Another One, a mini-LP announced almost one year to the date of the meteorically successful Salad Days. Conceived and recorded entirely by himself in a short period between a relentless tour schedule at his new place in Far Rockaway, Queens, Another One is eight, freshly written songs, expanding the arsenal of Mac's already impressive catalog. There’s a bittersweet, romantic sensibility present. The overall feeling is lost love, or perhaps love never found, yet Mac embraces this without making it an overly somber experience for the listener. It’s at times haunting and warm, and a bit more refined and sophisticated, but still plenty playful, retaining the guts and soul of classic Mac.

                                                  FORMAT INFORMATION

                                                  LP includes MP3 Download Code.

                                                  Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, “2” is a concerted effort to produce a cohesive work that showcases Mac’s natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm “Cooking Up Something Good” to the heartfelt “My Kind of Woman.” It’s obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. “Freaking out the Neighborhood,” Mac’s apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing. He did, after all, turn 22 this April.

                                                  STAFF COMMENTS

                                                  Ryan says: His first full album, full of quirky garage gems, slightly odd but in a good way... I think it's awesome anyway.

                                                  Mac Demarco

                                                  2 Demos

                                                    Mac DeMarco’s second album, 2, cleaned up the songwriter’s warped take on soft rock and brought it to a broader audience. Given DeMarco’s affinity for keeping things lo-fi—2 was the first time he’d bothered to record demos—it’s revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like “Annie” and the Lennon-esque “Sherrill.”

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Captured Tracks Tenth Anniversary Edition, Pressed on Green Vinyl. Limited to 5000 copies worldwide.

                                                    "Hi, Mac Here. First off, thank you for listening to my new record. This one is my cowboy record. Cowboy is a term of endearment to me, I use it often when referring to people in my life. The rusty old grinning pin on the front and back covers of the record was purchased from a man in the mountains somewhere in the Nantahala National Forest between Chattanooga, TN and Asheville, NC.

                                                    Where I grew up there are many people that sincerely wear cowboy hats and do cowboy activities, these aren’t the people I’m referring to. Before realizing that your surroundings don’t necessarily define who you are, I felt very uncomfortable in the company of that culture. This record was recorded in my garage during the first two weeks of January 2019. I played all the instruments, except for a little bit of keyboard here and there, which was played by my touring keyboard player, and friend for most o me life now, Alec Meen. My travelling sound man Yakitori Santar helped me track it and put it together as well. It was raining a lot in Los Angeles while we were recording, you can hear it tapping on the windows of the garage here and there if you listen closely."

                                                    STAFF COMMENTS

                                                    Barry says: Classic Mac this, snappy CR-78, lo-fi chord swells and Demarco's unmistakeable vocals. Add these classic sounds to the more esoteric offerings (the simmering funk of 'Choo Choo' or the minimalist lolloping groove of 'Nobody' for example) and you have the most rounded and satisfying offering yet.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Indies exclusive green/black mix coloured vinyl, with reverse artwork, gatefold sleeve, 4 page 12" insert, sticker.

                                                    LP Info: Black vinyl, gatefold sleeve, 4 page 12” insert, Sticker.

                                                    Debut EP from the Canadian eccentric Mac Demarco. This record of weirdo blues rock is amazing. Think Scott Walker meets Ariel Pink. Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery.

                                                    DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. Come March DeMarco's debut solo EP entitled Rock And Roll Night Club will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.


                                                    FORMAT INFORMATION

                                                    LP includes MP3 Download Code.

                                                    'Salad Days', is the follow up to 2012's lauded 'Mac DeMarco 2' which saw the Edmonton local propelled into the limelight. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), 'Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format.

                                                    The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "..never been reluctant to share, passing out pieces of me.." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory.

                                                    Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon/Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now.

                                                    STAFF COMMENTS

                                                    Ryan says: Having set the tone with his second album ‘2’ back in 2012 with an ode to cheap cigarettes and song after song of whimsical ambivalence, Mac Demarco offers up some fresh delights for us to sink our teeth into. This time there’s a few darker moments from the haunting synthpop masterpiece “Chamber Of Reflection” to a frosty “Passing Out Pieces” revealing the toll touring the world has taken on him. When Demarco isn’t passing out pieces he takes the time to dish out some of his best gap-toothed advice yet with “Let Her Go” and “Treat Her Better” topping it all off with his usual brand of crooning vocals, languid guitars and those ridiculously funky basslines, a definite step up from the last album. Mac takes things a little (only a tiny bit) more seriously this time and pulls off his best record yet!

