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Olli Ahvenlahti & The Stance Brothers

Minor Minor

Finnish jazz legend Olli Ahvenlahti presents his grade-A cooker "Minor Minor" from the LP "Thinking, Whistling" on 7". On the AA side, drummer-producer Teppo Mäkynen's celebrated alias The Stance Brothers presents first new music in 10 years with a tasty remake of the Ahvenlahti tune. The Stance version has a groove galore with the lead played on vibraphone adding levels upon levels to the operation, in signature "Teddy Rok" style.

STAFF COMMENTS

Millie says: Mellow, classic jazz vibes on this seven inch from the We Jazz label, groovy piano with lots of sax thrown in for good measure is what makes this so so good.

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.

    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.

    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

      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. 

          BAFTA winning Icelandic composer,Ólafur Arnalds' highly anticipated new record 're:member' features Ólafur’s ground-breaking new software, Stratus, which transforms the humble piano into a unique new instrument. He is currently performing his new material on a huge worldwide tour. The Stratus Pianos are two self-playing, semi-generative player pianos which are triggered by a central piano played by Ólafur, and are the centrepiece of his new works. The custom-built software is born out of two years of work by the composer and audio developer, Halldór Eldjárn. The algorithms generated from Stratus were also used to create the innovative album artwork.

          On the album Ólafur uses these methods reinvigorate the compositional experience, feeding back into the creative process in a completely new way. As Ólafur plays a note on the piano, two different notes are generated by Stratus, creating unexpected harmonies and surprising melodic sequences. Speaking of the album, Ólafur says, “This is my breaking out-of-a-shell album. It’s me taking the raw influences that I have from all these different musical genres and not filtering them. It explores the creative process and how one can manipulate that to get out of the circle of expectations and habit.” 

          Olafur Arnalds

          Re:member & String Quartets 

            Special Limited Edition of re:member - There are many elements that make this new exclusive edition of remember so special. Starting with the five different bespoke artworks – shipped at random across the globe – and including brand new never-heard-before recordings of Olafur’s incredible string quartet on a beautiful 7” LP. All of it inserted in a shiny PVC sleeve and available exclusively on this physical edition. This will truly be a collector’s item – try and find all 5 around the world! Standard Re:member album with a bonus 7” with 3x new tracks – which are string quartet versions of 2x original tracks. Being done with 5 separate sleeves (with an outside PVC wrap) that will be random in number..

            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.

              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.

                  Oliver Coates

                  Shelley's On Zenn-La

                  For Shelley’s on Zenn-La, Oliver Coates designs a complex of bending truths and reverse walkways to vernal states. Open ears can peer down hidden aux channel corridors, while melodic patterns present two-way mirrors to rooms of other retinal colors. An endless euphoria is just beneath the dance floorboards of Shelley’s, and an inquisitiveness unencumbered by the institution of knowledge surrounding its frame and inhabitants. Shelley’s on Zenn-La was made between the Elephant and Castle neighborhood of London and a future dreamscape. In this realm out of time and space, Shelley’s (Laserdome) – a once-legendary late 80s / early 90s nightclub in the industrial town of Stoke-on-Trent in the north of England – can simultaneously exist on the fictional planet of Zenn-La, and can house a devotional, alien ritual of early UK rave culture, pioneering IDM, and deep minimalism. Much of the album’s construction extends from specific, self-imposed ambitions; particular palettes applied to individual creative ideas. These limitations become limitless manifestations of theme: two bass lines running in parallel (one cello, one synth), synthesized waveforms phasing with bowed acoustic drones and chords, synth sequences in nonstandard tuning sitting against folk melody in standard tuning. Coates made a lot of the music for Shelley’s in Renoise, composing drum sequences in hexadecimal numbers and pencil drawn waveforms and cementing specificity in the intricate, intelligent dance machinations. Cellist, composer, and producer Oliver Coates has studied at the Royal Academy of Music, been an artist in residency at London’s Southbank Centre, and received the Royal Philharmonic Society Young Artist Award. Coates has contributed to the recordings of Radiohead, and collaborated with Laurie Spiegel and John Luther Adams. 

                  The songs on Some Waking Woman come up like ragged wildflowers in the unnameable heel of wasteland between the end house of the terrace and the already-dated concrete and plastic of the new business park. The songs come up from the hot gap between the weird dissociative dreamscape and the phone-alarm of a slate Tuesday morningtime. They look out from the record with a gaze that's lost between doe-eyed affection and a murky voyeurism. They're made of a music caught between the battered nylon-string and a layered orchestration turning between lush and gritty.

                  It's between the pottery and the calcified dogshit, between the filthy rebels and the eerie loyalists, between the probable cause of an action not quite either the Frenchman's crime of passion or the English barfight. It's a record of between-ness - like, this is just between us, right It's the same gap between the ballad and the mumbled apology, the love song and the exasperated sigh. My trousers have been pulled down in the playground again. Tsk. I love you and all of love turns out to be a colossal shitshow. Tsk.

                  Some Waking Woman isn't an anthem nor an elegy, although it has moments of both. It isn't quite in the gutter, but it's sure as hell not looking at the stars - the album has its gaze locked on the school playground, or the overgrown tarmac country-road corner, or another identical dawn colouring in the PVC windowframes. In the hands of O. D. Davey, the ordinary surfaces of a life like the one everyone actually has are made to glimmer weirdly with the inevitable love, misery and resignation underneath them.

