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BACK CATALOGUE - P

Pere Ubu

Terminal Tower

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    Pere Ubu’s earliest releases in the late ‘70s upended punk rock’s simplistic howl. It rewrote Dylan’s paranoid visions of cold war and political intrigue and introduced a band that would transcend genres and rewrite the theory of rock music, ripping up the plan and re-collaging it as they saw fit in subsequent years. Formed in 1975, their early incarnations were captured a decade later on the seminal ‘Terminal Tower’ an 11-track that brought together their early 45s and flipsides. Limited edition 180g vinyl. 1000 copies.

    Pictish Trail

    Future Echoes (RSD18 EDITION)

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      ‘Future Echoes’ is the latest album from Pictish Trail, AKA Scottish singer-songwriter Johnny Lynch. These spectral songs are filtered through a sun-warped pop lens, where heart-pumping guitar shriek-outs collide with sampled gurgles and fractured lyrics figure-skate over sine-waves of glacial synth. ‘Future Echoes’ represents the most confident, cohesive and pop-savvy collection of music Pictish Trail has written to date. Limited edition ‘cosmic’ coloured double 12” LP with disc of extras. 1000 copies.

      Prince Fatty

      Sunshine Feat. Omar & Fatlip

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        Everyone loves the sunshine! And everyone loves to be surprised when the sequal does the original justice. Sometimes the fear rises when you hear a version has been made of a classic record, but this unlikely trio have exceeded those doubts and done Roy Ayres a justice. Soon as you hear it being played, you feel as bright as the vibe that shone at its release in 1976, on Polydor records.For this Record Store Day exclusive 7”, Prince Fatty has put together a stellar cast of collaborators, including legendary reggae rhythm section - Horseman & Mafia as well as Bubblers on Keys, with vocals by the immortal ‘Fatlip’ from LA Hip Hop legends ‘The Pharcyde’ and UK Soul royalty ‘Omar’. Prince Fatty who has been compared to ‘Lee Scratch Perry’, has an infamous vintage analog sound that can be heard on his productions with artists such as Lilly Allen and Manu Chau, to London’s rising star, Hollie Cook. Omar has an MBE! But may prefer to be better known for hits such as ‘Man in the Mirror’ and ‘Dogs Like Cats’. ‘Fat Lip’ made hip hop legendary status in his group The Pharcyde, who need no introduction.With this limited run (1000 black vinyl only) 7” rework of this classic, in true Prince Fatty style, was recorded live, with no additional programming and no overdubs. Mixed in Prince Fatty’s sunshine studio in Siracha Thailand, this reggae version of Roy Ayres 'Everybody Loves the Sunshine' is a must buy! It’s ‘soulful, dubby and poetic’ A real treat!

        Prodigy (Of Mobb Deep)

        Keep It Thoro

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          Feat. Mobb Deep frontman. Picture disc Vinyl of remixes & A Capella versions. (Inc. Havoc remix).

          Pete Astor

          One For The Ghost

            This is a record born through time; seasoned and erudite Indie auteur, ex leader of Creation Records favourites The Loft and The Weather Prophets, Pete Astor brings together strands and tributaries in his work over the years, mining timeless guitar pop to frame wry lyrical insights and melodic hooks, making music for today, with a true line from the past and an eye to the future. Having released Spilt Milk (Fortuna Pop!) in 2016 to an overwhelmingly positive response, Astor continues the musical spirit of that album with James Hoare (Ultimate Painting, Proper Ornaments, Veronica Falls) remaining a mainstay on guitar. He is now joined by The Wave Pictures rhythm section of Franic Rozycki on bass and Jonny Helm on drums; Pam Berry of Withered Hand and Black Tambourine contributes vocals. 

            FORMAT INFORMATION

            Vinyl comes with CD version of the album enclosed.

            Spilt Milk is the brand new album from indie auteur Pete Astor (The Loft, The Weather Prophets). It was recorded onto ½ inch tape at the home studio of James Hoare of Ultimate Painting, The Proper Ornaments and Veronica Falls, with James playing guitar, bass, drums, keyboards and singing backing vocals. “He was”, says Astor, “an amazing band.” Other contributions came from members of Astor's live band, with Pam Berry (Black Tambourine, Withered Hand) supplying vocals, Jack Hayter (Hefner) on pedal steel, Alison Cotton (The Left Outsides) on viola, and Robin Christian (Male Bonding) and Susan Milanovic (Feathers) on drums.

            The album has all the hallmarks of a future Pete Astor classic, drawing together key strands and tributaries of his work over the years, blending intuitive songwriting, acute lyrics and incisive melodies. After many years making more experimental, electronic music Astor has come full circle to the sound that made his name. From the opening track “Really Something” to the recent single “Mr Music” (a favourite of Marc Riley and Gideon Coe on BBC 6 music) the album’s re-connects Astor’s bespoke guitar pop with his long-standing embrace of The Velvet Underground’s musical DNA. Other standout tracks include “My Right Hand”, a hymn to everyone’s best friend, with guest appearances from Tony Hancock, Marvin Gaye, Philip Larkin and a host of ex-girlfriends; the slow burning drama of “The Getting There” recalling the atmospheres of Astor’s 80s kindred spirits, The Go-Betweens. Also, there is the wry drive of “Very Good Lock”, summed up by Astor as “a description of an injurious medical condition that often affects the male of the species”.

            Elsewhere there are the gorgeous harmonies of the grown up country lament “Good Enough”, which wouldn’t be out of place on one of George Jones’ most heartbroken albums. Spilt Milk is part of a continuum: from Astor’s beginnings with The Loft and The Weather Prophets on Creation Records in the 1980s, via his solo work through the 1990s and his more left field albums with The Wisdom of Harry and Ellis Island Sound on Matador Records, Heavenly and Peacefrog, through to his return to solo work with the Songbox album in 2012.

            Pattie Austin

            Are We Ready For Love / Didn't Say A Word

            Patti Austin is from Harlem, New York, the goddaughter to Quincy Jones with whom she sang on “The Dude” (including “Razzamatazz”). She has released solo albums since 1976 and won a Grammy for her 2008 release. Her first singles were for the Coral label in the 60s from where she has popularity began with Northern Soul fans. In the early 70s she recorded for Columbia, a period from which the two songs re-released here are her most popular. “Are We Ready For Love” in its own right and “Didn’t Say A Word” as a highly regarded rendition of a classic first recorded by Yvonne Baker.

            ‘SEE HOW’ is Pete’s first solo album since 2007’s ‘You, Me and Bill Withers’ (“imagine if Gil Evans and Miles Davis had written for the band in Trumpton.” Uncut Magazine). ‘SEE HOW’ explores the life Pete has lived since then - what it's like to be a divorced, homeless, fifty-year-old father of two with a guitar and a head full of great songs. Pete’s earlier work received much critical acclaim, but ‘SEE HOW’ contains a truthfulness and grit that only a decade of difficult times can produce. Although the album explores themes of emotional upheaval and life-changing events, which should be familiar to many people Pete’s age, his lyrics always manage a wry smile at life’s vicissitudes. All this is set to seductive melodies melded with lilting arrangements. It’s sophisticated songwriting taking in folk, country and pop, amongst which, in the past, has seen Pete compared to Squeeze and The Beatles, as well as vocally compared to Stephen Duffy and Kevin Rowland at his quiet best. ‘See How’ also features some very fine guitar playing – playing that has seen Pete in high demand as a session guitarist. See How’ also includes a cover of Pharrell's 'Happy'. Aside from his solo output Pete has played guitar with the High Llamas for many years and worked with Lee Hazlewood, Petula Clark, Nick Lowe, Shirley Collins, The Lost Ladies Of Folk and Harry Hill among others. 

            Pascal Babare

            Thunderclap Spring

              Possessed of a looseness, a lightness and a prodigious songwriting ability that belies his years, Pascal Babare is a future slacker superstar who demands the attention of all fans of Vetiver, Elliott Smith, Iron & Wine, Peter Broderick, Grizzly Bear, Bright Eyes and Animal Collective. Recorded across three continents, 'Thunderclap Spring' is an ecstatic collection of morning ragas, evening croons and kaleidoscope melodies; these wide-eyed mantras set the trajectory for a new artist destined for truly great things. Already attracting the attention of celebrity fans and tastemakers, Pascal's first album delivers a set of uniquely charming songs that will creep under many a skin this Autumn moon. Warm, rickety, direct and honest, "Thunderclap Spring" confirms Pascal Babare as a serious prospect and a highly unusual talent.

              FORMAT INFORMATION

              Cassette Info: Available as a limited cassette with download code in an edition of 300, and digital download, ‘Thunderclap Spring’ precedes a full scale Babare release scheduled for Spring 2010, and is the first album from blackmaps limited, a Tokyo and London based label.

              Pete Bardens

              The Art Of Levitation

              The recent death of Pete Bardens, the keyboard player with the multi million selling Camel, will no doubt mean a plethora of reissues and reappraisals. This is one of his more recent recordings and features his daughter Tallulah and Mick Fleetwood.

              Pastor T.L Barrett And The Youth For Christ Choir

              Like A Ship (Without A Sail)

                Recorded in 1971 by a 27-year-old pastor and an after school program choir, Like A Ship is a stirring and powerful meditation on the wayward aftermath of the Civil Rights Movement. Tracked with the help of Chess/Cadet maestros Gene Barge, Phil Upchurch, and Richard Evans, the album is a mix of euphoric gospel and Mayfield esque political soul, with sleigh bells, hand claps, and jazzy piano stabs. Sampled by T.I., Kanye, and Khaled, Barrett created a rapturous, crossover gospel classic that’s still wildly relevant.

                Peter Baumann / Conrad Schnitzler

                Split

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                  From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. His first two solo works are now being reissued with extensive liner notes and rare photographs. The influence of Tangerine Dream can clearly be heard on "Romance 76", although the arrangements are comparatively minimalist-a state of affairs for which David Bowie can be held partially responsible (see below).

                  With Peter Baumann on board, Tangerine Dream grew into one of the most influential bands in electronic Krautrock, sited somewhere between experimental electronica and progressive rock. Open to new ideas, Baumann's positive aura and eagerness to experiment galvanized the band's music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts.

                  After five years of chart appearances and extensive touring through Europe and North America, punctuated by several albums-including "Atem", John Peel's nominated import album of 1973-Baumann called time on his solo career with "Romance 76". "We found some time between tours and record productions, so Edgar recorded a solo disc and helped Christoph and me to develop our own music too. 'Romance 76' resulted from the urge to create new music. I felt we had begun repeating ourselves in Tangerine Dream and I was keen to discover new things, to carry on experimenting. Improvisation had been common to us all, but on your own it isn't quite so simple. I started to work on my own pieces." This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history, but that's another story.

                  Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record "Romance 76". Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system christened "The Big One" can be detected on "Romance 76", for example, along with a Mellotron.

                  Some tracks on the album, such as "Romance" and "Phase By Phase", are relatively minimalist in character. This airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: 'Leave it as it is, there's enough there already.'" At which point Baumann decided to look at the tracks in question as finished.

                  Pip Blom

                  Paycheck

                    Pip Blom is a phenomenal young indie rock band from Amsterdam that’s been making waves in England, a BBC radio darling touring with Franz Ferdinand and The Breeders. Pip Blom is both the name of the band and its leader, a dynamic 21-year-old singer-songwriter-guitarist. Paycheck, the group’s new EP, is a roaring, attitude-laden offering that maintains their playfulness and knack for melody that’s earned comparisons to Blur and Courtney Barnett.

                    In 2017, a series of hooky singles Pip uploaded to the internet hit over a million plays, bringing a sudden burst of overseas accolades. The singles sold out quickly, and El Diablo (run by Guided By Voices / Yoko Ono manager) has pressed up just 500 copies of this 10” vinyl. The EP is something of an older sibling to Pip’s previous 7”s, doubling up on the infectiousness of those early hits but with a bigger crunch. Festival appearances and energetic, gripping live shows around the UK and Europe have solidified the band as a rising star in a new generation of indie guitar bands. 