                                                    Captured Tracks have the album you've all been waiting for. Mac Demarco's 'This Old Dog' is finally upon us and for long-term fans or new listeners alike, it's a treat. Starting with the warming tribute, 'My Old Man' which begins rich with woody CR78 percussion and sumptuous acoustic guitar, soon to break into Demarco's unmistakeable vocal drawl. As the chorus grows from the tapestry of sound, the warmth of the reticent synth swells surrounds the stero image in a comforting blanket of organic haze. It's indicative of Demarco's earlier work, but more confidently approached, brilliantly minimal still but undeniably rich in it's simplicity. 

                                                    'Baby You're Out' grows from a more off-centred rhythmic approach but undergoes a shuffling transformation to swoon into the folky redux of the main choral refrain, it's an approach that could be jarring but in the capable sonwriting hands of the man himself, it predictably goes by without a hitch. Speaking of transformations, Mac seems to undergo a tranformation himself from shuffled syncopator into sleazy lounge singer in the oozingly laid-back 80's synth sizzle of 'For The First Time'. Decending digital pads and simmering DX7 tines coalesce into a melting-pot of reverb and polyester garments. 

                                                    There are pieces here like 'Sister' that really display the no-frills talent that has endeared us all to him for so long, comprising of hazy pitch-shifted guitar sitting right back in the mix while heartbreaking lyrics swim ever so briefly around the wistful plucking. 'Dreams From Yesterday' oozes with crackling tubes and hazy summer dreams to counteract the minimal aura of it's precident. And so it continues, from warm and full-bodied to cold and reticent, there isn't a bad moment here, only different emotions conveyed through a variety of techniques, and every one of them perfectly executed. 




                                                    STAFF COMMENTS

                                                    Mine says: "Mac DeMarco must be some kind of joke act, right?" Has this thought ever crossed your mind? I came across it in a festival review and I felt for the poor guy who just didn't seem to get what Vernor Winfield McBriare Smith IV (I'll give you a moment to let that settle in...) is all about. If you can relate but somehow feel intrigued, 'This Old Dog' is your perfect entryway into the wacky world of Mac DeMarco. It seems like everyone's favourite sleaze man is trying to show us that he has grown up, without having lost an inch of his quirkiness. It is okay to be vulnerable sometimes, the songs about his troubled relationship with his father seem to confess, just don't bury your head in the sand. 'This Old Dog' is stripped back, simpler and therefore easier to digest than his previous outings. It's dreamy and reflective but always light-hearted, and will leave you with a warm, fuzzy feeling in your chest. Careful, though, you might feel like you're floating on a cloud.

                                                    Marcel Dettmann

                                                    Dettmann II

                                                    “Dettmann II” is a sequel in a true sense, the album marks a return to the spirit of his debut, but things feel less tense this time around. Dettmann brings his recent experimental outlook and applies it to the album template, creating a record that lives and breathes with a naturalism rare for a techno album. Expertly paced, “Dettmann II” impresses especially with its carefully rising narrative. As the album barrels into action with the particulate grit of “Throb” and “Ductil”, Dettmann is in fine style. Each tune’s central theme is a bit more out there than usual, from the sheet metal racket of “Lightworks” to the house-hinting chorus of “Soar”, which is every bit as majestic as its title implies. He offers up some top-notch ambient material as well, like the trippy “Shiver”, or the ominous “Outback”, which features contributions from Levon Vincent.

                                                    Dettmann also reaches for a rare collaboration on his second album. Kindred spirit Emika lends her spectral gasps to “Seduction”, which stays stunningly antiseptic even as it weaves her voice into its wire framework. With “Dettmann II”’s stretch of tracks “Radar” and “Corridor”, the album finally takes flight into full-on club mania, fist-pumping career-high material with all the subtlety of his old work molded up into a spiky banger.

                                                    “Aim”, which ends the record in lofty fashion, hints at a new direction for Dettmann, uncharacteristically melodic and even uplifting. Co-produced by René Pawlowitz, it bears the Shed touch but keeps it firmly in Dettmann’s finely-honed world. The first track written for the album and the one that initiated the album sessions in the first place, it carefully hints at new directions while keeping its glance firmly in Dettmann’s established history - which you could say for the album as a whole, gently moving towards new horizons but always keeping in mind what made Dettmann’s past music so great in the first place.