                  These are touching, intricate ballads with melodies of nursery-rhyme sweetness, as reimagined by a failed gameshow host humming his old theme-tunes as he staggers back home pissed after closing time. But they're songs of love, for all that, his daughters haven't called in months. The sense is that these narrators have more love than they know what to do with, move love than they can trust themselves to handle, more love than they can believe in. Davey handles the flaws and imperfections and fractures of day-to-day living, finds the gap and digs in. This is an attention paid to the agonising and lovely awkward corners of life that don't get talked about. This is a record as in an LP, but a record too in the sense of a setting down of something true.

                  FORMAT INFORMATION

                  LP includes MP3 Download Code.

                  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."


                  Ola Fløttum

                  Thelma

                    Thelma is a 2017 coming of supernatural coming of age story directed by Joachim Trier that has just been tapped for a big budget studio remake from the team behind I, Tonya. The film centres around Thelma a shy introvert that leaves her family behind to go and study in the city. She befriends Anja an outgoing student and the two have an immediate and intense attraction. To say more would ruin the film as its dark tale of love, loss supernatural abilities unfolds.

                    The score by Ola Fløttum is full of starkly beautiful dark strings and mood pieces washed over with the occasional synth drone or texture, it’s hauntingly beautiful, captivating and absolutely ranks as one of our favourite scores from the last few years, if you were a fan of Let The Right One In you should immediately seek out Thelma as we are sure you’ll fall in love with it as much as we did.

                    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)

                    Omar Joesoef

                    Ritmo

                    Second release out on BLESSYOU featuring young talent from Jakarta. Indonesian downtempo techno, percussive, dark heavy dancefloor chugger. 

                    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.

                    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.

                      Olev Muska

                      Laulik Elektroonik - Explorations In Estonian Electronic Folk Music, The First Years 1979-1983

                      "Laulik-elektroonik" LP by an ex-pat Estonian musician Olev Muska is the new release of Estonian archival label Frotee Records. The compilation subtitled as "Explorations in Estonian Electronic Folk Music - The First Years, 1979-1983" brings together all Muska's Estonian-themed songs recorded prior to his debut album from 1985, "Old Estonian Waltzes". It includes previously unreleased material and tracks from limited edition tapes and 7" single. For its 10th release, Frotee has expanded its scope and is now also offering insights into quality music by Estonians all over the world.

                      Olev Muska was born to a family of expatriate Estonians in Australia. From 1979 onwards he recorded unique versions of Estonian folk songs on various electronic music instruments at his home studio. As Muska was into contemporary experimental music and also bored with the conservative take on Estonian culture prevalent in the activities of the Australian ex-pat community, he decided to combine these two influences to create his unique brand of electronic Estonian folk music. As Muska had access to more advanced musical equipment, he achieved a level of quality in his arrangements that would not have been possible in Soviet Estonia. He managed to create surprisingly amazing Estonian minimal wave with his group Elektrio but wasn't ashamed to make medley of Estonian themes with cheesy-sounding small Casio synthesizer either. His early versions of some folk songs, like "Kaera-Jaan" or "Saaremaa", are less crazy than on his debut LP and as such a welcome addition to Frotee's collection of Balearic sounds.

                      Although Muska was not a stranger to the contemporary Australian underground music scene, he continued to record with a couple of close friends and performed only at local Estonian events. Thus Olev Muska has been a well kept secret amongst Estonian music fans, one that remained entirely unknown to Australian record collectors until Chris Bonato from Left Ear Records introduced "Old Estonian Waltzes" LP to a wider audience. Left Ear Records has now licensed "Karjapoisi lugu" off the 1985 LP for their Australian underground music compilation "Antipodean Anomalies".

                      STAFF COMMENTS

                      Patrick says: Frotee's journeys through the backpages of Estonian music turns the spotlights of Estonian musicians based elsewhere with a wonky set of electronics from Autralian Estonian Olev Muska.

                      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.

                      We're delighted to share this record from the Moscow-based recording artist OL aka Oleg Buyanov. His most recent work, the double LP "Height Difference" on the seminal Gost Zvuk label, saw him transmit his research in Soviet sound heritage into a range of genres and tempos. On "Dismeteo", we see him inhabit a similar atmosphere, refracted through a different lens of influence. In Buyanov's own words, 'The tracks are like concrete blocks & buildings lost in the woods. It's a point where correct geometry and mathematical constructions meet with organic forms.'

                      STAFF COMMENTS

                      Matt says: Like the previously alien and futuristic sonic worlds of Lee Gamble, Autechre, Vakula, Wanderwelle and such like? Just add this into your 'must visit' itinery - a jagged and cerebral world hybridized with machines and possessing an A.I at least on par with our own humane conciousness.

                      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.

                        Damian O'Neill & The Monotones

                        Refit Revise Reprise

                          Damian O'Neill is the lead guitarist of the Undertones. Damian wrote several singles and many album tracks during the career of The Undertones, often writing with bassist Michael Bradley. Together, they wrote "My Perfect Cousin" which turned out to be The Undertones highest chart entry (top ten).

                          Damian has recently taken the opportunity to record a selection of material for solo release, under the name Damian O'Neill and The Monotones, in long player and compact disc format. Co produced, engineered and mixed by Damian, Andy Ramsay (ex Stereolab) and Paul Tipler with musical contributions from Sean O'Hagan (The High Llamas) amongst others.

                          There's some old, new, borrowed and blue on this record. You'll hear new songs and instrumental tracks that are guaranteed to thrill and melt your heart plus Damian's delved into his musical past and revamped selected self penned Undertones/That Petrol Emotion songs too.

                          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.

                          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. 

                            Jim O'Rourke

                            Bad Timing

                            This is the album that put Jim firmly in the ranks of studio Meisters elite. Up until that point, Jim had used walls of noise / sound to create music, but with 'Bad Timing', he stepped back a little, stripped it all down and the arrangements became paramount.