                    Pepe Bradock / Braccio D'Oco

                    Baby Steps EP

                    To commemorate the latest release from French house genius/madhead Pepe Bradock, I'd like to share an anecdote from Piccadilly regular Phil Wynn. Way back in the mists of early millenial time, Phil was rocking the decks at the Music Box in support of the master of all things deep and dislocated. Pepe arrived to the party late but far from louche, impeccably clad from head to toe in a freshly pressed and pristine Judo uniform, without the merest hint of a sense of humour. If that isn't proof of pure musical eccentricity, then perhaps "Willplayasong4u" is, moving our bodies with growling bass swells, blasts of syncopated jazz drumming, filtered keyboard vamps, modem madness and celestial keys, all blended into a churning mass of lysergic dancefloor delight. It's absolutely, 'Matt-Ward-talking-about-sparrows' insane, but so infectious. I don't know how he does it, or even what it is he does, but he certainly does the trick. "KM Zero" sees Pepe repurpose a dial-up modem, dissect a ouija board and wrap the whole thing around a fizzing rhythm section of bassy bubble and percussive shuffle to create a dense and dislocated slice of outsider funk for the cosmic weirdos out there. Pepe dives straight through the interdimensional portal with "@#&$* Square Tones", a skewed sound experiment with only a hint of rhythm, before "Pepe XXX" takes that well trodden path into yacht rock shangaan electro trap (new genre section?) - Mint!

                    STAFF COMMENTS

                    Patrick says: WTF mate? Pepe Bradock keeps it unique with the anything but straightforward sound collage house of the A-side, the disintegrating space funk of the B1 and the unabashed oddness of the closing couple. Legend!

                    Pepe Bradock

                    Burning / Deep Burnt

                    Godlike. There's no other way to describe this EP from France's most uncompromising producer. The B-side is filled by the epic sounds of "Deep Burnt", a fin de siècle classic from 1999. It's an epic Detroit inspired deep house rendering of a tiny string section from Freddie Hubbard's "Little Sunflower". The sweeping sample, the Motor City synth washes, the economic beats, small flourishes and incredible breakdown than just brings the dancefloor to a complete halt; these are the elements that maketh a true anthemic piece of music. The EP also includes "Burning Hot", an early nineties US house chop-up and Pepe's signature weirded out cut, a jerk-jazz joint by the name of "The Right Way". I wouldn't trust anyone who DIDN'T have this record in their collection.

                    FORMAT INFORMATION

                    12" Info: Ultra-limited repress in full picture sleeve!

                    Pepe Bradock

                    Deep Burnt Edits (ATA1972)

                    After a near on two year hiatus, French house god Pepe Bradock returns with a very special release on his own Atavisme imprint. Seeing as second hand prices have been soaring through the roof, Pepe's given the people what they want and delivered this fresh pressing of his seminal, essential and definitive deep house masterpiece "Deep Burnt". Originally out as the B-side to the "Burning EP" back in 1999, Pepe's Freddie Hubbard sampling beauty has since become a timeless classic, adored by basically everyone who hears it because it is as close to perfect as music gets. Live drum sounds are worked into an intricate and dynamic pattern, the strings from Freddie's "Little Sunflower" are looped and filtered until your life starts to change for the better. Pepe adds sublime little sequences and crunchy organ licks, building the track into the finest house record ever made. For this new pressing, Pepe has paired his original mix, billed here as "Surprise" with "The Surprise Is There Is No Surprise", a remarkably similar (possibly identical) version which gives you another groove for when you've played the A-side into the dust. All that remains to say is, buy this record and cherish it forever!


                    STAFF COMMENTS

                    Patrick says: 018 Original Repress of the Limited ATA1972 ,carefully overseen and in a complete and brand new Art Outer Sleeve by the Autheur - Pepe, himself ! Contains the Same great Mastercut (offcourse) than the first ATA 1972 print . Same Vinyl, Same A & B Side, Same Tracklist, Same Great Sound.

                    Everyone's favourite French house producer takes a distinctly dark, techy and experimental route on the latest Atavisme joint - Pepe's own outlet for his productions.

                    The four tracks on offer here show a man delving deep into the murk and swamp of his synthesizers, conjuring up a thoroughly alien and intoxicated collection of tracks that skirt around the 4/4 rhythms of the dancefloor whilst depositing a whole host of lysergic phlegm, refracted frequencies and cybernetic flux onto the master stems.

                    It's a side to Pepe we're seeing more of of late, as the producer's ditches the accessible for the head-turning - and we love it! Favourite track here is the marching tekno squelch of "Ave Psychic" which in our ears gives Chicago's supremo sound mangler, Jamal Moss, an adequate run for his money.

                    Top marks Bradock! 

                    Phoebe Bridgers

                    Stranger In The Alps

                      Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she’d caught the ear of Ryan Adams, who listened to her perform her song ‘Killer’ in his LA studio, inviting her to come back and record it there the next day. The session blossomed into the three song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City And Colour, Violent Femmes, Mitski, Television and Blake Babies among others.

                      Now Phoebe Bridgers releases her debut full-length, ‘Stranger In The Alps’. From the weeping strings and ‘Twin Peaks’ twangs of opening track ‘Smoke Signals’, to the simple heartbreak of ‘Funeral’ and melancholic crescendo of ‘Scott Street’, ‘Stranger In The Alps’ is a swooningly beautiful record with a gothic heart.

                      ‘Stranger In The Alps’ features guest vocals by Conor Oberst and John Doe.

                      FORMAT INFORMATION

                      Coloured LP Info: Indies exclusive lavender vinyl.

                      Patrick Briscoe

                      Colours Will Fly

                      Manchester solo artist, Patrick Briscoe, releases his second full length album "Colours Will Fly". The mood of this ambitious second offering undulates throughout, with the simplistic beauty of the Drake-esque "Brighter Days" to the driving virtuoso instrumental of "Behind the Light", a must have for all lovers of the acoustic guitar. Within "Portrait of England" Briscoe opens up his scrap book, revealing a Larkin like reverie which revolves in the ghostly charms of a violin in an empty room. Elements of the classic pop song appear in "Just Drifting" and the devout guitar workout of "Scars and Mountains", with the album culminating with the hypnotic "Raising Stones". Briscoe sites his influences as John Coltrane, Mozart, Mark Hollis, Beethoven, Robert Johnson and Miles Davis.

                      Patrick Briscoe

                      Give

                      After an exhaustive five-year period in the studio re-examining and developing the relationship between himself and song writing he has arrived at a point where all the pieces have suddenly come together. His music is thick with atmosphere and images provided by innovative acoustic guitar and luscious vocals. This debut release "Give" is a collection of four songs: from the opening hypnosis of "Gone" to the final themed progressions of "Home", this record has a spell all of its own which has been captured with vital honesty.

                      Peter Broderick

                      All Together Again

                        There is no end to composer Peter Broderick’s creative output, and so we present to you his new album titled All Together Again - available worldwide on November 17th 2017 via Erased Tapes.

                        They say music takes you on a journey, and this collection of commissioned work by Peter quite literally does that. From a ferry boat ride in Istanbul, to walking down the aisle at a wedding, these songs were created for particular situations, yet Peter found a way to work without any sort of limitations and on his own terms. The result is an assortment of works from the past ten years, coming together as one: Peter’s new album.

                        Words from Peter, October 2017:

                        Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I’d be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays . . . but every so often I get the odd request for something a little different. Peter, would you write a song for my wedding? My one year anniversary? A ferry boat ride?

                        In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week. I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show . . . but a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model.

                        It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade . . . it’s All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily). And indeed, there’s a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie’s Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes).

                        In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it’s a return to that original approach . . . playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing. I’ve always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it?

                        The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track. 

                        Not long after the release of Peter Broderick’s seventh solo album ‘Partners’, the composer closes 2016 with his equally exceptional ‘Grunewald’ recordings via Erased Tapes.

                        Born in just one night inside the four walls of the discrete yet majestic Grunewald Church, situated on the outskirts of Berlin, this five-track EP is an exploration of the alluring partnership between the acoustic space and Broderick's solo performance on piano and violin. Reflecting the grandeur of the room and the natural interaction between the instruments and their surrounding environment, 'Grunewald' pays homage to a very unusual space that's become a haven for an entire generation of contemporary composers.

                        Words from Peter, October 2016:
                        “In the few years between 2008 and 2011 or so, the Grunewald Church in Berlin was something of a hotspot for a group of us musicians. It started when Nils scouted it as a location in which to record The Bells . . . and then it seemed like we were in there every month or two for a while, either for recordings or for concerts.

                        There was a lady living just down the street from the church, and we’d just knock on her door, give her a couple hundred euros, and then she’d hand over the keys to the church! To be given unsupervised access in a space like that is really quite unheard of most of the time… For anyone who likes reverb, the Grunewald is a dream come true. That in combination with the beautiful old Bösendorfer piano made it the perfect place for both recording and performing.

                        When mixing the recordings that comprise this EP, simply titled Grunewald in homage to that old haven of ours, there were no artificial reverbs or delays used . . . only the natural sound of that epic space. Originally these piano recordings were released as part of a split album on a small Japanese label, and the violin piece was included on a compilation, also Japanese . . . but all these pieces were recorded on the same night, in the same space, and it is with great pleasure that I see them reunited for this release.”

                        Peter Broderick

                        Two Balloons

                          American-born multi-instrumentalist, singer and composer Peter Broderick will releases 'Two Balloons' via Erased Tapes. Available as a limited edition 10” vinyl and digital download, it features the score for the award-winning animation of the same name, inspired by an early recording of his, plus a 9-minute electronic rework on the B-side titled Techno For Lemurs.

                          Fairly often we see albums of “Music inspired by the film __”, but less common is a film inspired by music. Such is the case with Two Balloons. Director Mark C. Smith got the idea for his nine-minute stop frame animation film while out at sea, looking at a majestic funnel cloud in the distance. Shortly after he heard a song by Peter Broderick from one of his earliest recordings — 4 Track Songs — and the music struck a chord so strongly, he knew he wanted to make a film to fit the melody. And so began the five-year labour of love that would eventually produce this enchanting little film, currently circulating film festivals around the world and racking up countless awards and accolades including ‘Best Original Music Score’ at the New Renaissance Film Festival in Amsterdam.

                          Even though the film was inspired by an older Broderick composition, the score for Two Balloons was recorded from scratch, revised and expanded to fit each frame. The process of stop frame animation is a labour intensive and painstaking one, but the attention to detail didn’t stop at the picture for this film. The score was an integral part of the film from the very beginning, with both the director and composer going to great lengths to experiment not only with the composition itself, but also the fidelity. The first sound heard on the score is a piano playing a waltz figure, and the sound is noticeably lo-fi, but this isn’t just some modern digital trickery. This piano was recorded on a wire recorder, a recording technology that predates magnetic tape and has been virtually forgotten about.

                          In the process of recording the score, many different technologies were experimented with. In addition to purchasing and refurbishing several wire recorders, the director at one stage acquired several massive AM radio consoles as well as an AM radio transmitter, so that a digital recording from the computer could be broadcast through the AM radio waves and then captured through one of these nostalgic sounding old radios. A variety of these technologies from different eras were used to create a score that both sounds like it’s from several different time periods and from no specific time at all.

                          The B-side, if you will, is more than just a remix that recycles the original recordings. In fact none of the original parts have been re-used. ‘Techno For Lemurs’ is a homage to the two main characters in the story, the ring-tailed lemurs Bernard and Elba. Serving as Broderick’s first foray into the world of techno, this playful piece reinterprets the melodic themes from the original score by adapting them with electronic instrumentation. In Peter’s own words: “Let’s pretend for nine minutes that we’re ring-tailed lemurs and get this party started!” 

                          October 2013 will see the reissue of 26-year old American composer Peter Broderick's 2008 debut album Float. Returning to his home in Oregon, where his musical journey began, Peter completes the circle with the release of Float 2013. Remastered by the gifted hands of Nils Frahm, Float 2013 will also include two additional bonus tracks with each album download and will be reissued on CD and vinyl.

                          Brought up in a musical household in Oregon, Peter quickly became a popular session musician for the likes of M. Ward in the Portland area. Later discovered by the Danish band Efterklang he joined their live band and spent the next six years based in Europe where he collaborated with many like-minded contemporaries. Through relentless touring, multiple album recordings and film scores Peter has established himself as a solo artist, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs.

                          IN HIS OWN WORDS:
                          ’A dialogue was started with Robert, about the idea of one day giving Float a second chance. And a bit later I found myself in the studio of my dear friend Nils, remastering these songs which on one hand felt so far away, but on the other felt right at the core of my musical heart, the foundation of my aspirations as a musician. And what Nils did to the sound, how he worked his magic as he always does, filled me with the conviction that this project had not previously reached its potential. In so many ways I've found myself coming around the circle, back to the place I started, only perhaps the circle itself has moved. But the dream is the same. And my little baby has a new pair of shoes: Float 2013.’ – PETER BRODERICK.

                          Peter Broderick

                          Music For Confluence (Reissue)

                            Through relentless touring and multiple album recordings, Portlandbased Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs. The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter.

