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BACK CATALOGUE - M

Matias Aguayo is one of today’s most respected underground dance acts thanks to his own output and working together with artists such as Battles and Chris Baio (of Vampire Weekend). “The Visitor” is his third album - a major leap forward for this talented producer.

“The Visitor” is very much a collaborative project featuring Juliana Gattas (Miranda!) and Aérea Negrot (Hercules & Love Affair), Daniel Maloso, Jorge González (Los Prisioneros), Philipp Gorbachev, Daniel Maloso and many others. The album was co-produced and mixed by Deadbeat.


FORMAT INFORMATION

CD Info: CD comes in deluxe spot-gloss printed (inside and out) carboard fold-out triptych sleeve.

Matias Aguayo & The Desdemonas

Sofarnopolis

Renowned electronic music producer & DJ Matias Aguayo presents his new project, which will unfold on several levels. The Desdemonas are a 4-piece rock band, fronted by Aguayo (who sings and plays a variety of instruments). It’s also a fictional story about a group of teenagers in a dystopian world (the story will be told in the lyrics, and in cartoons and videos based on Aguayo’s drawings). And it’s of course an album, in which Matias digs deep into some dark forms of rock music which inspired him as a teenager, and brilliantly revisits them in a moody, compelling, post-electronic 2017 style. Based in Berlin, the band will be touring around Europe and beyond, starting before the album’s release and continuing through 2018. Their line-up consists of drummer Matteo Scrimali from Italy, keyboard player Henning Specht from Germany, guitarist/bass player Gregorio Gomez from Colombia, and Matias Aguayo on vocals, keys etc. Matias Aguayo in a nutshell: born in Chile and raised in Germany, he’s created a varied body of genre-defying work since the early 00s, including several albums with legendary Cologne-based electronic music label Kompakt. A much in-demand DJ, he’s constantly been performing all around the world, appearing in the most prestigious festivals. Matias Aguayo has always been an original, iconoclastic artist: starting out “the man who helped popularize and expand minimal [techno]” (Pitchfork).

FORMAT INFORMATION

2xLtd LP includes MP3 Download Code.

Masimi Akita & Russell Haswell

Satanstornade

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

Marc Almond

Shadows & Reflections

    Shadows and Reflections is an album of cover versions, which Almond might have been expected to make years ago. Soft Cell’s first single was a cover of the Northern Soul staple “Tainted Love”. They also issued a version of Judy Street’s “What”. With Marc & Mambas, he covered Scott Walker’s “The Plague”. He’s interpreted Jacques Brel’s “My Death”. With Gene Pitney, he scored a hit with “Something’s Gotten Hold of My Heart”. Obviously, Almond has always been an active fan of music, has great taste and is not shy of sharing his enthusiasm for the artists and songs he likes.

    His new album, then, is a musical autobiography. “Shadows and Reflections” sits alongside a swoonsome version of Burt Bacharach’s “Blue on Blue” (he’s performed it live with its composer). But where the fully orchestrated Shadows and Reflections really wins is through its less obvious choices. The Gregorian-chant pop of The Yardbirds’ “Still I’m Sad” is a brave selection. Almond lives the song's psycho-drama, and gives it his all. Julie Driscoll’s swirling, Dusty-esque “I Know You Love Me Not” is given an intense, theatrical makeover. The Herd’s dark “From the Underworld” is a superb choice.

    Shadows and Reflections doesn’t fully reveal what makes Almond tick, but it does explain the source of some of his inspirations. More than this, it’s a terrific listen. - The Arts Desk

    FORMAT INFORMATION

    Coloured LP includes MP3 Download Code.

    Marisa Anderson

    Mercury

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

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

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

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

      STAFF COMMENTS

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

      Following his acclaimed collaboration on Strut with The Heliocentrics, the father of Ethio jazz returns with his brand new studio album, "Mulatu Steps Ahead". This is the first full new album by Mulatu Astatke himself since the 1980s and takes his Ethio jazz sound in new directions, exploring fresh fusions of Western jazz and traditional Ethiopian instrumentation, furthering the pioneering sound Mulatu developed during the 1960s and 70s, showcased on the recent Strut compilation "New York, Addis, London". The result is a rich new album, perfect for all fans of world music, jazz and the outstanding selling "Ethiopiques series". It features an A-list line-up of musicians including Byron Wallen, Jack Yglesias, James Arben and Danny Keane from The Heliocentrics, members of Either/Orchestra in Boston and leading players from Addis Ababa.