                            Jim O'Rourke

                            Eureka

                              On "Eureka", Jim O'Rourke's musical career sets of in a whole new direction. An album of near perfect, bright pop songs, including a cover of Bacharch and David's "Something Big".

                              Jim O'Rourke

                              Insignificance

                              Long awaited follow up to his 1999 album "Eureka". This time taking a slightly heavier, more rock-ish direction, but still distinctly Jim O'Rourke.

                              Folly is O’Sullivan’s second album under his own name and embodies a confident, evolution from his acclaimed debut Veld (2017, O Genesis), an album which distilled the multiverse into a rich and complex soundworld; textured and allusive, alive with sonic diversions, hypnotic mantras and ornately arranged songcraft.

                              Folly was written around the birth of his son Ari and the passing of his friend Ian Johnstone, and both events were significant in the album that followed. O’Sullivan explains, “Joy is inseparable from suffering and sometimes those polarities arrive at the same moment. Music offers a vessel to contain the unspeakable.”

                              This cycle of twelve songs deftly illustrates O'Sullivan's ascent as a unique and multidimensional songwriter. Moving from the familiar pantheon of experimental music and arriving upon a universal narrative probing the human condition from the inside out. Both lyrically and within the intricate lattice of arrangements, traditional forms are reshaped into transcendent pop symphonies. Both intimate and alien, archetypal and atypical, joyous and melancholic, the aperture of Folly is wide open and light streams in.

                              O’Sullivan explains the solo writing process, “Writing songs alone can take some time even if a song arrives fully formed in your mind. The execution of it involves long durations with each individual part of the arrangement until it reaches something concise. The song tells you what it needs and I try not to force ideas onto it.” and goes on to say, “These songs are outside in rather than inside out, there was always a latency between the birth of the song and my understanding of its purpose. Folly is looking at who is doing the shaping, most of these songs are about writing songs.”

                              Folly was recorded and mixed by Thighpaulsandra (Coil, Julian Cope Band, Spiritualized) at his Aeriel studio premises in Wales and mastered by Matt Colton at Alchemy.

                              Written mostly in London, O’Sullivan explains the inspiration for the title, “There's a folly of a medieval abbey in these gardens that surround where I live. My family and I spend a lot of time roaming around there, amongst the frogs, foxes, mushrooms, owls, and the many strange "introduced" plants and trees. It was landscaped to be a rabbit hole sort of place.”

                              Daniel O’Sullivan is a composer, songwriter and multi-instrumentalist living and working in London and has been contributing a vibrant, chameleonic brew to the music landscape since the late 1990's. He has achieved international acclaim writing, recording and performing with Grumbling Fur (with longtime friend and collaborator Alexander Tucker), Ulver, Sunn O))), Guapo, Miracle, Æthenor and the recent reincarnation of This Heat in the form of This Is Not This Heat.

                              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’Flynn

                                Sunspear / Tru Dancing

                                Producer and DJ O’Flynn has announced his new 12” single, ‘Sunspear’, to be released on 3rd May 2019 alongside previous single ‘Tru Dancing’ on Silver Bear Recordings.

                                His latest outing follows a self-released 12” on his newly incepted imprint Hundred Flowers earlier this year, as well as singles on Blip Discs and Ninja Tune.

                                With his new single he continues to evolve his signature style: the breezy Sunspear swirls with a euphoric world music sample and heated percussive energy, whilst peaktime weapon B side Tru Dancing is a horn-infused disco-house gem.

                                O’Flynn says "I wanted to make something for the summer dancefloor that people could have fun to. It was about taking the sample and recontextualising it to make something more modern whilst keeping the original feel, adding additional percussion to up the energy.” 

                                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

                                (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 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.

                                    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.

                                    Oasis

                                    Don't Believe The Truth

                                      Don't Believe The Truth was the sixth Oasis studio album - their first since the number one multi-million selling Heathen Chemistry, released in 2002. It includes the single "Lyla". Noel Gallagher describes the track as "the Soundtrack of our Lives doing The Who on Skol in a psychedelic city in the sky (or something!)"

                                      STAFF COMMENTS

                                      Matt says: I thought I'd gaffaw at this slew of Oasis represses but having scanned the tracklists and relived the glories through the week, I'm still 100% behind brothers G. 20 years later and we're still buzzin' to one of MCR's greatest ever bands.

                                      FORMAT INFORMATION

                                      Ltd LP Info: Limited edition re-press on super heavyweight vinyl with brand new sleeve notes.

                                      Oasis

                                      Heathen Chemistry

                                        Heathen Chemistry, released July 1st 2002 was the fifth studio album from Oasis and includes the anthemic singles The Hindu Times, Stop Crying Your Heart Out, Little By Little, and the beautifully written Songbird.

                                        FORMAT INFORMATION

                                        2xLtd LP Info: Limited edition re-press on super heavyweight vinyl with brand new sleeve notes.

                                        Oasis

                                        Standing On The Shoulder Of Giants

                                          Standing on the Shoulder of Giants was the fourth studio album by the Britpop band, originally released in 2000. It is the 16th fastest selling album in UK chart history, selling over 310,000 copies in it's first week. Standing on the Shoulder of Giants has been certified double platinum by the British Phonographic Industry and has sold around 208,000 copies in the US.

                                          The album is an effective modern psychedelic record complete with drum loops, samples, electric sitar, mellotron, synthesizers and backward guitars, resulting in an album more experimental with electronica and heavy psychedelic rock influences. Songs such as "Go Let It Out", the Indian-influenced "Who Feels Love?", and the progressive "Gas Panic!" were a departure from the band's earlier style.

                                          FORMAT INFORMATION

                                          2xLtd LP Info: Limited edition re-press on super heavyweight vinyl with brand new sleeve notes.