                            Created in 2011 for Jennifer Anderson and Vernon Lott’s spell binding documentary film on five unsolved murders in Idaho, the soundtrack takes the listener through waves of stark emotions.

                            IN HIS OWN WORDS: “It was November 2010 when I started to seriously think about relocating to Berlin. I knew my Danish visa would run out sometime in 2011 and if I wanted to stay in Europe I'd need to either renew it or get another visa elsewhere.
                            Berlin pulled me in like a magnet, with so many of my friends and inspirations living and working there, and also being so central for my frequent European travels. And just when I started to think about finding a place, I heard about a friend of a friend who was renting out a spacious two-floor apartment in the middle of town. I was told the building was owned by a man who only wanted musicians to live there, so I could make all the noise I wanted, and on top of that I was given a key to the piano store on the bottom floor so I could play anytime the store was closed… the place was made for me! All winter, when I wasn't traveling and playing concerts, I was locked away in this new space creating. I had been asked to make the score for a documentary film called Confluence. The film is based in the Lewiston, Idaho area, not too far from where I grew up in the USA, and it chronicles several mysterious cases of young girls found murdered or gone missing around 1980, all of which seem to lead back to one man who for a variety of reasons has not been able to be charged with these crimes.
                            So with my minimal equipment and a key to Die Klavier Etage (the piano store), I set out to create some textural soundscapes which could compliment the building tension of the story without being too intrusive or suggestive. Days and nights, snowed in and experimenting with layers and layers of whichever instruments I had around, finding a murky atmosphere that fit with the uneasy feeling which the film gave to me. On New Year's Eve I was inside, recording the final notes for the score. I had finished everything except the piece for the credits. After speaking with one of the directors of the film, Vernon Lott, we decided the song for the credits should be different from the rest of the score. So while the fireworks were exploding outside my window, I was recording Old Time, a song which for me felt like a breath-of-fresh-air after story which can only leave you wondering…” – Peter Broderick.

                            Peter Broderick

                            Music For Falling From Trees

                              Through relentless touring and multiple album recordings, Portlandbased Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs. The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter.

                              2009’s Music for Falling From Trees, a 30-minute piece in seven sections, was created for a contemporary dance by London-based choreographer Adrienne Hart at Neon Dance. Adrienne was looking for a score of piano and strings, so Peter left the guitar and his voice aside and focused entirely on those two timbres. The dance tells the story of a man in a psychiatric hospital, and his struggle to maintain his identity. The music is sometimes melancholic, sometimes playful, sometimes chaotic, but with the combination of piano and strings, full of beauty, reverence and awe.

                              IN HIS OWN WORDS: “In late 2008, Adrienne Hart contacted me about scoring her new work, Falling From Trees. In Adrienne's words, ‘the piece is set in a psychiatric hospital and centered around one man's struggle to retain his identity in the most extreme of circumstances.’ There are four dancers in the piece. One male playing the patient, and three female hospital workers. I had been making music for a variety of film projects, but the thought of scoring a dance was very exciting to me. I was on tour at the time, so I wasn't able to start writing the music until I had a break in early January. The dance premiered on January 21st, so I had about three weeks to create the score. I camped out up in the top of my father's barn with some minimal recording equipment, my violin and viola, and an old broken piano. Given the time constraints, I approached the music in a very open way. Rather than sit down and try to compose something, I just set up a microphone and started playing. After coming up with a couple of themes on the piano, I started recording, using those small themes and improvising around them. Most of the sections have a small core that is composed, and then the rest is improvised. Luckily for me this method seemed to work. I would work all day and then send a sketch over to Adrienne, and every time her response was positive. So in this way we worked very well together. I give my hugest thanks to Adrienne for trusting me to create the music for her wonderful work. Adrienne told me from the beginning she was looking for a score of piano and strings. So I decided to take this literally and make a rule not to use any other instruments. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails. The sound of an electric shock given to the patient is depicted by a quick, distorted piano chord. And all other droning and bass tones were made by extending and processing violin and/or piano tones, etc. Thank you very much for listening.” – Peter Broderick, March 2009.

                              Veteran Erased Tapes recording artist Peter Broderick set to release new studio album Partners on 19th August 2016.

                              For close to a decade, Portland’s Peter Broderick has cut his own unpredictable path through the world of contemporary music. So far, his wanderings have led him from solo works into the realms of film, dance and documentary scores, as well as art installations.

                              Now Peter takes that unpredictability one step further. For his latest album, a series of voice and piano recordings, he experiments with chance, surrendering an entire song’s composition to the roll of dice.

                              As he explains below in an email to Erased Tapes founder Robert Raths, it was John Cage’s tendency to remove himself from his music, to somehow automate his own process, which inspired the strange mechanics with which this record was created.

                              In the words of Cage himself, ‘the world is teeming; anything can happen.’

                              STAFF COMMENTS

                              Barry says: He went a bit off-piste there for a bit didn't he? Not to say that 'It Starts Hear' wasn't great (not heard quite so many references to the World Wide Web in pop media since Sandra Bullock's magnum opus 'The Net') It clearly had it's moments, as did the following albums. This is a different beast altogether however, much like Broderick's modern-classical masterpiece 'Float', this is elegant and beautiful piano music. Reverb drenched piano glides along, slowed-down arpeggios segue into hurried note clusters before washing away into a stream-of-consciousness ambient wash. This is as mellow as I've heard Broderick's work for some time, and it's as moving as it ever was.

                              Peter Brötzmann / Fred Lonberg-Holm

                              The Brain Of The Dog In Section

                              Recorded live in November 2007 at Chicago's famed Hideout destination, Peter Brötzmann and Fred Lonberg-Holm combine for the first time ever in this penultimately intimate configuration. Although "The Brain Of The Dog" was recorded in an ultra-industrial urban warehouse district, the resulting music is über-organic, almost onomatopoeic at points. Certainly, fans of "Schwarzwaldfahrt", Brötzmann and Han Bennink's now classic free-jazz camping trip deep into Germany's Black Forest, are strongly urged to check into this seminal blast.

                              The daughter of two preachers' kids, Brown spent her childhood in Iowa and Alabama amidst a very musical family. In her bare-bones bohemian upbringing in Iowa there was no electricity or running water and it was here that Pieta was first exposed to a wealth of traditional and rural folk music through her father - two-time Grammy nominee Greg Brown, whose songs have been covered by the likes of Willie Nelson. "Remember The Sun" is delivered with a solid Memphis punch that brings to mind the best of Cat Power or Shelby Lynne, yet never loses sight of the traditional musical forms Pieta grew up with. Lyrically and musically poetic, Brown's deceptive simplicity and seductive purity combine to create songs that meet somewhere between Johnny Cash and Neko Case. On each and every track the touches of old-school folk, soul and country are clear, but they are given the modern twist of a Jeff Buckley or the latter-day Loretta Lynn.

                              This Japanese CD collection brings together all the tracks from Philip Cohran's thrilling Zulu label 45s. While some of his and the Artistic Heritage Ensemble album tracks can be a bit sprawling, the limitations of the 7" format seems to have focused the Chicago jazz group's minds on creating some succinct but still impressive pieces. From the tribal Afro-jazz opener "The African Look", via the wickedly funky extended thumb-piano jam on "Loud Mouth" and Egyptian melodies on "El-Hajj Malik El-Shabazz", the distillation of the AHE sound is absolutely fantastic.

                              FORMAT INFORMATION

                              CD Info: Limited Japanes import. Comes in hard paste-on board LP style sleeve.

                              Pascal Comelade

                              Traffic D'Abstraction

                                As well known from both sides of the Pyrenees to Japan, Pascal Comelade is a catalan musician living in Dalì’s country. After living in Barcelona, where he founded his Bel Canto Orquestra in 1985, he released his first album in 1975 called « Fluence ». This first work was definitely inspired from electronic music influences, especially by Richard Pinhas’s band, Heldon.

                                Comelade likes making links between arts, mixing music with graphic designs and literature. It is indeed one of the first concerns of the composer not to stay locked in patterns and codes specific to a style. Painter Robert Combas created the original artwork of the album. For this reissue, Combas’s second painting, which was on the inside of the CD booklet, was replaced at the back of the main jacket. At the time of the release album, he accompanies on piano Robert Combas and François Boirond’s visual performance in Paris, Porte de Champerret.

                                For this reissue, LP limited vinyl is numbered to 500 copies worldwide. Comelade kept songs he judges the best from the original album. He also completed a few of them, and replaced some tracks by other alternative versions and unpublished pieces he composed in the same time.

                                Moreover, we will rediscover the animation clip of “The Skatalan Logicofobism” in the CD extra included in the gatefold. Florence Deygas and Olivier Kuntzel especially realized the clip for this track in Paris in 1994. 

                                FORMAT INFORMATION

                                Vinyl comes with CD version of the album enclosed.

                                This is a clear perspective on Comelade’s musical universe and can be considered as an ultimate “best of” and a radical introduction tothis chaotic and uncompromising instrumental music. "Rocanrolorama Abrégé" (“abbreviated rockandrolorama”, in English) is the short version of the complete works and reworks of Pascal Comelade published at the end of 2016 as a 6-CD box set in a sold-out limited edition of 1000 numbered and signed copies. Pascal Comelade made this album as if it was a new and separate album, with tracks that he considers best represent his work, from 1993 to 2016, according to the principle applied with the Rocanrolorama box set: songs in their original form, alternative versions, reworks, additions…
                                This short version was conceived especially for a double vinyl LP format: four sides with six tracks each, which you can listen to in the right order, from start to finish, according to a logical, thought-out progression for each side (slow tempo, medium tempo, orchestrations, electricity, etc.), paying tribute to the concept behind the collection Rhythm and Blues Formidable.


                                STAFF COMMENTS

                                Patrick says: "Le Rocanrolorama Abrégé", or as I like to call it, "everything you ever needed to know about Monsieur Comelade, but were too afraid to ask!" This double vinyl set serves as the perfect introduction to the free-thinking and free-spirited French composer, cartwheeling through ethno-jazz, musique concrète, psychedelia and stoned funk in the most avant garde fashion - c'est magnifique!

                                FORMAT INFORMATION

                                Vinyl comes with CD version of the album enclosed.

                                Paul Corley

                                Disquiet

                                  Disquiet is the debut album of American composer, sound recordist and engineer Paul Corley.

                                  Disquiet is music that never settles. Music that makes the listener fiercely attentive to the present, to the very idea of listening. It takes some doing, and some patience, to produce an atmosphere so unearthly and yet so radiant, to organise fragmented -"sometimes found" - sounds into such sparse, sustained and spiritual coherence.

                                  Although Disquiet is Paul Corley's first album on Bedroom Community, he is no stranger to this infamously enigmatic label. Having collaborated extensively with the Bedroom Community collective since 2007, the label is proud to add Corley to the intimate roster that now comprises of seven highly original artists. Disquiet is a welcome addition to the catalogue; at the same time an album of delicate, primal (prepared) piano variations, a sequence of exquisitely reflective slow songs, and a metaphysical field recording where resonances are set off by real and imaginary geographical features.

                                  The album seems to be the recording of a dream, not necessarily Corley's own, as if he slipped into the mind of someone asleep and calmly set up his equipment. Disquiet suggests a walk through an icy wasteland under a darkening sky, with unspecified creatures lurking at the edge of vision, a drifting walk that ends in the shadows of a vaguely familiar deserted city.

                                  Some might discern in the distance the footsteps of Morton Feldman who has once passed nearby or is about to, or might spot some wires discarded by Chris Watson and a question or two written into the sand by Anton Webern.


                                  Peter Croce takes the reins of his own horse here, guiding Rocksteady Disco's 9th release steadily into house music's stables for some barn dancing, hay swinging fun.

                                  Al Hudson's "Spread Love" seems as good a place to start any all nite discotheque, so Peter's handily kicked things off with a tasteful cut n splice of this celebratory disco staple.

                                  "Maracatu Detroit" steers things in a more tropical house direction, a bustling number with plenty of live instruments contained within it's both playful and musically accomplished in equal measure, displaying jazzy inflections alongside a rambunctious house rhythm section.

                                  Me and Barry thought "Bufe Bufe" might a tribute to everyone's psychedelic toad, but maybe that's just us... Anyway it's a highly spiritual, really quite enchanted afro-house number with rolling congas sections, evocative vocal chorus and a highly poised aesthetic. It's the kinda track Joe Claussell or Osunlade might well change your life with when your practicing in house music's church, Body & Soul on a Sunday afternoon (... or indeed, if you're using more chemical means to achieve spiritual enlightenment at any of the UK's house music, ahem, 'churches' - ed). 