                                                    STAFF COMMENTS

                                                    Patrick says: Dettmann calls time on summer, speeding winter along with a majestic record for the long nights ahead. Rigid percussion is paired with shimmering melody as he takes a small step away from the brutal minimalism of his first album.

                                                    Michael Diamond & Adam Horovitz

                                                    Beastie Boys Book

                                                      Formed as a New York City hardcore band in 1981, Beastie Boys struck an unlikely path to global hip hop superstardom. Here is their story, told for the first time in the words of the band. Adam “AD-ROCK” Horovitz and Michael “Mike D” Diamond offer revealing and very funny accounts of their transition from teenage punks to budding rappers; their early collaboration with Russell Simmons and Rick Rubin; the almost impossible-to-fathom overnight success of their debut studio album Licensed to Ill; that album’s messy fallout; their break with Def Jam, move to Los Angeles, and rebirth as musicians and social activists, with the genre-defying masterpiece Paul’s Boutique. For more than twenty years, this band has had a wide-ranging and lasting influence on popular culture.

                                                      With a style as distinctive and eclectic as a Beastie Boys album, Beastie Boys Book upends the typical music memoir. Alongside the band narrative you will find rare photos, original illustrations, a cookbook by chef Roy Choi, a graphic novel, a map of Beastie Boys’ New York, mixtape playlists, pieces by guest contributors, and many more surprises.

                                                      Hot Casa hit us with a fantastic and rare album by Manu Dibango, the Afro Soul Maestro!
                                                      These tracks were recorded in 1971 at Pathé-Marconi studio (Boulogne Billancourt) for professional sound illustration intended for the cinema, television and advertising. The jazzman experimenting with all genres was then beginning to convert solely to what soon to be called “Rare Groove” somewhere between Soul, Jazz and Afro-Funk, with a hint of Latin clave.
                                                      In 2019, these tunes have not aged and the sound can be considered as “Huge” by many crate-diggers. These recordings were not supposed to reach the club or radio audience, it was more free sessions, a moment during they can open their imagination and test their “Afro something”, like Manu Dibango call it. Theses recording sessions included the best of the french soul scene at this time, Yvan Julien (Trumpet), Slim Pezin (Guitar), Jacques Bolognesi (Trombone), Lucien Dobat (Drums), Emile Boza (Percussions, Manfred (Bass) and the conductor himself at the vibraphone, marimba, saxophone, organ ...
                                                      This album is a wonderful return to the future and should satisfy the need of the Afro-Soul aficionados! We're very happy to celebrate the 86th anniversary of the best French musician in history with one of his best recording reissue!

                                                      STAFF COMMENTS

                                                      Sil says: Hot reissue in a hot label! This is Dibango at its finest. The pressing is excellent with a heavy and rich sound. This is a collector's item and will fly pronto!

                                                      Manu Dibango

                                                      Wakafrika

                                                      Soul and Makossa. "World Music", a two-word universe, was born in the early 70's. For the first time Africa, in the form of Cameroon Makossa, nosed its way into soul, the heir to jazz and rhythm'n blues. As is often the case, this particular stage in musical evolution, which today is considered as capital, was at the time nearly missed, the B-side of a single which should never have got further than the suburbs of Douala. Among Westerm audiences, Manu Dibango is best known for "Soul Makossa," a highly infectious blend of African music, soul-funk, and jazz that became a major pop hit in the early '70s. The African artist revisited his signature tune on 1994's "Wakafrika", which boasts an all-star cast that includes Peter Gabriel as well as Haiti's Papa Wemba and African heroes Ladysmith Black Mambazo, King Sunny Ade, and Youssou N'Dour. As you'd expect from such a stellar bunch of guests, "Wakafrika" is an outstanding LP, featuring the reggae-influenced "Em'ma," a remake of Gabriel's "Biko," and the "Makossa"-ish jams "Wakafrika" and "Jingo." 

                                                      Mike Donovan’s debut comes following a distinguished run of tunesmithing for noise-popster poster boyz Sic Alps, so he’s well prepared to go the solo route with a sack full of songs.