      STAFF COMMENTS

      Patrick says: Mulatu Astatke's back! The Ethio jazz forefather returns with his first new material since 1980, working with an all star cast to bring his trademark sound bang up to date.

      FORMAT INFORMATION

      2xLP Info: Repress of out of print Mulatu’s album from 2010 on Strut.

      Mulatu Astatke

      Mulatu Of Ethiopia

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

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

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

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

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

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

      STAFF COMMENTS

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

      FORMAT INFORMATION

      3xDeluxe LP Info: Limited repress!

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

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

      Maureen Bailey

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

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

      In demand modern soul floor filler

      Original worth £500

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

      Matt Baldwin

      Paths Of Ignition

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

      Marty Baller

      Baller Nation

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

        FORMAT INFORMATION

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

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

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

        STAFF COMMENTS

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

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

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

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

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


        Although it may be hard to believe on a rain-sodden Mancunian afternoon, it’s always summer somewhere in the world. Born out of sunshine and good times comes this sophomore LP from International Feel impresario Mark Barrott. Picking up exactly where the first volume of the series left off, “Sketches From An Island 2” finds Barrott at ease and at home in Ibiza, weaving the sounds and sensations of the White Isle into nine dreamlike meditations for a better life. Pulling together field recordings, dusty synths, African percussion and slide guitar, Barrott walks us from the comfort of his balcony to the calm of the beach, drifting into aperitifs at La Torre and dropping out with the drummers at Benirras. Forget everything you know about Ibiza, this is a tribute to the backstreets and secret beaches, an invitation to find the Island within ourselves.

        Barrott coaxes us into his world with the sumptuous “Brunch With Suki”, a symphonic groover on an upbeat Quiet Village tip, before dropping the tempo for the circular mallets of “Over At Dieter’s Place”. “Driving To Cap Negret” fuses the organic and electronic into an emotional pop gem, while “Winter Sunset Sky” and “Distant Storms At Sea” find Barrott translating the beauty and majesty of our world into an Innovative Communication of his own. The storm breaks as the marimba led “Cirrus & Cumulus” offers a Mediterranean take on African folk music, before “Der Stern, Der Nie Vergeht” takes shape as a post-kosmische tribute to Cluster, Harmonia and LA Dusseldorf. Our journey ends with the LP’s most contemplative moments, “Forgotten Island”, a cinematic wonder rich with melancholy and mournful beauty, and the uplifting calm of “One Slow Thought”, a perfect sundowner serenade to see us home.


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

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

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

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



        Masaki Batoh

        Brian Pulse Music

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

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

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

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

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

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

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

          After 11 years recording music as Rothko, Mark Beazley is releasing his first purely solo album under his own name and on his own Trace Recordings label. More Orchestral in texture and, in places, even more minimal in arrangement than past Rothko material, "Stateless" was recorded between April and September. The album was inspired mainly by time spent at a solitary retreat in the Brecon hills and partly by his work composing music for the Discovery Channel documentary, "Mars: Quest for Life", a film about the Phoenix Lander probe that landed on the surface of Mars in 2008. Beazley's distinctive bass guitar style and tone is even more present on "Stateless", chiming with an increased level of clarity among the soft strings and gently struck pianos. A new album of solo material is already underway, and the next Rothko album is die for release in mid 2010.

          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!



          Matt Berry & Mark Morris

          This Is The Lie / October Sun

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

            Acid Jazz are proud to bring you this split 7” record, exclusively for Record Store Day 2015.

            This double A-side features Acid Jazz artists Matt Berry and ex-Bluetones Mark Morriss, who have swapped roles and covered their favourite track of one another’s, exclusively for Record Store Day.

            Matt Berry has created his rendition of Mark’s single “This Is The Lie” and Mark Morriss has chosen to cover Matt’s “October Sun”.