                                  Creating your own genre of music is not for the faint hearted and this is exactly what this album uncompromisingly sets out to do. Despite strong influences from the Mediterranean and the Middle East, it admirably keeps its feet firmly on the ground of Manchester and British Indie. Following in the footsteps of British bands Asian Dub Foundation and Transglobal Underground, the album layers exotic sounds like darbuka, saz and bouzouki over a strong, driving back beat. From electric guitar to the haunting Turkish çümbüş, each song holds small surprises from the unusual array of instruments arranged with loving attention to detail.

                                  A mixture of Darwish's songs in English and modern rearrangements of Turkish and Kurdish songs, this album successfully fuses lyrics in English, Turkish and two Kurdish languages. Anatolian folk songs, some thought to be over 300 years old, sit comfortably next to some of the most biting English lyrics to have been written in recent times. The whole album has a meaningful weight to it but never becomes trite or pompous like so many of its world music counterparts.

                                  The country and eastern sound is both uplifting and adventurous, never more exemplified than in the stomping cover of Dolly Parton's classic song "Jolene". Every listen reveals a new detail from the many intricate layers that go together to set this album in a world of is own. With anthemic and poetical comments on immigration and the Iraq war it is firmly set in the 21st century but the breathtakingly original mixture of languages and sounds from east and west takes you to a world where the only borders really are in your mind.

                                  Hamburg Demonstrations is the new album from the enigmatic The Libertines front man Pete Doherty. Produced & mixed by Johann Scheerer (Faust/Bosnian Rainbows/The Killers) and recorded at his analogue-based studio, Clouds Hill Recordings in Hamburg.

                                  Hamburg Demonstrations includes the previously released singles ‘The Whole World Is Our Playground’ and a new recording of the Amy Winehouse tribute ‘Flags From The Old Regime’. The album also features ’Hell To Pay At The Gates Of Heaven’ written after the Paris attacks last November – it laments the fact that young people are now picking up guns instead of guitars “Come on boys choose your weapon J-45 or AK-47?”, ‘Kolly Kibber’ inspired by the newspaper man who meets a sticky end at the beginning of ‘Brighton Rock’ and ‘A Spy In The House Of Love’ a title borrowed from the Anaïs Nin novel.

                                  STAFF COMMENTS

                                  Barry says: Pete Doherty has grown up a bit hasn't he? For one, he's now called Peter, has laid off the hard stuff and has learned to remain in 'The Zone' long enough to pull out a great tune (or several). The sound of a renewed interest in the music Biz, and an invigorated energy in the studio. A refreshing take on a wholly successful formula, and a welcome return for Pete(r).

                                  FORMAT INFORMATION

                                  LP includes MP3 Download Code.

                                  Paul Draper was the frontman, main songwriter and producer of Mansun - one of the most iconic bands of the '90s. The band's debut album Attack of the Grey Lantern entered the UK chart at No 1. The band split in 2003 while recording their fourth LP (partially released on Kleptomania).

                                  The EP features three equally brilliant, very different brand new tracks. Feeling My Heart Run Slow - a thundering juggernaut of a revenge rock n roll song, No Ideas - a mind-expanding spy movie soundtrack condensed into just under six minutes and The Silence is Deafening - a gleaming pop song that perfectly melds together glacial synths and soaring guitar-bass-drums. The EP also features an alternate mix of Feeling My Heart Run Slow by Andy MacFarlane of Scottish band The Twilight Sad.

                                  The tracks on EP ONE were recorded at Paul's studio The Kitchen. No Ideas was recorded with four times Grammy nominated multi-instrumentalist solo artist Steven Wilson (also signed to Kscope). Steven played bass, acoustic and electric guitar, Moog, Mellotron and Prophet synths on the track. The Silence is Deafening was co-written with Catherine AD (aka The Anchoress). Her current album Confessions Of A Romance Novelist was co-produced and co-written by Paul.

                                  FORMAT INFORMATION

                                  Ltd 12" includes MP3 Download Code.

                                  Paul Draper

                                  Feeling My Heart Run Slow

                                    This two track vinyl, which includes a stunning collaboration with prog rock musician Steven Wilson, is released on Too Pure records to celebrate their 100th release and is limited to only 500 copies.

                                    Paul Draper

                                    Attack Of The Grey Lantern - Live At The Ritz

                                      This ‘Live at the Ritz’ album captures Draper’s energetic stage presence, his fantastic band and classic Mansun tracks such as “Wide Open Space”, “Taxloss” and “Disgusting”, performed to a rapturous crowd in Manchester. The reaction to Paul Draper’s latest output, plus consistent support from BBC 6 Music’s Steve Lamacq, reveals how relevant Mansun’s music is to a growing crowd of followers.

                                      FORMAT INFORMATION

                                      LP includes MP3 Download Code.

                                      Paul Draper

                                      Grey House

                                        As the frontman and songwriter of one of the most iconic bands of the late ‘90s, the creative force that brought the classic hit single “Wide Open Space” and the Number 1 album ‘Attack Of The Grey Lantern’ with Mansun, and now more recently as a solo artist with his top 20 charting album ‘Spooky Action’, Paul Draper’s talent precedes him. As well as showing that his songwriting prowess is as strong as ever, Draper’s solo album also proved that the legion of Mansun fans who started the annual Mansun Convention and an online petition for Paul to write a new album following the band’s split in 2003 are still just as engaged in 2017.

                                        This limited edition 7" features two of the fan favourites from ‘Spooky Action’ and is pressed on silver coloured vinyl.

                                        “A growling electro-rock odyssey built on a grand scale. This has an impressive heft” - 8/10 UNCUT

                                        Pajaro Dune

                                        Planet Nine EP

                                          Alpenglühen, the Madrid-based monthly nights, focused in Ambient techno, emerges in September,2014, inspired by the film "Dogville" and the optical phenomenon happening when the last ray of sunshine slowly disappears over the mountains,

                                          Now, with the moto "exploring the thin line between darkness and light", Alpenglühen, the label, is born, influenced by those sessions.

                                          The first installment is produced by the duo, Pajaro Dune. A young project formed by two well known talented producers from Valencia, who gives us a promising kick off release. 4 highly crafted tracks which are somewhere between techno (in its deepest and atmospheric stage), contemporary music and impressionistic electronics.

                                          Partially inspired on the research by Konstantin Batygin and Michael E. Brown on the evidence for a planet the size of Uranus between 200 and 1000 AU far away from the Sun. The titles of the tracks are all but one real objects of our Solar System whose movement is theoretically affected by the presence of a distant giant planet yet to be discovered.

                                          Originally released in 1986 under Luis Delgado’s cult imprint El Cometa de Madrid, produced by Luis Delgado (Finnis Africae, Mecánica Popular) and performed by Patricia Escudero, this beautiful record dives into Erik Satie’s compositional work thru an experimental optic.

                                          Entirely recorded on synthesizers, and making heavy use of FX and timbral manipulation, the record's serene and weightless nature are instantly observable from the start, whilst rich harmonic undertones & overtones reveal themselves with further exploration.

                                          Additional info:

                                          -This record was remastered and cut from the original tapes. However, those tapes were highly affected for what is known as the Sticky Shed Syndrome, and were very deteriorated.

                                          Even though that was professionally taken care of, it was a very long process to get a result that exceeded our standards to be pressed. That being said, there are very few parts were you might find an slight change on sound that was impossible to eliminate completely, due to the above mentioned issue.


                                          Paris Ford

                                          Don't Pass On Her / Suzie Suzy

                                          Paris ford is a well renowned bassist that has played with many of the greatest artists around all the way from the 70s until today. In 1976 his early years ford was one of the members of the soul/funk band tyrone thomas & the whole darn family (7 minutes of funk). In 1981 executive producer jacques fred petrus hired ford to participate on his new project, later known as the b. B. & q. Band. Ford experienced a highly successful period, perhaps his biggest, with the band including their smash hit "on the beat" that same year. Leaving for other engagements ford managed to release a solo single "be my girl" in 1982 reaching #69 on billboard's top 100 r&b/hiphop charts. 

                                          Originally from West Yorkshire, but now resident in Manchester, composer, bassist and producer Phil France is probably best known as a key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, where he co-wrote, arranged and produced on classic albums including Everyday, Man With The Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary. In 2013 France released his debut solo album, The Swimmer (GOND016), an emotive, epic record influenced by the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass

                                          Five years later, France presents the follow up, the enigmatically titled, Circle, which again represents a very personal journey for the artist. For France the album is an extension of work he began on The Swimmer. A process he has described as: " blocks of sound containing intricate minimal arpeggiated patterns and electronic textures that develop and shift in subtle, original and melodic ways. The trancelike quality, mood and electronic character of title track Circle led France to think of the circular patterns which eventually became a potent concept for the album. "Ideas and fashions repeat themselves in cycles. Events are said to travel 'full circle' and this is important to me because it represents my own recent personal and musical journey after 15 years touring as bassist and composer with The Cinematic Orchestra. I consider circles to be a strong symbol of unity, strength and inclusiveness and ultimately I've aspired to make something beautiful with those values at its heart".

                                          The album opens with the title track, Circle, built on a minimal looped pattern with melodic embellishment and shifting additional harmonic textures. Bells was developed from the arpeggiator and offers a nod to the melodicism and atmosphere of French electronic music. The Jackal features an idea originally developed for The Crimson Wing score but which finally bears fruit here. Cathedrals features an improvised intro, Philip Glass inspired organ and vocal textures inspired by the work of Colin Stetson. Finally, the album ends with a reprise of Circle this time featuring layered pianos. But it isn't the conclusion of the journey, for France: "The Circle is infinite - During the process of making this record, I have been constantly reminded that nothing ever stays the same and that all is in constant flux. The challenge for me is always to respond positively, be aware of and seize the opportunity for progression constant change provides" And it is that sense of movement and flow, but also calm and beauty that permeates Circle and make it such a worthy successor to The Swimmer.

                                          STAFF COMMENTS

                                          Barry says: Beautifully ethereal electronic pulses, rippling arpeggios and skittering machinated percussion are woven through organic drums and reverbed Balearic basslines. Stunningly emotive but with enough momentum to find a home in the front room or in the crepuscular haze on a sandy beach. Stunning.

                                          Phil France

                                          The Swimmer


                                          France of Cinematic Orchestra fame has just signed a three album deal with Gondwana and is currently working on new material for release in Autumn 2017, but first up is a worldwide re-release for his debut solo recording, The Swimmer, a beautiful beguiling "soundtrack" for a film that hasn't been made yet.
                                          Originally released in October 2013 it sounds even better now than it did then, deeply emotive and epic in scale it draws it influences from the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass. France's skill, in this album, as well as his work with The Cinematic Orchestra, is in soundtracking human emotion - The Swimmer is full of heartbreak and recovery, strength, honesty and frailty, it is meditative and hopeful and, in our opinion, you might not hear a better album this year.



                                          STAFF COMMENTS

                                          David says: Sounding even better now than it did when it was originally released in 2013, this is an unparalleled work of beauty that every home should own.

                                          Paul Frick

                                          Second Yard Botanicals

                                            Paul Frick is a Berlin-born music composer primarily known as one part of the group Brandt Brauer Frick. Stunningly despite a 20+ year history of making music 'Second Yard Botanicals' is his debut album. With BBF keeping Frick inspired and busy since 2009, other ideas had piled up until a temporary break allowed him to fully dive into them - "While it took so long until I made my first album, it took about two months once I started."

                                            Exploring a vast number of instruments, field recording and deconstructed breakbeats woven with undulating filters and gossamer melodies, the album sees Frick drawing on the world around him in a free associative style ; "A word I sometimes had in mind was „Alltagspoesie“, the poetry of everyday life," he explains. "The thought that however small and unimportant things and people are, they - or we - all hint towards each other, if not to say towards the whole. The fact that half of the pieces on the record are short miniatures has to do with that. Throwing something in and hearing what it tells.“

                                            'Second Yard Botanicals‘ at its core is based on sonic collage, from a genre point of view it's highly eclectic, remotely echoing Frick's classical composition background as well as his hip hop / trip hop past - "which is how I first learned using sequencers about twenty years ago".

                                            While Frick is coy about direct influences on his music, non musical inspiration played a key role - such as the novel 'Anniversaries‘ by Uwe Johnson, which is divided into the 365 days of a year and weaves a large nonlinear picture; „It’s among the things that showed me on how many levels a piece of fiction can be able to resonate without falling apart completely."