                                                      Lyrically, Mike’s sharpened the lead for a less random line drawn in the sand - allusive trips, lost in crystal canyons, turning a phrase with an acid flick of the wristwatch. Guitars intersecting in the manner of the old loom The Stones once used, weaving in blue. Where rubric becomes fabric becomes freecidelic. Confronting the empty in acrostic (inner) space, WOT is Plastic Ono dyspeptic arrhythmia. The dream is over, so he’s starting a new dream.

                                                      Your troubadour for the new era is Mike Donovan, and he captains his own ship, known to all as ‘WOT’. Stripped of electric additions and distractions, deduced to a dialog mostly, the twelve new hot mercury tunes are departing now. Leaving on a jet stream, the soul-sound dissolves in a liquid hiss.

                                                      Mike Donovan

                                                      Exurbian Quonset

                                                        Mike Donovan has seen his share of the world, making records and playing shows all over the past 20 years with, chronologically, The Ropers, Yikes, The Hospitals, Sic Alps, Ty Segall, The Peacers and most recently, himself.

                                                        In June of 2017 Mike led The Peacers’ sophomore effort, ‘Introducing The Crimsmen’, into the world. In 2018 his own sophomore solo release, ‘How To Get Your Record Played In Shops’, hit down (in shops - it worked!). Now a third long player in the timeframe arrives, as Mike whisks us away to his remote ‘Exurbian Quonset’.  ‘Exurbian Quonset’ sticks up like a fork in the road - it was drawn together as Mike prepared to be the last man from the old gang to leave SF, where he broke so many rules and new ground, working as a driver, a trimmer and a craftsman, cementing bricks into the foundation of the new centurion West Coast rock and roll movement from his place alongside Thee Oh Sees over the past decade. It’s dedicated to the woman who married him and taught him both words in the title of the album - exurbian and quonset - and who he’ll whisk away with to somewhere just like the title.

                                                        ‘Exurbian Quonset’ is a pure solo record - Mike created everything in the place, from voices and guitars to keys and space. It is pure pop music as well, as it has been played in dark, wet corners (and on the safety of cold, dry turntables) for the past half-century. Abstract-, post-, deconstuct- and autodestruct are as much a part of Mike’s songs and singing as the melodic evocations of personal moods and private memories, dreams and fantasy, a Proustian matrix, stamped into antic untameter.

                                                        After a burst of Velvet clatter and noise, clamour, balladry and cavernous shimmying to open the record, the skies clear and birds appear, as if to signal a new season. Side two displays his deep propers, moving from the uncompromising Lennonist collage, ‘Wot Do Rich People Do All Day’ to the cheerful McCartneyisms of ‘B.O.C. Rate Applied’ to the Harrisonseque despondence of ‘Nowhere Descender’, creating corroded ‘White Album’-esque fx in our mind without ever leaving his own backyard - or cleaning it up. The mood is only extended with the acid-burnt instrumental ‘Zone Dome’ and the farewell ditty ‘My System’, ringing down the curtain in definitively (Mike) Donovanesque fashion. Where will we find him next?

                                                        Marcel Duchamp

                                                        Erratum Musical

                                                        Hmmm... following the principle of musical erratum (conceived in 1934), 88 pieces of paper corresponding to each note on the keyboard are drawn at random, and the resulting sequence of notes played on piano with uniform rhythm and accent. Includes seven variations (different tempo and sustain) recorded throughout one day.

                                                        Matt Edible & The Obtuse Angels

                                                        Stairgazing

                                                          Holy Orders/Edible 5ft Smiths frontman goes not-quite-solo with a little help from some celestial friends. ‘Stairgazing’ is the debut solo album from former Edible 5ft Smiths leader Matt Edible. Hull cult favourites Edible 5ft Smiths made one and a half of the greatest undiscovered albums of the noughties before burning up in a small blaze of glory, leaving broken hearts scattered in their wake. Since then Matt has fronted awesomely heavy & twisted rock combo The Holy Orders, all the while building up a collection of distinctly different songs of his own, more akin to a continuation of the Edibles catalogue.

