MAGIC MIX

ALL GENRES

BACK CATALOGUE - O

Oren Ambarchi

Raga Ooty / Nilgiri Plateau

    Raga Ooty unearths three previously unreleased works (each titled with reference to the area in south India where his mother was born) from Oren Ambarchi’s archive, showcasing the rawer side of his solo work between 2006 and 2011. The side-long Raga Ooty unspools a twisting, skittering thread of gritty guitar harmonics over a bed of buzzing tambura drone, creating the same paradoxical impression of simultaneous stasis and forward propulsion achieved by minimalist masters such as Henry Flynt, to whom this work is dedicated. The Nilgiri Plateau generates an 8 minute wash of gleaming overtones from a 12 string acoustic guitar played with motors, continuing the experiments first made public on the 2007 Stacte Motors LP. The closing Raga Ooty (Slight Return) returns to the distorted guitar harmonic hysterics of the opening piece, this time elaborated over a wash of Ambarchi’s signature Leslie cabinet tones, building relentlessly over the course of 12 minutes recorded live in Basel late last year.

    Full album release of BAFTA Award winning soundtrack for the hit crime series with the much anticipated second series returning to our screens on January 5th. Season 1 scored over 10 million viewers on ITV1 and this album combines the best music of season 1&2.

    Olafur Arnalds

    Eulogy For Evolution

    The music of Olafur Arnalds is a dreamlike interpretation of the natural surroundings of his home, Iceland. Being almost reminiscent of a film score in places this young man has managed to carve his own niche in a genre full of copycats. His classical approach to the soothing post-rock makes obvious comparisons to giants such as Sigur Ros and Mono justified.

    For Now I Am Winter is Ólafur Arnalds’ third full-length studio album. His earlier albums, soundtracks and EPs, have been released through the Berlin based cult label Erased Tapes.

    Building and expanding on his previous more minimalist work, Arnalds’ new album is his first to involve a full orchestra (coarranged by Nico Muhly) and a vocalist (Agent Fresco lead singer Arnór Dan) on selected tracks, making it his most broadly appealing work to date.

    With his previous recordings, extensive touring activities and prominent synch placements of his music he has managed to build up a dedicated fan base in Europe, North America and China.

    STAFF COMMENTS

    Darryl says: His third full length album, and a real progression from his more minimalist early works. "For Now I Am Winter" combines warm ambiance, a full orchestra and an occasional vocal appearance from Arnór Dan.

    Ólafur Arnalds

    Broadchurch - The Final Chapter

      Broadchurch has become “a bona fide national obsession” (Entertainment Weekly) and BAFTA-winning composer Ólafur Arnalds returns with a new score for the third and final series. Arnalds’ music was broadcast to an audience of over 10 million viewers with his score reaching 13 million streams across digital platforms. Arnalds forged a strong creative collaboration with the show’s writers producing an evocative and atmospheric soundtrack that has become synonymous with the show. 

      Olafur Arnalds

      Eulogy For Evolution 2017

        Icelandic composer Ólafur Arnalds reissues and revives his debut album in form of a special remastered 10th Anniversary edition titled Eulogy For Evolution 2017 — available worldwide via Erased Tapes on August 25th. Following its initial release in 2007 and coinciding with Ólafur’s 30th birthday, label founder Robert Raths gifted the chance for this record to shine a second time. Eulogy For Evolution is a journey from birth to death, transporting the listener through life itself.

        Originally written as a teenager, the record has now been restored with the help of his friends, remixed by Ólafur himself and remastered by Nils Frahm. The cover art was redesigned and enhanced by Torsten Posselt at FELD using the original photographs taken by Stuart Bailes during a trip to Ólafur’s home in Iceland in 2007.

        To experience the record in the present day is not only to experience the past, but also the sheer timelessness and relevance of these compositions, and the ambition Ólafur has had from the very beginning. “Fast forward 10 years, our relationships and knowledge in sound have matured, but you can still hear this urgency in Óli’s songs that caught my ears to begin with”, states Robert Raths.

        Olafur Arnalds

        Island Songs

        Island Songs is the innovative brainchild of BAFTA award winning composer Ólafur Arnalds, alongside acclaimed film director Baldvin Z (BBC’s Trapped, Life in a Fish Bowl).

        Ólafur will travel to 7 towns across Iceland where he will collaborate with 7 local artists, and at each location he will create, record and perform a new composition with the artist. He will deliver the audio and video the following day. Mercury Classics will release one audio track and one live performance video, each Monday.

        Island Songs is a real-time interactive project that will evolve in the digital space, hosted via a bespoke website. Arnalds’ dedicated fanbase will be able to follow him on his travels via Facebook live-streams, Snapchats, Instagram, Twitter and Apple Connect. 

        STAFF COMMENTS

        Barry says: A timeline of Arnalds' travels, and a suite of his trademark grand but melancholic neo-classical excursions. Morosity morphs slowly into a thick plume of strings and sweeping piano before eeking away into the ether again. An interesting concept, and a rousing success on the music front.

        Olafur Arnalds & Nils Frahm

        Collaborative Works

        Ólafur Arnalds and Nils Frahm announce Double-CD release ‘Collaborative Works’ – comprising all three vinyl EPs ‘Loon’, ‘Stare’ and ‘Life Story Love And Glory’ as well as 7 new songs from their ‘Trance Frendz’ studio film

        ‘Stare’ (2012) was the very first collaborative recording made by Ólafur Arnalds and Nils Frahm – a true family effort featuring long-time collaborator and cellist Anne Müller, which took place in 2011 between Reykjavík and Berlin. Originally released as a strictly limited 10-inch vinyl record exclusive on Record Store Day 2012, this long sold-out must-have was re-issued on July 17, 2015 – this time in 12-inch format. Óli and Nils recorded and mixed their first collaborative record between Reykjavík and Berlin as a surprise release for label founder Robert Raths.

        ‘Loon’ (2015) is a synthesiser-led 5-track EP that was recorded in autumn 2014 across five days at Nils’s Durton Studio in Berlin, and continues with the ambient sounds of ‘Stare’ but with the addition of more percussive elements and dub influences. For ‘Loon’ they wired the Oberheim 4 Voice and a Korg PS3100 to the patch bay/mixing desk and performed live takes. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

        'Life Story Love And Glory' (2015) is a 2-track live improv affair on two pianos, also recorded at Nils’s place in October 2012, the day before the two went on the road for the Erased Tapes 5th Anniversary Tour. It was released on August 21, 2015 as a surprise 7” available through record stores only, two weeks ahead of its digital release, and entered the Official UK Vinyl Single Charts at #3, still remaining in the Top 10 after 3 weeks.

        ‘Trance Frendz’ (2015) is the audio recording of their intimate 45-minute studio film. Originally planned as a short video session of previously released tracks, instead the two ended up recording seven brand new improvisations – showcasing the nature of their musical friendship. It was revealed on September 1, 2015 as part of their joint website www.arnaldsfrahm.com

        "The music on this CD is a collection of our studio collaborations from recent years. We would meet in Reykjavik or Berlin with the intention to share some days off work, hiking, swimming or eating pizza. That is great for a couple days, but after a while we would always end up back in the studio, fiddling with synths or pianos. This collection of recordings cannot be an album. It will remain a collage of our studio experiments of the past. It simply is convenient to have them all together here, so you don’t need to look out for some limited 10” somewhere or deal with a nerdy record dealer in Japan to track down this one 7 ̋ which will turn out to sound pretty rough anyways... consider them as moments in space and time where we shared the same room for some days to come down and enjoy making music. After deciding to release the studio collaborations, we planned to do a video session of us performing an improvised duet to promote the release.

        On the 28th of July 2015 we met up at Durton Studio in Berlin and invited Alexander Schneider and his camera to document it. But instead of ending the session after the first take we continued improvising throughout the night, ending up with several new pieces written and recorded in 8 hours with no overdubs and no edits. We felt there was something special in these songs as they arrived so quickly and unexpectedly, remembering that our friendship and collaboration originally started with live improvisation on stage. At the end of the night we had all this music that sounded unfamiliar even to us, loudly asking to be included in this collection.” (Ólafur Arnalds & Nils Frahm)

        Olafur Arnalds & Nils Frahm

        Loon

          Ólafur Arnalds and Nils Frahm reveal third collaborative EP titled ‘Loon’ via joint website – following on from their recent surprise 7” record store release ‘Life Story Love And Glory’ and 12” reissue of 2012’s ‘Stare’.

          Containing five synthesiser-led pieces, ‘Loon’ was recorded in autumn 2014 across five days at Nils’s Durton Studio in Berlin, and continues on from the ambient sounds of ‘Stare’ but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

          Like on ‘Stare’, their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint website www.arnaldsfrahm.com together with the launch of an intimate 45-minute studio film titled ‘Trance Frendz’, featuring another seven improvisations.

          “Nils got some new synths and we thought we’d try them out. We loved them so much that we didn’t actually end up using anything else to make these songs.” – Ólafur Arnalds

          “When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. ‘Loon’ is almost a blurry memory of these times. In other words, it is what I’d like to remember that music sounded like back then. In fact it sounded probably really cheesy.” – Nils Frahm.

          FORMAT INFORMATION

          Ltd 12" includes MP3 Download Code.

          Olafur Arnalds & Nils Frahm

          Stare

            Originally released as a strictly limited 10-inch vinyl record exclusive on Record Store Day 2012, this long sold-out must-have for fans of these two artists will finally be re-issued – this time in 12-inch format!

            Erased Tapes label mates Ólafur Arnalds and Nils Frahm recorded and mixed their first collaborative record between Reyjkjavík and Berlin as a surprise release for label founder Robert Raths.

            The ambient/electronic work ‘Stare’ is a true family effort with long-time collaborator Anne Müller joining in on cello and all graphics created by close label-friend and designer Torsten Posselt of FELD Studios.

            Words by Nils Frahm:

            “I heard ‘Eulogy For Evolution’ for the first time six years ago and I was totally captivated. Impossible to know back then that I was supposed to meet Ólafur many years later as my label mate. Later when he took me along a tour of his we also noted that we kind of like hanging out together, doing important things like cover versions of long forgotten songs or eating veggie pizza. Also he would join my live set for a jam and I would return the favour by playing along with his set.

            All in all, I fell for Óli and after one memorable jam session we had in Berlin at Roter Salon in 2011, he finally proposed the idea to visit me in my studio in Berlin to work on 'some music'. I was happy and delighted about that idea, so we got together in April 2011 and after having a big pizza, I plugged in some old analogue synths and we played for four days until late in the night. Also queen Anne Müller stopped by after a show with Agnes Obel to record some cello at 5 am in the morning for ‘b1’. Making music together with people is lovely!

            The time I spent with Óli in Berlin made me very happy and the music wasn't like anything I have heard before. It was all very reduced and minimal and I felt like I couldn't have done this alone. So we decided to do another 4-day jam at Óli´s E7 studio in Reykjavik. So I flew there in the end of October 2011 to repeat the trick and record some out of this world ambient music. It didn't take us too long to write ‘a1’ and ‘a2’. I can’t wait for the follow up!”

            Ólafur Arnalds

            Dyad 1909

              A contemporary dance score for award winning British choreographer Wayne McGregor inspired by Sergei Pavlovich Diaghilev (1872-1929). 'My composer for Dyad, Icelandic musician Ólafur Arnalds, is coming in next week to finish work on the score. It’s an amazing piece of music – it's melancholic and spatial then cuts to extreme rhythmic violence - it's hauntingly inspiring' – Wayne McGregor (Random Dance).

              Born in 1987, Ólafur hails from the suburban Icelandic town, Mosfellsbær, just a few kilometres outside of Reykjavík. He has immersed himself completely in a world of delicate symphonic compositions generating near weightless orchestral pieces. Arnalds explores the crossover from classical to pop by mixing chamber strings and piano with discreet electronics which makes him a perfect fit for cinematic pop label Erased Tapes. His motivations are clear: 'The classical scene is kind of closed to people who haven't been studying music all their lives. I would like to bring my classical influence to the people who don't usually listen to this kind of music... open people's minds'.

              FORMAT INFORMATION

              10" LP Info: Clear vinyl repress.

              Olga Bell

              Incitation

                One Little Indian release composer, producer and performer Olga Bell’s ‘Incitation’. The mini album follows Bell’s acclaimed 2014 song cycle and album, ‘Krai’, which was described by The New York Times as, “at once a folkloric study of her homeland and a contemporary exercise in electronic production” and was included in The Quietus’ Albums Of The Year.

                Bell’s newest offering is a collection of deeply personal, urgent songs with her voice once more at the helm of her singular production. This time, “a kind of personal violence is the main force at work,” she says of the mini album, “but it’s more of a brawl with fear than something shell-shocked or confessional. The emotional language of Incitation recognizes that while fear can be brutal, even crippling, it is also a necessary force for change and, perhaps most importantly, not a permanent state. Its remedy is simple: action.”