                                            Besides the actual recording of instruments like piano, guitar and percussion, Frick sampled heavily from his twenty year deep sonic archive of performances and field recordings. "Mostly they were from unused sessions, forgotten projects that I rediscovered or live recordings of my chamber music pieces, using them as samples to make something new," he explains. „Also chance recordings on the phone like the boomy snares in ‚Church 5 Loop 2‘ which Daniel (Brandt) played during soundcheck for a BBF gig in a huge church, or rain drops in the gutter of our studio backyard, and more things like that."

                                            Recorded in the band's shared studio space in Neukölln and mixed by bandmate Jan Brauer the whole project was kept in house. "We are surrounded by a bunch of other musicians and artists in the second backyard, who share their ideas, parts of their lives and often their equipment." These musicians and others feature heavily on the record, incorporating a laundry list of sumptuous sounds.


                                            Ooooh yeah, Lumberjacks Boogie is back! Marcel Vogel's synth funk offshoot plays host to the one and only Phil Gerus, a natural musical talent who oozes sound from every damn pore. Fusing together cassette pop, house, soul, r&b and funk, his tracks are effortless but hugely effective, doing serious damage for the likes of Futureboogie and To Rack & Ruin. We're in banging boogie territory straight from the get go here as the Moscow producer lets loose with the white noise snares, bubbling bass and dreamy vocals of "If Not, My Eyes Closed", a peaktime pounder perfect for deployment on any big system. Dropping the pace and dipping a toe in some warmer waters, "Why All The Questions" sees deep funk bass meet classic synth riffs and clicking, clacking percussion as a boogie unclassic gets royally dubbed to fuck. Flip the pancake and take a taste of the suger sweet street soul of "All Pleasures, All Pains", perfect fusion of the SAM sound palette and post Paisley synth bass - reach for the ceiling! After all that bass fuelled excitement, Gerus plays us out with a sweet bit of cosmic ambience via "Sangenjaya". All kosmische sequences and drifting synth washes, this space ship floats by like a subdued "Hoppipolla".

                                            STAFF COMMENTS

                                            Matt says: Moscow's Phil Gerus comes correct on this Amsterdam imprint with a trio of boogie bangers perfect for Manchester's Full Beam crew. Taste the bass and work those elbows.


                                            Phil Gerus is a natural musical talent who oozes sound from every pore. Fusing together cassette pop, disco, soul, r&b and funk, his sounds are effortless but hugely emotive and have come out on labels like Sonar Kolkektiv, ManMakeMusic (George Fitzgerald's label), Futureboogie and True Romance. Growing up in Moscow, Phil studied classical piano and was heavily influenced by his parents' music tastes, including jazz records of Oscar Peterson, Bill Evans, and Keith Jarrett, it is these classy vibes that permeate his own creations. Phil has played around the world at leading clubs like Japan's Dommune, Studio 80 (Amsterdam), Mojo Club (Hamburg) and various hotspots in Europe and Russia. Phil is also a regular guest on radio shows around the planet and is considered as an artist on the rise.

                                            Paul Gilroy / Stuart Baker

                                            90 Degrees Of Shade: Image And Identity In The West Indies - 100 Years Of Photography In The Caribbean

                                              Calypso, Voodoo, Sunshine, Communism, Reggae, Colonialism, The Slave Trade, Rum, Revolution, Industry and Tourism 100 years of the Caribbean image and identity is captured in this deluxe new hardback photography book. The image of the Caribbean is as much a creation of the outsider as it is the complex identity of its people a melting pot of races created out of the participants in the 400 year slave trade enforced Africans, indigenous Americans and their colonisers French, Spanish, German, Dutch, English. The identity of the Caribbean stands at this intersection of tourism, the detritus of the slave trade, colonialism and tropicality. The regions politics span a hot bed of ideas and radicalism from Castros Cuba, communist thorn in the side of North America, to the violent right-wing dictatorship of Haitis Papa Doc in the 1960s; from Manleys Jamaica in the 1970s to Eric Williams Trinidad in the 1960s. This book is a deluxe large format hardback book featuring 100s of fascinating and unique photographs that span one hundred years of Caribbean history, culture, industry and more as well as the subsequent diaspora of its people to America, England and elsewhere. The photographs show the many ways in which the region is portrayed from luscious and tropical backdrop of tourism and hedonism, to colonial outpost and revolutionary threat within North Americas own backyard.

                                              Philip Glass

                                              "Low" Symphony - 180g Vinyl Edition

                                              "Low" Symphony, composed by Philip Glass in the spring of 1992, is based on the record Low by David Bowie and Brian Eno, first released in 1977. Glass took themes from three of the instrumentals on the original and, combining them with his own material, used them as the basis of three movements of the "Low" Symphony. Movement One comes from "Subterraneans," Movement Two from "Some Are", which was not featured on Bowie's original recording, and Movement Three from "Warszawa".

                                              The "Low" Symphony was performed by the Brooklyn Philharmonic orchestra under the batons of Dennis Russell Davies, principal conductor, and Karen Kamensek, assistant conductor. Philip Glass allowed ideas of Bowie and Brian Eno, who worked together on Low, to influence how he worked on the music, leading to surprising musical conclusions and becoming a real collaboration between the music of all three maestros.

                                              This is the first ever vinyl issue of "Low" Symphony!

                                              Philip Glass

                                              Glassworks - 180g Vinyl Edition

                                              With 1981 release 'Glassworks', Philip Glass took minimalism and modern classical music to the mainstream. The sx warm pieces are a succesful attempt from the composer to create a more pop-oriented work. The Philip Glass ensemble performs with an amiably soft-edged minimalist sound, in an almost new-agey vein, with layers of circular synth arpegios and spiralling woodwind evolving and morphing over the course of each piece. Glass anticipated resistance toward the funding of his more expensive projects, so with 'Glassworks' he created a more accessible, and marketable recording. And with success. More then 200K albums were sold in five years, with tracks like 'Opening' and 'Floe' still favourites for adverts or film and TV incidental music.


                                              The Illusionist is an American romantic mystery film written and directed by Neil Burger and starring Edward Norton, Paul Giamatti, and Jessica Biel. It is based loosely on Steven Millhauser’s short story, “Eisenheim the Illusionist”. The film tells the story of Eisenheim, a magician in fin de siècle Vienna, who reunites with his childhood love, a woman far above his social standing. The film also depicts a fictionalized version of the Mayerling Incident. The film was a commercial and critical success.

                                              The Illusionist features an original score by acclaimed modern minimalist composer Philip Glass. Glass’ renowned restrained, yet elegant style has captivated audiences around the world for years. “The soundtrack to The Illusionist is a driving force to the movie,” comments director Neil Burger.

                                              Philip Glass, who recently celebrated his 80th birthday, chooses a sweeping simplicity and proves the age-old statement that less is more. His score for the film The Illusionist was widely acclaimed upon its release in 2006. The music for the film evokes the feeling of mystery and wonder that surrounds the famous magician Eisenheim and it is performed brilliantly by the Czech Film Orchestra under the baton of Michael Riesman.

                                              FORMAT INFORMATION

                                              LP Info: 180 GRAM AUDIOPHILE VINYL
                                              PVC PROTECTIVE SLEEVE
                                              INCLUDES INSERT
                                              FIRST TIME ON VINYL!

                                              Philip Glass

                                              Einstein On The Beach

                                              The impact that the Philip Glass opera, "Einstein On The Beach" had on its 1976 premier galvanised contemporary classical music and raised public awareness of minimalist music. Scored for electric organs, singers who performed as dancers, soloists who spoke as well as sang, solo violin and chorus and string and woodwind ensembles it was a very ambitious work. Full of poetic metaphors and narrative devices to illustrate the trials and obstacles Albert Einstein overcame to illustrate his theory of relativity, this is one of the most important works of the 20th Century. Now reissued as part of Sony Classical new 'Glass' edition.

                                              Philip Glass

                                              Glassworks

                                                Philip Glass is one of the founding fathers of minimalism and "Glassworks" is one of his best and most accessible single disc releases. His fusion of Western musical idioms with ethnic scales and world music rhythms were among the earliest and most successful of their kind. This new 'Glass' edition from Sony Classical of "Glassworks" highlights the quality of work on display here. The six compositions are amongst the most lyrical and tuneful of his career, full of memorable melodies, shorter passages of bobbing, excited rhythms and serene elegiac orchestrations such as the brilliant "Islands" and the final piece "Closing".

                                                Philip Glass

                                                Naqoyqatsi

                                                American Philip Glass composes highly accessible melodic orchestral pieces, chamber works, operas or (as is the case here) film scores. In his twenties he studied with some of the great contemporary composers of the day including Darius Milhaud but he preferred more radical composers such as Harry Partch, Moondog, Henry Cowell and Virgil Thomson. He was still searching for his own style when, during his studies in Paris, (under Nadia Boulanger) he was hired by a film-maker to transcribe the Indian music of Ravi Shankar into notation readable to French musicians. In the process he discovered the techniques of Indian music. After researching music in North Africa, India and the Himalayas, he returned to New York and began to apply Eastern techniques to his own work and this element suffuses his compositions to this day, written in the style now known as minimalism. He has been closely associated with the trilogy of films illustrating the human condition "Koyaanisqatsi", "Powaqqatsi" and now finally "Naqoyqatsi". The music in each is linked thematically and is as important as the visual aspects of the films. "Naqoyqatsi" is subtitled "Life As War" and there are bleak cello solos from Yo-Yo Ma that add an even more profound element to this work which completes some of the most satisying music in the Glass canon.

                                                Penny Goodwin's album is hard to find, so hard to find, in fact that you'll need about £300 of your hard earned pounds for an original on vinyl. Even the solitary seven inch that came out in 1974 would set you back £250 and that friends, could but you a LOT of seven inch singles.

                                                But, fear not, thanks to the good folks at Athens Of The North here's the very reasonably priced, official cd release.

                                                Usually I find that 'long lost' albums have been lost for a reason but 'Portrait Of A Gemini' is jaw dropping brilliant. Not unlike Marlena Shaw's stuff from around the same time, it features  brilliant covers of Gil Scott Heron's 'Lady Day And John Coltrane' and Marvin's 'What's Goin On'.

                                                Now, where's the vinyl reissue?




                                                Peter Gordon performed his first symphony, ‘Symphony in Four Movements’, at New York’s new-music centre, The Kitchen in February 1976, with a band that included Philip Glass, Laurie Anderson, Arthur Russell and Rhys Chatham. Combining disco, electronic, pop and jazz elements with experimental music since the early 1970’s, he formalized his ensemble as Love Of Life Orchestra in April 1977, initially with 12 musicians, and then performing at clubs and lofts as a rock-combo during the height of New York’s downtown experimental rock scene.

                                                LOLO has always shifted in size and instrumentation, ranging from a duo to a dozen or more, but the core of its personnel has remained notably stable, with several musicians on ‘Symphony 5’ having played with Gordon for over thirty years: trombonist Peter Zummo, guitarist Randy Gun, guitarist Ned Sublette and mallet percussionist Bill Ruyle have all worked with Gordon since the 1970’s. With a stellar cast including Cuban jazz luminaries pianist Elio Villafranca and bassist Yunior Terry, the renowned Latin-jazz drummer Robby Ameen, New York veteran Paul Shapiro on saxes, Katie Porter on clarinet, and second-generation LOLO member Max Gordon on trumpet. Peter Gordon conducted the performance while playing combo organ and synth.

                                                Recorded in front of a live audience by Grammy-winning producer Jeff Jones “The Jedi Master” on June 5, 2013, in the acoustically marvellous hall at Roulette in Brooklyn, SYMPHONY 5 captures the best of both worlds: the communication and energy of an ensemble performance, and the punch and careful attention to detail of a studio recording. The performance is tight, but loose: there’s plenty of room for the unexpected as Gordon the composer allows Gordon the conductor to make decisions on the fly. Throughout the work’s five movements (one of which, "Juvenalia" is a homage to "Project Chick" by Li'l Wayne & Mannie Fresh's hip-hop supergroup, Cash Money Millionaires), Gordon’s instrumental writing keeps moving, leading the listener through careening textures of counterpoint and groove, to say nothing of pleasure and pain; beneath all its exuberance and dry humour, flows a dark undercurrent.

                                                ‘Symphony 5 is the first release in an extensive series devoted to Peter Gordon, on independent London label, FOOM. The series will concentrate on new recordings, unearthed material from his personal archive, as well as a few select reissues from his discography.