            The 7” comes in an Acid Jazz house bag and is printed on black 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 Part IV

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

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

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

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

              Matt Berry

              Night Terrors

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

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

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

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

                FORMAT INFORMATION

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

                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.

                Mary Black

                The Best Of 1991 - 2001

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

                FORMAT INFORMATION

                2xCD Info: Limited edition with extra CD.

                Mykki Blanco

                Mykki

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

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

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


                  Marc Bolan

                  Marc Bolan At The BBC - Electric Sevens 2

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

                    4 x 7" set.

                    Limited to 500 copies.

                    Marc Bolan & T-Rex

                    Get It On

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

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

                    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.

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

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

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

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

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

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

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

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

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

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

                    STAFF COMMENTS

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

                    ‘Absolute Zero’ is Moses Boyd’s second solo release, a thrilling fusion of cosmic mind-flight above the London grime. EP opener ‘After Tomorrow’ rocks like a poly-rhythmic Madlib cut. ‘Square Up’ is frenetic and urgent, holding a mesmeric jungle pace. ‘Sirens’ sizzles with tension. ‘Absolute Zero’ is like an oblique reference to grime-father Wiley’s ‘Ice Rinks’. Echoes of grime’s sour synth lines are submerged in his freewheeling virtuoso drum technique. UK jazz is back and Moses is its prophet.
                    LP artwork printed with a soft touch matt lamination on the outer and inner sleeves, giving the record a smooth to the touch finish. Artwork designed by Optigram.
                    Moses is one half of jazz duo Binker & Moses, who recently performed on Jools Holland and are receiving amazing show reviews from The Guardian and Evening Standard. He’s only getting warmed up but he’s already worked with Four Tet and Floating Points (they mixed his debut EP), scored 5 star reviews for his Binker & Moses shows, toured with Sampha, played with legends Lonnie Liston Smith and Afrobeat originator Tony Allen, toured the world, won a MOBO in 2015 and The John Peel Play More Jazz Award from Gilles Peterson’s Worldwide Awards in 2016. Phew! This is, as you'd expect, rather excellent. 

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

                    Michael Bross

                    Oddworld: Stranger's Wrath OST

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

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

                      FORMAT INFORMATION

                      2xLtd LP Info: Limited 2xLP + 7"

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

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

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

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

                      STAFF COMMENTS

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

                      Mike Burns / Utopia

                      Kamassa Trip / Sunshine Life (Beatconductor Dub)

                      It seems like aaaaages since there's been a Kojak Giant Sounds - I would use the Google and find out just how long if I wasn't too busy shaking all my shit to the shoulder rolling Afro-cosmic of "Kamassa Trip". That's right folks, Mike Burns' A-side smasher here is a fully fledged floor filler in pure Baldelli/Loda fashion. Drums clatter and batter, the bassline rolls on and on and funky pianos add a touch of disco flair, keeping us thrusting away to the MASSIVE vocal chant. Expertly arranged, extended into chest beating intensity and decorated with all sorts of tripped out fx, this one's coming home with me! Over on the flip, Stockholm's Beatconductor dishes out the Red Stripe and Panama Red with the squelchy, stretched and spangled "Sunshine Life", a seriously summery cod-reggae cut for all the disco drunkards.

                      STAFF COMMENTS

                      Patrick says: Kojak Giant Sounds make a welcome return to the Piccadilly shelves with a two track 12" of high def edits. The Balearic fraternity will have a lotta love for the sunkissed cod reggae of the flip, but it's the Afro-cosmic energy of Mike Burns' "Kamassa Trip" that's doing it for me.

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

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

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

                      STAFF COMMENTS

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

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



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

                      Mlle Caro & Frank Garcia

                      Pain Disappears

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

                      Mary Chapin Carpenter

                      Time . Sex . Love

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

                      Martin Carthy & Dave Swarbrick

                      No Songs

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

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

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

                        Martin Carthy

                        Martin Carthy

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

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

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

                          Martin Carthy With Dave Swarbrick

                          Selections

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

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

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

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

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

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

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

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

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

                          Michael Chapman

                          LIVE VPRO 1971

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

                            FORMAT INFORMATION

                            Coloured LP Info: Limited red vinyl version.

                            Coloured LP includes MP3 Download Code.