                Born in Moscow and raised in Alaska, Bell is now based in Brooklyn where she makes original music, remixes and videos under her own name. She also makes dance music with British musician Tom Vek as half of Nothankyou. From 2011 to 2013 she toured as a vocalist and keyboardist with Dirty Projectors and Chairlift and is currently at work on her third full-length album, set for release in early 2016 on One Little Indian.

                A prodigious classical pianist as a child and teenager, Bell graduated from the New England Conservatory before moving to New York City to pursue electronic composition and songwriting. In 2009 composer Osvaldo Golijov and soprano Dawn Upshaw selected Bell for a workshop and concert of new works by contemporary composers at Carnegie Hall. In 2011 she received a Jerome Fund Grant from the American Composers Forum to aid in the completion of her first large-scale composition, ‘Krai’, which was released as an album in 2014 after a sold out premiere at the Walker Art Center in Minneapolis.

                FORMAT INFORMATION

                Indies Exclusive LP Info: Limited edition vinyl format (150 copies for the UK & Eire) available exclusively to independent retailers. LP packaged in deluxe reflective embossed sleeve.

                Following on from the success of her critically acclaimed ‘Incitation’ EP, Olga Bell is back with new album ‘Tempo’, released via One Little Indian Records.

                “Grand compositional ambitions and a dynamic voice... the arty, adventurous edge of pop” - The New York Times

                “For those uninitiated, Bell’s work lies somewhere between an industrial night at Berghain and a cyborg performing at Carnegie Hall.” - Dummy

                STAFF COMMENTS

                Barry says: Encompassing aspects of outsider-pop, synthwave and electronic soul, 'Tempo' confounds expectations of the singer songwriter. Quirky off-kilter rhythms and textures permeate the whole endeavour , rapidly switching from acid pulse-wave stabs to glitched out snares and clave hits. Like a medley of all the electronic tropes of the last 20 years, but distilled into a cohesive and concise representation of modern electronic music culture. This is a capable and sparkling outing, and at no point feels too far from comfort. Like hopping between ten different parties of ten different varieties, each playing different music, and loving each and every minute.

                FORMAT INFORMATION

                Deluxe LP Info: Deluxe edition includes art prints.

                Orlando Cachaito Lopez

                Cachaito

                This is what Latin music is all about, a superb sensuous rhythmic triumph from beginning to end. More top quality Cuban music from the Buena Vista Social Club set.

                Auckland-based guitarist Oscar Dowling embarks on his debut solo album, leaving his deepest emotions laid bare across the table. The former New Gum Sarn member has created a subdued guitar record in the great indie tradition of his homeland. One that leads into the abyss, tantalising with heartbreak and his unsettling bitterness towards life and death. Influenced heavily from the identity of his country and battling with "my own identity, falling in love, anxiety and mental illness, friends, family and enemies to name a few".

                Free And Easy was recorded and mixed with Ben Lawson at The Red Bull Studios in Auckland. The album features local luminaries Steven Huf, Will Wood, Mason Fairey, and Sam Hamilton. Dowling recalls; "Ben heard me play at my neighbours wedding and later asked if I wanted some studio time at Red Bull. He gave me a week in between other projects and last minute I realised I didn't want to record solo and asked friends Steven Huf and Will Wood if they wanted to help me out. I'd seen both of them play with a lot of different people over the years and knew they could pull it off without much warning. I think we only practiced 3 times."

                Recording in such swish surrounding felt alien to Oscar, as he states "it was different to the DIY style I'm used to, lots of fancy gear and a soundproofed, air conditioned live room. We had a reasonably strict time schedule so when we were there it was all go and no fucking around."

                Whether soaked in Oscar's melancholy voice and warped out guitars, ('Sally Free and Easy'), or accompanied by a delicate piano ('Low Moon') or the jarringly raw ('Ease My Passing') each track paints a vivid picture of Oscar's life. Title track ('The Life') is best at transcending this portrait of the hardship of life with an entrancing melody line and ruthless lyrics, those lyrics severing as a medium for "understanding subjects such as death and love" and finding comfort in writing about his relationship with mental health, the outcome being "very therapeutic."

                After spending the past year beekeeping with his brother, Oscar is still able to live out the perfect balance between city life and the countryside. Having grown up in the sticks, he tells us that the reason for moving to the capitol was that "people from all over come here to make music and find others making music, so it has a decent scene. I moved here for that reason and it has influenced me massively in terms of how I think about music and why I continue to make it."

                The heavy use of dialogue is what will transcend Free and Easy to it's listeners - reconnecting us with our own identity and making us remember what really is important. "My family, my girlfriend and my friends. They are the people I look to for inspiration everyday."


                Owen Hand

                Something New / I Loved A Lass

                Owen Hand was a dominating force on the early folk scene, his constant gigs were the stuff the revival was founded on but he was one of the many singers of the time (like Steve Benbow and Len Starling) who had few chances to make any decent recordings. The two albums featured here were made in 1965 and 1966 for Transatlantic Records. Recorded in two afternoons and generally on the first take, "Something New" was Hand's concert repotoire of the time and has an immediacy and verve that overrides the basic nature of the production. "I Loved A Lass" from 1966 was his effort to express his Scottish heritage in song. Both albums form a historical release that's essential and is a true picture of an exciting time in British music from one of the larger than life artists of the day.

                The father of both Otis Jackson Jr (that's Madlib to you or me) and Michael Jackson (Oh No, not the other Michael Jackson) presents this brand new album of slick soul from the Barry White school of seduction. As well as the nine originals, the CD also includes four bonus cuts - Oh No's mixes of "It's All the Same" and Madlib's versions of "With You On My Side".

                Owen Jay & Melchior Sultana

                Memories Of You EP

                Jus-Ed crosses the pond to Malta to search out some fresh contributions to the now well established Underground Quality label. Owen Jay & Melchior Sultana are a new signing and add to the labels thorough archive of blissed-out deep house seduction. "Memories Of You" has elements of hazy sunshine teasing us from within a rolling, bongo-led groove. Organic and smooth, the sounds feel full of life and beaming with energy yet the arrangement and groove is definitely laid back and groovy. "Days Gone By" opens with lush pads oozing warmth and power. As soon as the kick drops you know this is gonna be an emotional ride and Jay & Sulana don't disappoint. Out of nowhere a soaring, filtered drone rides a jacking house beat, leading into an extended bridge / build up type thing which gains in intensity before dropping into an almost unbearably beautiful climax with emotive pads cutting through the mix and soaring with pleasure. On the flip "Forever" goes all bumpety deep house; a little Peacefrog, a little Detroit with drums machines set to 99% swing, sexy Rhodes riffs and muffled sub bass. This theme is carried through to "Reach" which is like a lost Sound Signature gem but with high fidelity. A squelchy acid bass accompanies programmed (but live sampled) jazz drums and enveloping keyboard lines. Highly original with lots of influences merged into one dancefloor friendly little number. With a quality control department more stringent than an Italian tailors, Underground Quality continue their 100% record as they reach number 36. Recommended.


                FORMAT INFORMATION

                12" Info: Purple marble vinyl

                Bathtub Love Killings is the debut solo LP from Olivia Jean, the multi-instrumentalist who cut her teeth in the Third Man stable backing folks as varied as Karen Elson, Wanda Jackson and Jack White in addition to fronting the much-loved Black Belles. Jean has accrued a lifetime of experience in a few short years, from highlight performances on The Colbert Report, Conan, Late Show With David Letterman and the Grand Old Opry stage to having one of her songs used as the theme for the television series Elvira’s Movie Macabre.

                Produced by Jack White, Bathtub Love Killings showcases Jean as a songwriting force to be reckoned with. Playing damn-near every instrument she could get her hands on, the result is a well-rounded, catchy record that’s chockfull of ear worm moments.

                • Olivia Jean was lead singer, guitarist, main songwriter of the Black Belles (also released by Third Man Records)
                • produced by Jack White, who also plays guitar on “Cat Fight”
                • drums on “Deadly Hex” and “Cat Fight” by Patrick Keeler (the Raconteurs, the Greenhornes)
                • “Green Honeycreeper” features songwriting contribution by Coco Hames (The Ettes, The Parting Gifts)

                Orlando Julius & His Afro Sounders

                Orlando's Afro Ideas 1969 - 72

                This is the first release from Ekosound, a new label collaboration between Soundway and Ekostar, set up to release Nigerian sounds from the late 60s to the present day. They kick off with this fantastic collection by Orlando Julius, one of Nigeria's afro-beat originators. He's backed by the Afro Sounders who mix up highlife, jazz, funk and traditional Yoruba styles. This is the first time many of these tracks have been available outside Africa!!

                FORMAT INFORMATION

                CD Info: How cheap!?

                One of the most innovative and pioneering musicians of his time, Orlando Julius made an amazing difference to the Nigerian music between the late 60s and early 70s, influencing the likes of Fela Kuti and Tony Allen along the way. This Vampi Soul collection brings together his LPs "Super Afro Soul" (as Orlando Julius & His Modern Aces), and "Orlando's Afro Ideas 1969-72" (as Orlando Julius & His Afro Sounders), previously available on Soundway offshoot Ekosound). The 23 tracks offer up a mind blowing mix of Nigerian highlife grooves, melding jazz, soul, and funk with wonderful Afro-funk rhythms.

                FORMAT INFORMATION

                2xCD Info: CD comes with complete extensive liner notes inside.

                Though "Say You Love Me" wasn't "Om" Alec Khaoli's first solo recording, the 1985 EP solidified the bass player and songwriter's standing as one of South Africa's most consistently innovative pop auteurs. He built a career on ubiquitous rock, pop and soul hits with groundbreaking bands like the Beaters, Harari and Umoja. But Khaoli's seemingly endless fountain of music continued outside these ensembles, where he usually played bass and contributed songwriting and vocals. Khaoli released several successful solo works while he made records with Umoja and worked on other productions with friends.
                This creativity was aided by Khaoli's own recording studio. He was the first South African to have a privately-owned studio. As black artists were forced to record during lunch breaks and didn't get sufficient access and time in the white-owned studios, having his studio allowed Khaoli to develop in his own way. Hence his productive output during the 80's and early 90's, releasing 5 LPs with Umoja and 5 solo LPs, along with numerous singles and EPs. There's something broad and dynamic about the almost epic pop sound Khaoli creates on "Say You Love Me". Being the first South African to take control his recording process and thereby free himself from one of apartheid's many strictures, he took his vision of music to new realms and made timeless music for the dance floor in the process. 

                STAFF COMMENTS

                Patrick says: Another rarity reissued by the erm...awesome... Awesome Tapes From Africa, kicking off with the emotional pop of "Say You Love Me", a shoulder rolling love song which could easily have found its way onto the end credits of many an 80s buddy movie. "Make Me Your Lover" fuses a little Paul Simon style songwriting with traditional African styles (oh the irony), while "Crosslines" is an oddball synth funk freakout a la Herbie Hancock. Last but not least we feel the force of the show-stealing "Enjoy It", a dreamy bit a Afro-cosmic for the Balearic crowds.

                Omar Khorshid

                Guitar El Chark (Guitar Of The Orient)

                The late Omar Khorshid remains an iconic legend of the Arab world, though he's received criminally little international acclaim. Born in Cairo in 1945, the glittering age of Egypt's cultural reinvention, Khorshid was soon to become one of its luminaries and most well-known, if short-lived, voices. He is regarded as the greatest guitarist the Arab world has ever known. By the mid-'60s, Khorshid was established with his group Le Petit Chats, an Egyptian beat group modeled after the prevailing influence of Elvis and The Beatles. It was at this time that one of the reigning figures of contemporary Arabic music, Abdel Halim Hafez, asked Omar Khorshid to join his orchestra. With Baligh Hamdi composing, Hafez with Khorshid in place would create some of the most innovative modern sounds in the Arabic musical canon. Time with the Hafez orchestra offered Khorshid instant fame, and it wasn't long before he was asked to play with the queen of Arab music, the voice of Egypt herself, Oum Kalthoum.

                Over the next few years, Khorshid became a well-established and integral part of the Arab musical landscape. He was featured heavily in live concerts, national TV and radio and studio recordings, playing for the leading artists of the day. The guitar had now become an essential ingredient in the Oriental orchestra. Khorshid began recording albums under his own name for the prestigious Lebanese record labels Voice Of The Orient and Voice Of Lebanon. Working with visionary engineer Nabil Moumtaz at Polysound studios in Beirut, Khorshid would take his music into some of the most progressive musical terrain of its time. The tracks included here in this retrospective are from the prolific span of Khorshid's career in Beirut from 1973 to 1977. The venerable Palestinian poet Mahmoud Darwish best encapsulated this time in Lebanon: 'unfortunately, it was paradise'. Khorshid's prolific instrumental music enjoyed recognition that transcended class and status during the brief period he shone. It's a testament to his immense talent and some of the finest guitar music the world has ever heard.