                                                Peter Gordon & Love Of Life Orchestra

                                                Condo

                                                  Foom drop some a-grade downtown NYC shizzle on our asses here, sit back and take notice. "Condo" (the title song) is a little-known gem from Peter Gordon's catalog, pairing David Van Tieghem's motorik drum programming and found percussion with the transparent and vibrato-free vocals of Rebecca Armstrong (Armstrong was also a member of Steve Reich's ensemble, and contributed vocals to the definitive ECM recordings of Steve Reich's Music For 18 Musicians, and Tehillim). Prior to them working together, Nik Colk Void (of Factory Floor) wrote to Gordon that: "(Condo) completely catches my personality and when I feel disillusioned or need comfort, I always put it on, and it makes me feel good and strong." Their correspondence culminated in the Peter Gordon & Factory Floor collaboration, Beachcombing.
                                                  The EP is comprised of a remastered version of the title track, "Condo" (which originally appeared on 1981's Casino EP), along with 3 previously unreleased tracks from the same 1981 sessions. "Neighbors" uses “Condo” as its foundation, with Peter Gordon's solo on top; “Candy Store” sees the full band iteration of the Love of Life Of Orchestra, including Rebecca Armstrong on vocals, Fred Maher on guitar and Bill Laswell on bass; "East Village" relies only on synthesizers and electronic percussion, with a chorale layered upon a deep groove. The EP closer, "Condominium," is a nod to those DJs who would play the title track at a slower tempo. The EP’s titles are a comment on the gentrification of NYC’s East Village, which began in the early 1980’s and continues to this day, driving out low-income residents, including artists, writers and musicians, such as Gordon, Van Tieghem and Armstrong.


                                                  The New York Downtown Producer/Composer Returns With His First New Album In 3 Years

                                                  EIGHTEEN: the year of release, 2018. EIGHTEEN: the age at which I first used a synthesizer.

                                                  In creating EIGHTEEN I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.

                                                  The musicians are: Gabe Gurnsey (drums) of Factory Floor, with whom I collaborated on the Beachcombing EP and performed live at London’s ICA. I appear on Gabe’s newly released album Physical;

                                                  Larry Saltzman (guitar) has played in my Love Of Life Orchestra since the 1970’s. Well-known for his work with Arthur Russell (“Kiss Me Again”, Flying Hearts), he is in high demand in NYC by acts such as Simon and Garfunkel;

                                                  Paul Nowinski, (bass) has played with LOLO since the 1980’s. Paul has an impressive list of credits, including Les Paul, Keith Richards, Bernard Purdie and the Boston Pops; Matt Mottel, (electric piano), is the newest addition to the Love Of Life Orchestra. He is half the duo Talibam!, a leading act in the noise jazz scene; Lewin Barringer, (guitar), is a talented guitarist and producer in Philadelphia.

                                                  After mixing the final tracks, I brought the mixes to Berlin. There I worked with the brilliant mastering engineer Mike Grinser who helped to give the album a unified sound.

                                                  I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.

                                                  This album is atypical for me as I am not playing saxophone. (I do play one reed instrument – a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age,

                                                  I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage’s “Silence.” Electronic music was on my radar.

                                                  My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California – San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70’s and early 80’s. In the same way, recording studio technology became accessible in the 90’s. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.

                                                  Handmade music by way of digital technology: this is the music of EIGHTEEN

                                                  Peggy Gou

                                                  Once

                                                    Currently the most glittering starchild in the house cosmos, Peggy Gou has enjoyed a meteoric rise in recent months, probably due to the fact she's fucking brilliant. Previous outings on Rekids, Phonica White and Technicolour have had us giddy with adoration and this latest EP on Ninja Tune keeps the times good and our cerebellum shuddering. The 12" opens with the magnificent "It makes You Forget (Itgehane)", an acid tinged taste of mechanical soul that's incidentally the biggest house heater of the year so far. Peggy's warm vocals (appearing for the first time, and in her native Korean no less), ride a wriggling acid B-line and rolling drum pattern, intersecting perfectly with the smooth vamps and crystalline chimes which lend the track the kind of naive and optimistic charm you may remember from early Prescription records, Dream2Science and your first pill. Switching over to the B-side you'll find the sci-fi synthery, propulsive groove and medicated charms of "Hundres Times" and lastly the spectral electro of "Han Jan". Immaculately turned out in Jee-ook Choi's spacey sleeve art - this is a must have!

                                                    Raised in Leeds, Greenwood, 27, had relocated to London in 2002 with his then-band. When the band floundered, he enrolled upon a music degree at Goldsmith's, where he signed up for a songwriting class. Greenwood sat at home with a pad of paper and a guitar and worried. He listened to "Blood On The Tracks" 'a few hundred times' and he worried some more. And then he set to writing. The result was "Any Given Day", one of "Sirens'" most intoxicating tracks, a tale of a poor boy and a stranger and a crush. In truth Greenwood's musical education began long before university. As a child he would sit at his father's feet and watch him detune his guitar, he learned piano, and grew up steeped in folk music. There have been other inspirations since then — a brief jazznut period in 2002, for example, when he was supposed to be playing in 'an angular punk pop band' but instead bought a double bass, started using liquorice rolling papers and professed a desire to play like Charlie Mingus. Although he also plays with The Loose Salute and The See See, Greenwood's heart lies in writing his own material, and for the past two years he has been enjoying exploring the strange new world of songwriting. The result is less of an album and more of a sort of musical trellis; twelve songs of structure and rigidity and lush lyrical sprawl, including Greenwood's attempts at writing 'a really really crappy ITV drama', tales about taxi drivers on the Westway, Victorian gin, Charles Manson and the search for a pair of decent shoes, all told in his soft, earthy tones. It is a collection of songs that he hopes tethers him to a narrative songwriting tradition.

                                                    FORMAT INFORMATION

                                                    LP Info: The vinyl now won't be released.

                                                    Paul Haig

                                                    At Twilight

                                                      At Twilight is a compilation of picked tracks recorded for Crepuscule by iconic Scottish singer-songwriter Paul Haig, who first made his name as the frontman of legendary Postcard Records guitar slingers Josef K.

                                                      Between 1982 and 1991 Paul Haig recorded a string of polished dance-pop singles for the label, including singles Justice, Heaven Sent, Big Blue World and Love Eternal, along with parent albums Rhythm of Life, Warp of Pure Fun and Coincidence Vs Fate. The various producers and collaborators featured on this ‘best of’ selection include Alan Rankine, Cabaret Voltaire, Bernard Sumner, Mantronik, Lil Louis, Alex Sadkin and Man Parrish.

                                                      Disc 1 collects together stand-out singles and album tracks from Paul’s decade at Twilight. Disc 2 includes all nine tracks from his lost second studio album from 1984, recorded with Alan Rankine of The Associates, but never before released in complete form. “It was meant to be more eclectic than the first,” explains Paul today, “although it didn’t necessarily turn out that way. Still, I never consciously tried to write hit records. I think you’d lose all credibility if you thought that way.”

                                                      Cover portrait by Charles Van Hoorick. Booklet includes archive images and track by track commentary by Paul Haig.

                                                      Metamorphosis is a comprehensive compilation of singles, sessions and embryonic experiments recorded by Paul Haig between 1981 and 1982, spanning the end of cult band Josef K and the beginning of his polished pop solo career.

                                                      Disc 1 gathers together various singles recorded for Crepuscule in 1982, including Running Away, Justice, Blue For You and the EP Swing In 82, the latter a bold foray into Sinatra territory. The extended 12” versions of Running Away and Justice appear here on CD for the first time, along with compilation tracks such as Mad Horses and Christiania, and rare demo versions of Luck and On This Night of Decision.

                                                      Disc 2 features several projects recorded as Rhythm of Life, including four tracks recorded live on a Crepuscule package tour in February 1982, and two rare RoL singles on which Paul collaborated with infamous artist Sebastian Horsley, and fellow Edinburgh musician Stephen Harrison. Also included are all eight tracks from Drama, a DIY cassette of experimental electronica issued by Paul in 1981.

                                                      Cover art by Benoit Hennebert. Booklet includes archive images and track by track commentary by Paul Haig.

                                                      Lemon Jelly's Fred Deakin gets messy with the lead track from post-punk legend Paul Haig's most recent album, turning it into a relentless indie dancefloor monster. Plus we also get an unreleased B-side on a more laidback electronic tip verging on the Balearic. This is the first in a series of six seven inches.

                                                      FORMAT INFORMATION

                                                      Ltd 7" Info: Limited 7" packaged in a ridiculously lavish hand screenprinted, foil embossed die-cut sleeve. 500 copies only.

                                                      Paul Haig

                                                      The Wood

                                                        Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

                                                        Paul’s fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

                                                        ‘We can think of the wood or forest as a metaphor for the mystery of the human psyche,’ says Paul. ‘Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.’

                                                        Philippe Hallais returns to Modern Love with a new album, the first under his own name following his label debut as Low Jack with Lighthouse Stories in early 2016. It’s by some distance his most important work to date, setting aside the squashed dancefloor productions of his Low Jack Alias for an album of emotive, indefinable ambient pieces.

                                                        After working through different subcultural musical languages as Low Jack, this time Philippe takes inspiration from the TV biopics of high-performance athletes for an album of exceptional emotive impact; somewhere between pastiche, tragedy and electronic futurism.

                                                        Fascinated by the sports documentaries mass-produced by the US TV channel ESPN, Hallais transcribed and amplified its dramatic recipes. These form the material of tearful soap operas which develop the same narrative ad nauseam; the rise to the top, the betrayal, decline, salvation, comeback and, ultimately, nostalgia and regret. The TV formatting reduces the life of these high level athletes to a generic tale, transforming them into impersonators of their own lives through extreme use of editing, slow motion and musical themes.

                                                        Divided into four sides (and eleven tracks) acting as parts in a greek tragedy, the album delves into the dislocations of the mythology of sports and its achievement in mass entertainment; whereby the hero becomes a dispensable and mimetic body. Hallais delves into this unusual portrayal of triviality and disaster, naivety and cynicism that make the real life and ordeals of the hero indistinguishable from their scripted form on TV.

                                                        This obsession with storytelling and the creation of bigger than life characters forms the narrative of “An American Hero”, a parable for our times.


                                                        This album follows Polly Harvey's 2007 release "White Chalk" and is Harvey and Parrish's second collaboration after 1996's "Dance Hall At Louse Point", an avant-garde collection which never enjoyed the success of her solo albums. This album's synthesis of folk, blues and experimental rock has been hailed as bold, challenging and inventive, yet with a more accessible sound than before. Co-produced by Flood, it includes the single "Black Hearted Love". The album has been described by journalist, John Harris, as '…mischievous, deadly serious, elegant and poetic, and possessed of a brutal power – it is doubtful that you will hear a record as brimming with creative brio and musical invention this year…'


                                                        The awesome 1992 debut album from one of the most unique and compelling female artists of the past 20 years. A powerful, groundbreaking set, "Dry" serves as an introduction to Harvey's fierce, blues-tinged guitar and highly visual lyrical angle that picks at the scabs of female iconography. On these raw, angry songs she's joined by musicians Stephen Vaughan (bass) and Robert Ellis (drums, vocals, harmonium). Includes classic songs "Sheela-Na-Gig", "Dress" and "Oh My Lover". Essential.

                                                        After the multi-layered sound of "To Bring You My Love", PJ Harvey came back in 1998 with "Is This Desire?", a much more intimate album. That's not to say that the tracks here aren't any less expansive, just slightly more paired down. As with previous PJH outings, "Is This Desire?" moves between quite angst and ferocious anger, with musicians Eric Drew Feldman (Captain Beefheart, The Residents, Pere Ubu etc), John Parish, Joe Gore, Jeremy Hogg, Richard Hunt, Terry Edwards, Mick Harvey and Rob Ellis along for the ride.

                                                        PJ Harvey’s new album was recorded in a 19th Century church in, Dorset, on a clifftop overlooking the sea. It was created with a cast of musicians including such long-standing allies as Flood, John Parish, and Mick Harvey. It is the eighth PJ Harvey album, following 2007’s acclaimed "White Chalk", and the Harvey/Parish collaboration "A Woman A Man Walked By".

                                                        "Let England Shake" evokes the troubled spirit of 2010, but it also casts its mind back to times and places from our long collective memory. In keeping with such imaginative intentions, its music has a rare breadth and emotional power. Nearly two decades after she made her first records, it proves that not just that its author refuses to stand still, but that her creative confidence may well be at an all-time high. It is safe to say that you will not have heard anything like it before.