                            CD includes MP3 Download Code.

                            Michael Chapman

                            VDSQ Solo Acoustic Vol. 11

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

                              Michael Chapman

                              Fish

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

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

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

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

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

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

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

                                Every artist has a piece of work that niggles them - something that they wish they could redo, given the chance. It’s why Paul McCartney once reproduced Let It Be and why Kate Bush re-recorded Wuthering Heights for her best-of album. For the prolific Michael Chapman, that album is Window, the missing link in the series of Chapman’s early albums being reissued by Light In The Attic Records. Window sits just after the previously released Fully Qualified Survivor and Rainmaker, right before Wrecked Again.
                                In 1970, signed to the hip Harvest label (home to Kevin Ayers and Syd Barrett, among others), Chapman was still an artist waiting for that first big success, perpetually skint and permanently touring to make ends meet. With that in mind, he aimed to make Window in as little time as possible because being in the studio meant not being on the road. Producer Gus Dudgeon–who’d been working with Elton John–had other ideas and booked Chapman and his band into one of the UK’s most expensive studios, Trident.

                                The singer-songwriter and prodigious guitarist was in transition from his folkier origins to his heavier future and heading for a whole mess of trouble with the same year’s Wrecked Again. Given the touring bust-ups and tortured recording sessions to come, Michael’s wife Andru Chapman remembers the recording of Window was noted for a “lack of hiccups. No one threw their toys out of the pram, unlike Wrecked Again.” Recorded with U.S. guitar player Phil Greenberg, violin player Johnny Van Derek, and pianist Alex Atterson, the album has a blend of electric and acoustic instruments, both traditional and experimental at once, synthetic sounds melding with finger-picked guitars.

                                The trouble came later. Immediately after recording finished, Michael took the band back out on the road with the understanding that as soon as he got back, he’d put the final acoustic guitar tracks down to replace what he’s always said were only guide tracks. Unfortunately, Harvest’s parent label decided the album was finished and pressed it up anyway. And Chapman, as a result, hates it. Indeed, 34 years later he even set out to right the wrong, re-recording parts of the LP and noting it was a strange experience listening to “dead people on the between-track studio chatter” (Dudgeon, engineer Robin Cable, and drummer Richie Dharma have all since passed).

                                As part of Light In The Attic’s revival of Chapman’s early career, however, the album is presented as was originally released, with Michael's blessing and albeit with two CD-only bonus tracks. Andru notes, "Warts and all, it is an important part of the Michael Chapman: The Early Years story.” Michael has been less diplomatic in talking about the album. "It is a piece of my history for those interested in that, even though I think it sounds like a piece of crap,” he says.

                                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 City

                                  The Feel Good Agenda Vol.1

                                    Featuring a host of luminaries from the world of Soul & R&B, chart-topping songwriter and award winning producer Mike City presents new album ‘The Feel Good Agenda Vol.1’. Earning his big break back in the year 2000 as writer and producer of a #1 hit in the form of ‘I Wish’ performed by Carl Thomas, Mike went on to work with Brandy, Rihanna, Angie Stone and Jamie Foxx as well as penning Sunshine Anderson’s smash hit ‘Heard It All Before’. Renowned for his deeply rooted, melodic production style and distinctive vocal arrangements, Mike City consistently finds himself in-demand from A-list hip hop, R&B and pop artists, as well as finding favor in dance music circles during recent years. Placing him inside their ‘Top 100 Soulful House Artists of 2016’, Traxsource declared Mike

                                    “one of the soulful scene’s most in-demand producers, singers and songwriters” and “a name synonymous with quality music, no matter the genre”.

                                    A highly accomplished vocalist in his own right, ‘The Feel Good Agenda Vol.1’ sees Mike take centre stage, showcasing a selection of previously unreleased songs with a little help from his friends. Best described as R&B infused dance music, the album boasts cameo vocal appearances from leading lights of the urban music scene including: Faith Evans, Lalah Hathaway, Dwele, Teedra Moses and the man whose voice kick-started Mike’s stellar career, Carl Thomas.

                                    About the guest artists:
                                    Teedra Moses was the first female artist to be signed to Rick Ross’s Maybach Music Group and has written material for Macy Gray & Mary J. Blige among others.