                                          Oasis

                                          The Masterplan

                                            "The Masterplan" is a selection of Oasis B-Sides that never made it to an official studio album. Initially only intended for release in Japan and US, it was given a full UK releas on November 2nd 1998 and reached #4 in the Official UK top 40 album chart and #2 globally, showing the global popularity of the band at the very height of the Britpop era. It contains the massive, "Fade Away", the Royle Family-endorrsed "Half The World Away"  and the epic Beatles cover, "I Am The Walrus", amongst many other hits-not-hits from one of the UK's most monumental bands.

                                            STAFF COMMENTS

                                            Andy says: It says so much about Oasis's imperial early phase that this compilation of b-sides would actually weigh in as their third best album, after, of course, the double whammy of their first two. Everything they released in those first few years was absolutely brilliant, and here's the proof!

                                            FORMAT INFORMATION

                                            2xLtd LP Info: Limited edition re-press on super heavyweight vinyl with brand new sleeve notes.

                                            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.

                                            Obed Ngobeni and his backing singers the Kurhula Sisters were among the originators of Shangaan Disco, a genre that helped shape South Africa’s ‘bubblegum’ sound of the 80s.

                                            The group emerged in 1983 with 'Kuhluvukile Ka Zete', a hit that later gained international recognition as ‘Kazet’. In 1984 Ngobeni followed this with the album Gazankulu, which included the irresistably catchy ‘Ta Duma’, pioneering in its fusion of traditional and electronic - a sign of things to come.

                                            Heads Music boss Emil Dean Zoghby also cooked up a disco version of the track with producer Peter Moticoe and engineer Phil Audoire for release as a 12” (with a dub, of course), replacing the original version’s guitars with another layer of stinging synths and a proto-house beat to drive the song’s emphatic call-and-response chorus.

                                            Ta Duma, the latest release on DJ Okapi’s Afrosynth Records, brings together all three versions of this massive track for the first time - a tribute to the roots of bubblegum. On the B-side, ‘Xikhobva’ offers a more traditional bass and guitar-driven groove over simmering drums.

                                            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.

                                            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.

                                            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.

                                                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.

                                                  Alanis Obomsawin

                                                  Bush Lady

                                                    A re-issue of the rare, legendary and long out-of-print album recorded by First Nations and Canadian cultural icon Alanis Obomsawin in the mid-1980s. Remastered from the original analog tapes, now on CD for the first time. Bush Lady is the only record ever made by Obomsawin, rising to cult status in recent years, while Obomsawin has meanwhile received Canada’s highest accolades for her 50-year career as an activist documentary fillmmaker, including the Order Of Canada.

                                                    Alanis Obomsawin is a member of the Abenaki Nation and one of Canada’s foremost activist documentary filmmakers. Based in Montréal, she has directed 50 films with the National Film Board of Canada (NFB) that explore the lives and concerns of Canada’s First Nations, receiving some of the country’s highest accolades, including The Order of Canada, the Governor General’s Award in Visual and Media Art, and most recently the 2017 Order of Montréal.

                                                    Before establishing herself as a filmmaker, Obomsawin began her artistic life as a singer-songwriter in the 1960s, as Indigenous artists from across North America were rallying in new assertions of cultural identity, consciousness and political rights, calling for reckonings with oppressive colonial history. She was invited by Folkways to perform at Town Hall in New York City in the early 1960s and spent most of that decade primarily identifying as a musician and social activist, channeling traditional First Nations songs hand-in-hand with modern composition and arrangements. Obomsawin kept her musical output percolating alongside her burgeoning documentary film career, with performances at the legendary Mariposa Folk Festival among others. In the mid-1980s Canada’s national broadcaster (CBC Radio) invited Obomsawin to record an album; unsatisfied with these recordings, she reclaimed the master tapes, remixed the material, re-recorded the title track from scratch, and issued the ensuing Bush Lady album on her own private press in 1988 complete with her own artwork and liner notes.

                                                    Lacking formal distribution – and with Obomsawin focused primarily on her documentary film career – only a portion of this pressing was sold at the time, the remainder occupying a closet in her Montréal home. The album has grown to become an increasingly legendary rarity ever since. Bush Lady is a unique and magical record by any definition. It’s an invaluable example of contemporary First Nations music that blends traditional folkways with avant-garde composition. 

                                                    Ocean Colour Scene

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



                                                    FORMAT INFORMATION

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

                                                    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.

                                                      Oceans Of The Moon

                                                      Oceans Of The Moon

                                                        “A dusty plain, a red sky, sand in your teeth - ‘I don’t feel so great’ - a post-apocalyptic hooptie jeep-jammer. ‘Why is everything in ruins? There must be others like us out here somewhere…’

                                                        “This fine sizzling grease pit of cyber punk comes to us from psychic veteran Rick Pelletier (of Six Finger Satellite, Landed, La Machine), always bringing an interesting, bent and lurid account of visions to wax for the hungry ear bone. This time around the equipment scavenged is guitar, drums, synth and vocals. The beat goes full lotus climbing out of the goo, like men with sap gloves slapping the hulls of the remaining clubs, keeping the peace during live actions, gorgeous nauseating synthesized harmonies blowing through the ceiling vents, frickle-fried guitar belly slish and vocals delivered over the P.A. at Barter Town (sometimes from the workers in the pit, in unison).

                                                        “Picture a bucket of molten metal with gobs of scalp sizzling and sinking away-dance music for the infected. Be sure to double up on your dose before driving around on this one so you can wipe the chum smear off your wind screen.” - John Dwyer.

                                                        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.

                                                        Ochre

                                                        A Midsummer Nice Dream - 15th Anniversary Edition

                                                        Lapsus Records proudly presents the third release in its “Perennial” series, dedicated to reissuing
                                                        contemporary electronica classics from established artists.