                                                        STAFF COMMENTS

                                                        Martin says: PJ Harvey used to send Captain Beefheart each one of her new albums for his appreciation. This was his favourite; which is quite an endorsement. It is hard to evoke, with any conviction, and without resorting to cliché, the already well documented and tragic events of 100 years ago, but this bitter and brilliant WWI themed LP manages just that. With it's variety of styles but unity of spirit it does appear to owe just a little to 'London Calling', but I would like to think Polly Harvey, or any of her fellow travelers on the LP, would not be at all offended by the comparison. Or, for that matter, flattered by it.

                                                        "Rid Of Me" was PJ Harvey's second album, circa 1993, but her first for major label Island. The set features the same line-up as the "Dry" sessions (Polly doing vocals, guitar, violin, cello and organ, Stephen Vaughan on bass and Robert Ellis on drums, vocals and harmonium), but the extra money shows in the much slicker production to the album's predecessor. Recorded by Steve Albini, this forceful sophomore effort veers from hoarsely quiet to ferociously looming in one beat.

                                                        PJ Harvey

                                                        Stories From The City, Stories From The Sea

                                                          She may not break new ground with Stories from the City, Stories from the Sea, but Polly Jean Harvey proves one thing: she sure knows how to tend to her plot. Hard-rocking, guitar-driven numbers, mesmerizing vocal wordplay, and plenty of noisy atmospherics prove that Harvey is still the queen of rock-noir. Includes "Good Fortune".

                                                          PJ Harvey

                                                          The Peel Sessions 1991-2004

                                                          The twelve tracks featured here were chosen by Polly herself, and span her career from early versions of songs from "Dry" to songs from her seventh album "Uh Uh Her" which was released in 2004.

                                                          If "Dry" was raw and "Rid Of Me" tight and slick, then 1995's "To Bring You My Love" moves further away from PJ Harvey's debut album, offering a fuller electro-acoustic sound from her expanded nine-piece band (more if you count all the instruments Harvey plays herself). The outfit shift effortlessly between solo voice and guitar to a full on collage of sound that rips right through you. Includes the brilliant "Down By The Water".

                                                          PJ Harvey's seventh album "Uh Huh Her" and the follow up to 2001's Mercury Prize-winning "Stories From The City, Stories From The Sea", is a record you can't help but admire. Having been an obvious influence on The Kills and Yeah Yeah Yeahs, and having seen The White Stripes go super-nova, one may have expected a more mainsteam sounding record, or at least a bit poppier or brighter. Instead she's stripped things right back, as far as they'll go and made a really minimal sounding record. The old shouty PJ is still here on a couple of tracks, but it's this quiet, considered intensity that now enthralls. It's another enigmatic twist and if you're a fan you'll love it.

                                                          "White Chalk" is PJ Harvey's eighth album. The eleven songs were recorded in West London and co-produced by Harvey, Flood and John Parish. The album features performances from Eric Drew Feldman and Jim White of the Dirty Three. Recording followed the 2006 release of "PJ Harvey: The Peel Sessions", a collection of Harvey's recordings for the veteran broadcaster spanning her whole career.

                                                          PJ Harvey

                                                          Let England Shake - 12 Short Films

                                                            Let England Shake: 12 Short Fims By Seamus Murphy is the visual accompaniment to 'Let England Shake', featuring all 12 tracks from the album, each with its own short film shot by award winning photographer and film-maker Seamus Murphy. The DVD also features a bonus video, a solo live version of the track "England". Available on a limited edition hardback book DVD format.

                                                            PJ Harvey

                                                            The Hope Six Demolition Project

                                                            This spring sees the release of PJ Harvey’s ninth studio album, The Hope Six Demolition Project.

                                                            The Hope Six Demolition Project draws from several journeys undertaken by Harvey, who spent time in Kosovo, Afghanistan and Washington, D.C. over a four-year period. “When I’m writing a song I visualise the entire scene. I can see the colours, I can tell the time of day, I can sense the mood, I can see the light changing, the shadows moving, everything in that picture. Gathering information from secondary sources felt too far removed for what I was trying to write about. I wanted to smell the air, feel the soil and meet the people of the countries I was fascinated with”, says Harvey.

                                                            The album was recorded last year in residency at London’s Somerset House. The exhibition, entitled ‘Recording in Progress’ saw Harvey, her band, producers Flood and John Parish, and engineers working within a purpose-built recording studio behind one-way glass, observed throughout by public audiences.


                                                            STAFF COMMENTS

                                                            Laura says: Documenting trips to Kosovo, Afghanistan and Washington DC with photographer Seamus Murphy, this album is a protest album of sorts. A natural progression from 'Let England Shake', it looks at the aftermath of American political decisions, acts in the name of progress, both home and abroad and the often negative consequences. Dealing with war, death, displacement and poverty amongst other things, you know it's never going to be easy listening. The songs are at times bleak but there's empathy, defiance and conviction in Polly's delivery that married to a swamp-blues soundtrack embellished with funereal keyboards, wailing sax and field recordings, makes for a powerful, intoxicating album. Having seen her perform live in the Summer completely sealed the deal for me. Her performance was completely captivating and emphasised the power of the album and also what an exceptional musical force Polly Harvey is.

                                                            Barry says: What better positive rock icon could there be than PJ Harvey? Her meaningful and often hard-hitting lyrical themes serve as a powerful back-up to her latent politicism. The trademark outpourings are as much on show here as they ever were, but through the variety of influences absorbed for this undertaking, there is a diversity both thematic and aural. Rock hooks above barely-there guitar solos and brass stabs. Clanging guitars and fist-pumping choruses meet meandering noodles, underpinned by sonic sweeps and a rawkus, but often smooth vocal delivery. Rousing and anthemic, everything you'd expect from Harvey, and everything you could ever want.

                                                            Sil says: PJ Harvey takes the role of musical war correspondent critiquing the injustices and political abuse that the powerless suffer upon. This album is a poignant reminder of the state of the world. The melodies are poppy and catchy but the lyrics are like a mirror reflecting back at us which makes us question our role in it all.
                                                            A Line in the Sand is my favourite track here. Infused with evocative melodies and the overpowering PJ Harvey's falsetto.

                                                            AMC’s hit series ‘Halt And Catch Fire’ captures the rise of the PC-era during the early 80s and the technology revolution. Nominated by Vox as the best show in 2016, it’s “a potent look back at the earliest days of the internet that also glimpsed, through some hazy curtain, the world we live in right now.” Acclaimed for its exceptional soundtrack by former Tangerine Dream musician and award winning composer, Paul Haslinger has created a period-appropriate synth score that admirably sets the mood and tone of the bygone era.

                                                            Revisiting his time in the pioneering electronic band during the mid-80s, the Austrian composer writes with a uniquely knowledgeable yet less overtly nostalgic ear that keeps the show’s current audience in mind. Acknowledging the time in which the series itself has been created alongside when the show is set, Haslinger’s bold and innovative scores have seen his Hollywood career escalate over the last two decades. The man behind the music for Blow, Resident Evil and Death Race has become one of the industry’s most sought after composers. 

                                                            PE Hewitt Jazz Ensemble

                                                            Winter Winds - The Complete Works 1968-70

                                                            PE Hewitt was just 16 years old when he recorded and released his debut album "Jawbones", in a run of just 50 copies. By the time he sold out of the 100 press of his third album, "Winter Winds", he was approaching the ripe-old age of 20. The three albums he and his group of young compatriots wrote, recorded, pressed and - in a sense - distributed are some of the very best late 60s / early 70s jazz records you could hope to hear. That’s why, despite a 40 year gap and the tiniest of private presses couldn’t suppress their re-emergence. Rather than offer us just an anthology Now-Again decided to give us all three albums as they were made, out of respect for Hewitt’s monstrous achievements. The label have recreated the albums as they were released, down to the hand-painted covers. Also included is a 44-page booklet which includes the original liner notes, an essay on Hewitt and his career, an interview with him and never-seen-before photos.

                                                            FORMAT INFORMATION

                                                            3xCD Info: Packaged in a hard-back box that includes exact reproductions of the three original albums and a 44-page booklet with extensive liner notes, photos, interview and annotation

                                                            Paul St Hilaire, aka Tikiman, returns with three cuts of seriously good roots on the False Tuned label out of Germany. Very much in the same vein as his Burial Mix and Rhythm & Sound work, "Peculiar" is a heavy-lidded, hypnotic slo-mo cut, while "Office" has his toasted vocals wrapped in layers of dubwise sounds. Over on the flip is the extended track "Jah Love", which sees Hilaire back to his usual sweet soulful vocal style.

                                                            With a voice that's sultry, wine dark intoxication in itself, her deceptively simple, country-tinged acoustic vignettes are marked by a deeply etched lyrical realism that's as likely to dwell on the shards of heartbreak as a wistful sunset. Imagine Cat Power's Chan Marshall singing Loretta Lynn and you begin to get the picture. "Faint Humms" is the Philadelphia-born, San Francisco-resident Honeywell's second full album, and one that looks set to build on the acclaim afforded her 2003 Agenda debut, "Honey For Dinner". "Faint Humms" is just Peggy's vocals, guitar, banjo and occasional tambourine – but for all its frugal instrumentation the new album is dextrously executed and dripping with phantom echoes of folk and country's soulful yesteryear. Joanna Newsom fans will rejoice at its thorny sophistication and intuitive feminine allure.

                                                            Peter Hook & The Light

                                                            Movement - Live In Dublin Vol. 1

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

                                                              Previously Unreleased live recordings from Peter Hook & The Light!

                                                              Joy Division and New Order legendary bass player Peter Hook and his band “Peter Hook And The Light” perform the New Order classic album “Movement”.

                                                              This excellent recording from Dublin in 2013 comprises the “Movement” album in its entirety plus selected tracks including such favourites “Ceremony" and She’s "Lost Control”.

                                                              FANTASTIC 140 GRAM BLUE VINYL

                                                              LIMITED EDITION – 2000 copies

                                                              Peter Hook & The Light

                                                              Movement - Live In Dublin Vol. 2

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

                                                                Previously Unreleased live recordings from Peter Hook & The Light!

                                                                Joy Division and New Order legendary bass player Peter Hook and his band “Peter Hook And The Light” perform the New Order classic album “Movement”.

                                                                This excellent recording from Dublin in 2013 comprises the “Movement” album in its entirety plus selected tracks including such favourites “Ceremony" and She’s "Lost Control” FANTASTIC 140 GRAM WHITE VINYL

                                                                LIMITED EDITION – 2000 copies

                                                                Peter Hook & The Light

                                                                Power Corruption And Lies - Live In Dublin Vol. 2

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

                                                                  Previously Unreleased live recordings from Peter Hook & The Light!

                                                                  Joy Division and New Order legendary bass player Peter Hook and his band “Peter Hook And The Light” perform the New Order classic album “Movement”.

                                                                  This excellent recording from Dublin in 2013 comprises the “Movement” album in its entirety plus selected tracks including such favourites “Ceremony" and She’s "Lost Control”.

                                                                  FANTASTIC 140 GRAM BLUE VINYL

                                                                  LIMITED EDITION – 2000 copies

                                                                  Peter Hook & The Light

                                                                  Unknown Pleasures - Live In Leeds Vol. 1

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

                                                                    Previously Unreleased live recordings from Peter Hook & The Light!

                                                                    Joy Division and New Order legendary bass player Peter Hook and his band “Peter Hook And The Light” perform the Joy Division classic and seminal album “Unknown Pleasures”.

                                                                    This excellent recording from Leeds Cockpit in 2012 comprises “Unknown Pleasures” in its entirety plus selected tracks including such favorites as “Transmission, Love Will Tear Us Apart and Ceremony”.

                                                                    If, like many of todays Joy Division fans, you were too young to have ever seen them live, Peter Hook and The Light is as close to the real thing as you will ever get.

                                                                    FANTASTIC 140 GRAM GREY VINYL

                                                                    LIMITED EDITION – 2000 copies

                                                                    Peter Hook & The Light

                                                                    Unknown Pleasures - Live In Leeds Vol. 2

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

                                                                      Previously Unreleased live recordings from Peter Hook & The Light!

                                                                      Joy Division and New Order legendary bass player Peter Hook and his band “Peter Hook And The Light” perform the Joy Division classic and seminal album “Unknown Pleasures”.

                                                                      This excellent recording from Leeds Cockpit in 2012 comprises “Unknown Pleasures” in its entirety plus selected tracks including such favorites as “Transmission, Love Will Tear Us Apart and Ceremony”.

                                                                      If, like many of todays Joy Division fans, you were too young to have ever seen them live, Peter Hook and The Light is as close to the real thing as you will ever get. FANTASTIC 140 GRAM WHITE VINYL

                                                                      LIMITED EDITION – 2000 copies

                                                                      Peter Hook & The Light

                                                                      Unknown Pleasures - Live In Leeds Vol. 3

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

                                                                        Previously Unreleased live recordings from Peter Hook & The Light!