                                    Maysa is a long-time collaborator with Acid Jazz legends Incognito and a Grammy nominated solo artist, currently celebrating 25 years in the business.

                                    Dwele is a leading light of the neo-soul scene, collaborating with Kanye West and J DIlla as well as working regularly with Mike City. Lalah Hathaway is the daughter of Donny Hathaway, carving out an impressive space all her own in the world of Soul music, releasing on the legendary Stax Records.

                                    Terri Walker got her start collaborating with UK Garage artists such as 187 Lockdown and Shanks & Bigfoot before embarking on a critically acclaimed solo career and providing backing vocals for Jennifer Hudson & Fergie among others. Crystal Johnson is a singer, songwriter and producer who has collaborated with Usher, Mobb Deep Heavy D & Dr Dre as well working as arranger and lyricist on a multitude of high profile projects. Carl Thomas is a chart-topping R&B / soul artist, formerly signed to Sean ‘Puffy’ Combs’ ‘Bad Boy Entertainment’.

                                    Mary Clark

                                    Take Me I'm Yours

                                    While being a rare, Patrick Adams and Billy Nichols production, Mary Clark’s “Take Me I’m Yours” has in recent years become one of the most celebrated disco tracks by contemporary deejays. This borderline gospel disco gem has all the elements of a timeless disco cut; a driving bass line, powefully arranged strings and horns, but most importantly, a very soulful performance by Mary Clark. Little is known about La Shawn, like many of Peter Brown’s othger affliate labels, or the artists who recorded for him. Originaly released in 1980 “Take Me I’m Yours” is rumored to have been no more than a 200 copy pressing (in an era when records were pressed in the tens of thousands), making this one of the most sought 12"s among collectors. Dimitri from Paris, who edited and included “Take Me I’m Yours” on his “The Kings Of Disco” compilation in 2004 gave this virtualy unknown song a new ;ease of life and a whole new audience. Even as recently as 2015, the track made its way into a BBC Radio 1's Essential Mix, courtesy of Floating Points.


                                    STAFF COMMENTS

                                    Patrick says: I've been aware of this record for years and never really paid it any attention. It's a nice, soulful mid-tempo disco number. The kind of record I've got about 200 of in my shelves. Except it's not. It's actually a building, burning, sizzling stomper, with an unrivalled groove, sing-a-long chorus and soaring strings - and when I finally heard someone play it at club volume it was almost life changing. Everyone should have a copy.

                                    FORMAT INFORMATION

                                    12" Info: *ONE COPY FOUND*

                                    Maya Jane Coles

                                    Take Flight

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

                                      Matthias 'Wolfboy' Connor / Alexis Taylor

                                      To All The Girls In Oklahoma

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

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

                                        Mike Cooper & Derek Hall

                                        Out Of The Shades

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

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

                                          FORMAT INFORMATION

                                          Ltd 7" Info: 500 only on black vinyl.

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

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

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

                                          STAFF COMMENTS

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

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

                                          STAFF COMMENTS

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

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


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

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

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


                                          Marilyn Crispell

                                          Amaryllis

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

                                          Mikal Cronin

                                          Mikal Cronin

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


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

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

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

                                            FORMAT INFORMATION

                                            LP includes MP3 Download Code.

                                            CD Info: CD in a digipak with booklet.

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

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

                                            FORMAT INFORMATION

                                            Ltd LP Info: Ultra limited CLEAR vinyl edition.

                                            Ltd LP includes MP3 Download Code.

                                            LP Info: Standard black vinyl edition.

                                            LP includes MP3 Download Code.