                FORMAT INFORMATION

                2xCD Info: Double CD reissue of the out-of-print vinyl edition. With an additional ten bonus tracks and a 14 page booklet in a tri-fold digipak.

                Oswaldo Lares

                Musica De Venezuela 1972-81

                  As committed musical lunatics, the Piccadilly staff can't get enough of those total obsessives who made their contribution to recorded sound while holding down a completely unrelated day job. Whether it be the synth funk star who spends his days driving trams, the electro maverick who pulls a wage as a security guard or the taxi driver come Afrobeat legend, we love them all. This particular disc is the pet project of studied architect Oswaldo Lares, who has spent fifty years making field recordings of the traditional and indigenous music of Venezuela. Beautifully pressed and presented with gorgeous inserts, liner notes and a classy sleeve, this document of Venezualan audio culture should please samplers and musicologists alike. 

                  FORMAT INFORMATION

                  Ltd LP Info: Includes 2 full size fold-out inserts, DL code incl. 30 minutes bonus track , ltd. to 300 copies.

                  Oliver Mellano With Brendan Perry

                  No Land

                    In terms of Olivier Mellano’s highly eclectic career, which has already taken him down various different tracks (violinist, rock then avant-garde guitarist, composer, producer and even random project designer), the new ‘No Land’ project is a particularly innovative step for an artist who ceaselessly zips back and forth between the worlds of pop, multimedia and a certain kind of contemporary music.

                    Set up in 2015, this project is at the crossroads between music termed ‘contemporary’ and new music, as well as playing with the codes of traditional music. Scored by Olivier Mellano, it lasts almost forty minutes and calls on an impressive array of musicians. Mellano plays the bass, alongside Brendan Perry, the singer from the famous British / Australian duo Dead Can Dance, as well as the Bagad de Cesson-Sévigné, an ensemble of thirty musicians playing bombards, bagpipes and percussion instruments, not to mention a choir with twenty singers.

                    The ensemble, which draws on traditional music but also present day rhythms and flashes of sound, is fascinating and, as well as weaving together Olivier Mellano’s multiple musical roots, it conceals a political and philosophical manifesto.

                    The project has been premiered on stage during the Tombées de la Nuit festival in Rennes and has already been presented at a number of key events, such as the Rio Loco festival in Toulouse and the Nuits de Fourvière in Lyons in 2016. The launching concert of the album will take place in November at the Pont des Arts in Cesson-Sévigné, near Rennes.

                    Ogoya Nengo And The Dodo Women's Group

                    Rang'ala - New Recordings From Siaya County, Kenya

                    Open-hearted, fresh, lovely, bumptious recordings of women’s singing, from a village in southwest Kenya. 'Dodo' is a type of traditional Luo music mostly used for entertainment at weddings, drinking parties and wrestling festivals. Songs in praise of the happy couple, and the best wrestlers. Ogoya Nengo was born in 1943. Her vocal abilities were discovered when she was herding cattle, as she never attended school, though nowadays her professional name signals both the Magoya clan of her birth and - ‘nengo’ meaning ‘price’ in Luo - the fees she commands as the most expensive Dodo performer on the circuit.

                    There is a sense of quiet, reserved confidence about' Hither Thither', O Emperor‘s debut LP. Many commentators have noted that it sounds more like the recording of a band on their third or fourth album, such is the display of maturity and self-awareness on show. The diversity on display is striking. From songs like 'Don Quixote' (a dense production featuring a stunning, lush string arrangement by pianist Philip Christie), 'Po' (an elusive tale of imaginary childhood friends set against a driving 70s style production) and 'Don‘t Mind Me' (a gracefully melodic, sun-kissed affair, with vocal harmonies shared by all five members) to the albums quieter, more introspective moments of 'Sedalia' (a plaintive narrative with an unexpected psychedelic shift), 'Heisenberg' (an eerily minimalistic piano-led composition) and 'The Fat Lady Sings' (a dramatic send-off that at times hints at a taste for the avant-garde), 'Hither Thither' is an album of dense, sprawling beauty - a collection that is diverse while remaining focused on an overriding aesthethic. A journey from Hither to Thither indeed.

                    “As Irish debuts go, it’s in a league of its own.” The Irish Times.

                    “A sumptuous and wondrous debut from a band with a frighteningly bright future.” The Sunday Business Post.

                    “Think Fleet Foxes/Local Natives, with various vocalists and the vibe of The Band thrown in for good measure…” Futuresounds.

                    O Fracas

                    Factfinding

                    O Fracas return with the limited edition "Factfinding" EP featuring two tracks from their forthcoming debut album, "Fits & Starts", due early next year (08). The band recently signed to I Can Count in the UK and Vinyl Junkie in Japan and this release follows the release of two critically acclaimed singles on Marquis Cha Cha. This EP comprises of two lead tracks "Factfinding" and "And So A Scratch Runs Down A Wall", taken from "Fits & Starts". Along with "Moth To A Flame" and a remix of "Scratched Wall" by Leeds' up and coming hip hop export Breaking The Illusion. O Fracas are the collision of a myriad of influences. Inspired as much by the DC hardcore of Fugazi and Q And Not U along with the rhythms of Billy Cobham and Fela Kuti, they bring this together with the range of Talking Heads songbook and condense it into three minutes pop songs played with a vigour and taut musicianship beyond many of their peers. Lyrically, lead singer Ben writes about the human condition with the insight of a man twice his age, O Fracas set themselves apart from the pack and with an average age of just twenty this really is surely just the beginning for O Fracas.

                    FORMAT INFORMATION

                    Ltd 10" Info: Limited to just 500 copies.

                    The album condenses the bands first three years of work, influenced by the likes of Fugazi, Fela Kuti and The Mars Volta into one un-cohesive package. Ranging from the folky lament of "Menwith Hill" to the frenetic avant-rhumba-punk of "Zeroes And Ones", a dystopian view of 'the idea of a liberating universal internet consciousness'.

                    O Fracas

                    Follow Sue

                    Another great slice of spikey, angular guitar noise from Leeds lads O Fracas.

                    FORMAT INFORMATION

                    Ltd CDS Info: ONE PER PERSON.

                    Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers. OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations. The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.
                    To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.
                    Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.

                    After a break of six years Matt returns to his Off-key Industries imprint with a varied blend of trippy warehouse belters, sun drenched spine tinglers and slow motion acid. Already receiving support from the likes of Marcel Dettman, Santiago Salazar, Perc, Truss and others. It’s also been downloaded for Richie Hawtin & Marco Carola, whatever that means.

                    Self-produced American songwriter London O’Connor announces a partnership with New York City-based record label True Panther Sounds as well as the remastered official re-release of his critically acclaimed debut album ‘OΔ’. 

                    Upon self-releasing ‘OΔ’ on SoundCloud, London’s diary-like accounts and immediate pop songs wooed both critics and fans alike. His energetic live show atop his one-of-one light cube impressed on both sides of the pond just months after the initial release of the album. His first chapter ‘OATMEAL’, the present and relatable ‘Nobody Hangs Out Anymore’ and the I-hate-everything anthem ‘GUTS’ were instant streaming favourites that all wound up getting play on BBC Radio 1 and American radio stations, while the epic album closer ‘SURVIVE’ found a whole new meaning when a room full of music lovers and industry folk in France sang along in sync with O’Connor mere days after the tragic events at The Bataclan Theatre.

                    ‘OΔ’ (pronounced ‘Circle Triangle’) is a post-any-genre narrative told through vivid and visual production he made from the contents of his backpack while sleeping on floors and couches in New York City. It details the suburban world he grew up in and fled from in Southern California years before. The cinematic album also acts as a rallying cry and arrived hand-in-hand with a direct message from O’Connor: “If when you hear it, you feel like its talking about where you live, then I want you to leave.”

                    The original version of the album lingers on the internet along with a tweet of his actual cellphone number. The creative direction of London’s body of art and the viscerality of its themes to overcome one’s environment liken the symbol ‘OΔ’ in the eyes of his fans to one perceived like the emblem for the Rebel Alliance.

                    “A singular talent” - The Guardian

                    “Effortless and blissful, like falling asleep in the grass” - Dazed

                    “A dreamy tribute to growing up bored in the suburbs and finding adventure in the nether regions of his imagination” - The Fader

                    “‘OΔ’ works like a mini motion picture” - Pigeons And Planes

                    “As expertly constructed a pop album as anything that will be released this year” - Pitchfork

                    “Mercurial, genre-shifting” - Stereogum

                    STAFF COMMENTS

                    Millie says: This album is unbelievably catchy, it’s an electro-pop sensation. It cleverly dips in to many different genres while all at the same time retaining a distinctive style. Oh and it’s impossible not to sing along to ‘I hate your gu-uuts’!

                    FORMAT INFORMATION

                    LP includes MP3 Download Code.

                    With the help of producer Billy Pavone (The Fall, Asobi Seksu, White Rabbits), the latest O’Death opus, Outside, is their subtlest work by far, but also the most impressive of the band's career. This is a record that lives up to its name with spacious and cinematic arrangements, layers of subtle percussion, and at times an impenetrable wall of found sound.

                    O'Death recorded the album over a two-month period, easily the longest they've ever spent on a production. The extended recording time allowed the band to write in studio, as well as cultivate the organic noise for the record in an intimate setting. As Pavone observed, "Creating the album in the recording, and not in the mix, was a leap of faith for me. It was challenging to let go and allow the album to breathe a bit, and be its own creation– unique and very different from some of the sounds we hear so often in the world of digital manipulation.

                    The result is a record that is both the most subtle and massive accomplishment of the band's career, a darkly triumphant and free-flowing album that represents exactly where the songwriters have found themselves in this moment. As Pycior notes, "I love the dynamic disparity in the album: the fragile parts of ‘Bugs,’ ‘Ourselves,’ and ‘Don't Come Back...,’ the huge endings in ‘Alamar,’ ‘Look at the Sun,’ and ‘Pushing Out.’ I know we have the right sequence this time around… and I love ending on a different and demented tone with ‘The Lake Departed.’”

                    A singer-songwriter from Hyde who sounds like Roddy Frame doing Beatles' ballads. Add a little Ray Davies realism and maybe a touch of Haircut 100's strum-a-long pop and you've got a real talent. Like a blast from a golden indie past, these are cracking songs full of love, hope and rejection. Excellent.

                    Aside from the swaggering percussive synth-pop opus of opener, 'Never Give Up', this is a very meditative affair. O'Halloran of all-the-soundtracks fame curates a meditative suite of triumphant and uplifting modern classical masterpieces with prepared pianist and all-round neo-classical boundary-pusher, Hauschka. 

                    After the aformentioned swinging percussive opener, we slide straight into a gracious and melancholic combination of plucking piano arpeggios and breathy strings, bringing to mind the more cinematic moments of Max Richter or indeed O'Halloran's work with Adam Wiltzie as A Winged Victory For The Sullen, mixing subtle field electronics and fractured drines with heavenly reverbed piano and terse bass swells. Later on, the clattering haunted-house chatter of 'Escape The Station' overflows with ambience but tends toward a more claustrophobic iteration, rather than the minimalist solar-flare beauty of the earlier theme. 

                    There are pensive thought pieces like 'Falling Downward', tending towards atmospheric pressure and crushing instrumetal heft, which give the higher-pitched astral dreamers like 'Layers Expanding Theme' a solid foundation to bring the listener to the stars. It's a brilliant film, with a beautiful soundtrack and it works just as well on it's own.  

                    STAFF COMMENTS

                    Barry says: Stunning modern-classical stargazing, brittle droning and clicking field recordings presented gracefully and with a cohesive thread, by two of the greatest songwriters working today. What more could you want?

                    FORMAT INFORMATION

                    Coloured LP Info: 180 GRAM AUDIOPHILE VINYL
                    INCLUDES 4 PAGE BOOKLET PVC PROTECTIVE SLEEVE FIRST PRESSING OF 750 NUMBERED COPIES ON BLUE VINYL

                    Stephen O'Malley & Steve Noble

                    St Francis Duo

                      Having played together in Æthenor for the last couple of years, Steve Noble & Stephen O'Malley came together to play as a duo at Cafe Oto in 2011. These recordings are the results of these two hot and sticky nights in East London. Noble is a regular at Bo' Weavil Recordings, having appeared on over nine recordings for the label, and a linch pin in London's improvising community. Steve Noble studied with Nigeria master drummer Elkan Ogunde and in the early 1980s and over the last 20 years has played with most of the great players from 4 corners of the globe.