                                                                        Joy Division and New Order legendary bass player Peter Hook and his band “Peter Hook And The Light” perform the Joy Division classic and seminal album “Unknown Pleasures”.

                                                                        This excellent recording from Leeds Cockpit in 2012 comprises “Unknown Pleasures” in its entirety plus selected tracks including such favorites as “Transmission, Love Will Tear Us Apart and Ceremony”.

                                                                        If, like many of todays Joy Division fans, you were too young to have ever seen them live, Peter Hook and The Light is as close to the real thing as you will ever get. FANTASTIC 140 GRAM GREY VINYL

                                                                        LIMITED EDITION – 2000 copies

                                                                        Penelope Houston

                                                                        Loners, Stoners And Prison Brides

                                                                        Recorded live at various venues and radio sessions between '98 - 2000. Ex lead singer with the San Francisco band The Avengers, Penelope Houston has long since left those punk rock days behind her. She worked with Howard Devoto in the late 1970s and released her first solo album in 1988 and her new album inhabits acoustic folk-rock-singer / songwriter territory. She is a melodious gentle soprano and these are haunting and atmospheric songs.

                                                                        Percy Howard

                                                                        Incidental Seductions

                                                                        An album from vocalist Howard who has recruited Bill Laswell, Trey Gunn, Charles Hayward and Vernon reid to be in his band. It's atmospheric and well crafted music for long winter evenings.

                                                                        Phyllis Hyman / Keni Burke

                                                                        You Know How To Love Me / Let Someone Love You - Dimitri From Paris Super Disco Blend

                                                                        Following on from the runaway success of Le-Edits number 1, Dimitri eases us into 2018 with style and grace by presenting us with another fine set of reworkings from deep within the vaults. In this era of cheap and nasty bootlegs, badly looped breakdowns and bedroom producers butchering the classics with no soul or quality control it was time for a change, an antidote. Le-Edits is exactly that, a platform for Dimitri to express his appreciation of this most influential musical artform in the best way possible - utilising the master tapes, pressing onto virgin vinyl, taking extra care with the label aesthetics and everything else in-between. What you hold in your hands is a labour of love, a journey! Once the needle hits the groove and you're immersed in the music it will all make sense, you will feel the force of the 'chic in the music'!

                                                                        Firstly we find ourselves in the company of the legendary Phyllis Hyman, an artist whose stellar career saw her perform with artists like Norman Connors, Jon Lucien, Pharoah Sanders and the fatback Band among others. 'You know how to love me' is perhaps one of Hyman's best known tracks and is taken from her successful 1979 debut LP of the same title. A swirling, floating groove produced by the criminally underrated powerhouse production duo of James Mtume and Reggie Lucas 'You know...' is a wondrous slice of Disco-Soul, mellow in some respects but in the right hands also a dance-floor roof raiser. Dim's 'Super Disco Blend' version of this classy and elegant cut respectfully touches the arrangement up in all the right places, teasing us into the groove with a wonderfully percussive and vocal led intro before giving us the full funk of the strings, the rhythm section and the simply flawless arrangements and production. This is pure soulful bliss and brings new life and dynamism to an already classic record. This is how it should be done!

                                                                        On the flip side of this beautifully presented piece of wax is another underground aficionado's choice, the slick 1981 sounds of the incomparable Keni Burke's 'Let Someone Love You'. Again, working from the RCA original master tapes and studying Philly legend Joe Tarsia and NYC master mixer David Todd's studio session Dimitri has blessed us with a brand new version of this popular jam. This mix is an absolute joy for the DJ's with the drums upfront and Keni's adlibs leading us into that monumental piano break and off we go! A truly uplifting piece of music, 'Let Someone...' is a surefire winner. Again, in keeping with the Le-Edits ethos, this new mix has been created with the full understanding of this music and most importantly with love and passion. Fans of both Phyllis Hyman and Keni Burke's work will undoubtedly fall in love with these spectacular mixes and make them their own. Essential for all Disco lovers.

                                                                        Le Edit is off to a fantastic start and as expected, Dimitri has many more incredible mixes and edits hidden up his finely tailored sleeve. Join us on the dancefloor as we elevate the art of remix and present new visions of dance classics from the past - DFP style!

                                                                        STAFF COMMENTS

                                                                        Sil says: Disco bombs just landed in our lovely shop!! No other than Dimitri From Paris applying his labour of love on two tremendously good disco gems. The first instalment flew from the shelves, this one will follow suit. Essential purchase!

                                                                        Patti Jo

                                                                        Make Me Believe In You / Stay Away From Me

                                                                        Patti Jo was a Nashville teen when she cut this, original, version of Curtis Mayfield’s song “Make Me Believe In You”. She still resides in Nashville today but has remained somewhat of an enigma. One thing is for certain, if the quarter of a million YouTube views are anything to go by, this is one mighty mighty slab of pure funk/northern/rare groove soul! The master was produced by Curtis Mayfield for Scepter Records in 1973 and released on their Wand imprint. Reissued here for the first time under the Scepter logo and coupled with another Mayfield song “Stay Away From Me” on which Patti delivers a stunning performance on the song that Mayfield originally cut with Major Lance.

                                                                        Pat Jordache has been making elliptical sparkling waves in Montreal's vibrant noise-pop community for several years now. His band Sister Suvi with Merill Garbus made a fierce but short-lived impact, serving up dense, lo-fi, supercharged complexity and garnering accolades from Pitchfork among others for their "Now I Am Champion" album.

                                                                        With the departure of Garbus for the American west coast and her focus on tUnE-yArDs, Pat drew inspiration from that friendship and from Garbus’ hermetic solo process, retreating to minimum wage employment while working up home recordings of solo material.

                                                                        "Future Songs" is the bracing result of Pat's isolation; an album of brilliant off-kilter pop, anchored by woozy baritone vocals, angular guitar lines and a gloriously careening approach to rhythm and arrangement. Evoking sounds and sensibilities that encompass David-Baker-era Mercury Rev, Joy Division, Scott Walker and Can, to name just a few.

                                                                        "Future Songs" was self-released on cassette and went up on Bandcamp in summer of 2010, circulating quickly through Montreal's DIY music community and Tumblr accounts across the continent. While entirely self-recorded, with almost all parts played by Jordache, the material cried out for full band treatment, for which there was no shortage of eager participants.

                                                                        Early Pat Jordache shows were solo ventures, re-working the recorded music using a DD-3 pedal capable of looping only 1.4 seconds of sound. These droning minimalist arrangements soon came to be supported by the explosive percussion efforts of dueling drummers Phillip Chanel, Jeffrey Malecki and Thom Gillies. Rory Seydel (Shapes and Sizes) soon joined the group on guitar, allowing for a more faithful interpretation of the recorded songs.

                                                                        With the original sessions lost in the theft of Jordache’s laptop from a Montreal roadside smoked meat shop, the initial self release of "Future Songs" was in lo-res, self-mastered 160 kbps mp3. In one of the many small miracles of our digital age, full resolution back-up .wav files of the sessions were dredged up from a forgotten Mediafire account, from which the songs were re-mastered for the Constellation release of the album.

                                                                        Patrick Kelleher & His Cold Dead Hands

                                                                        Golden Syrup

                                                                        Patrick Kelleher & His Cold Dead Hands are a five piece band from Dublin, Ireland.

                                                                        Their critically acclaimed album 'You Look Cold' was released on Osaka Recordings in 2009. A remix album followed in 2010 called 'You Look Colder'. It featured remixes from the likes of Jape, Hunter-Gatherer and Legion of Two.

                                                                        Their second album 'Golden Syrup' is released on 12th September. Moving on from the previous more DIY / lo-fi sound we now find them embracing a more gothic synth sound. Reminiscent of lesser known early 80's electronics pioneers such as Robert Rental, Thomas Leer and John Foxx but also drawing comparisons to such contemporary artists as Ariel Pink's Haunted Graffiti and John Maus. Paul Lester in the Guardian's Band of the Day in November 2010 referred to it as "Spookily brilliant, like Daryl Hall in hell!"

                                                                        The music on ‘Golden Syrup’ varies from Italo-disco and hypnagogic pop to the ghost-disco of the opener 'Miracle Candle', a dark dancefloor mover, to the more rhythmic synth-hook laden tracks such as 'Golden Syrup', ‘Too Many Harsh Words’ and 'Gouge'. We also get moments of beautiful heartfelt pop such as 'Broken up Now', and almost medieval electronica in the form of 'Strawberry Dog'.

                                                                        Patrick Kelleher is a 24 year-old musician based in Dublin, Ireland, although he spent much of his childhood in the English town of Rugby. His music varies from brooding, tense electronica to jaunty acoustica to 8-bit dance-floor ditties to evocative, experimental pop but always with a twist of something ethereal or idiosyncratic. Relatively simple vocal melodies come swathed in distant hums and cracks. His songs are often premised on a mixture of live instrumentation, drum machines, cheapo voice-sampling Yamaha keyboards and vocals that are, at times, heavily distorted.

                                                                        Patrick kelleher’s debut album "You Look Cold" was one of the most critically acclaimed Irish releases of 2009. This 13 track remix album contains a diverse range of musicians operating in the Irish underground giving us their own unique take on each of Patrick’s tracks. We kick off with the frantic dance-punk rush of Skinny Wolves. Next up is Thread Pulls and their singular bass guitar and drum post-punk vision. Catscars delivers a beautiful, atmospheric track and Toymonger give us their take on glitchy digital sound. The mysterious Hunter-Gatherer executes a brooding, haunting remix. Next up is a reinvented David Kitt with a shimmering dance track. Jape’s remix complete with motorik rhythms and breakdowns shows us how a song can be deconstructed and given a completely new lease of life. Fucktotem arrives with a singular noisy rendition and Hulk shows us what a master he is with his orchestral peaks and troughs. The Booklovers lighten the mood with a whimsical drum-machine laden run through. Legion of Two slow things down with their unique slowcore dubstep dirge. School Tour present their bright drone journey and Katie Kim finishes things off with her playful mood piece.

                                                                        Future-focused DnB / footwork / jungle hybrids here on the wonderful Astrophica. Bass stalwart Om Unit with a new alias and fresh sound! Mixing gurgling acid lines, tuned 808 subs and a plethora of vintage breaks + new school beat programming and throwing tradition to the wind as he blends footwork and hi-nrg techno into the cut-n-splice jungle aesthetic. Chicago's DJ Spinn makes a sterling guest appearance while the rest of the EP doesn't waver in delivering infectious, complex and totally engrossing musica. Recommended!

                                                                        Peter King

                                                                        Miliki Sound

                                                                        Originally released in 1975 via Sonny Roberts' Orbitone label, 'Miliki Sound' is an album by Peter King, Nigeria's most talented multi-instrumentalist, highlighting his unique blend of Afro-beat, highlife, jazz and funk. As King remarked in later life 'Miliki Sound' was his attempt to escape being tied down following a string of albums for the label by delving into his own Afro-jazz fusion. Making little impact in his homeland, the album was particularly well received in America and Europe, increasing King's popularity.

                                                                        As with his other releases from the same period, 'Miliki Sound' was entirely composed, written and arranged by King. Upbeat and funky the album?s six tracks feature plenty of impressive displays of King's saxophone skills, the instrument for which he was perhaps best known, alongside a talent for arrangement that plays the funk of the groove against the accompanying instruments and Nigerian chants. You only need to listen to 'Jo Jolo', 'Ijo Olomo' or 'Gyinmi Komo' to see why King's Afro-jazz approach, a blend of modern jazz with highlife as the basis, has proven so popular and continues to endure for over three decades. 

                                                                        Patricia Kokett’s sound is shrouded in a veil of mysticism. The brainchild of Lithuanian Gediminas Jakubka, "Diabel"’s metallic heartbeat underlies a magical superstructure that evokes some kind of DMT infused trip. Or possibly even some kind of ancient ritual, where one is intoxicated by serpents blood. Guided by repetitive drum patterns, it creates a slow joint dance that opens the path towards transcendence. Slow, low and riddled with robo-termite chomp and bleeping sequence "Diabel" trips the light fantastic before A2 offering "Mmuo" takes a more euphoric tack into the entheogenic ecstasy of kosmische chug. On the B1 "Serpiente" takes us to see the machine elves, all twisted crystalline waveforms and ork-ish bass growls. Finally "Mmuo Trance" blasts through acid pulses, microtonal oscillations and low BPM crunch on its way to final cosmic apotheosis.


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