                                            Mychael Danna And Jeff Danna

                                            Alias Grace (Original Mini Series Soundtrack)

                                              Academy Award Winner Mychael Danna (‘Life Of Pi’, ‘Little Miss Sunshine’, ‘Girl, Interrupted’) and Emmy Nominee Jeff Danna (‘The Good Dinosaur’, ‘The Imaginaries Of Doctor Parnassus’, ‘Kurt Cobain: Montage Of Heck’, ‘Storks’). Scored by the acclaimed sibling composers, Mychael and Jeff Danna’s to accompany the compelling drama series ‘Alias Grace’ - based on Margaret Atwood’s novel - and starring Sarah Gadon, Anna Paquin, Zachery Levi, Paul Gross, Edward Holcroft, Kerr Logan, Rebecca Liddiard and David Cronenberg. Previewing at Toronto International Film Festival, the mini-series aired on CBC in Canada and Netflix in the Autuman of 2017. Directed by Mary Harron and Sarah Gadon, the program is based on the historical fictional novel by Atwood (‘The Handmaid’s Tale’ and ‘The Blind Assassin’).

                                              The series traces the true-life story of Grace Marks, a young poor Irish immigrant servant and James McDermott, a stable hand, who were both convicted of murdering their employers in Upper Canada during 1843. Marks who was vindicated after three decades behind bars went on to become a notorious figure while McDermott was hung. Mychael’s inspiration for the score was to create something that mirrored “the formal rigidity of British Colonial 19th Century society”. An exquisite and compelling composition, it translates both on screen and off, through the brother’s choice of a chamber group to accompany them. The fleeting woodwinds and piano (along with the occasional church organ) create a beautifully romantic and dramatic persona that has an underlying darkness at its core reflecting the crime that underpins the series. Mychael Danna is an Academy Award winning composer whose work includes Ang Lee’s ‘Life Of Pi’. 

                                              Laid back, holiday house music and electronically powered Balearic / Adriatic movements here from Manuel Darquart here on Childsplay. What with pressing plants taking their sweet time getting the indi stuff out at the moment, Childsplay have done a fine job getting this out before the festival season. The tracks might not quite make sense at this point, sat freezin' yer knackers off behind some rain covered window, but just wait for that first sunny day when everyone fires up the BBQ prematurely and you'll be itching to wack this on the 1s n 2s. Defo falling on the new and modern side of coastal exuberance, we get a crisp, full frequency rub down featuring brand spanking new presets and VSTs, all reinforced with gentle, galloping grooves, emotive chord progressions and brilliantly executed keyboard flurries. For those late afternoon moments when the sky turns red and the energy of the day is dissipated into enchanted twilight.

                                              Myra Davies / Beate Bartel / Gudrun Gut

                                              Sirens

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

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

                                                Miles Davis

                                                Birth Of The Cool

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

                                                Miles Davis

                                                Bitches Brew LIVE

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

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

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

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

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

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

                                                  Miles Davis

                                                  Kind Of Blue - 180g Double Vinyl Edition

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

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

                                                  STAFF COMMENTS

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

                                                  FORMAT INFORMATION

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

                                                  Miles Davis

                                                  Live Evil - 180g Vinyl Edition

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




                                                  FORMAT INFORMATION

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

                                                  Miles Davis

                                                  Sketches Of Spain - Mono Edition

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

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: Limited 180g audiophile pressing.

                                                  Miles Davis

                                                  Black Beauty - Miles Davis At Fillmore West

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

                                                  FORMAT INFORMATION

                                                  2xLP Info: 180g audiophile vinyl.

                                                  Miles Davis

                                                  My Funny Valentine

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

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

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

                                                    Melanie De Biasio

                                                    Blackened Cities

                                                      Much lauded since the release of ‘No Deal’, her second album in 2014, Melanie De Biasio now delivers a new composition, ‘Blackened Cities’.

                                                      Revered in her native Belgium, the classically trained flautist and vocalist was heralded by Gilles Peterson on the release of ‘No Deal’ as one the most exciting artists in the jazz world. Together with long-term musical associates pianist Pascal Mohy, Pascal Paulus on vintage synths, Samuel Gerstmans on double bass and drummer Dre Pallemaerts, ‘Blackened Cities’ continues to see De Biasio mine an extraordinary vein of immersive splendour.

                                                      Taking inspiration from a post-industrial landscape, a backdrop of unexpected hope rediscovered in cities such as Manchester, Detroit, Bilbao and De Biasio’s home city of Charleroi, ‘Blackened Cities’ emerges... As De Biasio says, “I don’t think anyone, including me, was expecting a 25-minute piece which wasn’t a successor to ‘No Deal’, or anything other than a collection of new songs. I followed what the music told me, like a gut feeling.”