                                                          Those songs seemed set to languish in the vault until, prompted by the mundanity of life and an encounter with mortality, Matt decided they needed to be fully realised and so sought out an old friend, producer and Edibles super-fan Joe Bennett (Dreaming Spires, Co-pilgrim, Goldrush, Saint Etienne). Before long a plan was hatched to cut the record at Farm Music Studios in Oxfordshire, with drummer Mike Monaghan (Willie J Healey, Ralfe Band, Gaz Coombes) and Co-pilgrim main man Mike Gale on board.

                                                          The record itself is a swooning psychedelic pop beauty: Matt’s distinctive vocal acrobatics are introduced on soaring opener “Jumping Houses” and alternative christmas hit “Advent Beard”. “Nightclubbing” is the greatest tongue-in-cheek stadium anthem Noel Gallagher never wrote, and album climax “The Healing” ebbs and flows from Bowie-esque prog piano balladry into full-on cinematic post-rock explosion.

                                                          Hey Mr Ferryman is Mark Eitzel's tenth solo album, his first in three years, and the first full studio album recorded entirely in London. It was made at 355 Studios with Mercury Prize winner Bernard Butler (Suede, McAlmont & Butler). Butler produced and played all of the electric guitar, bass, and keyboard parts on the album. Hey Mr Ferryman features the vivid melodies long associated with Eitzel's former band American Music Club as well as Butler's distinctive guitar that serves to complement Eitzel's expressive vocals. Of that voice, Pitchfork once wrote: "If Leonard Cohen's voice is a story about the passage of time and Levon Helm's is a story about losing what is most precious to you, Eitzel's is about the circuitous roads we take in search of ourselves." Mark Eitzel has released over 15 albums of original material with American Music Club and as a solo artist. The Guardian has called him "America's greatest living lyricist," and Rolling Stone once gave him their Songwriter of the Year award.

                                                          STAFF COMMENTS

                                                          Barry says: Eitzel goes from the serene to the triumphant between one song to the next, the brilliant balladry of 'In My Role As Professional Singer And Ham' and the easy listening morose indie charms of 'An Answer' providing a soaring and stripped-back counterfoil to the more rocking pieces like the brilliant 'Mr Humphries'. A brilliantly balanced, and eminently listenable delight. Brilliant.

                                                          "Howling Songs" is the magnificent third and last part to the 'songs trilogy'. This is a very haunted and personal piece of music which is the testimony of a unique talent where moving melodies follow other moving melodies balancing between ballad songs and folk music, madness and reason, revolt and despair. "Howling Songs" sympathizes with the surrounding world; it is a definitive observation in which one can feel, throughout the songs, an outraged sensitivity which is the signature of the artist. It is all the more sensitive that Matt's voice is sometimes present without any chorus in the background, bringing to the whole both confidence and unquestionable heat. "Howling Songs" is, without a doubt, the most introspective album by Matt Elliott and the one which carries best his musical personality. Fans of Nick Drake, Yann Tiersen, Crippled black phoenix, Wovenhand will enjoy Elliott's powerful songwriting and outraged sensitivity.

                                                          The new Matt Elliott album The Calm Before, its 7th under his own name. Matt has once again requested producer David Chalmin and the musicians appearing on his previous record to deliver six new masterpiece songs following the "A Beginning" intro. While one could consider these new songs are a logical continuum to his previous records, a deeper listen reveals a strong work of both the musical and lyrical content, showing once and for all what Matt Elliott's art is about. Folk guitar virtuosity playing influenced by mediterranean countries as well as eastern Europe countries, songs starting from whispered melodies to full noisy storms, his deep and strong voice reaching another singing level, and his tendency to avoid any well known way of making the music, writing epic anthems.

                                                          But one should also consider Matt's poetry as an art on its own. We tried to ask him to develop the themes of these new songs, but Matt hates talking about his lyrics, preferring to leave the meanings of the songs open to interpretation. But we took everyone and everything Matt loves and put them in a room and threatened it with fire until he actually told us what the hell the songs on "The Calm Before" are about. Here's the result : "'The Calm Before' is obviously a reference to the expression 'The calm before the storm'. The song itself is about those points in life when a storm arrives, be it a circumstance or a person & the mix of feelings, turbulence, trouble that comes with it but a storm also brings something, it clears the air & can push you into a new situation."