                      Stephen O'Malley predominantly a guitarist, producer and composer from Seattle who has been at the centre of avant-garde/drone metal, best known for his group Sunn0))), and also a prolific collaborator with many of the finest improvisers. So it was bound to be a memorable night of music to see these two to meet. Noble sets the recording off with a full tribal charge, while Stephen instead of firing off a shard of ecstatic notes and chords, coaxed his guitar into singing a slow ever growing roar. But soon the two are of into some wildest creative rampages - exciting drum and guitar territory, sounding at times not too dissimilar to Haino's Fushitsusha, brutally beautiful shredded riffs from O’Malley met with Noble's exuberant rhythmic force .

                      Over 2 slabs of vinyl and CD the memory of these 2 nights can be heard in full violent sonic attack.


                      Tara Jane O'Neil

                      Tara Jane O'Neil

                      Tara Jane O’Neil describes her latest and eighth solo album “Self Titled” as a “singer songwriter” endeavor. At the invitation and design of Mark Greenberg (The Coctails), she recorded, mostly live, half of the record at Wilco’s Loft Studio in Chicago with a band that included James Elkington, Gerald Dowd, Nick Macri, and Greenberg himself. The other half was made in O’Neil’s home studio in California with Devin Hoff, Wilder Zoby, Walt McClements and string supervisor Jim James.

                      The album also features the voices of Chris Cohen, Carolyn Pennypacker-Riggs and Joan Shelley. O’Neil herself plays guitar, bass and percussion. A founding member of Rodan, The Sonora Pine, amongst other ensembles, O’Neil has also collaborated on recordings and stages with Papa M, Michael Hurley, Little Wings, Marisa Anderson, Catherine Irwin, Mirah, Mount Eerie, and many, many others. She’s performed at clubs, galleries, and DIY spaces around the world and venues such as the Centre de Pompdou, the Whitney Museum of American Art, and All Tomorrow’s Parties, while also starring in the cult classic film Half-Cocked. Her visual art work has been shown in cities including London, Tokyo and Portland and has been published in three monographs.

                      Jimmy O'Neill

                      Cradle Me

                      Debut single on Clown Prince recordings, from this Wigan based singer / songwriter who cites influences as diverse as Johnny Mathis and the Sex Pistols. His songwriting encapsulates his thoughts and feelings on life with a blend of pathos and tongue in cheek humour, in the most English, self-depreciating way.

                      Tara Jane O'Neil & Daniel Littleton

                      Music For A Meteor Shower

                      Tara Jane O'Neil and Dan Littleton have been seminal figures in the indie rock scene for some time now. Tara first surfaced in 1991 as part of the influential, yet short-lived, band Rodan. Tara then assumed duties concurrently in Retsin and Sonora Pine before embarking on a solo career in early 2000. Over the last ten years or so, you can see Tara's transformation from post-punk rocker to intimate singer-songwriter. This album is reflective of her musical progression.

                      Tara Jane O'Neil's music is integrated and contextual, idiosyncratic and deeply psychedelic, akin to a lucid dream journal caught on magnetic tape.She appears to be interested in all sounds equally. In her tireless search for a music that mirrors and reflects her alchemical, deeply syncretic approach to sound, color, language, surface and texture, she has found herself in a somewhat singular category.

                      Her concerns are free from fussing about form. Her albums posit some free space that owes more to improvisors and painters than singer-songwriters or new age synthesizer baths.

                      She is still interested in songs, and she has always been a wordsmith, but her songs don't need to have words to signify. When words are utilized, she doesn't waste them. They are beautifully mystical outbursts of visionary poesis, but their narrative power is located within and informed by, the space, the harmonic color, the context in which they are sung.

                      Choral voicings spread out across the stereo field like muted cloud formations splitby sudden outbursts of vibrant color, verdant mosses on ancient stones, opalsized windows of clear blue set against a vast horizon. Pump organ drones swell and respirate, patient and slow, with softly resonant gongs from the roof of the world. This is music about healing, about listening, about surviving and transmuting the strange inheritance of language. Moving towards a direct perception of apparent reality through collaboration, breath, sound and song.

                      TJO has always been a shapeshifter. Listen to this new album with open ears, forgetting any previous incarnation, or perception of what you believe this mercurial artist to be or to have been.

                      Using some very basic recording equipment and her vivid musical imagination, she has achieved a rare essentialism wherein all unnecessary elements have been stripped away leaving only the most indispensable sounds. Concise, but expansive, stripped of unnecessary gestures; guitars resonate, amps hum, and an exquisite, languid melancholia appears out of the haze.

                      Press quotes:
                      “There's a characteristic tone that runs through all of her albums-- an elastic guitar reverb that stretches to give a delicate puff to hersongs, drums that rarely go beyond a gentle grounding pitter-patter and, of course, the haunting lull of her voice, which beckons the listener into her world with mellow grace.” Pitchfork

                      Ryan O'Reilly

                      I Can't Stand The Sound

                        Recorded between the chaos and bustle of a New York cinema on Bedford Avenue, Brooklyn and the windswept loneliness on the south-side of the Isle of Wight in the spring of 2017, I Can't Stand The Sound is the second album from Berlin based English/Irish songwriter Ryan O'Reilly. Produced by David Granshaw and in collaboration with Canadian, Tyler Kyte the album is an exploration in searching for meaning, the meaning in a fatal car accident, the beauty and darkness on the streets of Berlin, comprehending the American landscape at the end of 2016 and trying to filter out the noise of relentless opinions on 24 hour news TV and online.

                        Littered with snapshots from myriad conversations; A Grandmother's warning that ghosts are never as dangerous as humans, talking to a loved one after a terror attack, a fall from a horse, with a hangover whilst reading in the bath and the faceless people who blithely tell you to 'live your dreams' the characters and conversations restlessly change locations and perspectives.

                        I Can't Stand The Sound began life on the journey between New York and Tennessee in the aftermath of the American election in 2016, the long conversations, the search for conclusions and reasoning in a void of reason. Written on municipal Frisbee-golf course in East Nashville, a front porch in Hamilton, Ontario and along side the beautiful, dirty Spree in Ryan's adopted hometown of Berlin each place finds it's way into the heart of the album. In May 2017 Ryan, Tyler and Dave travelled back to New York. Joined by members of Toronto's Dwayne Gretzky and Ryan's European touring partners The O'Pears to begin recording of I Can't Stand The Sound in the Cinema/bar where the journey towards the album began six months earlier. 

                        Dolores O'Riordan

                        Ordinary Day

                        This is the first single from the highly anticipated debut solo album "Are You Listening?".

                        FORMAT INFORMATION

                        CDS Info: The CD single includes "Without You" and the video of "Ordinary Day".

                        O'Seis

                        Suicida / Apocalipse

                          One of the rarest records in the world, by ‘Os Mutantes’ before they were ‘Os Mutantes’. heavyweight Brazilian Psychedelic Rock and Folk.

                          ‘O’Seis’ are the core members of the mighty and legendary ‘Os Mutantes’ - namely Rita Lee and brothers Arnaldo and Sergio Baptista, accompanied here by Raphael Vilardi, Maria ‘Mogguy’ Malheiros and Luiz Pastura.

                          The record features anthemic, heavyweight, psychedelic rock on ‘Suicida’ b/w deeper, tripped-out MPB-folk on ‘Apocalipse’. Both tracks were written by Rita Lee, assisted by Tobe and Vilardi respectively.

                          The term ‘holy grail’ is a little overused these days perhaps, but this definitely is one. Originally pressed and released by the band themselves in 1966, apparently only a handful of copies are known to exist (sources/numbers vary). The record has changed hands for up to a staggering $5000! Ouch.

                          Daniel O'Sullivan

                          VELD

                            Tim Burgess’ curated imprint O Genesis Recordings present VELD, a new solo album of luminous pop incantations, electroacoustic music and shimmering drones from composer and multi-instrumentalist Daniel O’Sullivan. Whether solo or in his varied collaborative projects, O’Sullivan’s work is remarkable in the way it infuses familiar everyday experience with traces of the uncanny, the secret and the magickal. VELD distils these tangled realities into a wonderfully rich and complex record — one of O’Sullivan’s most immediate and moving pop albums to date, yet one that's strikingly dense and allusive, alive with enticing sonic diversions, hypnotic mantras and eerie biomechanical rhythms.

                            VELD was written and recorded between 2010 and 2016 while O’Sullivan was living on Tower Gardens Road, during the same phase that also nurtured other collaborative projects including Grumbling Fur (with Alexander Tucker) and Laniakea (with Zu’s Massimo Pupillo). This was also the space where O’Sullivan assembled and arranged Ulver’s 12th studio album ATGCLVLSSCAP and the last two Æthenor LP’s (O’Sullivan’s “automatic composition” group with Stephen O’Malley of Sunn O))) and Steve Noble). The house was a kind of parallel world, an oasis of the strange and the mystical in suburban North London belonging to Ian Johnstone (artist, permaculturalist and muse of the late Jhonn Balance of seminal English experimentalists Coil), who passed away in 2015. The album is dedicated to Ian and his home who, explains O’Sullivan, was a friend, inspiration and grounding space over the years.

                            Their influence has audibly seeped into O’Sullivan’s intuitive, exploratory approach to music. His varied work is united by a love of bricolage, a fascination for drawing sounds and ideas from across disciplines and aesthetic worlds into a shared orbit. Traces of his many projects all meet and mingle in VELD: from his solo music as Mothlite to the lysergic songcraft and space-time vortices of Grumbling Fur and Laniakea, the reality-distorting zones of Æthenor and Ulver, the electronic pop of Miracle (with Zombi synth maestro Steve Moore), and his recent involvement with another pioneering London group, This Is Not This Heat.

                            While distinctly a solo-led record, VELD is animated by the same roaming, impulsive compositional spirit as his collaborative work. While grounded in pop music — which O’Sullivan describes as the ideal vessel for channelling more celestial energies — its dreamlike soundworld draws inspiration from across both natural and human landscapes. Its influences range from Ray Bradbury (whose story ‘Veldt’ inspired the album’s title) and Gurdjieff to Borges and Anais Nin; St. John’s Wort and Psylocybin to Tottenham Cemetery and Streatham Common; Cocteau Twins and Judee Sill to Alice Coltrane and Tony Conrad.

                            Written during a time of great personal upheaval and growth, these are songs steeped in thoughts of change and growth: the joys, fears and strangeness of parenthood and family life, loss and grief, the passing of time. Yet they’re also inspired by the transformative, self-obliterating potential of sound and music — its ability, explains O’Sullivan, to weave together multiple voices, forms and aspects of the self into a unifying whole. So throughout you hear O’Sullivan’s voice merging and phasing with guest vocalists including Linn Carin Dirdal, Jael Reasoner and Astrud Steehouder, as the music surges from astral pop songs (‘Scorpio Rising Blues’, ‘Sabotage Devices’, ‘Luminous Fibres’) to dubbed-out electronics and burning feedback (‘Plutonians’, ‘The Projector’), fractal sound collage and spidery guitar pieces (‘Doe A Deer’, ‘Be Honour You’). The result is a record whose songs evoke multiple universes and other possible realities, making it O’Sullivan’s most unified and self-contained solo work to date.

                            O>L>A “One Little Atlas” are a Electronic/Ambient two piece based in Manchester.

                            They self produced & released their debut album which was recorded in England & West Coast of Scotland between 2012-2013 on their own Desty Records. 

                            Over 2014 they have collaborated with a number of musicians, artists and writers on various projects. In May they worked with Video Jam for Sounds From The Other City festival in Salford on a soundtrack to the opening 15 minutes of documentary Baraka which was performed live.

                            In October O>L>A then collaborated with artists Alison Erika Forde & writer David Gaffney for the exhibition Men Who Like Women Who Smell of their jobs at John Rylands Library, Manchester. They had responded to the text and paintings by writing three original pieces of music and performed them live within the library's historic front entrance.

                            On November 1st they performed in Manchester Cathedral opening for Columns Festival performing alongside Future Islands, East India Youth & Zola Jesus.

                            They are currently touring, working on their second album release.

                            Oasis

                            Supersonic

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

                              Especially for Record Store Day on Saturday April 19th, Big Brother will release a limited edition remastered replica on heavyweight vinyl of Oasis’s classic debut 12 inch single ‘Supersonic’ first released 20 years ago on 11th April 1994.

                              ‘Supersonic’ was included on Oasis debut album ’Definitely Maybe’, released in August 1994. The album was an immediate critical and commercial smash and the fastest selling debut album (at the time) - ’Definitely Maybe’ has been certified seven-times platinum in the UK (over 2 million copies), and has sold over 5 million copies worldwide.