                                                        The third release is from Christopher Scott Leary, who over the last two decades has produced a plethora
                                                        of material under his pseudonym, Ochre. 2019 marks 15 years since the original release of “A Midsummer
                                                        Nice Dream” in 2004; on British label Toytronic, which pushed Leary to the forefront of the experimental
                                                        electronic music sphere. To celebrate the releases’ fifteenth anniversary, Lapsus Records will reissue a
                                                        special collector’s edition of this IDM classic in the form of a double tri-colour vinyl release, re-mastered by
                                                        John McCaig (panicStudios). It will also include a full-colour print of the new artwork, re-designed by
                                                        Portland (Oregon) illustrator Nathaniel Reeves, who has worked alongside Ochre for almost a ten years.

                                                        This special deluxe reissue entitled “A Midsummer Nice Dream (15th Anniversary Edition)“, features
                                                        unreleased material from the same period and includes three bonus tracks on its vinyl version, six on its
                                                        digital version, making it a truly unique release. It therefore offers a golden opportunity to rediscover an
                                                        album that navigates through several genre domains such as ambient, IDM and experimental electronica in
                                                        its purest form, stylistically reminiscent of the likes of Autechre, conveying a sound considerably ahead of its
                                                        time. In its entirety “A Midsummer Nice Dream” is undoubtedly one of the most remarkable electronica glitch
                                                        albums to be released in the 2000s, when the genre experienced its zenith, largely thanks to the advent of
                                                        significant breakthroughs in digital production tools.

                                                        FORMAT INFORMATION

                                                        2xLtd LP Info: Solid blue, black, and solid white mixed vinyl copies

                                                        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.

                                                          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.

                                                          Here we have OCS - recorded Live, at The Chapel, San Francisco, CA in December 2017 to be exact. OCS played four shows in California last December, raising funds for charity, and also enabling OCS to play out the tracks from the (then) recently released album "Memory of a Cut off head". Bandleader John Dwyer assembled his ensemble for these shows with players from the album and current Oh Sees members also, including Brigid Dawson, Emily Elkin, Eric Clark, Heather Lockie, Heidi Maureen Alexander, Paul Quattrone, Tim Hellman, and Tomas Dolas.

                                                          The shows sold out in a trice, and thankfully one of the San Francisco shows were recorded by Eric Bauer, Dwyer mixed the record and it was passed onto old friends the Austrian Label ROCK IS HELL (Oh Sees fans will note early releases by Thee Oh Sees appeared on Rock is Hell a whiles back).

                                                          Initially released (and long sold out) as a silk screened 4 LP set with some incredible artworks by Elzo Durt (he did the art for the Carrion Crawler / The Dream EP ).. Dwyer /Rock is Hell decided to make a more widely available 2LP version. 

                                                          FORMAT INFORMATION

                                                          2xLtd LP Info: Heavy weight black vinyl offset printed thick cardboard slip-in cover offset printed thick cardboard innersleeves download codes included shrinkwrapped.

                                                          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.



                                                          Fresh from being crowned one of Mixmag’s Artists Of The Year, Octo Octa kicks off 2019 with her latest EP "For Lovers" via Ninja Tune sub-label Technicolour.

                                                          The record represents some of Maya Bouldry-Morrison’s most vulnerable work to date. "I Need You" is a bold declaration regarding her need for love during a delicate time of rapid change. The second track, "Bodies Meld Together", is a sensuous house dub while closing track "Loops For Healing" was written immediately after completing her acclaimed second album "Where Are We Going?" and serves as a potent reminder of why she is a musician in the first place: to heal herself and to heal others.

                                                          For fans of DJ Koze, The Black Madonna, Midland, Bicep, Daphni, Avalon Emerson.


                                                          FORMAT INFORMATION

                                                          Ltd 12" includes MP3 Download Code.

                                                          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".

                                                          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.’

                                                            O'Death

                                                            Broken Hymns, Limbs And Skin

                                                            New York quintet O'Death's third album, "Broken Hymns, Limbs And Skin", feels like a giddy junkyard hoedown, from the panicked fiddle screeches of opener "Lowtide" to the celebratory gallop of closer "Lean-To". At times it sounds morose or contemplative, but underneath the melancholy is a gospel fervour — bashed from paint buckets, banjos, guitars and anything else in kicking distance — that defines their sound. Since 2007's "Head Home", the band have evolved the possessed Americana-meets-gypsy-punk of recent years into a more urgent, unrelenting celebration of life, death and everything in between. They've grown up a little, but haven't lost the underlying longing or the unruly jubilation in their songs.

                                                            ‘A Moment Apart’ represents Odesza's growth, delivering a more mature sound through weighted atmospheres, shimmering synth lines and familiar feelings of nostalgia, optimism and hope. The album's featured guests include Leon Bridges, Regina Spektor, and RY X, creating an eclectic mix that showcases Odesza's dynamic range. RIFL: Mount Kimbe, Four Tet, Fatima, Burial etc etc, 

                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: Double LP on translucent green heavyweight 180g vinyl in a gatefold wallet. Includes download code

                                                            Phil Odgers

                                                            Roll To The Left (RSD Edition)

