MAGIC MIX

ALL GENRES

BACK CATALOGUE - M

Marvin Gaye

Sexual Healing: The Remixes

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

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

    Madonna

    The First Album

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

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

      MC5

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

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

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

        MC5

        Looking At You / Borderline

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

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

          Mogwai

          Ten Rapid (Collected Recordings 1996-1997)

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

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

            Molly Nilsson

            These Things Take Time (RSD18 EDITION)

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

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

              Max Richter

              The Blue Notebooks - 15 Years

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

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

                Originally released back in 1997, "Smoky Clinic EP" is a stone cold classic and one of the most essential underground house records out there. All the tracks from this stunning EP stood the test of time perfectly and now finally gets a well deserved reissue on Baldo and Jimi Disko's Curated By Time label. Deep house never sounded so good on "X-Rays", with its squelchy perc, frenetic hats and amazingly lush pad n bass combo. "Underwater Acid" possess that same enchanted melancholy that makes Mr. Fingers so desirable, while over on side B "Hocus Pocus" injects a bit of Poindextor-inspired tumble drier madness into proceedings before finished "Starship" concludes matters with a sublime, driving and gliding deep house rub down. Epic stuff indeed. Do not sleep!

                Marcelo Antonio

                Suspension / Males De Otro Lugar

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

                STAFF COMMENTS

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

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

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

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

                STAFF COMMENTS

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

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

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

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

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

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

                Maureen Bailey

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

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

                In demand modern soul floor filler

                Original worth £500

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

                Meg Baird & Mary Lattimore

                Ghost Forests

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

                  Matt Baldwin

                  Paths Of Ignition

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

                  Marty Baller

                  Baller Nation

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

                    FORMAT INFORMATION

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

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

                    Myra Barnes / Barbara Gwen

                    The Message From The Soul Sisters / Right On

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

                    FORMAT INFORMATION

                    7" Info: Limited to 300 copies.

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

                    STAFF COMMENTS

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

                    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.”


                    FORMAT INFORMATION

                    2xLP Info: 180g double vinyl pressing in gatefold sleeve.

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

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

                    STAFF COMMENTS

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

                    FORMAT INFORMATION

                    Ltd LP Info: Gatefold 180 gram vinyl.

                    Michael Beharie And Teddy Rankin-Parker

                    A Heart From Your Shadow

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


                    FORMAT INFORMATION

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

                    Marco Beltrami

                    Carrie OST - Blood Red Vinyl Edition

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

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

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

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



                    Marco Beltrami

                    A Quiet Place - OST

                      A Quiet Place has been one of the breakout hits of 2018. This is only the second directorial feature for John Krasinski and it is an absolutely incredibly tense monster movie, that is as original as it is scary.

                      The score by Marco Beltrami is an absolute tour de force, it's basically another character in the film, it can be forceful and bludgeoning one minute and quiet and reflective the next. His players twist their instruments to generate tones and textures not usually associated with them, the layers of sound and percussion on display are incredible, the opening track 'It Hears You' reminds me of a classic Planet Of The Apes cue it's disquieting and slightly wonky but has an incredible hook that immediately lets you know you are in horror territory whereas say 'A Quiet Family' is a beautiful piano track that reminds you of the life the family lived before a world of monsters took over. Pianos are detuned, Electronics are layered over traditional instruments to create something truly unsettling.


                      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.

                      FORMAT INFORMATION

                      Ltd LP Info: Limited edition coloured vinyl in a gatefold sleeve.

                      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

                        Music For Insomniacs

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

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

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

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

                          FORMAT INFORMATION

                          Coloured LP Info: White vinyl.

                          Matt Berry

                          Night Terrors

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

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

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

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

                            FORMAT INFORMATION

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

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

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




                            STAFF COMMENTS

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

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

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

                            Mary Black

                            The Best Of 1991 - 2001

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

                            FORMAT INFORMATION

                            2xCD Info: Limited edition with extra CD.

                            Mykki Blanco

                            Mykki

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

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

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


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

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

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

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




                              Marc Bolan

                              Marc Bolan At The BBC - Electric Sevens 2

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

                                4 x 7" set.

                                Limited to 500 copies.

                                Marc Bolan & T-Rex

                                Get It On

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                                STAFF COMMENTS

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

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

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

                                STAFF COMMENTS

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

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

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

                                STAFF COMMENTS

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

                                Meggie Brown

                                10 / 6

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

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

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

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


                                  Molly Burch

                                  First Flower

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

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


                                    FORMAT INFORMATION

                                    Coloured LP Info: White vinyl.