                              The album frequently appears on ‘best album of all time’ polls, including a No.1 placing in a 2008 Q Magazine poll of the ‘Greatest British Albums’.

                              To celebrate the 20 year anniversary, Big Brother Recordings are to reissue the band’s classic albums in chronological order as part of the new Chasing The Sun series.

                              Each album has been remastered and will be made available with rare and exclusive bonus content. Definitely Maybe will be the first reissue in the series, out 19th May. (What’s The Story?) Morning Glory and Be Here Now will follow later this year.

                              Limited to 3000 copies for the UK and Ireland.

                              Oasis

                              (What's The Story) Morning Glory? - Remastered Deluxe CD Edition

                              ‘(What’s The Story) Morning Glory?’ is Oasis’s biggest-selling album, with 22 million copies sold worldwide. On release in October 1995 it spent 10 weeks at No.1 and is the 5th biggest-selling album in UK Chart history. In their 14-year recording career (1994 - 2008) Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation.

                              It was during the ‘Morning Glory?’ era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996 and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.

                              Each edition of this album includes a remastered version of the original. The 3CD and deluxe digital formats include two CDs’ worth of bonus material including of all the B-sides plus rare and unreleased Oasis tracks from the ‘Morning Glory’ era.

                              Oasis

                              (What's The Story) Morning Glory? - Remastered Edition

                              ‘(What’s The Story) Morning Glory?’ is Oasis’s biggest-selling album, with 22 million copies sold worldwide. On release in October 1995 it spent 10 weeks at No.1 and is the 5th biggest-selling album in UK Chart history. In their 14-year recording career (1994 - 2008) Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation.

                              It was during the ‘Morning Glory?’ era when Oasis played their some of their most iconic gigs, including two nights at Maine Road Stadium, the then home of Manchester City Football Club, in April 1996 and Knebworth House, where the band played to 250,000 fans over two nights in August 1996. Over 2.6 million people applied for tickets for the shows, making it the largest ever demand for concert tickets in British history.

                              FORMAT INFORMATION

                              2xLP includes MP3 Download Code.

                              Oasis

                              Be Here Now - Remastered - Deluxe Edition

                                ‘Be Here Now’ is the third release in the Oasis series ‘Chasing The Sun: 1993-1997’, released on Big Brother Recordings on the 20th anniversary of the first day of the ‘Be Here Now’ recording sessions at Abbey Road Studios.

                                Arguably the most anticipated British album release of all time, ‘Be Here Now’ was recorded with producer Owen Morris at Abbey Road Studios, Ridge Farm Studios, and Air Studios between October 1996 and May 1997.

                                Originally released at midnight on Thursday August 21st 1997, ‘Be Here Now’ sold 700,000 copies in just 3 days and remains, to this day, the fastest selling UK album on release. To date it has sold over 8 million copies worldwide. Oasis released three singles from the album, two of which - ‘D’You Know What I Mean?’ and ‘All Around The World’ – charted at No.1, with ‘Stand By Me’ reaching No.2.

                                The album has now been re-mastered from the original tapes and the deluxe edition format features bonus content of B-sides, rare and unreleased Oasis tracks from the ‘Be Here Now’ era, plus a brand new Noel Gallagher mix of ‘D’You Know What I Mean?’.

                                Oasis

                                Be Here Now - Remastered - Super Deluxe Edition

                                  ‘Be Here Now’ is the third release in the Oasis series ‘Chasing The Sun: 1993-1997’, released on Big Brother Recordings on the 20th anniversary of the first day of the ‘Be Here Now’ recording sessions at Abbey Road Studios.

                                  Arguably the most anticipated British album release of all time, ‘Be Here Now’ was recorded with producer Owen Morris at Abbey Road Studios, Ridge Farm Studios, and Air Studios between October 1996 and May 1997.

                                  Originally released at midnight on Thursday August 21st 1997, ‘Be Here Now’ sold 700,000 copies in just 3 days and remains, to this day, the fastest selling UK album on release. To date it has sold over 8 million copies worldwide. Oasis released three singles from the album, two of which - ‘D’You Know What I Mean?’ and ‘All Around The World’ – charted at No.1, with ‘Stand By Me’ reaching No.2.

                                  The album has now been re-mastered from the original tapes and the deluxe edition format features bonus content of B-sides, rare and unreleased Oasis tracks from the ‘Be Here Now’ era, plus a brand new Noel Gallagher mix of ‘D’You Know What I Mean?’.

                                  The deluxe edition also includes the legendary Mustique demos; 14 previously unreleased original demos for ‘Be Here Now’ recorded in the Caribbean Island in early 1996 by Noel Gallagher and Owen Morris. None of these original versions of the songs have ever been heard by anyone outside of the band before.

                                  FORMAT INFORMATION

                                  Box set Info: Super deluxe boxed set - contents include LP and deluxe 3 x CD, hardback coffee table book with new sleeve notes, exclusive vinyl plus a 12” white label sampler of the Mustique demos and Oasis merchandise.

                                  Oasis

                                  Be Here Now - Remastered Edition

                                    ‘Be Here Now’ is the third release in the Oasis series ‘Chasing The Sun: 1993-1997’, released on Big Brother Recordings on the 20th anniversary of the first day of the ‘Be Here Now’ recording sessions at Abbey Road Studios.

                                    Arguably the most anticipated British album release of all time, ‘Be Here Now’ was recorded with producer Owen Morris at Abbey Road Studios, Ridge Farm Studios, and Air Studios between October 1996 and May 1997.

                                    Originally released at midnight on Thursday August 21st 1997, ‘Be Here Now’ sold 700,000 copies in just 3 days and remains, to this day, the fastest selling UK album on release. To date it has sold over 8 million copies worldwide. Oasis released three singles from the album, two of which - ‘D’You Know What I Mean?’ and ‘All Around The World’ – charted at No.1, with ‘Stand By Me’ reaching No.2.

                                    The album has now been re-mastered from the original tapes.

                                    Oasis

                                    Definitely Maybe

                                      Superb anniversary edition DVD, features their classic debut album in 'PCM Uncompressed Stereo' (whatever that is!) alongside an exclusive montage of images. Exclusive to this DVD: an in-depth, hour long, song by song documentary on the recording and making of the album. Also includes live performances of every song on the album from early gigs and classic TV appearances, all the original promo videos, with alternative versions and director's commentaries. There's also a bonus disc featuring more exclusive live performances, stories and anecdotes from the making of the documentary. Over four hours running time in total.

                                      STAFF COMMENTS

                                      Andy says:

                                      In their 14-year recording career Oasis sold over 70 million albums worldwide, had 22 consecutive UK Top 10 singles, 7 No.1 studio albums but, more than that, they helped define a generation. Now Big Brother Recordings are to reissue the band’s classic albums in chronological order as part of the new ‘Chasing The Sun’ series. Each album has been remastered and will be made available with rare and exclusive bonus content.

                                      With 2014 marking the 20th anniversary of its original release, ‘Definitely Maybe’ will be the first reissue in the series. ‘(What’s The Story?) Morning Glory’ and ‘Be Here Now’ will follow later this year.

                                      ‘Definitely Maybe’ was originally released in August 1994 and was an immediate critical and commercial smash. The fastest selling debut album ever (at the time), it went seven-times platinum in the UK (over 2 million copies), and sold 5 million worldwide. Containing the classic debut single ‘Supersonic’ - released April 1994 - and subsequent singles ‘Shakermaker’, ‘Live Forever’ and ‘Cigarettes & Alcohol’, ‘Definitely Maybe’ frequently appears on Best Album Of All Time polls, including a No.1 placing in a 2008 Q Magazine poll of the Greatest British Albums.

                                      STAFF COMMENTS

                                      Andy says: Come onnn, come onnnn, come onnnn, YEAH, YEAH, YEAAAHHHHH!

                                      FORMAT INFORMATION

                                      2xLP Info: Remastered double heavyweight vinyl. Includes download code for album, bonus unreleased tracks and rarities.

                                      CD Info: Remastered including brand new artwork.

                                      Brand new, rambunctious, rootsy, spiritual brass-band music from Lagos, with singing, drums and home-made percussion.
                                      Obadikah is a group of old friends who play together in the Cherubim & Seraphim and Baptist churches of the Ikeja and Isale Eko districts. A couple of them were founder-members of the Eko Brass Band; they’ve played with pretty much all the key Nigerian reggae artists.
                                      The tunes are mostly traditional Yoruban melodies, often sung at bed-time. The songs are mostly original, sung in Yoruba (though Jomido is an Egun song from the Badagry area of Lagos state).

                                      STAFF COMMENTS

                                      Sil says: Lots of Nigerian brass without being overpowering, jazz and latin elements and drums reminiscent of Fela Kuti. Overall a gracious and warmth LP that will put a smile on you.

                                      PP018 has been work in progress for quite a while now. "Wind-s" originally appeared in a slightly different version as part of the soundtrack to one of Rohtheaters` plays. The track features all the typical Obalski elements we have grown so fond of in the past. Dreamy pads and odd melodies create the sort of ambience that carries you away somewhere else. We decided that it would be interesting to hear other artists take their turn on the material. The Japanese duo Mascaras (Chida & 5ive) transformed "Wind-s" into a lysergic drum heavy workout. Drawing out the original ambience and conjuring up something much more dancefloor centered, fantastically incorporating the breezy synth elements of the original into their flow of percussion. The B-Side gives space to Nick Höppner‘s epic rolling techno groove. Tribal, hypnotic but nicely balanced and sounding super warm and welcoming too. Anyone that's seen Nick's fabulous extended DJs should be vibing off this baby right till the end. Top drawer stuff.

                                      Obas Nenor

                                      The Masters Series 04

                                      Masterworks Music returns with their illustrious 10" vinyl-only brand, The Masters Series. Stepping up to handle duties on this fourth instalment is none other than Tel Aviv's own Obas Nenor. Having made waves with his previous outings for Defected, Heist Recordings and his own label, Nenorion, not to mention EPs for the likes of Strictly Rhythm, Mahogani Music and a slew of 12's for Whiskey Disco as half of Rabo & Snob…let's just say the man gets around!
                                      Now unleashing his 'Weirdo disco' style on Masterworks Music, he packs his studio creations into a tidy, 10" format with a dope double-header. "Candies" offers any newbies the perfect introduction to Obas' wild-style, loosening up with a shuffling, low-key vibe. Every much as danceable as the flip, "Candies" pairs jangling guitar riffs with vocoded rhymes and more undulating vocal snips. Clavinets dripping in wah-wah wackiness keep the mood light and funky and recall the glory days of acts like Faze Action and Crazy P.
                                      Flipping over to the B side "Stay" wastes no time getting down to business with wonky, percussive intro that launches head-first into a stomping Moog-bass groove. Layers of vocal samples undulate and punctuate the rock-steady disco beat while chords and claps get the hips shaking.
                                      Cracking' tackle for any modern disco head, these are sure to blaze up the night!

                                      This well produced strong disco funk album is a hidden gem. The original is on many wants lists and rarely turns up. Heady disco funk from the glory days of the Miami soul scene in the 70’s. This smoking album by the group Obatala is tight in a good way. Core funk energy mixed with some added strings and horns. A mode that's funky club, but never straight disco at all. Titles include "April", "Shades Of September", "Disco Party", "Funk-A-Fried", "Tight Rope", and "Work It Out". A killer set throughout! - Marc Janssen.

                                      Agnes is a Danish singer, songwriter and musician. She began playing the piano when she was a child and in her late teens she founded the Copenhagen based band, Sohio, together with the Danish musician and producer Elton Theander. The two worked together for several years but nowadays she writes, plays, sings, records and produces her material on her own.

                                      Feeling musically related to Roy Orbison, Agnes currently lives in Berlin and possesses the rare gift of a songbird’s voice, bringing to mind Ane Brun, Joanna Newsom or even Ricki Lee Jones.



                                      STAFF COMMENTS

                                      Darryl says: Beautiful and delicate piano led folk from this Danish starlet. The arrangements are kept simple and minimal allowing her amazing vox to take centre stage.

                                      Highly anticipated stunning third album from Danish born singersongwriter Agnes Obel, the follow up to her UK breakthrough record ‘Aventine’.

                                      Recorded, mixed and produced by Obel in Berlin, where she currently resides, ‘Citizen Of Glass’ is a work of haunting beauty and an expansion of Obel’s mesmerising world.

                                      The title surfaced in Obel’s mind while touring ‘Aventine’ and, inspired by modern composers, the album conceptually and thematically revolves around the leitmotif of transparency.

                                      On this record Obel experiments with her vocals in inventive new ways, in order to manipulate them into alternative versions of her own voice, as can be heard on first single ‘Familiar’.