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

                                                              Phil ‘Swill’ Odgers is well known as one half of the legendary joint vocal strike force of The Men They Couldn’t Hang. He is also highly regarded as a solo singer/songwriter in his own right and this brilliantly fresh new album brings his songwriting prowess into sharp, bright, focus. Lyrically this is a collection of unique tales with cinematic imagery - from kitchen sink realism and social commentary to technicolor splendor. The album, in the main, was recorded in the studio built for Kirsty MacColl by Steve Lillywhite in their family home in Ealing. The studio resonates with musical history and Phil was also lucky enough to be able to use guitars previously owned by Kirsty. Musically the album has many levels – it takes Phil Odgers’ warm melodic voice and rhythmic strumming as a starting point, adds a bit of double bass, fiddle and lead guitar in all the right places. It’s never crowded. ‘The Train’ has a genuine Johnny Cash feel …in fact, on that track, Swill played the actual Martin guitar once owned by Johnny Cash. ‘Blue Skies And A Saturday Job’ showcases the unusual combination of acoustic guitar with baritone and tenor sax whilst the albums only cover song, ‘Long Stem Rose’, is lovingly embraced by cornet, flugalhorn, trumpet and bass trombone. ‘Mist On The Water’, perhaps the fullest song on the album, has a full string arrangement with violins, violas and cellos adding extra depth. Piano and Drums also make a brief appearance but nothing is overplayed giving the entire album a beautifully understated feel. Phil Odgers and producer James Knight made a point of only using real instruments and live performances – no auto tune here, this is as real as it gets folks! These organic and passionate sessions have resulted in a magical and deeply accomplished album by the UK’s most underrated singer.

                                                              RIYL: D.A.F., Nine Inch Nails, HEALTH, Metz. Toronto underground staple Odonis Odonis broke out in 2011 with their scrappy, blown out debut, Hollandaze. The dynamic trio instantly began turning heads with their signature "industrial surf-gaze" sound.

                                                              On their Polaris Prize nominated follow up, Hard Boiled Soft Boiled, Odonis Odonis masterfully crafted a sonically divergent record that pushed their sound into new territory. Odonis Odonis' latest epic, Post Plague, delivers a powerful blend of industrial, electronic and Sci-Fi. Odonis Odonis' post--apocalyptic anthems construct scenes of sci-fi horror and saturate them with industrial strength synth beats. Dean Tzenos' vocals sit clear and upfront, delivered with a foreboding intensity accented by his synth motifs and soundscapes. Denholm Whale's carefully crafted bass figures / electronic percussions are strategically placed like demolition charges throughout the sonic foundations of each track that Jarod Gibson, like some futurist architect, constructs.

                                                              On Post Plague, Odonis Odonis delivers the kind of hypnotic, pulsing destruction that you can't wipe away. Post Plague inhabits that impending reality of synthetic experience which forces us to realize what we are: vulnerable, frantic creatures yearning for an authentic present / future. Jeff Goldblum, in the acclaimed motion picture The Fly, reminds us that we must take a “deep penetrating dive into the plasma pool,” and take stock of ourselves before we lose something profound. Something that may be necessary to ward off a pending anthropogenic apocalypse. Recognize and take pleasure in our fucked up place in time as we have so many new worlds possible at once.

                                                              Toronto trio Odonis Odonis merges pulsing electronics and foreboding textures to create a palpable sense of doom. Drawing on EBM and industrial influences, "Reaction" finds the band further refining the sound they carved out on 2017's "No Pop" LP. Noisy synths saturate the sonic space, cut with sharp, bruising rhythms. The band offers up club fare with the throbbing four-on-the-floor "Insect" lashed with whip-cracking drum breaks.

                                                              A heavy atmosphere layered with taunting vocal provocations creep throughout the four-song EP, and by the final track "Rip", howling screams propel a crushing climax. The EP was written while the band was touring to support "No Pop", and the evolution between the two releases is seamless. During this time, the band perfected the songs by testing them out live, chiseling away to the core of each piece. Recording also took place simultaneously while writing, and much of what made the cut is comprised of or structured around first takes. Produced, mixed, and mastered by the band themselves, Reaction is a concise, focused collection of songs that perfectly captures the band's unrestrained energy and spontaneity.


                                                              The Moscow duo is back with another dose of haunted industrial techno punches. 
                                                              We start proceedings with 'Incident', a relentless, menacing and not so dystopian end of world scene plagued with metallic, industrial and machine ridden sounds that create a soporiphic and dense atmosphere. Is it techno, or is it breakbeat? I think it sits at the crossroads rather comfortably. 
                                                              Flip this monster and it becomes clear that at the end of the day this is a techno record. 'Haunted Tales' prolongs the narrative from above and makes it darker and that slight breakbeat aura is left behind. Menacing, hard and unforgiving tonalities swim in and fade out in this 'metal' techno track. 
                                                              Things do not change much on 'Navy Fit Republic', This is perhaps the most dancefloor oriented track, with a blatantly dark bassline being the engine. Aggressive, dark and futuristic. It can cause serious damage on the dancefloor but you need the right crowd to make it effective. 
                                                              Another super 12" by the always solid Born Free.


                                                              STAFF COMMENTS

                                                              Sil says: Every Born Free 12" deserves attentive listening as they are almost always bangers. This one is no exception.

                                                              The Odyssey Cult

                                                              Vol. 1

                                                                The Odyssey Cult has its roots in Miller’s improvised solo electric guitar performances dating back to 2013. Though still almost entirely instrumental, the two volume debut expands his original concept of ‘solo electric guitar performance’ to something much broader in narrative scope and is as indebted to the great minimalists and loop pioneers as it is to guitar oriented Krautrock, cult film soundtrack music and the great feedback-riding, amp destroyers of the 60s to present day.

                                                                In departure from the more structured song work of most of Miller’s bands over the last 16 years, The Odyssey Cult albums are based in improvisation. Loops, cut-ups, collages and tonal performances (rather than melodic ones,) often form the engine of movement and narrative. The Odyssey Cult is the sound of the collapse of a prehistoric age. Giant amplifiers and fuzz bass loops smash into one another until only crackling ANS transmissions are left floating above the fray.