                                                      The ensemble create an emotive and sensuous presence, coming into earshot on a ripple of orchestration patiently awaiting De Biasio’s introduction. The rhapsody that froths and foams for nearly half an hour surpasses the song format. ‘Blackened Cities’ rolls and swells with both a physical sensation and intimate journey encapsulating the instantaneous origins of its birth, undergoing minimal postproduction, as De Biasio adds; “everything or almost everything was there in that collective moment on autumn afternoon.”

                                                      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!”

                                                      Following last year’s interim track, the 25 minute opus ‘Blackened Cities’, Melanie De Biasio makes her return with news of a brand new album ‘Lilies’. Classically trained and revered in her native Belgium De Biasio uncovered fans in the shape of Gilles Peterson - who heralded De Biasio as one of the most exciting artists in the jazz world and Radiohead’s Phillip Selway with the release of her second album, 2014’s ‘No Deal’. Earlier this year also saw the Eels remix of ‘I Feel You’, featured in the trailer for Ridley Scott’s ‘Alien: Covenant’, lifted from ‘No Deal’ - it once again cements the ever-growing and widespread regard from her peers.

                                                      The nine-track ‘Lilies’ continues to enthral, from openers ‘Your Freedom Is The End Of Me’, with its immersive narrative underpinned by piano. An up-tempo, entrancing collection of tracks that ventures to stimulate both lyrically and musically whilst enticing the listener into an expressive and atmospheric environment.

                                                      FORMAT INFORMATION

                                                      Vinyl comes with CD version of the album enclosed.

                                                      ‘Renegades’ is the highly anticipated new LP from Mark de Clive-Lowe on Tru Thoughts. MdCL’s ninth solo longplayer under his own name, ‘Renegades’ finds the prolific producer and musician bridging a transition between two continents, and mining a rich seam of personal creativity and inspiration, having recently relocated to Los Angeles after ten years in London.

                                                      Alongside his own impeccable skills on beats, basslines, synths and more, the record features guest performers from both sides of the Atlantic, including vocalists Nia Andrews (Common, Janelle Monae), Tawiah (Warners) and Bembe Segue; percussionist extroadinaire Sheila E (Prince); bassist Pino Palladino (D’Angelo); strings virtuoso and Flying Lotus collaborator Miguel Atwood-Ferguson; drummers Lil’ John Roberts (US), and Richard Spaven (UK); guitarist to the stars Mike Feingold; and new label-mate Omar, the king of UK soul.

                                                      The overall sound of the album hinges on MdCL's energetic, pristine production - club cuts flavoured with soul, funk, tech-Afrobeat and Latin twists topped with fine, organic songwriting; all orchestrated by MdCL showcasing his ability to meld the science of beat-making with musicianship.


                                                      "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.

                                                      FORMAT INFORMATION

                                                      Coloured LP includes MP3 Download Code.

                                                      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.

                                                      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!

                                                      As featured in the Piccadilly Records End Of Year Review 2017 Top 20 Albums. Comes with an EXCLUSIVE End Of Year CD sampler.
                                                      Click HERE for more info.


                                                      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.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Includes a free EOY 2017 CD sampler.
                                                      Indies exclusive red vinyl.

                                                      CD Info: Includes a free EOY 2017 CD sampler.

                                                      Maya Deren

                                                      Voices Of Haiti

                                                        Maya Deren (1917–1961) was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s. Influenced by Jean Cocteau and Marcel Duchamp, she is best known for her seminal film Meshes of the Afternoon (1943), a dream-like experiment with time and symbol, looped narrative and provocative imagery, setting the stage for the twentieth-century's groundbreaking aesthetic movements and films.

                                                        Maya Deren assesses both the filmmaker's completed work and her numerous unfinished projects, arguing Deren's overarching aesthetic is founded on principles of incompletion, contingency, and openness. Combining the contrasting approaches of documentary, experimental, and creative film, Deren created a wholly original experience for film audiences that disrupted the subjectivity of cinema, its standards of continuity, and its dubious facility with promoting categories of realism. This critical retrospective reflects on the development of Deren's career and the productive tensions she initiated that continue to energize film.


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