                                      Obel also incorporates a number of different instruments, such as the Trautonium (an extremely rare instrument that possesses a glistening, glass-like sound), alongside vibraphone, cembalo, cellos and more.

                                      STAFF COMMENTS

                                      Martin says: Agnes Obel has a voice so exquisite, pure and crystalline it seems as if it might shatter into a thousand beautiful shards at any moment. Up until this release it has been given plenty of room by a simple, beautiful debussy/jazz inspired piano accompaniment; but while 'Citizen Of Glass' does share the same sparse framework, it is lent added texture and depth by the addition of rare and unusual instruments, again applied with sparing delicacy to frame, rather than intrude on Obel's beautiful intonation.

                                      FORMAT INFORMATION

                                      LP includes MP3 Download Code.

                                      Following hot on the heels of their well-received reissue of his first album, "Rim Arrives", BBE now present the two other key records that made Obeng a cult figure for lovers of both African music and ‘disco’ in its widest sense. "Too Tough", a superb three track EP from 1982 on Sum-Sum Records, was credited to Rim and Kasa, whilst he issued the cracking 12” "I’m Not Going To Let You Go" as Rim And The Believers for Harmony Records the following year.

                                      "Too Tough" kicks off with "Shine The Ladies", an epic Afrodisco jam in call and response format. Female lead vocals (Ms. Anita Berry) prompt a series of replies from the backing vocalists, setting the scene for a series of exciting solos set against a backdrop of punchy horns and swirling synths; tenor sax, guitar, drums (introduced with chants of ‘Play me some drums!’) and vibes all take a turn before the track fades out, clocking in just short of nine minutes. Next up is "Love Me For Real", an upbeat cut reminiscent of August Darnell with its girlie vocals and Latin flavour, which ending with a mad swirl of synths and Rim’s own vocals. And lastly, "I’m A Songwriter" is cosmic Afro-reggae, bringing to mind Roy Ayers in his Fela phase, given a mad punk-funk twist … this one has to be heard to be believed!

                                      The mood changes with "I’m Not Going To Let You Go", which eschews the female chorus for an altogether mellower, instrumental ride, veering from out-there cosmic synth vibes to loungey jazz piano. Its original flip, "Peace of Mind", raw Afro-boogie track with a male vocal, is also included. BBE have plenty more Rim Kwaku Obeng goodness in the pipeline, so keep your ears to the ground. 

                                      Conor Oberst’s new album, Salutations, is a companion piece to 2016's lauded Ruminations. When Oberst wrote and recorded the songs on Ruminations, entirely solo – with just voice, piano, guitar and harmonica – he intended to ultimately record them with a full band. In the midst of putting together that band – upstate New York's The Felice Brothers plus the legendary drummer Jim Keltner (Neil Young, Jackson Browne, George Harrison, Bob Dylan, John Lennon, and many more) – the passionate responses Oberst was getting to those first solo recordings, from friends and colleagues, encouraged him to release the songs as-is, in their original sparse form, as his seventh solo album: Ruminations, which was released in October 2016.

                                      Pitchfork called it ‘A record like none other in Oberst’s catalog, stunning for how utterly alone he sounds,’ and the Sunday Times called it, ‘The rawest album yet from the forever troubled one-time voice of a generation. Political and very, very personal,’ saying Oberst is ‘One of the best songwriters around.’

                                      STAFF COMMENTS

                                      Barry says: Oberst brings it once again with his latest opus, a companion piece to last year's Ruminations. As ever, superbly well crafted odes to love and life, imbued with his trademark melodic twists and incomparable ear for melody. Aching Rhodes, swooning guitars and beautifully constructed to the end. How does he keep doing this? A triumph.

                                      ‘Fans take for granted that Mr. Oberst will reveal his every thought to them, from romance to personal philosophy to politics. He’s the image of sensitivity... Yet [he] isn’t just singing his diary… He also measures out every musical and verbal effect. The craftsmanship makes him seem even more unguarded.’ – New York Times

                                      In the winter of 2016, Conor Oberst found himself hibernating in his hometown of Omaha after living in New York City for more than a decade. He emerged with the unexpectedly raw, unadorned solo album Ruminations. “I wasn't expecting to write a record. I honestly wasn't expecting to do much of anything. Winter in Omaha can have a paralyzing effect on a person but in this case it worked in my favor. I was just staying up late every night playing piano and watching the snow pile up outside the window. Next thing I knew I had burned through all the firewood in the garage and had more than enough songs for a record. I recorded them quick to get them down but then it just felt right to leave them alone,” says Oberst.

                                      Oberst began publicly releasing music in 1994 at the age of 14. Those early recordings, made in Omaha on four-track cassette by Oberst and his friends, were an introduction to the work of a prodigious songwriter whose creative outpouring would soon be widely lauded. Writing and recording prolifically over the next two decades, first with his band Bright Eyes and later under his own name – and at special moments as a member of Desaparecidos and Monsters of Folk – Oberst became known, the Los Angeles Times said, as an artist who ‘sees the world with fresh and fearless eyes’. The Times continued, ‘He weaves his findings into intimate songs whose melodies are as timeless as a hymnal and whose images are hauntingly poetic... He can command your attention with long narratives that have more words than a pocket dictionary, or stop you cold with a single line.’

                                      In Nebraska last winter, songs that hark back to that earlier era unexpectedly began to take shape. Oberst went to ARC, the studio he built with his Bright Eyes bandmate and longtime friend Mike Mogis, to record that music. With the help of engineer Ben Brodin, he recorded all the songs in the span of 48 hours. The results are almost sketch-like in their sparseness, and they ultimately became the songs that comprise Ruminations. These tracks do not have the multi-layered instrumentation of the most recent Bright Eyes and solo albums: This is Oberst alone with his guitar, piano, and harmonica; the songs connect with some of the rough magic and anxious poetry that first brought him to the attention of the world, while their lyrical complexity and concerns make it obvious they could only have been written in the present.

                                      FORMAT INFORMATION

                                      LP Info: Heavyweight 140 gram high-performance vinyl, with download card and poster.

                                      Obits are a four-piece band who currently live in Brooklyn, NY, and whose music is probably considered an occupant of the rock music genre, specifically in the areas of garage, punk, surf, surf-punk, and garage-punk.

                                      On this new album, ‘Bed & Bugs’, they’ve also covered a song (‘Besetchet’) from Volume 23 of the excellent ‘Ethiopiques’ series. So much for tidy categorization. · This is the third full length album by Obits, following their 2011 album ‘Moody, Standard And Poor’, which itself followed their 2009 album ‘I Blame You’.

                                      ‘Bed & Bugs’ was recorded by Nikhil Ranade, Eli Janney and Geoff Sanoff.

                                      The discerning listener may well note more than a passing similarity to such bands as Hot Snakes, Edsel, Drive Like Jehu, Girls Against Boys, Pitchfork, and possibly Television or the Wipers. This is un-coincidental - with the exception of those last two, Obits share members with all of those bands.

                                      Object Collection

                                      It's All True

                                        It's All True is an opera-in-suspension from New York ensemble Object Collection based on the complete live archives of iconic underground band Fugazi.

                                        Grounded upon the Live Archive series of the Washington DC outfit, composer Travis Just and writer/director Kara Feely's work uses only the incidental music, text and sounds, none of Fugazi's actual songs. An obsessive leap into 1500 hours of gig detritus spanning shows from 1987 to 2002, and encompassing random feedback, aimless drum noodling, pre-show activist speeches, audience hecklers, and the police breaking up gigs. All of this material is the foundation of an ear-body-and-mind-flossing 100 minutes for 4 voices/performers, 4 electric guitars/basses and 2 percussionists.

                                        It's All True is overloaded, maddening, mundane, properly funny, and a radical incitement to action. Half of this delectably bruising megalith is collected here for the first time and on the accompanying Prisons For Profit EP [SLP041], which together form Object Collection's debut outings on Slip. The label itself came to a lot of people’s attention last year with the release of Mica Levi and Oliver Coates stunning Remain Calm collaboration, a track from which was recently picked by the New York Times in it’s article 25 Songs That Tell Us Where Music Is Going.

                                        It’s All True was commissioned by and premiered at 2016’s Borealis Festival in Bergen, Norway. The album is available on 12” vinyl and CD with artwork featuring Henrik Beck's beautiful photography of the original stage production. Vinyl comes with a foldout doublesided A2 newspaper print featuring both performance text and liner notes, replicated in the CD edition as a 20 page booklet. Mastered and cut by by Josh Bonati.

                                        Object Collection

                                        Prisons For Profit

                                          Prisons For Profit is the neighbour release of the full-length It's All True [SLP040], a bite-sized preview of New York ensemble Object Collection's opera-in-suspension based on the live archives of iconic underground band Fugazi. Grounded upon the Live Archive series of the Washington DC outfit, composer Travis Just and writer/director Kara Feely's work uses only the incidental music, text and sounds, none of Fugazi's actual songs, to build a disorienting wall of voices, instruments and raw polemic.

                                          Collected here are two tracks exclusive to this EP: “Prisons For Profit” and “Male Lame-Asses”, alongside the LP cut "What's The Problem".

                                          Limited edition cherry red 7” vinyl with artwork featuring Henrik Beck's beautiful photography of the original stage production, and a 2-sided printed insert. Mastered and cut by by Josh Bonati.

                                          Object Collection was founded in 2004 by writer/director Kara Feely and composer/musician Travis Just. Based in Brooklyn, the group operates within the intersecting practices of performance, experimental music and theater. They are concerned with simultaneity, complexity, and radicality, combining dense layers of text, notation, objects and processes. They work to give audiences unconventional viewing experiences through our merging of theatricality and pedestrian activity. Their works upset habitual notions of time, pace, progression and virtuosity. They value accumulation above cohesion.

                                          FORMAT INFORMATION

                                          Ltd 7" Info: Cherry red vinyl.

                                          Objekt

                                          Objekt #2

                                          Following his repress of the highly sought after "Objekt#1", the Berlin youngster follows suit and gives us numpties another chance to get his second release. If, like me, these records didn't even register on your radar first time round then - SHAME ON YOU! Early fusions of bass pressure, London attitude and Berlin tech - basically this kid was on it well before 2562, Appleblim or any of those cats, and these cuts still sound miles ahead of the pack today! The A-side "CLK Recovery" starts of all suspense, a half-tempo dub-step build full of deep atmospherics and pure tension. Then comes the release - and f*** me what a release! A stamming 4/4 techno groove that Richie Hawtin, Ben Sims or even Carl Cox would be proud of. The sub kick drums rattle like hell and the glitchy, pure-techno synth licks dart around the mix like plasma arrows. Then he breaks it all down and builds it back up again. Only on the second drop we get lashings of swinging percussion - rough as hell hand claps, snares and sonar bleeps all converging on the pounding 4/4 to create a main-room mosh-pit monster. All aboard! "Unglued" on the flip does away with the 4/4 and opts for solid bass-tech fusion. Rather than the rootsical weight of the UK sound however, we get the technical precision of a German engineer. These sounds will twist your cerebrum inside-out, guaranteed! And if they don't have the whole dancefloor bent sideways doing some kinda manic shuffle then I'll eat my slipmats! Essential release for any mainroom techno / dubstep / bass / future DJ. Won't hang around long...

                                          STAFF COMMENTS

                                          Matt says: Sublimely futuristic electronics with the perfect balance of 'dub' and 'tech'. Could have only come from a Berliner...

                                          Limited re-press of this now classic TJ Hertz aka Objekt track. "The Goose That Got Away" rides perfectly placed and well executed drum patterns with a ravey sounding chime hook and the occasional echoed vocal refrain. The production is ultra-slick and the bass detail super fine - those sub hits rub against your ears and body with a sensual prowess that’s hard to ignore. "Tinderbox" unleashes a similar level of power but with a futuristic groove and sound palette which identifies it instantly as an experimental, avant-garde dub jam. Hi-hats and shakers rattle with the same level of intensity and disjointedness as any Witch house offering and the technicoloured arpeggios glow with an unnatural radiance. Meanwhile layers of white noise and grinding sine tones wash over and through the mix, making for tense, disorientating, drama-infused listening. The vinyl is mastered beautifully, making this a pleasure for big speaker stacks and high-fidelity club use - highly recommended, original copies fetch £35+, don't sleep! 

                                          In The Red is proud to announce the release of The Oblivians
                                          First studio full-length album from since 1997's "...Play Nine Songs with Mr. Quintron".

                                          Desperation picks up right where the band left off, delivering fourteen scorching tracks of soulful punk-garage-blues trash rock informed in equal parts by 50s rock 'n' roll, 60s garage rock, Memphis soul, Delta blues and Killed By Death-style punk. There's even a Cajun Zydeco cover here!