                                                          'The Feast of St. Stephen' is a self explanatory song about his thoughts about his childhood & the psychological pressures, abuses and manipulations present in all social groups in organised religion. To him : "'I Only Wanted to Give You Everything' needs no explanation, the lyrics are clear and the music expresses the frustrations of rejection. 'Wings & Crown' is a song about those who ride high oblivious to the precariousness of their power. "'The Allegory of the Cave' is very obviously about Plato's famous allegory and if you don't know that then you should probably just give up and walk into the desert… . But seriously the allegory is about humanity in relationship to the great universe and what lies beyond the Pale. Matt Elliott delivers with The Calm Before another masterpiece, adding a precious stone in his path through contemporary folk music.

                                                          Missy 'Misdemeanor' Elliott

                                                          Miss E ...So Addictive

                                                          FINALLY ON VINYL - YEAHHH!!! Hmmm... sounds like Missy and Tim have got into the ol' disco biscuits in a big way. Timbaland's beats have taken yet another new turn (as you will have heard from "Get Ur Freak On") and Missy's lush vocal arrangements are as off-the-wall as ever. Loads of guest vocalists - Redman & Method Man, Ginuwine, Busta, Da Brat, Lil' Mo, Jay-Z etc. Another wicked and highly tripped-out LP from Missy and Tim.

                                                          FORMAT INFORMATION

                                                          CD Info: CD has a couple of very good indeed hidden tracks.

                                                          Mark Ernestus Presents Jeri-Jeri

                                                          Ndagga Versions

                                                          Jeri-Jeri is the collaboration between the renowned Berlin based producer Mark Ernestus and a griot clan of Sabar drummers from Kaolack in Senegal, led by Bkane Seck, along with guest Mbalax musicians and vocalists - including mainstays of the bands of Baaba Maal, Youssou N'Dour and other top Senegalese artists.

                                                          Aficionados of cutting edge world music and underground dance will have noted Ernestus's remixes of Afrobeat legend Tony Allen and Kinshasa rockers Konono No 1, and his co-compilation (with Honest jon's) of the critically acclaimed Shangaan Electro showcase. On the quiet though, he has become increasingly hooked on Mbalax wih its hyper-vivid Sabar and talking-drum workouts, and ultra-repetative. sick, sequencer-like Marimba synths. In early 2011 he travelled to Senegaland the Gambia in search of original recordings. Through an unlikely set of coincidences, he ended up working in the legendary Dkar studio former known as Xippi, with more than twenty of the findest musicians in the country.

                                                          '800% Ndagga' and 'Ndagga Versions' present the results on two albums, splitting vocals and instrumentals; a masterful style of Mbalax, heady and hard groving, with high complex, fiercely succinct poly-rhythms; an ancient-futuristic music, mesmeric but sharp as nails, super charged with drama.

                                                          Mark Ernestus' Ndagga Rhythm Force

                                                          Lamb Ji

                                                          This latest release from German legend Mark Ernestus sees the Basic Channel man head deeper into the mother continent, further embracing Mblalax derived, spiritual rhythms and immersive dubspace. Hypnotic and otherworldly "Lamb Ji" puts you under its spell from the off, filling a carnernous soundscape with echoed vocals and occasional guitar while the Nder, Saba and Tama tesselate into an irresistible polyrhythm. Imbued with the typically exquisitive Ernestus sound design, "Lamb Ji" totally overwhelms your senses and transports you directly to the spirit realm. In case there was any doubt that the power lies in the ancient hide of those drums, Mark flips the riddim into dub mode on the B-side, rounding off another essential release.

                                                          Fresh from the Tokyo studio of Balearic wizard Max Essa, comes Barkhan Dunes EP; a collection of exquisite, chilled-out loveliness.

                                                          Opening track The Price You Pay (For Loving That Way) warns of the dangers of careless love affairs. A veritable beach-disco classic in the making; warm, expressive synth rhythms and beautiful clean guitar lines provide an irresistible urge to climb on deck and let your body move. Next up, Kites at Nemoto Beach caresses your soul with blissful shimmering guitar and synths, before some David Axelrod-esque choral vocals carry you across the oceans to a new place.

                                                          Finally, Sundowning is a sublime slice of low-slung, poolside AOR. As the golden-red sun slides towards the horizon, a bittersweet dubby guitar refrain hints at past troubles, but also carries you forward to an optimistic future.

                                                          Getting strong support from Dicky Trisco, Marco Gallerani, Simon Lee, Beatbroker/Dream Chimney and more.


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