                                                                A prayer of poetry scrawled in feedback, a painting in sand of the dreams of imaginary birds, and raising the noise-rock quotient significantly, the rhythm section of Feral Ohms makes multiple appearances throughout the two albums as foil to Miller’s screaming amps, echoing extended guitar oriented power trio freak outs like White Heaven’s ‘Levitation’, a deconstructed mid 70s Crazy Horse and the heat-blistered primal workouts of High Rise. Vol.1 and Vol.2 are an artistic statement intended to be sat down and fully engaged with, a journey, an epic poem, a meditation, a long rich dream that loosens all sense of space and time- ultimately confusing history, moment and self.

                                                                Those that take the time to enter and feel sound, creation and performance will surely be rewarded by the joy and beauty of The Odyssey Cult.

                                                                For fans of Ash Ra Temple, Popol Vuh, 70’s Soundtracks, Fripp & Eno, Guru Guru UFO, Faust, Hendrix Woodstock feedback meltdowns, The great PSF power trios, Flying Saucer Attack, This Heat and disorienting ambient music.

                                                                FORMAT INFORMATION

                                                                LP Info: Initial copies on coloured vinyl!

                                                                The Odyssey Cult

                                                                Vol. 2

                                                                  The Odyssey Cult has its roots in Miller’s improvised solo electric guitar performances dating back to 2013. Though still almost entirely instrumental, the two volume debut expands his original concept of ‘solo electric guitar performance’ to something much broader in narrative scope and is as indebted to the great minimalists and loop pioneers as it is to guitar oriented Krautrock, cult film soundtrack music and the great feedback-riding, amp destroyers of the 60s to present day.

                                                                  In departure from the more structured song work of most of Miller’s bands over the last 16 years, The Odyssey Cult albums are based in improvisation. Loops, cut-ups, collages and tonal performances (rather than melodic ones,) often form the engine of movement and narrative. The Odyssey Cult is the sound of the collapse of a prehistoric age. Giant amplifiers and fuzz bass loops smash into one another until only crackling ANS transmissions are left floating above the fray. A prayer of poetry scrawled in feedback, a painting in sand of the dreams of imaginary birds, and raising the noise-rock quotient significantly, the rhythm section of Feral Ohms makes multiple appearances throughout the two albums as foil to Miller’s screaming amps, echoing extended guitar oriented power trio freak outs like White Heaven’s ‘Levitation’, a deconstructed mid 70s Crazy Horse and the heat-blistered primal workouts of High Rise. Vol.1 and Vol.2 are an artistic statement intended to be sat down and fully engaged with, a journey, an epic poem, a meditation, a long rich dream that loosens all sense of space and time- ultimately confusing history, moment and self. Those that take the time to enter and feel sound, creation and performance will surely be rewarded by the joy and beauty of The Odyssey Cult.

                                                                  For fans of Ash Ra Temple, Popol Vuh, 70’s Soundtracks, Fripp & Eno, Guru Guru UFO, Faust, Hendrix Woodstock feedback meltdowns, The great PSF power trios, Flying Saucer Attack, This Heat and disorienting ambient music.

                                                                  FORMAT INFORMATION

                                                                  LP Info: Initial copies on coloured vinyl!

                                                                  Of Monsters and Men began as the solo project of Nanna Bryndís Hilmarsdóttir however it quickly grew with the additions of friends Ragnar “Raggi” Þórhallsson (co-singer/guitarist), Brynjar Leifsson (guitarist), Arnar Rósenkranz Hilmarsson (drummer), Árni Guðjónsson (piano/accordion player) and Kristján Páll Kristjánsson (bassist)

                                                                  Crafting epic songs inspired by their amazing homeland, fairy tales and personal history, the band went from battle of the bands winners to the breakthrough act at this year’s Iceland Airwaves and SXSW festival. The bands self-released, first single ‘Little Talks’ to date has sold an impressive 400,000 copies and received 3 million views on YouTube.

                                                                  Of Monsters and Men continue to make waves among fans and tastemakers alike. ‘My Head is an Animal’ has already enjoyed huge success in Iceland and Europe. Mirroring that feat in America ‘My Head is an Animal’ entered the iTunes alternative chart at #1 and album chart at #2 however went on to top the album charts one week later. And in Germany the album debuted at #4 on their official album chart.

                                                                  Along with a penchant for crafting rising epic pop numbers ‘My Head is an Animal’ has beautifully delicate moments and signal a fully-fledged band destined to win the hearts of musical lovers worldwide.

                                                                  STAFF COMMENTS

                                                                  Ryan says: A stern bit of icelandic pop right here, it's a bit folky but they manage to turn humble folk into a collection of sing-out-loud anthems. It's brilliant!

                                                                  Of Montreal / Casiokids

                                                                  Expecting To Fly / London Zoo

                                                                  This limited edition Record Store Day 7”. (1000 copies worldwide) pairs indie‐pop virtuosos of Montreal with the Norwegian language electro‐pop/ afrobeat tunesmiths Casiokids. Over the last fifteen years, of Montreal has imitated everyone (86 covers and counting), while developing its own inimitable sound ‐‐ a unique mixture of indie‐pop, glam‐rock, funk, and R&B. Though private and reserved, frontman Kevin Barnes wears his fame like a feathered fedora: on the children's show Yo Gabba Gabba, in collaborations with Spike Jonze, on stage spanking pigs with Susan Sarandon, on horseback in NYC's Roseland Ballroom, and even spontaneously performing six songs nude during a concert in Las Vegas. On this 7” Kevin’s cover of Buffalo Springfield’s classic “Expecting to Fly” is raw and heartfelt. With a bizarre effect created by delay and the honesty of a simple arrangement it is a beautiful take on a great song. Casiokids bring us their new single “London Zoo” which will be included as a bonus track when Moshi Moshi releases their debut reocd “Topp Stemning På Lokal Bar” in the UK. Hailing from the same celebrated Bergen scene that has produced Datarock and Annie, Casiokids were so‐named for the beat‐up old keyboards with which the band members first conceived their club‐ready sound. Formed with the intention of making electronic music more visual, the band has since added guitar and drums to produce a collection of incredibly catchy tunes often sung in their native Norwegian and influenced by afro‐beat, techno and out‐and‐out pop. You may not understand the words but the music speaks for itself.