                                          As Greg Oblivian puts it, "Between our last record as a band in '97 and now, a lot of water has passed below that bridge. We three went our own ways after that and pursued our own musical goals. Personally, I often missed the dynamic that Jack and Eric offered to my songwriting. Almost as much as I missed being given carte blanche to add a thing or two to theirs. I've played with lots of great musicians in the interim but needless to say, it's a hard itch to scratch. The dynamic between us was a singular thing. So, over the years as we would occasionally reunite for a festival or special occasion, the idea began to grow in the back of my mind, the idea of making a new record. I mean, if you're going to keep playing as a band eventually you'll want new songs to play. Because as much as we enjoyed playing together the thing I missed the most was creating together. So that's what we did."

                                          Oblivians

                                          Soul Food

                                          The Oblivians debut album including the immortal "And Then I Fucked Her". Imagine the Ramones getting it on with John Spencer Blues Explosion and recorded in a sawmill and you may understand the sheer dumb beauty of the Oblivians. Features an incendiary version of Lightnin' Hopkins "Vietnam War Blues".

                                          OBN IIIs

                                          Live In San Francisco

                                            Castle Face Records presents the latest installment of the Live in San Francisco series, courtesy of OBN III’s (Tic Tac Totally, 12XU, Matador).

                                            “If there’s one thing I’ve learned in life, it’s this: Don’t buy drugs from strangers on the street while wasted. A simple yet effective rule. Evidently no one told these reckless Texans, OBN III’s. We’ve captured them at their sweatiest for our Live in San Francisco series at the Chapel, from the kickoff shows of the tour with Thee Oh Sees last fall…. “These dudes are animals, period. This live recording is mixed like a hot pan on the brain, and it captures the raw live energy of a great OBN III’s show. Just about every night from note one, Orville [Bateman Neeley III] is in the crowd touching faces of fans and making OBN virgins uncomfortable. Let them touch your face (ewww).” - John Dwyer.

                                            Occult Detective Club

                                            Crimes

                                              With echoes of The Jam, Boys, Clash, Sham 69 and the passion and forward thinking of Billy Bragg, on their new album “Crimes”, Occult Detective Club is the sound of today with a nod to the past. Taking a cue from an increasingly active underground Texas music scene, they play a mix of first wave punk and new wave music with a focus on the catchy chorus, the thoughtful lyric, and a DIY mentality. Brain child of guitarist/singer/songwriter Alx Anguiano, the band’s bombastic sound combines pop melodies with clever lyrics, an irreverent attitude, and a point of view.

                                              The band has previously released their ten song debut LP “Tortures” in the of spring 2010 on Red Lounge Records, and fellow Texas gore-hounds Hex Dispensers covered their song “I’m A Ghost” on the B-side of one of their latest singles. Beside Alx, Occult Detective Club is Andrew Messer on guitars, Chris Reeves on drums and Tyler Shults on bass.


                                              Ocean Colour Scene

                                              I Just Need Myself

                                              Difficult to believe that Ocean Colour Scene have been around for almost 15 years, they have grown into one of the UK's most respected and consistently successful 'proper' bands. Guitar, bass, drums, voice – the key ingredients that make up their classic sound – backed up by unfailingly high quality songwriting. "I Just Need Myself" is the first single to be taken from the new album "North Atlantic Drift".

                                              FORMAT INFORMATION

                                              CDS2 Info: CDS2 features "I Just Need Myself", "Questions" and "I Want To See The Bright Lights Tonight".

                                              CDS Info: CDS1 features "I Just Need Myself", "Will You Take Her Love" and "Me, I’m Left Unsure".

                                              Ocean Colour Scene

                                              Songs For The Front Row - The Best Of...



                                              FORMAT INFORMATION

                                              2xLP Info: Limited edition signed double vinyl.

                                              2xCD Info: Limited edition CD includes a bonus live CD.

                                              Odd Future's new man on the block Frank Ocean has been slowly coming into view after collaborations with Jay-Z and Kanye West. Then his revelation about being gay catapulted him to the top of the blogosphere. So it's on a wave of interest and hype that "Channel ORANGE", his debut LP on Def Jam arrives. Riding a wave of sweet, deep soul and hip hop, the album takes us on a meditative voyage through Ocean’s innermost thoughts. Reminiscent of Musiq Soulchild or Prince in places, this is a wonderfully lush album and perfect for these sultry summer days. Featuring John Mayer, Andre 3000 (Outkast), John Mayer and the one and only Earl Sweatshirt, "Channel ORANGE" looks set to be the biggest Odd Future outing yet.


                                              Ocean

                                              Pantheon Of The Lesser (White Vinyl Version)

                                                Following their acclaimed breakthrough debut album that caught the ears of critics and fans worldwide, and became Important's highest selling album, Ocean has returned with their forward thinking, brutally heavy and purely minimalist sophomore album "Pantheon Of The Lesser". "Pantheon Of The Lesser" was composed over a period of two years in Ocean's home studio in Portland, Maine. As the seasons passed each track was written, re-written, played and then re-played as layers were slowly stripped away until the true essence of the song was revealed. Once Ocean entered the studio it took another two years to deconstruct "Pantheon Of The Lesser" until they had found the essence of their writing. This disciplined deconstructionist approach to songwriting is how Ocean takes it to the next level of the abyss. The result of this compositional technique is over an hour of strictly bare instrumentation and a kind of natural heaviness that slowly rises and falls in a pure organic fashion. Everything in it's own time. Simply profound. Heavy like Schoenberg. While Ocean continues to explore and expand upon their 'less is more' approach of profound musical minimalism and sheer heaviness, "Pantheon Of The Lesser" is a bit more musical than its predecessor.

                                                FORMAT INFORMATION

                                                2xLtd LP Info: Limited edition of 500 copies each. Much anticipated double vinyl version of their acclaimed recent full length. This white version includes D-side adaptation of The Swans song "You're Not Real Girl". Hand made letterpressed and screen printed jackets by Ocean's Reuben J Little at his 43rd Parallel Press in Portland Maine.

                                                Oceans Apart are a five-piece indie-rock group made up of ambitious, like-minded individuals with a shared passion for music. Formed in February 2004, the band met at University in Manchester and in the last two years have brought their individual eclectic blend of styles to a number of different Manchester venues.

                                                Oceansize

                                                Effloresce

                                                  Beggars Arkive announce the remastered vinyl reissue of Oceansize’s stunning 2003 debut ‘Effloresce’. The album’s twelve tracks mix shimmering, atmospheric soundscapes, with insistent drums and their trademark hypnotic, three-guitar attack, which catapulted them to the forefront of the so-called ‘new prog revolution’ of the 2000s. Echoing the expansive instrumentals of Mogwai, the rock-experimentalism of Jane’s Addiction and the sonic onslaught of My Bloody Valentine, Oceansize scaled new heights of grandiose, ethereal and utterly captivating music.

                                                  It’s rare for a name to so eloquently sum up a band and yet for Oceansize, their moniker only scratched the surface of the vast depths of musicianship displayed within this quintet. Hailing from Manchester, Oceansize owed nothing to the city’s most renowned acts. Instead Oceansize followed their own musical paths to stunning effect, from their formation in 1998 to the band’s break-up in 2011.

                                                  Comprising Mike Vennart (lead vocals / guitar), Steve Durose (guitar/ vocals), Gambler (guitar), Jon Ellis (bass) and Mark Heron (drums), Oceansize met whilst studying at Salford University. They self-released their first EP ‘Amputee’ in 1999, followed by the ‘A Very Still Moment’ EP before signing to Beggars Banquet in 2000. They released the ‘Relapse’ EP via the label in 2002, with production by one of their heroes, Tim Smith from Cardiacs. Tracks from those EPs such as ‘Amputee’ and ‘Saturday Morning Breakfast Show’ found their way on to their debut album.

                                                  ‘Effloresce’ - which means “to burst forth into or as if into a flower” - was originally released on 29 September 2003. All the tracks were recorded and produced by Chris Sheldon (Foo Fighters, Feeder) during Spring / Summer 2003. The album includes the singles ‘Catalyst’, ‘Remember Where You Are’ and ‘One Day All Could be Yours’ as well as the tracks ‘Long Forgotten’ and ‘Massive Bereavement’, which feature mesmerising strings from cello, violin and viola duo Martin & Kimberley McCarrick.

                                                  At the time, the band described ‘Effloresce’ as: “a schizophrenic album: blissed-out highs to brooding lows with violent outbursts in between. We want to send the listener on a journey through the euphoric and the terrifying - an emotional rollercoaster that they can immerse themselves in. Like all our favourite records, once you've allowed it to grab you, you're in it for the long haul. Oh, and it rocks like a bastard, too.”

                                                  The album gained critical accolades, with the press comparing them favourably to bands like Mogwai, Tool, Nirvana, Jane’s Addiction, My Bloody Valentine, Can and Faith No More, among others. Rolling Stone described it as “an hour-plus of guitar-army paradise.”

                                                  One of the UK’s true innovators, Oceansize have carved a unique place for themselves in the music scene. Previous albums "Effloresce", "Everyone Into Position" and "Frames", recent DVD “Feed To Feed” and a series of EP’s have been hugely critically acclaimed. This acclaim, in part recognition that Oceansize look to do things differently to the mainstream. The sound is progressive but never forgets the importance of good songs.

                                                  For release number two, the Magic Movement conjures up another outstanding debut EP, this time from the exotically named Oceanvs Orientalis. The one man orchestra from Istanbul takes you on a mystical journey down the Silkroad to a place where slow timeless jams meet hypnotic club killers. Over a percussive foundation, Oceanvs Orientalis mixes traditional eastern instruments and chants with house and techno, never leaving the dancefloor out of sight. Title track "Khronos" sees the producer work a languid bassline into a lively polyrhythm before unleashing a symphonic piano melody and creating a moment of complete dancefloor immersion. "Leonardo" sees the producer delivering tripped out slo mo techno with all the strung out melody of a middle eastern souk. The exotic vocals are looped, echoed and screwed as Oceanvs Orientalis produces the perfect counterpoint to Jose Manuel's recent release on Joe's Bakery. On the flip, things get deep and psychedelic as "Ozunde Lyi Insanlariz" heads into the same fireside ritual as Rub N' Tug's superb remix of Wild Rumpus' "Musical Blaze Up". Proper trippy woodland vibes. Last but not least, "Night In Samarqand" gives it to us slow and sticky like the thickest Turkish coffee. Syrup basslines and organic percussion percolate while the producer replays traditional eastern melodies on synth, taking us somewhere far, far away. Great stuff from the debutant, and an instant entry to my record box. By melting oriental history into modern beats, Oceanvs Orientalis has created a whole new sonic universe: Contemporary Eurasian Dance Music.

                                                  Born in Russia, raised in Israel and now living in Berlin, constantly touring around the globe. Mary Ocher’s upbringing is reflected in her free music and wide artistry.

                                                  This new 10” was recorded in Kraut-legends Faust's studio and produced by Faust member Irmler. Among the 8 tracks here is a beautiful cover version of Robbie Basho's “Blue Crystal Fire" and the percussive track "Ulifant Fadera”, straight from the wilderness.

                                                  Max Ochs

                                                  Hooray For Another Day

                                                    Maryland's Max Ochs recorded two influential guitar pieces on a long out-of-print Takoma LP, "Contemporary Guitar Spring 67", alongside tracks by John Fahey, Bukka White, Robbie Basho and Harry Taussig. "Hooray For Another Day" contains exciting new instrumental works from this American Primitive master, including a new take on Fahey's arrangement of "In Christ There Is No East Or West". The disc also contains several spoken word poems, one entitled "Phil", for Max's cousin, the late folk legend Phil Ochs.

                                                    Phil Ochs

                                                    The Early Years

                                                      These 20 songs are another step in the rediscovery of this tortured artist. His critical reappraisal has been long overdue and this selection has some of his best songs and is an ideal starting point for anyone interested in '60's singer songwriters.

                                                      Just as you begin to get comfortable with something, the rug is pulled from under you. Very recently, John Dwyer and his band Oh Sees released their newest record, the monolithic psych opus Orc. This release represents the 19th album under some amalgam of the name Oh Sees/Thee Oh Sees/The Oh Sees, OCS, etc. Wasting no time, John Dwyer presents the 20th album (in the 20th year of the band's existence), ‘Memory of a Cut Off Head’ (out 17/11 on Castle Face), returning to his roots as OCS.