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

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

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



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


                                    STAFF COMMENTS

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

                                    Mary Chapin Carpenter

                                    Time . Sex . Love

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

                                    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.

                                        Michael Chapman

                                        True North

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

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

                                          STAFF COMMENTS

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

                                          FORMAT INFORMATION

                                          Coloured LP Info: Limited Red wine coloured vinyl.

                                          Coloured LP includes MP3 Download Code.

                                          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 

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

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

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


                                                STAFF COMMENTS

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

                                                Marius Circus

                                                Shorelines - Inc. Rollmottle Remix

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

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

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Maroon vinyl limited to 1200 copies

                                                  Maya Jane Coles

                                                  Take Flight

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

                                                    Mikey Collins

                                                    Hoick

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

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

                                                      FORMAT INFORMATION

                                                      LP includes MP3 Download Code.

                                                      Matthias 'Wolfboy' Connor / Alexis Taylor

                                                      To All The Girls In Oklahoma

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

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

                                                        Mike Cooper & Derek Hall

                                                        Out Of The Shades

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

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

                                                          FORMAT INFORMATION

                                                          Ltd 7" Info: 500 only on black vinyl.

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

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

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

                                                          STAFF COMMENTS

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

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

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

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

                                                          - Mike Cooper

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

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

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

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


                                                          FORMAT INFORMATION

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

                                                          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.


                                                          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....


                                                            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.

                                                            Michael Cutting

                                                            Stills

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

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

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


                                                            Marie Davidson

                                                            Working Class Woman

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

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

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


                                                            Myra Davies / Beate Bartel / Gudrun Gut

                                                            Sirens

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

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

                                                              Miles Davis

                                                              Birth Of The Cool

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

                                                              Miles Davis

                                                              Bitches Brew LIVE

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

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

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

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

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

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

                                                                Miles Davis

                                                                Kind Of Blue - 180g Double Vinyl Edition

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

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

                                                                STAFF COMMENTS

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

                                                                FORMAT INFORMATION

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

                                                                Miles Davis

                                                                Live Evil - 180g Vinyl Edition

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




                                                                FORMAT INFORMATION

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

                                                                Miles Davis

                                                                Sketches Of Spain - Mono Edition

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

                                                                FORMAT INFORMATION

                                                                Ltd LP Info: Limited 180g audiophile pressing.

                                                                Miles Davis

                                                                Black Beauty - Miles Davis At Fillmore West

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

                                                                The original Japanese booklet is included in this vinyl package.


                                                                FORMAT INFORMATION

                                                                2xLP Info: 180g audiophile vinyl.

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

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

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

                                                                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!”

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

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


                                                                FORMAT INFORMATION

                                                                2xColoured LP Info: Very limited white splatter vinyl.

                                                                LP includes MP3 Download Code.

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

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

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

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

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

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

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

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

                                                                STAFF COMMENTS

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

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

                                                                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.

                                                                Mac Demarco

                                                                2 Demos

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

                                                                  FORMAT INFORMATION

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

                                                                  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.

                                                                  Mac Demarco

                                                                  Salad Days Demos

                                                                    Mac DeMarco’s breakthrough sophomore album, Salad Days – released on April Fools’, 2014 – garnered widespread critical acclaim, landing on over 30 Year End lists. It was the album that catapulted DeMarco from “loveable slacker” to “mature songwriter with a gaptoothed grin,” all at the tender age of 23. DeMarco’s demos for Salad Days, originally included in an expanded edition of the album only available on Captured Tracks Mail Order site, peel back the curtain of said artist, who, up until then, may have been more known for his raucous live shows than his genuine talent as a songwriter and craftsman. This collection of demos and sketches as well as previously unreleased instrumental demos offer a rare insight into Mac’s world and process.

                                                                    FORMAT INFORMATION

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

                                                                    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: Indies exclusive red vinyl.

                                                                    Marcel Dettmann

                                                                    Dettmann II

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

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

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


                                                                    STAFF COMMENTS

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

                                                                    Michael Diamond & Adam Horovitz

                                                                    Beastie Boys Book

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

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

                                                                      Manu Dibango

                                                                      Wakafrika

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

                                                                      FORMAT INFORMATION

                                                                      2xLtd LP Info: Remastered edition of this legendary world music album from 1994. Available on vinyl for the first time ever.

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

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

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

                                                                      Marcel Duchamp

                                                                      Erratum Musical

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

                                                                      Matt Edible & The Obtuse Angels

                                                                      Stairgazing

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

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

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


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