                                                                  Of Montreal

                                                                  Satanic Panic In The Attic

                                                                    "Satanic Panic In The Attic" is Of Montreal's sixth full-length release and their first one for Polyvinyl. Previously, the band released two albums for Bar/None and three for Kindercore. The prolific Athens, Georgia band is an established staple of the US indie-pop scene and has been a continual touring presence. The sound of "Satanic Panic In The Attic" is a slight departure from of Montreal's previous releases yet continues the band's tradition of continually redefining themselves. The influence of 1970s Afro beat and 80s new wave can clearly be heard throughout the album offering fans a new perspective previously unheard from the band.

                                                                    Of Montreal

                                                                    The Bedside Drama A Petite Tragedy

                                                                      Originally released in 1998, Of Montreal's second full-length features uncredited appearances by members of Neutral Milk Hotel and The Late B.P. Helium. The album was the first where Of Montreal built characters around concepts. Although not as developed as later of Montreal concept albums, "The Bedside Drama: A Petite Tragedy" is infused with Vaudevillian elements that foreshadowed of Montreal's break-out albums "The Gay Parade" and "Coquelicot Asleep In The Poppies: A Variety of Whimsical Verse". According to All Music Guide, the album 'marked a crucial stage in the evolution from the lo-fi garage pop of Cherry Peel to the ambitious rock carnival of The Gay Parade and cemented of Montreal's status as one of the most creatively relevant groups of the late 90s.'

                                                                      FORMAT INFORMATION

                                                                      LP Info: Pressed on 180 gram vinyl, includes a coupon for a free digital download of the entire album.

                                                                      Of Montreal

                                                                      The Bird Who Continues To Eat The Rabbit's Flower

                                                                        Originally released in 1997 "The Bird Who Continues To Eat the Rabbit's Flower" is not an EP but an 8-song mini-album that was released shortly after Of Montreal's debut album was released. The highlight of the album is a cover of The Who's "Disguises" and the album serves as a foundation for which other of Montreal full-lengths would manifest themselves.

                                                                        FORMAT INFORMATION

                                                                        LP Info: Pressed on 180 gram vinyl, includes a coupon for a free digital download of the entire album.

                                                                        Off World, Automatisme, Jason Sharp

                                                                        Constellation Fall 2016 Bundle

                                                                          Three new releases vinyl albums bundled together at one very special price!!

                                                                          Off World - 1
                                                                          Automatisme - Momentform Accumulations
                                                                          Jason Sharp - A Boat Upon Its Blood

                                                                          Celebrated Toronto-based composer, producer and songwriter Sandro Perri is one of Constellation's most long-standing and artistically diverse music-makers, known both for the pulsing, longform instrumental work released in the early 2000s as Polmo Polpo and the tropicalia-, jazz- and prog-influenced vocal music brilliantly showcased on 2011's Impossible Spaces. Over the past couple of years Perri has been letting us in on a fascinating treasure chest of strange and enchanting collaborative recordings, which, now rounded up under the project name Off World, will begin to see release over the next few seasons. Chiefly a studio-based endeavour, the project traces its origins as far back as 2008 when Perri and fellow Torontonian Lorenz Peter began working together, now expanded to encompass collaborations with many other producers and musicians, including Drew Brown (Lower Dens, Blonde Redhead), Susumu Mukai (Zongamin), M J Silver (Mickey Moonlight), Craig Dunsmuir, Jesse Zubot and Eric Chenaux. 1 is alien electronics played humanly, with real-world accents throughout, rich in deconstructed melody, interplay between acoustic and electronic instrumentation, and pointillist and aleatory composition techniques. Off World resists easy categorization: not ambient "easy listening", not strictly "improvised", not "retro" - but eccentrically absorbing and soothingly mischievous as it charts its own sonic trails.

                                                                          STAFF COMMENTS

                                                                          Barry says: A spooky and fascinating trek through jazz, modern-classical and experimental synth music in one engrossing package. 'Old Brain' is as minimal as it gets, placing emphasis on one central warped synth line, gradually ring-modulated into oblivion. 'Extraction' takes the violins found on other Constellation staples, and turns them into a slow-mo whirling drone, both meditative and industrious. 'New Brain' on the other-hand is a future-facing synthetic melody, imbued with an inherent fragility, and driven forward in seemingly incidental increments. A Beautiful journey, but one that demands your attention.

                                                                          FORMAT INFORMATION

                                                                          CD Info: CD in 100% recycled gatefold paperboard jacket

                                                                          Off!

                                                                          Wasted Years

                                                                            Combining reckless improvisational energy with the combined skills of four deadly sharp musicians (vocalist Keith Morris, guitarist Dimitri Coats, bassist Steven McDonald, and drummer Mario Rubalcaba), OFF! have dug down through a decades’ worth of accumulated stylistic garbage, and rediscovered the stripped down core of noise, speed, and rock & roll that punk seemed to have lost forever. Their third full-length studio recording, “Wasted Years”, is the most direct and unprocessed embodiment of OFF!’s mission yet.


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