                                                      It is easy to forget (especially amidst the ringing of ears and aching of muscles after your typical Oh Sees show) that initially, OCS was a rather hushed affair. After the minimalistic brutality of Coachwhips, OCS was a diametric opposite corner of John’s musical world, quiet to the point of whispered in the wind, buffeted by the airy whirr of singing saw, soft and strange. Those early records especially had a rather contraband hush about them, as if the party has gone on all night and continues into the morning but everyone’s raspy from talking too much and gradually agrees to whisper and pantomime as they watch the sun come up over the hills. Since then of course, things got gradually louder, faster, crazier...the band evolved since then into the Oh Sees everyone knows. For the 20th Oh Sees release, 100th Castle Face title, and 20th year doing it, John re-examines the quieter roots of it all in particularly baroque and homesteadly fashion. Memory of a Cut Off Head was co-written with longtime collaborator and vocal counterpoint Brigid Dawson, recorded in total in John’s own Stu Stu Studio, and it’s lush, sumptuous in texture, but satisfyingly retains the gentle grace of the early stuff. There’s beautifully executed strings throughout, courtesy of Heather Lockie’s fine arrangements, horn arrangements courtesy of Mikal Cronin, and they even brought back the old saw - Patrick Mullins, that is - on saw and electronics. A return and a refinement of old forms, a few solemn meditations on life lived at high velocity, perhaps a respite from it…a softer side of JPD and distinguished company.

                                                      STAFF COMMENTS

                                                      Darryl says: Unveiling a mellower side to the Oh Sees output, John Dwyer revisits the OCS moniker. Co-written with Brigid Dawson it’s a beautifully lush and sumptuously hushed affair.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Very limited coloured vinyl edition.

                                                      Matt Flanagan, previously known as DeFeKT, ESS and Tinfoil aliases, returns on new label First Cut with some fine tuned hardware abuse. Originally taken from a 30 minute machine jam, the three tracks you see here have been culled from said jam and make up the first release on the label. Perfectly fitting alongside present day tweakers Northern Powerhouse and Cerberus Future Technologies, these mutant transmissions growl, snarl and snap at the listener through biting sawtooths, nagging acid lines and abrasive drum machine sharps. Made in Dublin and with only 100 copies available worldwide, this is exactly the type of maverick dance shit we got nuts for here at Piccadilly. Top stuff - one of two to drop this week!

                                                      FORMAT INFORMATION

                                                      Ltd 12" Info: ***100 COPIES FOR WORLD!!!***

                                                      Octave One Presents Random Noise Generation

                                                      EnFinate Soul EP

                                                      The ever pioneering Octave One adopt their Random Noise Generation alias for brand new single "N2 The Enfinate", backed with a remake of "Rock my Soul" in the form of the 'Reborn Vocal Remix'. A-side cut "N2 The EnFinate" finds a retro energy running parallel to a more contemporary groove and rolling marauding bassline. The second track on the package, 'Rock my Soul' (Reborn Vocal Remix) starts with a strong intent and a weighty bassline paving the way for precise and bright chord stabs. The single is taken from the new album 'Endustry', a full body of work encompassing 7 full length cuts, set for release in spring.



                                                      Detroit techno veterans Octave One flipped the script back in 2000 with the massive, seminal smash "Black Water" and now it's back, remastered and repressed in the original 430 West artwork. The bass heavy, rapid fire groove is laced with loose and limber machine funk from start to finish, as those classically Detroit strings duet with the jazzy riffs. On the A2 "Black Waters" strips that shit back and dubs it out for proper warehouse destruction. Flip the disc for a slice of history with the original, instrumental version of "Untold". The flawless combination of rippling sequences, buoyant bass and shimmering hats propelled this one into every set that mattered back in the day, matching and surpassing Rolando's "Knights Of The Jaguar" from the year before. If you don't own this record, then your time has come.


                                                      A year after their impressive "Burn It Down", Detroit techno legends Octave One are back with a nine track double LP that again shows they are masters of big room hypnotic grooves. A nod to their hardware fascination "Love by Machine", finds the Burden brothers side by side in the studio cooking up atmospheric house and techno with soaring synths and thunderous beats. Things open up with the loose metallic percussion of "In Mono", which sets the machine made tone and is filled with promise. "Locator" immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. "Just Don’t Speak (Midnight Sun Redub)" then veers into deep house territories with feel good piano keys and slithering hands in the air synths. Proving they have real range, "7 B4 Dawn" is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel. The second half of the album offers peak time business in the form of the spectacular "Bad Love II", the whirring and cosmic "Sounds of Jericho" and the big loops and fluid grooves of "[Where] Time Collides". "Pain Pressure" is a wonky number with a big bassline and a focus on percussive patterns while "8 B4 Dawn" ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.


                                                      Octo Champ releases his second EP of 2017, following up on Not Quite There Yet, which received major exposure from Thump and DJ Mag. This upfront four-track release is a selection of dance floor ready disco and house and sits boldly apart from a lot of other music within these genres. DJ support so far from Dan Shake and Titeknots amongst others. Taking inspiration from the more exotic corners of the musical spectrum the EP leads with the upbeat Make Heaven and its conga rhythms, vocal hooks and electronic patterns. CMI is slower and moves further into the groove whilst Lacuna is the EP's funkiest cut, featuring a killer bass hook, percussion, guitar chops, claps and more vocals to carry it along. Closing with a second four to the four track Diametric leads with an elastic, acoustic bassline, synth pads and you've guessed it: more vocal hooks.

                                                      Octo Champ is one-half of DJ/promoter duo Rigid Disco, running parties and radio shows across both London and Glasgow and booking rising stars such as Tom Blip, FYI Chris, Hector Plimmer and the Rye Wax crew.

                                                      Octo Champ has remixed Soundway's Flamingods and CHPLN as well as contributing to the CDR x Dimensions Sounds 2016 project. Most recently, his music was picked up by Let's Go Swimming who released the Not quite there yet EP.

                                                      Sophistication and elegance have not always been the strobelight honey for diehard divers into the dance genre, but it's been Octo Octa's strongest suit since his 2011 debut 12" on 100% Silk. Here once more are those initial ideas of identity and hunger for intimacy, leading to an adrift, uneasy feeling - only now they've materialized into that instantly recognizable, authentic Octo Octa sound. "Promising" was an early word to describe the thoughtful, dedicated producer (who records in a cramped corner of a kitchen in a cramped corner of Brooklyn), and Silk's anticipations were justified: 'Between Two Selves' has a facile sensuality - the reclining nude of Octo's Blue Period - with more room to breathe or sigh, and the sort of anthemic samplics handily summed up with a single coaxing call ("I want you," "I don't want you to go," "All his kisses taste sweet"). Focusing on fewer manipulated, pitched elements over the course of more extended, abstracted compositions, Octo Octa has become one of the prophetic personifiers of regal melancholy in electronic music, along with James Blake and King Midas Sound. Homoeroticism and homosentimentality, urge and satisfaction, celebration and celibacy lay languidly across 'Between Two Selves', a lofty, soulful statement that 100% Silk is blessed to release on the world. 

                                                      October All Over formed in the summer of 2003 and have been feeding back ever since. "The Sixteen Channels" is their debut album. The line-up consists of two shouting boy guitars, one singing girl bass and one hard hitting drummer boy. Ace shouty art-rock for fans of Sonic Youth, At The Drive In and maybe even Fugazi. Quality!

                                                      FORMAT INFORMATION

                                                      10" LP Info: Limited edition hand stamped white label 10".


                                                      Fresh off his appearance on Earthtones 4, October's debut solo EP opens with the truth. "Woman is Goddess" is a dark sensual foray into the cosmos, unveiling the depths of gratitude for mother universe in all her splendor, thus setting the stage for the wonderfully abstract yet moody rhythmic tour de force, invisible serene space.

                                                      Probing into the outer realms, beckoning the listener to transcend to a deeper understanding of how the entire galactic muse thus breathes life into the next inspection. "Dub Fi Borealis" is the closing, yet not the exit but a portal to another dimension. Confirming the next step in the Perception Series the journey continues...

                                                      The Octopus Project

                                                      Hello Avalanche, 11th Anniversary Deluxe Edition

                                                        Welcome to 2018 everyone—the year that will finally bring flying cars, robot butlers and a telepathy-based internet. It’s been 11 years since the release of The Octopus Project’s third album and perennial fan-favorite Hello Avalanche. As such, it felt appropriate to re-release the record in a deluxe incarnation—newly remastered, visually redesigned, and pressed on two 180-gram LPs in a gatefold sleeve. That second LP contains 2009’s Golden Beds EP (9th anniversary alert!) and a full side of never-before-heard demos from that era, giving fans a look into an expanded Avalanche universe for the first time.

                                                        This album represented a bold step forward musically and artistically for the band. With ragged, furious distorted guitars at one end of the spectrum and the pure, luminescent tones of the Theremin at the other, it mines a staggering variety of sound (via strings, synthesizers, drums, glockenspiel, trombones, etc.), filling the songs with brilliant contrasting colors and cascading waves of sonic bliss.

                                                        While the band’s previous records were mainly self-produced, for this outing they wanted to achieve the perfect blend between highend studio trickery and lo-fi home experimentation. It was recorded and co-produced by Ryan Hadlock (Blonde Redhead, The Gossip) at rural Bear Creek Studio outside Seattle in February, 2007, and mixed in various sessions by the band, Hadlock and Erik Wofford (Voxtrot, Explosions In The Sky).

                                                        As the band continues to forge ahead into the telepathic-flyingrobot future, exploring new sound worlds with every album, take a look back to this major turning point in their ever-expanding body of work.

                                                        Created for the Element Skateboards film This Is My Element, the "TIME Soundtrack" is the first of its kind: an original, artist-composed score crafted to the beat of polyurethane pounding pavement. Anticon veteran producer and beatsmith Odd Nosdam tailors each song to fit the style and cadence of the Element rider it accompanies. From its opening moments, the album menaces thump-driven destruction. "TIME In" sports an ominous SP1200-crunched beat that stomps into the fore like Godzilla into Nagasaki, while Nosdam's trademark pops and quirks flit overhead. The Chad Muska-inspired "Trunk Bomb" aggressively boom-baps its way to rhythmic bliss via chopped breaks and arpeggiated synth, while "Fly Mode" (co-produced by Jel and fashioned after the fluid stylings of Brent Atchley) is a loping, folksy instrumental that blows through like a summer breeze. Throughout the "TIME Soundtrack", Nosdam's approach - decidedly upbeat, mobile, and spontaneous - cements the guitar-driven rollick of "We Bad Apples" to the funky minimalism of "Zone Coaster" to the sweet toughness of "Ethereal Slap".

                                                        FORMAT INFORMATION

                                                        LP Info: LP has different sleeve artwork.

                                                        OdD kick off 2015 with a fresh 12" and this time its all about the drums!
                                                        These three tracks span OdD's signature minimal style whilst adding a hefty amount of bass weight. Percussive nuances pop and creek whilst marble carved kick drums and slicing hats cut through the extensive textures. These are primed and ready club tools with added personality, an essential record!

                                                        Brighton's Oddfellow's Casino sit to the left of contemporary folktronica acts from the obscure (Dollboy) to the famous (Zero 7). Raven's Empire is a thoroughly haunting affair, steeped in vintage synths, a 30 piece orchestra, dissonant horns and thoughtful vocals. Mystical song titles 'The Crows And The Rooks', 'The Day The Devil Slipped Away', 'Death Won't Have Me' evoke Hammer horror, The Wicker Man and American Gothic, but David Bramwell's quaint English vocalisation, pitched somewhere in the middle of Pink Floyd, Robert Wyatt, Talk Talk and Japan, have that ever so polite timbre which can subtly veer into the macabre.

                                                        One could accuse this of being deadly serious, but the combination of rootsy guitars, bubbling synths, sparse, ornate productions and gentle, hushed vocals convey the otherworldly tones of an Neil Gaiman novel in which the new, the old, the peculiar and the supernatural tangentially exist together. Syd-like, utterly English and most impressive.

                                                        Oddisee

                                                        The Iceberg

                                                          The prolific MC, producer and musician Oddisee’s new album ‘The Iceberg’ is a plea for humanity to dig deeper in search of understanding and common ground. ‘The Iceberg’ is a distillation of stereotypical tropes in hip-hop and beyond, 12 tracks about money, sex, politics, race and religion that appear superficial until his multi-dimensional lyrics unfurl to expose the complexities of individuality and identity; how we see ourselves and how others see us. Deeply soulful, and shot through with jazz, Go-go, gospel, thick R&B and hard beats, the album is a timely, poetic statement. Oddisee has released two studio albums, several EP’s, mixtapes, and instrumental albums, and has over 30 million plays on Spotify. He’s been profiled by NPR, the Washington Post, praised by Pitchfork and Stereogum, performed on NPR’s Tiny Desk, Red Bull Sound Select, and at festivals including Glastonbury and Sasquatch. ‘The Iceberg’ follows two releases in 2016, the ‘Alwasta EP’ and the instrumentals album ‘The Odd Tape.’


                                                          next 100

                                                          Latest Pre-Sales

                                                          163 NEW ITEMS

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